ContentAsia April 2014 by ContentAsia

issue One 2014

c C

NTENT ntentASIA

Star Chinese Movies turns 20

PLUS: The things everyone’s talking about in China, Cambodia, Hong Kong, Malaysia and India

Scripps’ $65m question in Asia: Answers at the one-year mark

HAPPY FACE KILLER starring David Arquette

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contents

NTENT ASIA

what’s inside......

6 What’s going on in... The things everyone’s talking about in China, Cambodia, Hong Kong, Malaysia and India

In quotes

12 What’s going on in...

Star India boss Uday Shankar

talks about stalled agendas, new contracts, press freedom, being dysfunctional and transformation.

No relationship is more important than the one between the government and the media… In India, that relationship has often moved from being just adversarial to flirting on the boundaries of dysfunctionality.” Uday Shankar, Star India

page 14

Outbound Love, TVB Hong Kong

18 Connected Samsung promises to unveil its new connected entertainment platform for Asia in the second quarter, with a children’s service to follow later in the year. Vice president of content and services, Nicholas Wodtke, says the platform is all about refining and defining choice.

The $65m question One year after acquiring the Asian Food Channel (AFC) for US$65 million, Scripps Networks Interactive bosses talk about aligning lifestyle brands and how this is playing out in Asia.

Road FC, Kix HD

Money Saban Capital Group is “longterm bullish” on Asia and has its eye on everything from new channel acquisitions to funky monkeys in China.

Lifestyle programming is not a sub-genre. Nor should it be considered niche.”

SCM turns 20

Jim Samples Scripps Networks Interactive

ice’s early days, its critical role in

page 24

On the eve of Star Chinese Movies’ 20th anniversary, Fox International Channels’ VP Cora Yim talks about the movie servAsian cinema, its highlights and

World piece

Factual channel programmers talk about the biggest influences on their businesses in Asia this year, viewership shifts and trends, local programming and competition and their efforts to capture a place in the region’s non-linear space.

As overseas markets for Indian television programming mature, Indian broadcasters are going after new consumers and platforms.

Zee’s new global family

Cora Yim, Star Chinese Movies (SCM), Fox International Channels

page 28

its challenges.

Facts of the matter

SCM helped a lot of movie studios become what they are today.”

50 People&Parties Who was at... ContentAsia’s 8th birthday party in Singapore in March

54 Korea Korean viewers watch three hours and 14 minutes of television a day – more time than is spent on any other media. Plus other facts and figures about media usage in the most wired nation on earth.

issue one, april/may 2014

editor’snote

NTENT ASIA

In the know

Word on the street is that some pretty interesting viewer usage habits are emerging – not to mention strategies on using the information – as platforms in Asia get their data ducks in a row.”

gies around data and how platforms are man-

not (and many are terrified), the question is less

aging an environment that gives them an un-

about whether or not the night will end than

precedented ability to hyper-target customers

about how the light is managed and used.

of every shape, size and viewing taste.

The challenges involved in absorbing digital

This leap in transparency may not be such

networks’ return-path data into the region’s

good news for every channel. But it has to be

multi-screen world are obvious, we all know

a great leap forward for a multichannel indus-

that numbers can really be made to say any-

try hamstrung in many markets in Asia either by

thing, and that sometimes even spot-on figures

the absence of usage and viewership info or

don’t tell the whole story.

by the way it is released and distributed.

But precedents are emerging from all cor-

Channel bosses who love the idea of a com-

ners of the developed world and the

mon currency based on actual in-home box

benefits of deeper knowledge and

data say this has the potential to level the play-

understanding of consumer habits

ing field like little else in the history of pay televi-

are undeniable. Leading platforms

sion in the region. After all, what’s not to love

across the region are deep into Big

about a system that shows them exactly what’s

Data discussions and eager to use

working based on data from every single box

stats from their TV everywhere ser-

and, more importantly, offers them the ability

vices to strengthen engagement with their subscribers and push new sign-ups.

C Editorial Director Janine Stein Assistant Editor Malena Amzah malena@contentasia.tv Editorial Aqilah Yunus aqilah@contentasia.tv Research Assistant Yogeswary Gunasagaran yoges@contentasia.tv Design Rae Yong Production CJ Yong cj@contentasia.tv

A new data dawn is rising over Asia. Like it or

to change quickly the things that are not. Of course, this all runs alongside a bigger,

This has to be one of the major issues that

deeper understanding of the content, channels

Asia’s content and channels’ industry is holding

and branding business as a whole. No one is

its breath about this year. We, meanwhile, are

denying the badge value, for instance, of some

holding our breath to hear how industry leaders

news channels, which maybe aren’t going to

are going about managing the info deluge so

win the mass market numbers game but are a

that the love is widely shared.

critical element of robust content packages.

So far, word on the street is that some pretty

The big question is how pay-TV platforms will

interesting viewer usage habits are emerging

choose to release the data they have – and to

as platforms in Asia get their data ducks in a

whom. The most idealistic scenario is that they

row, and that at least one captain of industry is

make it available to content partners and ev-

getting ready to share when the great and the

eryone works together to build a better busi-

good gather for the Asia Pacific Pay-TV Opera-

ness. The worst case is that the opportunity is

tors’ Summit (APOS) in Bali at the end of April. If

hijacked, secrecy reigns and consumers in Asia

our expectations pan out, this sneak peak will

do what they’re doing now – find the content

showcase some of the innovation and strate-

they want wherever it is, legal or not.

NTENT ASIA

INTERNATIONAL Associate Publisher (Americas, Europe) and VP, International Business Development Leah Gordon leah@contentasia.tv ASIA Sales and Marketing Manager Masliana Masron mas@contentasia.tv

What is ContentAsia?

ContentAsia is an Asia-based information resource that refines today’s info-deluge into usable, digestible, and reliable intelligence about entertainment content creation, funding, financing, licensing, distribution, design and branding and technology across the Asia-Pacific region. ContentAsia’s range of products include electronic, print and online publications.

To receive your regular free copy of ContentAsia, please email i_want@contentasia.tv Copyright 2014 Pencil Media Pte Ltd. All Rights Reserved MCI (P) 111/06/2013 Printed by: Print Dynamics (S) Pte Ltd 21 Tai Seng Drive #03-01, Trivec Place, Singapore 535223

Published by: Pencil Media Pte Ltd l 730A Geylang Road, Singapore 389641 l T: +65 6846 5987 l F: +65 6742 9683 l W: www.contentasia.tv

issue one, april/may 2014

Measat HD Platform Celebrates 50 Channels Thank you for your support Astro Encompass measatHD Globecast RRSat

what’sgoingonin...

NTENT ASIA

china meanwhile... South Korea’s relationship with China took a leap forward this year. The latest initiative is led by Korea’s CJ E&M, which is working with the Shanghai Media Group’s (SMG) Dragon TV satellite channel on the ﬁrst

China’s online streaming environment is sizzling, making happy people of rights holders everywhere from Hong Kong to the U.S.

local Chinese versions

and breaking new ground for standalone streaming platforms

of Korean formats such as Grandpas Over Flow-

such as Viki. Some of the recent deals include Viki’s tie up with

ers and spin-off, Sisters Over

Baidu to offer full-length movies, TV series and anime across mul-

Flowers. The companies, which

tiple platforms in China; Viacom’s sale of 200 hours of Nickelodeon

have a long-standing relation-

content, including SpongeBob SquarePants, to Sohu; and Youku Tudou

ship in the live entertainment space,

investing RMB300 million/US$49 million in in-house productions, co-productions and user-generated content in 2014. That’s the good news. The other good news is China’s factual scene, which is hot and happen-

Grandpas Over Flowers, CJ E&M

are also working on developing original content. CJ E&M’s previous initiatives in China include talent show Super Diva in 2012, variety shows

ing on the blue-chip co-production front (think Hidden Kingdoms). And then there’s the formats market, which was sizzle-central in 2013 as

Superstar China and The Romantic, and ﬁlm project

mainland broadcasters rushed to ride advertising highs. International for-

A Wedding Invitation. Joint ﬁlm projects this year in-

mats rights holders were bracing for an adjustment in 2014, when regula-

clude The Fist, Pyeongando and Love and Lingerie.

tions limiting foreign formats kicked in, and they’re already feeling it. In typical fashion, though, news of shifting rules

quisitions in China, everyone is acting more carefully in

Everyone is acting more carefully in picking up new formats... However, we keep looking for fresh ideas and new opportunities. The market is hungry for new content as always, but it’s quality of the content not quantity that matters.”

picking up new formats,” Yan says, adding: “However, we

Beryl Yan, Hunan Satellite TV/Hunan Broadcasting System

ran alongside a frenetic search for work-arounds. How’s that all working out so far? Good for some. Not so good for others. China has always been a very tough market, most distributors say. On the ground, broadcasters report a slowdown in acquisitions. “So far, we haven’t entered into any format deals this year yet,” says Beryl Yan, senior manager of programme strategy department of R&D Center, Hunan Satellite TV (Hunan Broadcasting System). “Under the recent regulations on foreign formats ac-

keep looking for fresh ideas and new opportunities. The market is hungry for new content as always, but it’s quality of the content not quantity that matters”. New shows added to Hunan TV’s offering this year include a locally de-

cate prime time to I’m a Singer was carefully considered.

Pessimism continues to rule when it comes to linear channel opera-

veloped comedy show, Laugh Out Loud, “ﬁlled with Chinese style of jokes

“We have kept two of our

tors, who are still not welcome...

and sketches working with a local team of scriptwriters,” Yan says, adding

original brands, Day Day Up and

and are walking away. 21st Cen-

that ratings were positive. Hunan Satellite TV also worked with Endemol

Happy Camp, in the spotlight for

tury Fox announced its exit from

Asia on a ﬁfth series of Your Face Sounds Familiar. Yan says the title has

years. I’m a Singer made a huge

two-year-old mainland Chinese

“turned each Thursday night into a weekend night in China since its debut

splash last year and won massive

joint venture, Star China TV, at the

in 2012”.

viewers both here and abroad. It

beginning of this year. This followed

was a tough decision to make but

News Corp’s 2013 decision to sell

eventually it worked out great and

down its stake in Chinese channel

secured a consecutive success,”

operator Phoenix. That love affair

Yan says.

with China is very clearly over.

Hunan Satellite TV’s major scheduling changes include shifting the second series of I’m a Singer to prime time on Friday nights. Regulations since 2012 have limited entertainment shows in prime-time slots to two a week for each satellite channel, and the decision to allo-

issue one, march 2014

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what’sgoingonin...

NTENT ASIA

cambodia

hong kong

Cambodia has stepped up into a much more active regional content role, including buying rights to big shiny competition formats such as BBC Worldwide’s Dancing with the Stars. The acquisition at the end of 2013 kicked off a new focus on formats expected to continue through 2014. Cambodian Broadcasting Service (CBS) will air the local version of Dancing with the Stars on free-TV service Cambodian Television Network (CTN) in the middle of this year. The other three local versions of international formats on air this year are Cambodia’s Next Top Model, The Clock Hanger and MasterChef Cambodia. These follow CTN’s Who Wants to be a Millionaire, Are You Smarter than a 5th Grader and Minute to Win It, with Hole in the Wall on air on sister service, MyTV. “We want to give our audiences more variety,” says CBS deputy general manager, Kimsreng Ieng. He also says levels of local drama and variety are rising along with more game

in numbers

The territory’s two new free-TV players – PCCW’s Hong Kong Tele-

Cambodia

hit the ground running in 2014 with their newly minted free-TV li-

Population: 15.2m

cences and multi-billion plans to tackle a whole new broadcast-

TV households: 2.8m

ing space. But it’s would-be/failed-so-far free-TV broadcast boss,

Free TV channels: 13

Ricky Wong, who continues to hog headlines with valiant efforts to get his Hong Kong Television Network (HKTV) on air. Having lost his bid for a free-TV licence last year, Wong vowed

China TV households: 426m

early this year to launch ﬁve mobile channels – including news

Cable TV homes: 221m

and general entertainment channels – in July 2014. Wong’s chal-

Mobile internet users: 538m

lenge now is how to access the maximum number of homes, using high-quality video signals, without triggering broadcast licence requirements.

India TV households: 155m TV penetration: 63% Pay-TV households: 146m

he has hit out at the Communications Authority (CA) for apparently allowing free-TV broadcasters, Television Broadcasts Ltd (TVB)

Hong Kong

and Asia Television Ltd (ATV), to deliver mobile TV – a claim the CA

TV households: 2.34m

roundly denies. The CA isn’t budging, saying that the allegations

Pay-TV households: 2.43m

are groundless.

Mobile phone subs: 16.4m

Meanwhile, dominant terrestrial broadcaster, TVB, which fought furiously against the introduction of new free-TV players, is spend-

Malaysia

ing the year persuading authorities and audiences that it abso-

TV households: 6.85m

lutely can do – and does – content innovation and quality. This

Astro pay-TV subs: 3.4m

follows loud criticism about cookie-cutter shows that critics are

Internet users: 17.7m

using as proof that Hong Kong does, indeed, need a whole lot more free-TV competition. Hong Kong’s second terrestrial broadcaster, ATV, appears to

allowing CTN and MyTV to keep the country’s

have much more serious problems – not least by a public call for

increasing television competition at bay.

the government not to renew its free-TV license in 2015. ATV

Special events are a key part of CBS’

was hammered at three public forums held this year on the

strategy. These include T-ARA K-pop, the

license renewals. And then there’s all the other stuff, like

Grammy Awards and the Oscars, sports

accusations from former employees of undue inﬂuence

programming such as Formula 1 and

from mainland shareholders, being broiled by authori-

the 2014 FIFA World Cup along with

ties at the end of 2013 for failing to submit audited ac-

top-ranked ﬁghts.

counts for four years from 2009 to 2012, and coming

Regional rights holders are beneﬁt-

stone last in a media credibility ranking conducted by

ing too from the country’s expanded

a local university.

content appetite. Indonesia’s Televisi

A decision on the license renewals is expected to be

Transformasi Indonesia (Trans TV) has

made before the end of this year. Expect a lot more

sold a slate of 20 Indonesian telemovies

noise before then.

to CTN. This is Trans TV’s ﬁrst export outside the Malay archipelago countries of Malaysia, Singapore and Brunei. The telemovies will air

issue one, march 2014

Wong has denied his quest to upgrade his mobile network is an attempt to launch a free-TV service in disguise. At the same time,

show formats, expanding audience choice and

throughout 2014.

vision Entertainment and i-Cable’s Fantastic Television – may have

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what’sgoingonin...

NTENT ASIA

india malaysia Malaysia is pushing hard for local content/IP creation on a number of levels, including major government support for production infrastructure and an unprecedented determination by powerful Digital cable is India’s most signiﬁcant multichannel force and will

pay-TV platform Astro to increase local relevance.

convenience.

continue to be, never mind the

Indiacast Media Distribution

cries of woe from pockets of heel

group

draggers and the chest thumping

Anuj

from regulators with loud “migrate

out that India continued

or else” messages and soft-to-non-

to be “fundamentally

existent will to license new chan-

a daily soap market...

nels. Plus, as some tell it, there’s a

what we produce to-

woeful approach to price regula-

day in India is not about

tion that, at very best, is inefﬁcient

binge

and completely out of step with

as the current environment

India’s dawning digital age.

might be, there was a lack of

chief

executive,

Gandhi,

pointed

viewing”.

scale for OTT services and local

sumer. “We need to move to an

operators were “still hunting for

era where customers appreciate

the right revenue model for our

the fact that there is value to con-

kind of content”.

Ashok Mansukhani.

Mobile activity – including the 4G rollout – is driving optimism. Star In-

Average revenue per user (ARPU)

dia’s Gupta said the real challenge

of between US$3 and US$4 is a re-

in the high-speed mobile market

ality considered depressing by

was creating destinations with cu-

some and an opportunity by oth-

rated content. “There is genuine

ers. Star India’s chief operating of-

demand,” he said, “but no serious

ﬁcer, Sanjay Gupta, told delegates

effort at the moment to deliver pre-

at this year’s FICCI Frames in Mum-

mium curated content”.

bai in March that low monthly TV

On the regional and international

subs fees meant consumers could

stage, the watch is on for the way

be willing to pay for additional ser-

Indian broadcasters are tackling

vices. This opened up additional

the global market for Indian TV con-

revenue opportunities, in contrast

tent. Insiders say Zee is targeting a

to developed markets, where con-

billion viewers globally by 2020 in a

sumers felt they were already pay-

bid to increase existing US$100 mil-

ing enough and were dropping

lion annual overseas revenues.

one service to take another. “Consumers are ready to spend

“We are no longer a rapidly growing

Indian

entertainment

a lot more. The question is: Are

industry,” Punit Goenka, Zee En-

we ready to deliver the options?”

tertainment Enterprises’ chief ex-

Gupta said.

ecutive/managing director, said,

“The biggest mistake we can

adding: “We have what it takes

make is to think of ourselves as a

to have global aspirations and to

TV business,” he added, highlight-

produce content of international

ing the opportunities inherent in

standards and the ability to enter-

offering consumers ﬂexibility and

tain a global audience”.

issue one, march 2014

ger the base, the greater the opportunity for upselling. And the way to grow the base is with vernacular content. That includes both local content and local versions of international formats such as MasterChef Malaysia and Fear Factor Malaysia on Astro Ria. Astro has 3.4 million paying subscribers, with another 382,000 on the free Njoi platform. Astro

Exciting

And then there’s India’s con-

tent,” said MSO Alliance president,

The logic is simple: Astro’s view is that the big-

While sharing his optimism,

is also aggressively moving into the multiplatform space; 80% of subscribers had miBintang Mencari Bintang, TV3

grated to the Astro B.yond platform by the end of 2013. The country’s free-TV environment is and will continue to be dominated by the privately owned Media Prima group, which runs lively local schedules targeting all sectors of the community and is an active buyer of international content. The notable exception is formats, which Media Prima prefers to create itself. TV3 dominates both prime- and fringe-time viewership, with, among others, awards shows Anugerah Bintang Popular, Anugerah Skrin and Anugerah Juara Lagu. Locally produced Malay dramas and telemovies continue to drive prime time. Branded strips include Azalea (4pm, Mondays to Thursdays). Azalea airs shows such as Derhaka Seorang Madu, which reached two million viewers. Akasia follows at 7pm Mondays to Thursdays, consistently reaching 11 million viewers. Weekend slots this year have become more entertainment based, with the return of top-rated reality programmes such as Bintang Mencari Bintang season 2, Liga Lawak Superstar season 2 and the return of reality TV talent show, Mentor Legend. TV3’s magazine and variety focus this year includes travelogue Unsung Places; Misi K, a CSR magazine

show

featuring

humanitarian

and

peace activities organised by non-governmental organisations (NGO) in Malaysia; as well as popular magazine shows Nona, 999 and Majalah 3.

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what’sgoingonin...

NTENT ASIA

formats

Factual formats are on the rise in Asia as programmers expand their local production ambitions, broaden their genre horizons and attempt to leverage international success with, among others, character-driven reality series. Two new ﬁrst-of-their-kind character-driven biggies in the next few months could reshape Asian schedules. One of these is It Takes Gutz to be a Gutierrez, from the NBCUniversal regional channels team in Asia, It Takes Gutz to be a Gutierrez, E!

and the other is Mom’s Time Out from A+E Networks Asia for Lifetime. Both new shows have multi-season and, at least for the Gutierrez show, spin-off potential. They are also inﬁnitely sponsorable. In the best tradition of Keeping Up with the Kardashians, It Takes Gutz to be a Gutierrez follows the Philippines’ Gutierrez family – Eddie, Annabelle, Ruffa, Raymond and Richard – “as they give audiences an unﬁltered look at their incredible personal and professional lives”. The sixpart series, produced by One Mega Group’s TV100 in the Philippines, premieres on E! at 9pm on 1 June. A+E Networks Asia’s Mom’s Time Out for Lifetime is a

Volume has deﬁnitely gone up... the biggest challenge for these factual producers is to make these shows travel beyond their own borders – and that’s where issues like budgets and quality come into play.” Ganesh Rajaram, FremantleMedia International

ﬁve-episode series where Mom leaves Dad in charge of the house and kids and takes “time out” from life as mother and wife.

own borders – and that’s where

Entertainment’s international dis-

Three families in Southeast Asia have already been chosen and the show

issues like budgets and quality

tribution director. “Foreign formats

will air later this year.

come into play,” says Ganesh Ra-

with lower production costs, such as

These follow locally made factual formats such as Hidden Cities Extreme

jaram, FremantleMedia Interna-

game and talent shows that can be

(A+E Networks) and I Wouldn’t Go In There (National Geographic Channel).

tional’s executive vice president,

shot in studios rather than on loca-

“Factual formats have become increasingly popular in Asia,” says Joyce

distribution and home entertain-

tion, have the most success in Asia,”

ment, Asia.

she adds.

Yeung, BBC Worldwide’s executive vice president and general manager, Asia. BBC format Top Gear has made signiﬁcant progress in South Korea,

Costs are an issue regional

where the season ﬁve ﬁnale aired in January this year, and Yeung is obvi-

channels and producers in Asia

complaining. “For a while now,

ously hoping to expand the format elsewhere in the region.

Meanwhile,

distributors

aren’t

grapple with daily. Format pro-

Asia has been ﬂooded with game

Still, factual formats are nowhere near the levels being enjoyed by en-

duction budgets in Asia generally

show and talent show formats,

tertainment/competition formats – yet. It’s too early to say whether they

run from US$1.5 million to US$3 mil-

says Marielle Zuccarelli, A+E Net-

ever will be, but no one is closing books on the possibility.

lion per series, with upper limits at

works’

managing

director,

in-

“Factual formats still have a long way to go before they catch up

US$5 million. Most series are only

ternational content distribution.

with entertainment formats, but Chinese clients have been very quick to

greenlit once sponsor support has

“Following the huge success of a

adapt,” says Stephen Driscoll, All3Media International’s senior vice presi-

been secured.

few factual reality series, including

dent, international sales. All3Media has format deals for Undercover Boss with Dragon TV and GoggleBox with Jiangsu.

“Licensing North American loca-

some that have originated within

tion-based formats is a challenge

Asia, we are receiving more en-

The challenges are clear. “The volume has deﬁnitely gone up, with chan-

due to the tremendous costs as-

quiries about our factual formats,

nels ramping up local productions across the region. The biggest chal-

sociated with those productions,”

many of which are reality-driven,”

lenge for factual producers is to make these shows travel beyond their

says Kate Blank, Breakthrough

she adds.

issue one, march 2014

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inquotes

NTENT ASIA

Free speech

Star India boss Uday Shankar talks about stalled agendas, new contracts, dysfunctionality, press freedom and transformation. Star India chief executive, Uday Shankar, has

the boundaries of dysfunctionality”. This includ-

extremes that can only be resolved through a

sent out a powerful call for “a new contract”

ed state government involvement in private

shouting match on live television.

between the government and the media.

media ownership.

“With singular dominant narratives, the trend

Speaking at the opening of this year’s 15th

He also accused the media of “being more

seems to be of creating heroes on a particular

annual FICCI Frames conference in Mumbai

than just a silent victim in creating this environ-

day only to be labeled as thugs and crooks the

ahead of India’s April/May elections, Shankar

ment”. Too often, he added, “the news media

next”.

said India had “strayed a long way” from press

has focused on what is sensational rather than

Shankar also said the industry remained “at

freedom. He added that the relationship be-

what is important… the point of news seems to

a great distance from the goal of growing the

tween media and the government “has often

be to reduce the extraordinary diversity of the

sector to US$100 billion”.

moved from being just adversarial to flirting on

country to the most banal, a contest between

Here’s what else Shankar said in Mumbai...

The media landscape [in India] today is littered with unviable and unhealthy media companies that cannot survive in the current framework. And unless all stakeholders are committed to retaining the vibrancy of the sector, the biggest victim will be free expression. No value is more important to this country than preserving the ability of a free media to showcase plurality in opinion and creative expression.”

Amidst

environment

gloom and doom, the media and entertainment industry registered an impressive growth of 12% last year. The fact that we have been able to deliver this in light of an overall economic growth of 4% and a major resetting of exchange rates is a testament to the tenacity of the industry’s leaders and stakeholders. However, while delivering a growth rate three times that of the country at large is cause for satisfaction, the truth is that in dollar terms, we have barely made a dent this year. And, even more importantly, we remain at a great distance from the goal of growing the sector to 100 billion dollars.”

issue one, march 2014

“No relationship is more important than the one between the government and the media… In India, that relationship has often moved from being just adversarial to flirting on the boundaries of dysfunctionality.”

“In many ways – and not uniquely to India – [the relationship between the media and the government] is a relationship that by the very nature of its constituents is conditioned to be adversarial. Governments and political leaders are deeply aware of the power of shaping the message. The natural instinct of the state is to control the message. And, where it can, to control the messenger. The natural instinct of the media, whether the news media or the creative community, is to resist control, is to question authority. There is, therefore, tension inherent in the conflicting instincts of the two constituents.”

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inquotes

NTENT ASIA

The weeks before the elections is the right time to call for a new contract between the government and the media.” “What truly outraged me was the recent turn of events. It was the media that had created rock stars out of a bunch of street artists and protesters. It was the relentless 24 by 7 coverage of fasts and high-decibel theatrics that created a political party from thin air and installed them in the government. You would have thought these leaders would have been grateful to the media for nurturing them. And, yet, even they resorted to accusations of corruption the minute the conversation turned to accountability for their choices and performance.”

“Used to only a compliant state media, successive central governments have often used policy to limit free expression. And, increasingly, state governments have crossed the boundary to actually own and run private media enterprises. Why just run channels when you can integrate across the whole value chain, and run entire businesses from delivery to content?” issue one, march 2014

The media has been more than just a silent victim in creating this environment. Too often, the news media has focused on what is sensational rather than what is important. Too often, the point of news seems to be to reduce the extraordinary diversity of the country to the most banal, a contest between extremes that can only be resolved through a shouting match on live television. With singular dominant narratives, the trend seems to be of creating heroes on a particular day only to be labelled as thugs and crooks the next.”

[The relationship between media and government] is now a broken relationship, and one that has dire consequences for both the industry as well as the government. The failure to establish credibility and importance has meant the industry perennially stays on a back foot, defending itself against every new wave of regulation aimed only at further curtailing its wings. In return, the government has not been able to leverage either the impact that mass media can have in India or harness the power of media as an economic engine that can create jobs and wealth.”

The next government should recognise that it matters what the agenda of the Information and Broadcasting Ministry is. It matters what the Ministry sees as its dominant priority. Do you see media as a tool for transforming lives, thereby using it in the interest of serving the population, or as something so powerful that it needs to be controlled? The regulatory agenda is

one of the most crucial parameters that will shape how this industry will look in the next five, 10 and 15 years, and after some progress in the last few years, this

agenda has now completely stalled. Whether in accelerating the digitisation of television delivery, or creating progressive frameworks on consumer pricing, this agenda is waiting the arrival of a transformational government.” “Media and entertainment remains central

course on exploiting the momentum of the first

to defining the direction of India’s social and

set of economic reforms unleashed in 1991.

economic path; its work remains key to the

We have created enormous opportunities

imagination and inspiration of a billion Indi-

and wealth for many. And, now, we are faced

ans every day; and its health will be central

with a far more complex set of economic and

to the ethos and values of the society we col-

social choices, including on the ideal role of

lectively shape... [These national elections]

the government, its relationship with industry

come at a particularly important time in our

and, in fact, the relationship of the private

post-independence history. We have run the

sector with the overall society at large.”

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NTENT ASIA

mobile in quotes “The approach to content is more about curation and discovery than about warehousing rights.” When

Samsung

reality in Southeast Asia.

unveils

its new entertainment

“You have to recognise

platform in the second

that the GDP here is

quarter of this year,

not the same as in the

the focus will be less

U.S. and there has to

on rights by the buck-

be a modiﬁcation to pricing plans,” he says.

etload than about guiding users through a morass

Nicholas Wodtke

of content choices bombarding users from every angle.

In addition, piracy is significant in this part of the world.

“Whenever the next best avail-

The approach to content is

able option is free, we have to do

“much more about curation and

better, we have to offer a solution

discovery than about warehousing

that is competitive with free”.

rights,” says Nicholas Wodtke, Sam-

Wodtke is a fan of the sub-

sung Electronics’ vice president,

scription model and likes “the

content and services, for Southeast

cadence from a business per-

Asia and Australia. A children’s ser-

spective of having a predictable

vice will follow later this year.

monthly payment”. That said, he

“We have an oversupply [of apps]. The consumer today has an

adds, “there are deﬁnitely roles for pay-per-view on-demand”.

overwhelming number of choices.

Most importantly though, he’s

The new currency today is about

looking at services that will increase

consumer mindshare. It’s about

Samsung’s stickiness. One of these

helping consumers make sense of

is the new Galaxy Life, which gives

this very very complicated world

Samsung direct access to its users.

of content out there,” he says.

“This is the ﬁrst time we can have a

Samsung’s new entertainment platform, he adds, is about reﬁn-

direct dialogue with our consumers,” Wodtke says.

“Some of the pricing expectations of traditional media companies have not caught up with market reality in Southeast Asia”. “Piracy is signiﬁcant [in Southeast Asia]. Whenever the next best available option is free, we have to do better, we have to offer a solution that is competitive with free.” “We are looking at subscription services as one of our core business models... that said there is deﬁnitely a role for instant access/on demand pay-perview.”

League (EPL) matches to consumers in New Zealand from March. Sports Flow, created in Singapore by Maurizio Barbieri

Samsung’s MSC Southeast Asia sports head,

Maurizio Barbieri, offers content from more than 100 partners, including ESPN and News Corp. The system, available only in Asia right now, targets sports fans who want to have access to sports content immediately

ing and deﬁning choice for con-

Another is the kids’ platform,

sumers already overwhelmed by

which will, among other things,

options. He outlines four key focus

allow parents higher levels of ac-

Samsung’s content services are part of a

areas: discoverability, curation,

cess and device control than ever

multi-level strategy to increase consumer

personalisation and localisation.

on their devices, including smart TVs.

before. The platform will offer 50

loyalty to Samsung devices. This focus gives

Although details – including

apps for kids that Samsung guar-

Samsung an advantage over traditional

content and pricing – were still un-

antees are safe along with a tool

media companies, which “have enormous pressure around proﬁtability

der wraps at press time, Wodtke

that allows parents to see what

and ROI”, so they might clutter a lot of the content with advertising to

calls the new product a game

their kids are doing on the app.

keep the business aﬂoat.

changer and says it will hyper-tar-

The new kids and entertainment

“While we certainly have revenue targets, it’s not our most critical KPI,”

platforms follow sports platform

Wodtke says, adding that Samsumg’s focus is on building loyalty to its

What he will say about pricing

Sports Flow, which launched in

electronics. “This is more commercially relevant to us than trying to gen-

is that some of the expectations

Asia towards the end of last year

erate revenue through an app and gives us a lot more ﬂexibility in how

of traditional media companies

and, for instance, started offer-

we can structure things with partners and in taking a longer view rather

have not caught up with market

ing live streamed English Premier

than having to generate proﬁts this quarter”.

get demographic groups.

issue one, april/may 2014

Itv choice Bursting with new content fresh from UK Broadcast Email us to find out more: International.channels@itv.com ww.itv-choice.com

businesssaban

NTENT ASIA

Tough enough Saban Capital Group is “long-term bullish” on Asia and has its eye on everything from new channel acquisitions to funky monkeys in China.

As Haim Saban, the chairman and chief executive of Saban Capital Group, takes to the stage at APOS 2014 in Bali at the end of April, his animated pre-school series, Julius Jr, is hopping and skipping all over Nick Jr in the U.S. and planning its international expansion. There’s also Saban Brands’ Paul Frank, which is racing across Asia – and China in particular – with stores everywhere. There’s the investment in Indonesia’s MNC and Sky Vision. And then there’s Celestial Movies, the flagship channel of Saban-controlled Celestial Tiger Entertainment (CTE), which is enjoying ratings highs in two key Asian markets – Malaysia and Indonesia. Is Saban a happy man? Who knows, but at the very least his chief lieutenants tell a happy story of investments in Asia that are working out so far. Having celebrated the second anniversary of the CTE joint venture, the company talks about a flagship

movie

channel

that, in January 2014, was

the

top

pay-TV

Malaysian platform Astro’s Chinese viewers, according to Nielsen Malaysia data.

movie channel in Indo-

That’s a very long way from the go-nowhere

nesia, reaching more

Tiger Gate Entertainment (Kix and Thrill chan-

audiences than Holly-

nels), which merged with Celestial Pictures

wood movie channels

(Celestial Movies, Celestial Classic Movies) to

(Source: Nielsen Indo-

create CTE in December 2011.

nesia PayTV, reach, Jan 2014, 5+ and 20+). From 1-23 February this year, Chinese movie channel Celestial Movies was the number one pay-TV movie channel in Malaysia

issue one, april/may 2014

Road FC (above); Are You Tough Enough launch, Kix HD (left)

There’s more. The flagship channel, which celebrated its 10th anniversary last year, doubled its viewership on Astro in August 2013, compared to the same month in 2012, when it aired Chinese blockbusters such as CZ12 and The Last Tycoon. CTE’s action entertainment channel, Kix HD, reached record

vs other regional/Hollywood movie channels in

levels in Malaysia in December last year, hitting its highest average rat-

terms of average audience among all Astro sub-

ings since the channel’s launch in March 2012. Viewership for Kix HD

scribers 20+ (Source: Nielsen Malaysia, Feb 1-23,

nearly tripled in 2013 compared to 2012 among Astro 4+ subscribers.

2014, average audience). Last year, Celestial

In the Philippines, Kix’s prime-time viewership was three times that of

Movies’ viewership in 2013 was up 35% among

2012 among cable 2+ audiences. In addition, the channel delivered a

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businesssaban

We see a growing demand for Asian content and we’re very focused on other forms of content out there and how we might package a channel.” Adam Chesnoff, Saban Capital Group

173% increase in viewership among its core demographic of cable 20-54 audiences in urban areas compared to 2012. Also in the Philippines, sister channel Thrill’s average viewership in the second half of last year was three times that of the first half among cable 2+ audiences. In October 2013, Thrill’s second annual Asian Fear Fest drove prime-time ratings up six fold, CTE says. And then there are initiatives such as the Hong Kong channel, cHK, which launched in Singapore in October 2013. The HD general entertainment cHK channel is offered in Mandarin with a Cantonese sound track. Adam Chesnoff, Saban Capital Group’s president/ COO and CTE chairman, calls CTE “a pretty neat company” with a tight focus on being the leading indie Asian channels provider across the region. From four channels two years ago, CTE now offers seven with more in the pipeline, possibly for

Julius Jr, Saban Brands

later this year. “These things take time,” Chesnoff

There’s also the possibility of growth in places like India, where CTE

says. New channels will stick closely to CTE’s

CTE’s non-linear viewing will be rolled out in partnership with pay-TV

Asian content and we’re very focused on other

platforms, most of which are trying to figure out viable over-the-top (OTT)

forms of content out there and how we might

strategies. “We are helping them by trying to secure as broad rights as

package a channel,” he adds.

possible and customising OTT offerings,” Chesnoff says, adding: “It’s not a

“The strategy going forward is to continue to

significant part of the business, but it will grow”. As connectivity improves,

work with affiliates on compelling channel con-

he expects a growing number of services that will complement linear

cepts,” Chesnoff says, adding that the services

and create new revenue opportunities for programmers and affiliates.

are tethered “to what operators need to drive

Beyond CTE, Saban’s investment eye roves across anything content/

ARPU and take up. [The approach is] very loca-

video related, including pay-TV, free to air, broadband and mobile, with

lised and customised to what distributors need

a preference for partnering with local entrepreneurs who control their

and ultimately positions the company for rapid

businesses. “We’re long-term bullish and we have a real appetite to grow

growth over the next few years”.

our investment platform in Asia,” Chesnoff says, stressing: “We’re in for

He’s looking for growth in three places – or-

issue one, april/may 2014

has no presence yet.

Asian branding. “We see a growing demand for

the long term”.

ganic, from new channels and from “synergistic”

It’s against that backdrop that Haim Saban takes to the stage in

acquisitions – and says there are “numerous in-

Bali to talk about, among other things, competing in the internet age,

die channels out there that we think will fit really

production and distribution, where he’s putting his money in the next

nicely in our bouquet”.

10 years, owning and monetising IP and what he thinks will be Asia’s

Advertising on the channels is ramping up from

biggest battles. No one is betting that, like the Kix HD strongman who

this year, led in Asia by a new senior hire who will

pulled Hummers through the streets of Kuala Lumpur a few weeks ago,

be announced in April or May.

he isn’t tough enough to stay the course.

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milestonesscripps

NTENT ASIA

$65-million questions Scripps Networks Interactive bought Asian Food Channel exactly a year ago. Celebrating the first anniversary of the acquisition, company bosses talk about lifestyle leadership, big brands, leveraging libraries, star power and local content. This time last year, Scripps Networks Interactive was on the verge of announcing its headline-grabbing US$65-million acquisition of Singapore-based regional food network, Asian Food Channel (AFC). Between MipTV in early April and MPA’s Asia Pacific Pay-TV Operators’ Summit (APOS) in Bali in late April, the deal had been signed and industry speculation was all about why Scripps had agreed to pay such a premium for a network that had been widely shopped around for years, was valued at US$20 million or less and estimated, at best, to have annual revenues of between US$5 million and US$10 million.

Ken Lowe

The Amazing Food Challenge: Fun in the Philippines

“Our experience is that lifestyle, properly done, entertaining with fantastic hosts... based on home, food and travel, can compete with other entertainment programming in prime time,” Samples says. In the U.S.,

Jim Samples

HGTV and Food Network are among the top 10 of all pay-TV networks. Celebrating the

“I believe we can create lifestyle channels that will compete in that way

first anniversary of

around the world. And that’s my goal,” he adds.

the AFC acquisition, Ken

Lowe,

SNI has three brands in Asia so far – Asian Food Channel (AFC), Food

Scripps

Networks Interactive (SNI)

Network (FN) and Travel Channel (TC). Additional lifestyle brands from Derek Chang

chairman, president and

which follows Jason Yeoh on his search for Malaysian specialities; Spice

company’s international ambitions, about creat-

of Life, with Indonesian chefs Arimbi Nimpuno and Sandra Djohan; and

ing value by building iconic lifestyle brands, and

Back to the Streets, with “culinary secret agent” chef Malcolm Goh

about his evolving attitudes on the relationship

and radio DJ Tham Zher Peen searching for “pockets of culinary gems”

between content creation, rights, licensing and

in Malaysia.

SNI’s message is clear: “Lifestyle programming is not a sub-genre nor should it be considered niche,”

issue one, april/may 2014

AFC is the most local of the three, with series such as Taste with Jason,

chief executive, will speak at APOS about the

channel distribution, among other things.

Scripps’ U.S. stable are a possibility further down the line.

says Jim Samples, SNI’s president, international.

Food Network carries big-brand Scripps’ properties from the U.S., such as Diners, Drive-ins and Dives, Guy’s Big Bite, Worst Cooks in America and Down Home with the Neelys. Travel channel is a “window to the world”, with titles such as Magic

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milestonesscripps

NTENT ASIA

Man, Treasure Trader, Bizarre Foods

Among the new local titles on air is travel and culinary real-

America and Monumental Myster-

ity show, Amazing Food Challenge: Fun in the Philippines,

ies on the Asia schedule.

which premiered on AFC in March. The 13-part series,

“Beginning to represent a group

backed by the Philippine Department of Tourism (DOT)

of related networks rather than

and the Tourism Promotions Board Philippines, follows 10

being a single channel is a major

contestants competing for US$50,000 worth of prizes.

step forward,” Samples says, add-

AFC follows this in April with the premiere of How to Make

ing: “We are building the scale to be able to have the operations and cost

It: Culinary Dreams, which tracks Malaysian celebrity, Awal CheeK

base to turn these into big brands in Asia”. “The key priority is offering a range of strong op-

Ashaari, as he goes back to school to learn how to open his own bistro. Food Network format, Best Thing I Ever Ate, has been localised for

Asia and starts airing in April.

tions catering to specific audiences in the lifestyle

CheeK has also reworked the programming grid to include more mara-

space”, says Derek Chang, SNI’s Asia Pacific man-

thons at weekends, specials and stripped series. Many of the sharp edg-

aging director.

es and jerky transitions between programmes from different parts of Asia

Chang, who joined SNI in April 2013, has spent

in different languages have been smoothed away and there’s a greater

the past year building a new team and putting in

focus on appointment viewing. Going forward, there will be even more

place a structure and a culture upon which the

focus on catering to viewing habits in Asia, CheeK says.

new SNI can build its future in the region.

Along with deeper engagement in Asia, the SNI team draws on experi-

A key element of SNI’s strategy –

ence with character-driven initiatives in the U.S. to drive the brands in the

original content creation – is already

region. “Being able to grow talent such as Guy Fieri on Food Network, Sher-

well under way. The team’s local pro-

son Lian on the Asian Food Channel and Henry Cole on Travel Channel,

duction initiatives are driven by CheeK,

we are able to provide our viewers with engaging experiences on ground,

who joined the Singapore-based re-

on line and on air through key marketing initiatives,” Chang says.

gional operation in October last year

All this is according to the plan set in motion when the US$65-million

as head of Asia-Pacific content and

cheque for AFC was signed. “AFC created a base that we could build

marketing.

on and use that to add in Travel Channel and Food Network and potentially launch other networks through the years. That is very much on track,” Samples said in the run up to APOS. The challenges are no secret and no surprise. “We are later to the market than many other international companies and that doesn’t make it easier for us,” he says, adding: “That’s why it’s so important that we have a clear offering”. In order to drive its international channels business, SNI’s content licensing strategies are shifting. U.K.-based Passion Distribution distributes Scripps’ content in international territories. Samples says the relationship with Passion remains in place; “if anything, we have increased our volume in some markets. We are just being very selective in which markets we are doing that”. In markets where SNI has channels’ businesses and plans, “we need to retain much of that programming to build the channels out. In markets where we are not planning to launch or have some of our channel brands and not others, we are selling more content and Passion is still very much in the lead there,” he says. Samples is eager to highlight that Scripps, with an annual production slate of about 2,000 hours a year, produces and owns more programming in its lifestyle genres of home, food and travel than any other media company. “Our goal as we expand is to build both on the library that we own and complement that with local production in those categories as we build out local networks around the world,” he says, adding: “And to make sure that we get the nuances in each of the markets and tailor our offering to make sense for those markets.”

Awal Ashaari, How to Make It: Culinary Dreams

issue one, april/may 2014

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anniversaryscm

NTENT ASIA

Movie credits

As Fox International Channels celebrates the 20th anniversary of Chinese movie channel SCM, network boss Cora Yim talks about original content, making a difference to Asian movie production, going even more local and spreading the love globally.

Apple of My Eye

Cora Yim

In April 1994, Hong Kong film

royalty such as Jackie Chan, Michelle Yeoh, Andy Lau, Sammi Cheng

legend Chow Yun Fat flipped

and Stephen Chow, Chinese movie channel SCM talks about being a

the switch on the live satellite

leader in its space (at least in parts of Asia), its contribution to the re-

signal of movie channel Star

gion’s broader film industry and its commitment to original production.

Movies, sending a mixed sched-

The channel’s first movie, action drama Once A Thief, has been fol-

ule of Chinese and Western movies

lowed by titles such as A Journey West, Ilo Ilo and Blind Detective as

into millions of Taiwanese homes. For

Star (and then Fox International Channels/FIC) moved towards today’s

10 days, the channel was free to air. From

commitment – first-run, premium content and cutting-edge advanced

1 May, the pay wall went up. Today, at the 20-

issue one, april/may 2014

services such as SCM Play.

year mark, with more than 1,000 movie titles in

Along the way, titles from the golden age of Hong Kong cinema

its library, a line up that includes Chinese movie

were spun off into Star Chinese Movies 2 (now SCM Legend), the chan-

Now tv Contratulations to SCM on its 20th Anniversary

anniversaryscm

NTENT ASIA

milestones

tional Channels’ Chinese Channels Group.

1994 Star Movies launches in Taiwan, offering Asian (60%) and Hollywood (40%) movies across Asia

channels portfolio – including SCM (formerly

1996 Star Movies splits into two channels: Star Chinese Movies, focused on Hong Kong movies, and Star Movies, a 100% western movie channel From left: Emperor Group chairman Albert Yeung, Star COO Steve Askew and JCE chairman Jackie Chan at the output deal signing ceremony in 2004

nel splintered into multiple feeds to serve specific audiences across Asia and the rest of the world, and the ‘star’ emblem that the channel operated under changed to a ‘crown’ as channel bosses shifted to branding the service as the “emperor” of Chinese movie channels. Among two decades of highlights has been original content development,

Ah Boys To Men

issue one, april/may 2014

says

Cora

Yim,

Yim has managed the Chinese-language Star Chinese Movies), SCM Legend and Star Chinese Channel – since 2009, when she joined what was then Star TV. “We helped a lot of studios become what they are today, particularly in the last 10 years,” Yim says. Launched in Taiwan (then the region’s most vibrant cable market) in 1994 with a mixed Chinese and Hollywood movie schedule, SCM and Star Movies split two years later into separate dedicated movie channels.

2000 Signs landmark output and licensing deals with key Hong Kong film studios Media Asia and China Star

Most of the Chinese channel’s titles in the

2003 Star Chinese Movies launches in Hong Kong on PCCW’s now TV

Kong cinema was doing well and few were

early days came from Media Asia. Output deals with Hong Kong’s leading producers in the years that followed were key to the Chinese channel’s success. Yim talks of the time in the 1990s, when Hong looking to Taiwan and Southeast Asia for movie hits. Today, SCM’s credits include support for movies such as Tai-

vice

wan’s romantic drama, Cape

president of

No. 7 (2008) and the acquisition

Fox Interna-

of early TV rights of titles such as

NTENT ASIA

Happy 20th Glorious Years Anniversary to SCM

We helped a lot of studios become what they are today.” Cora Yim, Chinese Channels Group, Fox International Channels

Singapore’s Ah Boys to Men and Ilo Ilo before they became commercial successes. Yim says the SCM pick-ups exposed local titles to regional and global audiences and has contributed to the growth of Asia’s movie industry. “The TV platform is really important for the local film industry,” she says, adding that “these acquisitions and financial contribution have helped the Chinese movie industry grow and mature”. SCM’s subsequent involvement in co-producing movies has become a core part of the business, not least because the deals give the network worldwide TV rights. The strategy includes involvement in Hong Kong, Taiwan and Singapore films such as Jack Neo’s Ah Boys to Men (2013) and Adrian Teh’s Wedding Diary II (2013), as well as this year’s Taiwanese box office hit, Twa-Tiu-Tiann (Time Traveller) and Singapore’s The Lion Men, Jack Neo’s action film about a troupe of lion dancers. SCM’s movie investment strategy goes back to about 2005, when the network tied up with Andy Lau and Focus Films to look for and develop new talent, Yim says. Five small-budget films emerged from the initiative, including Crazy Stone, which grossed RMB100 million/US$16 million in China. From China and Malaysia, SCM moved to productions with Hong Kong directors such as Darren Ee.

milestones 2004 Expands into Singapore (StarHub) and the Philippines (SkyCable). Signs exclusive output deal with Emperor Motion Pictures. The deal means SCM now has TV rights for 80% of Chinese titles from top Hong Kong studios

The local focus ramped up last year when SCM officially kicked off the new “go local” initiative. Yim says the initiative is designed to showcase “really local stories” in Hong Kong, Taiwan and Singapore. The number of “go local” movies depends on the territory and the partners. One of the projects in Hong Kong is aiming for five local movies in three years. “We’re working with different producers and companies,” Yim says, adding that SCM hopes to have five “go local” movies every year and currently has 12 Chinese movie projects in the pipeline.

Drilling down into more local stories is critical, Yim says. It’s also part of Fox International Channels’ broad strategy to create and distribute channels for specific local markets. Twenty, and even 10 years ago, a single regional feed could service multiple regional markets. Today, Yim says, “the Chinese market has become really localised. Many of the top 10 box office titles are from local producers in those spe-

2005 Makes direct investment in local production with Andy Lau’s Focus Films “Focus: First Cut” project

cific countries”.

2006 Launches VOD services

mands instead of just staying as we were as a

2008 Launches Star Chinese Movies 2 with the best of Hong Kong cinema from the 1970s to the 1990s

Hong Kong films, for instance, are not doing that well in Taiwan, where audiences’ tastes have shifted to Taiwanese titles. “That’s why our focus has shifted a little to local needs and deregional channel,” Yim says. “Not all Chinese movies are the same, and we need to meet local audiences’ demands,” she adds. SCM, now available in 11 markets, has local feeds for its major three – Hong Kong, Taiwan and Singapore – with an additional Southeast Asia feed lauched at the end of 2013 with carriage in

issue one, april/may 2014

anniversaryscm

NTENT ASIA

Saving General Yang

We don’t consider catch-up, play services as add-on, we consider it a must-have for a premium service. ” Cora Yim, Chinese Channels Group, Fox International Channels

Thailand and Indonesia. Titles on the Southeast Asia feed include Saving General Yang, Ah Boys to Men I and II and The Wedding Diary II. “The launch of SCM’s new feed for Southeast Asia marks another milestone for FIC’s ambitious goals to develop and promote Chinese entertainment as premium crossover content, not just in Asia but worldwide,” Yim said at the time. The Hong Kong, Taiwan and Singapore markets have both standard- and high-definition feeds. The international feed – SCM International – footprint covers the U.S., Canada, Australia and New Zealand. Authenticated catch-up service, SCM Play, is available online and via Android or iOS devices. “We don’t consider a catch-up play service an add on, We consider it a must-have for a premium service,” Yim says. SCM’s expansion runs alongside a shift in programming strategy to include live events and awards shows such as Taiwan’s Golden Horse Awards and the Hong Kong Film Awards, con-

issue one, april/may 2014

milestones

petitors,” she says.

2010 Launches Star Chinese Movies 2 in Malaysia (TMnet)

into Europe, the Middle East, Korea and

2012 Strengthens local production with Salon Films for “Asia First Cuts” partnership. Rebrands Star Chinese Movies as SCM and Star Chinese Movies 2 as SCM Legend. Launches SCM HD and SCM Play

Yim’s eye is now on getting the channels Japan. What’s the next big challenge? Yim is clear: “cash investment”. Movie production costs are way up, as are acquisition costs. SCM is not unique here. “Every world of content faces the same thing,” she says. The solution includes co-production and investment. “It makes better economic sense. We can select the projects and be involved in the spend,” Yim says. Another challenge is finding good projects, and the third is securing early windows and digital rights. “One of the reasons we want

2013 Deepens local production investment with SCM x EMP “Go Local” project. Launches SCM Play catch-up service on internet and apps 2014 20th anniversary. Commits to increased support for original local productions and plans next phase of international expansion.

to be involved in production is to groom talent… this will address the problem we are facing on the creative side,” Yim says. Competition is also fierce these days, and Yim says she has to be fast. “In the old days, it was easier to buy the regional rights. Nowadays, we have to spend a lot more time and effort identifying local projects and working on buying local productions,” she says, adding that she was the first buyer to call Ilo Ilo director Anthony Chen. “Even then, I would consider that a little slow already,” she says. “Normally we would have

certs and high-end documentaries. Yim says the

talked to the producer and director even ear-

idea is to boost the brand’s premium value. In

lier. We try to talk to them at script stage. We

addition, “this totally differentiates us from com-

want to be involved as early as possible.”

Happy birthdaySCM

NTENTasia

channelsfactual

NTENT ASIA

Fact finders ContentAsia asks factual channel programmers about the biggest impact on their businesses in Asia, viewership shifts and trends, local programming and competition, and their efforts to capture a place in the non-linear space.

Pawn Stars, A+E Networks

What has had the biggest impact on the factual channels business in Asia in the past year?

spiring 13-part series Cosmos: A Spacetime Odyssey, executive produced by Seth MacFarlane from Family Guy. This remake of Carl Sagan’s classic Cosmos: A Personal Voyage combines

“We have noticed an increasing demand for en-

storytelling with dramatic recreations and ani-

tertainment that is bold, dramatic and has high

mation. It’s the perfect example of how we

production value. To meet this trend, the National

are actively tailoring our programme line-up

Geographic Channel (NGC) has added to its line-

every year to the changing tastes of our audi-

up many highly acclaimed specials and dramas

ence.” Sun Young Moon, Programming Director, Na-

of the year that showcase factual entertainment

tional Geographic Channels

Sun Young Moon

at its best. Killing Kennedy, a dramatic adaptation

issue one, april/may 2014

of real life events, starring Rob Lowe as JFK, is one

“We’ve made some big plays in the factual space that have continued

such special. We are also very excited to take our

to define the History brand as the best place for factual entertainment.

audience on a new voyage to the stars with an in-

We’ve led the charge with drama series like The Vikings and Bonnie &

Up close and personal With Animal Encounters, DW Transtel o_ ers a unique look at the bond between animals and mankind. From the “wolfman” in Norway to eagles and their keepers in Mongolia – the images and stories are one of a kind. It’s just one of our programming highlights for 2014 –find out more at www.dw-transtel.de or contact us directly. Deutsche Welle | alexandra.lenz@dw.de | T +49.228.429-2715 www.dw-transtel.de

Up close and personal With Animal Encounters, DW Transtel offers a unique look at the bond between animals and mankind. From the “wolfman” in Norway to eagles and their keepers in Mongolia – the images and stories are one of a kind. It’s just one of our programming highlights for 2014 – find out more at www.dw-transtel.de or contact us directly.

Deutsche Welle | alexandra.lenz@dw.de | T +49.228.429-2715

www.dw-transtel.de

channelsfactual

NTENT ASIA

All the new develoments in the factual space are in the way stories are told; everyone, including channels and producers, is forced to think of new ways to present factual content.” Ryan Shiotani, BBC Worldwide Asia

Clyde; produced the highest-rated original Asian content in Malaysia, of any international channel – general entertainment and factual – since 2012, with Hidden Cities Extreme; and in 2013, 10 Things You Don’t Know About Malaysia was

Robert Irwin in Wild But True, Discovery Kids

our highest-rated programme on History. We also made a huge impact with Michele Schofield

viewers and the industry by bringing the

“The continued rise and rise of reality pro-

stars of Pawn Stars from Las Vegas to the Phil-

gramming, and the rise and rise of charac-

ippines, Kuala Lumpur, Singapore, Tokyo and

ter-driven ob docs has had an increasing

Delhi in August 2013.” Michele Schofield, Senior

impact on the pan-regional market. For

Vice President, Programming and Marketing,

us, this creates more space for our content-driven non-fiction. In general, it’s a

A+E Networks Asia

great thing to open up the factual genre to innovative and different styles of story telling.

“In 2013, we saw a trend in an increasing viewer appetite for compelling content with a strong lo-

Ryan Shiotani

There has been a lot of success with character-

cal relevance that also appeals strongly to audi-

driven, reality coming out of the U.S., which has had an impact on the

ences in other markets. Our local Australian Dis-

pan-regional market in Asia. This really forces us to look at the way we

covery Channel production, Abalone Wars, for

tell stories. All the new developments in the factual space are in the way

example, performed extremely well in Australia

stories are told; everyone, including channels and producers, is forced to

and was recognised by the Australian Subscrip-

think of new ways to present factual content. Series such as Hidden King-

tion Television and Radio Association (ASTRA) as

doms use all the latest camera technology but they also tell a very enter-

the most outstanding documentary. It went on to

taining story for prime-time audiences [Hidden Kingdoms aired in an 8pm

feature prominently on Discovery Channel U.S.’

slot on BBC 1 in the U.K.].” Ryan Shiotani, Vice President, Branded Services,

Shark Week in the summer of 2013, and its suc-

BBC Worldwide Asia

cess lead to the production of a second season, which aired earlier this year. Other well-performing Discovery Channel programmes with strong local relevance and regional appeal include

Are you noticing any significant shifts in the way viewers in Asia access factual content on linear channels?

Revealed: Rashtrapati Bhavan, which gave view-

issue one, april/may 2014

ers unprecedented access to the India Presiden-

“History experienced year-on-year ratings growth in Malaysia and Singa-

tial Palace; Reef Rescuers, on how an Astro CSR

pore. Our growth in Singapore was double-digit last year, achieving #2

underwater clean-up initiative in East Malaysia

ranking in prime time for all English-language entertainment international

broke the Guinness World Record for the world’s

channels in Singapore. This is a real testament to the entertainment value

longest underwater cleanup, and Taiwan’s Mili-

and appetite in Singapore for our History offering, when we beat not

tary Elite, a programme on what it takes to serve

only the factual players but general entertainment and movie channels.

in the special forces, which was launched in Tai-

These two markets also offer second-screen viewing, which is a fantastic

pei by President Ma Ying-Jeou.” Kevin Dickie,

value-add for subscribers, but we still see that linear TV is alive and kick-

Senior Vice President, Content Group, Discovery

ing.” Michele Schofield, Senior Vice President, Programming and Market-

Networks Asia Pacific

ing, A+E Networks Asia

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channelsfactual

NTENT ASIA

“There has been a significant cross-over in the

starting to see more and more operators interested in these

factual genre of viewers who traditionally only

types of services as the technical capacity grows.” Ryan Shiotani

used to watch the entertainment channels. To

Vice President, Branded Services, BBC Worldwide Asia

embrace this shift of interest, NGC is broadening the variety of programming and specials in

“We recognise that our fans are accessing content through different plat-

its line-up to provide factual entertainment that

forms, and more people are turning to services like ‘on-the-go’ through

will not only bring in new viewership, but also rec-

mobile devices. As such, Scripps is focusing on optimising our content

reate the way factual content is viewed tradi-

for all new and existing platforms.” Derek Chang, Managing Director,

tionally. We want to provide factual content that

Scripps Networks Interactive, Asia Pacific

is innovative, engaging and inspiring. Not only are we developing new formats so that viewers can easily access our content on both linear and non-linear platforms, we are also very excited to

What are you producing in Asia specifically for your Asia services this year and how does this compare to last year?

launch our brand new channel – Nat Geo People – in Asia.” Sun Young Moon, Programming Director,

“Our long-running First Time Filmmakers (FTFM) initiative continues to

National Geographic Channels

provide young filmmakers with the opportunity of creating compelling documentaries about the hottest issues of our time. We

“Definitely. With the growth of on demand

recently premiered Super Japan in partnership with

and catch up, we see that viewers ap-

the Ministry of Internal Affairs and Communication

preciate and have grown used to view-

in Japan, which takes an inside look at the world’s

ing things in one go. We have noticed

biggest pop group, the national obsession with

that stacks and marathons work well,

ramen, the capital’s incredibly punctual mass

and will marathon some of our new

transit, ingenious engineering innovations and the

series, such as Million Dollar Intern, on

future of the 5,000-year-old Ama diving tradition.

weekends and holidays. We have also started to see more demand from operators for catch-up and on-demand options. We op-

We’re also bringing FTFM to Nanjing, China, and are Kevin Dickie

currently identifying filmmakers through a competitive pitch. Several of our other local production highlights include

erate two catch-up services, one each for BBC

Wild But True, a Discovery Kids’ programme that explores parallels be-

Knowledge and BBC Lifestyle. This is something

tween nature and science; the second season of Kids vs Film, a film-mak-

that has given viewers the opportunity to sample

ing programme that provides kids with professional production guidance

content that they might not have caught on the

as they create their own Discovery-style short films; and the third season

linear channel, as well as to use to catch up on

of Abalone Wars.” Kevin Dickie, Senior Vice President, Content Group,

things they might have missed. This has affect-

Discovery Networks Asia Pacific

ed the business in a positive way... We are also “On both a pan-regional and local level, we’re building on our strategy of creating returnable series and specials that will stand out and make a difference to our ratings and brands. We’re experimenting with new genres and hybrid formats as we seek to inject more entertainment value in the factual space. For example, last year we premiered an original production

Mark Francis

called I Wouldn’t Go In There that combined paranormal stories with history in a way that not only entertained, but informed. We want more original programming like this, so we can spearhead this trend in Asia. In addition, we are also localising more international franchises by bringing global personalities to Asia or inserting local presenters to some new international series. Mark Francis, Vice President, Production and Development, National Geographic Channels Dog Whisperer, Nat Geo People

issue one, april/may 2014

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channelsfactual

NTENT ASIA

“On History, we launched season two of Hidden Cities Extreme on 25 February, while in April we air season two of Special Forces and season two of Asia’s Underworld premieres on CI. In June, we’re looking to premiere our first original series for Lifetime called Mom’s Time Out. Even with all those key series, we’re still looking and are open to commissioning more original series and specials for History and Lifetime.” Michele Schofield, Senior Vice President, Programming and Marketing, A+E Networks Asia “The emphasis for channels is still on global commissions such as Million Dollar Intern.” Ryan Shiotani, Vice President, Branded Services, BBC Worldwide Asia

What kind of challenge are platforms’ in-house channels posing – and are you realigning or reorganising your services to take account of these?

Amazing Food Challenge: Fun in the Philippines, Asian Food Channel

“Actually, we think it’s great that there are other players in the factual space. The addition of platforms’ in-house channels will drive competi-

“There is a place in the market for in-house channels

tion, leading to a demand for higher standards of factual content in the

and our channels to co-exist. Both offer different

industry. This will garner more investment and exposure for the market,

viewing experiences and we are happy to support

allowing us access to a bigger audience than ever before.” Sun Young

our affiliate partners and their offerings. We are

Moon, Programming Director, National Geographic Channels

uniquely positioned to provide viewers with hundreds of hours of food and lifestyle

“In-house channels are positioned to reach local audiences. BBC Knowl-

programmes through the SNI library. We

edge is positioned as ‘the best of BBC’. It’s not a conflict. We also license

are further supported by our international

content to in-house channels.” Ryan Shiotani Vice President, Branded

star power. Being able to grow talent

Services, BBC Worldwide Asia

such as Guy Fieri on Food Network, Sherson Lian on the Asian Food Channel and Henry Cole on Travel Channel, we are able to Derek Chang

What kind of catch up or on-demand services are you offering in Asia?

provide our viewers with engaging experiences on ground, on line and on air through key market-

“We work closely with our platform partners and are among the launch

ing initiatives.” Derek Chang, Managing Director,

networks of their ‘TV Everywhere’ initiatives. In this region, for example,

Scripps Networks Interactive, Asia Pacific

we offer catch up and on-demand services on Foxtel Go, StarHub TV

“When we have country-specific feeds we will

Content Group, Discovery Networks Asia Pacific

Anywhere and Astro on the Go.” Kevin Dickie, Senior Vice President, certainly look at that country’s landscape in

issue one, april/may 2014

much greater detail, including their own local

“Currently, we offer VOD services on Now TV in Hong Kong, SingTel Mio TV

channels. However, while we’re still programming

and StarHub in Singapore, and Astro in Malaysia. We also have a mobile

a regional feed to suit the tastes and schedules

VOD service on China Mobile. We are continuously working hard with

of numerous countries, we have to try our best

our affiliate partners to build up non-linear services so that our viewers

to schedule for local tastes and competitive

are able to watch what they want anywhere and at any time. In fact,

time slots and be cognisant that we are trying to

we are excited to launch an online catch-up service for NGC later this

have one time slot work in numerous countries.”

year to add to our growing portfolio of non-linear services available to

Michele Schofield, Senior Vice President, Program-

our viewers in Asia.” Sun Young Moon, Programming Director, National

ming and Marketing, A+E Networks Asia

Geographic Channels

LifeStyle TV The Only Men’s Asia Lifestyle channel Racing Queen Here Wears Suit Mad Men FoodEssay How to Tie a Bow Tie Please contact our Asia Pacific Representative, Lanny Huang at MIPTV and LA Screenings tel: +(852) 2608 4400 website: www.lifestyletv.biz email: lanny.huang@playboyplus.com LifeStyle TV

Mad Men

channelsfactual

NTENT ASIA

There’s a place in the market for in-house channels and our channels to co-exist. Both offer different viewing experiences.” Derek Chang, Scripps Networks Interactive

What’s your experience so far in Asia with second-screen usage linked to your channels?

Jhalak Dikhhla Jaa, BBC Worldwide India

“In terms of true second screen, we did Top Gear Bingo, which allowed viewers to play along during the show, for season 19. We also have global apps for series 20 and 21.” Ryan Shiotani, Vice

Do you have – or are you planning to launch – stand-alone streaming apps for Asia?

President, Branded Services, BBC Worldwide Asia “We plan to make NGC content available later this year through our Play “We are working with affiliates such as Astro, Star-

service, making it a part of our family of on-demand streaming video

Hub and TrueVisions in extending our channel

players via the web, iOS and Android, which currently includes Fox Mov-

offering to TV Anywhere, VOD and catch-up ser-

ies Play for Hollywood movies, Fox Sports Play for the latest sports content

vices.” Michele Schofield, Senior Vice President,

and SCM Play for Chinese movies. This service is available free-of-charge

Programming and Marketing, A+E Networks Asia

through an authentication process with platform operators, with whom we continue to work closely with to bring the experience to our viewers.”

“We are working closely with our affiliate partners

Brian Lau, Senior Vice President, Hollywood Movie Channels, Acquisitions

like Astro (Malaysia), StarHub (Singapore) and Sky-

and Digital

Cable (Philippines), providing them with content

Brian Lau

from Asian Food Channel (AFC), Food Network

“We know that the market for consuming media is changing and we are

(FN) and Travel Channel (TC) for their VOD and

certainly not blind to this fact. Our viewers, especially the younger gener-

OTT platform. Currently, AFC, FN and TC are avail-

ations, have different viewing habits and want to access their content in

able on Astro On-The-Go, StarHub TV Anywhere

different ways and often also through different devices. We remain com-

and SkyCable’s iWant TV in various combina-

mitted to developing products that satisfy this need in partnership with

tions of linear simulcast streaming, catch-

our platform partners, and not in competition with them. That way, we

up and VOD services.” Derek Chang,

protect the pay-TV ecosystem and still adapt ourselves to the fast evolv-

Managing Director, Scripps Networks

ing consumption patterns.” Kevin Dickie, Senior Vice President, Content

Interactive, Asia Pacific

Group, Discovery Networks Asia Pacific

“We have not launched any such apps

“A+E Networks has been a leader in the U.S. in rolling out stand-alone

in Asia yet but we are closely examining

streaming apps beating our own expectations for take-up. Our Latin

and learning from the development and

American partners have followed close behind and I think you can ex-

experiences of our colleagues at Fox Interna-

pect Asia won’t be the exception.” Michele Schofield, Senior Vice Presi-

tional Channels Europe and Latin America, who

dent, Programming and Marketing, A+E Networks Asia

have launched several second-screen apps.” Brian Lau, Senior Vice President, Hollywood Mov-

“Currently there are no plans for Scripps to launch any stand-alone

ie Channels, Acquisitions and Digital, National

streaming applications. However, we are opening to exploring this as an

Geographic Channels

option in the future.” Derek Chang, Managing Director, Scripps Networks Interactive, Asia Pacific

issue one, april/may 2014

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businessindia

By Vanita Kohli-Khandekar

World piece As overseas markets for Indian television programming mature, Indian broadcasters are going after new consumers and platforms.

Zee Entertainment, one of India’s largest broadcasters, receives just under 11% of its US$597-million topline from markets outside of India, making it by far the biggest Indian broadcaster in global markets. Now, the company is aiming to do what 21st Century Fox, Sony Pictures and Viacom have done successfully – become a global broadcaster. In 2012, Punit Goenka, managing director and chief executive, declared that Zee’s target was to reach a billion viewers by 2020 from 670 million currently. By then, the company also hopes to get a third of its revenues from global markets. In 2013, Zee followed this up with a complete brand shift. The new tagline – Vasudhaiva Kutumbakam – is an extract from the Upanishads and says, “‘That is you, This is I’ is the way of the narrow minded. For those of evolved thought, the world is one family”. This was, in turn, followed by a 4.5-minute film that pushed home Zee’s reach across millions of viewers in 169 countries outside India. Zee’s mainstreaming is critical to the next level of growth in global markets, Goenka says. “We have achieved 65% penetration with the South Asian diaspora, but the second and fourth generations are not as connected to India. The subscription revenues overseas are stagnating, while ad revenues are rising,” he adds. Goenka has hit the nail on the head. The US$242-million overseas market for Indian TV content has been in deep turmoil for some years now. Young Indians who are not interested in Indian content, powerful distributors and competition from other Indian channels is forcing almost all India-based broadcasters to look at fresh ways of selling their content to the rest of the world. The world is my family: For more than 10 years, when Zee ruled as the only largish Indian broadcast network in the U.S., U.K. and other countries, the market was predominantly pay. So all a broadcaster needed was a deal with the local cable or satellite operator and it was on air. Some, such as Star, just needed to sit on the basic package of BSkyB,

issue one, march 2014

Clockwise from top: Balika Vadhu, Colors/ Viacom18; Madhuri Dixit Nene and Karan Johar, Jhalak Dikhhla Jaa, Colors; Zee’s new corporate identity, “Vasudhaiva Kutumbakam – The World is My Family”

NTENT ASIA

Zee Entertainment corporate brand film

The second and fourth generations are not as connected to India... subscription revenue overseas is stagnating.” Punit Goenka Managing Director/Chief Executive Officer Zee Entertainment

partly owned by Star India’s parent, 21st Century Fox. But in the last five years, the market has changed beyond recognition. Consider the U.K. “When I started

The Global Market for Indian TV programming

Zee Star Sony Viacom18 NDTV

Markets ouside India

Channels on offer

Revenues (US$million, FY2013) Total Overseas % of total

169 125 125 125 78

29 na na 11 2

597 674 484 255 89

65 40.5 35 24 5.6

10.8 6 7.3 9.5 6.3

Source: Annual reports , Media Partners Asia (MPA), company sources and industry estimates. Notes: 1) Zee’s overseas revenues refer to estimates only to subscription revenues. 2) Viacom18’s markets include full channels, syndicated content and content blocks

and distribution, and now with Fox International Channels (FIC). For instance, there are 40 Indian channels slugging it out in the U.K. and about 90 in the U.S. and Canada. “The entire Western market has got tougher,” says Rajeev Kheror, Zee’s president, strategy and planning, international business.

(over a decade ago), the U.K. was

This hyper-competition in the mature markets for Indian programming

a subscription-driven market. If you

– the U.S., U.K. and Middle East – means that instead of trying to sell at

were lucky you would get a few thousand

lower prices to cable or direct-to-home (DTH) operators, many broad-

pounds in advertising,” says Rajan Singh, Star

casters take the free-to-air route.

India’s executive vice president, international

Zee, for instance, has launched two free-to-air channels – Zing and

business. Over the years, as transponder costs

Lamhe – in the U.K. in the last few years. Viacom18 launched free-to-air

fell, almost everyone and their cousin started

channel, Rishtey, in early 2013. In the same year, Colors became the first

going to the U.K. And as channels vie with each other to be on the same cable network, they have been undercutting like mad. “From US$5, the net realisation for Indian channels has gone to US$2 and even lower for

of the big Indian channels to go free in the U.K. As a result, the ratio between pay and ad revenues in many markets (except the U.S.) has moved from 80:20 to 30:70. This is the exact reverse of what is happening in India, where pay revenues are rising in proportion to advertising.

some of the new ones,” says Rahul Sood,

The push for advertising revenues in global markets piles on the pres-

formerly NDTV’s head, affiliate sales

sure, “effectively measuring consumer interest in content,” says Harsha

issue one, march 2014

businessindia

NTENT ASIA

Salman Khan in Bigg Boss 7, Colors/Viacom18

Aggarwal, director, VisionAsia, the dominant

These are difficult to launch a channel in or are not large enough to

South Asian pay-TV provider in Australia and

justify the investment.

New Zealand.

In addition to the 80 countries in which Viacom18 has channels, the

Most Indian broadcasters subscribe to Broad-

operator syndicates dubbed or sub-titled content to local channels in

casters Audience Research Board (BARB) data

125 countries in Dari, Pashto, Japanese and Hebrew, among other lan-

in the U.K. or are part of the Ipsos rating system

guages. For instance, Balika Vadhu, a huge success in India, is available

in the U.A.E. In the U.S., except for Zee, no Indian

in 15 languages. The series fetches anywhere from US$500-US$2,000 per

channels feature on Nielsen ratings. “The free-to-

episode depending on the country, time of telecast, etc.

air strategy works only in the U.K. and Middle East

Viacom18 earns roughly 75% of its syndication revenues from Eastern

because these are controlled by very few distrib-

Europe, Africa and other unusual markets. “For me, the big change is not

utors. In markets where there are many distribu-

focusing on non-resident Indians or NRIs, but on locals in markets that are

tors (i.e. the U.S.), it is still pay,” Goenka says.

closer to India in developmental terms,” Gandhi says. This has some in-

Speaking your language: Gaurav Gandhi,

teresting asides, like the crazy popularity of Indian TV stars in places such

chief operating officer of Indiacast (Viacom18’s

as Azerbaijan or Kazakhstan. Viacom18 spends a lot of effort flying down

distribution venture), lists other ways of dealing

the stars of its popular shows, for instance Avika Gor of Balika Vadhu, for

with falling eyeballs in mature markets – dubbing,

on-ground events in these countries.

subtitling and rejigging content for young Indians.

Other broadcasters also use this strategy. “All four of our channels

Viacom18, for instance, is syndicating in markets

(Star Jalsha, Star Plus, Star Gold and Life OK) have English-language

such as Pakistan, Malaysia and Azerbaijan.

subtitling and it has worked to get the younger audiences (in the U.K.),” says Star’s Singh. Zing, Zee’s youth channel, has be-

For me, the big change is not focusing on nonresident Indians, but on locals in markets that are closer to India in developmental terms.” Gaurav Gandhi Chief Operating Officer, Indiacast

issue one, march 2014

come the top-rated Asian channel in the U.K. and recently started airing its first made-in-the-U.K. show, Cloud 9. Besides targeting the free-to-air market or syndication/dubbing, remaking shows for bigger markets – or even going fully local – could be lucrative. Colors’ Uttaran, already dubbed and subtitled in 15 languages, is now being remade in Swahili. MTV’s Roadies is being remade for Bangladesh. There is a market for stories and

BCM New Contents New Network On-line Registration www.ibcm.tv 8th International Busan Contents Market 2014 May 15-17 Bexco, Busan, Korea Host & Organizer

businessindia

NTENT ASIA

Rangrasia, Colors/Viacom18

studio in New York. Veria Living claims to reach 12 million homes in the U.S. Going local, with local content created within the context of local sensibilities, however, is an expensive business. Veria is funded from a US$250-million corpus that is not part of the listed Zee Enterprises. Zee founder and chairman, Subhash Chandra, runs that business himself because he believes it’s critical to Zee’s global ambitions. Jury members Karan Johar, Kirron Kher and Malaika Arora Khan, India’s Got Talent, Viacom18

Going over-the-top: Lastly, Indian broadcasters are exploring overthe-top (OTT) avenues through operators such as Fetch TV, YuppTV and Your TV, among others.

storytelling from the non-American parts of the

YuppTV, which specialises in Indian content, offers legally licensed

world, such as Brazilian telenovelas or Turkish and

programming from 150 Indian channels on any device – TV, PCs, smart-

Indian dramas, says Gandhi. Just like Indian films

phones, laptops – to Asian viewers in the U.S., Europe and Australia. OTT

and their ‘Bollywood’ identity, Indian soaps carry

brings in younger audiences, but also means more piracy, which is a huge

their own stamp.

headache for Indian broadcasters. Nevertheless, every one of them is on

Most broadcasters agree. But they point to the one big issue with Indian programming – its

issue one, march 2014

YouTube, though they point out that revenues are nowhere close to the pay-TV or advertising revenues from traditional broadcasting.

length. Zee Alwan, an Arabic-language general

It took the Indian film industry almost two decades to become a

entertainment channel launched in the U.A.E. in

brand in global markets. The chances are Indian television program-

2012, involved lots of re-editing and repackag-

ming might do it faster. The television industry is more than four times

ing of soaps into shorter episodes and seasons.

the size of the Indian film industry, better funded and more organised.

Goenka thinks that a huge creative rethink is

More importantly, perhaps, it is dominated by companies that run very

needed if an Indian media firm truly wants to go

successful broadcast businesses in dozens of markets around the world

global. For example, Veria Living, a channel from

– Sony Pictures, 21stCentury Fox and Viacom. That gives the Indian tele-

a Zee sister company, caters to an American

vision industry better odds than Indian film at becoming a part of global

audience with programming created out of a

living rooms.

APSCC 2014 Satellite Conference & Exhibition New Landscape for Satellites: Asia and Beyond 23~25 September, 2014 JW Marriott Phuket Resort & Spa Phuket, Thailand APSCC Asia-Pacific Satellite Communications Council Sponsorship and Exhibition Opportunities NOW available! Please contact the APSCC Secretariat at info@apscc.or.kr www.apscc.or.kr

partypeople

NTENT ASIA

Who was at...

ContentAsia 8th birthday party in Singapore in March

Jonathan Spink, HBO Asia; Colin Brown, Lucasfilm Animation; CheeK, Scripps Networks Interactive Asia Pacific

Donovan Mohlman, AMC/Sundance Channel Global; Jonas Engwall, RTL CBS Asia Entertainment Network

Nicole Sinclair, CBS Studios International; Matthew Ashcroft, Jeeyoung Lee, Shine International; Kristan Rivers, Paramount Digital Entertainment Asia Pacific

Theresa Ong, Discovery Networks Asia Pacific; Andrea Peterson, The Walt Disney Company (SEA); Laura Wendt, SingTel

Ripa Rashid, The iClif Leadership & Governance Centre; Darby Sanchez, Globecast Asia; Michelle Guthrie, Google Asia Pacific

Soo Hui Lee, StarHub; Hui Keng Ang, Sony Pictures Television (SPT) Networks, Asia

Ryan Shiotani, BBC Worldwide Asia; Ling-Sze Gan, A+E Networks Asia; Greg Ho, Turner International Asia Pacific

Steve Burton, HBO Asia; Avi Himatsinghani, Rewind Networks

Party venue, 7Adam

issue one, march 2014

Steven Murphy, GroupM Entertainment Asia Pacific

NTENT ASIA

Lee Lih Fen, The Walt Disney Company (SEA); Colin Brown, Lucasfilm Animation; Carol Sun, The Walt Disney Company (SEA); Carolyn So, Rewind Networks

Indra Suharjono, Viacom International Media Networks (VIMN) Asia

Patrick Schult, Media-Stable; Fotini Paraskakis, Endemol Asia

Greg Ang, Gang TV; Shitiz Jain, Turner International Asia Pacific; Theresa Ong, Discovery Networks Asia Pacific; Phil Kitcher, BDA Creative Singapore

Jonathan Hallett, Singapore GP; Janine Stein, ContentAsia

Julie Louie, Ekta Parekh, Lorena Martin, Maria Hassouni, NBCUniversal

Vivek Couto, Media Partners Asia (MPA); Ralph Siebenaler, Multi Channels Asia

Penny Hill, Asia Broadcast Satellite; Tim Hill, Ipsos Consulting

Adeline Ong, Viacom International Media Networks Asia; Reagan Chan, Media Partners Asia (MPA)

Joanne Lim, Angie Yong, A+E Networks Asia

Sue Adams, Bamboo Development

Kathy Collison, Manmedia; Julie Petersen, Discovery Networks Asia Pacific

Rajiv Dhawn, NBCUniversal Int’l Television Distribution

Sandie Lee, Rewind Networks

Monty Ghai, BBC Worldwide Asia

issue one, march 2014

partypeople

NTENT ASIA

Jocelyn Little, Janine Campbell, Steven Dijkhulzen, Beach House Pictures

Shitiz Jain, Turner International Asia Pacific

Yoko Takashima, Allison Hashiba, Nippon TV Japan; Hani Sallim, Globecast Asia; Farah Rahman, Discovery Networks Asia Pacific

Linfield Ng, NBCUniversal Int’l Television Distribution; Joanne De Rozario, Brand New Media

Vanessa Ching, Snell Group; Calvin Wong, Sony Pictures Television (SPT) Networks, Asia

Yogeswary Gunasagaran, Aqilah Yunus, Masliana Masron, ContentAsia

Fiona Chia, Jason Soh, The Walt Disney Company (SEA)

Derek Wong, Sony Pictures Television (SPT) Networks Asia

Haikal Jamari, NBCUniversal; Charles Yap, Discovery Networks Asia Pacific

Grace Cheung, Centre 2000

Malena Amzah, ContentAsia

Malena Amzah, Rae Yong, ContentAsia; Cherilyn Wong, Drake Tan, Patricia Ang, Ang Teck Siew, Global Circulation Management (GCM); Kelvin Tham, Print Dynamics; Tan Soon Ann, Demand Print

issue one, march 2014

Karen Lee, SingTel

Sashim Parmanand, One Animation

Jessy Tse, NBCUniversal International Television Distribution; Karen Lai, Magdalene Ew, HBO Asia

3-5 September 2014 ContentAsia Summit

3-5 September 2014

Grand Hyatt Singapore

Face to Face with Asia’s content industry Contentasiasummit.com

For Sponsorship and programme details, please contact: CJ Yong at cj@contentasia.tv +65 6846 5987

Face to Face with Asia’s content industry contentasiasummit.com

For sponsorship and programme details, please contact: CJ Yong at cj@contentasia.tv or +65 6846 5987

datakorea

NTENT ASIA

orean

viewers watch three hours and 14 minutes of television a day – more time than is spent on any other media, the latest annual media report from the Korea Communications Commission (KCC) says. The Broadcast Media Usage Behavior Patterns report, covering the whole of last year, also found that Koreans use smartphones for an hour and 44 minutes a day, PC/laptops for an hour and 38 minutes, tablets for an hour and eight minutes, radio for an hour and five minutes, and newspapers for 30 minutes. Almost 46% of survey respondents wAtched terrestriAl television At 9pm, while 13.8% watched at 8am. Viewership in both these slots was way higher than other media such as cable television, which recorded 3.3% at 9pm and 0.8% at 8am. This changes significantly during the day; in the 2pm slot, cable television usage stood at 3.7%, about three times higher than that of terrestrial television, which came in at 1.3%. About five out of 10 people in Korea (46.3%) see television as the most essential medium in everyday life, while one person in three (37.3%) chooses the smartphone as the most indispensable platform. smArtphones Are increAsingly importAnt to most Age groups in koreA. The importance of TV dropped in 2013 compared to 2012; 46.3% of respondents compared to 53.4% the previous year. Smartphones were up from 25% to 37.3%. By age, teenagers (61.8%) and those in their 20s (67.3%) said smartphones were their most essential device. Those in their 50s (73.7%) and aged 60 or over (93.2%) said TV was the most essential medium. In comparison to 2012, the proportion of those in the 30s who chose the smartphone as the essential medium increased from 33.6% to 51.3%, and was up from 19.3 to 38.4% for those in their 40s. Together with desktop PCs (74%), television (96.9%) was found to be the most universal at home. With the wide distribution of mobile phones (94.5%) and smartphones (68.8%), Korea’s media usage in 2013 was “markedly mobile and individualised”, the report said. penetrAtion of smArtphones increAsed significAntly to 68.8% in 2013 from 57.5% in 2012, driving the growing use of smart media. Respondents in their 20s (51.4%) and 30s (41.4%) and teenagers (44.6%) said their time in front of a television set was declining in higher percentages than those in their 50s (13.4%) and those aged 60 or above (2.1%). Meanwhile, those using smartphones (40.4%) recognised a declining use of television 10 times higher in percentage terms than those not using a smartphone (3.9%). 31.7 % of television viewers surveyed had the experience of using the internet on a computer or smart device and watching television simultaneously. 28.3% of those watching TV searched for information on the internet or used text/instant messaging or social network services regarding the contents of the television programme they tuned in to. “With the prospective proliferation of personal digital media devices such as smartphones in the future, media content consumption of individuals is expected to diversify into different types, and more and more people will evolve into active TV viewers from being passive ones,” the study said. south koreA’s mediA powers Are trAcking three mAJor trends. These three trends are the growing shift towards digitisation and individualisation in media consumption; smartphones being recognised as an essential medium by all age groups; and active TV consumption that includes searching for information and using social network services while watching television. The 2013 survey was carried out by the Korea Information Society Development Institute (KISDI), which interviewed 6,240 men and women aged 13 or above living in 3,434 households nationwide from 28 May 2013 to 29 July 2013. Questions included which platforms users thought were essential, how much time they spent on media and what other media they used while watching television. The Survey on Broadcast Media Usage Behavior has been conducted every year since 2000. The KCC said these results “are expected to contribute to the enhancement of the audience share measurement method and the creation of new services using Big Data, considering that media content consumers are shifting from traditional media such as television to smart devices in an increasing proportion”. koreA hAs long Been held up As A BroAdBAnd leAder with a higher number of connections per capita than anywhere else in the world. InternetWorldStats puts South Korea’s internet penetration at about 82.5% (40.3 million users) – the highest penetration in Asia – although Korea trails China’s 538 million internet users (40% penetration and 50% of Asia’s total users) in actual numbers.

issue one, march 2014

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