ContentAsia April 2015 by ContentAsia

issue one 2015

UnREAL

NTENT ntentASIA

A scandalous new drama series from A+E Studios International. A+E Studios International An A+E Networks Brand Sales.aenetworks.com

The difference on-demand Hooq, line & sinker: MIPTV Stand P3.C10 OTT gamechangers is really making in Asia

PLUS: Formats, TV life beyond cricket in India – nor not, what’s going on in Mongolia, the industry in numbers

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editor’snote

NTENT ASIA

Original thinkers At least 62 formats were on air in Asia in the first three months of this

Asia format The Apartment for Fox International

year, including 18 premieres. This follows 25 premieres in the region in

Channels’ (FIC) Star World.

the last three months of 2014. From January last year to the first week

By far the highest profile of the 18 are two

of April this year, at least 209 formats had been produced and were

mega regional formats – the first regional ver-

on air in Asia or had been commissioned for 2015/6, according to the

sion of Asia’s Got Talent and Asia’s Next Top

latest ContentAsia Formats research.

Model season three. Asia’s Got Talent breaks

Is this the most formats being made locally ever in the history of Asian

all size and budget ceilings by far, setting new

television? Maybe. We only started tracking in January last year. Is this

standards for everything. Asia’s Next Top Model

the most money ever spent in the history of for-

is said to have come in at less than half, but

mat licensing and production in Asia? Probably.

it’s still being considered part of a rising and

Broadcasters and production houses don’t pub-

celebrated big-spender category.

Is this the most formats being made locally ever in the history of Asian television? Maybe. Is this the most money ever spent in the history of format licensing and production in Asia? Probably. What we know for sure is that the effort being put into creating original content is way way up.”

licise their budgets, but we’re making educated guesses.

Next up are MasterChef Asia for A+E Networks’ Lifetime and NBCUniversal’s Asian version of

What we know for sure is that

Jeannie Mai’s How Do I Look?. MasterChef Asia

the effort being put into creat-

could be in the US$2.5 million to US$3 million

ing local versions of proven

range. How Do I Look? is likely to be less. Maybe

formats is way up.

US$1.2 million to US$2 million. Both premiere later

Entertainment formats re-

this year. For newer network Lifetime, MasterChef

main most popular. Three ver-

Asia is the most significant investment to date.

sions of all3media’s Gogglebox

Universal Networks probably spent more on The

have premiered this year so far (China, Mongolia, Korea), the most of any other title.

Biggest Loser Asia a few years ago. Scripps Networks Interactive in Asia, too, is pushing into new territory, with a 6x30 mins

The 18 format premieres we counted since Janu-

Asian version of U.S. series Food Wars. Food Wars

ary this year also include two dramas – Spy (MICE/

Asia’s total budget is probably way less than

The Gordin Cell) in Korea and revenge drama War

US$500,000. The production house, though, is

of Money in Japan. War of Money is based on a

Endemol Southeast Asia, which says a lot about

Seoul Broadcasting System (SBS) title out of Korea. Spy, which aired on

Scripps’ commitment to a higher-end and more

KBS2 in Korea, is based on a Keshet International format.

engaging way forward.

Reality contests remains hot. Philippines’ broadcaster ABS-CBN is over

Is there sponsorship/advertising support in Asia

the moon by the ratings of Your Face Sounds Familiar, which debuted

for all this? Some say not enough. Everyone talks

on 14 March in a prime-time 8.30pm slot on weekends. Other reality

about how hard it is out there. No one, though,

formats that appeared on first quarter schedules include Hell’s Kitchen

says it doesn’t need to be done.

Indonesia, Love in the Wild (Vietnam), and the fourth season of made-in-

C Editorial Director Janine Stein Assistant Editor Malena Amzah malena@contentasia.tv Research & Production CJ Yong cj@contentasia.tv Editorial Aqilah Yunus aqilah@contentasia.tv Intern Marilyn Wong Design Rae Yong

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 2015 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 2015

contents

NTENT ASIA

what’s inside......

Travel Bug, World Heritage Channel

What’s going on in... 6 Factual When Turner adds documentary service World Heritage Channel to its Asia bouquet in the next few months, the regional network takes another step into an expanded future mapped out 15 months ago with the appointment of Ricky Ow.

8 Mongolia

10 What’s your story

Mongolia’s broadcasters

Talking to people

and platforms may be

doing big & bigger things

battling. But their commit-

to move Asia’s content

ment to upping their game

industry forward...

runs strong.

VOD in Asia Korean content distributors might be weeping over China right now, but on the whole, rights owners are revelling in new online opportunities opening up across the region.

OTT Update

Peter Bithos, Hooq

U.S. studio content with local

page 22

Asian telco Singtel is changing the regional OTT game with a new platform that combines libraries and up-close-and-inthe-bank billing relationships with about 500 million customers. But this is an environment of mega-challenges, not least

Formats

A US$16-million formats bet kicked off in Asia in March with Asia’s Got Talent and Asia’s Next Top Model. Coming soon are the first Asian versions of MasterChef and How Do I Look?. The four are fuelling hopes of a new era of panregional megaformats.

content costs, infrastructure issues, and an estimated total online video subscription revenue of US$2.3 billion across 13 markets by 2020. My Husband’s Lover, GMA Network

32 Formats: Who’s Who Who’s who on Asia’s formats charts. Plus details of the top formats on air across the region in the first three months of 2015.

Asia’s Next Top Model season three host, Georgina Wilson

issue one, april 2014

We recognise the need for high quality stories to be built by Asia for Asia… content that resonates well across Asia with quality scripting and production... This will be part of our journey in the years ahead.”

SPORTS

In Numbers

India’s ad industry yawned when Star India presented the Pro Kabaddi League. How wrong they were. Or were they? H ere’s what happened next and why.

Star India’s

Uday Shankar

US$400m Telugu play & why Uday Shankar thinks it’s important; FIC celebrates 10X over; Asia-Pac online video $$, and other numbers the industry is counting right now.

O-T Fagbenle Trevor Eve The Interceptor Between the criminal and the victim there’s just one man From the creator of Strike Back. Tony Saint BBC Worldwide

what’sgoingonin...

NTENT ASIA

factual

Turner steps up Asia expansion, turns to factual When Turner Broadcasting adds documen-

venture

tary service World Heritage Channel to its Asia

nel with Singa-

bouquet in the next few months, the Hong

pore-based pro-

Kong-based regional network takes another

duction

house

step into an expanded future mapped out

Moving

Visuals

15 months ago with the appointment of Ricky

International and

Ow in January 2014.

European The addition of factual

follows

chan-

factual

entertainment

joint

the

venture Spark. Among

expansion

into

other

Korean

pro-

spoke about “promoting

things,

Rozhan

gramming

knowledge” and the huge op-

with the Oh!K

portunity in Asian factual content. The pan-regional Spark Asia is scheduled to launch this year.

Travel Bug, World Heritage Channel

Turner’s World Heritage Channel

Gerhard Zeiler

channel,

which

launched in October last year. The new ser-

will air nature, travel, history and culture

Attenborough’s blue-chip docs – three-part

programming. Signature content fea-

Conquest of the Skies (2015), which aired on

tures Unesco’s World Heritage Sites.

Sky 1/Sky 3D in the U.K. in January this year and

Turner Broadcasting System Interna-

will air on World Heritage Channel in year one,

tional president, Gerhard Zeiler, says

and Flying Monsters (2011) – along with travel

the channel “will also feature more

shows Travel Bug and Paradise Asia.

Asian heritage content and this is some-

Titles programmed in year one include docu-

thing that viewers in this region are seek-

mentary festival award winners, the Smithso-

ing more and more”.

vices run alongside the reRicky Ow

nian Institution/KajimaVision’s Dream Window:

“We believe there is still a strong demand

Reﬂections on a Japanese Garden (1992);

for premium documentary content... with

Ocean-Pix’s 60-minute Salmon Forest (2011);

which shifted from HBO Asia to Turner in April

many established brands in the documentary

Remembering Vietnam: The Wall at 25 (2007);

last year.

space adopting an increasingly factual enter-

and MLK: The Assassination Tapes (2011).

vamp of general entertainment channel Warner TV,

Turner’s portfolio now spans news (CNN, CNN

tainment approach to programming, we see

Zeiler says the aim is to “share mankind’s

Headline News); kids (Cartoon Network, Boo-

an opportunity for a 100% pure and authentic

greatest treasures so that they may be cher-

merang, Toonami, Pogo in India); international

documentary service,” Zeiler says.

ished and safeguarded for our children, grandchildren and future generations”.

(Warner TV, truTV) and local (Oh!K) general en-

Turner hasn’t disclosed how many hours of

tertainment; old ﬁlms (Turner Classic Movies);

content the channel will launch with but says

“Heritage tells us not only who we have been

and factual (World Heritage Channel).

the schedule will include “hundreds of hours”

but also who we are today. Our shared heri-

Turner Asia Paciﬁc president, Ricky Ow, says

of ﬁrst-run, exclusive shows from, among oth-

tage, as well as our historic and natural environ-

the 24-hour pan-regional World Heritage Chan-

ers, Off The Fence, Atlantic Productions, Tokyo

ment, are all critical to the future of the world’s

nel targets audiences seeking a “premium, au-

Broadcasting System, NHK and Beyond Televi-

economic, ecological and cultural wellbeing,”

thentic and serious documentary destination”.

sion Productions.

Zeiler adds.

Turner also uses adjectives such as “meaning-

Flagship titles include The World Heritage,

World Heritage Channel rolls out with Chi-

ful”, “premium”, “100% pure documentary”

Journey to Natural World Heritage Sites and

nese, Bahasa Malaysia, Bahasa Indonesia and

and “undiluted” to describe the channel.

Beautiful Planet, along with Asian titles Asia’s

Thai subtitles. Over-the-top (OTT) and catch-up

It’s a line that echoes the one taken by Astro

Monarchies and Asia Rising. Another Asian title

rights have been secured for select content.

Holdings Malaysia’s chief executive, Rohana

is Spirits of Orchid Island (2008) by Taiwan’s PTS.

Carriage deals for the new service, delivered in

Rozhan, last year in speaking about Astro’s joint

The new channel has also acquired Sir David

issue one, april 2015

full HD – had not been disclosed at press time.

SCM Leading Producer of Asian Entertainment FOX International Channels SCM SCM HD SCM Play SCM VOD

what’sgoingonin...

NTENT ASIA

mongolia

Mongolia’s broadcasters & platforms may be battling. But their commitment to upping their game runs strong

On 1 January this year, Mongolian DTH plat-

charge US$3+. The

“Piracy is rampant... We

average is US$1/second.

form DDish TV added 30 new channels to its

have a lot more work to

platform, including RTL CBS Entertainment and

do,” says AmCham Mon-

National Geographic. Then the platform’s pro-

golia’s Jackson Cox,

grammers went on the hunt for a good movie

pointing out that the

channel. Their caution over how much is sensi-

pirated products in Mongolia are American.

The big ﬁve most-watched channels spend the most on content and production. The vast majority of

second tier spend effectively on taped content. Local research company Maxima Media

ble to spend on a premium movie line-up high-

A stronger legal framework is on regulators’

shows that 40% of audiences watch the top

lights one of Mongolia’s biggest pay-TV issues:

radar. Balgansuren B, the director of Mongo-

ﬁve channels, 20% watch the top 10 and 40%

the high costs of programming versus some of

lia’s Communications Regulatory Commission

watch the others.

the region’s lowest subscription revenues.

(CRC), talks about reducing players and cre-

Insiders say a lot more needs to happen to

One of the country’s major national platforms,

ating a “competitive sustainable environment

improve production standards and quality if

DDish offers 60 basic channels for US$35 a year

with a proper legal framework”. His comments

the balance is to shift. “Viewers are becom-

– US$2.92 a month. The premium subscription

were part of the translated presentations made

ing more sophisticated,” Maxima Media chief

tier added this year coincided with the mining/

during the second annual Mongolian TV Forum

executive, Gombojav O, says.

economic crisis insiders expect will take two

in Ulaanbaatar in February this year.

Like the rest of the world, Mongolian plat-

years to resolve. Even so, DDish remains com-

Mongolia has more than 100 TV channels, in-

forms and programmers are grappling with

mitted. Company execs say the platform has

cluding 56 local channels delivered via satel-

audience migration to device-based view-

to up its game, regardless.

lite, cable and IPTV. International brands in the

ing. “A new era of content has begun,” Unitel

Another major pay-TV player, Unitel/Univision,

market include HBO, Outdoor Channel, History,

Group vice president, Bold G, says.

has signiﬁcant on-demand ambitions, point-

Deutsche Welle, Universal and Food Network,

The country has 2.6 million mobile phone us-

ing out, among other things, that VOD opens

plus a local version of Bloomberg TV Mongolia.

ers; 50% are on smartphones. Most TV viewing

up the opportunity for Mongolian production

Along with a mixed local/international news

still takes place on traditional TV sets within the

companies to access additional revenue. Uni-

and business slate, Bloomberg Mongolia licens-

home. Mobile device-based viewing was the

tel’s base is primarily urban.

es factual titles such as A+E Networks’ Mankind

lowest segment last year but the fastest grow-

Decoded, The Men Who Built America and

ing over the past two years, Unitel says. “Con-

Modern Marvels.

tent viewing on mobile devices increased by

Privately owned free-TV broadcaster Mongol TV, too, remains committed to a path set before

25% in 2014 compared to 2012,” says Bars G,

the crisis, adding, for instance, local versions of

Other international distributors active in the

FremantleMedia’s Got Talent and all3media’s

market are ITV Studios Global Entertainment,

Gogglebox to its schedule and continuing to

which sold about 150 hours into Mongolia last

Maxima Media lists three things that need

ﬂy the ﬂag for legal content.

year, including Mr Selfridge; CBS Studios Inter-

to happen to move the market in a positive

national; Deutsche Welle; and HBO.

direction: international standards, advertising

Across the industry though, the economic sit-

Unitel’s head of content and development.

uation has slashed expectations for advertising

Licensing fees can be as low as a few hundred

rate increases, and clarifying the relationship

growth, and expansion plans in many quarters

dollars an hour. At the high end, drama goes for

between TV stations and platforms. His last

have been put on hold.

US$5,000 an hour. And even then, there’s a call

point is a sore one for local advertising-sup-

From the inside, Mongolian regulators and op-

from some local players for local buyers to work

ported channels, which currently receive no

erators say the industry’s biggest challenge is the

together to “suppress” the cost of foreign con-

subscription fees from platforms.

sheer number of channels available in a mar-

tent and spend instead on local programming.

He has lots of support. “This market is distort-

ket of less than three million people and about

Advertising on the top ﬁve most-watched

ed,” says Mongol TV head Nomin Chinbat, add-

640,000 households. For outsiders looking in, the

channels can cost US$5 a second; channels

ing: “If we don’t eliminate the distortion, we will

issues are simple – low pricing and high piracy.

are trying to push this to US$10+. The next ﬁve

be in the same position ﬁve years from now”.

issue one, april 2015

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what’sgoingonin...

NTENT ASIA

#whatsyourstory

Talking to people doing big & bigger things to move Asia’s content industry forward... begin. It was totally different from Do Re Mi, even though they are both reality shows”. – Vietnam’s Multimedia JSC founder, Trang Le, on I’m sure someone else would have

her early experiences with Vietnam’s Next

done it if I hadn’t... But I’m glad I

Top Model, now in season ﬁve but not

took that step”. – Mongol TV’s chief

before she almost lost the rights be-

executive Nomin Chinbat on her first major

cause CBS Studios in the U.S. felt she

programming strategy decision after taking over the free-TV station

wasn’t properly prepared. An 11thNomin Chinbat

in 2012. Chinbat says

model and/or don’t

she had a choice:

pay content owners

Either to tread

hour trip to the U.S. to experience first hand what she wasn’t doing right saved the show. Trang has since

the right amount... We

expanded her fashion angle to Project

tried to work with them but we don’t talk the same

Runway Vietnam, modelling agency BeU Trang Le

language, so we decided to

Models and Vietnam International Fashion Week. This year, she’s extending the talent

launch our own platform, working with the best studios in the world on a quality offer-

hunt to an older demographic with the ﬁrst edition of She’s Got the Look.

ing. If you don’t have alternatives then Peter Bithos

a tempting path

or forge a legal way for-

While the simulcast of U.S.

viewers will pay a small amount

programmes in Asia is not

of money to have a much

a silver bullet to com-

better – and legal – experi-

and bring costs down from 10 times revenue,

people will pirate... Vietnamese

Ngo Thi Bich Hanh

bat piracy, it will boost

ence.” – BHD/Vietnam Media

our continued effort to

Corp co-founder Ngo Thi Bich

offer legitimate content” –

Hanh on the standalone brand-

Magdalene Ew, HBO Asia’s

ward. She chose legal content – and is now try-

ed online VOD service company

head of marketing, creative

ing to persuade the rest of the industry to follow.

rolls out from mid-2015.

and content speaking about

Three years on, and with Mongol TV ﬁrmly in the

the decision to air U.S. series

country’s top-ﬁve rating channels, ﬁghting piracy

“Particularly in Asia, the challenge is

is not the only battle Chinbat is waging in a mar-

working with and convincing interna-

ket of three million people and 100+ channels,

tional content owners on issues such

where every politician wants a mouthpiece…

as pricing… We need a lot more innovation

same time as in the U.S., with prime-time evening

and seems to have launched one. Journalistic

to stimulate the market and combat piracy to

encores. The hiccup in the process is hard-line

ethics are a big deal at Mongol TV. “We want

generate incremental revenues for everyone

censors in some parts of the region, themselves

Mongolian citizens to trust our media and know

in the industry.” – Peter G. Bithos, chief execu-

struggling to balance devastating levels of pi-

that we are reporting in a truthful and unbiased

tive ofﬁcer, Hooq, on the biggest challenges

racy with regulations they’ve set in place and

manner,” Chinbat says.

over-the-top (OTT) platforms in Asia are facing.

seem cautious to change. So far, censorship is

Game of Thrones season five, Magdalene Ew, HBO Asia

Silicon Valley season two and Veep season four at exactly the

winning. Like everyone else, HBO says it is comPiracy is killing our industry. There

“I had watched America’s Next Top Model

mitted to complying with different regulations in

are still too many OTT platforms

and it looked easy. To be honest, when I had

every market, but that means viewers won’t get

in Vietnam operating on a pirate

the licence in my hand I didn’t know where to

the shows until censors have taken their cut.

issue one, april 2015

Thousands

Of Miles Thousands of Miles to live my dream

A tough talking New Yorker with a love of guns

My Dream

moves his entire family thousands of miles to live his dream. In Gunfather, Lou Tuminaro and

To Live

his family put everything on the line to take their shot at dominating the custom gun business. #Whatsyourstory

Outdoorchannel HD

The world leader in Outdoor Entertainment

A tough talking New Yorker with a love of guns moves his entire family thousands of miles to live his dream. In Gunfather, Lou Tuminaro and his family put everything on the line to take their shot at dominating the custom gun business.

WhatsYourstory

on-demandlicensing

NTENT ASIA

Hot buttons

To push or not to push the on-demand button? How hard? At what cost? And the cost of not? Those are some of the questions rights holders in Asia are asking as online booms, over-the-top explodes, and platforms try to figure out the costs and returns of delivering everything everywhere.

Korean drama distributors might be weeping over

during the year before the regulations were announced. An example

China right now, but on the whole rights owners

is simultaneous/day-and-date releases of current Korean drama series,

are revelling in new online opportunities that con-

which insiders say have dropped from US$280,000 an episode to about

tinue to open up across Asia.

US$100,000. The reason is that every day a release is delayed, is a win

Even in China, many expect the online love fest with international content to continue despite a

piracy as audiences go after original versions.

hiccup here and there and some stern official re-

Piracy remains the biggest fight rights owners face in Asia. “One of

sponses to platforms who push the envelope too

the best ways to combat that is to, as much as possible and within the

far too quickly. Some say China continues to be

bounds of laws and regulations, make our content available as easily

their top market for on-demand rights, and that

and quickly and legally as we can so that people who want to enjoy it

multi-year output deals remain in place at healthy

can. That will continue. I think technology presents both challenges and

licensing fees that top anything being offered

opportunities and it’s our job to be wise and navigate through them,”

in the linear space. China, “by a large margin”,

says Sony Pictures Television’s (SPT) president, international distribution,

made the biggest different to all kinds of on-de-

Keith Le Goy.

mand licensing in 2014, says Annie Yim, executive

Whatever the risks and challenges in Asia, demand for legal content

director, business development and corporate

from online and over-the-top (OTT) platforms is booming, blooming and

finance for Celestial Tiger Entertainment (CTE),

flowering through every crack in the video entertainment asphalt across

which represents U.S. studio Lionsgate’s content

Asia. “We are certainly seeing a significant increase in OTT services in the

in Greater China/Southeast Asia/Japan/Korea.

region and are excited about the opportunities they bring to the industry,

New mainland Chinese rules, effective this year,

including providing more platforms for consumers to view our content,”

require prior approval of entire series. This will de-

says CBS Studios International’s Asia Pacific sales director, Nicole Sinclair.

lay airdates, perhaps by six months or more. On

“People are getting the chance now to enjoy a wider range of con-

the most optimistic end are those who predict the

tent in a way that is more convenient to them than they have ever had

new censorship requirements are a moving target

before. It’s a great opportunity for us,” SPT’s Le Goy says.

that will drift away sooner rather than later, setting

LINEAR VS NON-LINEAR The impact on the traditional linear business

rights fees free to return to previous highs. Con-

isn’t necessarily negative. “We have seen around the world that with the

stant change has become a hallmark of China’s

appropriate windowing of content, both OTT and traditional linear busi-

media landscape. As one international

nesses can coexist and occasionally be complementary,” Sinclair says.

distributor says: “There’s always the

In addition, there’s a cultural influence in Asia that mitigates any nega-

risk of a shifting regulatory land-

tive impact on linear services. “TV viewing in much of Asia is still a shared

scape in China. It’s that sort of

experience,” says Ganesh Rajaram, FremantleMedia’s executive vice

environment”. In

the

president for sales and distribution in Asia. “The environment will change short

term

though, some distribu-

issue one, april 2015

for piracy. There’s also no telling what censors will cut – another win for

but for a lot of people, watching telly after dinner and sharing news of the day is culturally ingrained,” he adds.

tors are taking a hit in

Traditionally linear programmers and platforms with strong linear offer-

China, with licens-

ings are stepping up as aggressively as any of the new digital-native plat-

ing fees collapsing

forms to stake their online claim. “A lot of businesses are saying, ‘what are

to about 30% of

the new ways we can use content to drive businesses, find new relation-

what they were

ships and new revenue streams,” Le Goy says.

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on-demandlicensing

NTENT ASIA

We have seen around the world that with the appropriate windowing of content, both OTT and traditional linear businesses can coexist and occasionally be complementary.” Nicole Sinclair, CBS Studios International

holders. “Linear pan-regional channels are quite happy to take linear rights and we can sell digital rights to someone else. It’s complementary. We expect them to coexist,” Rajaram says. FEES & PRICING MODELS Distributors say money is definitely changing hands for online content, and that digital distribution is a significant and growing part of the licensing business. Rajaram says between 25%-30% of FremantleMedia’s distribution business in Asia now purely digital (online/ on-demand). CTE’s Yim says digital-only platforms are licensing the most amount of Lionsgate content for on-demand distribution in Asia. Perhaps the biggest difference over the past five years is that broadcasters are acknowledging that content for online platforms has a value. “One of the big differences now is that people understand what the

One of the big differences now is that people understand what the rights are about and that there’s a value to these rights.” Ganesh Rajaram, FremantleMedia

rights are about and that there’s a value to these rights,” Rajaram says. “In the past people thought that pay-TV included everything. In the last few years, we have been very clear about carving them out and allowing non-linear platforms to acquire our top shows if the price points are good enough,” Rajaram adds. He also says consumer take up and advertiser shifts are boosting confidence in online consumption. “A lot of the established players are paying licence fees, sometimes the same as linear and sometimes more... It’s a sign of where on-demand is. There’s appetite and advertiser support. That’s what’s giving the portals the strength to go out and pay proper fees rather than rev share”.

It’s definitely a boom time. In addition [to double-digit rates growth], on-demand platforms are licensing more content than the traditional platforms, so we see growth from volume as well.” Annie Yim, Celestial Tiger Entertainment/Lionsgate

CTE’s Yim says licensing revenues for on-demand services in Asia are growing at double-digit rates “and we foresee continued growth. It’s definitely a boom time. In addition, on-demand platforms are licensing more content than the traditional platforms, so we see growth from volume as well”. While non-linear distribution is now “a significant part of our business”, pricing and models vary widely across Asia, Rajaram says. In Singapore, for instance, online platform Toggle buys content, but the licence fees are lower than those of linear channels. Toggle, owned by monopoly free-TV broadcaster MediaCorp, supports MediaCorp’s linear channels and offers free and premium tiers for a flat monthly fee of S$9.90/US$7.

Lines between old and new continue to blur.

In Korea as in other parts of Asia, telcos have stepped up their online vid-

“The Nine Network in Australia launched on-de-

eo strategies and are expected to be significant drivers of content licens-

mand service Sam this year. What are they? Tradi-

ing for OTT. Not all genres will fare equally though, and a close eye is being

tional or new,” Le Goy asks, adding: “We are look-

kept on the perceived shift away from some high-cost U.S. content.

ing at the totality of the way in which to work with

Revenue share is, on the other hand, a reality in markets like India,

partners and our content to give the most options

where connectivity is a challenge, price points are minimal, minimum

for consumers and partners”.

guarantees are miniscule, its nigh on impossible for foreign content to

FremantleMedia’s Rajaram says linear and digital work hand in hand. “They’re complementary,”

content deal right now can be smaller than the cost of tape delivery.

he says. At the same time, he highlights moves

CHALLENGES If all markets in Asia share rapid growth and transforma-

such as SingTel’s Hooq (see page 18), which fore-

tion in the way consumers are able to access content, not all online mar-

shadow the arrival of Netflix. Rajaram calls Hooq

kets are created equal. Patchy infrastructure and payment models are

a “pre-emptive strike” and expects “bigger pan-

hurdles in less-developed Asia. “Asia is certainly developing at a rapid

regional players going into partnership to protect

rate compared to the rest of the world, however, we still face challenges

their turf”.

including the speed of broadband connections to the majority of our

This doesn’t have to pose a conflict for rights

issue one, april 2015

compete with cricket and Bollywood, and the total value of a foreign-

region,” CBS Studios’ Sinclair says.

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on-demandlicensing

NTENT ASIA

Le Goy says, describing the dawning environment as a “pretty unique

People are getting the chance now to enjoy a wider range of content in a way that is more convenient to them than they have ever had before. It’s a great opportunity for us.” Keith Le Goy, Sony Pictures Television

coming together of technology and story telling... That conjunction is driving the business forward.” “People need to discover and distribute in a different way,” he says. What the rapidly evolving environment has opened up is a powerful range of possibilities to “craft unique distribution channels” for everything from the animated movie to edgy premium serialised television shows. “That’s the real vibrancy we are seeing,” Le Goy adds. In some parts of Asia, online habits are consistent with other parts of the world, with the appreciation of short windows and some evidence of marathon viewing. FremantleMedia’s Rajaram says “anything that’s big and stands out” is a winner online – “just like linear”.

Internet penetration in Myanmar, for instance, is 1.2% (670,000 users). Cambodia is 6% (928,000 us-

and aggressive windowing,” says CTE’s Yim.

ers), according to Internet World Stats (June 2014).

SPT’s Le Goy says the key to a successful online content offering is

On the other end of the spectrum are Korea and

choice, ease and key premium content as part of a rich and deep con-

Japan, which are highly connected, as are, albe-

tent offering. Content drivers are big premium movies and TV shows that

it with much smaller audiences, Hong Kong and

“make a difference in platforms being able to drive their business and

Singapore. Korea’s internet penetration is 92.4%

attract and retain subscribers, build loyalty and allegiance”, he adds.

(45.3m users), followed by Japan (86.2%/110m

While big-brand reality tops FremantleMedia performance online,

users), Hong Kong (80.9%/5.8m users), Singapore

drama is also benefitting because viewers can go back in time to the

(80%/4.5m users) and Taiwan (80%/18.7m users).

series beginning and follow the journey from start to finish. SPT’s Le Goy

Malaysia is at 67%, with 20 million users. China trails

says comedy is also finding new laughs among online audiences in Asia.

in penetration terms at about 47%, but tops the list

“What we are finding in the digital world is a group of younger people

in user terms with more than 642m users.

who are more connected and share a similar sense of cultural reference

MARKETS

MAKING

THE

MOST

DIFFERENCE

“There’s not just one,” SPT’s Le Goy says, talking

points and now have the ability to share more widely,” he adds. “That’s opening up a huge new range of possibility.”

about a “beautifully varied” landscape. In every

“For us, big shiny floor shows are always in demand, especially the latest

country, “the growth of digital on-demand op-

seasons and new, fresh and happening titles. There’s also a demand for

portunities to distributors and consumer content

classic titles, but not so much for back catalogue in Asia,” Rajaram says.

are leading to a very rapid transformation of the

For Rajaram, the key is to treat on-demand “just like we treat linear”. It

way in which the business overall is evolving,” he

is, he says, “still content, just a different platform, and as we have seen

adds.

it’s about letting the market understand that these are rights and they

Even with the different growth rates and acqui-

do have a value.”

sitions habits in each market, “it all adds up,” Fre-

DATA DRIVEN For all that’s been said about the role of big data in the

mantleMedia’s Rajaram says, listing China, Korea,

digital world, some quarters of the entertainment industry say they’re not

Singapore and Thailand as key online licencing

yet receiving the levels of insights they could be getting. But not everyone

centres.

is complaining – yet.

For Lionsgate, North Asia, and in particular China

Le Goy says data quality and access to information programmers can

and Korea, are two of the most dynamic on-de-

use is improving all the time. “The more data we have the better to im-

mand markets in the world, CTE’s Yim says.

prove the experience and that’s in everyone’s interests,” he says, adding

Southeast Asia is a few steps behind North Asia, but is accelerating, Yim adds. In 2015, she expects

issue one, april 2015

What’s working best is “relevant and engaging content, localisation

that SPT spends “a lot of time trying to understand what drives people to subscribe to and carry on subscribing to these on-demand services”.

Southeast Asia to be the biggest on-demand

Rajaram says he’s happy with the usage stats he’s getting from partners

growth area in Asia “as there are many new plat-

in Asia. “It’s a situation where when you do a deal and the next deal is

forms that will be launching in the region in the

bigger, with more shows and higher price points. That’s proof of what’s

coming year”.

working,” he says, adding: “When you get to the point when doing pan-

WHAT’S WORKING With all the region’s diversity,

regional on-demand deals, the data becomes more important and that

there’s no “best way” to distribute content in a

will impact price points. But at this stage, where still looking at country spe-

digital environment. “Each situation is individual,”

cific on demand, there is enough info”.

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NTENT ASIA

Hooq, line and sinker

Asian telco Singtel is changing the regional OTT game with a new platform that combines U.S. studio content with local libraries and up-close-and-in-the-bank billing relationships with about 500 million customers. But this is an environment of mega-challenges, not least content costs, infrastructure issues, and an estimated total online video subscription revenue of US$2.3 billion across 13 markets by 2020.

My Husband’s Lover, GMA Network

Among the bigger questions about Singapore-

first partners, Sony Pictures Television and Warner Bros Entertainment, and

based regional telco giant Singtel’s new ambi-

much of that is on a non-exclusive basis. Question 2A is whether – or how

tious over-the-top (OTT) play is this: How much

soon – Hooq bosses will greenlight original content that it can own and

local content will new service Hooq be able to

control.

acquire to drive take-up in specific Asian markets,

And the third – despite agreement that Hooq is a sensible defensive

particularly since many of the biggest broadcast-

play against, among others, Netflix – is Singtel’s appetite for a video-

ers favour their own platforms?

streaming environment of low forecasts and uncertain returns over the

The second question is when – or whether – oth-

issue one, april 2015

next five years.

er U.S. studios will add blockbuster titles to an in-

And then there are the issues that will play a defining role in the success

ternational slate currently driven by the venture’s

of OTT services in Asia, and not just for Singtel: digital infrastructure, con-

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updateott

NTENT ASIA

more than US$2.3 billion by 2020. MPA says active Asia-Pacific OTT video subscribers reached 594 million in 2014. China accounted for more than 85% of the market size in 2014 and will represent 80% by 2020. Ex-China, the largest markets in 2014 were Korea, India, Japan and Hong Kong. By

2020,

projections cate

that

MPA indiactive

OTT video customers

Clockwise from top: Hooq’s Philippines titles – In the Name of Love, ABS-CBN; Gossip Girl, Warner Bros; Magkarrbal, ABS-CBN

will reach 977 million. By 2020, in Asia ex-China, India will emerge as the second largest market, followed by Korea, Japan and Hong Kong. In Southeast Asia, Malaysia will be joined by Indonesia and the Philippines as market leaders. MPA says the market for subscription-based OTT video reached 75.3 million active subs in 2014 and is expected to reach 225 million by 2020. China will be the largest contributor, driven by internet-enabled TV and settop box platforms and online video companies offering premium services. Japan, Korea, India and Australia “will emerge as material opportunities”, powered by SVOD, but India will trend towards more of a freemium-oriented model, MPA says.

tent

costs,

enough to take the risk. Not to mention encouraged by obvious audi-

high levels of piracy...

ence shifts to streaming services in other parts of the world. Reports out

“The market for the legal consumption of OTT services in Asia Pacific is at an early stage with

of the U.S. say that as much as 40% of TV rating dips in the second half of 2014 were because of streaming services.

monetisation models nascent in most countries,”

This isn’t the first time Singtel has gone down the on-demand stream-

says Media Partners Asia (MPA) executive direc-

ing route, and the telco can’t have any desire to repeat the expensive

tor, Vivek Couto.

content lesson of its early Mio TV days in Singapore when, among other

MPA expects online video revenue to hit US$12.4

forecasts that were way off, multi-million dollar rights costs were out of

billion by 2020 from US$3.5 billion in 2014 across 13

line with audience appetites. Singtel killed its U.S. studio day-and-date

Asia-Pacific markets, according to new research

Season Pass on-demand platform in 2013 after five years. Neither usage

report, Asia Pacific Online Video Distribution 2015.

stats nor losses were made public. Many industry post-mortems put high

MPA says advertising will contribute more than 80%

content costs at the centre of what went wrong.

to the region’s online video pie by 2020. The subscription revenue opportunity, largely driven by

issue one, april 2015

Clearly Singtel and its telco partners around the region are optimistic

price sensitivity,

Hooq chief executive, Peter Bithos, acknowledges the OTT industry’s oft-repeated headache – the cost of compelling content.

subscription video-on-demand (SVOD) platforms,

“Particularly in Asia, the challenge is working with and convincing inter-

will grow from less than US$700 million in 2014 to

national content owners on issues such as pricing… We need a lot more

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updateott

NTENT ASIA

Pricing for the Philippines’ platform has been kept low – Ps199/US$4.50 a month for all content. The on-demand platform will offer more than 10,000 movies and TV series from Sony Pictures Television and Warner Bros Entertainment and from local studios to stream or download to view offline. The local content question has been well answered in deals with the Philippines’ two largest national broadcasters – ABS-CBN and GMA – as well as Viva Communications and Regal Entertainment. Local titles include My Husband’s Lover, A Secret Affair, Shake Rattle and Roll and Ang Tanging Ina. A key movie title is Metro Manila, currently among the best local independent films in the Philippines. Hollywood movies include Harry Potter, SpiderMan, Inception, Angels & Demons, Salt, Legion and Wrath of the Titans. TV series include Gossip Girl, Friends and Smallville. Talks are ongoing with other studios and distributors. Singtel’s other telco associates in Asia – including Telkomsel in Indonesia and Bharti Airtel in India – are the low-hanging fruit for early Hooq roll-outs. Singapore, a teeny-tiny market

in comparison, may come later – or not at all. India is the only one of Hooq’s target markets that appears on Asia’s Biggest OTT Markets lists. The country has 254 million internet users, according to the Telecommunications Regulatory Authority of India (TRAI). Singtel’s

Peter Bithos, Hooq

Indian partner, Airtel, has about 215 million mobile subscribers. In Thailand, Singtel’s 23.3% stake in AIS

issue one, april 2015

innovation to stimulate the market and combat

gives it access to about 42 million subscribers,

piracy to generate incremental revenues for ev-

while in Indonesia, Singtel’s 35% stake in Indonesian operator Telkomsel

eryone in the industry, he says.

gives the telco access to 122 million mobile subscribers.

Two months after its January launch, Hooq

Smartphone penetration in Hooq’s markets is, however, still way lower

had announced one market roll out. The video

than market leaders such as Singapore and Hong Kong (both at 87%

streaming platform went public in the Philippines

penetration) and Malaysia (80%) for now. Thai smartphone penetration

with local partner telco Globe Telecom. Services

last year was 49%, while in Indonesia this drops to 23%, according to Niels-

were scheduled to launch in first half 2015. At

en stats. Indonesia has about 278 million mobile subscribers, and Thailand

press-time, no further announcements had been

has about 93 million. In the Philippines, 15% of about 106 million mobile

made.

subscribers use smartphones.

The Philippines seems a logical place to start.

China is by far Asia’s biggest OTT force – and will continue to be. Al-

Globe Telecom had a little over 44 million mobile

though Singtel has been active in China in the past year, launching a 5G

subscribers at the end of 2014 and 2.79 million

innovation programme with Huawei, there is neither any sign that China

wireless/wired broadband subscribers.

is on Hooq’s radar for now, nor any indication that Singtel plans to take

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updateott

NTENT ASIA

dia’s Zee TV, with access to decades of library content. U.S. streaming platform Netflix is another potential competitor, although for now the U.S.-based platform’s focus is Japan, Australia and Motion Picture © 2002 Columbia Pictures Industries, Inc. All Rights Reserved. | Spider-Man Character ® & © 2014 Marvel Characters, Inc. All Rights Reserved.

New Zealand, with vague murmuring about a possible China roll out and the unlikelihood of this happening with a local partner. A wild card in the OTT space is the Catcha Group’s iflix, which plans to roll out in Malaysia and the Philippines in the second quarter of this year, with other Southeast Asian markets, including Thailand, Indonesia and Vietnam, to follow in the second half of 2015. iflix was founded by tech entrepreneur Patrick Grove, Catcha Group chief executive, with media-focused merchant bank Evolution Media Capital. Grove says the mobile-focused iflix will offer content on every platform for less than the price of a pirated DVD. Licensing deals had not been announced at press time, but iflix’s website shows images for Philippines and Malaysia from Warner Bros Entertainment (The Dark Knight Rises, Arrow, The Vampire Diaries, The Big Bang Theory, Harry Potter and the Chamber of Secrets, Person of Interest), Starz Entertainment (Spartacus War of the Damned) and BBC (Sherlock, Dr Who), among many others. iflix says the platform will offer more than 10,000 hours and that content deals have been signed with about 30 distributors. One of Hooq’s bigger advantages is that the video platform can be bundled with Singtel’s and partner data/broadband subscription plans, and billed to existing subscribers. Among other commonly cited advantages, this billing relationship will allow the platform to overcome

Spider-man

any shortcomings in online payment ecosystems. on the likes of powerful online players Youku Tudou, iQiyi and others in a fiercely political market largely unfriendly to outside media competitors. Other than the Philippines, pricing for platforms

issue one, april 2015

Singtel has about 500 million mobile customers in Asia. Hooq’s Bithos says the biggest challenge is “making sure Hooq provides a great and impressive customer experience at launch with the offering of quality and in-depth content”.

in Hooq’s target markets has not been set but are

His priority for 2015? “Getting the service up and running in the tar-

likely to be around the US$3 a month. There are

geted markets by the end of 2015.” Original content will come

plans to offer premium pay-per-view content as

later. “We recognise the need for high quality stories to be built

well.

by Asia for Asia… content that resonates well across Asia with

Singtel faces fierce competition in Asia, from

quality scripting and production. We look forward to filling that

established standalone services such Viki to new

need ... This will be part of our journey in the years ahead.” –

OTT efforts by traditional broadcasters, such as In-

research by Pooja Varma and Malena Amzah

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trendsformats

NTENT ASIA

Bet your bottom dollar A $16-million formats bet kicked off in Asia in March with Asia’s Got Talent and Asia’s Next Top Model. Coming soon are the first Asian versions of MasterChef and How Do I Look?. The four are fuelling hopes of a new era of pan-regional mega-formats.

The Asia’s Got Talent premiere in March kicked

more than 52 hours of original video content on air across Asia, many

off a year of regional mega-formats in Asia, add-

multiples of that in encore telecasts, and countless hours of online au-

ing an estimated US$16 million into the region’s

dience engagement in a market clamouring for local relevance and

original production purse, and boosting opti-

pay-TV platforms demanding original shows.

mism that what works will be repeated... and be even bigger.

All four represent significant local production milestones for the broadcasters involved. This includes Fox International Channels,

The FremantleMedia talent show on Sony Pic-

which has switched production houses for each of the

tures Television (SPT) Networks Asia’s AXN on

three seasons of Asia’s Next Top Model. Season three

12 March was followed two weeks later by

was commissioned from Beach House Pictures in Sin-

the third season of CBS Studios’ Asia’s Next

gapore. All eyes are now on comparing the latest

Top Model (and the first by Singapore-

season with the first two.

based Beach House Pictures), which premiered on Wednesday, 25 March, on Fox International Channels’ female-focused Star World. Asia’s Next Top Model will air for

The other three titles are all firsts in the region, with well-known international versions paving their way. In Lifetime’s case, MasterChef versions from Australia, New Zealand and Canada make up significant proportions of Asian sched-

13 weeks in prime time

ules.

(8.45pm), with the finale

The New Zealand version, for

on 17 June. Asia’s Got Tal-

example, dominated the fe-

ent runs to 14 May.

male-focused Lifetime chan-

Coming later this year are NBCU-

nel schedules in the first

niversal’s How Do I Look for female-

week of February and of

focused entertainment channel Diva,

March, taking 38% of

scheduled for the third quarter of this

the 7pm to midnight

year. How Do I Look? has been com-

schedule

missioned

the two grids.

from

NBCUni-owned

Matchbox Asia.

Prem

Later this year, A+E Networks Asia’s

long-awaited

Kamath,

A+E Networks’ depu-

Mas-

ty managing director, Asia

terChef Asia will air on

Pacific, says MasterChef Asia is the

Lifetime. The 15-episode

Singapore-based regional network’s most

cooking talent series is

significant local commission to date. He added

being produced in Asia

that the series “marks an important milestone”

for the network, which last year produced local

Endemol

Southeast

Asia, the Endemol Shine

reality series, Mom’s Time Out, with Wonderland

Group’s Singapore-based

Pictures. The docu-reality show (three mothers

production unit. Between them, the four new regional series add a little

Asia’s Next Top Model season three host, Georgina Wilson

issue one, april 2015

across

go on a luxury holiday, leaving dads in charge of the kids) aired on Lifetime at prime time (9pm) on Thursdays.

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trendsformats

NTENT ASIA

tainment channels. In the Philippines, AXN was the number one English-language general entertainment channel during the broadcast, and placed second among all pay-TV channels. In Singapore, the show drove AXN to the top English-language general entertainment channel for the night. And in Taiwan, Asia’s Got Talent was the day’s top programme among international general entertainment channels with a 79% share, and was the top-rated programme of the day in this set. The series airs on Friday nights at 9pm in Taiwan, with the premiere on Friday, 13 March. The final performance (120 minutes) airs on 7 May, with the 120-minute results show broadcast live on 14 May from Marina Bay Sands in Singapore. The three semi-final shows (90 minutes each) were filmed on 18, 21 and 24 March for broadcast on 16, 23 and 30 April. Covering 15 markets across the region, including Mongolia and Sri Lanka, Asia’s Got Talent notches up numerous firsts – the world’s biggest talent show by country, the first regional talent show of its kind in Asia, the most expensive in Asia in its category, and the most logistically complicated format ever. It’s also SPT Networks Asia’s first original production broadcast live, and the Singapore-based network’s first performance-based talent show. And then there’s online media. Dee Kosh – one-time notorious (and now just plain celeb)

Asia’s Got Talent contestants – extreme tambourine player Gonzo from Japan (top); Li Yongcong, Taiwan (right)

YouTube star – was brought on board as the dedicated digital host, another first for Got Talent in Asia. Rushit Jhaveri, FremantleMedia Asia’s

budgets

vice president, brand licensing, says the

have not been confirmed

MasterChef

decision to go with a different host online

but few would be sur-

was driven, among other things, by the

prised if the series came in

desire to deliver a different experience.

much below US$3 million.

“We went after someone who is already big

First of the four to air, Asia’s

in the space, and are allowing him to host in

Got Talent set the ratings bar

his own style,” Jhaveri says.

high, likely beating premiere episodes of previous AXN formats, and

issue one, april 2015

By the time Asia’s Got Talent premiered, the show’s Facebook page had 100,000 Facebook likes,

boosting optimism that record-breaking produc-

rising to 135,000 on the eve of episode two. The live half-hour

tion spend will pay off for everyone. AXN has not

Facebook chat session with all four judges – a first in Asia – on 17 March

confirmed ratings comparisons with its previous

had almost 68,000 likes in less than 24 hours. In addition, a branded

formats.

app offers behind-the-scenes content and allows the audience to play

Asia’s Got Talent, which premiered with a two-

along. In partnership with Facebook, FremantleMedia is also, among

hour prime-time special on Thursday, 12 March,

other things, creating a voting tool that will allow users to vote on Face-

topped its slots in Southeast Asia’s three mea-

book, Jhaveri says.

sured markets – Singapore, Malaysia and the

The Asia’s Got Talent love was spread deep and wide. For Malaysia’s

Philippines (source: Kantar Media Singapore/

entertainment/media company Astro, Asia’s Got Talent was the first sig-

Philippines, AGBNMR Malaysia, supplied by AXN).

nificant third-party production contract since the August 2014 deal to

SPT Networks Asia said the debut delivered 10x

provide production services at Pinewood Iskandar Studios in Malaysia.

the rating of the next English-language general

The agreement between Astro Productions and Pinewood Iskandar Stu-

entertainment channel in all three places.

dios involves 18,000 production hours over five years.

The premiere topped all English-language

Astro Productions provided broadcast equipment and technical

channels on pay-TV platform Astro in Malaysia,

crew for the eight-day Asia’s Got Talent shoot in Malaysia earlier this

dominating the timeslot with more than 80%

year. Having delivered more than 1,000 hours of content, the produc-

share across all English-language general enter-

tion team decamped to Marina Bay Sands in Singapore in March for

Indian Summers

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trendsformats

NTENT ASIA

Asia’s Got Talent

Asia’s Next Top Model

MasterChef

How Do I Look Asia?

Channel

AXN

Star World

Lifetime Asia

Diva

Airdates

12 March-14 May 2015

25 March-24 June 2015

mid-2015

Q3 2015

16.5 hours

US$8m

US$3 million

US$2 million

Marina Bay Sands

Subaru

Singapore Tourism Board

Big Cola

Tresemme

Knorr

Pantene

Zalora

Panasonic

Caltex

Closeup

Changi Airport Group

JetStar

Mac

GrabTaxi

Storm

Episodes/hrs Budget (estimate)* Sponsors

Sponsors not yet announced

Kimage Nakd Luxury

Source: AXN/Sony Pictures Television Networks, Star World/Fox International Channels, Lifetime/A+E Networks, Diva/NBCUniversal * Production budgets have not been disclosed and estimates have not been confirmed by companies involved.

Neutrogena Triumph

the semi-finals and will also be involved in the

FremantleMedia’s Asia managing director, Paul O’Hanlon, who spent

grand finale on 14 May.

two years at least making the regional version happen. O’Hanlon, oft

Astro Malaysia Holdings’ chief executive, Rohana Rozhan, says the production “is in harmony

talent diversity and quality the hunt unearthed.

with our aspiration to bring together Asian and

The scope of entries went beyond original hopes. “There’s a percep-

Malaysian talent, local and global producers,

tion of Asians as more reserved,” says SPT Networks Asia’s senior vice

global networks, and Pinewood Iskandar with

president and general manager, H.K. Ang.

the common objective of producing exceptional television”. In addition to driving AXN’s Thursday night schedules, Asia’s Got Talent has been adapted

Choosing talent across borders brought challenges of its own. “We know people will be watching the balance quite closely”, says SPT Networks Asia’s executive director of production, Derek Wong. “We didn’t want one country or one genre to dominate,” he adds.

for four local markets, with local host links in India,

Acts that made the first cut included extreme tambourine player

Indonesia, Vietnam and Thailand. Local terrestri-

Gonzo, Double Dutch and Time Machine from Japan, opera singer

al stations in three of the markets – Indonesia’s

Toshanbor Singh from India, 10-year-old singer Gwen Dorado from the

Anteve on Sunday nights, Thailand’s Channel

Philippines, Thai percussion group Tatueng Mong, and Taiwanese singer

3 and Vietnam’s VTV-6 – air the show with their

Li Yongcong.

own host links 70 hours after AXN. Viewers in local markets can participate in the voting. The fourth local broadcaster is VH1, a sister channel to mass-market Hindi general entertain-

There was little doubt from the start that Asia’s Got Talent would go way beyond anything any regional broadcaster in Asia had spent on a format before. Budgets have never been disclosed, but the number in cash and in kind could top US$8 million.

ment channel Colors, which is part of Viacom’s

“Given the size of the investment and for a project like this to be able

pay-TV joint venture for India. Asia’s Got Talent

to achieve the financial goal, we needed to think out the box,” Ang

does not air on AXN’s India feed.

says. Among other elements, this generated the free-TV involvement in

As the show went to air, the biggest challenges

Indonesia, Vietnam, Thailand and India. “We are addressing a market

all round seemed to be cost and logistics and, for

where free TV and pay TV have the opportunity to cover a different

some, whether there was enough variety in the tal-

segment of the audience,” Ang adds.

ent able to cross Asia’s diverse cultural boundaries.

Perhaps the most speculated-about aspect of the long-running ne-

In the end, the show’s geographic spread involved

gotiations was Sony’s appetite for the risks involved in being so ambi-

240 hopefuls, friends and family members – some

tious. The day after the show premiered, Ang said he was happy with

of whom didn’t have passports before Got Talent

the sponsorship secured by both SPT’s in-house team and the team

talent-hunters came along – flying in to Malaysia’s

at FremantleMedia out of Singapore. “Of course as a business person

Pinewood Iskandar Studios for auditions.

there is never enough, but I’m happy...” And that was before the rat-

“No stone was left unturned to find talent,” says

issue one, april 2015

heard insisting on world-class production standards, says a highlight is the

ings came in.

Find out amazing facts on Da Vinci Learning The chicken is the closest living relative to the T_Rex sales@davincitv.net www.davinci-learning.com

Da Vinci Learning The Educational TV Channel for the whole family!

formatsQ22015

NTENT ASIA

Leaderboard: who’s who on Asia’s formats charts (Q2 2014-Q1 2015) Endemol Shine 1. 1 vs 100 Korea 2. 1 vs 100 Vietnam 3. All You Need is Love Thailand 4. Anything Goes Indonesia 2 5. Anything Goes Thailand 6. Beauty & The Geek Vietnam 7. Big Brother China 8. Big Brother India 8 9. Big Brother Philippines 10. Big Town Dance China 11. Deal or No Deal Myanmar 12. Deal or No Deal Philippines 13. Deal or No Deal Vietnam 14. Don’t Lose The Money Philippines 15. The Face Thailand 16. Fear Factor (Celebrity) Malaysia 17. Fear Factor Malaysia 18. The Fever Vietnam 19. Give Me That Bill China 20. Identity Thailand 21. Junior MasterChef Indonesia 22. The Kids Are All Right China 23. The Kids Are All Right Myanmar 24. The Kids Are All Right Thailand 25. The Kids Are All Right Vietnam 26. Love in the Wild Vietnam 27. NEW MasterChef Asia* 28. MasterChef Cambodia 29. NEW MasterChef India* 30. MasterChef Korea 31. Minute to Win It Cambodia 32. Minute to Win It Myanmar 33. Minute to Win It Singapore 34. The Money Drop Afghanistan 35. The Money Drop Cambodia 36. The Money Drop Indonesia 37. The Money Drop Mongolia 38. The Money Drop Thailand 39. The Money Drop Vietnam 40. My Dad is Better than Your Dad China 41. Next One Vietnam 42. Odd One In Vietnam 43. The School China 44. NEW Singer Takes It All Thailand* 45. Star Academy Vietnam 46. Step Right Up Thailand 47. The Ultimate Entertainer Vietnam 48. Wall of Fame Thailand 49. Your Face Sounds Familiar China 50. Your Face Sounds Familiar Vietnam 51. NEW Your Face Sounds Familiar Philippines 52. Your Face Sounds Familiar Thailand FremantleMedia 1. Asia’s Got Talent 2. Body Bowling Thailand 3. Cambodia’s Got Talent 4. Got Talent Laos 5. Indian Idol Junior 6. Indonesian Idol 8 7. Let’s Make a Deal Indonesia 8. NEW Mongolia’s Got Talent 9. Myanmar’s Got Talent 10. The Noise Singapore 11. Project Runway Vietnam 12. Take Me Out Indonesia 13. NEW Thailand’s Got Talent 14. Vietnam’s Got Talent 15. X Factor Vietnam

CBS Studios International 1. Asia’s Next Top Model 2 & 3 2. Cambodia’s Next Top Model 3. China’s Next Top Model 2 4. The Doctors Vietnam 5. Korea’s Next Top Model 5 6. Wheel of Fortune Vietnam 7. Vietnam’s Next Top Model 5 BBC Worldwide 1. Strictly Come Dancing Cambodia 2. Dancing with the Stars Kids Vietnam 3. The House That Made Me India 4. Junior Bake Off Thailand 5. Strictly Come Dancing India 6. Top Gear China 7. Top Gear Korea Talpa 1. The Voice Cambodia 2. The Voice of China 3. The Voice of the Philippines 1/2 4. The Voice Kids China 5. The Voice Kids Philippines 6. The Voice Kids Vietnam CJ E&M 1. Art Star Korea 2. Dancing9 3. Friends Over Flowers 4. The Genius Game 5. Grandpas Over Flowers 6. Let’s Eat Nippon TV 1. Gokuno 2. Old Enough Vietnam 3. Old Enough China 4. Perfect Balance 5. Tore! Thailand 6. Tore! China 7. NEW Welcome To The Railworld Japan* Zodiak Rights 1. Secret Millionaire China 2. Sing If You Can India 3. Sing If You Can Thailand 4. Sing If You Can Vietnam 5. So You Think You Can Dance China Armoza 1. Do Me A Favour Thailand 2. House Call China 3. I Can Do That! China 4. Upgrade 3 China 5. The Arbitrator, Vietnam 6. Who’s Asking? Thailand 7. NEW Who’s Asking? India* ITV Studios Global Entertainment 1. Baby Ballroom Vietnam 2. Big Star’s Little Star Korea 3. NEW Big Star’s Little Star Vietnam* 4. Come Dine with Me India 2 5. Hell’s Kitchen Indonesia 6. Popstar to Operastar Vietnam

Keshet 1. Master Class China 2. Not A Star Yet 5 3. Prisoners of War Korea 4. Rising Star China 5. Rising Star Indonesia 6. NEW SPY Korea* Telemundo 1. Hidden Passion/Pasion de Gavilanes 2. Where is Elisa? India 3. Where is Elisa?/Family Secrets Korea Red Arrow International 1. Schiller Street/Joy Street China 2. You Deserve It 2 Vietnam Global Agency 1. Keep Your Light Shining China 2. Mum Vote for Me! China 3. The Remix Vietnam All3Media 1. Are You Normal? China 2. Gogglebox China 3. Gogglebox Korea 4. NEW Gogglebox Mongolia* Sony Pictures Television 1. Dr Oz Indonesia 2. NEW Everybody Loves Raymond India* 3. Mad About You China Disney/Buena Vista International 1. The Amazing Race Philippines 2. The Amazing Race Vietnam 3. Ugly Betty Thailand NBCUniversal 1. Dance Your Ass Off Thailand 2. NEW How Do I Look? Asia* 3. Top Chef Vietnam Bomanbridge Media 1. Big in Japan 2. Dr G’s File Japan NHK Japan 1. Cook the Unknown 2. The New Anatomy Show Thailand Star China Media 1. Amazing Chinese 2. NEW Sing My Song Vietnam TV Azteca 1. Acapulco Forever Yours, Malaysia 2. La Akademia Kids Indonesia & with one title each... ActiveTV Food Detectives Singapore; ABC Duets; Banijay Super Star Ding Dong China; Dori Media Smart Face; DRG The Singing Bee Philippines; Electus Bet on Your Baby; FCCE Entertainment Experience China; NEW FOX The Choice Thailand SBS Korea War of Money; Mabui Stone Corp Ryujin Juwara; MBC Korea Where Are We Going Dad?; Refinery Media SuperModelMe; Sol Productions Dare2Dance; Sparks Eccho Group Crack Them Up China; Imagine Group The Apartment; TVB International Lady First – Singapore; Warner Bros Gossip Girl Thailand; NEW Zee TV Dance Singapore Dance

Note: Formats data was gathered from distributors, production houses and rights holders in 2014 and to 18 March 2015. *Titles marked NEW on the list above were added from January 2015 to 18 March 2015. All companies were given equal opportunity to participate and information was as far as possible verified and correct at 18 March 2015. Formats listed were aired in 2014 or commissioned in 2014/2015 for 2015 broadcast. Formats that have been optioned have not (or not intentionally) been included. issue one, april 2015

Techstorm Asia’s Technology, Entrepreneurship Channel Power packed infotainment ContentAsia for urban audience in asia

Erin Lim Celebrity Host on tech Storm For carriage enquiries please contact: sales@techstorm.tv www.techstorm.tv

formatsQ22015

NTENT ASIA

Formats listed were on air on channels in Asia from January to March 2015 or were commissioned for broadcast this year for later in 2015/2016. The full list of formats on air or commissioned in Asia from Q2 2014 to the end of Q1 2015 is available online at www.contentasia.tv

1 vs 100 Korea

Genre: Game show Broadcast on: KBS 2, Korea Broadcast date: Still on air in 2015, premiered early 2013 Time slot: Tuesdays, 8.55pm-10pm Produced by: KBS Created in: Endemol Netherlands Rights owner: Endemol The pitch: 1 vs 100 pits one player against 100 opponents. The player’s goal is to eliminate all the opposition by correctly answering questions. The battle continues until the last opponent is defeated. Only then can the winner walk away with the money.

Acapulco, Forever Yours (Memori Cinta Suraya/ A Love to Remember)

Suraya gradually falls in love with this unknown man, unaware of all the suffering that love will bring.

it takes in design. The $100,000 prize will be donated to the charity of their choice.

Amazing Chinese

The Arbitrator Vietnam (Đối

Genre: Talent show Broadcast on: CCTV-1, China Broadcast date: Season 2 premiered on 1 March 2015. Season one premiered on 9 February 2014 on Sundays at 8pm. Time slot: Sundays, 8pm Produced by: Star China/Starry Production Original created in: China Rights owner: Star China/Starry Production The pitch: An inspiring talent show about the Chinese dream. The show focuses on the dreams and efforts of ordinary Chinese people from all walks of life. Contestants sing and dance on stage, but also show off special skills related to their professions.

The Apartment: Celebrity Edition (season 4)

mặt trong bóng đêm/Facing the Darkness)

Genre: Crime drama Broadcast on: Vietnam Television (VTV) Broadcast date: Production in 2015, air dates starting from early 2016 Produced by: Vietnam Television Film Center (VFC) Rights owner: Armoza Formats The pitch: A drama that follows a by-the-book social worker in his mid-20s who discovers he is the lost son of the underworld’s most powerful man – The Arbitrator.

Are You Normal? 2

Genre: Telenovela/drama Broadcast on: Astro Bela, Malaysia Broadcast date: 120 episodes; Premiering in April 2015 Original created in: Mexico Rights owner: TV Azteca Produced by: Malaysian production house Global Station produced A Love to Remember (known locally as Memori Cinta Suraya) as well as adaptations of other telenovelas as part of a broader three-year licensing/ production alliance between Mexican media company TV Azteca and Malaysian media company Astro. Production notes: Suraya (Anzalna Nasir) is a humble beautiful young lady with a big heart and dreams of love. Her life takes a turn when she meets Rayyan (Hisyam Hamid), who does not remember who he is or where he comes from after an accident. issue one, april 2015

Genre: Design and renovation reality contest Broadcast on: Star World HD, which has run the format from season two. Season one aired on Sony Pictures Television Networks Asia’s AXN in 2011. Broadcast date: Season four premiered on Sunday, 25 January 2015, and runs for 10 weeks with the finale set on 29 March 2015. Season one ran in 2011, followed by season two, which premiered on 12 November 2012. Season three premiered on 28 September 2013. Time slot: Sundays, 9.40pm Commissioned by: Imagine Group and Fox International Channels (FIC) Produced by: Imagine Group Original created in: Singapore Rights owner/distributed in Asia by: Imagine Group Entertainment The pitch: Season four challenges celebrities from the worlds of television, music, high fashion and film to prove that they have what

Genre: Survey quiz show Broadcast on: Tencent China Broadcast date: Season 2 to premiere in first half 2015 Original created by: Zoo Productions/All3Media. Distributed in Asia by All3Media International The pitch: Participants are polled on various behaviours and asked whether they think these are normal or not... and are compared with the rest of the universe.

Asia’s Next Top Model season 3

Genre: Reality modelling show Broadcast on: Star World/Fox International Channels (FIC) Asia Broadcast date: Season 2 aired in 2014. Season 3 premiered on 25 March 2015 and runs to June 2015. Produced in Asia by: Season two was produced by activeTV out of Singapore. Beach House Productions in Singapore has been brought in for season three. Original created in: U.S. Rights owner/distributed in Asia by: CBS Studios International

Asia’s Got Talent

Genre: Talent competition Broadcast on: Sony Pictures Television’s AXN channel across Asia, followed by slots on terrestrial channels in Thailand (Channel 3), Vietnam (VTV 6) and Indonesia (Anteve), as well as on pay-TV channel VH1 in India and on mainland Chinese online platform Youku Broadcast date: Premiered 12 March 2015 (9pm, 13 March in Taiwan). The final performance (120 minutes) airs on 7 May, with the 120-minute results show broadcast live on 14 May from Marina Bay Sands in Singapore. The three semi-final shows air on 16, 23 and 30 April. Time slot: Thursdays, 7.30pm (Jakarta, Bangkok); 8.30pm (Singapore Malaysia, Philippines, Hong Kong); 9pm Taiwan. VH1 plans to strip the series across its schedule just ahead of the finale on 14 May. Commissioned by: Sony Pictures Television Networks Asia Produced by: FremantleMedia Asia Distributed in Asia by: FremantleMedia Asia Rights owner: FremantleMedia and Syco Entertainment The pitch: Singers, dancers, comedians, variety acts and other talent of all ages perform as individuals or groups before a panel of judges. A selected few progress to the semi-

finals, where the public have the chance to vote. Favourites move to the next rounds. Ratings: The premiere on 12 March topped all Englishlanguage channels on pay-TV platform Astro in Malaysia, dominating the timeslot with more than 80% share across all Englishlanguage general entertainment channels. In the Philippines, AXN was the number one Englishlanguage general entertainment channel during the broadcast, and placed second among all pay-TV channels. In Singapore, the show drove AXN to the top English-language general entertainment channel for the night. In Taiwan, Asia’s Got Talent was the day’s top programme among international general entertainment channels with a 79% share, and was the top-rated programme of the day in this set.

Beauty & The Geek Vietnam

Genre: Dating/matchmaking reality show Broadcast on: VTV Broadcast date: Early 2015 Produced by: Cattiensa Original created in: U.S., Australia Rights owner: Endemol Shine Group The pitch: Beautiful girls are teamed with genius boys in the hope that one group’s strengths will help overcome the other’s weaknesses. The most successful team shares a cash prize.

Big Brother China

Genre: Reality Broadcast on: Youku Tudou Broadcast date: Early 2015 Original created in: Netherlands Commissioned by: Youku Tudou and produced in conjunction with Endemol’s new China office in Beijing. Distributed in Asia by: Endemol Shine Group The pitch: A group of strangers lives together in a house with cameras and microphones recording their every move. Landmark because... it puts China’s online platforms, which are already big buyers of international content, in the formats/original production big league. Financial details of the deal have not been disclosed. This is Endemol’s first deal for Big Brother in China.

Big Star’s Little Star Vietnam

Genre: Family game show Broadcast on: VTV 3, Vietnam Broadcast date: 1 July 2015 Time slot: Saturdays, evening Original created in: U.K. Rights owner: ITV Studios Global Entertainment The pitch: Celebrity kids reveal their secrets

The Choice Thailand

Genre: Celebrity dating game show Broadcast on: Channel 7 and Channel 7 HD, Thailand Broadcast date: 3 January 2015 Time slot: Saturdays, 4.15pm5.30pm Produced by: Heliconia Entertainment Co., Ltd The rules: The format features three stages of competition and involves four single celebrity contestants competing to fill teams of three possible dates. The show includes a blind audition feature.

Dance Singapore Dance

Genre: Dance competition show Broadcast on: Zee TV, Sensasi, Zee Tamish Broadcast date: June 2015 Produced by: Zee TV Original created in: India Rights owner: Zee Entertainment Enterprises Distributed in Asia by: Zee TV The pitch: 15 participants are shortlisted by an international panel of judges. These top 15 will train with some of the industry’s best choreographers.

Dancing with the Stars Cambodia (Strictly Come Dancing)

Genre: Entertainment, talent Broadcast on: CTN, Cambodia Broadcast date: End of May 2015 Time slot: Primetime, weekends Produced by: Cambodian Broadcasting Service Co, Ltd Original created in: U.K. Rights owner: BBC Worldwide The pitch: Well-known celebrities are paired with professional

ballroom dancers, who each week compete by performing one or more choreographed routines. The couple with the lowest combined score provided by the judges and viewers is eliminated. This continues until one couple is declared the champion.

Deal Or No Deal Myanmar

Genre: Game show Broadcast date: 5 January 2015 Time slot: Fridays, 6pm-8pm Created by: Endemol Netherlands Rights owner: Endemol Shine Group The pitch: 22 people are each given a box with varying amounts of cash. In every episode, one person plays for the big prize by eliminating boxes. An unseen opponent – ‘the Banker’ – offers players cash to buy back their box and they must decide whether to play on or accept the deal.

NTENT ASIA

Genre: Competition series Broadcast on: Food Network Broadcast date: Premiering on 7 April 2015 Length: 6 episodes x 30 mins Time slot: Tuesday, 8pm Created by: Scripps Networks Interactive Produced in Asia by: Endemol Southeast Asia Rights owner/Asia distribution: Scripps Networks Interactive The pitch: Host Michele Lean visits Singapore and Malaysia to seek out renowned local food establishments that serve the same signature dish, to battle it out head to head for the title of the “Best of the Best” in town.

Gogglebox China

Deal Or No Deal Philippines (Kapamilya Deal or No Deal)

Genre: Game show Broadcast on: ABS-CBN Channel 2, Channel 23 Broadcast date: 2015 Time slot: Weekly Produced by: ABS-CBN Corporation Created by: Endemol Netherlands Rights owner/Asia distribution: Endemol Shine Group

Everybody Loves Raymond

Genre: Sitcom Broadcast on: Star Plus, India Broadcast date: 2015, 108 episodes Time slot: Monday-Saturday Produced by: DJs Rights owner/Asia distribution: Sony Pictures Television The pitch: Indian version of longrunning U.S. sitcom about many situations that are based on the real-life experience of Ray Romano, creator/producer Phil Rosenthal and the show’s writing staff.

Food Wars Asia

Genre: Entertainment Broadcast on: Jiangsu TV China Broadcast date: Q1 2015 Time slot: Prime time Produced by: Studio Lambert Original created in: U.K. Rights owner: all3media International The pitch: Highlights of the week’s television, intercut with footage of ordinary people watching it at home. Viewers see not only diverse reactions to the week’s biggest soap storyline or high-end drama, but also to the country’s sporting events and unfolding news stories. The show features the same characters every week. Gogglebox provokes conversation not only about what’s on the screen but also what’s happening in viewers’ lives.

Gogglebox Korea

Genre: Entertainment Broadcast on: Korean Broadcasting System (KBS). The English translation of the Korean title is “Determined to Watch the Premier”. Broadcast date: 8 January 201512 February 2015 Time slot: 8.55pm-10pm Produced by: KBS’ Jisun Youm, Jakjunghago Bonbangsasu Original created in: U.K.

issue one, april 2015

Rights owner: all3media Int’l The pitch: Highlights of the week’s television, intercut with footage of ordinary people watching it at home.

Hidden Passion (Pasion de Amor/ Pasión de Gavilanes)

Gogglebox Mongolia

Genre: Entertainment Broadcast on: Mongol TV Broadcast date: March 2015 Produced by: Mongol TV Original created in: U.K. Rights owner: all3media Int’l

Gossip Girl Thailand

Genre: Teen drama Broadcast date: 2015 Original created in: U.S. Produced by: Kantana Group Public Company Limited Distributed in Asia by: Warner Bros The pitch: Lives and times of privileged students at an exclusive private school. The series ran in the U.S. for six seasons.

Got Talent Laos

Genre: Talent reality contest Broadcast on: LNTV3 Broadcast date: Not available yet Distributed in Asia by: FremantleMedia International Other things you might like to know: Got Talent has also been sold to broadcasters in Myanmar and Cambodia as part of a slate of 25 formats sold in seven Asian markets last year. FremantleMedia International says this is the first time a major international format has been sold to Laos.

Hell’s Kitchen Indonesia

Genre: Reality entertainment Broadcast on: SCTV Broadcast date: 3 January 2015 Time slot: Saturdays, 10.30pm Produced by: FremantleMedia Asia Original created in: U.K. Who owns the rights: ITV Studios Global Entertainment The pitch: A terrifying chef attempts to instill his love of food into a group of competing amateur chefs.

issue one, april 2015

formatsQ22015

NTENT ASIA

Produced by: United Studios Israel Rights owner: Armoza Formats The pitch: Each week a team of doctors visits a family and forces them to take a close look at how their lifestyle is affecting their health.

How Do I Look? Asia

Genre: Telenovela Broadcast on: In production for ABS-CBN Philippines, BHD Vietnam Produced by: Telemundo Studios Rights owner: Telemundo Studios The pitch: Three brothers arrive to work at the home of their deceased sister’s lover, who died with her in an accident. They have every intention of wreaking revenge. But they fall madly in love with his daughters, ruining all their plans.

High School Band, Thailand

Genre: Makeover reality show Broadcast on: Diva Broadcast date: Scheduled for the third quarter of 2015 Length: Eight episodes Time slot: Not yet available Produced by: NBCUniversalowned Matchbox Asia Original created in: U.S. The pitch: The format follows a professional stylist who helps style-challenged participants to get a fresh, new look through fun and glamorous makeovers. An appearance by U.S. host Jeannie Mai has been promised in every episode; this is likely to be via video link rather than live given Mai’s new daily talk/variety show The Real in the U.S.

I Can Do That!

Genre: Entertainment Broadcast on: ThaiTV3 Broadcast Date: 9 May 2015, finale scheduled for 1 August 2015 Length: 13 episodes x 60 mins Time slot: Saturdays, 10am Produced by: Jointly produced by TV3’s programme acquisition exec Art Kaneearch and local production house Sawasdeekrab2507’s Songwut Original created by: TV3’s Art Kaneearch Rights owner: ThaiTV3 The pitch: A call to youngsters, teens, rockers and pop boy band and girl groups who want to show off their passion for a Korean hit or a billboard ballad to more than just friends in school. Finalists will be offered a one-year internship with organising broadcasters.

House Call, China

Genre: Factual Broadcast on: China Central Television (CCTV) Broadcast date: To be confirmed Time slot: Weekly prime time

Genre: Prime-time studio entertainment Broadcast on: JSBC, China Broadcast date: Early 2015 Time slot: Weekly, prime time Produced by: Armoza Formats in partnership with JSBC Rights owner: Armoza The pitch: Eight celebrities are challenged to perform breathtaking live acts and prove that if you just give them a week, there’s nothing they can’t do. Viewers judge who does best.

Indian Idol Junior 2

Genre: Talent hunt Broadcast on: Sony Entertainment Television India Broadcast date: Season 2 audition starts on 4 April 2015. Indian Idol Junior season one ran in 2013. Commissioning editor: Ajay Bhalwankar Produced by: Fremantlemedia TV Productions Pvt Ltd

Original created in: U.K. Rights owner: FremantleMedia/19 The pitch: Search for a kid singer from across India.

The Kids Are All Right Myanmar Genre: Family game show Broadcast on: TV3 Broadcast date: 2015 Produced by: Thai BEC Tero Original created in: Endemol U.K. Rights owner: Endemol Shine The pitch: Seven ‘super kids’ stand between four adults and cash prizes that could be theirs – if they can get past the smart young team aged between nine and 15 whose goal it is to see them go home with nothing.

The Kids Are All Right Thailand

Genre: Family game show Broadcast on: Channel 3, Thailand Broadcast date: 2015 Produced by: The Bangkok Entertainment Co. Ltd (owned by BecTero) Original created in: Endemol U.K. Who owns the rights: Endemol

Let’s Eat

Genre: Scripted format, romantic comedy Broadcast on: tvN, Korea Broadcast date: Premiered 28 November 2013, ongoing through 2014. Season 2 premiere April 2015 Time slot: Thursdays, 11pm Commissioned by: Park Jong Hoon, Park Joon Hwa Produced by: tvN Original created in: South Korea Rights Owner: CJ E&M The pitch: A hybrid drama from director/creator Park Joon Hwa, who created Korea’s longest running drama hit Mean Lady. The story delves into the lives of four single people – neighbours living on their own, hungry for food and love. Their common ground is that they are foodies. When a murder occurs in their neighborhood, how will their lives change?

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Love In The Wild Vietnam

Genre: Reality Broadcast on: VTV 6, Vietnam Broadcast date: March 2015 Time slot: Fridays, 9pm-10pm Produced by: TVPlus Company Ltd Original created by: Endemol U.S.A. Who owns the rights: Endemol The pitch: Singletons journey to a tropical paradise to find that special someone.

Mad About You, China

Genre: Sitcom Co-production partners: Huaso Film/TV Digital Production (jointventure production company of Sony Pictures Television and CCTV6’s HuaCheng Pictures), and Croton Media Broadcast on & date: Production scheduled to begin in early 2015. Channel and broadcast date have not been confirmed. Original created in: U.S. Who owns the rights: Sony Pictures Television The pitch: A newlywed couple tries to maintain marital bliss despite the demands of city life, career, families and friends.

MasterChef Asia

Genre: Cooking competition Broadcast on: Lifetime, A+E Networks Asia Broadcast date: 2015 Length: 15 episodes Produced by: Endemol SEA Original created in: U.K. Rights owner: Endemol Shine Pitch: Amateur cooks compete to be the first MasterChef Asia What else? A+E Networks Asia’s most significant commission ever

MasterChef Cambodia

Genre: Cooking show Broadcast on: CTN Broadcast date: Q3 2016 Produced by: CTN Original created in: U.K. Rights owner: Endemol Shine The pitch: Chefs go knife-to-knife in a battle for kitchen supremacy.

MasterChef India 4

Genre: Cooking show Broadcast on: Star Plus, India Broadcast date: Premiered on 26 January 2015 Time slot: Saturdays, Sundays, 9pm Produced by: Colosceum Media, India Original created in: U.K. Rights owner: Endemol Shine Group The pitch: Chefs go knife-to-knife in a battle for kitchen supremacy. What else? Season one aired from October to December 2010. Season two aired from October 2011, in the same 9pm slot on Saturdays and Sundays. Season three followed in March 2013.

Master Class China (音乐大师课/Yin Yue Da Shi Ke)

Genre: Entertainment Broadcaster: BTV Beijing Satellite TV Broadcast date: Premiered 24 January 2015 Produced by: Beijing 3C Media Creative International Culture Media Co Ltd Rights owner: Keshet International The pitch: Children’s talent show with all-time classic songs, only positive reviews and no eliminations

Mom Vote For Me! China

Genre: Singing talent competition Broadcast on: To be announced Broadcast date: 2015 Time slot: Access prime Produced by: Beijing Enlight Media Original created in: Spain Distributed in Asia by: Global Agency The pitch: Young singers between 18 and 30 years old compete before a panel made up of their mothers.

The Money Drop Indonesia Genre: Game show Broadcast on: Kompas TV, Indonesia Broadcast date: 2015 Time slot: To be confirmed Produced by: Kompas TV

The Money Drop Thailand

issue one, april 2015

ntent

Formats Outlook 2015 The where, when, what, why and how of Formats in Asia. Please contact Aqilah at aqilah@contentasia.tv or +65 6846-5985 to add your formats deals and productions in Asia www.contentasia.tv @Contentasia Facebook/Contentasia

Genre: Game show Broadcast on: BBTV 7, Thailand Broadcast date: Season one premiered on 2 August 2014, with the finale in the third week of January 2015. Season two will run straight on in the same timeslot. Time slot: Saturdays/Sundays, 6pm-6.30pm Rights owner: Endemol Shine Produced by: Zense Entertainment

Old Enough (第一次任务)

Genre: Docu-entertainment Broadcast on: Qinghai Satellite TV, China Broadcast date: Season two aired on 23 November 2014-22 February 2015. Season one premiered Sunday, 13 October 2013. Time slot: Sundays, 9.10pm Distributed in Asia by: Nippon TV Japan Produced by: Qinghai Satellite TV’s in-house production team

Prisoners of War

Genre: Drama Broadcast on: No details of when or where the show will air in Korea had been released by March 2015 Produced by: Star J, Youngbeom Jeong, Sebastian Lee and Teddy Zee. Nam-gil is attached to star. Who owns the rights: Keshet Int’l The pitch: Two soldiers attempt to re-adjust to their lives after returning home from 17 years in captivity. Based on the original drama remade in the U.S. as Homeland. Other things you might like to know: This deal has been around since February 2014, when Keshet originally said Korea’s Star J Entertainment had bought format rights for a local version of Prisoners of War for Korea. Books have opened on whether it will actually happen...

The Remix Vietnam

Genre: DJ, singing talent contest Broadcast on: VTV3 Broadcast date: 25 January 2015 Time slot: Sunday, 9.10pm Produced by: Cattiensa Original created in: India by Greymatter Entertainment Distributed in Asia by: Global Agency The pitch: Live music reality show. DJs and singers pair up and compete over 15 weeks for a money prize and the chance to cut their own album with a music label.

issue one, april 2015

formatsQ22015

NTENT ASIA

The School (青春校园)

Genre: Factual entertainment Broadcast on: Hunan TV, China Broadcast date: Commissioned 2014, to air in 2015 Time slot: To be confirmed Produced by: Hunan TV Original created in: Twofour, U.K. Rights owner: Endemol Shine The pitch: A look at life behind the school gate. Fitting in, falling out, exam pressure, peer pressure, first love and last chances...

Sing Again Korea

Genre: Musical drama Broadcast on: Mnet Korea Broadcast Date: Premiered on 9 January 2015, finale airs on 27 March 2015 Length: 12 episodes Time slot: Fridays, 11pm Produced by: CJ E&M and Kim Yong Bum Original by: Kim Yong Bum Rights owner: CJ E&M The pitch: Seven friends passionate about music/singing hope to become K-pop stars.

Sing My Song Vietnam

Genre: Music talent format Broadcast on: VTV 3, Vietnam Broadcast date: A 10-episode local version has been commissioned and will air in early 2016 Produced by: Cattiensa Media Original created in: China Who owns the rights: Star China/ Starry Production The pitch: Studio-based song contest, searching for the best original songs in the nation

Singer Takes It All, Thailand Genre: Singing game show Broadcast details: TBA

Time slot: Twice weekly Produced by: Zense Entertainment Original created in: U.K. Rights owned by: Endemol Shine The pitch: Viewers at home take control of a singing game show, becoming both judge and jury via a real-time interactive app.

SPY Korea (MICE/The Gordin Cell)

Genre: Spy drama Broadcast on: KBS2, Korea Broadcast date: 9 January 201527 February 2015 Time slot: Fridays, 9.30pm Produced by: IMTV for Korean Broadcasting System (KBS) Who owns the rights: Keshet International U.K. The pitch: A family drama with spy thriller elements, starring Kim Jaejoong as a genius analyst working for the National Intelligence Service whose mother is an ex-spy from North Korea.

Super Star Ding Dong

Genre: Musical game show Broadcast on: CCTV China Broadcast: Ongoing since 2013 Slot: Monday nights, 7.30pm-9pm Produced by: In-house with support from Idea Asia Media Original created in: Ireland, Vision Independent Productions (VIP) Rights owner: Banijay Int’l The pitch: Eight closed doors, each with a doorbell that chimes out a popular song. Can the contestants recognise hit tunes in this wacky form?

Thailand’s Got Talent

Genre: Talent reality show Broadcast on: Channel 3 Broadcast date: June 2015

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2-4 September 2015 The Westin Singapore

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Creating whole new conversations about content in Asia

For agenda info, please contact Janine Stein at janine@contentasia.tv For sponsorship info, please contact Masliana Masron at mas@contentasia.tv or +65 6846-5988 For ticketing info, please contact CJ Yong at cj@contentasia.tv or +65 6846-5987

formatsQ22015

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Slot: Sundays, 6.30pm Produced by: Workpoint Entertainment Rights owner: FremantleMedia, Syco Entertainment

on 17 January 2015. Slot: 8pm Produced by: Multimedia JSC Original created in: U.S. Rights owner: CBS Studios Int’l

Top Gear Korea series 6 (탑기어 코리아)

The Voice of the Philippines 1&2

is part of rising optimism about mainland China – and particularly mainland Chinese online platforms – as a market for foreign rights. At the same time, few expect the regulatory goalposts to stop shifting and risk-minimisation remains a priority.

Who’s Asking? Thailand

War of Money

Genre: Lifestyle Broadcast on: XTM Broadcast date: Launched in August 2011. Series six aired from 5 January 2015-15 March 2015. Time slot: Sundays, 10.50pm Length: 12 episodes Produced by: CJ E&M Original created in: U.K. Rights owner: BBC Worldwide

Ugly Betty, Thailand

Genre: Drama/comedy Broadcast details: 2015 Original created in: Colombia, Yo Soy Betty, La Fea. Adapted for the U.S. market as Ugly Betty Produced by: Kantana Group Public Company Limited The pitch: The series focuses on the life of wannabe writer Betty Suarez, who is smart, hardworking and savvy but has a different sense of style. Other things you might like to know: Drama adaptations in Asia still trail talent/game shows. Expectations are that, even if there is higher interest in 2015, the high cost of drama production remains a barrier.

Vietnam’s Next Top Model Season 5

Genre: Modelling reality show Broadcast on: VTV3 Broadcast date: Premiered on 1 November 2014. The season 5 finale was held in Ho Chi Minh City

issue one, april 2015

Genre: Singing talent show Broadcast on: ABS-CBN Broadcast date: Season two premiered on Sunday, 26 October 2014 and runs to 1 March 2015. Season one aired June-September 2013 Time slot: Season 2, Sundays, 8.30pm Original created in: Netherlands Asia/global rights: Talpa

Genre: Drama Broadcast on: Fuji TV, Japan Broadcast date: Premiered 6 January 2015 Time slot: Tuesdays, 10pm Original created in: Korea Rights owner: Seoul Broadcasting System (SBS) Korea The pitch: A revenge drama about a man who has gone from being an elite businessman to a brutal loan-shark after hitting rock bottom due to a tremendous debt his father left behind.

Welcome To The Railworld Japan

The Voice Kids China (中国好声音少年版/Zhong Guo Hao Sheng Yin Shao Nian Ban)

Genre: Talent contest Broadcast on: Youku Tudou’s Tudou platform Broadcast date: 2015 Original created in: Netherlands Commissioned by: Youku Tudou’s Tudou division Distributed in Asia by: Talpa The pitch: Talent hunt to find young singers. Spin-off of The Voice Three more things you might like to know: (1) The Voice of China Kids will retain the classic format, including blind auditions, battles and professional coaching. As the China version is on an internet platform, viewers will have the opportunity to interact with the show across multiple screens. (2) The structure of this deal has not been disclosed, but the partners indicated in November 2014 when the deal was announced that it involved a “new partnership” approach. Tudou’s exact words were: “Tudou’s cooperation with Talpa fits into the new partnership approach, designed to help build Youku Tudou’s multiscreen media and entertainment ecosystem”. (3) Tudou stepping into the bigtime original production arena

Genre: Studio game show Broadcast on: Thairath TV Broadcast date: Production starts in January 2015 Produced by: Thairath TV with TV Thunder Original created by: United Studios of Israel Asia/global rights: Armoza Formats The pitch: Fresh game show that is not just about what questions the participants must answer, but who is asking them. Whether it’s the bus driver, your doctor, or a streetwise grandma, each has a question for the contestants. In a game show where looks do matter, the contestants must follow their intuition to compete for the grand prize.

Who’s Asking? India

Genre: Original travel show Broadcast on: 8TV Broadcast date: Premiered 15 January 2015 Slot: Thursdays, 9.30pm-10pm Produced by: Primeworks Studios Rights owned by: Nippon TV Japan and Primeworks Studios Malaysia The pitch: The host, Henry Golding, travels across Japan introducing Japanese food and culture to Malaysian viewers.

Where Are We Going Dad?, China season 3

Genre: Reality Broadcast on: Hunan TV Broadcast date: Q3 2015 Time slot: To be confirmed Original created in: Korea Produced by: Hunan TV in-house production Rights owner: Hunan TV and MBC Distributed in Asia by: Hunan TV and MBC The pitch: The show features fathers and their children as they travel to rural places.

Genre: Studio game show Broadcast on: &TV Broadcast date: 2 March 2015 Time slot: Daily, 9pm Produced by: Big Synergy Original created by: United Studios of Israel Asia/global rights: Armoza Formats

Your Face Sounds Familiar Thailand

Genre: Entertainment Broadcast on: BBTV 7 Broadcast date: May 2015 Produced by: Zense Entertainment Created by: Endemol Spain Distributed in Asia: Endemol Shine

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indiasports

NTENT ASIA

Legs after wickets

India’s ad industry yawned when Star presented the Pro Kabaddi League. How wrong they were. Or were they? Vanita Kohli-Khandekar looks what happened next and why.

Star Sports Pro Kabaddi League

A big yawn. That’s how advertisers greeted Star

IPL – watched Star Sports Pro Kabaddi League. Weekly viewership was

Sports’ Pro Kabaddi League, launched in July

very close to that of Star Plus’ top-rated soap, Diya aur Baati Hum (We

last year. India is cricket crazy. Why would any-

are lamp and wick).

one spend advertising money on the assumption

And the few advertisers that betted on it, such as Pidilite, owners of the

that Indians would watch Kabaddi – a local team

adhesive brand Fevicol, are ecstatic. “We are very pleased with the rat-

sport, played without props and a game that al-

ings,” says Anil Jayraj, Pidilite’s chief marketing officer.

most no one in Metro India relates to. Star India, now worth US$1.2 billion, picked up next to nothing in ad revenues.

issue one, april 2015

Sanjay Gupta, Star India’s chief operating officer, admits the new league was “a big shot in the dark”. Kabaddi is just one of the big bets being made on sports other than

Star Sports Pro Kabaddi League turned out to

cricket as Indian broadcasters try to expand the US$7.7-billion Indian

be one of the biggest successes in Indian sports

television market. The US$600-million (FY 2014) Multi-Screen Media (Sony),

broadcasting. About 128 million Indians – just

which owns the IPL, is investing in the World Kabaddi League, FIFA, the

about half the number that saw India’s biggest

Euro Cup and Ultimate Fighting Championship, a mixed martial arts

sports event, the Indian Premier League 2014 or

event, among several other sports.

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indiasports

NTENT ASIA

What sports are Indians watching? Total TV universe - 276 million people Sport

Reach in million people 2010

2011

2012

2013

2014

Cricket

176

199

205

223

254

Soccer

155

141

137

127

215

Wrestling

120

145

158

107

162

Kabaddi

128

Car/Bike Racing

118

128

Tennis

122

119

124

Hockey

107

Golf

Basketball

Badminton

Boxing

Source: TAM data sources from broadcasters. Note: 1) Wrestling includes WWE & TNA figures. 2) 2012 data is till week 43 only. 3) Since there were five universe updates in 2013, data from the last quarter has been taken. 4) Figures of Kabaddi are of Pro Kabaddi League 2014. NBA, Multi Screen Media/Sony

“Young people are following a whole lot of

generated in advertising and pay revenues in 2013, US$575 million went to

sports outside of cricket, online. Football and fight

cricket. Only US$66 million went to all other sports combined. Of this, football

sports are popular. When we got NBA three years

got a nice chunk with wrestling, tennis and hockey coming next.

back the feeling was that basketball could not

On the other hand, on the back of the IPL, viewership of cricket has

get very popular in India. But viewership has risen

doubled from 122 million in 2008 to over 254 million in 2014. The highest

week after week,” NP Singh, Multi Screen Media’s

estimate for 10 seconds of advertising on Kabaddi is about US$800. A

chief executive, points out.

cricket test match with a much lower viewership would get US$5,600 or

“There is certainly a momentum on other sports,” agrees K. Satyanarayana, R.K. Swamy Media Group’s senior vice president. Now, “all sports channels are looking at sports outside of cricket,” Singh says.

“Everyone (in other sports) is bleeding,” says MPA vice president, Mihir Shah. Gupta dismisses these fears. “We haven’t made any money on it (Kabaddi) so far nor did the leagues and franchisees. Any business, in en-

In October 2014, within a few months of Kabad-

tertainment or otherwise has a three- to five-year period over which it

di, Star launched the Hero Indian Super League

makes money. This (Kabaddi) is no different,” he adds. Of the US$3.4 bil-

football.

lion that Star plans to invest into sports, 30%-40% is earmarked for sports

The US$743-million Zee Entertainment has also been trying to crack other sports. Rajesh Sethi, chief executive of Zee’s Ten Sports, says the firm is investing in WWE, football, golf and several other sports. Most broadcasters now have several channels each dedicated to sports other than cricket.

issue one, april 2015

more. The IPL 2014 clocked US$34,000 per 10 seconds, says one analyst.

other than cricket. That is roughly twice the size of the entire sports broadcast industry in India. Can this change how audiences and advertisers view sports? Can it increase the share of other sports in television revenues? There is a lot of evidence to suggest that some focus, marketing and investment into other sports does pay off, though not on the same scale as cricket.

That may be surprising. In spite of advertisers

When Sony secured National Basketball Association (NBA) rights three

such as Fevicol, Pro Kabaddi League, which took

years ago, popular opinion was that it was doomed. But viewership has

one year and US$34 million in investment, did not

risen from 14 million to 50 million over the last two years. Total viewership

make money.

for basketball now stands at a massive 89 million people.

Cricket generates 90% of the chatter, eyeballs and

“When we were launching our sports channel we researched what

money going to sports channels in India. Accord-

the youth (14-25) is following online and that is what prompted us to look

ing to consulting firm Media Partners Asia (MPA), of

at sports beyond cricket,” Singh says. He points to last year’s FIFA World

the US$641 million that sports broadcasting in India

Cup, which Sony broadcast. “Though it was in a different time zone in

NTENT ASIA

Brazil, people (Indians) stayed up to watch it because it was good quality football,” he says. Much of the expansion in entertainment happened by expanding the variety of programming on offer – from soaps to reality shows and lifestyle. Currently, “of the three hours that Indians spend watching TV, only seven minutes on average are spent watching sports. In the U.S. and U.K., of six hours watching television, about 45 minutes are spent on sports. There are societies that are into playing sports, we are not. If a kid wants to play, we push him to studies. There are no facilities. That is the reality of where we are. We need to change the way sports is looked at and played in India,” Gupta says. That explains why broadcasters are looking at sports beyond cricket. Football is a hot favourite and the investment is beginning to show results. Football has grown from 96 million viewers in 2008

FIFA, Sony India

to 215 million in 2014. Star decided to invest in Kabaddi in addition to football. Unlike tennis or bad-

facilities. What ISL has done in year one is make eight quality football

minton, Kabaddi needs no props, no equipment.

grounds available to players,” Shah points out.

It can be played anywhere and by anyone. That

Making sports television friendly becomes tougher for purely local

explains why there are about 3,000 Kabaddi clubs

sports. “It took one year (to get Pro Kabaddi off the ground) because

in India, Gupta says.

nobody could produce it. We had to bring in people who had done

Much of the new investment doesn’t come without a lot of heartburn, the biggest being the lack of revenue growth. Considering that cricket sees huge growth year-on-year, why do these

contact sports, knew the camera work needed, train the commentators,” Gupta says. As various sports start competing for viewership, their production quality is bound to improve.

large numbers of people watching other sports

The second reason why monetisation is an issue is the nature of the

not translate into a bigger share of the sports pie?

game. “Cricket allows frequent short breaks and therefore noticeability

There are four reasons for this, observers say.

of an ad increases. It helps build reach. Other sports are shorter, so the ad

LV. Krishnan, chief executive of Indian rating agency TAM Media Research says cricket view-

revenue potential gets restrictive,” points out Sam Balsara, chairman and managing director, Madison World.

ing “is more evolved. Many of us have played the

Third, “almost all sports are solo or peer-to peer viewing. Therefore there is a

game and have an understanding of it. In other

lot of out-of-home viewing,” Krishnan says, adding: “Digital has a huge role to

sports there hasn’t been such transcendency

play on viewership, engagement and also the ability to monetise. FIFA 2014

from playing to watching. This changes your en-

got 20 million page views on Sony Liv alone. That is a big number considering

joyment of the game on television. Also many

it reached an average of 53 million people on TV. Digital could get bigger for

other games are very good at the international

other sports, but the monetisability on digital is pathetic. So broadcasters are

level but not at local level,” he says. The ISL for

wary about investing in it and that in turn restricts the amount of money they

instance put off a lot of people with the quality of

can make. This makes for a chicken and egg situation on digital”.

football, especially since it came soon after FIFA.

The fourth is that “people get into cricket because you can become a

“The key issue in sports has always been lack

hero overnight. It may not necessarily be for the love of the game. That

of infrastructure and investment in grassroots.

kind of glamour is not there in hockey or in Kabaddi, which is a huge

The success of the broadcaster depends on how

game beyond the metros,” points out Satyanarayana. That in turn af-

much they push local franchisees to invest in the

fects how advertisers and TV operators view these sports.

ecosystem. For instance, IMG-Reliance which

Clearly, it will be a long time before Kabaddi or football create the kind

owns ISL, has a clause that team owners have to

of superstars that cricket has in India. But the process has begun. – twitter.

invest a percentage of revenues into improving

com/vanitakohlik

issue one, april 2015

innumbers

NTENT ASIA

65% Malaysia’s air and natural disasters last year had a dramatic impact on the country’s TV ad revenues. Dominant free-TV player Media Prima said “tragic airlines

The Walking Dead. Fox International Channels

10x

incidents” and “the Uday Shankar, Star India

US$400m

Star India’s US$400-million acquisition of the four-channel Maa Television Network ramps up the fight for audiences in India’s South, consolidating rivalry in the region to the country’s big three programmers – Star, Zee and Viacom18. The deal also focuses attention on market leader Sun TV, which insiders say needs to align with a larger player to stay relevant. Sony could be a contender. Maa TV dominates the Telugu-speaking Andhra Pradesh state with a topline estimated at over US$50 million and an operating profit of US$17 million. Star India CEO, Uday Shankar, says “getting into Andhra Pradesh is part of our unfinished agenda”. Maa channels bring Star India’s channel tally to 44.

worst flood the country had seen in many years” were among the factors that resulted in “advertisers being more cautious over advertisements placed”. Media Prima’s profits last year were down 65% to RM77 million/US$22 million. The dominant free-TV broadcaster is also presenting a bleak outlook for 2015, pointing to

Fox International Channels’ (FIC) return of The Walking Dead beat previous seasons across four markets in Asia with ratings as high as 10 times up on past records. FIC said ratings for the second part of season five in the Philippines, Singapore, Taiwan and Korea were significantly up on season four. In Korea, the season five part two premiere achieved 10 times the ratings of the season four part two premiere in 2014 among audiences aged 18-49 with pay TV, according to Nielsen Korea data provided by FIC. The second part of season five premiered on Fox channel’s prime time on 9 February, within 24 hours of the U.S.

“lower anticipated GDP growth, prevailing low oil prices and the implementation of Goods and Ser-

US$12.4b Asia Pacific online video revenue

vices Tax (GST)

will hit US$12.4 billion by 2020,

in the year”.

according to a new report

$4.50

from Media Partners Asia

The monthly subscription for Singtel/Globe

(MPA). The Asia Pacific Online

Telecom’s new OTT player, Hooq, in the

Video Distribution 2015 report

Philippines. Pricing for other Hooqs around the region – including India and Indonesia – has not been confirmed, but is likely to be

Vivek Couto, Media Partners Asia

about US$3.

for online video services across 13 countries in Asia Pacific will grow from

US$383m

China’s e-commerce giant Alibaba Group has acquired a RMB2.4 billion/US$383 million stake in mainland production company Beijing Enlight Media. The acquisition follows Alibaba’s US$3-billion bet on ChinaVision, Youku Tudou and production giant Huayi Brothers. Beijing Enlight is best known for box office hit Lost in Thailand (2013). issue one, april 2015

indicates that the total market

US$3.5 billion in net revenues in 2014, representing an average annual growth of 23.5%. But it’s early days for the legal consumption of OTT services in Asia Pacific, and monetisation models are “nascent” in most countries, says MPA executive director Vivek Couto.

US$28b ... the value of mobile phone handset sales in China in the fourth quarter of 2014. The US$28 billion represents a 21% increase year on year, which research company GfK says is the highest ever quarterly figure. Unit sales are, however, flat, although GfK says China will remain the biggest market in terms of both unit and value sales in the foreseeable future.

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