ContentAsia December 2015 by ContentAsia

issue six 2015

c C Sony Pictures’ Andrea Wong

NTENT ntentASIA Workpoint Entertainment’s Chalakorn Panyashom

Great Minds. Twisted Crimes. Houdini & Doyle

A new one-hour drama series Sony Pictures Television

PLUS: Asia formats leaders 4K – ready, steady, oh hold on The great adaptors: Asia’s newsmakers

“A dark, edgy brilliantly satiric show” - Examiner “Addictive” - NY Times “Wickedly Entertaining” - US Weekly

“Splendidly realized drama” - Los Angeles Times “It’s twisted, compulsive viewing” - The Observer “The best summer show on TV” - Playboy “The real deal” - Variety “A real game-changer” - ET Online “Biting” - The Sun “Compelling” - Indiewire

UnREAL Renewed for Season 2 A+E Studios International An A+E Networks Brand

A Resounding Success in Malaysia and the Philippines and Coming back Bigger and Tougher in 2016

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Aaron Aziz R U Tough Enough? Ambassador Malaysia

Daniel Matsunaga R U Tough Enough? Amabasaddor Philippines

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For branded contact integration, contact: Nadia Hwang (nadia.hwang@celestialtiger.com) and Magdalene Cheung (Magdalene_cheung@ celestialtiger.com)

issue six 2015

c C Sony Pictures’ Andrea Wong

NTENT ntentASIA Workpoint Entertainment’s Chalakorn Panyashom

PLUS: Asia formats leaders 4K – ready, steady, oh hold on The great adaptors: Asia’s newsmakers

editor’snote

NTENT ASIA

#turning10 #whatsnext ContentAsia turns 10 in 2016. That’s 228 newsletters by our birthday

Women and Fox International Channels (FIC).

on 6 March 2016. 55 print magazines, plus specials and supplements

We’re out and about again on 3 December at

focusing on kids, docs and formats. 10 issues of the annual The Big

the Celebrating Women in Asia Media Cham-

List directory. Squillions of dailies. Zillions of words. Online. Mobile. In

pagne breakfast, hosted by HBO Asia and

print. Everywhere. And, of course, seven editions of the ContentAsia

ContentAsia Women.

Summit, which this year was more than 300% bigger in every way than

And we’re moving forward into 2016 with a

in year one. Plus three editions of the annual Asia Media Woman of

regular section highlighting women producers,

the Year awards.

directors, filmmakers and screenwriters in Asia.

Everything we have done and been (and will continue to do and

This is part of an ongoing platform that will sup-

be) is and has been 110% focused on Asia. Actually, make that 1010%.

port initiatives such as Lifetime’s Broad Focus,

It’s a fixed and fabulous genetic sequence. The evolution has been to

which is designed to provide more opportunities

add depth and breadth, not to lose focus.

for women behind the camera.

Have we done a good job? Hopefully, but that’s for you, rather than

mirrors the situation in the U.S., where women

for me, to say. How are we celebrating? There’s a party, of course. What else? Well,

have dramatically stepped up their campaign

I could recap the highs and lows of the past decade, the spectacular

for a bigger share of everything. This is in re-

industry successes and failures, the hopes dreams and wishes that

sponse to an industry proven to be sexist and

did or didn’t come true. I could marvel at the rise of a connected

discriminatory on multiple levels. Supporting

environment, the muscle of China, and the crazy of India. I

them is a growing body of data that proves

could do the same for Indonesia, Malaysia, the Philippines,

how low women’s participation in blockbuster

Thailand, Singapore. Or Japan, Korea, Taiwan, Hong

filmmaking really is. We don’t have anything of

Kong. I could pick out the best quotes from past is-

the kind in Asia. Yet.

sues. I could look at rising and fallen stars, peer into

Anecdotally, women play a strong role in

the good, the bad and the ugly of an industry that

shaping Asia’s content/creative environment.

informs and entertains a third of the world’s popula-

But, for instance, just look at who’s directing

tion. And I will... over the next 12 months. For now, though, I would prefer to give you a heads up on some of what’s coming as we move into decade two.

Korea’s top movies. All men. Who is running broadcast stations? Mostly men. The writers? Producers? We’re going to find out, and while I

In addition to our on-going commitment to covering Asia’s most im-

don’t believe for a minute we can solve the di-

portant stories, we’re stepping up our focus on women in the industry

versity problem with the information, it’s a start.

in Asia. It’s not different to what we’ve been doing for years. Just more

Plus it’s the kind of great, useful, story I love.

and higher profile, and under the new ContentAsia Women banner.

And on that note, thank you for sticking with

ContentAsia Women was unveiled in September this year at the

us. Happy holidays! And here’s to the next suc-

Asia Media Woman of the Year dinner co-hosted by ContentAsia

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 Online/Digital Emily Seibel emily@contentasia.tv Design Rae Yong

We have no way of knowing whether Asia

cessful 10 years for all of us!

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) 091/11/2015 Printed by: Print Dynamics (S) Pte Ltd 123 Genting Lane, #02-01, Singapore 349574

Published by: Pencil Media Pte Ltd l 730A Geylang Road, Singapore 389641 l T: +65 6846 5985 l W: www.contentasia.tv

issue six, december 2015

Between good cop and bad cop, there are… Shades of Blue Justin Che JUSTIN CHE MD, Distribution & Networks Asia Pacific Justin.Che@nbcuni.com RAJIV DHAWN SVP, Sales Liaison Asia Rajiv.Dhawn@nbcuni.com JIANBO WEI VP, Sales Liaison China Jianbo.Wei@nbcuni.com ATSUSHI MIYASAKA VP, Sales Liaison Japan, Korea Atsushi.Miyasaka@nbcuni.com BARRY CHOI Director, Sales Liaison Korea Bumsun.Choi@nbcuni.com MIKE MENDELSOHN Director, Sales Liaison Brunei, Cambodia, Laos, Malaysia, Myanmar, Philippines, Thailand Mike.Mendelsohn@nbcuni.com SHREYA KAPDI Director, Sales Liaison South Asia, Indonesia, Singapore, Vietnam Shreya.Kapdi@nbcuni.com KUNAL SHAH Director, Sales Liaison South Asia Kunal.Shah@nbcuni.com CHRIS TAYLOR MD, Distribution & Networks Australia, New Zealand Chris.Taylor@nbcuni.com JESSY TSE Director, Sales Liaison JUSTIN CHEPan Asia, Hong Kong, Taiwan RAJIV DHAWN Jessy.Tse@nbcuni.com SVP, Sales Liaison MD, Distribution & Networks Asia Pacific Asia MARTINE DRUELLE IRELAND Justin.Che@nbcuni.com Rajiv.Dhawn@nbcuni.com

VP, Sales Liaison Australia, New Zealand BARRY CHOI MIKE MENDELSOHN Martine.Druelle@nbcuni.com Director, Sales Liaison

Director, Sales Liaison Korea Brunei, Cambodia, Laos, Malaysia, See you at ATF! Myanmar, Philippines, Thailand Bumsun.Choi@nbcuni.com NBCUniversal Mike.Mendelsohn@nbcuni.com

JIANBO WEI

ATSUSHI MIYASAKA

VP, Sales Liaison China Jianbo.Wei@nbcuni.com

VP, Sales Liaison Japan, Korea Atsushi.Miyasaka@nbcuni.com

SHREYA KAPDI

KUNAL SHAH

Director, Sales Liaison South Asia, Indonesia, Singapore, Vietnam Shreya.Kapdi@nbcuni.com

Director, Sales Liaison South Asia Kunal.Shah@nbcuni.com

CHRIS TAYLOR

JESSY TSE

MARTINE DRUELLE IRELAND

MD, Distribution & Networks Australia, New Zealand Chris.Taylor@nbcuni.com

Director, Sales Liaison Pan Asia, Hong Kong, Taiwan Jessy.Tse@nbcuni.com

VP, Sales Liaison Australia, New Zealand Martine.Druelle@nbcuni.com

See you at ATF!

NBCUniversal

contents

NTENT ASIA

what’s inside

What’s Saturday goingNight on Takeaway in...

Hong Kong’s PCCW Media starts

Come dine with me

sharing its streaming love around the region from 2016.

China’s streaming gold rush I’m a celebrity continues.

Hell’s kitchen

18 Interview

Viki has picked up global The rights Chase to 100 hours of Malaysian scripted Ideate Media boss, Zainir content, ramping up competiITV Studios Pretending is not the Aminullah, on development, tion for Asian content as a slew of more development & developstreaming platforms dig in. On Air ment above all.

Content is moving across the world in a way it hasn’t in the past and that will continue.”

Interview: Andrea Wong

2016 is looking good for Sony Pictures Television’s production business in Asia. Four original shows on three networks in Australia. Its first scripted original production on air in China and a drama co-pro in development. Plus a local version of Everybody Loves Raymond on air in India. And an eye out for ways to add to a production business that already covers 18 production houses in 11

same as being

countries. Against this backdrop, international production head Andrea Wong talks about what’s first and foremost.

Andrea Wong Sony Pictures Television/ Sony Pictures Entertainment

Everybody Loves Raymond, India

page 20

Users want to keep up with the Workpoint most current Thailand’s Workpoint is the postcontent in a channel for successful digital way that’s rele- erbroadcasting. Chief operating vant for them.” officer, Chalakorn Panyashom, Janice Lee, PCCW Media Group

page 12

Audiences are more diverse and young people who grew up on YouTube are used to being able to access content anywhere regardless of origination.” Tammy Nam, Viki

page 14

issue six, december 2015

talks about the advantages of three decades of experience in capturing eyes, hearts and ad dollars in tackling a fledgling industry.

It depends on your content, your ratings and your market share... this is the very simple way to do business in Thailand.” Chalakorn Panyashom, Workpoint TV

page 26

contents

NTENT ASIA

Jago: A Life Under Water

News World Order

New Year Resolution

The Indian online news space is

4K is everywhere. Who’s watching? A fraction of the people who would if they could, say the people and companies driving new definitions of what video images should look like.

seeing a new breed of original content websites. Can they redefine both journalism and the business of news?

The biggest difference between today’s demand and last year’s is in commitment. In previous years there was talk about 4K, but not any real serious commitment, but this year, almost everyone I talk to has asked for 4K availability.”

Tim Sebastian, Conflict Zone

Genre report: news Perhaps more than anyone, local and global news bosses have had to re-engineer the way they think, work and report.

Greg Ang, Gang TV

page 36

Rishi Jaitly, Twitter’s vice presi-

A look at Asia’s top formats

dent, media, for Asia Pacific

trends as the biggest year

Tweet life and the Middle East, talks about keeping track of news “with a lower case n”, the world’s larg-

A Year in Formats of formats production ever draws to a close. Plus rank-

est couch, and what his job re-

ings of rights owners with the

ally means.

most titles on air in 2015.

Outlook @theATF

2015

SG50 As Singapore’s year-long 50th

The Big List sneak peek

anniversary celebrations draw to a close, ContentAsia looks at some of the energy that went into marking the milestone.

sneak peek!

Who’s selling what... • Sony Pictures Television • Talpa Global • Gusto TV • 9story Media Group • Alfred Haber Distribution, Inc. • Beyond Distribution • CAKE Distribution • Picture Box Distribution Inc.

issue six, december 2015

Formats

69/80

ContentAsia’s annual directory, The Big List 2016 will be published in January, covering 17 countries and more than 90 broadcasters, as well as programme distributors, producers, satellite operators and tech companies. Here’s the sneak peek...

106 In Numbers Who spent $250 million+ on sports rights? What 24 hours means to young people in Singapore? And the US$64.4 billion tag being put on China. Plus other numbers fit to count as 2015 draws to a close.

Telenovela HD 120 x 1Hr

WHO IS WHO?

Pretending is not the same as being

ATF 2015 December 2-4 Stand E29 Marina Bay Sands Singapore telemundointernacional.tv

Telemundo Internacional

A division of NBCUniversal

Telenovela HD 120 x 1Hr Who is who?

ot n s i g n di Preten

ATF 2015 December 2-4 Stand E29 Marina Bay Sands Singapore telemundointernacional.tv

being s a e m the sa

what’sgoingonin...

NTENT ASIA

on demand

Rooms with a Viu Hong Kong’s PCCW starts sharing its streaming love around the region from 2016 with a mobile platform that has a major advantage over everyone else in Asia with a mobile wing and an OTT prayer – rights to a whole lot of Korean drama that it is offering for free, some with subtitles eight hours after the Korean telecast. And with a download-to-go option.

Janice Lee, PCCW Media Group, Lofai Lo, HKTVE

The Viu OTT video platform, which launched in Hong Kong at the end of October, rolls out in Singapore at the end of this year or early in 2016 and expands to another eight markets – including India and the Middle East – in 2016. The freemium service offers a slate of language-customised Korean content express from Korea along with titles from Japan, mainland China and Taiwan. Titles include new KBS’ Joseon Dynasty historical drama The Merchant: Gaekju

Meanwhile... On home ground, PCCW is working the Viu

“People and humanity are at the core of VuiTV,” is one of the rallying cries.

(2015), which premiered in Korea at the end

brand hard. Subsidiary, HK Television Entertain-

of September; MBC’s romantic comedy She

ment Company Limited (HKTVE), rolls out its

Was Pretty; and medical drama D-Day, set

new domestic free-TV channel in 2016 under

sion: “ViuTV is committed to driving the

the same banner.

continuous development and sustainability

in Seoul in the aftermath of a natural disaster that paralyses the city. “Users want to keep up with the most

The Cantonese digital channel, ViuTV, is

Lo’s message was one of creative inclu-

of Hong Kong’s TV industry,” he said add-

current content in a way that’s relevant for

expected to soft launch by the end of March

ing: “Backed by a creative and professional

them,” says Janice Lee, managing director of

2016, with the full channel up and running,

production team, ViuTV aims to establish itself

using hard-won spectrum, by April.

as an open platform for creative individuals

PCCW Media. Lee says the OTT video service, built on PCCW’s acquisition of video streaming plat-

Channel bosses have begun talking about

and teams from Hong Kong and elsewhere

form Vuclip earlier this year, capitalises on the

programming (a mass market mix of news,

around the world who are interested in

paradigm shift in users’ viewing habits and

ﬁnancial, sports, drama, variety and culture)

producing brand new programming content

and the original factual entertainment with

with ViuTV through different forms of cooper-

which it plans to take on rivals.

ation, whether they are artistes or production

demands. Viu also leverages the group’s strong content providers’ network, telco relationships and patented adaptive streaming technology. “We expect signiﬁcant interest from users who will become premium subscribers as well as advertisers keen to reach the mass millennial generation, which remains a captive engaged audience for Viu OTT video

Among these is Travel with Rivals, where artistes and celebrities “travel in pairs and

members, veterans or novices”. He went on to welcome talent from all

express their innermost feelings throughout

backgrounds and sectors and said ViuTV

the journey”.

“encourages different genres and production

During the launch in Hong Kong, HKTVE

parameters”. ViuTV will also be seeking global exposure.

service,” Lee says, adding that the balance

general manager, Lofai Lo, said the goal was

between free/advertising supported and

a “comprehensive and quality channel for

Lo said in house format, Agora, had already

Hong Kong people”.

been sold to Japan.

premium/subscription will differ market by market across the region.

issue six, december 2015

In a world without guns, fighting is an art

Into the badlands

AMC

New Episods Same time As U.S.

Mondays 10:00 BKK/JKT 11:00 HK/SIN

Same day encore 21:00 BKK/JKT 22:00 HK/SIN

www.amctvasia.com

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愀洀挀琀瘀愀猀椀愀

䀀愀洀挀琀瘀愀猀椀愀

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what’sgoingonin...

NTENT ASIA

on demand

Viki eyes Southeast Asia content “Our model has always

Streaming platform Viki has picked up

more diverse and young peo-

global rights to almost 100 hours of Malaysian

ple who grew up on YouTube

scripted content from Kuala Lumpur-based

are used to being able to access

production house Primeworks, ramping up

content anywhere regardless of

competition for Asian content as a slew of

origination,” she says, adding: “We have

regional on-demand streaming platforms –

a fairly good predictive analysis of which new

out their digital strategies. “The market that is

including Netﬂix – prepare to do battle.

genres may be popular in which regions of

easiest for them to focus on is domestic,” she

the world”.

says. While they do that, Viki is happy with the

The Malaysia deal, announced in November, is Viki’s ﬁrst in the country, and follows

been out of the home country,” she says. This allows Viki Tammy Nam

In about six weeks on Viki, I Miss You 200%

the platform’s focus on Korean and Taiwan-

(2014) was subtitled in seven languages, in-

ese content, as well as its ﬁrst original drama

cluding Swedish, Spanish and German. Nam

series set between Asia and the U.S.

says that is encouraging for a non-current

The deal gives Primeworks what could be its most signiﬁcant global exposure in a market

title in a niche segment. Crowd-sourced subtitlers usually work off

dominated by Korean and Chinese drama,

the English scripts. Viki’s most popular

with rising interest in series from Japan, India

show, Korean drama Boys Over

and Taiwan. Viki’s most popular shows are

Flowers, has been subtitled in 80

from Korea, China, Japan and India.

languages. Korea, Japanese,

Among the Malaysian titles exclusive to Viki

Chinese and English shows tend

are I Miss You 200% (Rindu Awak 200%), the

to get subtitled fastest. A current

biggest Malay drama of 2014, and the 28-epi-

Korean show may be subtitled in

sode, Ariana Rose. Other titles are Autumn

seven languages in 24 hours.

in My Heart seasons one and two, and And

Nam says Malaysia and other

the Nominees Are, along with digital sitcoms

Southeast Asian markets have

made for Malaysia broadcaster Media Prima’s

been in Viki’s cross hairs for a

online platform, tonton.com.my.

while. “There’s a lot of move-

The Malaysia acquisitions are a natural ex-

ment and cross-pollination of

tension for Viki. “Our strength on the content

content types in Southeast

side has always been Asia,” says Viki chief

Asia,” she says. “It’s a new

executive Tammy Nam.

area for us. We want to experi-

In May this year, Viki picked up exclusive U.S./Americas rights for Taiwanese political drama Youth Power from Taiwan’s TVBS,

ment and see how it goes,” she adds. Viki’s largest viewing

adding to the 900 hours of Taiwanese enter-

regions are the Americas

tainment from six major broadcasters that it

and Europe. Nam says

acquired in February.

one of Viki’s

In the 12 months to May 2015, 18% of

advantages

content added to Viki.com was from Taiwan;

is that it buys

almost 30% was from Korea.

rights outside

Nam says audiences are increasingly open to international content. “Audiences are

of domestic markets.

issue six, december 2015 I Miss You 200%

to bypass rights in markets where content partners are still trying to ﬁgure

rest of the world.

Bumbling

Couch

Potato

Bumbling

or Hidden

Couch Potato or Hidden

Adventurer

Adventurer?

A fearful, couch potato who has led a sheltered urban life is challenged to take on outdoor adventures. In The Reluctant Outdoorsman, Derek takes an expected journey filled with emotion, frustration and comedic misadventures.

WhatsYourstory

Outdoor Channel

WhatsYourstory

what’sgoingonin...

NTENT ASIA

china on demand

All that glitters lected new series from both CBC

China’s streaming gold rush

and Showtime. Titles or number

moves into 2016 at full tilt, sweeping across every genre,

of hours involved were not dis-

carrying thousands of hours of

closed. CBS has also not said

U.S. content in its wake, and

what the streaming release

mirroring hyper-activity in the

window is. Paramount Pictures, mean-

feature ﬁlm production space.

while, seems to have hit paydirt

In the two months between

in an exclusive TVOD/SVOD

Mipcom in Cannes in October

movie deal with Tencent Video

and the ATF in Singapore in De-

for new movie releases – includ-

cember, North American distributors announced thousands of hours

ing Star Trek Beyond – in China. The

worth of licensing deals for China’s

deal kicks off in April 2016 and covers Paramount feature ﬁlms for 12 months af-

online platforms.

ter their theatrical release. Tencent will also

All that glitters may not be gold though. Although distributors say they’re getting real

offer Teenage Mutant Ninja Turtles: Out of the

licensing money out of China, some say rates

Shadows and Jack Reacher: Never Go Back.

are still well below what they should be. The

Sesame Street in China

piracy, although observers say illegal access is

me Street, along with other spin-offs, dubbed in

still rampant.

Mandarin, to all three platforms.

The new deals span genres, with a signiﬁcant

Recent box ofﬁce releases include Mission: Impossible – Rogue Nation and Terminator Genisys.

upside is some progress in the battle against

The deal with Tencent Video makes it the ﬁrst

Tencent’s Paramount deal runs alongside its acquisition of the complete 007 series in an online rights deal with MGM. The ofﬁcial announcement

amount of kids programming heading for the

video site in China to release Elmo the Musi-

stopped short of using the word “exclusive”, but

mainland.

cal. Tencent will also stream The Furchester

said that Tencent would be “the only China in-

Hotel, the 2014 co-production between

ternet company providing the 007 titles online to

added 350 hours of library content to both LeTV

Sesame Workshop and CBeebies; Sesame

China’s vast movie fan base”. The movies and a

and iQiyi in a deal announced in November.

Street Seasons; and Let’s Celebrate Chinese

slate of related video will be offered on a TVOD

The iQiyi agreement includes non-exclusive

New Year, a special co-produced with state-

and SVOD basis. New Bond movie, Spectre, will

AVOD and SVOD rights to more than 400 half-

backed broadcaster China Central Television

be added to the Tencent deal “in the future”.

hours of content, including Teletubbies, Pad-

(CCTV). Sesame Workshop has also signed

dington and Caillou. LeTV acquired OTT TV

its ﬁrst video streaming deal in the territory with

an extension to its ﬁlm licensing agreement with

(smart TV and set-top box) and web broadcast

BesTV, the largest IPTV platform in China.

iQiyi. The multi-year deal covers SVOD rights to

Canadian kids/family distributor DHX Media

rights to 313 half-hours of Teletubbies in English and Mandarin. DHX’s announcement came a little more than

Sony Pictures Television steps onto the ﬁeld with

The kids deals follow major licensing agree-

an undisclosed hundreds of Sony Pictures titles

ments between China’s powerful video plat-

a year, including Men In Black and Spider-Man

forms and U.S. studios.

trilogies. The deal also gives iQiyi VOD rights to the studio’s current ﬁlm slate, including Pixels, The

a month since Sesame Workshop started talking

In November, CBS Studios International and

about its collaboration with three of China’s top

PPTV signed an exclusive, multi-year licensing

digital platforms: Baidu’s iQiyi, Tencent Video,

agreement for streaming rights to CBS and

and Alibaba’s Tmall Box. Over the next two

Showtime series in China. The new deal provides

said the platform’s cooperation with major glob-

years, Sesame Workshop will provide the interna-

PPTV’s 400 million users with access to current hit

al studios meets “growing demand and helps

tional version of its classic preschool show, Sesa-

shows and exclusive premieres in China of se-

prevent online piracy”.

issue six, december 2015

Walk and Goosebumps. iQiyi senior vice president, Xianghua Yang,

Little Giants

The Most Successful kids talent competition ever created in latin America and US Hispanic

The Entertainment format for all the family is ready to conquer the world

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Stand: F29

Unstoppable Content Televisa

what’sgoingonin...

NTENT ASIA

in quotes

Zainir Aminullah CEO, Ideate Media On getting Dirk Gently into development with BBC America

On scripted development in Asia

“We go out and scout and ﬁnd strong IP, strong

“We want to make sure

ideas, strong concepts, options to books, op-

people see there is demand

tions to screenplays; we spend our own money

for original scripted content,

developing the initial work, but we always do

which has to be at a certain

from now, that will be the same story for scripted content. But at that very nascent stage, it’s a question of faith; it’s a question of Zainir Aminullah

who wants to be brave enough, bold enough, innovative enough to

it with partners. In the case of Dirk Gently [an

level, meaning money wise, budget wise, con-

differentiate their platform or their channel with

anthology series set in the unexpected world of

cept wise, as well as all the other sensibilities.

unique content. And I think that’s what we’re try-

the hyper, absurd Dirk Gently], our partners are

We are not producing local-language con-

ing to champion.”

IDW, one of the largest publishers in the U.S., and

tent. We are still producing premium English-

Circle of Confusion, producer of The Walking

language content. The issue is economics,

Dead... And I think that was how it was deemed

because the market is only so big; broadcast-

to be very credible – strong writer, strong attach-

ers over here want certain things, and want

ment, notable people working with us.”

to make sure that what we have, or what we bring to the table, is something that solves their

On establishing credibility for a Malaysian company on the global production stage In the U.S. it’s like swimming in a sea of sharks and strange creatures... It helps that we established the right strategy (ie. owning the IP), spending our own money initially, which is necessary for us to have that seat in the room... So that worked, and we have a few more development deals that are heading that way, so we are very happy.”

On the surprises, good or bad “In the U.S., the surprise was it was both difficult and easy. Difficult because, we’re a small company... Easy because, the moment you have the right elements, the industry is quite welcoming. In fact, I think over there they welcome money... ‘Oh, Asian money, so welcome’. Then they will find reasons to believe in you.”

problems, as well as something they will use for their own growth too.”

On challenges within Asia The challenge has been ﬁnding the right relevance... We should do more scripted, we should tell more Asian stories, we should tell more and more of our own unique stories. And I think that’s a space, as you have seen in the past three years, that is growing, which is an excellent trend indeed.”

On ﬁnding a workable formula for Asia “There is a lot of appetite to tell stories in Asia, but we’re struggling to ﬁnd the right formula. I mentioned economics just now. How much money can we raise here? How much money can we raise from other markets? How can we make sure that we’re able to make the show a reality?”

On raising production funding in Asia “Fifteen years ago we did not see as many of these big, big entertainment formats done by local broadcasters in Asia, and now we see a few a year and a few per channel. Ten years

issue six, december 2015

On pressure to favour all things Malaysian There is no pressure at all [from owners Khazanah, the Malaysian government’s investment fund, and Astro]. This is a global play. We have 12-15 projects in development right now, the bulk of which are international, in English, with a few in local languages for Malaysia and Indonesia.”

On the best ways to tap Ideate funds

“Raise your hand, write to me, and then come and talk to us.”

On getting to yes “We tend to say no to single ideas or single stories, the ones where all the heroes get killed. We want to see franchise potential – sequels, prequels, versioning into different languages and obviously into ancillary. In all the things that we do, the ancillary stuff is designed from day one. Together with the long form we develop all the digital and short form content at the same time. So, in fact we are almost agnostic to the final format. When we see an idea in IP, we don’t say that this is a TV format; we sort of look at it and get it into the black box and ask, ‘What’s the right format for it?’, instead of being fixated on whether it’s a feature length film or TV. That’s our approach.”

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coverstory

NTENT ASIA

Around the world in 18 ways 2016 is looking good for Sony Pictures Television’s production business in Asia. Four original shows on three networks in Australia. Its first scripted original production on air in China and a drama co-pro in development. Plus a local version of Everybody Loves Raymond on air India. And an eye out for ways to add to a production business that already covers 18 production houses in 11 countries. Against this backdrop, international production head Andrea Wong talks about what’s first and foremost.

president

international,

more than happy. “We

bought

Playmaker

because they make great high-quality

drama

and

they are very popular in their own market,” she says. If, with SPT’s help, their shows begin to travel around the world, including to the U.S., as scripted formats or tape, all the better. But this isn’t a prerequisite for success. Andrea Wong

Wong says SPT’s acquisition of produc-

tion houses is “first and foremost about the creators”. The company currently has 18 wholly owned or joint venture production companies in 11 countries, including Australia and China. The China production The Code, Playmaker Media for ABC Australia

house, Huaso Film/TV Digital Production, is a joint-venture between Sony Pictures Television (SPT) and state-owned Chinese Central Televi-

2015 is ending well for Sony Pictures Television’s (SPT) international production unit in Asia Pacific.

Huaso has tied up with China’s Croton Media to co-produce 30 epi-

Exactly one year after acquiring Australian pro-

sodes of a local version of U.S. comedy, Mad About You, for Chinese

duction house Playmaker Media, the company

audiences. The series, which goes to air in January 2016, follows a new-

has four productions either on air or commis-

lywed couple living in the city and looking to sustain marital bliss despite

sioned for 2016 in Australia. Channel Ten picked

many hurdles, including their careers, families and friends.

up 13-episode romantic drama, The Wrong Girl,

Mad About You is Sony Pictures Television’s first adaptation of the

for next year. New seasons of Logie Award-win-

comedy series in Asia; the Chinese broadcaster had not been an-

ner Love Child and dramedy House Husbands

nounced at press time.

are returning to Nine in 2016. And award-winning

The decision to create scripted shows in China follows a strong slate of

political thriller/crime drama, The Code, is back

non-scripted formats, including talk show Dr. Oz, and competition series

on ABC for season two. Plus the second season of

Raid the Cage and Dancing Nation.

Love Child, based on the book by Zoe Foster, has

Wong says SPT would love to build a scripted business in China, repli-

been nominated for Best Television Drama Series

cating the model built in Russia over the past 10 years or so. Russia has

in the 2015 AACTA (The Australian Academy of

produced multi-camera sitcoms such as The Nanny, Married with Chil-

Cinema and Television Arts) Awards, which takes

dren and Everybody Loves Raymond.

place on 9 December in Sydney.

issue six, december 2015

sion CCTV6’s HuaCheng Pictures.

“We really got on the ground and taught local writers, directors and

Andrea Wong, SPT’s president of international

producers how to do multi-camera sitcom,” she says, adding: “It has

production and Sony Pictures Entertainment’s

been a hugely successful business for us. It would be great to be able

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coverstory

NTENT ASIA

air in China and SPT will distribute the project in the rest of the world. “Production has become much more global... TV shows are moving around the world in a way that they haven’t before. Both formats and prints are moving around much more readily,” Wong says. So far, SPT’s global production ownership map hasn’t included India, where the company is involved in a local version of Everybody Loves Raymond, a 108-episode commission from 21st Century Fox’s Hindi general entertainment channel Star Plus. Sumit Sambhal Lega (Sumit will Handle Everything) premiered on 31 August 2015, and airs Mondays to Saturdays at 10pm. The series is produced by Indian production house DJs, with the involvement of Wong’s central scripted creative team. The team travels around the world supporting local adaptations. Sumit Sambhal Lega is SPT’s second scripted adaptation in India after I Dream of Jeannie, which aired as Jeannie Aur Juju on Sony’s India channel SAB until the middle of 2014. Wong’s antennae are also always up for additions to SPT’s stable of Mad About You, China by Huaso Film/TV Digital Production

producers and production houses. “We are constantly looking at production houses all over the world,” she says, highlighting SPT’s focus on

to do that in China”.

great creative talent, wherever it is.

Drama production in China is also on her radar

What does SPT look for in picking who to buy and who to bypass? “First

in the form of a co-production between SPT joint-

and foremost, we look for great creative people. In the end you are

venture production house Left Bank Pictures,

betting on the people, on talent,” she says.

based in the U.K., and mainland China’s China International Television Corporation (CITVC), which is a subsidiary of the all-powerful state owned China Central Television (CCTV).

“When we buy a company, it’s about giving them the opportunity to be even stronger in their markets and to grow globally,” she says. “Believe it or not, when we met [Playmaker founders] David Maher and David Taylor, we weren’t necessarily looking for a company in Aus-

The co-development deal for an English-lan-

tralia... But we looked at some of their work and we really liked them and

guage drama for the Chinese and international

thought they were creative and talented. We also got hugely positive

markets, was announced at the China Interna-

response from the market, which told us there was a strong appetite for

tional Film & TV Programs Exhibition in August this

drama going forward. It was the combination of those two things that

year. Under the deal, the partners will choose one

made us decide we wanted to be in business with them,” she says.

high-end English-language television series to go into production by 2016.

It is, she adds, “first and foremost about the creators”.

The series will

Sumit Sambhal Lega (Everybody Loves Raymond), Star Plus India

issue six, december 2015

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thailandworkpoint

NTENT ASIA

On point Thailand’s Workpoint is the poster channel for successful digital broadcasting. Chief operating officer, Chalakorn Panyashom, talks about the advantages of three decades of experience in capturing eyes, hearts and ad dollars in tackling a fledgling industry. Thailand’s Workpoint TV is the poster company

is the very simple way to do

for digital broadcast success, with a firm place in

business in Thailand,” he says.

the country’s top three mass-market channels, a

At the same time, he ac-

commitment to fast-track production infrastruc-

knowledges

ture upgrades, and a clear view of where it wants

have too many free-to-air

to fit in the country’s entertainment universe.

channels chasing too few ad-

The secret sauce? Almost three decades of good, old-fashioned top-rating, entertainment

Thailand

may

vertising dollars. At last count, the country

content production for the country’s analogue

had about 200 free-TV ser-

broadcasters. Plus wide and deep connections

vices serving about 23 mil-

to brands and sponsors cemented through years

lion homes. The death knell

and years of selling its own airtime inventory.

has already been rung for

Eighteen months after launching its first digital ter-

DTT wannabes such as

restrial (DTT) channel, Workpoint TV had climbed to

Thai TV, which pulled its

third place in the ratings after long-time analogue

two channels off air at

mass-market leaders Channel 7 and 3.

the beginning of Novem-

Workpoint Entertainment chairman Phanya

ber 2015. Others are taking

Nirunkul said in mid-September that Workpoint

action against regulator,

TV had broken even in June this year, way earlier

the National Broadcasting

than its original projection of five years.

and

Telecommunications

In the three months to the end of September

Commission (NBTC), for al-

this year, Workpoint TV’s revenue was, at THB536.7

legedly failing to ensure a

million/US$15 million – 207% higher than the same

smooth migration to digital.

quarter last year. Ratings were up 332% – to 1.1

Workpoint, recognising the

– since its first broadcasts, which gives Workpoint

challenges, is unfazed. After

third place overall.

years spent producing up to 15

“We were first in the TV business in Thailand for 26

hours a week for other chan-

years, so Thai audiences know us very well,” Work-

nels, Thailand’s DTT environment,

point Entertainment’s chief operation office, Cha-

whatever the challenges, opened

lakorn Panyashom, told delegates at this year’s

fresh areas of opportunity.

ContentAsia Summit in Singapore in September. As do advertisers. Thailand’s block-time sys-

Workpoint received its commercial DTT license for a standard defi-

tem means companies like Workpoint have long

nition variety entertainment service

bought slots and been involved in monetising

in 2014 at a cost of THB2,355 million/

their own commercial airtime.

US$66 million. The channel is one

“We know how to find advertising,” Panyashom

of 24 new commercial DTT services

says, adding that Workpoint’s advertisers have

the Thai government green lit all at

followed the company on its digital terrestrial

once. That’s in addition to the dozen

broadcast path.

or so licenses awarded to public ser-

The logic is not complicated. “It depends on your content, your ratings and your market share... this

issue six, december 2015

Chalakorn Panyashom

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thailandworkpoint

NTENT ASIA

Lightning Quiz

It depends on your content, your ratings and your market share... this is the very simple way to do business in Thailand.”

grow by 15% to 20% a year over the next five years, despite fierce competition that has already left two of the newly launched commercial DTT channels for dead and others struggling. Workpoint didn’t enter the DTT space cold, testing the market first with a free-to-air satellite channel before it committed to its DTT initiative. Panyashom says the feedback encouraged the company to proceed with its DTT ambitions. The biggest encouragement, though, came from the ongoing success

vice/non-commercial stations. The jury is still out

of its productions. These include programmes such as long-running game

on the long-term viability of so many new servic-

show, Ching Roi Ching Lam, which Workpoint shifted to its own channel

es. Industry expectations are that, at the most, 10

from Channel 3 in the middle of 2015.

of the 24 commercial channels will survive. Few

This content-first focus continues to drive the channel rather than look-

– if anyone – thinks Workpoint won’t be among

ing over its shoulder at the cutthroat competition. “We don’t think about

those left standing.

other channels,” he says.

Workpoint’s activity in the DTT space includes a

In addition to its own productions, Workpoint acquires/commissions

leap in production capacity to between 30 and

content from third-party producers as well as local, regional and inter-

40 hours a week. The company has further plans

national distributors.

to increase drama and variety content by the end of this year, and to continue to explore sports. In addition, it has earmarked THB200 million/ US$5.6 million for upgrading facilities and content in 2016, including seven new studios that will bring the total number of studios to 16. Workpoint says it expects its digital business to

issue six, december 2015

About 15% of the channel’s content is acquired. Programmers are not averse to pushing the envelope, acquiring, for instance, Indian drama for the first time this year. “It was a really big hit,” Panyashom says. The approach is “content first” and source second. “We ask ‘is this good for our audience or not?’ and then we decide,” he says. In the dawning age of cross-border collaboration, Panyashom says coproduction is a possibility, perhaps in 2016.

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thailandworkpoint

NTENT ASIA

Lightning Quiz garnered a high of 4.62 TVR (more than two million viewers) on 24 March 2015, according to Nielsen Thailand data provided by Workpoint Entertainment. The iPhone app was downloaded seven million times in four months. “It’s incredible,” he adds. On the social front, Lightning Quiz attracted more than three million YouTube views for each episode, on average, and had 102,000 Facebook page likes within four months of launching (June-Oct 2014), the highest among Workpoint-branded game/quiz show programmes during that time. Workpoint’s biggest international success so far has been game show format Fan Pan Tae (known internationally as The Fan). The super fan format, represented by Small World, has been adapted by TV4 in Sweden as well as by Sky 1 HD in the U.K., which aired it as The Fanatics in January this year. Panyashom is optimistic about Thailand’s formats market, saying the new DTT channels – most of which aren’t creating their own formats – present a “big market” for international format rights holders in the short term. Medium term, channel consolidation may dampen demand, Identity Thailand

which will pick up again as the DTT environment matures. Workpoint has also delivered the kind of branded-content experiences that confirm its place in the sponsorship discussion.

The hard thing is that not every product can make a TV show... There has to be a balance between your audience and your customer.”

“We are very keen on sponsor-driven programmes,” Panyashom says. Workpoint, which airs at least one or two sponsor-funded shows a month, started producing ad-funded content about eight years ago. Its first adfunded entertainment project was for a hospital. The show drove up wellness checks at the hospital, and clients from across the product spectrum clamoured for an encore. “The hard thing is that not every product can make a TV show,” Panyashom says. “There has to be a balance between your audience and

Korean formats are an area Workpoint is likely to explore as its business expands. Panyashom says

Drama is a major focus for the coming year, and 10 new series are be-

some of Korea’s plastic surgery formats may work

ing planned for 2016. Sports beckons too. A successful first experiment

well in Thailand. Mashing up genres – for instance

with Thai boxing earlier this year has encouraged channel management

mixing singing contests with quiz competitions –

to put sports rights on the content investment agenda for 2016.

may also work. Workpoint’s new endeavours come on the back of major successes, including game show Light-

Panyashom says live boxing, featuring Muay Thai welterweight Buakaw Banchamek, put Workpoint TV level with market leaders BBTV and BEC. “If we have good content, audiences will respond,” he says.

ning Quiz, a mix of quiz and comedy that rocked

Online/mobile platforms are being used to reach out to audiences and

ratings when it launched in June 2014. Targeting

to draw them back to the TV channel, with, for instance, programming

family households, the 45-minute quiz show airs

info and studio invitations.

weekdays from 7.15pm to 8pm.

issue six, december 2015

your customer,” he adds.

Panyashom says mobile is a powerful promotional tool. “People watch

Lightning Quiz has two teams of three (two ce-

their mobiles all the time. Even when they are eating, they are watch-

lebrities, one contestant) answer 10 tricky ques-

ing their mobiles... We have to draw them back to the TV and to tell

tions in two minutes. Anyone who answers all 10

them what we have on our TV station. And it has worked. Right now we

correctly wins THB1 million/US$28,000 cash prize.

have more than 10 million subscribers for our fan page and two million

The winning team plays the jackpot round for the

on YouTube.” All-screen integration is the way forward, Panyashom says.

grand prize – a new car worth THB1 million.

Workpoint’s TV everywhere plans are in their early stages.

The Lightning Chair – a roller coaster-like me-

Workpoint is realistic about its ability to take on Thailand’s big two

chanical chair that moves based on contestants’

broadcasters – Channels 7 and 3 – at least in 2016. Panyashom says the

answers – is the game’s highlight. “Normally a quiz

two leaders have about 28% and 25% audience share. Workpoint TV is at

show is really serious, but Lightning Quiz is really

about 10%. “So there is a big gap,” he says. “Next year we will try to get

funny,” Panyashom says.

to 15% market share and after that we’ll see...”.

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update4K

NTENT ASIA

New year’s resolution 4K is everywhere. Who’s watching? A fraction of the people who would if they could. And they will. Eventually, say the people and companies driving new definitions of what video images should look like.

Jago: A Life Under Water

Asia’s biggest content trading market, the Asia TV

TV, all eyes are on Asia,” says Terry Bleakley, regional vice president,

Forum (ATF), opens on 2 December in Singapore

Asia Pacific, for satellite operator Intelsat.

amid a rush to online/on-demand digital delivery,

There are, however, no delusions across the broad industry about the

a frenzy of multi-platform rights and a whole lot of

ability – or, rather, inability – of viewers in Asia to see much, if anything,

other energy going into future proofing (or at least

in 4K at home right now. Even if 60% of flat screen television sets in Asia

attempting to) the media business.

are 4K ready, set-top boxes being installed in homes across the region

Where, in all the chatter that will span the three days, will the 4K conversation be? Everywhere, it seems. Even if’s not being widely seen right now. “When it comes to 4K ultra high definition (UHD)

issue six, december 2015

remain way behind. Consumers are ready, says Yau Chyong Lim, Malaysian satellite operator Measat Satellite System’s chief commercial officer. But the set-top boxes supplied by a majority of platform operators are not 4K-enabled. “The swap out of these set-top boxes and the availability of 4K content

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update4K

NTENT ASIA

livery chain. While they acknowledge the temptation of, for instance, over compressing signals for cost or capacity reasons and compromising quality, they also say that sub-standard 4K experiences are damaging and will slow migration to the new standard. The same issues have and continue to plague HD in some markets, where standard definition channels are still very much the norm. Some point out that even in Singapore, acceptance of standard definition channels remains strong. Quality issues have led to skepticism about 4K claims in the short term. AHEAD OF ASIA’S 4K DEMAND CURVE Those who can are taking full advantage of being ahead of the curve, with lots of upconverted 4K programming but also a growing slate of native 4K content. Measat’s Lim expects native 4K content to become the norm in a few years. Undiscovered Vistas, Blue Ant Media

Anecdotally, demand for 4K content has increased “almost 100% overnight,” says Singapore-based GangTV founder, Greg Ang, who distributes a slate of 4K content and an HD/4K channel

When it comes to 4K ultra high definition TV, all eyes are on Asia.”

across the region. The biggest difference between today’s demand and last year’s is in commitment. “In previous years there was talk about it, but not any real serious commitment, but

Terry Bleakley, Intelsat

this year, almost everyone I talk to has asked for 4K availability,” Ang says. Factual producers and distributors have been quickest off the mark. Canada’s wildlife and nature specialist, Blue Ant Media, which says it distributes more 4K unscripted content than any other will determine how quickly 4K content gets ad-

distributor in the world, will be at the ATF with about 28 hours of native 4K

opted in Asia,” Lim says.

content.

The situation is widely accepted to be tempo-

One of the top two titles coming to Singapore is Jackson Hole Film

rary, although just how long a full 4K world will

Festival’s 2015 Grand Teton winner, Jago: A Life Under Water, which is

take is a moving target.

available in both HD and 4K.

47% of respondents to an Intelsat survey last

The docu special follows an 80-year-old deep-sea hunter from the In-

year predicted Asia would lead the way in 4K

donesian island of Sulawesi, who is shaky on land but like a fish in water.

UHD TV adoption, particularly in more devel-

Blue Ant’s second title is Off the Fence’s three-part Land of Gremlins,

oped economies.

also available in both 4K and HD.

Bleakley points to trials in Korea and Japan,

Blue Ant has already made 4K its calling card. The company has com-

China leading world sales of 4K sets, and the

mitted to 300 hours of native 4K content a year, betting on a future that

installation by Indian platform Tata Sky of a 4K

is all about ultra high definition.

compliant box.

issue six, december 2015

Also out of Canada, Gusto TV says all its new original content is in

At the end of the day though, “4K will be driven

native 4K with a frame speed rate of 50. President and chief executive

by the consumer,” AsiaSat’s president and chief

officer, Chris Knight, says the company is bringing four new shows to the

executive, Bill Wade, said earlier this year during

ATF and has an ongoing 4K production slate of 125 hours a year.

the annual Casbaa Satellite Forum in Singapore.

“There is tremendous interest in 4K from all over Asia, including Singa-

Wade pointed out that Asia was still transition-

pore, Korea, Japan and Hong Kong,” Knight said in the run-up to the ATF.

ing from standard definition to high definition,

Another new brand in Asia with a 4K slate is U.S.-based Naturevision

“and that has taken a long time”. He also said

TV, which has between 10 and 20 hours of 4K content available via

platform operators had to step up and invest in

Gang TV. Ang says U.S.-based global fashion programmer, VideoFash-

upgrades.

ion, which has been syndicating content in Asia for decades, has now

Distributors continue to point out that 4K is only

migrated almost 100% to 4K, with about 200 hours a year for sale in Asia.

as good as the weakest link in the distribution/de-

Out of Japan, Skyperfect has 60 hours of 4K content on the acquisition

Tanto Amour

Under the Storm

The Greatest Love to be born

Within secrets, lies and murder

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update4K

NTENT ASIA

Merciless, Globo

market right now. Supply is picking up across genres, including drama.

4K versions of long-running drama series such as Telefe’s 60-episode shows, The Return of Lucas and Cannibals, will be on the ATF floor. The Return of Lucas, a 2015 co-production between Telefe and Peru’s Amer-

Sony Pictures Television (SPT) says most of its

ica TV, is the story of an abducted boy who reappears 20 years later.

television series are shot in 4K and many are al-

Cannibals, a coproduction between Uruguay’s Monte Carlo TV and

ready mastered in the standard. These include

Fox International Channels Latin America, is a story of love, revenge

The Blacklist, Masters of Sex or Better Call Saul.

and redemption in the world of politics.

SPT has done 4K deals in Japan, Korea and China and says it continues to see growing interest

JAPAN & KOREA LEAD Demand for 4K content in Asia is largely being led

as 4K becomes more widely available on TV and

by terrestrial broadcasters in Japan and Korea.

streaming SVOD services. With all its content already produced in HD, Globo migrated to 4K for the first time with new series, Merciless, which is part of its 2015 catalogue. The 13-part psychological thriller about a

higher-definition future. Fuji TV, for instance, started streaming 4K content in July this year, with sports and documentaries.

dangerous, if handsome and charming, psycho-

Japan’s public broadcaster, NHK, meanwhile, is eyeing an 8K Super

path and the woman who falls in love with him, is

Hi-Vision future, and has spent more than US$1 billion so far on research

produced and post-produced in 4K and is avail-

and development. Research started in 1995.

able in HD as well.

issue six, december 2015

In Japan, where public broadcaster NHK is the global leader in the ultra high definition space, commercial broadcasters are well into their

In September this year, NHK showcased an 85-inch LCD with HDR im-

AF Kids Acedemy

It’s time for children to shine

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update4K

NTENT ASIA

ages at IBC in Amsterdam, bringing the display to Tokyo for the first time in October. This followed a year in which NHK flexed its 8K muscle around the world, including producing 8K broadcasts of 10 matches at the FIFA Women’s World Cup Canada in June/July. The matches aired live at two public venues in Japan and three venues in Canada and the U.S. 8K test broadcasts are scheduled to begin in Japan in 2016. NHK’s current plan is to introduce regular 8K broadcasting in 2018 and to broadcast the 2020 Tokyo Olympics in 8K. In Korea, public broadcaster, Korean Broadcasting System (KBS), has installed 4K technology. Meanwhile, the government is pushing an 11K agenda in partnership with Samsung. The promise is an optical illusion that gives viewers unprecedented depth of field and, some say, will make 3D (if it isn’t already) irrelevant. If other markets in Asia trail behind Japan and Korea, they are, nevertheless, on the 4K case. Demand differs by market, with, for instance, China picking up 4K sports, but most markets hot right now for documentary and lifestyle. Like AsiaSat’s Wade, GangTV’s Ang says consumers are driving demand. The motivation is the same as it was with HD – consumers upgrade their TV sets and start looking for content. “So the platforms and terrestrials have to move up to 4K. If not now, then soon. And in this instance, the first to the plate wins,” Ang says. PICKY BUYERS Buyers are picky, with true 4K at the top of their priority lists. “It has to be 50 fps [frames per second] and not up-resolution from 25 fps,” Ang says. Gusto TV’s Chris Knight says the most frequently asked question from buyers is about quality. Buyers most often want to know whether it’s truly 4K and what the frame rate speed is, he says. Although the range of genres is increasing, the type of content, for now, seems to be taking a back seat, and broadcasters have limited choice until 4K production increases. “Broadcasters are asking for 4K first and then the genre because of The Black List, Sony Pictures Television

limited supply,” Ang says. SPACE INVADERS Satellite capacity providers say they are more than prepared for 4K’s voracious bandwidth requirements, and there isn’t a satellite operator we could find that doesn’t have 4K on its radar. All say 4K will have a significant impact on their business in Asia. HD, however, still commands most headspace. “There is a lot of preparation and jostling amongst satellite operators stoked by interest from content owners and providers. However the impact from 4K is currently still relatively small compared to the impact of HD at this juncture,” says Measat’s Yau Chyong Lim. At the same time, Measat expects 4K’s impact to increase with more 4K content becoming available in the near-term. “We are preparing to launch more 4K channels in 2016 following our

issue six, december 2015

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update4K

NTENT ASIA

masters at 700 mega bits per second. “If you put a channel up at 700 Mbps today, you could probably buy the satellite yourself,” says Gregg Creevey, managing director of Multi Channels Asia (MCA), which distributes a bouquet of indie channels, including Love Nature. Satellite operators across the region agree that pricing will become more affordable. Malaysia’s Measat says delivery costs are lower than predicted because of new compression technologies, which lower bandwidth requirements, and higher power satellites. NEW ERA Out of Hong Kong, satellite operator AsiaSat is, like others, heralding a new era for satellite broadcasting services in the region. AsiaSat’s reason this time is the launch at the end of October 2015 of its first free-to-air 4K-Sat channel across more than 50 countries and regions. The footprint reaches across New Zealand to Pakistan and part of the Middle East. The ultra-high definition (UHD) channel is on the AsiaSat-4 satellite at 122°E. The channel, which combines fashion, beauty and lifestyle content as well as documentaries, is available to anyone – platforms and direct to consumers – with an AsiaSat-4 C-band antenna and a HEVC set-top box. The idea is to help drive 4K penetration by offering a true UHD sampler, broadcast at 50 frames per second (fps) with 10-bit colour depth and 3840 x 2160 pixels resolution, which is four times the resolution of full HDTV. “The launch of this UHD channel on our new AsiaSat-4 UHD

Fish the Dish, Gusto TV

broadcast platform provides an opportunity for all stakeholders to experience and promote UHD content in

“There is tremendous interest in 4K from all over Asia including Singapore, Korea, Japan and Hong Kong.”

Asia,” says Sabrina Cubbon, AsiaSat’s vice president, marketing and global accounts. Earlier this year, Intelsat’s chief executive, Stephen Spengler, talked about expectations of more than 400 4K channels being broadcast on direct-to-home (DTH) satellite platforms and ap-

Chris Knight, Gusto TV

proximately 250 4K channels being available for video distribution by 2024. Spengler was referencing

launch of the first 4K channel distributed

forecasts published by satellite research agency, North-

via satellite in September 2015,” he adds.

ern Sky Research (NSR). HIGH COSTS – OR MAYBE NOT Intelsat’s head of

Spengler spoke about “a burgeoning [capacity] marketplace that

media services, Peter Ostapiuk, says “4K UHDTV

we [satellite operators] can play a role in”, adding however that satel-

is driving innovation at all levels of the ecosys-

lite suffered from the perception that it was slow, expensive and com-

tem.”

plicated compared to fibre.

“As innovation within the 4K UHDTV ecosystem

delegates at the annual Casbaa Satellite Forum in Singapore. Satellite

compression will enable a lower barrier of entry

operators had to “be part of the solution,” he insisted, adding: “How do

for new channels and services,” Ostapiuk adds.

we simplify what we bring to market to expand that market. How do we

That would be good news for programmers, many of whom are say the cost of delivering true 4K services currently is prohibitive. New nature channel, Love Nature, for instance,

issue six, december 2015

“I believe that’s a perception that we have to deal with,” he told

each technology improvement in

continues,

bring the magic back to the solutions we provide – it’s an opportunity for us”. Where 4K is concerned and whatever else they disagree on, the rest of the industry is in full agreement about the opportunity. And the magic.

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newsindia

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world order The Indian online news space is seeing a new breed of original content websites. Can they redefine both journalism and the business of news?, asks Vanita Kohli-Khandekar. Siddharth Varadarajan, the former editor of The Hindu, reckons that political reporting in India has become largely about ‘who said what’. But there is loads that needs to be reported on. “Can we create a platform that can shine a light on the political economy – environment, policy formation, health, culture?” he asks. The Wire, which Varadarajan launched along with M.K. Venu (formerly with The Financial Express) and Sidharth Bhatia (ex DNA) in May this year tries to do that. The platform is about “high-quality journalism and a focus on issues that nobody does – arts and culture, diplomacy, foreign policy, the political economy,” Varadarajan says. The Quint, a mobile first website, launched in

lion unique visitors a month. That is not much compared to the 16.67

March this year. 80 people of the total staff of 135

million readers that the physical version of India’s top selling daily, Dainik

are journalists.

Jagran (Hindi), gets, or the 60 million unique visitors that NDTV.com, an

The idea “is to have a content-driven platform

English-language news website, claims. But they are finding an audience. More than half the people who

We are aggregating the thinking readers of India.”

come to these websites are coming from mobile phones and through social media. And they are overwhelmingly young. That is surprising. The data from the Indian Readership Survey suggests that young Indians don’t want to read newspapers.

Samir Patil, Founder and CEO, Scroll Media

But it would seem that the same reader enjoys reading a well-written, long piece on, say, growing intolerance in India, or watching a video on

that redefines the news hierarchy based on audience response,” says Ritu Kapur, who set up the

One of the most shared articles on The Wire was a 2,300-word piece on

website along with husband Raghav Bahl, the

U.S. shenanigans on trade negotiations, based on WikiLeaks documents.

founder of Network18.

On Huffington Post India, the most shared article was a blog arguing that

The Wire, The Quint, Scroll.in, Quartz, Newslaun-

contemporary feminism is not adequately accounting for motherhood.

dry, Daily O, Catch News are among the dozen-

“Saying something quickly and visually travels well, or a long-form

odd experiments happening in online news in In-

1,000-5,000-word piece. Our global stories do as well as the Indian sto-

dia these days.

ries,” says Jay Lauf, president and publisher of Quartz.

All these ‘original content’ websites depend on small armies of journalists who generate 60%-80%

“We are aggregating the thinking readers of India,” says Samir Patil, Scroll Media’s founder and chief executive.

of the long-form articles, videos and short takes

Varadarajan thinks it is something beyond that. “A typical news day

they carry. The rest comes from bloggers or is ag-

is 12-15 hours in which you look at the TV, newspaper. A website brings

gregated content.

variety that fractures the news day,” he says.

Most get anywhere between one to three mil-

issue six, december 2015

a serious political or economic issue.

It is a gap that The Times of India, Hindu, NDTV.com or Jagran.com,

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newsindia

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among others, have filled

grant from the Inde-

very well for very long.

pendent and Public Spirited

But the US$690-million

Media

Trust

digital ad market is still

that a bunch of other

dominated

Google

prominent Indians, in-

and

US$4.2-billion

cluding Wipro’s Azim

business

Premji, set up earlier

the

newspaper

is,

this year. The trust’s

largely, thriving. So what has changed

aim is to fund in-

now? Why are more and

dependent media

ventures.

original

content

Scroll, a for-profit

websites finding favour?

venture, on the other hand, is funded by Omdiyar

“The internet has ‘happened’ in India in the last

Network, which describes itself as a ‘philanthropic investment firm’.

three years. Facebook has gone from 10 to 100

The Quint is funded by Kapur and Bahl from US$113 million or so they

million users. There are at least 125 million inter-

made from the sale of Network18 last year. Kapur says they don’t need

net users. The e-commerce boom has created

to raise money and the website should break even in 36 months.

an ecosystem of advertisers who are looking for

The way these websites are funded, the owners and the ownership

leads from an online audience,” says Patil.

structure is relevant to how these brands could shape up.

NOT JUST ABOUT CONTENT The Quint and its ilk

Economist, Al Jazeera – have a ownership structure that usually protects

represent an experiment in journalism that is wel-

editorial from the pressures on the business side and fosters investment in

come in any free media market. But also one in

good quality journalism.

Most of the better media brands globally – The Guardian, BBC, The

business that could help point the way for the troubled news industry in India. Television news has lost credibility and reve-

SEARCHING FOR GOOD CONTENT The algorithmic nature of search engines has led to the ghettoisation of online audiences. So if you are interested in golf and economics, that is probably all you will see.

We are attempting a different business model around generating content that is independent of conventional media investors and the baggage that comes with it.” Siddharth Varadarajan, Founder, The Wire

That explains to some extent the extreme polarisation of online debates. This poses two challenges – social and economic. “Many people see the digital world as a democratic world. But democracy functions when there is collective action and therefore we need to have a collective news consumption on some things at least,” thinks Tim Luckhurst, head of the Centre for Journalism at the University of Kent. The search-engine driven world takes that away. Maybe social media, which brings a lot of the traffic for these new age websites, could change that, say analysts.

nues as dodgy investors, militant advertisers, paid news, lack of training and indifferent media owners have led to an unrelenting downward spiral.

quality journalism. Most websites are trying to find ways around it. Huffington Post gave away the India inventory to GroupM for a year.

On the profitable newspaper side, the refusal of

Quartz uses a lot of ‘branded content’ or native advertising. It claims to

media owners to accept a new readership sur-

get US$69 per thousand readers, over two times more than The Econo-

vey, the scourge of paid news and private trea-

mist.com claims to get. The best rate video websites get in India is about

ties have led to another form of erosion.

US$4-US$7.

“We are attempting a different business model

The third challenge is the incumbents.

around generating content that is independent

All of them – NDTV.com, Times of India, Dainik Jagran or BBC, among

of conventional media investors and the bag-

many others – have news gathering capabilities that none of the start-

gage that comes with it,” says Varadarajan.

ups will be able to match for years. And all of them have profitable offline

He, along with other co-founders, funded The

issue six, december 2015

The second challenge is low ad rates and how they could fund high-

operations to fund online.

Wire with US$3,100 each from their personal mon-

Most spawn of the internet have simply decimated revenues for news

ey, to start with. Recently it became part of The

media without adding quality. If the rise of these new news platforms

Foundation for Independent Journalism, a sec-

leads to better quality journalism and debates in this chaotic democ-

tion 8 (not-for-profit) company. It is awaiting a

racy, it is more than welcome.

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News beats Local, regional and global news bosses talk about making news, taking it everywhere, being responsive, crowd-sourced content and what this all means.

News has splintered in every direction everywhere

and linear and the result is an increase in total audience consumption,”

– and it’s not going to stop. The appetite for news

Lee adds.

is bigger than ever. Mobile and online consump-

Ging Reyes, ABS-CBN Corp’s senior vice president/head of integrated

tion has soared. Twitter makes it personal and fast.

news and current affairs and managing director of cable news channel

Out of the Philippines, ABS-CBN’s ANC cable news

ANC, says her integrated team has learned to be more responsive to the

channel has gone global in a big way. From Ger-

needs of our various platforms. “Our journalists have gone beyond re-

many, DW started driving a new English-language

purposing stories. The result is a more cohesive team that has a stronger

agenda in the middle of 2015 with a new global

connection to our different news audiences. We see this manifested in our

news service and companion app. Out of the U.K.,

stories from the national beats and the regions that are given unique treat-

BBC launched its first fully commercially funded

ments in our free TV and cable channels, as well as our radio and digital

non-English language website in Japan in October.

platforms,” she says.

To mention a microscopic fraction of the universe’s news-based innovation.

ALL THINGS MOBILE Mobile news consumption soared in 2015. News or-

Major organisations are taking multi-platform

ganisations have been and are piling into – and also driving – the on-the-

news gathering to a new level, integrating teams

move environment. Constant upgrades are rolling out. New technologies

and news rooms and making sure they’re on all

are being integrated all the time.

screens all the time with platform-appro-

Richard Porter, Controller of English, BBC World Service Group,

priate stories in suitable formats, from

says the process of making all BBC sites responsive to multiple de-

mobile video to HD broadcast. All the

vices has been completed. “Whatever device users come in on,

while keeping careful watch that their

they will get a version that works on that device,” he says. “We

public trust barometers don’t fall. Integrated newsrooms are now seen as a must-have. “Our produc-

recognise that audiences are coming from different devices and want to optimise the experience,” he adds. Porter says this year’s big changes have been the focus on

ers, writers, reporters and anchors

mobile consumption of news, which runs alongside higher

work across all platforms – they file for

quality devices and faster broadband access. “The rise of

TV, they file for web and mobile, and they file for social. This has been a deliberate shift,” says

the smart phone and the way in which people are using it as a primary form of news consumption” has a major impact, he says.

CNN International’s senior

The new version of the news app BBC launched

vice president and manag-

in the summer “was a big step forward for us,” he

ing director, Ellana Lee. “We have found what we do on TV drives people

says. One of the key elements is the ability to personalise news feeds. The app is also easier to use and offers a lot more features, Porter adds.

to our website, and when

Mobile video is also a significant trend this

people are on web and

year, Porter says. Video consumption on the

mobile it drives them to TV. It’s the virtuous circle of digital

BBC app went up by more than 100% after the app launched. “We hoped it would happen and it’s reassuring,” he says. BBC now has seven million monthly unique browsers

Ging Reyes, SVP and Head of the Integrated News and Current Affairs, ABS-CBN Corp., and Managing Director, ANC

issue six, december 2015

on mobile in Asia and 1.45 million on the app, which generate more than 100 million page views (from more

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Picture courtesy of BBC

Reyes says ABS-CBN has been thinking digital-first for a while, and in 2015 began “to aggressively pursue stories that strongly appealed to digital news consumers, and published them exclusively on our digital platform. We’ve had a number of digital-first and digital-only presentations, which contributed to the increased traffic to our news site,” she says. Higher digital engagement gives ABS-CBN greater insights. “We learned more about our digital audience and so we began to look at a user-centered approach in our design and in our multi-media presentations,” she adds. SOCIAL MEDIA The impact of social media is undeniable, and remains “extremely significant,” Porter says. BBC’s involvement in the social space includes a pop-up Thai Facebook page in Thai and English after military authorities pulled news channels off air during the coup in 2014; a BBC Nepali channel on instant message/call app, Viber, to deliver emergen-

BBC Newsroom, U.K.

cy info after the earthquake; Facebook Instant Articles (BBC public serthan one billion globally). Although there are more

vice youth news brand Newsbeat articles hosted on Facebook’s servers,

visitors to BBC’s mobile site than the app at the

meaning they appear instantly rather than users having to follow a link);

moment, the apps are generating more traffic/

a Line channel in English and Hindi, which now has one million subscrib-

page views than the mobile site. In total, mobile

ers; and Internet.org, a stripped-down web news

and app make up two thirds of BBC’s Asia-Pacific

platform for users with limited data.

traffic, and the app makes up 47% of page views,

“Our approach is that we will be present

with mobile another 20%.

where we see audiences gathering, we will

CNN International is also notching up digital

go where the audience has gone, follow

successes. Its digital properties have around 270

what audiences do,” he says.

million page views a month. Over

At the same time, CNN’s Lee warns that

50% of all page views of CNN’s

“social media is no substitute for profession-

International edition (web

al journalism. The problem with social media,

and apps) are on mobile.

even at its best, is that it rarely shows more Ellana Lee, Managing Editor, CNN International Asia Pacific

Reyes charts ABS-CBN’s digital

progress,

saying

ABS-CBN’s 24-hour cable journalism,” she says.

category at home and is dis-

Reyes point out the massive impact of social media-based crowd-

tributed in North America, the based Facebook community is 9.3

issue six, december 2015

dia platforms have proven to be great tools for journalists, they do not replace quality

news channel ANC leads its

rest of Asia and Europe. The news-

than one aspect of a story. While social me-

sourced and shared information in the Philippines. “At no time did we Richard Porter, Controller of English, BBC World Service Group

experience more the power of crowd-sourced content than in 2015,” Reyes says.

million strong, making it one of the

“Social media became a big source of news content for us and other

leading Facebook publishers in the

media organisations in the Philippines. The big stories covered by the

world. And Google Analytics data shows that the

traditional media took a life of their own once posted, shared and re-

digital news portal averages 60.7 million monthly

shared by netizens. Exposes such as the bullet scam at the airports and

sessions. At home, ABS-CBN News’ flagship show

the proposal to tax balikbayan cargo boxes [boxes sent home by over-

on free-TV has a 30% nationwide rating and its ra-

seas Filipino workers] heavily resonated with the public and caused an

dio news station tops the charts in Mega Manila.

emotional outburst that forced authorities to take action,” she adds.

Of ABS-CBNnews.com’s more than 60 million av-

While audience engagement has become a given, BBC’s Porter says

erage monthly sessions, almost 75% are from Asia.

levels of involvement are sometimes unexpected. “Sometimes we are

And almost half of monthly sessions from Asia are on

surprised by the way in which audiences engage,” he says. The Bangkok

mobile devices. Google Analytics data shows that

bombing coverage in the summer, for instance, was one of BBC’s high-

46% (about 28 million) of monthly sessions from Jan-

est number of page views ever. “We are quite taken by the numbers. We

uary to October this year were on mobile devices.

pay attention to that,” he says.

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ANC Philippines’ anchors (from left) Stanley Palisada, Caroline Howard, Lexi Schulze, Karen Davila, Karmina Constantino, Nancy Irlanda, Raine Musngi

BIG BRAND NEWS Big-brand news’ importance and relevance has not been diminished by exploding sources, and trust is – as it has always been – a huge factor for news outlets. “Trust is the most vital commodity of a news organisation,” CNN’s Lee says. “People often say that they heard or saw something on social or another media outlet and then went to CNN to see if it’s true,” she adds. Porter adds that the BBC takes nothing for granted. “There are many new choices and we don’t for a minute have a sense of entitlement... we work hard to maintain audiences. Trust is one of the reasons why we continue to remain relevant. People want a safe haven,” he says. Porter says BBC is at the top of the global list of most tweeted URLs. “That’s a good thing because it suggests that people trust what we do. If people are sharing our content, they trust and believe,” he says. ABS-CBN’s Reyes agrees. The new information environment may have revolutionised news consumption, “but I believe this did not in any way diminish the power and reach of big-brand news,” she says. “This

issue six, december 2015

Context is king

COMING SOON Reyes says the biggest news trends

ABS-CBN unveiled its cable news do-over at the end of October, opening to door to what it says is a new era of “context amid an ever growing deluge of media information”. The change at 24-hour channel ANC comes ahead of elections in the Philippines in 2016, and runs alongside soaring use of ABS-CBN’s online platform, which has more than 60 million sessions a month, as well as rising viewership of its flagship nightly news programme on ABS-CBN’s national free-TV station. The new ANC lineup has news at the top of the hour and a focus on in-depth analysis across politics, business, economy, lifestyle, and entertainment. “Better form and better substance,” says Ging Reyes, senior vice president and head of Philippines’ broadcaster ABS-CBN’s integrated news and current affairs group and managing director of ANC. ANC’s goal is “a holistic experience”, opening the day with a news roundup at 5am followed by two and a half hours of local and international news, business, politics, human interest, sports, tech, travel, arts and lifestyle, plus local weather updates and traffic reports.

higher level of collaboration and engagement be-

in the Philippines in 2016 are likely to include a tween traditional and social media. “2016 is an election year so we are prepared for a more involved public,” she says. “Citizens will engage more with the media as they weigh in on many issues and the candidates who deserve to be elected leaders of this country. Social media sentiment may begin to have a higher correlation with surveys, which track candidates’ performance, given that about 38 million Filipinos have Internet access and smart phone penetration has increased to 40%”. “Globally, the digital transformation continues with more and more news organisations having a stronger presence on social media. 2016 will be a year of stronger alliances and partnerships between the legacy and digital businesses. Some digital outfits will diversify into other fields, such as e-commerce or gaming. However, great visuals and compelling stories will still command the highest levels of engagement,” Reyes says. CNN’s Lee says 2016’s biggest news trend will be change. “The audience will continue to change the way they consume news and information and... we will continue to move with our audience,” she says. Porter expects a continuation of what’s already being seen – mobile video consumption will grow, as will efforts by news broadcasters to serve a global audience in every which way with pictures and video.

new environment has helped us fur-

He’s not alone in saying: “We are very commit-

ther widen our reach, enabling us to

ted to ensuring that audiences get the best experi-

connect with our audience on vari-

ences whatever device they choose to come to us

ous touch points”, she adds.

on”. That cannot be bad news.

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newsinterview

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Held to account

Are in-depth, hard-hitting, spin-busting political interview shows a dying breed? Maybe. But not yet. Janine Stein spoke to Tim Sebastian, host of Deutsche Welle’s weekly political interview series, Conflict Zone, about accountability, why politicians say yes, social media and going beyond Google.

The most interesting things don’t just tumble out of people’s heads. You have to put them in a frame of mind where they want to remember and share what they remember with you.”

Has the importance of the in-depth half-hour interview show format diminished? “It has become more important. Fewer and fewer people do it and one of the reasons fewer people do it is that politicians agree to it less and less. Politicians have social media as a way to reach their public so they are not as reliant on journalists as they used to be. It’s harder to get the interviews. But when we get them, this is one of the few occasions we can hold them to account, ask them the questions that matter on behalf of the public who can’t do it themselves.”

How would you like Conflict Zone to be known? “As an accountability Why do you think politicians agree to come on

show, holding politicians to account. Holding people to account for what

hard-hitting political shows at all? “Politicians like

they’ve done, their opinions, their track record and what they plan to do

to take you on. Some respond well to a tough inter-

in future. That’s the basis of what political interviews should be in a free

view. In some cases it brings out the best in them...

society. I don’t think enough of it is done. A weekly programme gives me

don’t ever under estimate the value of having a

the opportunity to be more selective about the interviews, rather than

chance to talk about yourself for 25 minutes. That’s

have a show that sometimes does that and sometimes has interesting

very appealing to some politicians.”

discussions. We want to do a bit more than that. There has to be an accountability element. That’s where Conflict Zone differs”.

What’s important to you in an interview? “I think what’s important on behalf of the public that

You said earlier this year that “the most interesting things are in people’s

you serve is to put the evidence of wrong doing,

minds, not on Google”. What led to that? “For years I noticed that re-

change of mind, loss of control or broken prom-

searchers go to Google and take what’s there. But there is no substitute

ises in front of the people responsible and have

for actually talking to people, and preferably face to face. The most

them answer the case, those charges, in front of

interesting things don’t just tumble out of people’s heads. You have to

the public... A lot of the people I’ve interviewed

put them in a frame of mind where they want to remember and share

should have been in front of a court of law or a

what they remember with you... Not everything can be accessed at a

war crimes tribunal. That isn’t going to happen,

click of a mouse. It takes time to get the really valuable things that are in

so the best you can do is to put them in front of a

people’s heads. That’s the context.”

television camera and put the evidence in front of them. I’m not saying they are all crooks and crimi-

Do you use social media to distribute news? “I don’t. I do watch social

nals. They are not. But they are people who are

media to see what’s trending though. It’s a very useful tip-off service.”

responsible in large part for some of the world’s great problems that we see at the moment, and

Do you think the new/free information environment has made big-brand

there should be a forum where they answer to the

news more or less relevant? “People get their news from a variety of

public for what they’ve done, for better or worse.

sources... In times of crisis, they go back to the tried and tested.”

I hope that we can provide that kind of forum. It’s

issue six, december 2015

not just a television show. It’s a public service in a

What do you think the biggest news trend will be in the next three to five

free society.”

years? “Tailor-made news”.

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lookingahead2016

NTENT ASIA

2015 in quotes plus what distributors think/hope will happen in 2016 & what they’re focusing on The arrival of new digital players across Asia Pacific has created new avenues to reach consumers and built demand for great content... The trend, which developed in China and Korea, is extending across Southeast Asia, Japan, India and Australia as digital players emerge in these markets.”

“Asia, just like any other place in the world, is interested in good stories that enchant and entertain.” Raphael Correa Netto, Executive Director, International Business, Globo

“There are many new digital platforms, in Asia, whether local or regional. Technology has changed the way people consume enter-

Ken Lo, SVP, International Distribution, Asia Pacific, Sony Pictures Television

“Indian content, especially drama, is being enjoyed more and more across the globe.” Sunita Uchil, Global Head – Syndication & CRO – International Sales, Zee Entertainment

“Drama production and entertainment formats were big this year.” Marcel Vinay H, VP International Sales, TV Azteca, says, adding that he will follow the same business models and partnerships going into 2016. While Southeast Asia has always been a major market for TV Azteca, the company entered new markets in 2015 with formats and co-productions as well as the development of drama channels in the region.

issue six, december 2015

tainment, and is giving people the ‘anywhere, anytime’ freedom to enjoy watching their favourite show. In 2016, we will continue to see the exponential growth of the digital world with traditional TV adjusting their business to keep up the pace. Animation content has less competition when compared to entertainment for adults...we are definitely seeing changes in the ways animated shows are produced.” Henry Or, VP, Asia, FremantlMedia Kids and Family Entertainment

“In October 2014, A+E Networks introduced A+E Studios International, a banner under which the company will distribute premium scripted series, TV events and movies. The studio launched with nearly 40 hours of content including series UnREAL and Gangland Undercover, which have both been renewed for new seasons and have been well-received across Asia. We expect that trend to continue to grow in 2016.” Glen Hansen, VP, Content Sales, Asia Pacific, A+ E Networks

“Major trends in the region are platforms and channels strengthening their services and offerings with more demand for non-linear multi-screen rights such as OTT and TV Everywhere. Legitimate SVOD offerings are also emerging as serious players in the region and they are becoming increasingly competitive in the market.” Nicole Sinclair, VP, Managing Director, Asia, CBS Studios International

Major trends include: factual reality. Game shows with a comedy spin are also in heavy demand. We are also experiencing major growth in the OTT space, opening up new opportunities.” Jamie I, VP Sales, Asia Pacific, Red Arrow International

In 2015, we saw an increase in revenue opportunity as global and pan-regional partners pushed the envelope and launched new digital services. The clear lines between linear and digital are becoming more fluid from the consumers’ point of view. As a result, linear and digital channels are looking for programming, particularly ad-driven formats and strong drama, which can help set their brands apart. In 2016, we expect the new services launched in 2015 will gain traction, becoming a genuine source of quality programming with viable revenues.” Sonia Fleck, Founder & CEO, Bomanbridge Media, who also said the company was focusing on developing its own format IP in 2016

“The ongoing trend continues to be factual TV, especially entertainment (i.e. applied everyday science, docutainment). Higher spending power among the population has triggered an increased demand for health and wellness programmes in some countries. Demand for animal and lifestyle programming will remain high during the year to come.” Petra Schneider, Director, Distribution, DW Transtel

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lookingahead2016

NTENT ASIA

The trend in Asia is the adaptation of formats for local production. We expect for this trend to continue... We’ve also witnessed a return to Latin content with a strong interest in titles that have proven to be successful worldwide – original stories with great production value that have the potential to perform outstandingly in the Asian continent, as they have worldwide.

“For 2016 we will continue our expansion efforts in the region, every country is essential... We are giving special attention to digital platforms, we understand that the market is revolutionising constantly and new demands are arising.” Lisette Osorio, VP of International Sales, Caracol Internacional

Xavier Aristimuño SVP International, Telemundo

“We are seeing significant growth in all our markets this year. We expect this to continue in 2016, for both linear and digital businesses.” Justin Che, MD, Asia Pacific, Distribution & Networks, NBCUniversal

“Our focus is to continue to place our shows on significant platforms and to also forge production partnerships.” Henry Or, VP, Asia, Fremantlmedia Kids and Family Entertainment

“Our particular focus in 2016 includes Vietnam, Thailand and Japan.” Jamie I, VP Sales, Asia Pacific, Red Arrow International

DW Transtel is active throughout Asia, with special emphasis on Vietnam, India, Indonesia and Myanmar, where syndication of programming has been on a steady increase.” Petra Schneider, Director, Distribution, DW Transtel

“We are noticing a stronger demand in the Asian market for series, footage and telenovelas.” Lisette Osorio VP of International Sales, Caracol Internacional

We are focusing on Asia as a whole, from South Korea to China, Indonesia, Pakistan and Australia.” Raphael Correa Netto, Executive Director of International Business, Globo

“We are operating in an evolving media landscape where consumers are demanding more personalised, shareable content. Although television still remains the primary platform, multiple screens and access points have become increasingly important to drive engagement and viewership.” Mark Whitehead, EVP/MD, Asia, Viacom International Media Networks

www.contentasia.tv issue six, december 2015

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socialmediatwitter

NTENT ASIA

Tweet tooth In an audience engagement scene on steroids, Rishi Jaitly, Twitter’s vice president, media, for Asia Pacific/ Middle East, talks* about building audiences, boosting access, driving engagement, working with media companies from the ground up, and who in Asia is doing it best for now.

“Winning on Twitter is all about personality. Mobile phones are places of personality. They’re not places where people want to consume press releases, they want to feel like they’re a part of the story – they want to be touched by characters and shows and more... We begin the journey with media companies that way.” “Star India is a good example [of a broadcaster that has done really well on Twitter]. On a number of shows, we’ve worked with them first and foremost on the basics: Does your TV channel/ production house have a Twitter account? Is your talent on Twitter? Are your executives on Twitter? Are your mascots on Twitter? Are your characters on Twitter? Over time that leads to audience gains. It results in, for instance, the ability to publish live video during a broadcast; particularly around cricket, they’ve done an outstanding job. And now they’ve run programmes where, when they publish live video clips on Twitter, the audience is so substantial they’re actually finding sponsors for their content on Twitter. Rishi Jaitly

So here’s a wicket during the match, here’s the replay 30 seconds later, pre-roll from Vodaphone, here is the clip on Twitter. Because Twitter is where people go for live content. But none of that is possible unless you’ve first invested in a whole host of creativity, and a whole host of organic investment in storytelling on Twitter.”

issue six, december 2015

“We have programmes that are revenue positive for media companies. From Korea to Australia to India, we’ve seen owners of content – whether it’s cricket, whether it’s music – push content on Twitter that is sponsored. But none of that is possible unless you have invested the time to build that audience in the first place.” “Consumers are increasingly interested in experiences where, for instance, they’re watching a match and they want to see the replay immediately; where they’re watching television and they’re watching it with the writer and actor sitting next to them; or in your mobile app and they’re watching television, and the story feels like their own, like they’ve co-produced it. So a lot of the tools around data and analaytics and sentiment and curation and video publishing are things that we spend a lot of time working with partners on.”

“We believe that Twitter is your mobile microphone.” “Advertisers are increasingly interested not just in the size of the audience, but in the engagement of the audience. How alive is an audience that’s consuming a particular form of media? How expressive are they? And so increasingly Twitter data – the extent to which your content is generating expression on Twitter, engagement on Twitter – is viewed as an important metric in the marketplace.” “All of our data is public... we generate about a billion tweets every two days [September 2015], which is again a public expression metric. There are many ways to connect to that data; there are a range of third parties in the marketplace that have built massive businesses just analysing Twitter data, country by country, telling a story around it, visualising it, customising it for a particular client, so it compliments how they think about their audience.”

“We’re the world’s biggest focus group in many ways.”

“Many sports federations now have a Twitter command centre in their office where they’re constantly tracking the mood of the crowd.” *Jaitly was speaking during the ContentAsia Summit in Singapore in September 2015 in the social media keynote session, “Up your act with social TV”.

ntent

Formats

Outlook @theATF

2015 The where, when, what, why and how of Formats in Asia.

formats@theATF2015

NTENT ASIA

Leaderboard: who’s who on Asia’s formats charts (2015/2016) Endemol Shine 1. Big Brother China 2. Big Brother Philippines 3. The Brain season 2 4. The Choice Thailand 5. Deal or No Deal Myanmar 6. Deal or No Deal Philippines 7. Deal or No Deal Vietnam 8. The Kids Are All Right Myanmar 9. The Kids Are All Right Thailand 10. The Kids Are All Right Vietnam 3 11. The Love Machine Thailand 12. MasterChef Asia 13. MasterChef China (Celebrity) 14. MasterChef India 15. MasterChef Indonesia 16. Junior MasterChef Indonesia 17. MasterChef Korea 18. MasterChef Vietnam 19. Million Dollar Minute Vietnam 20. Minute to Win It Cambodia 21. Junior Minute to Win It Thailand 22. The Money Drop Thailand 2 23. Sing Your Face Off Thailand 24. So You Think You Can Dance Vietnam 25. Star Academy Vietnam 26. Wall of Fame Vietnam 27. Your Face Sounds Familiar Philippines 28. Your Face Sounds Familiar Thailand Talpa 1. Battle of the Sexes season 2 2. The Big Picture Thailand 3. Divided 4. The Fifteen of Us 5. I Love My Country China 6. Sabotage Vietnam 7. The Voice Kids Cambodia 8. The Voice of China 9. The Voice Kids China 10. The Voice India 11. The Voice Thailand 4 12. The Voice Vietnam 3 13. The Winner Is... FremantleMedia 1. Asia’s Got Talent 2. Distraction 3. Distraction Regional 4. Indian’s Digital Superstar 5. India’s Got Talent season 6 6. Indian Idol Junior 7. My Mom Cooks Better Than Yours 8. Scars of Life India 9. Take Me Out Thailand 10. Thailand’s Got Talent 5 11. Vietnam Idol season 6 12. X Factor Indonesia season 2 Armoza 1. The Arbitrator, Vietnam 2. Do Me A Favour Thailand 3. I Can Do That! China 4. I Can Do That! Philippines

5. 6. 7. 8. 9.

I Can Do That! Vietnam Still Standing China Still Standing Thailand Who’s Asking? India Who’s Asking? Thailand

NBCUniversal 1. Baggage 2. Dance Your Ass Off Thailand season 3 3. Hidden Singer Thailand 4. How Do I Look? Asia 5. Opening Act 6. Top Chef Indonesia CJ E&M 1. Let Me In Thailand 2. Let’s Eat China 3. Let’s Go Time-Travelers China 4. Sisters Over Flowers 5. Super Diva 3 CBS Studios International 1. Asia’s Next Top Model 3-4 2. Celebrity Squares Indonesia 3. China’s Next Top Model 2 4. India’s Next Top Model 5. Vietnam’s Next Top Model 6 All3Media 1. Are You Normal? China 2 2. Cash Cab Thailand 3. Gogglebox Korea 4. Gogglebox Mongolia BBC Worldwide 1. Dancing with the Stars Vietnam 2. Strictly Come Dancing India/Dancing Star 2 3. Top Gear China 4. Top Gear Korea Global Agency 1. Golden Scale Thailand 2. Keep Your Light Shining Cambodia 3. The Remix Indonesia 4. The Remix Vietnam ITV Studios Global Entertainment 1. Big Star’s Little Star Vietnam 2. Get Your Act Together Vietnam 3. Hell’s Kitchen Indonesia 4. The Line Thailand Keshet 1. Boom! Cambodia 2. Master Class China 3. MICE Korea 4. Prisoners of War Korea MBC Korea 1. Infinite Challenge China 2. The King Of Mask Singer China 3. Real Men 4. Where Are We Going Dad? season 3

A+E 1. 10 Things You Don’t Know About Singapore 2. My Ghost Story Asia season 3 Scripps 1. Food Wars Asia 2. House Hunters Asia Sony Pictures Television 1. Everybody Loves Raymond India 2. Mad About You China Red Arrow International 1. The Last Cop 2. You Deserve It 3 Vietnam Star China Media 1. Amazing Chinese 2. Sing My Song Vietnam TV Azteca 1. Acapulco Forever Yours, Malaysia 2. Fierce Angel 3. La Akademia Kids Indonesia Viacom 1. Lip Sync Battle China 2. Lip Sync Battle Indonesia 3. Lip Sync Battle Phillipines 4. Lip Sync Battle Vietnam ABC Japan 1. The Luckiest Disney/Buena Vista International 1. Ugly Betty Thailand DRG 1. Don’t Tell The Bride Dori Media 1. Power Couple India Globo 1. Merciless Imagine Group 1. The Apartment: Celebrity Edition season 4 NHK Japan 1. Dr What – Diagnosis Unknown Nippon TV 1. AHA! Experience Telemundo 1. Hidden Passion Philippines & with one title each... SBS Korea War of Money; Onza Distribution DNA India; Warner Bros Gossip Girl Thailand; Zee TV Dance Singapore Dance

Note: Formats listed premiered on channels in Asia from 1 January 2015 to November 2015 or were commissioned for broadcast in 2015/2016. This list does not include: format options, formats that do not have a broadcaster attached, formats that premiered in past years and are still on air, titles/formats created solely for a single sponsor, and shows created in-house that have not been sold as formats to anyone else. Information was correct at presstime (16 November 2015). All rights owners were given equal opportunity to participate.

formats outlook @ the atf 2015

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formats@theATF2015

NTENT ASIA

Coming soon to a format near you 2015 will go down in Asia’s production history as the biggest, shiniest and most expensive formats year ever. And that’s just the regional versions of international franchises. What’s most likely to happen in 2016? China’s big in every way, of course. Korea’s hybrids are gaining ground. Drama formats are still tiny, but hope springs eternal. Food is cooking up a storm everywhere. And kids are all over the place everywhere.

Food Wars Asia season two

Asia’s biggest, shiniest and most expensive re-

Next Top Model for female-focused pay-TV channel Star World. The se-

gional formats year ever is drawing to a close.

ries, by FremantleMedia Asia for the first time, is in production and will

Other than unprecedented, is there a word or a

air in early 2016.

phrase that sums up the year in regional formats?

On a smaller scale, Scripps Networks Interactive has green lit season

We’re thinking it should be “Brave” (maybe even

two of U.S. format, Food Wars, which will air on Food Network Asia on 11

BRAVE), because whatever did or didn’t go right,

January 2016 in a prime time 10pm slot.

these were big giant bets by a pay-TV industry

Scripps has also green lit the first local version of long-running U.S. for-

well aware that local relevance is king but still a

mat House Hunters for HGTV Asia. The Singapore-based regional network

bit shaky on the whole who/how/why of funding

is working with Endemol Shine’s Singapore-based regional office on the

big dreams.

production of both Food Wars Asia and House Hunters Asia.

Who’s leading the way into 2016? Fox Interna-

2015’s other big regional players had not showed their hands for the

tional Channels (FIC) with season four of Asia’s

new year at press time, with no confirmation on second seasons of Asia’s

formats outlook @ the atf 2015

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formats@theATF2015

NTENT ASIA

Got Talent (Sony Pictures Television Networks Asia/AXN), MasterChef Asia (A+E Networks Asia/Lifetime) or How Do I Look? Asia (NBCUniversal Channels/Diva). If a question mark still hangs over the returns of three of 2015’s big four regional titles, there’s no getting away from the estimated US$16 million boost they added to the original production environment in 2015. Between them, the

#talkingpoints Fuji, SMG tie up Japan’s Fuji Television (Fuji TV) and China’s Shanghai Media Group Pictures (SMG Pictures) have partnered to remake five Fuji TV-produced dramas, including series Dating: What’s it Like to be in Love?, for broadcast in China. The strategic partnership also includes rights to remake the dramas into films.

buster The Voice of China (See page 66). Drama is clearly much more difficult. Armoza has one in development in Vietnam; crime drama The Arbitrator, about a social worker who discovers he is the lost son of the underworld’s most powerful man, is scheduled to air on VTV in 2016. The handful of drama formats sold into Asia include a Korean version of Keshet International’s Prisoners of War, which was announced in February 2014 and still hasn’t made it to air. Keshet International sales director for Asia and Latin America, Kelly Wright, says the show is in produc-

four formats also added a little more than 52 hours of original

Elif heads for Indonesia

tion and should be on air in 2016. Keshet’s fam-

video content on air across Asia,

Indonesian free-TV broadcaster SCTV has greenlit a local version of Turkish daily drama Elif following ratings success with the first two seasons of the original series. The local version is being produced by SCTV sister company Screenplay Productions. The show is scheduled for broadcast in January 2016. Elif is the story of a girl whose mother sends her away to live on a farm to protect her from her dangerous stepfather.

ily drama/spy thriller, MICE (aka Spy/The Gordin

many multiples of that in encore telecasts, and countless hours of online

audience

engagement

in a market clamouring for local relevance and pay-TV platforms demanding original shows. As the year draws to a close, we counted 132 formats that premiered in Asia or had been commissioned for 2016 from the beginshows that premiered in 2014 and

Cash Cab Philippines

ran through 2015.

Sony Pictures Television Networks Asia’s AXN will air the first Asian in-country version of all3media format Cash Cab in December. Cash Cab Philippines is produced by Michael McKay’s activeTV, which acquired rights from the U.K.based all3media. activeTV also produced the regional version of Cash Cab for AXN in 2011.

far in the lead by mid-November, with 28 shows on air in 2015 or commissioned for 2016. Talpa was second with 13, with FremantleMedia Asia in third place with 12 and Armoza fourth with nine. In fifth place was NBCUniversal with six, followed by all3media, CBS Studios International and Korea’s CJ E&M tying for sixth place with five each (See page 60 for full list. The list excludes, all3Media’s Cash Cab Philippines, which was announced after we printed). Competitions,

contests

and

game shows across a range of skills – singing, dancing, cooking...

ed for Korean public broadcaster, KBS, early in 2015 and ran in a Friday prime-time 9.30pm slot. Asia’s formats bosses have mixed expectations for the region in 2016. Kristian Kender, managing director of CMM-i/ China, which represents all3media in China, says there’s an expansion into reality – and particularly outdoor reality in the wake of Where Are We Going Dad? – across the mainland after years of big shiny music and entertainment floor shows.

ning of 2015. That’s excluding the

Endemol Shine was way and by

Cell), on the other hand, was successfully adapt-

China’s Infinite Challenge Star China premiered the local version of Korean hybrid entertainment/competition format Infinite Challenge on state-owned national broadcaster China Central Television’s flagship CCTV-1 channel at the end of November. The series, based on a long-running show created by MBC in Korea, runs in an 8pm slot.

Chinese broadcasters are also increasingly up close and personal with Korean formats producers and distributors, some of which are sending entire teams to China to support production on the ground. Kender also notes the rising power of online/ streaming platforms, which have commissioned shows such as two seasons of Are You Normal? and Big Brother. Season one of Are You Normal? had more than 500 million views, and season two is expected to go way beyond that, Kender told delegates at this year’s ContentAsia Formats/ ContentAsia Summit in Singapore in September. Even better news coming out of China is all about investment in production houses and funding even bigger, bolder productions. As budgets rise and commercial rates soar, companies such as China Media Capital are pouring into the space, buying into, for example, format rights broker IPCN in early 2015.

– continue to rule. Talpa had six

If Korea’s domestic market has proven difficult

versions of The Voice in Asia this

to crack for foreign rights holders, Korean formats

year,

creators and distributors have launched enthu-

formats outlook @ the atf 2015

including

all-time-record-

THE VARIETY GAME SHOW WHERE MONEY ISN’T THE ONLY THING THAT GOES UP AND DOWN, YOU DO TOO!

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NTENT ASIA

siastic regional and international campaigns to spread their IP. Hwang Jin Woo, senior manager

In China meanwhile...

common experience. Paraskakis says there is still demand for the “juggernauts” of the formats world “but not in the same way as we know them”.

and head of formats for CJ E&M’s content development team, says

“They’re being refreshed and revived, with dif-

one of the biggest trends in Korea

ferent spins, different techniques in terms of how

is hybrid formats that combine

the voting mechanics works, how the creative

two existing concepts to create a

works, how the set looks...” she says. “There’s still

whole new one.

a demand from broadcasters for these mainstay

So, for example, a game show

shows, but it’s how do they keep them fresh and

with a little bit of reality, a pinch of

new and keep the viewers entertained,” she

competition and a few other twists

adds.

and out pops The Genius Game.

At the same time, classics such as Family Feud

Or Three Meals a Day, which com-

and The Price is Right retain an unassailable posi-

bines cookery with celebrity talk and a bit of social consciousness/ psychology. Formats bosses everywhere say all things Korean are hot. Endemol Shine Group’s managing director for Asia, Fotini Paraskakis, puts Korea at the top of her trends list. “It’s more about the new and fresh techniques, the storytelling, different twists and game play, drama and surprise,” she says. She

agrees

with

E&M’s

Hwang on the hybrid nature of popular shows, and says mixing it up “has created a major trend in Asia and especially China. And it’s now moving across to Europe and the U.S.”, she adds. Food is massive. “Everyone loves food, that’s huge trend across Asia,” Paraskakis says. And not just for big-brand shows like MasterChef, which Endemol made in 2015 for A+E Networks Asia’s Lifetime channel. “There’s a lot of demand for food any which way you like,” she says, noting strong and inspiring story

China, meanwhile, is busting all kinds of media records, and big shiny competition formats are no exception. The season four finale of Star China Media’s The Voice of China topped mainland China’s TV ratings charts on 7 October 2015, hitting 6.566% (CSM 50 cities, all 4+) and giving the series a record-breaking straight run at the top of China’s charts for 13 consecutive weeks on air. The Shanghai-based Star China Media said this was the longest winning streak of any format in China’s ratings history. No announcements had been made on season five by mid-November, but few expect the multimillion dollar show not to go on. The Voice of China’s production budget tops RMB100 million/ US$16 million, making it one of the region’s most lavish competition format shows. CSM viewership data provided by Star China Media put the finale’s audience share at 27.39% with an average rating of 7.11% in 34 major cities. The Voice of China, produced by Star China’s Starry Productions, premiered on Zhejiang Satellite TV on 17 July this year.

“I think one of the reasons is they’re just simple, classic structures, easily strippable, that fill those slots that our clients need,” she says. They’re also well received. “Everybody loves those shows, they all know them, they’re comforting, and they’re all-round entertainment and they’re guaranteed ratings, so they just keep on coming back.” Paraskakis says kids are a rising trend, not just in original formats but for junior versions across a wider variety of big brand shows. “The big shows are now lending themselves to a kids or a teens version... I think it’s more about positivity, warmth, and it’s inspiring to see other kids and do things and it’s wholesome and heartwarming,” she says. If drama is still tiny in comparison to game, competition and reality shows in Asia, it’s gaining ground. “There’s more drama than ever before, the storylines are more complex, there’s more suspense,” Paraskakis says. “Telenovelas are further pushing the boundaries, and what’s more interesting for us is that we’re seeing more international formats break into the local market, particularly in India, also China, Philippines and Thailand. That’s good for us, because we plan to launch some next year,” she adds. In Thailand, the market shifted massively in the past year, with 24 new commercial digital terrestrial stations all at once and a cutthroat fight for

telling, aspirational themes,

ratings. It’s a whole new game show, says Vara-

and a chance for families

vuth Jentanakul, chief executive officer of Thai

to gather around a

production house Zense Entertainment Thailand,

Hwang JinWoo, CJ E& M

formats outlook @ the atf 2015

tion in the formats landscape.

Banijay International A Banijay Group Company

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The Doll Life

You’re too overprotective

You disrespect me

You need to listen

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formats@theATF2015

NTENT ASIA

Who’s who in 2015 10 Things You Don’t Know About Singapore

MasterChef Asia judges, Susur Lee, Audra Morris, Bruno Menard

which produces shows such as The Money Drop Thailand, The Love Machine and Sing Your Face Off Thailand. Jentanakul says effective targeting, audience segmentation and higher entertainment value are the holy grail in Thailand as broadcasters jostle for a place in the newly crowded environment. David Gunson, the Imagine Group’s general manager of distribution and production, says similar bars have been raised everywhere.

Genre: Factual/history Broadcast on: History Date: Premiered 13 Sept 2015 Slot: Sunday, 10pm Commissioned in Asia by: A+E Networks Asia Produced by: Very Pte Ltd (S’pore) Created by: A+E Networks U.S. Rights owner: A+E Networks The pitch: A hosted special, revealing 10 intriguing facts and figures about a country.

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

“You’ve only got to look at the shows that are being produced across Asia now, by companies within Asia,” he says. The result is a virtuous quality cycle that, among other things, expands the look, feel and multi-screen engagement of programmes being made. Gunson notes the move towards observational reality in other parts of the world and predicts a similar emergence in Asia. What’s on the way out are shows that are seen to be sending a “you can’t be too thin” message to young girls. Gunson says these have made way for formats that are more about empowerment, healthy lifestyles, positive messages. Something, indeed, to look forward to in Asia in the New Year.

Genre: Telenovela/drama Broadcast on: Astro Bella and Astro Mustika HD, Malaysia Date: Premiered 17 Aug 2015, 120 eps Rights owner: TV Azteca Produced by: Global Station

Amazing Chinese

Genre: Talent show Broadcast on: CCTV-1, China Date: Season 2 premiered 1 Mar 2015. Season one premiered 9 Feb 2014. Time slot: Sundays, 8pm Produced by: Star China/Starry Production Original created in: China Rights owner: Star China/Starry Production The pitch: A talent show about the Chinese dream.

The Apartment: Celebrity Edition (season 4)

Genre: Design/renovation contest Broadcast on: Star World HD Date: Sunday, 25 Jan 2015. Finale 29 Mar 2015. 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: Contestants prove their design skills. $100,000 prize.

The Arbitrator Vietnam (Đối mặt trong bóng đêm/ Facing the Darkness)

AHA! Experience Varavuth Jentanakul, Zense Entertainment Thailand

Formats listed premiered on channels in Asia from 1 January 2015 to 16 November 2015 or were commissioned for broadcast in 2016. This list does not include: format options, formats that do not have a broadcaster attached, formats that premiered in past years and are still on air, titles/formats created solely for a single sponsor, and shows created in-house that have not been sold as formats to anyone else. Information was correct at presstime (15 November 2015). All rights holders were given equal opportunity to participate.

formats outlook @ the atf 2015

Genre: Game show Broadcast on: HTV Broadcast date: Season 2: 30 Jan-24 Jul 2015. Season 1: 8 Aug 2014-16 Jan 2015 Slot: Fridays, 9.30pm Commissioned in Asia by: Dori Media Group Produced by: Dong Tay Production Created by: Nippon Television Network (Japan) Rights owner: Nippon TV The pitch: An entertainment quiz show that puts contestants to the test on what they see.

Genre: Crime drama Broadcast: Vietnam Television (VTV) Broadcast date: Early 2016 Commissioned by: VTV Produced by: Vietnam Television Film Center (VFC) Rights owner: Reshef Levi, Hot. Distributed by Armoza Formats The pitch: A social worker discovers he is the lost son of the underworld’s most powerful man.

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Sony Pictures Television 10202 W. Washington Blvd. Culver City CA 90232-3195, U.S. Hong Kong office: 21/F Cityplaza Three, 14 Taikoo Wan Road Taikoo Shing, Hong Kong W: www.sptformats.com ATF 2015 Suite#5001 Executives attending: Ken Lo SVP Distribution Asia Alistair Jennings VP Distribution SEA Alysha Chopra Senior Sales Manager SEA

Are You Normal? 2

Genre: Survey quiz show Broadcast on: Tencent China Broadcast date: Season 2 debuted on Chinese online platform Tencent in first half 2015 Original created by: Zoo Productions/all3media. Distributed in Asia by all3media International, supported in China by CMM-i The pitch: Participants are polled... and compared with the rest of the universe.

Asia’s Next Top Model season 3-4

NTENT ASIA

Can’t Touch This

Dragons’ Den

Raid The Cage

Length: 60mins Genre: Entertainment Can’t Touch This is a huge, primetime game show with a very simple premise – if you touch the prize, you win the prize! Catapulted into a giant obstacle course, 16 contestants have to battle their way through fiendish challenges while trying to touch prizes that are tantalizingly just out of reach. But only one of them will win the chance to take home their prize haul. They could also be driving their prizes home in the car of their dreams, but first they have to take a giant, heart-stopping leap in order to touch it. Full of epic fails and big, big wins, it’s fun for the whole family.

Length: 60mins Genre: Factual Entertainment Entrepreneurs pitch bold new ideas and inventions to five hard-nosed multimillionaires, the Dragons. They must convince one or more of the Dragons to invest a specific amount of their own money – or they fail. If the Dragons are impressed by a pitch, they negotiate aggressively to own the biggest possible share in the venture in exchange for their cash. The show is confrontational and compelling – especially when the Dragons turn the heat on each other as they compete to be the sole investor in a truly promising venture.

Length: 30/60mins Genre: Entertainment A giant cage full of glittering prizes. Unlock it, and you can take whatever you want. Some prizes you can grab and run with…others won’t be given up so easily. But don’t outstay your welcome, as the cage will only open for a short time before its doors slam shut, trapping you and the prizes inside. How do you get in? That depends on your partner and how clever they are. A correct answer to a question will open the doors to the cage for anything up to 90 seconds. A wrong answer and the cage and all its treasures will remain closed to you forever.

Genre: Reality modelling show Broadcast on: StarWorld/Fox International Channels (FIC) Asia Date: Season 4 premiers Mar 2016. Season 3: 25 Mar-17 June 2015. Slot: Wednesdays, 8.45pm Produced in Asia by: Season 4: FremantleMedia Asia. Season 3: Beach House Productions Rights: CBS Studios International

Asia’s Got Talent

Genre: Talent competition Broadcast on: Sony Pictures Television’s AXN across Asia. Slots on terrestrial channels in Thailand (Channel 3), Vietnam (VTV 6) and Indonesia (Anteve). Pay-TV channel VH1 in India. Mainland Chinese online platform Youku Date: Premiered 12 Mar 2015 (9pm, 13 Mar, Taiwan). Final performance 7 May. Results show 14 May. Slot: Thurs, 7.30pm (Jakarta, BKK); 8.30pm (S’pore M’sia, Philippines,

HK); 9pm Taiwan. Stripped on India’s VH1 ahead of the finale. Commissioned by: Sony Pictures Television Networks Asia Produced by: FremantleMedia Asia

Battle of the Sexes season 2

Astro Classic Golden Melody Singing Competition (CGM) 2015 Genre: Entertainment/talent Broadcast on: Channel 8 Singapore Date: 25 Oct 2015 Slot: Sunday, 1pm Produced by: Astro Production Original created in: ContentChinese Production Unit Rights owner: Astro AEC M’ysia The pitch: Amateur and professional singers older than 45 compete

Baggage

Genre: Dating show Broadcast on: Net TV TX details: To be confirmed Commissioned by: Net TV Indonesia Created by: Game Show Network U.S. Rights owner: NBCUniversal Int’l The pitch: A dating show to discover what people are really willing to put up with in the hope of finding true love.

Genre: Game show Broadcast on: ShenZhen Satellite Channel Date: Premiered 27 Mar 2015 Time slot: 9.08pm Produced by: ShenZhen Satellite Channel Rights owner: Talpa The pitch: Four male and four female celebrities do all they can to try to understand how the other sex thinks, feels and acts.

Big Brother China

Genre: Reality Broadcast on: Youku Tudou Date: Nov-Dec 2015, 18 episodes Original created in: Netherlands Commissioned by: Youku Tudou Produced with Endemol in Beijing Asia distribution: Endemol Shine

formats outlook @ the atf 2015

formats@theATF2015

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Big Brother Philippines season 6 (Pinoy Big Brother)

Genre: Reality Broadcast on: ABS-CBN Channel 2, Channel 23, Philippines Date: 20 June-25 Oct 2015 Slot: Daily, prime time Produced by: ABS-CBN Corp Original created in: Netherlands Rights owner: Endemol Shine

The Big Picture, Thailand

Genre: Game show Broadcast on: True4You Date: To be confirmed Produced by: AP&J Created in: Netherlands Rights owner: Talpa The pitch: App users are selected to participate in the TV programme on-screen in real time.

Big Star’s Little Star Vietnam

Genre: Family game show Broadcast on: VTV 3, Vietnam Premiere: TBC. Delayed from July 2015 Original created in: U.K. Rights owner: ITV Studios Global Entertainment The pitch: Celebrity kids reveal their secrets.

Genre: Entertainment/talent Broadcast: Jiangsu Satellite TV Date: Season 2: 2 Jan-20 Mar 2015. Season 1: 3 Jan-28 Mar 2014 Length: 12 episodes Slot: Fridays, 9.20pm-11.20pm Produced by: Now Investment Media Original created in: Germany Rights owner: Endemol Shine Distributed in Asia by: Endemol Asia The pitch: Talent show that celebrates gifted minds & incredible skills.

Cash Cab Thailand

Genre: Game quiz Broadcast on: Channel 9 Date: Premiered 2 March 2015 Slot: 6.15pm-7pm Produced by: Heliconia Entertainment Original created in: U.K. Rights owner: all3media The pitch: Taxi passengers answer questions for prizes.

Celebrity Squares Indonesia

Genre: Game show Broadcast on: NET TV Date: Premiered 7 Sept 2015 Slot: Weekdays, 5.30pm-6.30pm Produced by: FremantleMedia Original created in: U.S. Rights owner/Asia distributor: CBS Studios International The pitch: Based on noughts and crosses, with a celeb in each box. Contestants guess if the celebrity has answered questions correctly.

China’s Next Top Model season 2

Boom!, Cambodia

Genre: Game/trivia challenge Broadcast on: Bayon TV, weekly Broadcast date: January 2016 Produced by: Bayon Radio & TV Original created by: Keshet Rights owner: Keshet International The pitch: Action movie meets video game in a trivia challenge

The Brain season 2 (最强大脑/ Zui Qiang Da Nao)

Genre: Reality modelling contest Broadcast on: Chongqing Satellite Channel Date: Premiered 21 May 2015 Slot: Saturdays, 9.20pm Length: 12x60 mins Produced by: IPCN Rights owner/Asia distributor: CBS Studios International

The Choice Thailand

Genre: Celebrity dating game show Broadcast on: Mono TV, Thailand Date: 26 Sept 2015-Mar 2016 Slot: Saturdays, 5pm Produced by: Heliconia Entertainment Co Ltd Original created in: U.S. Rights: A. Smith & Co Productions Distributed in Asia by: Endemol Shine Group The rules: Three stages of competition involving four single celebrity contestants.

Dance Your Ass Off season 3 (Dance Your Fat Off)

Genre: Weight-loss dance format Broadcast on: Bangkok Entertainment’s Channel 3, Thailand Broadcast date: Season 3: Premiered 1 Aug 2015. Season 2: ended 24 May 2014 Time slot: Saturdays, 5.30pm-7pm Produced by: Creatist Original created in: U.S. Rights owner: NBCUniversal Int’l The pitch: Contestants dance with professional partners to see who can lose the most weight.

Dance Singapore Dance

Dancing with the Stars Vietnam season 6 (Buoc nhay hoan vu)

Genre: Entertainment, talent Broadcast on: VTV Broadcast date: 11Jan-22 Mar 2015 Time slot: Sundays, prime time Produced by: Cattiensa Created in: U.K. Rights owner: BBC Worldwide

Deal Or No Deal Myanmar

Genre: Game show Date: Premiered 5 Jan 2015 Length: 391 episodes Slot: Fridays, 6pm-8pm Created by: Endemol Netherlands Rights owner: Endemol Shine The pitch: 22 people are 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. They decide whether to accept or play on.

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

Genre: Game show Broadcast on: ABS-CBN Channel 2, Channel 23 Broadcast date: 9 Feb-28 May 2015 Length: 65x60 mins Slot: Daily, 5pm Produced by: ABS-CBN Corporation Created by: Endemol Netherlands Rights owner/Asia distribution: Endemol Shine Group

Deal Or No Deal Vietnam season 10 (Đi Tìm Ẩn Số)

Genre: Game show Broadcast on: HTV 7, Vietnam Broadcast: Premiered 3 May 2015 Length: 52x60 mins Slot: Saturdays, daytime Produced by: Kiettuong Created by: Endemol Netherlands Rights owner: Endemol Shine Genre: Dance competition show Broadcast on: Zee TV, Sensasi, Zee Tamish Date: 18 July-26 Sept 2015 Slot: Saturdays, 8pm

formats outlook @ the atf 2015

Produced by: Zee TV, Sensasi, Zee Tamish Original created in: India Rights owner: Zee Entertainment Enterprises Distributed in Asia by: Zee TV The pitch: 15 participants train with some of the industry’s best choreographers.

Distraction (V Distraction) Genre: Game show Broadcast on: Channel V Date: 9 Feb-10 April 2015

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NTENT ASIA

Talpa Global is dedicated to the worldwide licensing of formats, like The Voice, The Voice Kids, Utopia and The Big Picture, and finished series developed and/or produced by Talpa’s in-house creative development units. Its Global Productions division ensures the quality of Talpa formats across the globe, whereas Global Connect is globally operating and monetizing its in-house developed digital products.

Dance Dance Dance Episodes/Length: 6x115mins + 1 making of. Genre: Talent show Dance Dance Dance takes celebrity dancing to a whole new level. The dancers reenact the most famous dance performances with revolutionary technology to mimic the original setting and even a synchronized backstage broadcast in the Dance Dance Dance app. The celebs form a duo with someone they’re close to, offering explosive reality during the intense training process. The best in the business offer mind blowing performances, raising the bar for celebrity dance competitions all over the world.

Talpa Global Sumatralaan 45 – Gebouw De Matrix, 1217 GP HILVERSUM The Netherlands

Superkids Episodes/Length: 7x90mins. Genre: Talent show From the makers of The Voice Kids comes Superkids, the show that gives the nation’s most gifted youngsters the stage they deserve. In this positive talent competition, kids showcase their astonishing skills by performing a wide variety of high level acts, including singing, dancing, playing an instrument, ice skating, executing a magic trick and performing a comedy sketch. It’s genuine feel good entertainment for the entire family.

W: www.talpa.tv ATF 2015 Booth: C25 Executives attending: Gepke Nederlof Head of Global licensing E: sales@talpa.tv Dorienke Kraak

Lip Sync Masters

Licensing Manager

Episodes/Length: 8x45mins. Genre: Entertainment From dubsmash to celebrity battles, lip-syncing is the latest hilarious trend. Talpa has tapped into this booming craze by creating the ultimate lip-sync show. In Lip Sync Masters, the viewers get to see entertainment like they’ve never seen before – with multiple fun rounds covering every kind of lipsyncing you can imagine! From big music acts in the studio to videos the audience has sent in, from spoken word to the final guest celebrity performance, every episode is sure to tingle your musical and comical senses!

E: sales@talpa.tv

Gepke Nederlof

Dorienke Kraak

The Wishing Tree Episodes/Length: 13x45mins. Genre: Factual The Wishing Tree is the ultimate feel-good format. Young children hang their wishes in a wishing tree. But they don’t do this for themselves…the wishes are for someone they personally think deserves it! Witness the adorable, touching and downright heartwarming wishes be fulfilled… and be inspired.

The Big Picture Episodes/Length: 6x45mins. Genre: Connected Game show A picture says more than a thousand words. And that’s never been truer than on The Big Picture. This game-changing format puts your visual knowledge to the test. It’s the first game show whereby the connected player can play along in real-time with a studio player and could end up not just winning a substantial sum of money, but even the big prize. Picture that.

formats outlook @ the atf 2015

Slot: Weekdays, 5.30pm Commissioned in Asia by: Channel V (Star India) Produced by: FremantleMedia India Created in: U.K. Rights owner: FremantleMedia The pitch: Contestants are distracted as they attempt to answer simple questions. The winner faces the ultimate challenge.

Distraction Regional (Bhyabachyaka)

Genre: Game show Broadcast on: Star Jalsa Broadcast date: 3 May-12 Sept 2015 Slot: Sundays, 8pm Commissioned by: Star Jalsa Produced by: FremantleMedia India Created in: U.K. Rights owner: FremantleMedia

Genre: Street game show Broadcast details: Modernine (MCOT, Channel 9) Broadcast date: Season 2: JuneDec 2015. Season 1: 14 Nov 20149 May 2015 Slot: Saturdays, 2.30pm-3.30pm Commissioned by: MCOT Produced by: Zense Entertainment Original created in: Argentina Rights owner: Armoza Formats The pitch: Contestants attempt to convince strangers to do them a favour with a 10-minute time limit and a $250 budget.

Everybody Loves Raymond

Don’t Tell The Bride

Genre: Telenovela/drama Broadcast on: Astro Date: 2016 Rights owner: TV Azteca Produced by: Global Station as part of a long-term production deal with Astro and TV Azteca. Fierce Angel is the second drama format production under the current agreement.

Divided

Genre: Game show Broadcast on: ETV Marathi Broadcast date: 3 Jan-29 Mar 2015 Slot: 9pm Produced by: Endemol India Rights owner: Talpa The pitch: A team of three strangers answer up to 15 general knowledge questions to amass money for a communal pot.

DNA

Genre: Family game show Broadcast on: Zee Tamish Broadcast: Premiered 19 Apr 2015 Time slot: Sunday, 8pm Length: 26 episodes Commissioned in Asia by: Zee Entertainment Produced by: SandaiWood Media and Zee Entertainment Created in: Europroduziones, Veralia Rights owner: Onza Distribution The pitch: Simple and fun family studio game show divides 10 fathers/mothers and 10 sons/daughters. Contestants have to match parents and children.

Do Me A Favor Thailand

formats outlook @ the atf 2015

formats@theATF2015

NTENT ASIA

Genre: Reality show Broadcast on: ShenZhen Satellite Channel Date: Premiered on 31 May 2015 Time slot: 10pm Commissioned in Asia by: IPCN Produced by: ShenZhen Satellite Channel Created in: U.K. Rights owner: DRG The pitch: The groom and his best man plan a dream wedding in seven days with a limited budget.

Dr. What – Diagnosis Unknown

Genre: Sitcom Broadcast on: Star Plus, India Broadcast date: Premiered 31 August 2015 Length: 108 episodes Slot: Monday-Saturday, 10pm Produced by: DJs Rights owner/Asia distribution: Sony Pictures Television The pitch: Situations based on the real-life experience of Ray Romano, creator/producer Phil Rosenthal and the show’s writing staff.

Fierce Angel

The Fifteen of Us (我们15个)

Genre: Reality Broadcast on: Dragon TV, Tencent Date: Premiered 29 June 2015 Slot: Midnight Produced by: Talpa and Tencent Rights owner: Talpa The pitch: A social television experiment that puts 15 people from different backgrounds together to create a new society from scratch.

Food Wars Asia 2

ments that serve the same signature dish battle it out for the title of the “Best of the Best” in town.

Get Your Act Together Vietnam

Genre: Family entertainment Broadcast on: THVL Date: 3 Nov 2015 Slot: Weekly, 9pm Produced by: Vietcom Created in: U.K. Rights owner: ITV Studios Global Entertainment The pitch: Celebrities master variety acts with the help from the best in the business.

Gogglebox Korea

Genre: Entertainment Broadcast on: Korean Broadcasting System (KBS). The English translation of the Korean title is “Determined to Watch the Premier”. Date: 8 Jan-12 Feb 2015 Slot: 8.55pm-10pm Produced by: KBS’ Jisun Youm, Jakjunghago Bonbangsasu Original created in: U.K. Rights owner: all3media Int’l The pitch: Highlights of the week’s television, intercut with footage of ordinary people watching at home.

Gogglebox Mongolia

Genre: Entertainment Broadcast on: Mongol TV. Production has yet to start Length: 13 episodes Produced by: Mongol TV Original created in: U.K. Rights owner: all3media Int’l

Golden Scale Thailand

Genre: Studio-based medical detective game show Broadcast on: Zhejiang Satellite Channel Broadcast date: 19 July-4 Oct 2015 Time slot: 10pm-11.10pm Commissioned in Asia by: Bomanbridge Media via Small World Produced by: Zhejiang TV Original created in: NHK, Japan Rights owner: NHK, Japan The pitch: Medical interns are challenged to diagnose real-life conditions.

Genre: Competition series Broadcast on: Food Network Asia Date: Season 2: Premieres 11 Jan 2016. Season 1: 7 Apr-12 May 2015 (6x30 mins) Slot: Mondays, 10pm (season 2) Tuesdays, 8pm (season 1) Created by: Scripps Networks Interactive U.S. Produced in Asia by: Endemol Southeast Asia Rights owner/Asia distribution: Scripps Networks Interactive The pitch: Local food establish-

Genre: Game show Broadcast on: Thairath TV Date: Season 2: Q1 2016. Season 1: Q4 2015 Slot: Weekly, prime time Produced by: Entertainment Lab Rights owner: Global Agency Distributed by: Global Agency The pitch: Energetic studio game show with four contenders. One goes into the Jackpot Round with a shovel to pile up Golden Treasure, which is converted into a cash prize.

Gossip Girl Thailand

Genre: Teen drama Broadcast: Channel 3, Channel 3 HD Date: Premiered 16 July 2015 Slot: Thursdays, 11.15pm-12.15am Length: 18x60 mins

Original created in: U.S. Produced by: Kantana Group Public Company Limited and InTouch Distributed in Asia by: Warner Bros The pitch: Lives and times of privileged students at an exclusive private school.

Hell’s Kitchen Indonesia

Slot: 5.30pm-6.30pm Length: 13 episodes x 60 minutes Rights owner: NBCUniversal The pitch: Five superfans shock and confuse a studio audience of celebrities, music moguls and fans, performing alongside musical idols while hidden behind a series of doors. The audience votes out who they think sounds least like the true superstar.

House Hunters Asia

Genre: Reality entertainment Broadcast on: SCTV Date: Premiered 3 January 2015 Time slot: Saturdays, 11pm-1am Commissioned by: SCTV 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.

Hidden Passion Philippines (Pasion de Amor/Pasión de Gavilanes)

Genre: Telenovela Broadcast on: ABS-CBN Philippines Date: Premiered on 1 June 2015 Slot: 6pm Produced by: ABS-CBN Broadcasting Corp Created in: RTI Colombia, Telemundo, Caracol TV Rights owner: Telemundo Int’l The pitch: Three brothers arrive to work at the home of their deceased sister’s lover, who died with her in an accident, intent on wreaking revenge. But then they fall madly in love with his daughters...

Hidden Singer Thailand

Genre: Music talent competition Broadcast on: Channel 3 Date: Premiered 18 April 2015

Genre: Reality house hunt Broadcast on: HGTV Asia Date: 2016 Slot: TBC Produced by: Endemol Asia Original created by: Scripps Networks Interactive U.S. Rights owner: Scripps The pitch: A search for the perfect home

How Do I Look? Asia

Genre: Makeover reality show Broadcast on: Diva Universal Date: 31 August 2015 Length: 8x60 mins Time slot: Mondays at 8pm Produced by: Matchbox Asia Original created in: U.S. The pitch: A professional stylist helps style-challenged participants to get a fresh, new look.

I Can Do That! China

Genre: Game show Broadcast on: Zhejiang Broadcast date: Q2 2016 Commissioned in Asia by: Beijing Caviar Culture Communication Created/owned: Armoza Formats

I Can Do That! Philippines Genre: Game show

NTENT ASIA

Broadcast on: ABS-CBN Broadcast date: 2016 Slot: Primetime Commissioned in Asia by: ABS-CBN Produced by: ABS-CBN Created/owned: Armoza Formats

Rights owner: FremantleMedia The pitch: Any and every Indian from anywhere in the world is invited to share talent videos.

I Can Do That! Vietnam

Genre: Talent reality contest Broadcast on: Colors, Viacom18 Date: 18 April-27 June 2015 Slot: Weekends, 9pm Commissioned in Asia by: Colors Produced by: Fremantlemedia India TV Productions Created in: Syco, U.K. Rights owner: FremantleMedia Ratings: Season six pened at 5.9 TVR, sustained through the series. Remained a strong No.1 non-fiction show (way ahead of the competition) across all GE channels across 11 weeks that the show was on air. The highest rated episode was episode 11 (auditions), which rated 6.7 TVR. Saturdays performed better that Sundays on ratings.

Genre: Game show Broadcast on: HTV, Style TV Broadcast details: May 2016 Commissioned in Asia by: Style TV Produced by: Style TV Created/owned: Armoza Formats

I Love My Country China

Genre: Entertainment Broadcast on: Hubei Satellite Channel Date: Premiered 4 Jan 2015 Slot: 9.15pm Commissioned in Asia by: IPCN Produced by: Hubei Satellite Channel, PR China Created in: Netherlands Rights owner: Talpa The pitch: Celebrity teams join forces with the audience to compete in multiple questions centered on China.

Indian Idol Junior

Genre: Talent hunt Broadcast on: Sony Entertainment Television India Broadcast date: Season 2: 30 May6 Sept 2015. Season 1: Dec-Jan 2015 Slot: Weekends, 8.30pm (S2) Wednesdays, 9pm (S1) Commissioning editor: Sony Entertainment Private Limited Produced by: FremantleMedia India Original created in: U.K. Rights owner: FremantleMedia/19 The pitch: Search for a kid singer from across India.

India’s Digital Superstar

India’s Got Talent season 6 (Ab Hunar Dega Jawab)

India’s Next Top Model

Genre: Talent show Broadcast on: MTV India/ Viacom18 Media Date: 19 July-26 September 2015 Slot: Sunday, 7pm India rights acquired by: Bulldog Media & Entertainment Rights owner/Asia distributor: CBS Studios The pitch: 12 girls live under one roof and battle it out for the top spot. This is the first time the format is being produced in India.

Infinite Challenge, China

Genre: Variety, comedy Broadcast on: CCTV-1, China Date: Premiering 22 Nov 2015 Length: 12x60 mins Slot: Sundays, 8pm Produced by: Starry Production Original created in/by: MBC, Korea The pitch: Weekly variety entertainment programme. The show is largely unscripted and features six comedians carrying out silly or impossible challenges.

Genre: Online talent hunt Broadcast on: FremantleMedia created website Date: 23 Feb-3 July 2015 Slot: Weekdays, 2.30pm Produced/created by: FremantleMedia India

formats outlook @ the atf 2015

formats@theATF2015

NTENT ASIA

It Takes Gutz to be a Gutierrez Season 3

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: Original reality series Broadcast on: E! Broadcast date: Season 3: premiered 27 July 2015. Season 2: 5 Oct-7 Dec 2014 Slot: Season 3, Monday, 9pm (Philippines)/10pm (Malaysia). Season 2, Sundays, 9pm (Philippines), 10pm (Malaysia) Commissioned by: NBCUniversal International Networks Singapore Produced by: Matchbox Pictures Original created in: Philippines with NBCUniversal global Who owns the rights: Gutierrez family The pitch: E!-style celeb reality show in the tradition of the Kardashians

Genre: Family game show Broadcast on: Channel 3, Thailand Date: 4 Oct 2015-31 Mar 2016 Slot: TBC Produced by: The Bangkok Entertainment Co. Ltd (BecTero) Original created in: Endemol U.K. Who owns the rights: Endemol

The Kids Are All Right Myanmar Genre: Family game show Broadcast on: MRTV4 Broadcast date: Planned for 2016 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

The Last Cop

Genre: Family game show Broadcast on: VTV6 Date: 10 May 2015-1 Mar 2016 Slot: Mondays, 9pm-10pm Produced by: Blue Ocean Production Original created in: Endemol U.K. Who owns the rights: Endemol Shine Group

The King Of Mask Singer, China

Genre: Detective drama Broadcast on: Nippon TV, Hulu Japan Date: 19 June-24 July 2015 Produced by: Nippon TV/Hulu Japan Rights holder: Red Arrow International (Global) The pitch: A detective, Kyogoku (Toshiaki Karasawa) wakes up from a coma after 30 years and finds life on all levels is dramatically different.

Let Me In Thailand Genre: Reality singing show Broadcast on: Jiangsu TV Date: Premiering 27 Sept 2015 Slot: Sundays, 10.30pm-11.55pm Created by: MBC Korea Rights owner: MBC The pitch: Competitors are given elaborate masks to wear in order to conceal their identity, thus removing factors such as popularity, career and age that could lead to prejudiced voting.

La Akademia Kids Indonesia season 2 (La Academia Junior Indonesia) Genre: Talent show Broadcast on: SCTV

Genre: Makeover reality Broadcast on: Workpoint TV Date: Q1 2016 Original created in: South Korea Rights owner: CJ E&M The pitch: An extreme life makeover show about women changing looks to make life truly beautiful. Contestants are people who face difficulties and discrimination in their lives because of their physical appearances.

Let’s Eat

Genre: Scripted format, romantic comedy Broadcaster: Hunan Satellite, China Date: Q1 2016

www.contentasia.tv formats outlook @ the atf 2015

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 long running drama Mean Lady. The story delves into the lives of four single people – neighbours living on their own, hungry for food and love. When a murder occurs in their neighborhood, how will their lives change?

Let’s Go Time-Travelers

The Kids Are All Right Vietnam season 3

Keep Your Light Shining Cambodia

Genre: Singing talent show Broadcast on: HM HDTV Broadcast date: Planned for 2016 Produced by: Hang Meas Rights owner: Global Agency The pitch: 9 contestants have 30 seconds before the spotlight moves onto the next contestant.

Date: Premiered 6 Sept Slot: Sundays, 12.30pm Original created in: Mexico Rights owner/distributed in Asia by: TV Azteca/Comarex The pitch: Kids version of the longrunning reality talent show, which debuted in Asia in 2003 as Akademi Fantasia on Malaysia’s Astro.

Genre: History infotainment Broadcaster: Sichuan Satellite TV, China Date: 26 July-1 Nov 2015 Slot: Sundays, 8.30pm Original created in: South Korea Rights owner: CJ E&M The pitch: Celebrities go back in time and experience the real lives of their ancestors, complete with historically accurate events and situations.

The Line Thailand

Genre: Family game show Broadcast on: True4u Date: March 2016 Produced by: Zense Entertainment Created in: U.S. Rights owner: ITV Studios Global Entertainment The pitch: No one likes queuing, but not with The Line! Every contestant gets to play outrageous games and win fantastic prizes.

Lip Sync Battle, China

Genre: Singing game show Broadcast on: Sohu.com, 56.com Broadcast details: February 2016 Commissioned by: Sohu.com Produced by: Sohu.com Inc Created by: Viacom/Spike TV, U.S. Rights owner: Viacom International Media Networks The pitch: Celebrities go head to head – lip-syncing the song of their choice – battling for the coolest bragging rights on the planet.

Lip Sync Battle, Indonesia

Created by: Pilgrim, Yoshimoto Kogyo and ABC Japan Rights owner: Pilgrim, Yoshimoto Kogyo and ABC Japan The pitch: Chance-based challenges for a cash prize and the honour of being known as “Luckiest Person”

Mad About You, China Genre: Singing game show Broadcast on: NET TV Broadcast date: October 2015 Time slot: Weekdays, 9.30pm Produced by: NET TV Created by: Viacom/Spike TV, U.S. Rights owner: Viacom International Media Networks

Lip Sync Battle, Philippines

Genre: Singing game show Broadcast on: GMA, premiering February 2016 Produced by: GMA Created by: Viacom/Spike TV, U.S. Rights owner: Viacom International Media Networks

Lip Sync Battle, Vietnam

Genre: Singing game show Broadcast on: Dong Tay Broadcast details: July 2016 Commissioned in Asia by: Dong Tay Produced by: Dong Tay Created by: Viacom/Spike TV, U.S. Rights owner: Viacom International Media Networks

The Love Machine Thailand

Genre: Dating show Broadcast on: TV3, Thailand Date: 7 Sept-Aug 2015 Slot: Mondays, 10pm Produced by: Zense Entertainment Created in: U.K. Rights owner: Princess Productions Distributed in Asia by: Endemol Shine Group The pitch: Heart achingly funny dating show in which single guys and girls ride The Love Machine with hopes of finding their perfect partner.

The Luckiest

Genre: Game show Broadcast on: GMM25, Thailand Date: Premiered 2 Mar 2015 Slot: Episodes 1-18 aired on Mondays and Tuesdays, 7pm-8pm. Episode 19 onwards on Tues and Wed, 10.15pm-11.15pm Produced by: Co-production of Pilgrim, Yoshimoto Kogyo and ABC Japan

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 Date: TBC. Original created in: U.S. Rights: Sony Pictures Television The pitch: A newlywed couple tries to maintain marital bliss despite the demands of city life, career, families and friends.

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

Genre: Entertainment Broadcaster: BTV Beijing Satellite TV Date: 24 Jan-5 June 2015. Season 2 planned for Q1 2016 Rights owner: Keshet International The pitch: Children’s talent show with all-time classic songs, only positive reviews and no eliminations

MasterChef Asia

Genre: Cooking competition Broadcast on: Lifetime, A+E Networks Asia Date: 3 Sept-Dec 2015 Time slot: Thursday, 9pm Length: 15 episodes Commissioned in Asia by: A+E Networks Asia Produced by: Endemol SEA Created by: Shine TV in association with Ziji Productions Rights holder: Endemol Shine Pitch: Amateur cooks compete to be the first MasterChef Asia

MasterChef China (Celebrity) season 2

NTENT ASIA

Merciless

Genre: Cooking show Broadcast on: Jiangsu Satellite TV Date: 8 Apr-1 July 2015 Time slot: Wednesday, 10pm Produced by: Sunshine Media

MasterChef India season 4

Genre: Cooking show Broadcast on: Star Plus, India Date: 26 Jan-4 Apr 2015 Slot: Monday-Saturday, 10.30pm Produced by: Colosceum Media, India What else? Season 3: March 2013. Season 1: Oct-December 2010. Season 2: October 2011.

MasterChef Indonesia season 4

Genre: Cooking show Broadcast on: RCTI Pate: Premiered on 31 May 2015 Slot: Weekends, 3.30pm Produced by: MNC Group

Junior MasterChef Indonesia

Genre: Cooking show Broadcast on: RCTI Broadcast date: Premiered 6 April 2014-29 June 2014. Season two: 7 Dec 2014 to 15 March 2015 Length: 15 episodes (season two) Slot: Saturdays/Sundays, 4.30pm, season two 4pm Produced by: RCTI

MasterChef Korea season 4

Genre: Cooking show Broadcast on: Olive TV Broadcast date: Q4 2015 Length: 13x60 mins Produced by: CJ Created by: Shine TV in association with Ziji Productions Rights owner: Endemol Shine

MasterChef Vietnam season 3 Genre: Game show Broadcast on: VTV3 Date: 5 Sept-12 Dec 2015 Slot: Saturday, 8pm Produced by: BHD

Genre: Drama/psycho thriller Broadcast on: EPG Korea Broadcast date: TBC Produced by: Globo Rights owner: Globo, Brazil The pitch: Edu is a handsome, intelligent and sensitive man who kills for sheer pleasure. Single mother Ray sees him as the ideal man. For him, she’s the perfect alibi.

MICE (SPY/ The Gordin Cell)

Genre: Spy drama Broadcast on: KBS2, Korea Date: 9 Jan-27 Feb 2015 Slot: Fridays, 9.30pm Produced by: IMTV for Korean Broadcasting System (KBS) Rights: Keshet International U.K. The pitch: A family drama with spy thriller elements

Million Dollars Minute Vietnam Genre: Game show Broadcast on: VTV3 Date: Premiered 26 July 2015 Slot: Sundays, 11am Produced by: Vietcom Created in: Australia Rights owner: Seven Network The pitch: Three contestants go head-to-head over four rounds in a general knowledge battle. Each night, $10,000 of ‘safe money’ is up for grabs.

Minute to Win it (1 Neati Daembi Chhneah)

Genre: Game show Broadcast on: CTN, Cambodia Date: 19 Jan 2014-11 Jan 2015 Length: 52x60 mins Slot: Sundays, 8pm-9pm Produced by: CTN Original created in: U.S. Rights owner: Endemol Shine Group The pitch: Every challenge successfully completed in 60 seconds pushes contestants one step higher up the ladder. 10 successful challenges in a row equals a life-changing amount of money.

formats outlook @ the atf 2015

formats@theATF2015

NTENT ASIA

Junior Minute to Win It Thailand season 2

Genre: Game show Broadcast on: Channel 3 Date: Premiered 4 Jan 2015 Slot: Sunday, 7.25am Produced by: BEC-Tero Created in: Friday TV Rights owner: Endemol Shine Group

The Money Drop Thailand 2

Amateurs are given a once-ina-lifetime chance to open for a music superstar’s concert with only a few days’ notice.

Power Couple

Genre: Game show Broadcast on: SET India Broadcast details: TBC Produced by: Colosceum Media Rights owner: Dori Media The pitch: 10 couples are put through extreme challenges to see how well they know each other.

Produced by: MVP and Net TV Original created in: Rahul Sarangi, Greymatter Entertainment Distributed in Asia by: Global Agency Rights owner: Greymatter Entertainment, Global Agency distribute for GME The pitch: Live music reality show. DJs and singers pair up and compete for a money prize and the chance to cut their own album.

Genre: Game show Broadcast on: BBTV 7, Thailand Date: Season 2: Jan-Dec 2015. Season 1: 2 Aug 2014-Jan 2015 Slot: Sat/Sun, 5.30pm-6pm Rights owner: Endemol Shine Group Produced by: Zense Entertainment

My Ghost Story Asia season 3

Genre: Paranormal show Broadcast on: Crime + Investigation Network Date: Premiering 7 Oct 2015 Time slot: Thursdays, 10.50pm Length: 6x30 mins Commissioned in Asia by: A+E Networks Asia Produced by: Red Communications Sdn Bhd, Malaysia Created by: A+E Networks U.S. The pitch: True accounts with the supernatural, told by the people who experienced them.

My Mom Cooks Better Than Yours (Dapur Mama Seru)

Genre: Game show Broadcast on: ANTV Date: Premiered 1 August 2015 Slot: Weekends, 10am Commissioned in Asia by: ANTV Produced by: FremantleMedia and ANTV Rights owner: FremantleMedia and Mandarina The pitch: Parent and child teams compete, with kids cooking and parents instructing from the sidelines.

Opening Act

Genre: Singing reality show Broadcast on: Net TV Broadcast details: TBC Rights owner: NBCUniversal Int’l The pitch: Online talent hunt.

formats outlook @ the atf 2015

Real Men (Take a Real Man)

Genre: Reality/comedy Broadcast on: Hunan TV China Date: 1 May-18 July 2015 Slot: Saturdays, 10pm Commissioned/Produced by: Hunan TV, China Original created in: MBC, Korea Who owns the rights: MBC The pitch: Celebrities join real army training. No fame, no name, no personal identity allowed; only harsh training to make a day seem longer than a year.

The Remix Indonesia

Genre: DJ, singing talent contest Broadcast on: VTV3 Date: 25 Jan-12 April 2015 Length: 10 episodes Slot: 9pm-11pm Commissioned by: VTV3 Produced by: Cattiensa

Sabotage

Genre: Reality show Broadcast on: VTV3 Date: 2 May-1Aug 2015 Time slot: 8pm Produced by: Cattiensa Created in: Netherlands Rights owner: Talpa The pitch: One of the contestants role plays as an undercover spy and shares time with 11 others in an apartment in Thailand, where they try to surmount the programme’s challenges. The spy’s “mission” is to sabotage the competitors by arousing suspicion and sparking conflict. If the spy does a good job, he gets the prizes.

Scars of Life (Tujhse Naraaz Nahin Zindagi)

Genre: DJ, singing talent contest Broadcast on: Net TV Date: Premiered on 5 Sept 2015 Slot: 9pm-11pm Commissioned by: Net TV

Sing My Song Vietnam

The Remix Vietnam

Prisoners of War, Korea

Genre: Drama Broadcast date: Potentially 2016 Produced by: Star J, Youngbeom Jeong, Sebastian Lee, Teddy Zee Who owns the rights: Keshet Int’l The pitch: Soldiers attempt to readjust 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 said Korea’s Star J Entertainment had bought format rights for a local version of Prisoners of War for Korea.

narrates stories of real people who have overcome odds, risen above challenges and helped their community.

Genre: Fiction Broadcast on: Zee Entertainment Enterprises and TV Date: 7 March-26 July 2015 Slot: Weekends, 10pm-11pm Produced by: FremantleMedia India Created in: FremantleMedia Brazil Rights owner: FremantleMedia The pitch: A social consciousness show hosted by a celebrity who

Genre: Music talent format Broadcast on: VTV 3, Vietnam Date: 10-episode series will air early 2016 Produced by: Cattiensa Media Original created in: China Who owns the rights: Star China/ Starry Production International distributor: ITV Studios Global Entertainment on behalf of Star China The pitch: Studio-based song contest, searching for the best original songs in the nation

Sing Your Face Off Thailand

Genre: Singing game show Broadcast on: BBTV 7, Thailand Date: 13 June-19 Sept 2015 Time slot: Saturdays, 3.45pm-5pm Produced by: Zense Entertainment Created in: Spain Rights owner: Endemol Shine Group The pitch: Costing about US$1.7 million to produce, this 13-episode show involves four commentators and a host with six celebrity contestants performing music icons singing show with full makeover. Sing Your Face Off Thailand has no elimination, the weekly favourite show is judged by commentators, then the finale winners are judged by home viewers’ SMS votes. The weekly prize is THB100,000 and the grand prize is THB1 million. Cash prizes won are donated to charities, pre-selected by the celebrities.

Sisters over Flowers

Genre: Travel reality show Broadcast on: Dragon TV, China Date: 15 Mar-31 May 2015 Slot: Sundays, 9.20pm Created in: South Korea Rights owner: CJ E&M The pitch: A spin-off of Grandpas over Flowers. Unlike its predecessor, which starred four actors in

their seventies, Sisters over Flowers has four middle-aged actresses going on a trip to Eastern Europe.

So You Think You Can Dance Vietnam

Genre: Dance competition Broadcast on: HTV7 Date: 5 Sept 2015-Feb 2016 Produced by: Dong Tay Original created in/by: U.S. Rights owner: 19 Entertainment Distributed in Asia by: Endemol Shine Group

Star Academy Vietnam

Genre: Talent show Broadcast on: VTV6 Broadcast date: 25 Sept 2015-end December 2015 Produced by: BHD Original created in: Netherlands Rights owner: Endemol Nederland B.V., Zomba Records Holding Distributed in Asia by: Endemol Shine Group The pitch: Takes viewers behind the scenes of the recording industry as 12 aspiring young artists receive training by expert composers, stylists, media trainers, directors and celebrities.

Still Standing China

Genre: Game show Broadcast on: Jiangsu Satellite Date: Season 7: Premiered in November 2015. Slot: 10pm Created by: Armoza Formats Rights owner: Armoza Formats The pitch: Prime time game show offering contestants $1 million by out-guessing 10 opponents in 10 fast-paced trivia battles.

Still Standing Thailand

Genre: Game show Broadcast on: Channel 7 Broadcast details: Premiered 1 October 2015. Season one runs for 26 episodes. Season two has been licensed for 52 episodes. Slot: Weekdays, 5.45pm-6.45pm and 6.30pm-6.45pm (half hour in between the two parts is a Thai

government mandated programme) Produced by: Zense Entertainment Created by: Armoza Formats Rights owner: Armoza Formats

Super Diva 3

Genre: Reality singing competition Broadcast on: Dragon TV, China Date: 17 April-18 July 2015 Slot: Fridays, 10pm Created in: South Korea Rights owner: CJ E&M The pitch: Housewives are transformed into divas.

Thailand’s Got Talent season 5

Strictly Come Dancing, India (Dancing Star 2)

Genre: Dance reality show Broadcast on: Colors Kannada Date: 7 Feb-28 June 2015 Slot: Weekends, 9pm-10.30pm Commissioned by: Colors Kannada Produced by: BBC Worldwide Media Pvt. Ltd. Created in: BBC Worldwide Rights owner: BBC Worldwide Media Pvt Ltd The pitch: Celebrities are paired with professional dancers.

NTENT ASIA

Genre: Talent reality show Broadcast on: Channel 3 Date: 7 June-30 Aug 2015 Time slot: Sundays, 5.30pm Length: 13 episodes Produced by: Workpoint Entertainment

Top Chef Indonesia

Genre: Reality cooking competition Broadcast on: SCTV Broadcast date: 2015 Slot: 5pm Commissioned in Asia by: SCTV Rights owner: NBCUniversal The pitch: Chefs compete against each other in culinary challenges.

Top Gear China (颠覆拍档)

ntent

Formats Outlook 2016 The where, when, what, why and how of Formats in Asia. Ongoing updates.

Supernanny 3

Genre: Reality Broadcast on: Anhui Satellite Channel Date: Season 3: Premiered 1 July 2015. 26x35 mins spread across six months. Seasons 1 and 2 aired on CCTV2. Slot: 9.20pm Commissioned in Asia by: IPCN Produced by: 80 Entertainment Created by: Shed Media, U.K. The pitch: Four professional nannies help parents from across China struggling with their children’s behaviour.

Genre: Factual entertainment Broadcast on: Shanghai Dragon TV & iQIYI.com (in China) Date: Season 2: 19 October 2015. Season 1: 12 Nov 2014-21 Jan 2015 Length: 10 episodes Slot: Wed, 10pm-11.30pm Original created in: U.K. Commissioned by: Dragon TV Produced by: Honyee Media Distributor in Asia: BBC Worldwide The pitch: Extraordinary and ordinary cars are tested to their limits.

Top Gear Korea 6 (탑기어 코리아)

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

Take Me Out Thailand 8

Genre: Dating reality show Broadcast on: Channel 3 Date: 2015 Time slot: Sat, 2pm Prodeuced by: TV Thunder Rights owner: FremantleMedia

Genre: Lifestyle

formats outlook @ the atf 2015

Broadcast on: XTM Date: Season 6: 4 Jan-15 Mar 2015. Season one premiered in Aug 2011. Slot: Sun, 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 on: Thairath TV Date: 9 March 2015 Slot: 9.45pm-10.45pm 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: Wannabe writer Betty Suarez is smart, hardworking and savvy... with a different sense of style.

Slot: Fridays, 9pm-11pm Length: 13 episodes x 90 minutes Production house: Star China/ Starry Production

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 Commissioned by: Youku Tudou’s Tudou division Distributed in Asia by: Talpa

The Voice India

Vietnam Idol season 6

Genre: Talent show Broadcast on: VTV3 Date: Premiered on 5 April 2015 Slot: 8pm-10pm Commissioned by: BHD Co Ltd

Vietnam’s Next Top Model season 6

Genre: Singing talent show Broadcast on: Zee’s &TV Date: 6 June-30 Aug 2015 Slot: 9pm Adapted and produced for India by: Endemol Shine Group

Genre: Modelling reality show Broadcast on: VTV3 Broadcast date: Season 6: Premiered 2 August 2015. Live finale on 11 October 2015. Slot: Sun, 8pm Produced by: Multimedia JSC Original created in: U.S. Rights owner/Asia distributor: CBS Studios Int’l

Genre: Singing talent contest Broadcast on: Hang Meas HDTV Broadcast details: TBC Produced by: Hang Meas Original created in: Netherlands Asia/global rights: Talpa

The Voice of China

Genre: Singing talent show Broadcast on: Zhejiang Date: 17 July-7 Oct 2015

formats outlook @ the atf 2015

War of Money

Genre: Drama Broadcast on: Fuji TV, Japan Date: 6 January-17 March 2015 Slot: Tuesdays, 10pm-10.45pm Original created in: Korea Rights owner: Seoul Broadcasting System (SBS) Korea The pitch: A revenge drama about a man who goes from being an elite businessman to a brutal loan-shark.

Where Are We Going Dad?, China season 3

Genre: Reality Broadcast on: Hunan TV Broadcast date: 10 July 2015 Slot: Fridays, 10pm Original created in: Korea Produced by: Hunan TV in-house Rights owner: Hunan TV and MBC Distributed in Asia by: Hunan TV, MBC The pitch: Fathers and their children travel to rural places.

The Voice Vietnam season 3 Genre: Singing talent show Broadcast on: VTV Date: 10 May-20 Sept 2015 Time slot: 9.15pm Produced by: Cattiensa Rights owner: Talpa

Genre: Studio game show Broadcast on: &TV Date: 2 March-April 2015 Time slot: Daily, 9pm Produced by: Big Synergy Asia/global rights: Armoza Formats

Who’s Asking? Thailand

X Factor Indonesia season 2

Genre: Singing reality show Broadcast on: RCTI Date: Premiered on 3 April 2015 Slot: Friday, 9pm-midnight Commissioned in Asia by: RCTI Produced by: FremantleMedia/RCTI Created/owned by: Syco

You Deserve It season 3 (Vi ban xung dang/Because You Deserve It)

Genre: Game/quiz show Broadcast on: VTV, Vietnam Date: Premiered 18 Oct 2015 Length: 52x60 mins Slot: Season three shifts to 4pm5pm. Season two ran Sundays, 5pm-6pm. Original created in: U.S. Rights owner: Red Arrow Int’l The pitch: “Feel good” game show. Winnings go to a less fortunate individual/family.

Your Face Sounds Familiar Philippines

Genre: Entertainment Broadcast on: ABS-CBN Date: 14 March-7 June 2015 Time slot: Weekdays, 8.30pm Created by: Endemol Spain Rights owner: Endemol Shine Group

Wall of Fame Vietnam season 1

Genre: Entertainment Broadcast on: THVL1 Date: Premiered 5 May 2015 Time slot: 9pm Produced by: Blue Ocean Rights: Endemol Shine Group The pitch: Families of four win cash by correctly answering general knowledge questions and identifying which celebrity on a ‘wall of fame’ also got the right answer.

Broadcast on: TV3 Date: 5 April-31 May 2015 Time slot: 5pm Produced by: AP&J Created in: Netherlands Rights owner: Talpa The pitch: Contestants face off in a singing duel judged by the audience and a music expert.

Who’s Asking? India

The Voice Thailand season 4

Genre: Singing talent show Broadcast on: TV3 Date: Premiered 13 Sept 2015 Slot: Sunday, 4.55pm Produced by: AP&J Created in: Netherlands Rights owner: Talpa

The Voice Kids Cambodia

formats@theATF2015

NTENT ASIA

Genre: Studio game show Broadcast on: Thairath TV Pate: Premiered on 1 March 2015. Finale planned for February 2016. Time slot: Saturdays, 4pm Commissioned by: Thairath TV Produced by: Thairath TV with TV Thunder

The Winner Is...

Genre: Vocal game show

Your Face Sounds Familiar Thailand

Genre: Entertainment Broadcast on: BBTV 7 Date: 6 June 2015-22 July 2015 Length: 12x75 mins Produced by: Zense Entertainment Rights owner: Endemol Shine Group Compiled by: Aqilah Yunus, Malena Amzah Source: Distributors, production houses, channels Notes: Updated 16 November 2015

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issue six, december 2015

sponsoredlisting

NTENT ASIA

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issue six, december 2015

programmingSG50

NTENT ASIA

Gold standard

As Singapore’s year-long 50th anniversary celebrations draw to a close, ContentAsia looks at some of the energy that went into marking the milestone.

Wild City, Beach House Pictures

Singapore is wrapping up a celebratory year dur-

based independent production house Ochre Pictures. There Was a Time,

ing which more than 100 hours of programming

which aired on Singapore’s English-language terrestrial service Channel

was created specifically to commemorate the

5, features Singapore’s major historical events from the 1940s to indepen-

nation’s golden jubilee. The idea was to shine a

dence in 1965.

light across screens on Singapore’s history, culture and icons. The bigger ambition was to add to a catalogue of content that will find a global audience.

Channel NewsAsia. The programme is part of a series of SG50 documentaries produced by BHP for the golden jubilee.

The 100 hours of SG50 media projects – includ-

Wild City showcases the urban wilderness that can be found among

ing films, TV programmes and games – were cre-

the concrete and air-con of the city of Singapore – including crocodiles,

ated with the support of the regulatory/industry

monkeys, otters, snakes and hornbills, among other animals and plants.

development body, the Media Development Au-

The show was narrated by natural historian, Sir David Attenborough.

thority of Singapore (MDA).

issue six, december 2015

Another SG50 concept is Beach House Pictures’ (BHP) Wild City (2x60 mins) for monopoly broadcaster MediaCorp’s dedicated news service,

BHP plans to take Wild City global in 2016 in new series Wild Cities. The

The MDA’s assistant chief executive for industry,

format aims to uncover hidden ecosystems in other major cities of the

Angeline Poh, has high hopes, saying she is con-

world – London, New York, Kuala Lumpur, Toronto, Sydney, Rio and Mum-

fident that the Singapore-born programming “will

bai. Managing director, Jocelyn Little, says she believes “viewers in cities

be enjoyed by audiences in Singapore and be-

across the world will be as fascinated as the Singapore public to discover

yond”.

the unique wildlife and behaviours that exist right at their doorsteps”.

One of the key series on the official SG50 slate

Media companies from across the spectrum embraced SG50 activities.

is info-educational docudrama series There Was

In October, for instance, the country’s biggest pay-TV platform, Star-

a Time, produced and directed by Singapore-

Hub, awarded special commemorative SG50: Star of the Stars Awards

sponsoredlisting

NTENT ASIA

CAKE 76-78 Charlotte Street, W1T 4QS, London, United Kingdom T: +44 (0)20 7307 3230 W: www.cakeentertainment.com

Trunk Train

Ready Jet Go!

Angry Birds

Episodes/Length: 40 x half hours Genre: Preschool Animation Sean and Sydney befriend the new kid on their street, Jet Propulsion whose family happen to be aliens and together they embark on great adventures exploring space. Created by Craig Bartlett, (Dinosaur Train and Hey Arnold!) and produced by Wind Dancer Films, (What Women Want, Home Improvement, Roseanne) and premiering nationwide on PBS Kids in the U.S. next year. http://www.cakeentertainment.com/Brand/93

Episodes: 185 Genre: Animation Animated non-dialogue shorts that bring to life the characters and adventures from one of the most beloved games in history, revealing the mischievous world of the Angry Birds and their piggy nemesis. With brand new episodes sure to entertain and delight Angry Birds fans of all ages, get ready for laughter, tears and a liberal sprinkling of bacon bits! http://www.cakeentertainment.com/Brand/90

Episodes/Length: 52x11 mins Genre: Animation Jump aboard and get ready for a hilarious adventure through Latin America with this wacky crew of misﬁts. Gajah, an elephant with no memory; Duda, a vegetarian anteater and a colony of termites that believe they have come from another planet, travel together on a steam train in this brilliantly funny animation. http://www.cakeentertainment.com/Brand/60

Annedroids Picture Box Distribution Inc.

Can You Imagine That?

Which Monster Bit You

Episodes/Length: 52x30 mins

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series following the adventure

Can You Imagine That? is an

monster friends. Every time a

of kid scientist Anne, her fun

exciting new series that allows

human child draws a monster

Executives attending:

loving friends and her android

kids to step into their dream

in the real world, the design

Marilyn Kynaston Director of Sales

creations as they perform ex-

career. Each episode follows a

comes to life in the World of

E: marilyn@picturebox.ca

periments in Anne’s junkyard

child’s journey as they narrate

Monsters, causing chaos and

Kate Sanagan Director of Sales

laboratory.

their own story, using their own

confusion wherever it goes.

E: kate@picturebox.ca

learn about friendship and

drawings and imagination.

It’s up to Lali and her friends to

each other, one experiment at

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ATF 2015 UKIndies Stand (K32) Executives attending: Tom van Waveren CEO & Creative Director E: tom@cakeentertainment.com Edward Galton CCO & Managing Director E: egalton@cakeentertainment.com Marie-Laure Roche Senior Sales Manager E: mlroche@cakeentertainment.com

Marie-Laure Roche

exciting

live-action/CGI

Together

they

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com/s/ong22y49rrfqvg4178hvxax56q4sxx7q

issue six, december 2015

Moses and then commandments HD soap opera 175 Episodes International Sales Delmar Andrade Edson Mendes +55 11 3300 4022 www.recordtvnetwork.com emendes@sp.rederecord.com.br Award of Execellence The indie fest film awards 2015

Record TV Network Visit us at ATF stand F33

programmingSG50

NTENT ASIA

documentaries. This was the first time since the initiative launched in Asia in 2000 that Discovery brought FTFM to Singapore. Twelve finalists were shortlisted and five winners chosen to turn their ideas into documentaries. Full funding and production guidance were provided by Discovery Channel. The documentaries were aired on Discovery Channel Asia across the Asia-Pacific region throughout 2015. The final films covered a wide range of subjects, from card flourishing to urban farming. Singapore’s national broadcaster, MediaCorp, recorded its own firsts during the year. MediaCorp reported a record viewer numbers for its coverage of the SG50 National Day Parade and National Day Rally in August across seven linear television channels plus online streaming platform Toggle. The live telecast of 9 August’s National Day Parade garnered a total of 2.2 millions viewers (P4+) – a 22% year-on-year increase and the second highest viewership since 2001. Live coverage of the National Day Rally on 23 August hit 1.62 million (P15+) viewers, MediaCorp’s highest for the TVB stars Adam Cheng and Liza Wang were awarded StarHub’s SG50: Star of the Stars Awards

event since 2001 and a 20% increase over 2014. MediaCorp’s deputy chief executive, Chang Long Jong, said the high viewership was “very encouraging and reflects broad public enthusiasm

during its annual StarHub TVB Awards. The awards were bestowed upon Hong Kong

about national events in a year of great significance for Singapore”. The end of the celebrations will be followed by a year of high expecta-

legends Adam Cheng and Liza Wang “in recognition of their abilities to create strong, lasting bonds with Singaporean audiences throughout the past decades”, StarHub said. StarHub’s chief marketing officer, Howie Lau, said Cheng and Wang had “never failed to resonate with viewers regardless of the characters they played. We are honoured to present them with these once-in-50 years awards”. A who’s who of Singapore filmmakers also gathered through the year to honour the country’s birthday. Joint filmmaking effort, 7 Letters, brought together seven award-winning Singapore directors: Eric Khoo, Jack Neo, Kelvin Tong, Tan Pin Pin, Royston Tan, Boo Jun Feung and K Ra-

Wild City, Beach House Pictures

jagopal. Their joint film, produced by Chuan Pictures, was comprised of seven short stories, each an interpretation of

tion, with, among other issues on the to-watch list, the launch of the new Singapore Television Audience Measurement (SG-TAM) system.

Singapore’s community, with the aim

The promise is to give broadcasters, producers and advertisers access

to present the country’s past, present

to audience consumption data across more media platforms than just

and aspirations for the future. In addition to seasoned filmmak-

free-to-air TV, adding pay-TV, OTT platforms, online and mobile channels. The data is expected to be available from the second half of 2016.

ers, Discovery’s First Time Filmmak-

The promise is “new insights into the modern-day reality of viewership

ers (FTFM) pinned a SG50 button

behaviour across many channels,” the MDA’s assistant CEO (assessment

on the initiative and called on lo-

and corporate), Kenneth Tan, said when the results of the tender were

cal filmmakers to gather around

announced earlier this year. If it happens as planned, come 2016, there could be few better 51st

the theme “The Singapore Story”

for

half-hour

birthday gifts.

Angeline Poh, Media Development Authority of Singapore

issue six, december 2015

ntent

sn ea k p eek!

p r o g r a m m e d i s t r i b u t o r s

Coming soon! Asia’s definitive media content and services directory. Published in January 2016

TBLsneakpeek

NTENT ASIA

A+E Networks is a joint venture of Disney-ABC Television Group and Hearst Corporation. A+E Networks is an award-winning global media content company comprised of the following networks and divisions: A&E® Network, Lifetime® , HISTORY® , LMN®, FYI™, H2™, HISTORY en Español™, Crime + Investigation™, Military HISTORY™, Lifetime Real Women® , A&E IndieFilms® , A+E Networks International®, A+E Networks Digital® and A+E Networks Consumer Products™. A+E Networks’ channels and branded programming reach more than 330 million households in over 180 territories. A+E Networks is a joint venture of Disney-ABC Television Group and Hearst Corporation.

A+E Networks New York HQ: 235 East 45th Street New York, NY 10017 U.S. T: +1 212 210 1400 Asian HQ 80 Bendemeer Road #07-04 Hyﬂux Innovation Centre Singapore 339949 T: +65 3157 6527 W: aenetworksasia.com

Who’s who...

Sean Cohan Executive Vice President, International Alan Hodges Managing Director, Asia Pacific Joel Denton Managing Director, International Content Sales & Partnerships Prem Kamath Deputy Managing Director, Asia Pacific Michele Schofield Senior Vice President, Programming & Production, A+E Networks Asia Glen Hansen Vice President, Content Sales, Asia Pacific Pooja Nirmal Kant Director, International Content Sales, Asia Pacific

Production Highlighting recent local productions is MasterChef Asia, produced by Endemol Shine and commissioned by A+E Networks Asia. MasterChef Asia features aspiring home cooks from across Asia alongside a panel of judges including Hong Kong-born culinary genius Susur Lee, 3-Michelin-starred French chef Bruno Ménard and Singaporeborn Audra Morrice, a MasterChef Australia ﬁnalist.

Genres Scripted, factual entertainment, entertainment, crime, lifestyle, movies and formats

Rights

2015 trends/2016 outlook...

All rights worldwide

Online sales/marketing View full episodes online at sales. aenetworks.com

HD 100% of A+E Networks content is now produced in HD

Where’s Your Focus in 2016?

Sean Cohan

Alan Hodges

UnREAL

“Every country throughout the AsiaPaciﬁc region is a major priority for us. We are very excited about the prospects associated with the new and upcoming new media players across the region, and we look forward to contributing to their growth and success in 2016.”

In October 2014, A+E Networks introduced A+E Studios International, a banner under which the company will distribute premium scripted series, TV events and movies. The studio launched with nearly 40 hours of content including series UnREAL and Gangland Undercover, which have both been renewed for new seasons and have been well-received across Asia. We expect that trend to continue to grow in 2016.” Glen Hansen Vice President, Content Sales, Asia Paciﬁc

Top shows are... Joel Denton

Prem Kamath

UnREAL A dark comedy that gives a behind-the-scenes look at the chaos surrounding the production of a dating competition programme. Starring Shiri Appleby and Constance Zimmer. Episodes/length: 10x60 mins

Man vs. Child: Chef Showdown Michele Schoﬁeld

Glen Hansen

This new culinary competition series pits some of the world’s most talented young cooks against the very people they look up to – professionally trained, adult chefs. Episodes/length: 14x60 mins

Man vs. Child: Chef Showdown

Pooja Nirmal Kant issue six, december 2015

NTENT ASIA

Azteca is one of the world’s largest producers of Spanish-language television programming. Generating over 10,000 hours of content per year, the company operates two national television networks. The family-driven Azteca 13 and the mid- to high-income and youthfocused Azteca 7. The company also operates Proyecto 40, which brings the most noted cultural, social, economic and political Mexican opinion leaders together. Azteca also owns Azteca America in the United States. In addition it owns and operates four PAY TV networks – AZ Mundo, AZ Corazón, AZ Clic! and AZ Cinema.

TV Azteca Periferico Sur #4121 Col. Fuentes del Pedregal Mexico City, Mexico. CP 11000 T: +5255 52511410 W: www.comarex.tv

Who’s who...

Marcel Vinay H VP International Sales T: +5255 17201313 E: mvinay@tvazteca.com.mx Marcel Vinay CEO Comarex T: +5255 52511410 E: mvinay@comarex.tv Martha Contreras Asia Sales Director T: +5255 52511410 E: mcontreras@comarex.tv

Genres Telenovelas, series, miniseries, reality shows, game shows, formats

Production Memori Cinta Suraya is airing through Astro Malaysia, which is based on Azteca’s original telenovela Siempre Tuya. And for 2016, Fierce Angel will be the second format produce by Global Station for Astro. Also, La Academia format is still being produced in several countries all through Southeast Asia.

Siempre Tuya

Rights All rights

HD All content is in HD.

Where’s your Asia focus in 2016?

Marcel Vinay H

Marcel Vinay

Southeast Asia has been always a major market for us but since 2015 we are entering new countries with our formats and co productions as well as the development of drama channels in the region.

Top shows are…

La Academia

Tanto Amor/Under The Storm

Martha Contreras

2015 trends/2016 outlook... Drama production and entertainment formats were big this year. We are looking forward to follow the same business models and successful partnerships and extend our content and formats in all Asia.” Marcel Vinay H VP International Sales

The greatest love to be born within secrets, lies and murder. They say that after the storm comes calm, but in Alberto and Mia’s case, it marks the beginning of a long and tumultuous journey. Their paths are to cross when Mia ﬁnds Alberto unconscious in the middle of nowhere — it appears he has had an accident trying to get to his grandfather’s funeral on time. When he comes to his senses, Mia has left for the city to look for Altagracia. Kilometers away, Noelia discovers a painting of the Virgin of Guadalupe among the charred remains of what was once her childhood home. Hidden inside it is the only surviving copy of Don Oscar’s last will. Episodes/length: 120x60 mins

Siempre Tuya/A Love To Remember He swore he’d never forget the way back home… To the extent that Olvido’s attachment to the man she rescued in the mountains grows stronger, so do the chances he will recover his sight and his memory. But her ﬂedgling love is doomed when her aunt Eufrasia casts a curse on them: “The day the blind man regains his memory, he will leave you.” Episodes/length: 137x60mins

La Academia/Akademi Fantasia An interactive reality show looking to unveil the next singing star sensation. Sixteen contestants are selected with the only condition not to ever have professional artistic background. During various months La Academia prepares the students in diverse artistic ﬁelds, among them: singing, dancing and corporal expression. During 24 hours, 7 days a week a set of cameras captures every moment that the students live in La Academia. At the end of each week a concert is carried out during which the viewers vote for their favorite participant. The student that obtains the less number of votes during the show abandons the contest and La Academia. Episodes/length: 17x180mins

ASIA Amor/ Under The Storm NTENTTanto

issue six, december 2015

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programmedistribution

A leading Singapore-based distribution agency and production company, Bomanbridge Media exclusively distributes renowned programming from around the world. The company’s team has earned a stellar reputation in the region as the go-to company for proﬁtable programming results. Its diverse catalogue currently holds over 6,000 hours of top quality programming, consisting of Formats, Lifestyle, Specialist Factual, Factual Entertainment, Drama, Kids and Educational content. Offering brand strategy, programme distribution and Format development, Bomanbridge is an effective programming partner.

Bomanbridge Media Pte Ltd 8 Smith Street #02-01 Singapore 058922 T: +65 6224 4211 W: www.bomanbridge.tv

Genres Formats, Lifestyle, Specialist Factual, Factual Entertainment, Drama, Kids and Educational content

Production

Who’s who...

Sonia Fleck Founder & CEO E: sonia@bomanbridge.tv Aegena Tay Director of Sales and Acquisitions, Greater China E: aegena@bomanbridge.tv Moon Gyeong Min Director of Distribution Development, Korea, Japan, Mongolia E: mgm@bomanbridge.tv Arpit Agarwal Director of Sales, South Asia E: arpit@bomanbridge.tv Gleyce Soares Senior Sales Manager, Southeast Asia E: seasales@bomanbridge.tv

Our catalogue offers excellent audience engagement. A few shows to look out for in 2016 are: Mom Made Me A Star (Vietnam); Hide The Smile (India); Chef In Your Ear (South Korea); Miss Country Girl (Vietnam, China); Jobs from Hell (China); Fit for Fashion (Pan Regional); DNA (India); Beauty Academy (Vietnam); Big In Japan (India) Bomanbridge’S ﬁrst original production, Haute & Saucy, launches in 2016. Haute & Saucy features Culinary Couture with fashionista Kelly Randall Sia.

Chef In Your Ear

Rights Generally all Asian rights and with some formats, worldwide rights. Please contact Distribution Directors for further information.

2015 trends/2016 outlook... In 2015, we saw an increase in revenue opportunity as global and pan regional partners pushed the envelope and launched new digital services. The clear lines between Linear and Digital are becoming more ﬂuid from the consumers’ point of view. As a result, Linear and Digital channels are looking for programming, particularly Ad driven Formats and strong Drama, which can help set their brands apart. In 2016, we expect the new services launched in 2015 will gain traction, becoming a genuine source of quality programming with viable revenues. Our catalogue ﬁts well with advertising needs for these new services, as well as helps them in that brand differentiation they require.” Sonia Fleck Founder & CEO

Cute To Killer

HD 100% HD as well as a debut into 4K

Where’s your Asia focus in 2016? “Bomanbridge is now developing Format IP that will not only appeal to the Asian demographic, but which will offer something fresh and exciting for the international market as a whole.”

Care Bears & Cousins

Top shows are... Chef In Your Ear Chef in Your Ear is a new standalone cooking competition in which two top chefs provide step-by-step instructions and guide clueless kitchen rookies through an earpiece to create restaurant-quality dishes. Available in as both format and ﬁnished programme. Cooking, Finished and Format. Episodes/length: 26x30 mins

Cute to Killer Cute To Killer is a fascinating one hour special showcasing the development of four cubs in the heart of the Zimbabwean bushveld. Catch the stunning interactions these incredible cubs go from cute to killer. Nature & Wildlife. Episodes/length: 1x60 mins

Care Bears & Cousins – New Series Launch Come join the spunky, soft yet sassy Care Bears & Cousins as they go on adventures all over the magical land of Care-a-Lot! Welcome back loved characters such as Brave Heart Lion, Bright Heart Raccoon, Lotsa Heart Elephant, and Cozy Heart Penguin, who’ve been away from Care-a-Lot a LONG time. Kids Animation. Episodes/length: 12x30 mins

issue six, december 2015

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Programming: Syndication & Licensing

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NTENT ASIA

4-7 April 2016 // Cannes // France

MIP

Just like Ben Silverman, thousands of talented people bring content to life. Come and mip them. Ben Silverman, Founder & CEO , Electus

Join them miptv.com

4 days 11,000 participants 20,650 m2 1,632 exhibiting companies 100 countries 3,915 buyers

(including 1,050 VOD buyers)

*Marché International des Programmes : Your content, your community. Any screen. The global TV and digital marketplace in April.

TBLsneakpeek

NTENT ASIA

Caracol Television S.A. is a national private channel that has produced some of the most innovative and successful shows on Colombian television. Today, it is a major content producer expanding its inﬂuence to the entire world through its international distribution division and its international cable signal.

Caracol Internacional United States: 150 Alhambra Circle, Suite #1250 Miami, FL 33134, U.S. T: +1 305 960 2018 (Miami) Online contact details: URL: http://www.caracolinternacional. com/en-us FB: CaracolTVIntl Twitter: @CaracolTvIntl Instagram: @CaracolTvIntl

Who’s who...

Lisette Osorio Vice President of International Sales Maria Estrella Sales Executive for Asia Berta Orozco Sales Executive for Europe, Africa and Middle East Paloma Garcia Sales Executive for Europe, Africa and Middle East

Genres Series, telenovelas, documentaries, movies and entertainment formats

Rights Caracol holds all rights for its productions

Trends in 2015/Outlook for 2016 “Our series, footage and Telenovelas have had various premieres and we are noticing a stronger demand in the Asian market for these genres. These premieres have proved that our products have been successfully welcomed by the Asian audience. Therefore, we expect a more positive result from these markets moving forward in 2016”.

Where’s your Asia focus in 2016?

Lisette Osorio

Maria Estrella

“For 2016 we will continue our expansion efforts in the region, every country is essential to attain our goals. We are giving special attention to digital platforms, we understand that the market is revolutionising constantly and new demand is arising.”

Soul Sisters

Top shows are... Soul Sisters

Berta Orozco

Paloma Garcia

The story of two heroines who give everything for their family, their artistic career and a musical genre which showers them with fame and glory, but takes away part of their childhood and youth. Their life will not be easy since they will be forced to be the family bread winners. As young children they will suffer because of Emeralds, the Color of Ambition their father and as adults because of their husbands. They will live stories of abandonment and lack of love as dramatic as the lyrics of their songs. Series. Episodes/length: 80x60 mins

Emeralds, the Color of Ambition Three generations of one family will face each other against evil and will end up divided by ambition and the love for one woman. Series. Episodes/length: 62x60 mins

The First Lady

The First Lady issue six, december 2015

Paloma, a humble small town girl, has a dream that she will fulﬁll regardless of the consequences: becoming Colombia’s ﬁrst lady. In order to do so, she will have to give up the love she feels for Mariano and earn the trust of the future president Leonardo Santander. Most of all, she must gain the trust of his wife who unknowingly opens the doors of her house to the woman who will end up destroying her life completely and help her husband reach the presidency. Telenovela. Episodes/ length: 95x60 mins C

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programmedistribution

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CBS Studios International is the leading supplier of programming to the international television marketplace, licensing to more than 200 markets in more than 30 languages across multiple media platforms. The Studio participates in international channel ventures, currently comprised of 18 channels in 24 languages across over 100 territories, reaching more than 70 million households worldwide. CBS Studios International also exports a diverse lineup of formats for local production around the world. The division distributes content from CBS Television Studios, CBS Television Distribution, Showtime, CBS News, CBS Films and a library of more than 70,000 hours of programming. CBS Studios International is a division of CBS Corporation.

CBS Studios International 7800 Beverly Blvd. Los Angeles, CA 90036, U.S. T: +1 323 575 5460 F: +1 323 575 5469 W: www.cbssi.com Twitter: @CBSIntlTweet Sydney Kyle House Level 4, 27- 31 Macquarie Place, Sydney, NSW, 2000 Australia T: +61 2 8274 4400 Singapore 30 Rafﬂes Place, #15-01 Chevron House. Singapore 048622 T: +65 6506 6690 Tokyo Burex Toranomon Bldg., #1203 2-7-5, Toranomon, Minato-ku Tokyo 105-0001, Japan T: +81 3 5157 0821 Beijing Room 1202, LV12, Tower A, E-Wing Centre, No. 113 Zhichun St., Haidian, Beijing, China 100086

Who’s who...

Sydney Stephen White VP, Managing Director, Asia Paciﬁc T: +61 2 8274 4444 E: stephen.white@cbs.com Singapore Nicole Sinclair VP, Managing Director, Asia T: +65 6506 6690 E: nicole.sinclair@cbs.com Tokyo Mie Horasawa Managing Director, Northeast Asia T: +81 3 5157 0821 E: mie.horasawa@cbs.com Beijing Ying Zhang Director, Business Development (China) T: +86 (159) 10753759 E: ying.zhang@cbs.com

Genres Drama, comedy, reality, daily entertainment news, court shows, talk shows and news content. CBS Studios International (CBSSI) also has a diverse catalogue of formats, both scripted and unscripted.

Production Asia’s Next Top Model season 4 Cambodia’s Next Top Model season 2 China’s Next Top Model season3 China-Kid Nation season 1 India’s Next Top Model season 1 Indonesia-Celebrity Squares season 1 Vietnam’s Next Top Model season 6 Vietnam-Wheel of Fortune season 7

Billions

Rights CBSSI owns all rights to its content.

HD CBSSI’s current slate is all available in HD in addition to a large portion of our library.

Zoo

Trends in 2015/Outlook for 2016 Major trends in the region are platforms and channels strengthening their services and offerings with more demand for non-linear multiscreen rights such as OTT and TV Everywhere. Legitimate SVOD offerings are also emerging as serious players in the region and they are becoming increasingly competitive in the market.

Limitless

Where’s your Asia focus in 2016? CBS Studios International now has well established ofﬁces in Singapore, Beijing and Tokyo so we are well-positioned to take advantage of all opportunities throughout Asia and we continue to be excited that the growth in the region is offering.

Top three shows are… Billions Starring Oscar nominee and Emmy and Golden Globe® winner Paul Giamatti and Emmy and Golden Globe winner Damian Lewis, Billions is a 21st-century examination of the proﬁt and peril of chasing the American dream.

Zoo

Stephen White

Nicole Sinclair

Zoo, starring James Wolk and based on the #1 bestselling novel by James Patterson, is a global thriller about a wave of violent animal attacks against humans sweeping the planet.

Limitless

Mie Horasawa

138

Ying Zhang

Limitless, based on the feature ﬁlm, is a fast-paced drama about Brian Finch, who discovers the brain-boosting power of the mysterious drug NZT and is coerced by the FBI into using his extraordinary cognitive abilities to solve complex cases for them. Unbeknownst to the FBI, Brian also has a clandestine relationship with Senator Edward Morra (Academy Award nominee Bradley Cooper, recurring), a presidential hopeful and regular user of NZT who has plans of his own for his new protégé. C

NTENT ASIA

issue six, december 2015

For 50 years now, DW Transtel has produced captivating documentaries and exciting programming from the heart of Europe. It is part of DW – a European leader in news and quality programming. DW Transtel offers international partners a unique brand of infotainment, from documentaries to sports, music and children’s shows, all in English, Arabic, Russian, French and Spanish.

DW Transtel Kurt–Schumacher–Str. 3 53113 Bonn, Germany T: +49 228 429-0 F: +49 228 429-3500 E: sales@dw.com W: www.dw-transtel.com Asia office: PIK film 30 Lorong Bukit Pantai Lucky Garden, Bangsar, 59100 Kuala Lumpur, Malaysia T: +60 3 2093 0866 F: +60 3 2093 8688 E: meefung.lee@pikfilm.com.my

Who’s who...

Petra Schneider Director Distribution T: +49 228 429 3501 E: petra-c.schneider@dw.com Dorothee Ulrichs Head of Distribution Asia/Australia T: +49 228 429 2712 E: dorothee.ulrichs@dw.com Mee Fung Lee Asia Representative T: +603 2093 0866 E: meefung.lee@pikﬁlm.com.my

Genres DW Transtel’s most popular genre in Asia is informational television, covering everything from arts and culture to science and technology and nature and the environment.

Production DW Transtel has embarked in coproductions with partners in Taiwan and Mongolia in the past. In 2015, DW Transtel found a strong coproduction partner in Vietnam and is discussing possible co-productions with Chinese partners. Bringing local knowledge and experience into its content has proven to trigger an increase in its resale value in Asia.

Fake, Stolen – Sold!

Rights DW Transtel holds the worldwide distribution rights for most titles in the catalogue.

Our Technical World

HD Most of DW Transtel’s newer productions are produced in HD, adding an average of 50 new hours to the already existing HD portfolio each year.

Trends in 2015/Outlook for 2016

Petra Schneider

Dorothee Ulrichs

The ongoing trend continues to be factual TV, especially entertainment (i.e. applied everyday science, docutainment). Higher Global Snack spending power among the population has triggered an increased demand for health and wellness programmes in some countries. Demand for animal and lifestyle programming will remain high during the year to come.

Where’s your Asia focus in 2016? DW Transtel is active throughout Asia, with special emphasis on Vietnam, India, Indonesia and Myanmar, where syndication of programming has been on a steady increase.

Top three shows are... Mee Fung Lee

Fake, Stolen – Sold! Uncover the mystery and intrigue where high culture meets criminal minds. Fake, Stolen – Sold! exposes the sinister side of the art world – from theft and extortion to counterfeits and forgery. Documentary. Episodes/length: 6x30mins. Available in Arabic, English and Spanish.

Our Technical World The scitech show with spectacular examples of how technology is deployed in our world and the challenges it must withstand. Documentary. Episodes/length: 6x30mins. HD. Available in Arabic, English and Spanish.

Global Snack An introduction to fast-food street vendors around the world, from hot dogs in New York and French fries in Brussels, to roasted grasshoppers in Thailand. Documentary. Episodes/length: 41x2-4mins. Available in English, German and Spanish. issue six, december 2015

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FremantleMedia Kids & Family Entertainment (FMKFE) is a worldwide leader in family entertainment and one of the most dynamic independent producers, licensors and distributors of engaging and ground-breaking content in the sector. The division works in collaboration with best-inclass partners to build global franchises that connect with children and families across multiple platforms and touch points.

FremantleMedia Kids & Family Entertainment Unit 10-18, 32/F Tower 1, Millennium City 1 388 Kwun Tong Road Kwun Tong, Kowloon, Hong Kong T: + 852 3972 2469 W: www.fremantlemedia.com

Who’s who...

Henry Or VP Asia FremantleMedia Kids & Family Entertainment E: Henry.or@fremantlemedia.com Fabien Ching Licensing Ofﬁcer Asia, FremantleMedia Kids & Family Entertainment E: Fabien.ching@fremantlemedia.com

Genres FremantleMedia Kids & Family Entertainment (FMKFE) has a very distinctive and broad portfolio of animation and live action content targeting all ages from preschool through to tween and teen.

Production The Asia ofﬁce has only been in operation for just over a year as a result we currently do not have any shows in production but are in advanced stages of discussion with a number of companies in both animation series and formats.

Rights FremantleMedia Kids & Family Entertainment holds the global television distribution and licensing and merchandising rights for the majority of shows in our portfolio.

HD All new content is produced in HD.

Trends in 2015/Outlook for 2016

Henry Or

“There are many new digital platforms, in Asia, whether local or regional. Technology has changed the way people consume entertainment, and is giving people the ‘anywhere, anytime’ freedom to enjoy watching their favourite show. In 2016, we will continue to see the exponential growth of the digital world with traditional TV adjusting their business to keep up the pace. Animation content has less competition when compared to entertainment for adults. What is unique about animation is that this is something all children want to watch but we are deﬁnitely seeing changes in the ways shows are produced”.

Where’s your Asia focus in 2016? “Our focus is to continue to place our shows on signiﬁcant platforms and to also forge production partnerships. We are seeing great traction with Kate & Mim-Mim and Tree Fu Tom and we are actively looking to place our key shows in China. Danger Mouse is our next top show to launch in Asia, and with the momentum and partnerships we have built since the Asia ofﬁce set up a year ago, we believe there will be strong cooperation from key broadcasters in the region.” Danger Mouse

Top shows are... Danger Mouse Action and comedy collide in these all new animated adventures. Danger Mouse’s, the world’s greatest secret agent’s mission is to protect the world, multiple parallel universes from the villainous and evil Baron Greenback. At his side is his ever faithful but always fearful sidekick Penfold. Together our two best friends take on all manner of mind-blowing missions aided, by old and new allies and adversaries and all manner of tech-defying gadgets. Episodes/length: 52x11 mins

Tree Fu Tom Tree Fu Tom

The globally acclaimed animated series where movement makes magic! Tom appears to be a normal boy but by putting on his magic belt and performing Tree Fu moves he transforms into a miniature superhero and is transported to a new world, Treetopolis. Here Tom has amazing adventures but when trouble strikes he must ask the audience to create magic that saves the day! Episodes/length: 26x30 mins

Kate & Mim Mim Five-year-old Kate stars with her larger-than-life bunny buddy Mim-mim in this innovative series that has been captivating pre-schoolers worldwide. Kate is today’s girl in today’s world setting off on fun and fantastical adventures in the imaginary world of Mimiloo; all in the hope of solving puzzling problems Kate has encountered in the real world. Episodes/length: 52x11 mins or 26x22 mins Kate & Mim Mim issue six, december 2015

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Forty years ago, Globo entered the international market when it licensed the telenovela O Bem Amado, in 1973. Since then, titles such as The King of the Cattle (1996) and Brazil Avenue (2012) are part of the affective memories of viewers all over the world. Over time, Globo also started to offer series, miniseries, documentaries, special programmes and feature ﬁlms produced by Globo Filmes. In all, about 130 titles have been broadcast in over 170 countries. The company has already been awarded 12 International Emmys.

Globo Rua Evandro Carlos de Andrade, 160 / 7º andar Vila Cordeiro 04583-115 São Paulo, Brazil T: +55 11 5112 4559 F: +55 11 5112 4018 W: www.globo.com/licensing

Who’s who...

Junior Volpato Sales Executive Asia/Oceania E: junior.volpato@tvglobo.com.br Roberto Cabrini Sales Executive Asia/Oceania E: roberto.cabrini@tvglobo.com.br

Genres Globo produces multi-genre, serial ﬁction. In addition to telenovelas, which have already won fans all over the world, Globo has been producing series, miniseries, sitcoms and movies for years, with the same care and quality. Globo products are ratings leaders in Brazil and also successful in Asia and around the world. Precious Pearl

Rights Globo has all rights of the content it produces for multi-platform.

HD All content is produced in HD. The series Merciless, of the 2015 catalogue, is Globo’s ﬁrst product produced and post-produced in 4K and available to the market in this format and also in HD. Junior Volpato

Roberto Cabrini

Trends in 2015 & outlook for 2016

Asia, just like any other place in the world, is interested in good stories that enchant and entertain. We believe that, in addition to the telenovelas, our series and miniseries will be quite demanded in 2016.” Raphael Correa Netto Executive Director of International Business

Where’s your Asia focus in 2016? “All countries and regions are important to us. We are focusing on Asia as a whole, from South Korea to China, Indonesia, Pakistan and Australia.”

Top shows are... Precious Pearl The love between a factory worker and her millionaire boss gives life to Pearl, a girl with a special gift what will bring harmony to dire conﬂicts that once hindered this love. Telenovela. Episodes/ length: 110x60 mins

Helena’s Shadow

Helena’s Shadow On their wedding day, Laerte’s obsessive jealousy brings his relationship with Helena to an end. Twenty years later, he gets involved with the daughter of his long lost love, ripping open the scars from an unresolved relationship. Telenovela. Episodes/length: 75x60 mins

The Party

The Party A huge party with guests who are hiding secrets and desires ends with a body ﬂoating in the pool: a murder where everyone is a suspect. Miniseries. Episodes/ length: 15x60 mins

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HIT Entertainment/Mattel - APAC Rm511, North Tower World Finance Centre Harbour City, Tsimshatsui Kowloon, Hong Kong T: +852 3185 6500 W: www.hitentertainment.com www.mattel.com

Who’s who...

Bryce Inouye Business Head HiT Asia Grace Chan Commercial Director HoYoung Jung Sr Manager Content Distribution E: HoYoung.Jung@Mattel.com Kelvin Ko Manager, TV Sales, APAC E: kelvin.ko@mattel.com Hirai Kotaro Manager Sales (Japan, Korea) E: Kota.Hirai@Mattel.com Lina Zhang Content Distribution Manager (China) E: Lina.Zhang2@Mattel.com

Genres Kids

Rights HiT/Mattel holds all rights of its content

Top three shows are… Thomas and Friends Thomas the Tank Engine™ was created by a father for his son 70 years ago and today is enjoyed by families in more than 300 territories and in over 40 languages. The No.1 blue engine and his friends invite children to enter a world of imagination through the tracks of a train and the words of a story. Children embark on adventures with their engine friends while experiencing timeless life lessons of discovery, friendship and cooperation. Thomas & Friends makes tracks to great destinations on PBS KIDS® and Sprout® in the U.S. and on Five’s Milkshake! and Nick Jr in the U.K. and on CCTV in China. Downloadable episodes are available through iTunes. For more information about the world of Thomas the Tank Engine™ and his friends, please visit www.thomasandfriends.com

Bob the Builder Bob the Builder and his machine team are ready to tackle any project. As they hammer out the solutions that lead to a job well done, Bob and the crew demonstrate the power of positive-thinking, problem-solving, teamwork and followthrough. Most importantly, from start to ﬁnish, the team always shows that The Fun Is In Getting It Done! Bob the Builder is produced by HIT Entertainment with animation services provided by Canadian-based digital animation company Mainframe, a division of Rainmaker Entertainment.

Barbie For over 55 years, Barbie has been a conduit to imagination and self-discovery for young girls. After almost 150 inspirational careers, Barbie – along with her friends and family – continues to inspire and encourage the next generation of girls that anything is possible.

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The Mattel family of companies (Nasdaq: MAT) is the worldwide leader in the design, manufacture and marketing of toys and family products. Mattel’s portfolio of best-selling brands includes Barbie®, Hot Wheels®, Monster High®, American Girl®, Thomas & Friends® and Fisher-Price® brands as well as a wide array of entertainment-inspired toy lines. With worldwide headquarters in El Segundo, Calif., Mattel’s companies employ nearly 30,000 people in 40 countries and territories and sell products in more than 150 nations. At Mattel, we are Creating the Future of Play.

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NBCUniversal International Distribution, a division of NBCUniversal, is responsible for the distribution of NBCUniversal product to all forms of television and new media outside of the U.S. and Canada. This includes a rich library of more than 4,000 feature ﬁlms and 100,000 television episodes, including current and classic titles, non-scripted programming, sports, news, long-form and short-form programming and locally produced content from around the world.

Singapore (Asia Paciﬁc HQ) T: +65 6675 1296 Japan T: +81 3 6860 8963 Korea T: +82 2 2076 8245 India T: +91 22 6625 8521 Australia T: +61 2 8274 1611 China T: +86 57306042 U.S.A. T: +1 818 777 1300

Who’s who...

SALES Justin Che MD, Asia Paciﬁc, Distribution & Networks E: Justin.Che@nbcuni.com Rajiv Dhawn SVP, Sales Liaison, Asia E: Rajiv.Dhawn@nbcuni.com Chris Taylor MD, Distribution & Networks, Australia/New Zealand E: Chris.Taylor@nbcuni.com

Genres NBCUniversal International Distribution licenses content of all genres (i.e.: drama, comedies, unscripted, talk, sports, theatrical, etc.)

Production Local productions & formats are managed by NBCUniversal’s International Studios division. Based out of London, NBCUniversal International Studios is headed by Michael Edelstein, President. The company’s international production assets include Carnival, Monkey Kingdom and Chocolate Media in the U.K.; an investment in Australian production company, Matchbox Pictures; a joint TV production venture with WTTV; and a strategic production deal with Lark Productions in Canada. The division’s international formats licensing business is led by Yvonne Pilkington, SVP, Formats Sales & Production. Linﬁeld Ng, based in Singapore, manages the business for Asia. Top formats produced in Asia include: Hidden Singer in Thailand and Vietnam, Still Standing in Thailand, Dance Your Ass off in Vietnam and Thailand, Suits in Korea, Hollywood Game Night in Thailand and Indonesia and How Do I Look Asia in Singapore Regional.

Rights NBCUniversal International Distribution licenses content to Free TV, Pay TV, Basic TV and New Media outlets

Martine Druelle Ireland VP, Sales Liaison, Australia & New Zealand E: Martine.Druelle@nbcuni.com

Atsushi Miyasaka VP, Sales Liaison, Japan E: Atsushi.Miyasaka@nbcuni.com

Trends in 2015/Outlook for 2016

Jianbo Wei VP, Sales Liaison, China E: Jianbo.Wei@nbcuni.com Barry Choi Director, Sales Liaison, Korea E: Bumsun.Choi@nbcuni.com Shreya Kapdi Director, Sales Liaison, South Asia, Indonesia, Singapore & Vietnam E: Shreya.Kapdi@nbcuni.com Mike Mendelsohn Director, Sales Liaison, Brunei, Cambodia, Laos, Malaysia, Myanmar, Philippines & Thailand E: Mike.Mendelsohn@nbcuni.com Jessy Tse Director, Sales Liaison, Pan Asia, Hong Kong & Taiwan E: Jessy.Tse@nbcuni.com PRODUCTION Linﬁeld Ng Director, Format Sales Liaison E: linﬁeld.ng@nbcuni.com INTERNATIONAL MARKETING & COMMUNICATIONS Pauline Bohm SVP, International Marketing & Communications E: Pauline.Bohm@nbcuni.com

NBCUniversal International Distribution distributes content in both HD and non-HD formats.

“We are seeing signiﬁcant growth in all our markets this year. We expect this to continue in 2016, for both our linear and digital businesses.”

Top shows are... Heroes Reborn From creator/executive producer, Tim Kring, this epic event series chronicles the lives of ordinary people who discover they possess extraordinary abilities (‘Evos’). Blamed for a terrorist attack in Odessa, TX, Evos are forced into hiding or on the run from those with nefarious motives. For better or for worse, some cross paths with assorted heroes of the past. Yet, together, their ultimate destiny is nothing less than saving the world and mankind. Episodes/length: 13x60mins

The Magicians

Heroes Reborn

The Magicians

The Magicians follows a brilliant graduate student who enrolls in a secret upstate New York university specialising in magic. He and his friends soon discover that the magical fantasy world they read about as children is all too real – and poses grave danger to humanity. Episodes/length: 13x60mins

Shades Of Blue

Jennifer Lopez stars in this drama as a New York detective who fell in with a tightknit group of dirty cops, taking bribes and protection money that she uses to provide a better life for her daughter. However, when she’s trapped by the FBI and forced to inform on them, she’ll have to walk the ﬁne line between love, loyalty, honor and betrayal, and try to keep it together for her daughter’s future. Episodes/ length: 13x60mins issue six, december 2015

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Sony Pictures Television is one of the television industry’s leading content providers, producing and distributing programming worldwide in every genre and for every platform. In addition to managing one of the industry’s largest libraries of award-winning feature ﬁlms, television shows and formats, SPT is home to a thriving U.S. production business and operates 19 wholly owned or joint venture production companies in 13 countries around the world. SPT’s worldwide networks portfolio includes 150 channel feeds, which are available in 178 countries reaching more than 1.3 billion cumulative households worldwide.

Sony Pictures Television 21/F, Cityplaza Three, 14 Taikoo Wan Road, Taikoo Shing, Hong Kong T: +852 2913 3788 F: +852 2913 3798 W: www.sonypicturestelevision.com

Genres

Who’s who...

Production

Mike Wald Executive Vice President, International Distribution, SPT E: Mike_Wald@spe.sony.com (Los Angeles) Ken Lo Senior Vice President, International Distribution, Asia-Pacific, SPT E: Ken_Lo@spe.sony.com (Hong Kong) Robert Lanier Senior Vice President, International Distribution, Asia-Pacific, SPT E: Robert_Lanier@spe.sony.com (Sydney) Alistair Jennings Vice President, International Distribution, Southeast Asia, SPT E: Alistair_Jennings@spe.sony.com (Hong Kong) Dai Huang Vice President, International Distribution, China & Taiwan, SPT E: Dai_Huang@spe.sony.com (Beijing) Kojiro Seto Vice President, Distribution, Japan, SPT E: Kojiro.Seto@spe.sony.com (Tokyo) Alli Farrell Vice President, Marketing, Asia-Pacific, SPT E: Alli_Farrell@spe.sony.com (Hong Kong) Leena Dutta Executive Director, Distribution, India, SPT E: Leena_Dutta@spe.sony.com (Mumbai)

Prime-time dramas, comedies and teleﬁlms, toprated day-time dramas, ﬁrst run-syndicated series, game shows, landmark off-network series, original animated series, original productions, scripted and light entertainment formats.

China Mad About You scripted adaptation, co-produced by SPT and CCTV6’s joint venture production company Huaso and Croton; India Everybody Loves Raymond scripted adaptation for Star Plus; Australia Shark Tank non-scripted adaptation for Network Ten Indonesia Dr. OZ Indonesia non-scripted adaptation for Trans TV. Mad Dogs

Rights SPT owns all digital and new media rights for all content, including on-demand, online and mobile.

HD Sony Pictures Television is producing an increasing amount of product in 4K and delivering it all in HD.

Trends in 2015/Outlook for 2016 “The arrival of new digital players across Asia-Paciﬁc has created new avenues to reach consumers and built demand for great content and particularly the types of edgy dramas for which Sony Pictures is well known. The trend, which developed in China and Korea, is extending across Southeast Asia, Japan, India and Australia as digital players emerge in these markets.”

Houdini & Doyle

Top shows are... The Art of More A ground-breaking, one-hour drama set in the high-stakes world of New York City auction houses, The Art of More stars Dennis Quaid, Cary Elwes and Christian Cooke. The series follows Graham Connor, a blue-collar hustler who leverages his way into the exclusive realm of premium auction houses by exploiting connections to smuggling rings he was exposed to as a soldier in Iraq. Kate Bosworth plays Roxanna Whitney, daughter of the CEO of a competing auction house, and their rivalry, chemistry and intrigue are at the heart of this drama. English Drama. Episodes/length: 10x60 mins

Mad Dogs When a group of underachieving 40-something friends gathers in Belize to celebrate the early retirement of an old friend, a series of wild, comedic events unfolds, exposing dark secrets and a web of lies, deception and murder. English Drama. Episodes/length: 10x60 mins

Houdini & Doyle

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In turn of the century London, an unlikely crime solving pair emerges in Harry Houdini, the brash and boastful American escape artist, and Sir Arthur Conan Doyle, the gentleman literary father of detective Sherlock Holmes. Each ﬁercely competitive with the other, Houdini and Doyle go to any lengths to prove the other wrong while investigating Scotland Yard’s most unsolvable crimes. Yet in the end, it is their reluctant teamwork that ultimately unravels the mystery behind each bafﬂing case. English Drama. Episodes/length: 10x60 mins

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Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from Red Arrow’s global group of production companies, outstanding third-party producers and digital-content partners. Recent international highlights include drama series Bosch and acclaimed format Married at First Sight. With an Asia ofﬁce in Hong Kong, alongside ofﬁces in Munich and Los Angeles, Red Arrow International distributes acclaimed, quality content to over 200 territories worldwide. Led by Henrik Pabst, Red Arrow International is part of Red Arrow Entertainment Group, a wholly owned subsidiary of ProSiebenSat.1 Media SE, one of Europe’s leading media groups.

Red Arrow International Asia Ofﬁce: Red Arrow International 701, 7/F Tower 2 Silvercord, 30 Canton Road, Kowloon, Hong Kong Head Ofﬁce: Red Arrow International, Medienallee 7, 85774 Unterföhring, Germany T: +49 89 9507 2320

Online contact details W: www.redarrowinternational.tv E: sales@redarrowinternational.tv TWITTER: https://twitter.com/redarrowint

Genres Factual, formats, ﬁction, TV movies

Production Red Arrow is heavily involved in local productions in Asia, working with partners to license formats across the region. Recent successes include the Japanese remake of hit crime drama The Last Cop for Nippon Television and Hulu Japan; acclaimed gameshow My Man Can in Thailand with Workpoint Entertainment; and gameshow You Deserve It for VTV3 in Vietnam. Productions coming soon include My Man Can in Vietnam for HTV7 and Cambodia for CTN.

Rights Red Arrow holds all rights for its content.

Who’s who...

Munich: Henrik Pabst Managing Director Yi Qiao Sales Manager, Asia, Middle East & Africa E: Yi.Qiao@redarrowinternational.tv Hong Kong: Jamie I VP Sales, Asia Paciﬁc E: Jamie.I@redarrowinternational.tv

All new shows are being produced in HD. Red Arrow also has a large back catalogue of ﬁnished programmes – from drama to factual – in HD.

Trends in 2015/Outlook for 2016 “Major trends include: Factual reality, with the whole space doing really well, driven by our show Married at First Sight, with the U.S. version selling across the region. Game shows with a comedy spin are also in heavy demand, demonstrated by shows such as My Man Can. We are also experiencing a major growth area in the OTT space, opening up new opportunities. The recent success of the Japanese remake of The Last Cop, which premiered on Nippon TV and then ran on Hulu Japan, is a great example of this.”

Where’s your Asia focus in 2016? Particular focus for us in 2016 are countries including Vietnam, Thailand and Japan.

Top three shows are… Henrik Pabst

Jamie I

The Romeo Section The Romeo Section is a high-stakes thriller about espionage in the Paciﬁc Rim from acclaimed showrunner Chris Haddock (co-executive producer/writer: Boardwalk Empire, creator/showrunner: Intelligence and Da Vinci’s Inquest). Set in Vancouver, the show follows seasoned spymaster Professor Wolfgang McGee (Andrew Airlie – Fifty Shades of Grey; 50/50), an academic who secretly manages a roster of espionage assets and informants. Genre: Scripted/Thriller. Episodes: 10x60 mins. Produced by Haddock Entertainment for CBC Canada

Peter & Wendy

Peter and Wendy

Peter & Wendy is a magical new family adventure based on J.M. Barrie’s muchloved classic Peter Pan, told through the imagination of a 12-year-old girl and starring Stanley Tucci (The Hunger Games), Laura Fraser (Breaking Bad) and BRIT awardwinner Paloma Faith. Genre: Scripted/Event TV Movie. Episodes/length: 1x120 mins. Produced by Headline Pictures in association with Juliette Films and Catalyst Global Media in partnership with Lip Sync Productions and The Luxembourg Film Fund for ITV (U.K.)

All Hail The Veil All Hail The Veil sees three bridal experts go head-to-head, dress-to-dress, to ﬁnd one lucky bride the wedding dress of her dreams. In each episode, a bride-to-be and her entourage visit three distinctly different wedding pop-up shops. The reputations of the bridal experts are on the line as they compete to win the bride’s business with their contrasting styles and price ranges – from upmarket emporium and fabulous fashionista to budget boutique. Genre: Format/Entertainment. Created and produced by Half Yard Productions for Channel 4 All Hail The Veil issue six, december 2015

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Grupo Televisa is the largest mass media company in the Hispanic world, and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programmes international distribution, direct to home satellite TV, cable TV and telecommunication services, magazine publishing and distribution, radio programme production and broadcasting, live sports and entertainment events, ﬁlm production and distribution, a Web Site operation, and it also participates in the game and rafﬂes industry. It produces more than 90,000 hours of content a year; it transforms universal stories into a local success by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.

Televisa International Av. Vasco de Quiroga 2000 Col. Santa Fe México DF, 01210 T: +1 (786) 265 2500 W: www.televisainternacional.tv

Who’s who...

Fernando Pérez Gavilán VP of Televisa Internacional Carlos Castro General Sales Director Ricardo Ehrsam General Director of Europe and Asia Mario Castro Director of Sales Asia and Africa

FORMATS

My Online Friend How many of us have friends on our social networks and really have no idea who they are? The engaging host of My Online Friends asked himself the same question and went out to meet these ‘friends’, in an effort to ﬁnd out who they truly are, having no idea how they ended up in his network. We follow him as he gets himself into entertaining situations knocking on ‘friends’ doors and spending time with them. The so called ‘friends’ think he must be a mind reader when he starts asking them questions about things that they have published on his timeline. If they hit it off together, and they are both willing, they stay in contact, if not, he deletes them from his friend list… it’s that simple. Throwing caution to the wind, the host takes his cameras all over the country in search of genuine friendships. Reality, 2015. Length: 60 mins

The Ticket

Fernando Pérez Gavilán

Carlos Castro

Ricardo Ehrsam

Mario Castro

The Ticket brings together an app and a TV show in a really original new multiplatform format that can turn a lucky contestant into a millionaire. To play the game, all you have to do is get a ticket from the app and wait your turn… it may change your life! When it’s your turn, you have to answer 10 questions correctly on your smartphone. If you succeed you’ll earn a lot of money, but that’s not all. The Ticket is also going to seek you out, no matter where you are in the country, as the hosts of this entertaining TV programme will turn up unannounced, with their cameras rolling, to ask people who have the ticket to answer questions that are worth millions. The more people sign up for The Ticket, the larger the prizes. Game Show Multiplatform, 2015. Length: 60 mins

The Wacky Old Games Across the world there are ancestral rituals, odd games and strange traditions which, although real, seem completely fake. We’ve gathered them up to create the most hilarious and adventurous physical game show on TV. A way for contestants to compete all around the world in an amazing set, in the most original way. All to win a substantial cash prize, or an all-expenses-paid trip around the world. Six daring couples go all out to be winners in our daringly eccentric games, inspired by incredible traditions and rituals. Cheese rolling from Gloucester, England!, Wife-carrying races from Finland!, Tomato ﬁghts from Buñol, Spain! We provide the map, and the contestants spin the giant globe presiding over the set. It decides how much money they take home, whether they win the grand prize, or, on the contrary, whether go home empty-handed! A real twist on the physical game show, providing a journey full of curious challenges, and an epic adventure for the strongest contestants bearing the weight of the world’s most wackiest games on their shoulders. Game Show, 2014. Length: 60-70 mins

The Assembly Game The zaniest assembly line on TV has arrived: The Assembly Game. Tighten, ﬁt together, assemble, answer and win on the ﬁrst game show on which claiming the star prize will take not only knowledge but also work. Two teams compete head-tohead on an assembly line with a dual mission: correctly answer a series of questions issue six, december 2015

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while completing fun tasks and challenges inspired by assembly lines. Each correct answer will earn cash for the team and penalise their opponent by speeding up their assembly line, but if they get the answer wrong their own conveyor belt will go faster. And if they don’t get the whole job done properly, it could end up down the ditch. So get ready to enjoy The Assembly Game. Because work has never been so much fun. Game Show, 2015. Length: 30-45 mins/Daily Broadcast

Stand Up Stand up for your country is the ﬁrst talent show to turn the current viral phenomena sweeping the web into television stars: parent-children duos now show what they’ve got in a TV studio in front of a strict jury, the public. This new primetime show puts a striking and original spin to the voting system. For contestants to win votes, they have to impress the entire studio audience and at the end of the series the whole country. The jump from internet star to TV star is a reality... Talent Show, 2014. Length: 120 mins

Little Giants Little Giants, the most successful Latin America and Hispanic USA talent show for kids. Singing, dancing, performing personal talents, acting out skits and sketches based on popular television shows are only some of the weekly tests that Little Giants contestants will face. Teams – made up of children who are between 4 and 11 years old accompanied by a celebrity who is there to support – compete to win votes from a jury that consists of celebrities who were also once child prodigies. Talent Show, 2014. Length: 120 mins

TELENOVELAS

I Don’t Trust Men Anymore Maria Dolores is a humble young girl with noble feelings. After her father is murdered, she seems compelled to get back to her old job and put up with her boss’ harassment. However, she meets Maximiliano, an attractive and honest lawyer who offers to help her. Although there is an attraction between them, both are engaged with other people. He is about to marry and Maria Dolores is dating Daniel, an unscrupulous junior who fools her by making a fake wedding and dumps her being pregnant, making her appear as guilty of murdering a man he killed. Daniel avoids being put into jail covered up by his wife, Ivana, the owner of the workshop where Maria Dolores works, a young but unattractive millionaire who Daniel married to avoid his family’s ruin. Maria Dolores gives birth in prison, but Daniel and Ivana legally take her son from her. Along the struggle they started together to prove Maria Dolores´ innocence, she and Max fall in love but Ivana ends up separating them when she accepts to denounce Daniel as the real murderer in exchange for marrying Maximiliano. Maria Dolores recovers her freedom ready to confront her rival, recuperate her son and the man she loves. Telenovela/Classic, 2014. Episodes/ Length: 150x60mins

Unforgivable After receiving a letter from his brother Demetrio in which he pleads for him to save him from the hell he was going through, Martín decides to travel to Mina Escondida, but he arrives too late. Demetrio has killed himself. Full of anger and pain, Martín swears over his brother’s grave that he will ﬁnd the woman who betrayed and led his brother to his death and make her pay for it. However, the only clue he has is a medallion with the name “V. Prado Castelo” on it. This way, destiny takes him to be confronted face to face with his worst emotions when he meets the Prado Castelo family members, Verónica and Virginia among them, who were adopted by the married couple since they were little. Martin is hooked into Verónica’s beauty and strong personality and there is an immediate attraction between them, but Virginia, manipulating and lying, makes Martín believe that Verónica was Demetrio’s lover. Convinced of who is to blame, Martín asks Verónica to leave everything behind and marry him. The young girl’s happiness lasts only a short time since, blinded by anger and grudge, Martín is ready to make her experience herself the pain his brother went through, even if this takes his own life. Could love change the darkest feelings and forget the most unforgivable acts of a man who swore revenge? Telenovela/Classic, 2015. Episodes/Length: 150x60mins issue six, december 2015

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Zee Entertainment Enterprises Limited (ZEEL) is India’s leading television media and entertainment company. It is the largest producer and aggregator of Hindi programming in the world, with an extensive library housing over 210,000 hours of television content. With rights to more than 3,500 movie titles from top Indian studios, featuring iconic ﬁlm stars, ZEEL houses the world’s largest Hindi ﬁlm library. Through its strong presence worldwide, ZEEL entertains over 959 million viewers across 169 countries.

Zee Entertainment Enterprises Limited 135, Continental Building, Dr. Annie Besant Road, Worli, Mumbai – 400018, India T: +91-22-24831234 Online contact details: www.zeebollyworld.com www.zliving.com E: zeecontent@zee.esselgroup.com

Zee Bollyworld hosts the world’s largest compilation of premium Indian entertainment content. A one point source, giving access to the entire Zee library, with programmes ranging from family sitcoms, social dramas, romantic stories, comedies and thrillers to reality and talk shows as well as formats, youth and kids-based shows, food, travel and lifestyle programmes and much more. All content is available in HD and SD with dubbed or subtitled versions in many international languages. Z Living (from the U.S.) is a lifestyle network focusing on living well, naturally. With over 1,700 hours of first-run, original HD/SD content in English, it is the most comprehensive catalogue of fitness, healthy cooking, wellness, lifestyle, reality and travel shows of any other network, continually connecting more viewers to the benefits and of joys of living a modern, healthy life.

Who’s who...

Sunita Uchil Global Head – Syndication & CRO – International Sales

2015 trends/2016 outlook... We have noticed that Indian content, especially drama, is being enjoyed more and more across the globe. Zee TV’s dramas, and our drama scripts, are going into new territories outside of Asia. Besides this, we expect a surge in growth for our story lines and formats. New media is another reason to expand and explore new content from new shores. Our lifestyle content from the Z Living bouquet is very attractive to discerning viewers in key Asian markets as Japan, Malaysia and Philippines. Europe and Middle East will also be big markets for content distribution in 2016.” Sunita Uchil, Global Head – Syndication & CRO – International Sales

Genres As one of the largest broadcast and production companies in India, Zee TV produces and syndicates all genres, with a main emphasis on drama (family/romance/period/costume). Zee has a slate of modern drama and comedy series that air on new channel, & TV, and is being distributed internationally.

Production Original dance competition format, Dance India Dance, was recently sold to Thailand’s JKN Global Media. Zee is currently producing The Voice of India, which is earning major ratings.

Rights As a major entertainment conglomerate, Zee TV is fortunate to hold all content rights, for all platforms since it produces and distributes all its own programmes.

HD Zee TV has been at the forefront of technology and so all its content is produced in HD.

Jamai Raja (Son-in-law)

Top three shows are… Jamai Raja (Son-in-law) A jet-setting hotelier with a growing empire, tries to bring together his feuding wife and mother-in-law. Family Drama. Episodes/length: 270x30 mins

Gangaa An inspiring story of a child widow characterGangaa ised with an indomitable spirit and will to survive. Considered to be a threat to age-old society customs, her resilience ensures that she emerges a winner. Family/Social Drama. Episodes/length: 120x30 mins

Ek Tha Raja, Ek Thi Rani (Once Upon a time, there Lived a King & Queen)

The true story of the Royal Family of Ameerkot. In order to cope with the loss of the family fortune, the royal family arranges the marriage of their son, the prince, with the daughter of the state’s biggest moneylender. The marriage causes a scandal, and sets off a chain of dramatic events within the family and the royal servants, causing them to change forever. Period. Episodes/length: 60x30 mins

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Viacom International Media Networks Asia HQ 151 Lorong Chuan #03-08, New Tech Park (Lobby H) Singapore 556741 T: +65 6221 8166 Online contact details: www.mtvasia.com www.nick-asia.com www.comedycentralasia.com www.b2b.viacom.com

Who’s who…

Mark Whitehead EVP And Managing Director, Asia E: mark.whitehead@vimn.com Tan Chee Kiat COO, Asia E: tan.cheekiat@vimn.com Susumu Imata SVP And GM, Japan E: susumu.imata@vimn.com Pierre Cheung SVP And GM, Greater China E: pierre.cheung@vimn.com June Yeoh Senior Director, Program Sales, Asia E: june.yeoh@vimn.com Daryl Kho Senior Director, Content Distribution, Southeast Asia E: daryl.kho@vimn.com

2015 trends/2016 outlook... We are operating in an evolving media landscape where consumers are demanding more personalised, shareable content. Although television still remains the primary platform, multiple screens and access points have become increasingly important to drive engagement and viewership. Whilst we continue to look for opportunities to grow our scale, our focus remains on producing great content and ﬁnding innovative ways to make it available to partners and consumers in a ﬂexible manner, e.g., providing distributors with multiplatform extensions of the local pay TV offering and branded apps to deepen their relationships with their consumers.” Mark Whitehead, Executive Vice President and Managing Director, Asia

Genres Core sales in animation with live action series are on the rise. Reality, competitive reality, documentaries, TV movies. Award shows, music shows, studio entertainment, music performances and formats. Animated sitcom, sitcom/live action, sketch-comedy, gag and best of Asia comedy

Production Lip Sync Battle – Based on the pop culture phenomenon of lip sync battling, the Viacom original series from Spike TV in the U.S., features celebrities going head-tohead and battling for the coolest bragging rights on the planet. Local formats to be created in Asia include China, Vietnam and Indonesia. The MTV World Stage global series brings multi-genre talents with global relevance onto a single stage. After seven years, MTV World Stage Malaysia has become one of the biggest Southeast Asian music nights of the year. Added to this series is MTV Music Evolution. Its 2015 inauguration in the Philippines on hip hop showcased iconic and contemporary hip hop acts internationally and locally.

Rights VIMN holds all media rights across platforms, from traditional TV to digital platforms.

HD VIMN’s library includes nearly 2,500 hours of highdeﬁnition content, including locally produced live music specials and events.

Say It In Song

Where’s your Asia focus in 2016? VIMN Asia’s business cuts across Southeast Asia, China and Japan.

Top shows are... Game Shakers

Shimmer and Shine Shimmer and Shine is an animated comedy preschool series featuring the magical adventures of genie-in-training twin sisters Shimmer and Shine and their human best friend, Leah. Whenever Leah has a dilemma, she calls upon Shimmer and Shine with a special chant and a rub of her genie bottle pendant Shimmer and Shine necklace. The sisters, along with their special pets Nahal and Tala, travel on a magic carpet out of their genie world and into Leah’s human one, happy to grant her three wishes to help her out! HD. Episodes/length: 40x30 mins

Game Shakers Babe and Kenzie are 12-year-old girls who create a mobile game that becomes the most popular game of the year. With the proﬁts and their friend, Hudson, world-famous rapper Double-G, and his son, Triple-G, the girls start their own supercool gaming company in Brooklyn. Now, Babe and Kenzie must keep their gaming business a success while still managing to get good grades. Game Shakers comes from Dan Schneider, the executive producer of hits iCarly, Drake & Josh and Victorious. HD. Episodes/length: 26x30 mins

Say It In Song Say It In Song spotlights music’s unique ability to connect people in an emotional and powerful way. When regular people struggle to ﬁnd the right words to say how they really feel, Say It In Song encourages them to use a speciﬁc tune to convey a special message to someone close. This heartfelt format is hidden camera mixed with emotional storytelling. Format. Length: 30 mins issue six, december 2015

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Viacom International Media Networks (VIMN), a unit of Viacom Inc., is comprised of many of the world’s most popular multimedia entertainment brands, including MTV, MTV LIVE HD, Nickelodeon, Nick Jr., Comedy Central, Paramount Channel, and more. Viacom brands reach more than 3.4 billion cumulative subscribers in 180+ countries and territories via more than 200 locally programmed and operated TV channels and more than 550 digital media and mobile TV properties, in 40 languages. Visit www.viacom.com.

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$250m Qatar-based sports network beIn Sports has gone big on Thailand, paying between US$250 million and US$270 million for the next three English Premier League (EPL) seasons. The deal, which also covers Laos/Cambodia, is way lower than the rumoured US$320 million pay-TV platform CTH paid last time around. No similar drops in Australia, where Singtelowned Optus stepped in with a knock-out marketshocker bid of about US$150 million for exclusive rights. The winning bid is said to be many times the amount paid by Foxtel in the last round and clearly enough for EPL bosses to ditch a partner of almost two decades. Elsewhere in the region, MP & Silva won rights for seven territories – Japan (said to have gone for US$80 million), South Korea, Vietnam, Taiwan, Mongolia, the Philippines and the Pacific Islands. Aggressive Chinese newcomer, LeTV, acquired Hong Kong rights for somewhere around US$400 million. In Singapore, Singtel managed to hold onto its rights for another three seasons. The telco is said to have paid US$300 million last time around. Rights agency MP & Silva says Asia and Oceania make up more than 38% of the total 2.7 billion EPL viewers worldwide.

24 hours a week Singaporean

millen-

nials

16-30)

(aged

spend on their mobile phones.

The

Con-

nected Life report, a study of 60,500 inter-

100

net users worldwide from research con-

Wild City

sultancy TNS, shows average millennials in Singapore spend 3.4 hours a day on their mobile devices – the equivalent of a full day a week. Singaporeans clock in as some of the world’s most mobile-addicted consumers; millennials globally spend an average 3.2 hours a day on their devices.

hours of content created specifically to celebrate Singapore’s 50th anniversary in 2015. The SG50 content (TV, films, games), was created in, by, and about Singaporeans with the support of Singapore’s Media Development Authority (MDA). The idea was to tell the story of Singapore’s culture, history and icons. No dollar value has been put on SG50 TV spend. The MDA said earlier this year that it had spent S$21.4 million/ US$15 million on grants/scholarships for media companies and supported more than 1,300 projects in the year to end March 2015. Most of the money – S$14.78 million/US$10.6 million – went on film projects, with S$1.18 million/US$846,842 on animation and S$2.3 million/US$1.65 million on broadcast.

15 million

100%

India’s foreign investment bosses have totally lifted the foreign ownership lid on TV channel broadcasters. Provided, that is, they stay clear of news and current affairs, which retains a cap of 49% foreign direct investment (FDI). The previous cap on news/current affairs services was 26%. The change was made as part of a widely welcomed and long-awaited rework of foreign direct investment limits by India’s government, which also said in November that it was eliminating the 74% cap on investment in distribution infrastructure, including cable networks and direct-to-home (DTH) satellite platforms. The FDI road ahead is not completely clear of regulatory approvals though; permission is still needed if companies want to take their full 49% stake in news channels. Same goes for cable/DTH/HITS. Reaction has been mostly positive.

issue six, december 2015

Wabbit

Turner Broadcasting’s Boomerang added 15 million homes to its Asia reach in a single day in November, courtesy of a slew of distribution deals with cable and IPTV platforms. The channel puts classics The Tom and Jerry Show, Looney Tunes and Scooby Doo in Korea for the first time, along with new shows Wabbit and Bunnicula, and new Korean title Beat Monsters.

US$64.4 billion

Film and TV industries contributed US$64.4 billion to China’s economy in 2014, according to the Economic Contribution of the Film and Television Industries in China Report, presented by the Motion Picture Association (MPA) in Los Angeles in November. The report also found that the industries supported 4,117,000 jobs and generated a tax contribution totaling US$16.9 billion. These findings indicate a 53% increase over the previous report, which referenced data from 2011.

News

1,300+ stories a year

Daily news distributed by email with online access. Plus eNewsletters every two weeks and eShow Dailies with Asia-focused news from major trade shows around the world.

Formats Formats Updates + Events

A who’s who of formats in Asia, including channels, slots and airdates. Published for annual event ContentAsia Formats (1 Sept 2016). Updates @ Mip TV, Mipcom & ATF.

Features 8 print magazines in 2016

ContentAsia’s print magazines include updates, interviews and indepth features. Distributed at major international events and mailed across the region. Also available online.

Directory The Big List + mobile

A who’s who of broadcasting in Asia, in print, on mobile (iOs/Android) and online at www.contentasia.tv

Events

ContentAsia Summit

The annual ContentAsia Summit takes place on 2 Sept 2016, with dedicated one-day events on 31 Aug (ContentAsia Production) and 1 Sept 2016 (ContentAsia Formats). Curated to create new conversations about content in Asia, the events are the face-to-face angle on our commitment to end-to-end information and insights about Asia’s content market.

ntent

ContentAsia – Keeping you at the centre of Asia’s content market. Putting your brand & products in front of more Asian buyers & decision makers in 22 markets in Asia. Be included! Contact Masliana Masron at mas@contentasia.tv (Asia/Australia) or Leah Gordon at leah@contentasia.tv (Americas/Europe)

DW Transtel Made or minds

Quality television since 1965 See us at ATF 2015 Booth G30

Deutsche Welle | Asia Representative | Ms. Mee Fung Lee | T +60(3).2093-0866 | meefung.lee@pikfilm.com.my dw-transtel.com

AT See uS 15 ATF 20

Booth G30

Quality television since 1965

Deutsche Welle | Asia Representative | Ms. Mee Fung Lee | T +60(3).2093-0866 | meefung.lee@pikfilm.com.my

dw-transtel.com