ContentAsia November 2015 by ContentAsia

issue five 2015

c C

NTENT ntentASIA

The battle for India’s OTT heart and soul

Asia’s latest BFFs: Sony Pictures & Nippon TV

PLUS: Bunim/Murray’s Gil Goldschein; 4K & Blue Ant Media; advertising credibility in Asia – the scorecard

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Thursday at 9pm & 11pm (SIN/HK)

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editor’snote

NTENT ASIA

#getoutofmyface Recent question/s to Janine: (1) Why are you being so critical of adsponsored programming and product placement in Asia? (2) Don’t you know we can’t make anything without sponsorship? Answer/s from Janine: First, I’m not critical of ad-funded content at all. Far from it. I just don’t like some (not all) of the ways it’s being

Will all the conflicts be sorted out? Depends on what you mean by sorted, and whether you think conflict is a bad thing. There’s inherent conflict in a mutually dependent situation where the end goals are dif-

executed in Asia right now. And second, I get the importance of sponsorship. I do. Really. But

ferent – ad sales people (and sometimes some

really? Let me get this straight. That means what? That my (our) choices

of the sponsors) want their products plastered

are: You either swallow this and shut up, or you get nothing? That if

everywhere as they declare to their dying

you don’t smile-and-accept all the blatant, heavy-handed product

day that their priority is a great story. To them,

placement in the current versions of MasterChef Asia, Asia’s Next Top

clearly, their products are the world’s greatest

Model, How Do I Look? Asia, etc, the sponsorship will all go away en-

story. Producers and story-tellers want the best

tirely? How would I even ever dream of buying that?

possible entertainment experience. Somewhere

Here’s a thought: How about making this whole ad-funded content issue in Asia a discussion about how this could be so much better? This

in there is a negotiated peace. Difficult maybe but not impossible.

should be a happy marriage between unbelievably strong entertain-

There’s a reason brands want to be associ-

ment brands and consumer products that could do great things

ated with great stories and compelling content. Compromising the creation of those great

together. Among the combo of reasons for less-than-great execution

stories and compelling content is short-sighted

are all-too-obvious compromises – in my opinion – on the

at best. Old-style heavy-handed advertising

definition of sponsor integration, of the line that’s being

doesn’t work so well anymore, so why try to

drawn between programming and advertising.

replicate it in programming under the guide of

Clearly others disagree, because there the prod-

“content”. There has to be – and is – a new way.

ucts are, large and loud, on my screen, messing with

It’s being done well elsewhere, and even some-

my entertainment experience. In my opinion. Other

times in some of these shows, so there’s proof of

people may not care as much; if your measure is ‘somany-minutes of in-your-faceness’, then you did great. Mission accomplished. Rest easy. Job done.

a better life after being hit over the head. And finally, I try my best to be critical of anything – including ad-funded content – that’s

Regardless, my telling it like I see it is not so much about my being

not the finest version of what I think it can be.

critical as about airing an issue everyone is bitching about anyway.

I always have been and I see no good reason

My putting it out there in my latest emperor’s-wearing-no-clothes

to abandon a core value. The devil, of course,

moment doesn’t change the conversation. It just makes it public.

is in the definition of finest. This conversation is

Seems to me, from some other of the responses I’m getting to my

far from over. And that, I’m happy to say, is as

posts, that it’s a ‘whew’ moment as in, ‘right, it’s all in the open, now

it should be.

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

let’s get this sorted out’.

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.

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

issue five, november 2015

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contents

NTENT ASIA

what’s inside

Death Note

InQuotes

Channels

Gil Goldschein, chairman &

Sony Pictures Television Networks

chief executive of Bunim/Mur-

Asia and Nippon TV enter the last

ray Productions, speaks about

quarter of the year brandishing a

reality trends, storytelling, cast-

shiny new Gem. Emily Seibel looks

ing, a return to authenticity and

at what they’re hoping for with

whether (or not) being nice is a

their new joint-venture channel.

reality TV killer. Tanu Weds Manu Returns, ErosNow

16 OTT

The battle for India’s OTT heart has just begun – and what a spectacular fight it’s shaping up to be. Vanita Kohli-Khandekar looks at the players, the climate, the looming clashes, the natural advantages and the curveballs.

YouTube is no longer our go-to platform for launching trailers and songs... YouTube remains a powerful marketing tool, not our vehicle for monetisation.” Jyoti Deshpande, Eros International

page 18

With each new phase of technology everybody gets that much wiser on how to do [4K] faster and do it better.” Vanessa Case, Blue Ant Media

page 24

Undiscovered Vistas

4K: Sharp shooters An ultra-high definition content future is less a case of if than when. Canadian production house Blue Ant Media plans to be ready sooner rather than later.

38 Advertising Across Southeast Asia, 88% of consumers placed the highest

The Big List sneak peek

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

issue five, november 2015

level of trust in word-of-mouth recommendations from people they know, market research company Nielsen found in its recent

Global Trust in Advertising Survey. Here’s what else Asia thinks and feels about advertising...

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

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inquotesreality

NTENT ASIA

For real

Bunim/Murray Productions (BMP) is credited with creating the reality genre as we know with, among many others over the past 25 years, Real World (30 seasons to date) for MTV in 1991, Keeping Up with the Kardashians (10 seasons so far) for E! and Project Runway (14 seasons so far) for Lifetime. In his international formats keynote at this year’s ContentAsia Summit, Gil Goldschein, BMP’s chairman/CEO, spoke about building brands, story, casting, keeping the pioneering spirit alive, the next big hit, and how much crazy is really necessary for great reality TV.

The secret sauce to any reality series, in any genre, is casting.”

“I don’t believe in one-offs, I believe in building franchises. I believe in building brands.”

The second we sell a show, yes, there’s some excitement, but it doesn’t end there. That’s just the beginning. For me, it’s a matter of how we keep that show on air, how we work with our network partners to make sure that it gets the promotion and the love and everything that goes into making sure that it can sustain.”

Gil Goldschein Bunim/Murray Productions

“I’ve been in different territories over the years pitching buyers, broadcasters, [talking to them about how they] should be doing their local version of

“There are two main tenets of Bunim/Murray... Eve-

the Kardashians, and they laugh and say, ‘We don’t have people like that

rything that drives the company, drives me, drives

in our country.’ And yes, [the Kardashians are] unique, but... There are lots

our people, is pioneering, trying to take the genre

of unique families. There are lots of sisters, and maybe mixed marriages. The

to the next level and trying to think what’s next. And

truth of the matter is doing the work on the front end, on the casting side,

the other one is storytelling. Because we’re in an

and finding that family.”

industry that’s all about the story.” The great thing about our industry is you never know where the Are Asians too nice to make good reality TV? “We work with plenty of nice cast members... it really comes down to the story.”

next great format is going to come from... I believe they can come from anywhere... whether it’s Korea or anywhere, it’s just a matter of time where something [from Asia] is going to pop.”

The success of [the Kardashians] is the

Is crazy a requirement for good reality entertainment? “Some of these

fact that the family really puts it out there.

relationships or different things people deal with on a day-to-day basis –

They are vulnerable. You see the good times, you

whether it’s wealth, power, fashion – are universal themes. Not everything

see the bad times, you see the ups and downs...

is about being vulnerable. Yes, you have to be willing to be on television,

what resonates with the audience is the relatabil-

for there to be a camera in your face, but once you get over that, I don’t

ity... and, at the same time, they’ve also brilliantly

think people have to be worried that they have to be so crazy. There are

been able to leverage off of that television show

certain shows within the genre or certain formats that lend themselves to

and build an empire”.

being crazy, but the reality genre as a whole has evolved so much. There are so many different aspects of doing it where it doesn’t.”

“I absolutely believe in celeb-reality... and when I

issue five, november 2015

say celebrities I’m not just talking about television

Reality is here to stay... it’s going to continue to evolve but it will

celebrities or movie celebrities.”

always be a part of the programming strategy.”

Bumbling

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channelsgem

NTENT ASIA

Shiny new gem

Sony Pictures Television Networks Asia and Japan’s Nippon TV enter the last quarter of the year brandishing a shiny new Gem. Emily Seibel looks at what the two broadcasters are hoping for. ©Tsugumi Ohba, Takeshi Obata/Shueisha ©Nippon TV Death Note

Sony Pictures Television (SPT) Networks celebrated the fifth anniversary of Korean channel One on

Gem launched with eight carriage deals in four markets (including

1 October. The birthday gift? Another regional Asian

Hong Kong and Indonesia), the result of the JV partners’ high-energy

entertainment channel, this time led by high-value

charm campaign launched earlier this year. The romance includes woo-

Japanese content.

ing platforms and viewers with exclusive shows such as dramas Death

A joint venture with Japan’s top broadcaster, Nippon TV, Gem is designed to put Japanese

issue five, november 2015

started looking at Taiwan and Korea.

Note and Angel Heart and promising wall-to-wall language-customised access to other top Japanese titles.

content right back where it used to be in the re-

The goal is to do for Japanese content what SPT did, with One, for Korean

gion years ago, before programmers and buyers

programming in Southeast Asia in 2010 – curate and package country-

AMC’S ORIGINAL MARTIAL-ARTS DRAMA

Into the badlands

AMC

Premieres Monday, November 16 10:00 BKK/JKT 11:00 HK/SIN

Within minutes of U.S broadcast Same day encore 21:00 BKK/JKT

WITHIN MINUTES OF U.S BROADCAST

SAME DAY ENCORE 21:00 BKK /JKT | 22:00 HK /SIN www.amctvasia.com

amctvasia

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channelsgem

NTENT ASIA

©Jun Ikeido/Office Ikeido Inc. ©Nippon TV

Operation Wild

Hanasaki Mai Speaks Out, season two

specific content in a premium environment, driven

premiered on 17 October with local-language subtitles within a week of

by linear, for regional audiences.

the telecast in Japan. Angel Heart, a live-action spin-off of manga series

Digital extensions, including catch-up and everywhere options, and specific digital engage-

programmers say short windows on others will follow.

ment strategies – including social media – kicked

Fast language-customised delivery is, as others who have gone this route

in with the linear roll outs from the beginning of

will confirm, incredibly difficult. “As is the case with all of our programmes,

October, says Ang Hui Keng, SPT’s Singapore-

quality is our utmost priority, so our editing work continues up until the very

based senior vice president and general man-

last moment before broadcast in Japan,” says Nippon Television Network

ager, networks, Asia.

Corporation’s managing director for international business development,

On-demand will be introduced in phase two. “It

Sue Fujimoto. “Then, we prepare the programme for overseas markets,

will come. But we need to get the linear and the

which includes clearing rights. This process takes time and it is extremely

linear add-ons to roll out first,” Ang says.

challenging to deliver our programmes within a week of airing in Japan,”

While the schedule is heavily Japanese, Gem

she adds.

will also carry a slate of Asian content acquired

Social media activity is a key component of Gem’s audience engage-

from South Korea, mainland China, Hong Kong

ment strategy. Timothy Oh, SPT Networks Asia’s assistant manager, digital

and Taiwan.

marketing and communications, Asian content, says sharing questions

The channel launched on 1 October with Lady &

and opinions is being encouraged to fill a gap in the conversation about

Liar, a Chinese romance drama starring Hong Kong

Japanese content. “There isn’t a dedicated channel to discuss [Japanese

heartthrob Harwick Lau (A Clear Midsummer Night)

content], unlike K-pop, where everybody is talking about it with their ex-

and China’s Tiffany Tang (Perfect Couple). The se-

tended portals,” he says.

ries is stripped daily Mondays to Fridays at 8pm.

issue five, november 2015

City Hunter, is the channel’s only express title for the moment, although

Gem emerges as part of what SPT Networks sees as Japan’s turn to trend

Flagship Japanese titles include psycho-thriller

across Asia. Ang recalls the progression of international tastes in Asia, start-

Death Note, which premiered on Monday, 5 Octo-

ing 30 years back with the surge of popularity of Hong Kong TV drama.

ber, and runs Mondays and Tuesdays at 9pm (Hong

“Many people may have forgotten, as Hong Kong drama was at its peak,

Kong time); and detective series Angel Heart, which

Japanese content was at its peak too, in Southeast Asia,” he says.

the most-watched news channel in Europe

see the world in perspective tv - mobile - radio - internet Euronews

see the world in perspective tv - mobile - radio - internet the most-watched news channel in Europe euronews.com

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channelsgem

NTENT ASIA

Prime time schedule: Gem Monday

Tuesday

Wednesday

Thursday

Friday

7pm

[7pm] Asian Drama Fairy Fox 44 episodes,1 Oct-1 Dec 2015

8pm

[8pm] Asian Drama Lady & Liar 941 episodes, 1 Oct-26 Nov 2015)

9pm

10pm

[9pm] Japanese Drama Death Note 11 episodes 5 Oct-9 Nov 2015

[10.10pm] Japanese Variety Exit! 19 episodes 5 Oct 2015-8 Feb 2016

[9pm] Japanese Drama Wild Heroes 10 episodes 1 Oct-4 Nov 2015

[10.10pm] Japanese Variety Moco's Kitchen 26 episodes, 6 Oct 2015-29 Mar 2016

[10.10pm] Japanese Variety Pharaoh! [10.40pm] Japanese 7 episodes Variety 7 Oct-18 Nov 2015 Dining H Al Fresco 26 episodes, 6 Oct 2015-29 Mar 2016

[10.10pm] Japanese Variety Matsuko – Roid 1 Oct 2015, on-going

[10.40pm] Japanese Variety Celebrity Confession to Ariyoshi 1 Oct 2015, on-going

[9pm] Japanese Drama Hanasaki Mai Speaks Out season 2 11 episodes 2 Oct-11 Dec 2015

Saturday

Sunday

[7.30pm] Japanese Variety Special ZIP! Festival 3 episodes 3-17 Oct 2015

[9.30 pm] Japanese Drama [9.40pm] Japanese The Girl's Speech Classic Drama 10 episodes I'm Mita, Your 4 Oct-6 Dec 2015 Housekeeper [10.10pm] Episodes 1-4 Japanese Variety 3 &10 Oct Next Stop, Discovery (2 episodes back to 21 episodes back) 2 Oct 2015-19 Feb 2016

[10.50pm] Express from Japan drama Angel Heart 10 episodes 17 Oct-19 Dec 2015

11pm

Source: Gem, as of 23 September 2015

Japanese drama Asian drama Japanese variety

In the years that followed, demand for Taiwan-

Nippon TV will continue to sell its programmes globally, “but we recognise

ese, Korean and Chinese content came in waves.

that with this method alone, we only provide our overseas audiences with

Japanese content flourished domestically, but in

short-term entertainment. We want our audiences to be able to enjoy our

Southeast Asia, it was underserved. There was, “no

shows any time they want,” Fujimoto says.

issue with the audience wanting [it],” Ang says, but the content was, “just not being supplied”. Why now? For a number of reasons. SPT’s Oh says

what is possible with our traditional programme sales model. I also hope

the channel is part of a broader Japanese craze.

that through our new channel, Nippon TV becomes a formidable brand

“Japanese pop culture has been very big around

that is recognised the world over,” Fujimoto says.

Asia,” he says, adding, “Big brands are taking off in terms of clothing and food”.

The partnership between SPT and Nippon happened quickly. Ang attributes this to the network’s proven track record of success with Asian

Ang highlights macroeconomic factors in Japan;

content on One, and with the mix of content from the U.S. as well as local

a slowing domestic economy means media com-

productions on AXN. “We managed to work out the joint venture very

panies may have hit saturation point within the

quickly,” he says.

country, he says, adding: “The only way for forward looking media companies is to go out.” For Nippon Television Network Corporation, Gem is part of a bigger and broader international develop-

The Nippon TV joint venture is not connected to Gem Vietnam, which launched in Vietnam in January 2014 with a schedule of Chinese content and a geo-remit that allows it to fast-track roll out within the licensing regulations. Gem Vietnam will continue to be wholly owned by SPT.

ment strategy launched three years ago. Fujimoto

Ang says exclusive content is a priority for the regional Gem channel. An

says while Nippon TV has been selling programming

example is Nippon TV’s spring/summer flagship series, Death Note, which

internationally for more than 50 years, “we wanted

Nippon held back in Asia in anticipation of Gem’s launch. First and exclu-

to take our overseas endeavours to new heights”.

sive content on Gem’s schedule includes the second season of Japanese

The international business development unit was

drama, Hanasaki Mai Speaks Out, which was released in Japan on 8 July

established in December 2012.

this year. Gem will also air Japanese variety and game shows first and exclu-

“In the process of pursuing various opportunities

issue five, november 2015

The expectation is that Gem will deliver “a constant supply of programmes that Nippon TV is most proud of to viewers throughout Asia, much more than

sively in Southeast Asia, including Moco’s Kitchen and Dining Al Fresco.

abroad, the idea of establishing a new channel

Original content creation and production for Gem may follow. Ang says

came up. We were fortunate enough to partner

“the ambition is there”, but, as for any new channel, distribution is the focus.

with Sony and make GEM a reality,” she says.

For now.

The Hunt

Nothing is certain

nothing is certain

Premieres 2 November

Monday at 8.05pm (SG/HK) www.bbcasia.com

BBC Earth is available in Hong Kong, Indonesia, Malaysia, Mongolia, Singapore, South Korea, Taiwan, Thailand and Vietnam. Please call your cable operator for more details or check out our website.

PREMIERES 2 NOVEMBER MONDAYS AT 8.05PM (SG/HK) www.bbcasia.com BBC Earth is available in Hong Kong, Indonesia, Malaysia, Mongolia, Singapore, South Korea, Taiwan, Thailand and Vietnam. Please call your cable operator for more details or check out our website.

/BBCEarthAsia @BBCEarthAsia

OTTindia

NTENT ASIA

Let the games begin The battle for India’s OTT heart has just begun. Vanita Kohli-Khandekar looks at the players, the climate, the looming clashes, the natural advantages and the curveballs.

Tanu Weds Manu Returns, ErosNow

The rush of entertainment brands into the Indian

the internet on smartphones that are Rs5,000/US$76 and less is driving

OTT market is really something.

growth,” says Gaurav Gandhi, chief operating officer, Viacom18 Digital

21st Century Fox subsidiary, Star India, launched hotstar, a mobile TV app in February this year.

There are more than 300 million Indians online today and more than

Then came Singtel’s Hooq in partnership with

970 million of them have a mobile phone. Of consumers online, about

Sony and Warner in May. Soon after that, in June,

100 million people watch video online. While revenues remain low, they

came news reports that Netflix would be launch-

are expected to increase from US$187 million in 2014 to US$550 million in

ing an India service in 2016. In the same month,

2018, says consulting firm Media Partners Asia (MPA). This includes both

Eros International, India’s largest film studio, was

advertising and subscription revenues.

forced by shareholders to drop plans for a TV busi-

The other major push comes from the impending launch of 4G from

ness and focus on ErosNow, its streaming service.

Reliance and Airtel and the impetus this could give the market. “The real

Viacom18, a joint venture between Viacom and

party will start when net penetration hits 400-500 million,” Gandhi says.

Network18 announced a digital venture that in-

issue five, november 2015

Ventures.

The heads of most media and entertainment firms agree.

siders reckon will launch by the end of the year.

“In five to seven years, 50% of our revenues could come from ErosNow

And the others already here – Google’s YouTube,

and the digital initiatives, at greater margins,” says Jyoti Deshpande,

Zee’s Ditto TV, Multi-Screen Media’s Sony Liv and

managing director/group chief executive officer, Eros International, In-

Facebook, among others. (see table)

dia’s largest film company.

“The rising number of Indians online and within

ErosNow has three different services that offer its library of 3,000 films

that the ability of the mass of Indians to access

and latest hits such as Tanu Weds Manu Returns. There is an ad-supported

THE GEM OF ASIAN ENTERTAINMENT GEM OF ASIAN ENTERTAINMENT Discover theTHE Glittering World of GEM www.GEMtvasia.com For more information, please contact: Gan Ling Sze, Vice President, Affiliate & Media Sales +65 66228778 Lingsze_Gan@spe.sony. Featuring the biggest and hottest programmes from Japan and more! com Featuring the biggest and hottest programmes from Japan and more! Fresh from Same week Japan as Japan ANGEL HEART Same week as Japan Find us on social media GEMTVASIA Search ©NIPPON TV DR. RINTARO, PSYCHIATRIST THE GUTSY FROG MASQUERADE MOCO’S KITCHEN ©TSUKASA HOJO/NSP 2001 ©NIPPON TV DR. RINTARO, PSYCHIATRIST ©Yasumi Yoshizawa/Office Yasui ©NIPPON TV ©NIPPON TV ©NIPPON TV ©NIPPON TV Fresh from Japan ANGEL HEART Fresh from THE GUTSY FROG MASQUERADE MOCO’S KITCHEN ©NIPPON TV Japan GEM

Discover the Glittering World of GEM

©NIPPON TV

Fresh from Japan

©TSUKASA HOJO/NSP 2001 ©NIPPON TV

©Yasumi Yoshizawa/Office Yasui ©NIPPON TV

©NIPPON TV

For more information, please contact: Gan Ling Sze, Vice President, Affiliate & Media Sales +65 66228778 Lingsze_Gan@spe.sony.com

www.GEMtvasia.com Find us on social media GEMTVASIA Search

©NIPPON TV

OTTindia

NTENT ASIA

Source: Media Partners Asia (MPA)

free streaming model. Then there is a day pass or

list of YouTube’s top video destinations in India for a long time. Many are

a weekend pass for those who want to dip in and

now reducing their engagement with YouTube.

out without ads. And a paid model with different

“We were one of the first Indian entertainment companies to embrace

tiers – the premium one at Rs50/US$0.76 a month

YouTube. We average close to 100 million video views per month and

gives access to the entire content completely ad

have over 3.2 million subscribers,” Deshpande says. “But the YouTube

free. The Rs100/US$1.50 a month option comes

monetisation model at low CPM rates makes it a less premium destina-

with additional features such as high-definition,

tion and more like a video search platform mainly for short form con-

portability across devices and offline caching.

tent,” he adds.

On the other hand, there is Zee’s completely subscription driven Ditto TV. Zee Digital Convergence chief executive, Debashish Ghosh, says Ditto TV should double revenues to US$12 million next year. Hotstar is already getting advertisers to pay more for reaching OTT audiences.

issue five, november 2015

“YouTube is no longer our go-to platform for launching trailers and songs. We break these exclusively on ErosNow and heavily market them. YouTube still remains a powerful marketing tool but not our vehicle for monetisation strategy,” Deshpande adds. Others echo that. Star, for instance, has long questioned the rationale of putting its premium, professionally generated content next to YouTube’s low-end user-generated content.

So the green shoots of growth are everywhere.

Ajay Vidyasagar, regional director, YouTube Partnerships, APAC, is al-

How does YouTube view all this? India is one of

right with this thinking. He reckons that, “YouTube is like a multi-brand

its largest markets at 70 million users and an esti-

supermarket for content. It is not uniquely dependent on any one player.

mated US$95 million-US$126 million in ad revenues

A bulk of the owned-and-operated platforms in India continue to have

(based on Google’s India revenues, YouTube’s

solid partnerships with us today. People will want to build their own plat-

traffic, fill rate and other variables since Google

forms, but that does not limit their ability to be on other platforms. Most of

refuses to comment on the number).

us realise that we need a fertile ecosystem to realise value,” he says.

By next year, this is likely to exceed US$156 million.

MPA executive director, Vivek Couto, agrees. He reckons that the

By Indian standards that makes it a medium-scale

battle is not between Eros (or any other firm) and YouTube. “The video

broadcaster pitching it, perceptually, against the

industry in Asia Pacific over the next three to five years will be about two

very firms that it sources content from.

parallel ecosystems that could collide or coexist,” he says.

Almost all the firms launching on their own now

This means that the US$7.5 billion Indian TV industry that reaches 800

– Star, Zee, Viacom18, Eros – have been on the

million people and the US$187 million online video one reaching 100 mil-

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OTTindia

NTENT ASIA

The who’s who of online video in India Group company

Group revenues ($bn, FY 2015)

Online video brand

Launched in India

Model

Audience mn

Google Zee Group Star Group Eros International Multi-Screen Media Singtel (with Warner & Sony) Network18 Netflix

66 1.5 1.25 0.3 0.63 12.8 0.5 5.5

YouTube Ditto TV Hotstar ErosNow Sony Liv Hooq Viacom18 Netflix

2008 2012 Feb-15 2014 2013 2015 Dec-15 2016

Ad-based Pay Ad-based Ad + pay Ad-based Pay NA Pay

70 1.8 50 26.5 5 NA NA NA

Online video revenues ($mn) FY 2015 95-126 5.6 NA NA NA NA NA NA

Notes - 1) Google’s revenues are estimates based on its overall India numbers. Netflix revenues are for FY 2014 since its financial year ends in December 2) The conversion of foreign firms revenues is done at a rate of Rs63.34 to US$1 (RBI, 31 December 2014). For Star and MSM, the exchange is at Rs60 to US$1. 3)Audiences refers to users except in the case of Ditto TV where it refers to the subscribers. Source - Company websites, Media Partners Asia and industry sources

lion Indians will be battling for audience time and advertiser money. The fight will be largely about ad money for a longish while, analysts reckon. “In the U.S., people spend a lot of money on cable at US$90 and Netflix disrupted that by coming in at US$8,” Couto says. In India, at US$3-US$4, average cable prices are very low anyway. This puts a big question mark on subscription rev-

The Indian market for online video - big picture Total internet connections (mn) Total broadband connections (512 kbps and more) (mn subscribers across devices and operators) Total online video users (mn) Total online video revenues (2014, $million)

302.35 99.2 100 187

(advertising plus subscriptions) All numbers on users are as of March 2015 Source: TRAI and Media Partners Asia (MPA)

enues. Ditto TV, with a respectable 1.8 million subscribers paying an average of US$0.80 a month, is a rare example of a pay service in India. That leaves advertising. The scramble for share of audience and advertising revenue here is in-

phone,” says Uday Sodhi, executive vice president and head of the digital business at Multi Screen Media (MSM).

tense. While hotstar’s entry has pushed up on-

The real challenge is not which revenue stream. It is devising a “mech-

line video ad rates, they still hover only between

anism where small, recurring payments can be captured directly,” says

US$6.30-US$9.50 for a thousand viewers against

Sodhi.

two, maybe three times that much for TV.

Online video is about impulsive, high frequency, low value per unit

In the ad market, the big entertainment net-

transactions that iTunes or telecom operators are best placed to cap-

works – Star, Zee, Sony, Eros – have a natural ad-

ture. Ditto TV managed because of the Zee Group’s retail presence. But

vantage. Either because they have 30 channels

otherwise this market remains inaccessible to a large number of enter-

and original content creating machinery trained

tainment players.

to deliver hits, or through sheer volume and control over film titles, such as Eros.

That brings into play cable and direct-to-home operators, which like telecom firms, have a billing relationship with consumers. “It is more con-

This is, however, not just about size. These com-

venient for the consumer to go to a cable/DTH player instead of going

panies are simply better equipped to serve popu-

to 17 different sites or apps,” says Harit Nagpal, Tata Sky chief executive.

lar content. And in spite of all the blah blah about

Couto points to the U.K.’s BskyB, which has expanded by offering OTT

user generated content, the fact is more than

services.

three-fourths of the traffic on most OTT platforms

It could be YouTube, it could be a big MCN or it could be Ditto or

is driven by professionally generated content, the

ErosNow or hotstar. Or it could be some completely new thing that some

type that populates TV and cinema screens.

company somewhere in the world is probably devising right now. The

“Everything that sells on linear TV, Hindi general entertainment channels is working on Ditto,” says

issue five, november 2015

Ghosh. “CID, Crime Patrol – all of Sony’s top shows do well on the mobile

real winners in the Indian OTT sweepstakes are far from being identified. This party has just begun.

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To learn more about Cisco SP Video, visit cisco.com/go/videoscape.

production4K

NTENT ASIA

Sharp shooters An ultra high definition future is less a case of if than when. Canadian production house Blue Ant plans to be ready sooner rather than later.

Land of Gremlins

Canada’s Blue Ant Media has made 4K its calling

much more quickly than the transition from SD to HD. “With each new

card. The company has committed to 300 hours

phase of technology everybody gets that much wiser on how to do it

of native 4K content a year, betting on a future

faster and do it better,” she says.

that is all about ultra high definition.

are in place yet for full-blown, mass-market 4K broadcasting. Like others

broadcaster NHK and satellite companies to indie

ahead of the curve, Blue Ant airs the majority of its content down-con-

production houses of all sizes, Blue Ant believes a

verted to HD on Canadian linear service Love Nature.

sharper, brighter future is inevitable. As the industry

Internationally, the channel brand is one of three that Blue Ant Media

worldwide upgrades at every point in the produc-

is rolling out in Asia in partnership with Singapore-based indie distribu-

tion and distribution process, the question is less

tor, Multi Channels Asia (MCA). Love Nature’s two companion channels

about if the broadcast environment will catch up

are Love Nature: Baby Wildlife and Love Nature: Vistas. Blue Ant Media’s

than about when.

content is also syndicated globally.

The advantage is simple: being ahead of the

Case says the biggest question channel programmers have is whether

game, says Vanessa Case, Blue Ant’s executive

the content is true 4K rather than up-converted. She adds that this is not

vice president of content affairs.

dissimilar to the issues raised in the migration from SD to HD. “We’re really

“4K will very quickly become the norm, and we will have the product there available for people to see,” she says. Case believes the migration to 4K will happen

issue five, november 2015

If the rest of the eco-system is moving towards 4K, not all the pieces

Like almost everyone, from Japanese public

focusing on the original 4K signal, to do it in its truest form,” she says. The biggest challenge in the 4K environment is storage. “UHD, 4K, takes pretty much four times the amount of storage that an HD hour does... imagine that processing time in an edit suite,” Case says.

Zee Bollyworld A grand celebration of indian emotions GANGAA Social drama 120x30’ (on Air) Agent Raghav Crime branch Crime fiction 16x60; Ek Tha Raja Ek Thi Rani Period Drama 50x30’ discover a new style of living Z Living Good Food America with Danny Boome Cooking & Food 39x30’ (season 1 & 2) The incurables Reality & Factual 60x30’ Rock your yoga Fitness 65x60’ For more information, contact: zeecontent@zee.esselgroup.com

production4K

NTENT ASIA

With each new phase of technology everybody gets that much wiser on how to do [4K] faster and do it better.” Vanessa Case, Blue Ant Media

High frame rate is another complexity.

Top and Above: Undiscovered Vistas

tic product,” Case says.

“It’s all basically con-

Blue Ant’s 4K titles are split into two categories. About half the 300

nected to how you’re taking

hours a year are factual, including natural history, wildlife, blue chip, clip-

the image from the field at its high-

based. One of the documentary titles is short-run series, Land of Gremlins

est quality and how you’re ultimately processing

(3x60 mins), produced by Off the Fence. The show explores the wildlife

it and storing it for post,” she explains. “Dealing

of Madagascar. Land of Gremlins premieres this fall on the Love Nature

with specifically the high frame rate is something

linear channel in Canada.

coming up more and more that needs a bit more solution-oriented workflow,” Case adds.

The other 150 hours will be what Blue Ant calls “slow TV”. Case explains these shows are “really capitalising on beautiful imagery, set to music, no

The benefits of producing in volume are cost

voice-overs or people, and really just allowing it to be a constant scene

efficiencies. Bulk commissions mean production

that goes from one to the next to the next.” Love Nature’s spin-off channels,

budgets increase an average of 10%-20% when

Baby Wildlife and Vistas, will feature this slow, lean-back TV content, which

producing in 4K. “If you’re just going to come in

Case sees as a chance to, “showcase the best of what 4K can offer”.

with a one-off project, I imagine the percentages are going to be higher,” Case says.

issue five, november 2015

right cameras, if you’ve got the right lenses, you’re going to deliver fantas-

The series Undiscovered Vistas, for instance, is filmed using helicopters and drones as well as shots way down on the ground in order to get

Overall, she says any production hurdles come

deep into nature, Case explains. The epic experience is not only on the

from the technical specifications of and the work-

viewer end. “Flying a 4K camera over the lip of Niagara Falls, just two me-

flow in post – not anything in the field.

tres above water level, was the most impressive and intimate experience

“People are going out in the field and shooting

I have ever had as a producer,” says Craig Colby, director of production

with better cameras, and your production teams

at Blue Ant. “It was like standing on the edge of the falls and peering

out in the field love that... obviously they have to

into the crush,” he says, adding: “I have never seen shots as close and

know what they’re doing, but if you’ve got the

clear”. – Emily Seibel

We have Asia covered.

ntent

Keeping you up to date on Asia’s content market. www.contentasia.tv

TBLsneakpeek channels

NTENT ASIA

Sneak peek into 2016 Asia’s content industry moves into 2016 with a clear view of life be-

success and failure,” he says, adding that over time it will become

yond linear and of the irreversible march to multiscreen. Are the plat-

clear where the successes are going to be and the current clutter will

forms, channels and programmers we’ve come to know and love

give way to a more streamlined marketplace.

over decades up to the task? Some are. Others not so much. All be-

Meanwhile, the world’s content creators and distributors are wel-

lieve though that, come hell or high water, they will ﬁgure out this

coming the slew of new digital platforms, many of which have started

high-disruption market with new players, fresh ways and alternative

paying real money for rights. Legitimate SVOD offerings are emerging,

thinking around every corner.

some standalone, others as part of the effort of established pay-TV

A sticking point right now on the path to video nirvana is the con-

platforms to future proof their offerings. Overall, most platforms in Asia

sumer experience in the post-linear universe. “Confusion will reign su-

are strengthening their services – or trying to – in one way or another.

preme until the consumer experience becomes as easy as old-style

Content creators report increasing activity across all genres. Local

linear TV,” says Marcel Fenez, chairman of Asian pay-TV association

production is up and the quest for relevance – both geographic and

Casbaa and senior advisor to PricewaterhouseCoopers’ global enter-

demographic – is ongoing.

tainment and media sector. Fenez predicts a period of increased confusion followed by clarity

Here’s what else channel bosses told us* about the most important inﬂuences on Asia’s TV industry in the next 12 months...

and success stories. “The push towards innovation inevitably involves

It’s more a case of ‘who’ than ‘what’. Undoubtedly, this is the year of the consumer. They will have even more choice – and power – than ever before.” Ricky Ow, President, Turner International Asia Paciﬁc

OTT services, whether stand-alone platforms or additional services by existing pay-TV platforms, will have a tremendous inﬂuence in the direction of our industry in the coming year.”

Being able to provide stellar content for the audience to view wherever and whenever they want and made available direct from the U.S./U.K.” Jonas Engwall, CEO, RTL CBS Asia Entertainment Network

“High quality local productions and popular North Asian content will be the key drivers for the industry this year.” Hui Keng Ang, Senior Vice President and General Manager, Sony Pictures Television Networks, Asia

Todd Miller, CEO, Celestial Tiger Entertainment

“For DW, 2016 will be a year of not only expansion, but solidiﬁcation as well. Content and brand will be more dynamic than ever before – the ability to constantly engage your audience in a meaningful and consistent way, beyond TV, remains the single most important inﬂuence on Asia’s television industry in the next 12 months.” Petra Schneider, Director Distribution, Deutsche Welle

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, Executive Vice President and Managing Director, Asia, Viacom International Media Networks

issue ﬁve, november 2015

Now more than ever before, content owners, channel providers and pay-TV operators need to come together and work aggressively to deliver solid must-have content, in simple, affordable and wider packages. Embracing better catch-up, on-demand, OTT and TV Everywhere experiences on multiple devices will be key for all of us in the ecosystem. Branded destinations with a clear proposition that satisfy consumer needs will also remain critical for our future.” Avi Himatsinghani, CEO, Rewind Networks

A combination of exclusive local content and the best international content will be the most powerful tool.” Arnaud Verlhac Director of Worldwide Distribution, Euronews

* Excerpts from ContentAsia’s directory, The Big List 2016, published in December 2015

NTENT ASIA

Channels

channels

CNBC is the recognised world leader in business news providing real-time financial market coverage to 386 million households worldwide. In Asia Pacific, CNBC provides seven hours of live Asia-produced programming, complemented with coverage of live market action from Europe and the U.S. CNBC Asia Pacific’s channels are available in more than 21 markets across the region. CNBC also has strategic alliances and partnerships in India, Japan, China and South Korea.

CNBC Asia Pacific – Singapore 10 Anson Road, #06-01 International Plaza, Singapore 079903 T: +65 6323 0488 W: www.cnbc.com E: contactus@cnbcasia.com CNBC Asia Pacific – Hong Kong Unit 5409, 54/F Central Plaza 18 Harbour Road, Wanchai, Hong Kong T: +852 2509 5163 CNBC Asia Pacific – Japan 27/F, Atago Green Hills, MORI Tower, 2-5-1 Atago, Minato-Ku, Tokyo, Japan T: +81 3 5777 2638 CNBC Asia Pacific – Australia 1/7 Bridge St, Sydney, NSW Australia 2000 T: +61 2 8023 6612 CNBC Asia Pacific – China, Beijing 8th Floor, Building 1-4 1-4-82 Jianguomenwai Diplomatic Compound Beijing, China 10060 T:+86 10 8532 3893 CNBC Asia Pacific – China, Shanghai Suite 2210A, Westgate Mall 1039 Nanjing Road (W) Shanghai China 200041 T: +86 21 6267 1721

Who’s who...

KC Sullivan President and Managing Director, CNBC International John Casey Senior Vice President, International News and Programming Junji Sumitani Vice President, International Business Development Jacqueline Lam Vice President, International Distribution Peter Juno Senior Vice President, International Operations

Afﬁliate Sales Contact

Salawati Mohamed (Ms) Head of Distribution, Asia Paciﬁc Juliana Qiu Head of Afﬁliate Sales, TV Group China, NBCUniversal

Advertising Sales Contacts

Kerry Tarrant Vice President, Sales Asia Paciﬁc Pauline Seow Regional Account Director (Hong Kong, Taiwan, China, Macau and the Philippines) Eunice Goh Regional Account Director (Singapore, Malaysia, Indonesia, Borneo, Cambodia, Vietnam) Glenda Long Regional Account Director (Australia and New Zealand, Japan, Korea, Singapore, Thailand, India, Sri Lanka) E: sales@cnbcasia.com

Target audience C-suite, elite, influential opinion leaders, finance professionals and investors who play significant roles in shaping the global, political and economic landscape.

Linear television channels in Asia CNBC’s channels include CNBC Asia, CNBC-TV18 (India), NikkeiCNBC (Japan) and SBS-CNBC (South Korea). CNBC also collaborates with China Central Television (CCTV). CNBC works with partners around the region for branded blocks. In the Philippines, CNBC works with ABS CBN, which carries Street Signs and Managing Asia blocks on its channel. In China, CCTV receives daily CNBC Mandarin language market updates into CCTV’s Global Connection Show.

Local production CNBC provides seven hours of locally-produced programming in Asia with business news programmes – The Rundown, Squawk Box Asia, Street Signs Asia, and Capital Connection. In addition to business news programmes, CNBC provides audiences with weekend programming – First Class, Managing Asia, Inside China and The Edge, featuring hours of carefully selected premium content across various genres.

Advertising/sponsorship CNBC offers advertising opportunities for sponsors who want to connect with the hard-to-reach C-suite and afﬂuent audience. Providing customised solutions from integrated editorial sponsorship opportunities and event partnerships to paid programmes and vignettes, CNBC provides advertisers the ability to effectively engage with business decision makers across various industries.

issue five, november 2015

NTENT ASIA

Deutsche Welle (DW) is Germany’s international broadcaster and a trusted source for reliable news and information with content in 30 languages. The ﬂagship channel DW provides analysis and insights to viewers around the globe, reporting on important issues in English 24/7. With continuous news reports, special features and talk shows covering everything from business, science and politics to culture and sports, DW brings people closer to what matters most – made in Germany, made for minds.

Deutsche Welle (DW) Kurt–Schumacher–Str. 3, 53113 Bonn, Germany T: +49 228 429 0 E: sales@dw.com W: www.dw.com HQ in Asia: PIK ﬁlm 30 Lorong Bukit Pantai Lucky Garden, Bangsar, 59100 Kuala Lumpur, Malaysia T: +60 3 2093 0866 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 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

Target audience DW aims to reach opinion leaders and information seekers. In most of Asia, this target audience could be referred to as educated, PMEBs, primarily in urban areas, age between 20-49 years old.

Linear television channels in Asia Deutsche Welle offers two linear channels in Asia: DW in English and DW (Deutsch) in German. Both channels for Asia come with localized EPG and in some countries, our platform partners offer local subtitles and branded co-productions.

Channel distribution in Asia We have 24-hour linear channel carriage deals in almost every Asian country. Deutsche Welle is present on more than 1,100 platforms and channels in Asia either as linear channel on cable, DTH, IPTV, mobile, DVB-T or on channels rebroadcasting selected key program brands on terrestrial free TV, Internet and mobile. These are available to more than 100 million households in the region.

On-demand/online DW offers SVOD services through some of our partners’ IPTV packages. We have deals with the most popular video platforms in China such as Tudou, Youku and Huanqiu. DW also offers a library of video and audio content in its online Media Center. SmartTV users can enjoy VoD features as well, since DW has agreements with many TV manufacturers in order to embed the TV app in newer models.

Dorothee Ulrichs Dorothee Ulrichs

Content strategy Mee Fung Lee

Advertising Sales Contact

Mee Fung Lee Asia Representative T: +603 2093 0866 E: meefung.lee@pikﬁlm.com.my

After its relaunch in June 2015, DW has increased its percentage of news and information, which means a higher ratio of ﬁrst runs and less re-runs. DW, being a worldwide channel, has to acquire material with worldwide geographical rights. Being a worldwide channel also means that DW has to hit each time-region’s prime time with relevant content. DW adapts its content by the hour, according to each region’s prime time.

Local production The single most important inﬂuence on Asia’s TV industry in the next 12 months will be...

For DW, 2016 will be a year of not only expansion, but solidiﬁcation as well. Content and Brand will be more dynamic than ever before – the ability to constantly engage your audience in a meaningful and consistent way, beyond TV, remains the single most important inﬂuence on Asia’s television industry in the next 12 months.”

DW produces a Chinese edition of its lifestyle magazine Euromaxx with CCTV’s World Geography Channel. A Vietnamese version of that magazine is available in Vietnam as well. In addition, DW has created localized productions of its science and technology magazines. There’s Manthan for Hindi audiences, Onneshon for Bangladesh and Inovator for the Bahasa Indonesian market.

Advertising/sponsorship Along with classic advertising with insertion into the 24/7 English language TV feed, DW also offers the possibility to sponsor programs and create promotional stories with a distinctive character and a high level of credibility.

Petra Schneider Director Distribution issue five, november 2015

NTENT ASIA

Channels

channels

NTENT ASIA

channels

NTENT ASIA

Sony Pictures Television (SPT) Networks, Asia is a leading operator of ad-supported 24/7 channels including English general entertainment powerhouses AXN and Sony Channel; and Asian content giants Animax, GEM and ONE. SPT Networks’ portfolio collectively features the biggest and best titles from Korea, Japan and the U.S that are ﬁrst run, exclusive and aired close to the original telecast. In Asia, SPT Networks’ portfolio is available across 19 territories and in over 42 million homes.

Sony Pictures Television Networks, Asia 10 Changi Business Park Central 2 #03–01 Hansapoint@CBP Singapore 486030 T: +65 6622 8722 W: www.AXN-Asia.com www.SonyChannelAsia.com www.Animax-Asia.com www.ONETVAsia.com www.GEMTVAsia.com

Hui Keng Ang Senior Vice President and General Manager Ling Sze Gan Vice President, Afﬁliate and Media Sales Virginia Lim Vice President, Content and Marketing

Who’s who...

AXN AXN features exclusive top-rated drama series, blockbuster features, reality programs and groundbreaking original productions. The channel appeals to a discerning audience seeking content that is smart, intriguing and unexpected, and all delivered close to U.S telecasts. From The Blacklist and Quantico, to The Voice and The Amazing Race, AXN is deﬁned not by a genre, but by an attitude that truly redeﬁnes action. In Asia, AXN is enjoyed in 38 million households across 17 territories and is available in both SD and HD.

Afﬁliate Sales Contact E: Lingsze_Gan@spe.sony.com T: +65 6622 8778

Ling Sze Gan

Virginia Lim

Sony Channel Sony Channel is the premier destination for female-skewing Hollywood entertainment, which airs close to the U.S telecasts. Designed for the socially connected viewer, Sony Channel features the most talked-about drama, comedy, lifestyle and reality programs on TV, together with popular feel-good movies. Hit series include How to Get Away with Murder, Madam Secretary and Jane the Virgin. In Asia, Sony Channel is available in 10 territories, in both SD and HD.

Animax Animax is Asia’s leading destination for Japanese anime and offers a wide variety of programs from popular genres such as action, romance, horror, supernatural, sci-ﬁ, comedy and slice-of-life. Home to some of the biggest anime titles which are simulcast with Japan, Animax entertains hardcore fans in 32 million homes across 15 territories in Asia. Hit series include K: Return of Kings, Fafner EXODUS, Assassination Classroom and Fairy Tail. In Malaysia, Animax is also available on Astro’s SVOD service. Beyond the screen, Animax also actively engages its audiences at local events, including its signature Animax Carnival that has rolled out in Malaysia, the Philippines and Taiwan. K: Return of Kings 116

NTENT ASIA

issue ﬁve, november 2015

channels

NTENT ASIA

Turner Broadcasting System Asia Pacific, Inc. creates and distributes award-winning brands throughout Asia Pacific. In the region, Turner runs 55 channels in 13 languages in 38 countries, including CNN International, CNNj, CNN, HLN, Cartoon Network, Adult Swim, Boomerang, POGO, Toonami, World Heritage Channel, Warner TV, Oh!K, TCM Turner Classic Movies, truTV, WB, MondoTV, TABI Channel and HBO in South Asia. Turner also manages distribution for HBO Defined and HBO Hits in India. Turner is a Time Warner company.

Regional Headquarters: Turner International Asia Paciﬁc Limited 34/F Oxford House, Taikoo Place, 979 King’s Road, Quarry Bay, Hong Kong T: +852 3128 3333 W: www.turner.com Turner Asia Paciﬁc has a presence in: Bangkok, Bangalore, Beijing, Hong Kong, Karachi, Kuala Lumpur, Manila, Mumbai, New Delhi, Seoul, Singapore, Shanghai, Sydney, Taipei and Tokyo.

Who’s who...

Ricky Ow President E: Ricky.Ow@turner.com Phil Nelson SVP & MD, North & Southeast Asia Paciﬁc E: Phil.Nelson@turner.com Siddharth Jain SVP & MD, South Asia E: Siddharth.Jain@turner.com Shitiz Jain SVP, Finance E: Shitiz.Jain@turner.com Clément Schwebig SVP, Business Development E: Clement.Schwebig@turner.com Ellana Lee SVP & Managing Editor, CNN International E: Ellana.Lee@cnn.com Mark Eyers VP – Content, Kids E: Mark.Eyers@turner.com Marianne Lee VP – Content, General Entertainment E: Marianne.Lee@turner.com Gregory Ho VP – Corporate Communication & Marketing E: Gregory.Ho@turner.com

The single most important inﬂuence on Asia’s TV industry in the next 12 months will be...

CNN International CNN’s portfolio of news and information services is available in six different languages across all major TV, internet and mobile platforms reaching more than 395 million households around the globe, including over 56 million across the Asia Pacific region. CNN International is the number one international TV news channel according to all major media surveys across Europe, the Middle East and Africa, the Asia Pacific region and Latin America and has an increased presence in the U.S. with its recent launch on CNNgo. Over the years it has won multiple prestigious awards around the world for its journalism, including most recently the Asian Television Award Cable & Satellite Network and Channel of the Year, and is a two-time winner of Royal Television Society News Channel of the Year. CNN Digital is a top network for online news, mobile news and social media. CNN has 41 editorial offices and more than 1,100 affiliates worldwide through CNN Newsource. CNN International is part of Turner Broadcasting System, Inc., CNN’s Kristie Lu Stout reporting a Time Warner company. from Hong Kong www.cnn.com Cartoon Network Cartoon Network, the number one kids’ channel in Asia Pacific, offers the best in original animated content including the multi-award-winning global hits Regular Show, The Amazing World of Gumball, Adventure Time and new comedy We Bare Bears. In 2016, the network will welcome back new series of popular franchises Ben 10 and The Powerpuff Girls. Cartoon Network is available in 31 countries throughout Asia Pacific and is currently seen in more than 85 million pay-TV homes. Online, Cartoon Network reaches millions more through its websites, games and apps, including Cartoon Network Watch and Play and Cartoon Network Cartoon Network’s latest original series, Anything. www.cartoonnetworkasia.com We Bare Bears Boomerang Boomerang provides light-hearted and fun moments, showcasing a mixture of internationally recognised comedy and fantasy series. Core programs includes Tom and Jerry, Mr. Bean, The Garfield Show, My Little Pony, Shaun the Sheep and The Looney Tunes Show. New series for the channel include Grizzy and the Lemmings, Wabbit and Be Cool Scooby Doo!. A companion channel to Cartoon Network, Boomerang is a dynamic and quirky place where girls and boys can be inspired, laugh and play with the whole family. Selected content and streaming capability is also available via the new Be Cool Scooby Doo! on Boomerang Boomerang Watch and Play app. www.boomerang.asia

NTENT ASIA

Channels

channels Toonami Toonami is the ultimate home of the superhero. Packed with high-octane, top-rating animated series, Toonami is a dedicated destination for young action and adventure enthusiasts. Featured action franchises include Justice League Unlimited, YO-KAI WATCH, Dragon Ball Z, Teen Titans, Inazuma Eleven, Transformers: Robots in Disguise and Batman. The channel is currently available in several countries in Asia Pacific including India, Indonesia, Philippines, Hong Kong, Singapore and Thailand. POGO Catering to a generation of kids who bounce higher, play smarter, think louder and dream bigger, POGO is Turner’s only-for-India kids’ entertainment network that launched in 2004. POGO is amongst the leading kids’ channels in India, and features both animated and live-action content that spans multiple genres from comedy and art to games and curiosity. www.pogo.tv Warner TV Warner TV offers viewers in Asia the chance to get into it, with an unprecedented mix of hit TV series and blockbuster movies. Its lineup boasts the world’s biggest franchises, first-run exclusives for the region and fan-favorites across a wide range of genres from action, comedy and drama. Warner TV is also home to feature films from the legendary studios of Warner Bros. Entertainment. Shows such as Gotham, iZombie, The Flash, Blindspot, The Last Ship as well as ARROW and The Big Bang Theory are part of a programming formula that is unique to the channel, and designed to appeal to a young and action-loving audience. www.WarnerTVAsia.com

Japanese sensation Yo-Kai Watch on Toonami

Sesame Street animation: POGO’s original series Chamki ki Duniya

Blindspot

Oh!K Oh!K offers viewers the ultimate Korean entertainment, including premium drama series as well as variety and music programming. A TV channel powered by MBC, Korea’s leading broadcaster and content provider, Oh!K is for everyone who loves drama – packaging iconic and award-winning hit series from an unrivalled catalogue of content. The channel is available in Southeast Asia and provides local audiences access to first-runs and exclusives. High-profile drama series such as Saimdang and hit variety shows such as Infinite Challenge are delivered almost immediately after their transmission debut in Korea. www.ohk-tv.com

High proﬁle drama series Saimdang premieres in 2016

World Heritage Channel World Heritage Channel is a premium and 100% pure documentary channel that showcases mankind’s greatest treasures. Programming spans nature, travel, history and culture that its take discerning viewers on inspiring and immersive journeys to the most treasured places on earth – UNESCO’s World Heritage Sites. The channel appeals to audiences who seek a meaningful and undiluted documentary television destination. Through World Heritage Channel, viewers can experience the beauty of our world and our heritage, as well as discovering the sights, sounds and tastes of breath-taking landscapes, wildlife, colorful festivals, isolated tribes and unique cuisines. World Heritage Channel

NTENT ASIA

issue ﬁve, november 2015

channels

NTENT ASIA

South Beach Tow on truTV

James Dean in Rebel without a Cause on TCM

Diamond Yukai’s The Mondo Times

TABI Channel presents: Masahiro The Travel Hero

Harry Potter and the Goblet of Fire on WB

truTV truTV takes viewers on a fun ride that surprises and entertains. The network delivers a dynamic mix of action, comedy and competition, featuring engaging characters and compelling new worlds that pull you in and leave you wanting more. Currently seen in millions of households around Asia Pacific, truTV features such popular original series as Impractical Jokers, The Carbonaro Effect, Hardcore Pawn and South Beach Tow. New for 2016 are several scripted comedies from US network TBS, including Angie Tribeca, The Detour and Those Who Can’t. www.trutv.com TCM Turner Classic Movies TCM Turner Classic Movies is the definitive movie channel offering the best of Hollywood to have ever graced the silver screen. Drawing from an extensive library of classic film titles ranging from the 1920s to the 1990s from Turner-owned MGM, Warner Bros. and RKO libraries, TCM presents them in a contemporary style that reinterprets their place in history. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars. www.tcm.com MONDO TV MONDO TV is “otoko myori” – which loosely translates as “interesting stuff for men”. More than a channel, MONDO TV is a lifestyle choice opening up and exploring elements of Japan sub-culture. MONDO TV is Japan’s ultimate 24-hour entertainment destination and features an adventurous, edgy and often humorous programming line-up in full HD spanning sports, cars, games, leisure and everything in between. www.mondotv.jp TABI Channel TABI Channel is Japan’s favorite 24-hour travel and lifestyle channel. It specializes in celebrating amazing journeys, capturing the essence, beauty and wonder of the travel experience. From the unusual to the luxurious, to the quirky and offbeat, TABI Channel takes viewers on unforgettable journeys that inspire and mesmerize. TABI Channel is an oasis from a hectic day, a passport to the golden age of travel, a personal tour guide for more than three million households who want to explore the untapped beauty of lesser-known destinations – all from the comfort of their home. www.tabichan.jp WB WB is South Asia’s gateway to Hollywood! This premier destination is a haven for all Hollywood aficionados, offering the biggest movies, hottest action, best dramas, funniest series and the brightest stars from the world’s most prolific studio. Showcasing programming licensed from Warner Bros. International Television Distribution (WBITD), WB is aimed at the Indian and Pakistani audience with a colossal appetite for Hollywood’s best, around the clock. www.facebook.com/WBIndia HBO South Asia HBO is able to bring the best of Hollywood to Asia first. In addition to the proprietary and award-winning original programs that are produced exclusively for HBO viewers, the channel works with a large number of major independent production companies to secure exclusive rights to a host of quality movies. In South Asia, it offers HBO, HBO DEFINED and HBO HITS in SD and HD formats. www.hbosouthasia.com

HBO goes Interstellar issue ﬁve, november 2015

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channels 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

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. issue ﬁve, november 2015

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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 we have found a strong coproduction partner in Vietnam and we’re discussing possible co-productions with Chinese partners. Bringing local knowledge and experience into our 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 catalog.

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 programs 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 five, november 2015

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programmedistribution channels

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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 US 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 We are 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

The Art of More 144

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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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

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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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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 you access to the entire Zee library, with programs ranging from family sitcoms, social dramas, romantic stories, comedies and thrillers to reality & talk shows as well as formats, youth & kids based shows, food, travel & lifestyle programs and much more. All our 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 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 & 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). We also have a slate of modern drama and comedy series which we air on our new channel, & TV and are distributing internationally.

Production We recently sold our original dance competition format for Dance India Dance to Thailand’s JKN Global Media. And we are currently producing The Voice of India, which is earning major ratings.

Rights As a major entertainment conglomerate, we are fortunate to hold all content rights, for all platforms since we produce and distribute all our own programs.

HD Zee TV has been at the forefront of technology and so all our 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 ized 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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numbers

Consumer trust is fragile, Nielsen says

Southeast Asian consumers’ trust in forms of advertising vs. action

Word-of-mouth recommendations remain the most credible source of advertising among Southeast Asian consumers, says market research company Nielsen in its recent Global Trust in Advertising Survey. Polling 30,000 online respondents in 60 countries, the survey gauged consumer sentiment in 19 forms of paid, earned and owned advertising mediums. Across Southeast Asia, 88% of consumers placed the highest level of trust in word-ofmouth recommendations from people they know. Filipino consumers lead the way at 91% (up one point from 2013). Word-of-mouth endorsements gathered the biggest increase in approval from Vietnamese consumers, up eight points to 89%. Similarly, 89% of Indonesians (up four points) gave the advertising source the nod, followed by Malaysians (86%, up one point), Singaporeans at 83% (down two points) and Thais at 82% (three points up).

Source: Nielsen Global in Advertising report, 2015 Source: Nielsen Global TrustTrust in Advertising report, 2015 Chart 2. Most resonant advertising messages in Southeast Asia

Chart 2. Most resonant advertising messages in Southeast Asia

Most resonant advertising messages in Southeast Asia

Trust is fragile though, points out Craig Johnson, managing director, marketing effectiveness and reach portfolio, Nielsen Southeast Asia, North Asia and Paciﬁc. “Practice transparency and accountability, because if trust is broken, your advocates also have the power to damage credibility and reputation,” he advises brand marketers. Trust in traditional advertising lives on. Ads on TV and in magazines/newspapers continue to be among Southeast Asia’s most trusted forms of paid advertising. Nearly eight in 10 consumers in Indonesia (79%), Thailand (78%), the Philippines (75%), Vietnam (69%), Singapore (64%), and Malaysia (63%) indicated their trust in TV

Source: Nielsen Global Trust in Advertising report, 2015

ads — all above or consistent with the global

About the Nielsen Global Survey

average of 63%. “The proliferation of online formats has not eroded trust in traditional (ofﬂine) paid channels. TV still delivers the highest unduplicated reach (i.e., the ad reaches each audience member only once) of 85%-90%,” Johnson says.

issue ﬁve, november 2015

Source: Nielsen Global Trust in Advertising report, 2015

About the Nielsen Global Survey

Source: Nielsen Global Trust in Advertising report, 2015

Asia’s must-attend market for fresh content

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Asia TV Forum & Market – It’s the only entertainment market in Asia that brings the heartbeat of international content sellers and Asian buyers together, to buy, sell, ﬁnance, distribute and co-produce across all platforms.

1 Dec 2015

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It is where the brightest minds and best ideas meet, where the future of Asian television is shaped. Besides buying and selling of entertainment content, ATF’s conferences will feature a stellar cast of the industry’s thought leaders who will share their perspective and expertise on the intricacies of the Asian television industry. For more information, visit www.asiatvforum.com.

2 - 4 Dec 2015

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