ContentAsia October 2015 by ContentAsia

issue four 2015

c C

NTENT ntentASIA

Asia Formats: Who’s who & who’s new

Big Bang Theories: Factual explosion in Asia

Christian Cooke Kate Bosworth With Cary Elwes And Dennis Quaid

The art of more A new one-hour drama series

Sony Pictures Television

PLUS: New energy in Asia’s kids space, the new Fox Sports Asia at 1 & Beach House turns 10

Beowulf Return to the shildlands

ITV studios Global entertainment

New 13 part drama Coming Soon

contents

NTENT ASIA

what’s inside pic courtesy of Fox Sports

Serena Williams

Turning One

Turning Ten Singapore-based production house, Beach House Pictures, has just turned 10. Founder and MD, Jocelyn Little, looks at a decade’s worth of travel, adventure, snakes, kids and the reality of local production in Asia.

The new Fox Sports Asia turned one in August, celebrating with a Bundesliga kick, leaving the La Liga loss in the dust, and racing forward with robust and rounded sports offerings designed to add partner value.

There’s no point going into the linear space with a wallpaper channel.”

Original art

Sony Pictures Television’s new original drama, The Art of More, is part of television’s “golden age”, driven in part by streaming platforms looking for an original edge. Showrunner Gardner Stern talks about creating content for online release and the difference (or not) it makes to producers. Rohit D’Silva, Fox International Channels BBC Earth

Ryan Shiotani, BBC Worldwide

page 18

Ryan Shiotani BBC Worldwide Channels Asia

Save the Earth

22 Formats

At least 260 local versions of

BBC Worldwide debuts BBC Earth

local regional/inter national

across Asia at the beginning of

formats aired in Asia – or were

October, laying BBC Knowledge

commissioned to air – in the last

to rest. Programming head, Ryan

12 months, ContentAsia’s latest

Shiotani, talks about why and

Formats Outlook shows.

what’s coming.

48 Kids: Disney Disney Southeast Asia’s general manager for branded media and content, Natasha Malhotra, talks about an evolving media world

50 Kids: Turner 15-second shorts are giving Turner a whole new original

of opportunities and challenges,

production angle. Asia content

including the importance of lo-

boss, Mark Eyers, speaks about

calisation and quality transmedia storytelling.

the dawning digital-first mindset developing alongside an ongoing commitment to long-form.

58 In Numbers

Kids: Online

TV sets reign in Jakarta and

Kids platform, Hopster, is coming to Asia with an SVOD play deeply rooted in big-brand traditional video with a strong interactive angle. Founder/chief executive, Nick Walters, talks about keeping things safe, playing/learning, a new generation of content creators, and being a tech company first and foremost.

Manila but in Bangkok, viewers say smartphones have become their main screen of choice, new data from Media Partners Asia (MPA) shows. Here’s what else MPA’s consumer insights research shows...

issue four, october 2015

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editor’snote

NTENT ASIA

The millions dollar club Asia has just had its biggest formats year ever. And that’s not only because of the slew of high-profile regional formats that came together all at once. According to our latest Formats Outlook, at least 260 local

Our bet is that 2016 will see the same big-

versions of regional/international formats aired in Asia – or were com-

noise formats back for new seasons (with some

missioned to air – in the 12 months to end August 2015.

reservations about Asia’s Got Talent 2, which

Fox International Channel’s (FIC) StarWorld aired the third season of

may be pushed to 2017), supported by more

Asia’s Next Top Model in early 2015, and has just commissioned a fourth

shows – including formats created in Asia – than

season to air in March 2016, this time from FremantleMedia Asia.

ever before in the region’s history.

Sony Pictures Television Networks’ AXN channel aired the first regional

Korea’s CJ E&M has 10 formats on our lead-

version of Asia’s Got Talent, with a rumoured budget of US$8 million,

erboard this year, including Friends Over Flow-

making it the most expensive regional format ever in the history of

ers. There’s Infinite Challenge and Where are

Asia’s regional formats; a second season is one of today’s biggest

We Going Dad?, also out of Korea. Star China

unanswered questions. The sticking point? Money, apparently.

Media is making inroads with a couple of titles,

A+E Networks Asia aired the first-ever regional MasterChef Asia on

notably Sing My Song, which is being made in

Lifetime in early September, driving the channel’s average prime-

Vietnam. There’s a fast and furious search for

time viewership to record highs. The multi-million dollar bet on original

local personalities with charismatic friends and

production paid off best in the Philippines, where audiences were

drama-queen lives to feed the reality beast.

850% higher than the year-to-date prime-time channel aver-

Asia continues to embrace wholeheartedly in-

age. Audiences in Singapore were 379% up, Malaysia came

ternational properties. The Voice is everywhere:

in at 350% up and Thailand increased 170%. That’s a lot of

12 local versions (including The Voice Kids) in the

increase for about US$3 million. A second season hasn’t

region over the past four quarters at last count.

been announced. The sticking point? Right now no one

There’s Vietnam’s Next Top Model, now in sea-

thing has risen to the top of the industry gossip mill,

son six and going strong, along with versions in

and we expect season two will happen.

four other markets – Cambodia, China, Korea

NBCUniversal’s Diva channel aired the first regional

and India. MasterChef is all over the place; to-

version of How Do I Look? Asia on 31 August. Top line rat-

gether with MasterChef Junior, Asia is home to

ings for Malaysia show the series at number one in the 8pm slot

eight local series, nine if we include the regional

of 18 English-language general entertainment channels. Scripps Networks Interactive Asia, meanwhile, has greenlit a slate of original shows for its Asia channels based on Scripps’ formats in

edition. The Money Drop is another popular one; four versions in Asia plus Afghanistan on air in the past 12 months.

the U.S. The new commissions – including Food Wars and, the new

Is there sponsorship/advertising support in Asia

one, House Hunters, for HGTV – shift Scripps in the region from a repu-

for all this? Some say not enough. Everyone talks

tation for creating low-cost programmes for advertisers to a model of

about how hard it is out there. Absolutely no one

making shows, first and foremost, for audiences.

says it doesn’t need to be done.

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

The big question now is: Where to from here?

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 four, october 2015

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NTENT ASIA

Turning one The new Fox Sports Asia turned one in August, celebrating with a Bundesliga kick, leaving the La Liga loss in the dust, and racing forward with robust and rounded sports offerings designed to add partner value.

xxxxxxx

The new Fox Sports celebrated its first birthday

The Qatar-backed BeIn Media Group, which hoovered up La Liga

mid-August with a mixed slate of newly acquired

rights formerly held by FIC across major territories in Asia, leads the pack.

rights topped by Germany’s Bundesliga, renewals

Eyes, too, are on new global player Eleven Sports Network, which has just

such as Wimbledon, the Australian Open and For-

launched two channels – football channel Eleven and Eleven Sports – on

mula One, and – maybe most critically – a com-

Singtel TV in Singapore.

mitment to a robust year-round sports programming proposition. On the eve of the high-anxiety English Premiere League (EPL) tender for Asia, the Fox International

up to US$15 million, with an US$8 million return from the market) for the Champion’s League in Singapore.

Channels (FIC) brand seems to be continuing to

BeIn has been described by analysts Media Partners Asia (MPA) as “a

resist playing rights whack-a-mole with would-be

potentially powerful and disruptive force” with a “blitzkrieg campaign” to

rivals, focusing instead on a sustainable model

secure its sports stake in specific markets as well as across the region. Mar-

designed to be the lynchpin of strong and broad

ket speculation at presstime was that former Discovery head, Tom Keave-

sports packages, year round, across platforms in

ny, was heading back to Asia to lead the BeIn charge across the region.

the region. At the same time, few are averting their gaze from the breathtaking bets being made by sports outfits seeking a share of local and regional subscription revenue.

issue four, october 2015

There’s also Discovery’s Eurosport, which bought Setanta Sports Asia earlier this year along with exclusive media rights (believed to have cost

“BeIn is putting some serious coin down, and really operating without fear to redraw the sports rights landscape,” MPA quotes a senior source at a key rights-holder as saying. Sports channels also face new competition for rights from platforms in specific markets. In Hong Kong, for instance, aggressive new player

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NTENT ASIA

LeTV may have paid upwards of US$400 million – and potentially up to US$600 million – for Hong Kong rights to the next three EPL seasons. If market speculation is correct, this represents a 100% increase at least over the estimated US$200 million paid by PCCW last round. To head off LeTV’s aggressive game, PCCW fought back on La Liga in Hong Kong, paying a rumoured US$15 million to US$20 million per season. Insiders say that, apart from Fox Sports, none of the wannabe sports TV powerhouses have managed to create a sustainable offering in Asia with a wide variety of sports for a broad audience pic courtesy of Fox Sports

– yet. A key component being talked about is the value being offered to platforms. Sports programmers say some of the players are very much about buying rights and selling these back to the platforms with little or no apparent investment in marketing back to the platforms. The question is:

Serena Williams

How sustainable this is? At the one-year mark, Fox Sports’ bosses say they have proved that the rebrand wasn’t “just a new coat of paint”.

D’Silva points to the focus on localisation with, among others, the Bad-

a property is on the FIC network, its

minton World Federation (BWF) in Indonesia, the Philippine Basketball

reach grows exponentially, which can

Association (PBA) and Chinese Professional Baseball League (CPBL) in Taiwan.

ates,” says Rohit D’Silva, FIC’s execu-

FIC’s game plan also includes partnerships with local players such as

tive vice president, commercial. He

JTBC in South Korea. The co-branded sports channel, JTBC3 Fox Sports,

backs this up with figures that show

will carry a mix of international and local sports, all fully localised in Ko-

a 93% increase in the AFF Suzuki Cup

rean. The international line-up includes Bundesliga, Formula One, the

2014’s reach in Malaysia over 2012; a

Australian Open, Roland Garros and Wimbledon tennis grand slams. At

12% reach increase to 14 million viewers for

the time, FIC Asia Pac/Middle East president, Zubin Gandevia, said the

Roland Garros 2015 compared to 2014; and a 29% increase in Wimbledon viewership this year to 14.2 million viewers over 2014.

Korean service “completes our sports brand’s APAC footprint”. D’Silva says Fox Sports has its eyes wide open for additional partnerships in the region with both pay-TV and free-to-air networks.

Fox Sports’ crown jewel right now is Germany’s

Supporting its content strategy, Fox Sports has rolled out robust multi-

Bundesliga football league, which leads new ac-

platform/online initiatives, maximising spend on rights with investment in

quisitions in the past year along with LPGA ladies

digital delivery technology. OTT player, Fox Sports Play, is carried on six

golf, Rugby World Cup 2015 and the UEFA Euro

major Southeast Asia pay-TV platforms. Fox Sports also provides content

League for Hong Kong.

to the Philippines’ PLDT Group’s mobile/TV/broadband subscribers and

D’Silva says the sports network has put unprecedented fire power behind the Bundesliga launch

to Samsung Sportsflow. FIC’s aim is to enhance its OTT services “with more content, including exclusive content, and more control for sports fans”.

in August with, among other initiatives, more than

But perhaps the biggest distance Fox Sports has put between itself and

25,000 spots across the FIC network along with

its predecessor, ESPN Star Sports, is in attitude. “Fox Sports has become

the first 60-second “live simulcast” of a Bundesliga

part of a sports community, they aren’t pretending that platforms don’t

match during promo breaks on FIC’s non-sports

need anyone else. They’ve looked at what they have, gone after cer-

channels, including Star World, Fox, Fox Movies

tain sports they feel provide quality, and are promoting an all-round of-

Premium and Star Chinese Channel.

fering,” says one indie observer, adding: “The fact of the matter is that

Renewals in the past year include the F1, with extended rights for Japan; Australian Open ten-

issue four, october 2015

Open golf with rights extended to cover Korea.

“Our track record has shown that when

only have a positive effect for affili-

Rohit D’Silva

nis; Wimbledon (tennis); The Masters Tournament (golf); and the U.S.

other regional channels don’t do that. That allows Fox Sports to maintain a primary position”.

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NTENT ASIA

Top 10

Singapore-based production house, Beach House Pictures, has just turned 10. Co-founder and managing director, Jocelyn Little, looks at a decade’s worth of travel, adventure, snakes, kids and the reality of local production in Asia Singapore-based Beach House Pictures (BHP) celebrates its 10th anniversary this year, marking a decade of growth from adventure travel to multi-genre production credits. That’s along with expanding from two people to 65 full-time

Jocelyn Little

staff across four divisions – Beach House Pictures, Beach House Kids, Beach House Entertainment (reality formats) and Beach House Studios (apps, animation and design). Today, Beach House is one of the largest indie

Donovan Chan

production houses in the region. About 60% of production is factual, 10% is reality and kids is 20%-30%. “The highlights have been breaking into new genres and proving ourselves,” says Jocelyn Little, who established the company in 2005 with partner and creative director Donovan Chan. The biggest initial challenge “was that we were both production people,” Little says. The other challenge was “making our name and getting people to trust that we could deliver”. BHP’s first project was with Lonely Planet, with whom Little already had a relationship, on Lonely Planet Six Degrees. The second major project was Man Made Marvels with NHNZ (which has since become an equity partner in BHP) and Discovery, which Little says has been “great in supporting local talent”. “We had a couple of big projects early on so we

issue four, october 2015

BHP co-founder/creative director Donovan Chan (second right) on location with Nomad Chef Jock Zonfrillo (standing left) and men from the Yakel tribe on Tanna Island, Vanuatu

table and it established us as a company that could not only pull together a production but also finance and deliver,” Little says.

had a bit of cache in trying to create new projects,”

The biggest challenge facing indie producers in Asia at the moment is

Little says. Over the years, these have included natu-

production budgets, which are smaller than elsewhere in the world. Little

ral history (Asia’s Deadliest Snakes), kids (Kids vs Film

says partnerships with funding bodies such as Singapore’s Media Develop-

for Discovery Asia), social docs and lifestyle. BHP was

ment Authority are important. And, for BHP at least, co-productions have

also a 3D pioneer with Jewels of the World.

been critical. “We want to build our own IP. We want bigger budgets. That’s

A turning point was reality-based travel series,

a challenge that has always been there,” she says, adding: “As a company,

Lonely Planet: Road Less Travelled, in 2010 for Na-

if we want to be succeeding we have to be pulling in partners from all over

tional Geographic in the U.S., on which BHP was a

the world”. (A version of this interview appeared in ContentAsia Enewsletter

co-production partner. “We brought money to the

on 21 September 2015)

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productiondrama

NTENT ASIA

Art and craft

The new generation of online drama looks looks, feels and hopefully behaves like the high-end blockbuster titles studios know and love. And making them happen is not a whole lot different, says showrunner Gardner Stern on the eve of The Art of More’s release.

Dennis Quaid and Kate Bosworth in The Art of More

Online/streaming platforms’ hunt for original content may be driving up production opportunities,

forms compared to traditional production.

but for writers and producers, the goal is the same:

“As a writer you are really most interested in telling compelling stories

compelling stories. If anything, the environment in

and that doesn’t change regardless of the platform... You are trying to

which the entire series is ordered and made avail-

tell the best stories you can and to make it something that people will

able all at once is even better.

want to watch,” he says.

On the eve of the 19 November release of

Other elements of the series were not a whole lot different from tradition-

Crackle’s first hour-long original drama,

al high-end drama, including budgets and big name stars. “I wish I could

The Art of More, showrunner Gardner

tell you doing a digital show is vastly different, but it really isn’t. It’s about

Stern (Law & Order, NYPD Blue) says digital has little to do with his commitment to the show.

Gardner Stern

coming up with the best, most entertaining product we can,” he says. Releasing all the episodes simultaneously doesn’t really make a difference to writers and producers in that “you want to the viewer to have

The Art of More stars Dennis

a desire, a hunger, to see the next episode whether in two minutes or

Quaid in a story set in the world of

two days or two weeks,” he says, pointing to the poster-titles for online

high-class art auction houses. The

production such as House of Cards and Transparent. “Clearly within the

show is part of Sony Pictures Televi-

industry there is a consensus that these shows are far from being any less

sion’s Mipcom slate for Asia.

issue four, october 2015

Stern says there aren’t many differences in producing for digital plat-

compelling” than shows for broadcast networks.

“I would definitely do it again,” Stern says

At the same time, he describes the entire-series order as “a very re-

of his first foray into production for online release.

warding situation” in which creators can “concentrate on developing a

“But it has less to do with the fact that it’s digital

good story arc that can stretch across the entire length of the season. In

than the series and the subject matter, the cast and

that sense, releasing everything at once is very gratifying for writers”.

crew... that’s what motivates me more than any-

Other than working with this particular cast, Stern says what he liked

thing else. If another digital project had those [ele-

most about the series was the subject matter. “You learn something while

ments], I would really want to do it,” he says.

you are being entertained. And that’s what we deliver in this series”.

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channelsbbcearth

NTENT ASIA

What on earth

BBC Worldwide debuts a whole new BBC Earth across Asia at the beginning of October, laying Knowledge to rest and going big on natural history, science, better windows and authentic thrills.

When viewers across Asia wake up on Sunday, 4

Linear remains a lynchpin of the BBC Earth strategy. In addition to the

entirely, replaced in 11 countries by BBC Earth

11 BBC Knowledge channel markets, the BBC Earth brand will roll out as

and a seven-hour marathon of blue-chip docu

a joint venture in India with Multi Screen Media (MSM), which operates

Life Below Zero. This will be followed by a David

the Sony-branded channels. Sony BBC Earth, majority owned by MSM, will

Attenborough strand that includes the three-part

be available in Tamil, English and Hindi. Regulatory approvals are being

Attenborough: 60 Years in the Wild and the one-

sought; no launch date has been disclosed.

hour special with U.S. President Barack Obama

A significant part of the programming strategy for the new channel is

interviewing David Attenborough at the White

to ensure that key natural history titles will air first and exclusive, says Ryan

House in July this year.

Shiotani, BBC Worldwide Channels’ programming vice president. First up is

The new 24-hour flagship linear channel is part of

the first and exclusive telecast of Shark. In addition, BBC Earth will premiere

a multi-touchpoint brand that includes an online

blue-chip David Attenborough series The Hunt in Asia less than 24 hours

platform as well as on-ground attractions.

after the U.K., followed by Lands of the Monsoon, Life Below Zero series

BBC Worldwide’s executive vice president for

Next year’s One Planet, another BBC blockbuster documentary, will

in the region for BBC Earth, including more events

also air on BBC Earth in Asia. Previously, first-run rights to some of the big

such as Planet Earth in Concert held in Singapore

blue-chip might have gone to free-to-air. “BBC Earth puts more emphasis

last year, and expanding BBC’s Orbi attraction in

on first and exclusive for pay-TV,” Shiotani says. BBC Earth’s expansion in Asia is part of a global shift to super-factual

Weilland is also rolling out a theatrical release

content, a possible response to what Shiotani calls a “nature deficit disor-

agenda following Enchanted Kingdom’s success in

der”. About 50% of the world’s population is urban, “people are craving

Japan, and an expansion of the giant-screen expe-

contact with nature”. BBC Earth is designed “to give people that inspira-

rience in markets beyond China, Korea and Hong

tion to connect with nature,” Shiotani adds.

Kong. Plans are already in place to bring a giant screen version of Predators to Asia next year. “Nowadays you want to make sure your brand lives across multiple touch points with the consum-

issue four, october 2015

three and Infested.

Asia, David Weilland, outlines a much bigger profile

Yokohama to another Japanese city in 2016.

Africa’s Giant Killers

er. BBC Earth can do that better than BBC Knowledge,” Weilland says.

October, BBC Knowledge will have disappeared

The linear channel will be broader than the twohour BBC Earth

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NTENT ASIA

Operation Wild

block, which has run in Asia on Thursday nights for the past three years. The block focused on natural

As factual entertainment expands its profile everywhere, Shiotani highlights BBC’s heritage in the premium factual space.

history programming. Shiotani says the full channel

“In Asia, there is an audience that feels that knowledge and an un-

will include adventure, science and travel, “all with

derstanding of the world around us is valuable. “We are looking at what

the human factor”.

makes us tick as humans, and the science behind that,” Shiotani says.

“When we looked at translating Earth to the

“There’s a human factor that runs through everything we do. We also

linear space, we looked at certain trends,” Shio-

see that in Asia there is a lot of interest in how to live better, fuller lives,”

tani says. Along with the rising interest in science,

he adds.

there’s a shift in tone. “People are responding to

While BBC Knowledge may be disappearing, much of the content will

more authentic and genuine content, less over-

live on, either on BBC Earth or on other BBC channels in Asia. Life Below

produced programming,” Shiotani says.

Zero migrates to BBC Earth along with shows such as Extreme Fishing. “All

There’s also higher online/digital engagement. Weilland points to the popularity of the BBC Earth ver-

the blue chip natural history and science will continue,” Shiotani says, adding that “fishing works very well for us”.

tical on bbc.com, with more than 2.5 million unique

Shows like Undercover Boss will move to BBC Lifestyle, along with Gordon

visitors a month and interactive features such as Your

Ramsay’s Hotel Hell, Secret Millionaire and Great British Bake Off. Shiotani

Life on Earth, which launched last year.

says BBC Lifestyle will be broadened to include human stories. “We still will be doing food and home and design, but we felt that there is a place for great human stories,” he adds.

There’s a human factor that runs through everything we do... in Asia there is a lot of interest in how to live better, fuller lives.” Ryan Shiotani, BBC Worldwide Channels

issue four, october 2015

Most of the content for BBC Earth in Asia is acquired internally, with select third-party acquisitions. Extreme Weather and Fishing Impossible are among the BBC Worldwide commissions out of London to which Asia contributes. BBC Earth’s not-unexpected arrival in Asia is part of a global initiative that focuses on three main brands that Weilland says “play to the strengths of the BBC” – BBC Earth, BBC First and BBC Brit. Will the others roll out in Asia? Wait and see.

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NTENT ASIA

formatsupdate

Formats outlook If we thought formats in Asia last year were big, we’re looking at huge this year. According to our latest Formats Outlook, at least 260 local versions of regional/international formats aired in Asia – or were commissioned to air – in the 12 months to early August. If we stretch it a little to 3 September, we can include the first season of MasterChef Asia on A+E Networks Asia’s Lifetime and the first season of How Do I Look? Asia, which premiered on Diva Universal on 31 August. That’s on top of the third season of Asia’s Next Top Model on Fox International Channels’ (FIC) StarWorld, the first season of Asia’s Got Talent on Sony Pictures Television Networks’ AXN, the first season of Food Wars Asia on Food Network Asia and Scripps Networks Interactive’s first commission of House Hunters Asia from Endemol. And that’s only on the regional side. In specific Asia markets, local broadcasters and production houses are adapting international formats and creating their own. Korea’s CJ E&M has 10 formats on our current leaderboard, including Friends Over Flowers. There’s Infinite Challenge and Where are We Going Dad?, also out of Korea. Star China Media is making inroads with a couple of titles, notably Sing My Song, which is being made in Vietnam. There’s a fast and furious search for local personalities with charismatic friends and drama-queen lives to feed the reality beast. Broadcasters in Asia continue to embrace international properties. The Voice is everywhere: 12 local versions (including The Voice Kids) in the region since mid-2014. There’s Vietnam’s Next Top Model, now in season six and going strong, along with versions of the CBS Studios’ format in four other markets – Cambodia, China, Korea and India, where the first season premiered on MTV India/Viacom18 in July this year. Endemol Shine’s MasterChef is all over the place; together with MasterChef Junior, Asia is home to eight local series, nine if we include the regional edition. The Money Drop is another popular one; four versions in Asia (Cambodia, Mongolia, Thailand, Vietnam) and Afghanistan. At this time last year, we counted 151 formats on air or commissioned over

Clockwise from top: The Voice of China season 4; How Do I Look? Asia; Gogglebox Korea; The Last Cop

four quarters, which means we’re looking at an increase of 72%. We have, admittedly, become better at counting, but there’s no denying that the region is up and rising. Is this the most formats being made locally ever in the history of Asian television? Maybe. We only started tracking in January 2014, so difficult to say for sure but we think so. Is this the most money ever spent in the history of format licensing and production in Asia? Probably. Broadcasters and production houses don’t publicise their budgets, but ballpark numbers are not difficult to come by. Production budgets for regional formats are between US$2.5 million and US$3.5 million. Some do it for less. Anything more than that and commercial teams swallow hard. Except when it’s Asia’s Got Talent, and they either pale or turn green. What we know for sure is that the effort being put into creating local versions of proven formats continues to rise. Is there sponsorship/advertising support in Asia for all this? Locally, it would seem there is. Regionally? Some say not enough. Everyone talks about how hard it is out there. Like last year, though, absolutely no one says it doesn’t need to be done.

issue four, october 2015

Tanto amor Under the storm The greatest love to be born Within secrets, lies and murder. Comarex sales@comarex.tv (5255) 5251 1410 www.comarex.tv Azteca

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Leaderboard: who’s who on Asia’s formats charts (Q3 2014-Q2 2015) Endemol Shine 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50.

1 vs 100 Korea 1 vs 100 Vietnam All You Need is Love Thailand Anything Goes Indonesia 2 Anything Goes Thailand Big Brother China Big Brother India 8 Big Brother Philippines Big Town Dance China The Brain 2 Deal or No Deal Myanmar Deal or No Deal Philippines 6 Deal or No Deal Vietnam Don’t Lose The Money Philippines Don’t Lose Your Money Thailand Don’t Lose Your Money Vietnam The Face Thailand Give Me That Bill China Golden Goal Vietnam Got To Dance Cambodia Identity Thailand The Kids Are All Right Myanmar The Kids Are All Right Thailand Kitni Girhain Baaki Hain MasterChef Asia MasterChef Cambodia MasterChef China (Celebrity) 2 MasterChef India 4 MasterChef Indonesia 4 Junior MasterChef Indonesia MasterChef Korea 4 MasterChef Myanmar MasterChef Vietnam 3 Minute to Win It Cambodia Minute to Win It Myanmar Minute to Win It Singapore Junior Minute to Win It Thailand 2 The Money Drop Afghanistan The Money Drop Cambodia The Money Drop Mongolia The Money Drop Thailand The Money Drop Vietnam Sing Your Face Off Thailand Singer Takes It All Thailand Step Right Up Thailand The Ultimate Entertainer Vietnam Wall of Fame Vietnam Your Face Sounds Familiar Philippines Your Face Sounds Familiar Thailand Your Face Sounds Familiar Kids, Vietnam

FremantleMedia 1. 2. 3. 4. 5. 6. 7. 8. 9.

Asia’s Got Talent Body Bowling Thailand Cambodia’s Got Talent CEO’S Got Talent Code Red Umeed Distraction Distraction Regional Family Feud Indonesia Family Feud Vietnam 11

10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

Hole In The Wall Vietnam Indian’s Digital Superstar India’s Got Talent 6 Indian Idol Junior 2 Let’s Make a Deal Indonesia My Mom Cooks Better Than Yours Myanmar’s Got Talent Nat Geo Covershot – Maximum City The Noise Singapore Price Is Right Vietnam 8 Project Runway Vietnam Scars of Life India Take Me Out Thailand Thailand’s Got Talent 5 Thank God You’re Here Vietnam’s Got Talent Vietnam Idol season 6 World’s Got talent X Factor Indonesia season 2 X Factor Vietnam

Talpa 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Battle of the Sexes season 2 The Big Picture Thailand Divided The Fifteen of Us I Love My Country China Laugh and You Lose Sabotage Vietnam The Voice Cambodia The Voice Kids Cambodia The Voice of China The Voice Kids China The Voice India The Voice Mongolia The Voice of the Philippines 2 The Voice Kids Philippines 2 The Voice Pakistan The Voice Thailand 3 The Voice Vietnam 3 The Voice Kids Vietnam 2 The Winner Is...

NBCUniversal 1. Baggage 2. Dance Your Ass Off Thailand season 3 3. Hidden Singer Thailand 4. Hollywood Game Night Indonesia 5. Hollywood Game Night Thailand 6. How Do I Look? Asia 7. Opening Act 8. Still Standing China 9. Suits Korea 10. Top Chef Indonesia 11. Top Chef Vietnam BBC Worldwide 1. 2. 3. 4. 5.

Dancing with the Stars Cambodia Dancing with the Stars China Dancing with the Stars Vietnam Dancing with the Stars Kids Vietnam The House That Made Me India 2

6. 7. 8. 9. 10.

Junior Bake Off Thailand Strictly Come Dancing India 7 Strictly Come Dancing India/Dancing Star 2 Top Gear China Top Gear Korea 6

CJ E&M 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

The Bunker Dancing9 Dish of the Nation Friends Over Flowers The Genius Game season 3 I Can See Your Voice Let’s Eat 2 Let’s Go Time-Travelers Sing Again Korea Three Meals a Day 3

Armoza 1. 2. 3. 4. 5. 6. 7. 8.

The Arbitrator, Vietnam Do Me A Favour Thailand Green Project China I Can Do That! Philippines I Can Do That! Vietnam Upgrade 3 China Who’s Asking? Thailand Who’s Asking? India

CBS Studios International 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Asia’s Next Top Model 3 Asia’s Next Top Model 4 Cambodia’s Next Top Model China’s Next Top Model 4 The Doctors Vietnam season 2 India’s Next Top Model Korea’s Next Top Model 5 Vietnam’s Next Top Model 4 Vietnam’s Next Top Model 5 Vietnam’s Next Top Model 6 Wheel of Fortune Vietnam season 7

Keshet 1. 2. 3. 4. 5. 6. 7.

Boom! Cambodia Master Class China MICE Korea Not A Star Yet 5 Prisoners of War Korea Rising Star China Rising Star Indonesia

MBC Korea 1. Dream Kids 2. Infinite Challenge 3. The King Of Mask Singer 4. My Little Television 5. Real Men 2 6. Surprise! Mystery TV 7. Where Are We Going Dad? China 3 Nippon TV 1. AHA! Experience 2.

Gokuno

Note: Formats data was gathered from distributors, production houses and rights holders. Titles were aired or commissioned from July 2014 to 21 August 2015. All companies were given equal opportunity to participate and information was as far as possible verified and correct at 21 August 2015. Formats that have been optioned have not (or not intentionally) been included.

issue four, october 2015

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3. 4. 5. 6. 7.

ntent

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

BE INCluDED. 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

Old Enough Vietnam Old Enough China 2 Perfect Balance Tore! China Welcome To The Railworld Japan

A+E Networks Asia 1. 10 Things You Don’t Know About Singapore 2. Mom’s Time Out 3. Mom’s Time Out 2 4. My Ghost Story Asia 3 5. Photo Face-Off 6. Photo Face-Off 2

Globo 1. Helena’s Shadow 2. Merciless 3. Precious Pearl NHK Japan 1. Cook the Unknown season 3 2. Dr What - Diagnosis Unknown 3. The New Anatomy Show Thailand

All3Media 1. 2. 3. 4. 5.

Are You Normal? China 2 Cash Cab Thailand Gogglebox China Gogglebox Korea Gogglebox Mongolia

ITV Studios Global Entertainment 1. 2. 3. 4.

Baby Ballroom Vietnam Big Star’s Little Star Korea Big Star’s Little Star Vietnam Hell’s Kitchen Indonesia

Red Arrow International 1. The Last Cop 2. Schiller Street/Joy Street China 3. You Deserve It 2 Vietnam Star China Media 1. Amazing Chinese 2. Sing My Song Vietnam TV Azteca 1. Acapulco Forever Yours, Malaysia 2. La Akademia Kids Indonesia

Zodiak Rights 1. 2. 3. 4.

Secret Millionaire China Sing If You Can Thailand 3 Sing If You Can Vietnam 2 So You Think You Can Dance China

Dori Media 1. Ciega a Citas 2. Little Mom 3. Smart Face 2 4. So Where Were We Sony Pictures Television 1. Dancing Nation 3, China 2. Dr Oz Indonesia 3. Everybody Loves Raymond, India 4. Mad About You, China Telemundo 1. Hidden Passion, Philippines 2. Hidden Passion, Vietnam 3. Missing India 4. Missing/Family Secrets, Korea Scripps 1. The Amazing Food Challenge: Fun in the Philippines season 2 2. Cooking For Love 3. Family Kitchen with Sherson 4. Food Wars Asia Disney/Buena Vista International 1. The Amazing Race Philippines 2. The Amazing Race Vietnam 3. Ugly Betty Thailand

issue four, october 2015

Global Agency 1. Mum Vote for Me! China 2. The Remix Indonesia 3. The Remix Vietnam

DRG 1. Don’t Tell The Bride 2. The Singing Bee Philippines 7 Imagine Group 1. The Apartment 4 2. Fit for Fashion Discovery Networks 1. Kids vs Film season 2 2. Wild But True Viacom 1. Lip Sync Battle China 2. Lip Sync Battle Vietnam ABC Japan 1. The Luckiest 2. Welcome Newlyweds & with one title each... ActiveTV Food Detectives 2 Singapore; ABC Duets 2; Banijay Super Star Ding Dong, China; Bomanbridge Media Big in Japan; Electus Bet on Your Baby; FCCE Entertainment Experience China; Fox The Choice Thailand; Fuji Television Iron Chef Thailand; SBS Korea War of Money; Mabui Stone Corp Ryujin Juwara; Media Prima Hip-Hoppin’ Asia - The Saga Continues; Onza Distribution DNA India; Refinery Media SuperModelMe 2; Sol Productions Dare2Dance; TVB International Lady First – Singapore 2; Warner Bros Gossip Girl Thailand; Workpoint Entertainment Lightning Quiz; Zee TV Dance Singapore Dance

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formatsupdate

NTENT ASIA

Asia’s Next Top Model season 4 Season four the CBS modelling show on Fox International Channels’ (FIC) StarWorld was underway as 2015 drew to a close, giving FIC the unique status of commissioning four different production houses for each of the format’s editions. FremantleMedia Asia, fresh from the triumph of Asia’s Got Talent (AGT) for Sony Pictures Television Networks’ AXN, won the StarWorld pitch, and has been tasked with putting some of the AGT magic into modelling. Season four will air on StarWorld in 2016. If FIC has played musical chairs with production houses on the show, sponsors have been more stable. Subaru and Zalora are back for season four, FIC said during the ContentAsia Summit in Singapore in early September. The big question is whether FIC will increase the budget for the show much – or at least how much – beyond US$3 million. Asia’s Next Top Model season four is the first major regional production under FIC’s newly appointed executive vice president and head of content and communications, Hong Kong and Southeast Asia, Keertan Adyanthaya. Adyanthaya said during the ContentAsia Summit that 2016 would be “very challenging” against a backdrop of major industry change. “We will have to really stretch our wits to get through,” he said. FIC says Asia’s Next Top Model season three – produced by Singapore-based Beach House Pictures and hosted by model Georgina Wilson – was the highest-rated season so far. The season ran from 25 March to 17 June 2015 across Hong Kong and Southeast Asia. According to ratings provided by FIC, season three was up 140% among general audiences aged 4+ as well as female viewers from late teens to mid-30s. The finale made StarWorld the number one western general entertainment cable channel in its time slot among all people 4+ as well as women aged 18-39 in Singapore. In the Philippines, StarWorld was also the top general entertainment cable channel in its time slot among all people 2+ and the top cable channel overall in its time slot among female viewers aged 16-34. FIC says the series earned significant season-on-season growth, putting the network up 2,577% on the timeslot’s three-month average among the target demo.

Adapted from ContentAsia’s Formats Outlook Q3 2015, published for ContentAsia Formats 2015 in Singapore in September 2015. Formats listed premiered on channels in Asia this year or were commissioned to air in 2016. The list below excludes formats created by broadcasters for in-house channels, produced in-house, and not sold anywhere else.

10 Things You Don’t Know About Singapore

The Arbitrator Vietnam (Đối mặt trong bóng đêm)

Genre: Factual/history Broadcast: History, from 13 Sept 2015 Commissioned: A+E Networks Asia Produced by: Very Pte Ltd (S’pore)

Genre: Crime drama Broadcaster: Vietnam Television (VTV) Date: Production 2015, airs 2016 Commissioned by: VTV Produced by: Vietnam Television Film Center (VFC) Rights owner: Reshef Levi, Hot. Distributed by Armoza Formats

Acapulco, Forever Yours (Memori Cinta Suraya)

Are You Normal? 2, China

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

AHA! Experience 2

Genre: Entertainment quiz show Broadcast on: HTV Date: 30 Jan-24 July 2015, 9.30pm Commissioned: Dori Media Produced by: Dong Tay Production Rights owner: Nippon TV

Genre: Survey quiz show Broadcast on: Tencent China Date: Streamed first half 2015 Original created by: Zoo Productions/all3media.

Asia’s Next Top Model season 3

Amazing Chinese 2

Genre: Talent show Broadcast on: CCTV-1, China Date: Premiered 1 March 2015, 8pm Producer/rights owner: Star China/ Starry Production

The Apartment 4: Celebrity Edition Genre: Design/renovation reality Broadcast on: Star World HD Date: 25 Jan-29 Mar 2015, 9.40pm Produced by: Imagine Group Rights owner/distributed by: Imagine Group Entertainment

issue four, october 2015

Asia’s Next Top Model season 3

Genre: Reality modelling show Broadcast on: StarWorld Date: 25 Mar-17 June 2015, 8.45pm Commissioned by: FIC Asia Produced by: Beach House Rights owner: CBS Studios

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formatsupdate

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Asia’s Got Talent

The Big Picture, Thailand

Genre: Game show Broadcast on: True4You Broadcast: To be confirmed Produced by: AP&J Rights owner: Talpa

Big Star’s Little Star Vietnam

Dance Singapore Dance The first international version of Indian dance competition format, Dance India Dance, premiered in Singapore and across the region on 18 July 2015, with the grand finale on 26 September. Produced by local production house Silver Screen International, the debut series airs Saturdays at 8pm on Zee TV’s Asia-Pacific feed across 18 countries. The show also airs on the Singapore feed of Zee Tamizh, as well as on StarHub’s Malay-language cable TV channel Sensasi. Dance Singapore Dance’s two-day auditions, open to all Singapore residents aged 16+, began in March. At the end of day one, 25-30 dancers (out of 200), received a “hat of destiny”, moving them to the next round. This is in line with the original Indian format, which has a Dancing Superstar ki Topi (Hat of Dancing Superstar). Following the first two episodes of auditions, the remaining 10 studio-based episodes have challenges/weekly elimination rounds. The winner gets a S$10,000/ US$7,349 cash prize. Dance Singapore Dance has a similar structure to the original format, says Zee TV’s senior vice president, international business, Tripta Singh. One variation is the audition process; auditions in India were typically held for over a week. Bollywood’s Anil Dandge and dance instructor/choreographer Roche Mascarenhas train the final 12 dancers. Judges are Shakti Mohan, the winner of Dance India Dance season two, and Zaini Mohammad Tahir, artistic director/choreographer of NUS Dance Ensemble. The challenge for the Singapore version was to expand participation across all ethnic groups, including English-speaking Singapore. Indian and Malay viewers are currently Zee’s largest audiences. Dance India Dance, created and owned by Zee, debuted in India in 2009 and has had more than 200,000 participants over nine editions – four seasons of Dance India Dance (DID), three seasons of DID L’il Masters (kids version), one season of DID Super Moms and one season of DID Doubles. Zee TV has also developed singing competition Sa Re Ga Ma Pa and game show Antakshari. Singh says Dance Singapore Dance is part of a larger formats trend in 2015. “The cheap and cheerful game shows will still be popular, but the trend is moving towards bigger, bolder formats that are being produced across the region,” she says.

issue four, october 2015

Genre: Talent competition Broadcast on: AXN/terrestrial channels in Thailand, Vietnam and Indonesia/VH1 in India/Youku China Date: 12 March-14 May 2015 Commissioned by: Sony Pictures Television Networks Asia Produced by: FremantleMedia Asia

Baggage

Genre: Dating show Broadcast: Net TV. No details. Commissioned in Asia by: Net TV Created by: Game Show Network U.S. Rights owner: NBCUniversal Int’l

Genre: Family game show Broadcast on: VTV 3, Vietnam Premiere: 1 July 2015 Rights: ITV Studios

Boom!, Cambodia

Genre: Game/trivia challenge Broadcast on: Bayon TV, weekly Broadcast date: Summer 2015 Produced by: Bayon Radio & TV Rights owner: Keshet International

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

Battle of the Sexes 2, China

Genre: Game show Broadcaster: ShenZhen Satellite Date: Premiered 27 Mar 2015, 9.08pm Produced: ShenZhen Satellite Channel Rights owner: Talpa

Genre: Entertainment/talent Broadcast: Jiangsu Satellite TV Date: 2 Jan 2015 to 20 Mar 2015 Slot: Fridays, 9.20pm-11.20pm Produced by: Now Investment Media Rights owner: Endemol Shine

The Bunker, Korea

Big Brother China

Genre: Reality Broadcast on: Youku Tudou Date: Nov-Dec 2015,18 episodes Commissioned by: Youku Tudou, produced with Endemol China

Big Brother Philippines season 6

Genre: Infotainment Broadcast on: XTM Broadcast: Premiered 29 March 2015 Time slot: Sunday, 10.50pm Rights owner: CJ E&M

Cash Cab Thailand

Genre: Reality Broadcast on: ABS-CBN Ch2, Ch23 Date: 20 June-25 Oct 2015 Slot: Daily, prime time Produced by: ABS-CBN Corp

Genre: Game quiz Broadcast on: Channel 9 Date: Premiered 2 March 2015 Time slot: 6.15pm-7pm Produced by: Heliconia Entertainment Rights owner: all3media

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formatsupdate

NTENT ASIA

China’s Next Top Model season 4

Genre: Weight-loss dance format Broadcast on: Bangkok Entertainment’s Channel 3, Thailand Date: Premiered on 1 August 2015 Time slot: Saturdays, 5.30pm-7pm Produced by: Creatist Rights owner: NBCUniversal Int’l

Dance Singapore Dance Genre: Reality modelling contest Broadcast: Chongqing Satellite Date: Premiere 21 May 2015, 12x60 mins, Saturdays, 9.20pm Produced by: IPCN

The Choice Thailand

Gogglebox Korea National terrestrial broadcaster KBS broke new formats ground in Korea this year with the premiere of its local version of all3media’s TV review format, Gogglebox. Gogglebox aired on KBS from 8.55pm to 10pm on Thursdays for six episodes, with the finale on 12 February 2015. The original format features highlights of the week on TV intercut with footage of viewers at home, showing their reactions to soaps, sporting events and news stories. In Korea, Gogglebox is known as Jakjunghago Bonbangsasu. Jakjunghago means determined. Bonbangsasu is slang for “to catch the premier” or “watching it on-air”. The look and feel of Jakjunghago Bonbangsasu has been adjusted to suit Korean tastes. “The aim was to give the impression of being larger than life, with cartoony and colourful graphics and speech bubbles, accompanied with amusing and distinctive sound effects,” says Carolyn Gilbey, all3media International’s formats team production consultant. Executive produced by KBS’ Jisun Youm, Jakjunghago Bonbangsasu featured a variety of viewers, much like the U.K. original on Channel 4. These included a lower income family, foreign exchange students from Brazil and a local celebrity. The biggest production challenge for Gogglebox is the tight turnaround, Gilbey says. Featuring programmes from the week’s TV schedule means delivering rushes to the edit team immediately after filming. Another challenge was the question on how to reflect modern Korean society in the cast. “While there is a substantial immigrant population in Korea, it is quite a recent development and not all of those recent immigrants speak Korean,” Gilbey says. She also talks about a common challenge across all versions of the format. “In the U.K., the clips are used under the country’s ‘fair dealing’ laws. As long as the clips are deemed to be used in a way that is fair and balanced, that’s fine and in fact no country has encountered any problems in using clips from other TV shows. In Korea, there is similar ‘fair dealing’ legislation in place but because there are no TV review shows in Korea, the laws have not yet been tested,” Gilbey explains.

issue four, october 2015

Genre: Dance competition show Broadcast on: Zee TV, Sensasi, Zee Tamish Date: 18 July-26 Sept 2015 Timeslot: Saturdays, 8pm Original created in: India Rights: Zee Entertainment Genre: Celebrity dating game show Broadcast on: Channel 7 Date: From 3 Jan 2015, 4.15pm-5.30pm Producer: Heliconia Entertainment

Code Red Umeed

Genre: Crime drama Broadcast on: Colors, India Date: 23 Jan-28 April 2015, 10pm Commissioned in Asia by: Colors Produced by: FremantleMedia India Rights owner: FremantleMedia

Cooking For Love

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 Rights owner: BBC Worldwide

Deal Or No Deal Myanmar

Genre: Game show Date: Premiered 5 Jan 2015 Length: 391 episodes Slot: Fridays, 6pm-8pm Rights owner: Endemol Shine

Deal Or No Deal Philippines

Genre: Cooking show Broadcast on: Asian Food Channel Broadcast date: Sept 2015, 6x30 mins Produced by: Refinery Media Rights owner: Scripps Networks

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

Genre: Game show Broadcast: ABS-CBN Ch2, Ch23 Broadcast date: 9 Feb-28 May 2015 Length: 65 episodes x 60 minutes Slot: Daily, 5pm Produced by: ABS-CBN Corporation Rights owner/Asia distribution: Endemol Shine Group

Deal Or No Deal Vietnam 10

Genre: Game show Broadcast on: HTV 7, Vietnam Broadcast: Premiered 3 May 2015 Length: 52 episodes x 60 minutes Time slot: Saturdays, daytime Produced by: Kiettuong Rights owner: Endemol Shine

Distraction (V Distraction)

Genre: Game/quiz show Broadcast on: Channel V Date: Premiered 9 Feb-10 April 2015 Slot: Weekdays, 5.30pm

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Commissioned: Channel V/Star India Produced by: FremantleMedia India Rights owner: FremantleMedia

Distraction Regional (Bhyabachyaka) Genre: Game show Broadcast on: Star Jalsa Broadcast date: 3 May-12 Sept 2015 Time slot: Sundays, 8pm Commissioned by: Star Jalsa Produced by: FremantleMedia India Rights owner: FremantleMedia

Genre: Reality show Broadcast on: ShenZhen Satellite Date: Premiered 31 May 2015, 10pm Commissioned in Asia by: IPCN Produced: ShenZhen Satellite Rights owner: DRG

Dr. What – Diagnosis Unknown

Divided

Food Wars Asia Food Wars Asia, the Asian version of U.S. series Food Wars, says a lot about Scripps Networks Interactive (SNI) Asia Pacific’s commitment to a higher-end and more engaging way forward. Produced by Endemol Southeast Asia, Food Wars Asia (6x30 mins) selects renowned local food establishments that serve the same signature dish to battle for the title of the “Best of the Best” in town. The series is hosted by Michele Lean. The competition series features six food stalls from Singapore and another six from Malaysia competing against each other in a blind taste test serving Asian classics such as Singapore’s fish ball noodles and Malaysia’s nasi lemak as well as the not-so-humble gourmet cheese burger. Season one premiered on 7 April 2015 on SNI’s Food Network and ran Tuesdays at 8pm. The team also filmed an exclusive web series on local eateries in the two countries. With a total budget likely under US$500,000, Food Wars Asia took almost a year to launch, including conceptualisation, research, filming and post-production. The Endemol production team, crew and post-production team consisted of about 30 people from Singapore and 45 from Malaysia, overseen by SNI’s head of production/promotion Carl Zuzarte and head of creative, content and marketing CheeK, and Endemol Shine Group Asia’s managing director, Fotini Paraskakis. Casting is critical. “We started off with a very comprehensive list of food establishments… the aim was to get the right mix of dishes that showcased the best of what Singapore and Malaysia had to offer,” says CheeK. The greatest challenge was the last minute withdrawal of some stall owners nervous about participating. “It will take a while for people to understand that Food Wars Asia is a programme filmed in good spirits. While there is a judging panel, the winner’s selection is very subjective based on personal preferences,” CheeK explains. In Singapore, Food Wars Asia received an average TVR of 0.6% among the target demo (females aged 25-54) during its Thursday 10pm timeslot and TVR of 0.2% in Malaysia among PMEB viewers during its Thursday 12.05am slot.

issue four, october 2015

Genre: Quiz game show Broadcast on: ETV Marathi Date: 3 Jan-29 Mar 2015, 9pm Produced by: Endemol India Rights owner: Talpa

DNA

Genre: Family studio game show Broadcast on: Zee Tamish Broadcast: Premiered 19 Apr 2015 Time slot: Sunday, 8pm Length: 26 episodes Commissioned: Zee Entertainment Produced by: SandaiWood Media and Zee Entertainment Rights owner: Onza Distribution

The Doctors Vietnam season 2

Genre: Medical detective game Broadcast on: Zhejiang Satellite Broadcast date: 19 July-4 Oct 2015 Slot: 10pm-11.10pm Commissioned by: Bomanbridge Media via Small World Produced by: Zhejiang TV Original created in: NHK, Japan Rights owner: NHK, Japan

Dream Kids

Genre: Reality Broadcast on: MBC Korea Date: 10 July-27 Nov 2015 Time slot: Thursdays, 4.30pm-5pm Created in: MBC Korea Rights owner: MBC

Everybody Loves Raymond

Genre: Health talk show Broadcast on: HTV7, Vietnam Broadcast: Season two ongoing Time slot: Thursdays, 9.30pm Produced by: Kiet Tuong Original created in: U.S. Rights owner: CBS Studios Int’l

Genre: Sitcom Broadcast on: Star Plus, India Date: Premiered 31 August 2015 Length: 108 episodes Slot: Monday-Saturday, 10pm Produced by: DJs Rights owner/Asia distribution: Sony Pictures Television

Family Kitchen with Sherson

Don’t Lose Your Money Vietnam Genre: Game show Broadcast on: VTV Broadcast date: Q3 2016 Produced by: Vietba Media Created in: Shine Germany Rights owner: Endemol Shine

Don’t Tell The Bride

Genre: Cooking show Broadcast on: Asian Food Channel Date: Premiered 6 August 2015 Slot: Thursday, 10pm Length: 6 episodes x 30 minutes Produced: Double Vision (Malaysia) Created by: Scripps Networks A-P Rights owner: Scripps Networks Interactive (Asia)

Classic Investment New Agatha Christie

Partners In Crimes Starring David Walliams and Jessica Raine

Classic investment

A new beginning for the classic whodunnit.

New Agatha Christie MIPCOM Stand No: R8.C20

@all3media_int

all3mediainternational.com

All3media

E N I A R A C I S S E J D N A S M A I L L A W D I V A D STARRING

A new beginning for the classic whodunnit. MIPCOM Stand No: R8.C20 @all3media_int all3mediainternational.com

formatsupdate

NTENT ASIA

The Fifteen of Us (我们15个)

Genre: Reality Broadcaster: Dragon TV, Tencent Date: Premiered 29 June 2015 Produced by: Talpa and Tencent Rights owner: Talpa

Broadcast on: VTV Broadcast date: Q3 2015 Slot: TBC Produced by: Vietba Media Created in: Rubicon, Norway Rights owner: Endemol Shine

Food Wars Asia

Gossip Girl Thailand

Genre: Teen drama Broadcast: Channel 3, Channel 3 HD Date: Premiered 16 July 2015 Slot: Thursdays, 11.15pm-12.15am Length: 18 episodes x 60 minutes Producer: Kantana Group/InTouch Distributed by: Warner Bros

Got To Dance Cambodia season 1

How Do I Look? Asia The first edition of NBCUniversal format, How Do I Look? Asia, put NBCUniversal’s female-focused Diva Asia channel in top spot among Astro Malaysia’s 18 English-language general entertainment lifestyle channels in its 8pm timeslot. The series, which premiered on Monday, 31 August, exceeded its timeslot average in Malaysia by 27% among Diva’s core demographic – women 20-44 years old. 68% of viewers were adults 39 years old and younger, 17% more than the channel average, according to viewership data provided by NBCUniversal. In the Philippines, the eight-part makeover format beat its timeslot and primetime average by up to 7% among its core demo – women 20-44. It also skewed to women viewers (74%), higher than channel average by 16%. How Do I Look? Asia, produced by NBCUniversal’s Matchbox Asia, rescues style-challenged participants nominated by friends/family. The series is hosted by Malaysian actress/designer Sazzy Falak and includes special appearances by U.S. host Jeannie Mai via video link. The Asia series focuses on stories that reflect cultures in Asia. The women cast in the show are from Taiwan, Malaysia, Philippines, Singapore, Indonesia and Australia. Most of the original U.S. elements have been retained, including the Ewww Tube device that sucks in rejected clothing and the public reveal at the end of the each episode. These elements, as well as Mai’s involvement, ensure “Asian audiences can be treated to the full How Do I Look? experience,” says Karen Appathurai-Wiggins, Matchbox Pictures Asia’s series producer for unscripted content. One of the challenges was crossing the divide between notions of TV beauty as skinny models in talent shows and How Do I Look? Asia’s goal: making participants the best versions of themselves. “It was a re-education process for a lot of people involved... we are so used to modelling shows with young skinny girls,” Appathurai-Wiggins says. The series, she adds, is “about empowering women in a culture fixated on beauty... We weren’t just casting a show, but dealing with perceptions of beauty,” she says, adding: “In the U.S. version, people on the show are really different. In Asia, the differences are much more subtle”. The series had a cast and crew of 45 on the ground supported by production and executive staff in Singapore, Australia and Los Angeles. The production base was in the Philippines. Executive producers were Matchbox Asia’s Kylie Washington, along with NBCUniversal’s Scott Mackenzie and Natalie Gee.

issue four, october 2015

Genre: Competition series Broadcast on: Food Network Date: 7 April-12 May 2015 Length: 6 episodes x 30 mins Time slot: Tuesday, 8pm Created: Scripps Networks Interactive Produced in Asia by: Endemol Southeast Asia Rights owner/Asia distribution: Scripps Networks Interactive

Gogglebox China

Genre: Dance talent show Broadcast on: HMTV Date: In production, 2015 Produced by: Juita Viden Created by: Princess Productions Rights owner: Endemol Shine

Helena’s Shadow

Genre: Drama Broadcast on: TV5 Mongolia Broadcast date: Details not disclosed by August 2015, will air after Precious Pearl Rights owner: Globo

Hell’s Kitchen Indonesia

Genre: Entertainment Broadcaster: Late 2015 Time slot: Prime time Length: 12 episodes Produced by: Huace Film Rights owner: all3media Int’l

Gogglebox Korea

Genre: Entertainment Broadcast on: Korean Broadcasting System (KBS). Date: 8 Jan-12 Feb 2015 Slot: 8.55pm-10pm Produced by: KBS’ Jisun Youm, Jakjunghago Bonbangsasu Rights owner: all3media Int’l

Genre: Reality entertainment Broadcast on: SCTV Date: Premiered 3 January 2015 Slot: Saturdays, 11pm-1am Commissioned by: SCTV Producer: FremantleMedia Asia Original created in: U.K. Who owns the rights: ITV Studios

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

Gogglebox Mongolia

Genre: Entertainment Broadcast on: Mongol TV. Production has yet to start Length: 13 episodes Produced by: Mongol TV

Golden Goal Vietnam

Genre: Sports entertainment

Genre: Telenovela Broadcast on: ABS-CBN Philippines

Two Heavyweight Celebrities Go head to head In a bout of star pranking

Knockout

Keshet

Visit us at MIPCOM, Stand R8.C9, Riviera 8

Catalogue: www.keshetinternational.com Contact us: info@keshetinternational.com

formatsupdate

NTENT ASIA

Date: Premiered on 1 June 2015, 6pm Produced by: ABS-CBN Rights owner: Telemundo Int’l

Hidden Singer Thailand

Genre: Music talent competition Broadcast on: Channel 3 Date: Premiered 18 April 2015 Slot: 5.30pm-6.30pm Length: 13 episodes x 60 minutes Rights owner: NBCUniversal

High School Band, Thailand

Date: Premiered 4 Jan 2015, 9.15pm Commissioned in Asia by: IPCN Produced by: Hubei Satellite Channel, China Rights owner: Talpa

Indian Idol Junior season 2

Genre: Talent hunt Broadcast on: Sony Entertainment Television India, 30 May-6 Sept 2015 Time slot: Weekends, 8.30pm (S2) Wednesdays, 9pm (S1) Produced by: FremantleMedia India

India’s Digital Superstar

Genre: Online/digital talent hunt Date: 23 Feb-3 July 2015, weekdays, 2.30pm Produced/created by: FremantleMedia India Rights owner: FremantleMedia

Infinite Challenge The first Chinese version of Korea’s Infinite Challenge premieres in October this year. The comedy format will air on Sundays (8pm-9pm) for 12 weeks on CCTV’s CCTV-1. Star China International Media brokered the format deal with Korea’s Munhwa Broadcasting Corporation (MBC). The series is being produced by Starry Production (The Voice of China, China’s Got Talent, So You Think You Can Dance), a subsidiary of Star China, in what will be the first collaboration between the three companies. The format features six comedians competing in weekly challenges. The Chinese version will draw from the Korean playbook, with segments such as Yes or No, where choices during a trip determine whether participants walk or ride in luxury; and My Ugliest Friend, where friends are nominated for joke awards such as ugliest first-thing-in-the-morning pictures. Infinite Challenge airs Saturdays at 6.25pm on MBC. 430 episodes had been broadcast by 30 May 2015. The show debuted on MBC in May 2006. “Infinite Challenge is very difficult to format because, like the title, every day is a new challenge. We thought the best way to deliver the same quality in China as in Korea was to share everything,” says MBC’s senior producer, Sooyoung Ahn. He adds that high costs of flying production teams will likely be taken out of simpler formats, such as The King of Mask Singer, in MBC’s catalogue. Another production challenge is language, says Ahn; 30 people are involved in translation on the China set. Starry Production says its biggest challenge is the rise of copycat formats in China where “good ideas are over-consumed in the market”; there are already two similar formats slated to premiere before Infinite Challenge. Created by MBC producer Kim Tae-ho, the Korean format reached its highest TVR of 31.83 on 19 January 2008 (source: TNS, capital regional, provided by MBC). The record-breaking episode had the Infinite Challenge cast participate in historical drama Lee San, says Haewon Chin, MBC’s deputy director, global business. After almost 10 years together, the Korean team has shared engagements, weddings and births with reality audiences. “After almost a decade, Infinite Challenge has developed a rather special connection with Korean viewers,” Anh says.

issue four, october 2015

Genre: Entertainment, music Broadcast on: ThaiTV3 Date: 9 May 2015, ﬁnale on 1 August 2015 Length: 13 episodes x 60 mins Time slot: Saturdays, 10am Produced by: Jointly by TV3 programme exec Art Kaneearch and local production house Sawasdeekrab2507’s Songwut Original created by: TV3’s Art Kaneearch Rights owner: ThaiTV3

How Do I Look? Asia

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

Genre: Talent reality contest Broadcast on: Colors, Viacom18 Date: 18 April-27 June 2015 Time slot: Weekends, 9pm Commissioned in Asia by: Colors Produced by: Fremantlemedia India TV Productions Rights owner: FremantleMedia

India’s Next Top Model

Genre: Talent show Broadcast on: MTV India/ Viacom18 Media Date: Premiered 19 July 2015 Slot: Sunday, 7pm India rights acquired by: Bulldog Media & Entertainment Rights owner: CBS Studios

Inﬁnite Challenge, China Genre: Makeover reality show Broadcast on: Diva Date: 31 August 2015 Length: 8 episodes x 60 minutes Time slot: Mondays at 8pm Produced by: Matchbox Asia

I Love My Country China

Genre: Entertainment Broadcast on: Hubei Satellite Ch

Genre: Variety, comedy Broadcast on: CCTV-1, China Date: Premiere Oct 2015 Slot: Sundays, 8pm, 12x60 mins Produced by: Starry Production Original created in: Korea Rights owner: MBC Korea

It Takes Gutz to be a Gutierrez 3

Genre: Original reality series Broadcast on: E!

Cisco SP Video: Connecting Experiences

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personalized, and intuitive multiscreen experiences—at the speed synchronized, of now. Your video experiences: personalized, delivered to any To learn more about Cisco SP Video, screen. visit cisco.com/go/videoscape

Cisco SP Video empowers service providers and media companies in all markets. It makes sure they can create and connect new synchronized, personalized, and intuitive multiscreen experiences—at the speed of now. To learn more about Cisco SP Video, visit cisco.com/go/videoscape.

formatsupdate

NTENT ASIA

Broadcast date: 27 July 2015 Slot: Monday, 9pm (Philippines)/10pm (Malaysia). Commissioned by: NBCUniversal International Networks, Singapore Produced by: Matchbox Pictures Rights owned by: Gutierrez family

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 King of Mask Singer The premiere episode of Star China Media’s localised singing competition format, The King of Mask Singer, has earned top place in its slot on China’s satellite Jiangsu TV. Programmers from Star China, which has commissioned 11 episodes of the format from South Korea’s Munhwa Broadcasting Corporation (MBC), say episode one hit 0.904 TVR on 19 July. This is the first time a format premiere has ranked first on Jiangsu TV. The King of Mask Singer airs Sundays 10.30pm-11.55pm. The final episode is slated to air on 27 September 2015. Star China Media deputy general manager, Iris Xia, says the company will continue to pioneer new formats and take risks. Produced by Star China Media’s production arm Starry Production and MBC Korea, The King of Mask Singer hides contestants’ identities with masks to prevent prejudiced voting. Six masked contestants compete in two rounds in each episode. The winner with the most votes takes off his/her mask onstage and then leaves the show, going directly into the semi-finals. A new mask singer will be added in each subsequent episode, ensuring there are six masked singers for each episode. Episodes nine and 10 will be the semi-finals, with the finals in episode 11. A major difference between the Chinese and original versions is that the Korean show has only losers remove their masks before leaving the competition. The Korean format is also aired as a regular weekly programme while the Chinese version is offered as a strong seasonal singing talent show. The Chinese version, which took four months to import, produce and launch, was the quickest deal Star China has ever closed. The biggest challenge is “perfecting the localisation of the format”, Xia says, adding that the strategy is “to collaborate well and work closely with the Korean team during the production process.”

The Kids Are All Right Thailand Genre: Family game show Broadcast on: Channel 3, Thailand Date: 4 Oct 2015-31 Mar 2016 Producer: Bangkok Entertainment Co

The King Of Mask Singer, China

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 Last Cop

Lip Sync Battle, Vietnam

Genre: Singing game show Broadcast on: Dong Tay Broadcast details: TBC Commissioned by: Dong Tay Produced by: Dong Tay

The Luckiest

Genre: Game show Broadcast on: GMM25, Thailand Date: Premiered on 2 March 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 Created by: Pilgrim, Yoshimoto Kogyo and ABC Japan Rights owner: Pilgrim, Yoshimoto Kogyo and ABC Japan

Mad About You, China

Genre: Sitcom Co-production: Huaso Film/TV Digital Production (joint-venture production company of Sony Pictures Television and CCTV6’s HuaCheng Pictures), Croton Media Date: Production scheduled to begin 2015. Details undisclosed. Rights: Sony Pictures Television

Master Class China (音乐大师课)

Genre: Entertainment Broadcaster: BTV Beijing Satellite TV Date: 24 Jan-5 June 2015 Produced by: Beijing 3C Media Creative International Culture Media Co Ltd Rights owner: Keshet International

MasterChef Asia

Genre: Detective drama Broadcast: Nippon TV, Hulu Japan Date: 19 June-24 July 2015 Producer: Nippon TV/Hulu Japan Rights: Red Arrow Int (Global)

Lip Sync Battle, China

Genre: Singing game show Broadcast on: Sohu.com, 56.com Broadcast details: TBC Commissioned by: Sohu.com Produced by: Sohu.com Inc Created by: Viacom/Spike TV, U.S.

issue four, october 2015

Rights owner: Viacom International Media Networks

Genre: Cooking competition Broadcast on: Lifetime, A+E Networks Asia, 15 episodes Date: Premiered 3 Sept 2015, 9pm Commissioned in Asia by: A+E Networks Asia Produced by: Endemol SEA Rights owner: Endemol Shine

Premium indian Entertainment Costume Drama 120x30’ (on air) Social Drama 120x30’ (on air) Dance Indian Dance Format India’s Biggest Dance Talent Show Z Living Healthier. Happier. Tastier. Yogi Cameron A model guru Reality & Factual 26x60’ Emmy nominated Good food America with Danny Boome Cooking & Food 39x30’ (Season 1 & 2) The incurables Reality & Factual 60x30’ contact: zeecontent@zee.esselgroup.com visit:www.zeebollyworld.com www.zliving.com Meet us at MIPCOM, Booth no. P1-K51

formatsupdate

NTENT ASIA

MasterChef Cambodia

Genre: Cooking show Broadcast on: CTN Broadcast date: Q3 2016 Produced by: CTN

MasterChef China (Celebrity) 2

Genre: Cooking show Broadcast on: Jiangsu Satellite TV Date: 8 April-1 July 2015, Wed, 10pm Produced by: Sunshine Media

MasterChef India season 4

Broadcast date: Deal announced April 2015. Airdates not disclosed by August 2015 Rights owner: Globo, Brazil

MICE (SPY/The Gordin Cell) Genre: Spy drama Broadcast on: KBS2, Korea Date: 9 Jan 2015-27 Feb 2015 Slot: Fridays, 9.30pm Produced by: IMTV for Korean Broadcasting System (KBS) Rights: Keshet International U.K.

Million Dollars Minute Vietnam Genre: Game show Broadcast on: VTV3 Date: Premiered 26 July 2015 Time slot: Sundays, 11am Produced by: Vietcom Rights owner: Seven Network

The Last Cop Detective comedy series The Last Cop is Japanese broadcaster Nippon TV Network Corporation’s first localised drama format. The drama aired in Japan from 19-24 July 2015. The five-part Japanese version is also the first Asian adaptation of the German crime drama series produced by ITV Studios in association with Red Arrow International. The first episode aired terrestrially on Nippon TV’s free-TV network NTV on Friday, 19 June 2015 at 9pm. The rest of the weekly episodes aired OTT on Nippon TV’s platform, Hulu Japan. The original storyline follows a detective who wakes up after a 20year coma and must deal with past and present colliding in his professional and personal lives as he tries to make sense of a world that has moved on. In the Japanese version, the leading character Kyogoku, played by Toshiaki Karasawa (20th Century Boys) stayed in a coma for 30 years. In Japan, 30 years is the ideal “time lag to describe the difference between the current lifestyle and the past”, says Hiroyuki Ueno, Nippon TV’s producer and programming manager. Ueno also says that the Japanese version more strongly emphasises the bond between Kyogoku and his timid sidekick Ryota (Masataka Kubota) compared to the original version. Production in Japan involved a team of five from Nippon TV and Hulu Japan, and took one year to complete. “Considering our programming strategy and performers’ schedules, we took most of the time in putting our efforts in accommodating the perfect time and date for our broadcast,” says Ueno. The aim was to “earn good enough ratings for a terrestrial primetime slot on Nippon TV” as well as stimulate OTT subscriptions, Ueno adds. Nippon TV and HJ Holdings (Hulu in Japan) co-own the Japanese format, keeping all rights, including distribution rights to Asian territories. Red Arrow International holds distribution rights elsewhere. HJ Holdings’ chief content officer Kazufumi Nagasawa says the platform will be upping international content alongside its fledgling original slate, and will also be “collaborating with the terrestrial broadcast business to maximise each show’s value”.

Genre: Cooking show Broadcast on: Star Plus, India Date: 26 Jan-4 April 2015 Slot: Monday-Saturday, 10.30pm Produced: Colosceum Media, India

MasterChef Indonesia season 4

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

MasterChef Korea season 4 Genre: Cooking show Broadcast on: Olive TV Date: Q4 2015, 13x60 mins Produced by: CJ

Genre: Game show Broadcast on: MRTV4/Channel 7, Myanmar Date: Ended 30 April 2015 Slot: Mondays-Fridays, 5pm-6pm Produced by: Forever BEC-Tero Rights owner: Endemol Shine Group

Junior Minute to Win It Thailand season 2

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

Mom Vote For Me! China

Genre: Cooking show Broadcast on: MRTV4 Date: Late 2015, 20 episodes Produced by: BecTero

Genre: Singing talent competition Broadcast: To be announced Date: 2015 Time slot: Access prime Produced by: Beijing Enlight Media Distributed by: Global Agency

MasterChef Vietnam season 3

The Money Drop Thailand 2

MasterChef Myanmar season 1

Genre: Game show Broadcast: VTV3, Saturday, 8pm Date: 5 Sept-12 Dec 2015 Produced by: BHD

Merciless

Genre: Game show Broadcast on: BBTV 7, Thailand Date: January-December 2015 Slot: Sat/Sun, 5.30pm-6pm Rights owner: Endemol Shine Group Produced: Zense Entertainment Genre: Drama/psycho thriller Broadcast on: EPG Korea

issue four, october 2015

Minute to Win It Myanmar

ELECTUSC INTERNATIONAL NTENT ASIA 43

ELECTUS INTERNATIONAL FOOD FIGHTERS S1: 8x60, S2: 10x60 for NBC JANE THE VIRGIN(format) S1: 22x60, S2: 22x60 for CW

My Ghost Story Asia season 3

Genre: Paranormal show Broadcast on: CI Date: Premiering 7 October 2015 Length: 6 episodes x 30 minutes Commissioned in Asia by: A+E Networks Asia Produced by: Red Communications Sdn Bhd, Malaysia

My Little Television

Genre: Reality competition Broadcast on: MBC Date: Premiered 25 April 2015 Slot: Saturdays, 11.15pm-12.15am Created by/owned: MBC Korea

Genre: DJ, singing talent contest Broadcast on: Net TV Date: Premieres 5 Sept 2015 Time slot: 9pm-11pm Commissioned by: Net TV Produced by: MVP and Net TV Created by: Rahul Sarangi, Greymatter Entertainment Distributed by: Global Agency Rights owner: Greymatter Entertainment, Global Agency distribute for GME

The Remix Vietnam

BELLATOR 2015: 16 Events Per Year, Specials TBD + Back Catalogand Previous Tournament Seasons for Spike Come and see us at R8.B18

FOOD FIGHTERS S1: 8x60, S2: 10x60 for NBC

My Mom Cooks Better Than Yours Genre: Game show Broadcast on: ANTV Date: Premiered on 1 August 2015 Time slot: Weekends, 10am Commissioned in Asia by: ANTV Producer: FremantleMedia, ANTV Rights: FremantleMedia, Mandarina

Nat Geo Covershot – Maximum City Genre: Reality, photo contest Channel: National Geographic Date: 31 Jan-1 Feb 2015, 8pm Commissioned by: Nat Geo Produced by: FremantleMedia India

Opening Act, Indonesia

Genre: Singing reality show Broadcast on: Net TV. No further details as of August 2015 Rights owner: NBCUniversal Int’l

Photo Face-Off 2

Genre: Reality competition Broadcast on: History Asia Date: Sept-Nov 2015 Producer: Beach House Pictures Rights owner: A+E Networks Asia

Real Men season 2

Genre: Reality/comedy Broadcast on: Hunan TV China Date: Premiered 8 March 2015 Slot: Sundays, 4.50pm-6.20pm Commissioned/produced by: Hunan TV, China Created/rights: MBC, Korea

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

Sabotage

Genre: Reality show Broadcast on: VTV3 Date: 2 May-1Aug 2015, 8pm Produced by: Cattiensa Rights owner: Talpa

JANE THE VIRGIN

(format)

S1: 22x60, S2: 22x60 for CW

Scars of Life (Tujhse Naraaz Nahin Zindagi)

Genre: Fiction, social consciousness Broadcast on: &TV Date: 7 March-26 July 2015 Slot: Weekends, 10pm-11pm Produced: FremantleMedia India Rights owner: FremantleMedia

Sing My Song Vietnam

The Remix Indonesia Genre: Studio song contest Broadcast on: VTV 3, Vietnam Date: early 2016 Produced by: Cattiensa Media Original created in: China, Star China/Starry Production

BELLATOR 2015: 16 Events Per Year, Specials TBD + Back Catalog and Previous Tournament Seasons for Spike

Come and see us at

R8.B18

issue four, october 2015

formatsupdate

NTENT ASIA

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: Zense Entertainment Rights owner: Endemol Shine Group

Singer Takes It All, Thailand

Genre: Singing game show Broadcast: October 2015 Time slot: Weekly Produced by: Zense Entertainment Rights: Endemol Shine Group

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

Top Chef Indonesia 2

Genre: Reality cooking competition Broadcast on: SCTV Broadcast date: Late 2015, 5pm Commissioned by: SCTV Rights owner: NBCUniversal

Top Gear China 2 (颠覆拍档)

Strictly Come Dancing, India (Dancing Star 2)

Vietnam’s Next Top Model season 6 (Người Mẫu Việt Nam 2015) Vietnam’s Next Top Model (VNTM) continues to be part of the country’s enthusiastic embrace of foreign formats, including everything from a local version of Ugly Betty in the early days to today’s The Voice and Big Brother. Now in its sixth season, with a new logo and motto (Keep Moving) to boot, VNTM has gone from newbie to established franchise with production house Multimedia JSC for national free-TV broadcaster VTV’s VTV3 channel. Season six (10x60 mins; finale 90 mins) premiered Sunday, 2 August, at 8pm. Like season five, this season’s live finale (11 October 2015) will be held at Quan Khu 7 Stadium in Ho Chi Minh City. Costing US$100,000/episode and US$300,000 for the finale, VNTM is produced by a crew of 100 for each episode, with 100 additional crew members for audition and live finale episodes. Auditions for this year’s series increased from two to four areas, each of which saw over 1,000 applicants: Hanoi, Ho Chi Minh City, Da Nang (new) and Can Tho (new). Season one premiered in Vietnam in 2010 and ran to January 2011. Production house Multimedia JSC says changes have been made every season to keep the series fresh. For example, male models were introduced in season four, making “the competition more fierce and cut-throat than ever”, says Multimedia JSC owner/executive producer, Le Thi Quynh Trang. Season four supermodel, Pham Thanh Hang, is back in season six, and will also judge alongside designer Adrian Anh Tuan and photographer Samuel Hoang. This season is the first time the format includes a live fashion show (episode two) while revealing the top 14 via press conference 16 July. Season six’s top 14 includes a 1.9m aspiring model (the tallest girl in the history of VNTM), a doctor from an ethnic minority and a gay contestant. “Our aim is to present as many Vietnamese models to global designers, photographers, magazines, and prove that Vietnamese models also have what it takes to become international professional models... We also go beyond on air and work with local agency BeU Models & Talent Management to seek chances for the models to develop their modelling career in both local and international market,” Trang says.

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

Suits

Genre: Scripted Broadcast details: Commissioned in Korea but no further information available as of August 2015. Rights owner: NBCUniversal

Supernanny

Genre: Factual entertainment Broadcast on: Shanghai Dragon TV & iQIYI.com (in China) Date: Late 2015 Slot: Wed, 10pm-11.30pm, 10 eps Commissioned by: Dragon TV Produced by: Honyee Media Distributor in Asia: BBC Worldwide

Top Gear Korea series 6

Genre: Lifestyle Broadcast on: XTM Date: 4 Jan-15 Mar 2015 Slot: Sun, 10.50pm, 12 eps Produced by: CJ E&M

Ugly Betty, Thailand Genre: Reality Broadcast on: Anhui Satellite Date: Premiered 1 July 2015, 9.20pm Commissioned in Asia by: IPCN Produced by: 80 Entertainment Created by: Shed Media, U.K.

Take Me Out Thailand

Genre: Dating reality show Broadcast on: Channel 3 Date: Season 8 airing in 2015 Time slot: Sat, 2pm Produced by: TV Thunder Rights owner: FremantleMedia

Thailand’s Got Talent season 5

Genre: Drama/comedy Broadcast on: Thairath TV Date: 9 March 2015 Slot: 9.45pm-10.45pm Produced by: Kantana Group

Vietnam Idol season 6

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

Vietnam’s Next Top Model 5-6

Genre: Modelling reality show Broadcast on: VTV3 Broadcast date: S6 premiered 2 Aug 2015; live finale 11 Oct 2015. S5 finale aired 17 Jan 2015 Slot: Sun, 8pm Produced by: Multimedia JSC Rights owner: CBS Studios Int’l

The Voice Kids Cambodia

Genre: Singing talent contest

issue four, october 2015

sponsoredlisting

NTENT ASIA

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30th Annual Rock And Roll Hall Of Fame Induction Ceremony

2016 22nd Annual Screen Actors Guild Awards

HBO New! Episodes/Length: 1x180mins Genre: Music Special Raucous! Rowdy! Rebellious! Radical! It’s all Rock and Roll! The milestone 30th Annual Rock and Roll Hall of Fame Induction Ceremony honors the legends and pioneers of rock and roll, and included incredible musical performances from such artists as Ringo Starr, Paul McCartney, Green Day, Joan Jett, Fall Out Boy, Miley Cyrus, Stevie Wonder, Dave Grohl, John Legend, Beck, Gary Clark, Jr., Tommy James, Tom Morello, Joe Walsh, John Mayer, and more.

TNT/TBS New! Live! Sat., Jan. 30, 2016 Episodes/Length: 1x120mins Genre: Film Awards Special It’s a night filled with excitement, drama, laughter and surprises – not to mention entertainment’s biggest stars – as actors vote solely for actors in honoring the finest film and television performances of the year. Some of the evening’s winners included Eddie Redmayne (The Theory of Everything), Julianne Moore (Still Alice), J.K. Simmons (Whiplash), and Patricia Arquette (Boyhood).

Top 20 Funniest truTV 3rd Hit Season! Episodes/Length: 49x60mins Genre: Reality Series Comedic commentary charts the best viral videos, home movies, surveillance clips, event footage and news bloopers, as we count down to the week’s most hilarious video. From epic fails to agonizing falls, priceless pranks to bizarre blunders and so much more, TOP 20 FUNNIEST takes clip show comedy to a new extreme.

Date: 6 June-30 August 2015. Slot: Sat, 6.45pm Produced by: ABS-CBN

Rights owned by: Nippon TV Japan/Primeworks Studios Malaysia

Producer: Thairath TV/TV Thunder Asia/global rights: Armoza Formats

The Voice Vietnam season 3

Where Are We Going Dad? 3, China

The Winner Is...

Genre: Singing talent show Broadcast on: Zhejiang, 17 July-7 Oct 2015, Fridays, 9pm-11pm, 13x 90 mins Production house: Star China/ Starry Production

Genre: Singing talent show Broadcast on: VTV Date: 10 May-20 September 2015 Time slot: 9.15pm Produced by: Cattiensa Rights owner: Talpa

Genre: Reality, travel Broadcast on: Hunan TV Broadcast date: 10 July 2015 Slot: Fridays, 9pm Original created in: Korea Produced by: Hunan TV in-house Distributed in Asia by: Hunan TV, MBC

The Voice Kids China

Wall of Fame Vietnam season 1

Who’s Asking? India

Broadcast on: Hang Meas HDTV Broadcast details: TBC Produced by: Hang Meas Asia/global rights: Talpa

The Voice of China

Genre: Talent contest Broadcast on: Tudou China, 2015

The Voice India

Genre: Singing talent show Broadcast on: &TV/Zee Date/slot: 6 June-30 Aug 2015, 9pm Produced by: Endemol Shine

The Voice Kids 2, Philippines

Genre: Entertainment, contest Broadcast on: THVL1 Premiered: 5 May 2015, 9pm Produced by: Blue Ocean Rights: Endemol Shine Group

War of Money

Genre: Drama Broadcast on: Fuji TV, Japan Date: Premiered 6 Jan 2015 Slot: Tuesdays, 10pm-10.45pm Original created in: Korea Rights owner: Seoul Broadcasting System (SBS) Korea

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

Who’s Asking? Thailand

Genre: Singing talent contest Broadcast on: ABS-CBN

X Factor Indonesia season 2

Genre: Singing reality show Broadcast on: RCTI Premiere: 3 Apr 2015, Fri, 9pmmidnight Produced by: FremantleMedia/RCTI

Your Face Sounds Familiar Philippines

Genre: Entertainment Broadcast on: ABS-CBN Date: 14 March-7 June 2015, 8.30pm Rights owner: Endemol Shine Group

Your Face Sounds Familiar Thailand

Welcome to the Railworld Japan

Genre: Travel Broadcast on: 8TV, 15 Jan 2015 Slot: Thursdays, 9.30pm-10pm Produced by: Primeworks Studios

Genre: Singing game show Broadcast on: TV3 Date: 5 Apr-31 May 2015, 5pm Produced by: AP&J Rights owner: Talpa

Genre: Studio game show Broadcast on: Thairath TV Pate: Premiered 1 March 2015 Time slot: Saturdays, 4pm

Genre: Entertainment Broadcast on: BBTV 7 Date: 6 June-22 July 2015 No. of episodes: 12x75 mins Produced by: Zense Entertainment

issue four, october 2015

formatsupdate

NTENT ASIA

The Voice of China season 4

Sing Your Face Off Thailand The Thai version of talent show Sing Your Face Off breaks the ceiling on celebrity participants with a line-up of six famous Thai faces – Es Kantapong, Mac Verakhanit, Eaky Ekachai, Tubtim Anyarin, Grace Glanklaw and Bifern Pudsakorn. The 13-episode Thai version of Endemol Shine’s Your Face Sounds Familiar took six months of planning. The show premiered on 13 June 2015 and airs on terrestrial network Channel 7 Saturdays at 3.45pm. The final episode aired live on 19 September. The show cost about US$1.7 million to produce, less than half the budget of 2012’s US$4-million charity reality show Game Ne Ra Mit. Sing Your Face Off has no elimination and the weekly winners are judged by home viewers’ SMS votes. The weekly prize is THB100,000/ US$2,960 and the grand prize is THB1 million/US$29,604. Cash prizes won are donated to charity organisations, pre-selected by the celebrities. Varavuth Jentanakul, chief executive officer of production house Zense Entertainment, says the secret sauce is chemistry between the celebrities, four commentators and the host, plus the ability to compromise. “Many things had to be changed to suit Thai tastes,” he says. Other than changing the name, customisation for Thailand included changing the “weekly winner” to “most popular” performance of the week (to avoid labeling the celebrities as winners/losers) and renaming the season’s “winner” as “Sing Your Face Off of the Year”. The number of contestants was also reduced from eight to six (to fit into the 75-minute slot). The show’s signature transformations were perfected by sending molds back to the U.S. tor a team of Hollywood prosthetic professionals. Jentanakul says feature-film-quality special effects were deployed to deliver a sense of realism. Rating wise, the first episode garnered 2.2 TVR and the second episode on 22 June scored 2.4 TVR. The highest TVR recorded for an international format remake by Zense is 10.8 TVR for an episode of The Money Drop Thailand aired on 20 December last year. Is a second season on the cards? “Very likely,” Jentanakul says, adding: “But it all depends on audience response and overall ratings of this season”.

The return of Star China Media’s reality singing competition, The Voice of China, has topped ratings records in China. Season four (13x90 mins) premiered 17 July in Friday’s 9pm-11pm prime time slot on Zhejiang Satellite TV, filling the spot left by former Running Man format. The live finale will be held at China National Stadium, the “Bird Nest”, in Beijing on 7 October 2015. Star China Media put premiere ratings at 5.418% and share at 16.597% across the 50 cities measured, calling it the top rated entertainment show premiere ever on Chinese television. The performance of The Voice of China, a Chinese remake of Talpa’s original format, may allay fears that singing shows have had their day in China or that audiences have moved on to other nonstudio-based genres. Season four’s first episode rated 28% higher season three’s final, and was also higher than the finale of season two. The premiere’s rating also trumps previous premieres (season one: 1.48%; two: 3.52%; three: 4.16%). The primary audience is below 35 years old, which represents 24% of the overall audience. The Voice of China’s new season is also beating popular original production Where Are We Going Dad?, based on the Korean format. New special programme Secret Voice (Thursdays 10pm-11pm) plus another fresh arrangement (airing between the first run of the main episode every Friday and the repeat) have been added for behind-thescenes tidbits of the ongoing season four production. The production team, consisting of hundreds, includes chief director Jin Lei and deputy chief directors Shen Ning, Zhang Li and Wu Qunda. A season takes about six months to produce, costing RMB100 million/ US$156,253. The hardest part of production is finding talented candidates. The strategy this year is to attract more overseas Chinese participants. “We’ve covered most of the first, second and even third tier cities in China totalling about 50, which is 30% more than the previous three seasons,” says Iris Xia, deputy general manager, Star China Media. The easiest part is basic stage set-up, as they “... follow the original Voice stage design, lighting, and equipment settings for the standard requirements” Xia adds.

Formats profiles by Malena Amzah. Listings by Aqilah Yunus. Source: Distributors, production houses, channels. Updated 15 August 205

issue four, october 2015

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kidsdisney

NTENT ASIA

Shared values

Disney is moving into its Asia future with a Watch app update that will treble on-the-go content, a first-of-itskind music initiative, a never-done-before pop-up channel and a posse of strong local girls to lead the way.

Disney’s Watch app update is on its way to Asia

able for RM19.90 for a two-week subscription through Astro Best or Astro-

in the next few months, part of an ongoing au-

on-the-go.

dience engagement strategy that will give fans

There’s also the first co-operation between Disney Southeast Asia and

whatever they want whenever they want it in a

Universal Music Group on an album with local artists such as Anggun, Rai-

safe and secure environment.

sa, Noella and Regina. The album was released at the end of September.

While the team works on trebling the content

Natasha Malhotra, The Walt Disney Company Southeast Asia’s general

offered on the authenticated Watch app up-

manager, branded media and content, says the way forward is “not just

date, Disney’s

Southeast Asia bosses pushed

about putting content on TV and mobile and tablets, but also how we’re

the licensing envelope with the first-ever limited-

engaging with audiences”. This includes custom-made short-form con-

edition pop-up HD channel focused wholly and

tent, strategies for social and other digital platforms, and music platforms

totally on Star Wars.

such as Vevo, Spotify and iTunes.

The dedicated Star Wars channel rolled out in

These are exciting times, she says. “There are multiple platforms and

Malaysia in early September in partnership with

multiple ways for us to interact with our audiences around our stories and

Malaysian platform Astro and will run for two

characters,” she said during the ContentAsia Summit in Singapore in Sep-

months until the beginning of November. Star

tember.

Wars HD airs 27 hours of programming,

Audiences, she adds, “are playing our games on our gaming apps and

including five Star Wars features

on our websites, they’re participating in our events... So while this land-

– The Phantom Menace, At-

scape is challenging, and we’re all trying to navigate our way around

tack of the Clones, Revenge

it, kids and families are spending more time with our brands than ever

of the Sith, The Empire Strikes

before”.

Back and Return of the Jedi.

Like everyone, Malhotra expects change to continue as the digital fu-

The channel will also carry

ture unfolds. This includes the way success is defined and measured in

Star Wars documentaries;

the new world. “We’re probably not going to be seeing the ratings we

Lego Star Wars features

saw five years ago, and we don’t even know how reliable those will be

(The Padawan Menace,

because they don’t really express the total reach story. Technology is

The Empire Strikes Out),

moving so fast that measurement is not keeping up.”

the

(The

Television, she adds, retains an important role in the digital landscape.

Yoda Chronicles and

“We really believe that television is still a very important form of entertain-

Lego

Series

Yoda

ment in our region, it brings families together for a shared experience,”

and

she says. Against this backdrop, Disney continues to build channel brands

Star Wars Rebels

– Disney Channel, Disney XD, Disney Junior – into premium family enter-

season one. The

tainment destinations.

The

New

Chronicles),

channel is avail-

“This continues to be a priority for us, and really supplementing that with a host of products and digital services such as Disney On Demand, Disney Movies On Demand; our partners’ OTT services like Astro On the Go, Starhub’s TV Anywhere platform, Indovision’s TV Anywhere platform; and of course our own Watch apps,” she says. Local relevance is another priority. In Indonesia, for example, the current objective is “to build a locally relevant entertainment brand that kids and families will not only enjoy but also trust... the We Love Disney initia-

Natasha Malhotra, The Walt Disney Company Southeast Asia

issue four, october 2015

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tive was born with that in mind,” Malhotra says.

being all about glittering tiaras, beautiful dresses

The Indonesian project with Universal Music “celebrates incredibly

and true romance. “We’re really trying to break

talented local artists through Disney music... our timeless classics”. The

that stereotype and go back to a much more

Bahasa Indonesia album with iconic songs is part of a programme that

value-driven approach,” Malhotra says, pointing

includes consumer products, a concert, a live 90-minute TV show, and

to ﬁlms such as Brave and Tangled.

a host of social and digital content from music videos to behind-thescenes, making-of clips.

“We are inspiring kids to believe in themselves and follow their dreams and realise their fullest

While local acquisitions true to the Disney DNA can be difﬁcult to ﬁnd,

potential. It’s a much more value-driven ap-

at any one time Disney airs at least two or three shows out of Southeast

proach around strength and determination and

Asia. Including Japan and Korea, local content on the channel could

persistence and kindness and compassion,” she

rise to as much as 25%.

adds.

Local programming across the region is being stepped up in both ac-

The Asia application involves girls in Southeast

quisitions and co-development. New initiatives are being built on past

Asia who embody these values, including an

acquisitions of Asian animation, such as BoBoiBoy and Super Strikas from

award-winning go carter, a black-belt tae kwon

Malaysia and Rob the Robot from Singapore.

do and a surfer. Malhotra says these girls aren’t

“We’re really committed to nurturing the creative ecosystem and the animation production companies in our region,” Malhotra says. Among the productions in development is a long-form version of Oddbods with One Animation in Singapore. Oddbods, originally developed as

just wearing the clothes. “We could have taken the easy way out, we could have cast models, but we really wanted to ﬁnd kids, girls, from Southeast Asia, who really embodied these values”.

a short-form series, is scheduled to debut on Disney channels in early 2016

“This integrity makes the spot shine with some-

as a half-hour show. The theme is ﬁnding the funny side of life; “It’s got a

thing special,” she says, adding: “It’s one of my

lot of humour, it’s fun, it’s funny, it’s very heartwarming, and it’s full of opti-

favourite campaigns... not only as a woman but

mism. It has all the elements that we value at Disney,” Malhotra says.

as a mother of a three-year-old girl I think it’s really

Among these values is taking the Disney princess franchise beyond

important to bring these values into this franchise”.

issue four, october 2015

kidsturner

NTENT ASIA

Short and sweet

15-second shorts are giving Turner a whole new original production angle. Asia content boss, Mark Eyers, speaks about the dawning digital-first mindset developing alongside an ongoing commitment to long-form.

Exchange Student Zero

Come November, Turner adds a whole new digital

Australia earlier this year, offers kids access anywhere anytime with no

dimension to its regional Asia business. Alongside

paywall. The tablet version rolls out in Australia in November, along with

ambitions for kids in the region to interact with the

the Asia platform. “The whole principle is that it’s a different experience,”

Cartoon Network brand in a whole new way, the

Eyers says.

broadcaster is also layering a digital-first content

Among other things, CN Anything expands Turner’s content creation

creation commitment on top of its original long-

from hundreds of half-hour original shows over the years into a universe

form production slate.

of original 15-second micro-programmes that will sit on the site alongside

The launch of online platform, Cartoon Network

clips from existing shows. Eyers describes these shorts as “nugget-sized

(CN) Anything, across the region signals more than

pieces of entertainment, clearly on brand, that give us a very interesting

an additional branded platform, says Mark Eyers,

way to develop content”.

Turner International Asia Pacific’s chief content of-

The shorts run alongside ongoing investment in traditional content de-

ficer, kids networks. “What’s really changing for us is

velopment and could influence decisions on what gets made. “Everyone

a digital first direction,” Eyers told delegates at this

knows that we’re a very creator-driven studio. We look for artists with a de-

year’s ContentAsia Summit in September.

sign, with a show that’s in them, and we’re very storyboard-driven. That’s

CN Anything, which launched on mobile in

issue four, october 2015

all still true. What we’ve been able to do [with the micro shows] is to take

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kidsturner

NTENT ASIA

We have the same commitment to content development, but instead of doing maybe half a dozen or a dozen pilots in any given year, we can now take these little 15-second bets.” Mark Eyers, Turner International Asia Pacific

social space, it’s a lot easier,” Eyers says. The ideal micro-short has one or all of three key elements. “It wants you to watch it again. It may want you to interact with that character further. And it may want you to watch longer,” Eyers says. Micro-shorts will be produced in batches of about 20, which will be released strategically on CN Anything and may be scheduled on the linear channel and perhaps even on the authenticated Watch and Play app. Eyers says Turner is looking at producing “hundreds” of these shorts, which will be windowed across multiple platforms. CN Anything also takes Turner, potentially, into the ad-funded content space. “We can serve ads in this and we will,” Eyers says, adding that opportunities for sponsor-tie ups are already being explored. Micro-shorts budgets are comparable to rates for half-hour productions, Eyers says without disclosing exact amounts. As in the long-form content world, Cartoon Network will fund and own all rights to the shorts. So far, Turner hasn’t acquired any shorts. “We’ve been going through

more original content bets,” Eyers says.

the original development process, like we do on everything, so we have

The micro styles vary widely, and allow Turner to gauge audience response with the smallest

all rights,” Eyers says. The shorts, regardless of where they are made, may be shared globally.

possible investment. There is, for instance, Mighty

CN Anything will be customised and geo-filtered for Asia, and will, un-

Magiswords, which allows viewers to choose their

like the authenticated Watch and Play app, be free for everyone. “CN

sword, and a UGC-style short using images cre-

Anything sits in front of the pay wall. It’s a tool to introduce the brand and

ated by kids.

content to everyone,” Eyers says. Ideally, fans will follow their favourite

“This is a great way that we can test these ideas,

characters into the subscription world.

add some games, and see where it goes,” Eyers

Turner’s traditional kids legacy is not a disadvantage, Eyers says. Far from

says. “The great thing with that is it can go to two

it. “We own all our characters and original content”, which opens up a

minutes, then five, then, who knows, it could be a

trove of opportunity in the online space.

series,” he adds.

Turner’s digital-first approach also opens up a lot more opportunity for

The micro-shorts “allow us to explore far more

producers. “That’s exactly what we’re excited about,” Eyers says. “We

creators, and far more opportunities. And perhaps

still have the same commitment to development but instead of just only

the most interesting thing is if we do this digital first,

doing maybe half a dozen or a dozen pilots in any given year, now we

building a franchise first, we’re building an aware-

can take many of these little bets,” he adds.

ness of that property. If we go to a linear version,

Turner’s commitment to long-form production in Asia involves close to

there’s already an audience that will latch onto

100 half-hours across the region this year. About 15-20% of that will be for

it. If you’re launching a linear half-hour show from

regional distribution. Titles include movies such as Monster Beach and new

scratch, that takes a lot of marketing. When you

13-part series Exchange Student Zero, produced in Australia. Exchange

have a ready

Student Zero – the first “big commission” in Asia for global distribution – pre-

audience in

miered on 26 September. Eyers says four traditional series have premiered

the digital-

in Asia in the past 12 months. These are Clarence, Steven Universe, Uncle Grandpa and newest title We Bare Bears. Turner has also just greenlit a major animation project in Korea. The new co-production, Beat Monsters, is with Synergy Media and Studio Goindol. Beat Monsters (52x2 mins) is a comedy starring alien monsters from outer space on the lookout for the ultimate beat. The series is expected to air in late 2016 on Turner’s kids’ channels in Asia Pacific, including Cartoon Network, Boomerang and Toonami, as well as on Cartoon Network in EMEA.

issue four, october 2015

NTENT ASIA

Mighty Magiswords

“We’ve never had this amount of original animated content before,” he says, talking about a “renaissance in animation”. And, perhaps more importantly, “we’ve never had this amount of platforms to put different versions of it on,” he adds. “About five or seven years ago, there was a bit of a live-action trend in the kids space, which was thankfully short-lived. The power of animation is

We have never had this volume of animation before and also, perhaps more importantly, we’ve never had this amount of platforms to put different versions of it on.” Mark Eyers

that it crosses borders. It speaks to a lot more people,” Eyers says, adding that live action can be effective as part of a local strategy.

Watch and Play app ahead of the linear premiere.

“The fantastic thing with animation is that if you crack a great character-

“It’s a way to build awareness... And of course

led show, with obviously great storytelling, it will appeal to a far wider

we all know that when kids are watching televi-

audience and it’s far easier to localise, whether it’s dubbing or trans-

sion they’re also playing with mobile devices, so if

creation,” Eyers says.

you’ve got a branded experience that they can

Turner’s direct-to-consumer efforts with CN Anything work alongside the authenticated Watch and Play app launched in late 2013 in Asia, and currently available with pay-TV partners in Australia and Thailand.

do that at the same time, and play games and watch videos, it’s all the better,” he says. Availability across devices ties into “the whole

Eyers says while the challenges of integrating technical platforms are the

plural generation”, which wants to interact with

same as anywhere else in the industry “once that’s sorted out it’s actually

the content. “They want to see different aspects

a fantastic experience, because you’re enhancing the experience for

of the stories in different ways,” Eyers says, adding:

your affiliate, and you’re doing it through your own brand. Plus it’s a great

“So we can tell a story in 15 seconds completely

tool to actually launch shows”.

differently to two minutes that would be complete-

Building awareness underpins much of Turner’s efforts to spread the love across platforms. Eyers, for instance, talks about putting content on the

ly different to say an 11-minute or half-hour format. That’s what’s exciting at the moment.”

issue four, october 2015

onlinekids

NTENT ASIA

Hop, skip & jump

Kids platform, Hopster, is coming to Asia with an SVOD play deeply rooted in big-brand traditional video with a strong interactive angle. Founder/chief executive and former Viacom exec, Nick Walters, talks about keeping things safe, playing and learning, a new generation of content creators, and being a tech company ﬁrst.

Much has been said – some of it useful – about

on. He launched the app-based platform because, he says, conventional

children and their multi-device entertainment pref-

media struggles to get it right.

erences. But here’s a universal truth few dispute:

“There are a couple of interesting things happening in the industry,”

Kids who love Thomas the Tank Engine will love him

Walters told delegates at this year’s ContentAsia Summit in September. For

anywhere. Same with Madeline, Angelina Ballerina,

one, the debate over the extent to which audiences are shifting from linear

Paddington Bear, Max & Ruby, Babar, Pingu, Post-

TV to on-demand is, for the kids segment at least, “kind of over... It might

man Pat, Fiﬁ and the Flowertots...

take ﬁve years, it might take 10 years, but I think we know kids vastly prefer

Whatever its sparkly new tech-driven features, two-year-old kids service, Hopster, is deeply an-

Children, he adds, “like being able to control the pace at which they

chored in content that kids and parents have, for

watch, they like being able to go back to their favourite things, being able

decades, tuned in to. With a layer that leads them

to repeat view. As a parent, you much prefer to be able to leave your

into the digital promise.

child in a safe environment.” Nothing that kids channels and programmers

It’s this mix that former Viacom exec and Hopster founder/chief executive, Nicholas Walters, is betting

issue four, october 2015

watching on demand to watching on linear,” he says.

haven’t been saying forever. And then comes the digital kick. Given that “you know that kids are going

onlinekids

NTENT ASIA

We’re a technology company that makes a great product, which houses great content. But fundamentally we are a technology company.” Nick Walters, Hopster

we are credible”. That credibility is built on Hopster’s panel of educationalists, including two U.K. professors plus an educational research consultancy. “They vet pretty much everything that we do,” Walters says, adding that the curriculum that sits beneath the platform means that every show, game, experience – “everything that a child can do on Hopster” – fits into a specific framework. Hopster’s content is a mixed bag of kids genres. In the U.K., the service has licensed about 1,500 episodes, including high-profile award winners such as Thomas the Tank Engine, Ben and Holly’s Little Kingdom and Super Why!. Other shows, such as Swedish series Learn to Draw, are more explicitly educational. Hopster has also started acquiring content from Asia, including Aesop’s

to end up preferring to be in an on-demand world”,

Theatre and Wonderballs out of Korea. “We’ll keep adding content that

the choices then become all about creating and

we think is relevant,” Walters says.

shaping that world. What kind of world might that be? Walters says

Entertainment, DHX, Corus, eOne and Millimage. Content sustainability “is

the answer, for children at least, is not “content

the same for Hopster as it is for anyone who works with licensed content:

warehouses... big, 10,000 episodes of mixed kids

you have to be doing a good job with the content, you have to give it a

and movies and other things”.

good home, you need to be providing a nice environment around it, and

“It’s partly about safety, about wanting to know

you need to be paying people a fair amount,” Walters says.

that you’re in an area where the only content

And then there’s the world of non-traditional content creators. “In many

that you are going to ﬁnd is appropriate for a pre-

countries, our top two or three ranking titles originated on YouTube. And that

schooler,” he says.

really shows the extent to which the right thing in the right context at the

Specialisation is a hallmark of the on-demand

right time [works]... it doesn’t have to cost millions to make,” he adds.

world, where “you can do things that parents and

Hopster creates all its own games and builds all the interactivity. “Increas-

families really care about. And an obvious part of

ingly what we’re doing with our interactivity is trying to break down the

that, for us, is saying, well why does an SVOD service

barrier between a video and a game. So you’re seeing our games making

just have to be about video? Why can’t it be about

more use of animation. All that sort of stuff we do ourselves”.

other things that kids love? And why can’t we use

The platform hasn’t made any of its own conventional video entertain-

games and interactivity to make the experience

ment for the digital platform – for now. Walters says Hopster, like the rest of

more active and stimulating and better for kids?

the content industry, will probably move in that direction, with a new (and

That led us down the path of building Hopster.”

different) generation of content creators.

At the same time, he acknowledges that linear channels remain relevant today.

issue four, october 2015

The platform currently works with six kids distributors: DreamWorks, Hit

“The ‘professional’ kids industry has been a little bit slow to embrace digital platforms as a place for original content; they’ve been very quick to

“Linear is where the majority of kids TV viewing

re-license content to VOD platforms. It’s a new generation, or a different

still happens. Do I think they’ll still be relevant in 10

generation, of creators who’ve started creating for YouTube and digital

years time? No, I don’t... I think that ship is sailing,”

platforms, but as we’re starting to see more and more good ideas coming

he says.

through, yeah, I think we’ll do more of that,” Walters says.

Walters started working on Hopster – an app for

The move into Asia this year is part of a 100-country expansion for Hopster,

phones, tablets and/or connected TV sets – full time

which launched in the U.K. at the end of 2013 and is now the top gross-

two or three years ago. “We’re 100% kids and 100%

ing iOS app for kids in the U.K. The iOS app launched globally in June. The

pre-school, that’s all we do, pre-school video and

Android and connected TV versions will follow, along with teams on the

learning for connected devices,” he says.

ground in various regions, including Asia.

He stresses that Hopster is not a classroom

Walters says Hopster’s challenges are the same those faced by everyone

product. “We are a play and learning service... I

else in the online/on-the-go universe, including payment processes/billing/

wouldn’t recommend that you put Hopster in a

digital wallet integration and providing smooth streaming experiences one

classroom and give it to kids and say that’s the only

territory at a time. Although it’s generally becoming easier, “all of those

way you learn. We are about taking the time that

are real issues, and we have to deal with them as much as anyone else,”

kids do spend watching TV and trying to make that

he says, adding that the “arc of technology is long, but it bends towards

time better. And when we do that it’s important that

universal connectivity”.

NTENT ASIA

Hopster’s revenue model is pure subscription. An ad-free service is, he says, “an important part of what makes us different from a conventional kids TV channel”. In the U.K., Hopster costs a standard £3.99/US$6, which will for the moment be applied globally. That will change by the end of this year, Walters says. “We’ve just begun experimenting around that, so in a couple of markets we’ve now cut pricing quite sharply and we’re going to be looking at some different models,” he says. The content strategy for the global roll out is “about going deep in each of those countries”, Walters says. This includes more interactivity associated with the TV shows. One of the new tools encourages kids to be creative and create their own drawings and animation by pulling images from the TV show they’re watching and using those as a starting point for a creative journey. “So rather than just have a blank piece of paper, which kids often ﬁnd quite intimidating, we say, ‘hey you just saw Thomas the Tank Engine, now you can draw your own tank engine’,” Walters says. “You’re going to see us do more and more things where we integrate games into the TV experience, so there’s this kind of natural ﬂow between a video and a game and back,” he adds.

Hopster shares data with content providers month-

Hopster licenses online content from creators rather than integrating the

ly; “everything we have we share” in a way that is

YouTube player into its own platform. “We don’t do that for two reasons. The

comprehensible, Walter says. He also talks about

ﬁrst is that we don’t want YouTube to drop an ad in there without us knowing

“deep dives” that offer more comprehensive ana-

about it, and secondly we want to have content available for download

lytics about the people who liked a show and what

as well, and we can’t do that from YouTube. So we always go back to the

else they liked, about the average ages of users and

creator and re-license it,” he says.

where they come from, “and not just how many

The relationship with existing pay-TV operators and platforms is a work in progress. “Across the world, you’re seeing more and more pay-TV platforms

views they got last month... that’s a level of insight they don’t get from some other SVOD providers”.

starting to integrate OTT [into their offerings]... Kids have always obviously

Data informs Hopster’s new content selection as

been a big part of the story for pay-TV operators, and I think as you start to

well as the gaming experience. “We’ve just licensed

see kids specialist OTT players like us rolling out, you’re going to see more

a whole bunch more music content, because we

and more opportunities for us to ﬁnd interesting ways to work with pay-TV

saw how strongly music was performing,” Walters

operators and telcos,” he adds.

says, describing review and adjustment as a “con-

Walters says market experience has showed that “it’s really tough to

stant process”.

do this yourself as a content owner”. Few have tried to create their own

Walters says the easy-out subscription experience

thematic SVOD services for kids “and have discovered that it takes a lot

is a “market expectation” – a hygiene factor for

more than just great content... If there ever was a question around whether

on-demand platforms – by now. “If you make it

the market needs specialist players like us to do these kind of things, I think

really easy to unsubscribe, it builds conﬁdence in

there’s a general recognition now that we do, so that’s helpful.”

people to come back and re-subscribe. Whereas,

At heart, Walters says, Hopster is a technology company. “We’re a tech-

if you subscribe and it’s a nightmare to unsubscribe,

nology company that makes a great product, which houses great content.

you’re probably never going to come back and

But fundamentally we’re a technology company”.

re-subscribe,” he says.

“A lot of content owners – and this applies to kids, but it applies to other

This easy-unsubscribe process can, he adds, work

places as well – think, ‘well, we have great shows, we can get an agency

to a provider’s advantage. “We offer most of our

to build us an app and we can plug in a video player and hey presto we’ll

content available for download. So we have loads

have an SVOD service’. And it doesn’t really work. You might get a little bit

of usage around holidays, because kids and families

of initial discovery, but unless you’re good at the data side, unless you’re

want to pack Hopster to take with them... Sometimes

good at the payment side, unless you’re good at the UI side, unless you’re

they unsubscribe when they get back from holiday,

really thinking deeply about how you get video and interactivity to work,

and that’s ok, because if they’ve had a really good

unless you’re dealing with all the challenges that actually go into running

experience, they’ll probably come back and re-

an end-to-end technology stack, you’re not going to be very good at it. It

subscribe at their next holiday. So I think if you do it

takes money, and it takes investment, and it takes skills,” Walters says.

well, it can actually play to your advantage” .

issue four, october 2015

innumbers

NTENT ASIA

numbers

Philippines: TV viewing habits Source: Media Partners Asia

TV sets reign in Jakarta & Manila, smartphones top Thai viewing, MPA research shows TV sets rule in Jakarta and Manila, but smartphones have become the main viewing screen for viewers in Bangkok, according to Media Partners Asia’s (MPA) new consumer insights survey results across greater Bangkok, greater Jakarta and metro Manila. About 11% of Indonesian viewers still watch TV via old-style CRT sets, and only 4% use mobile as their primary viewing device, MPA says.

Philippines: Pay-TV preferences

In contrast, 50% of consumers in Manila and 84% in Bangkok watch TV on their smartphones. “In greater Bangkok, people spend a lot more time on the BTS and in public transport and therefore a lot of the consumption is happening on phones,” says MPA vice president Aravind Venugopal. Daily viewing of two to three hours is similar in the three markets. Another constant across Manila and Jakarta is the percentage of consumers who subscribe to pay-TV – 71% in Manila, 75% in Jakarta. The number is much lower – 35% – in Bangkok. While 4% of Bangkok respondents have had pay-TV at some point and unsubscribed, the majority had never subscribed to pay-TV. A slightly higher 7% in Manila once had but have now dropped pay-TV services. In all three urban centres, the top 10 channels preferences included a mix of pay-TV and freeto-air. English-language channels were more prevalent across the top 10 channels in Manila than elsewhere. Venugopal attributes this to Manila’s more cosmopolitan population. Consumers in the three centres repeated the same main value propositions considered in buying pay-TV: programming variety, affordability, customer service. “Customer service is something that operators need to focus on a lot more rather than paying lip service to... I think that’s something that’s probably one of the big takeaways in all three markets.”

issue four, october 2015

Philippines: TV channel preferences

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