ContentAsia October 2016

ISSUE FOUR 2016

20 10 16 Celebrating

The Big Switch Formats in Asia

Our Big Fat Engagement Party Industry leaders talk about engagement

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PLUS: FOX Networks Group’s Cora Yim, Turner’s Tuzki @ the movies & Smithsonian in Asia

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editor’snote

Pipedreams&painmanagement In a room full of men with pipe, it doesn’t take long for smoke and heated

Issues in this space include billions of dollars of installed hardware and

argument to thicken the air. The issue, for many, is filling all that glorious

systems, many of which do not talk to each other; free-flowing tech ven-

broadband capacity. Do they care what they’re filling it with? Some do.

dors promising magic and a solution to all woes; a festival of conflicting

Others, not so much.

interests; and an understandable reluctance by industry leaders to green

Should they care? Absolutely not, say many (most?) telcos with lots of

light major change when they don’t actually know for sure where the next

capacity to sell and a burgeoning universe of buyers. “No matter what ser-

tsunami of disruption is going to come from. And then there are the data

vice you can think of going forward, almost all will rely on broadband. So

access and affordability issues all across Asia.

we win no matter what,” Telekom Malaysia’s chief strategy officer, Dr Farid Mohamed Sani, told delegates at the first APOS l Tech in Hangzhou, China.

Wrong, you totally should care, say many in the content community,

Opinions about set-top boxes, drives, clouds, TV set manufacturers’ involvement, and ways to get consumers to push the right buttons are just as heated as any other

eager to put forward a case where the content proposition is a robust

hot-button issues ripping through the industry

contributor to keeping that monthly money coming.

right now.

But Sani, like many others with service-whiplash, has “given up thinking

Whatever the conflicts, the consensus seems

what service will come next. “The more fundamental question for me is

to be that there should be as few buttons

how do I serve the common denominator across all services, which is that

as possible between consumers and what

I need to be available all the time everywhere,” he adds.

they’re willing to pay for; that the new

In between are differences of opinion on the strategic value of being a

video world entails a seamless mix of lin-

gigantic dumb pipe, what exactly constitutes a quality content proposi-

ear and on-demand with the focus on

tion, discussion on how involved telcos and broadband providers should

getting viewers to what they want with

be in curating content, an exploding universe of companies willing to do

minimal effort; that effectively managing

whatever it takes (some call it dropping their pants/others describe it as

big data is critical; that the end-to-end

being infinitely smart) for access to well-established and efficient billing

process should be dead easy; and how

relationships with billions of customers...

wickedly painful it is to get to painless.

Pipe-talk not exactly a new issue. But the just-how-dumb-should-our-

Oh, and that the customer actually

pipe-be discussion has taken a furious turn with, among other things, tel-

doesn’t care about your problems. It’s

cos’ blossoming romance with OTT/SVOD platforms that only want access

simple or bust. Simple really.

to capacity and billing relationships; that neither want nor need help on the content side, which they can do very well themselves thank you very much; and are happy to talk whatever-terms just to get in the door.

That’s not all. Between the pipe and the viewer are a million things that need to go right to ensure the user experience. And a million things that could go wrong.

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 Design Rae Yong

NTENT ASIA

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

What is ContentAsia?

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contentasia issue four, october 2016

The Biggest Battles are within

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contents...

what’s inside INquotes

#whosaidwhatwhen

10 ContentAsia Summit 2016 in Singapore #CAengaged

16 APOS l Tech in Hangzhou, China

Great content will be consumed across all platforms by different customer segments.”

Loke Kheng Tham PCCW Media

page 16

#APOStech

22

20

Cora Yim

originalsthinking FOX Networks Group Asia’s Chinese entertainment leader, Cora Yim, closes 2016 with her hands on the network’s biggest Asian titles ever, her heart set on an ambitious originals slate for 2017, and her eyes fixed on global distribution.

Tuzki the Movie

channels

production

The Smithsonian Channel has come out of N. America for the first time, adding an original mix of air, space, science, nature and culture to Asia’s linear landscape. Programming head, David Royle, talks about originals, authenticity and making history in Asia.

Tuzki is driving a new era of original content for Turner, with a theatrical film, a themed restaurant, and an ambitious licensing plan that takes the 10-year-old Chinese emoticon beyond WeChat for the first time.

26

Formats

TheBigShift Asia has more formats on air or commissioned in 2016 than ever before. But markets are shifting and the

24

35 GameOn The six-month old CJ E&M and Endemol Shine Group alliance is put to the test at MIPCOM 2016 with the debut of its first reallytruly-awesomely co-developed reality series, The Society Game.

mix is changing.

40

The Society Game

42 Research Kids

TV remains the most influential path to kids & their pocket money.

テレビは依然として、子どもたちと彼 らのお小遣いへのアプローチ手段と しては最有力メディアである。 それと 同時にオンライン利用もまた急速に 拡大しており、最近の調査では 「子ど もにとって好ましいもの」 に対する親 たちの認識の変化が見られる。

contentasia issue four, october 2016

フォーマット

ザ・ビッグ・シフト -

変化するアジアのフォーマット

2016年、 アジアでオンエア・権利販 売された番組フォーマット数は過去 最高を記録した。しかし、 そのが変 化している。 ジャニン・スタインが見 るとは。

44

50 made2measure

Wattpad、 その魅惑のストーリー ネット上の数 百万の小説 家や読者に とって、 スト ーリーテリ ングのあり方 はこの10年で Wattpadによって大 きく様変わりした。

Allen Lau

Indonesia has a soft spot for characters born in comics. India is hot on fantasy and crime drama, and Japan goes for crime procedurals...The possibilities of “measuring the ocean rather than the islands” are endless, Parrot Analytics’ chief executive, Wared Seger, says.

Here’s what else he showed at the ContentAsia Summit 2016.

6

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inquotes

#whosaidwhatwhen

@ The ContentAsia Summit 2016

PCCW Media Group’s managing director, Janice Lee, is spearheading change across the region in the way consumers engage with and consume digital content. A little under a year after she debuted the Viu OTT app with a jaw-dropping slate of first-run/exclusive Korean

We see the investment into [Hollywood studio] STX as a strategic move for us to have access to content for our own platforms, whether pay TV, free TV or OTT. This will give us exclusivity in certain markets.”

“Comedy and cricket work in India. [Local digital series] What the Duck is a combination of those… As we learn more from our data about what viewers want, our own creations will gravitate towards much more local rather than regional productions.”

“We started thinking about what do consumers want and what is the market gap.

We gravitated towards Asian content. At the moment it is Korean, Japanese and Taiwanese.

But we are introducing Chinese and Indian content in markets where viewers want those. We have also introduced Viu TV in Hong Kong, which is a freeTV service. And of course we are increasing our own production so you will see more Viu originals coming onto the service.

At the same time, we are starting to introduce more short form for people to consume on the go.”

On expanding Viu’s content offering beyond Korean drama

We are converting free users to paying subs quite well. In every market, we launch with a free layer followed by a subscription layer three to six months later. We are very focused on monetisation… the free layer allows us to get advertising revenue and to convert. In two markets where we launched ahead of others – Hong Kong (CSL) and Singapore (Singtel) – we are seeing good conversion. That has to do with two things: a price point relevant to the market and strong local partners that have helped to drive conversion.”

contentasia issue four, october 2016

rights, Lee returned to the ContentAsia Summit stage with tales straight from the free&SVOD OTT frontlines and a clear message that this is just the beginning. Here’s what else she told delegates in Singapore...

Every day has been a surprise… we are learning a lot very fast. Having the service out there live is the best way to learn about consumer behaviour and a whole new definition to what being locally relevant means. If you would have asked me a year ago, local relevance would have meant content that is relevant for the consumer, for viewers, and the next layer would be local languaging. If you ask me today, it goes beyond that. It is about a price point that is relevant for each of the markets we operate in. It may not be one global price point. Each market’s development for OTT subscriptions is quite different. Fast forward to launches in five markets, and being locally relevant means, even in this digital world, a local presence, a team on the ground, working with local partners and curating appropriately and being able to adapt the product to the technology and bandwidth that is available.”

Janice Lee, Managing Director, PCCW Media, talking about the regional roll out of OTT service Viu since October 2015

10

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inquotes

Our priority for Viu in the next 12 months is engagement. Having the service launched in the market is one thing, being able to build a successful business in each of the markets is where we are going to be focusing the most... this is just the beginning. There is so much more to be done to make this a true success.”

“Billing is hugely important. We tend to work with the largest mobile operator in each market, which is important because they have the largest number of billing relationships. In some markets, not having that relationship is not an option.

If we don’t have a telco partner, it is very difficult to collect payment because credit card penetration is low.”

“We have to be very careful about how we price in each of our markets with the backdrop of data costs in mind.”

“Having self-produced content and short-form also keeps consumers coming back... We want to have consistency and to build viewership behaviour not just based on title popularity... Descendants of the Sun had historically high viewership, but that doesn’t happen every month, or even every quarter... we are aiming for consistent recurring viewership. Having short-form content does a lot to help that.”

The download option is important for two reasons: as a differentiator from the free service and, in places where mobile bandwidth is not ubiquitous, it enhances the consumer experience. In bandwidth-abundant markets, the download option conserves data.

Consumers are conscious of the total cost to them. We have to be conscious that pricing is more than our product cost. Data is part of that.

Having the download option makes the product much more accessible to consumers.”

On the importance of Viu’s download-to-go option, which gives paying subscribers unlimited downloads stored for seven days. Free users have limited downloads.

“Simulcast current series [on Viu at the same time as in Korea] are most popular. Korean content and Asian content is very popular across Asia, but [before Viu] there was no legal service offering this. We converted a lot of illegal eyeballs to legal, so that is hugely important.”

Usage is quite consistent across Southeast Asia... Viewers are watching about 10.5 videos a week, about 1.2 hours to 1.9 hours a day. Apart from just looking at the number of downloads of the app or monthly active users, it is starting to become very important how sticky our customers are to the product. These are the things we are driving towards. We could have a lot of app downloads but it’s important to have people come back repeatedly. Having serial products helps.”

“The complexity of Japanese content rights makes it difficult to get the content out quickly. Sometimes they have to replace the music and that widens the gap on how fast we can offer the content to viewers.

That is reflected in the popularity of Korean content.

In recent years, Korea has been much more flexible with rights. We are able to get it to viewers within four hours, and some programmes are actually going out on Viu within a half hour of the Korean telecast. We pushed for that because in order to close the gap on piracy we have to have it out as soon as possible.

Historically it used to be two or three months.”

“There’s enough room for multiple players in the OTT market as well as for linear channels.

I see Viu as less about only Korean content, or having the fastest content, or the exclusive window. We are rounding out the offering with more self-produced content and fan-based content, focusing more on celebrity content and celebrity news... Those are the things that take us beyond ‘who has which piece of content’ and just comparing title by title.”

On ensuring Viu’s differentiation from linear channels such as ONE from Sony Pictures Television Networks and Oh!K from Turner

More from the ContentAsia Summit at www.contentasia.tv & www.contentasiasummit.com contentasia issue four, october 2016

12

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inquotes

@ APOS l Tech Media Partners Asia’s (MPA) inaugural APOS l Tech event wrapped in the mainland Chinese city of Hangzhou at the end of September with a high focus on the customer experience, how to manage (or not) consumer expectations, real consumption and take up across platforms (compared to perceived consumption based on noise/PR), the role of linear channels in the evolving video world, ways to deal with affordability issues across demographic groups, and operator opinions on who gets to use their broadband pipes.

“Great content will be consumed across all the platforms by different customer segments.”

Loke Kheng Tham, Executive Vice President, Pay TV, PCCW Media, speaking about the rise of on-demand video consumption. Tham said as a rule of thumb, 25% of consumption of a piece of content was watched in a non-linear way. But some could go up to 80%, “depending on what it is”.

AI helps make video content more profitable by driving audience engagement at scale.”

Oliver Tan, Co-founder and CEO, ViSenze, talking about the relationship between artificial intelligence (AI) and video. Tan outlined the “massive problem” of processing all the data available to platforms today. He said content was becoming “inseparable from commerce” and that “the road to e-commerce is paved with content”. “An online shopper is an engaged audience-in-waiting,” Tan added.

He also talked about a pilot with streaming platform Viki.com to auto-find “shoppable” content in entertainment/video. Click through rates were 8%-9%, he added.

contentasia issue four, october 2016

“Linear is a good way of discovery… I’m not fussed how people access [video].

We provide great content in any way they want to consume it… it’s really different usage behaviour for different segments and different parts of life.”

Loke Kheng Tham, Executive Vice President, Pay TV, PCCW Media, answering a question on whether the linear channels business had become mostly a marketing tool in the broader video environment.

MPA says media and telecom operators in Asia are “at a critical crossroads amidst changes in CPE technology, the evolution of broadband, technology consolidation and the emergence of onine video”. The question, says MPA executive director Vivek Couto, “is how operators are gearing to address these challenges with new and existing products”.

Here’s what else delegates heard...

The idea of OTT as an either/ or is dead.”

Brian Lenz, CEO, Far & Wide

“People want less pain… the customer never cares about how hard it is for you to do what you said you were going to do.”

Brian Lenz, CEO, Far & Wide & Astro Malaysia’s former Chief Innovation Officer, on the customer experience with video and the complexity of delivering it.

Don’t make it difficult for the consumer to enjoy themselves.”

Richard Dowling, Vice President, Products, ThinkAnalytics, on the benefits of data sharing. The panel also heard that fears of exposing metadata to competitors were misguided. “What’s good for customer is good for business”.

“Once you get to a billion minutes a day, you’re talking about a real business.”

Varun Narang, Senior Vice President and Head of Product, Hotstar. He added that Hotstar’s goal was to get to a billion minutes a day, up from today’s hundreds of millions.

India’s top 10 cities are driving the bulk of Hotstar’s usage at the moment.

“The world’s leading services have built dominant positions without any metadata.”

Varun Narang, Senior Vice President and Head of Product, Hotstar India. Talking about personalisation, Narang said Hotstar tracked “pretty much everything you can imagine... and we remember it forever”.

16

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inquotes

“We are creating a content story for our customers regardless of access methods.”

Daniel Horan, Senior Advisor, Consumer Business, Globe Telecom Philippines, talking about expanding the Philippines’ telco’s business and brand.

No matter what service you can think of going forward, almost all will rely on broadband. So we win no matter what.”

“Broadband is being demanded as a natural human right, as available as air.”

Dr Farid Mohamed Sani, Chief Strategy Officer, Telekom Malaysia

“Money has no smell, no colour. Even if it comes from our competitors, we should take it.”

Thomas Ee, Executive Vice Chairman, Taiwan Broadband Communications (TBC). Ee said TBC’s approach was that “we should open up our box, make it a gateway [for a range of services, including Netflix], rather than a box we are forcing into homes”.

“Singapore millenials are not consuming factual.”

Aravind Venugopal, Vice President, Media Partners Asia (MPA), presenting some of the the findings from MPA’s new consumer survey.

contentasia issue four, october 2016

To me the big idea is that there is no big idea. It’s hundreds of small ideas executed well.”

“The consumer is much happier not pressing multiple buttons.

When a customer calls [Videocon d2h], they talk to a real person.”

Himanshu Patil, Chief Operating Officer, Videocon d2h India

“Everyone is preparing for the final battle, fighting for capital & capabilities.”

Wang Jianer, Chairman, Wasu Group China, talking about the all-out war between China’s big three online video platforms.

Wang predicted two platforms in China in three years, and said that “at this moment, it’s about who can win more users and quality content”. He added that content costs in China had gone “way beyond our expectations”.

Korean drama Descendants of the Sun, for example, fetched more than RMB7 million/US$1 million per episode. For most operators, this was a “hefty price tag” that was putting tremendous pressure on traditional television operators, including state-owned broadcasters.

In the end, we are not here to sell, we just help people to buy.”

Harit Nagpal, Managing Director and Chief Executive, Tata Sky India

“Customercentricity does not happen if it is not led by the CEO.” Harit Nagpal, Managing Director and Chief Executive, Tata Sky. Nagpal said the platform’s customercentricity was “driven by fear and paranoia”. He pointed to Nokia as an example of what could happen.

“We stand ready for collaboration.”

Wang Jianer, Chairman, Wasu Group (China), backing a strong message for partnerships of all kinds, “whether it’s content or tech or product”.

Wang said in the next three years the group would “make significant partnerships”.

“We only believe in one religion – win the HDMI-1 [slot] or don’t play.

We would exchange 20 widgetbased customers for one HDMI-1 relationship.”

Scott Lorson Chief Executive Officer, Fetch TV

18

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interview

originalsthinking FOX Networks Group Asia’s Chinese entertainment leader, Cora Yim, closes 2016 with her hands on the network’s biggest Asian titles ever, her heart set on an ambitious originals slate for 2017, and her eyes fixed on global distribution.

Cora Yim has a date with a vampire, a heart full of royal love, an eye on

original ambitions is the mismatch

a Korean princess and a ticket for a train to Busan with a stop at Seoul

between mainland China de-

station. The vision, says FOX Networks Group (FNG) Asia’s senior vice presi-

mand and production tal-

dent, Chinese Entertainment, is “being the destination for premium Chi-

ent. Yim says there is “defi-

nese content”. The vision’s extension is to deliver premium Chinese con-

nitely” not enough talent

tent to global audiences. “FNG is becoming a bridge between China and

to drive the boom. Po-

the world,” Yim says.

litical tension between

Driving the domestic Asian programming agenda for a group at the

China and Korea over

height of its original content power after 25 years in the region, Yim is also

a new missile defence

tapping Korea’s IP power, with shows such as Go Princess Go, a 2015 Chi-

shield is expected to

nese time travel web/gender identity series, created by China’s LeEco

take a further toll.

and being adapted for Korea with production house V Plus.

This is in addition to the acquisition in September of first and exclusive Sin-

Yim says she

is tap-

ping U.S. and European

gapore rights to three record-breaking Korean box office hits – The Wailing,

scriptwriters and leverag-

the animated Seoul Station and train-bound zombie thriller Train to Busan

ing FNG relationships to

– from Clover Films for STAR Chinese Movies (SCM).

drive new projects. “We’re

And she’s pushing the syndication envelope, negotiating, for example,

trying to use FNG worldwide

exclusive global rights (outside of China) to US$50+-million epic period se-

resources and partners to help

ries, Ruyi’s Royal Love in the Palace, from mainland Chinese production

our Chinese content business,”

house New Classics Media (NCM).

she says, adding: “We are mixing

Yim beat out fierce competition for the Ruyi deal, said by insiders after

our skill sets and resources because we

the June announcement to be possibly the biggest bet FNG has made on

see Chinese and Korean will dominate

Chinese content ever. Supporters said at the time that it underlined the

Asian

network’s confidence in premium mainland content.

content”.

channels

and

The 90-episode Ruyi’s Royal Love in the Palace, a sequel to 2011’s Empresses in the Palace, was FNG’s first epic period drama acquisition for markets outside China. Previous TV/film deals with NCM have been contemporary titles Tiger Mom, May December Love 2, Go Lala Go 2 and Meet Miss Anxiety. The series, which started production in August, will air on FNG’s flagship general entertainment service, STAR Chinese Channel; in China, the show will air on Dragon TV and Jiangsu TV and stream on Tencent.

FNG’s original content slate includes sci-fi comedy series, My Date with a Vampire, a remake of the 1998 cult classic acquired last year from defunct Hong Kong broadcaster Asia Television (ATV). Rights were part of an 840hour drama acquisition from the desperate-for-cash network.

While Chinese drama budgets and production values can now equal those of U.S./Hollywood series, a challenge in executing her

Cora Yim

contentasia issue four, october 2016

20

MIPCOM Stand R7.D32

www.hasbrostudios.com

MIPCOM Stand R7.D32 www.hasbrostudios.com

Transformers robots in Disguise My Little Pony Friendship in Magic Blazing Team My Little Pony Equestria Girls Transformers Rescue Bots

© 2016 Hasbro Studios. All Rights Reserved.

xxplsfillthexxStrap... productionturner

Tuzki the Movie

Rabbit run Tuzki is driving a new era of original content for Turner, with a theatrical film, a themed restaurant, and an ambitious licensing plan that takes the 10-year-old emoticon beyond WeChat for the first time.

Turner’s Asia Pacific president, Ricky Ow, is taking the media brand

CGI and live-action content. Production is expected to

in a whole new direction, adding Turner’s first-ever theatrical film to

begin in 2017, with a likely China release in 2018. Ten-

his portfolio and riding ambitious plans by China’s Tencent to boost

cent Pictures leads production and distribution. Turner

original production.

will drive the 360-degree licensing efforts, which include

The vehicle is the 10-year-old Turner-owned emoticon, Tuzki, made famous in China on Tencent-owned instant messaging platform WeChat and widely recognised as home-grown Chinese.

WeChat has more than 800 million monthly active users.

Created by Momo Wang in 2006 for Turner way before his time, Ow brought the rights back into the fold

consumer products, live experiences and family entertainment centres.

The Tuzki feature film is part of Tencent’s slate of 20 film and television projects announced during Tencent Pictures’ first birthday in September.

The broad strategy is “pan-entertainment” IP de-

and is now working the rabbit as hard as he can.

velopment, and the key elements are “youth”,

This year’s power push includes a Tuzki-branded

“unique”, “high-quality” and “connection”, Tencent

restaurant, which opened in Shanghai in April this

Pictures’ CEO Edward Cheng says.

year. Sports-themed exhibition, The World of Tuz-

Among these are IP development with David S.

ki: Summer Sports Gala, opened at the Galaxy

Goyer, screenwriter of the Dark Night trilogy; Kong:

Macau this year.

Skull Island, a new collaboration with Legendary

The theatrical film, which takes Tuzki beyond

Pictures following the success of Warcraft ear-

mobile chat and animated shorts for the first

lier this year; Koseidon with Japanese producer

time, is being co-developed with Shanghai Ten-

Takashige Ichise; and The Tibet Code, a TV series

cent Pictures Culture Media Co. The film will fuse

based on He Ma’s fantasy adventure novels.

contentasia issue four, october 2016

Ricky Ow

22

Game On!

GAME ON! Winning formats from zodiac rights

ALL AGAINST 1

WINNING FORMATS FROM ZODIAK RIGHTS Live interactive game show

Huge success for DR1 (Denmark) achieving a 52% share in its debut season

SUPERSTAR DING DONG An original and fun musical game show A long-running hit on CCTV3 (China) and airing on TV3 (Ireland) and TV Globo (Brazil)

FORT BOYARD The world’s1most successful adventure game show ALL AGAINST

Live interactive game show Huge success for DR127 (Denmark) a 52% Celebrating years onachieving air – more thanshare 1,500 episodes made in 30 territories in its debut season

WILD THINGS Funny and physical game show Local formats for Shenzhen TV (China), Sky1 (UK), VTM (Belgium), TV3 (Denmark), CTC (Russia) and Telefe (Argentina)

Zodiak Rights

SUPERSTAR DING DONG

An original and fun musical game show MIPCOM Stand C20.A A long-running hit on CCTV3 (China) and airing on TV3 (Ireland) and TV Globo (Brazil)

WILD THINGS

Funny and physical game show Local formats for Shenzhen TV (China), Sky1 (UK), VTM (Belgium), TV3 (Denmark), CTC (Russia) and Telefe (Argentina)

FORT BOYARD

The world’s most successful adventure game show Celebrating 27 years on air – more than 1,500 episodes made in 30 territories

MIPCOM Stand C20.A

xxplsfillthexxStrap... channelssmithsonian

Amazing Grace Million Dollar Princesses, Smithsonian Channel

The Smithsonian Channel came out of North America for the first time at the end of September, adding an original mix of air, space, science, nature and culture to Asia’s linear landscape.

Programming head, David Royle, talks about originals, authenticity and making history in Asia.

As Barack Obama opened the Smithsonian National Museum of African

Recent projects include a New Zealand version of the flagship Aerial

American History and Culture, the Smithsonian brand was making history

brand, which is the network’s biggest international commercial success, as

of another kind in Asia. On 27 September, three days after the U.S. presi-

well as a two-hour special on Burma and the ancient city of Bagan with Ko-

dent spoke of a museum that “helps to tell a richer and fuller story of who

rea’s EBS. This followed the high-budget Angkor Wat, the Land of the Gods,

we are”, the first Smithsonian Channel outside of North America rolled

also with EBS. Japanese public broadcaster NHK is also a time-tested part-

out in Singapore, bringing with it a brand “where curiosity lives, inspiration

ner. The Smithsonian has also worked with public broadcaster, the Australian

strikes and wonders never cease”.

Broadcasting Corporation (ABC), and with NHNZ in New Zealand.

The Smithsonian Channel’s international expansion kicks off with a

“We have only just scratched the surface,” Royle says, adding: “There

single high-definition linear channel on Singapore platform StarHub, a

are a lot of places in which we haven’t worked and we would like to start

three-year plan for rollouts across Asia Pacific in conjunction with Gregg

building those relationships”.

Creevey’s Multi Channels Asia (MCA), and an open throttle on original

The outreach is by no means restricted to public broadcasters. Royle is

production to bolster already strong relationships with co-production

also not culturally or geographically limited in any way. Diversity, he says,

partners in the region. There’s also the learning (if not the launch – yet)

is “not an afterthought. It’s a fundamental part of how we work and we

of 4K nature and wildlife OTT platform, Smithsonian Earth, which debuted

would like to expand that”.

in the U.S. last year.

The need to partner is not a fresh necessity as production costs rise,

The Smithsonian Channel’s Asia schedule covers air and space, his-

audience demands for the even-more-spectacular soar, ultra-high defi-

tory, science, nature and pop culture. Programmes on the launch grid

nition kicks in, and the whole factual genre attempts to prove it deserves

include Uncommon Courage: Breakout at Chosin, about Asian Ameri-

its position on the dial.

can Lt Chew-Een Lee; Unbelievable Flying Objects, about the ideas that

Without disclosing actual production spend, Royle says Smithsonian

didn’t quite fly in the history of aviation; and Million Dollar American Prin-

budgets can rise to equal those of the bigger networks. “We can’t do

cesses, which chronicles the real life stories of American heiresses who

as many of them, but we are able to step up with programmes when

inspired the TV drama Downton Abbey.

we feel they are merited,” he says, adding that the amount of original

The Smithsonian’s programming team has a rich vein of Asia-related

programming has increased every year.

content to draw from, including pandas, Kimodo dragons, Japanese

Royle says the Smithsonian continues to keep its distance from trends

gardens, women in science and tsunamis... “We have been working on

that have in the past few years taken some factual programmers deep

Asia-related topics since the day we started. This is a natural growth for

into reality television. “There’s a gap,” he says, “for quality, entertaining,

us,” says David Royle, Smithsonian Networks’ executive vice president.

story-led television with integrity”.

contentasia issue four, october 2016

24

Guy Martin the eccentric expert of speed!

Guy’s extraordinary and thrilling slate of programmes is available at all3media International.

Singapore of ce opening this Autumn. all3mediainternational.com @all3media_int

Guy Martin

North one television

the eccentric expert of speed!

All3media international

Guy’s extraordinary and thrilling slate of programmes is available at all3media International.

Singapore office opening this Autumn. all3mediainternational.com @all3media_int

formatsoutlook

Lip Sync Battle China

The Big Shift Asia has more formats on air or commissioned in 2016 than ever before. But the mix is changing.

Janine Stein looks at the shifting landscape, including a broader focus on real co-development.

This year’s formats slate in Asia is looking very different from last year, or the

more than two or three major regional productions a year.

year before. On one end, budgets are more lavish. On the other, there’s

There could be other reasons. Maybe the secret sauce to tapping

a whole lot of activity around lower-cost production. The common thread

multiple revenue streams just hasn’t been found. Or the combo region-

is that everyone everywhere is angling for greater domestic relevance as

al/local/pay/free/digital formula is still wrong. Either way, it means a

well as scale at home and abroad – and it doesn’t have to be all about

drop off from the regional highs of 2015, and a creeping realisation

formats as we have known and loved them in the past.

(many call it progress) that the way forward will be very different.

On the regional pan-Asia formats front, big-brand, high-excitement

For now, this means less effort in attempting to find common ground

title The Amazing Race Asia is back on Sony Pictures Television Networks

between diverse geographies/cultures, and ticking multi-country boxes

Asia’s AXN from mid-October after a break of six years. There is also

to force relevance across borders. This, by the way, is not limited to for-

lots of talk about an Asia version of a mega-competition format The

mats. HBO Asia too has shifted away from sweeping drama originals try-

Voice, which would – if it happens – be a first for a regional audience in

ing to include as many countries/cultures as possible across its regional

Asia. Although there’s been a slight delay, FOX Networks Group (FNG)

footprint. The goal now is great stories, full stop.

is expected to go ahead with a fifth season of Asia’s Next Top Model

The focus on greater meaning (even if it means smaller audiences)

for StarWorld. Lower on the $$$ scale, NBCUniversal went ahead with a

ties in with trends elsewhere in the world, where themes with more social

second season of How Do I Look? Asia for Diva, this time with U.S. host

purpose and ideas that can be presented with greater authenticity are

Jeannie Mai.

an emerging force.

At the same time, second season returns for Asia’s Got Talent and

A+E Networks’ head of formats, international programming and pro-

MasterChef Asia aren’t happening (yet), and it’s not because the local

duction, Hayley Babcock, describes this as catering to a “second layer

debuts of the two mega-formats never found audiences. A more likely

of desire”. Babcock says there’s value in “taking a step back... in look-

reason is that there’s just not enough regional sponsorship money or

ing at things that are more home grown, social purpose with more meat

original content resources/investment to back a high-impact return of

on the bones”.

contentasia issue four, october 2016

26

Master Class Class Master

Master class class keeps keeps on on rocking rocking around around the the world world Master

Ranked as as the the #1 #1 most most engaging engaging TV TV show* show* on on China’s China’s leading leading social social media media platform platform WeiWeiRanked bo *By *By click click rate rate bo

Trended in in the the #1 #1 spot spot on on Twitter Twitter during during the the Greek Greek season season finale finale Trended

Delivered peak peak audience audience shares shares of of 44%+ 44%+ season season after after season season in in Israel Israel Delivered

VISIT US US AT AT MIPCOM, MIPCOM, STAND STAND R8.C9, R8.C9, RIVIERA RIVIERA 88 VISIT Delivered peak peak audience audience shares shares of of 44%+ 44%+ season season after after season season in in Israel Israel Delivered

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

Ranked as the #1 most engaging TV show* on China's leading social media platform Weibo

Trended in the #1 spot on Twitter during the Greek season finale

Delivered peak audience shares of 44%+ season after season in Israel

*By click rate

VISIT US AT MIPCOM, STAND R8.C9, RIVIERA 8 @KeshetIntl KeshetInternational @KeshetInternational Catalogue: www.keshetinternational.com Contact us: info@keshetinternational.com

formatsoutlook

Hidden Singer Vietnam

A greater willingness to explore different genres is opening doors for

All this activity has not been lost on global players, which continue to

under-exploited genres. Or perhaps it’s the other way round, and the

refine their Asia strategies. From FremantleMedia, which has focused

credit should be given to persistence and lots of talking over many

production on China, Indonesia, India and Australia, and strengthened

years?

straight licensing everywhere else after more than two decades on the

Either way, all3media international’s Asia Pacific executive vice presi-

ground in Asia, to all3media international, which has just set up an of-

dent, Sabrina Duguet, is looking at one successful broadcast of Under-

fice in Singapore, and Keshet International, which opened its office in

cover Boss in, of all the unlikely markets, Japan. A second-season return

Hong Kong one year ago.

is in the works. The seven-episode series premiered on public broad-

Gary Pudney, Keshet International’s head of Asia, describes year one

caster NHK on 1 April this year. NHK also commissioned a local version

as “crazy”, with deals in China, Korea, India, Thailand, Indonesia and

of all3media’s Gogglebox, which showcases highlights of the week’s

Vietnam. Among other initiatives on the table, Keshet has five drama

TV intercut with footage of ordinary people watching it at home. The

scripts in development in China, including a local version of Traffic Light

show, which has also been made in Korea (2015), China (2015) and

produced by Huace-Croton and scheduled for broadcast in 2018.

Mongolia (two seasons, 2016), premiered on NHK in March this year.

China’s scale is, not surprisingly, driving programmers such as Sony

“Channels are much more willing to take risks, to try something new

Pictures Television and Discovery to take unprecedented bets. Witness

outside of the bigger brands and genres,” Duguet says.

the US$10 million+ budget for the Bear Grylls co-pro, and season two is

A bird’s eye view of Asia shows loads of life in domestic shows and local version of international titles on the ground in almost every market,

on its way with an even bigger budget and an all-star cast that includes former NBA star Yao Ming and Olympic swimmer Fu Yuanhui.

from Japan (a market commonly thought of as complex and challeng-

Sony Pictures Television (SPT) is returning sitcom Mad About You China

ing, with a pot of gold at the end of the rainbow for those who make it)

for a second season, and says its production business in China contin-

to Pakistan (a small market with one format – Big Brother Pakistan – on

ues to be robust. Several additional projects are in the works as part

air this year).

of a co-development deal with Shanghai Media Group. Also still in the

Vietnam and Thailand are rocking formats, originals and brand tie-ups.

works are the Left Bank series scripts, which are being written in a co-

China is on fire, some are loving it, others are getting burned and every-

development agreement for a high-end, English-language drama co-

one is watching the fallout of the latest Korea-China political row.Eyes

produced by Left Bank and China International Television Corporation

are also being cast across borders. For instance, Thai production house

(CITVC) and distributed by SPT.

Zense Entertainment, which has produced 10 shows this year, has invited the production community to use its Bangkok-based facility as a hub.

contentasia issue four, october 2016

In the co-development space, all format eyes going into MIPCOM 2016 are on The Society Game, a reality format co-developed by the

28

Prepare your eyes for DW in HD Starting December 1, DW will be available in HD across Asia, giving audiences a brilliant way to experience DW’s international news. Contact DW for information about adding DW in HD to your lineup.

Deutsche Welle | Ms. Mee Fung Lee | T +60 (3) 2093-0866 | meefung.lee@pikfilm.com.my

Dw.com

Prepare your eyes for DW in HD Starting December 1, DW will be available in HD across Asia, giving audiences a brilliant way to experience DW’s international news. Contact DW for information about adding DW in HD to your lineup.

Deutsche Welle | Ms. Mee Fung Lee | T +60 (3) 2093-0866 | meefung.lee@pikfilm.com.my

dw.com

formatsoutlook

8%

16% Vietnam China Thailand Cambodia India Philippines Indonesia Korea Mongolia Myanmar Asia (regional) Japan Singapore Malaysia Pakistan

MANY

51

41

35

23

8%

21

20

19

15

3%

7

0% 1% 1% 2%1%

2%

5

14% 20%

9%

6

6%

3 3 2 1

8%

Formats in Asia (By Country) COUNTRY

8%

16%

51

China

41

Thailand

35

Cambodia

23

India

21

Philippines Indonesia Korea

!1

Mongolia Myanmar Asia (regional)

8%

Japan Singapore Malaysia

14%

9%

HOW MANY

Vietnam

Pakistan

20

Vietnam China Thailand Cambodia India Philippines Indonesia Korea Mongolia Myanmar Asia (regional) Japan Singapore Malaysia Pakistan

19 15 7 6 5 3 3 2 1

Source: Distributors, rights holders. As of August 2016.

Extract from ContentAsia Formats Outlook, September 2016

six-month-old 50-50 alliance between Korea’s CJ E&M and Endemol

this year, followed by China, with about 40. Thailand has 36, making it

Shine Group (ESG) Asia. The new 12-episode prime-time series premieres

the third largest market by number of titles. Cambodia has more than

on CJ E&M’s tvN channel in mid-October and is one of ESG’s MIPCOM

20 series, including two seasons of MasterChef Cambodia as well as

headliners (see page 35).

Who Wants to be a Millionaire Cambodia. India has 22, including Sony

In other parts of Asia, the vibrant market in home-grown formats driv-

!1

ing domestic ratings continues, with rights holders continuing to push an international agenda. Among many others, titles on the international

Pictures Television’s sitcom, Everybody Loves Raymond India, and four seasons of Big Brother in various languages for different parts of India.

Elsewhere in Southeast Asia, the Philippines has 20 series, including

stage include Nippon TV’s Burning Questions! and The Character, which

two seasons of all3media format Cash Cab Philippines by activeTV for

top the Japanese broadcaster’s international sales agenda at the mo-

Sony Pictures Television Networks Asia’s AXN Philippines feed. Indonesia

ment. At home, the two shows have helped the Japanese network main-

has 19 shows on air or commissioned for this year, including local ver-

tain its spot at the top of Japan’s ratings charts for all day parts.

sions of Talpa’s The Voice and The Voice Kids.

ContentAsia’s regular formats update for this year so far shows 258 for-

South Korea leads in drama adaptations. The blockbuster title of the

mats on air or commissioned from January to mid-August 2016. We’ve

year is Scarlet Heart, a drama co-production involving NBCUniversal

been a whole lot better at counting this year than last, but it looks like

and Korean media company YG Entertainment. Korea also has what

an average increase of more than 40% in deals signed this year over

could well be the longest drama format-in-waiting – Keshet Interna-

the previous year, according to data provided by formats owners and

tional’s Prisoners of War, which has been hanging around for a couple

rights holders.

of years at least with no final word yet on when, who or how.

As of mid-August this year, Endemol Shine Group continues to top

For all that changed this year, some things did not. The fifth season of

Asia’s formats charts, with 57 titles/series – 22% – of the total 258 shows

Asia’s Next Top Model is going ahead at FOX Networks Group’s (FNG)

on air or commissioned this year so far.

StarWorld... with a fifth production house. And thus the unintended tradi-

FremantleMedia Asia is a close second, with 53 shows (21%), giving

tion of switching to a new team every season continues. The reason this

the two global giants a combined 110 series in Asia, or 43% of the re-

time? FremantleMedia Asia, which produced season four (the best-rated

gion’s formats market in 2016 so far. Talpa, Keshet and all3media have

season ever), has shifted its production sights in Asia to China, India and

a total of 37 titles, or 14% of the market.

Indonesia and dismantled its regional production team. Who will FNG go

Vietnam is the biggest country by volume, with more than 50 series

contentasia issue four, october 2016

with next? We have some ideas, but, really, it’s anyone’s guess.

30

S MEET U M O AT MIPP-C1.K22 STAND

Need to Compete

Need to Compete

Discover unique competitions and traditions from around the world that go beyond ordinary entertainment. It’s just one of many fascinating series of documentaries o ered by DW Transtel.

Meet us at MIPCOM

Discover unique competitions and traditions from around the world that go beyond ordinary entertainment. It’s just one of many fascinating series of documentaries offered

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Deutsche Welle | Ms. Mee Fung Lee | T +60 (3) 2093-0866 | meefung.lee@pikfilm.com.my http://dw-transtel.com

Deutsche Welle | Ms. Mee Fung Lee | T +60 (3) 2093-0866 | meefung.lee@pikfilm.com.my

dw-transtel.com

formatslistings

What’s on where in China, Korea & Japan.

Adapted from ContentAsia Formats 2016

CHINA 2 Broke Girls China

Genre: Comedy Broadcast details: To be confirmed Length: 24x30 mins Commissioned by: Cenic Media Produced by: Cenic Media Rights: Warner Bros. Television The pitch: Two girls from different backgrounds wind up as waitresses in the same urban diner and strike up an unlikely friendship.

Genre: Entertainment/talent Broadcast: Jiangsu Satellite TV Date: 8 Jan-1 April 2016 Slot: Fridays, 9.10pm-11pm Episodes: 12 eps;1 best of episode Produced by: Now Investment Media in collaboration with Endemol Shine China Original created in: Germany Rights owner: Endemol Shine Distributed in Asia by: Endemol Asia The pitch: Talent show that celebrates gifted minds & skills.

China’s Next Top Model season 3

Are You Normal? China 3

Genre: Survey quiz show Broadcast on: Tencent China Broadcast details: Not confirmed Commissioned by: Shenzhen Tencent Computer Systems, China Original created by: Zoo Productions/all3media Distributed in Asia by: all3media The pitch: Participants are asked whether they think various behaviours are normal or not... & are compared with the rest of the universe.

Big Brother China (室友一起宅 /Shi You Yi Qi Zhai)

Genre: Reality Broadcast on: Youku Tudou Date: Nov 2015-6 Jan 2016 Length: 12 eps; live finale Commissioned by: Youku Tudou produced with Endemol in Beijing Asia distribution: Endemol Shine

The Brain season 3 (最强大脑/ Zui Qiang Da Nao)

Genre: Reality modelling contest Broadcast details: Not confirmed Length: 12x60 mins Produced by: IPCN Rights/Asia distributor: CBS Studios International

Ciega a Citas, China

Genre: Romantic comedy Broadcast details: In production Produced by: Haoju Entertainment of Croton Media Rights: Dori Media Group Original/created by: Dori Media Contenidos, Argentina The pitch: The story of a woman blinded by love. After making a bet with her mother that she can find a boyfriend by her sister’s wedding, Lucia makes every effort to meet suitable men.

Dancing Nation China season 5

Genre: Dance competition Broadcast on: CCTV 12 Broadcast date: Ongoing Slot: Daily, 5.51pm Produced by: CCTV 12 Original created in: Argentina Rights owner: Sony Pictures TV The pitch: Dance competition that illustrates how hundreds of people can come together for a worthy cause.

Date With Fate China

Genre: Dating show Broadcast on: iQiyi Broadcast details: October 2016 Episodes: 12 Distributed by: FremantleMedia

contentasia issue four, october 2016

Don’t Stop Me Now China

Genre: Game show Broadcast on: CCTV1 Date: 3 Jan-25 Dec 2016 Episodes: 52 Producer: FremantleMedia China Rights: FremantleMedia

I Can Do That! China

Dragons’ Den China

Genre: Factual reality Broadcast on: Shenzhen TV Date: 22 May 2016 Episodes: 12 Commissioned by: IPCN Produced by: IPCN Rights: Nippon TV Original/created by: Nippon TV, Japan The pitch: Entrepreneurs try to convince a panel of five company presidents to give them money for their dream projects.

The Eureka Moment China

Genre: Game show Broadcast on: CCTV1 Date: July 2016 Slot: Sundays, prime time Length: 11x90 mins Distributed in Asia by: FremantleMedia International The pitch: Two couples go head to head testing their knowledge and facing a raft of stunts and wacky experiments in a bid to win the holiday of a lifetime.

Gossip Girl China seasons 1-3

Genre: Teen drama Broadcast: iqiyi.com Date: Q3/Q4 2017 Length: 24x60 mins Commissioned by: Beijing iQiyi Science & Technology Produced by: Beijing iQiyi Science & Technology Distributed in Asia by: Warner Bros Original created in: U.S. The pitch: Lives and times of privileged students at an exclusive private school

Hunted China

Genre: Reality Broadcast on: Shenzen TV Date: Q4 2016 Episodes: 12 Commissioned/produced by: Shenzhen Media Group Rights: Endemol Shine Group Original/created by: Shine TV, U.K. The pitch: Seven groups of ordinary people from a cross section of society go on the run, while a crack team of investigators hunt them down.

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

I Can See Your Voice China

Genre: Studio entertainment Broadcast on: Jiangsu TV Date: Mar 2016 Rights owner: CJ E&M Created by: CJ E&M, Korea The pitch: A studio-based music entertainment show where a professional singer and panel of celebrity entertainers guess who has real vocal talent and who doesn’t.

Infinite Challenge, China

Genre: Variety, comedy Broadcast on: CCTV-1, China Date: Premiered 6 Dec 2015, ongoing Length: 12x60 mins Slot: Sundays, 8pm Produced by: Starry Production Original created by: MBC, Korea The pitch: Weekly variety show, largely unscripted. Features six comedians carrying out silly or impossible challenges.

Let’s Eat China

Genre: Scripted format, romantic comedy Broadcaster: Hunan Satellite, China Date: 2016 Created in: South Korea Rights owner: CJ E&M The pitch: A hybrid drama from director/creator Park Joon Hwa (Mean Lady). The story delves into the lives of four single people – neighbours living on their own, hungry for food and love. When a murder occurs in their neighbourhood, how will their lives change?

Let’s Get Gold China

Genre: Game show Date: October 2016 Produced by: FremantleMedia China Rights owner: FremantleMedia 32

Celebs go dating

Take your chance

Common sense

The nation speaks back

Brand new formats from all3media international

Dynamic dating challenges and quiz shows - and the new show from the creators of the hit

Brand new formats

GOGGLEBOX - COMMON SENSE. Singapore office opening this Autumn.

from all3media International

@all3media_int all3mediainternational.com all3mediainternational

Dynamic dating challenges and quiz shows - and the new show from the creators of the hit GOGGLEBOX - COMMON SENSE. Singapore office opening this Autumn. @all3media_int all3mediainternational.com

formatslistings

Lip Sync Battle China (对口型大作战)

Genre: Singing game show Broadcast on: Sohu Date: Pre-show 22 Jan 2016, premiered 29 Jan 2016, finale Apr 2016 Slot: Fridays, 9.08pm on VOD portal Sohu Video, aired simultaneously on free-TV broadcaster Shenzhen TV Length: 10x60 mins Social media: Sohu Commissioned by: Sohu Produced by: Sohu & Shenzhen TV Created by: Viacom/Spike TV, U.S. Rights owner: Viacom International Media Networks (VIMN) The pitch: Celebrities go head to head – lip-syncing songs of their choice – battling for bragging rights.

Others: The first episode of Lip Sync Battle China reached about 30 million viewers from sohu.com and 56.com. The topic on social media platform Weibo attracted 230,000 comments. Over 140 million people viewed the posts and reposts as of 7 March (source: VIMN)

Loaded China

Genre: Comedy Broadcast on: To be confirmed Date: To be produced in 2016/7, broadcast in 2018 Produced by: Huace-Croton, China Original created by: Muli Segev, Assaf Harel Rights owner: Keshet International The pitch: Four friends and owners of gaming company Gymalaya, race to protect their new project against a younger, richer rival.

Mad About You, China

Genre: Sitcom Broadcast on: Shanghai Media Group, Dragon TV and Youku

contentasia issue four, october 2016

Date: Premiered 11 Jan 2016 Slot: Monday, 10pm Commissioned/produced by: Huaso and Croton Media Distributed by: Sony Pictures TV Original format creator: Sony Pictures Television Rights: Sony Pictures Television The pitch: A newlywed couple tries to maintain marital bliss despite the demands of city life, career, families and friends.

Master Class China season 2 (音 乐大师课/Yin Yue Da Shi Ke)

Genre: Entertainment Broadcaster: BTV Beijing Satellite TV and Sichuan TV Date: Premiered 20 Feb 2016 Slot: Saturdays, 9.18pm Episodes: 12 Original created by: Yoav Tzafir, Tamira Yardeni, Zvika Hadar Rights owner: Keshet International The pitch: Children’s talent show with all-time classic songs, only positive reviews and no eliminations Others: Season one student Zhou Anxin, and his mentor, the renowned singer and dancer Li Guyi, performed the closing song of the official Spring Festival CCTV1 Gala at Chinese New Year 2016.

Million Second Quiz China

Genre: Entertainment Broadcast on: Hunantv.com Date: Currently on air, premiered 30 Sept 2015 Commissioned in Asia by: Clouds Intelligence, Hong Kong Produced by: Mango TV Created by: Studio Lambert, all3media America, Universal Television for NBC U.S. Rights owner: all3media The pitch: Game play takes place 24/7 across one million seconds in a giant hourglass set in an iconic location. In continuous rolling action, two contestants go head-to-head in intense quiz battles for the chance to occupy the Money Chair. The aim is to try and stay in the Money Chair

for as long as possible, defeating new contestants who try to claim the Chair for themselves.

My Mom Cooks Better Than Yours China (妈妈的味道)

Genre: Game show Broadcast on: Beijing TV Date: 27 August 2016 Slot: Saturday, 9.58pm Episodes: 11 Social media: Managed by Bi Jun and FremantleMedia Commissioned by: Beijing TV Produced by: Shang Hai Bi Jun Culture Communication Distributed by: FremantleMedia Rights owner: FremantleMedia and Mandarina Created by: FremantleMedia The pitch: Parent and child teams compete, with kids cooking and parents instructing from the sidelines.

The Only Way Is Essex, China

Genre: Constructed reality Broadcast on: Hunan TV, China Date: 27 Oct 2016 Episodes: 24 Slot: 10pm Commissioned in Asia by: TongXinZanMei Culture Media (Tianjin), China Produced by: Hunan TV/ Mango TV/ Zhang Hong Rights owner: all3media Created by: Lime Pictures for ITV 2, U.K. The pitch: A combo of drama, reality & comedy entertainment.

Push The Button China (全家好拍档)

Genre: Family game Broadcast on: CCTV-3 Date: September 2016 Social media: Managed by CCTV-3 and FremantleMedia Commissioned by: CCTV-3 Produced by: Feiguan Media Distributed in Asia by: FremantleMedia Rights: FremantleMedia and Gallowgate Productions Creator: Gallowgate Productions The pitch: Two family groups compete through three rounds of games.

The Remix China

Genre: DJ, singing talent contest Broadcast on: JSBC Date: June 2016 Commissioned by: JSBC Jiangsu Satellite Produced by: Star China/IPCN

Original created by: Rahul Sarangi, Greymatter Entertainment (GME), India Distributor: Global Agency Rights owner: Global Agency

The Running Show China

Genre: Lifestyle talk show Broadcast on: TV.Sohu Date: 7 June 2016 Length: 30 mins Commissioned by: Sohu.TV Distributed in Asia by: Armoza Formats Produced by: Sohu Rights: Armoza Formats Original/created by: Armoza Formats and Sohu The pitch: A lifestyle show that combines the essence of a talk show with an entertainment format.

Others: Co-developed by Chinese online platform Sohu and Israel’s Armoza Formats

Saturday Night Live China

Genre: Entertainment Broadcast on: Sohu Date: Late June 2016 Produced by: Sohu Rights: NBCUniversal Int’l Formats The pitch: Topical and political subject matter mixes with observational humour and parody, with an ensemble of comic actors and a big name guest host.

Sexy Beasts China season 2

Genre: Entertainment Broadcast on: Tencent Details: To be confirmed Commissioned in Asia by: Shenzhen Tencent Computer Systems, China Original created in: Lion Television for BBC 3, U.K. Rights: all3media The pitch: In a world where attraction can be based purely on looks, and social media encourages us to choose a date in a split second, Sexy Beasts uses Hollywood-style prosthetics to transform people, taking their real looks out of the equation.

34

formatsfocus

formatsco-development

game on

The Society Game

The six-month old alliance between Korea’s CJ E&M and Endemol Shine Group is put to the test at MIPCOM 2016 with the debut of its first really-truly-awesomely co-developed series, The Society Game.

market with high hype and higher hopes than

Endemol Shine Group Asia and CJ E&M kicked

about a working and workable creative re-

off a new era of co-development in Asia in 2016. Leading the way is the The Society

lationship forged on the ground in Asia. Plus

Game, thought to be the first true Asia co-

the ability to execute right here at home.

developed format created by Endemol

The result is an idea and format able to

Shine Group Asia and Korean media con-

rise above the usual cultural hurdles; was

glomerate CJ E&M for the international

really, truly and actually co-developed in Asia; and is able to stand up on an interna-

market.

tional stage with the world’s best. This against

The Korean version of The Society Game, the first original format out of an alliance announced

Fotini Paraskakis Endemol Shine Group

DJ Lee CJ E&M

16 October. The format is also one of Endemol Shine’s MIPCOM 2016 headliners, a first for a format out of Asia.

an industry-wide backdrop littered with failure and frustration as development teams from

in April this year, premieres on tvN in Korea on

different parts of the world struggle to blend creative cultures.

Why does Endemol Shine think The Society Game is worthy of a place

The 12-episode prime-time social experiment reality series explores

in its MIPCOM limelight, good enough to reverse the usual practise of

different political systems, communities and their leadership. Two con-

market headliners set by the U.S. and Europe? Because it “couldn’t be

trasting ‘societies’, based on democracy and dictatorship models, go

timelier,” says Lisa Perrin, Endemol Shine Group’s Creative Networks

head to head on physical and mental challenges, testing the stability

chief executive. “We’re at a point in history when the world is question-

of their communities. Only one can win.

ing the political status quo. This show brings the social experiment genre

The Society Game comes against a backdrop of a new openness to co-developing IP in Asia. Reasons include politics and shifting regulations, market access, knowledge transfer, cost, expansion ambitions, and, as low-tech as it sounds, better relationships on the ground.

The Endemol Shine/CJ E&M partnership is led by DJ Lee, president of CJ E&M’s media contents business, and Fotini Paraskakis, Endemol Shine Group’s managing director of Asian operations. Endemol Shine and CJ E&M share all intellectual property (IP) equally.

The big deal here is less about yet another new format that goes to

35

bang up to date and really examines what works best, a dominant leadership or a democracy,” she adds.

The bigger plan is to continue to work on global ideas – including possibly scripted drama – that rising content powerhouse, CJ E&M, can broadcast for Korea and that can leverage Endemol Shine’s global scale, creative resource and distribution clout.

There’s no crystal ball on how this plays out, but if The Society Game takes off around the world as hoped, Asia’s reputation takes a giant creative leap forward.

contentasia issue four, october 2016

formatslistings

Singer Takes It All China

Genre: Singing game show Broadcast on: Local TV station network and Tencent Slot: Apr 2016 Episodes: 12 Produced by: TV Zone Media with Endemol Shine China Distributor: Endemol Shine Group Original created in: U.K. Rights: Endemol Shine Group

Produced by: IPCN – 80 Entertainment Rights: Warner Bros. Television Created by: Ricochet Television, U.K. The pitch: Three professional nannies help parents in China deal with their children’s behaviour.

Survivor Games with Bear Grylls

Still Standing China season 6-7

Genre: Game show Broadcast on: Jiangsu Satellite Date: Season 7 aired right after season 6, which ended in Jan 2016 Slot: Weekly, 10pm Episodes: 26 (season 6), 52 (season 7) Creator: July-August Productions Rights in Asia: Armoza Formats The pitch: Prime-time game show offering contestants $1 million by out-guessing 10 opponents in 10 fast-paced trivia battles.

Super Diva 4 China

Genre: Reality singing competition Broadcast on: Dragon TV, China Date: 15 Jan-8 Apr 2016 Slot: Tuesdays, 10pm Episodes: 12 Created in: South Korea Rights owner: CJ E&M The pitch: Housewives are transformed into divas

Supernanny 4 China

Genre: Survival adventure Broadcast on: Dragon TV, China/ Discovery Channel Taiwan Date: Premiered 16 Oct 2015 in China, 3 Apr 2016 in Taiwan Length: 12x90 mins Social media: Weibo and WeChat in China managed by Discovery Networks Asia Pacific; Facebook in Taiwan managed by Discovery Channel Rights: Jointly owned by Shanghai Media Group, Discovery Networks Asia Pacific and Bear Grylls Ventures Commissioned by: Shanghai Media Group and Discovery Networks Asia Pacific Produced by: Shanghai Media Group, Betty TV, Discovery Networks Asia Pacific and Bear Grylls Ventures Created by: Yunji Media, a subsidiary of Shanghai Media Group and Discovery Networks Asia Pacific The pitch: Eight Chinese celebrities battle to survive 12 days in the wild tackling all that the jungle and Bear Grylls can throw at them.

Take the Stage China

Genre: Factual entertainment Broadcast on: Anhui Satellite TV Date: 2 Mar 2016 Slot: Wednesdays, 9.15pm Length: 40x35 mins Commissioned in Asia by: IPCN 80 Entertainment

contentasia issue four, october 2016

Genre: Celebrity game show Broadcast on: Beijing TV Date: 28 May-20 Aug 2016 Slot: Weekend, prime time Commissioned/produced by: Beijing TV Distributed in Asia by: FremantleMedia Asia Rights/created by: FremantleMedia The pitch: Singing talent show starring celebrities with no singing background.

To Tell The Truth China (周末大猜想)

Genre: Celebrity game show Broadcast on: ShenZhen Satellite Channel Broadcast details: Sept 2016 Slot: Weekend, prime time Episodes: 12 Commissioned by: ShenZhen Satellite Channel Producer: Shanghai Purity Media Distributed by: FremantleMedia Social media: Managed by FremantleMedia Rights owner: FremantleMedia Created in: U.S. The pitch: A panel of four celebrities has to guess which of three people is the real deal. Two pretenders are included to throw them off track. The impostors are allowed to lie, but the central character is sworn “to tell the truth”.

Trade Up China

Genre: Game show Broadcast on: CCTV-2 Date: Winter 2016 Slot: Prime time Episodes: 12 Produced by: Beijing Tong Chang Tong Ying Rights: Keshet International Original/created by: Ori Goldberg, Lia Lachmiand and Keshet Broadcasting The pitch: Family teams play to win a new car

Traffic Light China

Genre: Comedy Broadcaster: To be confirmed Date: To be produced in 2016/17 and broadcast in 2018 Produced by: Huace-Croton China Rights owner: Keshet International The pitch: Friends navigate life together, with hilarious results.

The Voice of China season 5

Genre: Singing talent show Broadcast details: To be confirmed What you might like to know: Seasons one to four were produced

by Star China. Season five shifts following Talpa’s US$110-million deal with Zhejiang Tangde. After much legal unpleasantness, Star China, which had started production on season five when the Zhegiang deal was done, went ahead successfully with its own multi-million dollar version of a singing talent show.

Wild Things China

Genre: Game show Broadcast on: Shenzhen TV Date: 27 Feb-14 May 2016 Slot: Saturdays, 9.15pm Length: 13x60 mins Commissioned by: GroupM Entertainment & Shenzhen TV Distributed in Asia by: Zodiak Rights Produced by: Shenzhen TV Rights: IWC Media/Mad Monk/ GroupM Entertainment Original/created by: IWC Media/ Mad Monk/GroupM Entertainment, U.K. The pitch: Partners need to work together for a chance to walk away with a cash prize that lies deep within the Wild Wood.

JAPAN The Bachelor Japan

Genre: Reality Streaming details: Amazon Prime Video Japan Date: Spring 2017 Co-produced by: Amazon Japan, Warner Bros International Television Production and Yoshimoto Kogyo/Dentsu joint venture, YD Creation Rights: Warner Bros. Television Original/created by: Warner Horizon Television The pitch: One lucky man has the opportunity to find the woman of his dreams in Amazon Japan’s first reality commission.

Cold Case Japan

Genre: Crime drama Broadcast on: Wowow Date: Oct 2016 Length: 10x60 mins Slot: 9pm Co-produced by: Drama W and Warner Bros Int’l TV Production Rights: Warner Bros Int’l TV Prod Original/created by: Jerry Bruckheimer Television in association with CBS Studios International Productions and Warner Bros.

Television, U.S. The pitch: A homicide detective 36

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contentasia issue four, october 2016

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specialises in investigations no longer being actively pursued by the department.

Gogglebox Japan

Genre: Entertainment Broadcast on: NHK, Japan Date: Mar 2016 Original created in: Studio Lambert for Channel 4, U.K. Rights owner: all3media International The pitch: Highlights of the week’s TV, intercut with footage of ordinary people watching at home.

Undercover Boss Japan

Genre: Factual entertainment Broadcast on: NHK, Japan Date: 1 Apr 2016 Episodes: 7 Commissioned in Asia by: NHK Enterprises, Japan Created by: Studio Lambert for Channel 4, U.K. Rights owner: all3media The pitch: High-level corporate executives go undercover in their own companies.

KOREA 1 vs 100 Korea season 13

Genre: Game show Broadcast on: KBS 2, Korea Broadcast date: Still on air in 2016, premiered early 2013 Slot: Tuesdays, 8.55pm-10pm Produced by: KBS Created in: Endemol Netherlands Rights: Endemol Shine Group The pitch: 1 vs 100 pits one player against 100 opponents. The player’s goal is to eliminate all the opposition by correctly answering questions.

Ambitious Women Korea

Genre: Telenovela Broadcast on: EPG Korea Premiere: To be confirmed Commissioned by: EPG Korea Rights: Globo Original/created by: Globo, Brazil The pitch: Three women’s lives are intertwined after a crime induced by obsessive revenge.

Boogie Oogie Korea

Genre: Telenovela Broadcast on: EPG Korea Premiere: To be confirmed Commissioned by: EPG Korea Rights: Globo Original/created by: Globo, Brazil

contentasia issue four, october 2016

The pitch: After a tragic plane crash, two completely different young women meet and end up fighting for the love of the same man. What they don’t know is that their destinies were tied long before, when they were exchanged at birth. A story of love and revenge set in Disco’s golden years.

Slot: Thursday, 9pm Length: 13x60 mins Produced by: CJ E&M Created by: Shine TV in association with Ziji Productions Rights: Endemol Shine Group

Merciless Korea

Chef In Your Ear season 1-2 Korea (Avatar Chef)

Genre: Competition show Broadcast on: tvN & Olive Channel Broadcast details: Season 1 (12 eps) premiered 11 Nov 2015, Wed, 8.20pm. Season 2 (12 eps) begins in 2016 Commissioned by: CJ E&M Distributed in Asia by: Bomanbridge Media Produced by: CJ E&M Created by: Justin Scroggie, The Format People, U.K./Canada Rights: The Format People The pitch: Two professional chefs compete to deliver a restaurant quality dish – by remote control.

The cooking is done by two novice cooks wearing an ear-piece.

Entourage Korea

Genre: Drama comedy Broadcast on: tvN Date: November 2016 Length: 16x70 mins Commissioned by: CJ E&M Produced by: Studio Dragon Rights: HBO Original/created by: HBO The pitch: This caustic comedy follows a sexy young movie star whose career is just taking off.

To share the fun and keep him grounded, he looks to his longtime pals.

Happily Ever After? Korea

Genre: Drama miniseries Broadcast on: EPG Korea Premiere: To be confirmed Commissioned by: EPG Korea Rights: Globo Original/created by: Globo, Brazil The pitch: The story of a couple in crisis. When mysterious call girl, Danny Bond, comes on the scene, a crime of passion changes the lives of all involved.

MasterChef Korea season 4 Genre: Cooking show Broadcast on: Olive TV Date: 3 Mar-26 May 2016

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

Part of Me Korea

Genre: Telenovela Broadcast on: EPG Korea Premiere: To be confirmed Commissioned by: EPG Korea Rights: Globo Original/created by: Globo, Brazil The pitch: After fleeing from tragedy, an elusive and lonely man returns home and sees his life transformed. Besides realising he has a child with the only woman he has ever loved, he finds out about another six children – the result of a sperm donation. Then begins a struggle to win his children’s respect and affection and to have his great love back.

Prisoners of War, Korea

Genre: Drama Broadcast date: Still pending Produced by: Star J, Youngbeom Jeong, Sebastian Lee, Teddy Zee Rights: Keshet International Other things you might like to know: This deal has been around since February 2014, when Keshet said Korea’s Star J Entertainment had bought format rights for a local version of Prisoners of War for Korea. Keshet said at the end of 2015 that the show would be produced in 2016, but there’s no word so far.

Saturday Night Live Korea season 7

Genre: Entertainment Broadcast on: tvN, Korea Date: 27 Feb 2016 Produced by: CJ E&M Rights: NBCUniversal Int’l Formats

Scarlet Heart Korea

Genre: Drama Broadcast on: SBS Date: 29 August 2016 Slot: Monday and Tuesday, 10pm Episodes: 20 Produced by: NBCuniversal, YG Entertainment Created in: China Rights: Tangren Media China The pitch: When a total eclipse of the sun takes place, Go Ha-jin slips back in time from the 21st Century to the Goryeo Dynasty in 10th century Korea.

Suits Korea

Genre: Scripted drama Broadcast details: Late 2016 Produced by: Entermedia Created in: USA Network, U.S. Rights owner: NBCUniversal The pitch: A college dropout gets a job in a law firm without actually attending law school.

Top Gear Korea season 7 (탑 기어 코리아)

Genre: Factual entertainment Broadcast on: XTM Date: September 2016 Commissioned by: CJ E&M Produced by: XTM, CJ E&M Rights: BBC Worldwide Original created in: U.K. The pitch: Extraordinary and ordinary cars are tested to their limits.

Compiled by: Aqilah Yunus, Malena Amzah Source: Distributors, production houses, channels Notes: Listings as of 17 August 2016. Formats listed were on air or premiered in 2016, or were commissioned for broadcast in 2016/7 on channels in Asia. This list does not include: format options, titles/ formats created solely for a single sponsor, and shows created inhouse that have not been sold as formats to anyone else. All formats rights holders were given equal opportunity to participate.

BE INCLUDED! Please contact aqilah@contentasia.tv to be included in the formats listings.

38

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contentasia issue four, october 2016

xxplsfillthexxStrap... researchkids

All over the place Ben 10

Television remains the most influential path to kids and their pocket money. At the same time, online activity is soaring and one of the key trends in the latest research is parents’ new understanding of what’s good for their children.

Cartoon Network’s new Ben 10 series premieres across Asia in October

Webb’s advice to advertisers trying to improve their connection with

against a background of dramatic shifts in video consumption habits,

kids is, not surprisingly, similar to age-old advice across all demographics

unprecedented transparency (for some, although many still labour with

– tailor the messages to suit stages of development and where kids are

platforms dragging their heels on data transparency), ongoing audience

spending their time. “Their exposure to social media and the way they

fragmentation and a mad scramble by brands to chase and find young

interact with technology differs by age,” Webb says. 12-14 year olds, for

consumers down every nook, cranny and rabbit hole.

instance, are more mobile than younger groups and eager to partici-

And still, TV remains the number one medium to reach kids, followed by digital video environments, says Turner’s director of research and planning, David Webb.

The latest round of Cartoon Network’s ongoing New Generations research study shows TV viewing in Australia up 8% on last year, with media

pate and share in campaigns.

An enduring trend across all young audiences has been the online game Minecraft. While Lego and Barbie are still popular, Webb says parents are now seeing Minecraft more positively and understand how it can support their kids’ creativity and “isn’t just another online game”.

consumption increasing across all platforms. The study found that 92% of

Webb explains the apparent addiction to technology as “simply the

children watched TV in the last month. 86% of them went online in the

proliferation of the devices. As Gen X’ers were perceived by their par-

past month with a 33% increase in kids watching/posting online videos.

ents to be glued to the TV and so Plurals are perceived to be glued to

Updated research for the rest of the region is still under way. Specific results will differ, but there’s no reason yet to think broad trends won’t be similar.

contentasia issue four, october 2016

their phones/tablets... The portability of the devices and the addictiveness of social platforms has just enhanced this”.

40

ところかまわず Regular Show

テレビは依然として、子どもたちと彼らのお小遣いへのアプローチ手段としては最有力メディアである。 それと同 時にオンライン利用もまた急速に拡大しており、最近の調査では 「子どもにとって好ましいもの」 に対する親たち の認識の変化が見られる。 アジア全域で10月からカートゥーンネットワークの新シリーズ「ベン：10」 の放送が

ない。 つまり、成長過程と子供たちが何に時間を使っているのかに応じてメッセージ

始まる。今やテレビは、動画消費習慣の劇的な変化、 かつてない透明性（プラットフ

を発するべき、 というものだ。 「子どもたちによるソーシャルメディアとの接触やテク

ォームの多くはいまだに利用データの公開を拒むため、 これは一部に過ぎないが）

ノロジーとの付き合い方は年齢によって異なる」 と、 ウェッブ氏は言う。例えば、12

、進む視聴者の細分化、若い消費者を追い求め繰り広げられるブランド間の熾烈な

〜14歳はそれ以下の層と比べると移り気で、 キャンペーンへの参加やシェアに熱心

競争といった環境にさらされているが、 それでも 「子どもたちにリーチするためのトッ

だ。

プメディアは変わらずテレビであり、 それを追うのがデジタルビデオ環境だ」 と、 ター

若い視聴者全般に流行が続いているのが、 オンラインゲームのマインクラフトだ。 レ

ナーの調査企画ディレクター、 デイヴィッド・ウェッブ氏は語る。

ゴやバービー人形も相変わらず人気だが、 ウェッブ氏によれば、親たちはいまやマイ

カートゥーンネットワークが行うニュージェネレーション調査の直近の結果によれ

ンクラフトを以前よりずっと前向きに捉えており、 マインクラフトがいかに子どもたち

ば、 オーストラリアでは昨年、全プラットフォームでメディア消費が増加し、 テレビ視

の創造性を育む助けとなり、 「よくあるオンラインゲームとは異なる」 ということを理

聴は8%増となった。92%の子どもが前月テレビを視聴し、86%の子どもが過去一

解している。

か月間にインターネットを利用、子どもがオンライン動画を視聴・投稿する割合は

明らかにみられるテクノロジーへの依存についてウェッブ氏は、 「 単にデバイス

33%増加していることが明らかになっている。

の急激な普及によるものだ」 と説明する。 「1960年代〜80年代生まれのX世代は

その他の地域の最新調査結果はまだ出ていないが、個々の結果にばらつきはあるも

TVにへばりついていると親から思われていたが、1997年〜2015年生まれのプ

のの大きな流れとしてはそう変わらないと考えるのが自然だ。

ルーラル世代は携帯電話やタブレットにばかり夢中だと思われている。持ち運び

子どもたちとの関係を強化したいと考える広告主に対するウェッブ氏のアドバイス

可能なデバイスとソーシャルプラットフォームの中毒性がこれを加速させているに

は、 当然ながら、 すべてのデモグラフィック層において昔ながらのアドバイスと変わら

過ぎない」。

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contentasia issue four, october 2016

xxplsfillthexxStrap... formatsoutlook

ザ・ビッグ・シフト 変化するアジアのフォーマット Master Class China, Keshet

2016年、 アジアでオンエア・権利販売された番組フォーマット数は過去最高を記録した。 しかし、 そのが変化している。 ジャニン・スタインが見るとは。 今年、 アジアで予定されているフォーマットは、昨年や一昨年とだいぶ様子が違って いるようだ。

を重視する方向に、徐々に向かっていくことを意味する。 アジアのショー番組を俯瞰してみると、地上では日本からパキスタンまでのほぼす

アジア全域で見ると、非常にエキサイティングな大型ブランドタイトル、 「アメージ

べての市場で、国内の番組や世界的なタイトルの現地版が活気づいている。 オール

ング・レース・アジア」 が6年ぶりにソニー・ピクチャーズ・テレビジョン・ネットワーク・

3メディアが日本に販売した 「アンダーカバー・ボス」 など、世界展開されているリアリ

アジアのAXNに帰ってくる。 アジア地域の視聴者には初のお披露目となるメガ・コンペティション・フォーマッ ト、 「ザ・ヴォイス」 アジア版の話題も盛り上がっている。 また、若干出遅れたものの、FOXネットワークグループ （FNG） が、 「アジアズ・ネク スト・トップ・モデル」 のシーズン5を間もなく公式発表しそうだ。 この詳細は、9月中 旬まで明らかにされてこなかった。

ティ・ショー番組のフォーマットがアジアに新ジャンルをもたらしている。 ベトナムと タイでは、 フォーマット、 オリジナル作品、 ブランドとのタイアップを上手く活用してい る。大いに盛り上がっている中国では、 こうした番組を愛する者もいれば、被害者も いるが、最近の韓国と中国間の政治的な騒動の影響に注目が集まっている。 中国のスケールを考えれば、 ディスカバリーなどの製作者がかつてない賭けに出 るのは当然であろう。 ベア・グリルスとの共同制作に1千万米ドル以上の予算を投じ

一方、 シーズン２を復帰作とする 「アジアズ・ゴット・タレント」 や 「マスターシェフ・

られ、 さらに多額の予算で制作されているシーズン2では、かつてのNBCスター選

アジア」 は （まだ） 出てきていない。 この２つのメガ・フォーマットを現地で初公開した

手、姚明（ヤオ・ミン） や、 オリンピックの競泳選手、傅園慧（フ・ヤンフイ） などの大ス

際に、視聴者がつかなかった訳でもなさそうなのに、 である。

ターをキャスティングした。

恐らくその理由は、単に現地のスポンサーからの出資やオリジナルコンテンツの資

さらに、 ドラマのフォーマットや知的財産（IP） の共同開発も大いに盛り上がってい

金/投資が不十分なために、大きなインパクトのある一、二作以上のメジャータイト

る。特に注目すべきは、今年の4月に発表されたCJ E&Mとエンデモル・シャイン・グ

ルを現時点で製作できないからではないだろうか。他の理由もあり得る。複数の収

ループの新たな提携後に制作された最初の番組、 「ザ・ソサエティー・ゲーム」 だ。12

益の流れを生む秘策が見つからないだけかも知れないし、或いは、 アジア地域・現

のエピソードで構成される新シリーズは、10月上旬にCJ E&MのtvNチャンネルに

地・デジタルのコンビネーションが上手く噛み合っていないのかも知れない。

てプライムタイムで放送が始まる。2016年後半にエンデモル・シャインがフォーマッ

いずれにしてもこのことは、 アジア地域で上昇していた2015年からの著しい低 下、今後の特定市場への一層の注力、幅広い地域や文化を網羅しようと多額の予算 をかける地域ショー番組の削減、 そして息の長いオリジナルコンテンツの共同開発

contentasia issue four, october 2016

トの世界販売を開始した暁には、世界各地で採用されることに期待を寄せている。 この提携の目的は、 オリジナルのフォーマットやシリーズを共同で生み、知的財産 （IP） を平等に分かち合うことである。 CJ E&Mが韓国で制作された全番組を放送し、

42

Bear Grylls and celebrity contestants in Survivor Games China

エンデモル・シャインがそれらのタイトルを世界に販売する。 パートナーシップを主導

カンボジアは、 「マスターシェフ・カンボジア」 の2シーズンと、 「フー・ウォンツ・トゥ・ビ

するのは、 CJ E&Mのメディアコンテンツビジネス担当社長であるDJ リーと、 エンデ

ー・ア・ミリオネア・カンボジア」 を含む20シリーズ以上を有する。 インドは22本で、

モル・シャイン・グループのアジア業務担当社長であるフォティニ・パラスカキスだ。

ソニー・ピクチャー・テレビジョンのホームコメディ、 「エブリバディ・ラブズ・レイモン

アジアの他の地域では、国内の評価を牽引し続けている現地制作のフォーマット が活況を呈しており、権利保有者がその国際展開を推進している。

ド・インディア」 や、 「ビッグ・ブラザー」 の4シーズンなどが国内の様々な地域に対応 するために様々な言語で展開されている。

その他多数で、世界を舞台に展開されているタイトルには、 日本テレビの 「バーニ

20シリーズを有するフィリピンでは、 アクティブTVが制作したオール3メディアの

ング・クエスチョンズ！」 や 「ザ・キャラクター」 がある。全放送時間を対象とした日本

フォーマット、 「キャッシュ・キャブ・フィリピン」がソニー・ピクチャーズ・テレビジョ

ランキングで、 日本のテレビネットワークが首位を維持するのに貢献したほか、 日本

ン・ネットワークス・アジアのAXNフィリピンで放送されている。

の放送局における世界販売の議題の中で最も重要な番組だ。 コンテンツアジアが定期的に出している本年度の現時点の最新情報では、2016 年の1月から8月中旬までの間にオンエア・権利販売されたフォーマットは258本で ある。

インドネシアのフォーマット市場は相変わらず元気だ。今年は、 タルパの 「ザ・ヴォ イス」 や 「ザ・ヴォイス・キッズ」 の現地版など、19本の番組をオンエア・権利販売して いる。 韓国がリードするのはドラマのアダプテーションである。 今年大ヒットしたタイトル

今年の本数は昨年に比べてかなり多いが、 フォーマットのオーナーならびに権利

は 「スカーレット・ハート」 だ。 ドラマ制作は、NBCユニバーサルと韓国のメディア会

保有者により提供されたデータによると、今年契約が締結された取引は対前年比で

社であるYGエンターテインメントが共同で手掛けている。 さらに韓国では、 おそらく

平均40%以上の増加のようである。

最長となるであろう、次のドラマフォーマット、 ケシェット・インターナショナルの 「プ

今年の8月中旬の時点では、 エンデモル・シャイン・グループがアジアのフォーマッ トランキングの首位を維持している。保有するタイトル／シリーズは57本で、 これは

リズナーズ・オブ・ウォー」 が控えているが、 いつ、 だれが、 どのように展開するかにつ いて何も最終的な発表がないまま、数年が経過している。

今年の現時点までの間にオンエア・権利販売された全258番組の22%を占める。僅

今年これだけの変化があった一方で、変化しなかったものもある。FOXネットワー

差で2位に位置するのはフリーマントルメディア・アジアで、保有するタイトル／シリ

クス・グループ （FNG） のスター・ワールドが 「アジアズ・ネクスト・トップ・モデル」 のシ

ーズは53本（21%） だ。2016年の現時点で、 この最大手二社がアジアで保有するシ

ーズン5に着手していて、 5番目の制作会社と取り組んでいるという。 このように、 シー

リーズは、合計110本であり、 アジア地域のフォーマット市場の43%近くを占める。

ズン毎に繰り返し新チームへの変更を余儀なくされている。今回の理由は何だろう

タルパ(Talpa)、 ケシェット(Keshet)、 オール3メディア(all3media)の三社が保有す

か？シーズン4（過去最高評価を獲得したシーズン） を制作したフリーマントルメディ

るのは、合計37タイトルで市場の14%だ。

ア・アジアが、 アジアでの制作拠点を中国、 インド、 インドネシアに移して、 アジア地域

今年タイトル数が最も多い国は、50タイトル以上を有するベトナムである。約40 タイトルの中国がそれに続く。36本のタイは、 タイトル数で三番目に大きい市場だ。

43

のプロダクションチームを解体したのだ。次にFNGと手を組むのはどこだろうか。 い くつか思い浮かぶが、 しかし、本当のところは誰にもわからない。

contentasia issue four, october 2016

platformprofile

Wattpad、 その魅惑のストーリー ネット上の数百万の小説家や読者にとって、 ストーリーテリングのあり方はこの10年でWattpadによ って大きく様変わりした。国や言語の違いなどあらゆる垣根を超えた新たな小説や作家の供給源と して、Wattpadがどのようにその目覚ましい発展を遂げてきたか、 またブランドやソーシャルメディ アインフルエンサーにとってそこがいかに重要なプロモーションの場となっているかにつ いて、 Wattpad創設者の一人で同社のCEO、 アレン・ラウ氏に話を聞いた。

「ストーリーテリングブランド のWattpadが扱うのは、 エン ターテインメント業界の核と も呼べる“人々を夢中にさせ るオリジナルストーリー”だ。 業界全体を動かす唯一のも の、 すなわちストーリー以外の ものは扱わない」 と、Wattpad創 設者の一人で同社CEOのアレン・ ラウ氏は語る。 オンラインプラットフォームのWattpadは、 この10年で世界中の熱心なユ ーザー4500万人を取り込んできた。 これだ けの数のユーザーが、約50の言語でアップされ た3億もの小説を読んだりシェアしたりしている。 そこで費やされる時間は毎月150億分にも上 り、 トラフィックの90%は、 モバイルデバ イスからによるものだ。 ラウ氏によれば、10年前の創 設したばかりのWattpadが目 指していたのは、 「世界中の人 々にそれまでとは違った方法 でストーリーを体験してもらう こと」 であった。 現在では、Wattpadから 生まれたストーリーがgif ファイルやビデオクリップ など様々なフォーマット で、映画や連続テレビド ラマなどあらゆるスク リーンで展開されてい る。Wattpadの作品に はどれもその愛好家（ ファン）機能があり、 自 由に感想を書き込む ことができる。 こうし たデータからは作品

の中でファンが最も気に入ったセリフも分かる Allen Lau ため、映画化やテレビシリーズ化される際に脚本 家はそうしたセリフを脚本に含めることができる。 「Wattpadに投稿されるストーリーには、人々が人生やスクリーン 上、 あるいは想像力の奥深くで愛するものが反映されている。 だから Wattpadの作品は常に文化との関連性があるのだ」 とラウ氏は語る。 「つまるところそれによって作品を作る過程であれこれ推量しなけれ ばならない作業が軽減され、書籍化、映画化、 テレビドラマ化、 デジタル 放送化によって作品に命が吹き込まれたとき、 その成功が確かなもの になる」 と彼は付け加える。 作品の映像化を管理するWattpad Studiosは、 エンターテインメン ト業界が最も人気の高い作品に狙いを定めることができるよう手助け するために今年設立された。 Wattpad Studiosを率いるアロン・レヴィッツ氏は、 パートナー 企業の社長アシュリー・ガードナー氏とともに新たな取り組みとし て、Wattpad Stars プログラムと呼ばれるWattpadで最も人気の高 い作家や最も影響力の大きいインフルエンサーの管理を行っている。 ま たブランドソリューションズチームを率いるスザンヌ・スペンス氏は、 ジ ョリビー、 ジェネラルエレクトリック、AT&T、 モンデリーズ、 ユニバーサル ピクチャーズなどのブランドと協働し、Wattpad Starsに代表される自 社の資産を使ってこれらブランドのプロモーションを行う。 「Wattpad Studiosのような部門は、 エンターテインメントの将来 を示している。 それによってユーザーがコンテンツを生み出すオンライ ンの世界と、 オフラインのエンターテインメントの世界が結ばれるから だ」 とラウ氏は語る。 ラウ氏はWattpad Studiosの設立について 「企業として自然な進化 だった」 と説明し、 こうした取り組みは 「Wattpadが新旧メディアのギャ ップを埋めるエンターテインメント企業となるための礎となるものだ」 と述べている。 フィリピンの無料放送局TV5はそれを実証したパートナー企業のひ とつだ。TV5では2014年にWattpad Presentsと銘打ったドラマシリ ーズをゴールデンタイムに初めて放送し、現在、第5シーズンに突入して いる。TV5はWattpadで発掘した40のストーリーを使って200話分の ドラマを制作した。 世界的に見て 「The Kissing Booth」 のような作品は映画向きとさ れる。 パラマウントピクチャーは現在、Wattpadの人気作家であるア ナ・トッド原作の 「After」 の脚本を制作中である。 トッド氏がWattpad

The Magic In You, TV5 Philippines

contentasia issue four, october 2016

44 contentasia issue four, october 2016

で発表した小説シリーズは書籍化されてベストセラーとなり、32言語に翻訳されている。 先ごろ、Wattpadの作家に向けたグラフィックノベル、 トラベルダイアリー、 ファッションブ ログなどを作成できるマルチメディアオプションの利用が可能になった。 また、既存作品にメ ディアを挿入することで、物語の世界により入り込んだエクスペリエンスを提供することがで きる。 ラウ氏によれば、毎日10万以上の動画、画像、gifファイルなどが小説作品に追加され ているという。 マルチメディア展開のパートナーには、 ソニーピクチャーズ、 コカコーラ、DCコ ミックスのVertigoブランド、YouTubeセレブリティのグレース・ヘルビッグ氏などが名を 連ねる。 Wattpadにとって最も大きなの課題の一つが、24時間絶えず投稿される小説作品 をくまなく調べて、 そこから最高のストーリーを見つけ出すことのできる独自のアルゴ リズムを構築・展開・管理することだ。 「テレビやエンターテインメント全体の未来は、 間違いなく、 信頼できるデータと洞 察に裏付けされた作家たちのコミュニティによって牽引されるだろう」 とラウ氏は語る。 Wattpadではアジアからの作品投稿が増えている。 「ユーザー数は世界中で増加し ている」 とラウ氏が言うように、新規ユーザー登録は毎日絶えることがない。 フィリピン では先月の作品シェア回数が800万を超えた。 「こうした驚くべき成長は、 ベトナム、 インドネシア、 マレーシアなどにも広がってる。東南アジアでは先月だけで200万を 超える作品がシェアされた」 とラウ氏は付け加える。 若者はもはや小説を読まないという考えは明らかに間違っている。 「Wattpadコミ ュニティの大多数は30歳以下の若者である。若者たちはエンターテインメントを求め、 また自分自身も参加することを望んでいる。Wattpadが提供するモバイルエクスペリエン ス、 シリアルエクスペリエンス、 ソーシャルエクスペリエンスは、 この年齢層のニーズに合って いるのだ」 とラウ氏は語る。 Wattpadのユーザーは、 なにも新しい作品を読みたがっているだけではない。 Wattpad プラットフォームには 「クラシック」 セクションがあり、 ジェーン・オース ティン、 シャーロット・ブロンテ、 ウィリアム・シェイクスピア、 オスカ ー・ワイルド、 チャールズ・ディケンズなどの作家の作品を読む ことができる。 たとえば 「高慢と偏見（Pride and Prejudice）」 は、Wattpadでこれまでに500万回読まれてい る。 「Wattpadで 「高慢と偏見」 が人気を集めた一因 には、 インフルエンサーの影響がある。 アナ・トッド氏 は著作「After」 の中で、 「高慢と偏見」 などいくつか の古典作品について言及した。 そのため、 トッド氏 のファンたちがこぞってWattpadで古典作品を読 むようになったのだ」 とラウ氏は説明する。 ラウ氏自身も熱心な読者であるが、彼が古 典作品を大切にするのには別の理由もある。 「Wattpadの創設当初、私たちが最初にア ップした作品の中には、Project Gutenbergから入手したパブリックドメインの作 品もあった。 そうした古典作品のおかげ で、Wattpadは初期コミュニティメンバー を獲得することができた。 それが今では、 毎月4500万以上のユーザーが利用す るまでに成長している。 だからこそ今後 も古典作品を大切にしていきたい」。

45

My Tag Boyfriend, TV5 Philippines

contentasia issue four, october 2016

advertorial

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Tokyo International Music Market

TIAF

Tokyo International Anime Festival

JCS Official Website: http://www.jcs.tokyo/en/

Date

TIFFCOM/TIAF TIMM

Oct 25 (Tue) – Oct 27 (Thu) Oct 24 (Mon) – Oct 26 (Wed)

Main Venue

TIFFCOM/TIAF TIMM

Grand Nikk Tokyo Daiba (Daiba) Shibuya Excel Hotel Tokyu (Shibuya)

This Year’s Topics TIMM/TIFFCOM/TIAF Joint Seminar: VR Entertainment Contents Now and the Future of the VR Business

What is different about JCS this year?

Japan Contents Showcase (JCS) 2016 will be able to offer participants a more diverse venue for business meetings than in 2015.

For the past four years, JCS has used a single venue to concurrently hold three markets: affiliated market of the Tokyo International Film Festival (TIFFCOM), the Tokyo International Music Market (TIMM), and the Tokyo International Anime Festival (TIAF).

However, the market continues to expand in scale, to the extent that we can longer accommodate any more exhibitor booths, which is why this year we have decided to move the venue for the TIMM business meeting and seminar to a hotel in Shibuya. By using the same Daiba venue as last year and adding on another venue in Shibuya, we have substantially increased the overall scale of the event. This means we can now accommodate a wider genre of exhibitors.

The Japan Content Showcase (JCS) 2016 will feature a VR seminar co-hosted by the three representative organisations of TIFFCOM, TIAF, and TIMM. As one of the key seminars at this year’s event, it will focus on the current trends in VR. Further details on the seminar are listed on the website http://www.jcs.tokyo/en/event/about-event/ 50 APN(Asia-Pacific Producers Network) Producers join TIFF & TIFFCOM! TIFF and TIFFCOM invites 50 APN members from abroad this year. APN is a private organisation founded in 2006 to share their ideas and to deepen their friendships through annual conference. The conference this year will be held in Tokyo Roppongi and Daiba, venues for TIFF and TIFFCOM, where you will find a variety of events and open seminars such as the APN seminar

What are JCS’s top 3 priorities this year?

In terms of the JCS, we have added on an extra venue this year. This has also allowed us to broaden the range of exhibitors, and we have a diverse array on offer this year. Additionally, we’ve improved the content and increased the number of JCS seminars, which were highly rated at last year’s event.

As for TIFFCOM, first we have linked it

on world film-making and distribution trend. Do not miss such a rare opportunity as to encounter innovative point of views of Asia-Pacific leading players in the film-making field.

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from page 47 even more closely to the Tokyo International Film Festival (TIFF), and also aligned the daily schedules of both events from day one.

Moreover, this year we are adding producer events into the mix, such as by linking TIFFCOM with the Asia-Pacific Producers Network (APN).

Starting with the 50 APN members (who are leading producers in Asia and working in the industry’s frontline), we will also assemble top producers from Japan, Europe and the U.S. and hold a range of events from seminars to pitching sessions.

JCS 2016 will feature a more diverse array of exhibitors than previous years; in addition to film distributors and broadcasters, there will also be organisations for revitalising local communities, VR-focused technology booths, and even talent agencies. This means participants will have more opportunities to meet and hold business meetings with a greater variety of exhibitors than ever before.

How many people are expected this year?

How does this compare to 2015 and 2014?

A total of 18,318 people and 24, 236 people attended in 2014 and 2015, respectively. This year we have further expanded the scale of the event, and so we are expecting an even greater number of people.

How have you seen Japan’s animation industry changing through the years and what are you expecting from Japanese animation at JCS this year?

Over the past few years, Japan’s animation (anime) industry has seen remarkable yearon-year growth of 110%; the industry’s value exceeded ¥1.6 trillion/US$15.8 billion last fiscal year. The number of anime productions has also increased year on year by 107%.

Amid the established production committees and rising number of productions, the media surrounding anime is diversifying and video distribution businesses are enjoying substantial growth. We are also seeing greater possibilities for international distribution, and the emergence of live entertainment and other new businesses. Furthermore, I anticipate that the digitisation of productions will lead to a greater diversity in anime projects.

How are you seeing VR (Virtual Reality) represented this year at JCS? How is this different from last year? <Film, TV> The VR market in Japan’s film and TV industry is still in the development stage, and the reality is the market for games and MV-type promotion tools have become

contentasia issue four, october 2016

“Collaborations between Japanese and Asian content holders have been particularly active in recent years. JCS can play a key role in... establishing networks between Japan and Asia.” the mainstream. Within this we are seeing the emergence of 360-degree cameras that are used to film live videos of popular artists; although at present, these videos are mostly viewed online. There is still no defined audience (general release) for this type of content, and this is one of the impediments to the market’s further expansion. I believe the future of VR is heading toward expanding the boundaries of time and space, and going beyond the limitations of “frames” such as screens for viewing film and TV. (Mr Takagi, TIFFCOM) <Animation> Virtual reality (VR) has the potential to further expand the anime industry, and also embody a new world view that combines cutting-edge technology with anime. VR will provide people with the wonder of not only seeing but also physically experiencing anime, by making them feel like they are really a part of the scene they are viewing. For the anime industry as well, I think VR will become a new category in future productions. (Mr Matsumoto, TIAF) <Music> At present, the appeal of VR in music is, I feel, mainly in bringing artists instantly closer to their fans through simulating a live concert, for example. Although the future possibilities are infinite, at first I think we will see numerous outstanding VR works such as live concerts and special video content for PV and FC. It’s wonderful how VR will revitalize the anime market in this way, and I’m really looking forward to the new artists and creators that will emerge from this scene.

(Mr Kuwahara, TIMM) Have you seen many changes in Japan’s relationship with Asian content creators/ broadcasters?

In the past several years, Japanese content holders (creators and people working in television) have become much closer to Asia in terms of distance – both literally and figuratively.

Amid the Cool Japan movement that is garnering the country a favourable image internationally, Japanese content holders have managed to secure a defined market in Asian countries.

Cool Japan is also being linked to inbound tourism and other such areas, and this is enabling Japanese content holders to gain valuable experience in the importance of working with content holders across Asia.

Collaborations between Japanese and Asian content holders have been particularly active in recent years, and both sides have started to seriously consider issues such as what are the best types of networks to set up, or what kind of content arm they should create and produce in order to further boost the content’s value.

We believe JCS can respond to this trend and play a key role in bringing together Japanese and Asian content holders, in its capacity to act as a real platform for producing content arms and establishing networks between Japan and Asia.

How important are co-productions to your delegates?

Joint productions are becoming increasingly important, and so JCS 2016 will also feature numerous seminars, pitching sessions and other programmes on joint productions.

Many producers from around the world will assemble at this year’s TIFFCOM, and I think one reason for this is the greater gravity given to joint productions in the industry.

In particular, joint productions among Asian countries have huge business potential. JCS 2016 will offer participants a plethora of opportunities to meet prospective collaborators and hold business meetings; We are confident it will be the launching pad for numerous major international projects.

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Asia’s definitive media content and services directory

For details, contact: Leah Gordon (Americas, Europe) on leah@contentasia.tv or +1 310 926-6761 Masliana Masron (Asia) on mas@contentasia.tv or +65 6846-5988

www.contentasia.tv

datawho’swatching

made2measure

Indonesia has a soft spot for characters born in comics & India is hot on fantasy and crime drama. In China, younger audiences go for comedy in a bigger way, while older viewers demand more drama.

Meanwhile, in Japan, demand is high for crime procedurals while in neighbouring Korea, audiences are more fond of comedy. On one particular day in September, Korean variety show Running Man was by far Singapore’s favourite programme, according to Parrot Analytics’ demand metric, which measures consumer demand for content across every online/connected platform. Absolutely everywhere across every language, there was nothing like Game of Thrones to rock demand in the Q2 of this year.

The possibilities of “measuring the ocean rather than the islands” are endless, Parrot Analytics’ chief executive, Wared Seger, said during this year’s ContentAsia Summit in Singapore in September. Here’s what else he showed delegates...

Source: Parrot Analytics @ the ContentAsia Summit 2016

contentasia issue four, october 2016

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