ContentAsia's Issue Two 2020 by ContentAsia

ISSUE TWO 2020

C Syndication in Asia: The way forward

NTENT Formats: Asia’s wins & losses

“There are many twists and turns, this is a high suspense thriller that keeps you hooked until the end” ABP LIVE

“The edgy and riveting story along with the intense performances will not disappoint” REPUBLIC WORLD

Brand new Indian adaptation of the hit UK series Liar

@all3media_int all3mediainternational.com

Plus: ContentAsia Awards winners & the content outlook in Asia through the pandemic

the C

NTENT

On-demand access open until 26 September 2020 Contact rsvp@contentasia.tv to register

#spreadthelove www.contentasiasummit.com

contents...

what’s in this issue... And the winners are... ContentAsia Awards 2020

Truths be told Distributors across Asia are

loving and/or loathing their new realities, telling ContentAsia that while some platforms in the region are scrambling to ﬁll slates with acquisitions while original production restarts, others have retreated behind their masks, pulling the covers over their heads, postponing deals and holding their breath while they ride out the pandemic.

76 Horror Bookstore - Tin Can of Fear Taiwan Mobile (myVideo), Studio76 Original Productions

My Forever Sunshine, BEC World Thailand

Whoever has libraries of content that they can deliver immediately will win in this environment. This is a regional phenomemon, not about one speciﬁc country.” Indra Suharjono, Senior Media Advisor, JKN Global Media

page 18 We can expect more modest acquisition budgets with the projected economic downturn, with a corresponding dip in spending on content creation. On the other hand, we also foresee the consolidation of the ongoing trend of increasing partnerships with OTT platforms.”

Formats are still a promising chance to produce local content with an internationally proven success.” Charkrit Direkwattanachai, Vice President – EVP Corporate Affairs, BEC World (Thailand)

Jesslyn Wong, Vice President of Content Distribution, Mediacorp (Singapore)

page 14

page 24

Zoom, Hangout, Teams, Webex – you name it, we are on it!” Lee Mee Fung, Managing Director, PIK Film/ DW Asia Representative

page 22

contentasia issue two, september 2020

Losing form: Asia’s formats reality Formats fortunes in some Asia

markets may be better this year than others, but the reality is that very few countries are anywhere near meeting 2017/8 volume.

Data trends Media Partners Asia’s latest

data shows a tilt toward streaming, a still-powerful free-TV environment, and a contentspend bubble that is unlikely to last.

Best Female Lead in a TV Programme

Best Asian Horror Series

formats1H2018

Rasika Dugal, Out of Love Season 1 BBC Studios India Pvt Ltd 76 Horror Bookstore - Tin Can of Fear Taiwan Mobile (myVideo), Studio76 Original Productions

Best Director of a Scripted TV Programme Erik Matti, Food Lore HBO / WarnerMedia

Best LBGTQ+ Programme Made in Asia

Best Covid-19 Factual Feature Inventing Tomorrow: Tech in a Time of Pandemic CNN / WarnerMedia

And the winners are...

5 Lessons in Happiness, GagaOOLala / GOL Studios / Harvest Production Films Co

ContentAsia Awards 2020 Best Short-form Drama Series

Best TV Format Adaptation (Scrip

Best Factual Programme

Soul Food, Viddsee Studios

The Great Migration: First Steps, Beach House Pictures

Best Animated Kids TV Programme

4 Monster Beach - It Cone From Outer Space, Cartoon Network / WarnerMedia

contentasia issue two, september 2020 Pretty Little Liars Viu / Warner Bros / Cinema Collectiva

Best Asian Drama for a Regional/International Market Food Lore, HBO / WarnerMedia, Bert Pictures Pte Ltd

Best Current Affairs Programme

Borneo is Burning, CNN / WarnerMedia

Best Factual Entertainment Programme

Best TV Format Adaptation (Non-scripted) Mute it!, Nippon Television Network Corporation, AX-ON Inc

Ed Stafford: Man Woman Child Wild Beach House Pictures

pted) in Asia

Best Drama Series/TeleďŹ lm Made for a Local Asian Market

Best Male Lead in a TV Programme

Invisible Stories, HBO / WarnerMedia Birdmandog Pte Ltd

Best Quarantine-themed Drama/Feature/Programme Prin Suparat, My Husband in Law BEC WORLD PLC / CHANNEL 3 THAILAND

contentasia issue two, september 2020

SMK: Raya Dekat Jauh, Measat Broadcast Network Systems Sdn Bhd / Red Communications Sdn Bhd

businessupdate

Truths be told Distributors across Asia are loving and/or loathing their new realities, telling ContentAsia that while some platforms in the region are scrambling to fill slates with acquisitions while original production restarts, others have retreated behind their masks, pulling the covers over their heads, postponing deals and holding their breath while they ride out the next phase of the pandemic. Distributors across Asia are loving and/or loathing their new realities, telling ContentAsia that while some platforms in the region are scrambling to fill slates with acquisitions while original production restarts and live events resume, others have retreated behind their masks, pulling the covers over their heads, postponing deals and hold-

donesia (Rajawali TV) and Singapore (Mediacorp) as well as Ko-

Content spend varies by country and segment,

rea (TVA), plus higher visibility on streaming platforms. Thai story-

with caution a common thread and strategies

telling and production values have improved a lot and we’re

ranging from money-saving reruns to ramping

seeing much higher interest from multiple quarters. Producers

up flibrary acquisitions broadcasters hope will

in Thailand are also thinking more regionally instead of being

keep stay-at-home audiences engaged.

focused only on Thailand, and this has made a big difference.”

Buyers also seem to have discovered a new

Indra Suharjono, Senior Media Advisor, JKN Global Media plc

taste for classic titles that might not have seen the light of day under other circumstances, and the appetite for kids shows has gone through the roof. Some report rising demand for dialogue-free shows that don’t

“Acquisitions have slowed in Southeast Asian markets. However, we Indra Suharjono, JKN Global Media plc

incur language-customisation costs. At the same time, distributors flagged a gyrating acquisition market that shifts every few weeks, with buying cycles reduced in cases to 14 days and some unexpected deals. The highest disruption, predictably, has been among advertising-supported platforms, while the least has been among global and regional players, some report. Format sales have been hard hit, crippled by production stoppages as well as by disappearing sponsorship. But not all markets were equally impacted, as witnesses by the greenlight on the second season of the Motion Content Group-driven MasterChef Singapore. year so far...

“Buyers are more interested in Thai drama following exposure in 2019/20 in free-TV slots in the Philippines (GMA), Malaysia (Media Prima), In-

ing their breath while they ride out the pandemic.

Here’s what distributors told us about this

How have acquisitions patterns in Asia changed this year so far?

have observed an increase in old/classic content in Mainland China. There has also been a rise in enquiries and acquisitions for content on OTT platforms.” Jesslyn Wong, Vice President of Content Distribution, Mediacorp (Singapore) “For acquisitions, different strategies are implemented for traditional and online platforms.

Audience

behaviour

has

changed rapidly even prior to Covid-19. The changes are defined by months not years. The platform operators keep asking themselves questions about who their audiences are? What kind of genres they focus on? How to sustain the existing audiences? Original content is definitely one of the key values to all platforms. Platforms need more

Charkrit Direkwattanachai, BEC World (Thailand)

original content and may seek business partnership, co-production in regional or even global scale.” Charkrit Direkwattanachai, Vice President – EVP Corporate Affairs, BEC World (Thailand) “It varies from one territory to another. Due to the economic uncertainties brought about by the Covid-19 pandemic, some clients have shown caution when acquiring new content by either postponing, renegotiating, or even cancelling deals. Others have expressed urgency in fulfilling their programming needs with more acquired titles as local content productions were disrupted, without certainty of when productions will resume. Clients from these territories rely on foreign content to keep their viewers engaged during the lockdowns/ quarantine.” Roxanne J. Barcelona, Vice President, Worldwide Division, GMA Network (Philippines)

6 Prin (Mark) Suparat and Supassara (Kao) Thanachat in My Forever Sunshine (Trab Fha Mee Tawan), BEC World Thailand

contentasia issue two, september 2020

businessupdate

Mighty Mike, Cake

“Channels have had to adapt to changes in schedules due to shows

“It started with a rather conservative approach

not being delivered or live events being cancelled. This has led to an in-

whereby clients were using rerun content to

creased demand for content; we have seen commissions for new drama

fill the gaps left by cancelled live events

series... as well as new series, we’ve seen renewals for many of our estab-

and local productions. Although buying

lished brands. We have also seen an increase in view-

cycles reduced significantly this year,

ers of online content, which has sped up the de-

the market is fluid and changes every

velopment of platforms in the regions, giving

two weeks or so. As a result, we experi-

us new clients to sell content to, including our

enced unexpected deals here and there.”

first deal with Huanxi, which seen more than

Lee Mee Fung, Managing Director, PIK Film/

110 hours of factual programming head to

DW Asia Representative

Lee Mee Fung, PIK Film/DW Asia Representative

the service in China. We’ve also built relationships with local streamers, including

“The impact of Covid-19 is inescapable. The

Watch in Korea and several VOD platforms

adverse effects are obvious. Advertising budgets were slashed, lead-

in India. In terms of formats, we expected a

ing to reduced acquisitions budgets. The resulting cost rationalisation

strong reduction if not a stop for several months,

from most companies has had a knock-on effect on production and

however we were pleasantly surprised that the

acquisition. Format sales were hit due to lack of sponsorship and lock-

market remained strong with producers want-

downs guidelines crippling various production plans. In territories where

ing to be ready to start production immediately after restrictions were

the content is localised either through subtitles or dubs, it implied we

lifted. They therefore turned to formats to ensure this could happen.”

couldn’t license any new shows because the dubbing studios were

Sabrina Duguet, EVP, Asia, all3media international

closed or artists unavailable. We were very quick to speak with our cli-

Sabrina Duguet, all3media international

ents about how we could work together to deliver content during this “Just like the rest of the world, the impact of Covid-19 has also been felt

challenging time. There have been opportunities where we could re-

in Asia. Naturally with ad spend and sponsorship dollars on the wane as

license some of our library titles where subtitles and dubs were read-

economies across the world grapple with lockdowns and reduced con-

ily available. Also, there is a demand for finished programmes to fill

sumer spending, platforms and broadcasters have also had to tighten

up schedules as major sporting events such as the Olympics and the

their belts. However, audiences still need to be entertained so platforms

Indian Premiere League were postponed, thereby allowing us to fo-

have continued to acquire high quality content. We’ve had sales across

cus on finished content sales.” Rashmi Bajpai, Executive Director Asia,

the board, from our must-have marquee series such as The New Pope,

EndemolShine International

The Salisbury Poisonings and the beautiful My Brilliant Friend series; to our feelgood uplifting entertainment programming like America’s Got Tal-

“I think that clients are taking extra precautions when it comes to

ent, Britain’s Got Talent and The Greatest Dancer, to name just a few.”

budgets and want to choose shows that are classics and proven hits.

Ganesh Rajaram, General Manager, EVP Sales, Asia, Fremantle

There has been a need for reruns as well. Prices and budgets have

contentasia issue two, september 2020

businessupdate

Mary’s Kitchen Crush, Boat Rocker Media

also dropped, so flexible terms and payment arrangements are re-

with the spread of Covid-19, however this has now shifted as produc-

viewed with much more time and care. Overall, the negotiation pro-

tion resumes across various territories. So we are discussing more of

cess is taking much longer than before, definitely because of Covid-19.”

our formats with buyers again.” Samantha Ferguson, Senior Sales

Estefania Arteaga, International Sales Director, Caracol Television

Manager, Rabbit Films

“Demand has dropped this year as many channels have a budget

“While budgets were cut for a lot of broadcasters, school closures meant

freeze due to uncertainty of ad revenue. For local digital players, we

that broadcasters needed to urgently meet the needs of audiences with

are experiencing a similar situation, but global/regional service provid-

children now at home. The demand for kids programming increased

ers do not seem to be as severely affected.” Henry Or, SVP, Strategic

and with production slowing down, there were gaps in the schedule that

Partnerships, Asia, Boat Rocker Media

needed to be filled. There was a shift to library content and renewal for series where content was already versioned, as well as non-dialogue

“Acquisitions have remained largely stable with our regular bigger buy-

content such as Angry Birds, Oscar’s Oasis and Mighty Mike, which could

ers and as a whole there has been little change for us with the exception

be aired immediately.” Julien Farçat, Sales Manager, CAKE

of buyers with smaller budgets and inflight acquisitions who have been hit by Covid-19.” Jess Khanom, Senior Vice President, NENT Studios U.K.

“I have noticed a raft of free-TV acquisitions, pan-territory VOD platforms are fighting for content and some pan-territory buyers have

“In some instances Covid-19 has resulted in, unfortunately, deals being put on hold due to a freeze on acquisitions until the fallout from Covid-19 is known. However, on the flip side, Covid-19 has

reduced budgets, but keeping their options open with titles flagged for future acquisitions.” Katherine McMillan, Sales Manager Asia & Worldwide Format Sales, Australian Broadcasting Corporation

also resulted in new opportunities, whereby, for example, production has halted and the pipeline of internal content is not guaranteed, so the broadcaster/platform has to look outside to acquire more third-party content. Or for example in markets where local language versions cannot be created. We do have language assets in our library and have found there is renewed interest in these, for example, in Korea and Japan. We are/have experienced all of the above.” Joanne Azzopardi, SVP Sales & Acquisitions, Asia and ANZ, Beyond Rights “There was a focus at the end of Q1 on finished tape/readymades

Are you noticing any particular change in the focus on specific genres in Asia? “We have noticed an increase in interest in documentaries, particularly those related to Covid-19.” Jesslyn Wong, Vice President of Content Distribution, Mediacorp (Singapore) “Travel and food. We think this is because people can’t travel and there is a gap in their entertainment and recreation experieces that they are filling in other ways.” Indra Suharjono, Senior Media Advisor, JKN Global Media plc

12 Henry Or, SVP, Strategic Partnerships, Asia, Boat Rocker Media

Jesslyn Wong, Mediacorp (Singapore)

contentasia issue two, september 2020

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businessupdate

Supermarket Sweep, Fremantle

“Formats are still a promising chance to producing local content with an

“There was a surge in news and documentaries related to Covid19 and

internationally proven success.” Charkrit Direkwattanachai, Vice President

education for kids. In markets that are in recovery mode, there is a search

– EVP Corporate Affairs, BEC World (Thailand)

for business revival and health related content.” Lee Mee Fung, Managing Director, PIK Film/DW Asia Rep

“Traditional dramas are still preferred, but we have received increased inquiries for crime, suspense, and horror dramas.” Roxanne J. Barcelona,

“With a significant jump in VOD platforms and the hours spent consuming

Vice President, Worldwide Division, GMA Network (Philippines)

content, there is a greater demand for scripted titles. People had more time on their hands to binge watch content. Asian dramas are always in

“We have seen positive and uplifting content rise in importance as the

demand and we notice that the popularity of Thai drama has been on

global pandemic has continued; understandably audiences want to

the rise. We see no clear correlation between Covid-19 and the content

feel good when consuming content. There has also been an increase

buying strategies with the usual genres such as fast-paced scripted titles,

in demand for more affordable productions with solid track records. As

game shows, reality shows and kids seeing traction. But perhaps there’s a

budgets are squeezed, channels want to ensure that their investments

greater emphasis on feel-good, uplifting and nostalgia to abate some of

return the most value... The demand for scripted series has grown es-

the anxieties that we’ve all dealt with in these challenging times.”

pecially as the volume of content we have has increased.” Sabrina

Rashmi Bajpai, Executive Director Asia, EndemolShine International

Duguet, EVP, Asia, all3media international “Definitely shows related to Covid-19. We have received many en“There has definitely been an increase in demand for scripted

quiries but I believe there aren’t many related shows in the mar-

programming. With many people working from home and

ket. Buyers are also asking for more lifestyle and cooking shows

being in lockdown situations, we have seen an increase

at this moment.” Henry Or, SVP, Strategic Partnerships, Asia,

in viewing of dramas in many Asian territories. Our dramas

Boat Rocker Media

such as Luca Guadagnino’s We Are Who We Are and The Salisbury Poisonings are getting a lot of traction. As markets

“We are seeing an increase in educational and factual content

slowly begin to open up, we are also seeing a pick-up in

as well as family style ‘feel good’ dramas. I think channels are

demand for our classic entertainment formats like Family Feud, Price is Right and Supermarket Sweep.

looking for more ‘edutainment’ content especially during lock down periods. These types of shows are programming alternatives that will teach valuable lessons or provide some

Our gameshows are proven high volume

historical context via cultural documentaries, for

ratings winners, which clients are renewing

example.” Estefania Arteaga, International Sales

and commissioning new seasons.” Ganesh

Director, Caracol Television

Rajaram, General Manager, EVP Sales, Asia, Fremantle

Ganesh Rajaram, General Manager, EVP Sales, Asia, Fremantle

contentasia issue two, september 2020

businessupdate

Bolivar, Caracol TV

“At the beginning of March, buyers were looking for Cov-

“Generally across Asia, food, nature and wildlife continue

id-friendly or related shows. However the shift has now

to be a staple requirement, celebrity led series such as Rachel Khoo: My Swedish Kitchen, Remarkable Places

been for travel/escapism, which can be produced

To Eat and Baby Animals all continue to perform for

in a safe production environment. We have a for-

us. However, there are markets that have been look-

mat called Over the Atlantic (six celebrities sail across

ing at other genres as the requirements of their audi-

the Atlantic Ocean), which is gaining traction now

ences change. In China and South Korea, we have

as it has travelled to six territories and provides the travel/escapism

seen a rise in demand for non- scripted content, partic-

without

compromising

production.”

Samantha Ferguson, Senior Sales Manager, Rabbit Films

ularly with the larger platforms who were previously only looking to acquire scripted titles and big entertainment formats. In India, South Korea, Malaysia and

Samantha Ferguson, Rabbit Films

“With children home-schooling, there was a rise in educational content, particularly series helping children to learn English, edu-

Thailand, there is an increased appetite for scripted formats such as Eyewitness

cational songs about how to count etc, as well as PSAs related to Covid,

and Black Widows, which we have placed in

how to wash your hands, etc, and programmes that entertain children

a number of those countries.” Jess Khanom,

as well as help them with emotional well-being and series with a creative

Senior Vice President, NENT Studios U.K.

slant are proving popular.” Julien Farçat, Sales Manager, CAKE

programmes

“More feel-good programmes are in demand with strong human stories.”

have always been popular. How-

Katherine McMillan, Sales Manager Asia & Worldwide Format Sales,

“Children’s

and

lifestyle

ever, there is even more inter-

Australian Broadcasting Corporation

est from both the subscription and free sectors. And lighter, entertaining

content

keep the family entertained during lockdown periods.” Joanne

Azzopardi,

SVP

Sales & Acquisitions, Asia and ANZ, Beyond Rights

Is there any specific market in Asia that has risen in significance for you since the beginning of 2020? Do you think this is Covid-19 related? “We have observed greater demand in the India and China for syndicated content due to postponement and halts in local production

Estefania Arteaga, International Sales Director, Caracol Television

contentasia issue two, september 2020

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businessupdate

Obsession, GMA Network

because of Covid-19 regulations, as well as an increase in demand for

vid-19 and move forward, acquiring and producing content.” Ganesh

content on OTT platforms.” Jesslyn Wong, Vice President of Content

Rajaram, General Manager, EVP Sales, Asia, Fremantle

Distribution, Mediacorp (Singapore) “DW experienced significant increase in daily unique users and time “The pandemic has impacted every market... There is no specific market

spent on our Bahasa Indonesia news in text, pictures and short videos

that could rise during this difficult period. We, however, observed greater

since February 2020. This content is refreshed daily and distributed via lo-

increment on online content viewing. We could say this is Covid-19 related

cal news websites in Indonesia. We also saw significant increase in view-

as viewers stay home longer when their out-of-home activities are limited.

ership for DW short videos in China.” Lee Mee Fung, Managing Director,

We are hopeful that this behaviour will continue even when the pandem-

PIK Film/DW Asia Representative

ic subsides.” Charkrit Direkwattanachai, Vice President – EVP Corporate Affairs, BEC World (Thailand)

“Not really. Some markets are more active than others as they weren’t that affected by the pandemic, such as Japan, or had a shorter lock-

“Whoever has libraries of content that they can deliver immediately will

down compared to others. China went into lockdown before any other

win in this environment. This is a regional phenomemon, not about one

territory but also opened up sooner than others. That said, Beijing is now

specific country.” Indra Suharjono, Senior Media Advisor, JKN Global

grappling with the outbreak, just underscoring the uncertainties of the

Media plc

pandemic.” Rashmi Bajpai, Executive Director Asia, EndemolShine International

“No observable and significant movement in the different Asian territories so far.” Roxanne J. Barcelona, Vice President, Worldwide Division, GMA Network (Philippines)

“We have seen a boom in India on scripted formats and have a large number of series in negotiation with the various platforms. As more platforms emerge in India the demand for scripted

“The Indian market has seen a strong year, despite the

content increases. It makes sense for broadcasters to produce

challenges of Covid-19, it has continued to grow in signif-

their own content, particularly as there is uncertainty around

icance. The rise of local streamers and local productions

the world on when production can resume due to Covid-19.

have affected this growth. We recently had success with

Scripted formats are desirable as they have a track record and

Voot’s adaptation of the Two Brothers Pictures hit psychological thriller Liar (locally titled Marzi).” Sabrina Duguet, EVP, Asia, all3media international

are tried and tested, so it’s a great way for broadcasters to future proof their scripted needs especially as they can gain control of where and how they shoot within their own country. Jess Khanom,

“China, Thailand and Indo-China all stand out to

Senior Vice President, NENT Studios U.K.

me. They are also beginning to open up since CoRoxanne J. Barcelona, Vice President, Worldwide Division, GMA Network Inc (Philippines)

contentasia issue two, september 2020

businessupdate

Rachel Khoo: My Swedish Kitchen, NENT Studios

“Overall, we have seen a need for OTT/VOD

market continues to grow, although growth has slowed down due

rights from countries like India and Vietnam.

to the impact of the current global situation.” Julien Farçat, Sales

Generally, these markets are big buyers of

Manager, CAKE

telenovelas and series, but I think Covid-19 has increased the need for more volume due to higher consumption patterns and overall watch time. For China, we have seen a new interest in foreign content, giving us a new opportunity to explore adding more feature films and series in the region.”

Jess Khanom, NENT Studios

Estefania Arteaga, International Sales Director, Caracol Television “I don’t have any market that has risen in significance this year, but there are some markets that have dropped since the beginning of 2020. I believe this is Covid-19 related as buyers are more cautious in spending until the pandemic starts to settle.” Henry Or, SVP, Strategic Partnerships, Asia, Boat Rocker Media “There is greater interest in our content from Korea, Japan, Thailand, Indonesia and pan-regional Southeast Asia, which is directly related to Covid-19: existing language assets in our library, reduced pipeline from the U.S. and greater need for children/family programming.” Joanne Azzopardi, SVP Sales & Acquisitions, Asia and ANZ, Beyond Rights “We are having more conversations with buyers in Indonesia and India.” Samantha Ferguson, Senior Sales Manager, Rabbit Films “There hasn’t been a specific market that has risen in significance. While we continue to do business in the region, the majority of broadcasters are waiting for lockdown to end in order to assess the economic situation before being able to do business again. Of course, the SVOD and AVOD

Have there been any changes to your regular content business practices as a result of Covid-19? “We have shifted towards virtual trade markets and forums, with online material delivery and the use of e-copy contracts, telecommuting and other remote methods of communication.” Jesslyn Wong, Vice President of Content Distribution, Mediacorp (Singapore) “We work on what our viewers like to see. It may be a bit too early to talk about the strategic changes on our regular content. However, our content production now focuses on team safety and new processes and protocols.” Charkrit Direkwattanachai, Vice President – EVP Corporate Affairs, BEC World (Thailand) “With travel and health restrictions, annual trade shows are postponed or cancelled and their organisers have converted the physical market to virtual markets. We reconfigured our strategies for the year to be more responsive to the times. Resources and efforts were diverted to reach our clients via virtual platforms.” Roxanne J. Barcelona, Vice President, Worldwide Division, GMA Network (Philippines) “One of the key changes to our practices include adapting our formats to ensure they are ‘Covid friendly’. We’ve used the experience from U.K. and U.S. productions that were filmed during the pandemic.” Sabrina Duguet, EVP, Asia, all3media international

contentasia issue two, september 2020

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businessupdate

The Great Australian Bee Challenge, ABC Commercial

“Less focus on formats and more on completed pro-

“It’s very much business as usual and there is still an important need to entertain audiences... On the production

gramme sales. Also companies have taken this op-

side of our business, our teams have adapted practices

portunity to restructure or rethink strategy.” Katherine

to keep shows on air safely so that audiences are not

McMillan, Sales Manager Asia & Worldwide Format

disappointed. Global teams are working at incred-

Sales, Australian Broadcasting Corporation

ible pace and with huge creativity to come up with “This year has been very different in terms of content

new ways of creating our shows. Some of the look may

markets, we have been exploring the Virtual versions

change but we aim to continue to deliver great entertainment where we can. We have a great slate for this year so we’re still able to keep talking to our clients about these oppor-

Katherine McMillan, ABC Australia

tunities. Of course, we miss the face time with our clients – virtual meetings are not the same as having that personal interaction but every-

and plan to keep these on board for the rest of the year due to travel difficulties. We kicked off a ‘Let’s go Virtual’ campaign back in March and have been pleased with the results.”

Estefania Arteaga, International Sales Director, Caracol Television

one has adjusted extremely well and we continue to have great relationships.” Ganesh Rajaram, General Manager, EVP Sales, Asia, Fremantle

“Yes, face to face meetings vs virtual meetings. Funny that we are seeing (online) buyers more often now than pre-Covid-19. In the past, we would

“The business is exactly the same. The difference is digital execution.”

meet up a couple of times a year at conference/exhibition/business

Indra Suharjono, Senior Media Advisor, JKN Global Media plc

trip. Now, it becomes a norm that we say, ‘Let’s Zoom’.” Henry Or, SVP, Strategic Partnerships, Asia, Boat Rocker Media

“YES! Zoom, Hangout, Teams, Webex -- you name it, we are on it!” Lee Mee Fung, Managing Director, PIK Film/DW Asia Representative

“Like most of the world, we are working remotely from home. For us this has been quite beneficial as given the time-difference we can be

“We’ve all adapted very well with online video calls replacing actual

in touch with our clients in Asia on a much more regular basis both by

meetings, which is the next best alternative given the ban on flying.

phone and by video conferencing. As we all work virtually from home it

Technology is playing a bigger role and we’re using tools like docu sign

has become a mutually advantageous 24- hour business.” Jess Khanom,

for signing contracts. For format projects where our creative consultants

Senior Vice President, NENT Studios U.K.

would fly for on-site consultancy to various locations, these are now done digitally. There has also been a huge amount of collaboration within

“Tighter payment schedules are required.” Joanne Azzopardi, SVP Sales

Endemol Shine and the creative teams around the world.” Rashmi Ba-

& Acquisitions, Asia and ANZ, Beyond Rights

jpai, Executive Director-Asia, EndemolShine International “Zoom calls and webinars have currently replaced sales trips and markets.” Samantha Ferguson, Senior Sales Manager, Rabbit Films

contentasia issue two, september 2020

businessupdate

Beat Bugs, Beyond Rights

“As a result of Covid-19, we have all had to rethink how we work. Travel

due to the pandemic, we hope to increase sales on digital platforms.”

restrictions meant trips and markets were cancelled and as we transi-

Roxanne J. Barcelona, Vice President, Worldwide Division, GMA Network

tioned to working from home, we all needed to react and adapt quickly.

(Philippines)

Where possible, we have scheduled regular video calls with partners, as without a personal connection, it has become even more important to

“Markets are picking up at different times and while we have encoun-

maintain and deepen our continuing relationships using all tools avail-

tered challenges with sponsorships due to the ad market being down,

able. As a business, we have been fortunate to have been impacted

our positive formats performance are helping get partners on board for

less. Working primarily in animation has meant our productions has con-

Travel Guides, for example... We are also launching local content, start-

tinued with minimal disruption.” Julien Farçat, Sales Manager, CAKE

ing with our IP adaptations, which is opening new opportunities for us. We have a lot of scripted series in development and will have more in pro-

What are you expecting in Asia for the rest of this year? “We have a lot of deals in the works, with a lot more interest compared to three months ago at the height of the Covid panic. We are expecting a lot of deals to be closed before end 2020.” Indra Suharjono, Senior

duction by the end of the year as restrictions lift. We are also launching some key prime-time entertainment series.” Sabrina Duguet, EVP, Asia, all3media international “I expect Asia to slowly start opening up – much like China, Thailand and Indonesia. In Southeast Asia, countries like Sin-

Media Advisor, JKN Global Media plc

gapore and Malaysia are beginning

“We can expect a more modest acquisition budget with the projected

next to open up and start cross

economic downturn, with a corresponding dip in spending on content creation. On the other hand, we also foresee the consolidation of the ongoing trend of increasing partnerships with OTT platforms.” Jesslyn Wong,

to turn the corner and could be border travel and that could be positive for the economies, which will in turn hopefully create

Vice President of Content Distribution, Mediacorp (Singapore)

more room for productions and ac-

“There is no more I can say than hoping that we together will have a

Manager, EVP Sales, Asia, Fremantle

solution to stop Covid-19 and bring our Asian countries back to normal as soon as we can.” Charkrit Direkwattanachai, Vice President – EVP

quisitions.” Ganesh Rajaram, General

“No rainbow in sight for content

Corporate Affairs, BEC World (Thailand)

syndication and licensing. For-

“We expect that Asia will still be our main market, with OTT develop-

tional

ing more because of the lockdowns implemented by different countries in the region. Although sales to traditional platforms has slowed

tunately, DW as an internapublic

broadcaster

offers a broad range of content services that is well

contentasia issue two, september 2020 Joanne Azzopardi, SVP Sales & Acquisitions, Asia and ANZ, Beyond Rights

@MIPCOM

NTENT

+ print + online + market dailies

BookingsNowOpen

Putting your brand & products in front of more buyers & decision makers in 22 Asia-Paciﬁc markets. ContentAsia reaches 11,000+ executives in Asia across all platforms with a clear editorial focus on Asia, market developments, trends, inﬂuences & information that makes a difference. Contact Leah Gordon at leah@contentasia.tv (Americas, Europe, U.K.) Masliana Masron at mas@contentasia.tv (Asia, Australia, Middle East) For editorial info, contact Malena Amzah at malena@contentasia.tv

NTENT

ta sia .tv ww w. co nt en

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Disney loses thold channels foo in Singapore ations

negoti All sides say Fox channels are ongoing; otlight now in the sp

rplatforms – Sta two pay-TV Singapore’s ee Disney thr d pe op dr gtel – ch Hub and Sin failing to rea 1 June after channels on es continsid all t Bu s. on rate agreement ns are conrriage discussio ue to say ca are Disney, ls ne three chan tinuing. The Disney XD. d an r nio Ju Disney

ta sia su m m it.

20 1-14 June 20

co m

Advertising/Sponsorship Leah Gordon E: leah@contentasia.tv T: +1 323-654-0456 M: +1 310-926-6761

www.contentasia.tv

contentasia

businessupdate

Agatha and the Midnight Murders, EndemolShine International

suited for today’s economy and unprecedented business climate.” Lee

chises as soon as possible which don’t

Mee Fung, Managing Director, PIK Film/DW Asia Representative

require the same amount of consultancy. No doubt, we expect business

“We will continue to participate in the virtual editions of the content mar-

to pick up pace as we move into the

kets into the fall season and will continue to rely on other tools like the

second half of 2020 but with limited

online marketplaces we have been partnering with to reach new pros-

budgets and perhaps more flexible

pects and close deals online via their platforms. I believe the digital trend

payment terms. We believe the com-

will continue for business in Asia for the rest of the year. As many countries

mon goal from the industry will be to

are slowly getting back on their feet, together we will look ahead at 2021

minimise the impact of covid-19 and

and work towards any newly shaped goals and targets because of Cov-

rebuild businesses with an eye on 2021.”

id-19.” Estefania Arteaga, International Sales Director, Caracol Television

Rashmi Bajpai, Executive Director Asia,

Rashmi Bajpai, EndemolShine International

EndemolShine International “It will never be the same again – in terms of how every business operates, and how/what people are watching.” Henry Or, SVP, Strategic

“A sense of normality and a distraction from current global affairs. Oh,

Partnerships, Asia, Boat Rocker Media

and lots of format deals. :)” Samantha Ferguson, Senior Sales Manager, Rabbit Films

“A mixed bag: in some markets more opportunity, however also reduced opportunity. In general, even though viewing numbers are higher, adver-

“While it is impossible to predict the economic impact this year has had,

tising revenue has taken a significant hit and will need time to recover.”

we all hope that the situation will improve quickly for everyone. Hope-

Joanne Azzopardi, SVP Sales & Acquisitions, Asia and ANZ, Beyond Rights

fully, we will return to a new kind of normal towards the end of the year.” Julien Farçat, Sales Manager, CAKE

“We expect business to pick up in the second half as economies begin to recover, advertising budgets increase and broadcasters feel the need

“Continuing strong programme sales, particularly for feelgood pro-

to refresh their schedules. The easing of restrictions is already leading to

grammes, to fill gaps in schedules due to Covid production slowdown,

post-pandemic productions resuming. Most clients are gearing up to hit

formats ramping up.” Katherine McMillan, Sales Manager Asia & World-

the ground running and are already in planning mode. Based on the

wide Format Sales, Australian Broadcasting Corporation

conversation with clients, their main focus is to start shooting major fran-

contentasia issue two, september 2020

RENDEZVOUS CANNES

5 October - 17 November 2020

12 - 14 October 2020

MIPCOM 2020 transforms into MIPCOM RENDEZVOUS CANNES and MIPCOM Online+

VISIT MIPCOM.COM

formatsQ22020

Losing form: Asiaâ&#x20AC;&#x2122;s formats reality Formats fortunes in some Asia markets may be better this year than others, but the reality is that very few countries are anywhere near meeting 2017/8 volume.

1H2017 1H2017 1H2018 1H2018 1H2019 1H2019 1H2020 1H2020

Country

1H2018

1H2019

1H2020

Bangladesh

Cambodia

China

India

Indonesia

Japan

Korea

Malaysia

Mongolia

Myanmar

Philippines

Regional

Singapore

Sri Lanka

Taiwan

Thailand

Vietnam

1H2017

285

251

224

218

contentasia issue two, september 2020

formatsQ22020

Q1 2020 by Country

Q1 2020 by Genre Bangladesh 0.5% Cambodia 5.5%

Vietnam 21.6%

Sitcom 0.5%

Variety Entertainment 1% 5% Dance contest 2% Adventure - Sports 1%

Singing contest 19%

Factual 0.5%

China 8.7%

Thailand 15.1%

India 14.2%

Reality 22% Game Show 26%

Taiwan 0.5% Sri Lanka 1.8% Regional 1.4% Philippines 4.1% Myanmar 3.2%

Indonesia 6.9% Mongolia 6.9%

Korea 4.1%

Drama 23%

Japan 3.7%

Malaysia 1.8%

Talkshow 0.5%

Q2 2020 by Country

Q2 2020 by Genre Adventure - Sports 0.9%

Vietnam 22.5%

Taiwan 0.5%

Drama 19.7%

Bangladesh 0.5%

Cambodia 6.0%

Thailand 16.5%

Reality 22.9%

China 7.3%

Singing contest 18.8%

Sri Lanka 1.4% Singapore 0.5% Regional 1.4% Philippines 4.1% Myanmar 3.7%

India 11.5%

Mongolia 7.8%

Korea 4.1%

Malaysia 1.4%

Indonesia 7.8%

Japan 3.2%

Variety 0.5%

Talkshow 0.9%

Game Show 28.9%

Entertainment 5.0% Dance contest 1.4% Factual 0.5% Sitcom 0.5%

Source: Distributors, broadcasters, rights holders

contentasia issue two, september 2020

1 â&#x20AC;&#x201C; 4 DEC 2020

Market. Conference. Networking

www.asiatvforum.com

Produced by:

An event of:

Held in conjunction with:

Hosted by:

In Support of:

Held in:

Supported by:

formatsQ22020

ContentAsia’s Formats Leaderboard: Q2 2020 Endemol Shine 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36.

Big Brother Hindi India S13 Big Brother Hindi India S14 Big Brother Kannada India S7 Big Brother Malayalam India S2 Big Brother Malayalam India S3 Big Brother Marathi India S3 Big Brother Tamil India S4 Big Brother Telugu India S4 Brain Vietnam, The S1 Brain Vietnam, The S2 The Bridge (Regional) S2 Celebrity MasterChef Thailand S1 The Face Vietnam S4 Fear Factor India S11 Humans China S1 MasterChef All Stars Thailand S1 MasterChef Cambodia S2 MasterChef India S6 MasterChef Indonesia S6 MasterChef Indonesia S7 MasterChef Myanmar S3 MasterChef Singapore S2 Million Dollar Minute Vietnam S5 Million Dollar Minute Vietnam S6 The Money Drop Myanmar S4 The Money Drop Thailand S3 Puzzle Masters S3 Spelling Star Mongolia S1 Spelling Star Mongolia S2 Tripping Thailand The Wall India The Wall Thailand S1 The Wall Vietnam S2 Younger South Korea S1 Your Face Sounds Familiar Vietnam S7 Your Face Sounds Familiar Vietnam S8

ITV Studios 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

5 Gold Rings Thailand S1 5 Gold Rings Thailand S2 Divided Vietnam Divided Vietnam S2 Dress To Impress Mongolia Human Knowledge Thailand It Takes Two Vietnam S4 Jekyll & Hyde China Lies Allowed Vietnam The Next Boy/Girl Band Vietnam The Voice Cambodia S3 The Voice Cambodia S4 The Voice India S4 The Voice India S5 The Voice India S6

16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34.

The Voice Japan S1 The Voice Kids Cambodia S3 The Voice Kids Cambodia S4 The Voice Kids Indonesia S4 The Voice Kids Indonesia S5 The Voice Kids Philippines S5 The Voice Kids Philippines S6 The Voice Kids Thailand S7 The Voice Kids Vietnam S8 The Voice Korea S3 The Voice Mongolia S2 The Voice Myanmar S3 The Voice Senior Cambodia S1 The Voice Senior Cambodia S2 The Voice Senior Thailand S2 The Voice Sri Lanka S1 The Voice Teens Philippines S2 The Voice Teens Sri Lanka S1 The Voice Vietnam S7

Fremantle 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Cambodian Idol Junior S2 Cambodian Idol S4 Cambodia’s Got Talent S3 Family Feud Cambodia S2 Family Feud Myanmar S9 Family Feud Thailand S5 The Greatest Dancer China Indian Idol S11 Indonesian Idol S10 Indonesian Idol S11 Let’s Make A Deal Indonesia S6 Man O Man Vietnam S3 Match Game Cambodia S1 My Mom Cooks Better Than Yours S1 Myanmar Idol S5 Myanmar X Factor Philippines Got Talent S7 Philippines Got Talent S8 Philippines Idol S2 Price Is Right Indonesia Price Is Right Thailand Price Is Right Vietnam S15 Price Is Right Vietnam S16 Take Me Out Indonesia S1 Take Me Out Thailand S15 Take Me Out Thailand S16 Thank God You’re Here Mongolia S1 28. Thank God You’re Here Vietnam S7 29. X Factor Cambodia S2 30. X Factor Thailand S2

NBCUniversal 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Baggage Vietnam Crush Vietnam Hollywood Game Night Thailand S5 Real Housewives Of Bangkok Thailand Saturday Night Live China Singer Auction Vietnam S1 Singer Auction Vietnam S2 Songland Thailand Still Standing Mongolia Still Standing Thailand S7 Still Standing Vietnam S2 Suits Japan S2 Top Chef Just Desserts Thailand S1 Top Chef Thailand S3 Top Chef Vietnam S2 Who Is the Real Celebrity Vietnam World Of Dance Thailand S2

All3media 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Beat The Internet Vietnam Cash Cab Mongolia Cash Mob Mongolia Cashcab Sri Lanka Cashcab Vietnam Cast At Your Door Mongolia S2 Catch Me Out Philippines Catch Me Out Thailand Face the clock Vietnam S2 Gogglebox Mongolia S10 Knock Knock Vietnam Liar India/Marzi Miss Fisher’s Murder Mysteries China

Fuji TV 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

1 Litre of Tears Korea Chef ~Three Star School Lunch~ Taiwan Confidence Man China Confidence Man Korea Desperate Motherhood China First Class China Ghostwriter China The Hours of My Life China Iron Chef Thailand Matrimonial Chaos China The Next Iron Chef Thailand S2 Second to Last Love China

contentasia issue two, september 2020

Sony Pictures Television

BBC Studios

Workpoint Group

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

1. 2. 3. 4. 5. 6.

1. 2.

The Gong Show Indonesia S1 Shark Tank Bangladesh S1 Shark Tank Thailand S2 Shark Tank Thailand S3 Shark Tank Vietnam S4 Who Wants to be a Millionaire India S1 (Kashmiri) Who Wants to be a Millionaire India S11 (Hindi) 9. Who Wants to be a Millionaire India S2 (Tamil) 10. Who Wants to be a Millionaire India S5 (Malayalam) 11. Who Wants to be a Millionaire Vietnam S1

Criminal Justice India S2 Doctor Foster Korea Life on Mars China Luther India The Split Korea Thirteen Japan

Ching Roi Ching Lan Vietnam The Rapper Vietnam

Armoza Hostages India

ABS-CBN

1. 2. 3. 4.

Made in Germany Vietnam

Mea Culpa Indonesia My Dear Heart Myanmar The Heiress Indonesia S1 The Two of Us Malaysia

Keshet Boom! Vietnam S2

Dori Media KBS 1. 2. 3. 4. 5. 6. 7. 8. 9.

All About My Mom Vietnam Descendants of the Sun Philippines Immortal Songs â&#x20AC;&#x201C; Singing the Legend Malaysia Immortal Songs â&#x20AC;&#x201C; Singing the Legend Vietnam Live or Die Vietnam My One and Only Vietnam Rebirth Vietnam Rosy Life Mongolia Ruby Ring Indonesia

1. 2. 3. 4.

It Girls Myanmar The Best Of All Thailand S2 The Best Of All Thailand S3 The Best Of All Vietnam S1

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

18 Again Korea The Bachelor Japan S4 The Bachelorette Japan S1 Cold Case Japan S3 The Fugitive Japan Gossip Girl Indonesia Pretty Little Liars (Regional) The Real Vietnam The Woody Show Thailand

Bomanbridge Media 1. 2. 3. 4. 5. 6. 7. 8.

Chef In Your Ear Mongolia S4 DNA India S8 DNA India S9 DNA Mongolia S1 DNA Mongolia S2 Doctors VS Internet Mongolia S2 Little Masters Mongolia S1 Gamerz S1

contentasia issue two, september 2020

The Apprentice: ONE Championship Edition

NENT Studios Nippon TV 1. 2. 3. 4.

Block Out Mongolia Block Out Vietnam Mother Thailand Pharaoh! China S7

CJ ENM Warner Bros

MGM

1. 2. 3.

I Can See Your Voice Thailand S4 Shadow Singer Vietnam Tunnel Indonesia

TV Asahi 1. 2. 3.

31 Legged Race Thailand S15 Beat The Champions China S3 dele Korea (drama)

Small Fortune Korea

SBS Running Man Philippines

ViacomCBS Global Distribution Group Hollywood Squares

ViacomCBS Networks International The Viral Factory Thailand

The Walt Disney Company Last Man Standing Vietnam

MBC

Zense Entertainment

1. 2.

Beat The 60 Seconds Indonesia

Ranking Show 123 Thailand The King of Mask Singer Malaysia

Red Arrow 1. 2.

You Deserve It Vietnam S8 You Deserver It Vietnam S9

Source: Distributors/rights holders, broadcasters, ContentAsia Notes: Leaderboard includes data for Q2 2020, updated as of 7 August 2020. Titles were on air/ premiered, or were commissioned for broadcast in 2020 in Asia. Does not include: re-runs, format options, and shows created by broadcasters/ production houses/sponsors for one channel but have not been sold as a format to anyone else. All distributors and formats rights holders were given equal opportunity to participate.

datatrends

Stream team Media Partners Asia’s latest data shows a tilt toward streaming in Asia, a still-powerful free-TV environment, and a content-spend bubble that is unlikely to last.

Premium video economics have tilted towards

ing SVOD customers coming into the ecosys-

streaming in Asia, particularly since the begin-

tem in 2020 so far.

MPA has not put its usual dollar amount on content investment in Asia Paciﬁc for 2020 be-

ning of 2020, but the region had yet to see “a real

Couto went on to tell delegates at APOS

major pivot” towards streaming, Media Partners

September edition, that Asia’s content cre-

cause of widespread uncertainty and “lots of

Asia (MPA) executive director, Vivek Couto, said

ators and storytellers “have to be aware of

Couto identiﬁed the “next content battle-

during the ContentAsia Summit 2020.

content bubbles” in the new video ecosystem.

ground” as local series, where local TV players

swaying on sports rights”.

“Television is still worth an enormous amount

He said advertising had deteriorated and

had a competitive advantage. This was already

of money, both in terms of what consumers still

that streaming/OTT content licensing in the

happening in India, and increasingly in Southeast

spend per unit cost on television and advertis-

near to medium term was not enough to off-

Asia. “But we expect global and regional stream-

ing dollars, particularly on free to air in markets

set the loss. This would “hurt content creators”;

ing players to go into this market,” he said.

like Indonesia, Thailand and to some extent the

“the online window isn’t really going to ﬁll the

Philippines,” he said.

void and that’s a big risk,” he said.

Streamers – particularly Viu and Netﬂix – fared well in the ﬁrst half of this year. Couto said

In a presentation entitled “Playing Through the

He also warned that while streaming plat-

Viu grew 45% in the ﬁrst half of the year and

Pandemic, The Rise of Streaming Video”, Couto

forms would increase investment in content,

that Netﬂix was on course for its best growth

said consumer spend on online video subscrip-

“they will increasingly do so in a more balanced

year ever in Asia Paciﬁc, with full-year revenue

tions was signiﬁcantly up as freemium players

and sustainable mode in the new world”.

growth of more than 55%.

moved more content behind pay walls to insulate themselves against advertising decline.

Sports rights holders “have to be prepared to

MPA’s AMPD Research shows that average

accept even more serious ground realities than

weekly streaming minutes reached 5.1 billion in

Noting that low-ARPU subscriptions in the

ever before as they look at monetising in this part

four markets – Philippines, Thailand, Indonesia

region were growing, Couto said ﬁve markets

of the world,” Couto said, adding that: “Due to

and Singapore – during lockdowns in ﬁrst half

– Korea, Indonesia, Philippines, Malaysia, Thai-

Covid, operators have lost their premium sports

2020, dropping to 4.3 billion average a week

land – had signed up 5.5 million net new pay-

subscribers and may never regain them”.

post lockdown.

OTT Entertainment Content Investment is Growing Rapidly

OTT Entertainment Content Investment is growing rapidly OTT INVESTMENT IN ENTERTAINMENT (MOVIES & SERIES) 1,200

Content Costs (US$ mil.)

1,000 800 600 400 200 0

2019

2022 India

Source: Media Partners Asia

2019

2022 Korea

2019

2022 Indonesia

2019

2022 Thailand

2019

2022 Philippines

Source: Media Partners Asia

contentasia issue two, september 2020

the C

NTENT

Thank You to our sponsors & partners The ContentAsia Summit 2020 is made possible with the generous support of: Star sponsors