ATF 2023 by Prensario

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MAIN REPORT

ATF 2023: Asia and APAC, at the top of the trends After the recent markets that took place in the content calendar —Mipcom, MIPcancun, Content London— the industry evolves with mostly good sensations: the content market is not as before the pandemic, but is healthy and growing, pushed mainly by three trends: the progressive return of major distribution to third parties, the international co-production models and the AVOD & FAST fever. On the three, Asia and APAC in particular, are leading regions. So, we can expect for Singapore very good traffic and many emerging opportunities.

Content trends 2023, towards ATF • Opening of US major studios & SVOD titans international distribution

• Time for international co-productions, alliances and collaborations • AVOD/FAST fever

• Asia is firmly back after the pandemic

• Australia is a top territory for major co-productions with US, UK, France, Germany and Spain

At Mipcom, one of the main conclusions was that Asia has been back, after the long break of the pandemic. China was the top attending country at the convention, but Japan and Korea have been strong engines, as soon as India, Hong Kong, Taiwan, Malaysia, Singapore, Thailand, Indonesia, were other good sources of fresh business. Middle East, on the other hand, was the region with top buyer growth, including cross-regional productions in Arabic language as a current big trend. And we must talk especially about Australia. Today is one of the top players in co-production ventures with the US big studios and European titans, as in the past was just Japan. During last May LA Screenings, in Los Angeles, from ten new series presented by the US major studios, 3-4 had Australian partners, apart from UK or German ones. Awesome. Market tips & trends during those events? The reduction of SVOD projects continues all around the world, reinforcing the position of broadcasters as more stable partners for the big studios. Though, some sights of demand recovery are seen in Netflix and Apple, especially in Europe and the US market. Others as Disney, are waiting for their staff restructure to end. In Asia, where the

BY NICOLÁS SMIRNOFF

leading SVOD are regional/local players, the segment has less ups & downs. Through all the world, most of broadcasters are worried about rising costs vs. hard advertising incomes. Even, many have sensible employee reductions. With digital, fragmentation is inevitable. Though, some European free TV players are facing growing ad numbers, and they are buying more product due to that. In Asia, the broadcasters are experimenting big changes, adequation processes too, but mainly for digitalization, to turn to strong digital groups. About genres, big prime time entertainment takes most of the attention of broadcasters worldwide. As many consider there are no fresh formats, some players as Fox USA, are betting on paper formats to create properties that then can sell to the world. Fox is making alliances with TF1 France, Atresmedia Spain, and good investments to make these projects real. Against producers, they keep all the rights. About fictions, according to The Wit’s Fresh TV, True Crime, realstories based series and fantasy/Science Fiction, are the main recent preferred options. In scripted production, Spain continues as the powerhouse of the moment. It sells formats, it exports directors, actors and writers. Soon, Spanish studios will produce in UK or USA for the international market, with USD 4 million budget per episode. About Asia, Japan and South Korea are on the same way, but more focused on co-productions than productions on demand.

ATF 2023, big tips √ About 5000 attendees from 70 countries √ 1200 buyers, 40% digital √ Main Asian territories: Japan, South Korea, China, India, Australia √ Others big nations: Malaysia, Singapore, Indonesia, Thailand, Taiwan, Hong Kong, New Zealand √ The SVOD leaders are regional/local players √ International co-productions, production hubs on spot √ New AVOD/FAST platforms at every step √ Enterprise content business emerging

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SPECIAL REPORTS

Multi-aggregators: the next twist for APAC content business The ‘Multi-aggregators’ are telcos, pay TV operators, Internet Service Providers (ISPs), strong local players that, in Asia and the world, have created their own OTT platforms to perform as hubs for the main SVOD systems to their captive communities, but also to offer own content and make difference with local sports, events, etc. This has been the first step. Then, when big AVOD/FAST players appeared, more alliance possibilities took place, though online players expanded to compete with them in the role of global hubs for entertainment. What is coming next? The ability of these ‘multi-aggregators’ to generate bundles of top products from the bigger platforms, as much as developing non-satisfied market niches. This way, they can gain relevance from a new position, and above all, to provide fresh value to users about the ideal dream of having the best content in just one place.

Multi-aggregators?

The ‘Multi-aggregators’ are… Telcos, ISPs, Pay TV operators, Strong local players, 2nd-tier AVOD platforms They actually… • Perform as hubs for big platforms • Make difference with local content

They can from now … • Generate scaled bundles joining the big platforms • Provide direct/fastest access to iconic contents • Mix SVOD, TVOD, AVOD models • Let access to unavailable contents • Cover new market niches

Economic opportunities in Asian markets With the new technological advancements and the continuous changes in the world, economic opportunities in the market for media tend to arise everywhere. Being the most populated continent in the world while being the most ethnically diverse, Asia has the most emerging markets for users in streaming

platforms, with the Asia-Pacific region leading as the largest for over-the-top (OTT) video streaming. In 2021 alone, the user base surpassed a staggering 1.1 billion, and projections indicate its continuous significant growth. This, combined with a variety of tastes, technological implementations, and emerging economies, positions Asia as a powerhouse in the global media landscape. In essence, Asia presents a vast and dynamic media market ripe with opportunities for expansion, innovation, and investment owing to its sizable population, cultural diversity, technological growth, and emerging economies. The most popular streaming platforms in Asia vary depending on the country. Netflix is one of the main OTTs in Asia, including leading market shares in Japan, South Korea, Taiwan and Philippines.

A N EX T R AOR DINA RY EXPLOR ATION INTO THE CUR IOSITIES OF SPACE

@all3media_int all3mediainternational.com

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Pay TV improves in Asia, though global decline It is no a secret that traditional Pay TV is experiencing one of its most difficult moments due to streaming. According to Ampere Analysis, the global penetration of Pay TV will experience its first annual drop in 2024. But it would not apply to all territories, APAC and Europe have presented significant growth, partly supported by the strong presence of public channels and the commitment of these with local content and battle against American streaming platforms. But why the peak global decline? The consultancy believes that this will occur after its penetration reached a maximum of 60.3% in the fourth quarter of this year, according to the research, so they predict that by 2028 the global penetration of pay television will have fallen almost four percentage points. North America is one of the major markets that has shown a sharp reduction of almost half, from a high of 84% in 2009 to 45% in 2023, which Ampere Analysis attributes to a combination of high costs and competition from a market ‘Mature’ SVoD. ‘Despite

APAC’s rising OTT revenues and digital transformation

this decline, annual revenue generated per user (RGPU) will be more than $1,100 (€1,000.52) in 2023 across North America, the highest of any region,’ said Rory Gooderick, analyst. senior at Ampere Analysis. Latin America has also shown significant drops in penetration since 2016.

In the past, Asian nations were distinguished by a notably strong focus on local cultural consumption. Presently, the audiovisual sector is recognized as a profitable investment prospect, driven by significant consumer interest. The media landscape in the AsiaPacific (APAC) region is swiftly transforming, adapting content and distribution strategies to meet the evolving needs of consumers in rapidly expanding digital economies. Digital TV Research’s recent report claims that OTT revenues in the region will increase by US$15 billion by 2029: reaching US$49 billion, up from US$34 billion in 2023. This is because China, the world’s second largest market, is reaching SVOD maturity and India is undergoing SVOD restructuring. China will account for 39 percent of the region’s total revenue by 2029, up from 47 percent today; ...

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SPECIAL REPORTS

Korean content: a boost focused in Generation Z Korean content is emerging as a global phenomenon as Korea continues with a variety of convergent content, including movies, series, music, webtoons and games. Following the coronavirus pandemic, Korean content industry exports reached an all-time high, cementing its position as a major pillar in the global content market. More than 60% of Netflix subscribers worldwide watched at least one Korean Broker title in the last year; a situation that generated that this type of content represents 6.63% of the top 10 global content on the same platform, ranking second worldwide. The generational change centered on Generation Z is playing an important role Past Lives

Squid Game

in driving Korean content globally. Unlike previous generations, who mostly enjoyed Hollywood content, people born between 1997 and 2012 value cultural diversity, and choose Korean content because it incorporates diverse social issues into pop culture in a fun...

AI: an Asian guide to ethics and governance

The Glory

While the audiovisual industry is adapting to Artificial Intelligence (AI), so are the new ways of producing. AI poses a risk because of its potential impact on society and employment, but it is expected that it is not intended to replace content professionals...

Asia-Pacific has more than half of all gamers worldwide

Driven by the confinement following the coronavirus pandemic, Gaming industry revenues in 2020 and 2021 were much higher than anticipated at the time. NewZoo’s Global Games Market Report, ...

Continue Reading 6

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APAC, ahead in FAST market growth The Asia Pacific (APAC) market has been experiencing the fastest growth in FAST business so far this year, with a 290% increase in ad impressions and views and a 181% increase in hours on view (HOV). This data was contained in Amagi’s recent report, where it also stated that while the USA is expected to remain the largest FAST market, the region experienced relatively moderate growth during

The thriving APAC market for live sports streaming

the period, with a 20% increase in impressions of ads and 12% on HOV. For its part, Latin America remains a competitive second and EMEA third after APAC in terms of growth, underscoring the importance of expanding FAST’s offerings globally. Among the drivers of FAST channel consumption are news channels, which have a large audience in APAC and the USA. Compared to other genres, news channels generated more global (40%) and HOV (37%) ad impressions.

Continue Reading Sports content broadcasting rights are no longer just a trend in the USA and Europe. Since 2021, the APAC market has grown in this segment, both due to the demand of its audience for this content, and due to the interest of providers in embarking on one of the most ...

Digital dominance: APAC’s advertising economy soars

The APAC region has become an advertising powerhouse, outperforming global average growth rates and driving the expansion of the advertising economy, according to Magna’s latest report this year.

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BUYERS – SPECIAL INTERVIEWS

iQIYI: 270 new titles and record-breaking financial results During the iQIYI World Conference in Beijing a few months ago, it not only unveiled its sustained growth strategy based on its high-quality content, but also announced an impressive lineup of more than 270 new titles, underscoring the substantial value that provides Premium content for the streamer. Gong Yu, Founder and CEO of iQIYI, emphasized at the event the fundamental role that partnerships and co-productions, as well as

Gong Yu, Founder and CEO

Wang Xiaohui, Chief Content Officer and President of Professional Content Business Group (PCG)

capable teams and an efficient management system, play in the creation of quality content on video platforms. ‘These elements, along with effective monetization through membership services and advertising, will be the primary focus of the company’s future efforts’. In line with its commitment to premium content, iQIYI revealed the imminent launch of an extensive slate of entertainment titles, including movies, drama series, variety shows and more, totaling more than 270 titles. ‘With this we demonstrate our ability to produce cutting-edge content that meets the constantly evolving interests of users’.

Prime Video, APAC: Indonesia, Philippines and Thailand take center stage After its arrive in Thailand more than a year ago, Prime Video remains firmly on its Southeast Asian planes, and has already launched a number of new local content and channels. Last August released its first original in the Thai market, Comedy Island Thailand, produced by Liminal Entertainment. The streamer’s VP for Asia Pacific, Gaurav Gandhi, recently commented at the APOS conference that in addition to original content, Gaurav Gandhi, VP they are adding channels and TVOD to the for Asia Pacific

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platform’s offering. ‘We have always said that we are not just focused on SVOD service primarily, but we are also a content hub and a marketplace with TVOD channels. We are in different stages of growth throughout the region. We have been investing in Japan and India for a while, and now we are starting to build Southeast Asia’.

Darin Darakananda, head of Thai content

Netflix: reshaping the streaming field in Southeast Asia After releasing Cigarette Girl by Indonesian director Kamila Andini on November 2, it is clear that Netflix intends to continue investing in this growing market for streaming. But the service also awaits several premieres soon, which are part of its alliances with local third parties, in Thailand and the Philippines, in addition to Indonesia. In addition to this series, there are this year some other Indonesian hits such as Hunger Malobika Banerji (the number 1 non-English language film at - Senior Director, the beginning of the year), and The Big 4, the Content (SEA) Indonesian film that was the most watched in several countries during its premiere. It has been a good step forward, especially in a market as segmented and complicated as Southeast Asia. And after five years that Netflix landed in those lands, Malobika Banerji, content director for the region, recently said that the idea is to place these countries and their filmmakers on the audiovisual map, which is mostly dominated by Korea and the United States.

‘We are confident that we are on the right path and will continue to invest in both content licensing and project commissioning’, said Banerji. Although they have an important list of local content, the executive assured that they are still in a testing window period, so they are ‘learning as they go’. ‘We are testing different genres and formats to get to know the audience.

Tencent: from IP mastery to tech progress Tencent Video shared insights into the domestic market’s growth journey and current viewership trends at the past edition on MIPCOM 2023. As a keynote speaker in the event’s Media Mastermind series, Tencent VP and CEO of Tencent Video, Zhonghuai Sun, told the gathering of top content creators, distributors and broadcasters that ‘good content transcends borders’ Zhonghuai Sun, Tencent VP and CEO of Tencent Video while highlighting opportunities for international partnerships in content and streaming. Thanks to Internet and AI technology, online video users in China have surged over the last decade to over a billion in 2023. The market has become more sophisticated and competitive with discerning Chinese audiences demanding content of ever higher quality that both entertains and informs. As a result, major platforms have shifted strategies in recent years. They are buying less third-party content and creating original content in-house. Tencent Video has been a trailblazer in this process. Today, it selfproduces a diverse range of content from popular drama series to variety shows, feature films, animation, sports, and documentaries to satisfy a diverse user base.

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BUYERS – SPECIAL INTERVIEWS

WeWatch TV: strategic alliances with local impact For its launch, the platform partnered with Soladia International’s One Park Residences and Serviced Apartments, which adopted new standards for digital TV and entertainment services for luxury housing in Cambodia.

The executive director, Sarah Wang, believes that the success of the service is the constant alliances with local content providers, as she assures that the audience responds better to this content Sarah Wang, than to the large global platforms. ‘We have exec director alliances with sports content providers, live TV, but also interactive content’.

TRT’s tabii: from local to global Launched in Singapore in April 2021, just after COVID restrictions were lifted, WeWatch TV still offering over 100 live channels, as well as local and foreign language movies. The service have a strong presence in Southeast Asia, where in addition to Singapore, it also operates offices and local content in Cambodia and Indonesia.

Launched last May, tabii is the streaming platform of Turkish Radio and Television Corporation (TRT), with which it addresses the company’s digital purposes both nationally and internationally. The service debuted with Turkish content in English, Spanish, Urdu and Arabic, 30 new productions, nad more than 15,000 Abdullah Çelik, director of strategy hours of content. ‘It was a logical & planning, and Elif Tatoğlu, director of brand & marketing move that we had on the agenda for a while. ...

Asia: WBD’s Max launch, after Paris Olympics Games Following its combined OTT plans, Warner Bros. Discovery will release Max in some parts of Asia between 2024 and 2025. The company announced this recently, and it will be right after the Paris Summer Olympics. The company has a strategy where it intends to bring its strong catalog of originals, content from its film studios, the lifestyles of Discovery, and also the enormous offering of J.B. Perrette, CEO and President of classic animation and its Adult Swim unit. Global Streaming J.B. Perrette, CEO and President of Global and Games Streaming and Games, who recently participated in a conference at the APOS conferences, is determined to launch the service in Asia,...

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VIDIO’s formula in Southeast Asia: sports, drama and strategic alliances The VOD platform under umbrella of the Indonesian conglomerate Elang Mahkota Teknologi (Emtek), VIDIO, has recently announced a new funding round of $100 million. This initiative aims to secure resources to compete with foreign services like Netflix. Established in 2014 as a local contender against global players such as Netflix and Disney+, VIDIO drew inspiration from the Hotstar streaming service, which provides free-to-air live streaming, catchup broadcasts, sports entertainment, and original content. Following successful private investments, VIDIO has experienced substantial growth in its subscriber base. This surge was further

FPT Play: a pioneer in Vietnam’s OTT scene

Tran Thu Trang, Deputy General Director

As the subsidiary of FPT Telecom (Vietnam), FPT Play is one of the country’s leading streaming services offering nearly 200 local and international linear channels and VOD content to more than 4 million viewers across more than one million households. Always changing, constantly updating to keep up with trends, and focusing on exploiting inherent strengths is the way that has helped the service maintain its position in the OTT market in the country Appearing in 2013, ...

propelled by its role as the official broadcaster of the 2022 FIFA World Cup, acquisition of Formula One broadcast rights, and exclusive digital coverage of the Premier League for 2022-2023 and 2025-2026 season, this is due the Hadikusuma Wahab, discontinuation of Fox Sports Asia operations Chief Product Officer in October 2021. By December 2022, the platform witnessed a surge in paid subscribers, surpassing 5 million. However, this figure saw a decline to 3.8 million by the end of May 2023. Simultaneously, the platform observed an increase in average revenue per user as subscribers transitioned from lower-cost bundled packages to premium offerings. While sports content holds paramount importance on VIDIO, the platform has also made significant investments in the creation of new drama series and movies. These endeavors have been instrumental in driving their total monthly active user base, which stood at 60 million as of the close of last May.

From curation to creation: Viddsee’s journey in Singaporean audiovisual industry Singaporean industry is improving its audiovisual narratives. In addition to local dramas, there is a strong interest in exposing social stories of current problems in the country. The short video platform Viddsee, which was launched in 2013 and Michele Schofield, whose business was content senior vice president curation, now has expanded of advertising to original production.

Kenny Tan, Vice President of Studios

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WDBW ATF 2023 – SPECIAL REPORT

What do buyers want in Asia?

For ATF 2023 edition, Prensario International reviews a special survey made by RX into the mindset of top Asian content buyers and commissioners and what they are looking at the international markets.

Qi Yu, JYS Media (China)

• Editorial Strategy: JYS Media is the first specialist agency focusing on managing, exploiting and marketing online video content in Mainland China. We acquire documentaries, movies, animations, entertainments for both linear and non linear. • Projects/programs search: Animations, Documentaries, Entertainments. Genres: Kids & Teens, Docs & Factual, Animation, History & Civilisation Nature & Wildlife Science & Knowledge. • Acquisition Territory: Asia, Africa, Latin America, North America, Europe, Middle East, Oceania.

Chuan Chin Chang, Tempo International Mass Media (Taiwan)

• Editorial Strategy: seeking, curating and localizing a content, regardless its category, like movie, drama, animation, documentary, ... etc., which can get a well resonation from Taiwan audience on diversify platforms, linear, streaming, non-theatrical and so on. • Projects/program search: movies with audience familiar talents and fast-pace plots and scene. Drama without too much sophistic plots. Self-completed each episode are well accepted. Animation targeting for pre-schooler and junior grade along with CP publicizing in local is better. Documentary one-off with topics suitable for senior grade educational market. • Acquisition Territory: Asia, North America, Europe.

Doyoung Oh, Plus Media Partner (Korea)

• Editorial Strategy: Plus Media Partner is primarily engaged in distribution of overseas TV programs from all around the world and supply them to broadcasters in South Korea. Plus Media Partner has established quite an extensive and impressive clientele, exactly built out from the existing networks carefully accumulated for years by each member of the management. It includes, among others, several public channels owned by Korean government and public organization authorities. And terrestrial TV stations, cable & satellite TV channels, IPTV platforms are also our usual business partners. • Projects/program search: looking for the documentary & factual programs on History, Lifestyle, Nature, Wildlife, Science & Technology, Discovery & Travel, Environment, Military Arts, Music, Culture, Current Affairs, etc. Genres: Archives, Arts, Music, Culture, Current Affairs,Educational, Youth oriented, Ethnology & Sociology,History & Civilisation, Nature & Wildlife, Reality / Factual,Science & Knowledge, Social. • Acquisition Territory: Asia.

John Godfrey, Head of unscripted, SBS (Australia)

• SBS is an Australian public broadcaster with a Charter that is committed to cultural diversity. Everything that SBS commissions has to reflect and explore some facet of cultural diversity. • See above. Documental and formats. • UK

DRAMA

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• What is your editorial strategy? • What type of projects/programs are you looking for?

Karen Tang, Paramount Global (Singapore)

• Acquisition Territory?

Masa Omiya, TRANS WORLD ASSOCIATES (Japan)

• Editorial strategy: we acquire high quality TV movies, mini-series, documentaries, feature films and animations for the Japanese market (DVD, TV, VOD and theatrical rights). As a distributor, we work with several broadcasters and VOD companies. We are looking for a wide range of programme categories. • Projects/program search: we are looking for completed programmes or programmes in the final stages of production. Genres: Drama, Feature Film, Miniseries, Series, TV Movies • Acquisition Territory: Asia, North America.

Nisa Sittasrivong, True Visions Group Co (Thailand)

• Editorial Strategy: kids content, key focus on animation titles that will work for SEA region including Korea and Japan. Genderneutral. Comedy-driven. • Projects/program search: as above. • Acquisition Territory: Indonesia, Japan, Malaysia, Philippines, Singapore, South Korea, Sri Lanka, Taiwan, Thailand, Vietnam.

Hengyi Zhi, Da Neng Culture Media (China)

• Editorial Strategy: any programme can tell an interesting story. • Projects/program search: general history, military history, science. • Acquisition Territory: China, India, Japan, Singapore, South Korea, Austria, Germany, Iceland, Ireland, Italy, Serbia, Spain, Switzerland, Turkey, United Kingdom, Qatar, Australia, New Zealand, Canada, USA.

• Editorial Strategy: searching good content to entertain customer the most, but need to deliver good value and moral to the society. • Projects/program search: series of breakthrough knowledge that audience can easily related and enjoyed. • Acquisition Territory: Asia, North America, Europe.

T.J. (Tae Jeong), United Media (Korea)

• Editorial Strategy: buying TV contents, movies. Selling TV contents, movies. Producing movies, dramas, and documentaries. • Projects/program search: HD Documentary series UHD 4K programmes Movies. Animation. Dramas, documentaries. • Acquisition Territory: Europe, Asia, North America, Latin America, Oceania.

Weicui Guan, Beijing Xiangjiang Yihua Film & Tv (China)

• Editorial Strategy: Beijing Xiangjiang Yihua is headquartered in Beijing, and has long been committed to importing excellent overseas film and television programms into China, while also vigorously promoting the distribution and exhibition of Chinese films in overseas markets. • Projects/program search: all genre animation and all genre films. • Acquisition Territory: Japan, Singapore, Thailand.

“One of the finest productions in this industry in the last 20 years” -Milenio-

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MARKET NEWS

Caracol TV presents diverse narratives at ATF

OGM Universe: strong dramas

ABS-CBN highlights Dirty Linen, Can’t Buy

OGM Universe participates in Asia TV Forum (ATF), with its international portfolio. The company is aims to expand into new markets, foster international ties, and solidify its position as the global hub for Turkish drama.

ABS-CBN, the leading content provider in the Philippines, closes the year with new partnership agreements with several media companies and platforms for the broadcasting of its content. The company is attending ATF 2023 to meet once again with Asian clients...

Continue Reading Lisette Osorio, Vice President of International Sales

In the spotlight of Asian market ATF, Caracol TV joins the the event with its latest productions that resonate with themes of racial empowerment, resilient women, and the heartbeat of Colombian popular music. Leading the pack is Love of My Life, a poignant romance drama that boldly addresses racial discrimination. The narrative unfolds around the forbidden love between Mariana, the daughter of a formidable landowner from Valle del Cauca, and Joaquín, an Afro-Colombian laborer toiling on her father’s cotton farm. The series boasts a stellar cast including Jairo Camargo, Modesto Lacen, Melanie del Olmo, Paula Castaño, Jair Romero, and marks the return of Luis Jerónimo Abreu (Bolívar) in an antagonistic role. Then, there’s Power Romina, a gripping series that trails the journey of Juanita Molina (The Queen of Flow) portraying a downhill ...

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ORF Enterprise makes focus on ATF 2023 ORF Enterprise, the company based in Vienna, continues its efforts to diversify and strengthen its content portfolio. With fiction content, ORF also offers history and nature documentaries, factual documentaries and a selection of cultural titles to satisfy the interests of a diverse audience.

All3media: action thrillers and modern relationships As one of the titles in its current international catalogue, All3media is highlighting at ATF 2023 the six-episodes dark comedy Far North. Tell the story of the Ninety Mile Beach meth bust in 2016, foiled by residents ...

Mediahub: keep moving forward

RTVE: quality and distinctive offering

Mediahub (Turkey) is the company of Kerim Emrah Turna, a well-known sales director who has promoted Turkish dramas since their beginnings in the international market. He has taken advantage of his experience to form a growing efficient staff and, above all,..

Spain’s broadcaster RTVE, presents a preview of its latest fiction productions at ATF 2023, the event taking place in Cannes from December5 to 8. With a portfolio of content across all genres, the company highlights its recent original productions and more.

Kanal D: Daylight and Three Sisters Kanal D International comeback to ATF to showcase its line-up to the Asian buyers. The company highlights its seasonal titles, remarking the family drama Three Sisters, which recently was acquired by Panama’s Medcom, ...

Alfred Haber: prime time entertainment shows Continue Reading

Centauro announces its co-production ‘Winter Howl’ The Chilean documentary, Winter Howl, directed by filmmaker Matías Rojas Valencia, and whose production credits are Tomás Gerlach of A Simple Vista and Clara Larraín Zegers of Clara

Dori Media: powerful dramas and non-scripted shows Dori Media Group arrives to ATF in a very special moment: though the Middle East conflict, the company continues non-stop with its production units both in the US market, ...

With several entertainment titles, Alfred Haber Distribution is promoting its seasonal catalog in the European markets. Among his highlights are Help My House is Haunted and Into the Wild Frontier. Produced by Back2Back Alfred Haber, president Productions for UKTV, Help My House is Haunted follows a team of paranormal experts who travel in the UK investigating cases of paranormal activity in the homes of ordinary people Meanwhile, Into The Wild Frontier, is a historical drama produced by Warm Spring Productions, the story follows intrepid mountain explorers who risk their lives to blaze new trails to the wild frontier in 17th century America. They also continue to successfully distribute Shallow Grave, which was exclusively acquired by the distributor in 2019.

Madd Entertainment: a year of triumph in the content market The joint venture of Medyapım and Ay Yapım, Madd Entertainment is one of the most relevant distribution houses in the content market. And since last year, the company has been distributed some of the top dramas...

Audiovisual From Spain in Asia: spanish narratives The Spanish companies under the umbrella of Audiovisual From Spain leds at ATF its new titles. The highlights include animated series,...

Olympusat: AVOD platform and Fast channels Olympusat has widened succesfully its adquisition unit and distribution, while doing strong investments in its Free TV platform and in FAST channels. Aurora Mohler, Chief Content Officer, ...

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MARKET NEWS

Calinos’s Farah continues its remarkable journey Calinos Entertainment’s mission is to spread joy to global audiences, to make them ‘enjoy the drama’ by enhancing the presence of its dramas on all the platforms, in every country, with the newest content. With its second season Farah will continue to the Turkish star of Calinos Catalogue. Starring Demet Ozdemir and Engin Akyurek; the series had a great first season with its story & cast and it will have phenomenal second Asli Serim Guliyev, international sales director season. Turned into a global phenomenon with its premiere in Turkey, it’s awarded by global viewers at different social platforms. The fans of Turkish dramas awarded Farah in 3 categories on Dizilah Güzel Awards at “The Best New Series”, “The Best Cast Ensemble” and “The Best Child Actor”.

Inter Medya highlights Blue Cage Turkish Inter Medya is currently distributing content in more than 160 countries. And as for ATF, the company is presenting its main titles, including Blue Cage, Poison Ivy , and more.

Electric boosts its international business Electric Entertainment is gaining attention in the international content market. Having started out as another independent American producer and distributor of films and television

ZEE: Asian stories for Asia and for the world With different business units in India, ZEE Entertainment Enterprise Limited is present at ATF 2023 to highlight its catalog of local dramas.

Onza Distribution presents Sweet Strawberries The company based in Madrid, has managed to position itself as one of the Spanish companies with the greatest presence in the international audiovisual market, taking the Onza

The Mediapro Studio: global scale production With 24 offices distributed around the globe, there is no doubt that The Mediapro Studio is one of the most active companies in the audiovisual aspect. In ATF, they are boosting their most recent titles: Primate, Las Pelotaris 1926, o Las Bravas

Glowstar Media: focus on fiction and un-scripted With fiction and non-fiction projects, Silvana D’Angelo, CEO of Glowstar Media (Argentina), is participating at the markets of the last months of the year, where seeks to boost its catalog of titles associated with big names ...

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Lionsgate includes the series Gray and The Chosen in its Asian catalog Gray is the main title in Lionsgate’s offering at ATF. The suspense series whose narrative takes place in the CIA, stars Patricia Clarkson, Lydia West and Rupert Everett.

ATV seeks business opportunities in Asia The distribution arm of ATV, one of the most watched channels in Turkey, comes from success to success. The company recently renewed the strips For My Family...

Raya Group: a decade of achievements This 2023 is the 10th Anniversary of Raya Group, and during theses last markets, the company is highlighting its successful recent stories. In addition to its linear TV offer, the company is

Insight TV’s revving up the entertainment scene, FAST! Insight TV is no stranger to the Asian market. The company has been selling content and broadcasting linear channels throughout Aisa Pacific for more than 6 years. Today, they are active in China, South Korea, Japan, Thailand, Mongolia, India, Singapore, Australia, New Zealand and others. At this year in ATF, Insight TV is Natalie Boot, Global Vice President FAST & Content gearing up to captivate audiences Distribution with their newest automotive lifestyle show, THE RIDE LIFE WITH SUNG KANG, featuring the iconic star from the blockbuster Fast & Furious franchise, promising to offer viewers an adrenaline-fueled journey with automotive enthusiasm with immersive community and travel experiences. Scheduled for broadcast by mid-summer 2024, anticipation is soaring for this high-octane adventure.

RCN Estudios: successful series on global platforms With success on platforms, as well as in its linear channels, RCN Estudios is having a great moment, that’s why its attending ATF this year, to highlight its catalog for this market.

Workpoint comeback at markets with The Show Workpoint returned to markets for the first time since the COVID pandemic hiatus, at MIPCOM 2023. The company is already participating at the trade shows with a international slate.

Incredible Film expands documentary portfolio Incredible Film deals global distribution rights for 6 seasons of the 4K documentary series, WineMasters (27×45’). Produced by Farmhouse TV & Film Productions, the series will join Incredible Film’s slate at ATF.

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MARKET NEWS

Globo: Land of desire at ATF

Multicom: from classics to cult films Founded in 2010 by veteran film and television executive Irv Holender, Multicom Entertainment Group is a world-class independent distribution company with a focus on the global television market, OTT, mobile, and pay-per-view.

Continue Reading Isadora Filpi, Content Distribution and Partnerships

After presenting Land Of Desire at MIPCancun, Globo lands at ATF to show it to the market, in addition to its seasonal content. ‘It is a classic soap opera, a saga set in incredible landscapes in Brazil. We are very excited to see the receptiveness of the international market to this screening’, commented Isadora Filpi, Content Distribution and Partnerships. Other notable soap operas in the market are Perfect Love, which was launched on the international market during MIPCOM last October, and Never Give Up. Globo is also betting on selling formats such as Sweet Diva, The Favorite, The Life We Lead and Hidden Truths. Recently, the company announced the sale of the Avenida Brasil format to the Turkish production company Ay Yapim, which reinforces the trend of making local adaptations to stories.

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MDCompany pushes 1ON Studio slate at ATF Media Distribution Company attends Singapore to present the line-up of titles from the boutique company, 1ON Studio, a young and ambitious company founded by experienced producers from Almaty, which delivers a slate of high-quality scripted productions...

India & Singapore, strategic co-production On the final day of the NFDC Film Bazaar held alongside the International Film Festival of India (IFFI), an exciting new cross-border partnership between two of Asia’s most prominent film and television co-production...

NHK presents groundbreaking coproductions Presenting three major co-productions that will be highlighted at ATF, NHK is currently working to strengthen the relationship with global partners from the early stage of development which enables they to reach to a broader

Banijay Asia Debuts in Live Entertainment Arena

Banijay Asia, the Indian content powerhouse, has announced its foray into Live Entertainment & Special Events, with an unforgettable pre-match entertainment ceremony at the historic India-Pakistan cricket match.

Woodcut International closes Asian sales

Indie distributor Woodcut International announced sales in Asia in the run up to the ATF (Asia TV Forum & Market) this week. TrueVisions (Thailand) has snapped up Season 1 of the factual series A Royal Guide To…(6 x 1 hrs) for its channel True Explore Life.

GMA Network, from The Philippines to whole Asia Between the constant evolution of media and consumer habits, GMA Network remains true to its vision as a pioneer in the region. The Philippine’s leading broadcasting company produces primetime television programs, delivers superior entertainment and

Merzigo: dynamism and domination of the AVOD industry Merzigo, the technology company that has developed proprietary digital tools to offer a range of innovative services to broadcasters, producers and distributors, is determined to

Gyeonggi Content Agency to promote videos and story IP at ATF Gyeonggi Province and the Gyeonggi Content Agency will be establishing a Gyeonggi Province Pavilion at ATF, Asia’s largest digital content exhibition, to support nine animation and story IP-based content companies

Amuz Distribution: new acquisitions make an interesting catalog Amuz Distribution, the Quebec-based company dedicated to great comedy, scripted and unscripted content, expands its mission to also help create originals and sell broadcastready content, securing and leAlex Avon, VP Global Distribution at veraging all rights and taking a Amuz Distribution 360 approach to content. This year at ATF 2023, the company led by Alex Avon celebrates the rebranding of ComediHa! Distribution (CHD) after 25 years as a leader in the comedy field. Starting with the launch of the new brand in May 2023, Amuz Distribution acquired Larry and Counter Offer, along with format licensing agreements with We Make and Gaumont. In July of this year, the company announced a deal with Gaumont for a Mexican remake of the comedy series The Writers Block.

CJ ENM: music and dance formats Leading entertainment company CJ ENM presents at ATF the karaoke survival program fortmat, King of Karaoke: VS. The show premiered on October 20th on the CJ ENM-owned music channel Mnet.

Global Agency highlight at ATF: Another Love and One Love Global Agency offers a broad portfolio of powerful dramas and innovative formats that capture the imagination of audiences around the world. Among its main titles, ...

Thema signed a distribution deal with Globo in Asia Seeking to further expand its presence on the Asian continent, Thema (a Canal+ company) closed a distribution mandate agreement with Globo, where as of January 2024,

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KIDS & TEENS

SPECIAL REPORTS

Anime: a content global trend resurgence

Anime, characterized by its diverse genres and animation techniques, drawn from sources such as manga, graphic novels, video games, and original concepts, maintains a compelling allure in the present day. Its popularity has surged significantly compared to just a few years ago, owing to factors such as widespread accessibility through streaming platforms, a dedicated global fan base, and a renewed appreciation among the general audience, fostered by timeless classics. BB media analyzed this trend considering its followers, who have managed to sustain the demand for anime series and movies. Looking by region, the consultancy found that Latin America has the

highest number of users who choose anime as their favorite (28%), followed by APAC (17% on average, with Japan specifically at 34%), UCAN (16% ) and EMEA (12%). In all these regions, young people between 16 and 24 years old are the ones who most frequently indicate anime as their preference. APAC stands out as the only region where women have a higher percentage of favoritism compared to men (19%). Parrot Analytics also attests to this in its annual content demand report. For example, the classic One Pierce (distributed by Toei and Crunchyroll) is one of the most viewed titles in Latin America, partly driven by the live-action adaptation made by Netflix this year. Likewise, he highlighted that other classics such as Naruto or Pokemon continue to be in high demand.

Licensing landscape soars to new heights

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The worldwide licensing sector reached unprecedented heights in 2022, registering an astonishing revenue of $340.8 billion. This marks a remarkable 8% increase compared to the $315 billion recorded in the preceding year. Nevertheless, beyond this impressive headline figure, there unfolds a narrative of intricate growth dynamics. While traditional segments like toys (up 2%), apparel (up 5.9%), and fashion accessories (up 7%) showed steady progress, the true game-changers were experiential categories. Licensed restaurants, hotels, and hospitality services experienced a meteoric 205.6% surge, raking in $6.8 billion. Following closely, location-based entertainment and promotions soared by 67.3%, amassing $7.9 billion in sales. A pivotal strategy for companies venturing into location-based experiences was the embrace of smaller in-store formats and exhibits.

MARKET NEWS

Toei Animation: classics and new features Toei Animation’s distribution unit is attending ATF, where it will present its slate of high-impact anime. Its catalog highlights the classic One Piece, Dragon Ball Battle of Gods, Digimon Adventure 02: The Beginning¸ and Dragon Ball Super. Being the sequel to the original series, Dragon Ball Super, it was written by Akira Toriyama, and follows the

Studio 100 Media acquires stake in 3Doubles Studio 100 Media, one of the leading independent studios for children’s and family entertainment, is excited to announce the acquisition of a stake in 3Doubles Producciones, based in Santa Cruz de Tenerife, Canary Islands, Spain. This strategic partnership marks a momentous next chapter in Studio 100 Media’s continuous expansion of

ABC Kids’ content: beyond competition, focused on relevance and impact The public broadcaster ABC Australia, among its verticals is offering entertaining, educational and inspiring content to the more than 4.4 million Australian children between two and 14 through a mixed genre like Libbie Doherty, head of drama, comedy, preschool and factual. children’s content The company has two channels dedicated to this segment of the audience: ABC Kids, with content for children ages 2 to 8, and ABC Me, the brand for children in primary schools, which follows them until the stage of adolescence. In addition, among their offer, they also have an application for both channels, and their iView streaming service, in addition to their digital contacts on YouTube, Facebook and TikTok. Bluey is the most watched animated series in Australia on Free-To-Air

Toonz: a personal view of the new Kids & teen market Bruno Zarka, president at Toonz (France) is a referent about kids business. What must be done to be successful in kids & teens? He answers: ‘First of all, you have to focus on what you want to do, to know it well. To be surrounded by the right people, to assure a very good story. And to be authentic, persistent, to listen to the network, to consider that children programs are many times chosen by their parents…

Australian Studio Karu-Karu receives funding for Inspirational Kids’ Content Karu-Karu, a 2D animation studio based in Adelaide, is set to leverage development funding of US$590,000 provided by Screen Australia (SA) for aspiring Australian creators. Wishes, the chosen kids concept, is among the 31 projects sharing this financial support.

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BUYERS - PICTURE GALLERY - ATF 2023

Watcha, OTT platform from South Korea: Taehoon Park, co-founder & CEO, Hyojin Kim, head of content business, and Michelle jo, business development team/manager

Debkumar Dasgupta, VP content acquisitions and partnerships, Merzigo (Turkey); Shaun Levin, chairman, Switch International (Australia); Faraz Ansari, founder & CEO, Urdu 1 TV (UAE); Cathy Baker, creative director, Switch International Australia)

Yoko Barrett, Translator, Saimi Suzuki, producer, Tomoko Kumanomidou, senior director, Kayo Fukuda, senior manager, all from NHK, Japan

India: Joel Daguerre, Press Images 30, Steven Davis Manager, Content Licensing & Syndication, Rohit Yahara, both from Rajshri Entertainment ; Hisham Ibrahim, General Director, DPD Media Tv

CJ ENM, South Korea, acquisitions & programming team: Anni Chang, Seung Hoonham, Myeung Hin Lee, Un Ji Sung, and Elaine Blinth

Disney+ Acquisitions: Jane Kim, Disney+ (APAC), Laurie Murphy and Deb Huxley, Disney+ (EMEA), Chase Brisbin, Chap Leonard and Kathryn Ikenberry, Lionsgate, Yaphett Powell, Disney+ (EMEA) and Tina Zee, Disney+ (APAC)

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New Zeland & Australia: TVNZ, NZ: Josh Wolfe, business afairs, Cate Slater, content director, Dan Monaghan, Network Ten, Australia, Ben Quinn, head of programming, TVNZ

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Teresa Potocka, CEO, Future Pictures (UK), with Japan: Kazuki Yokoi, Content Producer, Chukyo TV, Yuki Akehi, Director, Mikiko Nishiyama, EVP, both Nippon TV Network Corporation

Yuri Choi, specialist, and Yongsung Lee, team leader, content strategy de LGU+ from South Korea (centro) with Ball Clancy, David Elliot, Craig White, Jocelyn Loleng, Paramount

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Isabelle Graziadey, acquisitions, Bertrand Lossignol, both Terranova France, with Nippon TV (Japan), Chieko Otsuka, content acquisitions, Yuki Sunada, production director.

Mongolian National Broadcaster, NBC.co: Buyantogtokh Erkhembat, head of marketing department, and Temulin Batjargal, Foreign Relations Manager

Tessa Kearins, Head of Content Planning, Disney+ (Australia)

Saru Simsek, marketing specialist, Gobavo (Turkey); Tao Jia, international contents acquisitions manager, Beijing Stay Digital Technology (China); Gokmen Bayraktar, CEO, Gobavo, (Turkey).

CONTENT Americas

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The top rated event in TV is back!

Japanese BS ASAHI team: Yukiko Sakaguchi, associate director copyright business developer; Ami Kawamoto, manager programming & entertainment; Sayaka Takahara, programming & entertainment department

Stan, leading Australian OTT: Les Samsung, acquisitions manager, Chap Leonard, Lionsgate, Martin Kugeler, CEO, Caila Scobie, Chief Content Officer, and Alex Trippas, content acquisition lead

Buyers from broadcaster Media Prima (Malaysia: Andrea Lok, head of content, Nini Yusof, Deputy CEO, and Amir Johari, COO

ABS-CBN, The Philippines: Ruel Bayani, ABS-CBN International Production Division, along with Arjo Atayde, Ría Atayde, co-star and coproducer, and Pia Bacungan Laurel, head of international

China: Ying Ling, DY Shangai; Liqiang Zhao, global acquisitions, Huawei; Peng Zhang, acquisitions, Central Cooperation

Astro Malaysia: Henry Tom, COO; Khairul Anwar Salleh, VP Malay Customer Business; Agnes Rozario, VP Content Group

Asia and Middle East: Rani Jagtiani, Director, and Rajanesh Kewalram Jagtiani, CEO, Spectrum Films Indonesia (borders); Hasnaa Descuns, founder &amp; COO, SynProNize (UAE), Jhanvi Sangani, associated director, and Keerthana Anand, senior manager, IndiaCast, and Nitin Michael, founder and managing partner

Jennifer Batty, chief content officer at the OTT Hooq TV, Singapore

TV3 Malaysia: Jahaliah Hasan, manager, India: Abhay Sinha, director general, Services Export Promotion Council; acquisition and content management, Senthil Rajan, Ministry of Information and Broadcasting Government; Anil and Khairunnisa Kamarulzaman, manager, Wanvari, CEO, Indian Television; and Francis Fitzpatrick, CEO at FuturumKids. entertainment and programming group The country is one of the main focus of this Mipcom, with 90 companies joined to promote international content opportunities

Bangkok Media and Broadcasting (Thailand): Krissada Trishnananda, Content Acquisition Director, Palakorn Somsuwan, EVP, and Poonputtananta Pantitanonta, Content Acquisition Officer

ATVN (Indonesia): Ahmad Zulfikar, CFO, Otis Hahijary, VP-Director, Kiki Zulkarnain, GM programming, and Gunawan Gunawan, acquisition and distribution manager

Radio and Television of Brunei acquisition and programming executives: Hajah Hasiah Ali and Nor Hasimah Haji

iQiyi China: Young Ming, Sharon Zeng, Luna Wang, and Jessie Wen, all from programming and acquisitions department

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