Television Asia Plus | December 2020

EDITOR’S NOTE

EDITORIAL/PUBLISHER Raymond Wong Publishing Director raymond@harvest-info.com Monina Eugenio Editor editor-tva@harvest-info.com

OPERATIONS Mari Vergara Head of Operations mari@asiantvawards.com

SALES Simon Lee Hong Kong, U.S.A., and Europe sales@harvest-info.com Chua Chew Huat Asia Pacific sales-sg@harvest-info.com

MARKETING

MONINA EUGENIO EDITOR

Franco Rafael

Dear Reader, This past year has proven to be challenging for almost everyone due to the COVID situation. With conferences and events such as the Asia TV Forum and Market pushing forward and going fully virtual this year, it’s just one of the many proofs that we are resilient and can weather anything.

The media industry has been able to adapt to these changing times quite well. A testament is this month’s Television Asia Plus issue, where we feature the media companies and their stories on how they are adapting to these times and what they have in store for 2021.

In our cover story, we feature six leading Southeast Asian media companies that let us in on what they have in store for 2021. On C-Suite, the spotlight is on Derek Tan, the

co-founder and COO of Viddsee, who talked about the meaningful projects that they embarked on that helps empower Asian storytellers. Other feature stories for this month include Nippon TV’s new Anime Department that will bring well-loved Japanese anime to a global audience, as well as the exciting content offerings for December from Astro.

As we bid goodbye to 2020 and welcome 2021 with optimism, we at Television Asia Plus wish all of you happy holidays, and hopefully, we get to meet each other in person very soon!

Monina Eugenio

mktg@harvest-info.com

TECHNICAL SUPPORT Michael Magsalin tech@harvest-info.com

Harvest Information Pte. Ltd. 1100 Lower Delta Road #02-05-8, EPL Building Singapore 169206

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CONTRIBUTORS

Agnes has been a core part of Astro’s growth and positioning as the top entertainment destination for Malaysians. She leads the company’s content team, which covers all vernaculars, regional and Hollywood content, sports, and film businesses. Agnes was a key driving force for the success of Pay-Per-View and Video on Demand services with over 50,000 titles available. Her commitment to the development of local IPs and enhancement of customer experience has seen an increased engagement for Astro’s signatures. She also spearheads Asian originals via regional partnerships.

Agnes Rozario Director, Content, Astro

Parham is the co-founder and CEO of smart media management company, iconik. Parham has over a decade of experience throughout the entire chain of media management, with previous roles including development, systems architecture, project management, and sales management.

Parham Azimi CEO, Iconik

José Somolinos works in the Innovation Department at Accedo, based in Stockholm. He focuses on developing innovation strategy for Accedo’s global customers, including top tier brands such as Globo Brazil, Deutsche Telekom, and France Télévisions. As a part of the Innovations Team, he is always enthusiastic about applying the latest technology to the Video Industry. José is often called upon to share Accedo’s research and experience at conferences and panels at the most relevant trade shows within the video tech industry.

José Somolinos Innovation Strategist, Accedo

Paolo has 20 years of expertise and knowledge from the media and telco industries as well as a proven ability to forge long-term strategic partnerships with large and complex accounts both in Asia and globally. Before joining Evergent, Paolo was the Head of Account Management for Asia at Brightcove where he was responsible for customer success and expanding the Asia business across Brightcove’s portfolio of global broadcasters, publishers, and digital native customers.

He has also held senior sales and professional services roles at Quickplay Media and Subex Ltd.

Paolo Cuttoreli Vice President and General Manager, APAC, Evergent

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NEWS/CONTENT

Funimation streams first-ever Chinese anime co-produced by Bilibili

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lobal anime content provider Funimation announced a partnership with Bilibili to bring the first-ever Chinese anime series Heaven Official’s Blessing to its streaming service starting on 30 October. The anime series is based on

the Chinese fantasy novels first published online by Mo Xiang Tong Xiu in 2017. The series, which also has English subtitles, will be available on the Funimation platforms in the U.S., Canada, the United Kingdom, Ireland, Australia, and New Zealand.

This winter, the series will also be available in Mexico and Brazil, and an English dub will be available in 2021.

The 11-episode anime is co-produced by Bilibili and Haoliners Animation League.

Nippon TV hit drama series I’m Mita, Your Housekeeper. to air in Turkey

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apanese multiplatform entertainment powerhouse Nippon TV announced that Turkey-based production companies Medyapim and MF Yapim, have acquired the scripted format rights to the mega-hit drama series I’m Mita, Your Housekeeper. (60min. eps.) and

will be remaking the series in Turkish.

The series follows the exploits of a super housekeeper who perfectly completes everything she is asked to do.

However, one must be cautious in telling her to do something as she does anything asked of her.

eGG Network, Axle Sports team up in the launch of the E1 Championship

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stro’s gaming and e-sports platform eGG Network partnered with Axle Sports as they launched the E1 Championship, an online-only racing series that discovers the best drivers in the Asia Pacific.

CK Lee, the Head of Sports at eGG Network said that the channel has the potential to reach 18 million e-sports fans as it is available in Malaysia, Singapore, Brunei, Philippines, Indonesia, Thailand, Myanmar, and Australia.

Race driver and Axle Sports founder Alex Yoong said that the E1 Championship has a US$15,000 prize pool and features top-notch production quality.

The tournament consists of eight rounds and sees the region’s best drivers racing on challenging international tracks, starting with the Sepang International Circuit.

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NEWS/CONTENT Netflix, Ubisoft team up for a live-action series adaptation of Assassin’s Creed

Viddsee rallies support for Community Chest through StoriesTogether original shows

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iddsee launched the first of its 12 short films, four documentaries, and six short-form series produced under the StoriesTogether Content Fund. The Singaporemade films and series will also be used to drive audiences to donate to Community Chest, a fundraising and engagement arm of Singapore’s National Council of Social Service. Short films that have debuted include

Dim Sum by Butterworks, Gangster Nurse by Oak3 Films, and The Distance Between Us by director K. Rajagopal for Akanga Film Asia.

Supporting Viddsee’s initiative is international content distributor and channel operator Rock Entertainment, who will feature and promote the films and series beginning in January 2021 on two of its channels, Blue Ant Entertainment and Blue Ant Extreme.

TV Asahi launches two new game show formats for FallWinter

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apanese commercial broadcaster TV Asahi launched two new formats this fall-winter: Red Light Green Light and #Hash Tag.

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new life in #Hash Tag where the game uses social media. The “Wanted” carries a placard that encourages passersby to take a photo and post on Twitter with a pre-determined hashtag.

The first series in development is slated to be an epic, genre-bending live-action adaptation. Ubisoft Film & Television’s Jason Altman and Danielle Kreinik will serve as Executive Producers.

Both formats are classic childhood games that were reimagined into exciting TV shows using modern technology.

The “It” will rely on locations posted on Twitter from the hashtag to track down the “Wanted.”

etflix and Ubisoft have entered into an agreement to develop content based on the international bestselling video game franchise Assassin’s Creed.

Under the agreement, Netflix and Ubisoft will tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live-action, animated, and anime series.

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In Red Light Green Light, challengers are fitted with sensors that measure minute movements in their hands and feet and must run as fast as possible on a track full of obstacles to reach their goal.

Meanwhile, the classic game of tag is given a

NEWS/OTT Viu partners with Smart Communications to launch GIGA K-Video

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eading pan-regional OTT video streaming service Viu has partnered with Filipino mobile services

provider Smart Communications to launch the new GIGA K-Video data pack.

Endorsed by Korean superstar Park Seo

Jun, the Smart GIGA K-Video is the firstever prepaid data pack that comes with a Viu Premium subscription, allowing Filipinos to enjoy the latest Korean content, uninterrupted and ad-free with unlimited download.

Viu, which is known for providing premium Asian content, also announced a robust library of shows in the coming months.

Now streaming on the Viu platform is Tale of the Nine Tailed and The Penthouse.

Sony Music Video contents streaming across the globe on Funimation

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ony Music Labels announced that video contents owned by Sony Music will be streamed across the world via animation distribution company Funimation.

The first content will be the special concert FLOW Chokaigi 2020 - Anime Shibari Returns- from J-rock group FLOW. The concert is scheduled to air on Funimation in the US, Wakanim.TV in France, Russia, Denmark, and Scandinavia; and AnimeLab

by Madman in Australia and New Zealand.

Scam 1992: The Harshad Mehta Story among top five OTT shows with 6.6 million hits

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cam 1992: The Harshad Mehta Story from India’s leading content

studio Applause Entertainment has achieved unprecedented acclaim in just a short span of time.

In India, Scam 1992 became the highestrated show on IMDB and placed number 16 among the top 50 television shows globally.

The show also made it to the list of the top five OTT shows for the last week of October, according to a streaming tracker by Ormax Media, receiving 6.6 million views.

Scam 1992: The Harshad Mehta Story

captures the meteoric rise and fall of Harshad Mehta, also known as the flamboyant Big Bull of the Stock Market, and the investigation and repercussions of the scam that shook the nation.

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NEWS/PAY-TV Cignal TV and Radius Telecoms launch new fiber broadband and pay-TV service

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ignal TV and Radius Telecoms have partnered to bring every Filipino home the latest unlimited fiber broadband and pay-TV service called RED Broadband.

Radius Telecoms, which is a subsidiary of Manila Electric Co. (MERALCO), offers the only telecommunications carrier in the Philippines that delivers services on an end-to-end fiber optic platform.

RED Broadband offers Filipino consumers unlimited fiber internet and a pay-TV plan for Php 1,200 per month.

Caption: Cignal and Radius Telecoms MOA signing, February 2020. (L-R): Radius Telecoms COO Jenevi L. Dela Paz, MERALCO President and CEO Atty. Ray C. Espinosa, Radius Telecoms President and CEO Exequiel C. Delgado, Cignal TV President and CEO Robert P. Galang, and Cignal TV CFO John L. Andal.

Cignal TV, Inc., the country’s premier Directto-Home satellite provider transmitting 120 channels, including free-to-air, SD, and HD channels to households nationwide is partnering with Radius Telecoms to bring to every Filipino home the best fiber broadband and pay-TV service designed for every household budget.

Celestial Tiger Entertainment broadcasts first original production on Thrill

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elestial Tiger Entertainment, the operator of the largest bouquet of pan-Asian channels dedicated to Asian entertainment, has aired its first Thrill original production called Model Family, in collaboration with the famous Malaysian director Adrian Teh of PASKAL. The twopart suspense-thriller series premiered worldwide and exclusively on Thrill, Asia’s first regional horror, thriller, and suspense movie channel on 31 October and 7 November.

Model Family stars Malaysian talents Uriah See, Thor Yin Wei, and Kendra Sow.

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NEWS/PLatforms

Arirang TV expands relationship with Globecast for the launch of HD channel across Western Europe

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lobecast, a global solutions provider for media has expanded its relationship with South Korean English-language TV network Arirang TV. Aimed at international audiences, the HD channel launched across Western Europe on satellite Astra 1L at 19.2°E beginning in

November 2020. Globecast handles multiple distribution services for Arirang TV: on Eutelsat HOTBIRD 13B in SD across all of Europe; Astra 2G for HD for the UK; and this new HD service. Arirang TV, which is operated by the Korea International Broadcasting Foundation began broadcasting HD content

to homes in the UK and in Asia in 2016.

The new deal with Globecast allows the broadcaster to reach approximately 26 million homes in HD across Western Europe with its 24hour news and Korean cultural content in HD.

Sony Pictures blockbusters make its way to FOX Movies

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OX Movies and Sony Pictures Television are bringing 37 movies to the linear TV platform. Most titles will appear first and exclusive, ranging from action-packed movies to family favourites.

Some of the movies that will be shown on FOX Movies include mega-hits such as Bad Boys For Life, action thrillers such as Miss Bala, horror flicks like Blumhouse’s Fantasy Island and Brightburn, and critically-acclaimed dramas like Little Women and Run This Town on the TV channel.

medici.tv now available on SK Broadband in South Korea

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HEMA, a Group Canal+ subsidiary launched medici.tv on the SK Broadband platform.

The second-biggest IPTV platform in Korea chose medici.tv to supply premium classical content to their 5.09 million subscribers.

Offering access to the best of classical

music to viewers worldwide since 2008, medici.tv broadcasts over 150 live events each year, in partnership with the world’s most prestigious venues, opera houses, festivals, and competitions.

Moreover, medici.tv’s library contains over 2,600 programs from concerts, operas, and ballets to documentaries and master classes.

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news-technology New English language channel launches in India with Cinegy Air PRO

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ne of the world’s leading travel channel brands based in Mumbai, India, TravelXP has implemented Cinegy Air PRO, a highly optimised playout automation solution. Sold and installed by Cinegy’s regional partner, the New Delhibased Setron India, Cinegy Air PRO is a

software-based system for HD and UHD 4K playout automation that uses standard IT server hardware and certified SDI video cards.

Cinegy writes daily as-run logs in Universal Time Coordinate, which resolves issues to do with seasonal time changes around the world. However, Indian broadcast regulations

require as-run logs with local timestamps, Setron India, which is Cinegy’s regional partner, developed an ‘ElectronciVerve’ tool for TravelXP to handle the log split and conversion to any time zone as required, demonstrating the flexibility of Cinegy software.

Intinor further boosts the power of internet streaming

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ntinor has launched a new generation of its RACK+ product series that allows as many as 12 independent video feeds to be combined in a single device and delivered synchronously across multiple internet paths.

Intinor, which is widely recognised

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as a market leader in the delivery of transport protocol, Bifrost Reliable high-quality video over the public Transport, a solution that is used internet, uses broadband, cellular, worldwide, not least in esports content. and Ka-band satellite to achieve the necessary bandwidth and resilience.

To achieve quality and security goals, the company developed its own

PEOPLE

Firstlight Media beefs up sales and biz dev to support booming OTT market

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irstlight Media announced the expanded support for the streaming services industry, adding three executives to its sales and business development team. Joining Firstlight Media are Bal O’Neil, who will serve as vice

president of solutions and engineering; Eric Goldstein, who will serve as head of business development, and John Ferrandino as head of sales. All three executives will be responsible for delivering partner and client solutions for video service providers.

Talpa Entertainment Productions appoints Sebastian van Barneveld as director of international distribution

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n November 2020, Sebastian van Barneveld began his role as the Director of International Distribution at Talpa Entertainment Productions.

Sebastian will be responsible for Talpa’s global sales and distribution and will operate from the Netherlands with a strong focus on building partnerships across the globe.

Australian Directors’ Guild announces two new appointments

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he Australian Directors’ Guild has welcomed Alaric McAusland as its new Executive Director, taking over from Diana Burnett.

Ausfilm and Council Board Member of Screen Producers Australia. Ana, who is a director and producer of her own company indiVisual films also serves on the board of WIFT Australia.

The guild also appointed Ana Tiwary to the new role of Strategy and Development Executive.

In her role as Strategy and Development Executive, Ana will be responsible for deepening the engagement with the director community and broadening the guild’s membership base, with emphasis on diversity, inclusion, and regeneration.

Alaric was recently the Chief Operating Officer at Grace - A Storytelling Company in Los Angeles and he has served as Chairman of

Previously, Sebastian held several executive distribution roles with legal and sales at Endemol International and Talpa Global and was most recently employed as Head of Licensing Emerging Markets at ITVS Global Entertainment. Sebastian noted, “I am excited to join the new company and work with John de Mol and his unique creative team.

Building new partnerships and focusing on making our formats travel across the world is more challenging and exciting than ever.”

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c-suite Viddsee is empowering Asian storytellers through meaningful content

By Monina Eugenio

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ingapore-based online video platform Viddsee is more than just short films.

Its identity lies in empowering Asian filmmaking talent through the stories they tell.

From supporting young filmmakers to spearheading meaningful initiatives that benefit others, here’s how Viddsee is making an indelible mark in the industry today.

Viddsee co-founder and COO Derek Tan talks to Television Asia Plus on the company’s growth, presence, projects, and what’s in store for 2021.

Television Asia Plus (TVA): Looking back on 2020, has Viddsee seen significant growth this year? If so, what are these?

Derek Tan (DT): The year has definitely been a challenging one for the entire media industry.

Despite the setbacks in early 2020, we’ve managed to grow our reach and influence across the region.

From an audience perspective, for countries harder hit by the pandemic like Indonesia, we have seen a growth of over 40% in our monthly active users.

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The company’s fundamental growth continues to be on track, with more original content, initiatives, and partnerships with broadcasters and media companies across the region.

Viddsee Studios, our content creation and marketing arm has created new Viddsee Original content, with 80 titles comprising short films, documentaries, and series—together with over 70 media companies in Singapore.

TVA: Viddsee has launched many initiatives and partnerships, such as the ‘As One’ initiative with Singapore and Indonesia’s RCTI+, how do these boost Viddsee’s presence in Southeast Asia?

DT: We made several significant partnerships this year, notably with Singapore’s Mediacorp as the first local content partner under its Lights.Camera.Singapore initiative, and content partnerships with Indonesia’s major broadcasters MNC and Emtek with their streaming platforms RCTI+ and Vidio, respectively, which now features dozens of short films under a Viddsee channel.

All three work in several ways in raising the profile and perception of short-form content across the region, the awareness of local filmmakers, and Viddsee’s brand as a whole.

From an audience and Viddsee’s perspective, being available on these streaming platforms bring short-form content to masses across Indonesia and Singapore, and it gives people the chance to appreciate the craft of local filmmakers.

From an industry perspective, having our films across multiple platforms improves the visibility of short-form content as a way to discover under-the-radar filmmakers and testout new IPs across different market segments.

Beyond just being a platform for short-form entertainment, our StoriesTogether initiative is our way of showing that films can also be a force for good, and galvanise people to help others.

The initiative started earlier this year as a response to the pandemic to bring a sense of togetherness through watch parties and providing opportunities for filmmakers to carry on during times of crisis.

In November, we rolled out StoriesTogether Originals, which comprises short films, series, and documentaries that were made through the Infocomm Media Development Authority’s Public Service Content Fund.

The initiative allowed us to commission projects to 21 media companies, providing opportunities to hundreds of freelancers in the Singaporean filmmaking industry.

Apart from that, the StoriesTogether Originals are also used to drive donations to Community Chest, which supports over 80 social agencies in helping vulnerable communities in Singapore.

We’re also excited that Rock Entertainment is also on board with the initiative, and have partnered with us to feature and promote these original productions on two channels: Blue Ant Entertainment and Blue Ant Extreme, starting January 2021.

TVA: Viddsee has been active in promoting and uplifting filmmaking talent in short films from Singapore, Indonesia, and the Philippines through the Viddsee Juree Awards.

What factors do you look for when selecting winners and what do you expect to see in terms of submission moving forward?

DT: Selecting the winners is never an easy

c-suite

StoriesTogether started in early 2020 and aims to bring hope during the challenging times brought about by the COVID-19 pandemic.

process, which is why we leave it in the hands of a panel of three judges from the local and international filmmaking industry.

We do, however, pick the 10 final films that will be judged, and those typically take into account the four pillars in our curation guideline: story, production value, accessibility, ‘shareability’.

Most importantly, to impress us at

the the

story has core of it.

The Juree competitions have been a mainstay activity for Viddsee since 2016, and it’s our way of expanding our reach and influence within local filmmaking communities.

Each year, hundreds of films are submitted to our platform, adding to our list of filmmakers who can be discovered and potentially work with us in creating new films.

Last year’s Juree Indonesia Awards winners Bani Nasution and Muhamad Bagas Satrio for instance, have gone on two produce two Viddsee Original short films which will make their debuts in the coming months.

TVA: What other areas of content is Viddsee exploring in the future?

DT: We want to explore diverse content formats, keeping us relevant and adaptable as the media landscape changes.

We want to be known in the industry as an effective platform where new IPs can be discovered, developed, and test-bedded across our network.

Our recent partnerships with TikTok as our Social Community Partner for our Juree Awards in the Philippines and Singapore are just the start of us working with new platforms and formats to engage with our younger audiences.

Our collaborations to livestream Juree short films—particularly around themes of mental health awareness—have proven to be quite fruitful, and we’re looking to see how we can further expand our collaboration.

We’re also looking forward to further developing short-form content to long-form series with other media companies across the region.

This “Shorts To Series” route we’re taking will see us earmarking short-form content IPs that have been successful on our platform, and developing them into long-form series or films.

In the past, we’ve seen how successful short films such as Guang (an award-winning Malaysian drama short) and Makmum (a horror short in Indonesia) became viral hits that were eventually developed into full films; with over 4,500 films, documentaries, and series on Viddsee, we’ve got a library of thousands of IPs that have the potential to develop beyond their current format.

TVA: What is your Viddsee’s business

outlook for in 2021?

DT: While this year has been by no means an easy one, we’ve managed to grow and expand our reputation and reach in the region.

There are reasons for us to be cautiously optimistic for the coming year: We’re on track

to create even more new IPs Viddsee Originals, exploring the of our current IPs into different new collaborations across Asia

through our development formats, and and beyond.

Of course, 2021 will be no cakewalk; the media industry will continue to find a huge number of challenges.

But I think Viddsee holds several advantages, among them being short-form content’s ability in adapting to and exploring new topics according to market demands, and new collaborations in gaming, and e-commerce for example.

Being a digital-first distribution platform that engages our viewers across different channels, be it on Facebook, Instagram, YouTube, or TikTok, also puts us in a good place in reaching out to a new generation of viewers who consume content on different platforms.

Underlying our optimism is the rising demand for local content, which plays into our strengths as a platform that already works with thousands of local filmmakers.

In December and January, we’re looking forward to the premiere of a few StoriesTogether short-form series: The Distance Between Us, produced by Akanga Film Asia and directed by the award-winning K Rajagopal, and 1000 Cups To Midnight produced by Taipan Films, which is also behind Circle Line the first monster movie ever produced in Singapore.

We’re also in the midst of producing a Singaporean version of a Korean love drama that’s due to premiere in February.

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COVER STORY What’s next for content in 2021?

By Monina Eugenio

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elevision Asia Plus interviewed six media executives on the content trends for 2021 and the strategies they’re implementing in terms of local production and acquisitions. While 2020 may have been a challenging year for the industry, these interviews show that not only has the industry been able to adapt to the current circumstances brought on by the pandemic, but there is something to look forward to from these companies in 2021.

International Studio BBC Studios Ryan Shiotani, Senior Vice President and General Manager, South and Southeast Asia, BBC Studios watch more of our talent-led travel and adventure content on BBC Earth presented by Joanna Lumley, Ben Fogle, and Simon Reeve.

The COVID pandemic accelerated the trend of audiences wanting access to more content whenever and wherever they want it.

British drama continued to grow in appeal in Asia in 2020 and home-bound viewers avidly sought out the latest series to binge-watch.

BBC First, our premium British drama SVOD service, saw record viewing figures for the edgy award-winning thriller Killing Eve S3 in April.

We’ve seen an increase in viewership in 2020 on our BBC Player which features ondemand content from all of our brands.

Audiences also sought out more comforting and familiar fare such as Grantchester and The Mallorca Files.

On content trends of 2020 vs. 2021

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he COVID crisis resulted in an increase in television viewing all over the world.

We expect that to continue in 2021, helped by the launch of new set-top boxes by our affiliate partners that provide a frictionless viewing experience.

Content strategy for 2021:

CBeebies, aimed at preschoolers aged six years and under, provides a consistently safe environment for children to learn through play.

There is a demand for distinctive world-class content, that informs, educates, and entertains, which the BBC is known and love for.

The content mix includes new favourites such as Hey Duggee and classics like Thomas and Friends which educate and entertain young audiences.

In 2021, you will see new landmark natural history titles on BBC Earth such as A Perfect Planet, narrated by Sir David Attenborough.

We saw increased viewership for CBeebies on-demand content on our multigenre BBC Player Asia, particularly in the months of April, May, and June.

On BBC First, 2021 will see the launch of The Watch, a new high-concept drama series inspired by the characters of Sir Terry Pratchett’s “Discworld” novels.

Taking bold British creativity to the region will continue to be at the heart of what we do.

On our branded services in Asia, the demand for our distinctive, world-class content remained strong overall and we did see increased viewership for certain genres that reflected the fact that we were home-bound.

On BBC Lifestyle, programs like The Great British Bake Off and Your Home Made Perfect performed well as more people took up activities like baking and home improvement during lockdown.

As we are largely unable to travel, audiences

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Viewers can expect several new shows from BBC in 2021, such as A Perfect Planet (L) narrated by Sir David Attenborough on BBC Earth; and The Watch (R), which is based on Sir Terry Pratchett’s ‘Discworld’ novels on BBC First.

COVERc-suite STORY OTT Players

Viu

Virginia Lim, Chief Content Officer, Viu and JTBC to secure Korean entertainment content. We made sure to make updated content available with local language subtitles, as soon as within four hours of broadcast in Korea. In a survey we conducted, we found that 80% of our users who stream TV series watch some Korean content. And so we make sure that we cater to their viewing needs by continuing with these partnerships to bring quality Korean content to them.

On content trends of 2020 vs. 2021

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Media Partners Asia trade report on online video streaming noted that the online average weekly viewing minutes across Indonesia, Singapore, Philippines, Thailand increased by 60% from January to April in 2020. In this same report, it was reported that Viu recorded a 274% increase in average weekly viewership over a span of just four months.

When Viu first launched, we recognised that Korean content would resonate well with our markets. We worked with Korea’s top five producers: SBS, KBS, MBC, CJ E&M,

Our Viu Original series has also performed well for us. We found that more than 50% of the viewers that are consuming our content are watching or have watched our own Viu Original series, for example, Pretty Little Liars, which is an Indonesian adaptation of the popular American series.

We also have other Asian content such as Chinese, Japanese, and Thai on Viu. We worked with various local content suppliers to offer local content in respective markets.

In 2021, we expect to offer even more Asian premium content and Viu Originals and we are confident that we will continue to provide the best content to our Viu-ers.

Content strategy for 2021: Our content strategy, investment, and decision making for our core audience are driven by a strong understanding and insight into consumers’ entertainment preferences in local markets, market knowledge of local and international content, long and stable relationships with content owners in the ecosystem, as well as data analytics of the usage and behavior of our users.

Looking ahead to 2021, we believe that a balance of acquiring content as well as producing original content is the key to continue providing our viewers with diversified and entertaining content.

We firmly believe that operating locally with global expertise is key, helping us become a leading pan-regional OTT platform in Greater Southeast Asia.

We plan to continue investing in content whether it is in the form of acquisition or our Viu Original productions, as we believe in constantly bringing premium, unique content to our Viu-ers which is culturally relevant and caters to their interests.

Bilibili Bilibili Spokesperson On content trends of 2020 vs. 2021

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he synergy between Bilibili’s Professional User-Generated Videos (PUGV) and Occupationally-Generated Videos (OGV) has been greatly enhanced in 2020.

Bilibili, which is a leading online entertainment platform for young people in China, and unlike other streaming platforms, 92% of our views come for PUGV. The remaining 8% of total views are from OGV content (including but not limited to animation series, documentaries, variety shows, drama series, or classic films.)

Another major difference between Bilibili and other platforms is that it has a highly engaged or interactive online community.

As a result, a new content consumption dynamic is increasingly visible where Bilibili content creators, otherwise known as “uploaders,” create derivative videos on popular OGVs. Viewers who are fans of a certain OGV content will often watch related videos from uploaders and interact with other fans as well as the uploaders themselves. This is a great way to expand the influence of OGV. On the other hand, our choices of OGV on

Bilibili are largely informed and guided by our PUGV ecology. We select OGV content that has the potential to “grow” in our community.

An example of this is the online reality show Rap for Youth, which has amassed over 380 million views since its launch on 22 August.

Rappers in the show focus on social issues such as school and online bullying, sexual harassment, juvenile detention, and aging.

Rap for Youth inspired Bilibili content creators to join the discourse, creating rap videos, although few of them rarely dab in the music genre.

Popular Bilibili uploaders, OldTOMATO)

and Mou Huan Jun released the rap video “The Exam King” on the last day of China’s National College Entrance Examination.

The video celebrated the completion of the once-in-a-lifetime experience and painful rite of passage for Chinese students, garnering over 8.6 million views.

Content strategy for 2021: We plan to invite more professional teams to join Bilibili as we continue to produce original content. In addition, Bilibili will also be more open to collaborating with suitable partners in our production efforts.

Online reality show Rap for Youth (L) has inspired Bilibili content creators to join the discourse on China’s social issues. The Exam King (R) celebrated the rite of passage for Chinese students who completed the National College Entrance Examination.

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COVER STORY Broadcasters BBTV Yaowalak Poolthong, Ph.D., Managing Director, Bangkok Broadcasting & T.V. Co., Ltd. On content trends of 2020 vs. 2021 Content will still be the most important part of the entertainment business.

Viewers nowadays rarely limit themselves to any particular TV channels or OTT platforms but rather enjoy the power to choose content that suits their interests, instead of having any specific trend.

In 2021, we will continue to see more variety of content whether it is new formats or new types of stories as well as improvements in existing ones.

It will certainly be another exciting year as broadcasters and platforms need to provide content that attracts and keeps viewers glued to their service in an environment of rapidly changing consumer behavior.

Content strategy for 2021: BBTV will continue its mission to maintain Channel 7HD as Thailand’s No.1 TV station despite the rapidly changing market and audience behavior.

Not only keeping our existing audiences but we also aim to reach a wider range of viewers both urban and rural areas.

One of our key focuses is to keep rolling out our own high-quality in-house content including news, entertainment programs, and drama series.

Our has

selection been

of drama particularly

series strong.

We’ve had many titles that were successful both offline and online this year such as The Forester and Enemy Chains, which reached the highest ratings of 10.73 and 8.12, respectively.

We are keen to continue this phenomenon and create an even stronger impact in 2021. At the same time, acquisitions of foreign content will add variety to our program offerings.

With carefully selected content, we believe we can convince our viewers to stay tuned to CH7HD.

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BBTV was success for shows such as The Forester (L) and Enemy Chains (R) which achieved high ratings.

COVER STORY

COVER STORY

GMA Felipe L. Gozon, Chairman and CEO, GMA Network Inc. matched by very strong advertising support.

In the temporary absence of production due to the pandemic, we have also observed that there is a clamor for the classics: past titles that already made their mark. These reruns are more fitting as people tend to look back to life before the pandemic.

On content trends of 2020 vs. 2021 This year, the primary trend we observed was the rise of consumption of News such as newscasts, televised broadcast of radio news, and public affairs content like Kapuso Mo, Jessica Soho. Our flagship newscast, 24 Oras, stretched to two hours to address the needs of viewers in search of information about the COVID-19 pandemic.

The very high ratings of our newscasts and news magazine shows were likewise

As for our entertainment programs, the limitations on production brought about by the COVID-19 safety protocols have given rise to more intimate dramas with fewer cast and condensed stories with shorter telecast runs. This was seen in GMA Drama’s recent I Can See You series offerings, which were well-received by the Filipino audience. Some themes were more varied or experimental and were a welcome change from the usual soap opera fare, based on the audience reaction.

We foresee this to continue, moving forward.

The Network is also gearing up for more varied entertainment formats in 2021, from comedy to game shows to musicals and talent searches. The audience can also expect new technologies applied to the way content is delivered on television and online,

as will be seen in Alden Richards’ concert, Alden’s Reality, which will be the firstever virtual reality concert in the country.

Content strategy for 2021: For 2021, local production continues to be our focus with several new local contents lined up.

These, however, are not only intended for the local market as we also continue to aim to distribute our content to different platforms and countries as well as to have co-production deals with different partners outside the Philippines.

In addition, our Public Affairs group will be producing a slew of shorter run (eight-week long) dramatic series for a younger viewership.

These shorter series will be aired on GMA News TV – which is targeting audiences that can be complementary and supplementary to our flagship channel GMA. New, young teams of creatives have been set up to produce these short series, which include titles such as The Lost Recipe, Love You Stranger, and Heartful Cafe.

As for acquisition, we are actively widening our horizon for various foreign content.

CJ ENM Michael Jung, Managing Director, CJ ENM HK On content trends of 2020 vs. 2021 With more (and expanding) Directto-Consumers streaming platforms in 2021, we will see increased investment in Korean content which has proven to resonate with audiences worldwide.

This increased investment will boost the quality and production value, and we see it as a very positive sign that the Hallyu Wave will be more robust than before.

Content strategy for 2021:

competitive streaming landscape, the world is moving towards 5G uptake, hence, digital content that is differentiated for mobile users will stand out for us.

At the same time, we will invest in creating local premium content such as drama series and lifestyle, which will be made primarily for streaming or online consumption.

High-quality local language content will make a big difference, especially in countries with a big population and appetite for local content.

We will continue to acquire and create compelling stories and be innovative in content strategy.

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example,

apart

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more

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FEATURE STORY Astro presents compelling vernacular content for December

By Agnes Rozario

A

stro aspires to be the entertainment destination for Malaysians. As Astro’s customers spend two-thirds of their time viewing the local content on Astro, the company aims to entertain its diverse customers with more compelling local vernacular content and Astro Originals all year round.

This December, viewers can look forward to a strong lineup of signature reality shows, year-end specials, and a spin-off from one of the most successful local films of all time, and lastly, the very first Astro Original series, Kampong Pisang Bersiri-siri.

Malaysia’s top horror comedy film franchise, Kampong Pisang, will debut on TV as a serial dramedy. Produced and directed by awardwinning director Mamat Khalid, the series revolves around Kampong Pisang, a peaceful village before the arrival of zombies and ghosts. The residents stay united and support each other while the serenity of Kampong Pisang is thrown into complete chaos. This star-studded drama showcases Kazar Sairi and Bell Ngasari, alongside cameos by stars Dato’ Awie and Imuda, among others.

Anugerah MeleTOP ERA Astro’s No.1 live awards show Anugerah MeleTOP ERA 2020 (AME 2020) will be broadcast in 4K UHD. AME is Malaysia’s people’s choice awards with 3.6 million tuning in last year to celebrate Malaysian talents in the entertainment industry.

Popular hosts Alif Satar, Nabil Ahmad, and Jihan Muse will host this much-awaited signature programme post-COVID-19.

With fan-based voting on the website, SMS, and Astro’s lifestyle and entertainment app, SYOK, a total of 15 categories of awards will be announced during this prestigious show.

All Together Now Malaysia All Together Now Malaysia is Astro’s latest musical reality show featuring a stellar cast of judges. Already adapted in 14 countries and

nominated for the International Emmy Award 2020 in the Non-Scripted Entertainment Category, All Together Now brings contestants of all ages from various musical backgrounds and singing in multiple languages participating as individuals, duos, and groups.

As the first in Asia, the Malaysian edition will have a diverse panel of 50 judges comprising artistes, performers, and singers who can choose to show their support by singing and dancing along when contestants are performing a 90-second song. The greater the number of judges who participate, the higher the contestants score.

Konsert Hora Horey Wayang Didi & Friends Astro’s award-winning animation IP, Didi & Friends will celebrate its biggest interactive concert of the year Konsert Hora Horey Wayang Didi & Friends in December.

The latest Konsert Hora Horey will see all creatures, big and small, gather around at Pekan Hora Horey for the annual grand affair.

Fans can look forward to watching Didi & Friends perform hits from Mengantuknya Mumia to Kalau Rasa Gembira Remix 2020 with participation from guest artistes.

Didi & Friends has over 4.5 million fanbase, 11 million On Demand shows streamed and 3.4 billion digital views.

Sepahtu Reunion Live 2020 Fans of comedies can look forward to the return of one of Astro’s top shows, Sepahtu Reunion Live 2020, with funloving comedians, Jep, Shuib, Rahim, and Pak Ya. The quartet will be reunited and joined by celebrity guests and surprise cameos for the weekly stage performances.

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Sepahtu Reunion was awarded the Bronze World Medal in Best Production Design/ Art Direction at the New York Festivals TV & Film Awards last year while Sepahtu Reunion Live 2019 recorded a 2.3 million viewership.

Muzikal Lawak Superstar A spin-off of Malaysia’s No.1 comedy franchise Maharaja Lawak Mega, Muzikal Lawak Superstar (MLS) is an Astro original format and returns for its second season this December.

Teams of comedians, singers, actors, and social media influencers will keep the audience amused with musical sketches on the stage, competing for the champion of the popular musical comedy show.

Malaysia’s renowned celebrities such as Zainal Abidin, Altimet, and Lisa Surihani form the panel of judges. Contestants will be given a new location each week to inspire their musical performances.

The winning group of the week will have an upper hand for the next location with additional props and guests. In 2019, MLS recorded a viewership of 2 million.

Classic Golden Melody All Stars Astro’s evergreen local Chinese IP and competition for the silver-haired contestants Classic Golden Melody (CGM) celebrated its 20th anniversary this year with an entry in Malaysia Book of Records for The Longest Running Singing Competition Television Show in the country. The champions of the past 19 seasons are invited to rekindle their dreams on CGM All Stars stage singing classical songs, re-introducing familiar faces, and reminiscing unforgettable moments.

FEATURE STORY Nippon TV: Bringing Japan’s beloved anime titles to a global audience

By Monina Eugenio

She continued, “Globally, adventure fantasy anime that depict allies joining forces to fight against evil tend to be well-received and have increased their fan base so much so that their popularity is now deeply rooted.” Miss Kuwahara also noted that because Japanese anime doesn’t solely rely on computer graphics, it is loved throughout the world.

Plans for growth

subtitled and voiceover versions to be rolled out at the same time. She added, “In places where censorship tends to be strict, we will produce versions that cut out scenes of concern. At times, we will also be inviting partners from around the world to invest in projects in the early stages of the process.”

Nippon TV, which also owns anime studios MADHOUSE Inc. and Tatsunoko Production Co. Ltd., will be working closely with Miss Kuwahara’s team. However, she said that the process of determining a partner needs to be done on a content-by-content basis.

Miss Kuwahara revealed that there is nothing more important to Nippon TV than selecting themes that will easily be received by anime fans around the world. She shared, “At the

Miss Kuwahara revealed that Nippon TV’s upcoming April 2021 releases are being developed in collaboration with different partners such as Kodansha Ltd for EDENSZERO, Mainichi Broadcasting System, Inc. for TSUKIMICHI -Moonlit Fantasy-, and Tatsunoko for The Princess of Snow and Blood. Miss Kuwahara revealed, “Going forward, we will be working with various companies that specialise in different fields.”

Nippon TV’s Anime Department is headed by Miss Kako Kuwahara.

S

ince the 1950s, entertainment powerhouse Nippon TV has been producing classic anime series that have since been loved

by Japan and the world. Titles produced by Nippon TV include series such as Lupin The 3rd, ANPANMAN, MONSTER, DEATH NOTE, Ouran High School Host Club, CLAYMORE, HUNTER X HUNTER, Chihayafuru Series, Parasyte -the maxim-, Death Parade, and most recently, Sorcerous Stabber Orphen.

In October 2020, the champion broadcaster launched its very own Anime Department within its Business Development division headed by Miss Kako Kuwahara, who serves as the Executive Vice President of Business Development. The department will be producing and distributing anime series not just in Japan but internationally as well.

A response to the global demand for Japanese anime Miss Kuwahara shared with Television Asia Plus that one of the factors that drove Nippon TV to launch the Anime Department is the growing global demand for Japanese anime. The department is composed of a team that produces anime for Japanese viewers and a business team that delivers the product to the international market. Miss Kuwahara also revealed that Nippon TV will be allocating greater resources to anime.

Miss Kuwahara said, “We see that manga has been representing Japan’s culture in the same way that the traditional keywords such as sushi, geisha, and Mt. Fuji has. Because manga, games, and anime all have a high affinity to our culture, they synergistically popularised themselves in our country.”

Creating anime that lasts

EDENSZERO, set for release in April 2021, is created in collaboration with Kodansha Ltd.

heart of my team is a legendary producer who created titles such as Hunter x Hunter, DEATH NOTE, and CLAYMORE. I have fully entrusted the creative process to him. I have also armed him with team members who are brilliant at analysing the global market.”

Japanese anime has become more readily available and enjoyable to a wider demographic, Miss Kuwahara said. While achieving success in a business is important, what lies at the heart is creating anime titles that will play a significant role in sharing Japanese culture with the world.

Miss Kuwahara said, “I asked my team members to work so that their grandchildren can show off and say, ‘Look, my grandparent created this anime!’ We want to create anime, a part of Japanese culture that will be loved the world over for 10, 20, or even 50 years.”

Miss Kuwahara shared that before selecting a theme, they take several considerations.

Among these is how an anime series would be received outside of Japan, and when deciding on producing a title, they always seek the advice of their international partners.

“Choosing titles that will have longevity is another objective that is crucial to us,” Miss Kuwahara said. “If we were to produce an anime based on original work, we would conduct meticulous analysis on how that version fared globally. In the future, we hope to take on the challenge of creating original titles, as well as having a global plan in place from the get-go when producing an anime.”

Talking about strategies Miss Kuwahara said that Nippon TV believes that it is necessary to have simultaneous global releases. To do this, she said that they plan to arrange schedules that enable

The Anime Department’s first international project is the anime based on the award-winning novel TSUKIMICHI - MOONLIT FANTASY-.

December 2020 television asia plus

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TRENDING Managing the shift to cloud media workflow

By Parham Azimi

Tools such as visual AI Metadata, use object detection, and face recognition to allocate tags to exact timecodes and scenes. The most advanced tools allow for custom training of an AI engine, which can identify specific attributes of an object rather than just a generic description.

Audio can also be isolated and using AIgenerated transcriptions it can be converted into text and attributed to different speakers.

Isolating specific elements within footage is vital, if every section of the video can be described in detail, finding archive content and extracting clips becomes a job that takes minutes instead of days.

This has enabled media companies to explore the possibilities of monetising archives which had been sitting dormant for years. As well as giving teams the visibility needed to manage projects effectively.

Effective video collaboration

M

anaging change is a core part of the media industry, and as with any sector which relies heavily on technology, there’s usually a natural evolution that occurs over time.

This gives organisations the opportunity to test different solutions and slowly integrate them into their operations, but unpredictable changes leave little room for planning in advance.

Managing media during a crisis When the pandemic hit, the media and broadcasting sector needed to quickly rethink content management. In some cases, organisations already had central repositories located on-premises which staff had remote access to. But these interfaces had never been used on such a large scale before.

The old infrastructure was under a level of pressure it had not been designed to deal with, and teams were challenged by home broadband capacity which was insufficient to cope with their workflows. Other companies struggled to give any access at all to their on-premise storage and were forced to troubleshoot by storing content on external hard-drives.

These conditions made organising media and collaborating on content extremely challenging for teams and raised concerns around asset security.

In the early stages of lockdown, long-term remote working wasn’t a consideration. Media 18

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The halting of production meant that all of the focus was on the projects already at a post-production stage.

The main aim was to get those finalised with minimal disruption, but as the restrictions dragged on attention turned to cloud media workflows to manage the ongoing situation more effectively.

Access to assets hasn’t been the only challenge editors have faced, post-production is a creative process that is collaborative in nature. Global teams need to share, edit, review, and approve content from anywhere.

The industry has been gradually moving towards remote collaboration around content for some time, but the pandemic created an absolute necessity to fast-track the process.

Working with proxy files reduces bandwidth requirements, and enables editors to work seamlessly within integrated Adobe applications.

But the post-production process is a team effort, and companies are now looking at tools that can consolidate all stages of feedback and review in one place.

Smart asset management

The future of the content chain

Offering more than just remote content access, cloud and hybrid-cloud media management enable teams to consolidate and maximise their assets. The most comprehensive offerings allow customers to store their content anywhere, whether on-premise or in the cloud, and enable access from any location.

AI integrations can also auto-tag content frame by frame automatically. Each additional piece of meta-data makes content easier to sort and locate. AI can analyse visual details such as colour, environment, and subject but can go beyond this and identify emotions too.

Now that production has restarted, there has been a lot of focus on adapting sets and events for social distancing requirements. However, the logistics of post-production are sometimes overlooked by the wider media industry. It turns out that managing content can often cause more issues than managing people.

Cloud technology has enabled teams to create in new ways and rise above the challenges of the pandemic.

The longer-term effects on the industry will be unique because every section of the content chain has been impacted and needs to adapt to new technology collectively. For postproduction teams, a combination of the right cloud-based workflows and remote editing tools will allow them to manage their link in the chain effectively. With this in place, creative teams will continue to deliver quality content regardless of what arises in the coming months.

companies hadn’t yet projected that the impact of the outbreak would last for the rest of the year.

Post-production teams have had to generate new content from the archive, in order to manage the slow-down in filming and keep up with audience demand. Smart media management has proved to be a vital support for consolidating this footage, utilizing the latest AI functionality which has been specifically built for video content.

TRADESHOW-ATF The Asia TV Forum & Market 2020 looks forward to a better 2021

By Monina Eugenio

T

he highly-anticipated Asia TV Forum & Market (ATF) 2020 is happening virtually from 1 to 4 December 2020.

This year’s theme, which aims to bring the industry together amid a challenging year while looking forward to a better 2021, is called, “Prelude to 2021: Be Part of the Conversation”.

What to look forward to Consisting of several pillars, ATF Online+ offers a trade market element that features an extensive attendee library, targeted recommendations, program and video listings, a personalised matchmaking service, and click-easy meeting tools that allow video chats; virtual conference and pitches; a speed dating series that would allow potential partners, collaborators, coproducers, and commissioners to meet and engage online; and a full program that includes video and resource libraries that will remain available until 28 February 2021.

from TUBI, Banijay Rights, Catchplay Group, Bluebird Pictures, BBC Studios, ITV Studios, True Digital, and many more.

ScreenSingapore In conjunction with ATF Online+, ScreenSingapore will also take place virtually where filmmakers, distributors, financiers, and film buyers can explore co-production opportunities, learn about the changing film landscape, and more.

ScreenSingapore will also be hosting the Southeast Asian Film Financing (SAFF) Project Market and Conference, which was made possible through a partnership with the Southeast Asian Audio-Visual

Association (SAAVA) and Ties That Bind: Asia/Europe Producers Workshop (TTB) that will connect filmmakers and producers from Southeast Asia and Europe.

SAFF Online+ 2020 will feature talks on content buying, workflow connectivity, best practices, and new perspectives in Southeast Asian co-productions.

IMDA: Singapore as a prime media hub for Southeast Asia ATF Online+ is hosted by the Infocomm Media Development Authority (IMDA).

Howie Lau, the Assistant Chief Executive for Media and Innovation at the IMDA said,

Programme lineup The ATF Online+ programme lineup will see industry leaders discuss and provide insights on a broad range of topics such as digital transformation to partnership announcements and a look at how China’s film and TV industry has developed in 2020 with a 2021 forecast.

Among the things that the ATF Online+ will feature are key Asian brands who are at the forefront of digital innovation and production such as Dr. Michael Gryseels, President of True Digital Group from Thailand, and Archana Anand, Chief Business Officer of Zee5.

Meanwhile, a panel discussion will include the Singapore Tourism Board, Studio Dragon, and iQIYI who will come together and provide insights and share about their partnership to promote the Destination Singapore story.

Other speakers will include representatives

Howie Lau, Assistant Chief Executive, Infocomm Media Development Authority

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TRADESHOW-ATF “Singapore is incredibly well-placed as the hub and heart of Asia—with our rich media ecosystem, internationally-recognised projects and talents, and trusted support for innovation.

It is also attracting attention as a regional base for both East and West corporations because of its advanced financial and legal system.

Over the years, we have demonstrated our role as a springboard into the region, bringing together Asian talent to network, connect, and collaborate.”

In an interview with Television Asia Plus, Mr. Lau discussed why Singapore is the prime media hub of Southeast Asia and what IMDA is doing to bolster Asian talent: Television Asia Plus: What is IMDA’s vision for the Singapore media industry, and what course of action is in the works to make those visions a reality?

Howie Lau: The Singapore media industry is composed of 2,200 establishments contributing S$2.4 billion value added to our economy.

It is a vibrant landscape that continues to evolve at a rapid pace while also receiving growing recognition for producing quality content.

We want to continue showcasing our media industry’s ingenuity, creativity, and resilience to the rest of the world, and establish Singapore as the region’s preeminent media hub by bolstering our slate of “Made with Singapore” partnerships.

We are achieving this vision in several ways and have ramped up plans in a year where the media industry requires greater support.

The IMDA supports several partnerships and capability development programs and providing platforms for various media sections to come together and drive the future of Asian stories and talent forward.

TVA: How has the Public Sector Broadcast funding and other content funding policies work towards developing more homegrown content for Singapore?

Has IMDA been satisfied with the results and do you foresee any tweaks or any policies in this area?

Howie Lau: Public Service Broadcast (PSB) programmes play an important role in unifying Singaporeans through shared stories and experiences.

We have also seen especially during times of crisis, that viewers look to the national broadcaster Mediacorp, as a reliable and credible source of information.

As a key provider of PSB content, Mediacorp has 20

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seen steady growth in digital viewership on its key platforms such as meWatch and CNA.com.

To meet the diverse needs of Singapore’s multicultural society, IMDA will continue to support the provision of local PSB content across Mediacorp’s free-to-air TV and digital platforms.

Besides Mediacorp, we have also partnered with home-grown digital players such as Viddsee, Munkysuperstar, and The Smart Local to create short-form PSB content that appeals to younger viewers on their platforms.

Spotlight on 9Story Media Group 9 Story Media Group, a leading creator, producer, and distributor of award-winning animated and live-action content, will be highlighting numerous titles at the ATF Online+.

Donkey Hodie

The content from these partnerships has generated positive feedback from viewers and our Programme Advisory Committees.

In 2019, we launched a Public Service Media (PSM) Digital Partnership Fund to support co-productions or partnerships between local media companies and international counterparts to produce compelling and innovative PSB content for Singaporeans and audiences beyond.

The first co-production supported under the Fund, Falling Into You, a drama series produced

by Singapore’s Infocus Asia and Taiwan’s GTV was recently released on meWatch.

We look forward to supporting more co-productions through this Fund and create opportunities for Singapore media companies to work with and learn from the best in class internationally, to produce the best content for viewers.

TVA: We noticed that several large digital content platforms like Tencent and TikTok have set up regional headquarters in Singapore.

What do you see are some of the attractions Singapore offers?

Howie Lau: We are in the Asian decade.

There is no denying that the media industry has made a shift towards Asia in recent years and we are right in the midst of pivotal times where Asian content, talent, and storytelling are gaining spotlight across the globe.

Donkey Hodie, (80 x 11 min), is an imaginative series with a social-emotional curriculum that follows the adventures of Donkey Hodie along with her pals, Purple Panda, Duck Duck, and Bob Dog, as they empower preschoolers to dream big, persevere, and discover that they are capable of overcoming obstacles on their own—and laugh themselves silly along the way.

Bad Nature

Bad Nature, (25 x 5 min) targeted at kids 6 to 11, will join talking animals Marv the Mandrill, Gloria the Puma, and a madcap menageries of misfits as they delve into the disgusting, but truly amazing things that animals do.

Dr. Panda

Despite the uncertainty posed by the pandemic, Asia Pacific remains an attractive hub for global companies like Tencent, TikTok, and Alibaba.

What makes the Asian media landscape so special is its ingenuity, creativity, and resilience that presents diverse experiences.

Great stories have a way of transcending language and culture to connect people and inspire them – and that is exactly why the world has been looking to the myriad of interesting content and talent we have to offer in this part of the world.

The global hit, Dr. Panda, (39 x 7 min) will be returning with exciting new episodes in the all-new second season. It will see more of the wonderful world of Panda City, where Dr. Panda doesn’t just have one job, but hundreds of them!

poST-EVENT MIPCOM Online+ a success with over 6,000 delegates present at the inaugural all-digital market

F

rom 12 to 16 October, MIPCOM Online+ was held virtually for the first time. The event, which is typically held in Cannes, France, was celebrated online, as it became the largest all-digital television content market.

MIPCOM ONLINE+ had an attendance of over 6,000 television executives hailing from 100 different countries who registered on day one of the event. According to key participation figures, there were over 2,200 buyers and commissioners; over 800 virtual exhibiting companies; 25 international pavilions; 3,700 programmes featured by virtual exhibiting companies; over 1,400 programmes and projects presented in the MIPJunior Online Digital Screenings; 230 total sessions, screenings, and showcases programmed; and over 200 speakers and keynotes.

AXN celebrates the spirit of togetherness with AXN All-Stars

Present at the AXN All-Stars virtual media junket were (top row, L-R): Anggun; George Chien, President and CEO of KC Global Media Asia; Wishnutama Kusubandio, Minister of Tourism and Creative Economy, Republic of Indonesia; and David Forester; (bottom row, L-R): Allan Wu; Afgan; Cosentino; and Cyril Takayama.

A

XN announced the premiere of AXN All-Stars, a showcase that aims to raise the spirits with the collective power of entertainment. The online special is presented together with the Republic of Indonesia’s Ministry of Tourism and Creative Economy and brings forth an exciting slew of programmes from a star-studded cast.

AXN All-Stars, which streamed live for free

on 28 November on AXN Asia’s YouTube and Facebook pages, featured some of the biggest names in entertainment such as Afgan, Anggun, Cosentino, Cyril Takayama, David Forester, Michael Bolton, and Mel C. The virtual showcase also brought together personalities such as Allan Wu, Justin Bratton, Alan Wong, Marc Nelson, Rovilson Fernandez, Patricia Gouw, and Melissa C. Koh, who hosted the event from Indonesia,

Singapore, Philippines, and the United States.

George Chien, the President and CEO of KC Global Media Asia said, “As a brand that thrives on creativity and innovation, we’re proud to partner with the Ministry of Tourism and Creative Economy, Republic of Indonesia to create AXN All-Stars. With our production expertise and ensemble of stars, we’re confident that this online showcase will uplift spirits and bring together fans as they connect over a shared experience.”

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IN-FOCUS A User-centric experience for OTT platforms

By JosĂŠ Somolinos

T

his year we have seen unprecedented video viewer numbers across the globe, far exceeding what was anticipated at the start of the period. That is not surprising given the sudden social isolation enforced on people around the world, which has led to a huge increase in time spent at home. According to Nielsen, TV audiences in Taiwan have grown by as much as 1 million viewers and we can see similar trends in other parts of the Asia Pacific region, including mainland China and Hong Kong.

This should be good news for subscriber figures; however, a rise in content consumption invariably comes with a rise in competition, given that consumers have more choices than ever before. The pandemic has also impacted income for many people, leading to a careful review of spending where video subscriptions could suffer as a result. This is especially true where consumers have been using multiple services and decide to cut down on costs by keeping only the ones they deem most valuable.

Amidst this increased competition, video providers need to deliver compelling services to differentiate and keep consumers engaged.

There are a number of innovations that we think will be particularly important as we go through this new entertainment paradigm shift.

Seamless AR Augmented Reality (AR) is already available across more than 1 billion consumer devices.

It is being used by a mass audience, embedded in shopping apps and games, and consumed on mobile and tablet devices. It can literally be integrated into any app and any platform.

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The key to adding value with AR is not about creating new long-form content. Rather, its most compelling use case is to seamlessly complement existing videos to make your app look better and to increase user engagement.

This could, for example, mean using AR to promote an upcoming film release or to create a small experience with cartoon characters for kids. Equally, the technology can be leveraged to add value to sponsors by enabling highly engaging and interactive ads. Amidst the COVID-19 pandemic, it has become more important than ever for video services to deliver increased value to advertisers. For sports sponsors, this could to some extent replace the normal interaction they can expect with customers during live sports matches.

Watch together Certain video content lends itself to being watched together with family and friends.

Whether it is the latest movie release or a sporting match, people are missing that social interaction they would normally get before COVID. While the world struggles to get back to a level of normality, social watching can recreate some of that atmosphere even if we can’t be together in person. It also makes it possible to watch content together with friends and family that live far away.

We have already seen some interesting examples of social watching. Disney has launched GroupWatch, allowing up to seven people to sync the streaming of any title on the platform in a virtual setting through the app. BT Sport has also launched its own Watch Together function, allowing viewers to consume live sports

content together with their friends. Whatever the use case, it is important to ensure that videos automatically sync so that everyone within the group is watching the exact same thing at the exact same time. Imagine your friend commenting on a goal seconds before you see it!

Portrait video At the start of 2020, Accedo put together video-related predictions for 2020. Among the predictions is that portrait video is expected to become increasingly important. Noticeably, the industry is moving in that direction, with the launch of a rotating TV, Sero, for Samsung, and a number of Chinese dramas being filmed in vertical orientation. With more consumers viewing video on mobile devices and the rising popularity of platforms such as Snapchat and TikTok, it made sense to predict that portrait video was to become increasingly attractive. To some extent, the trend has not evolved as expected primarily due to a stop to travel and the fact that most viewing is now taking place at home. However, once travel bans are lifted and things return to normal, portrait video is likely to once again become an interesting proposition.

Future While the pandemic-induced surge in video viewing might not last in a world postCOVID, the media industry has a unique opportunity to tap into new innovation to take an enhanced user-centric approach. It is the video providers that take advantage of these opportunities that will ultimately win the hearts of consumers in the long run.

THE FINAL WORD Finding the perfect balance of service offerings

By Paolo Cuttorelli

O

TT media viewership has experienced a significant boost over the past year. The rising adoption of such platforms has partially been attributed to broader market trends but also users who have been enjoying “allyou-can-eat” entertainment packages during the extended lockdown caused by COVID-19.

following monetisation models: Subscription VOD (SVOD) such as Amazon Prime or Netflix, Advertising VOD (AVOD) such as MX Player, or a Hybrid model which combines a free tier (generally AVOD) with a premium tier that is SVOD and allows consumers to opt out of (or see fewer) ads, such as iFlix or SonyLiv.

The challenge for OTT platforms is finding the right balance to satisfy their customers. There isn’t a one-size-fits-all option and experience tells us that providers that approach their monetisation models with an open mind and a nimble posture stand a greater chance of weathering the streaming wars.

In the Asia Pacific, digital consumption has seen a spike in demand and it’s expected that there will be 97.8 million Netflix users in the region by the end of the year. Experts expect a similar increase in subscriptions across many of the region’s top-tier OTT services.

Another popular model is transactional VOD (TVOD) which allows users to pay for content on an à la carte basis. TVOD allows consumers to pay a fee to access a content title for a set period. Premium VOD (PVOD) takes the rental model to another level by providing audiences with an opportunity to watch the latest cinema releases from the comfort of their home. Over the past year, studios have been experimenting with PVOD due to the effect the pandemic has had on the regular theatrical releases.

Why taking a hyper-local approach is important

The many faces of video on demand (VOD) Streaming platforms generally use one of the

Traditional Pay-TV packages are no longer fit for purpose in a digital age.

Audiences and streaming providers would agree that one-size-fits-all TV packages—such as those we see with traditional Pay TV packages— are no longer fit for purpose in a digital age.

OTT providers must define the strategy that best suits their brand and create customised offerings that will delight their consumers.

In the Asia Pacific, local content is perhaps one of the greatest differentiators. It’s easy to buy into the hype of the latest season of Netflix’s The Crown that has just arrived for international audiences. But with a potential 4.1 billion viewers, the majority of the global audience is Asian. They are collectively searching for content that is more relevant to them and that incorporates local stories, traditions, and celebrities.

Savvy OTT providers are carefully assessing trends and consumer behaviours in different parts of the world and taking a hyperregional focus when it comes to go-to-market strategies. In India, Netflix has experimented with mobile-only plans, while in France, they launched a linear channel on their OTT. Such December 2020 television asia plus

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THE FINAL WORD considerations are mandatory for services that aspire to compete not just globally but regionally. There is no one-size-fits-all approach and this probably truer in the Asia Pacific than anywhere else in the world. The region is highly diverse, with many notable differences between countries, including culture, the standard of living, and attitude towards piracy.

Regionalised user experiences and monetisation models empower local service providers to go toe to toe with the global players. This realisation is increasing investment in creating localised content that focuses on winning consumers’ hearts and minds across Asia.

Big data, AI, and the personalisation of everything The discovery of your next favourite book, album, TV show, or movie will probably come via AI-based personalised recommendations.

In the movie Moneyball, Brad Pitt taught us much more about the future of business strategy than many realise. Data-driven decision making has entered the mainstream and will also play a critical role in targeting new, returning, and loyal audiences.

of billing and revenue optimisation. This visibility is what will allow providers to tweak their offerings and user journeys.

Finding the right balance in a crowded market The increase of OTT media viewership has opened the door for more players to enter the space. Investors, content owners, and traditional communications providers want a slice of the pie and are willing to make investments in technology stacks, teams, and original content catalogs. The reason they’re doing this is to ensure they set themselves up for the future and to pivot their business models to the new world we find ourselves in where the traditional methods of creating and distributing content have been radically disrupted. Faced with so many challenges, how can streaming platforms take advantage, attract, and retain viewers by providing them with the perfect package?

Technology enables providers to collect vast quantities of viewing data. It’s not just the type of content and preferred genres they enjoy, but the average viewing time of each piece of content, but also how and when consumers like to pay. The combination of AI and big data provides a sort of “secret sauce” that helps to reveal real-time audience insights. It’s these insights that help provide a hyper-customised service offering.

To retain their customers’ attention, OTT platforms need to do a few things and do them well. First, and perhaps most importantly, they need to have a catalogue that is regularly updated. Fresh new content, as well as cultural-related or themed holiday content, will get people to come back for more. The reason people keep going back to social media platforms is partly because of the steady stream of content and OTT streaming apps are no different as both are competing for the user’s attention. In the case of SVOD services, providers need to have a content strategy that keeps users engaged and coming back for more to justify their monthly price tag.

Technology will continue to play a critical role in achieving business goals and KPIs. We have much more granular visibility into the entire customer lifecycle in terms

For other platforms that are experimenting outside the traditional monthly SVOD subscription, it’s still important to offer the right value in exchange for the user’s

attention. The key is experimenting with different things such as ease of use, the cost to the consumer, and content come into play.

Some users might be inclined to trade their hard-earned dollars for premium content as part of an SVOD or PVOD offering, but those same users may not be so inclined to other content they deem less valuable. This is where an honest look at the value being offered visa-vis the content lineup makes sense as it helps shape a provider’s go to market strategy.

Platforms are still finding the perfect balance between available options such as AVOD, TVOD, SVOD, and PVOD. Others are also struggling to find the perfect mix of original content versus licensed TV shows and movies that fans love.

With Mulan, for example, the global pandemic prevented a theatrical release and stopped the success that Disney was predicting.

But Disney pivoted to release the movie as PVOD on the network’s Disney+ platform.

The price is right Pay-TV consumers are beginning to realise that cutting the cord is more expensive than they initially thought it would be. A growing list of subscriptions means that many will likely be looking to cut back on the everincreasing list of streaming services from their monthly bills. Streaming services can leverage best-in-breed technology and bundle services together as part of a customised service offering. This offers opportunities to streamline the billing process and adapt their pricing to different market segments.

A great example is Jio, an Indian telecommunication company that launched their TV bundle offer, Jio Fiber. When their consumers choose this option, they get access to a large range of streaming services such as Netflix, Sony Liv, Disney+, and many more.

The revolution will not be televised With the continued rise of OTT streaming services subscribers, providers must differentiate themselves to attract new customers and personalize their offerings to retain their audience. These are just a few reasons why finding the perfect balance of service offerings is crucial for success.

That’s why in Asia-Pacific we expect to see an increase in local content in the OTT media space coupled with compelling bundles that offer the right value to price ratio.

It’s time to retire the concept of a one size fits all entertainment package. For OTT providers, there is an opportunity to adjust content accordingly to ensure that it is relevant to individual audiences’ viewing preferences.

Fresh content and themed holiday content will get people to come back for more.

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December 2020 television asia plus

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