6 minute read
Doc and Animation
and interpretations...
One of the most remarkable aspects of the Korean content machine is the range of programming that it delivers to the world. The headlines may go to global sensations like The Masked Singer and The Good Doctor but, writes Andy Fry, Korea’s documentary and animation offerings are no less impressive
KOREA’s largest documentary-maker is EBS, which has been producing world-class nature, science, history and civilisation documentaries for many years. “Th e channel’s award-winning documentaries have generated a positive response from the global market, enabling us to work with major broadcasters and platforms as both a sales and a co-production partner,” says EBS’ marketing manager Kim Suna. “We have, for example, collaborated with Smithsonian Channel on three projects: Angkor: Land Of Th e Gods, Wonders Of Burma and China’s Dragon Emperor. We are also working on Th e Sixth Mass Extinction, a co-production with Th ai PBS.” Although the pandemic has caused some productions to be held over until next year, EBS is using MIPCOM Online+ to introduce several new releases to buyers and potential partners. “Our fl agship show for MIPCOM 2020 is the 4K wildlife documentary History Of Th e Wild,” Kim says. “Planned since early 2019, the title delves into the history of Korean tigers and leopards, and vividly shows them living in the Primorksy Krai region of Russia — their only remaining habitat.” MIPCOM delegates can gain further insights into EBS’ content courtesy of director Jeong Jae Eung, who is participating in a panel on international co-production techniques. “I’ve
been working on EBS history and civilisation documentaries,” he says. “Mostly, I have been involved with large-scale co-productions, working with Smithsonian in the US, Hunan TV and SMG in China, and MRTV4 in Myanmar.” Jeong’s credits include 3D documentary Ancient Splendours Of Rome; Myanmar, Ancient Mysteries Revealed; and the 4K UHD documentary Qin Shi Huang, The King Of Eternal Empire. The last project is attracting international attention for several reasons, Jeong says: “It tackles misconceptions and uncovers truths about the life of this hero and legend, utilising a compelling drama-documentary technique. It is also visually beautiful. It was filmed with a high-end 4K UHD Amira camera and we used a hybrid cinematic production technique, vividly re-enacting the historic times with CG, CHR, VFX, compositing, etc.” Jeong finds co-pros rewarding, but stresses that respect and good communication are key to success. “When you work on a co-pro, trust is very important,” he says, adding that Koreans make good co-pro partners because they have “extraordinary perspectives and interpretations... Moreover, we are also known for our advanced technological capabilities. In addition, we make high-quality content at relatively low cost and can guarantee a fair ‘risk share’, which is important. Lastly, we are reliable partners.”
Jeong Jae Eung
Also sharing his insights with MIPCOM delegates is Kim Jinman, an executive producer at MBC, who has been making natural-history documentaries for 15 years. Kim’s filmography includes Tears In The Amazon, Tears In The Antarctic, Insect: The Great Instinct and, most recently Bears (4K). “When making Bears for two years, I met all kind of bears in the Arctic, Siberia, Kamchatka, Japan, China, Europe and Korea. The most beautiful one was a female Korean moon bear, which was wounded in a trap. I followed her for 10 months in the Jiri mountains. She gave birth to two cubs.” Kim often co-produces internationally. Recent projects include Corona19 with BBC Three, Asian Rice Road with A+E, Remodeling Empty House with Discovery and Love In The Era Of Corona19 with Rai. Like Jeong, Kim says storytelling and technology are among the key benefits that Koreans bring to the table, though he also cites “government funding and access to locations like the DMZ” as assets.
Just as well regarded as Korean documentary is Korean animation, with several independent studios making their mark internationally. One of the newer players is Happyup Studios, which specialises in 3D CGI animation. “Our
‘Long-lasting character and hand-washing ambassador’, Pengsoo
main target is pre-school,” says director Sam Lee. “From this October, we will broadcast our first animation on EBS, which is a co-production with Lion Forge in the US.” The co-production route is popular with Korean animation companies, Lee says. With the Lion Forge co-production, Comi & Bebe, Lion Forge provided advice and assistance to help adapt the project to the global market. “For example, in one scene, the children bow to their mom and dad,” Lee explains. “Lion Forge pointed out that bowing is very natural to Asians, but looks a bit strange to people from other regions. So we changed it to waving instead.” Happyup has its own production facilities, with personnel who can handle planning, modelling, animation and lighting work. “Korea outsourced Japanese animation for many years and learned from that,” Lee adds. “With investment in animation production technology and the rapid development of our IT industry, we have learned to use CGI faster than other countries. I think this adaptation to CGI animation has created a golden age of Korean animation.”
Government support for animation goes back more than 20 years, Lee adds: “Many new studios in Korea can start their first projects in a stable environment through various support programmes from central and local government. Korea has the one of the most advanced and reliable animation support systems in the world. No one can deny that government effort has had a great influence on the development of Korean animation.”
One of Korea’s most unusual television and online celebrities is Pengsoo, a giant genderless penguin who has become hugely popular with both children and young adults across Korea. Created by EBS, which is well known for its kids’ animation and educational programmes, the maverick TV star has become a surprise multimedia sensation and has even started picking up fans on the international market. “EBS created Pengsoo’s channel, Giant Peng TV, to address the fact that kids migrate away
Happyup and Lion Forge co-production, Comi & Bebe
from EBS when they turn 10- or 11 yearsold,” says Giant Peng TV chief producer Lee Seulyena. “We wanted to recapture the attention of older children who prefer YouTube or content meant for grown-ups.” The solution was to create a character with an authentic personality. “A key part of Giant Peng TV’s success is the way we maximise communication,” Lee says. “We had Pengsoo form a bond with the viewers by engaging in conversations with different people, from children to adults, in various locations, such as schools, parks and streets, as well as communicating on a YouTube channel.” Giant Peng TV content is available across TV and mobile. “The content is uploaded on the Giant Peng TV YouTube channel right after it is aired on the EBS 1TV channel,” Lee says. “Since April 2019, 140 videos have aired on TV and 200 have been uploaded on YouTube. Subscribers exceeded two million in just 10 months.” So after Pengsoo, what’s next? “Giant Peng TV has tried out various genres and ideas. We plan to continue our experiments and communicate with fans, so that Pengsoo becomes a long-lasting character.” Lee adds that the over-sized penguin has also played its part as a hand-washing ambassador to help prevent the spread of COVID-19. As for international stardom, Lee says: “Pengsoo has been introduced on the BBC and MTV Idols Asia in China and, though Pengsoo does not have an extensive global fan base yet, there are fans from abroad who visit Giant Peng TV and leave comments. There may be some barriers, but we believe Pengsoo can be successful overseas, like Running Man and other Korean shows.”
