TV Asia ATF 2016

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TVASIA

WWW.TVASIA.WS

DECEMBER 2016

ASIA TV FORUM EDITION

Formats in Focus / Kids’ TV Trends / Documentary & Lifestyle Slots NHK’s Katsuto Momii / IMDA’s Gabriel Lim / Turner’s Mark Eyers

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CONTENTS FEATURES

Battle for the Screen The battle between linear and streaming platforms for control of viewers’ time is well under way in Asia, judging by a recent in-depth survey on consumers’ perspectives on OTT.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Joanna Padovano Managing Editor Sara Alessi Associate Editor Victor L. Cuevas Production & Design Director Phyllis Q. Busell Art Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Elizabeth Walsh Sales & Marketing Manager Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Asia © 2016 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvasia.ws

The Asia Video Consumer Panel from Media Partners Asia (MPA) surveyed a total of 6,000 consumers in Hong Kong, Indonesia, Malaysia, the Philippines, Singapore and Thailand. In all but one of the six markets (Indonesia), more than 25 percent of respondents are spending more time with streaming than they are with terrestrial and pay TV. As fixed broadband and 4G access continue to accelerate, the proportion of viewers watching more streamed TV than live is likely to increase.

But there are challenges for OTT providers, both fiscal and in terms of customer satisfaction. The survey looked at the Net Promoter Score (NPS) for operators, assessing if subscribers would recommend their OTT platform to friends and family. The results were “largely negative,” MPA said, with Netflix as the exception, delivering a positive score in four out of six markets. Among the key features for subs is streaming to television, followed by the ability to download. In terms of programming, meanwhile, subscribers overwhelmingly want day-and-date content, particularly Hollywood movies, which was ranked as a “must-have” for a premium SVOD service.

Korean dramas, new Chinese dramas, the latest Hollywood series and sports were also considered key content elements to an SVOD service. One big complaint from subscribers was user interfaces, with many expressing frustration about finding the content they wanted, and an issue with poor dubbing and subtitling. The survey also found that 5 to 10 percent of respondents admitted to using a pirated set-top box to access pay-TV services.

For Japan’s NHK, understanding how to respond to shifting consumption habits is a major consideration as it plans for the future, its president, Katsuto Momii, tells us in this edition.

Gabriel Lim, the CEO of Singapore’s IMDA, tells TV Asia about how the regulator is helping Singaporean content companies tap into new digital opportunities. And Turner’s Mark Eyers provides insight into the “digital-first” strategy being used to develop new content at Cartoon Network. This edition also features reports on selling kids’ programming, formats and factual fare into Asia. The consensus from distributors is that while challenges of fragmentation remain, OTT and digital platforms are creating a wealth of new opportunities for content owners.

—Mansha Daswani

GET DAILY NEWS ON THE ASIAN REGION

24 FORMATS RISING Asian broadcasters are taking bigger bets on format concepts as they seek out local hits.

32 TAKING FLIGHT SVOD and the need for stand-out brands are among the trends reshaping the kids’ content distribution business in Asia.

24 40 ASIA GETS REAL The demand for factual content, from lifestyle fare to high-end docs, remains high.

INTERVIEWS

46 NHK’s

Katsuto Momii

48 IMDA’s

Gabriel Lim

50 Turner’s

Mark Eyers

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9 Story Media Group 3 Amigonauts / Nature Cat / Peg + Cat The new series 3 Amigonauts takes center stage for 9 Story Media Group at ATF. Intended for 6- to 11-year-olds, the series follows three friends who attend the solar system’s most prestigious space academy. “3 Amigonauts’ characters are hilarious, quite endearing and universally lovable,” says Federico Vargas, 9 Story Media Group’s director of distribution. “In addition to the lovability of the characters, the show’s story lines are chock-full of visual gags and jokes, adding to its global appeal.”

Another comedy from 9 Story is the animated show Nature Cat, which targets kids aged 4 to 8 and features a “robust educational component,” says Vargas. The Emmy Award-winning preschool series Peg + Cat, which is also on the company’s slate, encourages youngsters to develop math and problem-solving skills.

“Our goal is to be the goto partner for children’s content around the world and serve as a real alternative to the major studios.”

—Federico Vargas 3 Amigonauts

ABC Commercial The Wonder of Marsupials / Top Jobs for Dogs / Newton’s Law ABC Commercial is presenting to ATF buyers the threepart series The Wonder of Marsupials, which explores how this group of mammals has evolved to deal with the unique and difficult challenges of life in Australia. “This visual feast of stunning Australian landscapes, amazing animal behaviors and fascinating marsupial facts make this a not-to-be-missed documentary series,” says Robyn Campbell, senior sales manager for Asia, Australia and New Zealand at ABC Commercial. Another animal-based highlight for the company is Top Jobs for Dogs, which looks at what types of tasks canines are capable of carrying out.

There are also scripted shows on the slate, including Newton’s Law. The series “combines accessible drama with a great mix of romance and comedy, featuring a strong female lead and recognizable ensemble cast,” says Campbell.

“We represent Australia’s most talented producers who create bestin-class content that resonates with international audiences.”

—Robyn Campbell The Wonder of Marsupials

Bomanbridge Media The Mojicons / St. Peter’s and the Papal Basilicas of Rome 3D / On the Go The animated series The Mojicons takes viewers into the world of the internet, where a mysterious villain has stolen the “@” sign, bringing electronic correspondence to a halt. Bomanbridge Media is presenting the title at ATF, along with the 4K film St. Peter’s and the Papal Basilicas of Rome 3D, which combines history, architecture and art. It also offers a virtual-reality component tied to the Sistine Chapel. Another highlight is On the Go, a ten-part travel series hosted by former Miss Great Britain Amy Kitchingman, who introduces viewers to fun and healthy vacation stops, with activities ranging from a spa day on a private island to cycling with cheetahs.

Sonia Fleck, founder and CEO of Bomanbridge Media, says, “We’re happy to be presenting programs that are relevant and in demand for our audiences.”

“We are launching high-end 4K factual, VR, as well as digital-savvy animation programs.”

—Sonia Fleck On the Go 46 WORLD SCREEN 12/16

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Caracol Internacional Against our Destiny / The Girl / On Another Level Based on the book The Discreet Hero by the Nobel Prize winner Mario Vargas Llosa, the telenovela Against our Destiny is among the highlights of Caracol Internacional’s ATF slate.

The story centers on two sisters with different personalities who reunite after nearly 20 years. The Girl, based on real events, had a strong showing in Colombia in prime time and Caracol Internacional believes it will pique Asian buyers’ interests as well. The company is also presenting the format On Another Level, which features a music competition at its core. In the series, professional singers will have to prove their talents by performing a song in the genre of their expertise. “We have high expectations for this market, as we have a diversified, attractive and competitive portfolio that will fulfill our clients’ demands,” says Maria Estrella, a sales executive for Asia at the company.

“Our titles are always produced with an international audience in mind.”

—Maria Estrella The Girl

Cyber Group Studios Mirette Investigates / Zou / Zorro the Chronicles Aimed at children between the ages of 6 and 10, Mirette Investigates centers on a 10-year-old sleuth and her feline assistant. “Mirette Investigates is a program appealing for its originality as it is the first traveling detective comedy for kids,” says Emmanuel Dereau, international sales executive at Cyber Group Studios, which is promoting that title at ATF along with the animated series Zou and Zorro the Chronicles. “Zou and Zorro the Chronicles are meeting buyers’ need for [wellknown] properties that also have strong merchandising potential,” says Dereau. “Zorro is a brand of worldwide heritage revived in a high-quality action comedy series for kids 6 to 12 years old. As for Zou, we are very proud to bring to ATF the third season of Cyber Group Studios’ preschool CGI hit.”

“These three titles meet different needs among buyers in Asia.”

—Emmanuel Dereau Zou

Deutsche Welle Composers of Genius / Need to Compete / Greed The five-part documentary Composers of Genius, on offer from Deutsche Welle (DW), allows viewers to discover the lives of musical masters through the people and places that helped to shape them. “Along with each episode, viewers will enjoy beautiful renditions of masterworks played by contemporary soloists and orchestras from around the world,” says Petra Schneider, the director of sales and distribution at Deutsche Welle. “Stories like these add a special perspective to the timeless popularity of classical music while providing unique insight into people who were composers of genius.”

In the six-part factual production Need to Compete, the spirit of competition is celebrated. The HD documentary Greed, meanwhile, asks questions about human nature in an age of consumption and competition, looking at the psychology of money, happiness and eternal life.

“DW has seen the demand for non-entertainment content in diverse Asian markets rapidly increase in just the past three years.”

—Petra Schneider Need to Compete 48 WORLD SCREEN 12/16

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Fred Media Miguel’s Feasts / Travels with the Bondi Vet / Operation Thailand Fred Media has seen high demand for lifestyle and factual content across Asia, from pan-regional clients, local broadcasters and SVOD platforms alike. “We are producing highvalue and quality content and, more importantly, we listen to our clients’ needs,” says Roger Vanderspikken, the company’s sales manager for Asia and in-flight. At ATF, Fred Media is presenting new seasons of the lifestyle series Miguel’s Feasts, Travels with the Bondi Vet and The Renovation King. The market will also see the launch of the new series Operation Thailand, Paramedics, Food to Die For, The Lie Detective, Vet on the Hill and Man Space. The company has its first digital offering to showcase to buyers as well, with Pet Vignettes, ranging in length from one to five minutes. The vignettes touch on such topics as pet training and health, as well as vet tips.

“Our aim is to offer universally attractive content.”

—Roger Vanderspikken Miguel’s Feasts

GMA Worldwide Someone to Watch Over Me / Oh My Mama / Love and Defiance The topic of Alzheimer’s disease is addressed within the story of Someone to Watch Over Me, one of GMA Worldwide’s ATF highlights. Manuel Paolo J. Laurena, the company’s senior sales manager, calls the drama “a compelling story about how love is tested in the face of adversity.” Also on offer is Oh My Mama, about a teen searching for her real father. “This is an eyeopening drama for all ages that shows that even in the absence of a good role model, a young girl or boy can overcome adversity,” says Laurena. There is also Love and Defiance, focused on the struggles of marriage and early parenthood. “We want clients to know that GMA innovates and keeps up with the demands of its viewers both in the local and international markets,” Laurena says. “GMA dramas are not only for entertainment—they also carry a great deal of socially relevant issues that reflect how the world is today.”

“We aim to be the number one choice for quality Filipino dramas worldwide.”

—Manuel Paolo J. Laurena Oh My Mama

HBO Asia Master of the Drunken Fist: Beggar So / Halfworlds / Game of Thrones HBO remains dedicated to premiering “the biggest and latest blockbusters first on Asian television,” according to Magdalene Ew, the head of marketing, creative and content at HBO Asia.

“We are also committed to producing shows and telling local stories that resonate with audiences across Asian territories.

With this in mind, we have a slate of exciting HBO original and HBO Asia original programs lined up.” This includes Master of the Drunken Fist: Beggar So and Master of the Shadowless Kick: Wong Kei-Ying, which mark the first time HBO Asia is producing an anthology of martial-arts action TV movies.

Co-produced with China Movie Channel, the movies will premiere on December 25 and December 26, respectively. The HBO Asia original Halfworlds returns for a second season in 2017, while the global hit Game of Thrones debuts in its seventh season in mid-2017.

“Our strategy has always been about creating the best awardwinning content that resonates with our audiences.”

—Magdalene Ew Master of the Drunken Fist: Beggar So 50 WORLD SCREEN 12/16

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MarVista Entertainment Cold Zone / 10 Year Reunion / The Follower A trio of thrillers leads MarVista Entertainment’s ATF slate.

The first is Cold Zone, a disaster film about a scientist who discovers an impending flash-freezing storm that threatens to destroy the entire planet. “Action-disaster genre movies, such as Cold Zone, are always in demand with Asian audiences, especially when the film has such talented actors as Martin Cummins (UnREAL), Kirsten Robek (Jingle All the Way 2) and Steve Bacic (Good Luck Chuck) in the lead roles,” says Robby Amar, the executive director of distribution at MarVista Entertainment. The company is also offering up the thrillers 10 Year Reunion and The Follower, both of which “have engaging story lines and clever plot twists, and should appeal to a broad demographic,” adds Amar.

The Follower examines just how far an obsessive fan may go to demonstrate their love and admiration for a celebrity.

“We’re encouraged by the demand for American content by the Asian VOD market and other digital content platforms.”

—Robby Amar 10 Year Reunion

Mattel Creations Turning Mecard / Thomas & Friends / Barbie Dreamtopia At ATF, Mattel Creations is promoting recognizable brands and new properties. The company is presenting the 21st season of Thomas & Friends, as well as a new 70minute movie, Journey Beyond Sodor, which it is distributing throughout the Asia-Pacific region. Also on the ATF slate are several Barbie titles such as Barbie Dreamhouse Adventures and Barbie Dreamtopia. Grace Chan, the commercial director for content and experiences at Mattel Creations for the AsiaPac region, says the company aims to expand the “popularity of this brand in the business.” Mattel Creations is also launching several new shows, including “the number one boys’ animation brand from Korea, Turning Mecard,” Chan says. “We are bringing this boys’ action animation not just to APAC, but worldwide too.”

Thomas & Friends

Newen Distribution OURO / The Mysterious Cities of Gold / The Chameleon Asian buyers have already expressed interest in the event drama OURO, according to Sophie Eap, the international sales manager at Newen Distribution who is in charge of Africa, the Middle East, Asia and Oceania. The modern-day adventure thriller launched at MIPCOM and Eap believes it has robust sales potential at ATF because of its “strong story line and acting.” Newen is also offering a third season of the animated series The Mysterious Cities of Gold, which is set in Japan, India and the Middle East. “French animation series are renowned on the international stage, and we believe that it is a fantastic opportunity for Asian buyers to have a French-produced series of such a high quality set in Asia,” Eap says. Capping off the slate is the factual series The Chameleon.

“We are very proud of our new lineup and expect to keep growing our international relationships with both TV and digital buyers.”

—Sophie Eap OURO 52 WORLD SCREEN 12/16

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Rainbow Maggie & Bianca Fashion Friends / Regal Academy / World of Winx The Milan Fashion Academy serves as the backdrop for Rainbow’s live-action tween series Maggie & Bianca Fashion Friends, which it is promoting at ATF. Rainbow has a number of animated series to present as well, including World of Winx, based on the worldwide hit Winx Club, and Regal Academy, which features the adventures of Rose Cinderella, a normal girl who suddenly finds herself in the world of Fairy Tale. “Asia is a priority market for us, and we would like to roll out our new animated comedy Regal Academy in all the main Asian markets, as we already have a master toy deal in place in Asia and are also focusing on building a strong consumer-products program,” says Cristiana Buzzelli, the senior VP of licensing and acquisitions at Rainbow. “We would like to consolidate Winx Club’s presence in the region, as it proved to be a great evergreen show.”

“We are exploring the potential for live-action shows in Asia.”

—Cristiana Buzzelli Maggie & Bianca Fashion Friends

SAMG Animation Power Battle Watch-Car / Miniforce / Vroomiz Korea’s SAMG Animation has 15 years of experience with cross-border projects, giving the company a strong sense of what the global market is looking for, according to CEO Suhoon Kim. “We don’t try to match every element of our works to the mainstream trend, which is apparently skewed to the Western taste,” he says. “Rather, we try to find more Asianized color, design, story and related commercial programs.” For ATF, the company is promoting such animated series as Miniforce, Power Battle Watch-Car and Vroomiz.

Miniforce and Vroomiz currently air in Asia on channels such as Thailand’s MCOT and Vietnam’s VTV. In 2017, they will also broadcast in Indonesia and Malaysia. Power Battle Watch-Car will reach audiences on Global TV in Indonesia and MCOT in Thailand next year.

“The foremost characteristic of our original works is that they are Asian style.”

—Suhoon Kim Miniforce

Studio 100 Media The Wild Adventures of Blinky Bill / Nils Holgersson / Arthur and the Minimoys: The Series The character of Blinky Bill came to life in a children’s book from the 1930s and was also the star of a 2D animated series in the mid-’90s. The koala bear is at the center of brand-new stories in Studio 100 Media’s CGI series The Wild Adventures of Blinky Bill. “There is already high brand awareness, strong positive brand association and also nostalgic memories in the older target group as well as the wish to share those feelings with their family and children,” says Martin Krieger, the head of global distribution at Studio 100 Media. The company’s catalog also includes the CGI series Nils Holgersson, inspired by the book from Selma Lagerlöf, and Arthur and the Minimoys: The Series, based on Luc Besson’s children’s books of the same name and the feature films also produced by the French filmmaker and director.

“Each series is built around an already strong and well-known brand.”

—Martin Krieger The Wild Adventures of Blinky Bill 54 WORLD SCREEN 12/16

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Telemundo Internacional La Doña / Rich in Love / Without Breasts There Is Paradise Telemundo Internacional’s La Doña is a story of passion, revenge and ambition, telling the tale of a heartless woman who is forced to face feelings she had long forgotten. The telenovela was produced by Telemundo, as was Rich in Love.

At the center of the novela is Silvana, a once-affluent woman who is now struggling to provide for her family. She moves to a humble neighborhood, where she meets a man who will teach her the true meaning of love. Without Breasts There Is Paradise, produced by FOX Telecolombia, is about a young woman who fights to defy the curse her family has suffered.

“These titles present a sample of Telemundo Internacional’s catalog, with love stories that touch upon the modern-day struggles presented by society, some with comedic appeal and others more dramatic, but all sharing an important message,” says Yari Torres, the company’s sales planner for Asia.

“For Telemundo Internacional, the chance to meet with Asian buyers at ATF is a chance to further discuss opportunities for alliances and partnerships.”

—Yari Torres Without Breasts There Is Paradise

Turner Asia Pacific Good Behavior / Will / Ben 10 Turner’s focus for ATF is on ramping up its syndication business, with a number of original series on offer to buyers in a variety of genres. This includes the English-language dramas Good Behavior, starring Downton Abbey’s Michelle Dockery, and Will, an unconventional period drama centered on a young William Shakespeare, played by newcomer Laurie Davidson. Scripted comedies from Turner’s TBS and truTV networks include Search Party and Those Who Can’t, while there are several new kids’ series from Cartoon Network, among them Ben 10. “We’ll continue to invest more in our original content and IP, as well as work together with our existing affiliates to offer consumers more exciting opportunities and greater convenience to consume and engage with our content and brands,” says Phil Nelson, Turner’s senior VP and managing director for North Asia and Southeast Asia Pacific.

“As consumer behavior and our industry evolve, Turner will have to continue to ensure its brands remain essential viewing.”

—Phil Nelson Good Behavior

ZDF Enterprises H2O: Mermaid Adventures / Inui / Mako Mermaids The hit series H2O: Just Add Water has aired in more than 160 countries, giving ZDF Enterprises (ZDFE) confidence in the international reach for its animated spin-off, H2O: Mermaid Adventures. “This new extension of the brand brings exciting underwater adventures to kids 6 to 10 years old, and has an extensive merchandising program about to roll out worldwide,” says Peter Lang, the VP of ZDFE.junior. “It also follows the release of the teen live-action series Mako Mermaids, now going into its third season.” The show has already been airing successfully on several channels across Asia, including HBO Family and GMA, Lang notes. The company also has the new preschool series Inui, about a little Inuit girl in the Arctic Circle who loves the snow and knows how to keep warm and have fun with her friends Crackpot the Caribou, Grouchy the Polar Bear and Lady Penguin.

“We are looking to expand and reinforce our presence in the region through partnerships with local and pan-Asian broadcast and digital platforms.”

—Peter Lang Mako Mermaids 56 WORLD SCREEN 12/16

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CJ E&M’s Grandpas Over Flowers.

Asian broadcasters are taking bigger bets on format concepts as they seek out local hits. By Mansha Daswani nother year, another set of restrictions on the Chinese format market. The latest, announced in June, were introduced in order to encourage local creativity, according to Chinese regulators. “Only self-innovated TV programs with Chinese cultural inheritance and characteristics can better carry the Chinese Dream themes, the socialist core values, as well as patriotism and Chinese fine traditions,” the notice from China’s State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) said this summer. “The reliance on imported program formats has been squeezing out the creative incentive of domestic producers and broadcasters. Audiences are craving more Chinese original programs that are fun to watch and feature healthy tastes.”

A

But format distributors don’t seem any less bullish on opportunities in the market than they were a year ago. In a recent interview with World Screen, formats titan John de Mol, the founder of Talpa Media, said, “The U.S. is our biggest and most important market, although China is very close…. I’m curious to see when, for us, China becomes a bigger market than the U.S.” And Talpa Media is not the only company still finding routes into China. “Last year was our best year ever in China,” says Sabrina Duguet, executive VP for the Asia Pacific at all3media International. “It’s true that this year the regulations have slowed things down a little, but my clients are still looking for great ideas and great programs. At Shanghai TV Festival people were very concerned. Now it’s nearly back to business as usual.”

Duguet heads up all3media International’s newly established Asian headquarters in Singapore, from which she

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all3media is finding a wealth of opportunities in Asia for its formats, among them Gogglebox, which was recently adapted in Mongolia.

aims to capitalize on the vibrant business the company has already set up in the region.

The format sector in Asia does appear to be going from strength to strength, with a broad range of genres finding homes across the landscape.

TALENT POOL

Voice being licensed and aired in Thailand, China and Indonesia. “Also, we’ve licensed the format to Vietnam and are currently in talks in the Philippines, Cambodia and Malaysia. We’ve also licensed our total makeover show Let Me In to Thailand and are excited to announce that a second season is confirmed.”

Gary Pudney, the head of Asia at Keshet International (KI), lists three transformative factors for his business over the last 12 months: “the opening of more markets within the region, further local development of formats being taken to the international market, and the recently announced restrictions on the sale of international formats to Chinese companies.”

The company has found traction with both scripted and unscripted formats in the region, Pudney notes. On the non-scripted end, an Indian deal is in place with Viacom18 on Rising Star, which has also been renewed in Indonesia on RCTI. The Indonesian broadcaster also licensed Who’s

“With the trend towards more local productions and local versions of top global formats, we’ve certainly seen a rise in our format business,” reports Haryaty Rahman, the senior VP of sales and distribution for Asia at FremantleMedia International. “There has been a lot of exciting news this year. All our big talent shows, such as Idols and Got Talent in Cambodia, Myanmar and Mongolia, have been successfully renewed. We also began selling formats into Thailand and spearheading the pan-regional Asia format sales following an internal restructure, and have already had a lot of interest just two months in. In 2017, viewers in Thailand will be able to see new local launches of our new dating format out of Israel, Hear Me. Love Me. See Me., and Small Talk.

We’re also currently in talks with a number of networks to launch pan-regional versions of our big formats in 2017.”

For Jangho Seo, general manager of the global content business division at Korean conglomerate CJ E&M, the most significant development in the last year has been “the increased awareness of the importance of the format business in Asia.

Korea, Japan and China are leading the format business, but many other Asian countries have begun to take formats into consideration.”

Recent deals for the company have included I Can See Your FremantleMedia’s Got Talent is going strong across Asia, having been adapted in several markets, including Vietnam.

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Keshet’s drama format Prisoners of War has been adapted in India for Star Plus as P.O.W.—Bandi Yuddh Ke.

on Top? In China, the branded-entertainment car game show Trade Up was sold to CCTV 2, and Beijing Satellite TV and Yunnan TV have ordered a second season of Master Class. In emerging markets, Cambodia’s Bayon Radio and Television is adapting BOOM! and TTN Media Corporation in Vietnam licensed Master Class. In terms of scripted formats, meanwhile, the biggest news for Keshet International over the last few months in Asia was Star Plus India opting for Prisoners of War. The series premiered in November.

ON SCRIPT Scripted formats is a key area of growth for GMA Worldwide, which has built a strong business licensing its Filipino dramas across the region.

“Earlier in the year, we sold the format rights of Losing Heaven to a broadcaster in Vietnam,” says Roxanne J. Barcelona, the VP of GMA Worldwide. “Currently, we are negotiating the acquisition of at least two drama formats for Vietnam. In addition, we are in discussion with our Thai client for a package of canned drama programs and at least one drama format.”

For Barcelona, the biggest challenge in selling Filipino scripts is “competing against more popular formats from South Korea and low-cost scripts from India. However, there are also opportunities arising as some of our clients in Cambodia and Vietnam have started producing local content and are looking for scripts that can be easily adapted.

There are also opportunities in countries with strict government policies regarding acquiring canned foreign content. Clients in such countries are more open to acquiring scripted formats.”

While scripted is picking up interest, entertainment formats still dominate the format activity in the region.

“Shiny prime-time entertainment shows continue to be hot properties,” reports Gepke Nederlof, the head of global sales at Talpa Global. Among them is the massive worldwide hit The Voice, which has clinched a new deal in Singapore and Malaysia and is already present across Asia.

“But we also see that our clients in Asia are acquiring content more strategically than ever before. With the television landscape changing rapidly, creating experiences across multiple platforms is becoming increasingly important.

For Talpa, it’s key for the rollout of our formats that the entire commercial value chain is activated—from TV to events to social to digital and more. The Next Boy/Girl Band is a fantastic example, offering dedicated exclusive content per platform, focusing on the demographics of its users (and their specific age group) to ensure the hard-to-reach millennials are engaged without losing the traditionals, all the while turning viewers into fans. Our newest game show (co-created with Possessed TV and ITV), 5 Golden Rings, also offers connected experiences to its viewers.”

Nederlof adds, “Smaller reality shows with touching and honest elements such as The Wishing Tree and The Story of My Life are also creating a buzz in Asia.”

At CJ, studio-based talent competition shows continue to do solid business for the company, Seo notes. “The Asian audience is very trendy, and it is a highly adaptable market, so we believe other genres such as game shows and factual-entertainment formats may work as well.”

SOMETHING FOR EVERYONE The diversity in the types of formats being acquired in the region is reflective of the fact that broadcasters “are taking much more risk than they’ve taken in the past,” all3media’s Duguet reports. “We don’t have any talent shows currently in the catalog, that’s not our specialization, and a few years ago that was probably what was working best. Now a lot of countries are willing to try [something different]. We’ve managed to make a great success out of Undercover Boss Japan, which for me was the unlikeliest place to do it in Asia. It shows they’re willing to try something new, take some risks.

What we are most well known for is factual entertainment, and we do also have game shows. Are You Normal? was a big hit in China, we’re doing it in Vietnam, a second series is coming up, and it’s pending in other territories. Cash Cab has traveled. Recently, interest has grown in the factualentertainment space. Undercover Boss’s success in Japan has opened new doors. Gogglebox has been created in 36 territories [worldwide], including Mongolia. We are in discussions with several territories in Asia at the moment.”

A new area for all3media in Asia is constructed reality, which has been a huge success for the company in many

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GMA Worldwide is looking to expand its scripted formats business, offering titles like Until We Meet Again for local adaptation.

European markets. “We are the largest producer and distributor of constructed reality globally, with 15,000 hours of [local versions and adaptations] worldwide. We have around 15 constructed-reality formats in our catalog. Out of them, a number are extremely suitable for Asia and are being discussed at the moment. We have so many scripts available, a lot are closed-ended, with a different story every day, so if some of the scripts are not suitable for cultural reasons, that’s fine because we have over 1,000 scripts for the same format. For Asia, the reason I’m excited is many countries love and produce a lot of drama and scripted content; they also broadcast some reality programming. So [we can offer] a hybrid, taking the best of drama and the best of reality.”

ASIAN CREATIVITY Duguet is also eyeing opportunities in the brandedentertainment space in Asia, and is looking at creating alliances with producers in this part of the world (where all3media does not currently own any production assets).

“We can make the life of the broadcasters easier by coming to them with a great format, some funding and an option for [them] to produce it,” she explains.

The company is also on the lookout for potential format concepts out of Asia, backing the ATF Formats Pitch this December. “We want to find great content creators and use the strengths of the group, all of our production companies, to work on great ideas and take them to market.

Now it’s not just the West to the rest of the world—great ideas can come from anywhere.”

CJ’s Seo is upbeat about how Asian content creators have the potential to reshape the global format market.

The company is coming off the summer ratings success of Better Late Than Never, the U.S. version of its Grandpas Over Flowers format on NBC. It also recently partnered with Endemol Shine Group to co-create a new concept, The Society Game.

“Korea, with its creative and high-quality contents, will continue to bring new and fresh ideas to the international market,” Seo notes. “Japan, as the Country of Honour at MIPCOM 2016, unveiled a number of new formats that are tailored to an international audience.”

WHAT’S NEXT? Seo sees many more positive developments for the Asian formats business in 2017. “The Asian market is characterized by its fast pace and the rise of new platforms and players changing the media landscape. I believe a plethora of opportunity exists in the Indian market, which is slowly gaining recognition in the formats industry. Though it may take time, I believe India is a very attractive market for us to enter into and we hope to meet with various partners in India and start working on a few projects in 2017.”

Pudney, too, is feeling upbeat about Keshet’s format prospects in Asia next year. “There is a growing, voracious appetite for content in Asia, particularly through digital/mobile interaction with their favorite entertainment, which underpins this growth. KI Asia will look to capitalize on [that] explosion while leveraging this for content consumption. Further growth opportunities are in working with strategic partners to locally develop content for the Asian and international markets and in using Keshet International’s global resources.”

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SVOD and the need for stand-out brands are among the trends reshaping the kids’ content distribution business in Asia.

By Mansha Daswani

Studio 100’s Nils Holgersson.

sia proved to be a hub of activity for kids’ content distributors at MIPCOM, generating a wealth of deal news out of the market. Of note, m4e brokered a deal for Mia and me in mainland China. ITV Studios Global Entertainment sold the first season of Thunderbirds Are Go to CCTV, marking the first time the property will air in the country. Mondo TV clinched an agreement with China’s Henan York Animation for the production of three new animated series to be completed

by November 2020. FremantleMedia Kids & Family signed new agreements for its hit properties Danger Mouse, Kate & MimMim and Tree Fu Tom across the region, and Turner Asia Pacific acquired two additional seasons of Xilam Animation’s slapstick comedy series Oggy and the Cockroaches.

All that activity sets the stage for what should be a vibrant and busy week for children’s programming producers and distributors this Asia TV Forum (ATF). This segment of the

A

media business is a key focus at the market, with a Junior@ATF conference strand exploring international coproductions, 360-degree experiences, funding and more.

DEMANDING TIMES One area that is transforming the kids’ business, in Asia and across the globe, is SVOD. For many distributors attending ATF this year, the tremendous growth in the on-demand space has been the biggest shift they’ve seen in the sector over the last 12 months.

“While the home-entertainment business is fading out, we have finally seen SVOD businesses beginning to pick up, especially in Australia and Southeast Asia,” reports Grace Chan, the commercial director for content and experiences in the Asia Pacific at Mattel Creations. “YouTube is significantly growing its subscriber base and viewership in the region. Although the traditional broadcasting business is keeping its vast penetration to households, digital platforms have garnered constant viewing patterns among the younger generations.”

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9 Story has found numerous slots for its preschool titles, among them Daniel Tiger’s Neighbourhood.

Emmanuel Dereau, international sales executive at Cyber Group Studios, says that the French company has boosted its Asian business via pacts with OTT platforms, aligning with pan-regional players like iflix and HOOQ and local players such as Amazon in India, tonton in Malaysia and DOONEE in Thailand.

SECOND WINDOWS

a large slate of TV movies that include many targeted at kids and families.

“The OTT platforms, generally speaking, are nonexclusive and everywhere,” says Robby Amar, the executive director of distribution at MarVista. “They are looking for volume. They have a set of driver titles, and then they have the titles that are secondary within the same genre. When it comes to MarVista titles, a few are actually used as drivers, [such as] our Disney and Nickelodeon co-productions. They have been acquired left and right, whether it’s pan-Asian platforms or per territory platforms.”

While Martin Krieger, the head of global distribution at Studio 100 Media, agrees that deals with nonlinear platforms are on the up, “TV remains our main focus for the first window. It continues to be the most important medium for establishing high awareness for a property

“The OTT platforms have a double benefit,” Dereau reports.

“On one hand, they are a great opportunity to give a second life to our catalog titles after their airing on traditional broadcasters. This is possible because we have developed strong partnerships with local partners in the region over the past ten years. On the other hand, digital platforms are now ready to invest more in order to get the first run on our new productions in their country. For instance, Amazon India picked up the first run on three Cyber Group productions, including Zorro the Chronicles, to be part of its launch in the region.”

Rainbow, too, has secured placement of its shows on digital platforms in the region, including iflix and Netflix. “We are monitoring them very closely as we strongly believe that they are the future of entertainment,” says Cristiana Buzzelli, senior VP of licensing and acquisitions.

Federico Vargas, the director of distribution at 9 Story Media Group, notes that “in addition to major global services like Netflix, the recent proliferation of regional players has presented a terrific opportunity for both our tent-pole titles and our evergreen library titles, with new services emerging every day.”

The digital platforms have also been a boon to MarVista Entertainment’s regional business, with the company housing One of Cyber Group’s main focuses this Asia TV Forum is the brand-new animated series Leo the Wildlife Ranger.

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proved to be a great evergreen show,” Buzzelli says. Another mandate is lining up deals for Regal Academy, “as we already have a master toy deal in place in Asia, and we are also focusing on building a strong consumer-products program.” The company is also exploring live-action opportunities on the heels of its launch of Maggie & Bianca Fashion Friends.

PLAY TIME

Mattel Creations has begun offering series based on the Barbie brand, including Barbie Dreamtopia.

and is thus still crucial, especially for our merchandising and licensing partners.”

In order to drive successful licensing and merchandising campaigns, kids’ content owners are finding that broadcasters are much more concerned about a property’s builtin awareness among audiences.

BRAND AWARE “The striking fact is that traditional kids’ buyers need more and more brands and properties that already have notoriety in the region,” says Cyber Group’s Dereau. “Zorro is a brand of worldwide heritage on which our partners in the region are happy to capitalize.”

He adds, “In China, we have been observing that more and more [players] choose to specialize in the kids’ business to combine media distribution with a merchandising strategy in order to bring big properties such as Zorro or Zou to the Chinese market.”

Mattel Creations is arriving at ATF with content based on a very well-known brand: Barbie. “Mattel Creations is expanding the content format for Barbie from focusing on two to three movies a year to movies plus series, including Barbie Dreamhouse for older girls and Dreamtopia for younger girls,” Chan explains. “We will be managing the distribution of these series for a bigger market impact for the brand.”

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MarVista’s Amar says that he’s been hearing more and more requests for “branded content, particularly with animation [series]. You need to have a toy attached to it in order to be given all the attention you need from the broadcasters. Particularly when it’s time to program the shows, they need that ad revenue to help them promote the series.”

Regarding movies, meanwhile, Amar says that broadcasters have responded well to MarVista’s Nickelodeon and Disney originals, as well as titles like Jessica’s Darling’s It List, Mark & Russell’s Wild Ride, Raising the Bar and Annabelle Hooper and the Ghosts of Nantucket. “There’s a continued hunger for this kind of content in Asia because it is safe and it is for [mass] audiences.

[They are] really good for co-viewing.”

The driver for Studio 100’s Asian business has been animation, Krieger notes. “This genre travels easily internationally. Live-action shows are often subject to trends like fashion, music and stars—they always answer strongly to the zeitgeist, which might not be a global one but a local one. For preschoolers, on the other hand, there has been and still is a high international demand for curriculumbased content in combination with fun and comedy elements. Buyers are looking for shows that have a central character and friends, portray positive role models and are filled with humor. For preschool and preteens alike it is also always good to offer elements such as enchantment, adventure and action, which appeal to both girls and boys at the same time. In addition and most definitely, any story has to contain positive values such as friendship, loyalty and honesty.”

9 Story’s Vargas says he’s seen a range of kids’ genres resonating across the region. “Our PBS KIDS-branded shows like Peg + Cat, Daniel Tiger’s Neighbourhood, Wild Kratts and Nature Cat are experiencing a lot of traction—series with an educational curriculum tend to perform well within the territory. Live-action educational series are also performing well. Animated comedies with an element of slapstick humor have also been working well across the territory.”

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production [businesses], there is little space for foreign acquisitions.” Nevertheless, Dereau says that the Cyber Group titles Mirette Investigates and Menino and the Children of the World “have received excellent feedback among these two markets.”

“We still want Japan to be what it needs to be in terms of a major player on OTT,” says MarVista’s Amar on where he’d like to be doing more business in 2017. “It’s getting there, but I don’t think it’s quite there yet. Vietnam has emerged as a would-be small market becoming an important one. Also Taiwan and the Philippines, particularly for OTT platforms.”

Studio 100’s Krieger says he is particularly focused on China, as well as building on already strong relationships in India, Indonesia, Japan, Korea, Malaysia and Singapore.

ASIAN TOONS

Rainbow is looking to drum up interest for its new animated series Regal Academy.

Regardless of the target demo, buyers are looking for “entertaining kids’ productions that also transmit good values to children,” Cyber Group’s Dereau says, highlighting new shows from the company like Mirette Investigates and Leo the Wildlife Ranger. “All our productions have in common the transmission to future citizens of important values such as solidarity, respect for wildlife or curiosity about other cultures.”

Mattel’s Chan agrees that “all kids’ genres remain strong,” but adds that educational fare, in particular, is a sweet spot.

“Education values like life lessons from Thomas & Friends are most wanted in China,” Chan says.

MARKET SAVVY China is one of Mattel’s leading AsiaPac markets, Chan says, alongside Australia and Japan. “We continue to expand aggressively on content development and distribution in China, and we would like to do more in the longer run in Southeast Asia and India,” she adds.

China and Australia, plus Southeast Asia, have been the biggest drivers for 9 Story. Vargas says that for additional growth, “we are looking to work with emerging territories and partner with the growing base of new OTT players.”

Cyber Group has built “strong and diversified partnerships” in China and India, Dereau notes, and has seen its business grow in markets such as Malaysia, Thailand, Indonesia and Vietnam.

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In addition to driving geographic expansion, a number of distributors are exploring coproduction opportunities across the region, or aligning with producers from Asia to take their shows globally.

“In addition to our own productions, we distribute third-party productions, and Asia Pacific is our main source region,” Cyber Group’s Dereau says. “Indeed, we are distributing eight series that were originally produced in very different Asian countries, such as South Korea, China, Hong Kong, Singapore and India. We are eager to go further in terms of partnerships and we are exploring co-pro opportunities within the region. We have met several producers from the region over the last year to this end.”

“Our two own animation studios, Flying Bark Productions, based in Sydney, and Studio 100 Animation, based in Paris, have been active and co-producing in the region for years,” Krieger says. “A large portion of our hit shows are born out of co-productions with partners across the Asia Pacific.”

Chan is excited about the slate Mattel will be rolling out next year, including “the number one boys’ animation brand from Korea, Turning Mecard. We are bringing this boys’ action animation not just to AsiaPac, but worldwide too.”

Looking ahead to 2017, Krieger is focused on growing the company’s existing business, keeping a close eye on how digital is reshaping the sector.

“We are trying out different ways of placing our content with nonlinear platforms and are always taking specific market needs into consideration. Of course when selling a new show we are more careful, especially with regards to free VOD content. However, depending on the territory, even AVOD can co-exist with TV at the beginning of the life cycle without jeopardizing each other at all.”

Rainbow is boosting its regional efforts now that it has a subsidiary in Kuala Lumpur alongside a base in Hong Kong, “and plans for China,” Buzzelli says. “We have a local team in place and we would like to make the most of the potential of the market, which is now much more open to Western content.”

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Escapade’s JC Tha Barber.

The demand for factual content, from lifestyle fare to highend docs, remains high across Asia. By Mansha Daswani his November, the Chinese video platform Tencent aired, day and date with the British broadcast, BBC Worldwide’s ambitious new blue-chip series Planet Earth II. It marked the first time that BBC Worldwide had co-produced a documentary with a video platform in China, and the deal is reflective of the significant shifts under way in Asia’s factual programming business.

Factual has always been an in-demand genre in Asia, where free-to-air broadcasters routinely place docs in prime time and where brands like Discovery, National Geographic and HISTORY command a significant share of pay-TV viewing. There have been a few developments over the last year, however, that are pushing the genre to new heights, notably the proliferation of digital plat-

T

forms, the rollout of 4K and increased interest from services for factual fare about Asia.

“There is a huge appetite for factual programs, and it keeps growing continuously,” says Ralf Rückauer, the VP of ZDFE.factual at ZDF Enterprises.

“Factual is making a comeback,” adds Sonia Fleck, the CEO of Bomanbridge Media. “In the past, a lot of doc features and the more award-winning factual titles, while getting pickups and some deals done, may not have been as commercially viable. The SVOD services are starting to look for this kind of 90-minute factual. That’s different from last year when they wanted more straight-up 50-minute-episode series.”

The rapid proliferation of OTT players has seen traditional buyers take a more “aggressive approach to rights acquired and holdbacks

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“The interest in 4K has been twofold,” explains Escapade’s Lawley. “On the one hand it feels specific to those territories/platforms already able to broadcast in 4K, but we have had buyers researching content for when they change to 4K. There is a definite widespread feeling of ‘it’s coming’ but not quite there yet.”

IN THE WILD

ZDFE.factual’s science programs have done well in Asia, among them Mammoths: Giants of the Ice Age.

requested,” observes Natalie Lawley, the managing director of Escapade Media. OTT platforms themselves, meanwhile, “have opened up more avenues for content that may not find a home on linear channels. Also, the leading platforms are paying for premiere rights, but overall it feels like the region is still in the set-up phase, and obviously these services are greatly impacted by the broadband available.”

Digital platforms have created a “fantastic second window for our content,” notes Roger Vanderspikken, the sales manager for Asia and in-flight at Fred Media, as well as slots for “titles that would be more niche or too risky for some broadcasters.”

ZDFE.factual’s Rückauer says that digital platforms “have an enormous need for programming. Just recently, we signed huge package deals with Tencent in China and One TV in Hong Kong for various Southeast Asian territories.”

The interest in 4K is part of the continued appetite for blue-chip natural-history series. ZDFE.factual’s best sellers in the region hail from the wildlife and nature segments of its catalog, Rückauer says.

“There has always been a demand for science programs, for example Mammoths: Giants of the Ice Age, and programs dealing with space, such as World War A: The Human Chronicles.”

“We’re getting a lot more requests for blue-chip,” states Bomanbridge’s Fleck, prompting the company to acquire a raft of high-end content ahead of the market, including multiple From Above documentaries from Yann Arthus-Bertrand.

“They are really at the forefront of absolutely fantastic 4K technology, and the locations are interesting,” Fleck notes, adding that she's been taking on several titles that showcase the diverse cultures and landscapes of the Middle East and North Africa, plus a wealth of natural-history content. At ATF, Bomanbridge will also be launching arts docs from the Italian outfit Nexo Digital and its partners Sky 3D, Sky Arte HD and Magnitudo, including Florence and the Uffizi Gallery 3D/4K and St. Peter’s and the Papal Basilicas of Rome 3D. “These award-winning programs, while they are a lot more expensive to acquire, are really in the limelight at the moment,” Fleck continues.

DEFINING THE FUTURE For Blue Ant International, the launch of new platforms has helped drive demand for its 4K natural-history slate. “A lot of the OTT services are acquiring native 4K content,” says Solange Attwood, the company’s senior VP. “From a linear perspective, South Korea and Japan are the leaders in 4K.” Other broadcasters in the region are also looking at 4K content as they prepare for impending rollouts of the ultra HD format.

Bomanbridge has a strong slate of natural-history and wildlife content for Asia, including iCrocodile.

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Fred Media’s lifestyle portfolio includes Travels with the Bondi Vet.

At Tricon Films & Television, Nick Solowski, senior director of international sales and acquisitions, is witnessing “a continued desire for high-end, glossy content, but with an increase in audience takeaway.”

Vanderspikken at Fred Media says that “safe” content in the travel, food and male-skewing areas continue to drum up the most activity for the Australian company. “Our clients are still on the lookout for animals, science, arts, technology, ‘how-to’ and docudramas,” he adds.

to be interesting territories. Our aim is to always be doing business with everybody.”

One major growth area for Blue Ant is Asian co-production.

Attwood mentions new opportunities emerging in India, among other territories. “We want to produce more content and co-produce more content across Asia.

We are already in the process of doing that with some of our natural-history slate. We’d like to be co-producing across all genres.”

JUST THE FACTS

PARTNER POTENTIAL

Escapade’s Lawley is witnessing a growing need for factualentertainment shows with broad appeal and cross-media elements. “The request for titles that have web-based VR has increased, and we have received significant interest in our factual titles that cover fresh and original subject matters.”

The company arrives at ATF with shows like JC Tha Barber, focused on the celebrity barber and his high-end clients from the film, music and sports worlds, and Steve Backshall & The Vertical Mile.

Vanderspikken says that Southeast Asia, Japan and panregional broadcasters have been among the company’s best customers. “We would love to work more in Indonesia, India, China and the Philippines,” he says.

“Our strongest relationships continue to be with the panAsian buyers and the Australian and New Zealand broadcasters,” says Tricon’s Solowski. “We’ve seen some nice bumps in activity in Malaysia and Vietnam. We’d like to see more in every territory!”

“We’ve had a lot of success in Japan, South Korea, Hong Kong, mainland China and Singapore,” says Blue Ant’s Attwood. “We’ve had great success pan-regionally. We want to continue to focus on those territories. But there is great activity happening with some of the emerging markets. Certainly Indonesia, Malaysia, Taiwan and Thailand continue

ZDFE.factual has been a long-standing co-production partner of NHK in Japan, recently collaborating on two episodes of Deep Ocean. “We would like to meet new partners and explore new possibilities in the linear and non-linear area,” Rückauer says. “It is a vibrant market with many chances for a company like ZDF Enterprises. Our goal for the future is to achieve co-productions with partners in other major territories in the region, such as South Korea and India.”

Lawley says that conversations are ongoing with production houses across Asia for factual fare. “These opportunities involve both Escapade looking for co-production partners for some of our titles in development, but also looking to be the co-production partner for a number of Asian projects.”

Tricon has been adding Asian content to its slate, partnering with Li TV and MediaCorp on a range of titles.

Solowski expects to maintain this approach as Tricon continues to diversify its factual offerings.

At Bomanbridge, an important new strategy has been “content curation,” Fleck states. “Asia is looking at subjects that are coming from Asia. The content that we’re starting to see get picked up here is centered on origination from the region, or at least has a subject angle on the region. We’re curating a portion of our catalog, hitting the sweet spot in terms of what the broadcasters want in the genre.”

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international broadcasting—is another major characteristic of NHK that cannot be found among commercial broadcasters.

TV ASIA: Tell us about the current NHK Corporate Plan.

MOMII: The NHK Corporate Plan sets out our overall direction of striving to become a more accessible and trustworthy public medium by providing our audiences with broadcasts and services of the highest standard in 2020, the year of the Tokyo Olympic and Paralympic Games. The three-year period from the 2015 fiscal year is the first step toward realizing this vision.

[Providing] accurate reporting...and rich and varied content is one of the important means we have set out in enriching and enhancing our broadcasts and services. This is the fifth year since the Great East Japan Earthquake. Our programming has focused on issues such as the current situation in the disaster-hit areas, disaster preparedness and nuclear power plants through news and special programs.

Although there was a series of major natural disasters last year, NHK stations as a whole provided more reporting for disaster preparedness and disaster mitigation through the nationwide network and by harnessing new technologies such as IP relays. We are also meeting the expectations of our audiences in various ways, such as conveying matters of strong public concern through a range of angles, providing programs relating to the 70th anniversary of the end of the Second World War and [airing popular] morning drama serials.

Let us touch next on NHK actively conveying Japan to the world. Twenty new programs were added in the 2015 fiscal year to our English-language international channel, NHK

By Mansha Daswani

As the president of Japan’s NHK, Katsuto Momii is tasked with making sure the public broadcaster delivers on its promise to its license-fee payers, keeping Japanese citizens informed of the latest developments in the country. NHK also invests heavily in high-end drama, kids’ programming, entertainment and blue-chip international docs. As the country gears up to host the 2020 Olympic Games, Momii tells TV Asia about keeping pace with media consumption trends and technological advancements.

TV ASIA: What can viewers find on NHK that they won’t find on the commercial broadcasters?

MOMII: We recognize that a friendly rivalry between NHK and the commercial broadcasters in various programming genres enables the realization of broadcasting that meets a diversity of viewers’ needs and expectations. As a public broadcaster funded by receiving fees paid by our broad viewer audience, NHK has the role of providing viewers with reliable information and a rich diversity of programming without being influenced by specific interest groups or viewing figures. We are especially conscious of this point in our programming. Viewers hold high expectations for NHK. Another of NHK’s strengths is our wide-ranging network. NHK has more than 60 local broadcasting stations and offices spread throughout Japan, as well as 30 overseas offices. Our ability to provide a diversity of programming in a timely manner through multiple channels— including seven domestic TV and radio channels and 80 WORLD SCREEN 12/16

World TV. The channel has also done more to actively convey the allure of different parts of Japan to the world.

NHK is also concerned about creating broadcasts and services that open up new possibilities. An experimental online provision of programs broadcast on NHK General TV was undertaken for the first time last year to gauge various issues, such as the needs of users, copyright and so on. The experiments will continue so as to improve and upgrade services.

Moreover, to ensure a smooth start to the test broadcasts for 8K (Super Hi-Vision), we produced programs, installed equipment and carried out trial transmissions with broadcasting satellites.

TV ASIA: As media platforms proliferate, what role do you see public broadcasting continuing to play in Japan?

MOMII: We are in an age where all kinds of information are flitting between people and moving across national borders.

Although we have a greater diversity of information, some people also point to the proliferation of information of a dubious nature and the weakening of mutual bonds. We believe it will be increasingly important for NHK…to share global [and local] issues and meet expectations concerning the public function of the media in linking people together with accurate information.

We believe that NHK’s raison d’être lies in actively providing a reliable social infrastructure of information and in making a contribution to the development of a healthy democracy and the improvement of cultural standards.

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TV ASIA: What challenges does NHK face in terms of the public license-fee system?

MOMII: NHK’s operating income almost entirely consists of its receiving fees. They are provided for under the idea that every household which has installed a TV receiver should contribute to a fair share of the necessary costs of NHK undertaking its duties as the public broadcaster. It is a system of funding that ensures greater independence for NHK. The first issue for the receiving-fee system is making sure everyone is contributing his or her fair share. The current Corporate Plan has enhanced the measures for this. At the end of the 2014 fiscal year (March 31, 2015), the receiving fees were being paid by 76 percent of the households required to do so.

Efforts are being made to increase this figure to 80 percent by the end of the 2017 fiscal year (March 31, 2018). There is also the issue of convincing audiences to pay the fees. Efforts will be made to foster greater understanding among audiences of the significance of public broadcasting and the system of receiving fees. Another major issue is reducing the costs incurred in the NHK receiving contracts and the collection of fees.

We are aware of the importance of studies concerning the relationship between the system of receiving fees and online simulcasts of television. We are investigating the issue of simultaneous television and online broadcasts in light of this situation, and we are also pursuing studies on a system of receiving fees suited to a new age.

the highest quality broadcasts and services in 2020. We are speeding up the work on Super Hi-Vision and internet use.

NHK will continue to produce first-class content that responds appropriately to evolving audience needs. We will devote our energy to creating attractive programs that will be appreciated around the world and unprecedented services.

For these purposes, one operating issue that requires an immediate, tangible response is the practical Super HiVision broadcasts. 4K and 8K broadcasts are aimed to start in 2018 in Japan. NHK will decide its future course on the basis of full discussions on what kind of programming is needed to provide attractive services and how the formal broadcasts will be funded.

Internet use is another big area. The internet contentdistribution business is becoming ever more competitive, as evidenced, for example, by Netflix’s launch of its Japanese service last autumn. NHK, too, believes that it is going to be increasingly important to establish its presence in the world of the internet. By accumulating the knowledge for full-scale internet use through the live streams from the Rio Olympic and Paralympic Games and [experimenting with] simultaneous television and online broadcasts, we will look into ways to realize the diverse services that viewers demand.

TV ASIA: How are your 4K and 8K trials progressing? What other new technologies are you developing?

MOMII: Test satellite broadcasts of 8K (Super Hi-Vision) ultra-high-definition television commenced on August 1 this year. Initially, they were mostly live 8K relays of the Rio de Janeiro Olympic Games. After the Olympics, programs are being aired specifically for Super Hi-Vision in genre-specific time slots, including travel, music and entertainment, nature and science, and drama. Because receiving equipment to pick up the test broadcasts is not yet on the market, 8K monitors have been set up at NHK stations across Japan, enabling people to experience the compelling high-definition images and sound. NHK has produced content that takes advantage of the ultra-highdefinition images that Super Hi-Vision can offer, including major sporting events, historically significant structures, works of art, nature and science. We are striving to produce more. We are accelerating the research and development of large, lightweight, sheet-like displays and sound reproduction technologies so that more people can enjoy 8K broadcasts in their homes. Effort is also being put into the development of transmission technologies for future terrestrial broadcasts, production devices for the enhancement of 8K programs and archiving environments.

Research is being done on what things might be like in 20 years’ time. 3D TV not requiring any special glasses is one important subject of our research. We are also striving to establish multi-pixel filming and display formats surpassing 8K, as well as technologies for the next generation of 3D telecasts.

TV ASIA: What are your top priorities for NHK in 2017 and beyond?

MOMII: In NHK’s vision under the current Three-Year Corporate Plan, the target is to use the latest technologies to achieve 12/16 WORLD SCREEN 81

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Serial dramas are a key highlight of NHK’s morning schedule, with offerings like Daddy Sister (Toto Neechan).

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By Mansha Daswani

This year, against a backdrop of the continued convergence of media and technology, two Singaporean regulators came together under the banner of the Info-communications Media Development Authority (IMDA). As the CEO of the organization, Gabriel Lim is devising strategies to invest in and promote Singaporean content that can be deployed across multiple platforms. He tells TV Asia about how he and his team are flying the Singaporean flag in the global content sector.

TV ASIA: What was the thinking behind the merger of parts of the IDA and the MDA? LIM: We had been looking at this for quite some time. What we see happening today is the convergence between infocomm and media, and we see that continuing into the future. Many tech companies realize that to succeed, you need to find a way to differentiate yourself to build a loyal fan base or customer base. Content and media are part and parcel of that strategy. And the digitalization of media has been happening for many, many years. It’s not just about how [content is] distributed or how it’s produced, it’s changing the business model as well. We thought, if we’re serious about not just developing Singapore’s info-comm media sectors, but also regulating them, it makes sense to bring both together. IMDA is still a statutory board under the Ministry of Communications and Information, but it’s a different configuration and reflects our focus for the future.

TV ASIA: How have you evolved the services you provide producers to help them take advantage of the opportunities available in the media sector today?

LIM: In many ways, what we do for the media sector reflects what we’re trying to do for the country, which is to keep ourselves relevant, to keep up with the times, evolve and see where the new needs are, both for users and for businesses.

We’ve evolved over the years, for example, with the greater shift to digital in a much more decisive way. What we’ve done in the past year is devote more

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resources to promoting digital talent and digital content creation. Last year, we partnered with Maker Studios for a boot camp for digital content creators that went very well. We’re looking at further collaborations with industry partners on that front. We just announced a year-long partnership with Discovery Networks Asia-Pacific designed for the upskilling and co-creation of content with emerging and established production companies in Singapore using the most advanced techniques and technologies, including 4K and VR. That’s another example of where content and technology come very close together.

The other aspect is promoting local talent and local content by working with global leaders. Between our various funding schemes, capabilities development and content production partnerships, we have been working with leading media companies from around the world, such as FOX Networks Group and HBO Asia. The idea is to find a way to tap into their expertise, benchmark ourselves to world-class standards of production and standards of organization, and give our local companies a chance to grow. They can learn, they can adapt for themselves. We are hoping that in this process, we can build up a few more companies that have established themselves, at the minimum regionally, if not globally, and can fly the Singapore flag high.

We’re excited about the opening of PIXEL Studios, previously known as Creators’ Space. It is a space that promotes innovation and experiential learning. PIXEL Studios is focused on digital content creation for new professionals starting their own companies or even mid-career professionals trying to retool themselves for digital media. It’s a place to sit down and learn new equipment—how to shoot in 4K, how to produce for Vine as opposed to 2-minute short form—and how to run a digital enterprise: understanding page views, activating social media, how to monetize.

We’ve put together a physical location as a central meeting point. If it succeeds, we’re going to equip quite a few Singaporeans to be able to take advantage of the opportunities in the digital arena.

TV ASIA: In your funding schemes, how do you strike that balance of enabling companies to make the shows they want to make, without protecting them from the competitive pressures of the global market?

LIM: For one, when we give grants, we’re never the majority funder. For instance, for the Production Assistance grant, IMDA’s support is capped at 40 percent of a project’s qualifying expenses. We want to see the industry put in their fair share. Second, we’re putting resources into developing capabilities for the long term. In other words, we’re using money not to fund consumption but investment, and training is a big part of that, talent development is a big part of that. We’re looking at capabilities in digital content, training our media professionals to understand world-class levels of production. That’s how we look at funding, as opposed to just funding operating expenses of production, which becomes a subsidy at the end of the day and you distort the market.

The other part is, we’re trying to build a broader ecosystem, finding ways to grow the financing market in Singapore. Through the Singapore Media Festival

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(SMF) and its constituent events like the Asia TV Forum & Market (ATF) and ScreenSingapore (SS), we offer an abundance of opportunities for producers and financiers to connect and forge partnerships. This then shows that a) you don’t always have to use government funding and b) building a healthy media ecosystem is a much more sustainable, scalable way of growing the industry.

TV ASIA: What are the strongest genres in Singaporean production today? Where do you still want to see gains?

LIM: Animation is an interesting opportunity. We have good capabilities there, but it’s not an easy market to tap into. One of the areas we’d like very much to focus on is local drama production. It’s so difficult to be able to differentiate the output of a small country if we’re just going to be like everyone else. Developing local stories that are unique and that are not too esoteric is something we want to work on. We’re trying to invest more in storytelling TV ASIA: What are some of the highlights of the Singapore Media Festival this year?

LIM: SMF is an umbrella [that includes] constituent events ATF, SS, Singapore International Film Festival (SGIFF) and the Asian Television Awards. For ATF, we’ve continued to grow and diversify, building up the marketplace with more buyers from different regions so that exhibitors and participants have a broader base to sell to. We’ve talked about building up an ecosystem and having a financing framework—the Southeast Asian Film Financing (SAFF) Project Market, the new addition to SS, has returned in 2016 and expanded to 15 projects, up from ten projects in 2015. This is good news for budding filmmakers from Southeast Asia, as they have more opportunities to meet with a global network of established media players.

With the Singapore International Film Festival, we’re going into our 27th year. Over the last two or three years, we’ve raised the standing of the festival quite a bit. This year we’ve taken the decision to raise the standards higher

for qualification. We received more than 1,000 entries, mostly from Southeast Asia. We’re excited to see where this will go.

Last year, SMF introduced Digital Matters, which included B2B conferences and a fan meeting with YouTube stars. In 2016, we are introducing the inaugural SMF Ignite, which brings together digital content creators to learn, experience and create through an exciting lineup of interactive workshops and insightful conference tracks led by industry thought leaders. The idea is to give participants a chance to learn more about digital media. We still have to build it up, but we see it as a very natural complement to the work that we’re doing. Overall, one thing that we’re trying to focus on very much for the Singapore Media Festival is to foster greater synergy between the different constituent events.

TV ASIA: As you look ahead to 2017 and beyond, what are your goals for the IMDA? LIM: With any reorganization, you want to make sure that the organizational development issues are sorted out, so the organization can function as one. Externally, we want to deliver and show value to the industry. It’s an exciting time for the info-comm and media industries because of how tech is playing such an important role in everyone’s lives.

At the same time, it’s also a period of some anxiety as the global economy is softening, so people are anxious about the next growth opportunity. We have a role to play in creating opportunities for companies, for workers, for talent professionals. We want to make sure our strategies are sorted out.

Internationally, we want to reestablish and reaffirm this position that we are open for business. Singapore has always positioned itself as a hub in general—business, air travel, sea freight—and we see info-comm media as another example of how we can establish a regional hub. We welcome everyone to come to Singapore, work with us and work through us to get to Asia, and Asian companies can work through us to get to the West.

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The IMDA is supporting the development of all forms of Singaporean content, including formats like Celebrity Car Wars, made by activeTV for HISTORY Asia.

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TV ASIA: Tell us about your talent development initiatives.

EYERS: One of the key things we’re proud of at Cartoon Network around the world is we’re very creator friendly.

When we work with creators and directors, one of the mottos that my head of original production and development, Silas Hickey, always uses is, It’s about giving them the tools and the resources to do what they do, and then get out of the way and let them create. That relationship we have with creators is important. At the end of the day, that reputation travels—people will say, Those guys are good to work with because they let directors and creators realize their vision and help them get there.

TV ASIA: And the digital-first strategy allows you to play a bit more because you don’t have to risk investing in a proper pilot or full series?

EYERS: Absolutely. We can take more bets. When you do it the old TV way, a half-hour or 11-minute pilot, that’s a lot of money and time. It’s not so much about the money. It just takes a lot of time, and at the end you might go, That’s not right for us! With the digital-first strategy, we can do multiple little shorts and content with multiple creators, and we’ve got the platforms to test them in real-world situations, not just a focus

By Mansha Daswani

In a highly competitive and fragmented market, Cartoon Network has emerged as the leading kids’ channel in the Asia Pacific, delivering global hits like Regular Show and Adventure Time alongside regionally and locally developed fare such as Exchange Student Zero and Lamput. Mark Eyers, the chief content officer and senior VP for kids’ networks at Turner’s Asia-Pacific business, and content head for Cartoon Network, Boomerang and Toonami in the region, tells TV Asia about his programming strategy.

TV ASIA: In terms of original content, how much are you doing on a pan-regional level and how much is being driven by your individual local markets? Can that local content be deployed pan-regionally as well?

EYERS: It depends on the content. We use an 80/20 rule. We want our brand to be consistent in multiple markets, like any other major franchised brand. So we want 80 percent of our content to work everywhere, and 20 percent is local. An example of a successful local show for us would be Roll No. 21. That’s designed and intended to work in India. We’re also looking for ideas that travel elsewhere because obviously scale helps everybody. We recently commissioned a bunch of shorts called Lamput. That was created by one of our partner creator directors in India. We’re using that all over AsiaPac, and also sharing it with the rest of the world.

That’s an example of content that was very much made in India, but with a global outlook. We’re launching it as shorts first, 15 seconds, and then we’ll move to toons and keep developing it on that digital-first pipeline. And being flexible in models, we’re also doing a co-production in Korea.

We’re working with a studio there and will be again starting with shorts. We’re bringing the concept, called Beat Monsters, to Asia and it will go to Europe.

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group in a fish bowl. We can take the shorts and stick them on the channel or our branded sites and platforms, and also in front of the paywall on our new apps like Cartoon Network Anything and Cartoon Network Watch and Play, and we can see how the audiences react. We learn from that. That’s exciting to creators as well. Not every creator wants to make a pilot and then have it locked away in a vault.

One thing I want to emphasize is, when we say shorts or short content, that doesn’t mean we cut down bits and pieces from other things. One thing we work hard on across all these different platforms is creating a unique narrative. The sum of these parts is greater than the whole in the sense that each of those little pieces adds something to the narrative. Our audiences today, with total consumption, want to see and hear more about their favorite characters and the storytelling in different ways and on different platforms. So if they do come and watch the show on the channel, they want a different narrative experience than they might get on a mobile device. We’re finding that’s very important for us when we create these multiplatform digitalfirst launches. We’re also engineering unique narratives for each of those different platforms. It’s the philosophy of never going dark on the content that our kids like.

TV ASIA: I know you’ve been in the kids’ business for a while now. With all the shifts in consumption, is it more fun today?

EYERS: We always have the philosophy of, Embrace the beast.

People see the change coming and some duck and weave and dodge, but I’m a great believer that you hug it straight on. We still start with great characters. The fundamentals don’t change. You need great characters in unique worlds. Now we can create these worlds not just on television but on multiple platforms all at the same time and change the order.

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Stand Out at NATPE! World Screen TV Kids TV Latina TV Novelas y Series TV Niños Guía de Canales Guía de Distribuidores World Screen Newsflash Diario TV Latina TV Kids Daily TV Drama Daily For more information contact Ricardo Guise at 212-924-7620 or email rguise@worldscreen.com

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