When Kim Jong Un and Donald Trump met in Singapore, keeping Asia on the international news agenda was a no brainer. Thai cave rescue? Same. Ditto for Typhoon Haiyan in the Philippines. On other days, Asia’s truths fight with other truths and different truths in a global balancing act made easier – perhaps – with multiple platforms and audience touchpoints, including features unit CNN Vision.
With Asian versions of "The Bridge" and "Hollywood Squares", Viu/Vuclip cemented its place in the rare category of Asian streaming platforms ballsy enough to put real budgets behind content creation. Vuclip’s president/COO talks about taking the lead in local content spend, the realities of the local production ecosystem, and partnerships that set shows free.
Vietnamese streaming platform, Danet, premieres its version of Korean blockbuster, "Descendants of the Sun" any minute now and has a second Korean scripted format – "My Love from the Star" – on its agenda for the end of the year. No stranger to greenlighting high-end scripted formats, BHD Vietnam/Danet boss, Ngo Thi Bich Hanh, talks about why she believes being this bold is worth the risk.
Mainland Chinese entertainment platform Youku has the world in its sights with, for example, crime series "Day & Night", produced from the very beginning for a global audience. Youku’s Julia Song talks about the new generation of Chinese dramas, shifting audience trends and tastes, her latest acquisitions and the rising focus on giving modern young women stories they can relate to.
Singapore media company Mediacorp’s new management has ushered in an era of “do what you do best and hyperlink the rest”. Chief commercial and digital officer, Parminder Singh, talks about the hardest parts of a different path, the thinking behind the fledgling Mediacorp Partner Network, being platform agnostic, and creating a fresh playbook for an evolving environment.
Social video trends in Asia, the shift in the way media brands are pushing into direct-engagement with their customers, and the evolution of premium content production
Singtel’s app platform, Cast, is a growing force of linear streaming, subscription bundles, catch up, in-house packs, third-party apps, sports services... The telco’s head of content and ad sales, Anurag Dahiya, talks about life at the forefront of creating a super-aggregator app.
James Bridges rolled out his indie doc/current affairs SVOD streaming platform, iwonder, in May this year, kicking off a hope/dream built on his belief that there’s a gap in the market for curated factual content that people will love and pay for. The service’s co-founder and CEO talks about setting up and keeping the wonder going.
In a world flush with video stuff for kids, where do you even begin trying to be different? As Discovery’s new kids app rolls out in partnership with telcos in Asia, Discovery Kids Digital head, Jay Trinidad, talks about the choices and the challenges behind the effort to make a real mark in a crowded space.
Oona went live on Telkom Indonesia this year with a wide-ranging bundle of free channels/curated playlists, total usage/data transparency for content partners, a revenue-share promise and points-based incentives to view ads, and a simple friendly user interface. This is, the platform thinks, “the future of free-to-air TV on mobile”. Head of content partnerships, Dominique Ullman, talks about a new way of gathering, curating and presenting programming.
If a tree falls in the forest, does it make a sound? Great content that falls into silence because no one is around to experience it is the stuff of which nightmares are made. Shad Hashmi, BBC Studios’ vice president of digital development, talks about the latest thinking in search and discovery.
An analysis of demand for Asia’s most successful programmes. Courtney Williams, European regional director for data science company Parrot Analytics, singles out the markers for success around Asia and other parts of the world.
Demand for Indonesian stories has gone through the roof in the latest wave of optimism about a market of 260 million people that is awash with mobile/smart phones. Wicky Olindo, COO of leading domestic production house Screenplay Productions, talks about running with Indonesia’s new stories.
Here’s the thing about local content. Demand has never been higher but the funding model is, in many markets, on life-support. What happens now? A discussion about ways forward in an environment where money is tighter, production houses are sometimes squeezed to lower single-digit margins, and the hunt for new monetisation models is in full swing.
Jennifer Batty took over streaming platform Hooq’s content reigns a little less than a year ago, stepping into the job on the wings of new exclusive SVOD rights for three Marvel titles as well as a growing slate of Asian titles and original productions such as "Critical Eleven", "Sweet 20" and the award winner, "Marlina the Murderer in Four Acts". Almost 12 months on, she talks about her first year in streaming, the highs and lows, and the originals on her agenda for 2019.
HBO Asia is a little more than a year into an originals strategy driven by a different kind of Asian storytelling and a wider, deeper approach to production. With titles such as "The Garden of Evening Mists" under way in Malaysia, "Grisse" in Indonesia, and with horror series "Folklore" about to hit screens across Asia, HBO Asia’s senior vice president for original productions, Jessica Kam, speaks about creating an Asian originals pipeline for the premium movie service.
Moms, idols, big and small chefs and traditional drinks are some of the topics populating A+E Networks’ fledgling original content slate out of Korea. Head of content and development for North Asia, Sun Young Moon, talks about year one on a new production path with an ambitious remit to create a North Asia content pipeline.
Three versions and multiple seasons of premium drama, "The Bridge", have been made around the world. The fourth – and the first in Asia – is a Double Vision production in Malaysia for streaming platform Viu. The Malaysian studio’s head of production, Min Lim, talks about adapting the 10-part thriller. With special appearances by cast members.
Jian Ho and Nikki Loke are part of a young online community that believes films can change the world. Here’s how....
“First we think IP and then we find the relevant partners,” says Anne Chan, CJ E&M’s Hong Kong COO and Asia head of global sales. The process means Chan is taking ad-funded co-productions in various directions to deliver audiences consumer brands want to reach. The model has been refined across multiple seasons of brand-funded video co-productions, "One Night Food Trip – International Edition", and studio beauty show, "Get it Beauty on the Road". Chan talks about the benefits and challenges in adapting IP from tvN’s Seoul-based mothership, re-imagining Korean formats and creating new IP for single markets in Asia, the logic behind the shift to a smaller content slate with a bigger investment, and the e-commerce potential.
What does it take to go beyond ideas into crafting real, ongoing, sticky stories that consumers love and brands can live with? Rebecca Chandler outlines the nuts-and-bolts realities of creating original content for brands, where to look and what to look out for.
Glenn Tan is a powerful backer of premium content as a marketing and consumer engagement channel for Subaru in Asia. In this closing keynote, he talks about the big brand experience with the content creation process, offers insights into the evolving relationship between brands and content, and his views on how partnerships should and could be shaped in the future.