{"id":4558,"date":"2017-10-30T11:08:56","date_gmt":"2017-10-30T15:08:56","guid":{"rendered":"http:\/\/worldscreen.com\/tvasia\/special-report-pay-tv-strategies-asia\/"},"modified":"2017-10-31T09:43:44","modified_gmt":"2017-10-31T13:43:44","slug":"special-report-pay-tv-strategies-in-asia","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvasia\/special-report-pay-tv-strategies-in-asia\/","title":{"rendered":"Time to Shine"},"content":{"rendered":"

As competition intensifies, Asia\u2019s leading pay-TV programmers are innovating their strategies for finding, and keeping, audiences.<\/em><\/p>\n

Internet advertising has already eclipsed TV spending in several Asia-Pacific markets, including Australia, China, Korea, New Zealand and Taiwan. And it\u2019s set to do so in Hong Kong, Japan and Singapore by 2022, according to research by Media Partners Asia (MPA).<\/p>\n

That\u2019s a tough pill to swallow for the region\u2019s pay-TV industry, which has been working hard for years to cut in on terrestrial television\u2019s dominant share.<\/p>\n

\u201cConsumers are spending more time on mobile, social and online-video platforms, driving demand for internet advertising,\u201d said Vivek Couto, executive director of MPA, in releasing the findings of the group\u2019s Asia Pacific Advertising Trends<\/em> report.<\/p>\n

The pay-TV market, however, while facing the challenge of online disruption, is far from a dying sector. Pay-TV revenues are expected to reach $68.5 billion in 2022, MPA says. And there are still gains in certain markets, notably India, while in others, such as Hong Kong, cord-cutting is starting to take a toll on the sector.<\/p>\n

For the region\u2019s major pay-TV channels, the mission is straightforward enough: drive viewership, engagement and ad dollars, and make yourself indispensable to platforms. To achieve those aims, schedulers are experimenting with launch strategies, expanding social-media outreach and, as the acquisitions market gets squeezed by the arrival of content-hungry OTT platforms, stepping up original-programming initiatives.<\/p>\n

\u201cWith more competition, more platforms out there, it is important for us to have our own uniqueness and be able to maintain our own identity,\u201d says Virginia Lim, the senior VP and head of content, production and marketing at Sony Pictures Television (SPT) Networks, Asia.<\/p>\n

Local production has been an essential part of the SPT strategy for years now, with AXN having been one of Asia\u2019s first English-language general-entertainment channels to bet big on original programming.<\/p>\n

\u201cOriginal production gives you unique content and the differentiation that every service now needs,\u201d Lim explains.<\/p>\n

Last year the channel resurrected The Amazing Race Asia<\/em> for a fifth season and this year it is working on season two of Asia\u2019s Got Talent<\/em>. The latest addition to the roster, for 2018, is The Elements<\/em>, featuring Australian magician, illusionist and escapologist Cosentino.<\/p>\n

ASIAN SPIN
\n<\/strong>FOX Networks Group (FNG) Asia has also been dabbling in the regional originals space, with highlights that have included Asia\u2019s Next Top Model<\/em> and Bolt of Talent<\/em> on StarWorld, which was recently rebranded as FOX life.<\/p>\n

It\u2019s a similar situation at NBCUniversal, where Scott Mackenzie, VP of channels for Asia, reports that at E!, local content is becoming increasingly important. The service has made shows in the Philippines, Malaysia and Singapore and more recently has been acquiring select Korean series for a new weekly block, Seoul Saturdays.<\/p>\n

\u201cKorean celebrities appeal across the entire region,\u201d says Mackenzie. \u201cKorean content allows us to appeal to fans everywhere from Jakarta to Japan.\u201d<\/p>\n

At A+E Networks, both Lifetime and HISTORY have been investing in content developed and produced locally. \u201cOriginals are highly important to establish locally relevant connections to a channel\u2019s brand attributes, attract local sponsorship and provide value for our platform partners,\u201d says Saugato Banerjee, the company\u2019s general manager for North Asia. \u201cBut to have a sustained impact on live ratings, they need to be executed in sufficient volumes. That is often a challenge in some markets.\u201d<\/p>\n

Indeed, Asia\u2019s big pan-regional players are still heavily reliant on imported content, a market that is now busier than ever as the likes of HOOQ, iflix and others ramp up their OTT offerings.<\/p>\n

\u201cWe noticed, about a year and a half ago, that even on linear we were finding a lot of headwinds buying content because people were wanting to hold [the shows] back, saying, \u2018The OTT guys want this,\u2019\u201d observes Keertan Adyanthaya, executive VP of content and communications at FOX Networks Group Asia. \u201cBut lately, in the last six months or so, things have eased up a lot. Two factors here: one, there are so many more shows being made, so that is creating a glut in the marketplace. Really good shows are still hard to come by, but if you want to curate strongly and look for hidden gems, you can find them. The second is, Netflix seems to have focused on a cherry-picking strategy versus buying everything. Two years ago they were taking every show possible. Now they just want the best show and they don\u2019t want everything else. That creates space for everyone else to operate in.\u201d<\/p>\n

Adyanthaya, like the other programmers surveyed here, stresses the importance of day-and-date premieres. \u201cBefore people can pirate it, we want to give them an opportunity to access it legally,\u201d he says.<\/p>\n

For Prem Kamath, the deputy managing director for the Asia Pacific at A+E Networks, however, day-and-date is not always required. \u201cIt is important for some shows that have strong appointment viewing. It\u2019s not so important for other shows where engagement rather than timeliness is the key driver of consumption.\u201d<\/p>\n

Beyond day-and-date, there are other scheduling considerations that programmers need to take into account. How often and when to repeat? When to schedule back-to-back episodes? How often to premiere new shows?<\/p>\n

\u201cYou need fantastic curation,\u201d is how Mark Eyers, chief content officer and senior VP for kids\u2019 networks at Turner Asia Pacific, puts it.<\/p>\n

SAVVY SCHEDULING
\n<\/strong>\u201cTV5MONDE Asie is providing a very large number of \u2018premieres\u2019 every day,\u201d says Alexandre Muller, the managing director of the Asia-Pacific operations at the global French-language broadcaster. \u201cA new drama or movie is released every weekday in prime time, as well as new documentaries, cartoons, current affairs and lifestyle magazines. Because of the richness of our library, the number of repeats is limited. It is impossible to promote all new shows individually, but we give special attention to all programs subtitled and available during [prime] time.\u201d<\/p>\n

At Rewind Networks, whose HITS network delivers classic U.S. dramas and comedies such as 3rd Rock from the Sun<\/em> and previous seasons of Grey\u2019s Anatomy<\/em>, the mantra, according to CEO Avi Himatsinghani, is \u201ckeep it simple.\u201d Series are stripped at the same time Monday to Friday, with back-to-back stacking on the weekends for those who missed out during the week. \u201cSimple leads to less confusion, obviously, but it also leads to loyalty,\u201d Himatsinghani says. \u201cPeople remember, 9 p.m. this show is on, 10 p.m. this show is on. I\u2019m shocked by the kind of feedback we\u2019re getting from people saying, why are you showing season three again, you should show season four! They are so involved that they know this is the time you should be moving on to the next season.\u201d<\/p>\n

Himatsinghani adds that using data from affiliate partners\u2019 set-top boxes is increasingly important. \u201cWith set-top box research we can see what our top shows are. We\u2019re working on how we increase the average time spent by viewers on our network. One of the ways to do that is to give more exposure to the shows that work for us. For example, The Nanny<\/em> does very well for us in Malaysia. So we could increase the frequency of The Nanny<\/em> broadcasts within a 24-hour schedule. More people then have an opportunity to watch it. And we can give lesser exposure to stuff that\u2019s not working as well. We\u2019re working on that balance.\u201d<\/p>\n

Marathons are increasingly part of the scheduling mix at SPT, Lim notes. \u201cSometimes it\u2019s back-to-back episodes in a full marathon, and sometimes we\u2019ll do a mid-season catch up. And we make sure we schedule mid-season marathons on weekends to make sure you have your binge-viewing!\u201d<\/p>\n

BUILDING BLOCKS
\n<\/strong>NBCUniversal\u2019s Mackenzie says he\u2019s been a \u201clong-term bel\u00adiever in marathons and blocks. We\u2019ve been doing that actively for a number of years. The fact that more people have come around to that style of viewing because of on-demand services has only reinforced in our minds that it is the right approach.\u201d<\/p>\n

Indeed, FNG\u2019s Adyanthaya notes that shows like Prison Break<\/em> and 24 <\/em>were being run with back-to-back episodes on his channels almost a decade ago. \u201cWe started using that strategy when we wanted to catch people up on previous seasons,\u201d Adyanthaya says. \u201cWe also used [marathons] as a launch pad for a new season. For example, when we did 24<\/em> season three, we would do [a marathon] of one and two. We\u2019ve even done a one-week non-stop 24 <\/em>marathon.\u201d<\/p>\n

Lim points to SPT\u2019s use of \u201ccomplementary scheduling,\u201d as a way to boost awareness of a show\u2019s launch, premiering series in different time belts on multiple channels in the portfolio. \u201cIn some countries in Asia, the viewers consume both English- and local-language content. When we cross-promote in that way, we bring in new viewers. That has been very effective for us to reach out to our existing, loyal viewers and also to bring in new viewers within our [group\u2019s] core audience.\u201d<\/p>\n

PORTFOLIO POWER
\n<\/strong>Adyanthaya also stresses the importance of cross-promotion activities across his portfolio. \u201cThe most important tool that we have at our disposal is our own on-air inventory,\u201d he says. \u201cWe have a network of 25-plus channels across genres and languages. We have a very strong cross-promotional strategy and we\u2019ve been using that to great effect. We\u2019ve tracked our viewership and noted that almost 60 percent of our viewership has seen our promos.\u201d<\/p>\n

But what do you do if you\u2019re an independent channel operator? Get creative.<\/p>\n

\u201cWe\u2019re a small network,\u201d Rewind\u2019s Himatsinghani says. \u201cWe don\u2019t have deep pockets, so we don\u2019t spend big money on consumer marketing. We tend to work with our partners. We put out generic promos for the shows and then we work with the respective platforms in every market. So if it\u2019s Astro, we have Astro branding, and then we have them air cross promotions on their own networks. We rely heavily on the media assets of our platform partners. And we look at where similar audiences are. I look at HGTV or Food Network as a complementary service. Someone has gone there to watch some great programming on homes and food\u2014they could also be interested in HITS. So we do a lot of cross-promotion partnerships with [other] networks.\u201d<\/p>\n

HITS is among the newer channels in the region, having just arrived on the scene in 2013. Smithsonian Channel is also a recent entrant, landing in Singapore last year with plans to expand to several more territories in the months ahead. For a brand-new contender in the Asian pay-TV landscape, David Royle, executive VP of programming and production at Smithsonian Networks, says the focus is on \u201cquality programming\u201d and carving a distinct niche in the factual landscape.<\/p>\n

\u201cWe are, in a way, the antidote to fabricated reality shows,\u201d Royle notes. \u201cWe haven\u2019t gone the route of some of the other American channels and indeed some of the international channels. We position ourselves as factual TV you can trust. And I think in today\u2019s age, people are yearning for that. At the same time, we\u2019re very clear in our minds that we\u2019re factual entertainment. We\u2019re not preaching to people, we\u2019re not educational TV, we\u2019re good storytellers, we\u2019re offering visually rich programming that hopefully entertains, draws the audience in, and at the end of which you can say, I took something away from it, I learned something new.\u201d<\/p>\n

To bolster its local resonance, Smithsonian has been making select regional acquisitions, including two titles from Korea\u2019s EBS, Goshawk: Soul of the Wind<\/em> and Great Snakes<\/em>. \u201cWe\u2019re looking to partner more in Asia,\u201d says Royle.<\/p>\n

Even established players are scouting new markets. HISTORY and Lifetime are well penetrated across most of the region, but they arrive in Korea for the first time this year.<\/p>\n

\u201cIn Korea, our premiere strategy will be designed to expose a broad cross-section of our brand-defining global hits to the widest possible audience,\u201d A+E Networks\u2019 Banerjee says. \u201cThis will be complemented with locally relevant acquisitions and tied to key cultural moments for the HISTORY and Lifetime audiences. In a way, every single prime-time hour will be a \u2018premiere\u2019 hour as we gather data and insights for this whole new territory. Having said that, a premiere is no longer a time slot but an extended event cycle. It follows a longer arc with show announcements, updates by talent on social media, influencer marketing and activation of discussion threads and forums in the run-up to any tentpole premiere.\u201d<\/p>\n

STUNT DOUBLES
\n<\/strong>For A+E Networks across the region, outdoor events have also proven to be effective for strengthening a brand\u2019s presence and awareness in a market. Kamath references HISTORY Con in Manila and Kuala Lumpur, which drew an attendance of over 90,000 people this year. \u201cOur attempt with all our marketing initiatives is to shift the focus away from information to persuasion and experiences. This is the consistent theme that runs across all of our marketing initiatives.\u201d<\/p>\n

At FNG, stunts include a mix of global campaigns\u2014such as the use of local graffiti artists in multiple cities to create a mural for the launch of Outcast<\/em>\u2014and regional ones, including a VR initiative for The Walking Dead<\/em>. Working with the Grab taxi service in Malaysia, random riders were treated to a VR experience for the zombie drama, and, when their headsets were removed, were greeted by a walker in the taxi with them. \u201cWe covered it all with hidden cameras and we cut a viral video that we floated out on YouTube, Facebook, WhatsApp and every other possible form of social media,\u201d Adyanthaya says.<\/p>\n

At NBCUniversal, a key strategy has been reaching out to \u201cfan communities\u201d around celebrities, Mackenzie says. He references a partnership with Spotify to promote E!\u2019s launch of Mariah\u2019s World<\/em>.<\/p>\n

The NBCUniversal channels also work with sister company Universal Studios on campaigns, Mackenzie says, citing the television broadcast of the first two movies in the Despicable Me<\/em> franchise ahead of the theatrical release of the third film.<\/p>\n

Social media and online distribution are also essential pathways to the consumer today, whether it\u2019s shareable short-form content or premiering shows on-demand ahead of the linear release.<\/p>\n

\u201cThe fundamental shift in marketing channel brands now is about going beyond tune-in messaging,\u201d says Banerjee at A+E Networks. \u201cChannels and their content have to be more sharply defined. They have to live in environments where viewers have plenty of choice, and not enough time.\u201d<\/p>\n

#CONNECTING
\n<\/strong>Turner\u2019s Eyers observes that \u201cgiven the erosion in appointment viewing,\u201d programmers need to be able to identify talking points in shows that can be plugged on social media. \u201cIt\u2019s no longer just, There\u2019s a new episode at 4 p.m. of Adventure Time<\/em> or Ben 10<\/em>. It\u2019s important to have a destination, but it\u2019s more important to have something that creates talk. Is there a different character? Is there a special story arc?\u201d<\/p>\n

Eyers continues, \u201cWe have a number of shows around the world where we start on nonlinear platforms first, so people get to know [a brand]. Also, for us to experiment at a lower cost, with a wider-reach experience, we\u2019ve been doing a lot of 15-second micro shorts and we scatter them across various platforms. Some would be on our own branded experiences, some on an AVOD platform like YouTube, some in our app and then our website and the linear platforms.\u201d<\/p>\n

Facebook is serving as a significant resource at HITS. \u201cOur Facebook page has a lot of loyalists who send in paragraphs listing shows they want,\u201d Himatsinghani says. \u201cThey know what HITS is, so they feel ownership of the brand, and that\u2019s fantastic. I was at FOX for 12 years and never imagined that the viewer would become the programmer. That\u2019s one of the greatest things we\u2019ve achieved. We\u2019ve translated the brand proposition in such a simple manner to people that they can make their wish list and we can hear them.\u201d<\/p>\n

At TV5MONDE, Muller says that having an OTT option for the channel has been critical \u201cto erase the weight of geographical constraints and to meet the needs of our audience, independently of its location or aspirations.\u201d<\/p>\n

SPT\u2019s Lim says that \u201caccessibility\u201d is one of the pillars of her strategy. \u201cAllowing our viewers to access our content anytime they want is a very important part of our business. And we have a lot of viewers staying with us on this platform. On some of the new season premieres, we now offer prior full-season catch-up on-demand to encourage tune-in.\u201d<\/p>\n

Of course, deciding what to premiere on nonlinear, and where to do that, is a conundrum in and of itself.<\/p>\n

\u201cThe benefit of the overall franchise is what\u2019s important,\u201d says Eyers. \u201cOur linear platforms have varying distribution in different markets. So it may pay to lean more towards nonlinear before the pay-TV release, or using some original content first before the linear channel. You manage the flow. There\u2019s no point just going to a paid linear platform that has limited distribution when it doesn\u2019t benefit the entire market. That\u2019s the guiding principle.\u201d<\/p>\n

Ultimately, Eyers says, \u201cit\u2019s all about joining the dots. That\u2019s the world we\u2019re in.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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