{"id":6585,"date":"2018-11-26T08:00:33","date_gmt":"2018-11-26T13:00:33","guid":{"rendered":"http:\/\/worldscreen.com\/tvformats\/tvasia\/"},"modified":"2018-11-27T09:48:14","modified_gmt":"2018-11-27T14:48:14","slug":"eyes-on-asia","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/","title":{"rendered":"Eyes on Asia"},"content":{"rendered":"

\"\"<\/i>From twist-laden serialized drama to high-concept entertainment shows and intense competition series, the market for formats in Asia is busier than ever.<\/em><\/p>\n

The scripted-formats business in Asia isn\u2019t new\u2014Korean and Latin American dramas have been remade across the region for years. But something is different this year, judging by the variety of dramas being adapted in Asia, and the markets they are being produced in. Look at Korea, the biggest exporter of drama in Asia; international shows being formatted there include BBC\u2019s Mistresses\u00a0<\/i>and Doctor Foster<\/i>. China, long an insular market, has made big bets on Endemol Shine\u2019s Broadchurch <\/i>and Humans<\/i>. Japanese platforms in the last year have signed up for versions of Orphan Black\u00a0<\/i>and Suits<\/i>. Even Singapore and Malaysia have gotten in on the scripted-format action, commissioning the first-ever Asian version of The Bridge<\/i>.<\/p>\n

\u201cWe\u2019ve found that broadcasters are now willing to experiment with scripted formats in order to get access to writers, story developers and scripts that can be localized,\u201d reports Rashmi Bajpai, executive director for Asia at Endemol Shine International.<\/p>\n

\u201cOver the last year, we\u2019ve seen an increased demand for our scripted formats and we are engaging in a lot of conversations with players in the region,\u201d agrees Haryaty Rahman, the senior VP of distribution for Asia, International, at Fremantle.<\/p>\n

The surging demand for scripted formats is part of an overall expansion of the format business in Asia, with broadcasters and platforms opening up to a wider range of ideas.<\/p>\n

\u201cWe have seen an inspiring atmosphere this year in the region in terms of co-productions and local adaptations of big international brand-name formats,\u201d says I\u015fil T\u00fcrk\u015fen, sales director for Asia at Global Agency. \u201cThere is also a taste for original ideas.\u201d<\/p>\n

THAT\u2019S ENTERTAINMENT!
\n<\/strong>T\u00fcrk\u015fen observes that \u201cbig shiny-floor formats are always in demand in the region\u2014however, the channels are now looking for more edgy and different ideas. There is also a shift to game shows and reality formats.\u201d<\/p>\n

Andrew Sime, VP of formats at Banijay Rights, agrees that entertainment formats, in general, are faring well in the region. \u201cKiller Karaoke <\/i>has returned to Asia after a couple of years away,\u201d Sime reports. \u201cWe\u2019ve just licensed the show in Indonesia and expect it to return in Thailand next year. It\u2019s a flexible studio-based show. In India, more cultural boundaries are being pushed with programs such as Dating in the Dark\u00a0<\/i>finding homes where they wouldn\u2019t have done previously. It\u2019s such a distinctive, fun show that it works well as a flagpole title that allows channels to stand out. It\u2019s strippable and helps to reinforce a channel\u2019s daily brand, which is something an increasing number of channels are looking for.\u201d<\/p>\n

Rahman says that Fremantle has had a \u201cphenomenal year\u201d with its portfolio of non-scripted formats, noting the company had 55 series on air in the first half of the year.<\/p>\n

\u201cOur shiny-floor entertainment talent shows such as Idols<\/i>, Got Talent\u00a0<\/i>and The X Factor\u00a0<\/i>continue to do incredibly well across the region,\u201d Rahman says. \u201cThe shows are highly successful and clients are renewing them for multiple seasons. In addition, we\u2019re seeing the opportunities to bring these franchises to territories that have never done them before or bringing them back after a long hiatus. An example of this is Idol Philippines<\/i>. The Idol\u00a0<\/i>format last aired in the\u00a0Philippines over ten years ago and we\u2019re excited to see it return to the country again and this time around on a different network, ABS-CBN, in 2019.\u201d<\/p>\n

Endemol Shine is also seeing strong traction on returning brands, with MasterChef <\/i>commissioned for a fifth season in Indonesia and the renewal of Million Dollar Minute\u00a0<\/i>in Vietnam.<\/p>\n

\u201cTalent shows continue to garner interest in countries like India and most of Southeast Asia,\u201d says Bajpai on what\u2019s working well in the region. \u201cGame shows are always welcomed by the broadcasters and we\u2019ll be able to announce a few more deals soon. We\u2019re thrilled with the success of MasterChef\u00a0<\/i>Singapore\u00a0<\/i>and Myanma<\/i>r. Big Brother\u00a0<\/i>dominates our reality slate in India and the Philippines. What is important to note is that any format that offers sponsorship opportunities will be seen favorably by the client due to the growing loss of subscription revenues and therefore advertising revenues.\u201d<\/p>\n

Game shows have been one of the main categories for Talpa Global, according to Annelies Noest, director of formats and global network at the company, with recent commissions on Divided\u00a0<\/i>and 5 Gold Rings<\/i>.<\/p>\n

\u201cOur talent format The Next Boy\/Girl\u00a0<\/i>Band\u00a0<\/i>is also gaining a lot of traction in this region, reaching the hard-to-reach millennials and an even younger demo,\u201d Noest says.<\/p>\n

The other talent behemoth on Talpa\u2019s slate is The Voice<\/i>. \u201cWe recently closed a fantastic three-year deal with PPTV in Thailand for the entire The Voice\u00a0<\/i>franchise, bringing not only The Voice\u00a0<\/i>and The Voice Kids\u00a0<\/i>to PPTV, but also the latest addition to the brand, The Voice Senior<\/i>,\u201d Noest says. \u201cIn Indonesia, The Voice Kids\u00a0<\/i>has been renewed for a third season and has been scoring amazing ratings.\u201d<\/p>\n

Can Okan, founder and CEO of Inter Medya, says his company is eager to tap into interest in entertainment formats region-wide. \u201cWhen we take into account the strength and domination of Korean formats in the region, we think that it\u2019s an advantage for us to have studio shows with original tricks in our catalog,\u201d he says, referencing the game shows Guess Who?\u00a0<\/i>and The Box\u00a0Challenge<\/i>.\u00a0<\/b>Interactive formats are also key, he notes, mentioning Join Instant<\/i>. \u201cWe believe that among our various types of game-show formats, the ones that have interactive twists and technological mechanisms fit the audiences\u2019 needs the most.\u201d<\/p>\n

DIGITAL SHIFT<\/strong>
\nExploring opportunities in the digital space is a key growth area for many format distributors doing business in Asia. Sime notes that Banijay is \u201cactively exploring\u201d new developments with SVOD platforms in the region.<\/p>\n

\u201cWe have strong relationships with players such as Amazon and Netflix in Europe and the U.S., and we\u2019re already working to replicate those with the emerging Asian SVOD platforms,\u201d he explains. \u201cThe region has a strong demographic of young, middle-class audiences that readily engage in both digital and mobile content. This makes the likes of interactive game shows such as All Against 1<\/i>, which has its own app, more appealing. The increase in OTT platforms has also led to linear broadcasters now working harder than ever to develop, produce and acquire genre-defining programming to make their channels stand out in a crowded marketplace.\u201d<\/p>\n

Endemol Shine\u2019s Bajpai says that the biggest trend affecting the industry is \u201cfinding ways to extend the viewing experience from traditional linear to nonlinear, including social media\u2014i.e., spin-offs and extensions produced as additional content, the linear series being simulcast or even premiered on nonlinear, and repacking of the shows to provide an extended audience once the linear run has completed. Most broadcasters are eyeing the advertising revenue that\u2019s now available on these platforms and finding ways to engage with what the audience wants to watch on these platforms.\u201d<\/p>\n

The consensus among format distributors heading to ATF is that opportunities are emerging everywhere in the region.<\/p>\n

\u201cTalpa is currently the number three player in the Asian format sales market, with 29 formats confirmed for 2018 so far, and counting,\u201d Noest notes. \u201cFormat distribution volume almost tripled over the past three years, with Talpa shows reaching new markets like Singapore, Malaysia and Mongolia, to name a few. With our Asian headquarters in Hong Kong and recent expansions in the local production and sales team, Talpa has increased its focus on the region.\u201d<\/p>\n

BOOM TIME<\/strong>
\nOne territory that has been particularly active in the last year is Thailand, Fremantle\u2019s Rahman says. \u201cOur X Factor\u00a0<\/i>and Got Talent\u00a0<\/i>formats are on air on Workpoint TV. Our Price is Right Thailand\u00a0<\/i>continues to be a hit on True4U, as is our Take Me Out Thailand<\/i>, which has been on Ch3 for over ten seasons. Family Feud Thailand\u00a0<\/i>enters into its fifth season on one31 this year and we\u2019re excited to grow our relationship with the channel with their recent acquisition of Thank God You\u2019re Here Thailand\u00a0<\/i>for 2019.\u201d<\/p>\n

Thailand has also been a strong territory for Endemol Shine, alongside the Philippines, Vietnam and Indonesia, Bajpai says. As for where she\u2019d like to be doing more, she lists Indonesia, Myanmar and Mongolia.<\/p>\n

India has been key for Global Agency, T\u00fcrk\u015fen reports, referencing interest across its lifestyle, reality, shiny-floor and scripted slate. \u201cIndia is a very important market, with a large television audience both on the traditional and new-media platforms,\u201d she explains. \u201cThailand, Vietnam and the rest of Southeast Asia are also always focus points. It would be great to see markets like Pakistan, Afghanistan and Bangladesh open up to international adaptations of formats.\u201d<\/p>\n

For Talpa\u2019s Noest, \u201cIndonesia, Thailand and Vietnam are becoming more important, with an increased appetite for local content across the free-to-air channels and different OTT platforms. In other territories in Asia, we are also doing business and see great potential for our formats. India is also a very interesting market with lots of opportunities for great content.\u201d<\/p>\n

This year Banijay Group established Banijay Asia in India under the leadership of Deepak Dhar, which \u201ctriggered a clearer pipeline into the entertainment market there alongside [Banijay-owned] Sol Production,\u201d Sime says. \u201cThe group has been able to focus attention on format sales, production and original IP development in India and has strengthened its position across the region. In the last 12 months, we have also succeeded in expanding into new territories, selling Psychic Challenge\u00a0<\/i>to Mongolia. Meanwhile, we continue to foster strong relationships in territories such as Indonesia, with the format sale of Killer Karaoke<\/i>; Vietnam, where we have most recently sold Wonderkids<\/i>; and South Korea, where we have been working with producers to acquire new formats.\u201d<\/p>\n

ASIAN INSPIRATION
\n<\/strong>The potential for taking Asian concepts global is emerging as a growth area. Nippon TV, for example, is looking to replicate the success of its hit Dragons\u2019 Den<\/i>, which is represented worldwide by Sony Pictures Television.<\/p>\n

Shigeko \u201cCindy\u201d Chino, senior director of international business development at the leading Japanese broadcaster, notes, \u201cWorking together with international partners allows us to widen our perspectives and scrutinize our products from a global standpoint.\u201d<\/p>\n

Chino says that Nippon TV brings to the international market its understanding of the kinds of concepts that will work with audiences, given that it produces more than 90 percent of its programming slate. \u201cOur creators are now set to exercise their creative expertise not only in our local market but internationally,\u201d she says. Successes include its dramas being remade in Turkey and Korea and pickups in Thailand and Mongolia for its game show Silent Library<\/i>.<\/p>\n

Endemol Shine has taken on locally developed formats, such as The Society Game\u00a0<\/i>and Perfect on Paper\u00a0<\/i>from Korea and China\u2019s The Nation\u2019s Greatest Treasures\u00a0<\/i>from CCTV. \u201cHowever, we see demand for imported formats outweighing the demand for local,\u201d Bajpai says.<\/p>\n

Sime says that Banijay Rights has been working with Japanese and Korean outfits \u201cto find innovative new ideas with international potential. At MIPCOM we launched Yes, Let\u2019s Discover the World<\/i>, based on a comedy segment that aired on Nippon TV in Japan. Our Italian company DRY has also been working with South Korean broadcaster CJ ENM on a new entertainment format called Cooking Box.<\/i>\u201d<\/p>\n

Asia remains a \u201cgreat launchpad for innovative content,\u201d observes Talpa\u2019s Noest, citing the use of AR in the Thai version of Dance Dance Dance<\/i>. \u201cWe are known for bringing big, innovative content that\u2019s more than just a TV format, but that activates and engages users across multiple touchpoints, while at the same time triggers new revenue streams. Given the large number of millennials in this region, we see big potential for our formats that engage these target groups.\u201d<\/p>\n

Pictured: Endemol Shine\u2019s <\/i>Humans\u00a0in China.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

From twist-laden serialized drama to high-concept entertainment shows and intense competition series, the market for formats in Asia is busier than ever.<\/p>\n","protected":false},"author":290,"featured_media":6586,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[],"class_list":["post-6585","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","pmpro-has-access"],"yoast_head":"\nEyes on Asia - TVFORMATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eyes on Asia - TVFORMATS\" \/>\n<meta property=\"og:description\" content=\"From twist-laden serialized drama to high-concept entertainment shows and intense competition series, the market for formats in Asia is busier than ever.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/\" \/>\n<meta property=\"og:site_name\" content=\"TVFORMATS\" \/>\n<meta property=\"article:published_time\" content=\"2018-11-26T13:00:33+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-11-27T14:48:14+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2015\/09\/humans-china-1118-TN.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1\" \/>\n\t<meta property=\"og:image:height\" content=\"1\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/\",\"name\":\"Eyes on Asia - TVFORMATS\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\"},\"datePublished\":\"2018-11-26T13:00:33+00:00\",\"dateModified\":\"2018-11-27T14:48:14+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/eyes-on-asia\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvformats\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Eyes on Asia\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/\",\"name\":\"TVFORMATS\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvformats\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. 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