Vikram Channa

Asia has long held a fascination for documentary filmmakers from North America and Western Europe. For decades, international producers have headed East, bringing those stories to the rest of the world. For the last few years, however, the Asian pool of documentary filmmakers has evolved to the point that their productions are crossing borders and making it onto screens across the globe. Among the major players leading this trend has been Discovery Networks Asia-Pacific (DNAP), through its original production initiatives in the region. Driving these efforts is Vikram Channa, the company’s VP of content, who oversees program acquisitions, original production and development, planning and scheduling across Discovery’s portfolio of brands in Asia.

Channa has witnessed first-hand the maturation of Asia’s documentary filmmaking circuit. A longtime fan of the nonfiction genre—he obtained a master’s degree in history before getting another master’s in film and television in New Delhi—Channa was lured to Hong Kong from his native India by the nascent cable and satellite market in Asia in the mid ’90s. Having had experience producing short nonfiction films in India, Channa found himself a role at Discovery, working on the channel’s on-air image. When DNAP decided to ramp up its commitment to original programming six years ago, the company turned to Channa to head up that initiative. "I was watching hours and hours of Discovery programming to cut the promos—I picked up filmmaking intravenously!" Channa quips. "I watched a thousand-plus films over five years. I had absorbed different kinds of narrative styles…so when I dove into the world of documentary filmmaking, I seemed to know how to swim without really knowing why!"

Channa relishes the opportunity of working with filmmakers in the region to tell local stories that can then reach some 442 million cumulative viewers on the Discovery services across Asia. He takes particular joy in what he calls "Discovery-fying" a project; that is, making it appeal to a global audience. "We specialize in taking a story and making it into something that is broader," Channa notes.

He also takes great pride in the diversity of content coming out of DNAP. The portfolio of networks works with established independent producers in the region, as well as up-and-coming filmmakers through initiatives such as the recent Eye on Malaysia and Eye on China. As such, the 500 some hours of DNAP original programming over the years has included a mix of "formats", Channa notes, referring to specials that fit into strands like Man Made Marvels, as well as more observational one-off documentaries. DNAP has also taken part in "reversioning" initiatives, where content made exclusively for a local market is re-cut to make it more palatable to international viewers. DNAP certainly hasn’t limited itself by geographical borders, developing titles across key markets in the region. "You get very unique views into the ways the Chinese see stories, the Japanese see stories, the Malaysians see stories. We take all of that and Discovery-fy it and create a window into a larger world for these filmmakers."

Channa is particularly proud of how DNAP’s commitment to local talent has helped grow Asia’s documentary business as a whole. "What we used to have was localized industries in China, in India, in Japan, and people were only making films for their own market. We created a platform for showcasing their work to millions of viewers across Asia. We created bases in Taiwan, in Korea, in Malaysia, in China, in Singapore and in India. Governments have stepped in to do their bit and you actually have treaties between countries, and I think we’ve helped contribute to this filmmaking pool. Now there’s more production happening regionally, between the countries…and they are beginning to make films for the international market."

Some of the current highlights, Channa notes, include a look at ancient engineering landmarks in China for Man Made Marvels; Hip Korea, which will feature the stories of Rain (aka Jihoon Jung) and Byung Hun Lee; and Storm Surfers, which is set in Australia. When asked if he has a pet project, however, Channa replies: "Each film has a unique structure. It’s like music. Each time you’re writing a different piece of music. The process is what I’m in love with. The film is a happy outcome!"