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Category: Filmart

  • Kawamura’s filmmaking, from content and VFX perspective

    HONG KONG: The Digital Entertainment Summit 2017 was held on 15 March as part of the annual HKTDC Hong Kong International Film & TV Market (FILMART) organised by the Hong Kong Trade Development Council (HKTDC) at the Hong Kong Convention and Exhibition Centre from 13 to 16 March.

    The Summit invited industry leaders to discuss the latest developments under the overarching theme of “The Past and Future of Filmmaking, from Content and VFX Perspectives”. The conference opened with Japan’s innovative producer Genki Kawamura providing attendees with a fascinating insight into how he goes about choosing content for his films. The Summit then focused on visual effects (VFX), inviting three leaders in the field to offer their views on the industry.

    Philosophy behind movie-guru’s success

    Kawamura, producer of ground-breaking Japanese animated movie Your Name – a story about body-swapping, took part in a panel with producer Takafumi Yuki, DigiCon6 ASIA Headquarters International Alliance Officer & DigiCon6 Magazine Editorial Office Editor-in-Chief, and Aki Yamada, Festival Director of Digicon6 ASIA Headquarters.

    Internationally acclaimed Kawamura said when it comes to producing films he looks for some fundamental elements – visuals, music and story. “These are the most important elements of the movie and these are things I try to focus on when I produce my films,” said Kawamura. “I often use rock music in my films and sometimes it’s not even from Japanese music but foreign bands such as British group Radiohead.”

    Kawamura said he was inspired to make movies after watching Steven Spielberg’s ET: The Extra-Terrestrial when he was three years old. He said the three elements he described earlier were used effectively by Spielberg in that movie and were fundamental to the movie’s worldwide success.

    “I remember watching that movie and that scene when they fly across the moon on the bicycles, it was something I always remember,” said Kawamura. “I remember when I was three years old and I actually stood up. It was very inspiring.”

    Kawamura, despite his popularity overseas for movies such as Your Name, Confessions and Wolf Children, said he does not consider his audiences preferences when he comes up with ideas for his films. “I make movies that I like to watch,” he said. “I’m from Tokyo and I know what people from Tokyo want and what I want, so I try to produce movies to satisfy what I think is a good movie. I don’t really think about what the people may want.”

    Kawamura related the story of how he once lost his smartphone and it benefited him by allowing him to see the world. “I was on the train and I saw a rainbow and I looked around to see who else could see the rainbow but I was the only one because everyone else was looking at their phones,” said Kawamura. “I realised that sometimes you have to lose something to find something that is more beautiful.”

    Development of VFX

    The second part of the Summit turned to special effects with three executives from top Asian-based VFX companies joining moderator Eddie Leung, Senior Teaching Fellow at the City University of Hong Kong (School of Creative Media).

    The speakers were Zhou Yifu, Executive Director of Digital Domain; Daniel Son, Head of VFX Division for South Korean company Digitaidea; and Felix Xu, CEO of ILLUMINA Technology (Beijing) Co. Ltd. The panel discussed the status of VFX in Asia and the technological advances made by companies in the region, particularly in China.

    Son’s company is South Korean and he talked about his experiences working in China and the cultural differences between the two countries in terms of work practices. “Korea is between Japan and China but we don’t really have any collaborations with Japan,” said Son. “About half of our projects involve cooperation with China. There are cultural differences that result in Koreans and Chinese doing things differently.

    “For instance, China is more interested in fantasy and they are very creative with their ideas. China is more or less following Hollywood and they are quite well-advanced in their technology.”

    Xu agreed that Chinese VFX companies are technologically advanced and are continually working to improve the tools they use to create visual effects. However, he said the pressure to produce movies quickly and on low budgets means quality is sometimes lost. “The Chinese market is booming,” said Xu. “Many Hollywood and international companies are now paying attention to us. But in China, there are special situations. We only have a limited time to produce films so we may not pay that much attention to content.

    “Also, a large share of the investments are paid to actors, so we have to cope with that. On the plus side, the low budgets force us to conduct more R&D to cope with the challenges, make up the gaps, enhance efficiency and hasten the cycle.”

    Zhou’s company has offices in Los Angeles and Beijing and it is known around the world for the initial development of the NUKE compositing software. “We have developed the NUKE software and now a lot of companies are using it,” said Zhou. “I agree that we must perform much R&D to develop our technology and we have been successful in doing that and it has resulted is Digital Domain winning academy awards.”

    The panel came to the conclusion that VFX companies in Asia are gradually catching up with Hollywood and Western production houses in terms of technological advancement and it was now a case of improving the quality of their content in order to produce films and shows that cater to global audience.

  • FILMART drew over 8,000 visitors, leaders discussed trends & cooperation

    HONG KONG: The 21st Hong Kong International Film & TV Market (FILMART), organised by the Hong Kong Trade Development Council (HKTDC), ended today. The four-day event is a premier trading platform for the Asia’s entertainment industry. This year’s fair attracted more than 8,000 visitors, up nine per cent from last year.

    Among the visitors who attended this year’s FILMART, participation from Asia rose significantly, with the Chinese mainland, Philippines and Cambodia recording double-digit growth.
     
    This year’s FILMART featured the latest productions of more than 800 exhibitors from 35 countries and regions. Chinese mainland and many overseas exhibitors also set up booths to promote their local entertainment productions, including the United States, the United Kingdom, Canada, the European Union, Korea, Japan, Singapore, the Philippines, India and Vietnam.

    An ideal trading platform featuring global buyers and latest productions

    FILMART has long been an important platform for local entertainment companies to release new productions and announce development strategies. This year’s FILMART featured more than 70 special events, including thematic seminars, press conferences and networking events. There were also some 40 world and international premieres. In addition to such film companies as Emperor Entertainment Group, Sun Entertainment Culture Ltd., Universe and Shaw Brothers announcing their latest projects, TVBI and Fantastic Television Ltd also unveiled the line-up of programmes.

    FILMART is an important promotional platform and one that has facilitated numerous successful collaborations. Asian film and TV productions were the focus among international buyers this year. The Thai delegation promoted “Content Thailand” at this year’s FILMART and concluded more than 10 deals with companies from the US and Korea during the four-day exhibition. The delegation was pleased with the results and is considering expanding their participation next year. Chinese mainland exhibitor Zhejiang Dream Stardom Film and TV Culture Co. Ltd. has been taking part in FILMART for many years. At this year’s show, the company successfully sold the first and second seasons of a Chinese TV series to a buyer from Southeast Asia. With so many business opportunities, a Dream Stardom representative said they would be returning to the fair next year.

    The Cambodia Film Commission also led a delegation of local entertainment companies to exhibit at FILMART. One of the companies, Kongchak Pictures, reached a deal with a Korean buyer for a film and also started negotiations with buyers from the US, Canada, Malaysia and Thailand.

    Leading producers share insights

    FILMART featured an extraordinary line-up of more than 70 speakers, including leading industry representatives from the film, digital entertainment, animation and other sectors to share their views and insights. A total of 12 seminars were organised or co-organised by HKTDC, attracting over 3,000 attendees.

    Documentaries were one of the focus areas of this year’s FILMART. The audience raised many questions during the seminar titled “Opportunity for Documentaries in Asia”. Ruby Yang, winner of the Academy Award for Documentary (Short Subject), shared her experience at the seminar. She said buyers tend to prefer productions about universal subjects.

    Also speaking at the seminar was Takahiro Hamano, Senior Producer (Content Development Center, Programming Department) of Japan’s NHK. He said pan-Asian collaboration projects are becoming common; and if the directors could capture promotion opportunities and present well-established stories, finding capital should not be too difficult.

    Jeong Joong Kim, Director of Acquisition and Chief Producer from Korea’s KBS, emphasised the importance of local perspectives. He said Korean audiences favour international stories with a Korean view point.

    Andrew Hevia, co-producer of the latest Academy Award winner for Best Picture Moonlight, also stressed the importance of identity. He said the success of Moonlight is its ability to tell a specific story for a specific audience, narrating the story in an unexpected but down-to-earth way and focusing on ideas.

    The Digital Entertainment Summit shed light on movie content and visual effects. Speakers pointed out that special effects companies in Asia are already quite advanced in the techniques that they use, and therefore should place more attention on enhancing content. At the Digital Entertainment Summit, Genki Kawamura, producer of Confessions and the hit anime Your Name, said that he joined the film industry because he was inspired by Steven Spielberg’s E.T. He said the film’s successful use of visual, audio and story-telling elements also inspired his own productions.

    Daniel Son, Head of VFX Division of Digitalidea, the post production company behind Korean productions Train To Busan and Goblin: The Lonely and Great God, said Chinese filmmakers are highly creative, and have a passion for fantastical works. They also possess advanced technical skills. Felix Xu, CEO, Illumina Technology said that low budgets motivated them to experiment with more technologies to cope with different challenges, enhance efficiency and reduce production time.

    The Hong Kong International Film and TV Market (FILMART) is a founding event of Entertainment Expo, Hong Kong, and is among one of the expo’s 10 events. Entering its 13th edition, the expo is running from 13 March to 25 April and is featuring 10 spectacular events, including three founding events and seven core events. The three founding events are: the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA); while the seven core events are: the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

  • HAF Awards: 14 selected from 33 projects across 15 regions, featuring young directors

    HONG KONG: The 15th Hong Kong – Asia Film Financing Forum concluded today with the Awards Presentation Ceremony at the Hong Kong Convention and Exhibition Centre. Filmmakers, leading film financiers and industry professionals from across the world attended to celebrate this HAF milestone, and the presentation of 14 awards that recognise the promising and potential of remarkable film projects.

    Over the past three days, HAF attracted leading film financers, producers, distributors and buyers across the world, connecting them with talented filmmakers through business meetings and seminar, pitching and networking events: the newly launched Work-in-Progress Lab facilitated projects already in production to secure post-production funds, sales agents or film festival support; Operation Greenlight helped foster talented local directors to make their debut feature film; sponsored by iQIYI the seminar “New Opportunities in the Explosive Growth of Online Entertainment” invited respected industry leaders to share fruitful insights of latest market trends, and enriching content for on-line platforms.

    Over the years, HAF has been at the forefront in fostering quality movies and has nurtured a significant number of film projects generating critical acclaim and industry recognition. This year, the 14 award winners were selected from a total of 33 film projects across 15 countries and regions, featuring young emerging directors developing their first feature films. Many of the films are family-driven projects that touch on contemporary social issues, while some others give voice to minorities in society. One observable trend for example, is the increase in the number of women filmmakers.

    The total value of the awards presented amounted to approximately HK$1,588,000 (US$204,600) in cash and value in-kind, thanks to the generous support of various sponsors and partners.

    1. HAF Awards (Presented by Create HK, Hong Kong Film Development Fund and HAF)

    Jerry LIU, Head of Create Hong Kong kicked off the ceremony by presenting two HAF Awards to Impossible Split (Hong Kong) and NARAtive Film 2017-2018 – Yuko (Japan) for Hong Kong Project and non-Hong Kong Project categories respectively. Each project will receive a cash prize of HK$150,000 (approx.US$19,300) in recognition of their originality and creativity.

    2. iQIYI’s Special Award (Presented by iQIYI)

    HAF’s Premium Sponsor for the third year in a row, iQIYI presented the iQIYI’s Special Award to The Patient (China), offering a cash award of HK$100,000 (approx.US$12,900) to encourage and support film talents from the Chinese speaking territories. 

    3.mm2 Award (Presented by mm2 Asia Limited)

    Forget You, Still Love You? (Hong Kong) was honoured the mm2 Award which aims to embrace Chinese-language film projects that exhibit good commercial and artistic quality. The winner will receive the cash award of HK$100,000 (approx.US$12,900).

    4. HAF/FOX Project Award (Presented by Fox Networks Group and Fox International Productions)

    Established to strengthen the development of Chinese-language cinema, the HAF/FOX Project Award went to Drifting Lives (China). The winning project will receive cash award of US$10,000 (approx.HK$78,000) and a development contract with FOX.

    5. Wouter Barendrecht Award (Presented by Wouter Barendrecht Film Foundation, Create Hong Kong and Hong Kong Film Development Fund)

    Dedicated to the memory of the late Wouter Barendrecht, the renowned film producer and one of the founders of HAF, the Wouter Barendrecht Award went to La Luna (Singapore). This cash award of HK$50,000 (approx.US$6,400) recognises a project by a director under 35 who has not made more than three feature films.

    6. Paris Coproduction Village Award (Presented by Paris Coproduction Village)   

    The Asadas (Hong Kong) obtained the Paris Coproduction Village Award, and will be invited to participate in the Paris Coproduction Village event at the Champs-Elysèes Film Festival 2017 with sponsoring hospitality valued at Euro 4,000 (approx.HK$33,000).

    7. Network of Asian Fantastic Films Award (Presented by Bucheon International Fantastic Film Festival)

    The Network of Asian Fantastic Films Award was given to Femme Fatale (Japan) with sponsored hospitality of US$2,700 (approx.HK$20,900) to participate in the 2017 Network of Asian Fantastic Films project market, which will take place in July at the Bucheon International Fantastic Film Festival in South Korea.

    8. Wutianming Post-Production Award (Presented by China Film Foundation–Wutianming Fund For Young Talents)

    The Wutianming Post-Production Award is set up to foster young talent working on Chinese film projects. The award went to Rainbow Mountain (China) with sponsored post-production services at the National Animation Industry Park in Tianjin valued at RMB300,000 (approx. HK$340,000).

    9. White Light Post-Production Award (Presented by White Light Studio)   

    White Light Studio will sponsor two in-kind awards for selected projects from HAF and WIP Lab respectively, in order to promote cinematic innovation and promising Asian directors. The awards went to La Luna (Singapore) from HAF and Village Rockstars (India) from WIP Lab. Each project will be offered post-production services valued at US$15,000 (approx. HK$116,500) at their studio in Bangkok.

    10. G2D Post-Production Award (Presented by G2D) 

    G2D will sponsor two in-kind awards for I AM A BANANA (Singapore, Canada) from HAF and The Third Wife (Vietnam) from WIP Lab.  Each winning project will be sponsored US$15,000 (approx. HK$116,500) towards a sound package for a film including sound services in foley, sound design, dialogue editing and atmosphere sound.

    11. Wanda WIP Lab Award (Presented by Wanda Pictures)

    The new Wanda WIP Lab Award celebrates a creative and original Chinese-language feature film project. The cash award of HK$100,000 (approx. US$12,900) was awarded to Omotenashi (Taiwan, Japan).

    12. “Hong Kong Goes to Cannes”  Shortlisted Projects

    To help open the door to the international film community, HAF is proud to collaborate with Marché du Film, Festival de Cannes to present the “Hong Kong Goes to Cannes” program, and revealed the first round selection of four projects from the WIP Lab for presentation and pitching at the Cannes Film Festival in May, including Omotenashi, Third Wife, Village Rockstars and Echoes.

    Hong Kong International Film Festival Society executive director Roger Garcia said, “We continue to seek out and provide new opportunities for filmmakers. We look forward to the continued growth – both creatively and commercially – of Asian cinema. HAF’s role in developing the cinemas of our region continues to underline Hong Kong’s position as a premier film project hub in Asia.”

  • FILMART: Internet aids nonlinear content delivery on multiple screens, maximises value

    HONG KONG: Content creators and producers have highlighted the opportunities the Internet is creating for Asia’s entertainment industry at a panel discussion during the HKTDC Hong Kong International Film and Television Market (FILMART), which ends today at the Hong Kong Convention and Exhibition Centre.

    A premier trading platform for the international entertainment industry, this year’s FILMART welcomes more than 800 exhibitors from 35 countries and regions. A series of thematic seminars led by global industry leaders are held during FILMART, including the 14 March session entitled “Is the Internet a Challenge or Opportunity for the Show Business?” While the expert panel urged the need for transformation and development in order to maximise the opportunities that the Internet presents in the longer term, most agreed there were short-term challenges that are affecting the profitability of film and television houses.

    The panel’s moderator Peter Lam, the Vice President of the Hong Kong Televisioners Association, said greater collaboration between stakeholders, a focus on outstanding content and a willingness to experiment would see a more prosperous future.

    “Even if, for the time being, they are not making a profit they would like to build and develop for the future,” he told the panel.

    To open the discussion, Gu Guoqing, the General Manager of China Film Promotion International Ltd, argued the Internet was another platform for filmmakers and that the ability to deliver nonlinear content presented the industry another vehicle to maximise value and deliver content to multiple screens.

    “I don’t see the Internet as such a threat,” Mr Gu said. “Viewers have gone from the cinema to online with 750 million paid subscriptions, online streaming and integrated content. In the Internet age I think that the line between virtual reality and film and television is blurring. The Internet is a factor for change. We can have immersive experiences.”

    The Chief Content Officer of iQIYI.com, Wang Xiaohui, touched on some of the ways that the Internet has changed the lifestyles and habits of viewers, noting that there were increasing opportunities to watch content, be it at home, on public transport or sharing content on social media. In order to capitalise on changing trends, the need for good content was increasingly important.

    “In the short-term, it’s quite challenging since we cannot make a profit, but in the long-term we can see the promise,” Mr Wang said. “But all in all, content is still the basic way to success. I think the film industry is prosperous but it should focus on good content. We should follow the trend to make our own unique content.”

    A discussion on the challenges prompted Akinori Kobayakawa, President, Kyushu Associations of Independent Entrepreneurs, to chart the short-term revival of the entertainment industry. An emphasis on collaboration and on engineering could create opportunities because the Internet was driven by people and was a human machine.

    “You need to create a strategy no matter the outcome,” he said. “The current situation can be described as chaos, so what we have to think about today is working against the old common sense. We cannot use the old common sense to adjust to the situation because what is happening with the Internet and the impact of the Internet is unpredictable.”

    Joe Suteestarpon, CEO, Mediaplex International, has played a significant role in developing a subscription video on demand service called DOONEE for the Thai market. In working with that country’s 22 traditional broadcasters, they had created a new space for the audience to enjoy high-quality content.

    “Everything is on demand and there is no exception for television,” he told the audience. “Right now the client is the one that is controlling the industry. People are still consuming the content but the format has changed. It’s a nonlinear world.”

    Szeto Kit, Director & CEO, Dim Sum TV said the Internet had revolutionised his business. He has found that consumers would pay for subscription content, an experience he had enjoyed in his own business. The Chinese mainland was an excellent test bed for a traditional broadcaster transforming into an Internet-based content provider.

    “The television industry is entering the Internet age and streaming is completely changing the traditional establishment,” he said. “China is an excellent example of what might happen next.”

  • Oscar-winning Moonlight producer shares his journey

    HONG KONG: Fresh from a successful Hollywood awards season, film producer Andrew Hevia led the popular “Sharing by Andrew Hevia, Co-producer of Oscar-winning Best Picture “Moonlight”” session held on 14 March at the Hong Kong Convention and Exhibition Centre. The discussion was moderated by Maurice Lee, Partner, Maurice WM Lee Solicitors. The seminar was part of the HKTDC International Film & TV Market (FILMART) (13-16 March), which is organised by the Hong Kong Trade Development Council (HKTDC).

    Andrew Hevia, Co-producer of Oscar-winning Best Picture “Moonlight,” used the seminar platform to share how his journey of independent filmmaking in Miami, United States, led to the Academy Awards stage. Using various trailer examples of indie movies that he loves, and often helped create, Mr Hevia explored the theme of specificity and identity in filmmaking. The up-close dialogue explored how his professional journey of micro-budget community filmmaking and the local networks he created in Miami impacted and led to the creation of the Oscar-winning production Moonlight. Having previously resided in Hong Kong, Hevia shared his special connection to the city and discussed how his approach to filmmaking can apply to Hong Kong creators seeking to tell local stories.

    Miami Beginnings

    As a proud resident of Miami with Cuban origins, Andrew Hevia has strived to create and share a film telling the “Miami story from a Miami perspective for a Miami audience.” This passion for authenticity and localised storytelling led to the creation of the “Borscht Film Festival.” Featuring film pieces specific to neighbourhoods throughout Miami, not “just the beaches we are all familiar with”, the event encouraged residents to tell stories important themselves and their niche using minimal budgets. Through this passion project, he “learned how to make movies cheaply and quickly” and shared that micro-budget films are basically “inviting your friends to work with you and make something you like.” Through persistence driven by creative hunger, the Borscht Film Festival led to greater community support and the eventual sharing of his projects across multiple film festivals. It was during his times in the Miami film community he initially met eventual screenwriter and director of Moonlight Barry Jenkins.

    Creative Solutions

    Introducing several key takeaways from his professional journey, Hevia explored the advantages of micro-budget filmmaking. He stated that “it can be better to have no money than some money” because with “some money it is a job that doesn’t pay well but if you have no money it is not job. With no money you have fun.” He further explained that with limited to no funding you have to get creative to achieve your end result and those results are “personal, original and not expensive.” Continuing on, he said “it’s easy to make things look like you spent money; it’s hard to make them good.”

    The Power of Specificity

    The core theme of Hevia’s presentation was the power and importance of specificity in filmmaking. He highlighted the importance of his experiences “focusing on Miami” because it allowed him and the creators he worked with to “explore the stories we knew that no one else knew” which made them personal and unique. He said that “we wanted to show you where we lived, who we were and how we lived.” In reference to the eventual success of both the Borscht Film Festival and Moonlight, he stated that “a limited audience is actually a specific audience, and that is an asset” compared to the standard universal movie approach which creates a movie that appeals to everyone but “universal is bland” in his opinion. He suggested that if you can make a specific movie accessible by “taking what you know and making other people appreciate it, you have done something good.”

    Bringing “Art-house to the Hood”

    Hevia detailed how a personal phone call and invitation from Jenkins led to him joining the Moonlight production. He explained that Moonlight was a hard movie to make because it did not fit the traditional ideals of what a successful movie is – “it had no movie stars, there were no white actors, it was an experimental narrative and it had no international appeal.” But from Hevia’s perspective, “the reasons why people don’t want to fund your movie are probably the reasons you need to make it.” Moonlight was successful because it was “about and for a specific audience, it was told in an unexpected way, it paid attention to craft over spectacle and that it was about ideas.” He said that “identity is specific” and Moonlight is an identity film about “someone growing up poor, black and gay.” He explained that “identity is how people see themselves, and if you show people themselves they will reward you with passion” which leads to success because “when people are passionate about your work, your work will spread.”

    Stories for Hong Kong

    To conclude to the sharing session, Hevia focused on how specificity and identity in filmmaking can apply to Hong Kong. Reflecting on his experience residing in city, he said “one thing about Miami that I recognised when I came to Hong Kong was that Miami is a place nobody lives in; everyone is temporarily there, they are from somewhere else.” This issue was a originally a key inspiration for starting his local film festival to tell Miami stories as a way to express identity and how Miami relates to residents’ identities. He went on to say that

    “I think Hong Kong in a similar way has some of those same issues” and that creates an opportunity to “start talking about what it means to be here, to be from here, what is it like live here.” In reference to Hong Kong’s position juxtaposed with the Chinese mainland, he compared the situation to Miami against New York and Los Angeles and encouraged filmmakers to “do Hong Kong” and focus on the specific stories and identities of the city like he did with Miami.

    Hevia is currently developing a Hong Kong-based mystery thriller with local commercial director Joshua Wong. “Dark Room” will be an English-language film with a focus on authentic Hong Kong aesthetics inspired by his time living in the city in 2015 as Fulbright scholar.

  • FILMART: Quality localised OTT content crucial

    HONG KONG: With the rapid advances in technology, people can tune into their favourite OTT platforms on different kinds of electronic devices anytime and anywhere. OTT refers to over-the-top distribution of multimedia content via the Internet. For online entertainment companies, the challenge is how to revise their strategies to adapt to rapid developments and high demand for such content. At the thematic seminar held yesterday (14 March), “New Opportunities in the Explosive Growth of Online Entertainment” at the Hong Kong International Film and TV Market (FILMART), representatives of four renowned online entertainment companies discussed how to tap into the tremendous OTT platform market by producing and sourcing quality localized content.

    User pays model is key 

    iQIYI senior VP Yang Xianghua pinpointed the fast-growing audience for OTT platforms in the Chinese mainland over the past few years. “It is estimated that within this year or next year, the number of people who watch streaming videos using mobile phone networks will reach half of the country’s population. In view of this, iQIYI is actively working with our partners to produce high-quality full-length online films.” He mentioned that there are two revenue models in place at present; advertisement revenue and user fees. The number of videos that generated more than Rmb1 million in profit for the company surged from 35 in 2015 to 122 in 2016, which points to a huge online market. 

    Conference moderator Variety Asia Editor Patrick Frater raised the question of how to tackle the issue of many online entertainment companies running at a loss. In his response, Yang noted that iQIYI has invested a lot in purchasing and producing content. In order to attract audiences, a significant portion of the content is free in the early stages. However, he predicted that the platform will turn the deficit into profit, as the number of subscribers and page views increases and the pay-per-user model is established. “Young Chinese viewers are relatively affluent, so they are willing to pay for higher-quality content,” he added.

    Localised vision to meet demands 

    PCCW Media Limited assistant VP – Content Management – Digital Media Meg Lee summed up the current trend: “Korean content is king.” Therefore, ViuTV is closely following the Korean trends and actively sourcing quality Korean entertainment video content such as dramas and variety shows, which have attracted a large numbers of fans of Korean trends to follow the channel.

    Regarding producing and sourcing content that caters to the tastes of local audiences, Lee noted, “ViuTV has its own team in each country, as well as an independent team that is in charge of collecting audience data and analysis. We also work with different local companies so as to quickly grasp the demand of the local market.” She added that ViuTV has its own team of translators who translate related content into local languages in a timely fashion. “We can only stay at the forefront by seizing the opportunities from the fast-changing trends.”

    Diversified video content attracts 

    As audience tastes change quickly, companies need to constantly explore new initiatives and adjust their strategies, which results in high investment risks. LINE Company (Thailand) content business director Dan Zonmani stated that LINE TV partners with various brands in co-productions of new online content, which in turns lowers investment risks. LINE TV also offers diversified video content. “Besides local content, we also feature content from Japan and Korea while refining our existing content to cater to the local audience’s taste.” In addition, LINE TV features re-runs of dramas and live broadcasts in a multi-pronged approach to attract audiences.

    He added that in providing content that caters to Thailand’s market, it is essential for the company to understand and respect the local culture while taking risks. “For instance, at the passing of the King of Thailand, we purchased a three-hour film whose content revolves around songs that are written about the King of Thailand. Broadcasting such a lengthy film on LINE TV was a new attempt, and a worthy one.”

    Japanese VoD platforms bloom 

    Among various markets, Japan was one of the last to join the OTT platform revolution, since the country’s traditional entertainment culture remains strong and it is difficult for industry players to break into the Japanese market. Mytheater DD director (animation division and new business development) Nakase Keiko stated that there will be a gradual increase in the number of Japanese audiences who watch videos on OTT platforms on mobile devices, and the market of VOD services platforms is expected to reach US$1.3 billion in value.

    Despite the tremendous market potential, there are also various challenges for companies who wish to enter the market. For instance, while Netflix and Amazon produce original dramas for their VOD platforms in Japan, the companies face competition from traditional TV stations. Nakase believed the companies must differentiate their programmes from traditional TV content. For instance, greater emphasis may be placed on star casting to arouse audience’s interest.

    In conclusion, online entertainment companies must cater to the audience’s tastes, keep a firm grasp on market trends and provide quality, localized content to attract more viewers, in order to tap into this fast-changing and tremendous entertainment services market.

  • FILMART: Paul Chan & Leon Lai grace Ent. Expo ceremony

    HONG KONG: The opening ceremony of Entertainment Expo, Hong Kong this afternoon featured a high-profile cast of officiating guests, including: Paul Chan, Financial Secretary, Hong Kong Special Administrative Region (HKSAR) Government; Gregory So, Secretary for Commerce and Economic Development, HKSAR Government; Margaret Fong, Executive Director, HKTDC; Yang Zheng, Deputy Director-General, TV Drama Department, State Administration of Press, Publication, Radio, Film and Television of TV Drama Department ; Terry Lai, Chairman, HKTDC Entertainment Industry Advisory Committee; and Leon Lai, Hong Kong Entertainment Ambassador. 

    Also in attendance were representatives from the organisers and supporting organisations of the 10 events under the Entertainment Expo umbrella, including three founding events and seven core events. The Entertainment Expo continues through 25 April at venues across the city.

    The three founding events are: the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA); while the seven core events are: the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

  • FILMART kicks off, seven India exhibitors participating

    HONG KONG: The 21st edition of the Hong Kong International Film and TV Market (FILMART) commenced today for a four-day run at the Hong Kong Convention and Exhibition Centre. This year’s FILMART welcomes more than 800 exhibitors from 35 countries and regions.

    In addition to major film companies in Hong Kong, many overseas exhibitors have set up pavilions at FILMART to promote their local entertainment productions, including countries like United States, the United Kingdom, Canada, the European Union, Korea, Japan, Singapore, the Philippines, and Vietnam. India’s presence has gone up to include seven exhibitors this year with more than 120 visitors registered from India to attend.

    More than 330 exhibitors from 15 Belt and Road countries are also taking part in FILMART to tap global opportunities which include those from Russia, Ukraine, Kazakhstan, Poland, Indonesia, Cambodia, Turkey and Mongolia.

    Many Hong Kong film companies are returning to FILMART in this year’s edition, which include China 3D Digital Entertainment Ltd, Distribution Workshop, Edko Films, Emperor Entertainment Group, Media Asia, Mega-Vision Project Workshop Ltd, Mei Ah Entertainment Group, One Cool Pictures Ltd, Pegasus Entertainment and TVBI. Fantastic Television Limited. Digital Domain and Fox Networks Group are the first timers to promote their latest entertainment productions to global buyers.

    This year, FILMART sees the participation of over 220 exhibitors from the Chinese mainland, the largest number in the event’s history. Many cities and provinces, such as Beijing, Shanghai, Shandong, Sichuan, Guangdong and Hangzhou, are returning with regional pavilions, while governments of Ningbo and Fujian are joining the show for the first time.

    Various seminars are being held here including for documentaries and a number of screenings of award-winning documentaries will be held during the event for participants to gain a deeper understanding of the genre.

    Digital entertainment is another highlight of FILMART this year. The Hong Kong Animation & Digital Entertainment pavilion, sponsored by CreateHK, gathers more than 30 local digital entertainment companies featuring their services, including digital production and special effects, post production, mobile apps, smartphone games and multimedia design, such as 360-degree photography and virtual reality (VR) and two seminars related to digital production and special effects will be held

    Along with the three founding events the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA)the HKA Filmart includes : the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

  • HAF Awards winners announced

    Hong Kong: The Hong Kong – Asia Film Financing Forum today announced the winners for the HAF awards, the Technicolor Bangkok awards, the Lacarno Open Doors awards and the Paris Project awards.


    The HAF Excellence award this year was presented to Charlie Young, director of Christmas Rose (Hong Kong), for being the first project to successfully achieve full financing at the HAF.



    Wanted by Dante Lam and The Murderer by Na Hong-jin were awarded HKD 100,000 (USD13,000 approx) each for projects originating in Hong Kong and outside of Hong Kong respectively.














    The Technicolor Bangkok awards of $20,000 (approx. HKD 156,000) each were given to Blood Maple and the Passion of the Kid (Thailand) by Chartchai Ketnust and Veritigo (Vietnam) by Chuyen Bui Thac.



    The Locarno Open Doors award – 5,000 Euros (HKD 50,000) – were presented to Help By Li Ying and Winter Vacation by Li Hong-qi. Both the projects are from the Chinese mainland. The projects will be invited to participate at the Locarno International Film Festival’s Open Door’s award section in 2009. Two round trips and hotel accommodations will be provided to each project.



    The Paris Project award –Euros 5,000 (HKD 50,000) – was presented to And Protect, Protected by Baomi Kawase (Japan). This includes one round trip and hotel accommodation at the Paris Cinema International Film Festival to participate in the Paris Project 2009.This year’s line-up included film projects from 11 territories.



    The HAF is one of the leading hubs of film-financing in Asia. This year it saw a 38 per cent increase in applicants for places in the forum, with guest registrations numbering over 900. This year’s Forum has also organised close to 500 successfully concluded meetings.

  • 5th Entertainment Expo Hong Kong opens

    Hong Kong: The opening ceremony for the fifth Entertainment Expo Hong Kong (EEHK) and the third Asian Film Awards was held yesterday evening at the Hong Kong Convention and Exhibition Centre (HKCEC).


    “Covering nine multimedia events in four critical sectors – film, television, digital entertainment and music – Entertainment Expo has firmly cast Hong Kong as the entertainment capital of Asia,” said HKTDC Chairman Jack So.



    Hong Kong Special Administrative Region Financial Secretary John Tsang said, “We will shortly establish a new office – “Create Hong Kong” (CreateHK) – to support the development of our creative industries. CreateHK will realign resources from various government departments to enable us to respond more effectively to the industries‘ demands, and better serve them through a one-stop service.”













    Jang added, “In my Budget last month, I earmarked $300 million, to support the development of our creative industries over the coming three years. This will be in addition to the existing funding schemes established to support our design and film sectors. The Government‘s total financial commitment to creative industries is currently more than $1 billion.”



    EEHK’s three founding events include the Hong Kong International Film and Television Market, or Filmart, the Hong Kong International Film Festival and the Hong Kong Film Awards Presentation Ceremony. EEHK also features six core events: the Asian Film Awards; the Hong Kong – Asia Film Financing Forum; the Hong Kong Music Fair; the IFPI Hong Kong Top Sales Music Award 2008; the Digital Entertainment Leadership Forum 2009; and the Hong Kong Independent Short Film and Video Awards.