Category: Event Coverage

  • Bomanbridge renews ‘Chef In Your Ear’ rights with Korea’s CJ E&M

    Bomanbridge renews ‘Chef In Your Ear’ rights with Korea’s CJ E&M

    MUMBAI: Singapore-based production & distribution agency, Bomanbridge Media has renewed the rights to UK & Canada format Chef in Your Ear for 2016 to Korean powerhouse CJ E&M.

     

    CJ E&M is currently airing the first season, locally-titled Avatar Chef in Korea.

     

    The format was created by Justin Scroggie and developed by Ricardo Larrivée, Michel Rodrigue, Lee Herberman and Henry Less. In Canada, the original English version is produced by HLP + Partners and the French version is produced by 350 Productions, setting record audiences on The Food Network.

     

    Chef In Your Ear is a new cooking competition format in which two professional chefs aim to deliver a restaurant quality dish – by remote control. All the cooking is done by two novice cooks, many of whom claim to be kitchen disasters, each wearing an ear-piece. They take instruction from a celebrity chef whom they have been paired with, and who is locked away in a booth, unable to smell or taste the food.

     

    “Bomanbridge is thrilled to represent the exciting and entertaining format, Chef In Your Ear, for Asia and are so pleased to renew our format sale to our trusted partners, CJ E&M, for a second season. We are known in Asia for licensing great formats which give channels high performance ratings. CJ E&M will enjoy great viewership with this show,” said Bomanbridge Media South Korea director of distribution and business development Gyeong Min Moon.  

     

    CJ E&M international sales & acquisition head Jang-Ho-Seo added, “CJ E&M is delighted to renew Chef In Your Ear for a second season. The show is proving very popular to our audiences in the early stages of season one. CJ E&M has been building its reputation for producing and creating the best Formats in the world and CIYE is a great addition to our portfolio.” 

     

    “The Format People are pleased that Bomanbridge Media, one of Asia’s top distributors, has taken Chef In Your Ear into Asia, first to Mongolia and now expanding in Korea with CJ E &M. The format has proven highly successful on Food Network Canada, Justin & I are confident that the Asian versions will be just as successful,” said The Format People CEO Michel Rodrigue.

  • Cartoon Network acquires ‘Oggy And The Cockroaches’ season 5

    Cartoon Network acquires ‘Oggy And The Cockroaches’ season 5

    MUMBAI: Cartoon Network in Asia Pacific has cemented its ongoing relationship with Xilam by taking up the new series of the popular animated show, Oggy And The Cockroaches.

     

    Slated for a 2017 premiere, Oggy And The Cockroaches Season 5 (78×7’) will be available in Ultra HD. This acquisition follows the co-production agreement between Cartoon Network and Xilam for 2012’s Season 4, which is currently airing exclusively on the network.

     

    “Over the past few years, Cartoon Network has become known as the ‘Home of new Oggy’ and with Season 5 now secured, I’m happy to announce that this is set to continue for a long time to come,” said Turner Kids Networks Asia Pacific chief content officer Mark Eyers. “Oggy has a winning formula that has made it hugely popular with kids in this region. Alongside our other original series, this blue cat bolsters an enviable line-up of animated comedy.”

     

    Xilam CEO and founder Marc Du Pontavice added, “Oggy’s worldwide success continues to hit new highs and we are thrilled to announce that Cartoon Network is committed to being the show’s broadcaster of this brand new season in Asia Pacific.”

     

    Over four action-packed seasons and almost 20 years and 300 episodes, Oggy has relentlessly battled his nemeses. In season 5, this cat and those pesky bugs are going to present a different facet of their enduring rivalry by featuring Oggy through the ages. The battle against the roaches continues but this time they’re in period dress. It’s an unlikely collision between history and slapstick.

  • Go Digital, Go Local is flavour of Asia TV Forum 2015

    Go Digital, Go Local is flavour of Asia TV Forum 2015

    SINGAPORE: It seems the pre-market conference is looking to set the tone for the rest of the market as well. Everyone, who is either involved in the content creation or content aggregation end, is thinking digital and going local.

     

    Post the keynotes earlier in the day, the sessions that followed include: ‘The Future of TV and Visual Entertainment,’ ‘Native Players, Digital Strategies,’ ‘View from Over The Top’ and ‘Digital Content: Cashing in or Cashing out?’

     

    In the first one, UK-based Ovum’s practice leader Ed Barton took to stage and gave some valuable insights in terms of how the world’s leading broadcasters and pay-TV operators are rethinking their business models to adapt to the ever changing and evolving viewing habits of the consumers. And even more importantly how advertisers are now thinking outside the box to catch their next potential customer.

     

    “Pay-TV growth in developing regions will be driven by finer market segmentation. While digital will continue to grow and rely heavily on what millennials choose to consume, with creators having to strategise better and cater to those needs,” said Barton.

     

    According to Ovum’s study, India’s average revenue per user (ARPU) from Pay-TV subscribers would be around $7.24 by 2020, whereas that for APAC will be at $8.63. But, what was more interesting is the fact that according to the same study, China would be having a lower ARPU than the Indian sub-continent, which is somewhat hard to digest. “The growth for video on demand services and HD services will be directly proportional to the ARPUs drive they receive,” Barton added.

     

    Next up the panel discussing ‘Native Players, Digital Strategies’ saw Endemol Asia MD Fotini Parakakis, MNC Sky Vision – Indonesia, VP director Yudha Wibawa and BBC Worldwide – SEA, SVP & GM Monty Ghai giving their views on what they believe is the future of digital content from the broadcaster’s perspective.

     

    “Broadcasters and brands are more open than ever before to explore differentiated content offerings and break out of the old school, tried and tested formulas. It’s heartening to see independent content creators, who got their very own multi-channel networks (MCNs) now taking it a step ahead by working with broadcasters to create more engaging content,” said Parakakis.

     

    Sharing similar views BBC’s Ghai shared, “We are exploring short format shows as well, but our main focus will continue to remain long form premium content since that’s in our DNA. That being said, what I believe will work for SEA and rest of Asia is if digital content can be used to drive audiences to consume more content on linear as well, rather than leading to cannibalise its presence.”

     

    Indonesia is somewhat similar to how India is progressing in terms of its digitisation process, and people there too face similar hurdles like low broadband connectivity and penetration, along with infrastructure woes. But even in such a scenario MNC Sky Vision’s Wibawa sees a ray of hope. “Although only a few cities are in the position to look at heavy consumption of content on the mobile (given the low broadband penetration) it is still worth a shot and a fairly large population (read over 30 per cent) that is on the look out for such content,” Wibawa said.

     

    Similar discussions were held during the other two sessions as well, which clearly shows that digital is here to stay and if creators embrace the idea of ‘Going Local, but for the world’ then there’s nothing that can stand in the way of how Asia transforms from being influenced by western content, to influence western content instead.

  • Asia’s millennial generation will pave the digital roadmap

    Asia’s millennial generation will pave the digital roadmap

    SINGAPORE: After DJ Lee set the tone for the day’s proceedings, it was Maker Studio’s René Rechtman’s turn to elaborate on the ‘Development and Expansion in Asia’s Digital Marketplace’ at the 16th Asia TV Forum & Market. 

     

    Sharing some interesting market shifts and trends in the digital ecosystem in Asia, Rechtman also touched upon the background growth story of Maker Studios in the region, sharing new initiatives about the product, programming and distribution categories within the Asian contingent.

     

    Entertainment is changing. Millennials are living a mobile, social, on-demand life. Specialising in short-form video reaching this diverse, tech-savvy group, Maker Studios attracts more than 10 billion views on YouTube every month with over 650 million subscribers.

     

    “Digital is growing exponentially, be it for content creation or consumption, there is no end to it. We have looked at a few research studies and it’s amazing to see a 247 per cent  year on year growth at the consumption end of the spectrum. And it’s the millennial generation that is setting the pace for it,” Rechtman shared.

     

    With 55,000 independent creator partners from more than 100 countries, Maker Studios is home to top digital stars, channels, and content.

     

    Rechtman further added that 50 per cent of the population that’s consuming content digitally is from the age group of 13-34 years; and the same group was four times more active socially. “Most of the content consumption is in the way of watching videos and engaging on social media,” he said.

     

    “YouTubers are major influencers in today’s age for millennials to even select their brands. Audience is now the creator and the creator is also the audience; that’s how the cycle of digital content creation functions,” he added.

     

    According to a study, 84 per cent of millennials don’t trust traditional advertising; whereas they prefer brands promoted by YouTubers almost 1.8 times.

     

    Rechtman also stated that the duration of short form videos have reduced over the last two years, and it’s an important aspect to keep in mind for newer and seasoned content creators who wish to gain more eyeballs. The time duration, which was at around 5.1 minutes back in September, 2013 is now down to 3.8 minutes in September this year.

     

    Speaking from Maker’s perspective, Rechtman said that data analytics plays an important role for their strategy and the company always looks for partners who dare to act local, while thinking global.

  • Korea has found its ‘Kimchi’ for its content needs

    Korea has found its ‘Kimchi’ for its content needs

    MUMBAI: The Asia TV Forum kicked off proceedings this time around with a keynote by CJ E&M president, media content business DJ Lee speaking about the future of television in Asia and what lies ahead.

     

    CJ E&M has successfully been operating over 17 television channels and also provides nearly 3,000 hours of content – on an annual basis – across diversified platforms. But, what has been interesting in terms of the growth curve for the network, is the fact that there is a lot more of local content being created, which is doing tremendously with the local audience.

     

    “These are some exciting times for content creators globally. With content being consumed anywhere and being platform agnostic, it’s encouraging to see creators pushing the envelope and doing different things or just doing things differently and being able to reach a wider audience for their content,” Lee expressed.

     

    With an ambitious global expansion strategy along with initiatives such as digital-first original production under Lee’s guidance, CJ E&M rechristened its Multi-Channel Network (MCN) this year to DIA TV (Digital Influence & Artist TV) to focus on creating strategic business partnerships and opportunities with digital content creation platforms such as United States’ YouTube, China’s YouKu and France’s DailyMotion. By partnering content creators via the many digital platforms available, Lee also mentioned that the company is hoping to provide independent digital producers the opportunities to market their product by providing them with more support in areas such as funding, programming, digital rights management and cross-promotion.

     

    “Recently we have signed a licensing deal with NBC for our successful showBetter Late Than Never. So I see lot more such innovative formats traveling across the globe. Asia needs to capitalise on its own rich cultural content, while embracing the diversity in the very same culture as well,” Lee said. “South Korea has branded its content, and made it as popular as its delicacy ‘Kimchi’ and it’s time other Asian countries follow suit as well.”

     

    Lee has been a forerunner, pioneer and innovator of the Korean broadcasting industry, bringing Total Variety Network (tvN), the country’s leading content channel, to greater heights and surpassing Free-to-Air (FTA) giants in terms of ratings and advertising revenue. Being the first to bring international formats into Korea to be localised, while also creating the first international Research & Development department.

     

    With local broadcasting networks in Southeast Asia seeking to augment their original content, Lee’s address also provided insights based on his extensive experiences in cable, formats and the digital sphere.

     

    Lee added, “Evolution and Adaptation are two key traits to have in an industry such as ours. Be it the successful localisation of international formats or integrating existing formats into brand new concepts, it is all about providing engaging and contemporary content for your audiences.”

     

    He emphasised on the fact that Asia needs to find its identity and like CJ E&M find its own ‘Kimchi’ recipe to create a brighter future for the entire content ecosystem of tomorrow. “There will be hurdles like investments and restrictions that will come in your way, but it’s all about having the confidence in your content that will decide the future of your content market and whether it will find space in the hearts of your viewers and money in your pockets from brands who see value in your content,” he said.

     

    CJ E&M’s success is also attributed for creating short format content for the digital space as well as heavy digital marketing spends to in turn increase the content consumption on linear platforms as well. “With experience, we experimented using a lot more social marketing and digital content creation to gain eyeballs and then translate those into gaining more viewership on the linear front as well. I believe that digital is the next big thing and all content creators need to tap it as soon as possible. And what’s more important is to create a differentiated positioning for both the content,” Lee opined.

     

    This keynote certainly gave some great insights behind the success of one of the largest media groups in Asia. And would help a lot of other content producers to think more locally, while keeping the global audience in mind as well. Guess it’s time for India to think of taking its ‘Rajma Chawal’ to the world!

  • MipCom 2015: Combating nature’s fury, and winning

    MipCom 2015: Combating nature’s fury, and winning

    MUMBAI: The world’s largest TV content market Mipcom was hit by a freak storm and floods. It all started on Saturday 5 October when late in the evening what was predicted to be an evening of gentle rain, turned out to be three hours of a raging thunderstorm. Something that had not happened in 50 years. Seven inches of rain fell in one fell swoop. Some 20 people died, and cars were swept out to sea. 

    The Hotel Martinez where MipJunior (the kids content screening and conference) was being held was the most affected. It lost power because of the flooding, internet went off and its ballrooms were water logged. As were most of Cannes and its surrounding towns.

    Reed Midem, the organiser of MipCom and MipJunior acted fast. Overnight the MipJunior screenings and conferences were shifted to the higher levels of the Palais des Festivals.

    The Palais itself was hit by the storm. The basement area (P-1), which constitutes a large part of the exhibition area and where most of the Indian exhibitors are located, had patches, which were damaged courtesy the flooding. The management of the Palais des Festivals and Reed Midem’s operations executives worked through late Saurday night and Sunday to mop up the excess water, used drying machines, changed carpeting, to get the exhibition area spic and span.

    Came Monday morning and to the astonishment of exhibitors and participants, MipCom started on time. Almost as if the resort town had not faced a natural catastrophe. There were queues at the registration desk, and queues waiting to get into the exhibition area. The rest of Cannes, was however, struggling with some areas being without power, most without internet and telephone lines. And most bank ATMs and credit machines were not working.

    In fact, the mayor of Cannes, has made an appeal to the world of film, television and the rich to contribute to get Cannes back on its feet. The town and its businesses have suffered a loss of Euro 45 million courtesy the freak rain.

    During Mipcom business deals, and alliances were struck and TV premieres held. .Hollywood and British celebrities such as Dennis Quaid, Chris Carter, Lily James, Tuppence Middleton and Stephen Rea mingled with attendees after the screenings in the Grand Auditorium. The opening party was shifted to the Carlton Hotel from the Martinez and the red carpet, however, was canceled. Sponsored by Turkey, which was the country of honour or focus, it was one of Mipcom’s finest organised parties in recent times. The food and wine flowed till past midnight.

    Overall, 13,700 executives from 112 countries did make it to Mipcom, a record of sorts. More than 150 broadcasting, production, animation, digital, content distribution, and buyers and sellers from Pakistan, Bangladesh and Sri Lanka jetted their way to Cannes – a record number for the region this year. Each probably has his or her own story on what he/she did during the deluge. We present a first person account of what one such group went through during the storm and thereafter. Read on:

    The lightning shards continuously cut through the dark incessant rain as the 500 or so guests at MipJunior’s opening night inside the tent on The Martinez Beach in Cannes partied.

    They sipped away at their glasses of wine and munched away at the entrees, exchanging business cards on programming pitches – blissfully unaware that the French Riviera village was going through its worst thunderstorm in almost 50 years.

    As the clock ticked away, the gusts of wind grew stronger, and one such blast shattered a few wine glasses, the chandeliers overhead swayed. A couple of the lights went out. Then the water from the sea outside started seeping under the tent as the angry storm pushed the waves higher.

    Jackie – the event and operations in charge of Reed Midem was worried – as she – like Laurine and Jerome and most of us attending the world’s largest content market – had heard the metro department’s report that there would be rain – but the prediction was that it would be a passing shower. Not a continuous cloud burst on account of which the village and other surrounding ones would be inflicted with the equivalent of more than a month and a half of rain in just three hours.

    The situation was getting alarming as the rain, loud thunder, lighting and wind continued. Would the tent hold? The DJ had already been told to pack his console, the wine and food put away by the stewards. And the guests, who had thinned down to 200 odd by then,  had to be kept safe. Thus a decision was taken to evacuate.

    A warning shout went up: “The entire Croisette is flooded. I tried to cross but there’s too much water.”

    But evacuate we had to. So some of us took off our shoes and jackets, packed them in the Mask of Zorro bags, which the concierge provided us, rolled up our trousers, walked out of the tent. And indeed where earlier in the evening there was beach sand, all we could see was water. Carefully, we walked through it and up the stairs to the Croisette.

    What greeted us was a sea of water all through the main street of Cannes. We stepped into it and it reached up to our knees. And it was cold, bitingly cold. But gritting our teeth and with sheer disbelief in our hearts we trudged through it across the street to the famed Hotel Martinez – which has been home to the world’s biggest celebrities. Were we in Cannes the famed beach town of France to which the world flocks every summer? Or were we in some south east Asian country or in India where such flooding is rather common?

    As we reached the Martinez Hotel we heard there were no shuttles to ferry us across to our apartments or hotel rooms. And that we were on our own. We picked up a couple of hotel umbrellas and decided to make our journey home.

    Every street, by lane and tony street was flooded. To make matters worse, the village’s sewer and drainage system had spewed and vomited out all the waste – including feaces – which its denizens had earlier through the day dumped down commodes or waste disposal systems.

    Most of the by lanes leading to the Croisette were angry torrents of fast paced water through which it was very difficult to swim, forget about walking. And yet everywhere we looked there were executives – both men and women – plodding through the knee-deep water. It was a struggle, no doubt, but move everyone had to know because the water was chilling.

    Thankfully, there were no open manholes or sewers, but we were cautious nonetheless courtesy Mumbai’s dangerous streets during the monsoons every year.

    What was even more shocking was that expensive stores, hawking the most premium brands, which line the main street opposite the Croisette were hit by the water flowing down the streets towards the sea. Many of the stores were forced to garbage some of the goods, costing thousands of euros, which were damaged by the flowing waters.

    We waded through the water, taking care not to get clothes wet. Close to our apartment building, a SUV came racing, through the flooded street and the wave hit us as well as the restaurant, which was already knee deep in water. And all my efforts to keep my trousers dry came to naught.

    Even the apartment’s stairwell was flooded. But we made our way up and thankfully our flat had power, unlike others which went without any electricity throughout the night. We took quick hot showers and sipped hot cups of coffee and it was around 1 am that we managed to get some shuteye.

     

    Posted by Larysa Wanvari on Sunday, October 4, 2015

     

     

  • Tandem to adapt Ken Follet’s ‘Code To Zero’ as TV series

    Tandem to adapt Ken Follet’s ‘Code To Zero’ as TV series

    MUMBAI: Tandem Productions has optioned thriller novel Code To Zero penned by New York Times best selling novelist Ken Follet. While attending MIPCOM in Cannes, Tandem partner and CEO Rola Bauer signed a temporary adaptation of the novel into a limited television series with worldwide distribution by Studiocanal.

     

    In this adaptation of Code to Zero, a man awakens to find himself lying on the ground in a railway station, his mind stripped bare of all recollection. He has no idea how he got there; he does not even know his own name. Slowly, he rediscovers his entire life by detective work, uncovering secrets of a conspiracy, set against the battle for global space supremacy between the US and China.

     

    “I am delighted that Tandem Productions will be making a television series of Code to Zero,” says Follett. “We have had a long and successful relationship and I am looking forward to them bringing my book to a new audience in this exciting way.”

     

    Prior to this, the production house produced two event series of Follet’s bestselling novels of the same title namely the Emmy-winning and Golden Globe-nominated, The Pillars of the Earth, which featured Eddie Redmayne, Ian McShane and Donald Sutherland; and the Emmy-winning, World Without End, starring Cynthia Nixon, Charlotte Riley and Miranda Richardson.

     

    “We have enjoyed a wonderful collaboration with Ken Follett over the years and are thrilled to be working with him again. Code to Zero lends itself beautifully to a present-day thriller that today’s audiences will find thoroughly relevant,” added Bauer.

  • FremantleMedia strikes multiple deals for ‘Simply Nigella’

    FremantleMedia strikes multiple deals for ‘Simply Nigella’

    MUMBAI: FremantleMedia International has closed deals for a new cooking show Simply Nigella and Nigella’s Christmas Special. Four major networks consisting of Prime (New Zealand), Foxtel (Australia), TV2 (Norway) and Discovery Networks (Asia-Pacific) have acquired the series, which stars internationally renowned food writer and celebrity chef Nigella Lawson. 

     

    FMI, EMEA and Asia Pacific, non scripted (UK) director Angela Neillis said, “We’re incredibly excited that Simply Nigella has had this much impact with buyers. The deals reflect the high quality of this feel-good series and Nigella’s enduring ability to resonate with audiences worldwide.”

     

    Produced by BBC Productions, Simply Nigella will see the cook create a handful of dishes per episode and showcase her talents in the kitchen. Lawson shares the story behind each meal and focuses on specific ingredients revealing what makes them her favourites as well as divulging her culinary tips to ensure cooking is as stress free as possible. She also ventures beyond the kitchen visiting local suppliers and independent food stores to source fresh quality produce to include in her recipes.

     

    In addition to the acquisition of Simply Nigella and Nigella’s Christmas Special, Discovery Networks Asia-Pacific has also picked up a comprehensive mix of lifestyle and entertainment content including Jamie’s Super Food, which sees the globally renowned chef revolutionise how we think about nutrition, popular series Project Runway S14 (16 x 60), Project Runway All Stars S5 (13 x 60), which sees the best contestants return to compete once again and Project Runway Junior S2 (10 x 60) showcasing America’s most talented young fashion designers aged 14-17 years.

  • French pubcaster snaps up FremantleMedia’s ‘No Offence’

    French pubcaster snaps up FremantleMedia’s ‘No Offence’

    MUMBAI: France is the latest international market to be captivated by Paul Abbott’s No Offence produced by AbbottVision for UK’s Channel 4.

     

    Public broadcaster France Télévisions has acquired the cop comedy-drama from FremantleMedia International. The show stars Will Mellor, Paul Ritter and Colin Salmon.

     

    Created by Abbott, the unconventional and captivating series, which last month picked up the best foreign fiction award at La Rochelle’s festival de la fiction, is set to premiere on France 2. Today’s news swells the ranks of international broadcasters lining up to take the title, with FMI having sold the show to ABC (Australia), NOP (Netherlands), Hot (Israel), DR (Denmark) and RUV (Iceland) after acquiring the rights earlier this year.

     

    EMEA head of sales and distribution Jamie Lynn said, “No Offence pushes the boundaries on so many different levels, yet its compelling storytelling and characters you genuinely care about makes this addictive viewing. With a prestigious award already under its belt, and a second season already commissioned, we’re already getting huge interest with international buyers, so I’m really excited that France Television has come on board to bring No Offence to the widest possible audience in France.”

     

    Set in a close-knit policing unit located in North West England, No Offence follows a committed team of officers as they crack down on crime and attempt to enforce the law in this chaotic community. At the helm is the sharp and savvy Inspector Vivienne Deering, played by Joanna Scanlon, alongside her ‘right hand’ women, DC Dinah Kowalska and DS Joy Freers. In addition to dealing with the daily grime, the team suddenly has their hands full when a big case involving a twisted serial killer emerges. The squad is pushed to its limit as Deering and her teams are determined to tackle this disturbing case by whatever unconventional and unorthodox means possible.

  • Keshet joins hands with Telefe Argentina for ‘Boom!’ game show

    Keshet joins hands with Telefe Argentina for ‘Boom!’ game show

    MUMBAI: Keshet International is launching an international production hub in partnership with Telefe Argentina for the game show Boom! The hub is available for use by all licensors of the format worldwide.

     

    Launched on 30 September, Telefe’s local version of Boom! became the slot leader across Argentina with an average share of 32.9 per cent. The same studio is now available to licensors along with full production crew so that international productions need only supply a cast and showrunner.

     

    This comes after KI and Telefe announced co-developing entertainment formats for global distribution on the back of the successful local adaptation of KI’s interactive talent format Rising Star, the second season of which is now on air.

     

    Boom!’s has also aired in Hungary (TV2), Kazakhstan (Channel Seven), Chile (TVN), and Uruguay (Canal 10, finished Spanish version) with a total of more than 400 episodes commissioned worldwide to date. The show has also performed well in the US on Fox. Versions for Cambodia (Bayon TV) and Peru (America TV) are in the pipeline.

     

    Boom! fuses the drama, thrill and intensity of a blockbuster action movie with the high-octane fun of a video game, creating one literally explosive trivia challenge. The show was created by Keshet, Ido Rosenblum and July August Productions.