Tag: Korea

  • Turner appoints Eric Lee to lead its LBE business

    Turner appoints Eric Lee to lead its LBE business

    MUMBAI: Turner Asia Pacific has appointed Eric Lee as director for Asia Pacific to lead its growing location-based entertainment (LBE) business for the region.

    Lee is tasked with identifying opportunities to develop consumer-facing experiences such as water parks, theme parks, branded retail and entertainment spaces. These environments utilize Cartoon Network’s global kids’ IP such as The Powerpuff Girls, Ben 10, We Bare Bears and Adventure Time, as well as Turner’s other youth-focused brands including Tuzki, according to a company statement.

    This is a new position for Cartoon Network Enterprises (CNE), Turner’s licensing and merchandising arm, and demonstrates its commitment to developing more LBE initiatives around the region. Lee’s appointment is a part of a wider strategy by Turner to become an even more consumer-centric and IP-focused company.

    Turner Asia Pacific business development and overseas CNE senior vice president, Clément Schwebig was quoted in the statement as saying, “Eric is a talented and experienced individual who will straight away look to forge strategic relationships with local partners that will enable us to engage existing fans and win over new ones. LBE and the themed attraction business has huge potential for growth in Asia Pacific, and Cartoon Network’s world-famous franchises are well-loved by kids and families across the region.”

    The appointment comes at a period of growth for both the industry and Turner’s extensive portfolio of IP.

    Cartoon Network Amazone, the water park in Thailand that opened in 2014, is going from strength to strength and earlier this year, Turner opened a Tuzki-themed restaurant in Shanghai, China, and the first of a planned series of Cartoon Network retail stores in Seoul, Korea.

    Meanwhile in Dubai, Cartoon Network is all set to open its own themed zone at IMG Worlds of Adventure. In a number of other Asian markets, LBE projects in the CNE pipeline include Family Entertainment Centers and Retail-Dining-Entertainment experiences.

    Lee joins Turner from Rovio Entertainment in Europe, where he held the position of Director for Global LBE. There he worked with large-scale licensing deals and led innovative projects such as the first ever Angry Birds 4D film and Angry Birds VR experience. He has also held roles in Jack Rouse Associates and JBJ Associates and has worked on projects such as Ferrari World in Abu Dhabi, Crayola Experience in the US, Sochi Theme Park in Russia, and Angry Birds parks in the UK, Russia and Qatar.

  • Turner appoints Eric Lee to lead its LBE business

    Turner appoints Eric Lee to lead its LBE business

    MUMBAI: Turner Asia Pacific has appointed Eric Lee as director for Asia Pacific to lead its growing location-based entertainment (LBE) business for the region.

    Lee is tasked with identifying opportunities to develop consumer-facing experiences such as water parks, theme parks, branded retail and entertainment spaces. These environments utilize Cartoon Network’s global kids’ IP such as The Powerpuff Girls, Ben 10, We Bare Bears and Adventure Time, as well as Turner’s other youth-focused brands including Tuzki, according to a company statement.

    This is a new position for Cartoon Network Enterprises (CNE), Turner’s licensing and merchandising arm, and demonstrates its commitment to developing more LBE initiatives around the region. Lee’s appointment is a part of a wider strategy by Turner to become an even more consumer-centric and IP-focused company.

    Turner Asia Pacific business development and overseas CNE senior vice president, Clément Schwebig was quoted in the statement as saying, “Eric is a talented and experienced individual who will straight away look to forge strategic relationships with local partners that will enable us to engage existing fans and win over new ones. LBE and the themed attraction business has huge potential for growth in Asia Pacific, and Cartoon Network’s world-famous franchises are well-loved by kids and families across the region.”

    The appointment comes at a period of growth for both the industry and Turner’s extensive portfolio of IP.

    Cartoon Network Amazone, the water park in Thailand that opened in 2014, is going from strength to strength and earlier this year, Turner opened a Tuzki-themed restaurant in Shanghai, China, and the first of a planned series of Cartoon Network retail stores in Seoul, Korea.

    Meanwhile in Dubai, Cartoon Network is all set to open its own themed zone at IMG Worlds of Adventure. In a number of other Asian markets, LBE projects in the CNE pipeline include Family Entertainment Centers and Retail-Dining-Entertainment experiences.

    Lee joins Turner from Rovio Entertainment in Europe, where he held the position of Director for Global LBE. There he worked with large-scale licensing deals and led innovative projects such as the first ever Angry Birds 4D film and Angry Birds VR experience. He has also held roles in Jack Rouse Associates and JBJ Associates and has worked on projects such as Ferrari World in Abu Dhabi, Crayola Experience in the US, Sochi Theme Park in Russia, and Angry Birds parks in the UK, Russia and Qatar.

  • Prasar Bharati’s monopolistic-era mind-set has to change: CEO Jawhar Sircar

    Prasar Bharati’s monopolistic-era mind-set has to change: CEO Jawhar Sircar

    Jawhar Sircar, the 60-something chief executive of India’s public broadcaster Prasar Bharati, is bubbling with ideas and energy —- in sharp contrast to the organisation’s headquarters that gives a casual visitor a sense of life in slo-mo.

    Prasar Bharati is the parent organisation of 57-year-old Doordarshan and 86-year-old All India Radio, the country’s public broadcasters who claim to cover almost the whole of this vast country stretching from Kashmir to Kanyakumari — and a little beyond to a few islands in the Indian Ocean.

    Critics say age and a semi-lethargic attitude of the over 40,000-strong workforce impede both the organisations from being nimble footed in an age when technology has vastly changed the speed and mode of delivery of video and voice. Add to these government controls (via annual funding from taxpayers’ money to bridge the gap between revenues and expenditure) and Prasar Bharati continues to function as a moribund government organisation despite an autonomous status.

    The chief executive of Prasar Bharati, who joined the organisation in 2012 after serving in the government for over 30 years, is not shy to admit that some fundamental problems stop it from being `India’s BBC’ or `India’s NHK’. He goes a step ahead to say (with tongue firmly in cheek) that functionaries of Prasar Bharati “are living in a time warp” — in a world of their own that could be a zillion years behind reality.

    Even if you give full marks to the tech and social media-savvy Sircar for being candid, it cannot be wished away that both DD and AIR will continue to be an extension of the government’s PR division unless there’s a radical change in the thought process of India’s ruling class and policy-makers.

    Sitting in his office, in New Delhi’s PTI Building, amidst files and colleagues, many of them keep trooping in and out for advise and suggestions, the multi-tasking Sircar, is completely at ease conversing with Indiantelevision.com’s consulting editors B B Nagpal and Anjan Mitra on a wide range of subjects. Edited excerpts from the interview:

    Q: What could be the five guiding principles that you have etched out for Prasar Bharati’s possible reform?

    JS: Having joined the organisation in 2012, I don’t have much time left now, but I am still trying to (a) bring about transparency (b) prioritise our objectives as a public broadcaster (c) get the organisation adjusted to competition (d) get the organisation to look at non-terrestrial and satellite-based transmission and (e) strengthen the FreeDish platform.

    Q: Do you think all of these could be achieved; especially as majority of Prasar Bharati workforce seems to still live in a pre-Independence era?

    JS: Sadly, the majority mindset is a big hurdle in moving forward in an era where technology is changing fast and competition (from private sector) reacts faster to changing situations and ground realities. Many of my colleagues still believe they are in a monopoly era when DD and AIR were the only source of entertainment and news for Indians. Such a mentality needs to change if we are to be in the race as a viable and relevant organisation.

    Moreover, I and the board of Prasar Bharati, have been functioning with inadequate human resources at senior levels too. There had been no Member-Finance for a long time and regular Director-Generals for DD and AIR are yet to be put in place.

    However, I also believe that with some change in mindset and additional revenue, which can accrue from infrastructure sharing with private sector players and better use of under-utilised existing infrastructure, Prasar Bharati can be more relevant as an organisation and to the Indian public.

    Q: Can you give an example of monopolistic era mindset that, probably, tries to be immune to technological advances?

    JS: (Smiles) During the first few years of my tenure nobody here understood what OTT (over the top) stood for and how it’s relevant to our services. Another example is that of adoption of MPEG-4 broadcast technology. It had been cleared one and a half years back, but procedural delays hampered quick adoption.

    Q: Now that we are talking about new technologies, what would your reaction be if digital terrestrial TV (DTT) is thrown open to private sector players by the government?

    JS:  Prasar Bharati approved DTT over a year back. We were told to come up with a plan but no base paper could be prepared as there was some resistance internally from certain quarters. And, Prasar Bharati is not afraid of private players’ entry into DTT… we are quite open to the idea. Rather we’d support any such move if the government some time allows private players in DTT.

    Q: What can Prasar Bharati gain by supporting private players’ entry in an arena that had been a monopoly of the pubcaster?

    JS: Changing with the times makes you relevant. Why should DTT be Prasar Bharati’s monopoly? By allowing others, Prasar Bharati can earn additional revenue as we can lease out our infrastructure to private players who, otherwise, would have to make huge investments in setting up infrastructure. Let a private sector (content) aggregator come forward with a business plan. DD, anyway, is investing on DTT infrastructure.

    Q: You earlier talked of bringing about transparency in Prasar Bharati. In what way do you feel the proposed e-auction system will be an improvement on the systems adopted until now to obtain content?

    JS: The proposed e-auction would be a completely transparent method and a step towards overall transparency in the organisation to acquire content for DD. It will also put the onus on the successful bidder to ensure good content.

    Q: But, before the current SFC system of self-financed commissioned programmes, DD had a system of sponsored programmes whereby good programmes where especially produced for DD. How is e-auction going to be an improvement over the sponsorship scheme?

    JS: That kind of system had led to monopolization… with a few big names dominating the entire prime time of the public broadcaster. Ultimately, the same big names from Bollywood made serials for Doordarshan and left little scope for fresh talent.

    In fact, I had initially faced internal resistance to the plan for e-auction of prime time slots too, and it took serious convincing on my part for the idea to sink in with others. DD has already announced that this is being done on an experimental basis and may be extended to its other channels if the scheme is accepted.

    I am confident that audience loyalty, national sentiment, and the vast reach of  Doordarshan would help to make the scheme a success.

    Q: You referred to giving a push to FreeDish, which is the country’s only free-to-air KU-band service. What are the plans and what would be the present subscriber base of FreeDish?

    JS: As the antennas are available in the market (at a nominal one-time price ranging between Rs 3,000-4,000) and no monthly subscription is paid, it is difficult to know how many television households have FreeDish. This audit will become easier when we complete the process of encryption of FreeDish while keeping it free to air.

    Exact figures may be difficult in our case as even the Telecom Regulatory Authority of India admits there is a gap between the number of active and registered subscribers of private DTH operators. But it is understood (from feedback from market and sale of antennas) that there are around 15 million households hooked to FreeDish.

    In recent times, FreeDish has got some very good response from private TV channels…many of them, including the big names, want to hop onto FreeDish’s platform for wider reach of their products. We have plans to increase the number of FTA television channels on the platform so a consumer gets more choice.

    Q: There were plans to upgrade FreeDish to MPEG 4 to increase its capacity to carry more signals. But there has been no report on the progress in this regard.

    JS: It is not possible to implement MPEG 4 and the new Indian Conditional Access System (iCAS) together at the same time. But the commitment of FreeDish is to reach the rural areas and also cover all the areas not reached so far by television.

    Q: After initial protests by Prasar Bharati, Broadcast Audience Research Council had begun to give rural data separately. Are you satisfied with the audience measurement system?

    JS: We at Prasar Bharati have had some issues with BARC, which we would prefer to raise directly with the organisation. But our understanding is that DD covers a large part of India via its terrestrial and satellite services.

    Q: Why is it that Prasar Bharati cannot function like BBC or other public service broadcasters in the world?

    JS: The move to greater professionalism is eventually bound to happen, but some hurdles have to be crossed including those relating to budgets.

    Public funding on the public broadcaster in India is just Rs 2,400 crore as compared to Rs 51,653 crore in Germany, Rs 39,800 crore in the United Kingdom, Rs 34,097 crore in Japan. The amount spent on Prasar Bharati was even lower than those spent on pubcasters in Canada, Australia, and Korea.

    The per capita funding in India on the pubcaster is only Rs 19 as compared to UK and Germany where it is approximately Rs 6,000 to Rs 7,000. Even Malaysia has a per capita funding of Rs 350.

    Q: What are the constraints on acquiring good content for Doordarshan? 

    JS: The expenditure on content in India is a mere six per cent as compared to 75 per cent by NHK in Japan and 71 per cent by the BBC.
     The Indian Government gives 62 per cent as compared to 100 per cent in Russia, 98.2 per cent in Malaysia, 97 per cent in Germany, and 83 per cent in the UK. So, this should answer your question.     

  • Prasar Bharati’s monopolistic-era mind-set has to change: CEO Jawhar Sircar

    Prasar Bharati’s monopolistic-era mind-set has to change: CEO Jawhar Sircar

    Jawhar Sircar, the 60-something chief executive of India’s public broadcaster Prasar Bharati, is bubbling with ideas and energy —- in sharp contrast to the organisation’s headquarters that gives a casual visitor a sense of life in slo-mo.

    Prasar Bharati is the parent organisation of 57-year-old Doordarshan and 86-year-old All India Radio, the country’s public broadcasters who claim to cover almost the whole of this vast country stretching from Kashmir to Kanyakumari — and a little beyond to a few islands in the Indian Ocean.

    Critics say age and a semi-lethargic attitude of the over 40,000-strong workforce impede both the organisations from being nimble footed in an age when technology has vastly changed the speed and mode of delivery of video and voice. Add to these government controls (via annual funding from taxpayers’ money to bridge the gap between revenues and expenditure) and Prasar Bharati continues to function as a moribund government organisation despite an autonomous status.

    The chief executive of Prasar Bharati, who joined the organisation in 2012 after serving in the government for over 30 years, is not shy to admit that some fundamental problems stop it from being `India’s BBC’ or `India’s NHK’. He goes a step ahead to say (with tongue firmly in cheek) that functionaries of Prasar Bharati “are living in a time warp” — in a world of their own that could be a zillion years behind reality.

    Even if you give full marks to the tech and social media-savvy Sircar for being candid, it cannot be wished away that both DD and AIR will continue to be an extension of the government’s PR division unless there’s a radical change in the thought process of India’s ruling class and policy-makers.

    Sitting in his office, in New Delhi’s PTI Building, amidst files and colleagues, many of them keep trooping in and out for advise and suggestions, the multi-tasking Sircar, is completely at ease conversing with Indiantelevision.com’s consulting editors B B Nagpal and Anjan Mitra on a wide range of subjects. Edited excerpts from the interview:

    Q: What could be the five guiding principles that you have etched out for Prasar Bharati’s possible reform?

    JS: Having joined the organisation in 2012, I don’t have much time left now, but I am still trying to (a) bring about transparency (b) prioritise our objectives as a public broadcaster (c) get the organisation adjusted to competition (d) get the organisation to look at non-terrestrial and satellite-based transmission and (e) strengthen the FreeDish platform.

    Q: Do you think all of these could be achieved; especially as majority of Prasar Bharati workforce seems to still live in a pre-Independence era?

    JS: Sadly, the majority mindset is a big hurdle in moving forward in an era where technology is changing fast and competition (from private sector) reacts faster to changing situations and ground realities. Many of my colleagues still believe they are in a monopoly era when DD and AIR were the only source of entertainment and news for Indians. Such a mentality needs to change if we are to be in the race as a viable and relevant organisation.

    Moreover, I and the board of Prasar Bharati, have been functioning with inadequate human resources at senior levels too. There had been no Member-Finance for a long time and regular Director-Generals for DD and AIR are yet to be put in place.

    However, I also believe that with some change in mindset and additional revenue, which can accrue from infrastructure sharing with private sector players and better use of under-utilised existing infrastructure, Prasar Bharati can be more relevant as an organisation and to the Indian public.

    Q: Can you give an example of monopolistic era mindset that, probably, tries to be immune to technological advances?

    JS: (Smiles) During the first few years of my tenure nobody here understood what OTT (over the top) stood for and how it’s relevant to our services. Another example is that of adoption of MPEG-4 broadcast technology. It had been cleared one and a half years back, but procedural delays hampered quick adoption.

    Q: Now that we are talking about new technologies, what would your reaction be if digital terrestrial TV (DTT) is thrown open to private sector players by the government?

    JS:  Prasar Bharati approved DTT over a year back. We were told to come up with a plan but no base paper could be prepared as there was some resistance internally from certain quarters. And, Prasar Bharati is not afraid of private players’ entry into DTT… we are quite open to the idea. Rather we’d support any such move if the government some time allows private players in DTT.

    Q: What can Prasar Bharati gain by supporting private players’ entry in an arena that had been a monopoly of the pubcaster?

    JS: Changing with the times makes you relevant. Why should DTT be Prasar Bharati’s monopoly? By allowing others, Prasar Bharati can earn additional revenue as we can lease out our infrastructure to private players who, otherwise, would have to make huge investments in setting up infrastructure. Let a private sector (content) aggregator come forward with a business plan. DD, anyway, is investing on DTT infrastructure.

    Q: You earlier talked of bringing about transparency in Prasar Bharati. In what way do you feel the proposed e-auction system will be an improvement on the systems adopted until now to obtain content?

    JS: The proposed e-auction would be a completely transparent method and a step towards overall transparency in the organisation to acquire content for DD. It will also put the onus on the successful bidder to ensure good content.

    Q: But, before the current SFC system of self-financed commissioned programmes, DD had a system of sponsored programmes whereby good programmes where especially produced for DD. How is e-auction going to be an improvement over the sponsorship scheme?

    JS: That kind of system had led to monopolization… with a few big names dominating the entire prime time of the public broadcaster. Ultimately, the same big names from Bollywood made serials for Doordarshan and left little scope for fresh talent.

    In fact, I had initially faced internal resistance to the plan for e-auction of prime time slots too, and it took serious convincing on my part for the idea to sink in with others. DD has already announced that this is being done on an experimental basis and may be extended to its other channels if the scheme is accepted.

    I am confident that audience loyalty, national sentiment, and the vast reach of  Doordarshan would help to make the scheme a success.

    Q: You referred to giving a push to FreeDish, which is the country’s only free-to-air KU-band service. What are the plans and what would be the present subscriber base of FreeDish?

    JS: As the antennas are available in the market (at a nominal one-time price ranging between Rs 3,000-4,000) and no monthly subscription is paid, it is difficult to know how many television households have FreeDish. This audit will become easier when we complete the process of encryption of FreeDish while keeping it free to air.

    Exact figures may be difficult in our case as even the Telecom Regulatory Authority of India admits there is a gap between the number of active and registered subscribers of private DTH operators. But it is understood (from feedback from market and sale of antennas) that there are around 15 million households hooked to FreeDish.

    In recent times, FreeDish has got some very good response from private TV channels…many of them, including the big names, want to hop onto FreeDish’s platform for wider reach of their products. We have plans to increase the number of FTA television channels on the platform so a consumer gets more choice.

    Q: There were plans to upgrade FreeDish to MPEG 4 to increase its capacity to carry more signals. But there has been no report on the progress in this regard.

    JS: It is not possible to implement MPEG 4 and the new Indian Conditional Access System (iCAS) together at the same time. But the commitment of FreeDish is to reach the rural areas and also cover all the areas not reached so far by television.

    Q: After initial protests by Prasar Bharati, Broadcast Audience Research Council had begun to give rural data separately. Are you satisfied with the audience measurement system?

    JS: We at Prasar Bharati have had some issues with BARC, which we would prefer to raise directly with the organisation. But our understanding is that DD covers a large part of India via its terrestrial and satellite services.

    Q: Why is it that Prasar Bharati cannot function like BBC or other public service broadcasters in the world?

    JS: The move to greater professionalism is eventually bound to happen, but some hurdles have to be crossed including those relating to budgets.

    Public funding on the public broadcaster in India is just Rs 2,400 crore as compared to Rs 51,653 crore in Germany, Rs 39,800 crore in the United Kingdom, Rs 34,097 crore in Japan. The amount spent on Prasar Bharati was even lower than those spent on pubcasters in Canada, Australia, and Korea.

    The per capita funding in India on the pubcaster is only Rs 19 as compared to UK and Germany where it is approximately Rs 6,000 to Rs 7,000. Even Malaysia has a per capita funding of Rs 350.

    Q: What are the constraints on acquiring good content for Doordarshan? 

    JS: The expenditure on content in India is a mere six per cent as compared to 75 per cent by NHK in Japan and 71 per cent by the BBC.
     The Indian Government gives 62 per cent as compared to 100 per cent in Russia, 98.2 per cent in Malaysia, 97 per cent in Germany, and 83 per cent in the UK. So, this should answer your question.     

  • MPA forecasts Asia Pacific online video opportunity at US$35 billion by 2021

    MPA forecasts Asia Pacific online video opportunity at US$35 billion by 2021

    MUMBAI: According to a report by Media Partners Asia (MPA), Asia Pacific online video revenue is expected to reach US$35 billion by 2021, an average annual growth of 22 per cent from US$13 billion in 2016.

    China will remain the largest market, accounting for 76 per cent of Asia Pacific online video revenue by 2021. Japan, Australia, Korea and India will also be significant, in aggregate accounting for 17 per cent of regional online video revenue by 2021. 

    The report, entitled Asia Pacific Online Video Distribution, covers 14 markets, tracking the growth of advertising and subscription-based online video, as well as mobile and fixed broadband.

    Commenting on the report findings, MPA executive director Vivek Couto said, “The growth of broadband, combined with slow but progressive change in content licensing, is driving demand for online video services. However, the distribution of driver local content online is modest, especially outside of China, India and Korea. This is evident in Southeast Asia, where broadband penetration is growing rapidly but from a low base in most markets. Telecom operators in these markets are investing in broadband networks and integrating with online video platforms to help drive subscriptions. This allows online video operators to utilize carrier billing, overcoming market limitations in payment infrastructure. It’s a bet to drive online video consumption in the short term and ARPUs in the long term.”

    Online video advertising accounted for less than 15 per cent of Asia Pacific digital ad spend in 2015. This share will grow to 22 per cent by 2021. Online video ad sales will reach approximately US$22 billion by 2021 versus US$9 billion in 2016, a 19 per cent CAGR. China will represent more than 70 per cent of the online video advertising pie by 2021.

    In the online subscription video-on-demand (SVOD) segment, MPA expects total paying customers to grow from 177 million by 2016 to 360 million by 2021, with China contributing the majority. SVOD revenue will reach US$13 billion by 2021, a 28 per cent CAGR from US$3.7 billion in 2016.

    China will again contribute the majority, representing more than 80 per cent by 2021. The Southeast Asia SVOD opportunity will grow rapidly but from a low base, representing about US$200 million in revenue by 2021.

    Asia Pacific fixed broadband subs will reach 345 million in 2016, and grow to 425 million by 2021. Average broadband household penetration will grow from 35 per cent in 2016 to 41 percent in 2021. Mobile broadband will reach 79 per cent of the Asia Pacific population by 2021, versus 46 per cent in 2016.

  • MPA forecasts Asia Pacific online video opportunity at US$35 billion by 2021

    MPA forecasts Asia Pacific online video opportunity at US$35 billion by 2021

    MUMBAI: According to a report by Media Partners Asia (MPA), Asia Pacific online video revenue is expected to reach US$35 billion by 2021, an average annual growth of 22 per cent from US$13 billion in 2016.

    China will remain the largest market, accounting for 76 per cent of Asia Pacific online video revenue by 2021. Japan, Australia, Korea and India will also be significant, in aggregate accounting for 17 per cent of regional online video revenue by 2021. 

    The report, entitled Asia Pacific Online Video Distribution, covers 14 markets, tracking the growth of advertising and subscription-based online video, as well as mobile and fixed broadband.

    Commenting on the report findings, MPA executive director Vivek Couto said, “The growth of broadband, combined with slow but progressive change in content licensing, is driving demand for online video services. However, the distribution of driver local content online is modest, especially outside of China, India and Korea. This is evident in Southeast Asia, where broadband penetration is growing rapidly but from a low base in most markets. Telecom operators in these markets are investing in broadband networks and integrating with online video platforms to help drive subscriptions. This allows online video operators to utilize carrier billing, overcoming market limitations in payment infrastructure. It’s a bet to drive online video consumption in the short term and ARPUs in the long term.”

    Online video advertising accounted for less than 15 per cent of Asia Pacific digital ad spend in 2015. This share will grow to 22 per cent by 2021. Online video ad sales will reach approximately US$22 billion by 2021 versus US$9 billion in 2016, a 19 per cent CAGR. China will represent more than 70 per cent of the online video advertising pie by 2021.

    In the online subscription video-on-demand (SVOD) segment, MPA expects total paying customers to grow from 177 million by 2016 to 360 million by 2021, with China contributing the majority. SVOD revenue will reach US$13 billion by 2021, a 28 per cent CAGR from US$3.7 billion in 2016.

    China will again contribute the majority, representing more than 80 per cent by 2021. The Southeast Asia SVOD opportunity will grow rapidly but from a low base, representing about US$200 million in revenue by 2021.

    Asia Pacific fixed broadband subs will reach 345 million in 2016, and grow to 425 million by 2021. Average broadband household penetration will grow from 35 per cent in 2016 to 41 percent in 2021. Mobile broadband will reach 79 per cent of the Asia Pacific population by 2021, versus 46 per cent in 2016.

  • Indian advertising market to grow fastest at +10.7% in APAC: MPA

    Indian advertising market to grow fastest at +10.7% in APAC: MPA

    MUMBAI: The Indian advertising market is poised to grow fastest over the next five years in the Asia Pacific region at a rate of 10.7 per cent.

     

    According to report by Media Partners Asia (MPA), in spite of an overall slow rate of growth in advertising revenue in APAC at 5.3 per cent in 2015, India emerged as one of the fastest growing markets with a growth rate of 10.8 per cent. The report shows that India has taken over China, which stands at a growth of 8.5 per cent of advertising revenue, followed by Vietnam with 8.1 per cent.

     

    Over the next five years, after India, the fastest growing market in the APAC region will be China at 8.4 per cent followed by Indonesia at 8.2 per cent; the Philippines at 7.7 per cent, and Vietnam at 7.3 per cent.

     

    By 2020, China’s net advertising revenues will total more than $85 billion and Japan will remain the region’s second-largest ad market, followed by Australia, India, Korea and Indonesia.

     

    DIGITAL ADVERTISING TO OVERTAKE TV

     

    Staying in line with other industry predictions, MPA also foresees digital advertising taking over television advertising by 2017. Digital’s share of the advertising market in APAC is projected to overtake that of TV by 2017 and grow to 44.2 per cent by 2020 from 30.7 per cent in 2015. The biggest drivers will be Australia, China, Korea, Japan and Taiwan.

     

    Although the rapidly growing markets of India and Indonesia will also contribute, TV will continue to be the biggest ad medium in key markets such as India, Japan and Korea by 2020.

     

    Furthermore in Southeast Asia, TV will incrementally grow its share of advertising from 54 per cent in 2015 to 54.9 per cent by 2020, driven by the launch of digital terrestrial TV (DTT) in the Philippines and Thailand and a rebound in free-to-air (FTA) TV demand across Indonesia. In Asia Pacific, on average, MPA projects that TV’s share of total advertising will decline from 36.5 per cent in 2015 to 30.7 per cent by 2020.

     

    MPA projects an increase to 5.8 per cent growth in 2016 and a CAGR of 5.5 per cent for 2015-20, reflecting stable but more moderate economic growth across both mature and emerging markets.

  • 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!

  • TVF & AIB triumph at WebTV Asia awards

    TVF & AIB triumph at WebTV Asia awards

    MUMBAI: They are probably the most innovative of digital content creators in India. And they have a cult following nationally, which is to be seen. And both TheViralFever and All India Bakchod (AIB) received recognition for their content initiatives at the inaugural WebTVAsia Awards 2015, which took place on 23 October, 2015 night at the Sunway Pyramid Convention Center in Petaling Jaya, Malaysia.

     

    While TheViralFeverVideo channel took home India’s most popular online video channel, AIB’s take on ‘Alia Bhatt – Genius of the Year’ special pocketed the most popular India video award.

     

    The ceremony had a star-studded attendance from Asia’s best digital content creators. For the first time ever, the region’s online video stars were awarded several recognitions including top honours in The Most Popular Channel and Most Popular Video awards for each of the participating nation’s best, with top video contents in China, Hong Kong, India, Indonesia, Japan, Korea, Philippines, Singapore, Taiwan, Thailand, Vietnam and Malaysia.

     

    Eight more awards completed the first ever recognition for digital creators in Brand of the Year, Digital Campaign of the Year, Freaking Awesome Video of the Year, Channel of the Year, Song of the Year, Breakout Artiste of the Year and the Spirit of Mankind award.

     

    Below is the full list of 2015 WebTVAsia Awards winners:

     

    Malaysia’s Most Popular Channel: JINNYBOYTV

     

    Malaysia’s Most Popular Video: Namewee – High Pitched

     

    Korea’s Most Popular Channel: YD Gaming Channel

     

    Korea’s Most Popular Video: Awesome Haeun – Shake It

     

    Japan’s Most Popular Channel: Hikakin

     

    Indonesia’s Most Popular Channel: Lastday Production

     

    Indonesia’s Most Popular Video: LINE – Ada Apa Dengan Cinta

     

    India’s Most Popular Channel: THEVIRALFEVERVIDEOS

     

    India’s Most Popular Video: All Indian Bakchod – Alia Bhatt – Genius of the Year

     

    Vietnam’s Most Popular Channel: BB&BG Entertainment

     

    Vietnam’s Most Popular Video: DAMtv – Chau Hoan Cua Chong (Hoan Chau Cong Chua Parody) – Official

     

    Singapore’s Most Popular Channel: WAHBANANA

     

    Singapore’s Most Popular Video: Jian Hao – Past vs Present: Teenagers

     

    Hong Kong’s Most Popular Channel: GEMBLOG

     

    Hong Kong’s Most Popular Video: FHPRODUCTIONK – One Day

     

    Thailand’s Most Popular Channel: BIE THE SKA

     

    Thailand’s Most Popular Video: FEDFECLIP – Wanna Poop So Much

     

    Taiwan’s Most Popular Channel: HIM Music

     

    Taiwan’s Most Popular Video: TGOP – Classic Family Feud

     

    China’s Most Popular Channel: The Unexpected

     

    China’s Most Popular Video: Chopstick Brothers – Little Apple

     

    Philippines’s Most Popular Channel: Mikey Bustos

     

    Philippines’s Most Popular Video: Mikey Bustos – I Go to Palengke

     

    Brand of the Year: OPPO

     

    Freaking Awesome Video of the Year: Leona Chin & MaxmanTV – Fast & Furious Nerd Chocks Instructors

     

    Spirit of Mankind: ALS Viral Video

     

    Song of the Year: Chopstick Brothers – Little Apple

     

    Breakout Artiste of the Year: SNH48 / LADYBABY / REDPEOPLE

     

    Channel of the Year: CHINA HUNAN TV Official Channel

     

    Digital Campaign of the Year: YOUKU – Little Apple Campaign

  • Star CJ launches its M-Commerce Site

    Star CJ launches its M-Commerce Site

    MUMBAI: Star CJ Network India– India’s largest home shopping network launches its M-Commerce website, bringing its products and services to the consumer’s palm. This move has been taken to take advantage of the growing number of mobile internet users in India, which presently is estimated to be 120 million, much more than the users using internet on their computers (estimated at 100 million). The other major reason behind this step is the overwhelming success experienced by the Company for their mobile DM service, which was launched as a pre-requisite to this m-commerce website in June this year. The mobile DM service has been growing at an average month-on-month rate of 250%, fetching the company 55% of the total sales through internet as compared to 45% achieved from the e-commerce front. The Company informed that a special team from Korea was assigned to develop the M-commerce website of the Company, which is going live on 19 November 2014.
     
    The biggest differentiating factor for STAR CJ’s M-commerce website is the live access provided to the consumers buying products from distinct sellers on the platform to view STAR CJ alive on their mobile phones. This will also allow the consumers to view live demonstrations of the products, over and above their images and specifications. Placing an order would be easier than ever!
     
    Commenting on the launch of the new M-commerce site Star CJ Network CEO Kenny Shin says, “M-commerce has grown phenomenally in India due to rapid growth in the smartphone sector. STAR CJ looks at this platform as one of the greatest opportunities to penetrate further into the Indian market. The team has done an impressive job with the design, making it extremely easy for consumers to access and navigate through the website.”
     
    The website has been specifically designed for easy access and navigation on all types of mobile phones with internet. A direct link would be provided to the users, which will connect them to the STAR CJ call centre on a simple click. This will smoothen and simplify the purchase, freeing the consumers from the tedious online payment process. Special discounts would be offered to the early birds, celebrating Company’s presence on the m-commerce platform.