Since its entry into the Asia-Pacific region in 2010, THEMA, a Canal+ Group company, has consolidated its position as one of the key players in the audiovisual market. What started with just three channels has grown into a robust portfolio that exceeds 35 references, standing out for its adaptability and strategic alliances. At ATF 2024, THEMA reaffirmed its leadership announcing new initiatives that strengthen its influence in the Asian market and with an outstanding participation presenting a wide range of content, such as the drama series produced by Canal+ Myanmar and K+ (Vietnam), its sisters companies established in Asia also reunited under the Canal+ umbrella booth at ATF.

THEMA has forged significant alliances that broaden its reach and diversify its catalog. One of the most notable collaborations is with Globo, which has allowed it to add award-winning telenovelas and dramas to its portfolio, such as Justice: Misconduct, winner of the Seoul Drama Awards.

In addition, its recent partnership with VIU, the leading OTT video streaming service company in Southeast Asia, gives it exclusive access to VIU’s premium original productions in territories where VIU does not have operations. This agreement reinforces THEMA‘s ability to offer relevant products in a competitive market.

One of this end of year’s most notable achievements for THEMA is the recent launch of Mezzo, the dedicated offer to classical music, opera, jazz and dance, in the Chinese market through a partnership with Tencent Arts, one of the largest internet and technology companies in China, which has now started offering 100 Mezzo titles to its broad audiences. Alexandre Bac, managing director of THEMA APAC, expressed his enthusiasm for this achievement: ‘We are very excited to make MEZZO available in China for the first time with such a strategic partner as Tencent. This marks a new milestone in our presence in Asia and extends Mezzo’s reach in the region’.

In addition to its commitment to Mezzo, THEMA has strengthened its music offering with Stingray, a Canadian company specializing in music and karaoke. This catalog is available on digital platforms in the region, reinforcing the company’s versatility.

THEMA‘s participation in ATF 2024 was described as essential to its growth strategy in Asia. Bac noted that this market allows them to connect with key buyers and adjust their portfolio to emerging trends, such as the growing demand for non-linear content.

With a decade of presence at ATF, THEMA presented at this edition a consolidated and diversified offering, including linear, VOD and SVOD content, adapting to a landscape evolving towards digitization.

THEMA‘s steady growth and its ability to adapt to market dynamics are testimony to its strategic approach and innovative vision. With partnerships such as Tencent Arts and VIU, and projects such as Mezzo, the company continues to expand its presence and consolidate its relevance in the region.

THEMA not only connects cultures through entertainment, but also redefines how Asian audiences consume high-quality content, setting a path towards a future full of possibilities.

FF

La entrada THEMA: expansion, innovation and strategic partnerships in APAC se publicó primero en Prensario Zone.

Cyril Le Jeune, CEO of CANAL+ Myanmar, highlighted the challenges of adapting to a fragmented market, noting that ‘aggregation of content, more than necessary, and keeping good shape in terms of organization are critical amid the chaos’. He emphasized the growing importance of securing sponsors to offset declining traditional revenue streams, such as ScoopShare sales, and adapting to new forms of digital visibility, including AI and podcasts.

Justina Wojtowicz, EVP at Rive Gauche, addressed the financial constraints that have reshaped content production. ‘Ten to fifteen years ago, producers could secure budgets through commissions with major channels. That doesn’t exist anymore’, she explained. Wojtowicz described how integrating brands into documentaries or series can bridge budget gaps, allowing brands to gain ad space while content creators secure necessary funding. She noted that ‘brands are increasingly integrated organically, using data-driven insights to connect emotionally with audiences’.

Angeline Poh, Chief Customer & Corporate Development Officer at Mediacorp, underscored the dual mission of engaging Singaporean audiences while achieving commercial success. Mediacorp’s pivot to performance marketing has been a game-changer. ‘In 2020, we pioneered performance deals where advertisers only pay based on results’, said. This approach has driven customer retention and now accounts for 40% of Mediacorp’s total commercial revenue. She also pointed to the success of micro-dramas on platforms like TikTok, where storytelling integrates brand messaging seamlessly.

Kyle Ezra Goonting, SAVP of Astro Shaw, shared insights into integrating brands without compromising creative integrity. He highlighted a recent collaboration involving an iconic IP and a beverage company: ‘We didn’t just feature the product in scenes; we worked with the manufacturer to co-develop a branded product tied to the film’s characters. This created mutual benefits, allowing the brand to innovate while maintaining the story’s authenticity’.

La entrada ATF 2024: top programming commissioners embrace innovation se publicó primero en Prensario Zone.

‘We’ve gone from producing 30 drama series a year to over 100, and from making a few local films to delivering 30 films last year’, said Vesper. Among these are projects that garnered Academy Award nominations, showcasing Fremantle’s growing footprint in high-end storytelling.

Vesper emphasized that this expansion has required adaptability, particularly as the content market has fragmented. While Fremantle remains a key supplier to major platforms like Netflix and Amazon, he also noted that the emergence of new players like Roku and Tubi has diversified the landscape. ‘We’ve had to adjust to a more commercial structure and create content tailored for local platforms, which often have distinct restrictions’, explained.

The CEO also highlighted a significant shift in the industry: a renewed interest in feature films, even amid the rise of streaming. Vesper remarked, ‘a lot of content that might have been a movie 10 or 15 years ago became a series because of streaming, but that’s starting to reverse. Telling stories in the right format—whether as a movie or a TV show—is crucial, and financing a film is no harder than funding a series’.

However, navigating the market’s economic challenges has not been without difficulty. Vesper described how U.S. buyers have grown more selective, particularly regarding international talent, which complicates financing ambitious projects. He cited the example of Fremantle’s Scandinavian partner, Miso Film, whose budgets must now align more closely with marketplace expectations. ‘American buyers are less interested in talent that’s not immediately recognizable to their audience, so we’ve had to become more disciplined in how we build budgets’, he said.

Despite these challenges, Vesper remains optimistic about opportunities in Asia. This was his first time attending ATF, and he acknowledged the region’s diversity and vibrancy. ‘It’s a bit ridiculous to describe Asia as a unified market—it’s as different as the German and English markets in Europe. But the energy here is palpable, and the region is ahead of the curve in trends like youth content’, he concluded.

La entrada Fremantle eyes growth amid industry challenges and regional opportunities se publicó primero en Prensario Zone.

Classic anime revivals and milestones

• Tezuka Productions announced plans to commemorate the 100th anniversary of Osamu Tezuka in 2028. A new series inspired by Princess Mike, Japan’s first animated series featuring a female superhero, seeks collaborative partners to reimagine the iconic work.
• Toei Animation celebrated the 40th anniversary of Dragon Ball with a special video presentation.
• TMS Entertainment highlighted Lupin the Third’s new film, directed by Takashi Koike of Redline.

Drama and emotion-driven narratives

• Nippon TV presented a variety of drama formats, including Mother, which has been adapted in 11 versions worldwide, and Secret Makeover, a series with strong female leads investigating corporate mysteries.
• ABC Japan previewed Drama of Horrors, a romantic thriller set to premiere in January 2025, blending love, family secrets, and intrigue.
• Fuji Television Network introduced Where Does the Series Start?, a heartfelt drama exploring the struggles and love of parenthood.

Travel and culinary experiences

• ABS Asahi showcased Spectacular Scenic Railway Journey, a 15-year-running travel series featuring 4K visuals of Japan’s landscapes, cultural landmarks, and regional cuisine.
• Chukyo TV promoted Onsen Kurenai Delights, a food-centric drama that allows viewers to explore real Japanese restaurants featured in the series.

Unique and experimental formats

• Kansai TV revealed the format of Dasuna, a competitive show featuring unconventional challenges centered around contestants’ interactions with objects like trousers, blending humor and strategy.
• TBS introduced Kasso, a skateboarding entertainment format spotlighting high-speed competitions involving both local and international athletes.

Anime and cultural events

• MBS emphasized its legacy in anime production, detailing its annual MBS Anime Fest and citywide cultural celebrations such as the Hoshi Festival in Osaka.

Action and historical blends

• WOWOW unveiled a samurai zombie action film based on Aikido, featuring female ninjas combating the undead in a story inspired by Japan’s 17th-century samurai era.

Games and entertainment

• Yomiuri TV introduced The Tortoise and the Hare, a game and singing competition, while Yoshimoto showcased Chiko’s Challenge, a real doll challenge game with computer-animated elements.

La entrada Japanese content at ATF 2024: highlights from the networking lunch se publicó primero en Prensario Zone.

The Mediapro Studio presented trailers for Quiet, Tales from the VOD, and Celeste. These titles reflect the studio’s strategy of targeting diverse genres to appeal to international audiences.

Mediterráneo unveiled an extensive lineup, including Detective Romi, an eight-episode procedural about a private investigator with exceptional observational skills, set for release on Amazon Prime Video in 2025. Other featured titles included La Favorita, a culinary drama set in 19th-century Madrid, and a variety of series such as Punto Nemo, The Marquess, Wine Wizard, and Mountain Rescue Academy. Mediterráneo also highlighted Marvelous Things, a popular Spanish series adapted in over 20 territories, and I Know Who You Are.

Movistar Plus+ International showcased The New Years, a romantic drama exploring a decade-long relationship through annual New Year’s Eve moments. Launched on Movistar+ this year, the series has garnered attention for its innovative narrative structure, debuting at the Venice Film Festival and being the first Spanish title selected at the Tokyo Film Festival.

Onza Distribución emphasized its diverse catalogue of 7,000 hours of content, spanning fiction, documentaries, and miniseries. Key titles included Courtois (The Return of the Number One), a six-part series about a Real Madrid striker’s comeback, and Iberia & Savannah, a wildlife documentary comparing species in the Iberian Peninsula and African savannah.

RTVE, with over 50 years of production experience, presented Ena (La Reina Victoria Eugenia), a historical drama about Queen Victoria Eugenie, and Las Abogadas, a series centered on four female lawyers navigating Spain’s societal challenges in the 1970s. Additionally, RTVE highlighted its long-running success in soap operas, including La

Spain’s production companies continue to play a vital role in supplying global streaming platforms such as Netflix, Prime Video, and MAX with high-quality content. By blending local narratives with universal themes, these companies aim to strengthen their appeal to diverse audiences worldwide.

La entrada Spanish audiovisual industry showcased its seasonal lineup at ATF 2024. se publicó primero en Prensario Zone.

Kiat Howemphasized the APAC region’s position as a focal point for audiovisual production and consumption, supported by a collaborative network of countries and organizations. ‘Asia is not just a market but a creator of stories that resonate globally’, he remarked. 

Acknowledging the contributions of international organizations, such as Creative Europe Media, Innovate UK, and commissions from countries like China, South Korea, Japan, and India, the delegate highlighted the growing interconnectedness of global media ecosystems. 

Singapore’s expanding media ecosystem 
The executive pointed to the growth of the Singapore Media Festival, which now encompasses events like the Singapore International Film Festival, celebrating its 25th year, and Singapore Comic Con. These developments, he stated, ‘reflect advancements in technology and the increasing influence of global tech players like Samsung and Apple’. 

Highlighting the role of ATF as a platform for global collaboration, Kiat How noted, ‘in the past year alone, ATF facilitated deals worth over US$327 million, demonstrating its impact on the international media market’. He also underscored the participation of major global players like Disney, Netflix, and Viu as evidence of ATF’s status as a key forum for the industry. 

The minister also introduced initiatives like the Media Skills Framework, a roadmap that identifies 195 job roles across nine key areas. This framework supports emerging technologies, including virtual production and generative AI. Kiat How emphasized how Singapore-based studios, such as OxxInfinite and Oceanus Media Global, are leveraging these technologies to support international productions. 

Singapore’s media ecosystem, he argued, is built on a foundation of talent development and technological investment. ‘Our training programs and apprenticeships with international experts are preparing Singaporean creators to lead in the entertainment industry’, referencing successful individuals like Yen Wee and Muhammad Gufran Bin Muhammad Jasnis, whose work showcases the integration of advanced technology in storytelling. 

Singaporean filmmakers’ achievements on international stages, including Cannes and the Golden Horse Awards, further underscore the nation’s commitment to developing original stories that resonate globally. 

La entrada Singapore Sr Minister of Digital Development and Information on how is country’s commitment to media innovation se publicó primero en Prensario Zone.

The showcase opened with an overview by Michelle Lin from K7 Media, who moderated the session. Trailers for featured titles were screened, followed by detailed discussions with key producers and sales representatives. Among the highlighted dramas were Eye Love You from TBS and Where Does the Sea Begin from Fuji Television Network, both offering insights into the evolving trends in Japanese television.

Daiki Sai, creative producer at TBS, elaborated on the concept of “Eye Love You», a romance series blending Japanese and Korean cultural elements. ‘This project began in 2021 with the intent to appeal to both domestic and international audiences. Scenes were filmed in Malaysia, and the scripts were translated into Korean to facilitate cultural collaboration’, Sai explained. The series, which has gained traction on Netflix and other platforms in Asia, demonstrates the growing influence of cross-cultural storytelling.

Kei Uno, representing scripted formats at TBS, highlighted the series’ innovative approach, noting that Eye Love You incorporates elements like “magical girl” themes and boy-love romances. ‘It reflects a broader trend in Asian dramas, exploring intergenerational relationships and family dynamics’, said.

From Fuji Television Network, senior producer Ken Murase and assistant manager Yuri Akimoto presented Where Does the Sea Begin, a drama delving into themes of reconciliation, parental love, and personal growth. The story follows a man who discovers he has a daughter with his ex-boyfriend, prompting him to confront his past and embrace fatherhood. Murase described the series as ‘a profound exploration of family connections and the impact of unresolved histories’.

The lineup also included suspenseful narratives like Mind Investigator Akari Shinno from Yomiuri TV, family intrigue in Until I Destroyed My Husband’s Other Family from TV Tokyo, and culinary explorations in Unsung Culinary Delights from Chukyo TV. Other notable titles ranged from medical dramas like The Travel Nurse by TV Asahi to transformational stories in Secret Makeover by Nippon TV.

La entrada BEAJ showcases the evolving trends of Japanese television at ATF se publicó primero en Prensario Zone.

Fremantle relies on its extensive global network of production and post-production resources in locations such as Rome, Germany, Singapore, and North America to support its investments. Vesper highlighted the importance of leveraging these resources to maximize both the creative and commercial potential of projects.

The company is particularly drawn to narratives that balance strong storytelling with commercial viability, favoring genres such as thrillers, family dramas, and high-concept projects with exciting beginnings. ‘We’re drawn to stories that capture attention from the very beginning—projects with exciting elements that keep audiences hooked’, explained.

At the same time, Fremantle supports more artistic and auteur-driven films with smaller budgets. While these projects may lack immediate commercial appeal, they align with the company’s commitment to fostering diversity and originality.

Fremantle describes itself as a ‘modern studio’ that adapts to the changing needs of the market, talents, and trends in popular genres. Beyond commercial considerations, the company prioritizes character development and well-constructed plots. ‘Character development and a solid narrative structure are non-negotiable for us—they’re the backbone of any successful project’, said.

La entrada Local stories and global reach: Fremantle’s formula for success in Asia se publicó primero en Prensario Zone.

Min Ju Kim, License Business Part Lead at HYBE, showcased the company’s ventures beyond its music roots, emphasizing its expanding footprint in entertainment content. HYBE’s slate includes documentaries like RM: Right People, Wrong Place and Seventeen in Caratland, as well as experimental formats like the web drama Are You Sure? ‘We are committed to innovation in storytelling and are actively seeking international partnerships to bring our content to a global audience’, said Kim.

Ileana J. Sung, Global Contents Producer at MR. Romance, presented the adaptation Mary Kills People, a medical thriller exploring ethical dilemmas around euthanasia. Sung described it as a project aiming to balance heavy themes with romance and humor. ‘We’re working to make this the most impactful K-Drama of 2025, reflecting on morality while entertaining a global audience’, shared.

Tae-hoon Kang, Assistant Sales Manager at KBS Media, introduced Synchro U, a game show that fuses AI and music. The show challenges contestants to distinguish between real singers and AI-generated voices. Kang highlighted the global potential of the format, stating, ‘This isn’t just entertainment—it’s a glimpse into how AI is reshaping music and collaboration’.

Jiwan Lee, Manager at SLL Joongang Co., Ltd., detailed The Game of Queen Bee, a competitive reality show centered on leadership and strategy. ‘Through dramatic team dynamics and high-stakes decisions, we explore how power and influence play out in intense environments’, said Lee, underscoring the show’s appeal for both traditional streaming and mobile audiences.

InSoon Kim, EVP and Head of Content at Something Special, revealed Unforgettable Duet, a touching format that pairs Alzheimer’s patients with loved ones to perform songs tied to shared memories. ‘This is more than a show—it’s a celebration of love and the enduring power of music to bridge memory loss’, Kim explained, noting its universal resonance and planned 2025 launch.

Liz Yeegi Kang, Team Leader at STUDIO CR Inc., presented Park Your Prize (PYP), a lighthearted competition where participants navigate challenging terrains with mini-cars while completing timed tasks. She emphasized the format’s versatility, saying, ‘It’s designed to appeal to audiences worldwide, with great potential for brand partnerships’.

Finally, Whitney Kim, Sales Manager at Studio S, discussed Fortune Tellers Love, a reality show where professional fortune-tellers explore their own romantic destinies. The series achieved a 2.2% viewership rating in its second airing. ‘Though tailored to Korean audiences, its universal themes of love and fate make it relatable globally’, said Kim.

La entrada Korean content houses unveiled new shows at ATF 2024 se publicó primero en Prensario Zone.

‘Despite initial enthusiasm, the DTC model, popularized by services such as Disney+ and Apple TV+, has failed to meet expectations for growth and profitability, leading to investor hesitation and delays in expansion and production.

‘All the major streamers have adopted hybrid models with more affordable but ad-supported subscription levels. This is already the norm in key markets and is expected to grow significantly to balance subscription and advertising revenues.’

Gunnarson predicts a return to bundles, similar to cable TV, but adapted to the digital environment. This is intended to address the current fragmentation of the market.

By 2024, advertising will account for 60% of video revenues, including traditional TV, gaming and streaming. A greater shift towards advertising models is expected, especially streaming, as it is more cost-effective and flexible. The US leads in advertising spend, with 46% of the global market. In China, on the other hand, online TV advertising is already outpacing traditional TV advertising, setting a global trend’.

Gunnarson anticipates that, by 2025, there will be a reduction in global services from 6,200 to around 5,500, with a few players dominating. Models such as Amazon Channels or Apple TV+, which allow access to multiple services in one place, are gaining popularity. This could address consumer frustration with content fragmentation.

‘Instead of expanding globally, platforms like Disney+ and Max are prioritizing specific markets and local partnerships. This shift marks the end of the expansive US strategy in streaming.’

‘Services like Disney+ and Max are experimenting with live streaming of sporting events, anticipating growth in this sector.

Users tend to cancel and switch services frequently, reflecting low loyalty. Households currently have between two and four subscriptions, but hybrid bundles aim to encourage retention. Lack of integration between platforms remains a problem. The solution could be a system that centralizes all services, similar to cable TV.

‘In the medium term, services are experimenting with pricing to balance subscribers and advertising. This is expected to mature into standardization in the coming years. Factors such as inflation and recession could increase consumer tolerance for ad-supported models’.

La entrada OMDIA: hybrid models as a standard and the return of bundles but for digital players se publicó primero en Prensario Zone.

Smith highlighted the evolving nature of financing, pointing out that traditional reliance on banks is shifting toward partnerships with individuals, trades, and businesses. However, smaller territories and emerging markets in Asia face unique challenges. ‘Markets like Korea, Japan, China, and the U.S. have strong internal structures’, noted, ‘but smaller territories need to find ways to generate content with local value’.

He emphasized the cultural specificity of financing in Asia, where trust and personal relationships often carry more weight than formal contracts. ‘In Asia, a more organic approach based on human relationships prevails compared to Europe’s structured agreements’, he said. Smith also stressed the importance of adaptability in a rapidly transforming industry, encouraging collaboration to ensure smaller markets remain relevant in a global landscape dominated by major players.

Meanwhile, Read, whose firm Film Finances Australasia acts as a guarantor for productions, underlined the need for stronger financial frameworks in Asia. ‘In many regions, tax credits and other financial incentives are either underdeveloped or non-existent’, said. Film Finances provides producers with tools to navigate these challenges, ensuring projects are completed on time and within budget while protecting investors.

‘Producers need upfront funds to start the project, but investors only want to pay once the project is advanced’, Read also explained. By acting as a «trusted third party», Film Finances bridges this gap, guaranteeing necessary financing and ensuring liquidity for production teams. He pointed to countries like Germany and China as examples where tax credit systems have matured, though emerging markets like Australia and parts of Latin America still have much to learn.

From a legal perspective, Anwen Griffiths of BBC Film described the financial framework in the UK as a mix of public funding, tax incentives, and international partnerships. ‘Whoever brings in the most money, such as a debt funder based on future sales, often leads financial decisions’, Griffiths stated. She emphasized the importance of understanding local financing rules and setting clear expectations early in co-productions.

The pandemic, Griffiths added, forced productions ‘to adapt’, with many turning to hybrid financing models combining public and private funds. This has led to greater cooperation between entities, but it has also placed pressure on institutions like the BBC to balance creative ambitions with economic sustainability.

The exec also spoke to the importance of effective communication and collaboration. ‘Responsive conversations ensure that funding benefits both audiences and the industry’, added.

La entrada ATF 2024: Asia’s path to sustainable film financing se publicó primero en Prensario Zone.

Donovan Chan, Co-Founder of Beach House Pictures, reflected on his two decades in the industry, noting the shift in Hollywood’s approach to Asian content. While his early efforts faced limited interest, Chan now sees growing opportunities for authentic Asian stories to reach global audiences. Beach House Pictures has embraced partnerships with Hollywood talent, including Asian-American creatives, to adapt Asian narratives for Western viewers.

Chan emphasized the importance of cultural understanding and direct collaboration, urging international producers to set aside preconceived notions. He also stressed the need for original, cost-effective ideas tailored to platforms like Hulu and Netflix, rather than replicating past successes. For Chan, success lies in learning from mistakes, fostering mentorship, and maintaining open communication with partners.

Michelle K. Sugihara, Executive Director of CAPE, discussed the organization’s long-standing efforts to increase Asian representation in Hollywood. From the breakthrough success of Fresh Off the Boat to CAPE’s writing and directing programs, Sugihara highlighted how the industry has evolved. CAPE has supported writers who have gone on to contribute to major productions such as Grey’s Anatomy, House of the Dragon, and Pachinko.

However, Sugihara also pointed to a current industry contraction, with fewer projects in development compared to recent years. Despite this, she remains optimistic, underscoring CAPE’s commitment to building a sustainable ecosystem for Asian talent in Hollywood. International collaboration has also been a priority, with programs fostering exchanges between countries like Japan and the U.S., and ambitions to expand these initiatives to other nations.

Jaeson Ma, Chairman of EST Media Holdings, highlighted the pivotal moments that have cemented Asian content as a global force. He recounted how Crazy Rich Asians broke barriers by proving the universal appeal of a story centered on Asian characters. Similarly, global hits like Squid Game and Shogun have demonstrated the growing demand for Asian narratives on streaming platforms.

Ma also noted that Asia’s significant financial resources and government support have fueled this success. He cited South Korea as an example, where investments in culture have propelled K-pop, Parasite, and other content to international acclaim. Ma’s own ventures include co-productions with Saudi Arabia, such as K-Pops, which blends cultural elements from multiple regions to create diverse, globally relevant stories.

The panel underscored how shifting mindsets and increased openness to cross-border storytelling are shaping the future of content creation. While challenges like cultural differences and industry contraction remain, opportunities for collaboration, innovation, and representation continue to expand. As Asia and Hollywood deepen their partnership, the boundaries of global storytelling are disappearing, creating space for narratives that resonate across cultures and markets.

La entrada Asia meets Hollywood: how Asian stories are reshaping content landscape se publicó primero en Prensario Zone.

The session “IMAX: Expanding Horizons in Premium Entertainment & Global Cinema”, during the first day of ATF 2024, showed how is the company’s strategic opportunities in the premium entertainment landscape.

The brandhighlighted its streaming optimization technology, which seeks to make this format more profitable without compromising quality or original creative vision. In addition, the expansion of the brand into new markets through IMAX Enhanced content and certified devices was discussed. Recently, the company delivered an innovative live broadcast of the NBA Finals in IMAX theaters in Taiwan and Hong Kong, taking sports excitement to a new level.

Vikram Arumilli, GM & SVP of Streaming and Consumer Technology at IMAX, explained: ‘one of the keys of our innovation is VisionScience, a technology that we acquired through the startup StimWave. This technology maps human vision to an algorithm, allowing the quality of content to be evaluated in real time without the need for a reference, which optimizes image quality and the viewer’s experience’.

At the same time, the exec highlighted the impact of this technology in optimizing content for streaming services. ‘With StreamAware and StreamSmart, IMAX enables streaming services to adjust image quality according to the needs of the content, ensuring that the trade-off between quality and delivery costs is as efficient as possible’.

IMAX is also innovating in the transmission of live events in IMAX theaters. Using high-quality hardware connections in more than 250 theaters worldwide,the brand has brought events such as the NBA and eSports to the big screen, enhancing the experience in venues that might otherwise be empty during the week.

La entrada ATF 2024: IMAX shows how it is innovating into streaming and premium content se publicó primero en Prensario Zone.

Por otro lado, la empresa de Liliam Hernández y Gema López contó con un stand en un lugar estratégico: en la entrada del hall de ventas, el único ubicado en ese lugar. La locación le permitía ser punto de encuentro de buyers y sellers, cuando entraban y salían de las reuniones uno x uno armadas por la plataforma de meetings.

En los últimos años siempre Universal Cinergia ha sido la única empresa con stand en ese lugar, siguiendo una diferenciación que ya este año se notó cuando en Content Americas, organizó la Turkish Gala, una glamorosa fiesta que reunió a todos los distribuidores turcos con presencia en América Latina. Aún está vivo el recuerdo de la misma.

A nivel de servicios, ha inaugurado o extendido varios estudios de producción en los últimos años, destacándose en particular los de La Florida, México y España, pero también en Francia y otros países.

La entrada Universal Cinergia, siempre haciéndose notar se publicó primero en Prensario Zone.

What happened at Mipcom? There were two main takeaways: first, while the industry is moving forward with digital advancements, there is a surprising return to traditional formulas, creating a sort of ‘Back to the Future’ dynamic that requires a constant shift between past and future. Second, central markets are experiencing a downturn, while emerging markets are gaining momentum. This shift has particularly benefited Asian players—especially Japan and Korea— as well as regions like CEE, MENA and Latin America.

In one of our daily reports from Mipcom, we questioned whether a “bizarre market” is being created, with weird trends. Let’s examine these two main takeaways and explore where opportunities are for Asia, and particularly for APAC, including distribution, production, services, broadcasting and platforms.

A dual temporal face 

The future-past dynamic is essentially two interconnected processes: first, a progressive and rapid evolution toward digital, with social media, on-demand, live streaming and now artificial intelligence (AI) as cornerstones. In the second process, there’s a return to traditional basics to secure business stability: procedurals, the resurgence of free-to-air TV, a shift back to advertising versus subscriptions, and a return to major international distribution over OTT exclusivity.

Moreover, entertainment formats are seeing guaranteed success making remakes of the big classics, and at these times of budget constraints, old successful series are frequently chosen because they don’t need promotion to be watched. The returns to advertising and international distribution have profoundly reshaped the business, almost as if we were back in previous times. This is why now is needed to shift between past and future, intending to achieve a “timeless” approach that can serve both ends of the spectrum.

The Rise of Emerging Markets

Today, the four most prominent content-producing countries are in crisis, experiencing project cuts, rising costs, and layoffs. The United States is grappling with the writers’ strike, which has halted many projects; the United Kingdom is facing the repercussions of Brexit and inflation; France and Germany are encountering social issues, with Germany even facing economic challenges for the first time in a long while. How are leading companies addressing this? By expanding into emerging markets in search of financial support or fresh energy.

Since the pandemic, most studios, format giants and platforms in the United States and Western Europe have been facing a systematic recession and reduction. In contrast, companies from emerging nations have mastered creating fresh content with fewer resources, lower costs, and smaller teams. Central markets, which once looked down on them, now have to learn from and follow their ‘lead’.

The “bizarre” market and its weird trends

This interplay between future-past dynamics and central-emerging power shifts is disrupting many long-held industry norms. In Europe, for instance, some fiction projects are turning into docu-fictions, with up to 60% real sequences to reduce costs. Consider also the Japanese format ‘LOL: Last One Laughing,’ which has achieved unique global success despite lacking a “bible” due to its simplicity and adaptability. Yoshimoto Kyogo and Prime Video have already made 20 adaptations of the format worldwide.

The rise of emerging markets is also changing series length. Recently, shorter series were on the rise, but now, the emerging world, representing two-thirds of the global market, prefers longer horizontal (daily) series over weekly episodic vertical formats. This shift benefits Turkish, Korean and Latin American distributors with long series (40 episodes and up), while UK and French distributors of shorter series sell less. Longer series better amortize per-episode costs, drawing in audiences with engaging narratives.

Asian players: repositioning together

Asia encompasses several distinct markets. Japan and South Korea resemble European markets, standing out in “out-of-the-box” entertainment formats. Korea has also become a leader in dramas, enjoying widespread success globally and currently undergoing further expansion. India, once known as a Bollywood powerhouse, is experiencing a production boom with higher quality standards, while countries like Indonesia, the Philippines and Thailand are showing production strength but still seek recognition for meeting production standards.

Malaysia and Singapore, the host of ATF, have become significant production hubs for the region, working with global partners. They now serve as entry and exit points for the Asian business scene. China, the giant, is gradually expanding its international ties. Both Chinese companies and global giants are learning how to operate effectively together. It’s a challenging endeavor, but progress is underway.

The good news is that Asian products have significantly evolved, with less reason to envy central markets. There are impressive developments in both fiction and entertainment across a wide variety of genres, allowing Asian content to enter even very demanding markets. The surge in Korean dramas is the most notable example, but international markets are now more open to Asian products, with many more doors open than before.

This new situation offers greater flexibility and potential for Asian companies. Naturally, the crisis in central markets won’t last forever, and they remain the leaders. However, these are times of increased alliances, greater potential at each commercial link, and opportunities to produce faster and more cost-effectively. Making wise decisions now means accessing more markets, focusing on quality while others scale back, and identifying opportunities through collaboration with partners.

All of these can start to take shape at this ATF edition, where many foreign companies come to do business with Asia and APAC. This is a time for mutually beneficial discussions, receiving while also proposing, and exploring new business spaces. The world is different now, more welcoming and flexible for those without pedigree. Management is key now. Let’s move forward…

Nicolás Smirnoff

La entrada ATF 2024: a new opportunity for Asia? se publicó primero en Prensario Zone.

The greatest new thing is Artificial Intelligence (AI). This concept is the evolution of others at the IT industry (Business Intelligence, BigData, Machine Learning) and means to include robotic processing capacity to former applications. It has been existing for decades, of course. What has changed this time? Two punctual but strong big tips: AI has evolved to Generative AI, which means that it does not only process and respond, but also creates and proposes proactively. And the popular ‘Chat GPT’, the most expanded of the Gen AI releases, has made technology reach the masses, used from solving school information to enrich work routines.

How Gen AI/Chat GPT can influence content business? At all. Already nowadays: the intelligence of the SVOD-AVOD apps, to select better and faster the program options for every user, or to work better based on the performance of the products, highlighting the ones that attract more. For the broadcasters and any media company, to give daily solutions to daily challenges: to interpretate rating figures proposing certain programs or genres to have more success, to improve marketing campaigns, etc. Gen IA not only answers, but also proposes and automates actions.

What can Gen AI generate for the content future? Let your imagination fly. AI is the new big tech revolution after Internet/Cloud one. Internet, as we know, generated the big SVOD digital platforms (among many other issues) that have changed deeply the content industry. What disruption is coming with the IA revolution? As big things, we imagine for instance ‘individual VODs’, with no platforms, just users selecting all the contents from a big virtual warehouse, decided automatically or by request. Or a movie/series with different ends, that according with user profile, AI chooses automatically. 

But AI is not the only big new thing to face. There many new ingredients on the content bowl that most of the industry don’t still get involved.  For instance, aggregators, that are still appearing internationally, but can be the first big change to come. With so many platforms and contents, ‘super aggregators’ (usually telcos or big Pay TV operators turned to AVOD platforms) can play a leading role to simplify the access to the top content. 

At least, they are hubs to all main platforms, but also, they are generating bundles with top SVODs, mixing their offering per a special flat fee. In the US domestic market, users can pay 7-9-12 dollars per Netflix, Amazon, Disney+, Max, and 6-10 dollars for an aggregator combining the four. Which has the best mixture from dozens of options, wins. 

Also, you have Branded content and Digital advertising, that every content member knows what they are, but doesn’t deploy. Branded content is one of the best ways to afford new productions, if you have relationship with the agencies that make the connection between content producers and brands or stars managers. Digital advertising means to get involved into the processes that define advertising nowadays by big brands with their agencies. There, usually, it is better to have good relationships than a good product. There are so many contents and screens to choose, that the agencies make up big packages of media guided mainly by sure audiences to target. So, brands and audiences rule the new digital media environment, more than content. 

Even, we have the AVOD platforms and FAST channels, that though we already find at the industry lots of solution providers, both technology and content, for most of the traditional content members (programming managers, etc.) those segments are far and away. Monetization is the key of course, how to reach it, but even the big SVODs have not the issue solved. There are a lot to do to make SVOD, AVOD, FAST segments mature and profitable.

Nicolás Smirnoff

La entrada Artificial Intelligence, the sure future of content business se publicó primero en Prensario Zone.

This year the LA Screenings, the event where the Hollywood studios launch their new films and new season series to 1500 worldwide buyers (in Los Angeles, USA, every May) was relatively quiet in terms of back to distribution announcements. Though, it was more important what they implied, than what they said. Disney, the icon of OTT exclusivity, for the first time since the launch of Disney+, threw a party for buyers and restored the importance of distribution, signaling a shift back to more traditional business models. During their screenings, the message was clear: “Our content moves through windows from platforms to Pay TV and free TV,” as if this had always been the plan.

Paramount emphasized that top series like Kevin Costner’s Yellowstone and Harrison Ford’s 1923 were being moved from Paramount+ exclusivity to wider distribution. Amazon MGM, meanwhile, continued increasing the number of Amazon Originals available for distribution. Now after Mipcom 2024, the studio has almost 100 titles —half movies, half series— vs. 16 in May 2023, 32 last October and about 60 in May 2024.

Warner Bros. Discovery (WBD) is the other OTT exclusivity flag. From its 4 big labels —HBO, Turner, WarnerBros and Discovery— the HBO/Max Originals, both films and series, are the only lines closed to other distributions, just for punctual exceptions as the deal WBD made with Netflix in 2023. The Theatrical releases have 15 months of Max windows and the big rest, thousands of hours, are virtually open to anybody. Now the studio is pushing great classic series as The Big Bang Theory, Two and a half men, etc, to other platforms, even the hit Friends is offered for pay or free TV, as much as new big screen hits every year, mainly to free TV, as Barbie and Wonka for 2025.

Disney at Mipcom 2024 made a strategical big move, that was not commented on the mainstream.  For the first time opened Disney Junior original branded content, that is usually emitted in its pay TV channels, with preschool focus: The Mickey Mouse house, Marvel Spidey, Minnie’s bow-toons, etc. The studio also continues opening Theatrical blockbusters to distribution, usually in 12 films slates, mixing recent successes as Cruella with animated classics as Moana, etc. 

The Disney Junior change is important because so far, there was a strict policy that the iconic branded content was just for Disney+, while the no branded product —former Star+, regional biopics, etc.— is for sure available to distribution, after 9 months windows. Now also this is changing. The strategy could continue with original branded product per region with global success that so far was not offered to third parties, as for instance Latin teen hits as Violetta or Luna, to be sold by the EMEA and APAC sales divisions to their regions. Let’s see if this happens, but the opening road is set up and broadening.

Nicolás Smirnoff 

La entrada Windows: more openings in major international distribution se publicó primero en Prensario Zone.

Market leaders: India and Korea

India and Korea dominated content spending, contributing 80% of the total investment. While Korea remains a mature market with flat growth driven by streaming and film, India’s relatively low TV penetration (52% of households) positions it for robust growth across all content verticals. MPA projects India will surpass Korea in total investment by 2026, driven largely by its sports programming and burgeoning streaming sector.

The report forecasts a compound annual growth rate (CAGR) of 2.7%, with total investment reaching $17.2 billion by 2028. Streaming is expected to gain significant ground, increasing its share from 26% in 2023 to 33% by 2028, while TV’s share is projected to decline from 64% to just over 50%.

Stephen Laslocky, Vice President at MPA, highlighted these trends: ‘Korean content continues to lead with world-class production values and compelling storytelling. However, the rise of streaming has elevated production quality in markets like Thailand and Indonesia, with Thai titles gaining traction across Asia’. He also noted a divergence in strategies, with streamers adopting more disciplined budgeting approaches while traditional TV producers face margin contractions.

Trends in online video consumption and theatrical distribution

YouTube remains the dominant platform in the surveyed markets, with over a billion monthly active users, including 732 million in India. TikTok is emerging as a formidable competitor, particularly in Southeast Asia, boasting 211 million monthly active users across Indonesia, Malaysia, the Philippines, and Thailand. In the premium VOD space, Netflix maintains a commanding lead in most markets, capturing 40-70% of viewership in Korea, Indonesia, Malaysia, and the Philippines. However, it faces stiff competition in India from Disney+ Hotstar and Jio Cinema, as well as from local platforms like Indonesia’s Vidio and regional players such as Viu, which leverage Korean content to bolster their appeal.

The theatrical sector is still in recovery mode, hindered by superhero franchise fatigue and the impact of Hollywood strikes. India, however, has already surpassed its 2019 box office revenues. Other markets, excluding Korea, are expected to recover between 2025 and 2028. A notable shift in film distribution is the adoption of revenue-sharing models for internationally appealing titles, presenting opportunities for Korean and Thai producers.

As APAC’s content ecosystem evolves, adaptability and strategic investment remain paramount. Laslocky remarked, ‘The content today with the most proven travelability includes Korean dramas, Japanese anime, and select Thai and Chinese titles. Prioritizing content relevant to local audiences while balancing global appeal is key to success in this dynamic region’, concluded the exec

The report underscores the interplay between traditional and emerging platforms and changing consumer behaviors, offering valuable insights for stakeholders aiming to navigate the region’s rapidly shifting media landscape.

La entrada APAC: content Investments shift towards streaming and regional growth se publicó primero en Prensario Zone.

CTV allows advertisers to deliver highly targeted content across various platforms and devices. Unlike traditional broadcast TV, where ad placements are based on the aired content, CTV offers the precision of digital targeting, enabling media buyers to select specific audiences based on their interests and preferences.

This evolution has significantly impacted traditional TV ad spending in the Asia-Pacific (APAC) region, which has decreased markedly since 2020 and is projected to decline further. In 2024, traditional TV ad spending stands at $51.98 billion. Concurrently, nearly half of global video impression shares now come from CTV, with its market value expected to reach $113 billion within the next two years. Between 2022 and 2023, there was a 15% year-over-year increase in open programmatic ad spending in the first quarter.

Connected devices have grown to the extent that they can now fill entire living rooms with high-definition content, facilitating communal viewing through CTV. With streaming giants like Netflix and Amazon Prime Video introducing ad-supported subscriptions, the advertising opportunities are immense.

CTV not only replicates the reach of traditional TV advertising but also boasts a higher engagement rate, facilitating better media planning, optimization, and return on investment (ROI). According to a Google survey, around 37% of solo viewers and 71% of co-viewers experienced an emotional response to CTV ads. Further research indicates that 40% of APAC viewers have downloaded a mobile app after watching a CTV ad, and 57% are more likely to do so via a QR code during the ad.

For brand marketers in APAC, CTV is particularly advantageous due to the region’s high smartphone penetration. CTV’s ability to function across both mobile and smart TVs allows for contextual targeting of new and existing audiences and measurement across multiple devices.

Effective measurement is crucial for assessing an ad’s impact. Unlike traditional TV, CTV provides clear data on key metrics, such as viewership numbers, viewing duration, and engagement. This data-driven approach enables advertisers to allocate their budgets strategically, ensuring that high-quality ads reach the right audiences at optimal times.

To maximize CTV’s potential, it is essential to target the right audience with relevant content. First-party data is a critical starting point for customizing CTV advertising strategies to reach customers efficiently. Advanced technology allows advertisers to identify high-value customers and similar audiences, grouping them for targeted messaging through a single template to maintain consistency.

As third-party cookies are phased out and privacy regulations become stricter, transparency and opt-out options are increasingly important. Technologies like Crimtan’s cookieless solutions use deterministic, probabilistic, and signal data to reach broad audiences with consent, analyze first-party data, identify targeting signals, and implement retargeting tactics.

CTV represents a significant evolution, bridging traditional media with the digital age and offering marketers a powerful tool for precise, personalized campaigns. Platforms like Crimtan’s ArchiTECH provide omnichannel capabilities, integrating CTV ads with other channels for streamlined campaign management, enhanced visibility, and compliance with global legislation. This enables efficient budget utilization, prevents ad fatigue, and ensures precise targeting of existing buyers.

La entrada The rise of CTV in APAC: a new era of viewing habits and opportunities for advertisers se publicó primero en Prensario Zone.

GMA Network is still the highest-ranking media company in Southeast Asia, surpassing 4.3 billion views across Facebook, TikTok, and YouTube in October, based on data from Tubular Labs, a global video measurement and analytics platform. 

The Network’s official online platforms tallied 1,726,049,533 video views on Facebook, 1,808,256,775 on TikTok, and 815,085,705 on YouTube for a total of 4,349,392,013 video views, outperforming ABS-CBN‘s 3,486,657,753 total video views. 

Year-to-date data (as of October 31) across all creator properties shows GMA Network leading with a staggering 35,973,211,073 views across Facebook, TikTok, and YouTube, surpassing ABS-CBN‘s 30,646,855,335. 

GMA Network climbed to the 19th spot in the Tubular Leaderboard Worldwide Rankings under the Entertainment and Media Category for October, improving from the 20th spot in September. ABS-CBN, on the other hand, was ranked 22nd in October.

GMA Network‘s dominance across creator properties in October is a testament to its commitment to producing high-quality content that engages audiences.  

La entrada GMA Network surpasses 4 billion views in October, strengthens digital leadership se publicó primero en Prensario Zone.

ZEE5 Global, the world’s leading streaming platform for South Asian content, is ready to deliver a dose of laughter and love with its upcoming original romcom series, Divorce Ke Liye Kuch Bhi Karega. Directed by Ankush Bhatt and produced by Shobhna Desai Productions in collaboration with Zee Studios, the show promises a roller-coaster of emotions and comedic misadventures. Launching exclusively on ZEE5 Global on November 29, the series stars Abigail Pande and Rishab Chadha in lead roles, bringing a fresh twist to the romantic comedy genre.

The trailer, recently released to an enthusiastic audience, offers a glimpse into a hilariously tangled narrative. The story follows Nikki (played by Abigail Pande) and Ashu (portrayed by Rishab Chadha), two journalists with clashing personalities and contrasting life philosophies. Assigned to investigate a suspected marriage scam in court, the duo dives undercover by participating in what they assume is a sham marriage registration. However, the mission takes a dramatic turn when they discover that their “fake marriage” is legally binding!

What ensues is a whirlwind of comedic chaos as the unlikely pair navigate the highs and lows of their unexpected marital status while continuing their investigation. From humorous misunderstandings to heartfelt moments, the series explores themes of family, work-life balance, and the unpredictability of love, making it an appealing watch for a wide audience.

Director Ankush Bhatt shared his excitement about the project, stating, ‘It feels incredible to bring Divorce Ke Liye Kuch Bhi Karega to life. My vision for this series was to showcase a beautiful story of unexpected love. I believe this series will resonate with audiences, reminding them that love often finds you when you least expect it’.

Actress Abigail Pande expressed her enthusiasm as well: ‘The storyline is a delightful mix of comedy and unexpected twists, and I’ve loved exploring my character’s journey. Working with such a talented cast has been an incredible experience, and I can’t wait for audiences to join us on this roller coaster ride packed with humor and heartfelt moments’.

Rishab Chadha, who plays Ashu, described his role as “an unpredictable treat”. He added, ‘Our story puts a fresh spin on the classic romcom, serving up banter, surprises, and heart in equal measure. I’m thrilled to be part of this chaotic, hilarious journey and can’t wait for viewers to experience the giggles, gasps, and feels we’ve packed into this series’.

With its unique premise, sharp humor, and a stellar cast, Divorce Ke Liye Kuch Bhi Karega promises to be a refreshing addition to the romcom genre. Make sure to catch this laugh-out-loud journey of love, confusion, and self-discovery on ZEE5 Global starting November 29.

La entrada ZEE5 Global unveils a hilarious spin on love and marriage se publicó primero en Prensario Zone.

The AAS brought together renowned international animation channels and streaming platforms, such as Netflix, Warner Bros., Discovery Kids APAC, and BBC Children. Over three days, industry leaders, creators, and investors from around the globe gathered to discuss the latest trends, share insights, and explore potential partnerships.

TAICCA, a key player in promoting Taiwan’s creative industries, has been instrumental in elevating the country’s animation sector. Through various initiatives, including talent cultivation, content incubation, and international co-production support, TAICCA has empowered Taiwanese animation studios to compete on the global stage.

A highlight of the AAS was the investor pitch sessions, where 13 projects from Taiwan, Japan, Thailand, Australia, and India were showcased. Five Taiwanese projects, including Coby & Jack, Aero Ace, Titi & Roro, Galaxy Wonders, and Pillow Pals, received particular attention from international buyers and industry experts. Notably, Titi & Roro won the Audience Choice Award for Most Popular and will be featured on the Kidscreen website.

Industry forums featured insightful discussions from leading experts, including Libbie Doherty, Co-CEO of Run Wild Media, and David Kleeman, Senior Vice President of Global Trends at Dubit. They emphasized the importance of understanding the evolving media landscape, connecting with audiences emotionally, and leveraging emerging technologies like AI to create engaging and impactful content.

La entrada AAS boosted Taiwan’s animation industry onto the global stage se publicó primero en Prensario Zone.

Cottonwood Media has established itself as one of the leading companies in the production of high-quality children’s content. Since its creation as part of the Federation Studios group, this French production company has built a diverse catalog that combines animation and live action, seeking unique niches in an increasingly competitive market.

Cottonwood Media began its journey with animated projects, an area in which David Michel has a distinguished track record as co-creator of Totally Spies, a particularly successful global phenomenon in Latin America. However, the real breakthrough came with the diversification into children’s live action, a genre where they managed to establish a style of their own.

The Find Me in Paris series marked a turning point for the company, positioning itself as a global benchmark in the genre. Michel points out that this type of productions tends to be scarce due to their high costs and complexity: ‘We created a niche of premium live-action for children, something that few do. In Canadaand Australia there are some cases, but there is not a large global offer’.

This was followed by the Find Me in Paris reboot Spellbound, which continued the commitment to innovative stories and high production values. Now, his next big project announced a couple of months ago The Lady Grace Mysteries promises to be even more ambitious: a period series set during the reign of Elizabeth I that mixes espionage and adventure. With filming scheduled to begin in spring 2025, the production, filmed on real locations in England, seeks to captivate children’s audiences with a style that Michel describes as “Bridgerton for kids”.

In the field of animation, Cottonwood Media continues to invest in unique projects. Its most recent foray, 20 Dance Street, is an example of this strategy. The CGI series combines elements of drama and self-improvement, telling the story of Maya, a young Caribbean girl who faces the challenges of being admitted to the demanding Paris Opera Ballet School.

With a blend of realism and emotionality, 20 Dance Street uses motion-capture technology to create ultra-realistic dance scenes, an innovation that raises the standard for animated children’s productions. In addition, the series addresses universal themes such as resilience, friendship and love, ensuring its relevance and connection with international audiences.

Michel explains that the choice of unconventional storylines has been key to its success: ‘We didn’t want to do another dinosaur show or generic adventures. 20 Dance Street is an “animated novella” for children that reflects our desire to offer something different’.

Latin America figures prominently in Cottonwood Media‘s plans. According to Jeromine Ader de La Villadiere, the region is a strategic market where they already collaborate with global platforms such as Netflix, Disney and HBO Max, in addition to local partners in Brazil and other countries. Ader anticipates that this expansion will continue in 2025 with the launch of new projects and seasons.

Among them, the fifth season of Simon Super Rabbit produced by GO-N Productions (who operate independently and are part of Federation Studios group of businesses) and one of the studio’s most popular IPs stands out. Based on the books by Stephanie Blake, this preschool series about a super energetic and mischievous little rabbit who exudes all the vitality of childhood has managed to conquer millions of children in more than 150 territories and is preparing for a new chapter in its successful trajectory. With its protagonist now a superhero, the series promises to continue to grow as an iconic brand in the children’s market.

Looking ahead to 2025, Cottonwood Media continues to explore new creative territories. In addition to expanding its existing franchises, the company is looking to strengthen its presence in key markets and consolidate its reputation as a benchmark for high-quality children’s content. Michel reflects on the current market challenges: ‘The landscape is challenging, but we believe in finding niches and telling stories that resonate with audiences. Our goal is always to raise the standard, whether in animation or live action’.

With productions that combine unique narratives, universal values and high production standards, Cottonwood Media is positioned as a key player in global children’s entertainment. Its ability to reinvent itself and offer innovative proposals promises to continue setting trends in the years to come.

La entrada Cottonwood Media: Innovation in content that crosses borders se publicó primero en Prensario Zone.

Hard on the heels of a highly successful MIPCOM, kids and family entertainment venture Toon2Tango, a LEONINE Animation Studios company, is maintaining the positive momentum established at Europe’s leading entertainment content market with its first-ever appearance at the Asia TV Forum & Market (ATF) in Singapore from 3-6 December.

Visitors to stand K22 at the show, taking place at the Marina Bay Sands, can hear more about an impressive roster of existing and imminent Toon2Tango hits as co-producer or distributor that includes Agent 203, Monster Loving Maniacs(second seasons for both of which are now in preparation), Dinomite & Lucy, The Wee Littles, Hey Fuzzy YellowandPocats. They can also find out more about a big co-production deal that’s just been announced for Paluten Freedom, an animated film for the whole family.

InAgent 203, one of Toon2Tango’s biggest hits to date, you are invited to meet Zoe Stranek and share her surprise when she finds out her dad used to be a secret agent protecting our planet against alien invasions! Together with her new alien bestie Ulav and her best friends Quigley and Rock, she follows in his footsteps, protecting our planet from General Gore, the ultimate badass alien, hoping to find out what happened to her father.

A 26 x 22’ CGI adventure comedy and the world’s first Spy-Fi show, primarily targeted at girls aged 6-10, Agent 203 is a co-production between Toon2Tango, Mondo TV and Cosmos Maya Animation distributed by Toon2Tango and Mondo TV. Season one, commissioned by leading broadcaster SUPER RTL of Germany, has already sold to over 100 countries.

The clever, original and very funny kids’ animation Monster Loving Maniacs, a 52 x 11’ 2D comedy for 6-10-year-olds, is about three siblings trained as monster hunters by their tough old grandfather. There’s just one problem: these kids are massive horror fans. So they find a way to save the monsters.

The show, commissioned by leading broadcasters SUPER RTL of Germany and DR of Denmark, is a ratings success internationally: in the UK it has ranked consistently among CBBC’s top shows and is now available in over 150 countries.

Monster Loving Maniacs is produced by Ja Film and co-produced by Mondo TV, Belvision and Ginger Pictures and distributed by Toon2Tango and Mondo TV.

With pre-schoolers in mind – and offering an appeal to children across all cultures – comes The Wee Littles, the new 46 x 5’ animation for 3-6-year-olds, commissioned by Ireland’s public broadcaster RTE and produced by MagPie6Media in a unique style: simulated stop-motion animation using puppets made by leading puppet-making studio Mackinnon & Sunders. 

The Wee Littles is about a family of four very small creatures – Mum, Dad, Bitsy and Itsy – living in a great big forest world and working together figuring out how to overcome life’s little obstacles – like raindrops the size of your head! – with imagination, positive support and humour. After a strong response from broadcasters, Toon2Tango and Mondo TV are jointly distributing the show internationally.

Fully available next year – and already showing in Ireland – and with a lot of industry buzz behind it, is Hey Fuzzy Yellow (52 x 11’), a fresh, highly original 2D animated series for kids aged 3-5, with unpredictable comedy and an entertaining, magazine-style format which supports early education concepts. This is a spirited, very amusing new spin on childhood edutainment with a focus on thinking and self-expression through exploration and play, with fun, and very funny, original songs.

The show was created and developed by Måns Swanberg and Toon2Tango and commissioned by the Irish public broadcaster RTE. Educational guidance was provided by Crandall Consulting and funding includes support from Creative Europe, the Government of Ireland and Screen Ireland.

Hey Fuzzy Yellow, which is a co-production by Toon2Tango, Treehouse Republic and Hotel Hungaria Animation, is currently in production with 26 episodes available now; the remaining 26 episodes are set for delivery in spring 2025. But Irish viewers don’t have to wait till 2025: the RTE-commissioned show is streaming now on RTE Player!

The show has already been acquired by Warner Bros Discovery in Latin America, while Cookbook Media LLC, a premier global franchise management agency, has been appointed as North American content distributor. 

Coming to screens at the beginning of 2025 – and now showing on a major German channel – is Dinomite & Lucy, a wild, and wildly original, new show set in an alternative prehistoric world in which dinosaurs are the superior species.

This eagerly awaited new animated 39×11’ show about Dino, an inventive dino boy, and his extraordinary pet, headstrong cavegirl Lucy, their friendship and their crazy ideas, delves into the adventure of childhood and all the small and large challenges that come with it, not to mention all kinds of fun!

Dinomite & Lucy is based on an internationally successful series of books by German author Ute Krause. Admired animation experts TRIKK17 and M.A.R.K.13, together with Fabriques d’Images, are co-producing this delightful new venture.

Toon2Tango has also entered into a partnership with ZDF Studios, the commercial subsidiary of ZDF, to jointly work on the distribution of this fantastic new show. Toon2Tango will be in charge of the French-speaking territories, Italy, Iberia and China, while ZDF Studios will handle distribution in all other territories worldwide. But German viewers can see it now! The German-language version of Dinomite & Lucy premiered on free-to-air television channel KiKA on 15 November.

For older pre-schoolers, there’s poCats. The poCats are tiny beanbag kittens – or are they? Adults believe they are merely toys, but children know that they possess magical abilities. The poCats consistently find themselves in various adventures, and each episode narrates the complications that arise from these escapades. Fortunately, solving these issues requires only a bit of magic, a few tricks – and cooperation with the kids!

Thirteen seven-minutes episodes of this cartoon series have been fully developed by Hungary’s Ionart Studio. Toon2Tango is working on the financing of another 39 episodes.

Toon2Tango has also announced that it is to co-produce Paluten Freedom an animated film for the whole family based on a wildly successful web video series. It will co-produce the film alongside renowned production company Odeon Fiction, which has secured the film rights to the web video series that inspired the film. The theatrical release will take place in 2027.

Turning 25 this year, ATF is Asia’s co-production and entertainment content market and conference where the world gathers to trade, collaborate, share the best-in-class ideas, and champion the next generation of Asian content. It’s also timed perfectly for Toon2Tango as co-founder Ulli Stoef explains.

‘Since we became part of the LEONINE group, the already strong interest in our work has grown’, he says. ‘After a very successful MIPCOM we now want to tell the key players in the Asian market about all our exciting plans for 2025 and beyond – and where better to do that than at our first-ever ATF? Stand K22 is the place to be to hear about the genuinely diverse, innovative and incredibly entertaining shows supported by Toon2Tango – as both co-producer and distributor’.

La entrada Toon2Tango comes to ATF for the first time se publicó primero en Prensario Zone.

Hace tiempo venimos describiendo la evolución de Ecuavisa Studios, la productora del tradicional broadcaster de Ecuador que genera contenidos para la pantalla propia y de terceros. Con Ana Cecilia Alvarado al frente, ha asumido un importante rol pro-país de cara al mercado internacional, promoviendo no sólo a Ecuador como importante hub de producción para otras naciones, sino también con fuerte gestión interna para que se concreten las leyes y descuentos fiscales que permitan brindar ventajas concretas frente a otros países y hubs.

Este semestre ha sido un punto de quiebre en la evolución. Por un lado, el estudio tiene importantes proyectos en curso como la película ‘Perros, Pelos y Películas’, junto a 360 Powwow, coproducción española-ecuatoriana que ya está tomando forma, con todo lo legal aprobado por el goiberno. Y en particular se produjo junto a Fábula de Chile, ‘Los García’, adaptación de ‘Los Roldán’ de Telefé de Argentina que se ha convertido en un gran hit de audiencia en la pantalla de Ecuavisa, batiendo records pero sobre todo logrando captar audiencia 18-25 años, que tanto cuesta para la TV abierta hoy en día.

Describe Alvarado sobre este factor: ‘Se trata de un proyecto multplataforma, donde para acceder a público joven, le fuimos sumando al guión original todo lo moderno de los nuevos tiempos, e incluyendo en el staff influencers y actores jóvenes que promovieran el contenido a su vez en sus redes y ámbitos. Así, logramos que dentro de un gran suceso, de audiencia, el 30% de ella sea 18-25 años, un caso único hoy en día’.

Y por otro lado, ahora sí se vienen concretando las leyes y exenciones impositivas que tanto se necesitaban. Sigue la ejecutiva: ‘Hemos logrado un conjunto integral, con calidad de altos estándares internacionales pero a muy bajo costo. Ya está el 37% de tax credit para los proyectos audiovisuales, que es de los más altos de la región. Es de todo el budget que se invierte en el país en una producción, junto a una empresa local. Y ya no hay más impuestos para sacar dinero del país al exterior’.

Todo esto viene sustentado por la Ley de Transformación Digital Audiovisual, que según destaca Alvarado, ‘es similar a la ley colombiana e incluye no sólo a la televisión y las plataformas OTT, sino también al gaming, la animación y desarrollos 360 tipo los grandes sellos. Nosotros estuvimos supervisando la evolución del proyecto para que se de bien, ahora es momento de cosechar los resultados y atraer inversiones. A eso estamos dedicados intensamente’.

La entrada Ecuavisa Studios: proyectos top y exenciones impositivas se publicó primero en Prensario Zone.

Warner Bros. Discovery’s Max has taken a significant step in its Asia-Pacific expansion, marking a critical phase in the company’s global growth strategy. Following its September launch in Japan and a smaller debut in New Zealand in October, the platform has rolled out its service across seven additional East Asian markets, including Indonesia, Malaysia, the Philippines, Singapore, Thailand, Hong Kong, and Taiwan.

The transition replaces the legacy HBO Go platform, which had served these regions since 2010. According to JB Perrette, President of Streaming at Warner Bros. Discovery, the shift to Max brings a more comprehensive, technologically advanced product to these markets. This move aims to attract new audiences with an enriched content offering and an enhanced user experience.

The services’ revamped platform integrates a diverse catalog, blending brand-associated originals, Max Originals, and Hollywood blockbuster films from Warner Bros., Universal, and Paramount. The service also plans to reclaim beloved franchises like Friends and The Big Bang Theory, alongside the introduction of unscripted content from Discovery. This diverse slate offers viewers a compelling mix of dramas, reality shows, and films designed to cater to a global audience.

‘To adapt to the region’s diverse economic and cultural landscapes, we are introducing tailored subscription models. In Indonesia and the Philippines, for example, Max now offers its first-ever mobile-only plans, designed to provide affordable access to its content’, commented Perrette.

Or in Japan, where Max has adopted a more localized approach by partnering with U-Next, the country’s leading streaming service. ‘This collaboration allows Max to leverage U-Next’s extensive distribution network and provide Japanese dramas for a global audience’.

Expansion challenges and opportunities

Despite its progress, Warner Bros. Discovery acknowledges the complexities of launching in highly competitive markets like South Korea, dominated by Netflix and local giants such as Tving and Coupang Play. The platform also faces hurdles in entering low-income territories like Vietnam and Cambodia, where reclaiming rights and localizing content remain critical tasks.

Perrette emphasized that Asia-Pacific represents a vast growth opportunity for Max, with Australia slated as the next key market. Scheduled for launch in 2025, Australia is expected to become one of the platform’s top-performing regions globally, thanks to its high demand for premium content.

La entrada WBD expands its streaming presence across APAC se publicó primero en Prensario Zone.

At the unBoxed 2024 event, Amazon Ads announced plans to introduce limited advertisements on Prime Video in India, Japan, the Netherlands, New Zealand and Brazil, starting in 2025. This move is part of Amazon’s strategy to expand its global streaming and connected TV (CTV) video advertising business, aiming to connect brands with new audiences across an ever-expanding slate of markets.  

‘We’re excited to offer more brands, in more countries, the opportunity to engage with Prime Video audiences alongside award-winning series and movies, fan-favorite titles, and live sports in 2025’, said Alan Moss, Vice President of Global Ad Sales at Amazon Ads. He emphasized the effectiveness of the company’s ad solutions, which combine premium content, first-party data, and innovative ad technology to help advertisers achieve meaningful business outcomes.  

Prime Video’s global expansion aligns with Amazon’s efforts to provide a ‘richer entertainment experience’, said. The platform currently boasts an extensive library of original series such as Reacher, The Lord of the Rings: The Rings of Power, and The Summer I Turned Pretty, as well as live sports, licensed movies, and FAST channels.  

Ad innovations driving results

Amazon Ads leverages advanced ad tech informed by trillions of first-party signals from streaming, shopping, and browsing behaviors. This ecosystem enables brands to launch campaigns seamlessly across a variety of platforms, including Twitch, Freevee, Fire TV Channels, IMDb, Amazon Music, and Wondery. With a monthly ad-supported reach exceeding 200 million global customers, Prime Video offers brands unparalleled scale.  

‘Our ad tech solutions provide advertisers with comprehensive tools to measure campaign effectiveness, ensuring their messaging resonates across diverse audiences’, added Moss.  

The ad-supported Prime Video model was first introduced earlier this year in markets such as the U.S., U.K., Canada, and Mexico. Subscribers in these regions can opt for an ad-free experience by paying an additional monthly fee. The move has already yielded results, with Amazon’s advertising business generating $11.82 billion in the first quarter of 2024—a 24% year-over-year increase.  

A targeted approach to regional markets  

In markets like Indonesia and the Philippines, Amazon plans to offer mobile-only subscription plans for the first time, reflecting its adaptability to local economic realities. Moss noted that while some competitors have struggled with regional investments in local content, Amazon remains focused on maximizing value through its global-first approach.  

La entrada Amazon unveils 2025 plans for Prime Video advertising with focus in Asian markets se publicó primero en Prensario Zone.

In a competitive streaming landscape dominated by global giants, KOCOWA+ has carved a niche for itself as the ultimate destination for Korean entertainment. Expanding its reach into Europe and Oceania, the platform is now bringing a diverse catalog of K-Dramas, variety shows, and K-Pop content to 39 new territories. 

This ambitious move solidifies the streamer as a significant contender in the international streaming market, delivering a uniquely Korean experience to global audiences.

A new horizon for K-Content 

Launched by leading Korean broadcasters KBS, MBC, SBS and SK Square Americas, KOCOWA+ has established itself as the largest library of Korean content outside Korea. Since its inception, it has expanded its influence to more than 74 countries, with plans to continue to grow and offer its content on new platforms and devices. ‘As home to the largest library of Korean content outside of Korea, we are honored to bring the first 100% Korean streaming platform to Europe and Oceania’, said KunHee Park, CEO of the company, during the presentation at Natpe Budapest 2024.

The streaming service offers an extensive variety of titles, ranging from popular K-Dramas such as Weightlifting Fairy Kim Bok-Joo, Coffee Prince and My Dearest, to variety series and K-Pop focused programs such as Weekly Idol and Idol Star Athletics Championships. In addition, KOCOWA+ stands out for its ability to upload new episodes just eight hours after they air in Korea, with subtitles in multiple languages, including English, Spanish, Portuguese and Chinese.

The K-Pop phenomenon and the HYBE deal

One of the cornerstones of KOCOWA+‘s success is its focus on offering K-Pop related content. In a key agreement with HYBE, KOCOWA+ has expanded its library to include more than 10,000 hours of content related to K-Pop stars such as BTS and SEVENTEEN. The platform now features 18 new programs including behind-the-scenes, live concerts and reality shows such as IN THE SOOP SEVENTEEN, where artists are shown in their most intimate side.

To celebrate the collaboration with HYBE and the comeback of SEVENTEEN, KOCOWA+ has launched a series of fan-favorite concerts, underscoring the importance of K-Pop in its catalog. According to Park, ‘K-Pop content is an extremely important part of our offering to our passionate audience. Partnering with HYBE and adding BTS content to our roster is a natural fit’.

Challenges and opportunities in Europe and beyond

Despite market challenges, the Korean platform sees key opportunities in its recent expansion into Europe and Oceania. In the competitive European landscape, where services such as Netflix, Disney+ and Prime Video already have a strong presence, KOCOWA+ is looking to differentiate itself by offering exclusively Korean content, which could attract a niche audience and K-Content lovers. In addition, the platform has launched attractive promotions, such as a 30% discount for new subscribers in Spain, to gain market share quickly.

In the words of CEO KunHee Park, initial challenges included overcoming the belief that a subscription-based business model would not work with Korean content alone: ‘No one believed we could do a subscription-based business model. Because there is no subscription platform just for Korean content’. Added to this is the need to quickly adapt its content to multiple languages and regions, a key aspect of competing in the international market.

The future of KOCOWA+ in global entertainment: The success of KOCOWA+ lies not only in its extensive catalog, but also in its ability to respond to the demands of the global market. With a library of more than 30,000 Korean titles and exclusive content available in record time, KOCOWA+ is positioned as a major player in international K-Content distribution. In addition, the platform offers flexibility in its service, adapting to local demands and providing access on a variety of devices.

One of KunHee Park‘s most relevant comments at Natpe Budapest past edition was his reflection on how audiences outside Korea consume Korean content: ‘Americans watch titles differently from Koreans. They love to watch their favorite titles continuously, such as sitcom series. People keep watching their favorite titles continuously’. This approach to differences in content consumption allows KOCOWA+ to adjust to the preferences of each region, offering a customized experience to its users.

La entrada KOCOWA+: Korean content finds new homes se publicó primero en Prensario Zone.

Content London, one of the world’s leading development markets and conferences, will take place from December 3 to 5, bringing together nearly 3,000 content executives. The event spans five venues and includes a development marketplace, conferences, screenings, networking events, lunches, cocktails, and parties.

Among the Spanish companies attending in London next week are Buendía Estudios, Cattleya Producciones, Ficción Producciones, Grup Mediapro, Movistar Plus+ International, Scenic Rights, Secuoya Studios, Telson/Tres60, The Mediapro Studio, Vértice 360, and Zeta Audiovisual.

The conference program will also feature prominent Spanish executives, including Beatriz Campos, CEO of Anonymous Content Spain, who will discuss the creation of joint ventures on a global scale. Her session will highlight the company’s international presence and explore opportunities for developing new local and global content.

Additionally, during the session “Skin In The Game: Why Content Majors Are Investing in Football”, Pilar Blasco, CEO of Banijay Iberia, will speak about the company’s venture into content production through the creation of a studio to monetize stories emerging from LaLiga’s football division in Spain.

At the Asia TV Forum, taking place at Singapore’s Marina Bay Sands Hotel from December 3 to 6, the Audiovisual from Spain pavilion will showcase the Spanish delegation.

This delegation includes companies such as Brands & Rights 360, Mediterráneo – Mediaset España Group, Movistar Plus+ International, Onza Distribution, RTVE, and The Mediapro Studio.

Regarding distribution highlights, Asia TV Forum & Market will feature premieres such as ‘La Favorita’ from Mediterráneo – Mediaset España Group, ‘The New Years’ distributed by Movistar Plus+ International, ‘Iberia & Savannah: One Wildlife’ from Onza Distribution’s catalog, ‘ENA’ by RTVE, and ‘Quiet’ by The Mediapro Studio.

Furthermore, ICEX will support the «ATF x TTB Animation Lab & Pitch 2024», an initiative aimed at fostering European and Asian animation projects targeting young and family audiences. The program promotes financing and co-production opportunities, and this year, the animated series All Good by Spanish studio Glow has been selected as a finalist.

In its inaugural edition in 2023, the Lab stood out for including the animated feature film Musgo, produced by Jordi B. Oliva under the Imagic TV label. That same year, El Violinista was celebrated as a milestone in Spain-Singapore collaboration. The project was spearheaded by Spanish producer TV ON and Singapore’s Robot Playground and co-directed by acclaimed filmmaker Raúl García, a Goya Award winner as co-director of The Missing Lynx.

La entrada ICEX at ATF: solid presence of Spanish companies in the Asian market se publicó primero en Prensario Zone.

ABC Commercial leads the ATF lineup with Ladies in Black, a vibrant drama series that explores the lives and friendships of women navigating personal and professional challenges in 1960’s Sydney. Joining this dynamic slate are fresh titles for kids and families, including Ready, Steady, Wiggle! Season 7, Fizzy & Suds Season 2, and the much-anticipated Muster Dogs Season 3, which continues the heartwarming journey of graziers and their pups with a competitive twist.

Returning to the lineup is the popular puppet-based preschool series Beep and Mort, back for its second season after strong international reception. This season promises more heartfelt adventures and continues its global reach, having been acquired by major international platforms, including WildBrain Television (Canada) and Sky Kids (UK), with additional plans for distribution in the Middle East and North Africa.

In factual programming, Living with Devils delivers a deep dive into Tasmania’s iconic but endangered marsupial, while Restoration Australia returns with stories of preserving Australia’s rich architectural heritage and creating spectacular homes. Additionally, Megafauna narrated by Hugh Jackman offers an exploration of Australia’s prehistoric giants, appealing to science and history enthusiasts alike.

For co-viewing and educational content, Secret Science unravels the secrets behind our brains and bodies through science, emerging research and entertaining human stories, and I Was Actually There is a bold new factual series that has already made waves with Broadcast UK selecting it as one of the Hot Picks ahead of MIPCOM, provides historical insights from those who witnessed pivotal moments firsthand.

ABC Commercial Sales Executive Alex Zhou, who is attending ATF, said, ‘Our 2024 slate reflects the ABC’s commitment to providing entertaining, educational, and globally resonant content. These new titles underscore our dedication to captivating storytelling across genres’.

La entrada ABC Commercial presents an exciting slate for ATF 2024 se publicó primero en Prensario Zone.