Top executives distributing Asian content across the region talk about how the content distribution/syndication environment in Asia has shifted and the trends and influences going forward.
 

What has had the biggest impact on your business in Asia this year so far?

“The prices for Thai content (BL content) have risen substantially.” Jay Lin, CEO, Portico Media (Taiwan) 

“Covid-19 lock down, which makes it difficult to film big scale long-form content.” Nini Yusof, 
Deputy Chief Executive Officer, Media Prima TV Networks & Primeworks Studios (Malaysia)

“Covid-19” Agnes Rozario, Director, Content, 
Astro (Malaysia)

“Programme distribution in China territory.” Ryuji Komiya, Team Leader / Head of Format, 
Fuji Television (Japan)

“I would say Covid-19. When the situation has slowed down all advertising revenue locally but we can see the growth of OTT subscription revenue slightly increasing.” 
Joe Suteestarpon, CEO, Mediaplex International (Thailand) 

“The spread of Covid-19 and the various restrictions that different countries are implementing. It is affecting the production and logistics.” 
Afumi Watanabe, Chief Manager, NHK Enterprises (Japan)    

“In the past, we would only licence our feature films in the region, now there is a demand for series as well and also IPs.” Tina B. Tubongbanua, Head of Licensing and Acquisitions, Viva Communications (Philippines)

“The intense competition among Asian contents to serve major platforms in this year and the Covid-19 situation heavily affects the business cycle and the production.” 
Nattaporn Runghajornklin (Matt), VP - International Business, BEC World (Thailand)

“Changes in leadership and channel strategies - a lot of unknown creates a holding pattern. Patience is required!!!”
Sonia Fleck, CEO, Bomanbridge Media

“The increasing numbers of OTT platforms, most especially in the Philippines, has helped in generating sales.” Aileen Samson, AVP-Syndication and Affiliate Sales Head, Cignal TV (Philippines) 

“We have seen strong take up of CNA factual and documentary content by regional OTT (Netflix, Discovery Asia) and pay TV in Latin America (BBC, A+E History Channel, Natgeo). Bluechip wild life series and topical current affairs content are our bestselling docus.” Jesslyn Wong, Head of Content Distribution, Mediacorp Singapore
 

Are you noticing new demand in Asia this year for any particular genre? 

“BL and LGBT” Jay Lin, CEO, Portico Media (Taiwan)

“Yes, Thai - as production has shut down in many countries licensing has become increasingly important. Also local (in country) content.” 
Agnes Rozario, Director, Content, Astro (Malaysia) 

“Non-drama genre” Nini Yusof, Deputy Chief Executive Officer, Media Prima TV Networks & Primeworks Studios (Malaysia)

“Non-scripted format” 
Ryuji Komiya, Team Leader / Head of Format, Fuji Television (Japan)

“Yes, buyers are looking to explore new genres. As from Thai aspect, the production from Thailand is getting more popular on OTT platforms, which was very hard in the past due to limited quota and timeslot in each country. The new approach on content offering on OTT have created new opportunities for new type of content, including Thai dramas. As you might see a lot of Thai dramas are now on global/regional platforms such as Netflix, Viu, WeTV etc. Thai BL series is also in the highlight in many markets. The uniqueness of storytelling and production gives the audience a totally different taste and it kickstarts the creation of fanbase all around the world. Thai BL series is and will be a big trend for years to come.” 
Joe Suteestarpon, CEO, Mediaplex International (Thailand)

”Studio-based formats, family entertainment 
formats” Afumi Watanabe, Chief Manager, 
NHK Enterprises (Japan)

“Action, horror and family drama”  
Tina B. Tubongbanua, Head of Licensing and 
Acquisitions, Viva Communications (Philippines)
 
“BL (Boy Love), horror” Nattaporn Runghajornklin 
(Matt), VP - International Business, BEC World (Thailand)

“More focused on anime, kids generally, talent lead lifestyles and international drama (not just English-speaking).” 
Sonia Fleck, CEO, Bomanbridge Media

“Drama and horror”
Aileen Samson, AVP-Syndication and Affiliate Sales Head, Cignal TV (Philippines)
 

Have buyers from Asian broadcasters and platforms (free/pay/online/streaming) changed their acquisitions habits in 2021? 

“Yes, they are buying more BL content.” 
Jay Lin, CEO, Portico Media (Taiwan)

“Yes, less investment and more licensing deals in play.” 
Agnes Rozario, Director, Content, Astro (Malaysia)    

“Yes, acquiring more OTT rights than traditional TV. Buyers now are looking at volume of content to fill their OTT services rather than one or two content for their TV timeslots.” Joe Suteestarpon, CEO, Mediaplex International (Thailand)     

“Yes, they are now open to more Asian content and mostly for streaming.” Tina B. Tubongbanua, Head of Licensing and Acquisitions, Viva Communications (Philippines)    

“There’s still demand for fresh content and request for more sub-licensing. However, slower response compared to last year.” 
Nattaporn Runghajornklin (Matt), VP - International Business, BEC World (Thailand)

“Yes, more Asian topic focused, much more willing to try other foreign versions from around the world, not just English speaking. Netflix’s top ten in Asia has proven this for example.” Sonia Fleck, CEO, Bomanbridge Media    

Is there any specific market or market segment in Asia that has risen in significance for you as a rights holder/distributor since the beginning of 2021?

“Japanese streaming and distributors” Jay Lin, CEO, Portico Media (Taiwan) 

“Korea- and China-originated content - as the rights are being held back by OTTs from China who produce or invest in content.” 
Agnes Rozario, Director, Content, Astro (Malaysia)

“China, great volume of programme buying.” Ryuji Komiya, Team Leader / Head of Format, Fuji Television (Japan)

“North Asia such as Japan, China and Taiwan. I think the acquisition approach is slightly changed from traditional TV to online platforms. There’s always room for new content on OTT platforms and Thai drama is always in the streamers’ priority buy list. OTT platforms would buy some Thai dramas to test and they would always be back for more.” Joe Suteestarpon, CEO, Mediaplex International (Thailand)

“China - due to the launch of two big online streaming platforms WeTV and iQiyi in the region. Vietnam, Thailand and Indonesia - launching of a regional platform.” Tina B. Tubongbanua, Head of Licensing and Acquisitions, Viva Communications (Philippines)

“Japan with Boy Love genre” Nattaporn Runghajornklin (Matt), VP - International Business, BEC World (Thailand) 

“China, Thailand and Philippines” 
Sonia Fleck, CEO, Bomanbridge Media
 

Published in ContentAsia's September 2021 magazine