Peggie Liu, deputy director of the Hong Kong Trade Development Council, the organizer of Hong Kong Filmart, said: “The world has changed in the past two years and the entertainment industry has changed a lot too. Already familiar with this industry, arguably the biggest beneficiaries of the changes brought about by the pandemic are international, regional and local streaming services worldwide. gender. In 2020, the subscription video sector in the Asia Pacific region saw a 34% increase in revenue. In the key growth region of Southeast Asia, more than 10 million new subscribers signed up for SVOD services in the second quarter of 2021 alone, according to research from regional consulting firm Media Partners Asia.
So it’s only fitting that the upcoming Hong Kong Film Studios, to be held from March 14-17, will focus on OTT and streaming platforms as one of its central highlights. “This is a market trend that we have noticed,” said Liu The Hollywood Reporter. “That’s why we’ve reached out to more OTT platforms and TV networks, as many networks today have their own streaming platforms. This will be one of our directions in the future. Many major international streamers have also joined Filmart as buyers, but they don’t like to draw attention to themselves.” OTT and streaming will also be the main themes of EntertainmentPlus, Filmart’s rebranded workshop series.
One of the television networks exhibiting at Filmart is Thailand’s Mono Streaming. Thailand saw significant growth in SVOD in 2021. The country accounted for 75% of new registrations in Southeast Asia for Disney+ in the third quarter of 2021, and total SVOD registrations in Thailand grew 16% y-o-y. with the previous quarter to 11.3 million during the period = Stage. It’s an increasingly competitive market with local and foreign players jostling for a slice of the pie.
“We compete with major international streamers by dubbing all of our titles in Thai, which is our forte. Plus, we have select exclusive content that we also choose for our audience,” said Sirirat Kositanont, assistant vp at Mono Streaming Co., which has its own streaming platform in Thailand named MonoMax, and is pushing for a romantic title OH! Crush on Me with James Jirayu and Bow Maylada at this year’s Filmart. A content producer as well as a distributor, it streams its own content on its platform, which is only available in Thailand, and also sells rights to major international players. “We’ve had our own platform since 2013 – there weren’t many players at that time,” said Kositanont. “Today, as the OTT market begins to flourish, consumers have more choices. We believe that every content deserves a chance to circulate, customers need to be able to view the content in the way that is most convenient for them, so we have licensed various titles to other platforms each other – only a limited amount is exclusive to our platform. ”
The rise of streaming is a double-edged sword for traditional cable networks in Asia. Vivian Hsieh, senior vice president of international business at Sanlih E TV Co., said that for Sanlih E TV Co., the largest cable TV network in Taiwan, has been exhibiting at Filmart since 2005. , international streamers bring in revenue but also cut their viewership. Sanlih. “In terms of revenue, streaming platforms are our partners,” she said. “We need them to buy our content to increase our reach and increase profits. But they also compete with us for audiences; they affect our viewership. Or in some cases, the streaming platforms may have bought the exclusive rights to a product, so we cannot buy any rights.”
However, online and offline viewership can supplement and provide an outlet for niche content to grow. “If a show is popular on television, its performance will also be good on OTT platforms,” Hsieh said. “Meanwhile for niche genres, such as BL [boys’ love] dramas or hip hop music shows, even if TV viewership is not as expected, it can become very popular on online platforms”. Cable TV has been widely available in Taiwan since the 1990s, making audiences vulnerable to pay TV. They are also used to a multitude of options and are not tied to the program schedule set by the station. This habit connects online and offline viewing: “Some viewers might watch a series on television, then go online to watch it all over again,” adds Hsieh. Sanlih is working with major international streamers on licensing dramas and variety shows, but hopes to work with them to develop and produce new shows in the future – something which the company is expecting to discuss with streamers at Filmart.
The popularity of online platforms is also changing the way content creators create. Jacqueline W. Liu, producer and co-founder of Taiwan Television Studios, who was responsible for winning the Golden Horse Award, said, “The line between feature film and series has blurred. Small and big women (2020), to be released on Netflix internationally in 2021. “It’s a trend that started about a decade ago in the US, but is becoming more prominent in Asia.” Although it previously primarily produced feature films, Forever Together Movies is kicking off the first season of its 13-episode comedy series. Show On: An influencer who rose to fame with her hot popularity at the Filmart market this year.
“We are no longer constrained by time, schedule, and geospatial limitations with live content,” adds Tiffany Chen, producer and co-founder of Each Other Films. “We are now giving the audience the right to choose content with streaming. For production companies, this is a very exciting development, as we can see audience reactions and discuss content instantly. The original purpose of Forever Together was based on our curiosity about the world and to communicate with audiences. So being able to know the audience’s response as soon as they watch something brings us closer to them.”
The way film sales are conducted has also been changed, said insiders. “Previously, content licensing was done through a distributor,” says Liu. “But with the rise of streamers, manufacturers can bypass the distributor to deal directly with the streaming platform.”
Amy Iamphungphorn, international sales manager for Five Star Production in Thailand, added: “The online right through VOD has become stronger.” Pee Nak 3 at Filmart. The previous two seasons of the Pee Nak series are available on Netflix. “All local and international SVOD platform operators are interested in our content and we hope at Filmart 2022 we can pre-order Pee Nak 3 to more countries. “