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Friday, May 17, 2024

APAC takes home 22 Gold Pencils at The One Show 2024: Japan and Australia lead the way - Campaign Brief Asia

May 16 2024, 8:00 pm | BY Kim Shaw | No Comments

11 countries and regions in Asia Pacific have collected 22 Gold Pencils, 19 Silver, 38 Bronze, and 162 Merits in The One Show 2024. The top performing agencies in APAC were Dentsu Inc. Tokyo and VML Australia Melbourne, who led the region with five Gold Pencils each, and TBWA\Hakuhodo Inc. Tokyo won three Golds.

The announcement of Pencil and Merit winners was made in advance of tomorrow night’s conclusion of Creative Week 2024 at The One Show 2024 gala awards ceremony at Cipriani Wall Street in New York, where Best of Show, Best of Discipline, special awards, and “of the Year” honors will be unveiled.

The One Show 2024 Gold Pencil winners in APAC are as follows.

Japan
• Dentsu Inc. Tokyo “The Sacred Dirt” Asahi Television Broadcasting Corporation in Design, Posters – Series
• Dentsu Inc. Tokyo “My Japan Railway” for JR Group in Design, Promotional – Physical Items
• Dentsu Inc. Tokyo “My Japan Railway” for JR Group in Design, Craft – Art Direction
• Dentsu Inc. Tokyo “My Japan Railway” for JR Group in Print & Promotional, Craft – Art Direction
• Dentsu Inc. Tokyo “Reach for the Summit” for The Hokkoku Shimbun in Design, Craft – Art Direction
• SIX Inc. Tokyo with good design company Tokyo “A Train of Memories” for Sotetsu Holdings in Moving Image Craft & Production, Special Effects – Single
• Spoon. Tokyo with Dentsu Inc. Tokyo “Scuffing Song” for Otsuka Pharmaceutical Co., Ltd. in Moving Image Craft & Production, Animation – Single
• TBWA\Hakuhodo Inc. Tokyo with Quantum Inc. Tokyo, Robot Communications Inc. and KMCgroup Tokyo “Shellmet” for Koushi Chemical Industry Co., Ltd. in Design, Packaging – Sustainable
• TBWA\Hakuhodo Inc. Tokyo with Quantum Inc. Tokyo, Robot Communications Inc. and KMCgroup Tokyo “Shellmet” for Koushi Chemical Industry Co., Ltd. in Design,Innovation – New Ideas in Design
• TBWA\Hakuhodo Inc. Tokyo with Quantum Inc. Tokyo, Robot Communications Inc. and KMCgroup Tokyo “Shellmet” for Koushi Chemical Industry Co., Ltd. in IP & Product Design, Innovation – New Ideas in IP & Product Design

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Australia
• Revolver x Somesuch Sydney with The Monkeys Sydney, Revolver Sydney and Somesuch London “Play It Safe” for Sydney Opera House in Moving Image Craft & Production, Writing – Single
• The Monkeys Sydney with MassiveMusic Sydney, ARC EDIT Sydney and Revolver x Somesuch Sydney “Play It Safe” for Sydney Opera House in Branded Entertainment, Music Videos
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Creative Effectiveness, Single Region or Market – Consumer / Brand
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Creative Use of Data, Innovation – New Ideas in Creative Use of Data
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Health & Wellness, Creative Use of Data
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Health & Wellness, Promotional Items
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Out of Home, Innovation – New Ideas in Out of Home

China
TBWA\Media Arts Lab Shanghai with The Mill + TRAFIK + RadicalMedia “Shot on iPhone Little Garlic Chinese New Year” for Apple in Branded Entertainment

Singapore
• VML Singapore with For the Right Reasons Amsterdam, Prism South Africa Sandton and Sixieme Son APAC Pte Ltd Singapore “Change the Angle” for Lux in Public Relations, Innovation – Use of Media in Public Relations

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South Korea
• Cheil Worldwide Seoul with Cheil UAE Dubai, TOV Inc. Seoul and Tribal Aotearoa Auckland “Try Galaxy Fold Experience” for Samsung Electronics in Interactive & Mobile Craft, UX / UI – User Experience / CX / DX

Taiwan-China
• Leo Burnett Taiwan Taipei with Fish Film Productions Taipei “Paper Organs” for Taiwan Organ Sharing Registry and Patient Autonomy Promotion Center in IP & Product Design, Products for Good

Thailand
• Lazada Bangkok for its own “An Unnecessary Love Story” in Brand-Side / In-House, Branded Content

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The count of The One Show 2024 Pencil and Merit wins for APAC, by country, is as follows.
Australia: 7 Gold, 5 Silver, 14 Bronze, 39 Merit
Mainland China: 1 Gold, 3 Silver, 22 Merit
Hong Kong-SAR: 1 Bronze, 3 Merit
India: 3 Silver, 3 Bronze, 22 Merit
Indonesia: 1 Bronze, 2 Merit
Japan: 10 Gold, 6 Silver, 9 Bronze, 17 Merit
Malaysia: 2 Merit
New Zealand: 1 Silver, 4 Bronze, 5 Merit
Philippines: 3 Merit
Singapore: 1 Gold, 2 Silver, 3 Bronze, 22 Merit
South Korea: 1 Gold, 7 Merit
Taiwan-China: 1 Gold, 1 Bronze, 4 Merit
Thailand: 1 Gold, 2 Silver, 2 Bronze, 14 Merit

Globally, FCB New York topped the list of Gold Pencil winners with 14, including 13 working with 456 Studios New York for “Dreamcaster” on behalf of AB InBev, Michelob ULTRA. That was also the entry to take home the most Golds this year.

A total of 20,038 pieces from 65 countries were entered in The One Show 2024. Agencies, studios, brands, production companies and designers in 50 countries were awarded 184 Gold Pencils, 206 Silver, 280 Bronze, and 1,120 Merits.

The showcase of all One Show 2024 Pencil and Merit winners can be viewed here, and a dynamic online list of the winners can be viewed here.

The One Show 2024 Best of Show, Best of Disciplines, special awards — including Fusion Pencil, Green Pencil, Sustainable Development Goals Pencil, and Penta Pencil — and “of the Year” honors will be announced tomorrow, May 17, at The One Show 2024 gala awards ceremony at Cipriani Wall Street in New York to close out Creative Week 2024.

See Asia’s Silver and Bronze Pencils by country below;

Japan
Silver
• DENTSU INC. Tokyo ‘DEPARTURES TO COUNTLESS FUTURES’ for NIKKEI/The Hoshi Awards in Print & Promotional
• DENTSU INC. Tokyo ‘MY JAPAN RAILWAY’ for JR GROUP in Design
• DENTSU INC. Tokyo ‘Reach for the Summit’ for THE HOKKOKU SHIMBUN in Design
• SIX inc. Tokyo ‘Play Has No Limits feat. King Gnu’ for Sony Interactive Entertainment / PlayStation in Gaming
• SIX inc. Tokyo ‘A Train of Memories’ for Sotetsu Holdings in Film & Video
• TBWA\HAKUHODO Inc. Tokyo ‘SHELLMET’ for Koushi Chemical Industry Co., Ltd. in IP & Product Design

Bronze
• Dentsu Digital Inc. ‘Masahiro Maruyama.com’ in Design
• Dentsu Digital Inc. ‘MY JAPAN RAILWAY’ for JR GROUP in Experiential & Immersive
• Dentsu Digital Inc. ‘MY JAPAN RAILWAY’ for JR GROUP in Interactive & Mobile Craft
• Dentsu Digital Inc. ‘Driving Sun — Rally Japan 2023’ in Design
• Dentsu Digital Inc. ‘beautiful panic’ for The Ad Museum Tokyo in Design
• SIX inc. / Tokyo ‘WILD MOMENT’ for TOYOTA MOTOR CORPORATION in Design
• SIX inc. / Tokyo ‘A Train of Memories’ for Sotetsu Holdings in Moving Image Craft & Production
• TBWA\HAKUHODO Inc. Tokyo ‘ProPILOT MOP’ for Nissan Motor Co., Ltd. in Direct Marketing
• TBWA\HAKUHODO Inc. Tokyo ‘SHELLMET’ for Koushi Chemical Industry Co., Ltd. in Creative Effectiveness

Singapore
Silver
• VML Singapore ‘Change the Angle’for Lux in Creative Effectiveness
• VML Singapore ‘Change the Angle’ for Lux in Health & Wellness
• MullenLowe Singapore ‘As Close as You Can Get – Concert’ for PRISM+ in Film & Video

Bronze
• Kinetic Singapore ‘School of Tomorrow’ for DesignSingapore in Design
• BLKJ Havas ‘Guide Play’ for JBL in Gaming
• MullenLowe Singapore ‘As Close as You Can Get – Concert’ for PRISM+ in Film & Video

India
Silver
• Leo Burnett India ‘The Biochar Project’ for Lay’s India in IP & Product Design
• Leo Burnett India ‘Lay’s Smart Farm’ for Lay’s India in Interactive, Online & Mobile
• Ogilvy India ‘Vi Human Network Testing Network’ for Vodafone Idea Ltd. in Out of Home

Bronze
• Brand David Communications Mumbai ‘The Sweet Truth’ for Colgate Palmolive India in Film & Video
• Leo Burnett India ‘IKEA SKIP ADS THAT SAVE TIME’ for IKEA in Film & Video
• Leo Burnett India ‘Oreo #BringBack2011’ for Oreo in Creative Effectiveness

China
Silver
• T-Change Design Studio / Nanjing ‘Sunny Days’ for Lingnan Art Publishing House in Design
• TBWA\Media Arts Lab Shanghai ‘Shot on iPhone Little Garlic Chinese New Year’ for Apple in Film & Video
• TBWA\Media Arts Lab Shanghai ‘Shot on iPhone Little Garlic Chinese New Year’ for Apple in Moving Image Craft & Production

Thailand
Silver
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Film & Video
• VML Bangkok ‘Boonthavorn Live Our Way’ for Boonthavorn in Film & Video

Bronze
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Branded Entertainment
• Edelman Bangkok ‘Dove Let Her Grow’ for Unilever / Dove in Public Relations

Hong Kong
Bronze
• Ogilvy Hong Kong ‘Undercover’ for Women Helping Women Asia in Radio & Audio-First

Indonesia
Bronze
• INNOCEAN Indonesia ‘Yellow Canteen’ for Dulux in Experiential & Immersive

Taiwan
Bronze
• Leo Burnett Taiwan ‘Paper Organs’ for Taiwan Organ Sharing Registry and Patient Autonomy Promotion Center in Experiential & Immersive

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HYBE chairman Bang Si-hyuk calls ADOR's Min Hee-jin 'malicious individual' in first public statement - Hindustan Times

Edited by Ananya Das

May 17, 2024 03:11 PM IST

In a petition, Bang Si-hyuk requested the court to side with HYBE on an injunction that Min Hee-jin had previously filed.

HYBE chairman Bang Si-hyuk has criticised Min Hee-jin in his first public statement since the agency’s feud with ADOR began. As reported by Korea Joongang Daily, Bang Si-hyuk made the statement during a court hearing on Friday. The remark was part of a petition that will be submitted to the court. (Also Read | HYBE says ‘greedy’ Min Hee-jin planned emails by NewJeans members' parents: We have evidence)

HYBE chairperson Bang Si-Hyuk spoke about ADOR and CEO Min Hee-jin.

Bang Si-hyuk slams Min Hee-jin

The HYBE founder said, “I understand that some view Min Hee-jin’s actions as highlighting the problems of a multilabel system. However, no matter how sophisticated the system is or how thorough the contracts are, nothing can completely deter human malice. The actions of one malicious individual should not be allowed to damage the system that may have been built over a long time. I believe that this is the strength of our social system, which prevents personal malice and wrongdoing from destroying social institutions and order.”

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Bang Si-hyuk regrets HYBE-ADOR feud causing concern among people

Reportedly, he also asserted his determination to set appropriate rules and precedents for the entirety of the K-pop industry. “I deeply regret that this incident has caused concern to the public, especially when we, as an entertainment company, should be delivering joy. I sincerely hope that this genuine sentiment reaches you and that the court will make a wise decision to dismiss the injunction,” he added.

What is Bang Si-hyuk's request to court

In the petition, Bang Si-hyuk requested the court to side with HYBE on an injunction that Min Hee-jin had previously filed. It sought to prevent HYBE from exercising its voting rights at the ADOR’s shareholders’ meeting scheduled for May 31. HYBE holds an 80 percent stake in its subsidiary ADOR. The main agenda of the meeting item is to remove the ADOR CEO from her executive position.

What step will court take next

The Seoul Central District Court didn't reach a decision on Friday. The court would further ask both HYBE and ADOR to file additional evidence by next Friday (May 24). It would reach a ruling before May 31.

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Get more updates from Bollywood, Taylor Swift, Hollywood, Music and Web Series along with Latest Entertainment News at Hindustan Times.

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APAC takes home 22 Gold Pencils at The One Show 2024: Japan and Australia lead the way - Campaign Brief Asia

May 16 2024, 8:00 pm | BY Kim Shaw | No Comments

11 countries and regions in Asia Pacific have collected 22 Gold Pencils, 19 Silver, 38 Bronze, and 162 Merits in The One Show 2024. The top performing agencies in APAC were Dentsu Inc. Tokyo and VML Australia Melbourne, who led the region with five Gold Pencils each, and TBWA\Hakuhodo Inc. Tokyo won three Golds.

The One Show 2024 Gold Pencil winners in APAC are as follows.

[embedded content]

China
TBWA\Media Arts Lab Shanghai with The Mill + TRAFIK + RadicalMedia “Shot on iPhone Little Garlic Chinese New Year” for Apple in Branded Entertainment

[embedded content]

Thailand
• Lazada Bangkok for its own “An Unnecessary Love Story” in Brand-Side / In-House, Branded Content

[embedded content]

The showcase of all One Show 2024 Pencil and Merit winners can be viewed here, and a dynamic online list of the winners can be viewed here.

See Asia’s Silver and Bronze Pencils by country below;

Thailand
Silver
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Film & Video
• VML Bangkok ‘Boonthavorn Live Our Way’ for Boonthavorn in Film & Video

Bronze
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Branded Entertainment
• Edelman Bangkok ‘Dove Let Her Grow’ for Unilever / Dove in Public Relations

Hong Kong
Bronze
• Ogilvy Hong Kong ‘Undercover’ for Women Helping Women Asia in Radio & Audio-First

Indonesia
Bronze
• INNOCEAN Indonesia ‘Yellow Canteen’ for Dulux in Experiential & Immersive

Taiwan
Bronze
• Leo Burnett Taiwan ‘Paper Organs’ for Taiwan Organ Sharing Registry and Patient Autonomy Promotion Center in Experiential & Immersive

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Thursday, May 16, 2024

Jogja-Netpac Asian Film Festival Sets Inaugural Market – Cannes - Variety

Indonesia‘s Jogja-Netpac Asian Film Festival (JAFF) will unveil its inaugural JAFF Market in December. The initiative was announced at the Cannes Film Festival on Thursday.

This new three-day event aims to reshape the Indonesian film industry by fostering networking, innovation and collaboration among various sectors.

Since its start in 2006, JAFF has played a crucial role in nurturing Indonesian cinema, helping many filmmakers rise. “JAFF has consistently strengthened the film ecosystem,” said festival director Ifa Isfansyah.

The JAFF Market will cover 10,000 square meters, featuring over 150 booths with production companies, content creators and service providers. Leading the initiative is experienced producer Linda Gozali, former secretary-general of the Indonesian Film Festival. “We look forward to creating new connections and opportunities,” said Gozali.

The event highlights the rapid post-pandemic recovery of Indonesia’s film industry, which saw local films capture 61% of the market in 2022. The industry fully rebounded in 2023. Despite being the largest market in Southeast Asia, Indonesia’s screen industry lacked a dedicated showcase. JAFF Market aims to fill this gap by becoming Indonesia’s largest film and content marketplace, uniting professionals, emerging talents and key stakeholders.

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Developed with support from the country’s Ministry of Education, Culture, Research and Technology, JAFF Market seeks to enhance Indonesia’s international film presence. “JAFF’s initiative will facilitate easier access for the international community,” said Ahmad Mahendra, director of film, music and media at the Ministry.

Indonesia’s screen industry, with an economic impact of over $8 trillion and employing 387,000 people, per data provided by JAFF, is poised for further growth. JAFF Market’s various programs – including a project market led by producer Meiske Taurisia – aims to help emerging filmmakers connect with industry professionals to develop high-quality projects. Taurisia has been involved in organizing the LOCK Full Circle Lab, alongside Yulia Evina Bhara, Muhammad Zaidy and Vivian Idris.

Filmmaker Angga Sasongko, who is the CEO of the Visinema Group, and Falcon Pictures’ H.B. Naveen both emphasize JAFF Market’s potential to be a central hub for the Indonesian film industry. “It’s fitting for Indonesia to showcase its industrial strength,” said Naveen.

JAFF Market takes place Dec. 3-5 at the Jogja Expo Center in Yogyakarta, Indonesia. The film festival runs Nov. 30-Dec. 7.

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How OpenAI's Sora hurts the creative industries | Brookings - Brookings Institution

Since its release earlier this year, OpenAI has continued to evolve its new Sora technology and introduce it to many potential users. That includes a range of big movie studies, where OpenAI debuted Sora to Paramount, Warner Brothers Discovery, and Universal—despite the dust still settling from last year’s writer and actor strikes. For the film and entertainment audiences, OpenAI has touted Sora’s ability to translate text-prompt data into a minute or less of high-quality video. Before these previews, Sora’s availability was limited to “red team” testers, who were searching for misinformation and bias, as well as critical errors and risks. In late March, Sam Altman, one of OpenAI’s founders, took Sora “on the road” to woo Hollywood into adopting its latest advances—or at least the leaders bold enough to do business with him given writers’ concerns about the technology taking their jobs.

In this first of a two-part blog series, we explore the impact of the Sora technology on the creative industry, especially among industry film giants, who—if enticed to use the technology—could reinvigorate many of the concerns around copyright and intellectual property protections previously voiced by creators, particularly in acting and writing roles. Sora’s evolution stands out as unique from its predecessors in generative AI chiefly due to its much-heightened degrees of visual definition and detail. Building on the foundations of their 2023 generative image model, DALL·E 3, which artificially generates an image based on text input, OpenAI’s Sora combines DALL·E 3’s diffusion model with a transformer neural network to turn pixel fuzz into sequenced images, increasing performance abilities by processing data in chunks. Although Sora is still demonstrating certain imperfections in areas of object permanence and long-range coherence, the model’s grasp of object interaction and spatial relationships far exceeds the capabilities of its predecessors and therefore changes the entertainment industry in fundamental ways.

Sora’s early impacts on the film industry

Almost as soon as Sora was launched, it provoked heated discussions from creatives. Well-known producer and big-studio owner Tyler Perry has already shared that seeing the technology led him to hit pause on an $800 million expansion of his own Atlanta studio, citing concerns about not being able to keep up with the technology, which he believes “will touch every corner of [the film] industry.”

Early demonstrations of Sora may soon confirm Perry’s fears. Currently, the text-to-video model can produce cinematically appealing minute-long videos, which could replace traditionally filmed shots and perhaps short clip commercials. The continued evolution of the technology could have several implications for in-movie set production, including turning physical backdrops into simulated remote sets, potentially replace human acting roles, and dislocate the tasks of entire crews, including writers, designers, and artists involved in the end-to-end process of filmmaking.

Fresh on the heels of the 118-day-long SAG-AFTRA strike and the grievances of the Writers Guild of America (both of which were eventually settled), many are seeing Open AI’s meetings with Hollywood studios, talent agencies, and media executives as another strategic move by the AI firm—only this time, one aimed at appeasing the industry’s production side, rather than its writers. Those involved in the meetings reported that CEO Altman and COO Brad Lightcap’s presentations also were focused on gathering advice from film leaders on how best to approach Sora’s public rollout, set for later this year. And despite the critics, there are some in Hollywood who are optimistic about the possibility of the AI technology, especially about how it could offset time and costs incurred before and during the production process.

Could this be a three-peat for the creative industry?

Despite Hollywood workers averting the first wave of perceived perils by generative AI, they may be at it again soon, if not now. The emerging consensus remains that either legislation or regulation will be necessary to protect the nearly 550,00 people employed by the U.S. film, television, and animation industry from suffering undue consequences of Sora and similar tools’ deployment. Already, a 2024 study has demonstrated that 75% of film companies that have adopted AI reduced, consolidated, or eliminated jobs after incorporating the technology. The study, commissioned by unions representing Hollywood artists like animators and cartoonists, also estimates that by 2026 more than 100,000 of U.S. entertainment jobs will be disrupted by generative AI—with particularly heavy regional impact on jobs in California and New York. The study’s findings are especially concerning, given that its analysis predates the announcement of OpenAI’s Sora text-to-video model.

Preparing for union action

Amid these growing threats, which pre-date Sora, labor unions are preparing for action once again. A member of Animation Guild’s AI strategy committee, Sam Tung, said that the union would prioritize clearer AI rules as a major agenda point during this year’s contract negotiations. However, unlike at the start of the strikes by the WGA and SAG-AFTRA 10 months ago, a greater spirit of optimism resides within this set of workers. At a March rally in Los Angeles, Matthew Loeb, president of the International Alliance of Theatrical Stage Employees (IATSE), urged fellow union members to open themselves to the idea of using AI to increase efficiency, saying “we want some of the spoils of artificial intelligence.” Like the Animation Guild, IATSE plans to prioritize AI guardrails in their contract negotiations this summer. A primary focus of IATSE and similar labor groups will center around how best to fit these guardrails to serve the wide variety of disciplines represented in their membership. While potential threats from AI technologies like Sora may primarily impact the production side, big film studios will not be off the hook when it comes to negotiating strong clauses around AI use now and in the future.

Sora’s evolution marks a significant pivot in the Hollywood worker struggles. While the original strike was spearheaded by TV and film writers, the advent of sophisticated generative video AI is of particular concern for workers responsible for film sets, shooting, and editing. Production workers should bear their writer counterparts’ success in mind, using last year’s union strikes as an example of how they could collectively bargain for expressed protection from video AI tools like Sora.

In the present moment, however, the threat to film production laborers does not seem to be an all-encompassing problem. To date, OpenAI has noted Sora cannot currently handle shot or sequencing continuity, nor can it create Hollywood-standard stories, dialogue, or stage cues. Instead, if adopted soon, Sora is most likely to be used to enhance pitch decks, automate editing tasks, and overcome barriers for initial entry into the film industry.

Sora’s renewal of AI copyright concerns

Much like its companions in the generative AI space, Sora is trained on “publicly available” and “licensed” content, according to OpenAI. But which “publicly available” works are included in Sora’s training sets? Since the company has refused to disclose any further information about the materials on which Sora has been “trained,” aside from the fact that their material included licensed content from Shutterstock, many have inferred that OpenAI’s Sora data practices may include copyrighted videos. In an interview with the Wall Street Journal, CTO Mira Murati had difficulty answering questions about exact sources of Sora’s training data. Responding to a question about whether the tool had been trained on YouTube videos, Murati replied, “I’m actually not sure about that.” Murati’s response was the same for content from Facebook and Instagram. If OpenAI were found to have used data from sources like YouTube, it would be a “clear violation” of the platform’s Terms of Service, according to YouTube CEO Neal Mohan.

It also would not be the first time OpenAI has faced copyright violations. In 2021, met with the possibility of running out of English-language text data for training their latest model, GPT-4, researchers at OpenAI created a tool called Whisper to scrape and transcribe YouTube audio content into digestible text that could be fed to their latest AI system. While OpenAI is certainly not alone in their training abuses of online material, they are less restricted by privacy protections than their counterparts at companies like Google and Meta. In response, a barrage of copyright and licensing lawsuits have been brought upon the AI firm, with the New York Times suing both OpenAI and Microsoft in December 2023 for “using copyrighted news articles without permission to train A.I. chatbots.” OpenAI maintains that their use of the articles was permitted under copyright law, as they transformed the written works for a new purpose. But as litigation lingers, creators appear to still come out on the losing end. In addition to transparency and the opportunity to grant consent, at least, these creatives deserve compensation for their work—upon which many of them depend for income.

For now, Sora’s rapid progress has blurred clear copyright lines, and whether the studios will be enticed by its efficiency (especially by its cost) in the production side of the business remains to be seen. In part two, we will address Sora’s application to elections, which has some of the same culpabilities when it comes to technical performance, only this time the audience will be prospective voters.

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Jogja-Netpac Asian Film Festival Sets Inaugural Market – Cannes - Variety

Indonesia‘s Jogja-Netpac Asian Film Festival (JAFF) will unveil its inaugural JAFF Market in December. The initiative was announced at the Cannes Film Festival on Thursday.

This new three-day event aims to reshape the Indonesian film industry by fostering networking, innovation and collaboration among various sectors.

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JAFF Market takes place Dec. 3-5 at the Jogja Expo Center in Yogyakarta, Indonesia. The film festival runs Nov. 30-Dec. 7.

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Asian Content Attracts and Retains 80% of Region's VOD Audiences, Report - Yahoo News UK

Asian audiences are increasingly turning to homegrown content in their streaming choices. Asian titles powering 80% of premium VOD engagement and customer acquisition, according to new research from research and consultancy firm Media Partners Asia.

“The Rise of Asian Content” is based on passive tracking of 40,000 users by sister company AMPD in nine major Asian markets – Japan, Korea, Singapore, Taiwan, Indonesia, Malaysia, Philippines and Thailand – over 15 months between Jan. 2023 and March 2024.

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“Content originating from Korea, Japan, China, Indonesia and Thailand drives 70-75% of premium VOD engagement, acquisition and hits in Asia,” said MPA lead analyst Dhivya T.

“While the impact and travelability of K-dramas and anime is well-established, Chinese, Thai and Indonesian content are also emerging as important categories. Modern Chinese dramas are increasingly taking on K-drama-like storylines and themes, appealing to wider audiences through platforms like Netflix and Viu, relative to traditional Chinese costume fantasy dramas, which remain popular in Thailand and Taiwan.

“In Indonesia and Thailand, key studios (Screenplay, MD Entertainment, The One Enterprise, GDH 559) are growing into producers of streaming hits, with Thai drama, romance, comedy, and Indonesian horror emerging as the genres with the highest regional travelability and appeal,” said the analyst.

Korean content continues to stand out as Asia’s leading content category with over 40% of engagement and hits and 30% of customer acquisition. Korea is also the largest destination for content investment, attracting an estimated $1.3 billion from major streamers Netflix, Viu, Disney and Amazon Prime Video in 2023.

A variety of genres contribute to the Korean wave. While romance remains hugely popular, revenge plots (“Taxi Driver”), supernatural fantasies (“Island,” “The Uncanny Counter”), strong female-led thrillers and comedies (“The Glory,” “Mask Girl”) were among the top titles of 2023-24. The variety and reality catecory maintains a strong following for networks staples such as “Running Man,” while expanding into new formats such as Netflix’s “Physical: 100.”

Anime is the “cornerstone of Japanese content travelability,” according to the report. It captures 60-70% of Japanese content engagement, acquisition and hits in Asia and over 90% in Southeast Asia.

The anime production industry is supported by a large, decentralized studio ecosystem, where over with 50 different studios contributing to the top 100 anime titles in 2023-24.

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Friday, May 17, 2024

APAC takes home 22 Gold Pencils at The One Show 2024: Japan and Australia lead the way - Campaign Brief Asia

HYBE chairman Bang Si-hyuk calls ADOR's Min Hee-jin 'malicious individual' in first public statement - Hindustan Times

In a petition, Bang Si-hyuk requested the court to side with HYBE on an injunction that Min Hee-jin had previously filed.

Bang Si-hyuk slams Min Hee-jin

Bang Si-hyuk regrets HYBE-ADOR feud causing concern among people

What is Bang Si-hyuk's request to court

What step will court take next

IPL 2024 Coverage

APAC takes home 22 Gold Pencils at The One Show 2024: Japan and Australia lead the way - Campaign Brief Asia

Thursday, May 16, 2024

Jogja-Netpac Asian Film Festival Sets Inaugural Market – Cannes - Variety

Popular on Variety

How OpenAI's Sora hurts the creative industries | Brookings - Brookings Institution

Sora’s early impacts on the film industry

Could this be a three-peat for the creative industry?

Preparing for union action

Sora’s renewal of AI copyright concerns

Jogja-Netpac Asian Film Festival Sets Inaugural Market – Cannes - Variety

Popular on Variety

Asian Content Attracts and Retains 80% of Region's VOD Audiences, Report - Yahoo News UK

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