Industry News

Child Rights Award 2017: A call to broadcasters

1 April 2017, Kuala Lumpur/ Hong Kong/Bangkok/ – ABU, CASBAA and UNICEF are calling for entries for the 17th Asia-Pacific Child Rights Award from broadcasters and producers in the region.

Programmes both for children and about children are eligible and can cover any children’s rights issue. Entries can include documentaries that detail the plight of children, dramas that help break down stereotypes and discrimination, or animation that teaches and entertains.

Entries must have been broadcast between June 2016 and June 2017 and must be received by 30 June 2017.  The Award will be presented during the CASBAA Convention in Macau in early November 2017.

Eligible countries/territories: Afghanistan, Australia, Azerbaijan, Bangladesh, Bhutan, Brunei, Cambodia, China, Cook Islands, Fiji, French Polynesia, Hong Kong, India, Indonesia, Japan, Kazakhstan, Kiribati, Republic of Korea, DPR Korea, Kyrgyzstan, Lao PDR, Macau, Malaysia, Maldives, Marshall Islands, Micronesia, Mongolia, Myanmar, Nauru, Nepal, New Zealand, Niue, Pakistan, Palau, Papua New Guinea, Philippines, Samoa, Singapore, Sri Lanka, Tajikistan, Thailand , Timor-Leste,  Tonga, Turkmenistan, Tuvalu, Uzbekistan, Vanuatu and Viet Nam.
This competition is open to all ABU and CASBAA members in the Asia-Pacific region. A full list of countries can be found on the website.

To join the competition, please submit your entries) online at https://goo.gl/vKWqd5

Brochure of this year’s Award: https://goo.gl/VXaCjK

For more information, please visit www.childrightsaward.org or contact kjirathun@unicef.org.  Details on the Convention on the Rights of the Child can be found at www.unicef.org/crc.

 

Note to editors:

Asia–Pacific Broadcasting Union (ABU)

ABU is a non-profit, non-government, professional association of broadcasting organizations, formed in 1964 to facilitate the development of broadcasting in the Asia–Pacific region. It provides a forum for promoting the collective interests of television and radio broadcasters and engages in activities to encourage regional and international cooperation between broadcasters. It currently has more than 260 members from 64 countries. It organizes activities and projects to promote excellence in broadcasting and to improve technical and programming skills of its members, including the ABU Children’s TV Programme Item Exchange.

www.abu.org.my

 

CASBAA

CASBAA is the association for the multichannel audiovisual content creation and distribution industry across Asia.

The CASBAA mission is to promote industry growth in the region.  In so doing, it seeks to:

Represent: via government advocacy and interaction with trade organisations

Inform: via conferences, roundtables, newsletters & publications

Connect: via networking opportunities and informal gatherings

www.casbaa.com

 

United Nations Children’s Fund (UNICEF)

UNICEF works in 190 countries and territories to protect the rights of every child. UNICEF has spent 70 years working to improve the lives of children and their families. Defending children’s rights throughout their lives requires a global presence, aiming to produce results and understand their effects.

UNICEF East Asia and Pacific: www.unicef.org/eapro

UNICEF South Asia:  www.unicef.org/rosa

 

For further information, please contact:

 

Hanizah Hamzah                     ABU (Kuala Lumpur), + 603 22822480,

hanizah@abu.org.my

 

Cynthia Wong:                        CASBAA (Hong Kong), + 852 3929 1711,

Cynthia@casbaa.com

 

Kritsada Jirathun:                    UNICEF (Bangkok), +66 2 356 92 49
kjirathun@unicef.org

  FILMART: Creating Quality Localized Content Attracts Audiences

Tapping into the huge market for OTT platform content
HONG KONG, Mar 15, 2017 – (ACN Newswire) – With the rapid advances in technology, people can tune into their favourite OTT platforms on different kinds of electronic devices anytime and anywhere. OTT refers to over-the-top distribution of multimedia content via the Internet. For online entertainment companies, the challenge is how to revise their strategies to adapt to rapid developments and high demand for such content. At the thematic seminar held yesterday (14 March), “New Opportunities in the Explosive Growth of Online Entertainment” at the Hong Kong International Film and TV Market (FILMART), representatives of four renowned online entertainment companies discussed how to tap into the tremendous OTT platform market by producing and sourcing quality localized content.

– User pays model is key to business development –

Yang Xianghua, Senior Vice President of iQIYI pinpointed the fast-growing audience for OTT platforms in the Chinese mainland over the past few years. “It is estimated that within this year or next year, the number of people who watch streaming videos using mobile phone networks will reach half of the country’s population. In view of this, iQIYI is actively working with our partners to produce high-quality full-length online films.” He mentioned that there are two revenue models in place at present; advertisement revenue and user fees. The number of videos that generated more than Rmb1 million in profit for the company surged from 35 in 2015 to 122 in 2016, which points to a huge online market.

Conference moderator Patrick Frater, Asia Editor of Variety, raised the question of how to tackle the issue of many online entertainment companies running at a loss. In his response, Mr Yang noted that iQIYI has invested a lot in purchasing and producing content. In order to attract audiences, a significant portion of the content is free in the early stages. However, he predicted that the platform will turn the deficit into profit, as the number of subscribers and page views increases and the pay-per-user model is established. “Young Chinese viewers are relatively affluent, so they are willing to pay for higher-quality content,” he added.

– Localized vision to meet demands of different markets –

Meg Lee, Assistant Vice President, Content Management – Digital Media, PCCW Media Limited summed up the current trend: “Korean content is king.” Therefore, ViuTV is closely following the Korean trends and actively sourcing quality Korean entertainment video content such as dramas and variety shows, which have attracted a large numbers of fans of Korean trends to follow the channel.

Regarding producing and sourcing content that caters to the tastes of local audiences, Ms Lee noted, “ViuTV has its own team in each country, as well as an independent team that is in charge of collecting audience data and analysis. We also work with different local companies so as to quickly grasp the demand of the local market.” She added that ViuTV has its own team of translators who translate related content into local languages in a timely fashion. “We can only stay at the forefront by seizing the opportunities from the fast-changing trends.”

– Diversified video content attracts wider audiences –

As audience tastes change quickly, companies need to constantly explore new initiatives and adjust their strategies, which results in high investment risks. Dan Zonmani, Content Business Director of LINE Company Thailand stated that LINE TV partners with various brands in co-productions of new online content, which in turns lowers investment risks. LINE TV also offers diversified video content. “Besides local content, we also feature content from Japan and Korea while refining our existing content to cater to the local audience’s taste.” In addition, LINE TV features re-runs of dramas and live broadcasts in a multi-pronged approach to attract audiences.

He added that in providing content that caters to Thailand’s market, it is essential for the company to understand and respect the local culture while taking risks. “For instance, at the passing of the King of Thailand, we purchased a three-hour film whose content revolves around songs that are written about the King of Thailand. Broadcasting such a lengthy film on LINE TV was a new attempt, and a worthy one.”

– Japanese video on demand platforms bloom –

Among various markets, Japan was one of the last to join the OTT platform revolution, since the country’s traditional entertainment culture remains strong and it is difficult for industry players to break into the Japanese market. Nakase Keiko, Director (Animation Division and New Business Development) of Mytheater DD stated that there will be a gradual increase in the number of Japanese audiences who watch videos on OTT platforms on mobile devices, and the market of VOD services platforms is expected to reach US$1.3 billion in value.

Despite the tremendous market potential, there are also various challenges for companies who wish to enter the market. For instance, while NETFLIX and Amazon produce original dramas for their VOD platforms in Japan, the companies face competition from traditional TV stations. Ms Nakase believed the companies must differentiate their programmes from traditional TV content. For instance, greater emphasis may be placed on star casting to arouse audience’s interest.

In conclusion, online entertainment companies must cater to the audience’s tastes, keep a firm grasp on market trends and provide quality, localized content to attract more viewers, in order to tap into this fast-changing and tremendous entertainment services market.

FILMART Website: http://www.hktdc.com/hkfilmart
Photo Download: http://bit.ly/2nqS1x2

Media representatives wishing to cover the event may register on-site with their business cards and/or media identification.

To view press releases in Chinese, please visit http://mediaroom.hktdc.com/tc

About HKTDC

Established in 1966, the Hong Kong Trade Development Council (HKTDC) is a statutory body dedicated to creating opportunities for Hong Kong’s businesses. With more than 40 offices globally, including 13 on the Chinese mainland, the HKTDC promotes Hong Kong as a platform for doing business with China, Asia and the world. With 50 years of experience, the HKTDC organises international exhibitions, conferences and business missions to provide companies, particularly SMEs, with business opportunities on the mainland and in international markets, while providing information via trade publications, research reports and digital channels including the media room. For more information, please visit: www.hktdc.com/aboutus. Follow us on Google+, Twitter @hktdc, LinkedIn.

Google+: https://plus.google.com/+hktdc
Twitter: http://www.twitter.com/hktdc
LinkedIn: http://www.linkedin.com/company/hong-kong-trade-development-council

Contact:

HKTDC
Communication and Public Affairs Department
Joe Kainz
Tel: +852 2584 4216
Email: joe.kainz@hktdc.org

 

FILMART Draws Over 8,000 Global Visitors

Industry Leaders Discuss Trends, Development and Cooperation
HONG KONG, Mar 16, 2017 – (ACN Newswire) – The 21st Hong Kong International Film & TV Market (FILMART), organised by the Hong Kong Trade Development Council (HKTDC), ended today. The four-day event is a premier trading platform for the Asia’s entertainment industry. This year’s fair attracted more than 8,000 visitors, up nine per cent from last year.

Among the visitors who attended this year’s FILMART, participation from Asia rose significantly, with the Chinese mainland, Philippines and Cambodia recording double-digit growth.

This year’s FILMART featured the latest productions of more than 800 exhibitors from 35 countries and regions. Chinese mainland and many overseas exhibitors also set up booths to promote their local entertainment productions, including the United States, the United Kingdom, Canada, the European Union, Korea, Japan, Singapore, the Philippines, India and Vietnam.

An ideal trading platform featuring global buyers and latest productions

FILMART has long been an important platform for local entertainment companies to release new productions and announce development strategies. This year’s FILMART featured more than 70 special events, including thematic seminars, press conferences and networking events. There were also some 40 world and international premieres. In addition to such film companies as Emperor Entertainment Group, Sun Entertainment Culture Ltd., Universe and Shaw Brothers announcing their latest projects, TVBI and Fantastic Television Ltd also unveiled the line-up of programmes.

FILMART is an important promotional platform and one that has facilitated numerous successful collaborations. Asian film and TV productions were the focus among international buyers this year. The Thai delegation promoted “Content Thailand” at this year’s FILMART and concluded more than 10 deals with companies from the US and Korea during the four-day exhibition. The delegation was pleased with the results and is considering expanding their participation next year. Chinese mainland exhibitor Zhejiang Dream Stardom Film and TV Culture Co. Ltd. has been taking part in FILMART for many years. At this year’s show, the company successfully sold the first and second seasons of a Chinese TV series to a buyer from Southeast Asia. With so many business opportunities, a Dream Stardom representative said they would be returning to the fair next year.

The Cambodia Film Commission also led a delegation of local entertainment companies to exhibit at FILMART. One of the companies, Kongchak Pictures, reached a deal with a Korean buyer for a film and also started negotiations with buyers from the US, Canada, Malaysia and Thailand.

Leading producers share insights

FILMART featured an extraordinary line-up of more than 70 speakers, including leading industry representatives from the film, digital entertainment, animation and other sectors to share their views and insights. A total of 12 seminars were organised or co-organised by HKTDC, attracting over 3,000 attendees.

Documentaries were one of the focus areas of this year’s FILMART. The audience raised many questions during the seminar titled “Opportunity for Documentaries in Asia”. Ruby Yang, winner of the Academy Award for Documentary (Short Subject), shared her experience at the seminar. She said buyers tend to prefer productions about universal subjects.

Also speaking at the seminar was Takahiro Hamano, Senior Producer (Content Development Center, Programming Department) of Japan’s NHK. He said pan-Asian collaboration projects are becoming common; and if the directors could capture promotion opportunities and present well-established stories, finding capital should not be too difficult.

Jeong Joong Kim, Director of Acquisition and Chief Producer from Korea’s KBS, emphasised the importance of local perspectives. He said Korean audiences favour international stories with a Korean view point.

Andrew Hevia, co-producer of the latest Academy Award winner for Best Picture Moonlight, also stressed the importance of identity. He said the success of Moonlight is its ability to tell a specific story for a specific audience, narrating the story in an unexpected but down-to-earth way and focusing on ideas.

The Digital Entertainment Summit shed light on movie content and visual effects. Speakers pointed out that special effects companies in Asia are already quite advanced in the techniques that they use, and therefore should place more attention on enhancing content. At the Digital Entertainment Summit, Genki Kawamura, producer of Confessions and the hit anime Your Name, said that he joined the film industry because he was inspired by Steven Spielberg’s E.T. He said the film’s successful use of visual, audio and story-telling elements also inspired his own productions.

Daniel Son, Head of VFX Division of Digitalidea, the post production company behind Korean productions Train To Busan and Goblin: The Lonely and Great God, said Chinese filmmakers are highly creative, and have a passion for fantastical works. They also possess advanced technical skills. Felix Xu, CEO, Illumina Technology said that low budgets motivated them to experiment with more technologies to cope with different challenges, enhance efficiency and reduce production time.

The Hong Kong International Film and TV Market (FILMART) is a founding event of Entertainment Expo, Hong Kong, and is among one of the expo’s 10 events. Entering its 13th edition, the expo is running from 13 March to 25 April and is featuring 10 spectacular events, including three founding events and seven core events. The three founding events are: the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA); while the seven core events are: the Hong Kong-Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

FILMART website: http://www.hktdc.com/hkfilmart
Entertainment Expo website: http://www.eexpohk.com
Photo download: http://bit.ly/2nds4n9

To view press releases in Chinese, please visit http://mediaroom.hktdc.com/tc

About HKTDC

Established in 1966, the Hong Kong Trade Development Council (HKTDC) is a statutory body dedicated to creating opportunities for Hong Kong’s businesses. With more than 40 offices globally, including 13 on the Chinese mainland, the HKTDC promotes Hong Kong as a platform for doing business with China, Asia and the world. With 50 years of experience, the HKTDC organises international exhibitions, conferences and business missions to provide companies, particularly SMEs, with business opportunities on the mainland and in international markets, while providing information via trade publications, research reports and digital channels including the media room. For more information, please visit: www.hktdc.com/aboutus. Follow us on Google+, Twitter @hktdc, LinkedIn.

Google+: https://plus.google.com/+hktdc
Twitter: http://www.twitter.com/hktdc
LinkedIn: http://www.linkedin.com/company/hong-kong-trade-development-council

Contact:

HKTDC
Communication and Public Affairs Department
Joe Kainz
Tel: +852 2584 4216
Email: joe.kainz@hktdc.org

 

Power-Players head to Mission Hills for Lesports Connects: The China Sports Forum

HONG KONG, 28 November 2016 – Global industry leaders and sporting personalities are coming together this week to discuss the future of the sports industry in the world’s most populous country when the inaugural LeSportsConnect: The China Sports Forum kicks off tomorrow in Dongguan, southern China.

Billed the definitive gateway to connect China’s new and emerging sports business power-players, LeSports Connects: The China Sports Forum’s list of delegates reads like a ‘who’s who’ of the sports industry, with a mix of administrators, brand owners, content creators, media, promoters, and sponsors making the trip to Mission Hills’ luxury Dongguan resort in the Pearl River region of China.

Notable speakers include WWE heiress and current Chief Brand Officer, Stephanie McMahon, former Manchester United and Chelsea F.C. Chief Executive Officer, Peter Kenyon, former England footballer and entrepreneur Rio Ferdinand, as well as senior representatives from brands and rights holders operating at the forefront of the industry, including Weibo Sports, NBA China, GoPro, Baofeng Sports, ONE Championship and Manchester United FC.

With China’s State General Administration of Sport recently announcing a five-year plan to grow the Chinese sport industry to three trillion yuan (US$460 billion) by the end of 2020, supported by an unprecedented acquisition and investment spree by Chinese companies, organisers are bracing themselves for a huge interest in the sector.

Ma Guoli, Vice Chairman of LeSports commented: “We’re proud to stage the inaugural LeSports Connects: The China Sports Forum in China. The forum will bring together some of the most recognized players in the international sports industry with business leaders from around the region. We look forward to two days of valuable discussion and insight, and to contributing to the future direction of sport in this country.”

Stephanie McMahon, Chief Brand Officer, WWE said: “WWE is looking forward to participating in LeSports Connects at Mission Hills, Dongguan in China this week. China represents one of the most significant growth opportunities that the international sport and entertainment industry has seen and we see the China Sports Forum as an excellent opportunity to better understand the brand behavior and consumer trends in China, that will help shape our future business strategy.”

LeSports Connects: The China Sports Forum runs from Monday 28 November to Wednesday 30 November at Mission Hills Dongguan, China. For the latest schedule see: http://lesportsconnects.com/wp-content/uploads/sites/10/2016/11/LSC-draft-programme.pdf  Follow the latest news and updates at: www.lesportsconnects.com

如欲参会可于官方网站上登记你的兴趣:lesportsconnects.com

ENDS

Lesports Connects: The China Sports Forum – Speaker line up announced for first ever

Lesports Connects: The China Sports Forum – Speaker line up announced for first ever
第一屇LeSports Connects 中国体育论坛演讲者名单公布

Highlights

  • LeSports Connects: The China Sports Forum, to be held at Mission Hills Dongguan from 28 – 30 November, announces speaker line up, including former England football star Rio Ferdinand, Chinese sports industry leaders from LeSports and Weibo Sports, WWE heiress Stephanie McMahon and former Manchester United and Chelsea FC CEO Peter Kenyon
  • A first of its kind event inviting leaders of the international and Chinese sports communities together under one roof – the 3-day invitation-only event aims to be the gateway to connect with China’s new sports business power players
  • Hosted at Mission Hills, China, the event consists of 2 days of conference content, and superior networking opportunities including Golf Day at the world’s largest golf course

重点

  • LeSports Connects中国体育论坛日前宣布演讲者名单, 包括前英格兰足球明星里奥·费迪南德,来自乐视体育等公司的中国体育产业领袖, WWE高管Stephanie McMahon,前曼联和切尔西俱乐部首席执行官Peter Kenyon等
  • 国内外体育产业高管首次在中国汇聚一堂 , 活动邀请近400位嘉宾出席,旨在成为连接中国体育界的门户。
  • 本次活动将在中国观澜湖 举办,包括2天的的论坛会议以及在世界上最大的高尔夫球场进行的“高尔夫球日”,将为各界体育人士提供卓越的社交平台。

 

HONG KONG, 7th November 2016 中国东莞,2016年11月7日

LeSports, China’s leading Internet-based eco-sports company and Branded, the Hong Kong-based event marketing agency responsible for the highly successful YouTube FanFest and award winning ‘All That Matters’ conference series, today announced the speaker line up for their upcoming joint event LeSports Connects: The China Sports Forum.

作为中国领先的互联网的生态体育公司,乐视体育联手Branded在今天公布了LeSports Connects:中国体育论坛的演讲者名单。 Branded是来自香港的活动营销机构,其创立了YouTube FanFest以及屡获殊荣的“Matters”系列会议,

The 3-day invitation-only event is being held at event partner location Mission Hills, China – the world’s largest golf resort, from 28 – 30 November 2016. The event kicks off with a golf day for all delegates, followed by 2 days of conference content focusing on the rapidly growing China sports industry, with topics including:

为期3天的活动将在世界上最大的高尔夫度假村 – 中国观澜湖举行。活动将为所有代表开放一个高尔夫球日以及两天的会议内容,专注于讨论快速增长的中国体育产业,主题包括:

 

  1. The China sports industry and its influence on the international sports scene

– Showcase the domestic industry – current research and trends, and a look to the future

– Technology and media – updates on new forms of content distribution and fan engagement

– Chinese Super League – the business opportunities and the future of football in China

– Investing in international sports companies and services – what are investors looking for and how do you source China investment?

 

  1. The international sports industry turns to China

– Bringing international leagues, events and athletes to China

– Celebrating failure – what are some of the potential pitfalls and learnings

– International sponsorship and brand opportunities featuring case studies from top global brands

– Football Matters – what are the leading global clubs doing in China?

 

1.中国体育产业及其对国际体育界的影响

– 国内行业洞察 – 当前的调研和趋势、未来展望

– 科技和媒体 – 内容分发和粉丝参与的新形式

– 中国足球超级联赛 – 中国足球的商机和未来

– 投资国际体育公司和服务 – 投资者寻找什么,如何从中国获得投资?

 

2.国际体育产业转向中国

– 将国际联赛,赛事和运动员带到中国

– 庆祝失败 – 什么是一些潜在的陷阱和从中吸取的教训

– 国际赞助和品牌的机会——来自全球顶级品牌的案例研究

– 足球事业 – 全球顶级俱乐部在中国做什么?

 

Speakers announced for the first LeSports Connects: The China Sports Forum include:

第一屇LeSports Connects:中国体育论坛演讲者名单包括:

Rio Ferdinand 里奥·费迪南德, former England professional footballer 前英格兰职业足球员

Lei Zhenjian 雷振剑, Founder & CEO 创始人 & CEO, LeSports 乐视体育

Ma Guoli 马国力, Vice Chairman 副董事长, LeSports 乐视体育

Tenniel Chu 朱鼎耀, Vice Chairman 副主席, Mission Hills Group 观澜湖集团

Hou Yuhua 侯昱华, CEO, Weisai Sports 微赛体育

Chen Xin 陈鑫, Vice President 副总裁, WeCapital 微影资本

Zhang Zhe 张喆, Senior Operations Director 高级运营总监, Weibo Sports 微博体育

Zhao Jun赵军, General Manager总经理CEO, China Sports Media 体奥动力

Li Sheng 李胜,Founder &CEO  创始人兼CEO, SECA World 盛力世家

Beatrice Lee, CEO, Baofeng Sports 暴风体育

Stephanie McMahon, Chief Brand Officer & TV Personality 首席品牌官 & 电视名人, WWE 世界摔角娱乐

Peter Kenyon, Partner 合伙人, Opto Advisors(体育产业咨询)

Andrea Radrizzani, President & Founder 总裁 & 创始人, Aser Media(投资公司)

Zhang Yi, Chief Editor 主编, Sohu Sports 搜狐体育

Liu Jianhong 刘建宏, Co-President 联席总裁, LeSports 乐视体育

Xie Chenguang 谢晨光, Founding Partner 创始合伙人, Kaixing Capital 凯兴资本

Shi Yiying 石一瑛, Director of Sports 体育频道总监, Jiemian.com 界面

Pan Shijian 潘石坚, Founding Partner 创始合伙人, Kaixing Capital 凯兴资本

Zhang Yuqiang 张玉强, Co-founder 联合创始人, Sports Money 体育大生意

Han Mu 韩牧, Founder 创始人, Lanxiong Sports 懒熊体育

Richard Young, Managing Director 董事总经理, NFL China 美国国家橄榄球联盟(中国)

Chris Park, Senior Vice President 高级副总裁, Major League Baseball 美国职棒职业棒球大联盟

Victor Cui, CEO, ONE Championship ONE冠军赛(综合格斗促销)

Jamie Reigle, Commercial Director 商业总监, Manchester United 曼彻斯特联足球俱乐部

Xavier Asensi, Managing Director – APAC 亚太区董事总经理, Barcelona FC 巴塞罗那足球俱乐部

Fernando de Matos, Head of Sponsorships AP Region 亚太区赞助主管, Visa 维萨

Caroline Darcy, Head of Sponsorship, Asia Pacific 亚太区赞助主管, UBS 瑞银集团

Adrian Toy, Regional Director, Marketing 亚太区营销总监, PUMA 彪马

Josh Black, CEO, ESP Properties, Asia Pacific(体育娱乐营销代理)

Mickael Piantchenko, Asia Pacific Director 亚太区总监, ESL 电子竞技联盟

Tom Byer 汤姆拜尔, Head Technical Advisor 首席技术顾问, Chinese Ministry of Education 中华人民共和国教育部

Andrew Collins, CEO, Mailman Group

Michael Cunnah, Chairman 董事长, iSportConnect体育社交媒体

Catherine Gibbs, Head of Sponsorship 赞助主管, AIA 友邦保险

John Cappo, President 总裁 & CEO, AEG China 安舒茨管理

Ben Flint, CEO, Asian Sponsorship News (ASN)(亚洲赞助新闻)

Scarlett Li, Founder 创始人 & CEO, Zebra Media 热波传媒

Richard Welbirg, Senior Reporter 高级记者, TV Sports Markets体育媒体

with many more to be announced

Interested parties can register their interest in attending at the official website: lesportsconnects.com

ENDS

About LeSports

Established in 2014, LeSports has quickly become China’s leading internet sports company with a sports ecosystem which covers ‘content platform + event management and operations + smart hardware + internet services.’

With rights to over 300 global sporting events and live broadcasts totaling more than 16,000 games per year, including the English Premier League , LeSports houses the largest sports content in China. These also include exclusive rights in China to the Chinese Super League (CSL), Wimbledon, Formula 1 and much more.

LeSports acts an event operator and promoter, having helped bring world-renowned football tournament the International Champions Cup (ICC) to China for the past two years and will again next year.

The LeSports state-of-the-art, self-produced Smart Bike is the first item of hardware LeSports released and it has proven extremely popular among cycling and sports enthusiasts.

Internet services such as e-commerce and ticketing are provided by LeSports, where customers can purchase officially-licensed merchandise from top clubs and organizations through LeSports’ online platforms. Furthermore, LeSports acts as Major League Baseball’s (MLB) hard goods distributor in China, Hong Kong and Macao, and provides fans with the platform to purchase MLB merchandise in-game through the LeSports website and app.

This year, LeSports introduced its subscription and pay-per-view model, breaking down the barrier of traditional sports broadcasting in China with its OTT service, and pushed China’s paid sports content market into a new age. LeSports Pass members can watch all 380 Premier League matches live this season on LeSports’ OTT platform.

With its Hong Kong office up and running last year, LeSports HK has proved a real game-changer and instant success by introducing its popular OTT service into an already mature and competitive Pay TV market.  LeSports HK has also secured a whole host of exclusive rights to top-notch competitions such as the English Premier League, FA Cup, National Basketball Association (NBA) and the 2018 FIFA World Cup in Russia, as well as more than 2,500 matches from the Chinese Super League, the US Open Tennis Championships and many more. LeSports has started setting up a team based in the U.S, which is focusing on new technology and gaining a foothold in the ever-growing American sports market.

LeEco, the parent company of LeSports, has recently set up offices in the U.S, India, Russia and with LeSports focusing on its globalization strategy, will look to move into these territories in the near future.

2014年成立的乐视体育,已经迅速成长为中国领先的互联网体育公司,其体育生态系统涵盖了“内容平台+赛事运营+智能硬件+互联网应用服务”。

包括英格兰足球超级联赛在内,乐视体育拥有300多项全球性体育赛事版权,全年直播16000多场比赛,是中国最大的体育赛事内容平台。比赛还包括乐视体育在中国独家直播的中国足球协会超级联赛(CSL)、温布尔登网球公开赛、世界一级方程式锦标赛(F1)等。

同时作为赛事运营和推广方的乐视体育,引进了世界著名的国际冠军杯(ICC),于过去两年和明年在中国举办。

运用最新技术制造的超级自行车是乐视体育出品的第一款智能硬件产品,已经在体育爱好者中备受欢迎。

乐视体育还为消费者提供电商和票务等互联网应用服务,售卖各类顶级体育俱乐部和组织的正版特许商品。同时,乐视体育也是美国职业棒球联盟(MLB)在中国及港澳地区的分销商,粉丝可以在乐视体育网站和APP一边看直播一边购买特许商品。

今年乐视体育推出了付费会员服务,通过OTT技术打破了中国传统体育直播的瓶颈,拉开了体育内容付费市场的新时代。乐视体育付费会员可以在乐视体育互联网平台观看英超全赛季380场比赛直播。

乐视体育去年成立了香港分公司,通过引入广受好评的OTT技术,乐视体育在原本竞争激烈的付费电视市场中改变了游戏规则并迅速获得成功。乐视体育香港公司拥有众多顶级、高水平的国际赛事,除了英格兰足球超级联赛、英格兰足总杯、美国职业篮球联赛(NBA)、2018年俄罗斯世界杯的独家版权之外,还获得了中超、美网等赛事的转播权,目前已经拥有超过2500场比赛。乐视体育已经开始在美国建立团队,该团队将重点研发新兴科技、逐渐在不断发展的美国体育市场站稳脚跟。

乐视生态——乐视体育的母公司——已经于近期在美国、印度和俄罗斯分别设立了新办公室,随着乐视体育的全球化战略的发展,不久也会进入这些地区。

 

About Branded

Branded are creators of ‘Live Media that Matters’

Branded conceptualised and produces the YouTube FanFest global tour, It’s A Girl Thing and the “Matters” series of B2B festivals.

Founded in 2002, and listed as a “Top 10 Event Marketing Agency” by Marketing Magazine and winner of the Singapore Experience Best Trade Event of the Year Award in 2012 and 2014, Branded adds value and grows the media, entertainment and sports industries in Asia.

Branded are experts in the conceptualisation, programming, organisation, and production of dynamic conferences, live music festivals, academies, and fan events in Asia. We are an independent company staffed by passionate multi-cultural, multi-lingual and multi-talented individuals with offices in Hong Kong and Singapore and affiliations that reach all corners of the world. www.branded.asia

Branded是“Live Media that Matters”的创作者

Branded概念化并制作了全球巡演的YouTube FanFest,“It’s A Girl Thing”和“Matters”系列等B2B活動。

Branded成立于2002年,被Marketing Magazine列为“十大活动营销机构”,并于2012年和2014年获得新加坡体验最佳贸易活动奖,Branded為亚洲地区的媒体,娱乐和体育产业作出了很大的貢獻 。

Branded是概念化,规划,组织和生产商业会议,现场音乐节,学术讲座,粉丝活动的专家。 我们是一个独立的公司,拥有充满激情的多元文化,多语言和多才多艺的員工,在香港和新加坡设有办事处并拥有遍布世界各地的分支机构。 www.branded.asia

 

Website & social media links

Branded

Distributed on behalf of Branded by Roco Communications. For further enquiries please contact:

Ross Collett (Media) at ross@rococomms.com

Louisa Berry (Sales/Media Partnerships enquiries) at louisa@branded.asia

Krystyna Kosciuszko (Programme enquiries) at krystyna@branded.asia

Documentary on dangerous journey to school wins 2016 Asia-Pacific Child Rights Award for Television

GMA’s ‘Reel Time: Written on Water’, about the treacherous and difficult journey to school for students in a far flung area of the Philippines, wins 2016 Asia-Pacific Child Rights Award for Television

written on the Water
Click the photo to watch the winning documentary   ©GMA Network

Bali, 24 October 2016 – ‘Reel Time: Written on the Water’, produced and broadcast by GMA Network, has won the 2016 Asia-Pacific Child Rights Award. The programme highlights the dangerous trip to school for students who must wade through the sea and climb a mountain to go to school.

Every day, before sunrise, children in Matnog, Sorsogon, prepare for a hard trip to school. The fastest route requires them to walk across the sea while the tide is low and trek up a mountain. After the two-hour walk, despite exhaustion and hunger, they try their best to absorb their lessons. Sadly, after risking their lives on the way to school, the children are met with a shortage of classrooms and textbooks. Despite the odds, however, their determination to learn never wanes.

‘Reel Time: Written on the Water’ was praised by the jurors. “The show reflects the problems the children face,” they said. “It not only shows their difficult journey but also how this journey affects the educational development of the children.”

The Reel Time production team described positive feedback they received from viewers. “Weeks after its initial broadcast, some groups organized a fund drive and outreach project to send bags, books and other school supplies,” the team said. “Yellow Boat of Hope, through its donors, was able to build motorboats so that children can commute to school. The voters also selected new local leaders who they hope could really bring change and fulfill their promises of uplifting the kind of life they have right now.”

“The story relates to the modern-day realities in the lives of children not only in Asia but also in other parts of the world,” Dr Javad Mottaghi, ABU Secretary-General, said. “They are prepared and ready to overcome all obstacles to gain access to a much desired education – their key to success in the future. They are absolutely right.

Children wade through the sea to go to school
Children wade through the sea to go to school. ©GMA Network

“‘Written on the Water’ sends a clear message to the children’s parents, teachers, social groups, and other local and international organisations. This message is that sacrifice, determination and hard work starts at a very young age due to socio-economic conditions which the children are not responsible for. It’s our moral duty to help them by any means and pray for their future.”

“CASBAA congratulates GMA Network for their unflinching look at childhood poverty in ‘Reel Time: Written on the Water’,” said Christopher Slaughter, CEO of CASBAA. “Our industry reaches hundreds of millions of people around the world daily. It is heartening to see our medium being leveraged as a platform not just for entertainment, but in the service of such a worthy cause as alleviating the plight of children in need. On behalf of the industry, CASBAA salutes the on-going participation of broadcasters from across the Asia Pacific region in this year’s Award process.”
For the first time, UNICEF will also award a special UNICEF Regional Director’s Award for TV to ‘101 East’s ‘Too Young to Wed’, produced by Al Jazeera. The award will be presented at the High Level Meeting on South-South Cooperation for Child Rights in Asia and the Pacific in Kuala Lumpur, Malaysia in November.

“‘Too Young to Wed’ highlights the important issue of child marriage throughout the region. This issue is an important one for UNICEF; it’s about young girls losing their childhood,” said Karin Hulshof, the UNICEF Regional Director for East Asia and the Pacific. “Young Beezly’s heartbreaking story is still all too common – and not only in Bangladesh. Child marriage is a fundamental violation of human rights and programming like this can support UNICEF’s efforts to put an end child marriage once and for all. I commend 101 East for drawing attention to this important issue.”
For more information about the Award, this year’s finalists, and a Q&A with the winner, please visit: www.childrightsaward.org

The winning and shortlisted documentaries can be viewed here: http://uni.cf/2e7b9zE

For media enquiries, please contact:
• Hanizah Hamzah, ABU (Kuala Lumpur), + 603 22822480,
hanizah@abu.org.my

• Cynthia Wong, CASBAA (Hong Kong), + T: +852 3929 1711,
Cynthia@casbaa.com

• Kritsada Jirathun, UNICEF (Bangkok), +66 2 356 92 49,
kjirathun@unicef.org

澄清對版權例修訂2014的誤解

《2014年版權(修訂)條例草案》將在立法會二讀,網上出現很多言論誤導公眾,歪曲條例的精神,須加以澄清:

一、版權條例的訂立,目的是保護每一個人的創作及表達自由,而並非限制。版權是上天賦予每一個人與生俱來的重要私有財產,每個人都有創作及表達自由,而版權本身是毋須登記,無論富或貧、大公司或小公司,創作出來的作品都會即時同樣平等地受到版權條例的保護,令大家可安心不斷創作和表達,免受抄襲盜竊的威脅。因此,面對新經濟和科技的挑戰,現時不少民主自由的國家,都不斷修訂《版權條例》,為國民的私有財產提供更完善及更有效的保障。

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Hong Kong Copyright Alliance Urges Passage of Copyright (Amendment) Bill 2014

The Hong Kong Copyright Alliance urges the Legislative Council to endorse the Copyright (Amendment) Bill 2014 (“Bill”) to both bolster the freedom of expression and protect the creative sector from online piracy.

“The Bill not only ensures the freedom of expression, but also safeguards intellectual property rights. It is a lifeline for our ailing industry. It is a necessary measure allowing for the proper functioning of our economy in this age of new media and flawless mass digital transmission,” said Alliance convener Ms. Jenny Wong.

The Alliance, representing over 1,400 companies in the creative and entertainment industries in Hong Kong, believes the Bill represents a reasonable balance of interests among the stakeholders. The Bill will:

  • Safeguard the freedom of expression by providing sufficient exceptions that allow copyright users to continue to engage in creation of derivative works for such purposes as parody and quotation.
  • Offer practical guidelines for online service providers to handle alleged copyright infringement on their service platforms and establish a safe harbor that limits their liabilities in this regard.
  • Introduce a technology-neutral communication right to help protect the electronic communication of copyrighted works to the public against online piracy (e.g. commercial streaming pirate sites). It will plug a major loophole in the current provisions.
  • The public debate on the issues contained in the Bill started over a decade ago. The existing Copyright Ordinance is outdated and fails to provide an effective legal framework to tackle infringements in a new media environment.

    “The Bill is long overdue. Prolonging deliberation is not an option as infringing activities have threatened and continue to threaten the survival of much of our industries,” said Ms. Wong.

    The Copyright (Amendment) Bill 2014 will be tabled for resumption of second reading on 9 December 2015.

    [END]

    # # #
    For more information, please contact:

    -Mr. Sam Ho
    -Ms. Jenny Wong
    -Mr. Peter Lam
    -Ms. Fiona Wan (Tel: 2375 6669 / 9401 3007)

    About Hong Kong Copyright Alliance
    Hong Kong Copyright Alliance consists of 16 organizations of the music, film, TV broadcasting, comics and animation, software and information technology sectors with over 1,400 member companies. It is broadly representative of the copyright and creative industries regarding copyright protection in Hong Kong. The 16 organizations are:

  • BSA | The Software Alliance
  • CASBAA (Cable and Satellite Broadcasting Association of Asia)
  • Entertainment Software Association
  • Hong Kong Comics and Animation Federation Limited
  • Hong Kong International Screen Association Limited
  • Hong Kong Motion Picture Industry Association Limited
  • Hong Kong Movie Producers and Distributors Association Limited
  • Hong Kong Recording Industry Alliance Limited
  • Hong Kong Video Development Foundation Limited
  • IFPI Asian Regional Office
  • IFPI (Hong Kong Group) Limited
  • Motion Picture Association – International
  • PCCW
  • Television Broadcasts Limited
  • Time Warner Inc.
  • 21st Century Fox Inc.
  • Key messages for the second reading of Copyright (Amendment) Bill 2014

    Hong Kong’s legislature is nearing final votes on the Copyright Amendments 2014. The amendments are critical to the future of the content industries in the SAR; they bring digital copyright principles to Hong Kong for the first time. The law is in dire need of updating, to take account of legal and illegal digital distribution of copyrighted materials, including entire packages of pay-TV programming. CASBAA, in its submission, noted “The 10 years of delay in formulating…these amendments mean that online piracy problems have grown and changed far beyond the expectations of those who began this process, including both government and industry.” When the bill was first introduced, the broadcasting industry – as well as other copyright-dependent sectors – warned the legislature that Hong Kong is losing jobs to piracy.

    CASBAA’s position continues to be strongly supportive of passage of this Act: “we urge the Legislative Council to move as quickly as possible to pass the Bill now on the table. And we urge the government to move quickly to implement – through subsidiary legislation, Codes of Practice, or further improvements to the laws – further measures to stem the massive increase in online piracy of television programming.”

    Legislators have proposed many amendments to the legislation. Some of them are spurious and many are purely linguistic, but some raise controversial issues, including proposing to give netizens the right to publish whatever content they want under the guise of “user-generated programming,” to institute a US-style “fair use” system (without US common law underpinning it), and to void contracts that might constraint their ability to do permitted acts. Some of these issues have not been considered before in the legislature, and others were debated years ago; we oppose their ill-considered inclusion at the last minute in this legislation, but will welcome more systematic and inclusive consultation by the government on these topics, after the legislature meets the vital need for action, now.

    HKCA

    HKCA7

    HKCA8

    HKCA2

    HKCA3

    HKCA4

    HKCA5

    Global Organizations Call Upon Governments To Safeguard Satellite Spectrum From Further Wireless Interference

    12 November 2015

    GENEVA, Switzerland – Major inter-governmental and private-sector organizations responsible for providing safety-of-life communications to millions of people have requested the national administrations of every region to preserve satellite spectrum for use in delivering mission-critical satellite services worldwide.

    The unprecedented demonstration of support for satellite spectrum was made during a series of briefings held at the International Telecommunication Union’s (ITU’s) World Radiocommunication Conference (WRC), where the wireless industry is attempting to get access to satellite spectrum despite reports that previous efforts have already disrupted communications services with serious interference.

    Included among those calling for safeguarding of satellite services were the United Nations World Food Program and Office for Coordination of Humanitarian Affairs, the International Civil Aviation Organization, the World Meteorological Organization, the World Broadcasting Unions, NetHope, the International Maritime Organization, and the Space Frequency Coordination Group, a group of space agencies from throughout the world.

    In a joint statement issued by an international coalition of seven non-profit associations representing the global satellite communications sector, the show of support was strongly commended: “The high level of support from these organizations makes clear the importance of satellite communications in C band spectrum and how further disruption of safety-of-life services due to wireless interference is unacceptable.”

    As governments consider whether any portion of the 3400-4200 MHz band (“C band”) should be identified for IMT, they have heard from the safety-of-life organizations during a series of briefings held for the inter-governmental groups of each major world region, including the Arab Spectrum Managers Group (ASMG), Asia Pacific Telecommunity (APT), the Conference Europeenne de Postes et Telecommunications (CEPT), the Inter-American Telecommunication Commission (CITEL), and the RCC & Commonwealth of Independent States.

    “Some administrations may be under a misimpression,” the coalition statement continued. “It is not necessary to support IMT identification if they have already authorized WiMax or other terrestrial wireless services. An identification for IMT is not required to make WiMax or other authorizations comply retroactively with ITU rules. No ITU rule change is required at the WRC in order to enable national deployments of WiMax or other wireless services.”

    Background

    1. Realistic solutions to protect existing satellite links in C band have not been identified; migration of IMT services to this band would cause more extreme harm to the global community that relies heavily on satellite services.

    It is clear from the most recent reports and studies from the ITU that mitigation techniques, such as separation distance, earth station shielding, or the use of filters on satellite receive antennas, to block interference from IMT networks into satellite networks are often ineffective and moreover would be far too severe to be justifiable from a technical or economic perspective. This means that in practice, mitigation measures would not be effectively implemented. Furthermore current IMT proposals offer no protection for FSS receive-only earth stations, which are deployed broadly and on a licence-exempt basis in many countries.

    Within the last few months, satellite stakeholders have experienced further degradation of services in some parts of the world due to terrestrial mobile operations using the same C band frequencies. For example, millions of Philippine citizens’ television signals were disrupted due to interference from mobile services. Similar cases of interrupted service were also reported in South Asia, South America, the Caribbean, and Africa. These are not isolated incidents – disruption of C-band satellite services from terrestrial wireless interference has been taking place around the world since 2006.

    It is understood that this has been the result of Broadband Wireless Access (BWA) systems being deployed in the C band. However, the negative effects will be far more wide-reaching in the case of terrestrial mobile IMT broadband services, which have larger coverage requirements and are expected to transmit at higher rates and consequently with more power.

    2. Global and national studies indicate that less than 50% of the spectrum currently allocated to IMT is in use.

    Claims have been made that mobile broadband will need between 1100 and 1900 MHz more spectrum by 2020, even though IMT is not using most spectrum currently assigned for its use. In anticipation of the growth of the mobile industry, the ITU has already allocated and/or recommended a substantial amount of spectrum for use by IMT. Around the world less than 50% of this spectrum is licensed and even less is in use according to a recent detailed study on the subject by LS Telcom.

    It would be unwise to unnecessarily reassign spectrum used for other often-critical services. IMT can achieve its growth targets without a need for the additional spectrum they are requesting, often on the basis of predictions, population density and traffic numbers that are grossly exaggerated.

    Conclusion

    New and existing C band satellite services are actually bridging the digital divide. It is the duty of the international community to safeguard these vital services. The effects of failing to do so fall disproportionately on the developing world and rural areas. IMT should be directed to use their current frequency allocations fully and more effectively, or concentrate its planning for additional allocations to other, more appropriate bands.

    Editor’s Note:

    This press release has been prepared by the Asia Pacific Satellite Communications Council (APSCC), Cable and Satellite Broadcasting Association of Asia (CASBAA), EMEA Satellite Operators’ Association (ESOA), Global VSAT Forum (GVF), Interference Reduction Group (IRG), Society of Satellite Professionals International (SSPI), World Teleport Association (WTA), and other international associations of the satellite industry.

    For More Information Visit: www.satellite-spectrum-initiative.com