BEHIND THE CURTAIN OF MALAYSIA TV MARKET. Part 1

In the article “BEHIND THE OTHER SIDE OF BLUE SCREENS: THE REAL LIFE OF THE TV “MAGICIAN BOX” TV programming strategies of different channels were revealed. We continue the topic with the deep outlook of the East.
Yin Wah Kok (HTV Entertainment Limited) shared with SSTR the key aspects of work with content in cooperation with online broadcasters. The interview slightly opens the curtain on the Malaysia TV market.

In digital edition of SSTRNews some parts of interview are presented. Here there is a full one

http://sstrnews.com/behind-the-curtain-of-malaysia-tv-market/

1. What criteria do you use to select content for your platform?
First of all, we will look for one of a kind unique content that isn’t available anywhere or hard to get elsewhere. Then we will see whether the content is relevant and appeal to the platform/channel mission, “Connects you with fun and unique content from the world”. This will attract audience although not a big audience but maybe others have not reached them yet.
Working with the right business partner is also part of the content selection criteria. Since we are a new channel, we want to build a strong business partnership with producers and distributors who can work together through thick and thin.
Financial models of distribution channel deals, legal rights to air and content suitability based on local requirements, for example no to nudity, story theme based on gay/lesbian or high level of violence in film is also banned.
2. How do you buy content usually — through distributors or directly from the producer?
We have no buying preference. It all depends on the content and who has the rights.
The advantage of buying from distributors is usually time saving because they will do all the negotiation with the producer and we will have more choices in content selection too. However, we still look into content offered by the producer/content owner. We always tell the producer if they have failed to get their content on local television, how about trying our channel.
3. On average, how much time do you “keep” one product on your platform (available for viewing)? What does it depend on?
Our content licensing contract period is usually 2 years but some licensor prefer a shorter term of 18 months for a start. Since we have a contract signed, we will continue to keep the content on the platform no matter what the situation is until the contract ends unless the licensor wanted to terminate the contract earlier. We are always open for discussion.
4. Which content is the highest rated (viewed) on your platform at this stage?
Asian Dramas has the most viewed so far in our channel followed by food and travel content. We see some promising signs in the ratings of the few food programs like Simple Food, Fun Food and Foodlab International distributed by MK Distribution.
The uniqueness of these programs is partly educational, as the host walks us through the process of preparing the meals, in fast and simple way.
5. What is the age of your active audience? What do they watch mainly?
I believed many of the OTT channel will provide the same answer to your question. Our active audience is mainly the “Millennials” between the ages of 18 to 34 year olds as this generation connects with TV, media, gaming and other content.
They mostly watched TV shows. Based on our in-house video analytics report, the program genre is widely spread across all content. This might be due to our channel is less than a year old, viewers are curious and wanted to explore more on our content offering. Drama, travel and cooking genre has better ratings so far compare to the others.

Next part soon…