It’s that time again; when Asia’s television industry comes together to celebrate the best in local content and talent. Going by all the business the past 12 months has seen, it’s no wonder the entries this year have ballooned. The addition of four award categories and some others being refined has opened doors to new broadcasters and content makers.

The other noticeable difference with the entries this year is the amount of diverse content in the final nominees list. Different stories, new characters and engaging content have not only added refreshing colour to the 39 award categories but also made it harder for the close to 50 judges to decide on the ultimate winner.

“The judges had a tough time this year,” remarked Man Shu Sum, the Asian Television Award’s (ATA) Chief Judge for the past five years. There were a number of ties, which means the entries were very competitive and of very high standard. I don’t think I’ve seen so many ties ever. “Asia is becoming the centre of attraction for TV as well as film. It’s more visible and content makers are trying new ideas and new ways of telling stories with new approaches and new packaging.”

Man said this talent is also being seen across the entire region equating to a number of territories and broadcasters upping their quota of submissions.

“Malaysia is a key example. The film market is already very happening. Television just got its legs a few years ago and now a lot of players are coming into the picture. Talent is also getting younger and seeing content differently. They understand that some content, some of the ingredients so-to-speak, actually will be watched over different media, unlike the old days where you only expected it to be on TV. Now you have TV, cable TV, the web. This bunch of creative people, they have been exposed to all kinds of platforms. It’s something very refreshing,” said Man.

ATA in 2011 has also seen a shift in what is being produced and where broadcasters are putting their money. Last year the documentary and reality television categories drew the highest amount of entries. This year sees a different mix with drama productions coming out on top, followed closely by social awareness programming.

The addition of an award for Best Preschool Education Programme this year is also reflective of how the content business is adapting and diversifying in the region. Entries include productions from India, Australia, China, Singapore, Taiwan and Indonesia.

One finalist is animated series Bommi and Friends, created by India’s Image Venture, which airs exclusively on KidsCo – a first time entrant at this ATA with a total of four programmes.

Paul Robinson, KidsCo’s Global CEO said that developing series for such young viewers is definitely not an easy task. “Preschool shows are more demanding to create for those for older kids due to the importance of curriculum. Increasingly in Asia, parents, faced with more choice for their children, want to ensure they are watching something where there is a strong and engaging learning component. This requires a certain skill and I think Asian producers are getting better and better at it.

“This new award category is important as it recognises this talent and skill in an increasingly challenging genre of kids programming,” added Robinson.

Man agrees, “Children’s and preschool television is coming along in a big way in the region. A lot of governments actually want to put a lot of money in to develop this further. This is just the beginning of kids TV here and I expect it will grow a lot faster than first expected.”

Raymond Wong, CEO of Ten Alps Communications, which has organised the ATA since 2010, said he is proud of the changes the television and entertainment team has implemented for this year’s event. “Television globally is at a time of great change – new technologies, new platforms and ideas. Asia is no different and the ATA is about recognising creative talent as well as the business of television. The changes the team have made are in line with where the industry is going and staying relevant while also recognising areas that need greater support and recognition.”

A key example is the creation of an award for Best Drama Screenplay in the Creative and Technical section. A craft rarely recognized in the industry at present but one of great and increasing importance in strengthening the region’s television for the world stage.

“I think we need to put in more effort to develop strong writers across the region,” said Man. “Recognizing their talent and contribution to a production at these Awards is a great start.”