iQiyi’s year-end masterpiece Luoyang launched its global online press conferences in conjunction with their LIGHT ON online miniseries. Consisting of three curated talkback sessions between industry heavyweights in Asia, the programme aims to showcase a brand-new Chinese entertainment landscape for global audiences. “Casting A Light On Asian Entertainment.”

Industry Fireside Chats

The panel included iQiyi senior executives Dai Ying, Ge Chengzhi, and Zhang Heng, joined by Thailand film director Kongkiat Komesiri, critically-acclaimed Indonesian producer Wicky Victor Olindo and Malaysia-born Juita Viden Group’s Content Director Juliana Foo. Discussing their visions for the pan-Asian film and television industry, the panel dived into creative scripting for film and television, its ecosystem and production, as well as current trends.

Ge Chengzhi, President of Research Institute at iQiyi and Juita Viden Group’s Content Director Juliana Foo on “Asian Representation in Global TV” (Watch Fireside Chat Here): During the fireside chat, Ge Chengzhi posits that “the development of OTT platforms has filled the gap traditionally present when it comes to bringing for Western and Asian content beyond the borders.” He added, “streaming platforms have allowed Asian producers and creators to have the same speed, ability and efficiency when distributing their content globally.”

Chiming in, Juliana Foo, Juita Viden Group Content Director shared, “Asian representation in the global market is definitely not as strong as it should be, but I’m very happy that we’re seeing that on the rise right now thanks to streaming players like iQiyi who have been actively promoting local content in the global stage,” “Streaming platforms today are increasingly more focused on investing in local content with the intention of distributing it across the world, and this provides a really good opportunity to showcase emerging Malaysian talent and directors beyond the local market. This allows local creatives to tell stories about their own cultures across the globe which is really great.”

“Streaming platforms today are increasingly more focused on investing in local content with the intention of distributing it across the world, and this provides a really good opportunity to showcase emerging Malaysian talent and directors beyond the local market. This allows local creatives to tell stories about their own cultures across the globe which is really great.”

Dai Ying, Senior Vice President at iQiyi and the Producer for iQiyi’s Light On franchise and Kongkiat Komesiri, Director of iQiyi’s first Thai Original KinnPorsche on “Stories Across Borders”:

iQiyi Senior Vice President Dai Ying, General Manager of the Original Drama Division and Kinnporsche Director Kongkiat Komesiri both shared that stories that transcend borders are “the ones that resonate and gratify the most,” Dai raised iQiyi’s LIGHT ON franchise as a case study of content that has become successful as China has “an abundance of themes with rich historical backgrounds, allowing for good stories to be told.” Director Kome agreed, positing that Asia is a treasure trove of stories that is rich in culture. “The world is beginning to be interested in what Asia is thinking and its growth, way of living and philosophy. I believe we can dominate the space in the global market easily because Asia is the new trend that’s fresh and we have so much diversity to offer.”

“It would be excellent if iQiyi becomes an important hub where Asian content is housed and achieves the widest global footprint, together,” Kome added.

Zhang Heng, General Manager, Film and TV Literature R&D Center at iQiyi and Wicky Victor Olindo, Co-founder and CEO of Screenplay Films on “Producing for The World”:

When discussing production of content for the biggest entertainment markets, both executives agree that having best in class production quality is one of the main precursors of success. “In recent years, mainland China’s audio-visual language has rapidly developed due to technological advancements and capital investment, and high-tech productions bring to the audience a good audio-visual experience,” shared Zhang.

In Indonesia it also seems like the demand for premium production quality is similarly on the uptrend. “We’re trying to improve our production value. Our cinematography is getting better, our edits are getting better, our CGI is getting better, and I think part of the reason why this is so is that with the global reach of OTTs we’re motivated to push our quality even higher,” said Wicky.

As to how OTTs can help production houses in achieving great content for local and international audiences, Zhang shared, “OTT platforms are able to help creators and their work because firstly, they are able to provide financial support, publicity and help reach global audiences, allowing a wider reach for a creator’s work. At the same time, it can also provide audience feedback to creators, be it good reviews or constructive criticism, aiding creators in the next content creation cycle.”

Wicky added, “The OTT landscape in Indonesia has really given a boost to the Indonesian film and content industry because our content is currently being streamed worldwide. And that pushes us- filmmakers, content makers- to raise the bar in terms of production value and storytelling.”