Korea in View
30 August 2022

About the Event

Korea, the source of so much content that has been entertaining Asia and the world, is also now becoming one of the most competitive OTT markets.  The competition is heating up enormously with homegrown players TVING merging with Seezn, and together with Wavve, Watcha and Coupang Play, there is no shortage of domestic streamers ready to compete with their global counterparts.  

And this competition is not just about supremacy and control of the domestic market, it’s about international markets too. Can Korean OTT platforms break out of Korea and dominate Asia and beyond the way their content has?  But the challenges of owning the platform and the experience will be much greater than simply doing content distribution deals with buyers clamouring for your content.  It’s a potential moment of real disruption for both the Korean and international streamers.  

There has never been a more important time to take note of what is happening in Korea as its effects will be felt well beyond its national boundaries.  Find out what is happening and hear from the people who are shaping the future of the Korean and potentially the international industry at Korea in View on August 30th at The Westin Josun Seoul.  

Conference Highlights:

  • How has the Korean Content Landscape Changed in the Age of Streaming?
  • International Co-Productions with Global Potential
  • Tackling Content Rights, Distribution and Monetisation
  • Will We see a Rise in Ad Supported Premium VoD in Korea?
  • The Importance of Light Touch Regulation for the Korean Content and OTT Industry
  • Anti-Piracy in Korea – Inside Out

In parallel with the Korea in View conference, AVIA is producing a Korea in View Report 2022 available to members only. The report will give in-depth insights into all aspects of the TV industry in South Korea. This report will be a detailed look at the key players in the Pay TV, Free-To-Air and Online Curated Content industry, focusing on the wider landscape of the industry including audience distribution, programming models, as well as key partnerships. Also included will be an updated look at ongoing challenges to the industry, including piracy and potential regulation.

The Executive Summary is now available and the full report will be available shortly. Visit the Download Centre for your copy now.


Speaker Spotlight

Esther Ahn
VP Streaming - Korea
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    What is the impact of original content on your platform’s growth?

    Our streaming service is continuing to gain momentum globally. In particular, Paramount+ is proving to be one of the fastest growing streaming products with a total number of subscribers topping 43 million in the first quarter of 2022. Content is still undisputedly king, and viewers will go to wherever the desired content is. We believe that the growth of Paramount+ stems from the rich storytelling of our newly launched original series. 1883, for instance, broke ground as Paramount+’s most-watched original series premiere ever when it debuted in December 2021. Paramount+ original HALO, a drama-fantasy series based on the iconic video game franchise, ranked No. 2 to 1883, fuelling sign-up activity for weeks following its March 24 debut in the US. In Korea, HALO garnered massive interest from local media and led to successful audience acquisition for the Paramount+ launch in June.

    We will continue to invest in original content. Paramount+ recently announced plans to commission 150 international originals by 2025. With our unrivalled footprint and global production capabilities, leveraging the combination of cultures, languages and customs, we create incredible high-quality content across all genres to fuel our global content library.

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    Why do you think there’s a growing focus on the streaming business in Korea?

    In recent years, Korean content has been enjoying unprecedented popularity overseas thanks to various global OTT services. But it’s not just availability – the content itself has global appeal and offers premium value to audiences and industry players alike, for example Crash Landing on You, Squid Game and Parasite. Following the success of these titles, production studios and showrunners in Korea are now more cognizant of the potential for global reach, and increasingly, are creating content with globalization in mind to travel their content beyond borders.

    In Korea, linear is still one of the main ways to consume content, but it’s quite evident that streaming is closing the gap at a rather fast pace. I think that content travelability is what makes people here pay a lot of attention these days to the streaming business and its rapid growth, as it holds great potential for successful content export. With original Korean content drawing so much notice in the global streaming market, it’s not surprising that Korea has become a “battleground” for content production.

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    With rising production costs and the prevalence of “hit and run” subscribers, what else can streaming services  offer other than great content?

    On service platforms, a positive viewing experience that offers effortless access and easy-to-use interface can significantly increase the subscriber retention rate, ultimately driving overall business growth. We aim to provide an easy and reliable service that is centred on personalized recommendations, search capabilities and seamless experiences across multiple devices.

    As with any business that provides direct service to consumers, I think that brand loyalty and consumer engagement are also important factors to subscriber retention. Paramount has a wide range of touchpoints with consumers, such as theme parks, merchandise and live events which further deepen engagement and fuel fandom. By expanding beloved IPs beyond screens, audiences not only enjoy a mountain of entertainment on our services but are also exposed to more immersive experiences of great content first-hand. This certainly helps raise brand awareness and foster brand affinity for our streaming product.

Jay Yang
Chief Executive Officer
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    What is the impact of original content on your platform’s growth?

    TVING’s original content has contributed more than 50% of the newly added subscribers. Viewers love the fun, unique and heart-warming content that TVING produces, and we have also successfully embedded and communicated our brand vision via our originals.

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    With the recent merger of TVING with Seenz, how will this impact your global and regional growth strategy?

    We target to complete our merger by end of the year. Two giant players in the Korea media and communications industry – KT and CJ ENM – have joined forces to increase the power of K-content regionally and globally, and the TVING-Seenz merger is one of the initiatives the two companies have planned. It not only helps TVING become a leader in the Korea OTT market and enter the global market faster, but also nurtures synergy in other areas such as content creation.

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    With rising production costs and the prevalence of “hit and run” subscribers, what else can streaming services  offer other than great content?

    Subscription businesses – whether it’s newly merged OTT services or more traditional ones such as cable TV, mobile communications and so on – always suffer from customer churn. The only way to prevent unsubscription is to increase the service stickiness and that requires not only  creating or licensing a great content library but also to present and recommend relevant content to each viewer. The longer users stay, the more room there is to cover production costs – it is the virtuous cycle TVING  targets to achieve.


Guest of Honor:
Hyoung-Hwan Ahn
Vice Chairman
Korea Communications Commission (KCC)
Kwang-Hoon Oh
Executive MD
Jay Yang
Clément Schwebig
President & MD, India, Southeast Asia & Korea
Warner Bros. Discovery
Youngsun Soh
GM, Korea, Regional Head of Digital Business Development
A+E Networks
Won Baek
Anypoint Media
Greg Armshaw
Senior Director, Strategy
Jason Lee
Country Manager, Korea
Edwin Pan
Entertainment Lead, Asia Pacific
Lauren Kang
Product Manager
Ik Hyun Seo
Cho & Partners
Joyce Heeyoung Cho
Asst. Professor, Graduate School of Advanced Imaging Science,
Multimedia & Film
Chung-Ang University
Diane Min
Head of Format Sales
Janine Stein
Editorial Director
Samantha Kim
MD, Business Development APAC
Deluxe Media
Sungman Yoon
Key Account Executive
Google Cloud Korea
Michael Beecroft
CEO, Northeast Asia
Jean-Myoung Sim
Head of Content Management
Young-Ki Cho
Secretary General
Korea Internet Corporations Association (K-Internet)
Sung-Min Lee
Asst. Professor, Department of Media Arts & Sciences
Korea National Open University
Ki-Yong Park
Korean Film Council
Aidan Eunsung Lee
Director of Special Affairs
Jun Kim
Head of North Asia
Esther Ahn
VP, Streaming – Korea
Vijay Kunduri
Regional VP - OTT/CTV, APAC
Bongsoo Kim
Addressable TV AD Team Leader
SK Broadband
Hyun Park
SVP, Global Division
Studio Dragon
Eunae Park
Chief Product Officer
Alexandre Muller
Marianne Lee
Chief of Content Acquisition and Development
Jeeyoung Lee
GM Korea
Warner Bros. Discovery
Junbeom Jeon
Chief Leader
Louis Boswell
Celeste Campbell-Pitt
Chief Policy Officer
Matt Cheetham
AVIA Coalition Against Piracy (CAP)


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