The rise of Korea-Japan Co-Productions in Entertainment

A compelling trend is emerging in the entertainment industry: the strategic alliance between South Korean adn Japanese production houses. This collaboration is fueled by South Korea’s desire to optimize production costs and Japan’s ambition to enhance its production systems. The synergy allows South Korean companies to not only export content but also to actively participate in local productions, thereby elevating the overall quality of their output by integrating proven K-drama production methodologies.

Economic and Strategic Advantages of Collaboration

Industry analysts suggest that the production costs for Japanese dramas are substantially lower, approximately one-third of those in South Korea. This cost-effectiveness, combined with the potential for deeper localization, makes the collaboration an attractive proposition for both nations. this partnership allows for efficient resource allocation while catering to local tastes and preferences.

Studio Dragon’s Pioneering Role in Japanese Market

studio Dragon,renowned for its success with dramas like Crash Landing on You and Queen of Tears,is actively engaging with Japanese broadcasters and OTT platforms.the company is set to release several co-produced projects on Amazon Prime Video,including a Japanese adaptation of Marriage My Husband,Hatsukoi Dogs (a collaboration with TBS),and the Netflix original Soul Mate. Unlike customary copyright exports, Studio Dragon is directly involved in the local production of these projects, ensuring quality and cultural relevance.

Studio Dragon is actively exploring opportunities with local platforms and producers to create dramas in Japan, leveraging its extensive production expertise. The company reports important interest from Japanese broadcasters and OTT operators in adapting its vast library of over 270 IPs for the Japanese market.

The Japanese drama market is a market with a high growth potential, and the drama production cost is cheaper than Korea, but the life of the hit intellectual property (IP) is long and the additional business attractiveness using the drama IP is characterized by the high intimacy of Korean dramas.

Studio Dragon Official

SLL‘s Strategic Partnerships and Remake Successes

SLL (Studio LuluLala) is also making significant strides in the Japanese content market. Their accomplished remake of Itaewon Class as Roppongi Class in 2022, along with other projects like remakes of Sky Castle, Oh My Venus, and Chunhwa Love Story in 2024, have demonstrated the appeal and adaptability of Korean content in Japan.

the recent drama Madrhot, a co-production with TV Asahi, exemplifies this collaborative approach, with the scenario developed jointly by Korean and Japanese writers and crew. This co-production model aims to strike a balance between elements that resonate with Japanese audiences and the unique immersive qualities of K-dramas.

SLL is also collaborating with Japanese satellite broadcaster Wow Wow on a remake of the JTBC drama Monster. The company is streamlining its processes for overseas co-production, local distribution strategies, and original growth through dedicated Global Distribution Team and Global IP Development Team.

We have not just made one work together, but we have laid the foundation for long -term collaboration from planning to production, marketing, and IP expansion.

SLL Official

Future Expansion and Global Ambitions

Studio Dragon intends to further expand its local drama production efforts in both the United States and Japan. The company is developing a system to concurrently produce IP in South Korea, the United States, and Japan, creating a truly global production network. This ambitious plan reflects the growing international demand for diverse and high-quality content.

The broader Impact on the Entertainment Industry

The increasing collaboration between South Korean and Japanese entertainment companies signifies a shift towards a more interconnected and globally-focused industry. This trend not only benefits the participating companies but also enriches the entertainment landscape by offering audiences a wider range of compelling stories and perspectives. As of 2024, the global entertainment and media market is estimated to be worth over $2.5 trillion, with Asia-Pacific being one of the fastest-growing regions, according to a report by PwC. this collaboration is poised to capitalize on this growth and further solidify the region’s position in the global entertainment arena.