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About this event
CONTENT TOKYO (RX Japan Ltd.) — Event Research Description
1) Event identity (dates, venue, city, country)
- Event name: CONTENT TOKYO
- Dates (2027): 6/23(Wed) – 25(Fri), 2027
- Venue: Tokyo Big Sight
- City: Tokyo
- Country: Japan
CONTENT TOKYO is positioned as Japan’s largest, comprehensive show for content production/creation/distribution. It is built around the “cross-media” ecosystem—bringing together industry participants across TV/film, games, books, music, apps, web/mobile contents, and related licensing and technology services.
The show is described as a comprehensive exhibition consisting of multiple specialized trade shows focused on content creation, production, and licensing—where content creators, distributors, technology/solution providers, marketing service providers, and licensors gather under one roof.
2) What kind of show it is (event structure & event type)
CONTENT TOKYO is a content business trade exhibition covering the content lifecycle and monetization pathway from creation to distribution and licensing.
Key sub-exhibitions / zones referenced on the official site
-
LICENSING JAPAN
- Creators’ EXPO
- LICENSING JAPAN (international licensing focus)
-
Creators’ EXPO
- Targets creators such as writers, manga artists, illustrators, photographers, and other creative professionals.
-
Brand共創 EXPO
- Focus on brand content production and adjacent areas such as generative AI creative, VTuber production, communication design, immersive technologies, and community building/operations support.
-
CONTENT Hub
- Positioned around original content production, IP creation, and creator agency functions.
-
ショート動画・ショートドラマ ARENA
- Focus areas include creative production, AI/creative generation, and planning/insourcing support.
Primary event type tags (practical interpretation): Media & Entertainment Trade Show, Licensing & IP Marketplace, Content Production & Technology, Creative Services, Cross-media/Omnichannel Content, Brand Content & Marketing Solutions.
3) Who attends (buyers / attendees)
CONTENT TOKYO is explicitly described as a trade show for business, and the official visitor registration guidance indicates that attendees register in advance to receive a visitor badge.
Officially described visitor groups (high-confidence buyer clusters)
- Product Planning (manufacturers/wholesalers)
- Product Planning / Sales / Promotion teams from retailers
- Media, Advertising/PR related teams
- Licensing agents
-
For Creators’ EXPO (visitor intent):
- Publishers / newspapers
- PR / Sales Promotion / Product Planning departments from enterprises
Who else shows up (inferred from positioning; still “attendee/buyer” relevant)
- Content licensors/property holders and IP owners (some visitors may also act as buyers)
- Distributors and content production partners
- Solution/technology providers (often “supplier-side,” but can appear with buyer-facing business development teams)
- Marketing service providers and agencies seeking content partnerships
Buyer-centric takeaway: The most “buyer-like” attendees are the teams that can sponsor deals—product planning, sales/promotions, media/advertising/PR, licensing agents, and publishing/enterprise planning departments.
4) Where the show is happening + attendee geographic origin
- Show location: Tokyo Big Sight, Tokyo, Japan
- Attendee geographic origin: The official page text we received does not list specific percentages or countries/regions of origin.
What we can say reliably from the official description is that LICENSING JAPAN is framed as a premier international licensing trade show, implying the presence of international property/content parties and/or global licensing context.
Best practical targeting recommendation (based on show positioning): target Japan-first buyer segments while also building outbound plans for international content licensing, distribution, and brand-partner pipelines that operate into Japan.
5) Audience reach (Local / National / Global)
- Local: Japan’s Tokyo market (strong local draw due to venue)
- National: Yes—positioned as Japan’s largest comprehensive show for content business.
- Global: Yes—LICENSING JAPAN is described with an international licensing angle.
How to interpret reach for buyer outreach: This is a Japan core market event with credible international relevance, especially for licensing, IP monetization partnerships, cross-media rights, and Japan-facing distribution strategies.
6) Sample buyer company names (BUYERS ONLY) + websites
Below are buyer-style target examples for outreach (not a guarantee of exhibitor status for the specific 2027 edition). We recommend validating year-specific participation through your required registration/exhibitor sources and the show’s official exhibitor/visitor materials.
| Priority | Company | Website | Best Title to Target | Why This is a Good Buyer Fit |
|---|---|---|---|---|
| 1 | Shueisha | https://www.shueisha.co.jp/ | Licensing / IP Business Development Manager; Content Strategy Manager | Major publisher with IP assets; strong alignment to licensing, cross-media exploitation, and creator-to-distributor monetization. |
| 2 | KADOKAWA | https://www.kadokawa.jp/ | IP/Content Licensing Director; Business Development for Media Mix | Cross-media business model and content ownership depth make it a likely buyer for IP licensing and content production partnerships. |
| 3 | Tokyo Broadcasting System (TBS) | https://www.tbs.co.jp/ | Content Licensing / Media Rights Manager; Programming & Content Strategy | Media rights and content programming teams frequently evaluate external formats, licensing opportunities, and cross-media adaptations. |
| 4 | Toho | https://www.toho.co.jp/ | Content Business Development; Licensing / Rights Management | Entertainment company with IP and distribution interests; strong fit for licensing and rights-based collaborations. |
| 5 | Sony Group Corporation (Media & Entertainment ecosystems) | https://www.sony.com/ | Content Partnerships / Licensing Manager; Head of Creative/Content Strategy | Large-scale content ecosystems with ongoing partnership needs across games, media, and cross-platform distribution. |
| 6 | Bandai Namco Entertainment | https://bandainamcoent.co.jp/ | IP Licensing Manager; Content Production Partnerships Lead | Game/IP monetization requires frequent licensing and creative collaboration across characters/brands and media franchises. |
| 7 | Square Enix | https://www.jp.square-enix.com/ | IP/Content Licensing & Partnerships Manager; Business Strategy for Media | Strong IP portfolio and distribution footprint; likely buyer for licensing opportunities and creative partner sourcing. |
| 8 | Nintendo | https://www.nintendo.co.jp/ | Partnerships / Licensing Manager; External Content & IP Strategy | Consumer entertainment company with partnership-driven content and licensing considerations across media categories. |
| 9 | Sanrio | https://www.sanrio.co.jp/ | Brand Licensing Manager; Content Co-creation Lead | Brand/IP owner that collaborates via licensing; good fit for participation in cross-media and brand content ecosystems. |
| 10 | Disney Japan (The Walt Disney Company) | https://www.thewaltdisneycompany.com/ | Licensing Partnerships Manager; Rights & Content Business Development | International licensing strategy aligns directly with licensing marketplaces and content distribution partnership needs. |
| 11 | NTT DOCOMO (as a content/brand ecosystem buyer) | https://www.docomo.ne.jp/ | Content Partnerships Manager; PR/Promotion Content Strategy | Telecom brands often require content partnerships for mobile/web distribution and bundled media initiatives. |
| 12 | LINE Yahoo (Z Holdings / Communication ecosystem buyer context) | https://www.lycorp.co.jp/ | Digital Content Strategy; Licensing/Partner Development | Digital platform operators frequently acquire/partner for content distribution and branded media experiences. |
| 13 | Rakuten Group (consumer & media ecosystem partners) | https://www.rakuten.com/ | Content & Partner Business Development; Media/Promotion Product Planning | Consumer platforms typically evaluate content partnerships for audience growth, promotions, and product planning. |
| 14 | TV Tokyo | https://www.tv-tokyo.co.jp/ | Content Licensing/Acquisition Manager; Content Strategy | Broadcast organization likely to evaluate rights acquisition, co-productions, and cross-media adaptations. |
| 15 | Square Enix Marketing (or similar brand/content marketing arms) | https://www.jp.square-enix.com/ | Marketing & Promotion Product Planning Manager | Connects directly to the show’s “PR/Sales Promotion/Product Planning departments” visitor intent. |
| 16 | Advertising agencies with content licensing practices (example: Hakuhodo) | https://www.hakuhodo.com/ | Brand Content Partnerships Manager; PR/Content Strategy Lead | Agencies frequently broker brand-content collaborations and advise on licensing, creative production, and campaigns. |
| 17 | Dentsu Group | https://www.group.dentsu.com/ | Brand Content & Partnerships Director; Media & IP Planning | Large-scale brand and content marketing organization—strong fit for cross-media/creative partnership discovery. |
| 18 | Cygames | https://www.cygames.co.jp/ | IP Partnerships Manager; Content Production Strategy | Game content owners often acquire licensing, co-create with IP holders, and engage in cross-media expansions. |
| 19 | Capcom | https://www.capcom.co.jp/ | IP/Content Licensing & Partnerships Manager | Entertainment/IP company; licensing and creative collaborations map well to licensing-focused conference/expo audiences. |
| 20 | Fujifilm (brand/content use cases via media/creative tech) | https://www.fujifilm.com/ | Brand/Promotion Content Planning Manager | Large enterprise buyer categories in the “promotion/product planning” lane can evaluate content collaborations and creative campaigns. |
Top outreach targets to start with (highest probability buyer intent): Shueisha, KADOKAWA, Toho, Bandai Namco Entertainment, Sanrio. These align strongly with IP ownership/licensing and cross-media content monetization needs.
7) Job profiles, industries & event type fit
Best job profiles to target (Apollo-style buyer logic, without filtering assumptions)
- Licensing / Rights / IP Business Development (Directors, Managers, Leads)
- Content Strategy / Media Strategy
- Product Planning / Sales / Promotion (especially from manufacturers/wholesalers and retailers)
- PR / Advertising / Marketing Communications leaders focused on content-led campaigns
- Licensing Agents / IP Brokerage roles
- Publishing / Editorial / Enterprise Media Planning (for Creators’ EXPO visitor intent)
- Content Partnerships / Co-creation Managers
Event type alignment (why these profiles match CONTENT TOKYO)
- LICENSING JAPAN naturally matches rights, licensing, and IP commercialization roles.
- Creators’ EXPO matches publishers, PR/sales promotion/product planning teams, and content acquisition planners.
- Brand共創 EXPO matches brand content producers, community/VTuber/immersive tech co-creation decision-makers.
- ショート動画・ショートドラマ ARENA matches creative production and internalization/planning support buyers.
Industries to target (from the provided industry list)
Recommended industry filters for buyer searches:
- Media Production
- Publishing
- Marketing & Advertising
- Entertainment
- Computer Software (for content tech/creation platforms when applicable)
- Online Media
- Motion Pictures & Film (where relevant)
- Information Technology & Services (for content solutions, platforms, tooling)
- Program Development (for structured content development services when relevant)
- Events Services (for event/content production partnerships where applicable)
8) Estimated attendance (expected total footfall)
The official text provided does not include an expected attendance/footfall figure for 2027. Estimated attendance: (not provided in the supplied official website text).
9) Key focus areas & buyer engagement
Key focus areas (directly reflected in the official descriptions)
- Cross-media content ecosystems across TV/film, games, books, music, apps, and web/mobile contents
- Licensing, rights management, and IP property commercialization
- Creator-to-media promotion (creators connecting to publishers, enterprises, and PR/sales planning teams)
- Brand content co-creation including generative AI creative, VTuber production, and immersive technologies
- Short-form video and short drama production, including AI creative generation and in-house planning/insourcing support
How buyers are likely to engage (practical, buyer-centric)
- Licensing deal discovery: meetings with property owners, agents, and licensing service providers
- Partnership sourcing: finding creators, production partners, and platform/tech providers for media mix strategies
- Evaluation of content/technology solutions: buyers exploring tools and services that accelerate production, distribution, and monetization
- Commercialization planning: product planning/promotions teams evaluating how IP and content can drive campaigns, retail tie-ins, and media distribution
10) Client-product fit: best buyers for your requirements (we need your website)
To give the best buyer list aligned to your client’s product requirements, we need the client website URL (the official site where the product/service is described).
Please share: the client website link and a 2–3 line summary of what they sell (e.g., “licensing platform,” “content production service,” “short-video AI pipeline,” “IP agency,” “brand collaboration tooling,” etc.).
Once we receive the website, we will refine the buyer targeting and return:
- a prioritized buyer shortlist (titles + departments most likely to buy)
- an updated sample table (15–20 buyers) specifically matched to the client’s ICP
- an industry-filter mapping using your provided industry list
- the best sub-zone focus (Licensing Japan vs Creators’ Expo vs Brand共創 EXPO vs CONTENT Hub vs Short Video Arena) based on product fit
11) Quick recommendation summary (for decision-making)
- Strong match for: licensing/IP monetization, cross-media content partnerships, creator discovery, brand-content co-creation, and content production/tech solutions.
- Primary buyer clusters: licensing agents, product planning/sales/promotion teams, media/advertising/PR leaders, publishers and enterprise content strategy teams.
- Best starting outreach titles: Licensing/Rights/IP Business Development, Content Strategy, Content Partnerships/Co-creation, PR/Marketing Communications, Product Planning.
- Next step: share the client website so we can deliver a buyer list engineered to your exact needs.
Official source notes used: dates and venue (6/23–25, 2027 at Tokyo Big Sight), event positioning (Japan’s comprehensive content show; cross-media; licensing focus), and visitor intent descriptions for Licensing Japan and Creators’ Expo as provided in the supplied official page text.
Data sheet
CONTENT TOKYO – Event Attendee & Buyer Profile Analysis
Event Date: 23–25 June 2027
Location: Tokyo Big Sight, Tokyo, Japan
Event Status: Upcoming
Research Date: 30 June 2026
Event Overview
| Field | Details |
|---|---|
| Event Name | CONTENT TOKYO |
| Event Date | 23–25 June 2027 |
| Event Status | Upcoming |
| Venue | Tokyo Big Sight (East Exhibition Halls) |
| City | Tokyo |
| State / Region | Tokyo Metropolis |
| Country | Japan |
| Organizer | RX Japan Ltd. |
| Official Event Website | content-tokyo.jp |
| Event Type | B2B trade show and conference for content creation, production, licensing, and content-tech solutions |
| Primary Category | Entertainment & Media |
| Secondary Applicable Categories | IT & Technology; Business Services; Education & Training |
| Audience Reach | Primarily national with international exhibitor and visitor participation potential across Asia and global licensing markets |
| Estimated Attendance / Expected Footfall | Attendance figure not publicly confirmed by the organizer. |
| Attendance Data Reliability | Medium for venue/date/format; low for current-year footfall because no public attendance figure was confirmed in the provided official text |
| Main Purpose of Event | To connect content creators, licensors, media, distributors, marketing teams, and solution providers around content production, content licensing, creator collaboration, and content-tech innovation |
About the Event
CONTENT TOKYO is Japan’s leading comprehensive exhibition for content production, creation, distribution, and licensing. The event brings together multiple specialized shows under one roof, including licensing, creator services, brand co-creation, content hubs, and short-form video/drama production. It is designed for companies looking to discover creative partners, content IP, production services, and technology-enabled solutions for media and marketing workflows.
The show matters because it sits at the intersection of media, entertainment, brand storytelling, and digital content commercialization. It attracts creators, licensors, publishers, broadcasters, agencies, marketers, and solution vendors seeking partnerships, sourcing opportunities, licensing deals, and production innovation. For B2B lead generation, it is especially relevant for companies selling to content decision-makers, brand teams, media organizations, and digital transformation stakeholders in the creative economy.
1. Who Attends: Buyers / Attendees
| Buyer / Attendee Segment | Typical Organizations | Buying Role or Influence | Relevance to Exhibitors / Suppliers |
|---|---|---|---|
| Licensing and IP teams | Licensors, rights holders, IP agencies, brand owners | Decision-makers for rights deals, partnerships, and IP monetization | High value for licensing, rights management, brand extension, and IP services |
| Publisher and editorial teams | Book publishers, newspaper groups, magazine publishers, digital media publishers | Content acquisition, commissioning, and partnership influence | Relevant for creators, media services, content tools, and distribution platforms |
| Broadcast and streaming executives | TV networks, OTT platforms, video platforms | Programming, acquisition, production, and platform strategy | Strong fit for production services, content tech, analytics, and workflow automation |
| Brand marketing and communications teams | Consumer brands, manufacturers, retailers, agencies | Content budget owners, campaign planners, and brand partnership stakeholders | Relevant for branded content, creator partnerships, and content production suppliers |
| Product planning and merchandising teams | Retailers, wholesalers, manufacturers, consumer goods firms | Influence on licensing, character/IP use, and promotional content | High relevance for licensing and IP-driven product development |
| Creators and production professionals | Freelancers, studios, agencies, creative collectives | Service buyers, collaborator influencers, and solution evaluators | Relevant for production tools, platforms, and creator services |
| Advertising and PR teams | Ad agencies, PR firms, media agencies, brand consultants | Influence on campaign creative, talent, and content sourcing | Important for content distribution, branded storytelling, and campaign production vendors |
| Technology buyers for media workflows | Media tech firms, SaaS providers, content platforms, agencies with in-house tech | Evaluation of AI, workflow, asset management, and collaboration tools | Highly relevant for content-tech and AI-enabled creative solutions |
2. Event Location and Attendee Geographic Origin
| Geographic Area | Likely Attendee Origin | Buyer Concentration | Notes |
|---|---|---|---|
| Host city: Tokyo | Very high local concentration from Tokyo-based media, brands, agencies, publishers, and tech firms | High | Tokyo is Japan’s primary media, advertising, and content business hub |
| Host region: Greater Kanto | Kanagawa, Saitama, Chiba, and surrounding metro-area organizations | High | Convenient rail access supports day-trip attendance |
| Other Japanese business hubs | Osaka, Nagoya, Fukuoka, Sapporo, Kyoto, Yokohama | Medium | Likely attendance from national companies with content, media, or brand teams |
| National Japan market | Publishers, broadcasters, retailers, agencies, manufacturers, licensors | High | The event is positioned as a Japan-wide business trade show |
| Asia-Pacific / international | Licensors, creators, agencies, content-tech vendors, and rights organizations from Asia and other markets | Medium | Strong cross-border potential due to licensing and IP commercialization focus |
3. Audience Reach
| Reach Level | Assessment | Explanation |
|---|---|---|
| Primary Reach | National | The event is held in Tokyo and is designed for the Japan market, with broad participation from national media, brands, publishers, and content businesses. |
| Secondary Reach | Global | Licensing, IP, and creator markets naturally attract international participation, particularly from Asia-Pacific and global rights holders. |
4. Sample Buyer Companies and Websites
| Buyer Company / Organization | Buyer Type | Why It Is Relevant | Website | Best Job Titles to Target | Evidence Level |
|---|---|---|---|---|---|
| NHK | Broadcaster | Content commissioning, distribution, and production partnerships | nhk.or.jp | Programming Director; Content Acquisition Manager; Production Manager | Strong Market Fit, Attendance Not Confirmed |
| TV Asahi | Broadcaster | Relevant for TV, IP, short-form, and branded content partnerships | tv-asahi.co.jp | Content Strategy Director; Producer; Licensing Manager | Strong Market Fit, Attendance Not Confirmed |
| TBS Holdings | Media / broadcaster | Media content, licensing, and production ecosystem participant | holdings.tbs.co.jp | Business Development; Content Producer; Rights Manager | Strong Market Fit, Attendance Not Confirmed |
| Kadokawa Corporation | Publisher / IP owner | Books, manga, IP commercialization, licensing and adaptations | kadokawa.co.jp | IP Licensing Manager; Editorial Director; Business Development | Strong Market Fit, Attendance Not Confirmed |
| Kodansha Ltd. | Publisher / IP owner | Publishing, manga, licensing, and creative IP development | kodansha.co.jp | Licensing Executive; Brand Manager; Editorial Lead | Strong Market Fit, Attendance Not Confirmed |
| Shueisha Inc. | Publisher / IP owner | Major manga and IP licensing organization | shueisha.co.jp | IP Licensing; Media Partnerships; Content Development | Strong Market Fit, Attendance Not Confirmed |
| Dentsu Inc. | Agency / brand partner | Branded content, campaign production, and sponsorship activations | dentsu.co.jp | Creative Director; Partnerships Director; Content Strategist | Strong Market Fit, Attendance Not Confirmed |
| Hakuhodo Inc. | Agency / brand partner | Brand content, storytelling, creator collaborations | hakuhodo.co.jp | Brand Director; Account Director; Content Producer | Strong Market Fit, Attendance Not Confirmed |
| Bandai Namco Holdings Inc. | IP owner / entertainment company | Character IP, licensing, merchandise, and cross-media content | bandainamco.co.jp | Licensing Manager; IP Business Director; Product Planning | Strong Market Fit, Attendance Not Confirmed |
| Sony Music Entertainment Japan | Music / rights holder | Music rights, content production, artist IP, and licensing | sonymusic.co.jp | Rights Manager; Business Development; Production Lead | Strong Market Fit, Attendance Not Confirmed |
| Nintendo Co., Ltd. | IP owner / game publisher | Character IP and cross-media licensing opportunities | nintendo.co.jp | IP Business; Brand Partnerships; Content Licensing | Strong Market Fit, Attendance Not Confirmed |
| LINE Yahoo Corporation | Digital media / platform | Digital content distribution, media monetization, and platform partnerships | lycorp.co.jp | Partnerships Manager; Product Manager; Media Strategy | Strong Market Fit, Attendance Not Confirmed |
| NHK Enterprises, Inc. | Production / distribution | Production, distribution, and licensing adjacency to public broadcaster ecosystem | nhk-ep.co.jp | Business Development; Production Manager; Licensing | Strong Market Fit, Attendance Not Confirmed |
| Panasonic Entertainment & Communication Co., Ltd. | Technology / content ecosystem | Video, communication, and creative technology solutions | group.sales.panasonic.com | Solutions Director; Product Marketing; Partnerships | Strong Market Fit, Attendance Not Confirmed |
| Mitsui & Co., Ltd. | Trading / corporate buyer | Potential investor, distributor, or partnership buyer in media/content ecosystems | mitsui.com | Business Development; Corporate Strategy; Media Investments | Strong Market Fit, Attendance Not Confirmed |
5. Job Profiles, Industries and Event Type
| Priority | Job Title / Function | Department | Seniority Level | Why This Role Matters |
|---|---|---|---|---|
| 1 | Head of Licensing / Licensing Director | IP / Business Development | Director / VP | Owns IP monetization, partnership selection, and rights deal evaluation |
| 2 | Content Acquisition Manager | Programming / Content | Manager / Director | Evaluates creators, studios, and content sources |
| 3 | Business Development Director | Corporate / Partnerships | Director / VP | Key for partnership sourcing, co-creation, and channel expansion |
| 4 | Content Strategy Manager | Marketing / Media | Manager / Senior Manager | Shapes content roadmap, media mix, and production priorities |
| 5 | Producer / Executive Producer | Production | Senior Manager / Director | Influences sourcing of talent, vendors, tools, and services |
| 6 | Brand Manager / Brand Partnerships Manager | Marketing | Manager / Senior Manager | Buys branded content and creator-led campaigns |
| 7 | Product Planning Manager | Merchandising / Planning | Manager / Director | Relevant for IP productization and character merchandising |
| 8 | Creative Director | Creative / Agency | Director / VP | Evaluates creative service providers and innovation partners |
| 9 | Digital Transformation Lead | IT / Operations | Manager / Director | Interested in AI, workflow automation, and content operations tools |
| 10 | Rights Manager / Contract Manager | Legal / Licensing | Manager / Senior Manager | Handles IP contracts, royalties, and deal terms |
| Priority | Apollo Industry | Why It Fits the Event | Best Buyer Use Case |
|---|---|---|---|
| 1 | Entertainment | Core fit for content production, media, and licensing | Broadcasters, studios, production companies |
| 2 | Broadcast Media | Strong relevance to TV, video, and distribution buyers | Program acquisition, production workflows |
| 3 | Publishing | Key for books, manga, and IP licensing | Editors, rights teams, IP partnerships |
| 4 | Marketing & Advertising | Brand content, campaign production, creator marketing | Agency and brand decision-makers |
| 5 | Computer Software | Relevant to content-tech, workflow, AI, and SaaS tools | Content management and production software |
| 6 | Internet | Digital platforms, creator economy, online content distribution | Platform partnerships and audience growth |
| 7 | Information Technology & Services | Operational tools, systems integration, and digital enablement | Workflow and production efficiency |
| 8 | Design | Creative professionals and agencies are core attendees | Creative services, design collaboration |
| 9 | Media Production | Direct fit for creators, studios, and production vendors | Post-production, motion, and video services |
| 10 | Management Consulting | Strategy firms advise media, brand, and IP businesses | Transformation and partnership advisory |
6. Estimated Attendance
| Metric | Figure | Status | Source / Basis | Notes |
|---|---|---|---|---|
| Estimated total footfall | Not publicly confirmed | Confirmed unavailable | Official event text provided by organizer does not state a current-year attendance number | Use as an attendee-intelligence event, not a quantified footfall benchmark |
| Exhibitor count | Not publicly confirmed | Unavailable | No verified 2027 exhibitor count in provided official text | The event has multiple specialized shows and areas, but no verified count |
| Buyer count | Not publicly confirmed | Unavailable | No official buyer count provided | Buyer intent is implied by visitor segmentation on the official site |
| Speaker count | Not publicly confirmed | Unavailable | No verified current-year speaker count in provided text | Seminar programming exists, but count not confirmed |
| Sponsor count | Not publicly confirmed | Unavailable | No sponsor tally provided | Confirm via organizer sponsorship brochure if needed |
| Historical attendance | Not included here | Historical / prior-year evidence not fully provided | Official website references past results, but the supplied text does not include a verified count | Attendance figure not publicly confirmed by the organizer |
7. Key Focus Areas and Buyer Engagement
| Focus Area | Typical Buyer Need | Buyer Engagement Opportunity | Relevant Supplier Offering |
|---|---|---|---|
| Licensing | IP monetization, rights clearance, brand extension | Meet licensors, brand owners, and agencies to source rights-ready content | Licensing platforms, rights management, legal support |
| Content Production | Creation support, talent sourcing, faster production | Connect with producers and creators needing tools or services | Production services, studios, editing tools |
| Brand Co-Creation | Campaign ideas, creator partnerships, branded IP | Pitch collaboration models to brand teams and agencies | Creative strategy, influencer marketing, campaign production |
| AI for Creative Work | Automate ideation, editing, and asset creation | Demo tools to content teams looking to scale output | Generative AI, workflow automation, creative SaaS |
| Short-form Video / Drama | New formats, audience growth, monetization | Target producers and digital media teams building snackable content | Video production, vertical format tools, creator services |
| Community Building | Audience loyalty and fan engagement | Engage fandom, membership, and fan platform stakeholders | Community platforms, CRM, audience analytics |
| Content Distribution | Reach expansion across web, TV, app, and social | Identify cross-platform distribution partners | Streaming tools, publishing platforms, syndication solutions |
Lead Quality Assessment
| Factor | Assessment | Explanation |
|---|---|---|
| Buyer relevance | Very High | The show directly attracts content, licensing, and media buying stakeholders. |
| Decision-maker availability | High | Likely participation from directors, managers, and senior specialists across content and brand functions. |
| Data collection potential | Medium | Strong event-fit intelligence, but current-year attendee data is not publicly confirmed in the provided material. |
| Apollo targeting potential | Very High | Clear industry and title mapping exists across media, publishing, advertising, software, and entertainment. |
| Geographic targeting potential | High | Tokyo and Greater Kanto are strong anchors, with national Japanese coverage and some international reach. |
| Best outreach approach | Account-based outreach | Target licensing, content, marketing, and production stakeholders with use-case specific messaging. |
| Overall lead quality | High | Excellent for B2B attendee list building in media, licensing, and content-tech ecosystems. |
| Best use case | Prospecting and partner discovery | Ideal for lead generation, list building, partnership development, and solution-led outreach. |
| Limitations / risks | Moderate | No confirmed current-year attendee list or public attendance figure in the supplied official text. |
Apollo.io Targeting Recommendation
| Filter Type | Recommended Filters | Purpose |
|---|---|---|
| Apollo industries | Entertainment; Broadcast Media; Publishing; Marketing & Advertising; Computer Software; Internet; Information Technology & Services; Design; Media Production; Management Consulting | Capture core buyer and influencer groups in content and media ecosystems |
| Departments | Business Development; Marketing; Product; Operations; Creative; Partnerships; Content; IT; Legal | Map to both decision-makers and operational evaluators |
| Seniority | Manager; Senior Manager; Director; VP; C-level where applicable | Prioritize budget owners and partnership decision-makers |
| Job titles | Licensing Director, Content Acquisition Manager, Business Development Director, Partnerships Director, Brand Manager, Creative Director, Producer, Editorial Director, Product Planning Manager, Rights Manager, Digital Transformation Lead | Build targeted outreach lists by buying function |
| Geography | Japan; Greater Tokyo; Osaka; Nagoya; broader APAC for licensing and rights business | Focus on the most likely attendee origin markets |
| Employee size | 51–200; 201–500; 501–1,000; 1,000–5,000; 5,000+ | Covers agencies, publishers, media groups, and enterprise brand owners |
| Keywords | licensing, IP, content production, creator, rights, brand partnership, media distribution, short video, AI creative, manga, anime, broadcast | Improve relevance for event-specific intent signals |
| Company type | Public company; private company; subsidiary; agency; media group; IP owner; platform | Capture the full decision-making ecosystem |
| Revenue range | Mid-market to enterprise; prioritize organizations with dedicated content, licensing, or media spend | Align outreach to organizations with active content budgets |
Suggested Apollo Search Logic: (licensing OR rights OR “content acquisition” OR “brand partnership” OR “content strategy” OR “production” OR creator OR IP OR media) AND (Director OR VP OR Manager OR Head) AND (Entertainment OR Broadcast Media OR Publishing OR Marketing & Advertising OR Computer Software)
Client Fit Review Required
Please share the client website or product/service details. I will review the client offering and identify the highest-fit buyer companies, Apollo industries, seniority levels, departments, and job titles from this event.
Sources & Verification Notes
| Source | Type | What It Verified | Reliability |
|---|---|---|---|
| CONTENT TOKYO Official English Website | Official organizer website | Event name, format, official positioning, visitor/exhibitor structure, and June 2027 dates | Very High |
| CONTENT TOKYO Official Japanese Homepage | Official organizer website | Venue at Tokyo Big Sight East Exhibition Halls, event structure, date display, and specialized show areas | Very High |
| Tokyo Big Sight | Venue website | Venue identity and location confirmation | High |
| RX Japan Ltd. | Organizer website | Organizer identity and event portfolio context | High |
| Official onsite visitor and exhibitor information in provided event text | Primary source excerpt | Visitor registration requirement, exhibition segments, likely attendee groups, and show purpose | Very High |
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Tell us your work email and our AI instantly builds a buyer list matched to CONTENT TOKYO — the best‑fit companies to target, the exact decision‑maker job titles, and the industry filters that fit what you sell.
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