Taiwan Creative Content Fest (TCCF) wrapped its 2026 edition in Taipei with a reshaped show floor, as animation and character IP companies moved to the front of the market. They made up the largest exhibitor group, at 29 of 107 exhibitors, up from 19 in 2025, according to post-event figures from organizer the Taiwan Creative Content Agency (TAICCA). Of this year’s exhibitors, 69 were Taiwanese and 38 came from overseas, compared with 117 exhibitors in total last year.
Elsewhere on the floor, television and media networks rose from 20 to 22 exhibitors, and new media, streaming and entertainment companies from six to eight. Film and TV production and distribution companies dropped from 22 to 16, digital tech, VFX and immersive media from 15 to eight, and publishing, comics and webtoons from 12 to five. The Pitching program presented 93 projects and stories, including entries from TAICCA School, to industry participants from 28 countries.
TAICCA is still compiling buyer attendance and the value of business done. Here are four takeaways from the market: The headline deal came on opening day, Nov. 6, when Weta FX, the New Zealand visual effects company behind “The Lord of the Rings” and “Avatar,” signed a memorandum of understanding with TAICCA aimed at making Taiwan an AI hub for Asia’s content industries. Weta FX will partner with Taiwanese animation and VFX outfit Moonshine Studio and will set up a technology platform to back Taiwanese film and TV projects, along with exchanges and internships for young Taiwanese filmmakers.
Weta FX CEO Daniel Seah said studio legal departments had ruled out any use of generative AI on their projects early last year. By the turn of the year, clients were asking about Weta’s AI strategy, mostly to find out how much money the technology could save. Seah said AI had become a national strategy in Taiwan on the back of the island’s semiconductor industry, and Moonshine had been moving quickly as a result.
Japanese studios brought their own AI work to Taipei. Toei, the studio behind “Kamen Rider” and the Super Sentai series that became “Power Rangers,” has adopted rules for generative AI and is already using it for backgrounds, president Yoshimura Fumio said. At a TCCF panel on AI in animation, OLM Digital board director Yotsukura Tatsuo presented a coloring tool, developed under a Japanese government-backed research project, that learns a show’s look from three hand-painted frames.
On the same panel, Charles Beirnaert, chief creative officer of French studio Blue Spirit, said the “Blue Eye Samurai” studio is barred from using AI on its Netflix work. Taiwanese technology company imCore Corp. launched Core Studio, an AI filmmaking platform with more than 24 specialized agents, at TCCF on Nov. 7. K7 Media’s Trang Nguyen presented a study of Indonesia, Southeast Asia’s biggest film market with box office revenue of $352.9 million in 2025, and pointed to horror as a natural meeting ground for Taiwanese and Indonesian producers.
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