pickle october 2013 edition

INDIAN ENTERTAINMENT BIZ GUIDE

www.picklemag.com

MIPCOM CANNES 2013

OCTOBER 2013

October_2013_Cover.indd 1October_2013_Cover.indd 1 28-09-2013 14:21:0328-09-2013 14:21:03

Hollywood’s

Only Film

Market

10,000 Films Have Been Launched at AFM

Get Your Piece of the Action!

®

NOVEMBER 6-13, 2013 / SANTA MONICA

2,000+ NEW FILMS & PROJECTS

Register at www.AmericanFilmMarket.com


INDIAN ENTERTAINMENT BIZ GUIDE

www.picklemag.com

MIPCOM CANNES 2013

OCTOBER 2013


Hollywood’s

Only Film

Market

10,000 Films Have Been Launched at AFM

Get Your Piece of the Action!

®

NOVEMBER 6-13, 2013 / SANTA MONICA

2,000+ NEW FILMS & PROJECTS

Register at www.AmericanFilmMarket.com


Pickle_October_2013_Inner 1 - 16.indd 1Pickle_October_2013_Inner 1 - 16.indd 1 29-09-2013 10:47:0229-09-2013 10:47:02

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We are delighted to present the latest issue of Pickle on the special occasion of MIPCOM

at Cannes. This is our seventh uninterrupted print edition of Pickle for the REED Midem’s MIPCOM market. Undoubtedly, this is the fi nest in the global media markets that empowers delegates to network with the best business minds, capture emerging trends, listen to masterminds, create business for product and services and think innovation. It is a must attend for decision makers to grasp the new ecosystems in the media business.India Media and Entertainment industry has evolved tremendously in the last few years and is on the cusp of achieving the same global success that the Indian IT industry has achieved. Companies like Zee Entertainment Enterprises Ltd (ZEEL), Eros International, Viacom 18, Star India, DQ Entertainment International, Toonz Animation and Shemaroo Entertainment Ltd among others have been globalising Indian content to reach the world. At the same time, India is also one of the most liberal media markets in the world for global companies to embrace and engage in business. Do read our analysis of Punit Goenka, MD, ZEE Entertainment Enterprises Ltd, which has a reach of 700 million viewers. We also have a detailed chat

with Raj Nayak, CEO of Colors (part of Viacom 18 Media), the most popular general entertainment channel in India. They have captured viewers both in traditional and new media. If you are curious, jump to page 22 to fi nd out their Facebook likes.We have also captured lessons learnt from the recently concluded CII Big Picture Summit, the annual fl agship event of the Confederation of Indian Industry which has envisioned to scale the Indian M&E sector to $100 billion by the end of this decade.If you are have plans to visit India, schedule it around middle of October and be part of the Mumbai Film Market. (October 18-20, 2013, Mumbai). It is a one-stop place happening around the Mumbai Film Festival and the best destination for you to chat with fi lm distributors and showbiz executives, and immerse with the diversity of what you could do in India.Our forthcoming November issue is focused on the American Film Market. We will have Power 100: India’s most infl uential in showbiz featured. Also, it is time for you to plan to experience International Film Festival of India, Goa (November 20-30, 2013). Do drop in a line to get connected in the Indian M&E business. Because, the time is now.

n vidyasagarpickle [email protected], www.picklemag.com

Pickle Volume VII 5th edition

Published by Pickle Media Private LimitedEmail: [email protected]● Mumbai ● ChennaiNo.2, Habib Complex Dr Durgabhai Deshmukh RoadRA Puram CHENNAI 600 028

Printed by Bon GraphicsNew #7, Arumugam Nagar, Dayalan Garden, Chinna Porur,Chennai – 600 116Mobile: +91 9884816263Email: [email protected]

Editorial Coordinators :

M SaiEmail: [email protected]

For advertising: [email protected]

Pickle Handbook 2013 Copyright 2013 byPickle Media Pvt Ltd. All Rights Reserved.Pickle is an ad supported business guide tracking the fi lmed entertainment business in India. This is a curtain raiser issue for CII Big Picture Summit 2013.

Layout Design: M Agnes JulieConsulting Photo Editor: K K LaskarC

2 pickle entertainment biz guide LIKE PICKLE IN FACEBOOK www.picklemag.com


MAN169

COUNTRIES

34CHANNELS

29INTERNATIONAL CHANNELS

MD & CEO of Zee Entertainment Enterprises Limited, Punit Goenka, is a dynamic leader whose actions and hands-on approach have been instrumental in steering the Zee empire to new frontiers of success. Meet Punit Goenka at MIPCOM keynote interview on October 8 at Grand Auditorium, Cannes. Pickle’s take on the mastermind of Zee


5 pickle entertainment biz guide LIKE PICKLE IN FACEBOOK www.picklemag.comLS

700MILLION VIEWERS

100000+HOURS OF TV CONTENT

Punit GoenkaMD & CEO Zee Entertainment Enterprises



Be a TV screen, mobile phone, smart device (tablets), or the Internet.One has to always redefi ne their existence. Our existence is because of our viewers. And, wherever they wish to consume content, it should be available. No matter, one screen may die, but there will be other screens that will emerge. Our life will continue

When Zee Entertainment got launched two de-cades back, Punit Goenka, the eldest son of me-dia visionary Subhash Chandra was in college

and little did he realise that he would have to lead this media conglomerate. He donned the hat of Chief Executive Offi cer (April 2008) and later Managing Director (January 2010) of the group. When he took over as CEO, everyone raised the question -- how would he build back Zee Entertainment Enterprises Ltd (ZEEL). “I said very slowly and very painfully. That is the way to do it. If somebody tells me that he has an overnight success formula. I don’t agree with him. There is no such formula. Grow, scale-up, expand, collaborate and be aggressive.” Under his leadership, Punit gave more meaning to these words and ensured global footprint for Zee, a feat that no Indian media & entertainment company could ever think of. “There is no individual who can do everything. I have a good team. They manage these processes.” This is how Punit values the people at ZEEL.ZEEL has succeeded because of its fl exibility to change and learn. “If we do not evolve, do not continuously learn, relearn, and unlearn the old, we will not be suc-cessful. The day we stop doing that we will become com-placent. There is no overnight success formula. Every-thing is hard work in this industry,’’ says the dynamic Zee CEO.ZEEL may be No. 3 in ranking in India’s Hindi general

Meet ZEEL at MIPCOM Stand 20.01



entertainment TV channel segment but have a clear blue sky difference with ri-val channels in its regional reach and have built a network across the length and breadth of India. Also, ZEEL is the number one Indian broadcaster in the global context and operates the world’s largest Hindi Entertainment Channel. ZEEL has its feed in 169 countries, oper-ates 34 channels, 29 dedicated interna-tional channels and 700 million viewers. And it targets to reach 1 billion viewers by the year 2020 from its current 700 mil-lion viewers.Today, ZEEL commands 65 per cent mar-ket share in the international arena. And the rest of the players consolidated put together have the remaining market share. It is the only Indian broadcaster who has thought about the non-South Asian viewers. It has launched products in Arabic, Russian, Bahasa, subtitling its content in French. From that perspec-

tive, Punit’s view to the international world is similar to an international play-er coming to India. “If they can come here, why cannot we go to their markets and be a player.”ZEEL is also a clear winner in profi tabil-ity. It has consistently delivered profi ts to shareholders (profi t margins upward of 25 per cent). But to sustain this profi t-ability, Zee has changed gears to apply traditional and digital path and dive into these horizons seamlessly. They are currently deploying innovation across ZEEL Networks and platforms. “Innovation is a critical requisite for the overall Media and Entertainment industry. In such turbulent times, when the economy is struggling to fi nd a grip, one has to certainly look for a competi-tive edge, which I believe can be drawn through constant innovation,” he opines.There are few big challenges the compa-

ny faces. The consumers’ constant change is one of the key things that one has to keep pace with. Understand-ing this fully well, Punit says: “The other big challenge that we have to continuously face is human capital. Having right talent and retention of the right talent is very critical for us.”Content is evolving so fast that it is a challenge to keep pace with it. If go back fi ve years from now the number of shows that would get launched in a year and the suc-cess rate that one would see at those times was much higher. The viewers’ acceptability has changed com-pletely.So what are Punit’s plans to address these issues? “ZEEL has redefi ned itself from a broadcaster to a con-tent provider. It will focus on reaching out to audiences at the end of any screen that they are available on. Be a TV screen, mobile phone, smart device (tablets), or the Internet.”“One has to always redefi ne their existence. Our exis-tence is because of our viewers. And, wherever they wish to consume content, it should be available. No mat-ter, one screen may die, but there will be other screens that will emerge. Our life will continue,” says Punit.That’s why ZEEL has put its bet on the OTT platform Ditto TV. It aims to offer LIVE as well as On Demand content to consumers on the go, giving the entire eco-system of content consumption a whole new perspec-tive. Its robust technology and user-friendly interface,



should surely appeal the urban mobile consumer, who wish to stay connected to the entertainment and information sources.ZEEL has been a social catalyst in TV programming and dramas. This all hap-pens at a subconscious level. Nothing happens on the face of it. When viewers watch middle class people achieve higher boundaries, wear nice clothes, etc. they appreciate the quality of life. When they witness the rags to riches sto-ries, the viewers celebrate their belief in dreams and possibilities of them coming true.TV programmes are getting benefi tted today from the consumer habits, values and lifestyles, and at the same time they are also power feeding new lifestlyes to the consumers. So it is a cycle. They need to evolve to a stage where they are able to predict modern India, or modern Indian lifestyles and possibly taking a position on almost all issues that plaguing in the modern lives.ZEEL aims to be in the top 10 global me-dia conglomerates largely into audio-visual content, on all possible mediums. Way to go one has to say.

JEFFREYCEO, Dream

Oct 9; 3:45

Grand Aud

Roy PricDirector Am

Oct 7; 5:2

Grand Aud

RYAN KAFounder, R

Oct 8; 4:45

Grand Aud

Zee Bollyworld is the world’s biggest compilation of premium Indian entertainment content. A one point source with access to over 100,000 hours of premium programming that range from family dramas, romance, cookery, thrillers, game shows, music, travel, reality, formats and fi lm based events. Our services also include dubbed or subtitled versions in many foreign languages.


BEST MINDS AT MIPCOM

JEFFREY KATZENBERGCEO, DreamWorks Animation

Oct 9; 3:45 pm to 4:30 pm

Grand Audi, Level 1

LIC AMADO BOUDOUVice President of Argentina

Oct 8; 12:30 pm to 2:30 pm

Carlton

Roy PriceDirector Amazon Studios

Oct 7; 5:20 pm to 6:00 pm

Grand Audi Level 1

DAN ROSEVP of Partnerships, Facebook

Oct 7; 11:10 am to 11:40 am

Grand Audi Level 1

KEVIN MACLELLANChairman, NBC Universal International

Oct 7; 11:45 am to 12:15 pm

Grand Audi Level 1

Noura Al KaabiCEO twofour54

Oct 7; 12:30 pm to 2:30 pm

Majestic

RYAN KAVANAUGHFounder, Relativity Media

Oct 8; 4:45 pm to 5:30 pm

Grand Audi Level 1

Cécile Frot-CoutazCEO FremantleMedia

Oct 7; 4:30 pm to 5:10 pm

Grand Audi Level 1

BEN SILVERMANFounder & Chairman, Electus

Oct 7; 12:20 pm to 12:50 pm

Grand Audi, Level 1

ROMA KHANNAPresident, TV Group & Digital MGM

Oct 8; 12:00 pm to 12:30 pm

Grand Audi, Level 1

DreamWorks Animation’s Jeffrey Katzenberg is the MIPCOM 2013

Personality of the Year. Katzenberg will accept the award on October

9, during a gala dinner for industry executives at the Carlton Hotel in

Cannes. He will address the MIPCOM audience and share his unique

perspectives on the television business as part of MIPCOM’s Media

Mastermind series of presentations. Under Katzenberg’s leadership,

DreamWorks has become the largest animation studio in the world,

releasing 27 animated feature fi lms to date and earning nine Academy

Award nominations and two wins for Best Animated Feature.

This year MIPCOM will have the presence of the Vice President of

Argentina, Lic. Amado Boudou. “We are honored to welcome Amado

Boudou to MIPCOM to inaugurate Argentina’s Country of Honour cel-

ebration,” said Paul Zilk, Chief Executive of Reed MIDEM. “Argentina

is recognised worldwide for its award-winning TV and fi lm produc-

tion industry. This year’s country focus provides a perfect platform

to showcase business opportunities with the Argentine industry and

present the scope of Argentina’s content and unique storytelling,

across all genres, to more than 13,000 international entertainment

executives from 100 countries.”




SHABNAMINNOVATION FROM ZEEL

Ditto TV Redefi nes Entertainment

What is Ditto TV? Ditto TV is India’s fi rst over-the-top (OTT) TV distribution platform offering LIVE TV and OnDemand Content to end con-sumers on their mobile phones, tablets, laptops, desktops, entertainment boxes and connected TVs. It was launched in February last year and is the latest offer-ing from Zee New Media, the digital arm of Zee Entertainment Enterprises Lim-ited (ZEEL). Ditto TV has access to the largest collection of premium content, spread across leading content genres like GEC, Sports, Lifestyle, Regional and News, along with rich on-demand video capabilities and also offers unique and compelling experience, delivering a seamless video viewing experience on a range of Internet-enabled devices. Cur-rently hosting 60 LIVE TV channels, Ditto TV has partnered for content with IndiaCast Media Distribution, Bennett Coleman & Co. Ltd., BIG Magic TV, BIG RTL Thrill, Multi Screen Media (Sony Entertainment Television), TAJ TV Lim-ited, Sri Adhikari Brothers, TV Today Network, BBC, and ZEE.

How has been Ditto TV’s growth in recent months?Since its launch in February last year, Ditto TV has witnessed a remarkable growth garnering over 2.5 lakh subscrib-ers and over 1.9 million registered users in 251 countries including the UK, the UAE, New Zealand, Australia and the US. In addition, Ditto TV has enhanced its content offering through a strategic partnership with Turner International and National Geographic channel. To-

day, Ditto TV offers 60 LIVE TV channels and access to premium Video on Demand content.

What is your view on On-demand, specifi cally from the perspective of world cinema and independent fi lms?Digital VOD offers an ideal platform to cater to the tastes and preferences of premium and niche audience as it allows them to watch content such as critically acclaimed, parallel cinema that is diffi -cult to access otherwise. The platform is also ideal for fi lms that are made under small banners or those that address off-beat topics.

What are your expectations from large catalogued movie companies? How would you like to engage with them?Platforms such as Ditto TV present good value to aggregators of such content like production houses and movie companies that own blockbusters and other criti-cally acclaimed works since they are able to tap a wider viewership and cover a greater section of audience, all through one medium.

MIPCOM brings the best of the con-tent creators from across the world. What content do you look for?We know what our preferences should be when we engage with content producers and sales agents. Consequently, Comedy, Action and Kids content are some of the genres we are looking forward to tap into as these genres offer immense potential. We already have made a foray into the

Ditto TV of Zee New Media, ZEEL’s digital business arm, has witnessed a remarkable growth garnering over 2.5 lakh subscribers and over 1.9 million registered users in 251 countries including the UK, the UAE, New Zealand, Australia and the US. An insight into this entertainment revolution



kids genre by adding Pogo and Cartoon Network to our bouquet of channels. We are also interested in international pre-mium content, which has hitherto not been exposed to Indian Television.

Tell us about your association with Siemens?Ditto TV has partnered with Siemens to develop a strong OTT technology plat-form that offers adaptive streaming that allow for Content Delivery via Content Delivery Networks. This technology en-sures an optimal feed basis the available bandwidth strength and allows users to select the feed based on their data connec-tion which includes 3G, Wi-Fi and Fixed line broadband connections. It guaran-tees in-time delivery of assets to users in the best possible quality.

We have several platforms today. Is Ditto TV present on all of them -- App ios, Blackberry, Windows 8?Ditto TV is available on all the prevalent mobile platforms available in the market today. The popularity of the subscrip-tion-based, advertisement-free Ditto TV can be gauged by its #1 ranking on Apple iTunes within two days of the app launch on the platform, and its entry to the elite list of featured apps in the Blackberry App World and ‘Spotlight’ section of Win-dows 8 store.

How is Ditto TV’s engagement with content owners and aggregator? What’s the transparency you have set in the engagement?The OTT segment has witnessed signifi -cant growth in recent times and one key element driving this growth has been the evolving ecosystem. We have better Internet services, growing adoption for smartphones and reduction in Internet tariffs by telecom players which has led to increasing the consumer engagement in the OTT space. Our engagement with content owners is more of a partnership than transactional.

What are your goals for DITTO TV in the next one year?Since its launch, Ditto TV has grown to become one of the key players in the OTT space. Last year was our fi rst phase and the idea was to offer a ‘TV viewing expe-rience’ to our consumers and hence the focus was on the interface. We will be going in for UI enhancements based on consumer feedback to be able to offer a world-class ‘user experience’.We will be sealing partnerships with in-ternational studios to bring rich premi-um content bouquet to our consumers. Ditto TV will also have exclusive content tailored for the platform catering to both Indian and international audiences.

The changing consumer lifestyle and

preferences have led to emergence of new

avenues for content consumption. With

the growing adoption of smartphones and

tablets, Television and mobile screens are

converging to offer a new way for content

consumption while on the go. The tremen-

dous growth in mobile phones usage and

improving internet services will give fi llip to

the OTT segment in India.

Debashish Gosh

Chief Knowledge Offi cer, Essel Group

Our focus is to offer consumers access to

the largest collection of premium content,

spread across diverse genres, along with

rich on-demand video capabilities. We are

looking at partnering with international

content owners to give consumers access

to wider content. Our effort is to accentuate

the experience of seamless video viewing

and we are confi dent that our customers

will enjoy the variety we offer on Ditto TV.

Manoj Padmanabhan,

Business Head, Ditto TV



THOUGHT LEADER

Marcel FenezGlobal Entertainment and Media leader, PwC

We need to leverage the legacy. We should not allow the legacy to straddle you down



Everyone is talking about innovation. What’s your take on this?We have to innovate. There is no ques-tion about that. We have to look for new products and services. We have to look at new ways of connecting with the cus-tomer. Innovation is happening. However, innovation journey is going to be a long one. In many markets we are witnessing early stages of innovation and in others innovation requires the right number of technologies to be available for the digital journey. I think innovation is absolutely critical. Everyone is talking about it. All major companies, whether they are in the US, Europe or Asia, are looking at ways to innovate.

Are legacy thinking still prevalent in today’s media business?There is nothing wrong in legacy think-ing. The real question is how we change and adapt. We need to leverage the legacy. We should not allow the legacy to straddle you down.

What is the biggest concern of Me-dia and Entertainment CEOs today? What is top of their mind?Number one is the growth agenda. We have already talked about new products, services and innovation. Everyone is look-ing at consumer behaviour with changes in media consumption. The mobility of the consumer is absolutely critical. As a consequence you have to reach out to the

consumer and create new products and services. That’s top on CEOs radar.CEO groups are looking at scaling up. Scaling up can be achieved by new prod-ucts or through acquisition or entry into new markets or through collaboration with other companies. A lot of CEOs are looking at inventing new products and services.CEOs also are also realising the need to look at the way they are operating their existing businesses to make sure that the infrastructure they have and their organisations are actually aligned to the business of today and tomorrow rather than being aligned to business of yester-day. Negatively, that means cost reduc-tion. But cost reductions are being made so that organisations can invest in new businesses. Looking at cost base is abso-lutely synonymous with how you invest in growth.

Media and technology companies are getting closer and marriage seems to be inevitable? There is no media without technology and no technol-ogy without media?I actually believe that. I think technol-ogy and media is all about reaching the customer. Technology is nothing without content. And, content needs technology to reach the customer. I think that mar-riage you talked about is happening and it will happen more and more. We will see many more technology people in media

INNOVATION JOURNEY

A LONG ONEWith innovation increasingly being considered indispensable, Marcel Fenez, Global Entertainment and Media leader for PwC, feels the journey is a long one as globally markets are at different stages of evolution



companies. And also, we will see technol-ogy companies bringing more and more talent from media and advertising com-panies.

Recently, WPP’s Martin Sorrell said they are not an advertising company. Is the way how we defi ne companies is changing?Today, it is increasingly becoming more challenging to defi ne simply what a com-pany is. I think the most important thing is to identify the core skill or the core competency of an organisation. That will defi ne what you are. But within that defi -nition, you also have certain other impor-tant elements. Every organisation should be looking at all kinds of revenue streams and ways to get those revenue streams fl owing. It may mean bringing certain people together in-house or collaborating with others.

What is your take on cable TV digiti-zation in the India market?I think digitization will go relatively well. People are very positive about that. The underlining thing is how the economy will do over the next eighteen months.

India has a strong tilt towards tradi-tional media but we are also experi-menting with new media? Will India continue to do that?Yes, it will. But India is not the only mar-ket with strong tilt towards traditional media. Take Indonesia for instance. It has still got a good print and TV sector. Online is relatively slow to develop. What I think important about India is that sometimes one doesn’t need to be fi rst mover; some-times it is better to be a good follower.

Everyone is talking about Big Data? How important is Big Data to M&E

companies? There is a lot of talk about big data. It is much more fundamental. Every organisa-tion wants to connect with the consumer. Data analysing is basically understanding the consumer behaviour. It is very impor-tant for media companies. It is not easy to acquire and then subsequently mine the data. Data analysis is a very specifi c skill. It is a skill that media companies never had been exposed to. As media companies are moving increasingly from B2B to B2C space data analysis will become more im-portant.

Do you see changes in the multi-screen media world today? What we are seeing today is the change in traditional model. New things are coming along to compliment what we have seen before. If I have to give an example, there is a talk about second screen behaviour. But ultimately a lot of that is complimen-tary to the fi rst screen behaviour. What we are seeing is that the behaviour is not substitution but complementary. People talk about Over the Top Television (OTT). The question in the short run is that is it substitution or complimentary?. There is a lot of evidence at the moment to show that it is complimentary. I think in the long run there may be substitution.

What is your outlook for media and entertainment sector?There are short-term challenges in adver-tising in many markets. But these will be relatively short term. In terms of in-novation, new products and services I am very upbeat. As I go around the world, I see many cool things happening. In terms of how we as an industry are changing, I am very upbeat.

CEOs also are also realising the need to look at the way they are operating their existing businesses to make sure that the infrastructure they have and their organisations are actually aligned to the business of today and tomorrow rather than being aligned to business of yesterday



POWER 100 MOST INFLUENTIAL IN INDIAN MEDIA AND SHOWBIZ. WATCH OUT FOR PICKLE NOVEMBER AFM ISSUE.

INDIA AND BEYOND

Pickle’s goal is to help you buy, sell and dis-tribute content from overseas territories, fi nd co-production partners, offshore with best of the Indian service companies and track media and entertainment business in India.



Television

18%

Music

15%

Film

12.2%

Gaming

19%

Print

9.3%

Internet Access

29.8%

Radio

15.6%

Internet Advertising

29.4%

SHABNAMCII-PWC REPORT

India’s M&E sector to clock over INR 224, 500 crore by 2017:

CII-PwC study forecast CAGR of 18% over 2012-17

India’s Entertainment & Media sector is expected to grow steadily over the next fi ve years as per CII-PwC’s latest

report titled ‘India Entertainment & Me-dia Outlook 2013’ released at the second edition of the CII Big Picture Summit. The industry is expected to exceed INR 224,500 crore growing at a CAGR of 18% from 2012 to 2017. Today, the size of the Indian M&E sector increased from about INR 805 billion in 2011 to around INR 965 billion in 2012, representing an year-on-year growth of 20%. This growth was achieved in spite of a relative slowdown in the broader economy, underlining the resilience of the E&M sector. It is expected to grow at about 18% CAGR over 2012-2017 and reach revenues of about 2,245 billion INR in 2017.“This growth is driven by the introduc-tion of cable TV digitization, continued growth of regional media, continued strength of the fi lmed entertainment sec-

tor, fast increasing new media businesses and transparency,’’ said Chandrajit Ba-nerjee, Director General, Confederation of Indian Industry. ``We believe that in-novation - faster, better, more effi cient, thinking out of the box (and within the box) - would be one of the game changers in this space,’’ he added.Smita Jha, Leader Entertainment & Media Practice, PwC India said: “With increasing proliferation of digital plat-forms, industry participants will need to invest in constant innovation that en-compasses products and services, busi-ness and operating models and most importantly, consumer experience and engagement. Innovation should be seen as an important enabler to get closer to consumers and profi tably deliver rel-evant content and services.”India’s television market grew at 13% with revenues increasing from 340 bil-lion INR in 2011 to 383 billion INR in 2012. Filmed entertainment also demonstrated

Pro

ject

ed M

&E

grow

th C

AG

R o

ver

2012

-17



I&B Minister Manish Tewari releasing the CII-PwC M&E Report

The rapid rise of Internet usage, high penetration of smart phones, digital advertising, wireless broadband, digital content consumption, regulatory interventions have had a signifi cant impact on the E&M sectorstellar growth in 2012 with sector reve-nues increasing by about 17% from 96 bil-lion INR in 2011 to 112 billion INR in 2012. The print sector revenues are expected to increase at over 9% CAGR to reach 331 billion INR in 2017 from 212 billion INR in 2012.On the year-on-year basis sectors such as internet access (30%), internet adver-tising (29%), gaming (19%), and music (15%) are expected to continue on their high growth trajectory. The radio sector is also expected to receive a fi llip with the successful conclusion of Phase III li-cence auctions and it is expected to grow at a robust CAGR of about 16%.The rapid rise of Internet usage, high penetration of smart phones, digital ad-vertising, wireless broadband, digital content consumption, regulatory inter-ventions have had a signifi cant impact on the E&M sector.The television and print sectors domi-

nate the industry with about 40% and 22% contribution to industry revenues respectively in 2012. Internet access now commands about 18% share and fi lms 12% of industry revenues.However, in 2017, television will continue to lead the industry in terms of revenue contribution with 39% share, followed by internet access with 28% share. The share of print and fi lms are likely to de-crease 15% and 9% in 2017.Today, if we take the E&M growth without taking internet access and internet adver-tising into account the size of the Indian M&E sector increased from about 690 bil-lion INR in 2011 to almost 795 billion INR in 2012. It is expected to grow at about 15% CAGR over 2012-2017 and reach revenues of about 1,615 billion INR in 2017. Overall, the Indian E&M industry is on the cusp of a strong phase of growth, backed by rising consumer payments and advertising revenues across all sectors.



FLAVOUR OF INDIA

Our goal is to continue to be the market leader in our space and deliver value to all our stakeholders

Raj NayakCEO, ColorsViacom 18 Media


Colors CATCHES INDIAN

EyeballsWithin a short span of fi ve years, Viacom 18 Media’s Colors TV Channel has emerged a leading general entertainment television channel in India, and its CEO Raj Nayak says more surprises are in store in the near futureBig Boss is in its seventh season on Colors? What has this programme brought to the brand?Bigg Boss as a property generates a tre-mendous amount of publicity for the channel, and helps brand Colors to stay Top of Mind amongst the viewers as well as the trade. It is a true representation of the spectrum of emotions that brand Colors encompasses, and is a tremen-dous unifi er especially for the youth. It gives brand Colors the extra sheen and youthful extravagance, which the view-ers are so much looking forward to. The positioning and treatment of the show was tweaked last season to make it ‘ pari-varik’ and the show has evolved over the last two years and now caters to the en-tire family.

Colors has been shining in TV pro-gramming in the GEC space with su-per hit shows. What goes into under-standing the pulse of the viewers?We take a lot of pride in our attempt to stay connected with our viewers. We genuinely believe in the need to have constant consumer connect exercises to understand their pulse. There is so much to learn, and it is such a continuous pro-

cess that you have to be on your toes ev-ery single day, identifying the need gaps that exist in the entertainment space and how we can address these gaps.At the very core of our DNA, lies our in-tent to provide world class entertainment to our consumers, by raising the bar ev-ery single time we make a new show. So once we identify a need gap, we approach it with our principle of creating the best in class entertainment, in the process experimenting with new ways to create a lasting impression with our consum-ers. While our experiments may not pay off each time, more often than not we do make our mark with the variety of con-tent offering that we provide, simply by staying true to our core beliefs.

Colors has been successful in Indian-ising global TV formats for domestic audience. Your comments...India as a consumer market is very dif-ferent from most parts of the world. So while we adapt format shows, we under-stand the challenges behind ensuring that these formats connect with the domestic audience here. At the core of it lies our willingness to take calculated risks, iden-tify the right kind of shows which have



the possibility to connect with the Indian emotions and at the same time up the scale in terms of overall grandeur while adding a little bit of Indian tadka to it. In many cases our creative teams have in-novated within the format and come up with ideas which fl ow back to the inter-national format owners.Some of the shows that we have done on international formats include Bigg Boss (Big Brother), Jhalak Dikhlaa Jaa (Danc-ing With The Stars), India’s Got Talent (Got Talent), Khatron Ke Khiladi (Fear Factor), and soon we will be launching a fi ction show based on an international format - ‘24’ in which Bollywood super-star Anil Kapoor plays the lead protago-nist (Jaisingh Rathod), the role of Jack Bauer in the original played by Kiefer Sutherland .

How has the social media engage-ment contributed to the growth of Colors? You have the most successful Facebook Likes...(175 times more than Star India and fi ve times more than Zee Entertainment)Even though the channel has been on for last 5 years we got active on the digi-tal front only about 18 months back. All our growth has been organic and dem-onstrates the power of engagement we are able to have with our viewers. So the numbers that you have mentioned are even more encouraging. We invest a lot in communication on these pages tailor

making them of their specifi c audiences. This effort has yielded results – our FB presence has organically grown from 0.5mn for 5.5mn, the twitter community is above 120,000 followers. Colors proper-ties have trended 51times in the last fi nan-cial year. This year within six months we have already trended 41times with three global trends. So yes we are buzzing and we are happy about it.

Unlike many CEOs you are indisput-able number one leader in the social media from the beginning. Do you fi nd this engagement as part of your leadership? I have always been curious of the social media and even though I still consider myself a tech dinosaur, I was fascinated by the way it was growing like wild fi re. I wanted to learn and understand what makes it tick, and realised that the only way to do that was to start engaging with it. It is a very powerful medium if used properly, especially for marketing & con-sumer feedback, and also allows you to engage with a larger audience without being intrusive. This has nothing to do with leadership but being the brand cus-todian of Colors, I feel proud of wearing it on my sleeves and that refl ects in my social media engagement.

You have been in the Indian Televi-sion space for over two decades? Give a perspective of how Indian viewers


Jury of Jhalak Dikhhla Jaa, Indian Dance Series

Comedy Nights with Kapil

Balika VadhuMadhubala Ek Ishq Ek Junoon Sasural Simar Ka

Top 5 programmes on COLORS:

Rank Top ShowsViewership in millions

1 Jhalak Dikhhla Jaa - Grand Finale 8.82 Comedy Nights With Kapil 7.23 Balika Vadhu 6.34 Sasural Simar Ka 5.55 Madhubala Ek Ishq Ek Junoon 4.4


have changed and what do they like the most.The last two decades have been a learning experience for me every day and there has never ever been a dull moment. From the viewers perspective, she / he has never had it so good before and the best is yet to come. The Indian consumer has always demonstrated the ability to catch-up re-ally fast with existing trends around the world and leapfrogging into better and newer trends. Technology, Urbanisation and Infrastructure have played their part in changing lifestyles and behaviours’. The consumer in the last two decades has grown to have endless options in almost everything he does – television, movies, eating out, Communicating with others, Personal devices, entertainment options etc. She / he now has reduced attention span, is very fi ckle minded and is ever so demanding, seeking more variety, fresh new ideas and is extremely choosy of what they want to watch, why they want to watch and how they want to watch. If they don’t like the offering, they will re-ject it outright. The plus side is if they fi nd the content good, it gets its due in-stantly. This is a big challenge for Con-tent creators like ourselves, and we have to constantly adapt and evolve to keep up with our audience.

Despite emerging alternative digi-tal platforms, traditional Indian TV landscape is growing. And it is set to dominate even in 2017? What is road ahead in your view? (India has 130 million homes where TV doesn’t reach)You are absolutely right, traditional TV still has a long way to go. Close to 40% of

the Indian households are yet TV dark, and with the rate at which TV penetra-tion has been growing, we shall soon be reaching out to these completely new viewers. There is a long way still to go for content to get adapted to the needs of these potential new viewers. And this is where we understand that we just can-not rest on our laurels – while we enjoy the loyalty of a huge section of the view-ers with our current content offering, we will have to make sure that we offer content in sync with the need of even the new set of viewers who get added to the growing TV universe.This offers a challenging task for the In-dian broadcasters and the ones who are able to stay close to their viewers’ needs shall enjoy their loyalty going forward. So while the growing universe offers us broadcasters a huge potential to grow, we will need to constantly evolve along with our viewers’ needs.

But at the same time, India will have 200 million Internet users by the end of this year? What will be your offer to them?Digital for us is not a catch-up medium but an engagement medium. We realize the importance of second screen and the fact that consumers are interacting with our content beyond television, so our effort is to make this interaction more enriching. We realize with the access to internet and penetration of devices this format of content consumption will only grow.Colors has a two pronged approach for digital – Engagement and Value Creation. While most of our show specifi c interac-tions are engagement led, we are work-


TOP SIX HINDI GENERAL ENTERTAINMENT CHANNELS (GECs)

Rank ChannelGross TV viewership in millions

1 Star Plus 4772 Colors 4643 Zee TV 3994 Life OK 3225 SAB 3126 Sony 293

TVT’s and ranking for GEC for latest week : week 37’13


ing with a long term objective to create our own destination across Web, Mobile, Apps and OEM’s. Our website colors.in is the mainstay and point destination for all activities. The website is not just a catch-up site. Apart from episodes, it offers behind the scenes, news, voting, live interaction with stars, interviews, up close and personal stories, downloads, photos and lots more. Social media activi-ties are all about now creating a buzz for today and leading viewers to the website. Then we have show specifi c applications, games etc which are focused on long term value creation for respective brands.

How has the ongoing Cable TV digi-tization helped in monetization? Do you see dependence on advertising slowing in the coming years?Digitization shall play a big role in open-ing up new avenues for broadcasters go-ing forward. While the fi rst two phases of DAS has been more or less completed across the 41 cities, including the three metros (Mumbai, Delhi & Kolkata), the monetization should now start kick-ing in. Once such a large scale activity takes place, we need to give some time for things to stabilize. DAS is a step in the right direction, and with the industry now consolidating, the players who are in the business with a long term perspective shall be able to reap the true benefi ts. We believe over the next 18 to 24 months we will see a correction that will give broad-casters a fair share of the subscription revenue that is due to us. It is already be-ginning to happen but slowly.With DAS, one will see many more cus-tomized and niche channels cropping up, as they will be able to run a business model basis subscription. Since viewers will now have the choice to pay for what they want to see, broadcasters would be in a position to charge that premium for customized & personalized content. And with more revenue fl owing in from sub-scription, it will provide broadcasters that much more fl exibility to experiment with premium content.With this, the Indian TV industry would be able to lower its dependence on adver-

tising revenue and have a business model which resonates with the developed econ-omies.

How has been the growth and profi t-ability for Colors?We are a reasonably profi table channel and completely on track as per our busi-ness plans. Our EBIDTA growth for year ending 2013 has been over 45% over the previous year. So we are trending reason-ably well. Our focus has been on manag-ing costs and maximising revenue.

How do you see Colors’ international growth and expansion?While we have been the last player to enter the GEC space, we have made tre-mendous inroads not only into the Indian GEC landscape but even Internationally across the Indian and the South Asian Diaspora. We already are present across over 65+ countries, and growing, with many more countries witnessing our pop-ular shows via the route of syndication. Balika Vadhu is already one of the shows syndicated across the most number of countries, across all Hindi GE channels operating in the country.We have also raised the bar further in the challenging UK market, where not only do we have a Free To Air offering in Rishtey, but have also gone ahead and made Colors FTA. We have got a tremen-dous response, and despite being the last player to enter that market, we are on our way to making a mark even there.Add to this, we have aggressive growth plans across markets where we already exist as well as in new untapped markets which we have identifi ed.

What are your goals for Colors in the next one year?Our immediate goal is to stay true to our DNA, continue to experiment and con-tinuously raise our own benchmarks in an attempt to provide Truly World Class Entertainment across all shows that we air for our viewers – new & existing so that we continue to be the market leader in our space and deliver value to all our stakeholders.


Colors is set to launch 24, the Indian adaptation of the thriller series by the same name in the US, beginning Oct 4. Bollywood superstar Anil Kapoor plays the lead protagonist (Jaisingh Rathod), the role of Jack Bauer in the original played by Kiefer Sutherland


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Taking Indian Entertainment to World

Tell us about IndiaCast. What is go-ing to be your focus at MIPCOM?IndiaCast, a strategic joint venture be-tween TV18 and Viacom18, is India’s fi rst multi-platform ‘Content Asset Mon-etization’ entity, whose mandate includes Domestic distribution, International Business as well as digital distribution for all the group company channels and content. India Cast’s domestic business includes managing subscription and placement services for TV18, Viacom18, A+E Networks | TV18, ETV channels and Disney UTV group channels (via its Majority owned JV – IndiaCast UTV). Its international business includes Channel distribution, Ad Sales, Content Syndica-tion, Digital distribution for more than 10 channel brands from the TV 18, Viacom 18 and ETV group in over 100 countries around the world.Given IndiaCast’s 15000+ hours of con-tent library, which is already syndicated in 100+ countries in over 20 languages, MIPCOM is a perfect platform to con-tinuously grow this footprint and reach. It also plays a key role in our constantly expanding channel distribution business which currently covers over 75 countries for our fl agship brand Colors.

Our focus this year at MIPCOM is to build on the popularity that Indian dramas and reality shows enjoy on the world stage, and cater to buy-ers for local mainstream audiences as well as those buyers who are in-terested in licensing the formats of our shows (dramas as well as reality shows) to remake in their respective countries. Additionally given the cul-tural similarities between us and the Latin American and Turkish societies and the enormous popularity of their dramas in our regions, we believe there is considerable opportunity for us to tap into such markets. Having al-ready licensed our content to Africa and Europe (to the mainstream market), we are looking at new regions, distribution outlets and buyers for our program sales and channel distribution business (Col-ors, MTV India, Rishtey, ETV services, and News18 among a host of other chan-nels) at MIPCOM this year.

IndiaCast syndicates content in over 75 countries in multi-languages. How have you grown?Our growth story in the International syndication has been phenomenal where

In our view, the next big story in syndication is Indian content. While there is obviously demand for our content among the Indian Diaspora across the world, there is also a signifi cant proportion of mainstream viewers in several regions, says Gaurav Gandhi, Chief Operating Offi cer, IndiaCast

Gaurav GandhiChief Operating Offi cer, IndiaCast

INDIACAST @ MIPCOM



we have seen growth of over 300 per cent in the last 3 years.Our core strength has been our Drama Series from our fl agship brand ‘Colors’, which enjoyed unprecedented popularity. The storylines of these shows have glob-al appeal and have cut through different cultural backgrounds to be syndicated in such diverse regions such as East Europe, CIS countries, Japan, Israel, Canada, the Ivory coast, the West Indies and Sri Lanka amongst many others. And given the appreciation of Bollywood movies in the international markets, our exciting Bollywood library featuring blockbust-ers and other A grade movies, has proven to be valuable piece of our International syndication business.

What has Viacom brought in as a global brand to this entity? Have you been able to leapfrog because of Via-com?Most defi nitely. This fact is true of both our parent companies- Viacom as well as TV18. Viacom is an established Global Media Conglomerate and for a company like IndiaCast (which is less than two years old) it is of great advantage/benefi t to have such illustrious parents. Besides instant recognition of our parentage, the content and monetization expertise these companies have built over the years has added tremendously to our foundation and learnings.

India produces the largest fi lm and TV content in the world. From your syndication experience what works well in the global market? In our view, the next big story in syndi-cation is Indian content. While there is obviously demand for our content among the Indian Diaspora across the world, there is also a signifi cant proportion of mainstream viewers in several regions

such as Central Asia, Eastern Europe, Latin America and Africa that enjoy watching Indian programming dubbed and sub-titled in local languages.Indian Drama Series and Bollywood Mov-ies are the most popular genres that have managed to cut across culture and race and have seen success across the globe. This has in turn led to more sampling, and therefore an increase in demand, of our other content offerings such as non-fi ction content from Colors, reality pro-gramming and formats from MTV India, Regional Content from ETV Networks along with some Factual, Lifestyle and News content.

Tell us your experience on creating new markets for Indian content?With the world fast becoming a global vil-lage and the amount of varied content being made available on so many plat-forms, viewers everywhere are keen on exploring international content. Key that which are seeking Indian content include Eastern Europe, CIS countries, Western and Southern African Countries, Indi-an Ocean countries like Mauritius and neighboring countries like Afghanistan & Pakistan. Additionally, we are seeing a lot of traction recently in Central Europe-an countries, the Russian Federation, the Middle East and East African markets.

What is the strength of IndiaCast content? You have the dramas, Bol-lywood awards, dance show, content from MTV...The strength of IndiaCast content lies in its diversity as well as its quality and its universal appeal.In the Fiction space, our Drama Series have managed to cut across ethnicity and found a connect with audiences world-wide. We were the fi rst to move away from the traditional mother-in-law v/s daugh-

MIPCOM is a perfect platform to continuously grow this footprint and reach. We are looking at new regions, distribution outlets and buyers for our program sales and channel distribution business

“

„



ter-in-law sagas and tap into social issues like Child marriage (Balika Vadhu), fe-male infanticide (Na Aana Is Des Laado), rich, poor divide (Uttaran) etc. In the Non Fiction space we rule the roost due to our popular shows and superior production values. We have successfully managed to bring a great Indian fl avor to Interna-tional Formats such as Jhalak Dikhla Jaa (based on Dancing with the Stars), Bigg Boss (based on Big Brother) , India’s Got Talent (based on international format Got Talent) and Khatron Ke Khiladi (based on Fear Factor) which have made these shows very popular internationally.Besides Colors, MTV Shows are hugely popular among the Youth- Roadies (No. 1 Youth reality show), Coke Studio and Splitsvilla and many more have seen great traction. We are now focused on taking our Regional and News content to the International audience.

In the two decades of Indian broad-cast, is the syndication activity just picking up only in the last couple of years? Three things have happened here….1) the quality of Indian programming has im-proved signifi cantly over the years – both in terms of production quality as well as creative. 2) India and everything Indian has become much more desirable around

the world. 3) We (indian broadcast com-panies) have become better marketers and now can reach buyers around the world and showcase our content

How do you fi nd the emerging digital OTT and pay market? Do you increas-ingly fi nd more takers from these platforms for content syndicated by IndiaCast?Yes defi nitely, Digital is the next big wave and I believe we have a head start with some exciting collaborations in this space. IndiaCast is one of the leading dis-tributors from India to OTT & digital me-dia platforms like Netfl ix, iTunes, Yupp TV, SPUUL, Big Flix, UFO, iStream etc.

Pharma companies coat colour of pill to the colour taste of a nation. Does this apply in entertainment content?While there is some content that has universal appeal and acceptance, we do customize our content offerings to suit a particular country’s culture and senti-ments. It also helps to have our ears to the ground and know about the local fl avor and trends. A case in point will be our re-cent format syndication deal of Roadies in Bangladesh or our script sale deal in Af-rica for Uttaran, So while the basic DNA of the show remains, we will be making changes to suit the local markets.

IndiaCast distributes its channels in over 75 countries across the globe. With a rich and extensive product catalogue of over 15000 plus hours, IndiaCast syndicates content in over 100 countries in 20 plus languages. Meet them at MIPCOM Stand 10.13



Going With a Quest

Tell us about GoQuest Media Ventures? GoQuest Media Ventures is a sales agent and distributor of Indian entertainment content. We acquire and aggregate Indian content and distribute to television chan-nels and distribution platforms through-out the world. We set out to build a com-pany which can take a pivotal position in the process of buying and selling of Indi-an entertainment rights. The unique na-ture of stories, colorful presentation and production quantum of Indian content, opens up opportunities for worldwide entertainment platforms to offer unique content to their viewers.

What has been your experience at-tending MIP markets?I have been attending MIPCOM for past 3 years and it has been wonderful experi-ence. MIPCOM being one of the world’s largest content market gives me an op-portunity to meet International buyers and look at licensing content. More so, MIPCOM also acts as a perfect platform to forge stronger relationships through face to face dialogue and interaction.

How is GoQuest different from Indian TV channels and studios who directly syndicate and distribute content?We aggregate from multiple sources and save buyers from dealing with multiple content owners. This also gives them a larger choice to choose from. We work

with the syndication teams at channels/studios and act as their extended sales arm. Syndication teams in TV channels are lean and have limited bandwidth, when it comes to reaching out to vast in-ternational markets. We do that for them and take their content to markets where they do not have active presence. So we do not necessarily compete with the syndi-cation efforts of large companies but we supplement them.

What are some of the top TV shows and fi lm content you have with you here at MIPCOM? You have Aamir Khan starring Satyameva Jayate, one of the fi nest game changers in India TV shows recently...Satyamev Jayate was licensed from STAR for a specifi c country. Our focus at this MIP-COM is to connect more with digital plat-forms. While we will continue to meet with our regular clients, at this MIPCOM, we are representing a catalog of Indian fi lms specifi cally for digital monetization. We are also exploring options for early release of small budget fi lms on online platforms. One of our new market initiative is to create a sustainable monetization model for small budget fi lms, especially the ones which do not release in overseas markets.

What genre of content drives the in-ternational market from an Indian perspective?

The unique nature of stories, colorful presentation and production quantum of Indian content opens up opportunities for worldwide entertainment platforms to offer unique content to their viewers, says Vivek Lath, Managing Director, GoQuest Media VenturesVivek Lath

MD, GoQuest Media Ventures

SALES AGENT FROM INDIA



In order of priority it is Drama and Ro-mance, Action for fi lms, Bollywood gos-sip/celebrity shows and all others

Tell us your experience of creating new market for Indian content? It requires lot of patience. From fi rst con-tact to actually signing the deal can take more than 6 to 12 months. Though we don’t take credit being the fi rst in any market, we are continuously going through this experi-ence every day. Buyers are always skeptical to try anything unproven. It needs constant push, regular data on ratings from other countries, and just relentless convincing followed by a good deal to the buyer.

Don’t you think it is easy to bring content into India than syndi-cating content from India?Both are equally chal-lenging. Bringing con-tent in to India has its challenges with respect to censoring, local lan-guage dubbing etc. India has strong local produc-tion, so the percentage of foreign content is much lower than what you see in many other countries. There is a limit to what you can bring in to India. Same is the challenge on syn-dicating content from India. We have yet to match the syndication strength of Turkish or American content.

How do you see digital growth in the syndication space? Do you fi nd moneti-zation in multi-screen market today?Syndication to digital platforms is now the fastest growing area. Given the num-ber of new digital platforms, there is tre-mendous demand for content. The nature of content is however more skewed to short format and content for immediate consumption. Indian fi lms are actively monetized on YouTube and other digital platforms. Few platforms have signed deals with Indian broadcasters for airing television content with in few minutes of their fi rst airing on TV. Monies are small now but it will only grow.As I said earlier, we are actively working towards creating a monetization medi-ums for small budget fi lms from internet streaming platforms. Small budget fi lms do not get proper theatrical release in overseas markets. Due to low awareness of these titles, the monetization window is very small. We work with producers to release their fi lms through online plat-forms a week after its theatre release in India. Shree and most recent John Day

are two examples. Such simultaneous multi-screen release is proving to be a promising model.

From an Indian perspective syndica-tion of TV content is slower than fi lms. Is it because broadcasters keep only the India territory and TV production companies who have the rights don’t understand the power of syndication?It is the other way around for us. At least in the Hindi market, broadcasters own rights to the TV content. As of now we only work with broadcasters for supply of TV Con-tent. TV content sells in multiple of epi-sodes and consumed over a period of time by a channel. Hence fewer titles are syndi-

cated and there are less frequent deals as com-pared to fi lms.

Many Indian sales agent companies have established and also vanished from the market? What is the strength of GoQuest?We focus beyond Bolly-wood fi lms. Tradition-ally, sales agencies have pulled all efforts in sell-ing Bollywood movies to International markets. Bollywood makes fi lms keeping Indian audienc-es as the target market followed by others. This made an international

only strategy unsustainable for many companies. We not only work with fi lms but also with television dramas and other episodic content. This gives us a gamut of content to offer to television channels across the world. We are not sales agents of Indian movies but sales agents of Indi-an Content. Our team establishes contact with 10 - 15 new content buyers every week. We reach out to more than 30 - 40 platforms each week. Our sales process is managed through online sales management tools many automated operations. Innovation lies at the heart of our basic ethos. We im-provise and innovate regularly and always look for better ways to run our operations or open new markets. And above all these absolute transparency to content owners has been a key driver.

What are your goals for the next one year?We want to expand international sales operations to East Asia and Africa. We would like to build library of content for online platforms. We have plans to launch IndianContentMarket.com, the online marketplace to buy and sell Indian content rights.

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At MIPCOM, we

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Come, Shoot in India

UTTAR PRADESH RAJASTHAN

GOA MUMBAI

GUJARAT

VARANASI

KERALA

KASHMIR


FILM LOCATION AND SERVICES SPECIAL

Pickle November American Film Market EditionWe will list out lively locales and service companies that you can trust

Pickle can help you buy, sell and distribute content We also help you fi nd co-production partners, offshore with best of the Indian fi lm service companiesWe will be working on India focussed Pickle issue –Toronto International Film Festival/Market (September), MIPCOM (October), American Film Market (November), IFFI Goa (November), ATF, Singapore (December), Pickle (New Year Special), European Film Market and Berlinale (Jan-Feb), Kidscreen Summit (Feb ), FICCI FRAMES (March), MIPTV (April), Nab Show (April) Cannes Film Festival and Market (May) and Annecy (June).

INDIA AND BEYOND

KARNATAKA

LADAKH

JOHNA FALL

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The objective DuArt at MIPCOM is to build on their success in the Chinese and Korean markets

How is the market scenario? How has been 2013 so far for you?Overall, DuArt revenue is up roughly 13% from 2012 and 29% in our audio dubbing/localization work. The big driver in the audio department for 2013 was the lo-calization of 52 episodes of a Korean animated series and complete sound work on a Chinese animated fea-ture fi lm. On the fi lm, we wrote and recorded the music score, dubbed the characters and did a complete sound design and mix.

Be it picture, sound, production, colouring -- ev-erything has become digital. How has the digital services transformed DuArt?There is no question “digital services” has had a nega-tive effect on many of the traditional services we offer clients. To counter this decline we have been renovating fl oors in our building to provide editorial rental rooms for television clients. MTV recently took over two fl oors in the building, with no lease, for three series. We pro-vide technical support, and editorial equipment as part of the turn-key suites. Manhattan real estate is so pricey it doesn’t make sense for a network to lease long-term to “house” a show that may get cancelled after a season or two. The business model is very much like becoming a “hotel” for television production companies. I think we have nine series in the building at this time.

DUART SERVICES

Charles Darby & Tim Werenko

New York-based DuArt is currently focusing more on human services like voice localization, game dubbing, audio book creation and real estate. Pure technical services is almost dead

Charles is DuArt’s COO and Tim is VP Production [email protected]



We are witnessing an explosion of content consumption in multi-screen today. Tell us about the end to end so-lutions provided at DuArt…The explosion in content and viewing is wonderful for the consumer but has come at a cost to service providers such as Du-Art. The cost of content and what distrib-utors are willing to pay has declined. This has put pressure on creators to do as much in-house as possible to reduce cost. While we have all the tools and technicians to as-sist the creator, the demand for our techni-cal services has declined. This has caused us to shift focus to more creative services – like voice localization, game dubbing, audio book creation and real estate. Pure technical services is a dead end – many of our competitors have closed their doors in the past few years.

What are your prima-ry objective and focus at MIPCOM?The objective at MIP-COM for 2013 is to build on our modest success in the Chinese and Korean markets. We are still very interested in the Indian localization market but we have found the Indian budgets to be very tight. Add to that the recent drop in the rupee against the dollar and it begs the question – Can the Indian mar-ket afford our services?

What are the major changes happen-ing in the media service business? The big change we’ve noted this year is the near death of videotape as a delivery medium. Our clients are shooting digital, editing digital and delivering digital. We purchased an Aspera license (high speed fi le based delivery software) and increased our internet bandwidth so that we can ef-fi ciently deliver large uncompressed fi le based programming to the television net-works and other distributors.

Last time we spoke, there was an ex-

plosion in audio books segment ser-vices and DuArt was busy. Is it con-tinuing?Audio Book revenue is up 47% from last year but that started from a small base – I anticipate more modest growth next year. One of the big drivers of growth is we landed Amazon’s Audible division as a client.

Tell us about your services which are purely human. Voice, script, stories etc…The “human services” part of the busi-ness is where we are concentrating our search for growth. The Chinese feature we completed this year was more than

just a dubbing job – there isn’t a piece of sound in the fi lm that wasn’t done at DuArt. We will be look-ing for similar projects at MIP – where our involve-ment starts early in the creative process.

Do you still continue Americanisation of the Pockemon fran-chise?Pokemon continues to be one of our anchor cli-ents. Roughly 52 episodes a year including a movie and often a video game. We receive the shows in

the original Japanese and turn out the version shown on American television. We love Pokemon and treat it as such.

How does DuArt help clients save money and control costs in digital services domain? Interesting question. If a client comes to us early, before production takes place, we can provide technical guidance that will help ensure a smooth running post process. The unexpected cost issues, for producers are often generated by techni-cal problems that require a lot of fi xing. Unfortunately for DuArt, we can often generate more income from the “prob-lem” productions than from those that operate smoothly.

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There is currently a national obses-sion with digital media in India.That is strange given that it is such a mass media market. TV reaches over 740 million people, print reaches 354 million and digital reaches about 227 million. Advertisers spent more than 90 per cent of their money on all forms of mass media last year. Only 6 per cent went to digital. This proportion has remained largely constant for the last many years. There is not a single digital company among India’s larg-est media companies, as yet.Television is, for all practical purpos-es, digital. In printing almost the en-tire backend, up to the time you read the newspaper, is digital. Music has completely moved into cyberspace. Radio is halfway there and in fi lms, except for the production process, the distribution and exhibition is 80 per

cent digital. If all media is digitising, why then do we have a chapter called Digital Media at all?The idea is to create a structure around all the forms of media emerg-ing as a result of the affairs and mar-riages between old and new formats, between technology and content, be-tween the medium and the message. It collapses the two chapters on inter-net and telecom into one overarching one and attempts to bring some con-ceptual clarity to the animal called Digital Media.This chapter will deal with the busi-ness of media and entertainment in the online world. This is irrespective of the method of access (Wi Fi, Wi Max, wireline et al) or device (laptop, tablet, phone, smartphone or phablet) or content (TV programmes, music, fi lms, news, advertisements).

The fourth edition of Vanita Kohli-Khandekar’s book ‘The Indian Media Business’ was released recently. Courtesy, Sage Publications, we present you excerpts from the chapter on Digital Media Vanita Kohli-Khandekar

Media Specialist and Writer

INSIDE INDIAN DIGITAL MEDIA

Growing Digi‘tall’



DigitalStop, take a breath digital. Think about where you are headed.

At a total of 127 million internet users and 100 million users on other devices India is now a signifi cant digital media market. Just totalling these to 227 million however will not give us the total audi-ence for digital media, since there is a lot of duplication between, say, people using their laptops, mobiles or tablets to access the internet. According to the IAMAI7 about 16 per cent of the total traffi c on the internet came through mobile phones in 2012–13.8 The advertising spends on reaching out on digital, across devices or access types, was `21.7 billion in 2012 going by the FICCI-KPMG 2013 numbers. On the other hand, pay was a bigger reve-nue source at over ̀ 250 billion. However, a bulk of this came from caller tunes, ring-tones and other value added services sold by telecom companies. About 80 per cent of this was retained by the telecom com-panies. The remaining 20 per cent was split between content companies and ag-gregators. The content company’s share gets added to its respective industry—music sold digitally is added to the top line of the music industry. Therefore pay revenues for digital media are not added to its total numbers. It makes sense to look at it separately only to understand the structure of the industry.The benchmark US market did a mas-sive $36.6 billion in digital advertising.9 This includes $3.6 billion spent on mobile advertising. There were no credible es-timates for the total pay market for digi-tal media in the US. At over 270 million people online, it is not the world’s biggest market by volumes, China is. But the US is by far the world’s largest digital media market in revenue terms. The Chinese market did an estimated $12 billion in digital advertising. Globally, digital ad spends were US$88 billion in 2012, going by Zenith Optimedia. There are varying estimates for the pay market for digital media, none of them very credible.This is where all the ‘buts’ begin. While digital is a powerful medium, a lot of its power is as yet untapped because India is evolving differently. In India, digital is coming into its own when almost ev-ery other media—newspaper, television, radio—is also booming. This is unlike, say, the US, where fi rst newspapers took off, then radio, then television and so on. It gave every media time to evolve. In In-dia, everything from the mobile phone to the internet and radio, have had little

breathing space to make mistakes and go through their evolution cycles. This simultaneous boom across media also means that the competition for capital is intense. Even if you argue that the quan-tum of money needed for digital is not on the same scale as, say, DTH television, the fact remains that the amount is sig-nifi cant.The big challenge for digital is not po-tential. That is evident and growing. It is mastering the revenue-making ability of newspapers and television, getting better rates, managing scale, all the everyday is-sues of running a media business.

The Shape of the Business, NowThe IssuesThe poor power and infrastructure situ-ation in India is a drag on the growth of digital though the mobile has helped deal with that to an extent. Then there are bandwidth issues as broadband penetra-tion takes its time to take off. The other issues are –

Monopolistic Mindsets

There is a monopolistic mindset that has now become part of the digital eco-system: be it Google’s monopoly over search, Facebook’s over social media, or telecom operators with their hold over Indian consumers. Across the internet and telecom, dominating platforms11 are taking away large chunks of the revenue. This doesn’t leave enough in the ecosys-tem for content creators and aggregators to survive. Entire categories of content creators, such as music or newspapers, are struggling. This is not just because their readers or listeners are moving online, but because they are not being able to monetise them. It could be either because their content is being offered free by aggregators such as Google or because it is being pirated (as in music) or because advertisers do not consider an online reader worthy of paying good

Here are excerpts from Chapter 6 of The Indian Media Business

The Indian Media Business Fourth Edition Vanita Kohli-Khandekar Media specialist and writer 2013 / 484 pages / Paperback: Rs 650 (9788132113560) / SAGE Response



money for. The value-added-services or VAS industry in India is a good example. Of the `250 billion in VAS revenues, just about 5–15 per cent went to companies that owned copyright over the material such as a song. Anywhere between 15–20 per cent went to companies such as Hun-gama, Indiatimes or OnMobile, which act as the aggregators and/or technology en-ablers. The rest, between 60–80 per cent is retained by the telcos. This is an exact re-verse of the revenue split in most mature mobile markets. In Europe and Japan, for instance, content companies get a bulk of the revenue. So aggregators and content companies in India are now fi nding ways of selling directly to consumers, through embedded content on smartphones and tablets or through branded portals such as Hungama.“Though the leaders in the fi eld are try-ing to bring some order to the chaos, the digital media ecosystem is pretty frag-mented,” says Niren Shah, managing director, NVP India. The fund has invest-ments in several digital media ventures such as Komli and Quickr. Shah has put his fi nger on the one big thing that is con-tinuing to hamper both scale and profi t-ability in this industry. There are several issues with the ecosystem. Here are the fi ve major ones –One, digital media currently gets the lowest realisation for every 1,000 people it reaches out to. Some part of this is because digital has spent so much time marketing itself as a transparent medi-um that even display advertisers demand results. “A pay per performance (or cost per action) campaign in most cases takes the last click as the only success indica-tor. This attribution of conversions to the last click is fl awed. Advertisers need to look at the internet beyond just a click,” says Ratish Nair, co-founder, AdMagnet, an ad network. He adds that, “Almost all digital properties in India (with the ex-ception of Google)

A Fragmented Ecosystem

We are struggling to generate revenues, be it portals or niche websites (am not getting onto e-commerce here which could be in an even worse state). While CPMs may have grown somewhat, that would be just correction for infl ation, so no real growth has happened.” The other part of the reason ad rates don’t grow is that digital cannot offer the richness and engagement of TV, according to some re-search Nielsen did in the US. Device size is an issue too. On the mobile, the fastest growing device for internet access, the rates are fi ve times lower than for a user accessing it on the laptop.Two, Nikhil Pahwa, founder and editor, Medianama.com reckons that digital

fi rms are not spending enough time on gaining an audience since they are hap-py with the ad dollars that Google doles out. Digital companies simply do not fo-cus on hiring high quality sales people who could evangelise the whole space. Alok Mittal, managing director, Canaan Partners, agrees: ‘There is very little thinking on what works on digital even through the infrastructure and technol-ogy exist’, says he. ‘Content is a big issue. A lot of content consumption happens on non-Indian sites’, says Ratish Nair, co-founder, AdMagnet, an ad network. This is because there isn’t enough origi-nal India-centric content in English and there is hardly anything in other Indian languages.Three, the payment terms for digital me-dia companies are not cast in stone. They are rarely paid on time or within credit limit periods. It is normal for credit pe-riods to stretch for 18 months and more. In many cases the payment never comes and becomes a bad debt. This is because unlike say IBF or INS, the industry asso-ciations for the television and print busi-nesses, there is no industry body that stands up for members if advertisers do not pay on time. ‘No one messes with Google, Yahoo! and Microsoft and the IA-MAI is toothless’, says Pahwa.Four, payment gateways on the mobile are an issue. Life is simple if you are buying something through your telecom opera-tor. The moment you try to buy something on your own, through the mobile phone, things get complicated. This, says Pahwa, is because backend payment gateways on the mobile are very complicated for Indian companies who have to follow the local rules. This means logging in with a password, on the mobile, to do a one-time payment. This has stymied the growth of content streaming and download services on the mobile and actually helped propel mobile advertising, says Pahwa.The fi fth and last issue with the ecosys-tem is that metrics and analytics that help marketers compare digital media to print and TV are missing. “Globally consumers are combining social media to old media like television. But in India there no way to analyse the effectiveness of advertis-ing across media,” says Alok Mittal, man-aging director, Canaan Partners.

(Vanita Kohli-Khandekar is a media specialist and writer. She has been tracking the Indian me-dia and entertainment business for over a decade. Currently she is a columnist and writer for Busi-ness Standard and Mid-Day. Her earlier stints include one at Businessworld and Ernst & Young. A Cambridge University fellow (2000), Vanita teaches at some of the top media schools in India. The fourth edition of her book, The Indian Media Business (Sage), was launched in September 2013.



Growing and Creating Markets for News

At a recent Media and Entertainment Summit, I was struck by the remark of an eminent panelist. He said, “We, in India, are intoxicated by our copious

consumption: largest number of newspapers in circulation, 400 million television viewers, 100 million digital consum-ers. Digital, in particular, is an indictment of our creative limitations – we have 600 million mobile screens and yet we do not have a unique content proposition for the medium!” Digitization has brought reach but not enough revenue. It has attracted eyeballs but not a windfall.Today local news is a factor in branding a news paper and news channel. Readership and viewership of local news especially in vernacular language is strong. Newspapers continue to excel at reaching readers who are interested in subjects that affect them in their daily life: local business, local trends affecting lifestyle, local environment and its im-pact on health and well-being, opportunities for continuing education and the local economy. Newspapers have an unas-sailable advantage by and large for local news coverage as they are published daily and stay focused on specifi c events and trends.However, in the pre internet era when we considered “News” in English, it was all about “new” information. Now the newspapers have content which has been made common knowledge at least 12 hours before the printed news edition reaches the homes of its readers as hyperactive TV channels

NEWS AND DIGITAL MEDIA

by Dr S Raghunath

Strategies and poli-cies M&E compa-nies should have in place to scale and grow in the digital media -- using tech tools; convergence of media and tech

Dr S Raghunath is Dean (Admin) and a Professor of Corporate Strat-egy and Policy at Indian Institute of Management Bangalore.



with their penchant for breaking news are literally “breaking ” the backbone of printed “news” not to forget Facebook, Twitter and bloggers of the world that have commoditized news. The strength of these platforms is speed of information not their insight or depth.Therefore the next frontier of differentia-tion in news business would be analysis and professional storytelling. Credibility will play a key role and accuracy of analy-sis and the prioritization of news stories will contribute to unique positioning . The unique contribution of well known newspapers and news channels will be seen more from the perspective of valida-tion and not mere reporting. Monetizing news analysis and pro-fessionalism in news narration will be key to business growth.Therefore three areas may become increas-ingly important for en-suring business growth - intellectual property (IP) management, digi-tal supply chain man-agement and segmenta-tion.Newspapers and news channels are seriously considering how to re-design their IP manage-ment strategy. They are thinking about the en-tire life cycle, including contracts, rights and uses. They are realizing that improving IP management will ensure compliance, reduce costs, and increase revenue. They are in the process of writing new rules for managing their digital content. The two key elements of digital supply chain management are digitizing the me-dia and cataloguing it. Companies need to develop smart ways to quickly and secure-ly store and retrieve digital data.Since more newspapers and news chan-nels will gradually dis intermediate and sell digital content in a direct to consumer (D2C) model, the prime mission will turn out to be about getting to know their cus-tomers. They need to discover the most profi table customers and their reading and viewing habits. They must unbundle and package content in an attractive way to make revenue happen. Also, they must gather customers’ feedback to ensure that their digital content and delivery is on track. Newspaper companies and news channels can use social networks to meet their goal. They would need to collect and analyze more data than ever before — and share it with their advertising clients.For instance, we know that there are 189 million newspaper readers and 143.2 mil-lion internet users in India. We also know

that the internet users are predominantly youngsters – those in the 15-30 years age group and they represent approximately half the population . They use internet on their smartphones, smart TVs, desk-tops and laptops. From phones to tablets, this is the most exciting development for advertising platforms .However the prod-ucts and services that attract the attention of Gen Y are very different and distinct from Gen X. Video advertisements on the net fetch higher returns than static adver-tisements. Far beyond repurposing news, there is a whole new opportunity to engage read-ers, curate the best coverage and display and explain news in new ways. However

newspapers and news channels need to dif-ferentiate between the personal interests and public concerns of Gen X and Gen Y. They need to look at the degree to which news can be customized to specifi c segments of the popula-tion such as Gen X and Gen Y. Segmentation and focus can help re-tain and grow reader-ship and viewership. Printed newspapers continue to stay as the most effi cient adver-tising medium within local markets. Print subscriptions have not

drastically diminished while they are al-lowing digital access. Ads are being seen and sold in both formats.As digitization progresses, the newspa-pers and news channels industry must embrace the changes in their business model and develop a dual strategy that addresses the traditional format along with the web based model. Consumption and monetizing of content, will require investments in IT systems. Technical en-cryption specialists can provide confi den-tiality mechanisms. Encrypted platforms can protect journalists and their sources . Infrastructure and policies that deal with convergence. The digital news business is at the begin-ning of its product cycle. It is not such a great decision to go where the puck is. It is indeed a great decision to go where the puck is going to be. That is particu-larly true in the news business whose competitive landscape is experiencing an unrelenting pace of change and new competition. News paper and news chan-nel companies must continue to push the envelope in content and delivery innova-tion to meet evolving consumer demands. They need to deliver premium, branded content to remain competitive.

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provides much more than just contact details. The book also has a comprehensive

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• The largest and oldest fi lm

festival of India

• One of the Oldest Festivals

in Asia

• Present the Best on Indian

and World Cinema

• Competition for feature fi lms

from World Cinema

• Total Prize Money approx.

US$ 200, 000

• Lifetime Achievement Award


Stage Set for IFFI 2013

As the largest fi lm producing industry in the world, that makes more fi lms than USA, Japan and China - combined, with a count of 3.3 billion theatre admissions a year, India certainly is Mecca of Cinema, says Shankar Mohan, director of International Festival of India. We chat with him on IFFI Goa, 2013

November 20 - 30, 2013

www.iffi .nic.in


IFFI 2013

GET SET GOA

FOR IFFI 2013

Welcome to Goa for the International Film Festival of India. It’s the right place to connect with the best minds in cinema, says Shankar Mohan, Festival Director, IFFI

Shankar MohanFestival Director,

International Film Festival of India (IFFI)

November 20 - 30, 2013

www.iffi .nic.in



art and culture in independent India. The mission was to create a seminal event to showcase the alternate cinema and also to introduce Indian Cinema to the world and vice versa. The forum provided a venue for the lively interplay between the fi lm maker and the audience, and be-tween fi lm professionals and cultures. The vision of a ‘National Cinema Col-lective’ has also been instrumental in framing a ‘National Cinema’, the kind of cinema refl ecting the values and aes-thetics the nation wished to represent in a platform of cultural exchange. It must be said, and not forgotten that - without these fi lms Indian Cinema would not have had a history as glorious as what it has now. As the largest fi lm producing industry in the world, that makes more fi lms than the next three countries - the USA, Japan and China - combined, with a count of 3.3 billion theatre admissions a year (2008), India certainly is Mecca of Cinema. Both in terms of tradition and scale of opera-tions, the country’s cinema is way ahead of the rest of competing Film industries.In such a scenario with an abundance of content and a not so far reaching distri-bution network, a fi lm festival becomes vital, not only as a platform to showcase independent cinema, but also to raise the global profi le of the industry. IFFI has been the leading force in doing so.

What is your vision for IFFI 2013? How is the festival shaping?The festival will continue with its tradi-tion of promoting and positioning world cinema in India’s cultural scenario and vice versa. The preparations are on in full swing. It is shaping up quite well and I am sure we will be able to maintain the elevat-ed standards the festival has set for itself in the last two years, on the lines of the Expert Committees’ recommendations.

You were at Toronto International Film Festival. What is the kind of fi lms that you look for TIFF?I have been at Toronto regularly for the past few years. And I acknowledge with great pleasure the immense pace with which the festival has grown to become one of the prominent events in contem-porary world cinema. As a fi lm event that follows immediately after TIFF, IFFI has always drawn strength from TIFF’s pro-grammes. And this year too, the festival is looking forward to take forward the cinematic journeys that TIFF has fl agged off.

This is the 44th edition of the festival. And you have seen (for more than two decades) the festival grow from its roots. What has it achieved and what is its contribution to cinema?The International Film Festival of India which steps into its 44th year, was initial-ly established as part of the national cul-tural pedagogic project in tandem with the Nehruvian vision of promotion of

Festival Sections• Competition: Feature

Films by directors from all Continents

• Out of Competition: ‘Cinema of the World’

• Foreign Retrospectives, Tributes, Special Focus, Premieres,

• Indian Panorama, Indian Retrospectives, Tributes

• Film Bazaar

• Technical Workshops

IFFI STATS

70COUNTRIES

326FILMS SCREENED

$200000TOTAL PRIZE MONEY

8000PARTICIPANTS



What are the major highlights of the festival this year?Besides the usual but important sections like competition, Cinemas of the world, Retrospectives etc., the festival highlights will also include a special section on the Cinemas of the North Eastern States of India. The programme will feature - along with a package of outstanding fi lms re-fl ecting the ethos and aesthetics of the re-gion – a cultural show, an arts and handi-crafts exhibition, and food gallery.

How many countries are participat-ing this year?We anticipate to have around 70 coun-tries from around the world, in the lines of the previous year where we have 67 countries participating.

How many fi lms will be screened this year?The number of fi lms shall also remain more or less the same as last year (326 fi lms) as the number of festival days, screens and shows are similar to last years.

Any country focus?We are looking at the possibilities of focusing on any one of these countries - Greece, Hungary, USA, Japan or Canada. We have received a sizable number of strong entries from these countries and since they are all hard-to-ignore fi lms, we are trying our level best to include them all in various sections. Since we recently have bilateral agreements with Japan, it seems to be a strong possibility for the country focus. However, much would de-pend upon the said country itself.

What about celebrity guests?The much anticipated celebrity list will certainly have big names from both the International and Indian Cinema cir-cuit. It is little early for us to disclose the names, but I, on the behalf of the festival can assure that the list of Guests will do justice to both the art and commercial cinema lovers.

Will there be any homages and trib-utes?Yes. The festival will pay tribute to Ruth Prawer Jhabwala, Nagisa Oshima, Vadim Yusov and Rituparno Ghosh among oth-er fi lm personalities who left this world since our last edition.

What kind of wholesome experi-ence should the delegates expect this year?IFFI has always been a combination of cinema and Goa. As one of the fi nest holi-day destinations in India, Goa’s ambience has added immense value to the event where delegates can relish cinema in the warmth of the Coastal India. In terms of the cinema, the festival has in its platter, the best of Indian and Interna-tional Cinema, combined with a space for discussion, debates and discourses on the same.

How is the Goa government contrib-uting to the festival?They are equal partners in organising IFFI as they provide the whole infrastruc-ture in Goa and take care of the ground logistics.

IFFI DELEGATE REGISTRATIONwww.iffi .nic.in, www.iffi goa.orge-mail: registration@iffi goa.org

INTERNATIONALFILM FESTIVAL OF INDIA, GOA

NOV. 20 - 30, 201344

IFFI Awards• The ‘Best Film – Golden Pea-

cock’ award with cash prize

of Rs. 40,00,000 to be shared

between Director and Producer.

• Best Director – Silver Peacock’

award with cash prize of Rs.

15,00,000 is given to the winner.

• A Special Jury Award with cash

prize of Rs. 15,00,000 is given

to a fi lm or an individual for his

artistic contribution to the movie.

It will be awarded to the director

of the fi lm.

• Best Actor Award -- Silver Pea-

cock, cash prize Rs. 10,00,000

• Best Actress Award -- Silver

Peacock, cash prize

Rs. 10,00,000

• The Lifetime Achievement Award M


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Movies, Mumbai, MAGIC

The 15th edition of the Mumbai Film Festival (MFF) has got a refreshed look. What’s the reason?Mumbai Film Festival in its 15th year has a new logo that is more fl uid, iconic yet contemporary. It is refl ective of the vision of the Festival - the past, perme-ating the present and fl owing into the future.

How’s the festival shaping up? Can Indian fi lm loving audience expect to see 2013’s recognized global fi lm fes-tival premières at Mumbai?The festival is shaping up well. The Mum-bai Film Festival’s strengths have been excellent selection of fi lms, eminent ju-ries, programming and strong academic activities. This year will be an improve-ment on previous years’ programming and organizational strengths.

You have announced some of the fi n-est movie minds as Jurists...The Festival delegates can expect to watch the best of fi lms from all over the world, meet and interact with some of the biggest names in International cine-ma and participate in elevating academic activities. We would like the festival to emerge as a meeting place for creative talents.

We are in an economic slump. Do you see this impacting your festival and the feel good factor?The whole country is passing through diffi cult times. We in Mumbai Film Fes-tival have always been insisting on val-ue for the money spent. We are working to see that none of the creative content is affected due to current economic dif-fi culties. It is heartening that many of our well wishers are supporting us and helping us in this effort.

MFF is top on the radar of global fi lmmaking community. Your com-ments.Thanks to all our friends, well wishers and supporters, the Mumbai Film Festival has emerged as an important annual event in this part of the globe. We have been try-ing to bring in a lot of professionalism in the organisation of the Festival. We are aware of our strengths and limitations and are trying to enlarge our horizon.

MAMI is also a breeding ground for fi rst time fi lmmakers. How success-ful have you been on this front?The Mumbai Film Festival is targeted to young talents. Our International Com-petition Section is for the fi rst time fea-ture fi lm directors. We have new faces

The Mumbai Film Festival’s strengths have been excellent selection of fi lms, eminent juries, programming and strong academic activities, says Srinivasan Narayanan, Director, Mumbai Film Festival

Srinivasan NarayananDirector, Mumbai Film Festival

15TH MUMBAI FILM FESTIVAL OCTOBER 17 - 24



in Indian Cinema section. Dimensions Mumbai short fi lm competition chal-lenges the creative abilities of young Mumbaikars below the age of 25. Mum-bai Young Critics is an initiative for college students from Mumbai and it provides them with opportunities to in-teract with world personalities. The new initiative under the Mumbai Film Mart, the India Project Room would provide opportunities for the just fi nished or un-der production fi lms to attract the fi lm festival selectors, commissioning and sales agents and buyers. We all realize that the Mumbai Film Festival is very young and holds tremendous potential to grow. My duty as the Festival Director is to involve bright young minds in the organisation of the event to ensure that the Festival grows stronger every year. I remember the adage: Rome was not built in a day.

Mumbai Film Mart (October 18-20, 2013) has become a pull factor for networking, buying, selling activity. But India is not a full-fl edged market for fi lms. Do you see Mumbai Film Mart closing this gap?Remember, this is just the third edition of the Mumbai Film Mart (MFM). We would like to see that MFM delivers and does not remain a talk show. It is gratify-ing that in the fi rst two years the MFM has shown results. We have already worked out a growth path, a route map for MFM for the next fi ve years.I have seen closely the growth of Cannes Film Market and Berlin Film Market mainly and some other markets. We have the patience to build the MFM brick by

brick. We need a lot of support from the fi lm industry and Governments at the Centre and States to realise our vision of MFM. I am confi dent that we will achieve it.

What are the activities planned at the Mumbai Film Mart this year?Finding buyers for Indian fi lms and for-eign fi lms. Distribution has been our main slogan. To achieve this we offer a robust networking platform for the Indi-an and Foreign buyers and sellers, tele-vision networks, accessory right acquir-ers. Now we are reaching out to Festival programmers / selectors, commission-ing agents, sales agents and producers to look at fresh fi lms, under production fi lms and projects. As I mentioned, we are not in a hurry. We want to stabilise the existing strengths and slowly open new opportunities.Mumbai Film Mart is an indication that the Mumbai Film Festival is serious about the BUSINESS OF FILM.

Asghar FarhadiHead India Gold Competition Jury

Waris HusseinIndia Gold Competition Jury

Nathalie BayeInternational Competition Jury

Roger GarciaIndia Gold Competition Jury

Masato HaradaInternational Competition Jury

Jill BilcockIndia Gold Competition Jury

Bruce BeresfordHead International Competition Jury

Siddiq BarmakIndia Gold Competition Jury

JURY OF 15TH MUMBAI FILM FESTIVAL

■ Over 200 fi lms from over 65 Countries ■ USD 220,000 to be awarded as cash prizes■ Costa Gravas & Kamal Hassan to be

conferred with Lifetime Achievement awards■ MFF will pay homage to Yash Chopra,

Rituparno Ghosh and Pran■ Celebration of Spanish cinema | spotlight

on Cambodian cinema | 6th Rendez-vous with French cinema | Kabul Fresh :New voices in Afghan cinema | Experime ntal fi lms | Costa Gravas retrospective | Leos Carax


www.picklemag.in18 pickle entertainment biz guide LIKE PICKLE IN FACEBOOK

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BIG PICTURE SUMMIT

Towards $100 Billion Indian M&E IndustrySeptember 13 - 14, 2013 New Delhi

It’s time to embrace innovation. Here’s how top leaders think they can do it. A special edition on the CII Big Picture Summit in

association with Pickle

A SPECIAL EDITION

INNOVATION IN MEDIA

Pickle_CII_2013_Cover.indd 3Pickle_CII_2013_Cover.indd 3 30-09-2013 10:42:2830-09-2013 10:42:28


CII BIG PICTURE SUMMIT 2013

EMBRACING INNOVATION IN MEDIAP

hoto

s by

K.K

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kar



(From L to R) Ronnie Screwvala, MD, Disney India, Uday Shankar, CEO, Star India, Manish Tewari, Union Minister for Information & Broadcasting, Government of India, Chandrajit Banerjee, Director General, CII and Amit Khanna, veteran M&E industry leader at the CII Big Picture Summit 2013.

The second edition of the CII Big Picture Summit (September 13-14, 2013, New Delhi) ended on a bright note with top decision makers from all major media and entertainment verticals deliberating innovation strategies that would propel growth and help reach the targeted of $100 billion for the Indian M&E industry by the end of this decade. The Summit brought together the best of the creative and business minds -- the government, regulator, academia and civil society -- to do a reality check and prepare a road map keeping in view the present and future of the industry



Hollywood Star Jean Claude Van Damme launched Ashok Amritraj’s autobiography “Advantage Hollywood” at CII Big Picture Summit, Confederation of Indian Industry’s fl agship conference for Media and Entertainment industry

(From L to R) Gulshan Grover, Van Damme, Ashok Amritraj, Vivek Oberoi and Chandrajit Banerjee



Indian-American Hollywood producer Ashok Amritraj is a prominent international fi gure in the world of entertainment and has a super success story to boost with over 100 fi lms to his credit that have collected worldwide revenues in excess of $2 billion



Manish TewariUnion Minister for Information & BroadcastingGovernment Of India



Indian I&B Minister’s Promise to Media BizIndian Information and Broadcasting Minister Manish Tiwari, while speaking at the CII Big Picture Summit, said the government was ready to “walk that extra mile” to give the Indian M&E industry the necessary infrastructure to reach its growth target

The Union Minister for Information & Broadcasting said the United Progressive Alliance (UPA) Government believes that

M&E industry -- both in its content and non content dimensions -- can unlock the creative potentials of millions of young Indians across the country.“We will walk that extra mile to put in place the requisite infrastructure and policy to see that the industry is able to translate the $100 billion target into reality,” he said.He also complimented CII for its optimism in setting the target of $100 billion. “We will partner with the industry to put in place requisite policy landscape to translate the vision into reality.”Tewari said the Government of India believes in persuasion rather than regulations while dealing with the media. Appreciating the robust double digit growth of M&E industry in the last few years, he said that in the backdrop of economic slowdown, it is a good achievement.Touching upon the New Media sector he said it has enormous power but needs to be regulated. He also urged the industry to explore the potential of Social Media.



Uday ShankarCEO, Star India

No policy has done more damage to this industry than that of price controls on television content



Price Controls Impeding Innovation

Inconsistent policies and arbitrary curbs on freedom of speech and expression are the two major challenges that have stifl ed innovation in India’s M&E sector, says Uday Shankar, CEO of Star India in his theme address at the CII Big Picture Summit

All of us took stewardship of our companies in the last two decades, when robust economic growth

created an air of optimism and confi -dence in the country, and about India in the world. We gather today in the midst of an extremely turbulent time for the Indian economy. Beyond shrinking GDP growth and falling currency, what is truly remarkable is that the spirit of op-timism seems to have been replaced by one of apprehension and despondency.It is therefore appropriate that this in-dustry forum has as its theme, renewal and innovation. In my mind, the forces that unleashed our exciting growth sto-ry are the very same as those that can inspire innovation and renewal in our industry. And at its heart is our willing-ness to be resolutely open to the world, to new capital and to new talent. But no renewal can happen, either in our econ-omy or in our industry, if we are not bra-zenly open to new ideas. Nowhere is this dichotomy more preva-lent than in the media and entertain-ment industry. Twenty years ago, the real face of liberalization for most Indi-ans was the appearance of dish anten-nas on roofs. It was a compelling signal to the world outside that India was open for business. We were ready to embrace new ideas, wherever they originated. And we were confi dent enough in our own identity to be open to new worlds.

And in that period, the industry saw a re-markable transformation in its size and in its scale. From one state run broad-caster with limited reach and less than 5 hours of daily content, we now have over 800 channels telecasting more than half a million hours of original content to 700 million viewers. From around 3000 newspapers in 1991, we have grown to more than 80,000 newspapers today, with most of the growth coming in the vernacular languages. Our movie indus-try has grown 20 times. The industry has evolved from a disorganized community dominated by a few players to a highly competitive sector that is increasingly better organized and better run. From 750 million in 1991, it is now an indus-try worth 15 billion dollars. It supports 6 million jobs directly and probably twice more indirectly. It has both facilitated and absorbed new technologies. And, it has created a compelling platform to showcase India to the world.So much so that last year we set our-selves an ambitious target of $100 bil-lion for the sector. Today, I would like to call out two big challenges the combina-tion of which have had stifl ing impacts on innovation in the industry.Our television viewers today have easy access to global content, whether through online portals, through network broad-casters who are airing shows closer and closer to global launch dates, or simply

THOUGHT LEADER



through piracy. This has brought about a burning need for innovative, original content. However, for an industry that boasts of over half a million hours of original programming every year, how much of it is innovative content that we are proud of having brought on to the screen? The reason is simple. Our abil-ity to charge for content has nothing to do with the scale of our investments in it. If a bold producer does decide to risk capital on cutting-edge, new idea, today he has no liberty to price his creative work. Why then should he take a risk when he stands no chance of getting a decent return on his investment even if his production becomes a blockbuster success? The result is tired, stagnated, insipid content for the consumer. No policy has done more damage to this industry than that of price controls on television content.What is amazing is that we have compel-ling evidence in the same industry that shows that abolishing price controls can dramatically improve consumer choice. Freeing up ticket pricing in cinemas cre-ated the foundation for a dramatic im-provement in the quality and diversity of movies that came to the market. Without raising costs substantially for the price conscious consumer, it has fi nanced a generation of content that has appealed to both niche and mass audiences. It is diffi cult today to avoid the persis-tent debate about the quality and health of news channels. But, there is no ques-tion at all that it is the restrictive tariff regime that has prevented news broad-casters from producing high quality content for an audience that is much smaller than that available for general entertainment or sports. Ironically, a regime that was brought to protect the consumer has ended up doing the most damage to consumer choice and quality.Even more frightening than price con-trol is the creeping controls on free speech. For a country that prides itself on its deep democratic ethos, the last de-cade has been characterized by a creep-ing inclination to impose controls on speech and expression. It is no surprise then that this tyranny

of the minority has now reached the central halls of Parliament. Today, a small but vocal group can claim both the moral high ground and have the politi-cal legitimacy to hold to random India’s legislature for a session, a day and some-times more. This should not come as a shock at all. For, behind this practice, is the very same culture that we have nurtured and indulged for too long. The culture that grants legitimacy, cover and sometimes state protection to the very few who are offended or bothered by the expression of another group, and who can take to the streets and can van-dalize private and public property with impudence. It should not be surprising that when we start putting limits on new ideas and free expression in our cultural space, they will fi nd their way into our political and economic spaces too.The collective impact of regulation and the creeping tyranny of the minority have stifl ed innovation in our industry and, dare I say, in the economy as whole. At 15%, we may grow at thrice the rate of the GDP but that is more a refl ection of our topline economic growth than the health of our industry. At this rate, it will take us another 15 years to hit $100 billion in value and by then, we will be just 3% of the world media market. This is just unacceptable.Make no mistake. I am defi nitely not arguing for a world without regulation. History has taught us that free enter-prise is well served by clear rules and policies. Absence of regulation is as bad as over regulation. But what is desperately needed is a consensus on what to regulate and how much. It is this lack of consistency in regulation that is impacting multiple industries. At exactly the moment when our economy is poised for the next big leap, we have found a way to make it harder and harder for our companies to innovate, to create new products and services, and to fi nd new markets. The resounding message from this Sum-mit is that, as a sector and as a country, we will remain stubbornly open to new ideas and committed to expanding the spaces for free expression.

No renewal can happen, either in our economy or in our industry, if we are not brazenly open to new ideas


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Takeaways from CII Big Picture Summit

CII BIG PICTURE SUMMIT

“Innovation is a process, change in mindset of think-ing. At the end of the day we need three things. An in-dustry which is aware of its potential, conscious of its short comings and willing to change. We need a govern-ment which is proactive and understands that this industry is no longer about entertain-ing people, it is about bringing social transformation, a huge employment generator and a business by itself.”Amit KhannaFilmmaker, Writer, Media Expert

“If we need to innovate, we need to put resources behind genuine innovation. You can-not have capped pricing. There is no other sector where pricing is capped (either for shoes, shirts, detergents or cars) Why should we have cap one genre of channel pricing? We have to allow market to determine the prices.”Sudhanshu VatsGroup CEO, Viacom 18 Media

Ronnie Screwvala, MD, Walt Disney, India, said that to reach the $100 billion mark, the in-dustry should have a strategy spanning the next 18 months. There was need to reduce de-pendence on advertising reve-nue and concentrate on longer-term initiatives.“A core group of four-fi ve people on unanimous basis can come together and work closely with representatives of the gov-ernment so that there is stabil-ity in regulation,” he suggested.

PRESCRIPTIONS FOR INDIAN M&E• Reduce and change the

dependency on advertising

• Unanimity and long term thinking

• Attract best of the talent to work

• Converting consumers to pay for content

• Consistency and stability in regulation

• Creativity and innovation in content

• We need destructive mindset in new media

• There are opportunities in Edutainment

• Create second and third sport in India

• Bandwidth is the new oil



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www.ciibigpicture.com

“What is amazing about In-dia is the explosion in the consumption of online video -- with or without broadband. YouTube has 50 million users in India today compared to 10 million users couple of years ago.”Rajan AnandanHead, Google India

“The Indian newspapers have embraced the Web. In India it is not going to be print versus digital. The question is how is it going to be print and digital. The print media is going to be the lead factor in my lifetime. The newspapers will embrace the digital world nicely.”Ravi DhariwalCEO, Bennett Coleman & Co. Ltd

I am a huge fan of Indian movies. But India should have sort of a school to un-derstand the American way of making movies with some of the fantastic Indian actors. You don’t have to learn any-thing, but you need to have a special way to understand American thinking, and how they make movies.Jean-Claude Van DammeHollywood Actor

There are 2.4 billion people on internet today. 80% of them watch online video. More than half of them watch videos on mobile. By 2020 there will be 5 billion people on the net. 80% of them would watch videos online. 3 billion people will access internet over the mobile.

India is adding 5 million internet users a month. By the end of 2013, India will have 200 million internet users. By 2015, India will have 300 million Internet users (third largest market place for internet users in the world)



“Innovation is a pro-cess of renewal. It comes out of a pro-cess of destruction. In order to create a renewal system, you have to allow some part of the economy to die” (which has stopped playing pro-ductive or creative roles).Rajesh SawhneyFounder - GSF INDIA

“I see three things in the M&E sector. The platform for distribution should be prop-erly established. We need to expand digitization. Secondly, the government has to un-derstand M&E is an infra-structure industry. Thirdly, there is a need to make TV ratings transparent.”Ravi Shankar PrasadBJP Leader, LAWYER Deputy Leader Opposition (RAJYA SABHA)

“Technology is not the barrier today for either aggre-gating content or transmitting to mul-tiple-screens. What’s missing and what will help innovation is infrastructure (satellite capacity and broadband) and policy”Harit NagpalMD, Tata Sky

TRAI chairman Dr Rahul Khullar stat-ed that new technol-ogies are affecting the way content is being delivered and received, adding that he felt that in India there is a long road ahead before the sort of convergence that has happened in US, Japan or Korea is witnessed.

An amazon.com can tell me which book to buy next. Clothing companies are moving to fabric that works just for me. In con-trast, the world of me-dia applies techniques from the Stone Age. Why are we okay with a system that tracks 20,000 – 30,000 peo-ple? Why not 10 lakh or 10 million?Sanjay GuptaCOO, Star India

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10Million

Number of People employed in the M&E

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700 million TV Viewers in India



“I tell all my big clients – telecom and media companies – that they should have a second place to where they can be a startup and shoot down the mothership, where you can replace yourselves before somebody does it. This is important because speed of change is mindboggling. You can see that in India. Every year, I go there it is in other leap. If you don’t move along with the speed and allow room for in-novation and risk and if you are too slow eventually you will fall of the cliff and nobody cares where you go.”Gerd Leonhard, Media Futurist

Hollywood studios making local fi lms in India is dominant logic for sure. I mention this reverse innova-tion because I believe it is one of the many kinds of in-fl uences that speaks to what is hap-pening in the Indian market-place today.

“Auditing a Pay TV platform is to make sure that the accu-rate number of subscribers are reported and agreement with content owners are reported correctly. Audit brings transpar-ency and clarity. This is much needed in India. We are keen to come to bring our expertise to India.”Simon PolockSR VP International Media Audits International

In the US for the industry overall, the theatrical business accounts for about 27% of studio revenues with 34% coming from the home entertainment market, and the remaining 39% coming from television distribution. In India 90% of the revenue comes from Theat-rical and TV.

Technology has democra-tized the creation of media. The foreign fi lms I was lucky enough to get my hands on as a kid, often without sub-

titles, are now instantly gettable

on my iPad.

12

3 4

We believe by the end of this

year there will be more than thousand 2K

3D screens in India, that is less than 10% of the digital screens in China, a milestone China has achieved in less than 10 years. Why should India not strive and accomplish a similar feat in a country where movie going has been leisure time behav-iour for 10 decades?

Sanford Panitch, President, Fox International Productions

Get in touchFor participation in

CII Big Picture Summit, September 2014, New

Delhi

ContactKavita Saini

[email protected]

Neetu [email protected]

0e d E

160 million Radio

Listeners in India



“Our job is to create the best quality content and deliver in the multi-screen platforms. As 3 billion Internet users become 5 billion, consum-ing video, what do they need. They need quality content. As long as we create content that travel globally, for which peo-ple relate to globally and cover large audiences we are fi ne.”Rahul JohriSenior Vice President andGM - South Asia &Head of Revenue, Pan-RegionalAd Sales and Southeast AsiaDiscovery Channel

BU

CPiThCticanacan

India, Brazil and Indonesia (& China)have the unique opportunity toactually pioneer the future of media

“I am very happy when I hear Indian regional cinemas do-ing well. Those voices are very important. This is our cultural fi bre. The kind of country we have and kind of consumerism we have, we will have diversity in our cinema and diversity in our content.”Prasoon JoshiWriter, Poet

“It is not the quantitative data, but qualitative data that is im-portant. We want to know the consumer trends of why are they watching a particular channel or programme, why are they dropping out. That insight on consumer consumption will help arrive at creating content and providing it in the manner they want.”Monica TataMD, HBO India


The single window clearance currently being put into process by the Ministry of Information & Broadcasting is a great step and will help inbound and outbound shooting.

Breaking the trust breaks the business - so ensure it

Content First



BUSINESS MODEL INNOVATION

CII’s workshop on High Growth Through Innovation as part of the Big Picture Summit was attended by top M&E CEOs, CFOs and HR heads. The workshop was led by Dr S Raghunath, Dean and Professor of Corporate Strategy and Policy at IIM Bangalore. In the workshop, par-ticipants understood the business growth and innovation framework and learned to apply it to the industry. The workshop was highly inter-active and showed the way forward for developing value innovation and implementing a high growth plan in organisations.

The power of second screens should be harnessed to target connected portable devices to deepen engagement with, and access to, the primary content.

Bundling can add value for content providers, operators and consumers as people still love a bargain, including a bundle of services for a ‘discounted’ rate.

Content discovery and recommendation will be major Areas of opportunity, especially in the digital space, as confused, connected consumers need help navigating to the content they want.

Investments for gaining analytics driven insights into connected consumers’ behaviour and measuring cross-platform reach will be critical for successfully and profi tably growing the digital ecosystem

“The market is growing in In-dia for fi lms, but a movie that grosses $100 million outside India is yet to happen. Digital platforms are going to help fa-miliarise Indian fi lms to audi-ences outside India.”Ashok AmritrajChairman & CEO HYDE PARKENTERTAINMENT GROUP

“The biggest challenge for a news organisation is not com-petition but how to maintain credibility. Only few compa-nies with trust will survive.”Dr Bhaskar DasGroup CEO, News Cluster, ZEE

ar o-ry ral we m ty in

Amita Sarkar, DDG, CII and Dr S Raghunath, Dean and Professor of Corporate Strategy and Policy at IIM Bangalore

Innovation Workshop

Future of News

Organisations


POWER 100 MOST INFLUENTIAL IN INDIAN MEDIA AND SHOWBIZ. WATCH OUT FOR PICKLE NOVEMBER AFM ISSUE.

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