Pickle April 2014 MIPTV Issue

I N D I A A T M I P T V, C A N N E S APRIL 2014

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INDIAN M&E CEOs UNDER ONE UMBRELLA

CII BIG PICTURE SUMMIT September 19-20, 2014, New Delhi

MISSION TOWARDS $100 BILLION INDIAN MEDIA & ENTERTAINMENT SECTOR Register Now www.ciibigpicture.com

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New Delhi

s s s s s s s

We welcome business delegation from all over the world Meet top India M&E leaders Focused B2B meetings Facilitate studio visits across India Meet M&E offshore companies Meet with Indian buyers Meet with DTH, VOD and digital platform providers

September 19-20 2014

Indian M&E 100 billion at India – The Big Picture Summit 2014 Get in touch Kavita Saini Ph: +91-11 - 45771016 Email: kavita.saini@cii.in Website: www.ciibigpicture.com

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FROM THE EDITOR’S DESK

W

e are delighted to present the latest issue of Pickle on the special occasion of MIPTV. Undoubtedly, MIPTV has played a significant role in shaping the global television media growth. It is one of the finest market places which brings not only the brightest of the global creative and business minds to share knowledge but offers a platform to buy and sell.

Over the years’ MIPTV along with MIPCOM has been able to provide a glimpse of what is happening in the media space before it actually becomes a trendsetter. Most of the top Indian M&E companies who have a global focus are here at MIPTV. Eros International, ZEE, DQE, Shemaroo and IndiaCast have been regular at MIPTV for many years. They are here with a focus to buy, sell and offer service to potential business partners at MIPTV. Zee Bollywood and IndiaCast are here with a clear aim to syndicate their programmes to the global market and also open new markets for Indian content. They have the best of the TV content from India. ZEE is a leader in developing formats that appeal to wide

section of viewers across India. We have presented top ten syndicated shows from the ZEE stable.

We have also captured Digital Media insights from FICCI-KPMG Media & Industry Report 2014. Here you will get a clear idea of a reality picture of the emerging Indian media ecosystem.

The big hope for the future of the M&E industry continues to be digital. With a fast growing internet user base of over 200 million internet users, KPMG M&E report has maintained that the potential of the industry to enhance engagement with customers and generate revenue from digital media is indeed vast.

The Indian entertainment industry has all the pointers of achieving the same global success that the Indian IT industry has achieved. To be a game-changer, all that India needs are few policy reforms and we look forward to rapid changes and new directions post elections when the new government takes office by the end of May 2014.

Our next is a special issue for the Cannes Film Festival/Market. Feel free to email your thoughts and suggestions.

n vidyasagar pickle media nvidyasagar@gmail.com, www.picklemag.com Pickle Volume VII 7th edition Published by Pickle Media Private Limited Email: natvid@gmail.com L Mumbai L Chennai No.2, Habib Complex Dr Durgabhai Deshmukh Road RA Puram CHENNAI 600 028

Printed by Bon Graphics New #7, Arumugam Nagar, Dayalan Garden, Chinna Porur, Chennai – 600 116 Mobile: +91 9884816263 Email: bon_graphics@yahoo.co.in

Editorial Coordinators : M Sai Email: natvid@gmail.com

For advertising: natvid@gmail.com

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Pickle Handbook 2013 Copyright 2013 by Pickle Media Pvt Ltd. All Rights Reserved.

Pickle is an ad supported business guide tracking the filmed entertainment business in India. This is a curtain raiser issue for CII Big Picture Summit 2013.

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Layout Design: M Agnes Julie Consulting Photo Editor: K K Laskar

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INDIA @ MIPTV SHABNAM

Indian Companies at MIPTV EROS INTERNATIONAL MEDIA Kumar Ahuja President - Business Development

Alice Coelho Vice President Syndication Sales

Stand: P-1.B72 Eros International Media operates on a vertically integrated studio model managing content as well as distribution and exploitation across all formats globally, including cinema, digital, home entertainment and television syndication. It has over 1900 films in its library and is at MIPTV with brand new Bollywood films.

TOONZ ANIMATION Jayakumar Prabhakaran, CEO Toonz, a major provider of animation to the top US and European producers is South Asia’s most admired animation studio and part of the international business conglomerate, Comcraft Group, based out of Geneva.

Founded in 1999, Toonz’s client list includes the biggest names in media and entertainment like Marvel, Hallmark, Paramount, Disney, BBC and Cartoon Network. Toonz Animation also offers its world-wide clientele endto-end animation services.

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ZEE ENTERTAINMENT ENTERPRISES LTD Alisha Goriawala Booth Number: P-1.K51 Zee Entertainment Enterprises Limited is India’s leading television, media and entertainment company. 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 film based events.

Zee’s services also include dubbed or subtitled versions in international languages.

YOBOHO NEW MEDIA PVT LTD Hitendra Mechant Founder and CEO Yoboho new Media Pvt Ltd. (www.yoboho. com) is a leading producer and distributor of online video content. We are looking at acquiring short ( 60 seconds to 240 seconds) video clips of Hollywood content, caught on camera, Funny clips, bikini videos, yoga, workout, extreme sports videos, webisodes, news and Kids ( mainly pre-school) content . YoBoHo is also looking at Independent producers and helping them distribute their content online.

WE would like to distribute full length movies across our distribution platform. They are one of the largest content partners with Youtube in Asia Pacific Region. At MIPTV, they are looking at acquiring content mainly for internet (worldwide) and mobile ( Asia ).

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DQ ENTERTAINMENT (INTERNATIONAL) Sumedha Sarogi, COO, Stand: P-1.L20 DQE is one of the leading producers of animation, visual effects, game art and live action entertainment content for the global media and entertainment industry.

With a workforce of approx 3500 employees and a global client - partner base of over 100 producers, distributors, broadcasters and licensors including Walt Disney Group, Universal Pictures, Nickelodeon Animation Studios Inc., American Greetings, , BBC Group, M6/ France TV Group / TF-1 - leading broadcasting and Distribution groups from France, ZDF TV and ZDF Enterprises, Germany, ABC Australia, Al Jazeera – Arabic nations, Disney Channels - Asia, Cartoon Network Group and many more world-wide. DQE has produced/co-produced and distributed iconic brands such as Iron Man - the first 3D animated TV series, Twisted Whiskers, Mikido, Casper, Pinky & Perky, second season of Large Family, third season of Mickey Mouse Club House, First and Second Season of Madagascar TV Series and is now co-producing properties like Little Prince Little Nick, Iron man, Charlie Chaplin and fourth season of Mickey Mouse Club House and others with major international broadcasters and producers. DQE has a library of over 500 hours of international programs for distribution and licensing globally for TV, home entertainment, merchandising and publishing is on fast track. Two feature films are also currently in development at DQE.

BALAJI MOTION PICTURES Sonika Bhasin Head - International Distribution and Digital Balaji Telefilms is India’s leading integrated media conglomerate with market leadership in the motion picture and television content industries, among other entertainment-led businesses. It is the only studio with unqualified success in both films and television. Pioneering widely different genres of content across several distribution media, the firm has completely aligned its brand architecture to reflect the far-reaching changes of our time. The company, under the stewardship of Shobha Kapoor and Ekta Kapoor, operates various prominent brands within its fold namely Balaji Telefilms – a production house synonymous with groundbreaking television content; Balaji Motion Pictures – a producer of large-scale feature films with the topmost industry talent; Alt Entertainment – a developer of commercial filmed content with alternate sensibilities.

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SHEMAROO ENTERTAINMENT LTD Rajiv Jhaveri, Stand: P-1.B81 Shemaroo Entertainment Ltd. is one of the largest integrated Animation, Film Production, Post Production and Distribution players in India. We are India’s largest content aggregator of film, non-film and animated content across multiple platforms, both physical and digital. Shemaroo is a joint venture partner with Sony Pictures, USA, for Sony Entertainment Television. We have successfully leveraged emerging technologies like the Broadband, Internet, IPTV and Mobile among others. With its partnership with giants like British Telecom in UK, Etisalat in Middle East, YouTube and all the major telecoms in India such as Airtel, Tata, Reliance and others, Shemaroo is at the forefront of the digital age.

INDIACAST MEDIA DISTRIBUTION PVT. LTD. Stand: P-1.E73 ‘INDIACAST’ is a 50/50 joint venture operation in India between Viacom 18 and the Network 18 Group. ‘’COLORS’’ is the flagship brand of the group in the entertainment space in India.

Within a span of five years, COLORS has established itself as a leading GEC broadcaster in India, with an impressive international footprint encompassing 100+ countries and some of our top programs are syndicated in more than 25 countries and 23 languages. Our Top Drama Series have been syndicated across Eastern European countries (like Serbia, Macedonia, Bosnia, Kosovo, Montenegro, Croatia among others), CIS Countries (like Kazakhstan, Azerbaijan, Georgia); and markets like Pakistan, Kenya, Ivory Coast, Canada, Mauritius, Israel, Sri Lanka, West Indies, Singapore and Afghanistan. The content has been dubbed/subtitled in various languages including Macedonian, Serbian, Bosnian, Azeri, Kazakh, Dari, Pashto, Swahili and French to name a few. Colors Content also includes Bollywood Movies and Popular Bollywood & TV Awards & Events and Reality Shows adapted from Top International formats. Besides Colors, we possess a wide variety of content such as Youth and Music based shows from MTV India, Regional Content in 5 Indian Languages from Eenadu Group, Documentaries and Entertainment shows from History 18 and Lifestyle and News shows from the TV 18 News Network.

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DEEPAK RAJ ENTERTAINMENT AND MULTIMEDIA SOLUTIONS Deepak Jadav, CEO A one-stop creative shop, DREAMS offers multimedia content production in 2D, Flash as well as in 3D animation. The company offers expertise in the areas of Visual Effects, Gaming, Comic, Corporate presentations and interactive content creation for various platforms. With a state-of-the-art facility in the heart of India’s Hyderabad at Banjara Hills, Dreams is the dugout of a contingent of 100 + extraordinarily proficient entertainers, who entertain the world through pen and ink!

DREAMS instill the spirit of adventure, challenge, competition and continuous learning into its team. The company’s philosophy of hiring the best from the very best in the industry ensuring wide range of skill set has paid rich dividends in terms of immense creative satisfaction, clients admiration and most importantly, contentment of the audience. The team consisting of multi-skilled professionals with creative talents as well as technical knowledge is led by senior professionals who have years of experience and expertise in animation content production, advertising & brand designing, corporate communication, video production and online.

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INDIAN DIGITAL MEDIA IS GETTING TO CRITICAL MASS

DIGITAL MEDIA TO DOMINATE FUTURE Digital Media is continuing its growth trajectory. 37.8% growth is witnessed in Advertising Display and Search advertising constitutes 67% of total online advertising market in India. Internet connectivity and device accessibility gets better, as 214 million internet users and 130 million mobile internet users are there.

Social media witnesses an increase of 38% in user base. Here are nuggets from FICCI-KPMG M&E Industry report 2014 on the new media 11

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Digital Media

INTERNET GROWTH IN INDIA The total internet user base in India grew to approximately 214 million by end of the year, with almost 130 million going online using mobile devices. Mobile Internet users dominated the total internet user base capturing an overall share of 61 per cent.

The number of internet users, in India are seen to have grown at 40 per cent in 2013 to reach 214 million users and is expected to reach 239 million by end of the year 2014.3 Industry experts portend that India can surpass USA in terms of total number of internet users in 2014.

It is estimated that the total internet user base will reach 494 million by the end of 2018 as against 938 million TV viewers in the same year.3This means that the Inter-

net user population will be approximately 53 per cent of the total number of TV viewers in the country in 2018 compared to 27 per cent in 2013. The digital media presents an opportunity to engage specific target segments in a more cost effective way as opposed to the mass outreach afforded by traditional TV. India became the world’s third largest internet user base in 2013, overtaking Japan Following USA and China, India became the third largest internet user base in the world by unique visitors. It overtook Japan in March 2013 and registered a YoY increase of 31 per cent.40 This is a harbinger of great potential that the internet medium brings with it.

MOBILE CONTINUES TO BE THE PREFERRED CHOICE OF ACCESS The total internet user base in India grew to approximately 214 million by end of the year, with almost 130 million going online using mobile devices. Mobile Internet users dominated the total internet user base capturing an overall share of 61 per cent. The growth is expected to continue and the mobile internet user base is projected to reach to more than 350 million by the end of 2018. While urban users are steering the growth, rural India is not left far behind.

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The mobile internet user base in rural areas has grown by 28 per cent since June 2013 and is estimated at 27 million, as against 103 million urban internet users, at the end of 2013.

It is estimated that, in 2013, 61 per cent of the total Internet devices in India were mobile devices and that the share is expected to increase to 71 per cent by 2018. The personal computer (PC) may no longer be the primary or exclusive means to provide the ďŹ rst user experience of the internet.

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Digital Media

3

INDIA, NOW MORE COMFORTABLE WITH ONLINE AND MOBILE PAYMENTS A few years back, for many Indians, booking railway tickets online was their introduction to internet shopping.

The government railway ticket booking portal IRCTC and few travel sites revolutionised the eCommerce industry in India and consequently the concept of online payments.

Indians are now becoming comfortable with electronic as well as mobile payments. More and more consumers are opting for online and mobile platform payments that provide extra convenience.

DIGITAL AD SPEND AND THE LANDSCAPE IN INDIA Digital advertising in India grew by approximately 38.7 per cent and touched INR30.1 billion, in 2013. Indian mobile advertising is expected to grow at 50 per cent and reach INR5.1 billion in revenue by end of 2014. Digital marketers are recognising this trend and are now considering to or are already on their way to execute ‘Mobile-first’ branding and customer engagement strategies. The ad

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spend in digital media is set to grow at 37 per cent to reach INR41.2 billion in 2014.

Google and Facebook account for close to half of the advertising revenue 36 spent online in Asia, and the dominance can be attributed to their massive user base.

50% of the online advertising revenues are garnered by Google in India and Facebook has now become a force to reckon with.

The only thing holding back Digital media is the data speeds and coverage, in spite of which online and mobile viewership has shown impressive growth. On digital media, unique and exclusive content will always get value, while me-too content will not. There is tremendous scope for sports viewership online, given its exclusive nature. However, for monetisation beyond advertising on digital media to pick up, payment mechanisms and piracy issues needs to be resolved.

Uday Shankar, Chief Executive Officer, Star India Private Limited

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Jehil Thakkar

Partner, Head – Media & Entertainment KPMG in India

Expansion of digital distribution...

N Successful roll out of digital set top boxes (STBs) in Phase I and II cities – 90% C&S households seeded in Phase II cities N DTH subscriber base 37mn N Film industry achieved 90-95% digitization of screens - enabling penetration in tier II and III cities N Growth in mobiles, in particular smartphones, contributing significantly to increased consumption of music ‘on-the-go’ N Wireless internet connections reached 150mn, internet user base 214 mn, mobile internet users 130 mn 14

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Digital Media INDIA STANDING TALL AS THE SECOND LARGEST MOBILE PHONE USER BASE AND THIRD LARGEST SMARTPHONE MARKET IN THE WORLD

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Globally, the number of mobile phone users is expected to reach 4.55 billion and mobile phone internet user base would be 2.23 billion by the end of 2014. Smartphone adoption will also continue its fast paced trajectory with the total smartphone user base expected to reach 1.75 billion by the end of 2014.

The growth is being led primarily by the developing regions of Asia Pacific, notably India and China. The overall Indian mobile handset market grew at 21 per cent YoY. By the end of 2013, India is estimated to have gained a mobile phone user base of more than 900 million. While the worldwide smartphone shipments have surpassed 1 billion units in 2013, India became the third largest smartphone market in the world in terms of shipments of 44 million units.

Smartphone shipments in India are expected to grow steadily over the next 5 years. While Samsung maintains the lead in the smartphone market in India, other major players are Nokia, Micromax and Karbonn. The Android smartphone market continues to be dominated by low cost smartphones. By the end of 2013, India had approximately 66 million internet enabled smartphones and the number is expected to reach 334 million by the year 2018. This growth presents a good market base for digital advertisers, mobile gaming developers, VoD and digital music companies.

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FACEBOOK Facebook, in 2013, evidently shifted its priorities to focus on mobile and on native apps for all the major mobile operating systems. With almost 81 per cent of its monthly active users in India coming from mobile, it is a move in the right direction. The company put in efforts to make the product accessible irrespective of the platform - iOS, Android, BlackBerry, Windows, and even on classic feature phones.

In 2013, Facebook worked with telephone provider Nokia in the Indian market to

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introduce handsets with Facebook preinstalled on the devices.

These mobile devices are called Nokia Asha series phones and have been designed to deliver a smartphone-like experience even on low cost handsets. The shift in focus has delivered results for the company in India with Facebook’s mobile usage in India growing from 62 million monthly active users in Q2’2013 to 75 million in Q4’2013.

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Digital Media

THE VERNACULAR WAVE IN THE INDIAN APP ECONOMY India’s geographical diversity creates a need for innovative regional language apps. This presents an opportunity for the Indian businesses to tap into the potential afforded by the growing demand for apps in local and regional languages.

Google launched a Hindi handwriting tool for search and Mozilla Firefox rolled out a fully localised Tamil version of its free open source Internet browser in 2013. In August 2013, Samsung announced the launch of regional language user interface and applications for its Indian customers which would enable Samsung smartphone users to choose from any of the nine Indian languages including Hindi, Punjabi,

Bengali, Tamil, Telugu, Kannada, Malayalam, Marathi and Gujarati.

The sizable mobile user base residing in tier 2 and tier 3 cities, who limit their mobile usage to only voice calls, given the limited number of mobile apps catering to content in local languages present an opportunity for content providers. Multiple companies such as Plustxt, Hazel Media, Mad Rat Games and Newshunt, are vying for a share of this growing market. In 2014, it is expected that there will be an increased number of regional and localised content and apps developed as content consumption on mobile devices outpaces other mediums.

YOUTUBE OFFERS A COMPELLING PROPOSITION 2013 saw YouTube follow the parent Google in rolling out its movie rental and purchase program in India. Users can now browse through both paid and free movies across various genres and languages. YouTube offers movie rentals starting as low as INR 25.56 Upon purchase, users have 30 days to start watching the content and once started, 48 hours of viewing time. Pricing is dependent on resolution, popularity and recency of

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release. Regional content forms a significant part of the inventory.

YouTube already very strong for Video content: YouTube is the number one destination by traffic for videos in India and is already becoming a meaningful monetisation platform for content owners. YouTube, in 2013, constituted for approximately 58 per cent of all online video views in India.

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Digital Media INDIA OFFERS THIRD LARGEST DOWNLOAD USER BASE FOR GOOGLE PLAY – FREE APPS FAVOURITE India ranks third in terms of number of app downloads from Google Play in 2013.

However, it does not figure in the list of top-5 countries contributing to overall revenues of Google Play.

It may point towards the fact that Android users in India, as has been the trend globally, are still more fascinated with free apps and could take some time before maturing to paying for content. App platforms and content developers may need to consider pricing the content within the affordable range for Indians, for upfront

GAMING

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paid downloads and in-app purchases, to growat the impressive triple digit growth rates as seen for countries such as China, Russia and South Korea.

The Indian market is yet to crack the freemium model as the model works efficiently only with higher volumes. This market, at present, is largely characterised by either up-front download purchases or by ad-driven models. Whilemost Indian apps are available free of cost, the content developers hope to earn from in-app purchases and paidupgrades.

The gaming industry is gaining traction at a steady rate in India. The growth is driven by a rising younger population, higher disposable incomes, introduction of new gaming genres, and the increasing number of smartphone and tablet users. The proliferation of gaming developers and publishers has also contributed to the growth of the gaming industry. The gaming industry in India was estimated at about INR 19.2 billion in 2013 and is poised for continuous growth.79 However, the year gone by witnessed flat volume growth in the console segment specifically and this impacted the overall industry growth rate. Industry players are optimistic about 2014. The industry is expected to grow at a CAGR of 16 per cent and touch INR 40.6 billion by the end of 2018.79

The filmed entertainment space is in rapid change mode, the success of movies, other than a superb content, has now lot to do with a detailed marketing and distribution strategy, which is more systematic and continuously evolving. Other than traditional marketing, digital marketing is becoming a key element of the overall strategy. There has been an increase in the digital marketing spends for movies in the year 2013. The number of YouTube hits at the launch of movie trailer is now used as a barometer of success for the marketing of the film.

Kamal Jain, Group Chief Financial Officer, Eros International

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Digital Media

WAITING FOR 4G The arrival of 4G is expected to promote the growth of VOD services, especially in the long format segment.

However, players in this sphere do not expect 4G roll-out before 2015. Currently, an estimated 15-20 per cent86 of traffic is driven through mobile but this is expected to rise considerably with 4G. Akin to the digital music industry, subscription video

on demand services are yet to take off appreciably in the country with most users preferring the free, ad based service. Most video content providers cater to Bollywood tastes with up to 50 per cent of content from Bollywood with the rest composed of English and Local Language content. As mentioned earlier, internet speeds are a concern in the video streaming sector.

EBOOKS UNDERPENETRATED BUT GROWING The eBooks market in India is expected to be around ~INR1.2 billion which is 1 per cent of the total book market size, well below penetration rates in developed markets. The market is expected to grow at 20-25 per cent and this growth is expected to be fuelled by the education sector (K-12 and above) with the majority of the content in English. In contrast, the published book market is dominated by the Hindi language.

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In terms of consumption, it is expected that bulk of digital book content in the future would be consumed through smartphones and tablets. However, this hasn’t deterred eBook reader manufactures with Amazon debuting its Kindle in 2012 and Kobo launching their devices in 2013. Ebook are consistently discounted

by Amazon and Flipkart when compared to the paper-back version. The discount levels remain similar for the large part to 2012 levels of 15 to 30 per cent.

Kids are early adopters of technology and to cater to the ‘Screenagers’, kids’ entertainers are ensuring that they are served their daily dose of entertainment at a time, place and screen convenient to them. To keep this wired generation engaged across screens, entertainers are customising content across platforms, be it - video games, VOD, streaming content on the mobile and tablets, etc.

Nina Elavia Jaipuria, Executive Vice President and Business Head Kids Cluster, Viacom18 Media Pvt. Ltd

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REALITY CHECK

HIGHLIGHTS OF THE INDIAN M&E SECTOR TELEVISION

FILMS

Digitisation of cable saw the television industry still on the path of progress, with the mandatory Digital Access System (DAS) rollout almost complete in Phase II cities. The impact was felt to the extent that carriage fees saw a reduction of 1520 per cent overall 5, however the anticipated increase in ARPUs and subscription revenues for broadcasters and MSOs (Multi System Operators) is expected to be realised only over the next 2-3 years as MSOs begin the process of becoming B2C organisations from B2B organisations.

The introduction of packaging is key to raising revenue. Other key highlights in 2013 were the inclusion of LC1 (less than class I) markets in TV ratings, the 12 minute advertising cap ruling and the shift from TRP to TVT ratings.

PRINT The print sector continued to buck the global slowdown trend. The sector grew at a CAGR of 8.5 per cent this year to touch INR 243 billion. Regional markets performed exceedingly well on the back of steady advertiser spends, the state election impact and new launches. However, with the validity of IRS data called into question by the industry majors, the sector in the short term suffers from the lack of a robust measurement system, critical for decisions on media planning and allocations.

The film industry recorded a double digit growth, albeit slower than in 2012, with multiple movies scoring big on box office collections. Approximately 90-95 per cent movie screens are now digitised in the country, with a shift in focus to tier II and III cities.5 Going forward, multiplex growth is expected to slow down, in line with the overall delays and future expectations for retail sector and commercial real estate development, impacting box office growth in the short term.

MUSIC Streaming and download services continued to see growth, with the growth in mobiles, in particular smartphones, contributing significantly to increased consumption of music ‘on-the-go’ but monetization of this reach is still a challenge. However, with the continued decline in physical sales, compounded by the significant fall in ringback tone revenues (following the backlash of TRAI guidelines issues in 2012), the sector saw an overall fall in size by 10 per cent in 2013. Going forward, digital revenues are expected to drive growth in the sector, backed by increased collaborations across devices and platforms, and gradual uptake in subscription services.

Further, the vibrant live events sector is expected to continue its role as a catalyst for driving growth in artists’ fan-base, and public performance royalties.

Everything you need as a film professional is here, re-introduce yourself to cinando.com Powered by the Festival de Cannes with the support of:

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Faster networks (4G) and smarter devices will lead to an explosion of rich media content consumption on digital devices. In India, the primary access device to the Internet is the mobile phone and that will increasingly be used as an entertainment device to watch videos and play games. As producers of content for digital platforms, at Rajshri we recognise the fact that video platforms like YouTube have no geographic boundaries and our videos are viewed by a global audience. The world is flat on platforms like YouTube. This ups the ante significantly in terms of the quality of content programming. We have to benchmark ourselves against the best in the world and not the best in India. We also have to ensure that our content is relevant for a global audience.

Producing content in English language is the first step in that direction.

Rajjat Barjatya, Managing Director & Chief Executive Officer, Rajshri Entertainment Private Limited

RADIO The radio industry outperformed all other traditional media segments by clocking a growth of 15 per cent. Currently, clients are being forced to re-evaluate their media mix as their advertising budgets are constantly under pressure. There has been a tendency to shift focus from nationwide pure brand-building to more tactical, local, focused promotional targeting.

This has played in radio’s favour as it enables local reach to advertisers increasingly looking to target specific audiences and at affordable pricing. Although phase III of radio frequencies auctioning remained elusive in 2013, implementation of the same in 2014, industry players could establish their presence in over 290 tier II and tier III cities.

ANIMATION / VFX 2013 was an important year for the Animation and VFX industry. The most expensive Indian animated movie ‘Mahabharat’ costing around INR 500 million received global kudos. The production work was done in India and the industry woke up to the promise of VFX. VFX is now being used in most films, whether to add characters, landscape, background or

to simply correct the skin tone of an actor. 2013 also saw the introduction of policies by a few state governments to boost the sector. VFX also began to get used in TV. The impetus of visual effects was not restricted to films, but also extended to big budget serials and television commercials. However, the underlying struggle in the industry came to the forefront with the fall of big names like Rhythm and Hues and Digital Domain and retrenchment by some big players.

NEW MEDIA The total internet user base in India grew to approximately 214 million by end of the year with almost 130 million going online using mobile devices. Mobile internet users dominated the total internet user base capturing an overall share of 61 percent.

With the dramatic growth in mobile usage, content providers and advertisers are seeking opportunities to get their messages across on this preferred medium of the masses. Digital media advertising grew 38 percent-faster than any other advertising category. Mobile, social and video emerged as star categories in advertising owing to the proliferation of smartphones, 3G and off-deck mobile apps.

(From the FICCI-KPMG M&E Report 2014)

Twitter is the live social soundtrack for TV. In India and around the world, viewers are tuning into TV and Twitter simultaneously for a live, public, real-time second-screen experience, bringing them closer to the characters, stars and personalities of TV. We are delighted that Indian broadcasters are increasingly optimizing their TV programming and their voice on Twitter to drive real-time viewership, engagement and value. If Twitter is the world’s town square, it’s also the world’s biggest living room where we, together, as viewers, stars, and brands, enjoy the social, shared experience that TV has always been.

Rishi Jaitly, India Market Director, Twitter

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' ' ' #!" &' " !' ' $ ' ' # " !' "" '" '' " ' " " ' ' !" $ ' !# " ' ' $ ' ') '! ! '' !'& ' ' "' ' ' " ' !" " ' !' &' ! "'" * "( #!" &'" ' ' #"'" '' ! $ !' ' '" "'% ' $

THOUGHT LEADER

Indian M&E Sector, the Wealth Maker

Uday Shankar CEO, Star India

Indian media and entertainment sector is capable of creating employment and wealth much faster than most other sectors and with the ability to be a force multiplier, like it is in most countries, says Uday Shankar, CEO Star India and Chairman of FICCI M&E Committee, in his address at FICCI FRAMES 2014

M

edia and entertainment remains central to defining the direction of India’s social and economic path, said Uday Shankar, Chairman, FICCI Media and Entertainment Committee, and CEO, Star India In his opening remarks at FICCI Frames 2014, the head of Star India, which is a fully owned subsidiary of 21st Century Fox, said, “Amidst an environment of gloom and doom, the media and entertainment industry registered an impressive growth of 12% last year. The fact that

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pickle entertainment biz guide

we have been able to deliver this in light of an overall economic growth of 4% and a major resetting of exchange rates is a testament to the tenacity of the industry’s leaders and stakeholders.”

However, he said, adding: “While delivering a growth rate three times that of the country at large is cause for satisfaction, the truth is that in dollar terms, we have barely made a dent this year. And, even more importantly, we remain at a great distance from the goal of growing the sector to 100 billion dollars.”

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The next government should recognize that it matters what the agenda of the I&B Ministry is. It matters what the Ministry sees as its dominant priority. Do you see media as a tool for transforming lives thereby using it in the interest of serving the population or as something so powerful that it needs to be controlled?

“But, this is not a sector whose value is measured just by the size of its financial contribution. Media and entertainment remains central to defining the direction of India’s social and economic path; its work remains key to the imagination and inspiration of a billion Indians every day; and its health will be central to the ethos and values of the society we collectively shape,” Uday Shankar said.

Stating that it is hugely important that we are gathered here in the days and weeks leading up to the national elections – one which comes at a particularly important time in our post-independence history, Uday Shankar added: “We have run the course on exploiting the momentum of the first set of economic reforms unleashed in 1991. We have created enormous opportunities and wealth for many. And, now, we are faced with a far more complex set of economic and social choices, including on the ideal role of the government, its relationship with industry and, in fact, the relationship of the private sector with the overall society at large.”

He said no relationship is more important than the one between the government and the media. In many ways - and not uniquely to India - this is a relationship which by the very nature of its constituents is conditioned to be adversarial. Governments and political leaders are deeply aware of the power of shaping the message. “The natural instinct of the state is

to control the message. And, where it can, to control the messenger. The natural instinct of the media, whether the news media or the creative community, is to resist control, is to question authority. There is, therefore, tension inherent in the conflicting instincts of the two constituents,” he said.

Star India head said in India, that relationship has often moved from being just adversarial to flirting on the boundaries of dysfunctionality. Used to only a compliant state media, successive central governments have often used policy to limit free expression.And, increasingly, state governments have crossed the boundary to actually own and run private media enterprises. Why just run channels when you can integrate across the whole value chain, and run entire businesses from delivery to content?

“It is surprising indeed that irrespective of the political party or government, the expectation from the media is that they will always be flag bearers for the party line. So, there is no complaint when the media builds up the image of a clean, technocratic Prime Minister. Nor is there any problem when the media trumpets the idea of a youth leader or champions the development achievements of state leaders. But dare they cross the line into seeking accountability or evidence ofperformance, they are dubbed as incompetent, or worse,corrupt,” he said.

He further said: “What truly outraged

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me was the recent turn of events. It was the media that had created rock stars out of a bunch of street artists and protesters.

It was the relentless 24 by 7 coverage of fasts and high decibel theatrics that created a political party from thin air and installed them in the government. You would have thought these leaders would have been grateful to the media for nurturing them. And, yet, even they resorted to accusations of corruption the minute the conversation turned to accountability for their choices and performance!”

Uday Shankar stressed: “Of course, the media has been more than just a silent victim in creating this environment. Too often, the news media has focused on what is sensational rather than what is important. Too often, the point of news seems to be to reduce the extraordinary diversity of the country to the most banal, a contest between extremes that can only

and importance has meant the industry perennially stays on a back foot, defending itself against every new wave of regulation aimed only at further curtailing its wings. In return, the government has not been able to leverage either the impact that mass media can have in India or harness the power of media as an economic engine that can create jobs and wealth,” he added.

Stating that it is therefore appropriate that the weeks before the elections is the right time to call for a new contract between the government and the media. One that reaffirms both stakeholders to the theme of this year’s FICCI Frames: Transforming Lives, he said the central principle of this contract should be the recognition that this industry is a unique and powerfuleconomic enterprise. It is capable of creating employment and wealth much faster than most other sectors and

The regulatory agenda is one of the most crucial parameters that will shape how this industry will look like in the next 5, 10 and 15 years, and after some progress in the last few years, this agenda has now completely stalled be resolved through a shouting match on live television. With singular dominant narratives, the trend seems to be of creating heroes on a particular day only to be labelled as thugs and crooks the next.”

Going down the memory lane, he said, “Legend has it that, in the early years of independence, Prime Minister Nehru used to write criticisms of his own government under pseudonyms published in leading newspapers. So concerned was he about a press that was not free and was not fiercely independent. It is ironic that today,it is perhaps easier to get articles published for a fee in newspapers than to place an honest criticism of the government. Nehru’s successors, both in politics and in the media, have strayed a long way away from that aspirational vision of the role of media in Indian society.”

“Instead, it is now a broken relationship, and one that has dire consequences for both the industry as well as the government. The failure to establish credibility

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with the ability to be a force multiplier, like it is in most countries. It is particularly relevant in India because it can be an employment generator without sizable public investments and without being hampered by the deficiencies of public infrastructure.

“Why would you not nourish an industry which has the potential to become a huge employer? Why would you not fuel an industry that can grow with more policy support than resource support?” he asked.

He said the regulatory agenda is one of the most crucial parameters that will shape how this industry will look like in the next 5, 10 and 15 years, and after some progress in the last few years, this agenda has now completely stalled. Whether in accelerating the digitization of television delivery, or creating progressive frameworks on consumer pricing, this agenda is waiting the arrival of a transformational government.

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GLOBAL VISION

India can Entertain Whole World

Punit Goenka CEO & MD, ZEEL

Punit Goenka, MD, ZEE Entertainment Enterprises Ltd says that India can produce content which is of international standards and has the ability and potential to entertain and engage the global audience. He said this in his address at FICCI FRAMES 2014.

“

Media and entertainment as an industry has played a vital role in enhancing the lifestyle patterns across the nation”, said Punit Goenka, CEO & MD, Zee Entertainment Enterprises.

Speaking at FICCI Frames, he said.

“From the moment I noted the theme of this year, which is based on the role that Media and Entertainment industry has played in Transforming Lives, I was extremely excited to share my perspectives on the same, since I have been fortunate to witness, the role that Television has played in the societal upliftment for the past two decades.”

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Stating that M&E industry has played a crucial role in enhancing lifestyle patterns across India, right from the language, to one’s social conduct, to even one’s clothing patterns, Punit said media has also been a key driver of certain critical social messages, which have generated the desired levels of awareness amongst people.

“And most above, the Industry has played a crucial role in enhancing our economy by generating immense employment opportunities. As per the latest reports, this industry employs over 6 million people, clearing justifying its substantial contriLIKE PICKLE IN FACEBOOK

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This industry is blessed with such great talent and potential, that it has all the required elements to produce content which is of international standards, to device world class content distribution platforms, and most above the ability and potential to entertain and engage the global audience bution to the overall economy. Gone are the days when this industry was purely looked at, as a medium of glamour. It is now recognized as a medium of employment, and betterment of society, and I consider myself to be privileged to be a part of this industry,” he said.

Pointing out a KPMG report, Punit said the industry has shown a healthy 12% growth to Rs. 92,800 Cr in the year 2013, largely backed with the roll out of digitization. “It has reached at a juncture which is filled with opportunities and challenges,” he said, adding: ”The year 2013 certainly has been an important year for the industry, witnessing impactful changes in the overall paradigm. From a Television Industry perspective, whether it was the roll out of digitization phases, or the implementation of 12 minites advertising cap, or even the concrete initiatives taken

by Broadcast Audience Research Council in the overall audience measurement ecosystem, the year has seen it all.”

He added: “Even from the Film Industry perspective, there has been a double digit growth, with many titles scoring brilliantly on box office collections. The print sector, on the other hand grew at a CAGR of 8.5 % percent this year to reach Rs. 24,300 crore. It is now time to capitalize the opportunities and march ahead to achieve higher milestones. It is time to unleash the required levels of innovation and creativity, which would open up newer avenues of growth. It is now time to repay back to the industry, what it has given us till date.”

The Zee boss said it is no longer a rapidly growing Indian Media & Entertainment Industry. “What I firmly believe is that, this Industry has all that it takes to have global aspirations. This industry is blessed with such great talent and potential, that it has all the required elements to produce content which is of international standards, to device world class content distribution platforms, and most

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above the ability and potential to entertain and engage the global audience. In fact the global media and entertainment ecosystem is poised at an extremely interesting juncture, which is filled with opportunities. It is extremely essential for us to prepare ourselves to face the changing dynamics of this global industry.”

Pointing to a latest PWC report, he said the global media and entertainment market is estimated to grow at a CAGR of 5.6% over the next five years, generating a revenue of US $ 2.2 trillion. “What is interesting to note is that consumer spend on access of content will rise upto 30% in the year 2017, from 24% which was in the year 2012. This connotes that the consumers are ready to pay that extra rupee for accessing content based on their preferred time, place and screen. Content Creators need to address this demand by ensuring that they are present at whichever time the consumer demands your content, on whichever screen he wishes to access,” he said.

Stating that the mobile internet spend is estimated to exceed the fixed broadband spend in markets like US and South Korea, followed by UK, he said these reports further reinforce the major paradigm shift expected in these markets. “So on a global distribution front, content creators will have to adapt the new-age distribution platforms as well, apart from the primary platforms like television.”

Concluding his address, he said: “So the point which I would like to drive home this morning, while summarizing this keynote, is that as an industry, we are absolutely geared up to face the global consumers. So till date, if we have transformed the lives of the Indian audiences, our aim should be to transform the lives of the global audiences. I firmly believe that we as an industry certainly possess the potential to entertain the world, and we should march towards achieving the same.”

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INNOVATION FROM ZEEL

Around th wi

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pickle entertainment biz guide

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he World ith Ditto TV of Zee New Media, ZEEL’s digital business arm, has witnessed a remarkable growth garnering over 3.25 lakh subscribers and over 2 million + registered users in 251 countries including the UK, the UAE, New Zealand, Australia and the US. An insight into this entertainment revolution

Bikini TV is now available LIVE on Ditto TV

Ditto TV has tied up with mobile payment provider Fortumo to introduce a new mobile payment option to simplify the overall consumer experience

Ditto TV is the first over-the-top (OTT) TV distribution platform, created by Zee New Media, the digital arm of Zee Entertainment Enterprises Limited (ZEEL). It is available in all the international markets across the globe and has created a digital revolution in the entertainment space, transforming the way content is consumed today.

Essentially, Ditto TV offers a more flexible, customized way of enjoying TV and VOD content, offering LIVE TV Channels and Video-on-Demand content to consumers while on the go. The LIVE TV channels empower you to truly be mobile and access live entertainment at your fingertips instead of being confined to the television screen and bound by the original telecast time. Further, Video-on-Demand content offered by the platform is tailored to meet your demanding needs when you want

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to catch up on your favourite programmes, as per your convenience. This means that TV shows can be watched in real-time, on-the-go, at the simple click of a button. 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 Internetenabled devices. Currently hosting over 70 LIVE TV channels, Ditto TV has partnered for content with India Cast Media Distribution, Bennett Coleman & Co. Ltd., BIG Magic TV, BIG RTL Thrill, Multi Screen Media (Sony Entertainment Television), TAJ TV Limited, Sri Adhikari Brothers, TV Today Network, BBC and ZEE.

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Ditto TV has a huge network spanning across 251 countries

Ditto TV powers the complete backend of the Dishonline app aimed at providing TV, Movies, TV Shows and VOD on the move

To place your content call Anshul on +91 9820216972 or Email:

aparna.acharekar @zee.esselgroup.com

How has been Ditto TV’s growth in recent months?

Since its inception, Ditto TV has witnessed a remarkable growth garnering over 3.25 lakh paid subscribers, two million users and over a half a million downloads till date. Ditto TV has a huge network spanning across 251 countries including the UK, the UAE, New Zealand, Australia and the US. It has also strengthened its position in the APAC region with viewers from 17 countries, including Singapore, Hong Kong, Japan, Australia, Thailand, New Zealand and Taiwan have access to Live ZEE content using the Ditto TV app.

One strategic development in the recent months was the tie–up with Fortumo to introduce a new payment option for consumers wherein they can pay through their mobile operator. In addition, we have also partnered with ‘Payment Solution Providers’ like Oxigen, itzcash, Pay-

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world and Pay1 which offers Ditto TV users the convenience to make payments at these solution provider kiosks or even at the nearest retail outlets. On the content offering, Ditto TV has added three channels from the Times Television Network (TNN) - ET Now, Times Now and Zoom to its bouquet and the 24 hour international channel, Bikini TV is also now available LIVE on the app. Ditto TV also launched a new campaign ‘Jab BhiKare Indian TV Shows Ka Mood’ in the UK market.

Today, Ditto TV offers over 70 LIVE TV channels and access to premium Video on Demand content through its strategic alliance with India Cast Media Distribution, Bennett Coleman & Co. Ltd., BIG Magic TV, BIG RTL Thrill, Multi Screen Media (Sony Entertainment Television), TAJ TV Limited, Sri Adhikari Brothers, TV Today Network, BBC, and ZEE.

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What do people like to see on the move - on the tablet or phone? What is it that they would like to order and watch?

The changing lifestyle and preferences among consumers has led to a paradigm shift in content consumption patterns. Increasingly, people are opting for alternate avenues to consume content and television is no more the first screen option.

A recent survey from Ditto TV threw up some interesting statistics and trivia on user habits: iOS users are heavy viewers of news channels along with GECs while Android users prefer to watch GECs and regional channels. Furthermore, An-

our consumers. Ditto TV will also have exclusive content tailored for the platform catering to both Indian and international audiences. We have also introduced new payment options to further enhance the user experience. Ditto TV is now gearing up to introduce new payment models, offer social media integration, and explore strategic partnerships with international content owners to have access to ondemand content from global channels & networks

OTT has become a trendsetter and here to stay. How does Ditto TV look at this trend?

Over the last decade, there has been a paraThe changing consumer lifestyle and preferences has led digm shift in content consumption habits to emergence of new avenues for content consumption. among consumers.

With the growing adoption of smartphones and tablets, Increasingly, they Television and mobile screens are converging to offer a new are opting for new alway for content consumption while on the go. We now are ternate avenues for content consumption seeing content developers trying to tailor make content for which led to the emermobiles consumption which is testimonial to the immense gence of the OTT secpotential that this category holds for the media and entertor. Today, with the growing adoption of tainment industry ahead smartphones, better Debashish Gosh internet services and Chief Knowledge officer – Essel Group demand for ‘content on the go’, the OTT segment is enjoying a strong affability among droid is the most popular OS on Ditto TV consumers. One key aspect that will drive in terms of number of users while PC this burgeoning OTT segment will be users consume the maximum playtime content and the user experience. Players (31%) followed by Android users (28%). like Ditto TV are well poised to garner a The News genre has grown from an averlion’s share of viewers because of the vaage 18-19% share of total viewership to riety and the rich premium quality connearly 30% post Dec due to the pre-electent they offer. In addition, Ditto TV also tions coverage. Apart from this, regional looks at innovative means to enhance the language channels and sports are also consumer mobile viewing experience highly popular. But in general, the trend through ‘mobisodes’. Ditto TV has also of consuming GECs is highest followed introduced new payments options such by sports, news and then movies / VOD. as payment through mobile operator or through payment solution providers, to What are your goals for DITTO TV in further enhance the consumer experience. the next one year?

Even leading DTH players in the country Since its launch, Ditto TV has grown to are launching their OTT app which is a become one of the leading players in the clear indication of the immense potential OTT space. During our launch phase, the and future for the OTT segment. idea was to offer a ‘TV viewing experience’ to our consumers and hence the foWhat are the three new things that cus was on the interface. Now our second you have built in to Ditto TV platform phase will focus on ‘enhancing user expein recent times? rience’. Hence we will explore strategic New payment option: One strategic develpartnerships with international studios opment at Ditto TV in recent times is the to bring rich premium content bouquet to tie up with mobile payment provider For-

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tumo to introduce a new mobile payment option to further simplify the overall consumer experience. With this partnership, Ditto TV users can now subscribe to their favourite content on Ditto TV and make payments directly through their mobile operator, and without the need of a credit card, cash on delivery (COD), or net banking options. This payment model is available for both post- paid and pre- paid mobile users.

New website: In addition, we have also content can now be consumed online on the newly launched website – www. dittotv.com. The website is specially designed with complete ease-of-use to give you the best streaming and surfing experience and it includes added features and new modes of payment.

Ditto TV powers Dishonline: Ditto TV also powers the complete backend of the Dishonline app, an offering from India’s leading DTH Company aimed at providing TV, Movies, TV Shows and VOD on the move. The launch of DishOnline (powered by Ditto TV) gives Dish TV a huge competitive advantage as it is the only service provider in the cable TV and DTH industry to offer this one-of-a-kind facility.

On the content front, Ditto TV has added three new channels- ET Now, Times Now and Zoom to its bouquet and the 24 hour international channel, Bikini TV is also now available LIVE on Ditto TV!

were consumed through mobile devices and with a number of applications and websites now coming up, mobile television has become an independent medium in itself, with a very loyal audience base.

Hence a strategic partnership with large catalogued movie companies is bound to be a win-win situation for all. We are already in talks with some prominent movie distribution and production houses at the moment. Going forward our key focus will continue to be to explore partnership international content owners / production houses to bring rich premium content for our consumers and enhance their viewing experience.

MIPTV and NAB SHOW bring the best of the content creators from across the world? What content do look for?

Getting the right content mix to the viewer is very essential. And hence to feel the pulse of our viewers, we studied their usage patterns across categories such as GEC, movies, news, sports and music besides Video-On-demand available in the OTT format on devices. A varied mix of preferences was shown by the users with 41% of the total time consumed on GECs, while The News genre has grown from an average 18-19% share of total viewership to nearly 30% post December due to the pre elections coverage. These are quite interesting findings for us as they act as markers when we search for fresh con-

We at Ditto TV are committed to making the user experiWhat are your expectations from ence as seamless, convenient and memorable as possible. large catalogued We want to offer viewers the largest collection of premium movie companies? content, spread across diverse genres and also offer the How would you convenience of paying subscriptions through variety of like to engage with them? payment options in order to enhance their viewing experiPlatforms such as ence. We are confident that our efforts to offer a seamless Ditto TV present video viewing experience will allow consumers to enjoy our good value to aggrevaried content on Ditto TV gators of content like production houses Manoj Padmanabhan and movie companies Business Head, Ditto TV that own blockbusters and other critically acclaimed works since they are able to tap tent; we now know what our preferences a wider viewership and cover a greater should be when we engage with content section of audience, all through one meproducers and sales agents. Consequentdium. According to market statistics ly, Comedy, Action and Kids content are close to 42 per cent of the movie trailers some of the genres which offer immense 31

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Ditto TV’s association with Siemens Ditto TV has partnered with Siemens to develop a strong OTT technology platform that offers adaptive streaming that allow for Content Delivery via Content Delivery Networks. This technology ensures an optimal feed basis the available bandwidth strength and allows users to select the feed based on their data connection which includes 3G, Wi-Fi and Fixed line broadband connections. It guarantees in-time delivery of assets to users in the best possible quality. The Ditto TV system consists of fully scalable components (Ingest, CMS, DRM and Subscriber Management) based on standard COTS technology to avoid limitations with respect to the number of content assets and subscriber base. The High Performance streaming servers guarantee low footprint/energy consumption. potential. We already have made a foray into the kids genre by adding Pogo and Cartoon Network to our bouquet of channels. We are also interested in international premium content, which has hitherto not been exposed to Indian Television.

We have several platforms today. Is Ditto TV present on all of them?

Ditto TV is the first operator-agnostic service of its kind and it is present across all Operating Systems such as Android, iOS, Symbian, Windows, Windows PC, Windows phone, Windows MAC as well as on Connected TVs. Each platform is unique in its features and capabilities and hence the challenge here was to develop the best cross-formatted app, rather than for just couple of platforms. Ditto TV uses Central Content Distribution System to share content across multiple platforms for a seamless viewing experience. Ditto TV was ranked #1 on the AppleApp Store within a week of its launch, and listed in ‘Featured Apps’ on the BlackBerry App World & Windows Store ‘Spotlight’.

How is Ditto TV’s engagement with Content owners and aggregator?

What’s the transparency you have set

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in the engagement?

The OTT segment has witnessed significant growth in recent times and one key element driving this growth has been the evolving ecosystem. We have better internet services, growing adoption for smart phones 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. We want to co-exist with our partners in the eco system rather than function in isolation. We have implemented a big data solution that gives us the capability to source complete information on the demographics of the consumer: nature of content consumed, duration of viewing, devices used, geographical spread, etc. In addition we can also offer subscription pattern, viewership details, most viewed content etc. all of which is valuable insight for content owners. This information helps them to streamline the content as per user preference and offers scope for content localization. The priceless information on consumer analysis helps the content owners to be benefitted in sourcing partnership with us.

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MAKE YOURSELF VISIBLE IN PICKLE MAY 2014 CANNES FILM MARKET ISSUE. Pickle reaches out to audio visual companies in over 50 countries; Targets global buyers and distributors; Film Festivals and markets; Animation production companies; Global companies looking at offshoring from India; Co-production seekers and location service providers. Pickle business guide tracks the entertainment business in India.

INDIA AND BEYOND 35

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ZEE@MIPTV

CONTENT B

Zee Bollywood is the one-stop shop for content aggregators and br hours of programming and ZEE’s content ranges from family ser at MIPTV Booth Number P-1.K51

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BUYS FROM

roadcasters looking for Indian Content. They have over 100,000 rials, romantic stories, travel programmes and films. Meet ZEE

ZEE CINE AWARDS The Indian film industry’s first truly global viewers’ choice awards; Zee Cine Awards enables the film fraternity to interact with global media and fans. This mega event features scintillating live performances by leading Bollywood stars and other amazing acts and is telecast around the globe.

Event, 180mins 37

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BUDDHA

Shot in Cinemascope HD, this “never before” serie becoming the global icon ‘Gautama Buddha’. It will his royal upbringing, his relationships from childho this journey and his life as he pursued salvation and Historic, 52, 60mins 38

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es traces the life of Siddhartha and his evolution to take your viewers back in time to his place of birth, ood till youth, the pain and joy experienced through d attained enlightenment.

39

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PAVITRA RISHTA The story of a couple brought together by destiny but with a catch; the boy lies about his background to get married to the girl. The marriage is a smooth ride till the girl finds out about the boy’s lie. The story is about the distance that comes between them and their eventual falling in love again.

Family Drama, 1200, 30mins

SCRIPT ALSO AVAILABLE.

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QUBOOL HAI It is the story of two families related by blood and yet distanced by circumstances. Two brothers are separated by their families but united in their hearts. Their common love interest starts by hating the culture of hypocrisy in joint families and eventually ends up bringing together the two warring families.

Romance, 370, 30mins SCRIPT ALSO AVAILABLE.

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JODHA AKBAR The epic love story of the great Mughal Emperor, Akbar and Jodha, the Indian princess. This series will uncover some unknown facts hidden in the Mughal history. Filled with huge cinematic sets, high end production design, elaborate costumes and authentic jewellery, this magnum opus will reveal a never-been-told story.

Historic, 200, 30mins

BH SE BHADE Introducing a comedy that revolves around a common man who has the super power of taking other people’s troubles from them through touch.

What ensues thereafter is a hilarious situation in his life and family.

Comedy, 33, 60mins

SCRIPT ALSO AVAILABLE.

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DANCE INDIA DANCE India’s biggest dance talent show, Dance India Dance is a unique platform for talented and aspiring dancers to become future sensations. This is the highest level of competition for promising dancers, who compete with each other with guidance from well-known Bollywood choreographers and their destiny will finally be decided by public voting.

Non-Fiction, S1, S2, S3, S4, 90mins FORMAT ALSO AVAILABLE.

SAPNE SUHANE LADAKPAN KE It is the story of two cousins, Rachna and Gunjan, who become friends. Rachna is a simple girl, while Gunjan is free spirited and funloving. After the death of her mother, Gunjan leaves her home and moves in with Rachna’s family. Conflicts begin and from here blossoms a deeper relationship between the two.

Family Drama, 500, 30mins SCRIPT ALSO AVAILABLE.

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CONTENT BUYS

IndiaCast distributes its channels in over 70 countries across the g plus hours , IndiaCast syndicates content in over 100 countries in IndiaCast is a strategic joint venture between TV18 and Viacom18 - India’s first multi-platform ‘Content Asset Monetization’ entity, whose mandate includes Domestic distribution, International Business as well as digital distribution for all the group company channels & content. IndiaCast distributes over 40 channels of the Network 18 group (as well as Disney UTV) in India and close to 15 channels in the International markets. With over 15000 hours of content in its vault, IndiaCast’s content distribution footprint spans 135 countries across the globe in over 20 languages.

IndiaCast represents iconic brands like COLORS, MTV India, ETV channels & the News network of TV18 in the overseas markets.

COLORS programming across genres (including drama & romance, mythology, fantasy, horror, thriller & reality) is as popular overseas as it is in India.

Over the last 4 years, COLORS has created waves around the world by syndicating its content and reaching global audiences across languages (Dubbed, Subtitled and Recreated) COLORS most popular shows include ‘BalikaVadhu’ (The Young Bride) and ‘Uttaran’ (Second Hand), which have been syndicated across the world, from Eastern European countries (like Serbia, Macedonia, Bosnia, Kosovo, Montenegro, Croatia among others) to CIS Countries (like Kazakhstan, Azerbaijan, Georgia) to other key markets like Kenya, Ivory Coast, Canada, Mauritius, Israel, Sri Lanka, West Indies, Singapore and Afghanistan. These shows have also been dubbed and/or subtitled in various languages like Macedonian, Serbian, Bosnian, Azeri, Kazakh, Dari, Pashto, Swahili and French to name a few.

COLORS is the leader in the non-fiction and reality programming genre with some of the biggest international formats including scripted reality, celebrity dance shows, talent hunts etc. These includes formats like Dancing with the Stars (JhalakDikhlaJaa), Big Brother (Bigg Boss), Got Talent (India’s Got Talent) and Fear Factor (KhatronKeKhiladi) and are hosted by the some of the biggest stars from Bollywood. In addition to this, COLORS library also includes the biggest Blockbuster movies and popular Award shows/events like Stardust, Mirchi Music Awards &Femina Miss India.

IndiaCast also syndicates content from India’s leading youth entertainment brand ‘MTV India’ that is known for extremely popular reality& formats such as MTV Roadies, MTV Splitsvilla, MTV Stunt Mania, MTV Coke Studio, MTV Unplugged and MTV Bakra. MTV is the undisputed leader in the music genre – both Bollywood as well as Indies music.

IndiaCast’s content portfolio also includes a wide variety of shows such as lifestyle programs & current affairs features from the TV18 news network as well as a rich library of content from its regional entertainment network - ETV (across 7 languages – including Telugu, Kannada, Bangla, Oriya, Marathi, Gujarati & Urdu)

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S FROM COLORS

globe. With a rich and extensive product catalogue of over 15000 n 20 plus languages. Meet them at MIPTV Stand P-1.E73

COLORS is the leader in the non-ďŹ ction and reality programming genre with some of the biggest international formats including scripted reality, celebrity dance shows, talent hunts

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WHAT WORKS WITH INDIAN ANIMATION

Animation c that Indian Chota Bheem | Pogo, Turner International India

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Little Krishna | BIG Animation

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Ninja Hattor

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Roll No 21 | Carto

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characters n kids love

ri | Nick India

Motu Patlu | Nick India

oon Network India

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Doraemon | Disney India

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EXPERT VIEW

Shambo Phalke Industry Leader, Animation sector

Indian children are flooded with choices when it comes to entertainment. From just one hour a week that too on just one channel, kids content are now available 24x7 across many platforms. But still, there is an unfilled gap, feels Shambo Phalke

K

ids in India are so lucky… I wish sometimes, I was born post year 2000. I remember the Sundays, I used to get up early, brush my teeth, take bath, eat breakfast as if Sunday is a regular school going day. All this was just to see, cartoons undisturbed on our Black and White EC TV on DD Channel. Thereafter, the next treat was following Sunday.

A total of 52 hours per year plus few of the films division shorts, approximating 55 hours per year.

Now, compare this to today and one would see a complete turnaround –Boom of Colour CRT/LCD/LED TVs, 24 X 7 Animation, more than 20 KIDS channels and complete command of remote control, watching some of the world’s best content in animation.

The TV channels initially aired the most popular content of Tom n Jerry, Micky Mouse, Goofy, Donald Duck, Power Rangers, Popeye, Sponge Bob, Little Mermaid, Aladdin etc. Thereafter broader content came in. So now one could see Pingu,

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Shaun the Sheep, Bob the Builder. There were live action shows such as ART ATTACK. Then came the wave of Japanese and South East Content, growing in popularity everyday with shows such as Doraemon, Ninja Hattori, Shin Chan, Perman, Kiteretsu, Bey Blade, Dragon Ball and Bakugan.

Currently, the silent chase comedies are extremely popular with shows such as CatDog, Oggy and the Cockroaches.

‘Made in India’ content such as Indian animation movies were being made by various companies. However, Indian animation companies had to stop producing animated movies for lackluster performances at the box office. (Only exception is Hanuman).

However, Chotta Bheem changed this scenario. Its immense popularity created additional segment.

Channels during these experimental stages started dubbing popular shows in Tamil, Telugu and Hindi. Now Jack could

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be heard as Jaikishan. This was a major hit with kids across pan India. Kids could understand the cartoons. It was a friendly dub. Many times, such audio voice over dubs were Indianised. This was a major success formula. Now every channel dubs in as many languages as possible.

This probably led to the demand by Indian Kids that Jack is sounding like Jaikishan, but not looking as one. And I guess that’s where, the channels, sensing this demand, started encouraging Indian content.

Today, the most easily recognised Indian characters with Kids are undoubtedly Chotta Bheem and Chutki of Chotta Bheem, Krish of Roll no. 21, Doggy Don and Colonel of Pakdam Pakdai. Other popular characters are Little Krishna of Little Krishna, Keymon and Mataji of Keymon Ache, Vir: The Robot Boy, Motu and Patlu of MotuAurPatlu and Raj of My name is Raj. On the Japanese shows, Ninja Hattori, Kenichi, Doraemon, Nobita, Suneo and Shin Chan are most popular.

It is indeed a cocktail of content with shows made in Europe, US, Canada, Japan, and India. Surprisingly, the animation in India is catering to age group of just 4-6-8. There is less content or absolutely no content for following branches…  0-2 Pre-School Animation

Shambhoo Phalke is a name easily recognized in Indian animation sphere and identifies himself as one of few individuals in country striking a right balance between Creativity and Commercials. He has successfully mastered Traditional and Digital Production methods. His work has been released Theatrically and on TV Channels across the world. Shambhoo is a Task master and his focus have been on carving out unique deals, building new clientele and relationships, strategies, restructuring of animation studio and improving their bottom and top line revenue.

In a Career spanning 24 years, Shambhoo had been a GM of animation studio in Manila - The Philippines, Sr. Vice President Operations of a 3D company Maya Entertainment Ltd, Mumbai, COO of Colorchips India Limited, Hyderabad and AVP of Reliance Media Works Limited’s Animation vertical.

The other popular characters are Oggy and Jack (Oggy and the Cockroaches), Sofia and her mother (Sofia the First), Mother and Daughter of 1001 nights and Ultra B. It is indeed a very wide collection of shows. It seems to me that there are two categories of shows Indian kids favour-Slapstick Comedies without voice (Tom and Jerry, Shaun the Sheep, Zig and Sharko, Oggy and the Cockroaches and recently PakdamPakdai) and simple and slow moving stories, Mother, Father, Romance, Competition, Doing a greater good, hidden moral values, Love, Sharing and caring, Evil Planning and depiction, Help to hero due to circumstances, brav-

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ery, courage, Gadgets, technology, happiness.

 Teen Animation  Matured Animation (Above 15)  Horror Animation  Romantic Animation  Animation Shorts  Adult Animation I wonder what will be the kids who are watching so much animation, will watch, once they grow past 10? Bollywood and Hollywood Movies? Why are channels averse to show this content? Is it because advertisers don’t want to back them up? Is it perceived risky? Only time will tell….

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