Pickle Annecy MIFA 2021 Edition

www.pickle.co.in JUNE | 2021

INDIA’S ONLY MEDIA BIZ MAGAZINE FOR THE WORLD

INDIA THE

WINDOW OF

OPPORTUNITY EXPERT SPEAK NAVIGATING CRITICAL ASPECTS OF IP CREATION

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Animation VFX Gaming AR/VR Co-Production Media Services India’s Only Media BIZ magazine for the world

Spotlight on India Annecy/MIFA 2021

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Animation Co-Production Projects from India www.pickle.co.in

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from t he e d ito r

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e are happy to present the latest issue of Pickle for the delegates at the 60th Annecy International Film Festival and MIFA Market. No major audiovisual film festival or market is embraced as passionately by content creators, video streamers and broadcasters as Annecy and MIFA. It is unarguably the biggest animation film festival and market in the world.

It’s an absolute delight to see animation lovers enjoying films on the big screen at Annecy and many European market professionals doing face-to-face physical meetings at MIFA. Although a large number of professionals across the world (minus Europe) are attending Annecy and MIFA in virtual format, we are not far away from better days ahead for major film and market events to take off in the coming months. Annecy and MIFA are one of the first on-site festivals and markets to be opened in over 15 months.

In the challenging times of Covid-19, we have focused the spotlight on India as a window of opportunity to the world. While filming has come to a standstill, animation, VFX and gaming are getting traction in the media and entertainment verticals.

We have curated 15 animation projects from Indian studios who are seeking co-production partners from Annecy and MIFA delegates and beyond.

We have an insightful interview with Véronique Encrenaz, Head of MIFA who has clearly spelled out that the pandemic has accelerated a movement in animation. “I would say that countries are focusing on animation, as the pandemic has accelerated this movement, because

it was the only way to express oneself for many artists,” she says.

Innovation and digital transformation has opened up new platforms and avenues of growth to the media and entertainment sector.

Intellectual Property (IP) is the most important asset for many companies and Indian animation and virtual production studios are increasingly focusing in this area. We have curated industry experts to essay their thoughts on navigating critical aspects of IP creation.

With one billion mobile subscribers, 500 million plus smart phone users, 620 million Internet subscribers, 900 TV channels, 1,800 films produced annually, 100,000 newspapers and periodicals and over 50 OTT platforms, India’s vibrant M&E industry provides attractive growth opportunities for global and domestic corporations. The government’s policies are geared towards realizing the full potential of this growing sector.

We are currently working on the India focused Cannes Film Festival and Market Pickle July Edition.

Feel free to email your thoughts and suggestions.

n vidyasagar pickle media nat@pickle.co.in, www.pickle.co.in

Pickle Volume XV 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

Editorial Coordinators : M Sai Design: Sunil, Kitcha, Jose, Julie Photo Editor : K K Laskar Email: natvid@gmail.com

For advertising: natvid@gmail.com / pickle@pickle.co.in

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Pickle Business Guide 2021 Copyright 2021 by Pickle Media Pvt Ltd. All Rights Reserved.

Pickle is an ad supported business guide tracking the filmed entertainment business in India.

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MICKAËL MARIN CEO of CITIA Annecy International Animation Film Festival

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To meet

again

By MICKAËL MARIN CEO of CITIA Annecy International Animation Film Festival

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ith this single goal in mind, for nearly a year the CITIA team has been rallying to welcome the animation film community, betwixt lake and mountains. Since the 2019 edition and its impressive turnout, the path forward has been long and bumpy, and in spite of everything is still strewn with uncertainty.

If Annecy 2020 was the epitome of resilience, Annecy 2021 will be that of combat. And is there any more noble battle than fighting to reposition Culture at the core of our existences?

Is there any more illustrious hope than that of extolling works and their authors again, under the best possible conditions? Annecy seems thoroughly determined to stand its ground as animated cinema’s radiating center.

All hail to those like us who never gave up and placed their trust in this project. We’re thinking of the CITIA team, of course, and their resolve to see Annecy and its cinemas once again thrumming with life. We’re also thinking of our partners, both institutional and private, steadfast at our sides even when the going is rough.

But we send our regards, as well, to all professionals and artists worldwide who with their many expressions of support have encouraged us so much

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these past few months. This invisible thread binding generations of animation lovers has never snapped, and this unprecedented crisis might even – who knows – have reinforced the “yearning for Annecy”.

Lastly, if today Annecy is the world animation film capital that we know, let’s not forget the pioneers who, in 1960, cradled the destiny of this infant festival in the “Venice of the Alps”. And we must also remember those who strove one after another, year after year, to turn this festival into an annual and unmissable event.

Annecy 2021 will be an opportunity to thank them and to wander down memory lane through this singular history that owes nothing to chance but is the fruit of a far-reaching cultural policy and vision. While this past both honors and enthralls us, we are also turned toward the future with – for the first time – a tribute to African animation and especially to the young talents raising it up.

May this edition of the Festival and Mifa – the very first hybrid one – allow us to meet again and to glory in all the things we have missed so dearly.

Long live animation cinema, long live Annecy!

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Live from

Annecy International Film Festival 2021

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MIFA 2021 A Celebration

of Creativity With COVID-19 pandemic accelerating the shift towards animation, the world’s top animation studios are participating at Annecy International Film Festival and MIFA 2021 with full vigour in anticipation of discovering new creative ideas, talent and collaborate with the right set of people. Interview with Véronique Encrenaz, head of MIFA, CITIA 10

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Amidst the challenges posed by the ongoing global pandemic, Annecy International Film Festival and International Animation Film Market (Mifa) will be among the first on-site market filmmakers will be attending in over 15 months. In a chat with Pickle, MIFA’s head Véronique Encrenaz, explains how they seek to provide a platform for networking, pitch projects, engage in co-production and distribution, scout for talent and celebrate animation films on big screens. Here are the excerpts from the interview…

It’s fantastic to see Annecy International Film Festival and MIFA 2021 happening in physical and virtual format this year?

It is very challenging. But at the same time, it is extremely satisfactory.

It is great to have Annecy and Mifa happening in this hybrid format. It is lovely to see theatres begin screening films and content in the Competition Section of Annecy International Film Festival. Mifa market is providing an opportunity for professionals to meet face to face at our venues. We have also provided rich content and tools on our online platform as many professionals will be unable to visit Annecy. We are thrilled to discover and celebrate animation films on big screen.

The major objective of Annecy and Mifa is to promote animation, especially among young directors and creators. What we do at Annecy is to put together all the right ingredients in one place to prepare a perfect recipe that allows film industry professionals find the right set of people to go ahead with. Among participants, we have content creators, studios, service providers, technology providers, students, and buyers, among others. Through the festival and market, we seek to provide a platform that allows networking, pitching projects, scouting for talent, and understanding global markets, co-production opportunities and so on.

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For sure, there is an excitement as virtual production audio-visual content in computers has been scaled to new levels…

Yes, you’re absolutely right. Animation content is produced virtually and virtual production is trending. Professionals from across the world are participating. Buyers and platforms are looking for new content. Broadcasters and streaming platforms need fresh content.

We have a number of panels, studio focused sessions, keynotes, meeting buyers, festival programmers, recruiters looking for talent and participation from educational institutions. We have received the maximum number of projects to pitch at Mifa. We have at least 20 pitching sessions, which is unprecedented at Mifa.

Many countries are focusing on animation, as during the pandemic it has been the only way to express oneself for many artists. The world’s top animation studios, including the ones from America and Canada, are participating with full vigour. For many French and European audio- visual professionals, Annecy and Mifa will be one of the first on-site markets they will attend in over 15 months.

Animation from Africa seems to be a major focus area both at Annecy Festival and Mifa.

This year tribute to African animation industry, plus the Festival’s 60th anniversary, mean so much for Mifa. Besides, it offers return to a semblance of normal life and meetings at the lakeshore.

We are very proud to have focus on Africa animation, which we should have had in 2020. We have been supporting projects from Arica for more than 10 years at Annecy, to help them organise themselves, make progress, and be recognised by the world community. In France , Africa 2020 is taking place from December 2020 to July 2021 (instead of June to December 2020 as formerly planned).

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South Africa has emerged big in animation and all the major studios from there will be participating at Mifa and African competition film section of the Festival. It’s a great moment to celebrate African artists, and the young generation coming out with new stories.

Things are changing fast in Africa, and younger generation from the continent is willing to tell their own stories. So it will be great to hear them out. It is also a great opportunity for additional visibility to African animation and tribute to artists from Africa.

Through the course of the Annecy International Animation Film Festival’s 60-year history, 47 African films have been in the Official Selection. But animation is currently booming on the African continent, and the 2021 programming will reflect this.

A glimpse at the 2021 Mifa Africa programme  As many as 22 African project pitches from across the African continent will be presented in partnership with our on-site partners: Meknès International Animation Film Festival, animatex, Nigerian Animation Association, CairoComix, Tshimologong, Digital Lab Africa, etc.  A conference to “Understand African Animation: Collaboration at the Heart of Today’s and Tomorrow’s Strategies”.  A Focus on Africa spotlights the distribution opportunities within the continent and internationally.  Meetings with publishers, broadcasters, distributors, and festival programmers from the continent during the Meet the… sessions.

We are greeting the notable CairoComix, Meknès International Animation Film Festival, Dakar Court, the Rencontres du Film Court in Madagascar, and the Fespaco.

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Everything

About MIFA 2021 Mifa with a new twist Meetings take priority in complete safety, with health precautions, adapted equipment, and more.

Exhibition Area Private tables for companies, ministands for delegations and pavilions.

The entire Impérial Palace is providing meeting and viewing areas, as well as the La Voile and Brasserie’s upstairs lounges, restaurants and terraces.

Annecy Network and Virtual Stands Set up your professionals,

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profile and meet who are there

individually or in delegations, that include Japan, China, Korea, Malaysia, Belgium, Luxembourg, Chile, Colombia, Brazil, Russia, Argentina, Mexico, United Kingdom, Nigeria, Ghana, South Africa, etc. and connect with them live in your specific virtual room.

Mifa Pitches: 20 SESSIONS As many as 36 unique projects reflecting uninhibited creativity, galvanized by their storytelling and aesthetic diversity from all over the world: France, Argentina, Brazil, Ireland, Greece, Latvia, Canada, Cyprus, Bulgaria, Indonesia, Iran, USA, Madagascar, Germany, Belgium, and more.

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Partners Pitches More than 70 projects spread across 13 sessions, each one identified by its geographical zone: Africa (Digital Lab Africa, Nigeria Focus@Mifa, Africa2020 Season, NFVF Market Readiness Program), Latin America (La Liga, Chile, Colombia, Animation!

Women), Asia (South East Asia Focus 2021, Taiwan, Japan), Middle East (Israel), as well as Europe (Aura in Motion, CEE Animation Forum)

Meet the Talent Participate in these online targeted meetings dedicated to the Talents (the Pitch sessions’ project leaders), festival programmers, book publishers and producers (Gap Financing).

Take advantage of a Virtual Recruitment Area and reveal your studios’ working environment, thanks to a special virtual stand and Recruiters Talk sessions.

Nickelodeon, USA Fortiche Prod, France Laika, USA The Third Floor, United Kingdom Blue-Zoo, United Kingdom GO-N, France Axis, United Kingdom Lighthouse, Ireland Netflix, USA Cartoon Saloon, Ireland

Mifa Campus

Focus Come and discover a country or a continent’s ecosystem, an association or a scheme’s latest news, to have a global understanding of the animation industry: the Baltic states, United Kingdom, Greece, China, Korea, etc. will be on the programme, as well as Asifa’s 60th and a focus on the animation Residencies.

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Recruitment – New Formula!

In partnership with Unity, the Mifa Campus will take place this year on Friday 18th June and will offer an opportunity to showcase talents from the African continent, from the Festival, as well as the biggest names in animation, who will be there to share their knowledge and expertise and inspire the participants.

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SPOTLIGHT ON INDIA

India the

Window of

Opportunity The policies of the Ministry of Information & Broadcasting, Government of India, are fully geared towards realising the complete potential of the M&E sector by forging global partnerships and providing an enabling environment by lowering market barriers and propelling growth

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n the rapidly changing global media and entertainment landscape, India has emerged as a window of opportunity to position itself as a hub for audiovisual services for the rest of the world. Media and Entertainment is one of the champion sectors supported by the Government of India. The incentives for the audiovisual services that closely match the sops given by various other nations are already finalised by the Ministry of Information & Broadcasting. They are waiting for the appropriate time to announce incentives that is set to handhold industry in the aftermath of Covid-19 pandemic.

India has probably one of the most liberal investment regimes in the media and entertainment, information and communication sector amongst the emerging economies with a conducive foreign direct investment (FDI) environment and ease of doing business.

Digitization and the growth of the internet are reducing many barriers to market entry and creating opportunities for smaller companies’ offering skills and services in new forms of content creation for various platforms.

In the current scenario, the Indian animation (IPs included) and VFX Services have gained a lot of traction among the international producers and production houses. In the following pages we have curated 15 animation co-production projects seeking partners at the Annecy 2021/MIFA. In the aftermath of coronavirus pandemic, Indian media, entertainment and technology services are witnessing new growth opportunities on the back of growing offshore services domain, especially in animation, VFX, gaming, AR/VR and digital media, among others.

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Many companies have created top-end studio facilities in India that serve as single windows to fulfil the needs of the M&E industry (Technicolour India, Deluxe). Their international business model offers local and remote clients the opportunity to produce and coproduce and distribute content anywhere around the world.

Media & Entertainment sector has been supported by the Government of India as one of the champion sectors with immense potential of growth both within and outside the country. Media and Entertainment is also among the sectors that clearly has made an impact of Make in India, Show the World. For services it is Make in India, Serve the World.

The role of the Ministry of Information & Broadcasting is to facilitate the industry to create jobs and growth for the sector. The government’s efforts are driven towards creation of forums and forge partnerships to keep the momentum going.

Content produced for Indian media sectors holds tremendous potential for global consumption. With a significant diaspora population residing overseas, Indian content is a key tool for these communities to connect with their cultural roots.

The Indian film industry is fairly unique in the world. The country, along with America and China, is among the few that can sustain their industry domestically. You can make a film just for India, or even one region within India. Once when the Government gives green signal to open theatres there are over 83 films waiting to be released in India. OTT players like Amazon Prime, Netflix, Disney + Hotstar, ZEE5 have brought in a transformation in expanding Indian content reach to over 100 territories across the world.

CO-PRODUCTION India has audio visual co-production treaties with over 15 countries -- Bangladesh, Canada, China, France, Germany, Israel, Italy, Republic of Korea, New Zealand, Poland, Portugal, Spain, UK & Northern Ireland, Bangladesh, Russia. It is now possible for filmmakers of different countries to come together and make films under bilateral co–production agreements. Co-productions under these agreements are more beneficial to filmmakers than a purely commercial partnership between two individuals or entities.

New markets and audiences would be available for the product, especially if collaborations and partnerships are between nationals of different countries.

The Ministry of Information & Broadcasting is currently finalising incentives for co-production, filming under the champion sector scheme. In addition to films, TV Series, Web Series, Animation will be also be included in the co-production projects.

Media and Entertainment is also among the sectors that clearly has made an impact of Make in India, Show the World.

For services, it is Make in India, Serve the World

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AUGMENTED REALITY The Augmented and Virtual Reality, the two spectrums of immersive technology, will form the next frontier of growth for the M&E industry. For India, AR/VR can open up new creative avenues.

According to a report, the Indian AR/VR market is expected to grow at a CAGR of 76 percent over the next five years, fuelled by demand from business and consumer sectors. The past few years have witnessed the emergence of over 200 AR/VR start-ups in the country. Bengaluru and Hyderabad take the lead, attracting a big chunk of these start-ups, followed by Delhi and Mumbai. Among states, Karnataka and Telengana are actively promoting AR/VR startups by providing incubation, mentoring, idea validation by experts, opportunities to deploy pilots with various departments, along with fund support for eligible ones. This was the major takeaway at the recently concluded Global AVGC Summit FX 2020 organised by the Confederation of Indian Industry.

VIDEO GAMES Dinesh Gupta, Director and Co-Founder at Sacom in one of the the recent Pickle columns mentioned massive growth opportunities in video gaming. Statista’s Global Digital Market Outlook pegs the digital media market at US$ 172,502mn in 2020 with a 9.8% year-onyear growth projection. This forecast was adjusted for expected global impact of Covid-19 pandemic. Video Games share with a projected market volume of US$ 92,633 mn and 11.41% growth over previous year dominates the digital media market with a close to 54% worldwide share. This makes the Video Games industry much bigger than Video-on-Demand, ePublishing and Digital Music put together. Majority of the revenues for video gaming are contributed by mobile gaming which is likely to contribute as much as 60% in 2020.

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INDIAN M&E INDEX

1800

Feature Films Produced

900

TV Channels

620 mn 500 mn Active Internet Users

50,000 +

Smart Phone Users

50+

Hours of TV Content created OTT Platforms every year Produced

300 mn 750 mn OTT Viewers

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Reach of Movies via TV

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India is one of the most liberal media markets in the world in foreign direct investment (FDI) for global companies to engage in business FDI in all film-related activities such as film financing, production, distribution, exhibition, marketing etc. is permitted up to 100% for all under the automatic route

FDI up to 100% is permitted in publishing/printing scientific and technical magazines, periodicals and journals

100% foreign direct investment (FDI) in AVGC (Animation, VFX, Gaming, Comics) sector through automatic route

100% FDI for General Entertainment Channels

100% foreign direct investment (FDI) in the advertising sector through the automatic route FDI up to 100% now permissible in broadcasting carriage services outlined in FDI Policy, viz., teleports, DTH, Cable Networks, Mobile TV and Headend-In-The-Sky - FDI up to 49% permissible under automatic route and above 49% under Government approval route FDI up to 100% permissible under automatic route in case of up-linking of non-news and current affairs TV channels and down-linking of TV channels

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FDI up to 49% permissible under Government route in case of terrestrial broadcasting FM (FM radio), up-linking of ‘news and current affairs’ TV channels In the news and current affairs category, such as newspapers, FDI has been allowed up to 26% subject to certain conditions Companies would require government approval for 49% FDI in news channels.

But 100% foreign investment in nonnews channels or entertainment broadcasters will be allowed through the automatic route

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Major Media services clusters in India

Major studios, offering Animation and VFX services in India have set-up at least one studio in Pune, Chennai, Bangalore and Hyderabad

 While the reach of media and entertainment is pervasive across states in India, however players tend to be clustered in certain key locations – Mumbai, Pune, Bangalore, Chennai, Hyderabad and Delhi NCR.  New Delhi houses most of the central ministries and regulatory authorities pertaining to the sector and the adjoining cities of Gurgaon and Noida have several advertising planning and creative agencies. Offices of major television companies are located at Noida film city.

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 Mumbai, also known as the entertainment city of India, is hub for content production for films and music. Majority of the top players of M&E sector are located in Mumbai.  Major companies, local or global, offering Animation and VFX services in India have setup at least one studio in Pune, Chennai, Bangalore and Hyderabad.

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INDIAN ANIMATION PROJECTS

ANNECY 2021

SEEKING

CO-PRODUCTION

PARTNERS

AT

MIFA 23

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BRIO STUDIO

52 epiosdes | CGI-Animation | Animation in production

Jurassic Genius

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n action-adventure animated series, “Jurassic Genius” quite literally brings the future - and comedy - to the past! Tibu’s a ten-year-old caveboy stuck in a world of his fellow less-than-brilliant cave people. But unlike those around him, he’s had a knack for all things science and inventing from a young age. Unfortunately, some in his village, like the somewhat-evilbut-maybe-just-uninformed Chieftain Zako, are a bit resistant to change, trying their best to sabotage or steal his inventions - oftentimes to hilariously disastrous results. But luckily, others, including his loving-but-naive parents and baby brother, are much more supportive.

And Tibu’s far from alone in his tinkering. His close friends - the courageous Zinnie and the hulking Gurt - are always eager to help him out and go along for the ride, even if they never quite understand just what it is he’s working on - or what they’re getting themselves into.

But whether he’s inventing a device to hatch dinosaur eggs or a gigantic cork to plug a volcanic eruption, Tibu’s just the genius that the jurassic world needs!

details Producer Brio Studio Director Dharati Budget $ 7’600’000 Studio Brio Studio Trailer link https://vimeo.com/ manage/376521317/general email amit@brio-studio.com Phone +91 9975000451 Website http://www.briostudio.in

Brio Studio Brio Studio is an animation company dedicated to producing kids content that is inclusive, entertaining and high quality

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GRAPHITI

90 minutes | Pilot Completed | Animation

Kul Veera

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ul Veera is the story of five princes in waiting who are training at the most exclusive academy of the land together with their bitter rivals. Before becoming the legendary heroes of the classic Indian epic, Mahabharata, they were just teenagers each of whom dreamed of becoming Kul Veera, the hero of the clan.

Kul Veera theatrical short was co-developed and co-produced with Carton Network Asia as a part of Snaptoons program. It was the top rated short of the program.

details Producer Munjal Shroff Director Tilak Shetty Studio Graphiti Trailer link https://vimeo.com/ manage/376521317/general email munjal@graphiti.net Phone +91 9821148757 Website www.graphiti.net

Graphiti Munjal Shroff, Director & COO, Graphiti Multimedia is a veteran in the animation space and has developed world-class animation properties

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GRAPHITI

26 x 22 mins & 104 x 6 mins | Animation | Pilot

World of OO

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he World of OO - is Baby’s busy box, it has been co-developed by Honest Entertainment and Graphiti. Babies will love it. Moms and Dads will even like it too. The World of OO is simple and lovely to look at.

Here is a little rectangle of life in motion brought to you by small and entertaining friends. It is funny, active, spontaneous, tender and sweet. The sounds, rhythms and beats of life will engage the ears - MUSIKAZOO. Colorful scenes with familiar shape and characters that literally pop out taking the babies on a visual adventures - PEEKABOO. Bouncing baby kangaroos jump from Ma’s pouch to chase a baby bunny and imitate its bounce - SKIPTOMAROO. Little monkey friends see and try to do what babies can. BABY ‘SEZ’ and MONKEY- DOO.

details Producers Munjal Shroff & Joanna Ferrone Director Munjal Shroff Writers Joanna Ferrone & James Occhino Studio Graphiti email munjal@graphiti.net Phone +91 9821148757 Website www.graphiti.net

Graphiti Munjal Shroff, Director & COO, Graphiti Multimedia is a veteran in the animation space and has developed world-class animation properties

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GRAPHITI

52 x 11mins | Animation | Completed- Season 1.

Seeking Partner for SEASON 2

YOM

M

eet YOM – a yoga-master supersleuth, who kicks butt with his aweesome animal powers. Yom seems like a regular kid – he avoids homework, loves gadgets and gleefully outsmarts the school bully. But... every time Yom strikes a yoga pose that is based on a particular animal...he gains that animal’s powers! He can swoop like an eagle, track scent like a dog, or even swim like a fish! However, to his horror...he also absorbs the animal’s weaknesses! Yom grapples with his unique powers to battle dastardly villains and keep his town safe. The series is airing on Disney Channel India since May 2017 and also available on Netflix in major territories in North America, UK, Australia, New Zealand and Indian sub-continent. It already has 20 million viewers in India on Disney Channel.

details Producers Munjal Shroff & Tilak Shetty Directors Munjal Shroff & Tilak Shetty Studio Graphiti email munjal@graphiti.net Phone +91 9821148757 Website www.graphiti.net

Graphiti Munjal Shroff, Director & COO, Graphiti Multimedia is a veteran in the animation space and has developed world-class animation properties

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Green Gold Animation Pvt Ltd

11 min x 52 | Animated Comedy | Pilot

Jungle Trouble

F

our carefree and (mostly) quick- witted primitive animals fight to keep a high tech hypochondriac bird and her rhinoceros security guard from kicking them out and turning their idyllic jungle home into a condominium development. LUCKY THE RABBIT, BORO THE BEAR, JUBRO THE GORILLA AND LIBBY THE PIG are four quirky and quick-witted animals living in a muddy, leech infested jungle paradise. The creatures think things are just fine the way they are, so when the technophile bird COLONEL CRAYTON and her security specialist RHINO RON fly in with the intent to turn their shambolic Shangri La into a colourless copse of condominiums, the jungle animals are going to have to use every method at their disposal to keep the crafty Colonel from kicking them our and ruining their home. The jungle creatures may not be as technologically sophisticated as the Colonel, but they always know just what rudimentary tools to use to beat the hunters at their own games.

details Producer Green Gold Animation Directors Rajiv Chilaka & Marc Lumer Studio Green Gold Animation Pvt Ltd Trailer link https://vimeo. com/392452492 email bharath@greengold.tv Phone +91 9949995822 Website http://www.greengold.tv

Green Gold Animation Rajiv Chilaka’s Green Gold Animation began its journey in 2008 on Cartoon Network’s Pogo. Chhota Bheem and its different avatars have transcended cultural and geographical boundaries to gain love and acceptance from across the globe. Little Bheem became the top preschool title globally on Netflix. Bheem today is a loving part of homes across 190 countries

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Maya Digital Studios Pvt Ltd

90 mins | Action Adventure | Pilot in Production

Kim

K

IM is the orphan son of a disgraced British soldier who has survived by his wits on the streets of Lahore for as long as he can remember. His vagabond life takes an unexpected turn when he meets TESHOO, a Buddhist/ Shaolin monk from over the Northern mountains who is journeying across India to discover the mythical River of the Arrow. It is said that a dip in this river leads to enlightenment. Kim agrees to aid the strange holy man in his quest. As they traverse the country, they are sucked into “the Great Game” of power being played by the many nations seeking to control India and its resources. When his lineage is revealed to a British Army Colonel, Kim is taken from Teshoo by the British, who, seeing how clever and cunning Kim is, train him to be a spy in service of the Empire. Kim’s allegiance to the Brits and his monk come to a head in a fight for the future of India that ends with Kim and Teshoo preventing a bloody war and finding the sacred river...

details Producer Cosmos Animation Singapore Pte ltd Director Ketan Mehta Budget USD 12 Mn Studio Maya Digital Studios Pvt Ltd email joris.eckelkamp@ cosmos-maya.com Phone +49 172 9295499

Maya Digital Studios Founded by internationally acclaimed Indian filmmakers Ketan Mehta and Deepa Sahi, CosmosMaya is a Singapore and India based Animation Company that produces high quality 3D as well as 2D animation content

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Paperboat Design Studios

75 MIN | Animation Feature | Pre-Production

Kabuliwala - Man From Kabul

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ini is always living in a dream world.

Her reality, however, is quite different.

Her parents are preoccupied with work and they can hardly give any time to Mini leaving her with no option but to play with her dreary dolls. In a chance encounter, she meets a big burly dry-fruit seller from Kabul.

Initially she is intimidated by his appearance but his brilliantly mirrored shoulder bag fascinates her and when he magically pulls out a gorgeous Arabian horse from it, little Mini is mesmerised. Soon she realizes that Kabuliwala, a refugee having relocated to Kolkata, carries the most astonishing stories in his bag.

Fascinating stories from far away lands - of courage, of compassion, wit and ingenuity. An intimate bond develops between the two and the most unlikely friends become inseparable.

Then, a devastating accident separates them for 15 years. When they reunite, Mini comes to know of Kabuliwala’s tragic past – of incessant wars and his daughter Amina. Based on Tagore’s classic short story, this animated film, underlines that beyond geographical boundaries, religion, race and culture, the true essence of our existence is shared humanity - a thought that is most essential in today’s world of rising conflicts.

details Producer Paperboat Design Studios Director Soumitra Ranade Budget 4 Million USD Studio Paperboat Design Studios Trailer link http://www.vimeo. com/221087621 email soumitra@ paperboatstudios.co Phone +91 9821070395 Website http://www. paperboatstudios.co

Paperboat Design Studios Co-founded by Soumitra Ranade, Paperboat team have combined intelligence and innovation to design and deliver the finest expressions of quality. One of the top-class animation studios from India, it has recently set-up a studio in Toronto

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Screenyug Creations Pvt.Ltd.

26 episodes x 22 min | Animation | Pilot ready for Production

Amazing Kids Abacus is challenged by an evil alien to solve a maze, failing which the alien would wipe out an element from earth. Abacus solves the maze with his wisdom and help from his close friends who accompany him on each of his quest.

details Producer Anand Pandey Director Anand Pandey Budget USD 9 Mn Studio Screenyug Creations Pvt.Ltd. email anandpandey.in@gmail. com Phone +91 9326802288

ScreenYug Creations AVGC industry veteran Ashish SK is founder of ScreenYug Creations.

He says the Audiovisual Co-Production Treaty between India and Canada can do a lot of magic in the entertainment business

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Screenyug Creations Pvt. Ltd.

90 min feature film | Animation | Script ready for Production

Circus After the last circus been closed down, Pintu, a 11 year old kid and his grandfather were on the streets along with few of their pets, while other animals were donated to the zoo. but he soon learned that it was not the governing laws but a evil smuggler who intend to sell these animals to a rich hobbyist in gulf. Pintu is now on a mission to save his animal friends and revive the circus of his dreams.

details Producer Ashish S K Director Anand Pandey Budget USD 2 Mn Studio Screenyug Creations Pvt. Ltd. email ashishk66@gmail.com Phone +91 9326802288 Website http://www.screenyug.in

ScreenYug Creations AVGC industry veteran Ashish SK is founder of ScreenYug Creations.

He says the Audiovisual Co-Production Treaty between India and Canada can do a lot of magic in the entertainment business

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Screenyug Creations Pvt. Ltd.

52 episodes x 11 min | Animation | Pilot ready for Production

Mary Kom JR

M

ary Kom Jr is an 8 year boxing champion who owns a pair of magical boxing gloves. Mary Kom and her team - Onir, Mona and their coach Master Oja - travel to various exotic and fictional destinations in India and around the world to take part in boxing competitions. During these adventurous journeys, they encounter several dangerous situations and many powerful enemies of all kinds, shapes and sizes. Mary Kom battles all these villains and outsmarts their vicious plans with the help of her amazing magical gloves which can take any shape, grow to any size and enable her to perform superhuman feats. However, the gloves acquire their magical powers only when there is real and immediate danger – upon which they automatically sense Mary Kom’s thoughts and transform themselves into a weapon, vehicle or gadget of her choice. The rest of the time, they are just a normal pair of ordinary boxing gloves.

details Producer Ashish S K Director Vikram Veturi Budget USD 9 Mn Studio Screenyug Creations Pvt. Ltd. email screenmentors@gmail.com Phone +91 97650 41999

ScreenYug Creations AVGC industry veteran Ashish SK is founder of ScreenYug Creations.

He says the Audiovisual Co-Production Treaty between India and Canada can do a lot of magic in the entertainment business

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TOONZ ENTERTAINMENT PVT. LTD.

52*11 | Animation/Episodic | Pilot

Dr. Chintu M.B.B.S Chintu a mischevious 13 yr old boy comes across the heavenly and magical nectar AMRITA also a healing power amplifier. He is now being chased by Yamraj and other gods on earth to get it back.

But he is in no mood to give it back

details Producer P. Jayakumar Director Indranarayan Datta Budget USD 2 Million

Toonz Media Group P Jayakumar, CEO, Toonz Media Group is an industry veteran. TOONZ has produced a large number of co-productions across the globe

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TOONZ ENTERTAINMENT PVT. LTD.

52*11 | Animation/Episodic | Pilot

Gangu Bai Major Ganeshwar Rao / Ganu is a cocky secret agent at R.A.W. Ganu is known as the “Most Awesome Spy”. On a top secret mission, to take down enemies of the country, he sets up Operation Bai. Now the fun remains to see how Ganu will manage being the awesome crimebuster all the while being a lovable and caring Bai.

details Producer P. Jayakumar Director Indranarayan Datta Budget USD 2 Million Studio Toonz Entertainment Pvt. Ltd. email jaya@toonzmediagroup. com Phone +91 98955 12121 Website http://www.toonz.co

Toonz Media Group P Jayakumar, CEO, Toonz Media Group is an industry veteran. TOONZ has produced a large number of co-productions across the globe

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TOONZ ENTERTAINMENT PVT. LTD.

52*11 | Animation/Episodic | Pilot

Sunnyside Billy From the creators of Oggy and Cockraoches, comes the comedy series about a smiley fried egg and tour guide called Billy who spends his days proudly showing tourists around a Seaside resort . His idyllic days come to a halt when the greedy shop owner Tooth and his minions demand whereabouts of the mythical creature cBig Fish who Billy has sworn to protect

details Producer P. Jayakumar Director Indranarayan Datta Budget USD 6 Million Studio Toonz Entertainment Pvt. Ltd. Trailer link https://vimeo. com/341754730

Toonz Media Group P Jayakumar, CEO, Toonz Media Group is an industry veteran. TOONZ has produced a large number of co-productions across the globe

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TOONZ ENTERTAINMENT PVT. LTD.

78*7 | Animation/Episodic | Pilot

Tituta TITUTA is a light hearted sci -fi slapstick comedy that follows the adventures of 3 brave but tiny aliens who plan to stop the forces of danger from Planet Earth that threaten their planet. But it turn into a journey of discovery and fun that teaches viewers a thing or two about caring for our planet.

details Producer P. Jayakumar Director Indranarayan Datta Budget USD 5.2 million Studio Toonz Entertainment Pvt. Ltd. Trailer link https://vimeo. com/376346481/08edcd49d7 email jaya@toonzmediagroup. com Phone +91 98955 12121 Website http://www.toonz.co

Toonz Media Group P Jayakumar, CEO, Toonz Media Group is an industry veteran. TOONZ has produced a large number of co-productions across the globe

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TOONZ ENTERTAINMENT PVT. LTD.

60 mins | Animation/Feature Film | Pilot

Vivekananda Follow the journey of Swami Vivekananda, a key figure in the introduction of the Indian philosophies of Vedanta and Yoga to the Western world.

details Producer P. Jayakumar Director Indranarayan Datta Budget USD 1 Million

Toonz Media Group P Jayakumar, CEO, Toonz Media Group is an industry veteran. TOONZ has produced a large number of co-productions across the globe

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EXPERT SPEAK

NAVIGATING

CRITICAL ASPECTS

OF IP CREATION 39

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TRANSCENDING GEOGRAPHICAL BOUNDARIES

Chhota Bheem - A Journey Worth Every Moment Beginning its journey in 2008 on Pogo, Chhota Bheem and its different avatars have transcended cultural and geographical boundaries to gain love and acceptance from an audience of over 100 million and growing

By Rajiv Chilaka Founder & CEO, Green Gold Animation

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Rajiv Chilaka Founder & CEO, Green Gold Animation

Chhota Bheem’s journey to the small screen was by no means an easy one. I realised the huge opportunity in our country for original Indian Kids IP content. Chhota Bheem was an idea conceptualized in 2004 itself. The industry at that time was not open to many ideas and the scope of an indigenous IP was minimal. But the potential was there to be tapped into. I truly believed that kids would connect with and love a character that they could relate to and thus decided to focus on creating IP content for Indian audience.

Multiple pitches and numerous iterations later, we finally got the green signal from Pogo to create the Chhota Bheem show in 2007.

Looking back today, the amazing love and acceptance shown by kids towards Bheem makes the arduous journey worth every moment. The love for the show ensured that Chhota Bheem never went off air in India since its pilot episode. It resulted in a decade of Bheem entertaining kids in different avatars, the latest of which is Mighty Little Bheem. The franchise today has an audience of over 100 million and growing.

I have always believed that the love for Bheem is universal but Mighty Little Bheem was the litmus test. We put our heart and soul in creating Mighty Little Bheem. It was a departure for us as well from our conventional projects as it was our first preschool show.

The entire creation process has been a brilliant rollercoaster and an eye opener for us. Creating a non-dialogue music driven show that transcended cultural and geographical boundaries has been a revelation. Little Bheem became the top pre-school title globally on Netflix. It is performing well in US, Canada, Brazil, Mexico and other territories. Bheem today is a loving part of homes across 190 countries.

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Chhota Bheem, the brand, has been growing for the last decade.

When we realized the popularity of Bheem, we also realized that kids wanted to have a personal Bheem, thus started our merchandising journey. From a few comics and products, we have grown our presence to exclusive retail, modern trade, ecommerce as well as licensing. With over 100 brands partnering with us over the last decade, Chhota Bheem has consistently been among the most recognized and recalled kids brand in India.

And it all started in Hyderabad. The city is the hub for visual arts and animation, and it will soon have its IMAGE tower, a beautiful amalgamation of history, modern design and technology.

Animation, Gaming and Visual Fx industries thrive on creative and technology ecosystems. The world-class tower provides a vibrant environment for the AVGC industry. The Telangana Government dedicated IMAGE policy on the industry will empower young and talented entrepreneurs to foray further and compete with the best projects worldwide.

The animation and the VFX segment witnessed a strong growth of 18.7% in FY19, to reach a size of Rs. 87.7 billion. The sector will grow at a CAGR of 16% between FY19 and FY24 and reach Rs. 184 billion.

What is extremely heartening to know is that the Indian Animation IP production (excluding animation services) has a year-on-year double digit growth: almost double of what it was in 2012. With a population of 373 million between ages of 1-14 in India itself, this trend will only improve upon in the coming years.

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Even though 70-80% of animation revenue in India comes from international projects, India’s share in the global industry is less than 1%. Immense potential is here. With the advent of OTT, the average content consumption in India has gone up from 450 hours a year, to almost 6000+ hours a year in the last 5 years. Animation has had a big role to play here. The success of Mighty Little Bheem and other Indian IPs globally has proven the importance of region agnostic content and the caliber of home grown IPs. I believe this is the right time to move forward and take our rightful place in the global animation industry.

The ease of access to global content has evolved the audiences taste and raised the standards for all creators. The quality and the ability of it to connect across regions is paramount. Keeping this in mind, we have set up our offices in Los Angeles to focus on and create IPs with global potential and appeal. The team, led by Mr. Marc Lumer, a veteran of the industry and illustrator extraordinaire, is creating IPs which are presently in various stages of production. The world is becoming a smaller place. And there is so much potential to do stories which are from India, of Indian stories.

Little Bheem became the top preschool title globally on Netflix. It is performing well in US, canada, Brazil, Mexico and other territories. Bheem today is a loving part of homes across 190 countries

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REFLECTING DREAMS OF INDIA

From Ajanta Frescoes to Digital Screens What we create today as IP should not only reflect our culture, but it should also influence and construct it. It is up to us, the creators, to choose the way forward

By Soumitra Ranade Creative Head & CEO Paperboat DesignStudios

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Soumitra Ranade Creative Head & CEO Paperboat DesignStudios

Intellectual Property (IP) is the talk of the town today. Infact it has been so for the last few years and quite understandably so.

The coming of new-age technologies and their stupendous growth have opened up entirely new possibilities for all stakeholders, be it the government and their agencies, distributors, exhibitors, satellite channels, OTT platforms and other key participants in this continually expanding arena.

But most importantly, what does it mean for the creators themselves!

IPs we create is an important aspect of our art and culture. We as a nation are known for our extraordinary art in the form of sculpture, painting, architecture, literature, cinema, music, etc. It is the murals at Ajanta, sculptures at Kailash temple, Kangra miniatures, Mughal architecture, Hindustani and the Carnatic music, and so many other vibrant renditions in various art forms that define us as a nation, as a culture.

We are after all, what we create and we are after all what we like to see. What we create today as IP should not only reflect our culture, but it should also influence and construct it. It is up to us, the creators, to choose the way forward. What kind of a nation do we want to build? How do we want the rest of the world to see us?

There are three fundamental entities that contribute towards making of any IP: the funders, the creative personnel and the audiences. These three could sometimes have different interests and it is for all three to strike a balance so that the IPs we create have high standards and that these standards keep increasing.

A synergy between the three is vital for us to build, promote and nurture creativity and innovation.

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Throughout history whenever there was complete synergy between the three, a high level of art was achieved; from as diverse periods as the Renaissance or the Chola period. Whenever there have been gaps between the three, the art of that period has suffered.

For a country that has such an enormous treasure of stories; of images and sounds, of colors and textures, of melodies and rhythms, very few Indian IPs have crossed the shores and gone global. Many have tried for several years and yet only a few have succeeded. What makes our IPs mostly confined within our borders?

What we create here in our country – not just as a geographical unit but as a composite culture, must I feel, reflect our stories, our dreams, our images and our sounds. Our IPs need to be rooted in our land, in its diverse fragrances and its distinct shades. We must tell our extraordinary stories through our extraordinary audiovisual traditions. For this to happen, we first need to be proud of the immense wealth that we have. Instead of looking constantly towards the west, we must look within ourselves, within our own souls and that’s where the real Indian IPs exist.

There are three fundamental entities that contribute towards making of any IP: the funders, the creative personnel and the audiences

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It is the murals at Ajanta, sculptures at Kailash temple, Kangra miniatures, Mughal architecture, Hindustani and the Carnatic music, and so many other vibrant renditions in various art forms that define us as a nation, as a culture Only those artists who have truly been rooted in the culture of our land have gone global in the real sense of the word, be it Satyajit Ray, Pt. Ravi Shankar or M.F.Hussain amongst others.

It is always the most local that eventually becomes global; there are enough examples from all over the world to substantiate this.

Even Superman, probably one of the most popular global icons has perhaps the most American soul. The Disney collection and the Manga art and animation are some of the other examples that come immediately to mind.

In recent times, the two animation films from India—Goopi Gawaiyaa Bagha Bajaiyaa and Bombay Rose—have crossed the boarders and have gone international in a big way. Both these films are rooted in the Indian aesthetic not only thematically but also stylistically.

There is however a catch here! If we go back to our roots without innovation, we will only be repeating ourselves. If we render the same stories in the same ol’ ways we will become irrelevant for the newer generations. We need to rethink and reinterpret. While we do this, we must bring in that edge, that zeitgeist of our times, the spirit of our era.

This is where I think the government can play a key role. The Services Exports Promotion Council, set up by the Ministry of Commerce & Industry, Government of India, is a great initiative in this direction. The government stands alone, away from the other three entities and has the power and capital to give direction to things to come and I anticipate exciting times ahead.

We can’t repaint the Ajanta frescoes all over again. There’s no point in doing that or even attempting to do that. But ignoring them would only be a colossal tragedy. What we must do is to reimagine Ajanta that will be represented in a form that is modern. That is contemporary.

And we must be on our toes because who knows as early as tomorrow morning the medium might change. Today it’s the digital screen but tomorrow it may be something else. One thing however will remain constant, always, for eternity – the Bodhisattva Padmapani!

We must embrace it.

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LOOKING WITHIN, LOOKING FORWARD

IP Creation: The Great India Opportunity While the formula of Indian animation IPs doing well for Indian kids has succeeded greatly, the next logical step for the original Indian animation IP creators is to get opportunities to create the global Indian animation character brands

By Ashish S K Founder-Chairman Punnaryug Artvision Pvt Ltd, & Founder-CEO Screenyug Creations Pvt Ltd.

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Ashish S K Founder-Chairman Punnaryug Artvision Pvt Ltd, & Founder-CEO Screenyug Creations Pvt Ltd.

One of the most important considerations while communicating with a large section of nation’s population, especially kids, is to look within while looking forward.

The communication patterns that are trusted upon at that tender age play a critical role in shaping their future. In thins digital era kids are exposed to all sorts of information from across the globe. Thus, the responsibility of the creative content creators and programming directors is to ensure that a balanced content is fed particularly to this category of audiences.

As efforts are made to develop the future generations into truly global citizens, the understanding of the regional heritage, culture, history and stories is also extremely important.

Animation story telling in India is skewed towards kids’ genre. Hence we have a limitation in many ways. It all started through television as a medium in mid-nineties. Most of the content creators then understood live action creations. India as a dominant live action country with over 100 years of cinema history took little time to understand the grammar of animation story telling. However, animation story telling being a long drawn creation process requires patience, which was hard to find back then as television medium was growing at a rapid speed after liberalisation process was rolled out in early 1990s. Therefore, the global content took a strong position in this segment and the kids in India were found growing up on all sorts of foreign kids’ animation content.

This was followed by an era when foreign animation content was getting dubbed in local Indian languages, which was marked by a growth in viewership as kids gradually started understanding the stories with a little more clarity.

It was almost after a decade that this era ended when few Indian animation creators took a plunge to create original Indian IPs, a step replete with risks. But when the television programming teams decided to air these shows, the viewership went through the roof. It provided the impetus for the kids’ category to grow multi-fold, and the percentage viewership of kids gained a bigger pie in the total viewership universe.

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Properties like Hanuman, Little Krishna, Chotta Bheem, Tenalirama, Pancha tantra, Shaktimaan, Gatotkutch, etc, proved successful enough to compel the kids’ networks to invest more in original Indian animation shows.

However, at this stage the supporting eco-system for character licensing, merchandising, brand associations, character events and school contact programs was absent in India. It was against this backdrop that the creators of Chotta Bheem took a bold step to self-distribute the content internationally; create own character licensing and merchandising; forge brand associations; organise character events; open Chotta Bheem stores at airports, events and malls, etc. The creators went on to produce and successfully release a series of theatrical animated feature film in the last six years. Eventually, Chotta Bheem emerged as the biggest animated character brand out of India.

While the original animation IP story was beginning to unfold in India, the co-production of animation IPs also existed in the business modules of several studios. That was another way of partially holding the rights of global original animation IPs. We have many shows produced under the co-productions, but the positioning of Indian studios was way lower in the value-chain as India was initially positioned as the animation production services destination. Hence it sometimes became very difficult for the Indian original animation IP’s / ideas to move up and become the co-productions. It was always the ideas or IPs originating from other countries that were translated into the co-production shows. Nevertheless Indian animation studios did not give up. Some of the global IPs co-produced by the Indian studios include Jungle Book, Peter Pan, Davincibles, Casper, The Little Princes, Animated World Tales etc.

Since 2011-2012, few Indian animation studios focused on co-productions of international animated feature films. However, they have succeeded in setting up world-class 3D character animation pipelines and are delivering international features through co-productions continuously. Some of these theatrical features and DVD shows include Iron Man, Norm Of the North series, The Swan Princes Series, ALpha and Omega, Artic Dogs, Blinky Bill, Little NICK, Robin Hood, etc.

Post 2014, the Indian animation entered a new evolution phase as now the networks wanted to move over 60% original Indian animation content to even a new kids’ network.

By now original Indian animation had grown to over 100 animation character brands. While some of these character brands were produced in several seasons, some of them made a great start. For example, IPs like Motu Patlu, Shiva, Little Singham, Krishna, Aryan, Dabang Girls, Krish Trish and Batliboy, Jr. Gol Mall, My Bhoot Friends, icko & Super Speedo, Sab Jholmaal, Honey Bunny, Pakdam Pakdai, Rudra, Keymon Ache, Roll No 21, Super Bheem, Andy Pirki, Oye Golu, Gattu Battu, Mighty Raju,Kalari Kids, Kumbha karan, Chotti Anandi, etc, rose as the original Indian animation brands to reckon with.

The new avenues of creation and monetisation of original Indian animation IPs show a lot of promise in the un-explored areas of pre-school animation content and digital platforms for original animation creations

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While all the stakeholders recognise that creating the original Indian animation IPs is the way to go forward, the sole dependency on the television network is making it difficult for a self-sustaining business module to run as the cost of production made available is very low.

Although the percentage of kids’ universe is very large in terms of total viewership base, there is a mismatch in terms of advertising revenues.

Hence the pressure on production costs doesn’t allow the creators to enhance the quality of the shows. The frustration of the creators can be gauged by the fact that they are delivering higher quality production values in the outsourcing animation services projects while unable to do it for Indian projects though the talent pool remains the same for both.

While the formula of Indian animation IPs doing well for Indian kids has succeeded greatly, the next logical step for the original Indian animation IP creators is to get opportunities to create the global Indian animation character brands. Secondly, the independent animation studios creating original Indian animation must get a chance to retain the IP of the characters and shows, as in the present format they lose all the rights in the first green lighting stage itself.

The new avenues of creation and monetisation of original Indian animation IPs show a lot of promise in the un-explored areas of pre-school animation content and digital platforms for original animation creations.

While BARC has included the kids’ content from 2 years to 14 years now, the advertising and network marketing teams will require a viewership data break up for 2 to 5 years, 6 to 10 years, and 11 to 14 years separately, as the content subject interests are fast changing in kids as they are growing up this age profiles.

Presently, the pre-school category has substantial viewership base but no advertising revenues. Hence we do not get shows green lit in pre-school animation. This is a very high potential content creation growth area for near future.

Secondly, so far we have seen only one big success for an Indian original animation created for a well known digital platform, i.e. Might Little Bheem. The second example of success of the re-run of the original Indian animation content for television, but now placed on a famous international digital content platform dubbed in several languages doing well is Krish, Trish and Baltiboy.

Few steps that will further consolidate promising growth of the original animation IP’s will be as follows: 1. Expand the genre from only kids to family entertainment 2. Create local co-production and original IP funding mechanism.

3 Create and establish a free to air kids public broadcasting networks with focused funding for creation original Indian animation content.

4 Establish a Co-production & finished content market in India and get buyers for the animation content from all over the world.

5 Funding for promotion of Indian original animation content globally thru several content markets 6 Create a special animated kids feature film distribution mechanism.

7 Pre-school viewership data to be measured and made available to the advertising and kids network, in order to ensure infusion of production funds for pre-school animation programming.

The original Indian animation characters are in a nascent stage and require a right attention as 27% population of India is between 0 to 14 years of age. The highest loyalty and stickiness for the television network or an animation character brand is displayed by this age profile. More over the kids who were born in India in 90’s and 2000, who grew up watching animation content, will soon become parents.

That gives a great opportunity to Indian original animation content creators to widen the animation viewers’ genre from kids to family in next 5 to 10 years. Hence the potential to take the original Indian animation creation to the global heights is certain.

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SERVING INDIAN CONTENT TO GLOBAL AUDIENCE

Partnering with Indian Studio OTT platforms like Netflix are already working with Indian producers to develop original IPs and acquire content which have strong Indian connect. Graphiti’s shows Krish, Trish and Baltiboy and Yom have been acquired by Netflix and released not just in English but also in Chinese, Korean, Turkish and Polish language.

By Munjal Shroff Director & COO, Graphiti Multimedia

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Munjal Shroff Director & COO, Graphiti Multimedia

Why should we partner with Indian Animation Studios? That’s the most obvious question many international producers interested in partnering with Indian studios would ask themselves. Indian animation studios have already established their credentials as a strong production partner with proven track record, but there is a lot more to Indian animation industry then just cost arbitrage. Let’s scratch the surface and look closely at some of the other factors that underscore Indian animation studios as a very strong partner to develop and co-produce original IPs. Animation in India started with the first Indian animated short film, Aagkadyanchi Mouj (Matchstick’s Fun), produced in 1915 by Dadasaheb Phalke! This was barely two years after he produced ­India’s first feature film in 1913, Raja Harishchandra. Phalke is considered as the Father of Indian Cinema.

Origin of animation in India can be traced further back as far as 5th century BC where scroll paintings and later shadow puppets were used to narrate stories. In fact, in the ancient times storytelling was a well-established profession. India has a very rich literature with thousands of stories, mythologies and epics beyond the Mahabharata and Ramayana. Apart from stories, there are hundreds of rich and diverse schools of paintings, graphics folk arts and even varied puppet styles as well. Stories and art are in the DNA of Indian artist.

At India’s premiere animation studio Graphiti, we are passionate about our rich artistic heritage. We decided very early to tap into our rich heritage to develop our own shows-our IP. We chose to bring alive the world of colour, art and stories through our unique movie series Krish, Trish and Baltiboy, recipient of the Audience Choice Award at 2011’s CMS Children’s Film Festival. Our 40+ million viewers on Cartoon Network India just love the show.

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India has a very rich mythology with well-renowned epics like Mahabharata and Ramayana. The challenge with these epics is that they have a religious context which may not have a global appeal as buyers refrain from buying kids’ content with any religious tones.

The key is to filter that out, develop fun characters and engaging stories with a lot of playfulness, drama and some intrigue and create something fresh which the global audience can enjoy even without having any cultural context.

In 2009, Cartoon Network shorts program SNAPTOONS cherry picked three Indian studios—Miditech, Famous and Graphiti—to co-develop three shows: Sulochana and Nature Detectives, Johnny Goes to Bollywood and Kul Veera. The shorts produced were then screened across all the Cartoon Network Channels in Asia Pacific to gauge the audience reaction. Graphiti’s Kul Veera was the top rated shorts out of the 15 shorts produced by various studios of APAC. Kul Veera is a gripping fast paced, original story with characters from the Mahabharata and some new ones as well. The action, the choreography, the 3D animation is fabulous and featured great performancesas well, it is tightly scripted and has a global appeal.

Kul Veera was packaged for the international market, it featured top voice talent from Hollwood including Mark Hamill (Luke Skywalker in Star Wars: The Last Jedi).

Yoga is India’s biggest gift to the world and a global trend, and yet it still not been explored enough in the kids’ space. So Graphiti tapped into Yoga and gave it a unique superhero spin to create Yom. Yom follows the adventures of a brash young boy who gets animal-based superpowers by performing…yoga poses. Yom was developed in close association with Disney and was released on Disney Channel India in 2018, garnering high ratings and critical acclaim.

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Bollywood films have been gaining global audiences and Indian producers are capitalizing on this trend and producing shows inspired and based on characters from hit Bollywood films. In 2004 Graphiti co-produced with Nickelodeon the award winning live action cum animated series J Bole Toh Jadoo, based on the licensed character Jadoo from the hit Bollywood film Koi Mil Gaya. In fact Nick relaunched the channel in India with this show. The trend continues today with Fukkrey Boyzz and Little Singham on Discovery Kid and Golmaal Jr on Nick’s Channel Sonic.

OTT platforms like Netflix are already working with Indian producers to develop original IPs and acquire content which have strong Indian connect. Graphiti’s shows Krish, Trish and Baltiboy and Yom have been acquired by Netflix and released not just in English but also in Chinese, Korean, Turkish and Polish language. This clearly shows that these shows are being also served to a global audience and not just English language audience. Recently, the Indian show Mighty Little Bheem produced by Green Gold Animation became the second most popular Netflix Kids Original.

Some of the Indian studios have been producing high-end animated TV commercials for global brands such as Kellogg’s, Pepsi, Coke, Pillsbury Doughboy and Cheetos. Veteran American producer Joanna Ferrone, creator of iconic characters such as Angela Anaconda and Fido Dido, partnered with Graphiti to give Fido a contemporary make over. We worked closely to re-imagine Fido as a 3D character and produce a series of shorts—Fido Xtreme Shorts. This rejuvenated the brand and boosted the character licensing of Fido.

The domestic Indian market is massive and growing rapidly. Even the licensing market in India is growing rapidly as expendable income is increasing across the spectrum of the population. The Government is now working closely with the animation, VFX and the gaming industry, and is planning various schemes such as co-production funds, signing co-production treaties and launching a public kids broadcasting channel. All these factors will benefit any co-production that is done with Indian Studios.

Studios like Technicolor have already setup captive facilities to tap into the Indian talent pool. Indian studios growing breed of talented artists, animators, directors, writers, designers and storytellers are exploring the plethora of unique Indian art, culture and stories, this certainly makes the future of Indian animation and storytelling even brighter. This is what the international producers needs to and partner with Indian studios and develop original IP for the global market.

Graphiti’s shows Krish, Trish and Baltiboy and Yom have been acquired by Netflix and released not just in English but also in Chinese, Korean, Turkish and Polish language. This clearly showS that these shows are being also served to a global audience and not just English language audience

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IP MANAGEMENT BEST PRACTICES

Understanding IP Asset Management in 21st Century Understanding Intellectual Property Asset Management begins as “Trans Media”, wherein multiple media products are manifested as individual brands that cross promote each other while providing multiple income streams.

By Omar Kaczmarczyk Motion Picture Producer, Sharecroppers Media

By Hilary Clay Hicks Trans-Media Producer, Sharecroppers Media

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Omar Kaczmarczyk

Hilary Clay Hicks

Motion Picture Producer Sharecroppers Media

Trans-Media Producer Sharecroppers Media

Indian motion pictures are increasingly popular around the world.

Movies either made in India or featuring Indian characters have been doing excellently at the box office. To be competitive, movies from the subcontinent need to be marketed using the latest and most effective marketing systems—and that means online.

Today, the potential market for any idea or Intellectual Property is almost unlimited and easier to reach than at any time in history.

For example, the potential global motion picture market has never been larger.

The marketing methods, distribution systems, and media of the past are no longer effective. In just a few years into this millennium, systems for the development of entertainment media have taken a quantum leap thanks to brilliant digital applications that serve to globally aggregate audiences online.

Targeted audiences can now be contacted with the single push of a computer key. There are 4.33 billion active, intelligent, media literate, aware internet users (56% of the people on the planet) who have expanding horizons and discretionary income.

The internet is the ecosystem for proactive promotional efforts and reiteration to create awareness. Today’s tools include websites, social media, and net-friendly content. Personalized online branding is built on a solid foundation that multiplies relationships and expands exponentially around the world.

Understanding Intellectual Property Asset Management begins as “Trans Media”, wherein multiple media products are manifested as individual brands that cross promote each other while providing multiple income streams.

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This bears a superficial resemblance to the legacy model of vertical integration, but rather than consist of separate divisions operating within one business structure, multiple income streams are manifested as individual brands created to exploit a master intellectual property (IP) brand.

Psychographics is the study of personality, values, opinions, attitudes, interests and lifestyles (not be confused with demographics, which are statistical data relating to the population and particular socio-economic strata). Today, target audiences can be identified psychographically thanks to the abundance of personal interest online communities found throughout social media and websites in all languages.

Simply put, the Intellectual Property Asset is the Brand Name, Identity, and Logo. Trans Media Marketing is the multi-platform exploitation and development of the Master Brand Name, Identity, and or Logo. Think Star Wars, Marvel Comics, The Simpsons (the first adult animation on TV), and Steam Boat Willy (also known as Mickey Mouse) now over a hundred years old and still growing across all media. Next, think the Mahabharata, the great history of the human race and the stories therein.Trans Media provides a library of copyrights that can be extended with each adaptation.

A Trans Media/Multi Platform Constellation consists of hard and/ or soft cover book or books, movie(s), a TV broadcast series, video streaming media, original music, graphic novel(s), comic books, serialization online or in print media, special events, licensing, merchandising of sportswear and souvenirs, and whatever else the imagination provides for which an audience can be identified.

The purpose of the Trans Media/Multi Platform model is to provide a cascade of products, publicity, sales, and revenue. A Multi Platform Cascade results when an IP’s Trans Media brands on various platforms with individual interactive websites are marketed via social media, streaming media, electronic news and information media, print news and information media, and cable news and information media all work together producing multiple revenue streams and cross-promotion.These are synergistic systems that adapt to current and evolving media platforms to assure a Master Brand identity that lives forever.

Trans Media audiovisual properties may be distributed to the seven screens: theatrical motion picture, broadcast TV, streaming platforms (Netflix, Hulu, Amazon, etc.), cable and satellite TV, PayPer-View, DVDs (retail and rental), and hand-held devices including smart phones and tablets.

Social media campaigns for most IP brands are a “blue ocean,” that is, there is no competition. The purpose of a social media campaign is to create online brand awareness for “sales” of trans-media value.

It also serves as a public relations/publicity vehicle. Social Media Distribution includes social media channels with visual assets and copy (content) connecting psychographically consonant affinity groups.

The base effort includes establishing and promoting personalized channels (groups), niche email marketing, central blogs, and social communities. These efforts foster optimization of organic content, that is, user created content as opposed to the IP owner’s content: These efforts are more about volume than quality, in that they foster interactivity and metadata growth.

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The process is aided by expert or even celebrity participation or “social proof” and the support of influencer marketing (referrals to social media audiences), the “low hanging fruit” of social media marketing. Special attention is paid to ongoing management (“hand to hand combat”) interacting with groups and communities. PR contacts are “scraped” or data mined for application to templates and then automated. Special software exists for performing these tasks. IP managers, on behalf of the content creators, are tasked with “hearing the market” (tracking) in order to create momentum to estimate and adjust to reach goals. We are to be scientists experimenting in the lab to come up with the special formula to implement our goals.

To be certain, everything mentioned in this article is a beginning for Intellectual Property Asset Management as a script becomes a motion picture. This is preliminary work, organizing and planning every aspect to enhance the story’s impact. Every language and every culture will embrace a powerful story. A perfect example is Satyajit Ray’s Pather Panchali, the beginning of the ApuTrilogy, which is still seen in cinemas and on television in almost every country on the planet. Proper IP Asset Management will make certain that all showings of this wonderful work of art are still providing global revenue to the copyright holders.

It is the science and complex omni-experiencing of 21st Century communication processes with which we can simplify and cocreate a vibrant experience of storytelling in a way never possible previous to this moment.

(Sharecroppers Media, LA-Based Intellectual Property Asset Management firm)

Today, the potential market for any idea or Intellectual Property is almost unlimited and easier to reach than at any time in history. Targeted audiences can now be contacted with the single push of a computer key.

There are 4.33 billion active, intelligent, media literate, aware internet users (56% of the people on the planet) who have expanding horizons and discretionary income

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PREVENTING PIRACY, CURBING COPYING

Intellectual Property in India is Coming of Age India has become a creator of IP and this has led to the realisation that we need to protect our Intellectual Property. Laws have been changed and tweaked to match the new reality and today it is difficult to violate copyrights

By Bobby Bedi CEO & Producer, Contentflow Studios

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Bobby Bedi CEO & Producer, Contentflow Studios

India is a relatively new entrant in the IPR game. Just over two decades ago, India believed that IPR should be free. I remember an Indian diplomat talking at a WIPO event in Geneva and she was rabidly opposed to the protection of IPR. It was a time when we felt that as a developing nation, India should not have to pay royalties for software; new medicines and expensive textbooks. Apart from software, medicines and books, there was rampant theft of international music and sometimes international films too. But no one cared. Some years ago, we made a film called Mango which was based on a Korean story called Couples. We paid substantial royalties for the rights. However, it didn’t help because someone else copied it first and released their film. We sued and got the money, but the film could not find a release.

Fortunately, such conundrum is now a thing of the past and our IT industry is the catalyzing force behind this change. India has become a creator of IP and this has led to the realisation that we need to protect our Intellectual Property. Laws have been changed and tweaked to match the new reality and today it is difficult to violate copyrights. I suppose that it is natural that your desire to protect your property is driven by the fact that you now own property.

The entertainment sector, too, has witnessed a major change in the way it perceives IP. This has been driven by two factors.

Firstly, the Western world has realized that India is a much larger market for films than it was. This growth has been driven by the dubbing of big Hollywood films into local languages. The big ones now compete with the biggest of Bollywood. This has propelled the American studios to tie up with big Indian producers to attack piracy at all levels.

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Secondly, for the first time India is realizing the international value of its property. This has been driven by the advent of the streamers or Apps, as we call them. Netflix, Amazon and the studios have finally brought in international quality to India. This has affected the Indian producer in two ways—they may either compete or perish—and many are perishing.

Fortunately, some are competing too. They have also completely changed the budgetary landscape of Indian content. Series that were made for hundreds of thousands of rupees are now being made for tens of millions. All those participating in the creation of IP— writers, actors, directors and producers—are benefiting. Finally, as our IP is being protected we are creating high quality, innovative content that the world is likely to consume. That is a great change.

It would seem that this is becoming a great story with a happy ending. But sadly, this is not entirely true. This story has a serious twist in the tail. A danger lurks, and it lurks in the space of Intellectual Property Creation.

Very briefly, I want to talk about the nature of property, real or intellectual. A film or show is no different from a piece of real estate.

It has a capital value and it has a revenue generating capability. So far, we lived of the revenue generating capability of our virtual assets. Our films and shows made money for us at release and then gave us a steady stream of revenue from various re-sales thereafter.

I have lived off the licensing revenues of my films for decades.

Today’s buyer is much more inclined to purchase your property outright. This means money up front but nothing thereafter. It’s a good recipe for good times but sadly, good times don’t last forever.

Now that our intellectual property has value, someone else gets to own it.

As we mature as producers, we will have to find sustainable hybrids wherein we get to keep some of our IP and with it, future earnings from our content. Some people with financial strength are trying out models where they get to retain their IP, but for most it is a one way street.

There’s no such thing as a free lunch.

India has become a creator of IP and this has led to the realisation that we need to protect our Intellectual Property. Laws have been changed and tweaked to match the new reality and today it is difficult to violate copyrights

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