Pickle Mipcom October 2023 Edition

www.pickle.co.in OCTOBER l 2023

INDIA’S ONLY MEDIA BIZ MAGAZINE FOR THE WORLD

INDIA AT MIPCOM 2023 CONTENT BUYS FROM INDIA

1

India’s Only Media BIZ magazine for the world

www.pickle.co.in

www.pickle.co.in OCTOBER 2023

INDIA’S ONLY MEDIA BIZ MAGAZINE FOR THE WORLD

CIN CIN EMA C CIN EMA C INEM CIN EMA C INEMAA EMA INE CIN MA EMA

INDIA AT MIPCOM 2023 CONTENT BUYS FROM INDIA

Sun, Sand and Cinema

celebration ofBIZindia’s creative talent 2 www.pickle.co.in India’s Only Media magazine for the world

3

India’s Only Media BIZ magazine for the world

www.pickle.co.in

India’s only media biz magazine for the world markets Biren Ghose

INDIA FOCUSED MIPCOM ISSUE

Architect of

APRIL l 2022

INDIA’S ONLY FILM BIZ MAGAZINE FOR THE WORLD

INDIA AT DUBAI EXPO

2022

JYOTI DESHPANDE, CEO - VIACOM18 PRESIDENT - JIO STUDIOS CO-CHAIR - FICCI MEDIA & ENTERTAINMENT

THE PATHFINDER READY TO TAKE ON POST-PANDEMIC CHALLENGES, MEDIA VETERAN JYOTI DESHPANDE, SPEAKS HER MIND ON THE ROAD TO RECOVERY AND AND GRAND VISION TO HELP THE INDIAN M&E SECTOR NAVIGATE TOWARDS BECOMING A $100 BILLION INDUSTRY

www.pickle.co.in

www.pickle.co.in

www.pickle.co.in OCTOBER 2019

Country Head Technicolor India

www.pickle.co.in

DECEMBER 2019

DECEMBER 2019

Special Issue

Amit Khanna poet, lyricist, writer, filmmaker and historian

Excerpts from the book published by Harper Collins India

AMAZEMENT

FOR A DECADE NOW, BIREN GHOSE HAS BEEN THE FACE OF TECHNICOLOR INDIA. HERE’S HOW THE GLOBAL M&E SERVICES GIANT HAS TRANSFORMED INDIA INTO ONE OF ITS MOST PROLIFIC GLOBAL HUBS FOR THE ANIMATION, VFX, GAMING INDUSTRY

THE MEDIA FOR FIVE DECADES, AMIT KHANNA HAS BEEN THE TORCHBEARER AND VISIONARY OF INDIAN MEDIA AND ENTERTAINMENT INDUSTRY. HIS NEW BOOK — ‘WORDS, SOUNDS, IMAGES’ — TRACES THE HISTORY OF M&E IN INDIA FROM THE INDUS VALLEY CIVILIZATION TILL MODERN TIMES. WE DELVE DEEP INTO HIS UNIQUE MIND...

2

4

IFFI SHINES IFFI’S GOLDEN JUBILEE EDITION AT GOA WAS FULL OF ENERGY AND HOPE, AND WILL BE ETCHED IN OUR MEMORY FOR A LONG TIME. FROM HONOURING THE FILM INDUSTRY LEGENDS RAJINIKANTH AND AMITABH BACHCHAN TO DIGITAL INTERACTIVE EXHIBITION, MASTERCLASSES AND FILM BAZAAR, IT WAS A NINE-DAY CINEMATIC FEAST FOR FILM LOVERS AND INDUSTRY DELEGATES FROM ACROSS THE WORLD

India’s Only Media BIZ magazine for the world India’s Only Media BIZ magazine for the world

www.pickle.co.in www.pickle.co.in

www.pickle.co.in AUG 3-9 AUG | 2020

FILMS

www.pickle.co.in FEBRUARY 2023

www.pickle.co.in May | 2021

INDIA’S ONLY MEDIA BIZ MAGAZINE FOR THE WORLD

P Jayakumar CEO, Toonz Animation Group

LeSSonS FroM Miptv 2021

Filmed in Ukraine President Volodymyr Zelenskyy’s Palace, RRR song featuring lead actors Ram Charan and Junior NTR has garnered over 145 million views on YouTube

aniMation MaSterS SUMMit 2021 4-8 May

NAtIoNAl EduCAtIoN PolICy

Spreading poSitivity

FILMS Gir Forest, Gujarat, India

INDIA’S ONLY FILM BIZ MAGAZINE FOR THE WORLD

www.pickle.co.in MAY 2023

Expanding Toonz’s global footprint and transforming it for new age viewing and learning in its 21st year, p Jayakumar, CEO, Toonz Animation Group, tells pickle that how the Indian animation pioneer is spreading positivity through MyToonz OTT platform, online animation education arm Ri8Brain and partnership with studios globally www.pickle.co.in 1 India’s Only Media BIZ magazine for the world

GAME CHANGER INdIA’s NEw EduCAtIoN PolICy Allows studENts to PuRsuE CREAtIvE ARts, PERfoRMING ARts ANd dEsIGN wHICH wIll HElP M&E As AN AltERNAtIvE subjECt fRoM 6tH GRAdE to PHd. As AN AdvoCAtE of MAINstREAMING of MEdIA EduCAtIoN, AsHIsH sK HAs sPENt AlMost two dECAdEs PRoPAGAtING tHE IdEA to tHE woRld wItH tHE zEAl of A CRusAdER. IN AN INsIGHtful INtERvIEw wItH PICKlE, tHE fouNdER of PuNNARyuG ARtvIsIoN ANd sCREENyuG CREAtIoNs, tElls How tHE NEP Is A GAME CHANGER

Countdown to Glory!

NAATU NAATU As MM Keeravani’s song is nominated for Best Original Song at the Oscars 2023, SS Rajamouli’s RRR is redefining Indian cinema’s worldwide reach

INDIA FOCUSED BERLINALE EFM 2023 ISSUE

Congratulations to Congratulations to MIPCOM andand its its Annecy Festival team on its edition team for39th being a and for being a torch-bearer of animation torch-bearer global industry forofover audio-visual industry six decades www.pickle.co.in

5

India’s Only Media BIZ magazine for the world

www.pickle.co.in

CII BIG PICTURE SUMMIT 19 December 2023 NEW DELHI

THE MOST POWERFUL PLATFORM FOR M&E INDUSTRY POLICY MAKERS INTERFACE BLOCK YOUR DIARY

6

For further details please contact: samir.kumar@cii.in neetu.sikka@cii.in www.ciibigpicture.in

www.pickle.co.in India’s Only Media BIZ magazine for the world #CII4MnE #CIISUMMITFX #CII4India

from t he e d itor

W

e are delighted to present the latest issue of Pickle on the special occasion of MIPCOM 2023 at Cannes.

Undoubtedly, this is the finest in the global media markets that empowers delegates to network with the best business minds, capture emerging trends, listen to masterminds, create business for product and services and think innovation. It is a must attend for decision makers to grasp the new ecosystems in the media business.

Bob Bakish, CEO of Paramount Global, will be honored on Oct. 17 with the international entertainment trade show’s “Personality of the Year” award.

Bakish, who has led Paramount Global since 2019, oversees a portfolio of multiplatform consumer brands, including flagship streaming services Paramount+ and Pluto TV; the Paramount Pictures movie studio; and television networks CBS, Nickelodeon, MTV, Comedy Central, BET, Channel 5 in the U.K., Network 10 in Australia and Telefe in Argentina, among other properties that together serve audiences in more than 180 countries.

Top Indian M&E companies -- Zee Content Sales, Disney Star TV, IndiaCast, Sony Entertainment India (now Culver), Green Gold, Powerkids, Toonz Animation Group, Eros International, Shemaroo Entertainment, Ultra, YoBoho, -who are regulars at MIP Markets have immensely benefited from exporting content and services at MIPCOM.

Ministry of Commerce and Industry, Government of India. SEPC has brought out Indian Content Guide 2023 cataloging content for sales and co-production projects. There are over 100 companies and studios and 225 delegates from India at MIPCOM. With over 200 million TV homes, 900+ satellite TV channels, approximately 700 million active internet users, approximately 700 million smartphone users, and 2000 films produced annually, India’s thriving media and entertainment industry provides exciting growth opportunities for both global and domestic companies. The Indian media ecosystem is changing fast.

There are few markets in the world where you could see both traditional and new media flourishing.

We have an insightful interview with IndiaCast’s Senior Vice President Govind Shahi who has emphasized on his mission to introduce distinctive Indian content to a worldwide audience, and to showcase high-quality content across diverse genres and forge prosperous partnerships at MIPCOM Cannes 2023 Our forthcoming November issue is focused on the American Film Market and LocationExpo. It is time for you to plan to experience the 54th edition of the International Film Festival of India, Goa (November 20-28, 2023).

Do drop in a line to get connected in the Indian M&E business.

This year, India Pavilion is organised by Services Export Promotion Council (SEPC) with support from the Ministry of Information and Broadcasting and

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

Pickle Volume XVII 5th 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

Senior Editor : Vivek Ratnakar Editorial Coordinators : Maitreyi Vidyasagar, Shruti Sundaranand Design: Jose J Reegan, D Sharma Photo Editor : K K Laskar Admin & Operations : B Rajalakshmi Email: natvid@gmail.com

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

C

7

Pickle Business Guide 2023 Copyright 2023 by Pickle Media Pvt Ltd. All Rights Reserved.

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

India’s Only Media BIZ magazine for the world

www.pickle.co.in

9

India’s Only Media BIZ magazine for the world

www.pickle.co.in

10

India’s Only Media BIZ magazine for the world

www.pickle.co.in

AFM23 ®

LE MÉRIDIEN DELFINA NOW TAKING RESERVATIONS. SANTA MONICA OCT. 31 – NOV. 5

11

IN CANNES: RIVIERA L12 / AMERICANFILMMARKET.COM

India’s Only Media BIZ magazine for the world

www.pickle.co.in

PHOTO: DYLAN PATRICK PHOTOGRAPHY INC

Dr. Abhay Sinha, Director General Services Export Promotion Council

12

India’s Only Media BIZ magazine for the world

www.pickle.co.in

India Looking for Deeper Ties as Global Content Leader SLUG INDIA@MIPCOM 2023

As India takes a leap to become a global content leader, Dr. Abhay Sinha, Director General, Services Exports Promotion Council, highlights India’s burgeoning role in the global audio-visual industry and the strides made by the AVGC sector in the country. Over 40 Indian audio-visual companies and studios are part of SEPC’s India Pavilion at MIPCOM Cannes In an interview with Pickle , Dr. Abhay Sinha, Director General of the Services Export Promotion Council (SEPC), discusses India’s thriving audio-visual industry and the pivotal role of the AVGC sector. Dr. Sinha highlights SEPC’s initiatives in forging international connections and leveraging co-production treaties, while also introducing the Indian Content Guide. This comprehensive compendium aims to facilitate creative collaborations across platforms, fostering ‘Make In India’ content for a global audience. As the India Pavilion at MIPCOM expands its footprint, Dr. Sinha envisions deeper ties with esteemed production houses and creators, solidifying India’s position in the global content landscape.

India is emerging as the world’s content hub. Could you elaborate on how India is positioned to lead the transformation in the audio-visual sector with content being the driving force?

current audio-visual sector transformation, and that various technologies are tools used by services to accelerate the process.

Everything that needs to be done can now be done in India, whether it is services, production, or any type of creative output.

Thanks to steadfast support from the Furthermore, Annecy serves as a Ministry of Information and Broadcasting, dynamic meeting place for professionals we are on track to become the world’s in the AVGC sector, facilitating invaluable content hub, producing a wide range of networking opportunities. It has evolved content in a variety of languages and genres. into a global hub where talent from It is now abundantly clear that content countries like France is acknowledged and a worldwide scale. is13 the primary the celebrated www.pickle.co.in India’sdriving Only force Mediabehind BIZ magazine for theonworld

The Services Export Promotion Council has been instrumental in promoting India’s audio-visual sector on various platforms. SEPC is proud to present the India Pavilion at MIPCOM 2023 for the fourth year, showcasing a diverse range of services offered

by Indian audiovisual companies and fostering vital connections with overseas production houses.

Could you elaborate the role SEPC plays in fostering international connections at Mipcom?

The Services Export Promotion Council has been instrumental in promoting India’s audio-visual sector on various platforms.

SEPC is proud to present the India Pavilion at MIPCOM 2023 for the fourth year, showcasing a diverse range of services offered by Indian audio-visual companies and fostering vital connections with overseas production houses. This platform will facilitate collaborations with overseas production houses and give a major boost to the sector.

Could you shed light on the policy initiatives and measures taken by the government to facilitate the growth of the AVGC sector?

India has one of the most liberal investment regimes in the media and entertainment sector. Foreign Direct Investment (FDI) is permitted up to 100% in film-related activities, advertising, AVGC sector, publishing, and more. Recently, with the AVGC Promotion Task Force submitting its report for Cabinet approval, soon a comprehensive policy is on the anvil which will give further clarity on regulations and create new growth avenues.

14

India has made significant strides in ease of doing business. How has this positively impacted the media and entertainment industry, particularly for international filmmakers?

India’s progress in ease of doing business, as reflected in its rise on the World Competitiveness Index, has greatly facilitated the media and entertainment industry. The Film Facilitation Office (FFO) acts as a single window clearance for international productions, making it easier for them to film in India. The F Visa, simplified entry for international filmmakers, and integration with ASI and Ministry of Railways further streamline the process.

India has established co-production treaties with several countries. How has this facilitated collaborations and the shooting of foreign films in India?

India’s co-production treaties with various countries have opened up opportunities for collaborations and foreign film shoots in India. The recently announced incentive scheme for co-production and foreign film shootings is poised to unleash the full potential of the M&E industry, providing a significant boost to the sector.

Could you shed light on the salient features of this incentives scheme and how it aims to boost the M&E industry?

Certainly. The incentive scheme for coproductions and foreign film shoots is a significant step towards unleashing the full potential of the Media and Entertainment (M&E) industry in India. Here are some of the key features of the scheme: For all qualifying projects, the international film production company can claim a payable cash incentive of up to 30% on Qualifying Expenditure in India, subject to a maximum of INR 2 crore (USD 260,000).

In the case of foreign film shootings in India, an additional 5% bonus up to a maximum of INR 50 lakhs (USD 65,000) as additional reimbursement would be granted for employing 15% or more manpower in India.

To be eligible for the scheme, the filmmakers need to ensure that the project must have been granted the “Co-Production” status by the Ministry of Information & Broadcasting and the

India’s Only Media BIZ magazine for the world

www.pickle.co.in

participating country must fall under one of India’s official bilateral co-production treaties on Audio-Visual Co-production.

Projects that have been granted official Co-production Status after May 1, 2022, are eligible for the incentive. Similarly, international productions that have been granted shooting permission by the Ministry of Information & Broadcasting and Ministry of External Affairs (for documentaries only) after May 1, 2022, are also eligible for the incentive.

The incentives will be disbursed in two stages—Interim and Final. The Final disbursement claim can be made only once the project is complete in India, as per the guidelines under the scheme.

The incentives will be disbursed in two stages—Interim and Final. The Final disbursement claim can be made only once the project is complete in India, as per the guidelines under the scheme. Incentives are provided on the recommendation of a Special Incentive Evaluation Committee.

How does MIPCOM serve as a pivotal platform for smaller enterprises in this dynamic ecosystem?

This scheme is aimed at not only attracting more foreign productions to India but also encouraging co-productions that will lead to the exchange of creative ideas and techniques, further enriching the global entertainment landscape.

How the Indian Content Guide influences creative collaborations across different platforms and contribute to the ‘Create In India’ initiative?

The Indian Content Guide is an exciting initiative. It is designed to be a comprehensive compendium, creating pathways for creative individuals to collaborate across various platforms and generate content under the ‘Create In India’ initiative. It provides a vital resource for those seeking to engage with India’s audio-visual sector on a global scale.

Can you also elaborate on how the Guide aids companies in finding coproduction partners, sales agents, and buyers? How does it highlight India’s strengths and services in the audio-visual sector?

The Indian Content Guide is a valuable resource for companies seeking coproduction partners, sales agents, and buyers. It provides a detailed directory of audio-visual projects, covering various verticals within the sector. It showcases India’s strengths and services in the audiovisual domain, while also spotlighting government initiatives aimed at creating a conducive environment for business. Over 160 properties are listed in this catalogue.

We will distribute and make sure it reaches stakeholders at MICPOM.

15

The audio-visual industry has seen a transformative shift, with technology acting as a catalyst for its evolution. Digitization and widespread internet accessibility have significantly lowered entry barriers for smaller enterprises specializing in content creation. MIPCOM is a crucial platform for these companies to showcase their expertise, especially in a landscape where geographical boundaries have dissolved.

Could you shed light on SEPC’s strategies for fostering partnerships and leveraging co-production treaties to expand India’s market share in the global audio-visual industry?

Certainly. SEPC is resolutely focused on forging new ties with the goal of promoting higher value creation through Intellectual Property. We are also leveraging India’s co-production treaties and free trade agreements to access markets in ASEAN, Australia, and the UAE. The ultimate aim is to increase India’s market share in the global audio-visual industry.

What can we expect from the India Pavilion at MIPCOM this year? Are there any specific goals or objectives you hope to achieve with the expanded presence?

The India Pavilion at MIPCOM this year promises to be even more expansive and dynamic. We anticipate forging deeper ties with a plethora of esteemed production houses and creators. Our objective is to further enhance the visibility and impact of India’s audio-visual industry on the global stage.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

India’s

Rise as a Global Hub for Audio-Visual Excellence India’s thriving audio-visual industry, coupled with government support, diverse offerings, and strategic initiatives, make it a compelling destination for overseas production houses and filmmakers. Engaging with the Indian audio-visual business presents an opportunity to tap into a dynamic market poised for exponential growth

16

India’s Only Media BIZ magazine for the world

www.pickle.co.in

India’s presence at MIPCOM 2023 is nothing short of spectacular, as the Confederation of Indian Industry (CII) deftly positions the nation as the premier destination for the global film industry. The spotlight is on India’s remarkable Ease of Doing Business and the alluring incentives offered, especially within the Animation, Visual Effects, Gaming, and Comics (AVGC) sector. This strategic move not only highlights India’s potential but also beckons overseas collaborators to partake in this burgeoning industry. Here’s a comprehensive look at why engaging in the audio-visual business with India is a wise decision.

Advantages of Partnering with India in AVGC: High Growth Potential India’s media and entertainment industry is poised to evolve into a content hub for the global audiovisual market. MIPCOM serves as an ideal stage to showcase the diverse range of audiovisual and cinematic work produced in India, attracting international interest.

India’s AVGC sector is currently experiencing an exponential surge, offering a wealth of opportunities for startups and investors alike.

The industry’s dynamic growth trajectory promises a fertile ground for innovation and expansion.

India’s demographic dividend, characterized by a young and tech-savvy population, is fueling the rapid rise of the AVGC sector. The appetite for engaging content across various platforms has created an insatiable demand for skilled professionals, pushing the industry to unprecedented heights.

Abundant Talent Pool With a sprawling pool of skilled professionals in game development, animation, and visual effects, India stands at a competitive advantage.

The availability of such specialized talent nurtures a thriving ecosystem for AVGC startups.

The educational landscape in India has been quick to adapt, churning out graduates

17

with a keen understanding of cutting-edge technologies in AVGC. Institutions like the National Institute of Design (NID), Industrial Design Centre (IDC), and numerous private academies are producing world-class talent.

Robust Infrastructure for Production and Post-Production Work India stands out as an attractive destination for overseas production houses and filmmakers due to its well-developed infrastructure dedicated to production and post-production activities. a. Images Towers in Hyderabad Hyderabad’s Images Towers exemplify India’s commitment to providing world-class infrastructure for the film and media industry.

This state-of-the-art complex houses modern studios, post-production facilities, and technological resources, ensuring seamless workflows for filmmakers. b. Centres of Excellence in Bengaluru and Across India Bengaluru, often referred to as the Silicon Valley of India, hosts several Centers of Excellence dedicated to animation, visual effects, gaming, and comics (AVGC). These centers offer cutting-edge technology, training, and research facilities, providing a fertile ground for creative endeavors in the audio-visual sector.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

India boasts a network of stateof-the-art studios equipped with the latest technology for film and audio production. These facilities are spread across major cities, offering a diverse range of settings and resources to cater to various genres and requirements. c. State-of-the-Art Studios and Facilities India boasts a network of state-of-the-art studios equipped with the latest technology for film and audio production. These facilities are spread across major cities, offering a diverse range of settings and resources to cater to various genres and requirements. d. Advanced Post-Production Studios Post-production is a critical phase in filmmaking, and India offers an array of advanced postproduction studios. These facilities are equipped with the latest editing, sound design, visual effects, and color grading tools, ensuring high-quality output for both domestic and international productions. e. Digital Intermediate (DI) Facilities India’s DI facilities are on par with global standards. These specialized studios play a pivotal role in enhancing the visual quality of films through processes like color correction, digital mastering, and visual effects integration. f. Specialized Sound Studios India hosts specialized sound studios with state-of-the-art equipment and experienced technicians. These studios cater to every aspect of sound design, including dialogue recording, Foley, sound effects, and mixing, ensuring immersive and high-quality audio experiences in films.

Cost-Effectiveness India’s cost of production is notably lower compared to many other nations. This costeffectiveness is a magnet for AVGC companies looking to maximize efficiency without compromising on quality.

The favorable exchange rate, coupled with lower operational costs, positions India as an

18

attractive destination for companies seeking to stretch their production budgets. This advantage translates into high-quality output at a fraction of the cost incurred in other countries.

Cultural Diversity as a Creative Reservoir India’s rich cultural tapestry and diverse traditions serve as an unparalleled resource for creative inspiration. This vibrant heritage lends itself to compelling storytelling and the creation of immersive gaming experiences.

From the vivid festivals of Holi and Diwali to the age-old tales of the Mahabharata and Ramayana, India’s cultural wealth provides an endless wellspring of narratives. This cultural richness permeates through AVGC creations, adding depth, authenticity, and resonance to the content produced.

Localization Expertise India’s multilingual and multicultural population grants a unique understanding of local player preferences. This expertise ensures that games and visual content are tailored to cater to diverse target markets effectively.

The ability to seamlessly adapt content for various linguistic and cultural nuances sets India apart in the global market. This localized approach enhances user engagement, ensuring that products resonate with audiences worldwide.

Global Reach through Digital Platforms Digitization and expanded internet access in India have lowered barriers to entry for smaller businesses offering specialized skills and services in content creation. This creates a fertile ground for collaboration and innovation.

The ubiquity of digital platforms and the global popularity of gaming open up immense opportunities for Indian AVGC companies to connect with a worldwide audience.

With the proliferation of smartphones and easy access to high-speed internet, Indian AVGC products have the potential to reach billions of users globally. Platforms like YouTube, Netflix, and various gaming networks provide a vast canvas for Indian creators to showcase their talent.

Governmental Backing and Initiatives The Indian audio-visual industry is a champion sector supported by the Government of India,

India’s Only Media BIZ magazine for the world

www.pickle.co.in

experiencing rapid growth. This backing ensures a conducive environment for filmmakers and production houses.

Leveraging Emerging Technologies

The Indian government has recognized the potential of the AVGC sector and actively supports its growth. Initiatives like the National Centre of Excellence in Animation, Gaming, and Visual Effects, along with various incentives and grants, underscore the government’s commitment.

India’s vibrant technology landscape enables AVGC startups to harness cutting-edge technologies like virtual reality (VR), augmented reality (AR), and artificial intelligence (AI) to craft innovative and immersive experiences.

Through policies like the National Digital Communications Policy and the National Education Policy, the government is laying a robust foundation for the AVGC sector to thrive. Financial incentives, tax benefits, and infrastructure support are being extended to both startups and established players.

India currently has 16 collaboration agreements, signalling a commitment to international partnerships.

The recently announced incentive policy for Indian co-productions and productions at enhances the attractiveness of filming in India. The incentives are set to be revised further by the government to offer more avenues to build global partnerships.

Leveraging Intellectual Property and Co-Production Treaties The focus on forging new ties, leveraging intellectual property, and utilizing co-production treaties and free trade agreements will enable India to access markets in ASEAN, Australia, and the UAE. This approach aims to increase India’s market share in the global audiovisual industry.

Collaborative Ecosystem India’s film industry benefits from collaborative workspaces and innovation hubs, fostering a creative ecosystem for filmmakers, animators, designers, and technicians to collaborate and bring their visions to life.

India’s AVGC sector thrives in a collaborative ecosystem that encourages networking, knowledge-sharing, and partnerships. This dynamic environment fosters synergy between startups, established companies, educational institutions, and industry associations.

Incubators, accelerators, and co-working spaces are hubs of innovation and collaboration.

Content as a Primary Driver The importance of content in the audio-visual industry cannot be overstated. Technological tools are enablers, but content remains the driving force. India’s content creators are wellequipped to cater to diverse platforms and global audiences.

19

The convergence of technology and creativity is at the heart of India’s AVGC success story.

Pioneering startups are pushing the boundaries of what is possible, leveraging emerging tech to create experiences that captivate audiences on a global scale.

Rising Domestic Market The burgeoning popularity of gaming among Indian consumers, coupled with increasing disposable income and widespread access to smartphones, creates a substantial domestic market for AVGC startups to tap into.

India’s domestic market, with its diverse demographics and evolving consumer preferences, offers a fertile ground for innovation and experimentation. AVGC companies that thrive in this environment are well-equipped to take on the global market with confidence.

India’s rise in the audio-visual segment, particularly in AVGC, is not just a testament to its potential, but also an invitation to the world.

Mipcom 2023 will effectively position India as the go-to destination for the global film industry.

With a combination of a thriving ecosystem, a rich pool of talent, cost-effective solutions, and government support, India beckons overseas collaborators to embark on a mutually rewarding journey in the audio-visual business. The time to engage with India is now, as it surges ahead as a global hub for audio-visual excellence.

India’s film industry benefits from collaborative workspaces and innovation hubs, fostering a creative ecosystem for filmmakers, animators, designers, and technicians to collaborate and bring their visions to life.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

India’s

official

entry to the Oscar

Best Foreign Language Film

India’s Oscar nominee, “2018-Everyone is a Hero” is special The survival drama “2018-Everyone is a Hero” which is based on the devastating Kerala floods of that year, has been chosen as India’s official entry to the 96th Academy Awards, Pickle takes a close look at what makes this film special.

20

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Global message

2018, the Malayalam movie, effectively created an impact about the importance of sustainability, climate change and necessity to protect the environment. The movie indirectly created an awareness about why it is important to save nature and respect it. Though the subject is local, even the global audience can easily relate to it as nature’s fury is seen everywhere. The movie also implied that how humanity can rise above all difficulties if we stay together. Which is an important message.

What the director had to say: Jude Anthany Joseph, the director of Malayalam film 2018, which has been selected as India’s official entry to the upcoming Oscar film awards, termed the nomination ‘as good as winning the Oscar’. “This is as good as winning the Oscars. I just do not know how happy I am, as this is news that has shocked me. This is God’s blessing,” said Joseph.

“The response to the film after its release was in itself a big recognition and now comes this news. Each and every person who played a part in the film had worked really hard, as such were the conditions. I am thankful to God and am feeling really happy,” added Joseph.

Box office report: Even though 2018 got off to a decent start, it quickly gained momentum at the box office due to favourable word of mouth. It finally came out on May 5, 2023, instead of the original release date of April 21, 2023. It became the highestgrossing Malayalam film of all time and one of the highest-grossing Indian films of 2023 with box office receipts of over Rs 2 billion (US$25 million).

The core plot:

who are in various stages of their lives. A military dropout wants to leave the location because of the humiliation he endures there. An aspiring model perceives his kinship with a fishing family as a barrier. A taxi driver has made the decision to drive two international tourists throughout Kerala. We have a correspondent who covers the Mullapperiyar topic from both sides. The central conceit of the film “2018: Everyone Is A Hero” is how all of these characters and others associated with them became victims, survivors, and fighters in this unparalleled catastrophe.

Smart writing: The entire process of making this movie is difficult. It had an impact on several areas of Kerala, and there was an attempt made to recover. Therefore, choosing whatever point of view you want to take is essential when writing a movie on a huge canvas that may be seen from many different perspectives.

That’s where 2018’s intelligence manifests itself. Jude Anthany Joseph concentrates on a specific location rather than writing a lengthy account of Kerala. He recounts every heroic deed, good gesture, and heartbreaking tragedy that occurred there. That kind of aids them in evoking the fear that the populace felt without actually aiming for dramatic images of destruction.

The 2018 floods serve as the setting for the movie. The film introduces a number of folks

21

India’s Only Media BIZ magazine for the world

www.pickle.co.in

The audience receiving the right impression of the flood idea while viewing the movie is the most crucial fact. Up to the very end, the many events, unanticipated developments, and struggle for survival kept me in an absolutely exhilarating frame of mind.

Comprehensive documentation: Jude Anthany Joseph’s idea is admirable in that, rather than providing in-depth documentation, he allows the spectator to feel the particular night in Kerala when there was a great deal of insomnia. The entire scene depicting the character’s family’s battle for survival, which is played by Sudhish, is excellent. You won’t detect any set or visual effects elements in

22

the way it was designed. The arrival of the fishermen to the rescue was another expertly staged moment. Jude skilfully captured the goosebumps-inducing scene that occurred in real life on the big screen. The underwater scenes were quite skilfully done.

Outstanding direction: Jude Anthany’s direction was exceptional; the entire movie had a high standard throughout, he didn’t cut corners, and the entire thing had a realistic vibe. The audience receiving the right impression of the flood idea while viewing the movie is the most crucial fact. Up to the very end, the many events, unanticipated developments, and struggle for survival kept me in an absolutely exhilarating frame of mind.

Top notch technicality: The creators of this movie put in a tremendous amount of work. Instead of relying solely on VFX, they developed a proper set, which added to the film’s beauty. The artwork, set, and production quality were all of astounding

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Jude Anthany Joseph

The creators of this movie put in a tremendous amount of work. Instead of relying solely on VFX, they developed a proper set, which added to the film’s beauty.

quality. The entire movie appeared authentic and natural; the audience didn’t sense any artificiality. Nobin Paul’s background score was superb; he had a thorough understanding of the survival thriller genre and had chosen the best background music for the movie. Worldclass cinematography was created by Akhil George. Every viewer will be captivated by the excitement of his pictures, and he provides a breath-taking visual pleasure. Chaman Chakko’s editing was excellent, and the movie had flawless cuts.

Solid script: After seeing the movie, it is clear that the story and the screenplay were both meticulously created because the writing is strong and substantial. The research done for this script was outstanding, and each incident has proper and compelling explanations.

Convincing characters: Tovino Thomas’s character has an advantage over other characters because he is given

23

greater screen time. His transformation from a timid man to a real-life hero was skilfully depicted in the script. The roles played by Asif Ali, Lal, Narain, Sudheesh, Kunchacko Boban, Aju Varghese, and Vineeth Sreenivasan were equally important and powerful enough to carry the film. The portrayal of Kalaiyarasan’s character had taken on a new hue, and it was emotionally compelling. Siddique, Gauthami Nair, and Aparna Balamurali’s characters failed to have the desired effect.

Perfect performances: Tovino Thomas breathes life into the role. The character arc for his role evolves gradually with the film. Lal and his two sons Narain, Asif Ali (model) shouldered the film at the crucial juncture. They play a major part as the fishermen and inspire others. Aparna Balamurali does justice to her role of TV journalist which has limitations. Kunchacko Boban and Vineeth Srinivasan are under-used. Their roles don’t rise beyond a point. The best part of 2018 is none of the characters deviate from the story and each role has some significance.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

INDIACAST@ MIPCOM 2023

“IndiaCast’s Drive for Global Content Dominance” IndiaCast’s Govind Shahi Executive Vice President IB&S - UK emphasizes on his mission to introduce distinctive Indian content to a worldwide audience, and to showcase highquality content across diverse genres and forge prosperous partnerships at MIPCOM 2023. A chat with Pickle What’s IndiaCast’s focus and objective at MIPCOM 2023?

As our tagline suggests, we aspire to introduce our content to a global audience. The aim is to present our distinctive content to potential buyers attending MIPCOM and expand its reach to all corners of the world. We intend to exhibit our high-quality content spanning diverse genres and bolster our sales prospects. Our unwavering focus is on staying at the forefront and cultivating prosperous partnerships. We recognize the substantial demand for Indian content and are committed to advancing this objective.

24

How do you see the global media landscape changing and what opportunities do you see for IndiaCast?

The media landscape is experiencing rapid transformations, including network consolidations, changing viewership patterns favoring streaming platforms, and the widespread adoption of dynamic, programmatic ad delivery. At IndiaCast, we are strategically adapting to these changes while maintaining our commitment to linear television.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Govind Shahi Executive Vice President • IB&S - UK IndiaCast Media Distribution Pvt. Ltd. (A TV18 & Viacom18 Venture)

25

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Indian stories are resonating with a worldwide audience, particularly now that language barriers have been shattered Broadcast TV remains a dominant force in the media landscape. According to BARB data as of August 2023, the average consumer dedicates 143 minutes of their daily viewing time to Broadcast TV out of a total of 238 minutes.

Recognizing the evolving global media landscape, IndiaCast is pro actively exploring opportunities in the FAST (Free Ad-Supported Television) category. We have recently launched our inaugural FAST channel, Desi Play TV, offering a carefully curated selection of premium content from our extensive library. This represents the beginning of an exciting journey into the FAST arena, with several more initiatives in the pipeline. The initial response to our FAST channel has been exceptionally positive.

India’s engagement globally is rapidly changing. Oscar wins, India’s presidency at G20 has brought in a new soft power wave.. Is it reflecting on ground in content spread? What attracts Indian content as a genre in the world today?

Indeed, the demand for content has experienced an unprecedented surge. When 1.4 billion individuals collectively strive for excellence in all their endeavours, it inevitably garners attention. In the realm of content, India stands out with its colossal movie production capabilities,

26

a diverse array of daily soaps spanning numerous regional entertainment genres, distinctive storytelling, and world-class action sequences.

Furthermore, this surge benefits the economy and generates thousands of employment opportunities, leaving a profound impact across the globe.

Bringing India to the World is the tagline of IndiaCast? What’s India’s global footprint in content spread... IndiaCast is a major force in making that happen... your views? Has the demand for content from India increasing...Do you see a rise in export of Indian content as a in genre global markets?

Just as our name implies, our mission is to offer the world a gateway to explore the rich tapestry of Indian content. The business of content monetization has been an expanding frontier for us, and we anticipate even greater growth in the years ahead. Our primary focus has been to transform the industry by crafting compelling content that resonates with audiences not only within the Indian market but also on a global scale. Indian content has long been lauded for its extensive coverage of diverse subjects and captivating performances, and this upward trajectory is set to continue. We’ve ventured into selling formats and engaging in co-productions, which has further fuelled the export of our content.

Recently IndiaCast has launched on UK’s SkyGlass... How do you see these changes...

We regard these transformations with great optimism. As we shift away from traditional satellite dishes atop houses, the entry barriers

India’s Only Media BIZ magazine for the world

www.pickle.co.in

 Indian content has found its way into homes where it might not have been accessible otherwise... Every story has a market, and advancements in content delivery, dubbing, and social engagement are reinforcing this notion 27

India’s Only Media BIZ magazine for the world

www.pickle.co.in

28

India’s Only Media BIZ magazine for the world

www.pickle.co.in

IndiaCast distributes its channels in more than 75 countries across the globe.

Additionally, with a rich and extensive product catalogue of over 40,000 hours, IndiaCast syndicates content in 35+ languages across 135 countries 29

India’s Only Media BIZ magazine for the world

www.pickle.co.in

to the market diminish. This paves the way for networks like ours to introduce a wider array of language content in this diverse landscape. It also opens up avenues to explore the creation of dubbed channels, further expanding our reach and offerings.

India aims to be a $100 bn M&E sector by 2030. Global markets and content distribution/Syndication are key to achieve this. Your views?

With the world’s attention on India, the global M&E market has never been more thrilling for us. Indian stories are resonating with a worldwide audience, particularly now that language barriers have been shattered. Recent successes like “RRR,” “The Elephant Whisperers,” and our own series such as “Naagin” and “Balika Vadhu” exemplify this trend. There’s a growing demand for dubbed content in local markets, and streaming platforms have demonstrated that language is no longer a hindrance. Every story has a market, and advancements in content delivery, dubbing, and social engagement are reinforcing this notion.

Content is now accessible through connected platforms, and discussions around monetization have adapted accordingly. Additionally, our expanding international South Asian community plays a vital role as advocates for Indian content. The release of content in various languages further broadens the market for Indian content. These factors collectively indicate that more platforms and opportunities will emerge for Indian content on a global scale.

The burgeoning FAST (Free Ad-Supported Television) trend is undeniably fascinating. While platforms like Pluto and others are delivering promising results, content owners are grappling with content discovery challenges in a fiercely competitive landscape 30

We are in challenging times... As International head of global biz for IndiaCast how are you managing challenges in these uncertain times?

In today’s fast-paced world of constantly changing content consumption habits, it’s essential for our network to adapt in sync with market conditions. While our primary goal remains delivering exceptional content, we are exploring cost-effective approaches to achieve this. We are committed to maximizing the reach of our content, especially to untapped audiences, by leveraging new platforms, partnering with the right talent, optimizing our team structures, and streamlining our processes.

The market landscape has shifted towards advertising models, with most pay SVOD services incorporating ad-based models. As part of this shift, we’ve launched Desi Play, our first FAST channel, and we are actively working to capitalize on this trend. To stay on course, we will uphold our core principles of providing top-quality entertainment to our audiences while exploring innovative strategies for monetization and cost reduction. This approach will position us well to navigate the evolving landscape successfully.

Has syndication biz impacted by global ruling of streaming platforms? How do you see this as a thought leader?

The popularity of content streaming is on the rise and has become the preferred way to consume content for many, although not necessarily for all demographic groups. Interestingly, broadcast TV continues to maintain its dominant position.

According to BARB data as of August 2023, the average consumer spends 143 minutes per day watching Broadcast TV out of a total viewing time of 238 minutes per day.

We view streaming platform as an additional avenue for content monetization, one that significantly enhances our capabilities . It enables us to offer content in various regions and languages to potentially new and diverse audience groups every day. Given the global appeal of our storylines, we are motivated to syndicate our content across as many platforms as possible. Streaming platforms have introduced an entirely new model for syndication. Rather than being adversely affected, Indian content has found its way into homes where it might not have been accessible otherwise. This has, in turn, generated demand for our content from previously untapped regions.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Q What are the new emerging markets for Indian content? Tell us some of the content from your catalogue trending across global markets?

We have significantly expanded our presence in various international markets, including Southeast Asia, the Middle East, Africa, and Eastern Europe.

Our drama series have not only gained immense popularity in Asian countries but have also found success in Japan, Africa, the Middle East, and Central and Eastern Europe (CEE). Additionally, we are experiencing a growing interest from emerging markets such as Russia, smaller African nations, European countries, Portugal, Brazil, Japan, the Caribbean, and Korea. These regions represent new and emerging territories for us, with a rising demand for our content.

Understanding trends can be challenging, as different regions have varying preferences. In the Asia-Pacific (APAC) region, our long-running mythology, historical, and romantic thrillers have been well-received. On the other hand, in CEE, CIS, and Africa, the focus is more on social and family-oriented dramas, as well as romantic thrillers.

It’s worth noting that our standout shows, “Balika Vadhu,”, “Naagin S6”, “Barrister Babu”, “Choti Sarrdaarni”, “Ram Siya Ke Luv Kush, Silsila”, “Udaariyaan” and “Parineetii” continue to enjoy global popularity and high demand.

31

India’s Only Media BIZ magazine for the world

www.pickle.co.in

How do you feel when you get Indian content expand to new emerging markets? Share an example from your experience.

Indian content has consistently enjoyed significant popularity in emerging markets, such as Indonesia, where there’s a strong demand, often leading to pre-purchase agreements. Similarly, in countries like South Africa, Nigeria, Malaysia, and Eastern Europe, our content gains substantial viewership after being localized.

For instance, Naagin 5’s remarkable success includes winning the title of “Most Popular TV Series” at the 9th Blue Star Awards in Vietnam, with the lead actors also securing “Best Actor” and “Best Actress” accolades. These achievements serve as a testament to our enduring and profound connection with our audiences.

Presently, we are in the initial stages of delving into AI, with its application primarily concentrated on marketing and content customization initiatives

generation South Asians but also the broader market. While we’re currently utilizing library content, we have plans to introduce original content in the near future.

What’s your take on FAST Channels... does it contribute as third or fourth win- The successful business models data/ analytics driven for decision making? dow for content catalogues?

How much of analytics and AI is deThe burgeoning FAST (Free Ad-Supported ployed for business results at IndiaCast?

Television) trend is undeniably fascinating. While platforms like Pluto and others are delivering promising results, content owners are grappling with content discovery challenges in a fiercely competitive landscape. It’s crucial to scrutinize how much content owners are truly benefiting from this trend, as every viewer’s attention is being monetized. This space is poised for its own cycle of evolution. From our network’s perspective, FAST channels like Desi Play TV offer an excellent avenue to monetize our extensive content library.

The surge in viewership has provided valuable insights into our content’s potential, enabling us to craft tailored programs for our audience.

FAST is also instrumental in our efforts to combat piracy and penetrate markets with high entry costs. Moreover, it’s becoming a viable medium not only to reach second and third-

Organize

your meetings

Our decision-making process is underpinned by a robust research and monitoring framework, with key choices informed by the insights derived from these analytical endeavors. Presently, we are in the initial stages of delving into AI, with its application primarily concentrated on marketing and content customization initiatives.

Finally, what are the three things as biz leader you want to achieve at MIPCOM Cannes 2023?

Advocate vigorously for Indian content on the global stage. Gain insights into global syndication trends and partner expectations, particularly with our expanding roster of tech companies.

Seeking opportunities to collaborate with industry leaders and engage with old acquaintances for valuable idea exchange.

Discover

outstanding films

Schedule

your screenings

Your perfect match 32

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Manoj Mishra, CEO of Powerkids Entertainment

34

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Animation Biz is in a Disruptive Mode

Unravel Powerkids Entertainment CEO Manoj Mishra’s vision for IP creation, India’s storytelling prowess and the three pivotal goals Powerkids Entertainment aims to conquer post-MIPCOM. Pickle Chats with Manoj Mishra As the animation landscape undergoes transformative shifts towards immersive media, metaverse, and virtual production, we dive into the dynamic world of animation and intellectual property (IP) ownership in an exclusive interview with Manoj Mishra, the CEO of Powerkids Entertainment, and a beacon in the animation industry for over 25 years. From co-production treaties to maximizing content exposure across platforms, Mishra provides insights into the challenges and opportunities that define the industry’s trajectory.

What’s on your mind while at MIPCOM... What are your expectations?

We’re looking forward to showcasing our latest intellectual properties generated through Powerkids at MIPCOM this year.

We are confident in the appeal and quality of our shows and are keen to establish beneficial industry collaborations, recognizing MIPCOM as a critical platform for connecting with industry leaders, buyers, and potential partners in the ever-changing entertainment scene.

What are the objectives of Powerkids Entertainment going forward?

Our primary goal in the market is to find co-production partners for our upcoming Powerkids IPs. Furthermore, with a large and diverse catalogue that includes nostalgic classics, contemporary hits, and original programming, we hope to identify suitable broadcasters and streamers to ensure our content reaches its deserving audience, demonstrating our commitment to both innovation and effective content distribution.

Powerkids has a slate of deals in Jio TV platform, a series of broadcast deals across markets..

35

work with SERGIO BONNELI EDITORE S.p.A., ITALY to create first-ever 3D animated series on beloved children’s character Martin Mystère, aka Martin Mystère... How do you analyze the market and how difficult is it to traverse this field?

We are fortunate to have the trust of our partners, and we are moving forward strategically.” A comprehensive strategy is required to effectively analyze and navigate this industry. Powerkids’ successful Jio TV arrangements and broadcast collaborations demonstrate a significant market presence. The possibility to collaborate with Sergio Bonelli Editore S.p.A. to develop the first-ever 3D animated series based on Martin Mystère is amazing. Strenuous market research, an emphasis on toptier content quality, strategic distribution, audience segmentation, differentiation in a competitive landscape, and flexibility to changing market dynamics are key factors. Success in this sector is dependent on combining these aspects in order to captivate audiences and position the 3D animated series as a standout contribution to Martin Mystère’s legacy.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

The National AVGC policy has been designed to uplift the entire sector. There is a strong emphasis on significantly expanding our talent pool, aiming to grow it from 200,000 to 2 million within the next 8 to 10 years, representing a remarkable 10x growth

Where are we going in the animation IP space, seeing through the lens of the contemporary actual world?

Intellectual property (IP) ownership has continually proven to be critical, since it provides a comprehensive channel for 360-degree monetization. The value of intellectual property is in its adaptability; it allows for revenue creation through numerous channels such as licensing, merchandise, streaming, and adaptations across various media, assuring long-term financial returns and brand expansion potential.

How do we put India’s co-production treaties into action? Animation is now integrated in the coproduction process and receives incentives worth more than $300,000. Can you point out some of the challenges?

To activate co-production treaties for animation in India and gain access to incentives in excess of $300,000,

36

interested parties need to find suitable partners in countries where coproduction agreements exist. They should next construct a complete proposal and seek clearance from competent authorities in both India and the partner country, guaranteeing treaty compliance. Legal difficulties, cultural and creative differences, quality control, logistical coordination, funding, intellectual property issues, project management, and market access are among the major challenges, demanding professional guidance for successful execution.

For over 25 years, you have been a champion driving the animation space. How do you see this space in the light of technological shifts happening towards immersive media, metaverse and virtual production?

The animation industry has undergone remarkable changes in the last 25 years, and it continues to evolve at a breakneck pace. The animation business is on the verge of a genuinely disruptive period, thanks to the advancement of cuttingedge technologies and the growing influence of immersive experiences such as the metaverse and virtual production.

These developments are changing the way stories are told and how audiences interact with content. The metaverse, in particular, offers intriguing prospects for interactive and immersive storytelling, while virtual production techniques are changing the way cartoons are made and integrated into real-world situations.

In this ever-changing tech-immersed landscape, our responsibility as champions of this field is to embrace these breakthroughs, explore new boundaries, and create content that captivates and resonates with consumers. I’m eager to see how animation will continue to push the boundaries and inspire the next generation of creative pioneers.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

Broadcast versus streaming versus FAST...

How do you see them and how do you make the best of these platforms?

Maximizing revenue and content success involves a dual strategy: effective windowing, which strategically times content releases across platforms, and broad content exposure, which ensures your content reaches diverse audiences on multiple platforms. This approach optimizes revenue by appealing to varied viewer preferences and consumption habits, ultimately leading to greater success in the competitive entertainment market.

Is there a potential for Indian studios now that the government of India has established an AVGC taskforce, and how do we shift gears to capitalize on the opportunity?

The Indian government’s creation of the AVGC task group represents a big potential for Indian studios in animation, visual effects, gaming, and comics. To capitalize on this opportunity, studios should prioritize talent development, content creation, market expansion, legal and technological developments, community engagement, and regulatory compliance, with a heavy emphasis on collaboration and active participation in task force efforts. This proactive

37

approach equips Indian studios to fully capitalize on the expanding AVGC industry’s potential and contribute to its global prominence.

What does the future hold for India’s storytelling and imagemaking capabilities?

With a rich cultural legacy and a developing talent pool, India’s future in storytelling and image-making is extremely bright. The country has the potential to become a global center for captivating storylines and high-quality visual material. Technology and digital tool advancements, together with global demand for different stories, position India to play a vital role in determining the future of storytelling and picture production on a global scale.

What are the three goals you hope to attain after MIPCOM? Our strategy relies around developing new collaborations, particularly in underdeveloped markets, and constantly recognizing emerging trends that we may utilize for future growth. We position ourselves for long-term success and innovation in the entertainment industry’s ever-changing landscape by fostering connections, extending our global presence, and remaining at the forefront of industry trends.

India’s Only Media BIZ magazine for the world

www.pickle.co.in

MAKE YOURSELF VISIBLE IN PICKLE INTERNATIONAL FILM FESTIVAL OF INDIA (IFFI) 2023, GOA EDITION

PICKLE EDITION IN IFFI GOA and film bazaar 2023

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.

Email : pickle@pickle.co.in Web: www.pickle.co.in

INDIA’S ONLY MEDIA BIZ MAGAZINE FOR THE WORLD

H

T FOR U O P

2024

LE ICK

WATC

Young & Emerging in Indian Media and

NEWSPECIAL YEAR ISSUE NEW YEAR ISSUE

Pickle’s Pickle’sgoal goalisistotohelp helpyou youbuy, buy,sell selland anddistribute distributecontent contentfrom from overseas overseasterritories, territories,find findco-production co-productionpartners, partners,offshore offshorewith with best bestofofthe theIndian Indianservice servicecompanies companiesand andtrack trackmedia mediaand and entertainment entertainmentbusiness businessininIndia.

India.

INDIA’S ONLY MEDIA BIZ MAGAZINE FOR THE WORLD

www.pickle.co.in Email: pickle@pickle.co.in

40

India’s Only Media BIZ magazine for the world

www.pickle.co.in