Pickle October 2013 Edition

I N D I A N E N T E R TA I N M E N T B I Z G U I D E O C T O BE R 2013 MIP C OM C AN N ES 2 0 1 3

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10,000 Films Have Been Launched at AFM ®

Get Your Piece of the Action!

NOVEMBER 6-13, 2013 / SANTA MONICA 2,000+ NEW FILMS & PROJECTS

Register at www.AmericanFilmMarket.com

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10,000 Films Have Been Launched at AFM ®

Get Your Piece of the Action!

NOVEMBER 6-13, 2013 / SANTA MONICA 2,000+ NEW FILMS & PROJECTS

Register at www.AmericanFilmMarket.com

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FROM THE EDITOR’S DESK

W

e are delighted to present the latest issue of Pickle on the special occasion of MIPCOM at Cannes. This is our seventh uninterrupted print edition of Pickle for the REED Midem’s MIPCOM market.

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.

India Media and Entertainment industry has evolved tremendously in the last few years and is on the cusp of achieving the same global success that the Indian IT industry has achieved. Companies like Zee Entertainment Enterprises Ltd (ZEEL), Eros International, Viacom 18, Star India, DQ Entertainment International, Toonz Animation and Shemaroo Entertainment Ltd among others have been globalising Indian content to reach the world. At the same time, India is also one of the most liberal media markets in the world for global companies to embrace and engage in business.

Do read our analysis of Punit Goenka, MD, ZEE Entertainment Enterprises Ltd, which has a reach of 700 million viewers. We also have a detailed chat

with Raj Nayak, CEO of Colors (part of Viacom 18 Media), the most popular general entertainment channel in India.

They have captured viewers both in traditional and new media. If you are curious, jump to page 22 to find out their Facebook likes.

We have also captured lessons learnt from the recently concluded CII Big Picture Summit, the annual flagship event of the Confederation of Indian Industry which has envisioned to scale the Indian M&E sector to $100 billion by the end of this decade.

If you are have plans to visit India, schedule it around middle of October and be part of the Mumbai Film Market.

(October 18-20, 2013, Mumbai). It is a onestop place happening around the Mumbai Film Festival and the best destination for you to chat with film distributors and showbiz executives, and immerse with the diversity of what you could do in India.

Our forthcoming November issue is focused on the American Film Market.

We will have Power 100: India’s most influential in showbiz featured. Also, it is time for you to plan to experience International Film Festival of India, Goa (November 20-30, 2013). Do drop in a line to get connected in the Indian M&E business.

Because, the time is now.

n vidyasagar pickle media nvidyasagar@picklemag.in, www.picklemag.com Pickle Volume VII 5th edition Published by Pickle Media Private Limited Email: natvid@gmail.com ● Mumbai ● Chennai No.2, Habib Complex Dr Durgabhai Deshmukh Road RA Puram CHENNAI 600 028

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

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

For advertising: natvid@gmail.com

C

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

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

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

MAN 169 34 COUNTRIES Pickle_October_2013_Inner 1 - 16.indd 4

CHANNELS

29 INTERNATIONAL CHANNELS 29-09-2013 10:47:04

LS

Punit Goenka MD & CEO Zee Entertainment Enterprises

700 100000+ 5

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MILLION VIEWERS Pickle_October_2013_Inner 1 - 16.indd 5

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HOURS OF TV CONTENT 29-09-2013 10:47:04

Be a TV screen, mobile phone, smart device (tablets), or the Internet.

One has to always redefine their existence. Our existence is because of our viewers. And, wherever they wish to consume content, it should be available. No matter, one screen may die, but there will be other screens that will emerge. Our life will continue

Meet ZEEL at MIPCOM Stand 20.01

6

W

hen Zee Entertainment got launched two decades back, Punit Goenka, the eldest son of media visionary Subhash Chandra was in college and little did he realise that he would have to lead this media conglomerate.

He donned the hat of Chief Executive Officer (April 2008) and later Managing Director (January 2010) of the group. When he took over as CEO, everyone raised the question -- how would he build back Zee Entertainment Enterprises Ltd (ZEEL).

“I said very slowly and very painfully. That is the way to do it. If somebody tells me that he has an overnight success formula. I don’t agree with him. There is no such formula. Grow, scale-up, expand, collaborate and be aggressive.”

Under his leadership, Punit gave more meaning to these words and ensured global footprint for Zee, a feat that no Indian media & entertainment company could ever think of. “There is no individual who can do everything.

I have a good team. They manage these processes.” This is how Punit values the people at ZEEL. ZEEL has succeeded because of its flexibility to change and learn. “If we do not evolve, do not continuously learn, relearn, and unlearn the old, we will not be successful. The day we stop doing that we will become complacent. There is no overnight success formula. Everything is hard work in this industry,’’ says the dynamic Zee CEO. ZEEL may be No. 3 in ranking in India’s Hindi general

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entertainment TV channel segment but have a clear blue sky difference with rival channels in its regional reach and have built a network across the length and breadth of India. Also, ZEEL is the number one Indian broadcaster in the global context and operates the world’s largest Hindi Entertainment Channel.

ZEEL has its feed in 169 countries, operates 34 channels, 29 dedicated international channels and 700 million viewers.

And it targets to reach 1 billion viewers by the year 2020 from its current 700 million viewers.

Today, ZEEL commands 65 per cent market share in the international arena.

And the rest of the players consolidated put together have the remaining market share. It is the only Indian broadcaster who has thought about the non-South Asian viewers. It has launched products in Arabic, Russian, Bahasa, subtitling its content in French. From that perspec-

tive, Punit’s view to the international world is similar to an international player coming to India. “If they can come here, why cannot we go to their markets and be a player.”

ZEEL is also a clear winner in profitability. It has consistently delivered profits to shareholders (profit margins upward of 25 per cent). But to sustain this profitability, Zee has changed gears to apply traditional and digital path and dive into these horizons seamlessly. They are currently deploying innovation across ZEEL Networks and platforms.

“Innovation is a critical requisite for the overall Media and Entertainment industry. In such turbulent times, when the economy is struggling to find a grip, one has to certainly look for a competitive edge, which I believe can be drawn through constant innovation,” he opines.

There are few big challenges the compa-

ny faces. The consumers’ constant change is one of the key things that one has to keep pace with. Understanding this fully well, Punit says: “The other big challenge that we have to continuously face is human capital.

Having right talent and retention of the right talent is very critical for us.”

Content is evolving so fast that it is a challenge to keep pace with it. If go back five years from now the number of shows that would get launched in a year and the success rate that one would see at those times was much higher. The viewers’ acceptability has changed completely.

So what are Punit’s plans to address these issues?

“ZEEL has redefined itself from a broadcaster to a content provider. It will focus on reaching out to audiences at the end of any screen that they are available on. Be a TV screen, mobile phone, smart device (tablets), or the Internet.”

“One has to always redefine their existence. Our existence is because of our viewers. And, wherever they wish to consume content, it should be available. No matter, one screen may die, but there will be other screens that will emerge. Our life will continue,” says Punit.

That’s why ZEEL has put its bet on the OTT platform Ditto TV. It aims to offer LIVE as well as On Demand content to consumers on the go, giving the entire ecosystem of content consumption a whole new perspective. Its robust technology and user-friendly interface,

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29-09-2013 10:47:07

JEFFREY

CEO, Dream

Oct 9; 3:45 Grand Aud

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

should surely appeal the urban mobile consumer, who wish to stay connected to the entertainment and information sources.

ZEEL has been a social catalyst in TV programming and dramas. This all happens at a subconscious level. Nothing happens on the face of it. When viewers watch middle class people achieve higher boundaries, wear nice clothes, etc. they appreciate the quality of life.

When they witness the rags to riches stories, the viewers celebrate their belief in dreams and possibilities of them coming true.

TV programmes are getting benefitted today from the consumer habits, values and lifestyles, and at the same time they are also power feeding new lifestlyes to the consumers. So it is a cycle. They need to evolve to a stage where they are able to predict modern India, or modern Indian lifestyles and possibly taking a position on almost all issues that plaguing in the modern lives.

ZEEL aims to be in the top 10 global media conglomerates largely into audiovisual content, on all possible mediums.

Way to go one has to say.

Roy Pric

Director Am

Oct 7; 5:2 Grand Aud

RYAN KA

Founder, R

Oct 8; 4:45 Grand Aud

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29-09-2013 10:47:08

BEST MINDS AT MIPCOM

JEFFREY KATZENBERG CEO, DreamWorks Animation

DreamWorks Animation’s Jeffrey Katzenberg is the MIPCOM 2013 Personality of the Year. Katzenberg will accept the award on October 9, during a gala dinner for industry executives at the Carlton Hotel in Cannes. He will address the MIPCOM audience and share his unique perspectives on the television business as part of MIPCOM’s Media Mastermind series of presentations. Under Katzenberg’s leadership, DreamWorks has become the largest animation studio in the world, releasing 27 animated feature films to date and earning nine Academy Award nominations and two wins for Best Animated Feature.

Oct 9; 3:45 pm to 4:30 pm Grand Audi, Level 1

This year MIPCOM will have the presence of the Vice President of Argentina, Lic. Amado Boudou. “We are honored to welcome Amado Boudou to MIPCOM to inaugurate Argentina’s Country of Honour celebration,” said Paul Zilk, Chief Executive of Reed MIDEM. “Argentina is recognised worldwide for its award-winning TV and film production industry. This year’s country focus provides a perfect platform to showcase business opportunities with the Argentine industry and present the scope of Argentina’s content and unique storytelling, across all genres, to more than 13,000 international entertainment executives from 100 countries.”

LIC AMADO BOUDOU Vice President of Argentina Oct 8; 12:30 pm to 2:30 pm Carlton

Roy Price

DAN ROSE

KEVIN MACLELLAN

Noura Al Kaabi

Director Amazon Studios

VP of Partnerships, Facebook

Chairman, NBC Universal International

CEO twofour54

Oct 7; 5:20 pm to 6:00 pm Grand Audi Level 1

Oct 7; 11:10 am to 11:40 am Grand Audi Level 1

Oct 7; 11:45 am to 12:15 pm Grand Audi Level 1

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

RYAN KAVANAUGH

Cécile Frot-Coutaz

BEN SILVERMAN

ROMA KHANNA

Founder, Relativity Media

CEO FremantleMedia

Founder & Chairman, Electus

President, TV Group & Digital MGM

Oct 8; 4:45 pm to 5:30 pm Grand Audi Level 1

Oct 7; 4:30 pm to 5:10 pm Grand Audi Level 1

Oct 7; 12:20 pm to 12:50 pm Grand Audi, Level 1

Oct 8; 12:00 pm to 12:30 pm Grand Audi, Level 1

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29-09-2013 10:47:09

INNOVATION FROM ZEEL SHABNAM

Ditto TV Redefines Entertainment Ditto TV of Zee New Media, ZEEL’s digital business arm, has witnessed a remarkable growth garnering over 2.5 lakh subscribers and over 1.9 million registered users in 251 countries including the UK, the UAE, New Zealand, Australia and the US. An insight into this entertainment revolution What is Ditto TV? Ditto TV is India’s first over-the-top (OTT) TV distribution platform offering LIVE TV and OnDemand Content to end consumers on their mobile phones, tablets, laptops, desktops, entertainment boxes and connected TVs. It was launched in February last year and is the latest offering from Zee New Media, the digital arm of Zee Entertainment Enterprises Limited (ZEEL). Ditto TV has access to the largest collection of premium content, spread across leading content genres like GEC, Sports, Lifestyle, Regional and News, along with rich on-demand video capabilities and also offers unique and compelling experience, delivering a seamless video viewing experience on a range of Internet-enabled devices. Currently hosting 60 LIVE TV channels, Ditto TV has partnered for content with IndiaCast Media Distribution, Bennett Coleman & Co. Ltd., BIG Magic TV, BIG RTL Thrill, Multi Screen Media (Sony Entertainment Television), TAJ TV Limited, Sri Adhikari Brothers, TV Today Network, BBC, and ZEE. How has been Ditto TV’s growth in recent months?

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

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

What is your view on On-demand, specifically from the perspective of world cinema and independent films?

Digital VOD offers an ideal platform to cater to the tastes and preferences of premium and niche audience as it allows them to watch content such as critically acclaimed, parallel cinema that is difficult to access otherwise. The platform is also ideal for films that are made under small banners or those that address offbeat topics.

What are your expectations from large catalogued movie companies?

How would you like to engage with them?

Platforms such as Ditto TV present good value to aggregators of such content like production houses and movie companies that own blockbusters and other critically acclaimed works since they are able to tap a wider viewership and cover a greater section of audience, all through one medium.

MIPCOM brings the best of the content creators from across the world.

What content do you look for?

We know what our preferences should be when we engage with content producers and sales agents. Consequently, Comedy, Action and Kids content are some of the genres we are looking forward to tap into as these genres offer immense potential.

We already have made a foray into the LIKE PICKLE IN FACEBOOK

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The changing consumer lifestyle and preferences have led to emergence of new avenues for content consumption. With the growing adoption of smartphones and tablets, Television and mobile screens are converging to offer a new way for content consumption while on the go. The tremendous growth in mobile phones usage and improving internet services will give fillip to the OTT segment in India.

Our focus is to offer consumers access to the largest collection of premium content, spread across diverse genres, along with rich on-demand video capabilities. We are looking at partnering with international content owners to give consumers access to wider content. Our effort is to accentuate the experience of seamless video viewing and we are confident that our customers will enjoy the variety we offer on Ditto TV.

Debashish Gosh Chief Knowledge Officer, Essel Group

Manoj Padmanabhan, Business Head, Ditto TV

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

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

What’s the transparency you have set in the engagement?

The OTT segment has witnessed significant growth in recent times and one key element driving this growth has been the evolving ecosystem. We have better Internet services, growing adoption for smartphones and reduction in Internet tariffs by telecom players which has led to increasing the consumer engagement in the OTT space. Our engagement with content owners is more of a partnership than transactional.

Tell us about your association with Siemens?

Ditto TV has partnered with Siemens to develop a strong OTT technology platform that offers adaptive streaming that allow for Content Delivery via Content Delivery Networks. This technology ensures an optimal feed basis the available bandwidth strength and allows users to select the feed based on their data connection which includes 3G, Wi-Fi and Fixed line broadband connections. It guarantees in-time delivery of assets to users in the best possible quality.

We have several platforms today. Is Ditto TV present on all of them -- App ios, Blackberry, Windows 8?

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

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What are your goals for DITTO TV in the next one year?

Since its launch, Ditto TV has grown to become one of the key players in the OTT space. Last year was our first phase and the idea was to offer a ‘TV viewing experience’ to our consumers and hence the focus was on the interface.

We will be going in for UI enhancements based on consumer feedback to be able to offer a world-class ‘user experience’.

We will be sealing partnerships with international studios to bring rich premium content bouquet to our consumers.

Ditto TV will also have exclusive content tailored for the platform catering to both Indian and international audiences.

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THOUGHT LEADER

We need to leverage the legacy. We should not allow the legacy to straddle you down Marcel Fenez Global Entertainment and Media leader, PwC

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29-09-2013 10:47:11

INNOVATION JOURNEY A LONG ONE With innovation increasingly being considered indispensable, Marcel Fenez, Global Entertainment and Media leader for PwC, feels the journey is a long one as globally markets are at different stages of evolution Everyone is talking about innovation.

What’s your take on this?

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

Are legacy thinking still prevalent in today’s media business?

There is nothing wrong in legacy thinking. The real question is how we change and adapt. We need to leverage the legacy.

We should not allow the legacy to straddle you down.

What is the biggest concern of Media and Entertainment CEOs today?

What is top of their mind?

Number one is the growth agenda. We have already talked about new products, services and innovation. Everyone is looking at consumer behaviour with changes in media consumption. The mobility of the consumer is absolutely critical. As a consequence you have to reach out to the

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consumer and create new products and services. That’s top on CEOs radar.

CEO groups are looking at scaling up.

Scaling up can be achieved by new products or through acquisition or entry into new markets or through collaboration with other companies. A lot of CEOs are looking at inventing new products and services.

CEOs also are also realising the need to look at the way they are operating their existing businesses to make sure that the infrastructure they have and their organisations are actually aligned to the business of today and tomorrow rather than being aligned to business of yesterday. Negatively, that means cost reduction. But cost reductions are being made so that organisations can invest in new businesses. Looking at cost base is absolutely synonymous with how you invest in growth.

Media and technology companies are getting closer and marriage seems to be inevitable? There is no media without technology and no technology without media?

I actually believe that. I think technology and media is all about reaching the customer. Technology is nothing without content. And, content needs technology to reach the customer. I think that marriage you talked about is happening and it will happen more and more. We will see many more technology people in media LIKE PICKLE IN FACEBOOK

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CEOs also are also realising the need to look at the way they are operating their existing businesses to make sure that the infrastructure they have and their organisations are actually aligned to the business of today and tomorrow rather than being aligned to business of yesterday companies. And also, we will see technology companies bringing more and more talent from media and advertising companies.

Recently, WPP’s Martin Sorrell said they are not an advertising company.

Is the way how we define companies is changing?

Today, it is increasingly becoming more challenging to define simply what a company is. I think the most important thing is to identify the core skill or the core competency of an organisation. That will define what you are. But within that definition, you also have certain other important elements. Every organisation should be looking at all kinds of revenue streams and ways to get those revenue streams flowing. It may mean bringing certain people together in-house or collaborating with others.

What is your take on cable TV digitization in the India market?

I think digitization will go relatively well.

People are very positive about that. The underlining thing is how the economy will do over the next eighteen months.

India has a strong tilt towards traditional media but we are also experimenting with new media? Will India continue to do that?

Yes, it will. But India is not the only market with strong tilt towards traditional media. Take Indonesia for instance. It has still got a good print and TV sector. Online is relatively slow to develop. What I think important about India is that sometimes one doesn’t need to be first mover; sometimes it is better to be a good follower.

companies?

There is a lot of talk about big data. It is much more fundamental. Every organisation wants to connect with the consumer.

Data analysing is basically understanding the consumer behaviour. It is very important for media companies. It is not easy to acquire and then subsequently mine the data. Data analysis is a very specific skill.

It is a skill that media companies never had been exposed to. As media companies are moving increasingly from B2B to B2C space data analysis will become more important.

Do you see changes in the multiscreen media world today?

What we are seeing today is the change in traditional model. New things are coming along to compliment what we have seen before. If I have to give an example, there is a talk about second screen behaviour.

But ultimately a lot of that is complimentary to the first screen behaviour. What we are seeing is that the behaviour is not substitution but complementary. People talk about Over the Top Television (OTT).

The question in the short run is that is it substitution or complimentary?. There is a lot of evidence at the moment to show that it is complimentary. I think in the long run there may be substitution.

What is your outlook for media and entertainment sector?

There are short-term challenges in advertising in many markets. But these will be relatively short term. In terms of innovation, new products and services I am very upbeat. As I go around the world, I see many cool things happening. In terms of how we as an industry are changing, I am very upbeat.

Everyone is talking about Big Data?

How important is Big Data to M&E

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POWER 100 MOST INFLUENTIAL IN INDIAN MEDIA AND SHOWBIZ. WATCH OUT FOR PICKLE NOVEMBER AFM ISSUE. Pickle’s goal is to help you buy, sell and distribute content from overseas territories, find co-production partners, offshore with best of the Indian service companies and track media and entertainment business in India.

INDIA AND BEYOND 15

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29-09-2013 10:47:11

CII-PWC REPORT SHABNAM

Projected M&E growth CAGR over 2012-17

India’s M&E sector to clock over INR 224, 500 crore by 2017: CII-PwC study forecast CAGR of 18% over 2012-17

Television

Film

Print

Radio

18%

12.2%

9.3%

15.6%

Music

Gaming

Internet Advertising

15%

19%

Internet Access

29.8%

29.4%

I

ndia’s Entertainment & Media sector is expected to grow steadily over the next five years as per CII-PwC’s latest report titled ‘India Entertainment & Media Outlook 2013’ released at the second edition of the CII Big Picture Summit.

The industry is expected to exceed INR 224,500 crore growing at a CAGR of 18% from 2012 to 2017.

Today, the size of the Indian M&E sector increased from about INR 805 billion in 2011 to around INR 965 billion in 2012, representing an year-on-year growth of 20%. This growth was achieved in spite of a relative slowdown in the broader economy, underlining the resilience of the E&M sector. It is expected to grow at about 18% CAGR over 2012-2017 and reach revenues of about 2,245 billion INR in 2017.

“This growth is driven by the introduction of cable TV digitization, continued growth of regional media, continued strength of the filmed entertainment sec-

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tor, fast increasing new media businesses and transparency,’’ said Chandrajit Banerjee, Director General, Confederation of Indian Industry. ``We believe that innovation - faster, better, more efficient, thinking out of the box (and within the box) - would be one of the game changers in this space,’’ he added.

Smita Jha, Leader Entertainment & Media Practice, PwC India said: “With increasing proliferation of digital platforms, industry participants will need to invest in constant innovation that encompasses products and services, business and operating models and most importantly, consumer experience and engagement. Innovation should be seen as an important enabler to get closer to consumers and profitably deliver relevant content and services.”

India’s television market grew at 13% with revenues increasing from 340 billion INR in 2011 to 383 billion INR in 2012.

Filmed entertainment also demonstrated LIKE PICKLE IN FACEBOOK

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

The rapid rise of Internet usage, high penetration of smart phones, digital advertising, wireless broadband, digital content consumption, regulatory interventions have had a significant impact on the E&M sector stellar growth in 2012 with sector revenues increasing by about 17% from 96 billion INR in 2011 to 112 billion INR in 2012.

The print sector revenues are expected to increase at over 9% CAGR to reach 331 billion INR in 2017 from 212 billion INR in 2012.

On the year-on-year basis sectors such as internet access (30%), internet advertising (29%), gaming (19%), and music (15%) are expected to continue on their high growth trajectory. The radio sector is also expected to receive a fillip with the successful conclusion of Phase III licence auctions and it is expected to grow at a robust CAGR of about 16%.

The rapid rise of Internet usage, high penetration of smart phones, digital advertising, wireless broadband, digital content consumption, regulatory interventions have had a significant impact on the E&M sector.

The television and print sectors domi-

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nate the industry with about 40% and 22% contribution to industry revenues respectively in 2012. Internet access now commands about 18% share and films 12% of industry revenues.

However, in 2017, television will continue to lead the industry in terms of revenue contribution with 39% share, followed by internet access with 28% share. The share of print and films are likely to decrease 15% and 9% in 2017.

Today, if we take the E&M growth without taking internet access and internet advertising into account the size of the Indian M&E sector increased from about 690 billion INR in 2011 to almost 795 billion INR in 2012. It is expected to grow at about 15% CAGR over 2012-2017 and reach revenues of about 1,615 billion INR in 2017.

Overall, the Indian E&M industry is on the cusp of a strong phase of growth, backed by rising consumer payments and advertising revenues across all sectors.

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29-09-2013 10:47:13

FLAVOUR OF INDIA

Our goal is to continue to be the market leader in our space and deliver value to all our stakeholders Raj Nayak CEO, Colors Viacom 18 Media

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29-09-2013 10:47:15

Colors CATCHES INDIAN Eyeballs Within a short span of five years, Viacom 18 Media’s Colors TV Channel has emerged a leading general entertainment television channel in India, and its CEO Raj Nayak says more surprises are in store in the near future Big Boss is in its seventh season on Colors? What has this programme brought to the brand?

Bigg Boss as a property generates a tremendous amount of publicity for the channel, and helps brand Colors to stay Top of Mind amongst the viewers as well as the trade. It is a true representation of the spectrum of emotions that brand Colors encompasses, and is a tremendous unifier especially for the youth. It gives brand Colors the extra sheen and youthful extravagance, which the viewers are so much looking forward to. The positioning and treatment of the show was tweaked last season to make it ‘ parivarik’ and the show has evolved over the last two years and now caters to the entire family.

Colors has been shining in TV programming in the GEC space with super hit shows. What goes into understanding the pulse of the viewers?

We take a lot of pride in our attempt to stay connected with our viewers. We genuinely believe in the need to have constant consumer connect exercises to understand their pulse. There is so much to learn, and it is such a continuous pro-

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cess that you have to be on your toes every single day, identifying the need gaps that exist in the entertainment space and how we can address these gaps.

At the very core of our DNA, lies our intent to provide world class entertainment to our consumers, by raising the bar every single time we make a new show. So once we identify a need gap, we approach it with our principle of creating the best in class entertainment, in the process experimenting with new ways to create a lasting impression with our consumers. While our experiments may not pay off each time, more often than not we do make our mark with the variety of content offering that we provide, simply by staying true to our core beliefs.

Colors has been successful in Indianising global TV formats for domestic audience. Your comments...

India as a consumer market is very different from most parts of the world. So while we adapt format shows, we understand the challenges behind ensuring that these formats connect with the domestic audience here. At the core of it lies our willingness to take calculated risks, identify the right kind of shows which have LIKE PICKLE IN FACEBOOK

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29-09-2013 10:47:16

Top 5 programmes on COLORS: Rank 1 2 3 4 5

Top Shows Jhalak Dikhhla Jaa - Grand Finale Comedy Nights With Kapil Balika Vadhu Sasural Simar Ka Madhubala Ek Ishq Ek Junoon

Viewership in millions 8.8 7.2 6.3 5.5 4.4

Jury of Jhalak Dikhhla Jaa, Indian Dance Series

Comedy Nights with Kapil

Madhubala Ek Ishq Ek Junoon

Sasural Simar Ka

the possibility to connect with the Indian emotions and at the same time up the scale in terms of overall grandeur while adding a little bit of Indian tadka to it. In many cases our creative teams have innovated within the format and come up with ideas which flow back to the international format owners.

Some of the shows that we have done on international formats include Bigg Boss (Big Brother), Jhalak Dikhlaa Jaa (Dancing With The Stars), India’s Got Talent (Got Talent), Khatron Ke Khiladi (Fear Factor), and soon we will be launching a fiction show based on an international format - ‘24’ in which Bollywood superstar Anil Kapoor plays the lead protagonist (Jaisingh Rathod), the role of Jack Bauer in the original played by Kiefer Sutherland .

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

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Balika Vadhu

making them of their specific audiences.

This effort has yielded results – our FB presence has organically grown from 0.5mn for 5.5mn, the twitter community is above 120,000 followers. Colors properties have trended 51times in the last financial year. This year within six months we have already trended 41times with three global trends. So yes we are buzzing and we are happy about it.

Unlike many CEOs you are indisputable number one leader in the social media from the beginning. Do you find this engagement as part of your leadership?

I have always been curious of the social media and even though I still consider myself a tech dinosaur, I was fascinated by the way it was growing like wild fire.

I wanted to learn and understand what makes it tick, and realised that the only way to do that was to start engaging with it. It is a very powerful medium if used properly, especially for marketing & consumer feedback, and also allows you to engage with a larger audience without being intrusive. This has nothing to do with leadership but being the brand custodian of Colors, I feel proud of wearing it on my sleeves and that reflects in my social media engagement.

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

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TOP SIX HINDI GENERAL ENTERTAINMENT CHANNELS (GECs) Rank

Channel

1 2 3 4 5 6

Star Plus Colors Zee TV Life OK SAB Sony

Gross TV viewership in millions 477 464 399 322 312 293

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

have changed and what do they like the most.

The last two decades have been a learning experience for me every day and there has never ever been a dull moment. From the viewers perspective, she / he has never had it so good before and the best is yet to come. The Indian consumer has always demonstrated the ability to catch-up really fast with existing trends around the world and leapfrogging into better and newer trends. Technology, Urbanisation and Infrastructure have played their part in changing lifestyles and behaviours’.

The consumer in the last two decades has grown to have endless options in almost everything he does – television, movies, eating out, Communicating with others, Personal devices, entertainment options etc. She / he now has reduced attention span, is very fickle minded and is ever so demanding, seeking more variety, fresh new ideas and is extremely choosy of what they want to watch, why they want to watch and how they want to watch. If they don’t like the offering, they will reject it outright. The plus side is if they find the content good, it gets its due instantly. This is a big challenge for Content creators like ourselves, and we have to constantly adapt and evolve to keep up with our audience.

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

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the Indian households are yet TV dark, and with the rate at which TV penetration has been growing, we shall soon be reaching out to these completely new viewers. There is a long way still to go for content to get adapted to the needs of these potential new viewers. And this is where we understand that we just cannot rest on our laurels – while we enjoy the loyalty of a huge section of the viewers with our current content offering, we will have to make sure that we offer content in sync with the need of even the new set of viewers who get added to the growing TV universe.

This offers a challenging task for the Indian broadcasters and the ones who are able to stay close to their viewers’ needs shall enjoy their loyalty going forward.

So while the growing universe offers us broadcasters a huge potential to grow, we will need to constantly evolve along with our viewers’ needs.

But at the same time, India will have 200 million Internet users by the end of this year? What will be your offer to them?

Digital for us is not a catch-up medium but an engagement medium. We realize the importance of second screen and the fact that consumers are interacting with our content beyond television, so our effort is to make this interaction more enriching. We realize with the access to internet and penetration of devices this format of content consumption will only grow.

Colors has a two pronged approach for digital – Engagement and Value Creation.

While most of our show specific interactions are engagement led, we are work-

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29-09-2013 10:47:20

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

by Kiefer Sutherland ing with a long term objective to create our own destination across Web, Mobile, Apps and OEM’s. Our website colors.in is the mainstay and point destination for all activities. The website is not just a catch-up site. Apart from episodes, it offers behind the scenes, news, voting, live interaction with stars, interviews, up close and personal stories, downloads, photos and lots more. Social media activities are all about now creating a buzz for today and leading viewers to the website.

Then we have show specific applications, games etc which are focused on long term value creation for respective brands.

How has the ongoing Cable TV digitization helped in monetization? Do you see dependence on advertising slowing in the coming years?

Digitization shall play a big role in opening up new avenues for broadcasters going forward. While the first two phases of DAS has been more or less completed across the 41 cities, including the three metros (Mumbai, Delhi & Kolkata), the monetization should now start kicking in. Once such a large scale activity takes place, we need to give some time for things to stabilize. DAS is a step in the right direction, and with the industry now consolidating, the players who are in the business with a long term perspective shall be able to reap the true benefits. We believe over the next 18 to 24 months we will see a correction that will give broadcasters a fair share of the subscription revenue that is due to us. It is already beginning to happen but slowly.

With DAS, one will see many more customized and niche channels cropping up, as they will be able to run a business model basis subscription. Since viewers will now have the choice to pay for what they want to see, broadcasters would be in a position to charge that premium for customized & personalized content. And with more revenue flowing in from subscription, it will provide broadcasters that much more flexibility to experiment with premium content.

With this, the Indian TV industry would be able to lower its dependence on adver-

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tising revenue and have a business model which resonates with the developed economies.

How has been the growth and profitability for Colors?

We are a reasonably profitable channel and completely on track as per our business plans. Our EBIDTA growth for year ending 2013 has been over 45% over the previous year. So we are trending reasonably well. Our focus has been on managing costs and maximising revenue.

How do you see Colors’ international growth and expansion?

While we have been the last player to enter the GEC space, we have made tremendous inroads not only into the Indian GEC landscape but even Internationally across the Indian and the South Asian Diaspora. We already are present across over 65+ countries, and growing, with many more countries witnessing our popular shows via the route of syndication.

Balika Vadhu is already one of the shows syndicated across the most number of countries, across all Hindi GE channels operating in the country.

We have also raised the bar further in the challenging UK market, where not only do we have a Free To Air offering in Rishtey, but have also gone ahead and made Colors FTA. We have got a tremendous response, and despite being the last player to enter that market, we are on our way to making a mark even there.

Add to this, we have aggressive growth plans across markets where we already exist as well as in new untapped markets which we have identified.

What are your goals for Colors in the next one year?

Our immediate goal is to stay true to our DNA, continue to experiment and continuously raise our own benchmarks in an attempt to provide Truly World Class Entertainment across all shows that we air for our viewers – new & existing so that we continue to be the market leader in our space and deliver value to all our stakeholders.

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29-09-2013 10:47:20

Conferences: April 5 –10, 2014 | Exhibits: April 7–10 Las Vegas Convention Center, Las Vegas, Nevada USA

www.nabshow.com Join Us! #nabshow

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Exhibits-only Pass: Use code PA01

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29-09-2013 10:47:20

INDIACAST @ MIPCOM

Taking Indian Entertainment to World In our view, the next big story in syndication is Indian content. While there is obviously demand for our content among the Indian Diaspora across the world, there is also a significant proportion of mainstream viewers in several regions, Gaurav Gandhi says Gaurav Gandhi, Chief Chief Operating Officer, IndiaCast Operating Officer, IndiaCast Tell us about IndiaCast. What is going to be your focus at MIPCOM? IndiaCast, a strategic joint venture between TV18 and Viacom18, is India’s first multi-platform ‘Content Asset Monetization’ entity, whose mandate includes Domestic distribution, International Business as well as digital distribution for all the group company channels and content. India Cast’s domestic business includes managing subscription and placement services for TV18, Viacom18, A+E Networks | TV18, ETV channels and Disney UTV group channels (via its Majority owned JV – IndiaCast UTV). Its international business includes Channel distribution, Ad Sales, Content Syndication, Digital distribution for more than 10 channel brands from the TV 18, Viacom 18 and ETV group in over 100 countries around the world.

Given IndiaCast’s 15000+ hours of content library, which is already syndicated in 100+ countries in over 20 languages, MIPCOM is a perfect platform to continuously grow this footprint and reach.

It also plays a key role in our constantly expanding channel distribution business which currently covers over 75 countries for our flagship brand Colors.

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

IndiaCast syndicates content in over 75 countries in multi-languages. How have you grown?

Our growth story in the International syndication has been phenomenal where LIKE PICKLE IN FACEBOOK

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29-09-2013 10:47:20

“

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

„

we have seen growth of over 300 per cent in the last 3 years.

Our core strength has been our Drama Series from our flagship brand ‘Colors’, which enjoyed unprecedented popularity.

The storylines of these shows have global appeal and have cut through different cultural backgrounds to be syndicated in such diverse regions such as East Europe, CIS countries, Japan, Israel, Canada, the Ivory coast, the West Indies and Sri Lanka amongst many others. And given the appreciation of Bollywood movies in the international markets, our exciting Bollywood library featuring blockbusters and other A grade movies, has proven to be valuable piece of our International syndication business.

What has Viacom brought in as a global brand to this entity? Have you been able to leapfrog because of Viacom?

Most definitely. This fact is true of both our parent companies- Viacom as well as TV18. Viacom is an established Global Media Conglomerate and for a company like IndiaCast (which is less than two years old) it is of great advantage/benefit to have such illustrious parents. Besides instant recognition of our parentage, the content and monetization expertise these companies have built over the years has added tremendously to our foundation and learnings.

India produces the largest film and TV content in the world. From your syndication experience what works well in the global market?

In our view, the next big story in syndication is Indian content. While there is obviously demand for our content among the Indian Diaspora across the world, there is also a significant proportion of mainstream viewers in several regions

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such as Central Asia, Eastern Europe, Latin America and Africa that enjoy watching Indian programming dubbed and sub-titled in local languages.

Indian Drama Series and Bollywood Movies are the most popular genres that have managed to cut across culture and race and have seen success across the globe.

This has in turn led to more sampling, and therefore an increase in demand, of our other content offerings such as nonfiction content from Colors, reality programming and formats from MTV India, Regional Content from ETV Networks along with some Factual, Lifestyle and News content.

Tell us your experience on creating new markets for Indian content?

With the world fast becoming a global village and the amount of varied content being made available on so many platforms, viewers everywhere are keen on exploring international content. Key that which are seeking Indian content include Eastern Europe, CIS countries, Western and Southern African Countries, Indian Ocean countries like Mauritius and neighboring countries like Afghanistan & Pakistan. Additionally, we are seeing a lot of traction recently in Central European countries, the Russian Federation, the Middle East and East African markets.

What is the strength of IndiaCast content? You have the dramas, Bollywood awards, dance show, content from MTV...

The strength of IndiaCast content lies in its diversity as well as its quality and its universal appeal.

In the Fiction space, our Drama Series have managed to cut across ethnicity and found a connect with audiences worldwide. We were the first to move away from the traditional mother-in-law v/s daughLIKE PICKLE IN FACEBOOK

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IndiaCast distributes its channels in over 75 countries across the globe.

With a rich and extensive product catalogue of over 15000 plus hours, IndiaCast syndicates content in over 100 countries in 20 plus languages. Meet them at MIPCOM Stand 10.13 ter-in-law sagas and tap into social issues like Child marriage (Balika Vadhu), female infanticide (Na Aana Is Des Laado), rich, poor divide (Uttaran) etc. In the Non Fiction space we rule the roost due to our popular shows and superior production values. We have successfully managed to bring a great Indian flavor to International Formats such as Jhalak Dikhla Jaa (based on Dancing with the Stars), Bigg Boss (based on Big Brother) , India’s Got Talent (based on international format Got Talent) and Khatron Ke Khiladi (based on Fear Factor) which have made these shows very popular internationally.

Besides Colors, MTV Shows are hugely popular among the Youth- Roadies (No. 1 Youth reality show), Coke Studio and Splitsvilla and many more have seen great traction. We are now focused on taking our Regional and News content to the International audience.

In the two decades of Indian broadcast, is the syndication activity just picking up only in the last couple of years?

Three things have happened here….1) the quality of Indian programming has improved significantly over the years – both in terms of production quality as well as creative. 2) India and everything Indian has become much more desirable around

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the world. 3) We (indian broadcast companies) have become better marketers and now can reach buyers around the world and showcase our content How do you find the emerging digital OTT and pay market? Do you increasingly find more takers from these platforms for content syndicated by IndiaCast?

Yes definitely, Digital is the next big wave and I believe we have a head start with some exciting collaborations in this space. IndiaCast is one of the leading distributors from India to OTT & digital media platforms like Netflix, iTunes, Yupp TV, SPUUL, Big Flix, UFO, iStream etc.

Pharma companies coat colour of pill to the colour taste of a nation. Does this apply in entertainment content?

While there is some content that has universal appeal and acceptance, we do customize our content offerings to suit a particular country’s culture and sentiments. It also helps to have our ears to the ground and know about the local flavor and trends. A case in point will be our recent format syndication deal of Roadies in Bangladesh or our script sale deal in Africa for Uttaran, So while the basic DNA of the show remains, we will be making changes to suit the local markets.

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29-09-2013 10:47:21

SALES AGENT FROM INDIA

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

Tell us about GoQuest Media Ventures?

GoQuest Media Ventures is a sales agent and distributor of Indian entertainment content. We acquire and aggregate Indian content and distribute to television channels and distribution platforms throughout the world. We set out to build a company which can take a pivotal position in the process of buying and selling of Indian entertainment rights. The unique nature of stories, colorful presentation and production quantum of Indian content, opens up opportunities for worldwide entertainment platforms to offer unique content to their viewers.

What has been your experience attending MIP markets?

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

How is GoQuest different from Indian TV channels and studios who directly syndicate and distribute content?

We aggregate from multiple sources and save buyers from dealing with multiple content owners. This also gives them a larger choice to choose from. We work

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

What are some of the top TV shows and film content you have with you here at MIPCOM? You have Aamir Khan starring Satyameva Jayate, one of the finest game changers in India TV shows recently...

Satyamev Jayate was licensed from STAR for a specific country. Our focus at this MIPCOM is to connect more with digital platforms. While we will continue to meet with our regular clients, at this MIPCOM, we are representing a catalog of Indian films specifically for digital monetization. We are also exploring options for early release of small budget films on online platforms. One of our new market initiative is to create a sustainable monetization model for small budget films, especially the ones which do not release in overseas markets.

What genre of content drives the international market from an Indian perspective?

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In order of priority it is Drama and Romance, Action for films, Bollywood gossip/celebrity shows and all others

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

Tell us your experience of creating new market for Indian content?

It requires lot of patience. From first contact to actually signing the deal can take more than 6 to 12 months. Though we don’t take credit being the first in any market, we are continuously going through this experience every day. Buyers are always skeptical to try anything unproven. It needs constant push, regular data on ratings from other countries, and just relentless convincing followed by a good deal to the buyer.

From an Indian perspective syndication of TV content is slower than films.

Is it because broadcasters keep only the India territory and TV production companies who have the rights don’t understand the power of syndication?

It is the other way around for us. At least in the Hindi market, broadcasters own rights to the TV content. As of now we only work with broadcasters for supply of TV Content. TV content sells in multiple of episodes and consumed over a period of time by a channel. Hence fewer titles are syndicated and there are less frequent deals as compared to films. p

Don’t you think it is easy to bring content into India than syndicating content from India?

Both are equally challenging. Bringing content in to India has its challenges with respect to censoring, local language dubbing etc. India has strong local production, so the percentage of foreign content is much lower than what you see in many other countries. There is a limit to what you can bring in to India. Same is the challenge on syndicating content from India. We have yet to match the syndication strength of Turkish or American content.

Many Indian sales M agent companies have a established and also e vanished from the v market? What is the m strength of GoQuest? s We focus beyond BollyW wood films. Traditionw ally, sales agencies have a pulled all efforts in sellp ing Bollywood movies to in IInternational markets.

Bollywood makes films B keeping Indian audienck es as the target market e followed by others. This fo made an international m only strategy unsustainable for many companies. We not only work with films but also with television dramas and other episodic content. This gives us a gamut of content to offer to television channels across the world. We are not sales agents of Indian movies but sales agents of Indian Content. Our team establishes contact with 10 - 15 new content buyers every week.

We reach out to more than 30 - 40 platforms each week. Our sales process is managed through online sales management tools many automated operations. Innovation lies at the heart of our basic ethos. We improvise and innovate regularly and always look for better ways to run our operations or open new markets. And above all these absolute transparency to content owners has been a key driver.

At MIPCOM, we are looking to connect with digital platforms for a catalog of Indian films

How do you see digital growth in the syndication space? Do you find monetization in multi-screen market today?

Syndication to digital platforms is now the fastest growing area. Given the number of new digital platforms, there is tremendous demand for content. The nature of content is however more skewed to short format and content for immediate consumption. Indian films are actively monetized on YouTube and other digital platforms. Few platforms have signed deals with Indian broadcasters for airing television content with in few minutes of their first airing on TV. Monies are small now but it will only grow.

As I said earlier, we are actively working towards creating a monetization mediums for small budget films from internet streaming platforms. Small budget films do not get proper theatrical release in overseas markets. Due to low awareness of these titles, the monetization window is very small. We work with producers to release their films through online platforms a week after its theatre release in India. Shree and most recent John Day

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What are your goals for the next one year?

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

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UTTAR PRADESH

RAJASTHAN

GOA

MUMBAI

GUJARAT

KERALA

VARANASI

KASHMIR

Come, Shoot in India

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29-09-2013 10:47:21

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

KARNATAKA

JOHNA FALL

LADAKH

HIMACHAL PRADESH

FILM LOCATION AND SERVICES SPECIAL INDIA AND BEYOND

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

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29-09-2013 10:47:24

DUART SERVICES

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

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

How is the market scenario? How has been 2013 so far for you?

Overall, DuArt revenue is up roughly 13% from 2012 and 29% in our audio dubbing/localization work. The big driver in the audio department for 2013 was the localization of 52 episodes of a Korean animated series and complete sound work on a Chinese animated feature film. On the film, we wrote and recorded the music score, dubbed the characters and did a complete sound design and mix.

Charles is DuArt’s COO and Tim is VP Production DuArt twerenko@duart.com

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

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

plosion in audio books segment services and DuArt was busy. Is it continuing?

Audio Book revenue is up 47% from last year but that started from a small base – I anticipate more modest growth next year. One of the big drivers of growth is we landed Amazon’s Audible division as a client.

Tell us about your services which are purely human. Voice, script, stories etc…

The “human services” part of the business is where we are concentrating our search for growth. The Chinese feature we completed this year was more than just a dubbing job – there isn’t a piece of sound in the film that wasn’t done at DuArt. We will be looking for similar projects at MIP – where our involveMI ment starts early in the me creative process. cre

One of the big drivers of growth is we landed Amazon’s Audible division as a client

What are your primary objective and focus at MIPCOM? The objective at MIPCOM for 2013 is to build on our modest success in the Chinese and Korean markets. We are still very interested in the Indian localization market but we have found the Indian budgets to be very tight.

Add to that the recent drop in the rupee against the dollar and it begs the question – Can the Indian market afford our services?

What are the major changes happening in the media service business?

The big change we’ve noted this year is the near death of videotape as a delivery medium. Our clients are shooting digital, editing digital and delivering digital. We purchased an Aspera license (high speed file based delivery software) and increased our internet bandwidth so that we can efficiently deliver large uncompressed file based programming to the television networks and other distributors.

Last time we spoke, there was an ex-

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Do you still continue Americanisation of Am the Pockemon franth chise? ch Pokemon continues to Po be one of our anchor clients. Roughly 52 episodes en year including a movie ay and often a video game. an We receive the shows in the original Japanese and turn out the version shown on American television.

We love Pokemon and treat it as such.

How does DuArt help clients save money and control costs in digital services domain?

Interesting question. If a client comes to us early, before production takes place, we can provide technical guidance that will help ensure a smooth running post process. The unexpected cost issues, for producers are often generated by technical problems that require a lot of fixing.

Unfortunately for DuArt, we can often generate more income from the “problem” productions than from those that operate smoothly.

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29-09-2013 10:47:24

INSIDE INDIAN DIGITAL MEDIA

Growing Digi‘tall’ Vanita Kohli-Khandekar Media Specialist and Writer

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

There is currently a national obsession with digital media in India.

That is strange given that it is such a mass media market. TV reaches over 740 million people, print reaches 354 million and digital reaches about 227 million. Advertisers spent more than 90 per cent of their money on all forms of mass media last year. Only 6 per cent went to digital. This proportion has remained largely constant for the last many years. There is not a single digital company among India’s largest media companies, as yet.

Television is, for all practical purposes, digital. In printing almost the entire backend, up to the time you read the newspaper, is digital. Music has completely moved into cyberspace.

Radio is halfway there and in films, except for the production process, the distribution and exhibition is 80 per 34

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cent digital. If all media is digitising, why then do we have a chapter called Digital Media at all?

The idea is to create a structure around all the forms of media emerging as a result of the affairs and marriages between old and new formats, between technology and content, between the medium and the message.

It collapses the two chapters on internet and telecom into one overarching one and attempts to bring some conceptual clarity to the animal called Digital Media.

This chapter will deal with the business of media and entertainment in the online world. This is irrespective of the method of access (Wi Fi, Wi Max, wireline et al) or device (laptop, tablet, phone, smartphone or phablet) or content (TV programmes, music, films, news, advertisements).

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Here are excerpts from Chapter 6 of The Indian Media Business

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

At a total of 127 million internet users and 100 million users on other devices India is now a significant digital media market. Just totalling these to 227 million however will not give us the total audience for digital media, since there is a lot of duplication between, say, people using their laptops, mobiles or tablets to access the internet. According to the IAMAI7 about 16 per cent of the total traffic on the internet came through mobile phones in 2012–13.8 The advertising spends on reaching out on digital, across devices or access types, was `21.7 billion in 2012 going by the FICCI-KPMG 2013 numbers.

On the other hand, pay was a bigger revenue source at over `250 billion. However, a bulk of this came from caller tunes, ringtones and other value added services sold by telecom companies. About 80 per cent of this was retained by the telecom companies. The remaining 20 per cent was split between content companies and aggregators. The content company’s share gets added to its respective industry— music sold digitally is added to the top line of the music industry. Therefore pay revenues for digital media are not added to its total numbers. It makes sense to look at it separately only to understand the structure of the industry.

The benchmark US market did a massive $36.6 billion in digital advertising.9 This includes $3.6 billion spent on mobile advertising. There were no credible estimates for the total pay market for digital media in the US. At over 270 million people online, it is not the world’s biggest market by volumes, China is. But the US is by far the world’s largest digital media market in revenue terms. The Chinese market did an estimated $12 billion in digital advertising. Globally, digital ad spends were US$88 billion in 2012, going

by Zenith Optimedia. There are varying estimates for the pay market for digital media, none of them very credible.

This is where all the ‘buts’ begin. While digital is a powerful medium, a lot of its power is as yet untapped because India is evolving differently. In India, digital is coming into its own when almost every other media—newspaper, television, radio—is also booming. This is unlike, say, the US, where first newspapers took off, then radio, then television and so on.

It gave every media time to evolve. In India, everything from the mobile phone to the internet and radio, have had little

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The Indian Media Business Fourth Edition Vanita Kohli-Khandekar Media specialist and writer 2013 / 484 pages / Paperback: Rs 650 (9788132113560) / SAGE Response breathing space to make mistakes and go through their evolution cycles. This simultaneous boom across media also means that the competition for capital is intense. Even if you argue that the quantum of money needed for digital is not on the same scale as, say, DTH television, the fact remains that the amount is significant.

The big challenge for digital is not potential. That is evident and growing. It is mastering the revenue-making ability of newspapers and television, getting better rates, managing scale, all the everyday issues of running a media business.

The Shape of the Business, Now The Issues The poor power and infrastructure situation in India is a drag on the growth of digital though the mobile has helped deal with that to an extent. Then there are bandwidth issues as broadband penetration takes its time to take off. The other issues are – Monopolistic Mindsets There is a monopolistic mindset that has now become part of the digital ecosystem: be it Google’s monopoly over search, Facebook’s over social media, or telecom operators with their hold over Indian consumers. Across the internet and telecom, dominating platforms11 are taking away large chunks of the revenue.

This doesn’t leave enough in the ecosystem for content creators and aggregators to survive. Entire categories of content creators, such as music or newspapers, are struggling. This is not just because their readers or listeners are moving online, but because they are not being able to monetise them. It could be either because their content is being offered free by aggregators such as Google or because it is being pirated (as in music) or because advertisers do not consider an online reader worthy of paying good

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money for. The value-added-services or VAS industry in India is a good example.

Of the `250 billion in VAS revenues, just about 5–15 per cent went to companies that owned copyright over the material such as a song. Anywhere between 15–20 per cent went to companies such as Hungama, Indiatimes or OnMobile, which act as the aggregators and/or technology enablers. The rest, between 60–80 per cent is retained by the telcos. This is an exact reverse of the revenue split in most mature mobile markets. In Europe and Japan, for instance, content companies get a bulk of the revenue. So aggregators and content companies in India are now finding ways of selling directly to consumers, through embedded content on smartphones and tablets or through branded portals such as Hungama.

“Though the leaders in the field are trying to bring some order to the chaos, the digital media ecosystem is pretty fragmented,” says Niren Shah, managing director, NVP India. The fund has investments in several digital media ventures such as Komli and Quickr. Shah has put his finger on the one big thing that is continuing to hamper both scale and profitability in this industry. There are several issues with the ecosystem. Here are the five major ones – One, digital media currently gets the lowest realisation for every 1,000 people it reaches out to. Some part of this is because digital has spent so much time marketing itself as a transparent medium that even display advertisers demand results. “A pay per performance (or cost per action) campaign in most cases takes the last click as the only success indicator. This attribution of conversions to the last click is flawed. Advertisers need to look at the internet beyond just a click,” says Ratish Nair, co-founder, AdMagnet, an ad network. He adds that, “Almost all digital properties in India (with the exception of Google) A Fragmented Ecosystem We are struggling to generate revenues, be it portals or niche websites (am not getting onto e-commerce here which could be in an even worse state). While CPMs may have grown somewhat, that would be just correction for inflation, so no real growth has happened.” The other part of the reason ad rates don’t grow is that digital cannot offer the richness and engagement of TV, according to some research Nielsen did in the US. Device size is an issue too. On the mobile, the fastest growing device for internet access, the rates are five times lower than for a user accessing it on the laptop.

Two, Nikhil Pahwa, founder and editor, Medianama.com reckons that digital

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firms are not spending enough time on gaining an audience since they are happy with the ad dollars that Google doles out. Digital companies simply do not focus on hiring high quality sales people who could evangelise the whole space.

Alok Mittal, managing director, Canaan Partners, agrees: ‘There is very little thinking on what works on digital even through the infrastructure and technology exist’, says he. ‘Content is a big issue.

A lot of content consumption happens on non-Indian sites’, says Ratish Nair, co-founder, AdMagnet, an ad network.

This is because there isn’t enough original India-centric content in English and there is hardly anything in other Indian languages.

Three, the payment terms for digital media companies are not cast in stone. They are rarely paid on time or within credit limit periods. It is normal for credit periods to stretch for 18 months and more.

In many cases the payment never comes and becomes a bad debt. This is because unlike say IBF or INS, the industry associations for the television and print businesses, there is no industry body that stands up for members if advertisers do not pay on time. ‘No one messes with Google, Yahoo! and Microsoft and the IAMAI is toothless’, says Pahwa.

Four, payment gateways on the mobile are an issue. Life is simple if you are buying something through your telecom operator. The moment you try to buy something on your own, through the mobile phone, things get complicated. This, says Pahwa, is because backend payment gateways on the mobile are very complicated for Indian companies who have to follow the local rules. This means logging in with a password, on the mobile, to do a one-time payment. This has stymied the growth of content streaming and download services on the mobile and actually helped propel mobile advertising, says Pahwa.

The fifth and last issue with the ecosystem is that metrics and analytics that help marketers compare digital media to print and TV are missing. “Globally consumers are combining social media to old media like television. But in India there no way to analyse the effectiveness of advertising across media,” says Alok Mittal, managing director, Canaan Partners.

(Vanita Kohli-Khandekar is a media specialist and writer. She has been tracking the Indian media and entertainment business for over a decade.

Currently she is a columnist and writer for Business Standard and Mid-Day. Her earlier stints include one at Businessworld and Ernst & Young.

A Cambridge University fellow (2000), Vanita teaches at some of the top media schools in India.

The fourth edition of her book, The Indian Media Business (Sage), was launched in September 2013.

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29-09-2013 10:47:26

NEWS AND DIGITAL MEDIA

Growing and Creating Markets for News

by Dr S Raghunath Strategies and policies M&E companies should have in place to scale and grow in the digital media -- using tech tools; convergence of media and tech

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

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A

t a recent Media and Entertainment Summit, I was struck by the remark of an eminent panelist. He said, “We, in India, are intoxicated by our copious consumption: largest number of newspapers in circulation, 400 million television viewers, 100 million digital consumers. Digital, in particular, is an indictment of our creative limitations – we have 600 million mobile screens and yet we do not have a unique content proposition for the medium!”

Digitization has brought reach but not enough revenue. It has attracted eyeballs but not a windfall.

Today local news is a factor in branding a news paper and news channel. Readership and viewership of local news especially in vernacular language is strong. Newspapers continue to excel at reaching readers who are interested in subjects that affect them in their daily life: local business, local trends affecting lifestyle, local environment and its impact on health and well-being, opportunities for continuing education and the local economy. Newspapers have an unassailable advantage by and large for local news coverage as they are published daily and stay focused on specific events and trends.

However, in the pre internet era when we considered “News” in English, it was all about “new” information. Now the newspapers have content which has been made common knowledge at least 12 hours before the printed news edition reaches the homes of its readers as hyperactive TV channels

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with their penchant for breaking news are literally “breaking ” the backbone of printed “news” not to forget Facebook, Twitter and bloggers of the world that have commoditized news. The strength of these platforms is speed of information not their insight or depth.

Therefore the next frontier of differentiation in news business would be analysis and professional storytelling. Credibility will play a key role and accuracy of analysis and the prioritization of news stories will contribute to unique positioning .

The unique contribution of well known newspapers and news channels will be seen more from the perspective of validation and not mere reporting. Monetizing news analysis and professionalism in news narration will be key to business growth.

Therefore three areas may become increasingly important for ensuring business growth - intellectual property (IP) management, digital supply chain management and segmentation.

Newspapers and news channels are seriously considering how to redesign their IP management strategy. They are thinking about the entire life cycle, including contracts, rights and uses. They are realizing that improving IP management will ensure compliance, reduce costs, and increase revenue. They are in the process of writing new rules for managing their digital content.

The two key elements of digital supply chain management are digitizing the media and cataloguing it. Companies need to develop smart ways to quickly and securely store and retrieve digital data.

Since more newspapers and news channels will gradually dis intermediate and sell digital content in a direct to consumer (D2C) model, the prime mission will turn out to be about getting to know their customers. They need to discover the most profitable customers and their reading and viewing habits. They must unbundle and package content in an attractive way to make revenue happen. Also, they must gather customers’ feedback to ensure that their digital content and delivery is on track. Newspaper companies and news channels can use social networks to meet their goal. They would need to collect and analyze more data than ever before — and share it with their advertising clients.

For instance, we know that there are 189 million newspaper readers and 143.2 million internet users in India. We also know

that the internet users are predominantly youngsters – those in the 15-30 years age group and they represent approximately half the population . They use internet on their smartphones, smart TVs, desktops and laptops. From phones to tablets, this is the most exciting development for advertising platforms .However the products and services that attract the attention of Gen Y are very different and distinct from Gen X. Video advertisements on the net fetch higher returns than static advertisements.

Far beyond repurposing news, there is a whole new opportunity to engage readers, curate the best coverage and display and explain news in new ways. However newspapers and news channels need to differentiate between the fe personal interests and pe public concerns of Gen pu X and Gen Y. They need to look at the degree to which news can be customized to specific cu segments of the populase tion tio such as Gen X and Gen Y. Segmentation G and an focus can help retain and grow readerta ship and viewership. sh Printed newspapers Pr continue to stay as the co most efficient adverm tising medium within tis local markets. Print lo subscriptions have not su drastically diminished while they are allowing digital access. Ads are being seen and sold in both formats.

As digitization progresses, the newspapers and news channels industry must embrace the changes in their business model and develop a dual strategy that addresses the traditional format along with the web based model. Consumption and monetizing of content, will require investments in IT systems. Technical encryption specialists can provide confidentiality mechanisms. Encrypted platforms can protect journalists and their sources .

Infrastructure and policies that deal with convergence.

The digital news business is at the beginning of its product cycle. It is not such a great decision to go where the puck is.

It is indeed a great decision to go where the puck is going to be. That is particularly true in the news business whose competitive landscape is experiencing an unrelenting pace of change and new competition. News paper and news channel companies must continue to push the envelope in content and delivery innovation to meet evolving consumer demands.

They need to deliver premium, branded content to remain competitive.

Monetizing news analysis and professionalism in news narration will be key to business growth

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MEDIA TRENDS EMERGING PLATFORMS POWER 100 FESTIVALS AND MARKETS FILM PRODUCTION REGIONAL CINEMA BROADCAST DIGITAL MEDIA DTH CONTENT PRODUCTION ANIMATION STUDIOS GAMING SERVICE PROVIDERS FINANCIERS & VCs MOBILE ENTERTAINMENT RADIO TECHNOLOGY COMPANIES BUYERS LOCATION SERVICES GLOBAL SHOWBIZ FIRMS BANKERS ADVERTISING & MUCH MORE www.picklemag.com pickle entertainment biz guide

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PICKLE 2014

M&E HANDBOOK Pickle Handbook 2014 is a treasure guide for everyone engaged in the business of media and entertainment. It has been conceived to help your everyday business activity. It has been designed after taking inputs from industry leaders on what is needed for today’s knowledge driven showbiz. It is one of a kind reference guide that provides much more than just contact details. The book also has a comprehensive coverage of India’s media and entertainment ecosystem. Email to pickle@in.com to know more on the guide and how to own a copy of it. It is a limited edition for the decision makers. Available from January 2014. www.picklemag.com

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• The largest and oldest film festival of India • One of the Oldest Festivals in Asia • Present the Best on Indian and World Cinema • Competition for feature films from World Cinema • Total Prize Money approx.

US$ 200, 000 • Lifetime Achievement Award

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November 20 - 30, 2013

www.ifďŹ .nic.in

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

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IFFI 2013

GET SET GOA FOR IFFI 2013

November 20 - 30, 2013

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

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Festival Sections • Competition: Feature Films by directors from all Continents • Out of Competition: ‘Cinema of the World’ • Foreign Retrospectives, Tributes, Special Focus, Premieres, • Indian Panorama, Indian Retrospectives, Tributes • Film Bazaar • Technical Workshops What is your vision for IFFI 2013?

How is the festival shaping?

The festival will continue with its tradition of promoting and positioning world cinema in India’s cultural scenario and vice versa. The preparations are on in full swing. It is shaping up quite well and I am sure we will be able to maintain the elevated standards the festival has set for itself in the last two years, on the lines of the Expert Committees’ recommendations.

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

This is the 44th edition of the festival.

And you have seen (for more than two decades) the festival grow from its roots. What has it achieved and what is its contribution to cinema?

The International Film Festival of India which steps into its 44th year, was initially established as part of the national cultural pedagogic project in tandem with the Nehruvian vision of promotion of

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art and culture in independent India. The mission was to create a seminal event to showcase the alternate cinema and also to introduce Indian Cinema to the world and vice versa. The forum provided a venue for the lively interplay between the film maker and the audience, and between film professionals and cultures.

The vision of a ‘National Cinema Collective’ has also been instrumental in framing a ‘National Cinema’, the kind of cinema reflecting the values and aesthetics the nation wished to represent in a platform of cultural exchange. It must be said, and not forgotten that - without these films Indian Cinema would not have had a history as glorious as what it has now.

As the largest film producing industry in the world, that makes more films than the next three countries - the USA, Japan and China - combined, with a count of 3.3 billion theatre admissions a year (2008), India certainly is Mecca of Cinema. Both in terms of tradition and scale of operations, the country’s cinema is way ahead of the rest of competing Film industries.

In such a scenario with an abundance of content and a not so far reaching distribution network, a film festival becomes vital, not only as a platform to showcase independent cinema, but also to raise the global profile of the industry. IFFI has been the leading force in doing so.

IFFI STATS

70 326 COUNTRIES

FILMS SCREENED

$200000 TOTAL PRIZE MONEY

8000 PARTICIPANTS

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IFFI Awards • The ‘Best Film – Golden Peacock’ award with cash prize of Rs. 40,00,000 to be shared between Director and Producer.

• Best Director – Silver Peacock’ award with cash prize of Rs. 15,00,000 is given to the winner.

• A Special Jury Award with cash prize of Rs. 15,00,000 is given to a film or an individual for his artistic contribution to the movie.

It will be awarded to the director of the film.

• Best Actor Award -- Silver Peacock, cash prize Rs. 10,00,000 • Best Actress Award -- Silver Peacock, cash prize Rs. 10,00,000 • The Lifetime Achievement Award What are the major highlights of the festival this year?

Besides the usual but important sections like competition, Cinemas of the world, Retrospectives etc., the festival highlights will also include a special section on the Cinemas of the North Eastern States of India. The programme will feature - along with a package of outstanding films reflecting the ethos and aesthetics of the region – a cultural show, an arts and handicrafts exhibition, and food gallery.

How many countries are participating this year?

We anticipate to have around 70 countries from around the world, in the lines of the previous year where we have 67 countries participating.

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INTERNATIONAL FILM FESTIVAL OF INDIA, GOA NOV. 20 - 30, 2013

Any country focus?

We are looking at the possibilities of focusing on any one of these countries Greece, Hungary, USA, Japan or Canada.

We have received a sizable number of strong entries from these countries and since they are all hard-to-ignore films, we are trying our level best to include them all in various sections. Since we recently have bilateral agreements with Japan, it seems to be a strong possibility for the country focus. However, much would depend upon the said country itself.

What about celebrity guests?

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

Will there be any homages and tributes?

Yes. The festival will pay tribute to Ruth Prawer Jhabwala, Nagisa Oshima, Vadim Yusov and Rituparno Ghosh among other film personalities who left this world since our last edition.

What kind of wholesome experience should the delegates expect this year?

IFFI has always been a combination of cinema and Goa. As one of the finest holiday destinations in India, Goa’s ambience has added immense value to the event where delegates can relish cinema in the warmth of the Coastal India.

In terms of the cinema, the festival has in its platter, the best of Indian and International Cinema, combined with a space for discussion, debates and discourses on the same.

How is the Goa government contributing to the festival?

They are equal partners in organising IFFI as they provide the whole infrastructure in Goa and take care of the ground logistics.

IFFI DELEGATE REGISTRATION www.iffi.nic.in, www.iffigoa.org e-mail: registration@iffigoa.org

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How many films will be screened this year?

The number of films shall also remain more or less the same as last year (326 films) as the number of festival days, screens and shows are similar to last years.

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29-09-2013 10:47:27

15TH MUMBAI FILM FESTIVAL OCTOBER 17 - 24

Movies, Mumbai, MAGIC

Srinivasan Narayanan Director, Mumbai Film Festival

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

The 15th edition of the Mumbai Film Festival (MFF) has got a refreshed look. What’s the reason?

Mumbai Film Festival in its 15th year has a new logo that is more fluid, iconic yet contemporary. It is reflective of the vision of the Festival - the past, permeating the present and flowing into the future.

How’s the festival shaping up? Can Indian film loving audience expect to see 2013’s recognized global film festival premières at Mumbai?

The festival is shaping up well. The Mumbai Film Festival’s strengths have been excellent selection of films, eminent juries, programming and strong academic activities. This year will be an improvement on previous years’ programming and organizational strengths.

You have announced some of the finest movie minds as Jurists...

The Festival delegates can expect to watch the best of films from all over the world, meet and interact with some of the biggest names in International cinema and participate in elevating academic activities. We would like the festival to emerge as a meeting place for creative talents.

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We are in an economic slump. Do you see this impacting your festival and the feel good factor?

The whole country is passing through difficult times. We in Mumbai Film Festival have always been insisting on value for the money spent. We are working to see that none of the creative content is affected due to current economic difficulties. It is heartening that many of our well wishers are supporting us and helping us in this effort.

MFF is top on the radar of global filmmaking community. Your comments.

Thanks to all our friends, well wishers and supporters, the Mumbai Film Festival has emerged as an important annual event in this part of the globe. We have been trying to bring in a lot of professionalism in the organisation of the Festival. We are aware of our strengths and limitations and are trying to enlarge our horizon.

MAMI is also a breeding ground for first time filmmakers. How successful have you been on this front?

The Mumbai Film Festival is targeted to young talents. Our International Competition Section is for the first time feature film directors. We have new faces LIKE PICKLE IN FACEBOOK

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JURY OF 15TH MUMBAI FILM FESTIVAL

Bruce Beresford

Masato Harada

Nathalie Baye

Asghar Farhadi

Head International Competition Jury

International Competition Jury

International Competition Jury

Head India Gold Competition Jury

Siddiq Barmak

Jill Bilcock

Roger Garcia

Waris Hussein

India Gold Competition Jury

India Gold Competition Jury

India Gold Competition Jury

India Gold Competition Jury

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

Mumbai Film Mart (October 18-20, 2013) has become a pull factor for networking, buying, selling activity.

But India is not a full-fledged market for films. Do you see Mumbai Film Mart closing this gap?

Remember, this is just the third edition of the Mumbai Film Mart (MFM). We would like to see that MFM delivers and does not remain a talk show. It is gratifying that in the first two years the MFM has shown results. We have already worked out a growth path, a route map for MFM for the next five years.

I have seen closely the growth of Cannes Film Market and Berlin Film Market mainly and some other markets. We have the patience to build the MFM brick by

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■ Over 200 films from over 65 Countries ■ USD 220,000 to be awarded as cash prizes ■ Costa Gravas & Kamal Hassan to be conferred with Lifetime Achievement awards ■ MFF will pay homage to Yash Chopra, Rituparno Ghosh and Pran ■ Celebration of Spanish cinema | spotlight on Cambodian cinema | 6th Rendez-vous with French cinema | Kabul Fresh :New voices in Afghan cinema | Experime ntal films | Costa Gravas retrospective | Leos Carax

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

What are the activities planned at the Mumbai Film Mart this year?

Finding buyers for Indian films and foreign films. Distribution has been our main slogan. To achieve this we offer a robust networking platform for the Indian and Foreign buyers and sellers, television networks, accessory right acquirers. Now we are reaching out to Festival programmers / selectors, commissioning agents, sales agents and producers to look at fresh films, under production films and projects. As I mentioned, we are not in a hurry. We want to stabilise the existing strengths and slowly open new opportunities.

Mumbai Film Mart is an indication that the Mumbai Film Festival is serious about the BUSINESS OF FILM. LIKE PICKLE IN FACEBOOK

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29-09-2013 10:47:27

SHOWBIZ SNAPSHOT

INDIAN

Entertainment in Numbers Here are some stats you are looking for MOVIE TICKETS SOLD EVERY YEAR

TELEVISION VIEWERS IN INIDA

INTERNET USERS IN INDIA

SMART PHONE USERS IN INDIA

RADIO LISTNERS IN INDIA

DIGITAL CINEMA PENETRATION IN 1 YR

GLOBAL APP DOWNLOADS IN A YEAR

APP DOWNLOADS IN INDIA IN A YEAR

18

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3 bn

176 mn

159 mn 31 bn

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700 mn 44 mn

100 % 9 bn

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30-09-2013 10:57:31

BIG PICTURE SUMMIT INNOVATION IN MEDIA Towards $100 Billion Indian M&E Industry September 13 - 14, 2013 New Delhi

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

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30-09-2013 10:42:28

EMBRACING INNOVATION IN MEDIA

Photos by K.K. Laskar

CII BIG PICTURE SUMMIT 2013

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

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

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29-09-2013 10:47:30

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

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

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

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29-09-2013 10:47:33

Manish Tewari Union Minister for Information & Broadcasting Government Of India

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29-09-2013 10:47:35

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

T

he Union Minister for Information & Broadcasting said the United Progressive Alliance (UPA) Government believes that M&E industry -- both in its content and non content dimensions -- can unlock the creative potentials of millions of young Indians across the country.

“We will walk that extra mile to put in place the requisite infrastructure and policy to see that the industry is able to translate the $100 billion target into reality,” he said.

He also complimented CII for its optimism in setting the target of $100 billion. “We will partner with the industry to put in place requisite policy landscape to translate the vision into reality.”

Tewari said the Government of India believes in persuasion rather than regulations while dealing with the media. Appreciating the robust double digit growth of M&E industry in the last few years, he said that in the backdrop of economic slowdown, it is a good achievement.

Touching upon the New Media sector he said it has enormous power but needs to be regulated. He also urged the industry to explore the potential of Social Media.

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29-09-2013 10:47:37

No policy has done more damage to this industry than that of price controls on television content Uday Shankar CEO, Star India

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29-09-2013 10:47:42

THOUGHT LEADER

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

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ll of us took stewardship of our companies in the last two decades, when robust economic growth created an air of optimism and confidence in the country, and about India in the world. We gather today in the midst of an extremely turbulent time for the Indian economy. Beyond shrinking GDP growth and falling currency, what is truly remarkable is that the spirit of optimism seems to have been replaced by one of apprehension and despondency.

It is therefore appropriate that this industry forum has as its theme, renewal and innovation. In my mind, the forces that unleashed our exciting growth story are the very same as those that can inspire innovation and renewal in our industry. And at its heart is our willingness to be resolutely open to the world, to new capital and to new talent. But no renewal can happen, either in our economy or in our industry, if we are not brazenly open to new ideas.

Nowhere is this dichotomy more prevalent than in the media and entertainment industry. Twenty years ago, the real face of liberalization for most Indians was the appearance of dish antennas on roofs. It was a compelling signal to the world outside that India was open for business. We were ready to embrace new ideas, wherever they originated.

And we were confident enough in our own identity to be open to new worlds.

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And in that period, the industry saw a remarkable transformation in its size and in its scale. From one state run broadcaster with limited reach and less than 5 hours of daily content, we now have over 800 channels telecasting more than half a million hours of original content to 700 million viewers. From around 3000 newspapers in 1991, we have grown to more than 80,000 newspapers today, with most of the growth coming in the vernacular languages. Our movie industry has grown 20 times. The industry has evolved from a disorganized community dominated by a few players to a highly competitive sector that is increasingly better organized and better run. From 750 million in 1991, it is now an industry worth 15 billion dollars. It supports 6 million jobs directly and probably twice more indirectly. It has both facilitated and absorbed new technologies. And, it has created a compelling platform to showcase India to the world.

So much so that last year we set ourselves an ambitious target of $100 billion for the sector. Today, I would like to call out two big challenges the combination of which have had stifling impacts on innovation in the industry.

Our television viewers today have easy access to global content, whether through online portals, through network broadcasters who are airing shows closer and closer to global launch dates, or simply LIKE PICKLE IN FACEBOOK

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29-09-2013 10:47:44

No renewal can happen, either in our economy or in our industry, if we are not brazenly open to new ideas through piracy. This has brought about a burning need for innovative, original content. However, for an industry that boasts of over half a million hours of original programming every year, how much of it is innovative content that we are proud of having brought on to the screen? The reason is simple. Our ability to charge for content has nothing to do with the scale of our investments in it. If a bold producer does decide to risk capital on cutting-edge, new idea, today he has no liberty to price his creative work. Why then should he take a risk when he stands no chance of getting a decent return on his investment even if his production becomes a blockbuster success? The result is tired, stagnated, insipid content for the consumer. No policy has done more damage to this industry than that of price controls on television content.

What is amazing is that we have compelling evidence in the same industry that shows that abolishing price controls can dramatically improve consumer choice.

Freeing up ticket pricing in cinemas created the foundation for a dramatic improvement in the quality and diversity of movies that came to the market. Without raising costs substantially for the price conscious consumer, it has financed a generation of content that has appealed to both niche and mass audiences.

It is difficult today to avoid the persistent debate about the quality and health of news channels. But, there is no question at all that it is the restrictive tariff regime that has prevented news broadcasters from producing high quality content for an audience that is much smaller than that available for general entertainment or sports. Ironically, a regime that was brought to protect the consumer has ended up doing the most damage to consumer choice and quality.

Even more frightening than price control is the creeping controls on free speech. For a country that prides itself on its deep democratic ethos, the last decade has been characterized by a creeping inclination to impose controls on speech and expression.

It is no surprise then that this tyranny

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of the minority has now reached the central halls of Parliament. Today, a small but vocal group can claim both the moral high ground and have the political legitimacy to hold to random India’s legislature for a session, a day and sometimes more. This should not come as a shock at all. For, behind this practice, is the very same culture that we have nurtured and indulged for too long. The culture that grants legitimacy, cover and sometimes state protection to the very few who are offended or bothered by the expression of another group, and who can take to the streets and can vandalize private and public property with impudence. It should not be surprising that when we start putting limits on new ideas and free expression in our cultural space, they will find their way into our political and economic spaces too.

The collective impact of regulation and the creeping tyranny of the minority have stifled innovation in our industry and, dare I say, in the economy as whole.

At 15%, we may grow at thrice the rate of the GDP but that is more a reflection of our topline economic growth than the health of our industry. At this rate, it will take us another 15 years to hit $100 billion in value and by then, we will be just 3% of the world media market. This is just unacceptable.

Make no mistake. I am definitely not arguing for a world without regulation.

History has taught us that free enterprise is well served by clear rules and policies. Absence of regulation is as bad as over regulation.

But what is desperately needed is a consensus on what to regulate and how much. It is this lack of consistency in regulation that is impacting multiple industries. At exactly the moment when our economy is poised for the next big leap, we have found a way to make it harder and harder for our companies to innovate, to create new products and services, and to find new markets.

The resounding message from this Summit is that, as a sector and as a country, we will remain stubbornly open to new ideas and committed to expanding the spaces for free expression.

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29-09-2013 10:47:45

06 –14

FEB 2014

EUROPEAN FILM MARKET 8,100 PARTICIPANTS 455 EXHIBITORS 1,700 BUYERS 800 FILMS 600 MARKET PREMIERES 1,160 SCREENINGS

WWW.EFM-BERLINALE.DE

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29-09-2013 15:21:46

CII BIG PICTURE SUMMIT

“Innovation is a process, change in mindset of thinking. At the end of the day we need three things. An industry which is aware of its potential, conscious of its short comings and willing to change. We need a government which is proactive and understands that this industry is no longer about entertaining people, it is about bringing social transformation, a huge employment generator and a business by itself.”

Amit Khanna

Takeaways from CII Big Picture Summit

Filmmaker, Writer, Media Expert

“If we need to innovate, we need to put resources behind genuine innovation. You cannot have capped pricing.There is no other sector where pricing is capped (either for shoes, shirts, detergents or cars) Why should we have cap one genre of channel pricing?

We have to allow market to determine the prices.”

Sudhanshu Vats Group CEO, Viacom 18 Media

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Ronnie Screwvala, MD, Walt Disney, India, said that to reach the $100 billion mark, the industry should have a strategy spanning the next 18 months.

There was need to reduce dependence on advertising revenue and concentrate on longerterm initiatives.

“A core group of four-five people on unanimous basis can come together and work closely with representatives of the government so that there is stability in regulation,” he suggested.

PRESCRIPTIONS FOR INDIAN M&E • Reduce and change the dependency on advertising

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• Unanimity and long term thinking • Attract best of the talent to work • Converting consumers to pay for content • Consistency and stability in regulation • Creativity and innovation in content • We need destructive mindset in new media • There are opportunities in Edutainment • Create second and third sport in India • Bandwidth is the new oil

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29-09-2013 15:21:46

India is adding 5 million internet users a month. By the “What is amazing about India is the explosion in the consumption of online video -- with or without broadband.

YouTube has 50 million users in India today compared to 10 million users couple of years ago.”

Rajan Anandan Head, Google India

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

www.ciibigpicture.com

erm to

pay in in

There are 2.4 billion people on internet today.

80% of them watch online video. More than half of them watch videos on mobile. By 2020 there will be 5 billion people on the net. 80% of them would watch videos online.

3 billion people will access internet over the mobile.

set in

ort

“The Indian newspapers have embraced the Web. In India it is not going to be print versus digital. The question is how is it going to be print and digital.

The print media is going to be the lead factor in my lifetime.

The newspapers will embrace the digital world nicely.”

Ravi Dhariwal CEO, Bennett Coleman & Co. Ltd

I am a huge fan of Indian movies. But India should have sort of a school to understand the American way of making movies with some of the fantastic Indian actors.

You don’t have to learn anything, but you need to have a special way to understand American thinking, and how they make movies.

Jean-Claude Van Damme Hollywood Actor

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29-09-2013 15:21:52

CII BIG PICTURE SUMMIT

700 million TV Viewers in India “Innovation is a process of renewal. It comes out of a process of destruction.

In order to create a renewal system, you have to allow some part of the economy to die” (which has stopped playing productive or creative roles).

Rajesh Sawhney

“Technology is not the barrier today for either aggregating content or transmitting to multiple-screens. What’s missing and what will help innovation is infrastructure (satellite capacity and broadband) and policy” Harit Nagpal

Founder - GSF INDIA

MD, Tata Sky

An amazon.com can tell me which book to buy next. Clothing companies are moving to fabric that works just for me. In contrast, the world of media applies techniques from the Stone Age. Why are we okay with a system that tracks 20,000 – 30,000 people? Why not 10 lakh or 10 million?

Sanjay Gupta

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

10 Million

Number of People employed in the M&E industry

COO, Star India

“I see three things in the M&E sector.The platform for distribution should be properly established. We need to expand digitization. Secondly, the government has to understand M&E is an infrastructure industry. Thirdly, there is a need to make TV ratings transparent.”

Ravi Shankar Prasad BJP Leader, LAWYER Deputy Leader Opposition (RAJYA SABHA)

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29-09-2013 15:21:57

“I te med have can mot your This chan that in ot with nova slow and Ger

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e d E

“I tell all my big clients – telecom and media companies – that they should have a second place to where they can be a startup and shoot down the mothership, where you can replace yourselves before somebody does it.

This is important because speed of change is mindboggling. You can see that in India. Every year, I go there it is in other leap. If you don’t move along with the speed and allow room for innovation and risk and if you are too slow eventually you will fall of the cliff and nobody cares where you go.”

Gerd Leonhard, Media Futurist

Get in touch For participation in CII Big Picture Summit, September 2014, New Delhi

Contact Kavita Saini kavita.saini@cii.in Neetu Sikka neetu.sikka@cii.in

160 million Radio Listeners in India 61

“Auditing a Pay TV platform is to make sure that the accurate number of subscribers are reported and agreement with content owners are reported correctly. Audit brings transparency and clarity. This is much needed in India. We are keen to come to bring our expertise to India.”

Simon Polock SR VP International Media Audits International

Sanford Panitch, President, Fox International Productions Hollywood studios making local films in India is dominant logic for sure. I mention this reverse innovation because I believe it is one of the many kinds of influences that speaks to what is happening in the Indian marketplace today.

Technology has democratized the creation of media.

The foreign films I was lucky enough to get my hands on as a kid, often without subtitles, are now instantly gettable on my iPad.

In the US for the industry overall, the theatrical business accounts for about 27% of studio revenues with 34% coming from the home entertainment market, and the remaining 39% coming from television distribution.

In India 90% of the revenue comes from Theatrical and TV.

We believe by the end of this year there will be more than thousand 2K 3D screens in India, that is less than 10% of the digital screens in China, a milestone China has achieved in less than 10 years.

Why should India not strive and accomplish a similar feat in a country where movie going has been leisure time behaviour for 10 decades?

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29-09-2013 15:22:04

CII BIG PICTURE SUMMIT

Content First

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

“Our job is to create the best quality content and deliver in the multi-screen platforms.

As 3 billion Internet users become 5 billion, consuming video, what do they need.

They need quality content. As long as we create content that travel globally, for which people relate to globally and cover large audiences we are fine.”

Rahul Johri

Breaking the trust breaks the business - so ensure it “I am very happy when I hear Indian regional cinemas doing well. Those voices are very important. This is our cultural fibre. The kind of country we have and kind of consumerism we have, we will have diversity in our cinema and diversity in our content.”

Prasoon Joshi

Senior Vice President and GM - South Asia & Head of Revenue, Pan-Regional Ad Sales and Southeast Asia Discovery Channel

India, Brazil and Indonesia (& China) have the unique opportunity to actually pioneer the future of media 62

Writer, Poet

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

Monica Tata MD, HBO India

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29-09-2013 15:22:10

C Pi Th C tic an ac an

BU

ar ory ral we m ty in

Innovation Workshop

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

CII’s workshop on High Growth Through Innovation as part of the Big Picture Summit was attended by top M&E CEOs, CFOs and HR heads.

The workshop was led by Dr S Raghunath, Dean and Professor of Corporate Strategy and Policy at IIM Bangalore. In the workshop, participants understood the business growth and innovation framework and learned to apply it to the industry.The workshop was highly interactive and showed the way forward for developing value innovation and implementing a high growth plan in organisations.

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

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

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

Investments for gaining analytics driven insights into connected consumers’ behaviour and measuring crossplatform reach will be critical for successfully and profitably growing the digital ecosystem

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“The market is growing in India for films, but a movie that grosses $100 million outside India is yet to happen. Digital platforms are going to help familiarise Indian films to audiences outside India.”

Ashok Amritraj Chairman & CEO HYDE PARK ENTERTAINMENT GROUP

Future of News Organisations

“The biggest challenge for a news organisation is not competition but how to maintain credibility. Only few companies with trust will survive.”

Dr Bhaskar Das Group CEO, News Cluster, ZEE

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29-09-2013 15:22:18

POWER 100 MOST INFLUENTIAL IN INDIAN MEDIA AND SHOWBIZ. WATCH OUT FOR PICKLE NOVEMBER AFM ISSUE. Pickle’s goal is to help you buy, sell and distribute content from overseas territories, find co-production partners, offshore with best of the Indian service companies and track media and entertainment business in India.

INDIA AND BEYOND

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29-09-2013 10:47:11

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29-09-2013 15:22:23