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MONETISATION STRATEGIES IN MEDIA

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RECOGNISING THE CONTRIBUTION OF ROSHANS TO INDIAN CINEMA CII BIG PICTURE SUMMIT 2014

Lt Roshanlal Nagrath

Rajesh Roshan

Hrithik Roshan

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THE BIG PICTURE SUMMIT September 19-20, 2014 | Hotel Taj Palace, New Delhi

Towards $100 billion Indian M&E Industry

MONETIZATION STRATEGIES IN MEDIA A CURTAIN RAISER Confederation of Indian Industry presents the THIRD EDITION of its annual flagship event – The Big Picture Summit – for the the Media and Entertainment sector. Join key decision makers, strategists and visionaries driving digital change and share monetization strategies in media Register now: www.ciibigpicture.com | Email: neetu.sikka@cii.in

Recognising the Contribution of Roshans to Indian Cinema

Lt Roshanlal Nagrath

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Rakesh Roshan

Rajesh Roshan

Hrithik Roshan

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THE BIG PICTURE SUMMIT September 19-20, 2014 | Hotel Taj Palace, New Delhi

Towards $100 billion Indian M&E Industry

MONETIZATION STRATEGIES IN MEDIA A CURTAIN RAISER Confederation of Indian Industry presents the THIRD EDITION of its annual flagship event – The Big Picture Summit – for the the Media and Entertainment sector. Join key decision makers, strategists and visionaries driving digital change and share monetization strategies in media Register now: www.ciibigpicture.com | Email: neetu.sikka@cii.in

Recognising the Contribution of Roshans to Indian Cinema

Lt Roshanlal Nagrath

Pickle_Sept_2014_Cover_CII.indd 1

Rakesh Roshan

Rajesh Roshan

Hrithik Roshan

13-09-2014 10:21:48

MONETISATION STRATEGIES IN MEDIA

Se p t e m b e r 2 0 1 4

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RECOGNISING THE CONTRIBUTION OF ROSHANS TO INDIAN CINEMA CII BIG PICTURE SUMMIT 2014

Lt Roshanlal Nagrath

Rajesh Roshan

Hrithik Roshan

RAKESH ROSHAN’S CINEMATIC JOURNEY Pickle_Sept_2014_Cover.indd 1

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BIG PICTURE SUMMIT

STRATEGIES IN MEDIA From start-ups to big enterprises, devising monetization strategies in the media is critical to any organization. The ability to monetize comes down to picking the right model that is in line with value proposition.

The right content coupled with right connectivity options with right device offers companies a chance for superior monetization opportunities. The ability for companies to capture how, when and where consumers interact with their brands to build knowledge and insight will be key business capability to help companies monetize.

In this context, M&E companies must adapt rapidly to the realities of the digital age in order to capitalize on new opportunities to drive growth and high performance.

The CII Big Picture Summit 2014 will reect on all these aspects and chart down a template for new growth avenues towards reaching the $100 billion Indian entertainment.

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Chandrajit Banerjee Director General Confederation of Indian Industry

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THE BIG PICTURE OF MONETIZING The two day CII Big Picture summit will chart out monetization strategies across media verticals and required regulatory corrections for a free media enterprise, says Chandrajit Banerjee, Director General, Confederation of Indian Industry

T

he CII Big Picture Summit has become the essential meeting place for everyone engaged in the Indian M&E sector to do a reality check on where do we go now. We are really excited to welcome the best minds from the industry, government and civil society for the third edition of the CII Big Picture Summit. CII’s objective is to scale the Indian M&E sector towards achieving $100 billion by the end of this decade.

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At this years’ summit we will look at achieving this goal through the prism of monetization strategies in media and entertainment verticals. We are at a crucial juncture and top in the mind of every M&E business leader is to reflect on – how to monetize content in a world with an endless array of digital entertainment options. We will also be recognizing Roshans for their contribution to Indian cinema at this year’s Summit.

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The M&E industry is undergoing an extremely fast and impressive change in the last few years in terms of content technologies, delivery channels, access devices, digital consumer behavior, revenue models, marketing techniques, advertising paradigms, rights management, cross-sector competition, market fragmentation and revenue redistribution, talents and skills.

In such a context, experts believe that M&E companies cannot afford to “wait and see”, they are having to adapt rapidly to the realities of the digital age in order to capitalize on new opportunities to drive growth and high performance. Companies have to reshape themselves to survive and compete with new, and aggressive players.

The two day summit will chart out monetization strategies across media verticals and required regulatory corrections for a free media enterprise. The summit has drawn thought and creative minds from across the verticals. Our delegates are as important as speakers and we have seen their interactions over the last two Big Picture Summits.

From the current $20 billion Indian M&E Sector we are aiming for $100 billion in the next six years. This means we have double our growth every three years. The objective of assembling the industry stakeholders is to deliberate challenges and accelerate to work towards an ecosystem to make this happen. Our vision is to create growth templates in all M&E verticals and bring the industry together to speak in united voice for all major issues.

Creating a business friendly environment and easy policy regime is vital for the stable growth of the M&E industry. We are witnessing a paradigm shift in the country’s business environment. The mood is upbeat.. While India is one of the most liberal media markets in the world, we feel that there is no defined roadmap from policy and regulatory level. We look forward to a clear roadmap on policy and regulatory issues from the government. It is time we put together a National Media Policy and that template will give direction on where we need to go from the policy front.

For example, the Government should do away with their policy of fixing prices of channels. Market forces should determine channel pricing. Consumers should be given the freedom to choose what they want to see and at the price they want to pay for the same. And framework of the policy that will protect consumer interests. This is clearly articulated by Sudhanshu Vats,

Group CEO Viacom 18 Media Pvt Ltd and Chairman of the CII National Committee on Media and Entertainment in the following pages.

Accelerating Growth and Creating Employment is the theme for CII in 2014-15.

The Indian M&E sector has huge room for growth and can create 10 million jobs without much spending from public infrastructure. We need to put together innovative modules to skill and train our future media workforce.

We need to plug the leaks that we lose majorly in piracy. Indian broadcast industry is losing approximately US$ 5 billion because of piracy. Filmed entertainment loses over US$2 billion each year. Piracy continues to cripple the industry and thus effective antipiracy laws on the and their enforcement should be imposed by the Government.

Indian entertainment sector is still bracketed with archaic laws of circus of the British Era. Also, when it comes to taxation, M&E sector is bracketed akin to liquor and spirits. We need to rewrite our ou archaic rules and laws to match today’s business reality rea . Many states still levy lev 60 per cent entertainment tax. The Direct tai to Home (DTH) sector is taxed tax over 45 per cent. The entertainment industry en is fighting a battle to be brought under the concurbr rent ren list of the Indian constitution. sti On a bigger picture, empowering a large number po of people using mobile connectivity would make co them the a part of the knowledge revolution, which would ultimately contribute to economic growth. For example, there is already a rise in smartphone usage in the country and 4G launch will further increase Internet penetration and users in India. We should work towards creating monetization mediums for small budget films and regional films to reach out to new audiences across the world.

The future is clearly mobile and this platform is set to go faster than ever before.

Wearable gadgets, speech technologies are set to transform this sector. This gives us an idea of where the M&E industry is headed and their future scope of growth.

Innovation would emerge as a critical factor in sustaining economic growth.

Lastly, India has many more challenges to be sorted -- be it infrastructure, education and poverty alleviation. It is the entrepreneurial zeal that is driving the M&E sector today. An innovative push from the government in an enabling regulatory infrastructure and policy reforms will create a world class knowledge driven entertainment economy for India.

Creating a business friendly environment and easy policy regime is vital for the stable growth of the M&E industry

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CII Big Picture Summit 2014 Monetizing Strategies: The Tryst for a USD 100 billion Indian M & E Industry DAY 1 19 September, Hotel Taj Palace, New Delhi 0900 – 1000 hrs

Registration

1000 – 1115 hrs

Inaugural Session

Moderated by

Mr Chandrajit Banerjee, Director General, CII

Welcome Address

Mr Sudhanshu Vats, Chairman, CII National Committee on Media & Entertainment and Group CEO, Viacom 18 Media Pvt. Ltd.

Presentation

Mr Marcel Fenez, Global Leader, Entertainment & Media Practice, PwC

Keynote Address

Mr JB Perrette, President, Discovery Networks International

Theme Address

Mr Sanjay Gupta, COO, Star India

Special Address

Mr Bimal Julka*, Secretary, Ministry of Information & Broadcasting

Release of CII – PwC Entertainment & Media Outlook 2014 and CII - Naik & Naik ‘Legal Handbook’ Address by Chief Guest

Mr Prakash Javadekar, Minister of State for Information & Broadcasting and Environment, Forest & Climate Change

Closing Address

Mr Chandrajit Banerjee, Director General, CII

1115 – 1130 hrs

Networking Tea / Coffee

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19 September, Friday

DAY 1 1130 – 1150 hrs

Strategies for Monetisation

A discussion on the right business models for the industry over the next few years. Which capabilities will be most critical for acquiring a rising share of revenues in the multiplatform world? To what extent are organizations evolving to reflect the huge transformations that are taking place in the marketing, advertising and rights management areas, just to mention a few? How are M&E companies preparing themselves (operationally and financially) to manage continuous innovation in products and services? How will companies reduce their operating cost to achieve increased agility?

Conversation:

Mr Harit Nagpal, MD & CEO, Tata Sky

Mr JB Perrette, President, Discovery Networks International Q&A 1155 – 1215 hrs

Content Keynote: Breaking the Clutter

A discussion on breakthroughs in content, newer customer experiences and the transition from fringe to binge by bringing in compelling content. How do we fight against commoditization and yet differentiate offerings in a crowded and fickle market place? As content becomes increasingly vernacular with mobility, localisation and personalization, thought leaders in the content ecosystem deliberate on their strategies for the future.

Moderator

Mr Harit Nagpal, MD & CEO, Tata Sky

Address

Mr Arnab Goswami, Editor-in-Chief and News Anchor, Times Now

Q&A 1215 – 1315 hrs

Influencers & Innovators in the Game Changing Future of Media

Case studies of successful Innovators and disruptors across multiple eco-systems. Experts exchange views on how new media has changed the media and entertainment landscape and thereby benefiting the consumer with multiple choice.

Moderator

Mr Neeraj Roy, MD & CEO, Hungama Digital Media Entertainment Pvt. Ltd.

Conversation

Mr Raj Biyani, Managing Director, Microsoft IT (India)

Mr Rajdeep Sardesai*, Consulting Editor, Headlines Today

Mr Raman Kalra, Executive Director & Partner, IBM Global Business Services,

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DAY 1 19 September Dr Bhaskar Das, Group CEO, Zee Media Corporation Ltd

Q&A 1330 – 1430 hrs

Networking Lunch

1430 – 1530 hrs

TOMORROW’S TV – Monetisation and Market Mechanism

Viewers’ use of second screen for watching TV has forced content creators, distributors, and advertisers to analyze multiscreen viewing business models. The challenge is what can content creators, distributors and advertisers do differently? What will be the future of media economics, where will the money be made? The discussions center around future of video, multiscreen advertising, the economics of second screen, and the new viewer experience.

Moderator:

Ms Vanita Kohli Khandekar, Contributing Editor, Business Standard

Theme Address

Mr Sanjay Gupta, COO, Star India

Special Address

Mr Parameswaran N, Principal Advisor, TRAI

Panelists:

Ms Monica Tata, MD South Asia, HBO India

Mr Anthony D’Silva, Group CEO, Hinduja Group Media Companies & MD, Incable

Mr Paolo M Agostinelli, Chief Content & BD officer, Tata Sky, Reliance Jio (4G)

Q&A 1515 – 1615 hrs

Media – The Mentor

Gurukuls of the traditional India were considered a reflection of all virtues, to be imparted and imbibed at the root level. Has modern media today invincibly stepped into that role? If yes, in what capacity? Is media an ideal mentor? What are the “bewares”? Speakers discuss both sides of the coin.

Moderator

Ms Kaveree Bamzai, Editor, India Today

Keynote Address

Mr Rajat Sharma, Chairman and Editor-in Chief, India TV

Panelists

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Mr Goutam Ghose, Filmmaker

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DAY 1 19 September Ms Mrinal Pande, Former Chairperson, Prasar Bharati

Ms Bhawana Somaaya, Film journalist & critic

1615 – 1630 hrs

Networking Tea / Coffee

1630 hrs onwards

MONETIZATION KEYNOTES

Experts navigate the breakthroughs in content, newer customer experiences, and the transition from fringe to binge by bringing in compelling content. to multiple screen which traditional networks eventually need to adapt. Are multi-screen platforms jeopardizing the future of television, or can it coexist with live, linear programming? How are key players engaging and winning across platforms and devices? As content becomes increasingly vernacular with mobility, localisation and personalization, thought leaders in the content ecosystem deliberate on their strategies for the future.

Stand alone Keynotes by Media experts (followed by Q & A after every keynote) Mr Sudhanshu Vats, Chairman, CII National Committee on Media & Entertainment and Group CEO, Viacom 18 Media Pvt. Ltd. India to invite the speakers and moderate the Q& A

• Filmic legacy

Mr Raghvendra Singh, Additional Secretary (Films), Ministry of Information Broadcasting

• Print

Mr Aroon Purie, Chairman & Editor-in-Chief, The India Today Group

• Digital

Mr Satyan Gajwani, CEO, Times Internet

• Transmedia

Mr Siddharth Roy Kapur, MD, Disney India

• Radio

Mr Prashant Panday, MD & CEO, ENIL (Radio Mirchi)

Ms Ruxandra Obreja, Chairman, Digital Radio Mondiale (DRM) Consortium & HeadDigital Radio, BBC World Service

1830 hrs

Contribution of Roshans to the Indian Cinema Mr Bhuvan Lall, Executive Chairman, Lall Entertainment in conversation with

Mr Rakesh Roshan, Producer, director and former actor Mr Rajesh Roshan, Music Composer Mr Hrithik Roshan, Bollywood Actor

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20 September, Saturday

DAY 2 1000 – 1045 hrs

Riding the big technology wave: Start –ups & monetisation

Experts and the new generation of entrepreneurs share the success stories in the digital world

Moderator

Mr Prasanto K Roy, Editorial Advisor, Cybermedia

Address

Mr Rishi Jaitly, India Market Director, Twitter

Panelists

Mr Kavin Bharti Mittal*, Head of Product & Strategy, Bharti Soft Bank & CEO, Hike Mr Tre Azam, CEO, Myndplay

Mr V A Shrikumar, MD, Push

Mr Rajesh Balpande, Co-Founder & CFO, Bookmyshow.com Mr Hitendra Merchant, Founder & CEO, Yoboho Q&A 1045 – 1145 hrs

Making India an international Filming destination & Revenue from Global markets

Film incentive regimes implemented across countries in the Asia Pacific region have attracted international productions, encouraged co-productions and helped promote film tourism. While there is a need for foreign investment to fuel growth and facilitate new business models in the Indian media and entertainment industry, India still needs to implement single window clearance system and regional film incentives across states. Find out how strategic partnerships can facilitate innovative film funding models, attract foreign investment and create new opportunities for producers and independent filmmakers in the future.

Moderator

Mr Frank Rittman, Sr VP, Deputy MD & Regional Policy Officer, Asia- Pacific, MPAA

Release of E&Y – MPAA Report “Implementing Film Incentives to make India an International Filming Destination”

Release of Report & address

Ms Valsa Nair*, Managing Director, MTDC

Special Address

Mr Vijay Singh, CEO, Fox Star Studios India

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DAY 2 20 September Panelists

Mr Ajit Andhare, COO, Viacom18 Motion Pictures Mr Rezal A.Rahman, CEO, Iskander Malaysia Studios Sdn Bhd. Dr Claudia Gladzijewski, Executive Producer, Germany

1145 – 1200 hrs

Networking Tea / Coffee

1200 - 1315 hrs

Countdown to Convergence: Need for a national media policy?

The telecom-media convergence has brought about huge opportunities, but those that could be fraught with uncertainty. Against the blurring traditional dividing lines between telecom, digital and media industries; business captains and policy mavens discuss on how regulators should revisit the policy paradigm in a digital era? Whether a level playing field in content regulation and/or telecommunications regulation is necessary or to be preferred? Will the current set of regulators facilitate the growth of the Indian M&E sector to achieve its full potential by 2020?

Chairperson

Mr Vinod Dhall, Former Chairman, CCI & Chairman, Dhall Law Chambers

Special Address

Mr Jawhar Sircar, CEO, Prasar Bharati

Keynote Address

Dr Rahul Khullar, Chairman, TRAI

Panelists

Mr Deepak Jacob, President & General Counsel, Star India Mr Shridhar Subramaniam, President India and Middle East, Sony Music Mr Amitabh Kumar, President Technology, Dish TV India Mr Tarun Malik, Director & Head - Media & Cloud Services, SW Asia, Samsung

Q&A 1315 – 1415 hrs

Networking Lunch

1415 - 1500 hrs

Big data and analytics: The next disruptor to drive monetisation

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DAY 2 20 September Big data and Analytics today offers media and entertainment companies the ability to learn more about their audiences and target offerings and optimize revenue. While companies in India have gradually started to realize the potential on offer, making a successful play requires an inter-play of multiple success drivers including data, technology and people. This panel will explore the latest techniques in big data and ways M&E companies are using this data to revolutionize the way they are conducting business and to promote revenue optimization

Moderator

Mr Achint Setia, Head – Corporate Strategy, Viacom 18 Media Pvt. Ltd.

Panelists

Mr Matthew Eric Bassett, Director, Data Science, NBC Universal Mr Mukesh Sehgal, President & CEO, RSG Media Mr Raman Kalra, Executive Director & Partner, IBM Global Business Services, Mr Dippak Khurana, CEO & Co Founder, Vserv Ms Gunjan Soni, Executive Vice President, Star India

1500 – 1600 hrs

Case in Point: Sports Entertainment

Sporting events and sports broadcasting is an integral part of Media entertainment today and is a major economic contributor to the industry. However, there are challenges which are hampering the growth of the industry and further limiting opportunities for monetizing.

The whole ‘sports’ eco-system in India is due for much needed reform. A policy framework to encourage hosting international sporting events in India, return of investment for sports broadcasting and make sports lovers’ important stakeholders – is the need of the hour. The experts on the panel share their first hand experience on India’s sports conundrum, and the ways to tackle it including the need for a national sports policy.

Moderator

Mr Charu Sharma, Promoter, Pro Kabaddi League

Keynote Address

Ministry of Skill Development, Entrepreneurship and Youth Affairs and Sports*

Panelists

Mr Nitin Kukreja, President (Sports), Star India Mr Sunil Gavaskar, Co-owner, IBL Mumbai Franchise

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DAY 2 20 September Mr Rajyavardhan Rathore, MP & Olympian Q&A 1600 – 1615 hrs

Networking Tea / Coffee

1615 – 1715 hrs

Capitalising on India’s Soft Power

The stalwarts from the sector share their perspective on the revolution taking place in the Indian media and entertainment sector and positioning India on a global landscape

Chairperson

Mr Sam Balsara, Chairman & MD, Madison World

Keynotes by

Mr Ashok Amritraj, Chairman and CEO, Hyde Park Entertainment Mr Sudhanshu Pandey, Joint Secretary, Ministry of Commerce & Industry Mr Lalit Bhasin, Chairman, Film Certification Appellate Tribunal & President, Society of Indian Law Firms Mr Prosenjit Chatterjee, Actor & producer

Ms Meenakshi Lekhi, National Spokesperson, BJP

Mr Subhash Ghai, Film maker

Q&A 1715 – 1745 hrs

Valedictory Address Mr Rajeev Kher*, Commerce Secretary, Ministry for Commerce & Industry

1730 hrs

End of Conference

* Invited

Programme as of September 16, 09:00hrs for digital edition

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INSTILLING MONETIZATION MINDSET In a converged India, the consumption of digital goods and services will drive the payments revolution, feels Sudhanshu Vats, Group CEO, Viacom 18 Media Pvt Ltd and Chairman, CII National M&E Committee

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Sudhanshu Vats Group CEO, Viacom 18 Media Pvt Ltd and Chairman, CII National M&E Committee

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Regulation We are a consumer industry and should be regulated on the basis of free-market principles

4G 4G will transform the lives of many Indians. It’ll also provide us with a new touch-point to engage with our audiences

Is there any remarkable change in ease of business environment in the new government under Prime Minister Narendra Modi?

Prime Minister Narendrabhai Modi has galvanized the entire nation with a new sense of purpose. The mood in the corridors of most ministries is one of action and agility. Three-four months is too soon to expect a paradigm shift in the country’s business environment. That said, we’re on the right track and all of us are optimistic about the coming quarters.

The one big change I’d like to see is a paradigm shift in the mindset towards regulation Sudhanshu Vats Group CEO, Viacom 18 Media Pvt Ltd and Chairman, CII National M&E Committee

What will be your three prescriptions to reach the goal of $100 billion Indian media and entertainment industry by the end of this decade?

A transformative three-pronged approach can catapult the industry past the USD 100 billion by the end of this decade: 1. Free-market orientation: The regulator needs to ensure a level playing field for all participants; establish, enforce and protect a strong property rights regime and maintain regulatory oversight.

Leave the rest to us. Why regulate subscription tariffs? Let us adapt and cater to the tastes of our consumers. If the consumer is willing to pay, nothing should come in her way. And if she does not enjoy the content, who are we to make it and charge anything for it?

2. Multiplicity & Freedom of Choice: The Indian consumer is both intelligent and discerning.

Let’s respect her and let her decide by giving her options to choose from (multiplicity). Even more importantly nothing should come in the way of the consumer and her choice (freedom).

3. India as a global ‘content-manufacturing’ hub: Building on the ‘make in India’ vision, we need to invest in creating our own formats with a universal appeal. This requires a supportive ecosystem including production infrastructure, technology and incentives. This, in turn, will facilitate the export of Indian cultural products and talent to the rest of the world.

What’s the one big change that you would want

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New Growth

Free Market

Innovation in payments infrastructure (e.g. m-payments) will further catalyse the growth of the sector

Why regulate subscription tariffs?

Let us adapt and cater to the tastes of our consumers

to see happen from the regulatory perspective that would help M&E industry monetize?

The one big change I’d like to see is a paradigm shift in the mindset towards regulation. We are a consumer industry and should be regulated on the basis of free-market principles.

As Group CEO of Viacom 18 Media, how much does monetization run in your head? How do you instil monetization mindset in the organization?

Should monetization mind run across the workplace verticals?

Like any business, monetization is key to both our sector and our organization.

However, unlike many other businesses, creativity forms the bedrock of our operations. At the end of the day, we reside in the hearts and minds of our audiences. Once we have earned this right, monetization of our content is critical to enable both, a robust business model and a virtuous cycle of growth enabling investments.

At Viacom18, we are proud of all our creative products. We place immense value on the way they are managed and monetized. We regularly scan the landscape for ‘non-traditional’ monetization opportunities.

It’s important for all business units and teams to be geared towards monetization. Our creative teams are focused on innovation for diverse audiences, our sales teams leverage different platforms to monetize our products, our legal team manages and protects all our rights, our strategy team further pushes the envelope on monetization through increas-

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ing use of big data and advanced analytics and so on.

Do we have the payment mechanism and transparency in India for media monetization. (We have 150 million people paying anything between Rs 100 and Rs 300 for cable and annually 3 billion film tickets sold for watching films)? But still we are only a $20 billion M&E industry?

Let me answer this in two parts. Firstly, we need to see higher realization from the existing audience pool. Secondly, we need to expand the universe of ‘monetizable’ audiences.

Higher realization will be led by digitization and addressability. It will be further bolstered by applying free-market principles. Universe expansion will be driven by higher GDP growth which in turn will spur growth in income and purchasing power across the country. This would mean more television sets, more theatre screens, more devices as well as a rise in ARPUs. Finally, innovation in payments infrastructure (e.g. m-payments) will further catalyse the growth of the sector.

Do you see monetization benefits accrued from cable digitization? What are the challenges and how do we go forward?

No. Addressability has not taken place.

Packaging has not taken place. Carriage fee reduction has not been upto the mark.

As a consequence, the rightful share of broadcasters and the commensurate tax revenue for the government continues to evade us.

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Q A

What media technologies will you bet on in the immediate future?

I see two broad areas with immense potential. The first is big data and analytics. As more and more informationbecomesavailableaboutourconsumers, the use of analytics will help us derive sharper insights about their behaviour and preferences. This will unleash a plethora of opportunities as we add science to the art of decision-making. The second area is that of m-payments. In a converged India, the consumption of digital goods and services will drive the payments revolution.

Smart phone penetration has increased the future clearly is mobile.

Though online video consumption is on the rise, it seems the advertising medium hasn’t been able to connect brands and consumers effectively in the digital world. What’s your take?

Any new medium takes its own time to develop as stakeholders climb the learning curve of utilizing the medium effectively. Content providers, platform providers and advertisers have made good progress in testing the digital platform.

I’m certain that we are nearing an inflexion point and the industry will be able to take mobile advertising to its next orbit of growth.

Many would like to see 4G proliferate (tomorrow morning) in India. What will be the impact of content consumption in 4G? Will 4G help in monetization?

4G will transform the lives of many Indians. It’ll also provide us with a new touch-point to engage with our audiences. It’ll further transform viewership habits in terms of both, the preferred device for consumption and the pattern of consumption. Certain enablers will be key to the long term success of the 4G ecosystem: 1. Content & packaging for multiple screens (especially the small screen) 2. Connectivity and bandwidth to ensure quality of service 3. Common currency to measure online viewership

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One thing is clear: quality content will certainly prove to be a key differentiator for both content platforms and service providers.

Innovation and disruptions are rare in India’s M&E ecosystem. Do you agree with this proposition?

Innovations in the broader sense of the term are taking place in the Indian M&E ecosystem. This pertains to innovation in content, business models and consumer access and experience. However, to make innovations sustainable and allpervasive, 3 drivers are key: 1. Free market orientation and transparency across the value chain 2. Enabling ecosystem for startups, investors and academia 3. Capacity building and analytics including avenues for skill development, research and partnerships What media technologies will you bet on in the immediate future?

I see two broad areas with immense potential. The first is big data and analytics. As more and more information becomes available about our consumers, the use of analytics will help us derive sharper insights about their behaviour and preferences. This will unleash a plethora of opportunities as we add science to the art of decision-making. The second area is that of m-payments. In a converged India, the consumption of digital goods and services will drive the payments revolution.

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MONETIZATION IS IN ZEEL’S DNA Monetization of the newer digital platforms, creating newer categories, niche genres and rural contribution to the overall entertainment pie will help us achieve the $100 billion mark, says Punit Goenka, MD & CEO, Zee Entertainment Enterprises Limited (ZEEL) Do you see visible change in ease of business environment in the new government under Prime Minister Narendra Modi?

In the 100 days span of the new government, decision-making has certainly improved in many areas and key issues have been tackled head-on.

Very little has happened to the M&E sector in terms of regulatory decisions from the NDA government. Are you optimistic?

Yes, I’m definitely optimistic about the new government. Though the deadlines for Phase III and IV of digitization have been extended, timely implementation would greatly benefit the industry. Moreover, the proposed move to scrap the 10+2 ad-cap for FTA channels is a step in the right direction.

ZEE Corporate Brand has achieved a global media stature. What are your thoughts on the corporate brand’s aspirations on a global front?

Over the years, we have evolved from being a broadcaster to being a content creator, aggregator and provider. In line with this strategy, we have expanded from being a primarily South-Asian content provider to entertaining audiences in South-East Asia, the Middle East, and Russia, re-purposing the Hindi content by dubbing and subtitling it in the local languages along with select local productions. Over the next five to ten years, our aim is to be anaudio-visual conglomerate operating in Broadcasting, Digital, Film Production, TV Production, Music Pub-

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lishing, Radio, Events and Sports eventually becoming a part of the top 100 of the league table. With this in mind, we want to go out and target mainstream in these countries and expand our footprint.

What will be your three prescriptions to reach the goal of $100 billion Indian media and entertainment industry by the end of this decade?

There is no sure-shot formula. However, digitization will play a crucial role. Similarly, monetization of the newer digital platforms, creating newer categories, niche genres and rural contribution to the overall entertainment pie will help us achieve the $100 billion mark.

As a broadcaster, do you see monetization benefits accrued from digitization?

Phase I and II of digitization led to the industry maturing considerably in the last financial year. In terms of advertising revenue (10-11%), the year was not encouraging for the industry. However, ZEE’s advertising revenue grew by 21%.

In the next 2-3 years, I believe the market will certainly improve, with a CAGR of 12-14%.

In case of subscription revenues, the DTH ARPUs have shown a positive trend. While digitisation has brought multiple niche channels for the viewers, it hasn’t resulted in a dramatic shift in the viewing preferences with the GECs maintaining the same share of viewing over the niche channels.

The timely roll out of Phase III and IV of digitization will positively affect the growth trend for subscription revenues.

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THOUGHT LEADER

The proposed move to scrap the 10+2 ad-cap for FTA channels is a step in the right direction 23

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Punit Goenka MD & CEO, Zee Entertainment Enterprises Limited (ZEEL)

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Q A

What are the markets that excite you now in the world territories and how does ZEE look into expanding its global footprint?

Right now, we are looking to expand our international operations and with this in mind, we recently entered into Indonesia and Thailand with Zee Bioskop and Zee Nung. Both these regions are doing well and our focus is now on other geographies within Southeast Asia, Vietnam being next on the cards. Moreover, ZEE already has a strong presence in the Middle East and we are looking to consolidate in this market. We are also planning to explore more countries in Africa this year.

Ditto TV is close to three years in operation. How do you look at over-thetop television?

We feel that the OTT category has tremendous potential for growth and is a natural extension of ZEE’s business model. Ditto TV has been designed to bring cutting-edge wireless broadband digital services to customers across the world. It is growing consistently and with 3.5 million downloads and over 200,000 active subscribers, I strongly believe that it will transform the way content is consumed and monetized.

ZEE has been a major innovator for driving new business initiatives. You have Ditto TV platform, but still you have collaborated with Eros Now for world-wide rights of TV shows. Does ZEE clearly believe in platform agnostic medium?

Our premium television content is enjoyed by a large global audience across diverse platforms, with a definitive surge in younger viewers who are more accustomed to consuming entertainment via digital platforms. It is therefore, a logical extension for us to make our popular programs available on leading online providers such as ErosNow. By partnering with ErosNow, we hope to enthral viewers from around the world with the best shows from ZEE’s library thus living up to our corporate brand philosophy of ‘Vasudhaiva Kutumbakam – The World Is My Family.’

The present and future is clearly mobile. Smart phone penetration has increased. On the other hand, the advertising medium hasn’t been able to connect brands and consumers effectively in the digital world. Where are we heading?

Currently, the exorbitant bandwidth cost and miniscule penetration of smartphones have been major challenges for the advertisers. However, with over 900 million mobile phone subscribers, there

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is a huge market to be tapped. It will depend on how the mobile phone ecosystem evolves in the future.

Zee TV is ranked 37 in the top 100 YouTube channels this July and has grown over 100% in the last one year.

This is a clear trend that ZEE’s content aggregation works in its global expansion. How do you see this medium?

Digital media platforms like YouTube, Facebook and Twitter provide an excellent opportunity to increase our channel reach amongst the global audiences, apart from being a great marketing tool to attract audiences to the official channel sites and programme microsites like Dance India Dance and Sa Re Ga Ma Pa. ZEEL’s entry in the music space has a major impact in the industry? How do you see its prospects? How would you want to build the library catalogue for the future?

ZEEL has always been a leader in the media and entertainment space, be it films or television, and branching out into the music label space gives us an opportunity to widen our business. The music industry is a large playing field and there is scope for us to explore the opportunity in this market. Technology has also emerged as a key transformer of the music industry and digital revenues are driving growth in the market. Since we are a content company, it is essential to own intellectual property as content is the king. Regarding our catalogue, we had the music rights for ‘Holiday’ as well as ‘Humshakals’. Recently, we signed a 14-film deal with Viacom 18 that includes ‘Mary Kom’, the Akshay Kumar starrer ‘Gabbar’and ‘Manjunath’. Our deal with Fox Star Studios gives us the rights to the Hrithik Roshan and Katrina Kaif starrer ‘Bang Bang’ as well as one of the most anticipated releases of the year - ‘Bombay Velvet’ starring Ranbir Kapoor and Anushka Sharma.

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THOUGHT LEADER

No other nonessential service is so heavily regulated in this country as TV channel pricing Deepak Jacob Star India President & General Counsel

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TARIFF REGULATIONS ARE BIGGEST ROADBLOCK TO MONETIZATION To achieve the $100 bn target, Star India President & General Counsel Deepak Jacob wants industry players to stick to the DAS timelines, implement TRAI recommendations and rationalize regulations and taxes Are there visible changes in ease of business environment in the new government led by Prime Minister Narendra Modi?

We do view the present PM as pro-business. We do see steps being taken in the right direction. Also there is a lot more intent and sense of purpose in the decision making that we are seeing off late which is very encouraging. We trust that the government under the able leadership of Prime Minister Narendra Modi shall build on this initial momentum by continuing with the policy decisions that have already been taken and also believe that it shall revisit all archaic norms, laws and regulations. We firmly feel that if there was ever an opportunity to bring about a turnaround in India’s governance it is now. With the kind and magnitude of political capital that the PM has secured for himself and his party in the recently concluded elections, it would be in the fitness of things to expect some big-ticket economic reforms to be on the anvil. The budget in February (2015) would give an opportunity to this government, not just

to demonstrate real intent, but introduce some high impact wholesome reforms.

The PM has already brought in reforms albeit in small measures that improve the over-all working of the executive in this brief time that he has been in charge. We expect these to continue and expand in the times to come.

What will be your three prescription to reach the goal of $100 billion Indian media and entertainment industry by the end of this decade?

Sticking to the DAS timelines, implementing TRAI recommendations on investments and media ownership, rationalising regulations and taxes are the three top of the board prescriptions which if the government implements could take the sector to the coveted goal of $ 100 bn. The industry also has to show resolve and realise that it is the ultimate viewers who will be taking them there and hence both service quality and commitment are imperative to be ensured rather than being caught up in unnecessary self-destructive disputes inter se.

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We trust that the government under the able leadership of Prime Minister Narendra Modi shall build on this initial momentum by continuing with the policy decisions that have already been taken and also believe that it shall revisit all archaic norms, laws and regulations What’s the one big change that you would want to see happen from the regulatory perspective that would help M&E industry monetize?

We believe that tariff regulations in totality are the biggest roadblock to monetization. The kind of regulatory micro management that we witness in the realm of television channel tariffs is unprecedented.

No other non-essential service is so heavily regulated in this country nor are there any global precedents of pricing regulations of this nature and kind that we see in India.

As a broadcaster, do you see monetization benefits accrued from cable digitization? What are the challenges and how do we go forward?

What is significant is the opportunities that digitalization shall enable and unleash. Of course platforms shall gain through triple play resulting in higher ARPUs and also greater choice to endusers, however this is not something that will happen overnight. There will be roadblocks. We are already seeing some of them panning out in the open. LCOs have axes to grind on revenue share and billing, MSOs are clueless on packaging and ensuring that their systems are DAS compliant, broadcasters do not see any respite in carriage & placement and subscription continues to be ever elusive. Some are more concerned about the importation of STBs. However the most important task at hand is to stick to the course and not allow vested interests to subvert the entire process on one pretext or the other. All over the world digital dividends have taken their own time to accrue, however the universal lesson is clear that countries can ill afford to let go of the momentum to digitalise as once these jurisdictions have reaped the digital dividend and have managed to bridge the digital divide, the multiplier effect that it has had on socioeconomic development is undisputed.

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Mobile is going to rule the future.

The smart phone penetration has increased. The advertising medium hasn’t been able to connect brands and consumers effectively in the digital world. What is your view?

While smart phones are clearly picking up, there are challenges on volumes owing to bandwidth constraints and entry level price points. Cable and satellite thus continue to be the most affordable option to access content on television. Advertisers being mass driven, it is only but natural for them to chase numbers in television. Having said that much would depend on the pace with which the present dispensation’s target of a Digital India is realised. If the DAS mandate gets extended it would clearly dis-incentivise advertisers more to stay away from ‘Digital’.

How has been Star India’s experiences in digital medium and has it resulted in a profitable business model?

It is too early in the day to comment on the viability or otherwise of the digital medium as we are still experimenting with the segment. However, the potential exists clearly. We have seen some heightened viewer engagement in the digital properties that we have built. Most importantly the digital medium has allowed us to innovate. Our initiatives like the Sachin Memory Project a part of which was undertaken in the digital space last year met with overwhelming response from viewers. Our recently launched ‘Twitter Amplify’ blends in digital, mobile and social media to give viewers and advertisers a unique value proposition. We have built ‘starsports.com’ as the most compelling destination for fans in India to follow sports on a mobile screen and one of the best platforms for advertisers to reach an attractive audience on digital.

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TRENDS FOR MONETIZATION, INNOVATION YOUTUBE, FB & MORE

Pickle tracks top trends to monetize in an effective and efficient way

EVENT CINEMAS

At the recently concluded IBC, Event Cinema, which is one of the fastest emerging trends, was the hot topic of discussion.

The session Event Cinema-More than Just TV on Big Screen was developed by joining forces with the Event Cinema Association. Interestingly, ECA has now become a major force for the event cinema industry when it comes to giving it a voice, focus and profile in the global arena.

Facebook topped $200 billion in value this month

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YouTube and Facebook are being viewed increasingly on mobile devices. YouTube now has one billion viewers Video is a month, representing booming a year-on-year growth If there is a of 50%. Of these views, competition 40% are on mobile to YouTube, it devices. Karla Geci, is the videos from Facebook. head of strategic media With Facebook partnerships, EMEA, adding more Facebook, says in the and more case of Facebook 65% users in its fold, more and of views are now on more videos mobile devices. 60% are making of YouTube content is their way to the now viewed outside popular social networking countries it was made site. And with in. There is also a big the number level of engagement of likes and from viewers. shares, things are changing like never before.

YouTube is worth between $26 billion and $40 billion, which would make it potentially more valuable than Twitter’s current $30 billion valuation

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Google finished the second quarter with $14.3 billion in advertising revenues compared to Facebook’s $2.68 billion

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AD SPEND ON NET If a reliable data is any indicator, online advertisement spend in India is all set to touch the magical figure of Rs 3,575 crore by March 2015. So it’s time for M&E companies to take note of this and to grab their share.

With innovation, sincerity and seriousness, nothing is impossible and sky is the limit.

LUXURY ON CHOICE Consumer is the king and there is no doubt in that. A luxury cinema that allows people to sleep through the blockbuster of their choice may be the way forward. According to Celluloid Liberation Front blogpost the first CineSnooze

service is set to launch in Dubai next month. Cinemas in Abu Dhabi and Doha are now fitting dedicated CineSnooze rooms.

Cinemas in Abu Dhabi and Doha are now fitting dedicated CineSnooze rooms.

END OF LINEAR VIEWING

ON CLOUD NINE SCEA President Andrew House announced at the beginning of the year that Sony’s will launch its IPTV service, as a cloud-based offering with both live TV and video on-demand that personalizes itself for the viewer. According to House, it will be able to pause and resume viewing across multiple screens, including on Sony’s connected devices like the PS4, and third-party hardware includ-

Google as a whole is worth nearly $400 billion

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ing the iPad. Recently, Viacom announced a deal that will make it the first big TV company to work with Sony, supplying the new service with 22 of its networks. The partnership unites Sony’s rapidly growing network and more than 75 million Internet-enabled Sony devices in US living rooms. Walt Disney and 21st Century Fox are in discussions for deals with Sony Entertainment.

Facebook’s mobile ad revenues accounts for more than 60% of its overall ad revenues, while Google’s earns only 12% of its advertising dollars from mobile

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With wireless technology emerging on the top, the traditional cable cord is all set to be cut.

In other words, with the development of technology and with the increase in the number of players who offer cuttingedge content using state-of-the-art technology, linear viewing is all to come to an end. So it’s time to upgrade as per the changing trends.

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The golden age of TV shines bright at MIPCOM.

The most anticipated entertainment market of the year.

4 days of screenings, networking and inspiring keynotes.

1,700 exhibiting companies showcasing their latest programmes.

4,600+ international buyers looking for fresh content.

13,500 participants on the road to success.

Endless opportunities.

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mipjunior CII BIG PICTURE SUMMIT 2014

13-16 October, 2014, Cannes – France

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mipcom.com

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15-09-2014 12:41:48

Roshans in Indian Cinema

...THE INSPIRING JOURNEY! Lt Roshanlal Nagrath

Rajesh Roshan

Hrithik Roshan

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Confederation of Indian Industry will felicitate and recognise the contribution of Roshans to Indian cinema during the Big Picture Summit 2014. The Indian M&E industry salutes Roshanlal Nagrath, Rakesh Roshan, Rajesh Roshan and Hrithik Roshan for their immense contribution to cinema over the last six decades

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Rakesh Roshan Actor, Writer, Producer and Director

Every Friday, I see a film.

Even today, I learn a lot from each and every film I watch. Every film teaches you something 35

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The Reinventor Rakesh Roshan

of Bollywood The five-decadesold journey of Rakesh Roshan is decorated with mega hits. But still, the humble filmmaker says, “No matter how big a film, it’s the people who buy the ticket. They decide the fate of the film”

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n his nearly five-decades-old career as an actor, writer, producer and director, Rakesh Roshan has worked very hard to paint his own success story in the Indian film industry -- but at his own pace. “I always think that you have to go to the bus stop and stand. Some bus will take you and some will not...The bus will never come home,” says the 60 plus passionate filmmaker, whose 2013 blockbuster ‘Krrish 3’ made a box office collection of over 200 crore.

Yet the humble filmmaker doesn’t bunk the unpredictability of the business. “No matter how big a film, it’s the people who buy the ticket. They decide the fate of the film on that Friday. My aim is to make a family entertainer, which can be watched by people from Jhumri Talaiya to Manhattan. The rest is destiny.”

There are few in his fraternity who have attempted the range of genres that Rakesh Roshan has attempted. His safeguard against redundancy: Constant reinvention. “I always made different kind of films. I never follow one trend. If ‘Khudgarz’ was a film on true friends, then I also made ‘Khoon Bhari Maang’ -- a female-oriented film with Rekha... Every film is a challenge for me. ‘Karan Arjun’ was based on a story of reincarnation while ‘Kahona Pyar Hai’ was a love story. In ‘Koi Mil Gaya’ the hero was an autist.

Then I made ‘Krish’, a superhero film and, ‘Krrish 3’ broke all the box office records.”

So, what makes Rakesh Roshan stand out.

The veteran filmmaker believes that the itch to take risk keeps him going. “Risk to me is to make usual films. I don’t make usual films as risky proposition.

Risk is when you make an unusual film. That gives you sleepless nights and keeps you going. To make ‘Krrish’ and ‘Koi Mil Gaya’ is not easy.”

FILMS DIRECTED

FILMKRAFT PRODUCTIONS

ACTED IN FILMS

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16

90

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Here’s Roshan threesome - each one a talent to reckon with.

Rakesh Roshan’s father Roshanlal Nagrath was a renowned Hindi film music composer. Rakesh Roshan’s mother Ira Moitra was a musician.

The three are seen here with one of Ira’s brothers

Asha Bhosle, Rajesh Roshan and Rakesh Roshan. Rajesh Roshan has worked with all big producers. And he had done music for all the films produced and directed by Rakesh Roshan

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VISUAL SUCCESS What I used to visualise as an actor, I visualised for others to emote it. That was a big success

The way up wasn’t easy for Rakesh Roshan and his life can inspire many.

His father, late Bollywood composer Roshanlal Nagrath (referred as Roshan), used to work with All Indian Radio in Delhi while his mother, Ira Moitra, was a singer in AIR. After the couple’s marriage, they moved to Mumbai looking for greener pastures.

“My father was from Bariely (in Uttar Pradesh) and my mother was from Delhi.

She was a Bengali and my father was a Punjabi. When they came to Mumbai in search of work, they stayed in a garage that belonged to noted music director duo Husnlal-Bhagatram. I was born in 1949 in a stable next to the garage where we stayed in Versova.”

His father’s first break came with director Kidar Sharma’s “Neki Aur Badi”.

But the film did not do well as the box office and the family decided to move back to Delhi. “But the day we were leaving, Kidar Sharma told my father that he was starting another project, “Bawre Nain”, and he was to give the music.”

The film starring Raj Kapoor and Geeta

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Bali proved a turning point and then there was no looking back. “My father did the music. Kidar was the lyricist.

It had memorable songs like ‘Khayalon Mein Kisike’, ‘Tere Duniya Mein Dil Lagta Nahin,’” recalls the filmmaker.

But then at a very tender age of 16 his father passed away. He was 49. “I went to a school in Mumbai and then shifted to a boarding school (Sainik School, Satara).

I did my schooling over there before joining Nowrosjee Wadia College-Pune in April 1966. In November 1966 my father passed away.”

The young Roshan had to make a choice to be with his family or pursue education in filmmaking. And he chose the former.

“My mother was alone in Mumbai and had a younger brother to take care of. I had a choice to go to the Pune filmaking institute. But I chose to be with the family and became an assistant director at the age of 16.”

He began his career by assisting directors like H.S.Rawail and Mohan Kumar.

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The Raj Kapoor influence My biggest influencer in films is Raj Kapoor. His films have freshness, good locations and bigness. Films were full of heart and soul. I have seen Shri 420 four hundred times

One film, 200 families

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When I make a film and sell it to my distributors, I am very worried that they have bought my film and they should make money on it. I am very cautious about that. There are over 200 families behind the making of one film. And, www.picklemag.com all should succeed CII BIG PICTURE SUMMIT 2014

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TALENTED RAJESH At the age of 16, my brother Rajesh gave music for Kunwara Baap (1974) and made his debut as a film composer. He had worked with all the big filmmakers. He is very talented mar, Vyjayanthimala and Sanjeev Kumar... After Sungarsh, I joined Mohan Kumar as an assistant director. I did two films ‘Anjaana’ (1969) and ‘Aap Aye Bahaar Ayee’ (1971). Both had Rajinder Kumar in the lead. ‘Anjaana’ had Babita as heroine and ‘Aap Aye Bahaar Ayee’ had Sadhana in it. I also used to do production work.”

“I used to earn Rs 200 a month (I used to give Rs 100 to my mother and rest for travel expenses). Although my father had left enough money for us, my mother was of the view that I have to work hard to earn my living.”

So how did the fair, handsome and lighteyed talent land a role as an actor?

“After working as an assisting director for four-five years, it so happened that Rajinder Kumar asked me once what I wanted to become. I said I wanted to be an actor. And then, he got me roles in two films -- ‘Man Mandir’ (a 1971 drama film directed by Tapi Chanakya starring Waheeda Rehman, Sanjeev Kumar and Helen and Nagir Reddy’s ‘Ghar Ghar Ki Kahani’ (1971).”

But his acting career did not take off as he wanted it to be. “As an actor, my career didn’t take off... But whenever I got a good break, I was appreciated -- in ‘Khel Khel Mein’ (1975), ‘Khatta Meet’ and ‘Khoobsurat.’ I knew I was not getting a push to come to be recognised as a full-fledged hero. But I never gave up.

I started doing parallel roles and villain roles.”

Unlike his other contemporaries who faded away, Rakesh Roshan took the struggle to his stride and never quit. “I always had in my mind to have my own banner (and that’s how FilmKraft was born). As Raj Kappor and Gurudutt ji had. I start-

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ed producing films. I produced four films (‘Aap Ke deewane’, ‘Kaam Chor’, ‘Jaad Utha Insaan’, ‘Bhagwan Dada’). During this period, I learned a lot about production and direction. I learned film editing. I was involved with all the aspects of filmmaking.”

And then one day while his acting career was diminishing, Rakesh Roshan thought of becoming a director. “I made ‘Khudgarz’. It had Jeetendra and Shatrughan Sinha in the main lead. I didn’t cast myself. I depicted my acting in others. What I used to visualise as an actor, I visualised for others to emote it. That was a big success.”

‘Khudgarz’ proved to be the first of many hits to come. “After that there was no looking back. I made ‘Khooon Garima’ (with Rekha in the lead), ‘Kishen Kanhaia’ (Anil Kapoor in the lead), ‘King Uncle’ (Jackie Shrff in the lead), then I made ‘Karan Arjun’, ‘Koila’, ‘Kaho Na Pyaar Hai’, ‘Koi Mil Gaya’, and then I made ‘Krrish’ and ‘Krrish 3.”

In his career as a director, he has made just 15 films -- a reminder of the fact that CII BIG PICTURE SUMMIT 2014

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Army instinct If I had not been in the film industry, I would have been in the army. I studied in Sainik School, Satara. I have my army instinct in my real file.

I am a very disciplined person

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POWER OF MONEY Money is very important. Because money gives you confidence. Like success gives you confidence, money also gives you confidence. But, you have to earn money in the right way

he works at his own pace and believes in quality over quantity. “Out of 15 film, I have given 14 hits and all are different kind of films. The audience has a lot of respect for me. Wherever I go, people ask me the films I am doing and that why I am doing films every three years.”

Though the after glory of ‘Krrish 3’ is all for him to cherish, he says, “After every project, I tell myself isske baad films nahin banaoonga. I take a break... till the thirst awakens again.”

“I have lot of stories in my mind. I am taking my own time to develop it. I develop from beginning to end. I am making the dots now. When I feel, it is not working, I drop it. I take it off my mind.

I don’t worry too much.” he says.

The 60 plus filmmaker believes that new generation of filmmakers “will come and push our generation and make space for themselves. Now, it is upto us to how long to compete with them or say now it is your turn.”

He believes that the Indian film industry is moving forward and the Internet has a big role to play in it.

He is also impressed with the emergence

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of regional films even as he feels that filmmakers making commercial films are not ready to experiment. “Regional films are bold and very well made. Our commercial films are not growing. They are making the usual films all the time.

Although they are hits, we are not taking one step forward. We are capable of doing great films.”

Some Hindi commercial films that had an impact on the filmmaker include “Queen”, “Lagaan” and “Three Idiots”.

“Recently, I saw Kangana’s film ‘Queen’.

They made such a beautiful film. I was also impressed with Aamir Khan and Aushotosh Gowarikar’s ‘Lagaan’. After ‘Kaho Na Pray Hai’ I was planning another romantic film. But after I saw Lagaan, I said I cannot make a romantic film. I have to make a different film. So, I made ‘Koi Mil Gaya’.”

His thirst for learning hasn’t faded after so many years in the industry. “I see all kinds of films. I don’t miss any film. Every Friday, I see a film. Even today, I learn a lot from each and every film I watch.

Every film teaches you something.”

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Personality of Yash Yash Chopra is a legendary filmmaker. He is such a nice person. His personality reflects on the screen

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MARVELLOUS HRITHIK Hrithik is marvellous. He is one actor, who has done all kinds of roles. He has become Akbar (Jodha Akbar), Autist (Koi Mil Gaya), Guzaarish (only Hritik could have done), superhero (Krrish). The graph is too large for an actor.

A day will come when he will be in Hollywood

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ROSHAN & HIS FRIENDS

FRIENDS FOREVER Friends are a blessing. Having one friend is easy. But, I have many friends in my industry.

Jeetendra, Riishi Kappoor, Prem Chopra are very good friends. It continues till today, because we don’t have jealousy. I was very happy when they were successful.

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COLOUR OF LIFE: Rakesh Roshan with his better half Pinky, daughter of filmmaker J Om Prakash

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MAKE MONEY, DIGITALLY

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

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MULTIPLE WAYS OF MONETIZATION How to create, deliver and capture value in the evolving landscape of information and communication technologies, Dr S Raghunath, IIM-B Professor for Corporate Strategy and Policy, shows the way

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ever before in the history of media and entertainment industry has costly content been so easy to reproduce, repurpose and distribute. Therefore the focus is on IP value management rather than just IP protection and the creation of digital security format which enables interoperability between devices.

From an era of one way delivery of public content like feature films in movie theatres and soap operas on television and two way delivery of private content like telephone based conversations it has expanded to include multiple ways of delivering content that provides connectivity to private conversation in public domain about public content.

Therefore the central question of monetization is how to create, deliver and capture value in the evolving landscape of information and communication technologies.

There are several challenges to be addressed: moving from medium specific content to content that is available in formats compatible with multiple platforms. There is increased interdependence of communication systems as opposed to stand alone broadcasting of content triggered by the use of multiple devices for accessing content. Then there is a difficult relationship of top down corporate culture and evolving bottom up participatory media and entertainment culture.

Access to audience through the internet has also changed the supply scenario

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for entertainment content. Amateurs are joining the galaxy of established professionals as producers of content.

Crowdsourcing has given rise to more experimentation and aggregation of capabilities. Media is no longer a mere object of consumption, it is a medium of utilization. Earlier media and entertainment content was a product produced by professionals for the consumption of amateurs. It is now the connection between experimenting amateurs and established professionals with a wider global audience.

For example, an average of one hundred videos are being uploaded on YouTube every minute, Twitter receives more than one hundred and seventy five million tweets a day.

With availability of free content, advertising has to become more creative about what products consumer want with free content. Advertising is different in the digital media as it is about one on one interactive communication with audience.

The good news is that a personalization software app, a machine learning system can set up a detailed profile of every person’s interests and then match the digital inventory of content to find exactly what the person wants. It then can provide TV programmes or a set of movies which exactly fit whatever a person finds interesting. Therefore the phenomenon of digitalization has turned entertainment content into information goods.

Data analytics facilitates transformation

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of entertainment content for mass market to thousands of niches made economically feasible by digital delivery.

The evolving technology of delivery allows focused distribution to individual consumers.

The individual consumers using a device or a collection of devices now connect and interact with social network through these devices. The preferences of the individual can be identified and shared across devices giving rise to a never before opportunity of personalizing not only entertainment but advertising that pays for the entertainment.

The same individual’s presence on multiple devices alongwith the ability to pay for the experience provides new opportunities for developers to create applications that link to entertainment as well as the social network.

However, increasingly affluent segments of audience population are preferring to watch premium programming content that eliminates advertising. Therefore the insertion of the commercial products within the scenes of the content and the storyline will find favour with corporate sponsors resulting in such product placements in feature films and television content.

The laptops, smart phones and tablets have not displaced traditional distribution systems such as televisions from living rooms. The difference is that today people continue to watch television but they do so also through their tablet or smartphone.

In our country, internet penetration is estimated to cover fifteen per cent of the population. A Nielsen survey indicates that the highest penetration for mobile Internet is in the age group of 15-24.

This has its implications for advertising and ecommerce and there is an emerging preference for quality content.

However, low quality content will continue to mushroom with improving technology and increasing access to the internet. This is likely to bring a decline in the average content quality. However, the range available would result in clear demarcation of better content and best among the rest. Uncontrolled access to variety of content will lead to self selection of the best which will benefit society at large though it has access to a wide variety of junk. Thus the only mass curator for content will be the instant people response.

The collective shaping of what we believe and watch is going to be done more and more by amateurs creating a visual image. Digital content is turning

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into a massive cloud of evolving ideas, always in dialogue, influencing opinion with every voice contributing to it.

In this scenario, Big data analytics will provide enough indications about soap operas and characters stirring interest and emotions in specific regions or locations. Virtual delivery of content also will increase the appetite for live stage performances. Live performances in those locations will generate higher revenue. The smartness of senior managers in media and entertainment companies is in orchestrating mass marketing campaigns once specific artists are ready for a significant marketing push.

It is not just the urban localities which have the potential to pay for live performances but there are also street theatre companies mushrooming and growing in rural areas. Performers are speaking, singing or dancing in a language that the audience can appreciate, relate to and make an emotional connect. As the range of sophistication levels of audience widens over time, so do expectations relating to enjoyable entertainment.

If yield management geeks have their way, companies could charge a little more certainly for Saturday night or weekend live staged performances.

Live show producers can begin relying on computer algorithms to recommend the highest ticket prices that audiences are likely to pay for each of the available seats at every performance in the theatre for performing arts.

Live performance shows can employ dynamic pricing system to raise seat prices during heavy holiday weeks. So entertainment companies must reach the level of sophistication achieved by airline and hotels continuously using their algorithm to calibrate prices based on demand and ticket purchasing patterns.

Dr. S Raghunath is Dean (Admin) and a Professor of Corporate Strategy and Policy at Indian Institute of Management Bangalore. At IIM Bangalore he offers an elective course on Strategic Management In Media and Entertainment Industry in the executive post graduate programme and general management programme for Media and Film and Television Industry Professionals. He offers an elective course on “E Business Models and Strategies�.

He has written case studies on topics that include leadership and management challenges of Media and Entertainment Business.

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MEDIA Revenue

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SEPTEMBER 19-20, 2014: HOTEL TAJ PALACE, NEW DELHI Join RSG Media’s Mukesh Sehgal, on September 20, 2014 at 1415 hrs, to discuss: Big data and analytics, the next disruptor to drive monetization

MUKESH SEHGAL

President & CEO, RSG Media Systems For over 30 years Mr. Sehgal has guided teams to build high performance financial and media management systems using proven leading edge technologies and processes. Under his leadership, RSG Media has partnered with industry leaders to develop media management systems to monetize their content and ad sales inventories, and streamline end-to-end business process.

About RSG Media The world’s leading media & entertainment companies use RSG Media’s expertise and software to maximize revenues from their content and advertising inventories. RSG Media’s RightsLogic is the dominant media business rights management system; it lets content owners & distributors, gaming companies, IP licensors, and sports leagues manage and report on the content lifecycle, including acquisitions, sales, planning & scheduling, and associated financials. RSG Media's order-to-cash ad sales systems help clients plan and manage deals across all platforms quickly and easily. Their AdVant yield optimization suite uses advanced mathematics to optimize proposals, flighting, logs, and promos, significantly lowering liabilities while generating new revenues. They are headquartered in New York, with offices in London, Delhi, and Mumbai.

Contact: www.RSGMedia.com | 646.839.4158 | sales@RSGMedia.com

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INDIE LEADER

HOME-GROWN LEADER IS HERE After successfully staying in the business for 24 years as independent MSO and cable operator, Home Cable managing director Vikki Choudhary is now looking with optimism to offer new digital TV services to consumers in Delhi Vikki Choudhary MD, Home Cable (P) Limited Home Cable has been one of the very few survivors among the independent MSO and cable operators and has sustained in business for over 24 years?

Well, in early 1995, after four years of my foray in the cable business, I got the opportunity to work with a JV of Falcon Cable TV, A No. 8 MSO in the US at that time, & Hindustan Times Group. This JV did not work and lasted only 18 months after inception. Luckily I got the opportunity to understand the US cable business model in place, got to interact a lot with Falcon chairman Mr Marc Nathanson, a veteran in the US cable TV industry, who started his career as a salesman selling cable TV door to door. Being a keen learner and on my few visits made to the US, I was easily able to understand the true potential of this business that cable TV could offer.

The journey continues and we are very optimistic of providing top end services to consumers in NCR area.

Do you see change among consumers post cable TV digitization in the area that you serve?

I feel that cable TV digitization was done in a big hurry. The issues related to indigenous manufacturing of STBs / soft based CAS technologies, Hybrid STBs should have been thought of. We are providing plain vanilla, (and many a time) substandard STBs imported from china. All over the world, this plain vanilla Digital CAS technology has already gone obsolete in the US and Western Europe. We hope to

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see DAS execution in Phase III and Phase IV where the latest STB technologies on Android, IOs and Linux with features like downloadable CAS / DRM deployed.

This will really delight the consumers.

We will have 500 million internet users in the next two to three years and we expect that ecommerce & utility Apps, social media integration on the hybrid STBs would make the existing dumb TV converted to a Smart TV. The same STB would have become a Media Server and the Wifi router of the household.

What are the various services offered to your subscribers?

At the moment we are forced to only offer plain vanilla digital cable service and hispeed broadband internet on FTTH, EOC, and CMTS as we have our own ISP licence but we are also in the process of deploying our developed Hybrid IP STBs, Android OTT boxes, metro WiFi connectivity for all smart devices. We would be thrilled to see regulations reworked extensively to take these developments forward. We need to have a level playing field and entrepreneurs should be encouraged.

The other day you were showing a demo of pizza delivered from a local outlet in New Friends Colony area when people who are watching digital TV and capability to order? Has it taken off ?

That is e-commerce integration on the hybrid STB that we have got developed, along with lot many other features like

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VOD, Movies on Demand, catchuptv, time shift TV, personal cloud DVR and also VOIP flexibility These are the features that will really delight the customers.

Integrating ErosNow movie on demand feature recently was a positive move towards bringing in a delightful viewing experience for the customers.

You have operations in one of the most developed colonies in Delhi?

How is the broadband bandwidth?

Over the last two years we have expanded our operations to the entire Delhi NCR region with our POP ‘ point of presence’ over telco leased p2p circuits in various parts of Delhi, Ghaziabad, Faridabad and ready to operate in Gurgaon and Noida targeting all the new group housing, real estate development coming up.

4G will help us penetrate our content offering over OTT to more desirous customers, with no restriction of having a wired connectivity. With our OTT plug and play, STB device, we look forward to connect a much higher subscriber base anywhere in India with our niche content service offering and the integrated social media and Apps we are sure to have many takers who will be taking 4G connectivity.

parallel to cable TV and DTH? With OTT, hybrid STBs and IP-OTT a new kind of service provider will emerge in India. This alternative service will compete with traditional distribution (say DTH). We will witness a large number elite customers base move towards the smart, interactive services What are the changes you would want to see happen from the regulatory perspective that would help M&E industry monetize?

As the technology is moving at a very fast pace, the regulator too has to change its perspective, We need experts who are in the know-how of technological changes making regulations. As our Honourable PM has rightly pointed out the need of a super regulator on the lines of Federal Communication Commission. We need fair regulatory framework. We need people who have the aptitude to adapt to changes and technocrats should be assisted by the technology developers, service providers, content providers and the ultimate consumers should benefit from regulation.

4G will help us penetrate our content offering over OTT to more desirous customers, with no restriction of having a wired connectivity

What are the technologies that excite you in streaming?

Technology has always excited me. That’s the reason I took a decision of having an equity participation with a technology company.

We are working on various futuristic products and services to offer across the globe.

What is your view of OTT? OTT is the future of this conventional cable system we operate today. And mind you this future is not very far- maximum two years from now. We are already working on video content and live TV content on OTT with various telcos in Malaysia, Indonesia, US Canada, UK, western Europe and Australia, where our live TV streams of Indian TV channels on OTT are being made available pre-integrated to about 26 million smart TV devices. We will make announcement regarding this at IBC this year.

Do you see cable-like Internet subscription service successfully emerge

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How do you see the future for independent cable operators in India?

There are still a lot of enterprising independent MSOs who are collectively operating with the LCOs and I really feel very thrilled whenever I see any new MSOs getting their DAS licence and putting up their own digital infrastructure in place. The big challenge is to collect content from channel aggregators. Independent cable operation will survive in India.

What media technologies will you bet on in the immediate future?

Immediate need of the hour is to have the digital cable infrastructure in place, with all the content being provided to the service provider, with the right configuration of the STBs and middleware deployment MSOs can at least start offering some VAS, As the ISP Class C licence has again been introduced after eight years, service providers should deploy various internet delivery technologies over their network and more focus should be on deploying Wifi technologies of delivery with backbone on a robust OFC network.

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INDIA @ TORONTO

From India to TIFF With Hope The Indian delegation to Toronto International Film Festival focused on promoting co-productions between Canada and India. And not just that, as possible future tie-up of TIFF with IFFI is also to be explored

I&B Secretary Bimal Julka at Toronto International Film Festival 2014

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he Indian delegation led by Secretary, I&B, Bimal Julka participated in Toronto International Film Festival (TIFF) in order to give a major fillip to the mechanism of promoting coproductions under the recently signed Indo Canadian audio visual co production agreement Julka and the delegation met with a number of key officials from Canadian Federal Government, Ontario Government as well as officials of the City of Toronto to discuss various proposals related to bi-lateral cooperation, capacity building and exchanges in the films domain.

One of the key highlights of the visit was the participation of the Indian delegation at a session known as “Lightning Talks: Co-Production” organized at the festival.

The session included short presentations by international co-production agencies,

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on how to structure opportunities and what resources are available for the filmmaker interested in going global. The session gave the first-hand information about the dos and don’ts of co-producing between various countries. The session saw the participation from three countries - Australia, Colombia and India represented by Sally Caplan, Screen Australia; Claudia Triana, Film Commissioner of Columbia and Bimal Julka respectively. Julka spoke about the growing opportunities for the youth in the media and entertainment sector in India. He explained about the favourable climate that had been created in India for film producers desirous of shooting in India by means of a single window clearance mechanism.

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Canada’s National Film Board offered its expertise in training the trainers of Ministry’s film schools, as well as designing educational film programs for school children ing the latest one with Canada.

During the course of the visit, the delegation attended meetings with key officials of Telefilm Canada, National Film Board of Canada, Ontario Media Development Corporation (OMDC), and also a roundtable organized by the Canada Indian Business Council (CIBC). The discussions with Telefilm Canada, OMDC and CIBC revolved around the joint efforts which could be undertaken in the coming months by the two sides to encourage Indian and Canadian co producers to take advantage of the newly signed co production treaty. I&B Secretary offered to host similar sessions and discussions in IFFI, Goa for Indian and Canadian producers.

The delegation met with National Film Board (NFB) and explored the possibility of a tie up between N F B,( Largest public producer and distributor of films in Canada), and the Ministry’s own film production media units, NFDC, Films Division and Children’s Film Society of India for distribution of their films in Canada.

National Film Board offered its expertise in training the trainers of Ministry’s film

schools, as well as designing educational film programs for school children.

The delegation also visited Sheridan College, a globally recognized leader for learning in animation, visual effects and gaming. The President of Sheridan College Jeff Zapudski welcomed the delegation and gave a tour of Sheridan’s state of the art facilities in film making and animation. The delegation was appraised of the fact that Sheridan alumni regularly won Academy awards and had a reputation of being the best in the business. This was made possible due to the close partnership that Sheridan had with industry in Canada. The delegation appraised Zapudski about the upcoming National Centre of Excellence in Animation, Gaming and Visual Effects (NCOE), and proposed to carry forward the dialogue for a possible institutional partnership with NCOE. The delegation also took a tour of TIFF facilities with the purpose of improving the Ministry’s own flagship festival, International Film Festival of India (IFFI). TIFF authorities also welcomed future tie up with IFFI in areas such as programming.

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IFFI IS POISED TO MAKE A BIG LEAP Shankar Mohan, in his fourth year as Director, International Film Festival of India, spells out the salient features that make Asia’s oldest film festival tick Shankar Mohan Director, DFF & IFFI What to your mind is the unique selling proposition of IFFI in relation to the other major film festivals in Asia – Busan, Tokyo, Hong Kong etc? What is it that sets it apart?

Since 1952 International Film Festival of India has been a pioneer in Asia in celebrating and awarding excellence in the craft of cinema. With more than four decades of experience, IFFI has played a major role in shaping the film scenario and the industry in not only India but in the whole of Asia.

To keep up with the challenging times, IFFI transformed itself in the year 2011.

The approach and the vision were to make the festival much more accessible, people-friendly and popular. The foundation was already laid; the time was perfect to take IFFI a step further in making it a world-class film festival.

As the Director of IFFI, what is it that you look for in the films that you select?

The search for breakthrough films in the idiom of cinema and its technology: that’s the challenge each year, and that’s

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the angst for all of us at the festival. The nature of movies is all about visually narrating your story. But in life, if we look around us, a fresh screenplay unfolds each day. And what the movies do is replicate that, or innovate upon that. But the whole point here is how well it is done.

And that’s where the style or manner of narration matters, followed by the technology that is used for that narration.

Our search therefore, every year, is to find the most amazing stories presented in the most engrossing, exciting and unusual manner.

To what extent does IFFI collaborate with TIFF, Cannes, Berlin and the other major film festivals of the world, especially in terms of titles and film packages?

Being in the film festival arena, it’s essential to update oneself on the major and important film festivals of the world.

Berlin and Cannes both take place before IFFI and through them we get a lot of information on the upcoming crop of World cinema. This results in curating some of the key films for IFFI through our cura-

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Held in conjunction with

Produced by

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Supported by

In association with

Held in

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What steps does IFFI adopt on an annual basis to retain its preeminent position among film festivals on the Asian continent? π The primary goal of IFFI is to constantly make every edition better and more enriching than the previous one. All attempts are made to ensure that the quality of films showcased in the festival are of premium value. The selection procedure for the awards is done on the highest of benchmarks by a jury of film professionals and technicians. π IFFI places a lot of emphasis on the various regional cinemas within India and promotes outstanding films, documentaries, technical master classes and new cinematic technologies, young filmmakers and independent films. For many filmmakers, it is the first flight forward into the dizzy heights of international cinema. π Each year, IFFI is setting new parameters with regard to its technical standards of sound and projection and the entire experience of watching a movie. π Above all, the infrastructure of IFFI in Goa has constantly been upgraded. The popularity of IFFI can be gauged by the sudden and consistent increase of delegates each year who attend the festival.

tors who are spread all over the world and are in touch with these major film festivals.

Can we expect any major changes in terms of overall approach and programming in the upcoming edition of IFFI? The overall programming of the festival is very organized and in spite of the challenges posed by digital technology, we fortunately have not had any mishap or film cancellations. The pattern for IFFI 2014

The cast and crew of Afghanistan Film A Man’s Desire for Fifth Wife on the Red carpet at the 44th India International Film Festival of India (IFFI-2013). The Director, International Film Festival of India (IFFI), Shri Shankar Mohan is also seen

will be very much like the previous edition. There has also been introspection on reducing the number of films owing to the growing number of delegates which necessarily demands repeat screenings of the films particularly in the competition and non-competition sections. Also we will focus more on having a wider participation from the international directors, will also have famous and credible people for the master classes. We are expecting more attendees from the last time and upgrading the infrastructure for a great experience.

What are the major retrospectives that you are planning this year?

It is too early to declare as we are right now in the initial stages of film selection.

But as China is our Country Focus this year, you can expect some of the finest modern films from the neighboring country.

Are you in a position to reveal the names of the major international personalities that you are planning to invite this year?

This is also too early to declare as we are in the initial stages of finalizing the festival details. We want to invite some of the great film personalities this year but a lot depends on their availability. So we won’t be able to say anything on this right now.

But let me just say that you will be in for some really good surprises.

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We chose Goa as the permanent place for IFFI in 2004. This year is the 10th year and the experience has been very good so far.

Goa is a fun and a happening place to be and we wanted cinephiles to not only enjoy the films but also the serene atmosphere of the location Indian Panorama has for long been, particularly for foreign delegates, the centerpiece of IFFI. Is there any move afoot to make it even more relevant and rewarding for those that come to India looking for good cinema from the subcontinent?

Indian Panorama showcases the finest upcoming Indian films, which generates a lot of interest among cinephiles from the sub-continent. As Indian films are screened throughout the world, foreign delegates too are keen to see these films.

Hence the Panorama is not only for the foreign delegates. This year the Panorama films travelled to six cities in India where independent Panorama festivals were conducted and they were hugely popular. The filmmakers themselves were surprised at the huge popularity the Panorama films were commanding and the scope of the cities varied from Shillong in the North East to Trivandrum in Kerala.

What is your take on the viability of Goa as the venue of IFFI? We chose Goa as the permanent place for IFFI in 2004. This year is the 10th year and the experience has been very good so far. Goa is a fun and a happening place to be and we wanted cinephiles to not only enjoy the films but also the serene atmosphere of the location. Above all the co-

operation from the Goa Govt. has been immense in making IFFI a hit year after year. It is because of their determined efforts that we manage this huge event with ease.

The focus of many of the major international film festivals these days seems to be on star-studded Bollywood titles. Do you think IFFI can play a role in swinging the balance back a little to the work of non-mainstream Indian filmmakers, both established and new?

IFFI has always focused on good cinema, in fact on excellence in cinematic arts. Whether the film is mainstream or non-mainstream we try our best to include it in the festival if it’s a significant film. IFFI has not been a populist film festival by trying to focus only on Bollywood. Bollywood is a part of our festival but we have always given importance and space to new, independent and non-mainstream filmmakers.

What will be the focus countries at IFFI this year?

Great, cult, outstanding cinema from all the over the world will be a part of IFFI 2014. But China will be our Country-InFocus for this year.

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TOP WINNERS AT THE JUST CONCLUDED 39TH TORONTO INTERNATIONAL FILM FESTIVAL

NETPAC Award for International Asian Film Premiere: MARGARITA, WITH A STRAW, directed by Shonali Bose

People’s Choice Award: THE IMITATION GAME, directed

by Morton Tyldum

People’s Choice Award, first runner-up: LEARNING TO DRIVE, directed by Isabel Coixet. Sir Ben Kingsley, plays instructor Darwan, a Sikh, a political refugee from India who is teaching newly separated Wendy

People’s Choice Award, second runner-up: ST. VINCENT, directed by Theodore Melfi. starring Bill Murray and Melissa McCarthy. It will be released by the Weinstein Company

Director Oren Moverman’s TIME OUT OF MIND, starring Richard Gere as a homeless man, claimed the FIPRESCI Jury Prize for Special Presentation Film

People’s Choice Midnight Madness Award, first runner-up: TUSK, directed by Kevin Smith

Pickle Volume VIII 2nd edition Editor: Natarajan Vidyasagar 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

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Editorial Coordinators : M Sai Layout Design: M Agnes Julie Consulting Photo Editor: K K Laskar Pickle is an ad supported business guide tracking the filmed entertainment business in India

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PRIME FOCUS TECHNOLOGIES & DAX AT NAB Our vision is to build the best enterprise platform for virtualizing the content production supply chain and with DAX acquisition we are taking a giant step in that direction Ramki Sankaranarayanan Founder and CEO, Prime Focus Technologies

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