Event Coverage

Customer-focussed platforms to rule broadcasting

Published

23 years ago

March 14, 2003

MUMBAI: In the future, broadcasters will gain from subscription revenues; public broadcasters will continue to play an important role; digital platforms will rule; consumers will continue to exercise limited choices despite a plethora of options; broadcasting and narrow-casting will co-exist; news channels will be judged on the trust factor; multi system operators will face competition from HITS (headend in the sky), DTH (direct to home), TELCOs, broadband operators.

These views were expressed during the crystal ball gazing session dedicated to the television environment (aptly called “Broadcast – 2008, Crystal Gazing”) held during the latter half of the first day of Ficci FRAMES 2003. The panelists included Prasar Bharti CEO KS Sarma, Turner Broadcasting System, Asia Pacific, senior VP and GM Ian Carroll, BBC World MD Patrick Cross, ESPN Star Sports Asia Pacific MD Rik Dovey and SET India CEO Kunal Dasgupta.

Prasar Bharti CEO KS Sarma who moderated the session said: “The more private channels concentrate on the commercial aspect, the more relevant is the role of the public broadcaster. The public broadcaster acts as a facilitator for a level playing field.”

“In the future, public broadcasters will have to find new ways of programming instead of depending on any one model. I can say that even after 15 years on the Information Superhighway there will still be a public lane,” added Sarma.

Turner Broadcasting System, Asia Pacific, senior VP and GM Ian Carroll gave a few predictions for the Indian environment for 2008. His take is as follows:

* Hollywood will have discovered Bollywood in a major way despite competition from China.
* DTH will be present but it will not dominate.
* The successful operators will be those who build. integrated platforms around customers who get what the digital environment is all about. They will invest in brands and exclusive content.
* Regulators will continue to face challenges and hurdles to frame laws and rules to suit a shifting environment.

Carroll also dwelt on the importance of a digital environment in the future. The content provider must focus on the consumer and not so much on the technology. “The main aim should be to “WOW” the consumer. Give him a value proposition right at the start that makes sense. Digital is the promise and challenge of the multichallenge world. If these are not met then digital is just a booby trap technological word,” Carroll added.

“The consumer wants more choice but remember that you are on a slippery slope while increasing the choices. The consumer is strange in that he does not exercise most of the choices he is presented with. For instance, one may only visit three websites out of a hundred. Interactivity is therefore key here,” Carroll opined.

Citing the case of UPG channel on BSKyB, one of the top ten channels in the UK, Carroll stated that interactivity means differentiation. “Customers enjoy empowerment of control. The question arises as to whether investment in digital technology is a viable option and the examples of Time Warner Cable in the US and BskyB in the UK shows that it can be done. One should look to build what I call a virtuous cycle involving a platform, consumer, broadcaster and the content provider,” Carroll added.

In this cycle, the system operator does not appropriate too much of revenue. Also the programme makers do not pull out of commitments. Carroll continued elaborating on the digital phenomenon: “Digital means brand power through services. Advertisers can get verification of who is the exact audience. While building scale it is not necessary to discount offerings and hence the importance of the brand value proposition.

“In the US, there were six million digital homes. In 2007, there will be 40 million digital homes. In the UK, Cartoon Network was able to attract advertisers by giving them a niche audience. In the 4-15 age category 60 per cent of children in cable and satellite homes watch television. The constant challenge for us is to retain that audience,” Carroll added.

BBC World MD Patrick Cross dwelt on the future role of news channels. He said: “The definition of broadcasting has broadened to include narrowcasting. The Indian entertainment industry is poised to reach Rs 280 billion by 2005. There has been a 22 per cent growth in the industry with news broadcasting taking center stage.”

Cross also added: “The market will become increasingly competitive what with new channels to be launched from the likes of NDTV. The way ahead is to tap into niche markets. This is why BBC World developed India specific content like Face to Face, Mastermind. We will also have to face challenges thrown up by multimedia. In the future, the television will also serve as a computer, a video game console. So BBC World will also have to face the likes of Nintendo.”

Cross also stressed the importance for news channels not to lose sight of the basics. ” While we have broadened platforms, we are available one must not forget to include radio and the internet quality of journalism which has to be at the forefront at all times. Getting it first through the mobile phone cannot replace getting it right through proper perspective, weightage.”

“Trust is the only path for news channels. News channels must also stay accountable and sensitive to the needs of viewers. Editorial values must be consistent whether the user logs on to the net, listens to the radio or watches the telly, ” Cross added, “News channels would do well to focus on a rock solid core product which competitors will find very hard to match.”

ESPN Star Sports Asia Pacific MD Rik Dovey said: “We are in the process of moving towards a four system delivery environment. There will be CAS with one or two DTH suppliers. Since DTH is coming well after the cable industry has been organized it will offer high end premium content in order to entice the viewer.”

Pointing out that the situation in Britain was quite different Dovey stated: ‘ There, DTH was introduced before the cable industry was organised. Pricing will make the difference as to whether the subscriber chooses the CAS Set top or the DTH set top box. “

Unlike a news channel a sports channel can serve up different variations of one product. A cricket match could be viewed from different angles, a person could catch up on the days highlights in five minutes.

SET India CEO Kunal Dasgupta rounded off the discussion. He said: “Right now out of the Rs 100 billion in revenue for the cable industry, Rs 60 billion comes from subscription. The broadcaster does not see a lot of this money. In 2008, I predict that 80 per cent of revenue will be due to subscription.”

“There are 88 million television homes at the moment. The number will increase to 120 million homes. There will be around 70 million cable homes at that time. In the UK the revenue from subscriptions and ads are on par. In 2001, 3.4 billion pounds of revenue came from ads and 3.7 billion pounds from subscription,” Dasgupta added.

Dasgupta mentioned that the MSO (multi-system operators) would face competition from HITS, DTH, Telcos in the near future. Those broadband players who can provide an end to end solution will rule the roost. Telcos laying broadband pipes will have the challenge of inserting voice along with text and video.

Dollar to rupee conversion rate: US$1 = Rs 47.66

Event Coverage

Anime India announces Amazon MX Player as co-presenting partner for Anime India Kolkata 2026

Published

1 month ago

January 28, 2026

indiantelevision.com Team

MUMBAI: Riding high on the success of its blockbuster Mumbai debut, Anime India is accelerating its nationwide expansion with the announcement of Amazon MX Player as the co-presenting partner for Anime India Kolkata. The partnership marks a significant step forward in the festival’s mission to deliver large-scale, accessible, and fan-first anime experiences across the country.

Scheduled for 14 and 15 February 2026 at the iconic Biswa Bangla Mela Prangan, Anime India Kolkata will launch the first regional chapter of what is set to be a year-long, multi-city tour. As the curtain-raiser for the 2026 circuit, the Kolkata edition aims to fuse the energy of global Japanese pop culture with India’s fast-growing community of anime, manga, and pop-culture fans.

A household name in digital entertainment, Amazon MX Player brings unmatched reach and cultural relevance to the Anime India platform. With its expanding focus on anime and youth-driven content, Amazon MX Player’s involvement as co-presenting partner reinforces Anime India’s vision of making anime culture more inclusive breaking barriers of language, geography, and accessibility to connect with fans nationwide.

*Glimpses of Anime India Mumbai edition*

Anime India Kolkata 2026 will showcase cosplay competitions, interactive zones led by the Indian Gunpla Community, India-39 Vocaloid Community, The Japan Curry, and Adda-o-Otaku by The Otaku Guild. Fans can join tournaments across fighting games, Pokémon VGC, and more. Acclaimed Japanese director Susumu Mitsunaka (Haikyu!!) will attend as guest of honour, appearing in panels and live sessions. Positioned as an immersive celebration of fan culture and industry collaboration, the Kolkata edition marks the beginning of Anime India’s nationwide expansion.

Sharing their perspective on the partnership, Amazon MX Player director Aruna Daryanani expressed, “Anime in India has evolved from a niche interest into a mainstream cultural movement, driven by an increasingly engaged and passionate fanbase. At Amazon MX Player, our focus is on expanding access by bringing anime to audiences across the country for free and in multiple local languages. Our association with Anime India reflects our commitment to supporting the growth of anime in India and deepening connections with fans, while continuing to build Amazon MX Player as a trusted destination for free, high-quality entertainment.”

“Anime India Kolkata is a celebration of how anime has grown beyond entertainment into a powerful cultural and creative force. By bringing fans, creators, and industry leaders onto one shared platform, the festival is helping define the future of pop culture in India,” said Anime India co-founder and director Neha Mehta.

The debut edition of Anime India 2025 in Mumbai attracted over 29,000 fans, quickly cementing its status as a landmark celebration of anime and Japanese pop culture. Riding on this overwhelming response, the Kolkata chapter is projected to draw more than 40,000 visitors across two days, positioning it as one of the biggest anime conventions ever held in eastern India.

Anime India is focused on bringing together fans from across the country to create a truly pan-India celebration of anime, manga, cosplay, gaming, and Japanese culture. With plans to expand into four key metropolitan hubs in 2026—east (Kolkata), north (Delhi), west (Mumbai), and south (Hyderabad)—the festival seeks to deliver globally benchmarked experiences while supporting and uplifting creators, artists, and fan communities throughout India.

Event Coverage

Transcend Goa Day 2 closes with a vision for cross‑border storytelling and shared narratives

Published

2 months ago

January 16, 2026

indiantelevision.com Team

Day two of Transcend Goa 2026 built on the momentum of the opening day and offered a deeper dive into the possibilities of transmedia storytelling and IP creation. Through a mix of panel discussions, and visionary presentations, the second day highlighted both the challenges and opportunities of building story worlds that thrived across platforms, leaving participants inspired by the breadth of ideas and collaborations that were showcased.

The second day began with the session Transmedia History of Japan Manga/Anime/Game IPs in the Partnership of East Asia. The session explored the evolution of Japanese manga, anime, and game IPs as transmedia ecosystems, shaped through long‑standing collaborations across East Asia. The speaker for the session was RE Entertainment CEO & president Atsuo Nakayama.

L to R: Ankur Pathak, Dhruv Jagasia, Tarana eddy and Caleb Franklin

The session ahead was titled A World Where Narratives are Currency. It explored how powerful narratives function as both creative and commercial currency, shaping brands, fandoms, and franchises in the global media landscape. Speakers included Big Bad Wolf founder Dhruv Jagasia, Matter Entertainment founder & CEO Caleb Franklin, Storiculture transmedia producer Tarana Reddy, with the discussion moderated by writer Ankur Pathak.

The next session post‑lunch was Building Mugafi into a Transmedia Giant. It took a deep dive into transforming Mugafi into a scalable, story‑driven ecosystem. The discussion explored how IP development, technology, and creator communities converge to build a transmedia platform that nurtures talent, expands narratives, and unlocks global opportunities. The speaker for this session was Mugafi founder Vipul Agrawal.

The session titled From Collectibles to Culture – Toys, Merchandising & Global Transmedia Value Chains focused on merchandising and consumer products. It examined how toys, collectibles, and licensing strategies can expand a story’s reach and create sustainable value chains across film, television, gaming, and more. Speakers included Weta head of consumer products Kim Faiga and Weta consumer products sales manager Jack Oolders, with the discussion moderated by Bulletproof Entertainment founder Harish Rao.

L to R: Sunder Aaron, Charuvi Agrawal, Manvendra Shukla and Milind Shinde

The last session for the day was titled The Next Wave of Global IP – Connecting India, Asia & the West. It spotlighted emerging intellectual properties that bridge continents and cultures, highlighting collaborative projects linking creators in India, Asia, and the West. By showcasing case studies on scaling IP across borders, the discussion underscored how co‑productions and shared narratives can reach audiences worldwide. Speakers included 88 Pictures founder & CEO Milind Shinde, CDL TV CEO Charuvi Agrawal, writer Binky Mendez, and Lakshya Digital CEO Manvendra Shukul, with the discussion moderated by Locomotive Global founder Sunder Aaron.

Transcend Goa 2026, concluded with closing remarks from Rao and representatives of the government of Goa, followed by a networking evening. The sessions across the event captured the spirit of collaboration and innovation, showcasing how transmedia storytelling and IP creation can transcend borders, formats, and industries. As the event drew to a close, participants left with renewed inspiration, strengthened connections, and a shared vision for the future of global media and entertainment.

Event Coverage

Transcend Goa 2026 Day 1 showcases India’s journey in storytelling, IP creation and transmedia content

Published

2 months ago

January 16, 2026

indiantelevision.com Team

Day One of Transcend Goa 2026 marked a significant step for India’s creative industries, as the inaugural transmedia conclave unfolded at the Marquinez Palace in Panjim on 15 January. The summit brought together leading voices from cinema, publishing, gaming, animation and emerging technologies to discuss how stories can move fluidly across formats and reach audiences in new ways.

Conceived as a platform to showcase India’s growing strength in original IP and cross‑media innovation, the conclave set out to highlight the country’s transition from service‑driven work to globally recognised creative leadership. With the support of the Government of Goa, the Entertainment Society of Goa (ESG) and Goa Future Proof curated the event to spark dialogue on the future of storytelling and its impact on culture and commerce.

L to R: Sanjay Ram, Shobha Sant, Veerendra Patil, Monisha Advani and Vijay Koshy

The day opened with an address by a Government of Goa representative and ESG chief executive officer Asvin Chandru. He said, “Goa has been envisioned as a future facing space where cinema, publishing, gaming, technology and artificial intelligence converge, reflecting the state’s ambition to emerge as a hub for creative, innovation and cultural exchange. Over the next two days, we hope this conclave inspires meaningful dialog, learning and collaboration across disciplines.”

Next, government of Goa chief secretary and planning secretary V Candavelou took the stage, setting the tone for the discussions ahead. He noted, “You all know that transmedia storytelling has undergone a transformational change. With the evolving of new technologies, this storytelling keeps on changing. The Transcend Goa summit is making this platform available to all the stakeholders to exhibit their talents. I hope that these two days spark meaningful conversation and ideas for the future.”

The event was graced by Goa’s chief minister Dr Pramod Sawant. “Transcend Goa is a simple idea to create a space where the culture meets technology, creates a space where the creativity connects with opportunity,” he said taking the stage. “The summit is also a pilot. It allows us to learn and understand how Goa can position itself as a large, creative and digital economy. Even small steps matter when we move in the right direction. If this discussion is of value to the creators’ businesses and the students, then these efforts will serve its purpose.”

He further said, “Goa always attracted the artist and thinkers. Today, it also has the students who code, design, animate, write and build the digital products. This summit gives them the exposure. This platform can open new doors and sparks new ideas. The government of Goa has extended support to Transcend Goa because we believe in the enabling of this platform. The Entertainment Society of Goa (ESG) has been entrusted and with the responsibility because it understands the culture landscape and has the capacity to execute such initiatives. We see the summit as a part of the larger efforts, our efforts to strengthen the Goa’s creative economy.”

The keynote was delivered by Creativeland Group chairman Sajan Raj Kurup, who underscored the importance of building narratives and transmedia content that resonate across platforms and markets.

The day opened with the session Beyond the Screen: Creating Stories that Travel, which examined how narratives moved across film, television, games, social media and immersive experiences. It considered strategies for designing stories that adapted and engaged audiences across formats. Speakers included Emmay Entertainment producer partner and CEO Monisha Advani, Zebu Animation co‑founder and creative director Veerendra Patil, TVF president Vijay Koshy and Creativeland Studios CEO Shobha Sant, with the discussion moderated by Mediasmiths founder Sanjay Ram.

The session The Evolution of India’s Media Ecosystem: Transitioning from Outsourcing to Transmedia IP Creation examined how India’s media sector moved from providing back‑end services to developing original intellectual property that attracted global investment. Speakers included Punnaryug Artvision founder Ashish Kulkarni, Brhat founder Raghav Krishna, with the discussion moderated by Bulletproof Entertainment founder Harish Rao.

Post lunch, the session India’s Original IP Powerhouse: The Raj/Alpha Comics Story presented a case study on how publishers such as Raj Comics and Alpha Comics developed Indian superhero stories into transmedia properties. Speakers included Raj Comics founder Sanjay Gupta, Raj Comics and Alpha Comics founder Vasu Gupta, with the discussion moderated by Animation Xpress India director Mishaal Wanvari.

The session The Art of Creating Multiplatform Narratives explored the craft of building cohesive story worlds that unfolded across film, television, games, social media and other formats. It considered approaches to creative planning, audience engagement and maintaining narrative consistency while using the strengths of each medium. Speakers included filmmaker Raja Krishna Menon, filmmaker Reema Maya and filmmaker Q, with the discussion moderated by Mediasmiths founder Ram.

Harish Rao (left) felicitating Vignesh Raja

The session AR Rahman’s Secret Mountain: Building a Transmedia Music Universe introduced the composer’s latest project, Secret Mountain. It highlighted India’s first Meta Band and explored its potential across music, digital platforms and immersive experiences. The presenter for this session was Secret Mountain cofounder Vignesh Raja.

The last session of the day, Animating Success: Green Gold Entertainment’s Journey, highlighted Green Gold Entertainment founder Rajiv Chilaka and his team’s work in building one of India’s leading original animation studios. It traced how Green Gold Entertainment created hit franchises such as Chhota Bheem, developed a merchandise and licensing strategy, and showed that Indian stories could find global resonance. The session featured Chilaka in conversation with Bulletproof Entertainment founder Harish Rao.

The day concluded with a lively networking evening, leaving participants energised and looking forward to the sessions on the second day.