Category: Executive Dossier

  • ‘Cable companies should start thinking like DTH operators’ : Seemanto Roy – Sahara One Media and Entertainment CEO

    ‘Cable companies should start thinking like DTH operators’ : Seemanto Roy – Sahara One Media and Entertainment CEO

    After taking charge, Subroto Roy’s younger son Seemanto Roy has drawn up an aggressive plan to grow Sahara’s media and entertainment business. His target: launch of five channels over 6-8 months, revival of the motion pictures business and setting up of a film institute.

     

    In this his first interview to the media after becoming Sahara One Media & Entertainment CEO, Roy spells out his plans to Indiantelevision.com’s Sibabrata Das.

     

    Excerpts:

    Media companies have seen opportunities and been on aggressive mode in the recent past. Why haven’t we seen that sort of game being played out by Sahara?
    We have just launched Firangi, a world TV channel dubbed in Hindi. We are also going to launch five more channels over the next 6-8 months. This will include a Bengali language channel, details of which I can’t specify now.

    Won’t this be in the entertainment space as the channel will be under the Sahara One Media & Entertainment umbrella?
    In that sense, yes. It will be in the non-news space. But we can’t spell out the positioning of the channel at this stage. We are finalising the details.

    There were plans of launching a music channel and Sahara had also initiated talks to buy out Music India. What is the status?
    Launching a music channel is on our agenda. Though people say it is a cluttered and thin-revenue market, we believe the space is growing. There is an opportunity, if the positioning is done well. We are figuring out the positioning of the channel.

    Sahara had announced in late 2004 an investment plan of Rs 15 billion for its media and entertainment business and Percept was put in an operational role. Are you happy with the speed of the progress since then?
    We relaunched our flagship Hindi general entertainment channel and ramped up our movie production business. We also launched a Hindi movie channel called Filmy. Our focus now is to widen our channel offerings.

    How much money Sahara is going to pump in for this?
    We can’t give you the financial details. We’ll announce them early next fiscal.

    In the news channel business, alliances are taking place. But in any case, we are not interested in diluting majority

    Is there a move to transfer the broadcast operations of the entertainment channels into Sahara One Media & Entertainment?
    The process is on. We want the entertainment business to be in a single entity.

    Obviously this will enhance the turnover of Sahara One Media & Entertainment. Now the listed entity does not capture the advertising revenues which is with the broadcasting entity. But is it that the past liabilities of Sahara India TV Network, the broadcasting arm, will not be transferred to Sahara One?
    No, we are not transferring the liabilities.

    How do you separate the broadcasting arm of the news channel business?
    The news channel operations, because of the regulations on holdings and other issues, will need to be separate.

    Sahara One was planning to raise up to $50 million through foreign currency convertible bonds (FCCBs). Are you going ahead with it?
    We have no plans of raising money at this stage.

    Sahara One had diluted 14.98 per cent to Sivasankaran’s Aircel Televentures (later renamed Siva Ventures) for Rs 1.2 billion. BCCL (Times Group holding company Bennett Coleman & Co Ltd) also acquired close to 6 per cent stake in the company. Are there plans to further dilute equity?
    No.

    Sahara had mandated Ernst & Young (E&Y) for offering suggestions to restructure the news channel business. What were the recommendations?
    They were appointed to look into the growth prospects. We appoint consulting firms to get their perspectives.

    Are you looking at diluting equity in the news business?
    There is nothing.

    Are you in talks with investors?
    It is difficult to comment on this. In today’s market, alliances are taking place. But in any case, we are not interested in diluting majority.

    Why did you drop the Sahara name from Samay, your national news network?
    We gave the channel a new look. Besides, we are developing the sub-brands. Having lots of brands with the Sahara tag can be confusing. We did it in Filmy as well. We are maintaining Sahara as a network brand.

     

    Isn’t the Hindi news space getting too cluttered and hurting channels like yours?
    There is a lot of sampling happening at the moment. Our region-centric channels continue to perform well.

    One area where Sahara had a big opportunity but let it slip was the motion pictures business which had several hits at one point of time. What went wrong?
    The movie business doesn’t always give you hits.

    But the movie production business stayed dormant for a long time as there was an exodus in the team?
    There was a gap in between. Film production is futuristic – actors are not always available, nor even directors. But it is not that we lost momentum. We went back to get our plans in place. We will be getting back into it big time in the next fiscal. We will be producing 10 movies in 2008-09, out of which 4-5 will be big budgets and the remaining in the medium range.

    Don’t you think Percept hijacked the motion pictures platform?
    Not really, we are still working with them. We are acquiring movies – so we could be buying from them as well.

    Earlier you did a long-term deal with K Sera Sera where you even took an equity in the company. Are you looking at such deals again?
    We will follow all kinds of business models – producing films ourselves, acquiring, locking directors, co-producing (including international). We will have the studio model. We have a strong team and will also be in film distribution. Besides our own movies, we will also be acquiring for distribution. We are, however, not looking at overseas distribution now. We feel the home turf is an important market.

    What about home video?
    We are not getting into it. Nor will we be launching our music label.

    Sahara has not been going slow on movie acquisitions for satellite TV rights. Why is it so when the other movie channels have been more aggressive?
    Acquisition prices have gone up, but we have brought some big titles like Guru. We have also been buying syndicated content.

    Is it that you believe in syndication of titles rather than acquisition?
    We do both. Though we have introduced programming as well, we realise that movie channels will have to revolve around films.

    Is Filmy in course for its revenue target of Rs 500 million in the year?
    I don’t want to comment on the financials. But we are doing well and reaching our targets.

    What are the plans of beefing up content on Sahara One which seems to be hovering around 60-70 GRPs?
    The market is evolving and we have plans for the channel. In future, the fight in the Hindi GEC (general entertainment channel) space will be for slots. We are targeting slots.

    Do you have a strategy for regional channels in the entertainment space?
    We may launch two channels in the regional space. We want to test the regional market. But we don’t plan to grow in every direction.

    What made you launch Firangi and how do you see its growth potential?
    We are looking at the birth of a new genre. In the general offering, it is like a GEC. And it also can be looked at like Star World. Firangi is somewhere in the middle. We can attract audiences from both sides. The content is picked up from across the world, is fresh, contemporary and bold. And its strength is that the stories end in 6-8 months.

    Have you shelved plans to start a film institute?
    We will be in it. We are talking to strategic partners. For location, we are weighing various options including Mumbai.

  • ‘Cable companies should start thinking like DTH operators’ : EVS Chakravarthy – You Telecom CEO

    ‘Cable companies should start thinking like DTH operators’ : EVS Chakravarthy – You Telecom CEO

    Having acquired a broadband company in 2006, Citigroup Venture Capital International has set its eyes on the cable TV business. You Telecom has floated a subsidiary to meet the FDI (foreign direct investment) guidelines for cable and acquired Bangalore-based Digital Infotainment, a small-sized cable network.

     

    You Telecom intends to invest Rs 7 billion over four years as it takes steps to enter the digital convergence space. Banking on building a Headend-In-The-Sky (HITS) platform, the company plans to invest Rs 1.2 billion in the first phase of infrastructure.

     

    In an interview with Indiantelevision.com’s Sibabrata Das, You Telecom CEO EVS Chakravarthy talks about the onslaught from direct-to-home (DTH) players to grab the digital space and the need for cable TV operators to up their services and invest in brand building.

     

    Excerpts:

    Since Citigroup Venture International holds 85 per cent in You Telecom India, how are you restructuring the foreign holding to stay within the regulatory cap of 49 per cent so as to kick start cable TV operations in India?
    We have set up a company called Digital Outsourcing where Citigroup holds 49 per cent. The balance 51 per cent is being held by high net worth individuals. We have done the capital restructuring in the cable TV company to meet the FDI guidelines.

    Did Citigroup buy out the Mumbai-based broadband company from British Gas in 2006 because it saw opportunity in expanding the footprint to cable TV?
    We will probably be the only pure broadband player to get into cable TV. Unlike Sify and the other ISP operators, we have built a cable-based infrastructure. So it is a logical extension for us.

    Are you looking at acquisition of cable networks as the entry route in different markets?
    Digital Outsourcing has bought 50 per cent stake in Bangalore-based Digital Infotainment. This is our entry into cable TV operations. We will be rolling out digital services in the next couple of weeks. In other markets, we are also looking at people who could partner with us through joint ventures where we will be offering multiple services.

    Why have you set up a headend in Delhi but not yet rolled out services? Is it that you don’t have a content tie-up with broadcasters?
    Though we have set up a headend in Delhi, we haven’t started operations. We are looking at opportunities like a JV or a 100 per cent buy out. We are also looking at an outsourced service model for digital solutions to cable operators as one option.

    You are banking heavily on the HITS model. How much are you going to invest in the venture?
    We will be investing Rs 1.2 billion in the first phase for setting up the HITS infrastructure. We are waiting for the government to come out with the regulations before we go ahead. We expect the Telecom Regulatory Authority of India (Trai) to come out with its recommendations on HITS in the next 2-3 weeks. For the digital solutions including set-top boxes, we will be using Scientific Atlanta. And for HITS, we will also be looking at Motorola.

    How much are you going to invest in the overall business?
    We plan to invest Rs 7 billion over four years. This will be in addition to Rs 4 billion that we have already put in for laying out the infrastructure for broadband. We will be doubling our footprint to 24 cities.

    Why are you so bullish on digital cable when there is a very low STB penetration in the Cas (conditional access system) belt?
    2008 will be the defining year for digital. After Reliance launches its DTH service, expect fireworks on the ground to start. The cable industry is not fully prepared to combat the DTH onslaught. Cable operators will have to figure out who is going to provide them with the right ammunition to fight DTH tomorrow.

    MSOs should have a one-million digital box seeding plan. Then everything will fall in place’

    What will you offer that will make cable operators come to you?
    It’s high time cable companies started thinking like DTH operators. Cable TV has to match DTH service standards – be it brand building, billing, marketing and services. Multi-system operators (MSOs) today are not concentrating on that. They will have to support the last mile operators with all these things. Otherwise, how are the operators going to fight DTH on behalf of the MSOs. The old mindset has to change. There has to be a complete revolution in digital cable and related services like broadband. If the old MSOs don’t do it, new players like us will show the way.

    Cable operators are willing to part with equity to those MSOs who are offering them more. Isn’t that the deciding factor?
    In the initial land grab situation, it is capital. But in the medium term, it will be quality of management and the systems and processes they work with. The valuations operators are asking for has gone up dramatically with new MSOs entering the field. But it is like the sensex; it will not last forever. We are not willing to pay exorbitantly just because we want to expand our size. In cable, it is important to remember that there is no case of first mover in the consumer’s mind. The future battle in cable will be for grabbing attention in the consumer space through brand building and quality of service. The MSOs have never thought of this as a strategy. And don’t forget that HITS will open up the smaller towns and networks. So the opportunities down close down for any new entrant.

    What brand building exercise you have put in place?
    We have an equity capital reserved for brand building. Bennett & Coleman Company Ltd (BCCL), the holding company of the Times of India, has a five per cent stake in You Telecom. We are looking at doing more such media deals. We are setting in a discipline by allocating equity for brand building.

     

    We have also invested in technology. We have introduced the Oracle-based billing system which we are willing to outsource to others. We have 170,000 broadband subscribers, spread across 12 cities including Mumbai, Bangalore, Chennai, Hyderabad, Gurgaon, Surat, Baroda, Ahmedabad, Rajkot and Pune. Our broadband ARPU (average revenue per user) is Rs 460. Our revenues will be Rs 1.10 billion this fiscal with just broadband in our business mix at this stage.

    Won’t the cable business require huge doses of capital?
    We realise that growth needs capital. Citigroup is committed to infusing capital to grow the business. We have a plan in place.

    But for a venture capital fund, isn’t analogue cable a matter of concern for its revenue leakages across the last mile?
    When Citigroup bought out the company from British Gas, they looked at the convergence space. We are uniquely positioned in that we already have a good broadband play. When we are in cable, we are only extending our laid out infrastructure to a new area of business. It is important to remember that a single service play is like an analogue video play. We see alliances emerging with broadcasters and cable networks across the value chain.

    What is the challenge for MSOs in digital cable?
    MSOs should have a one-million digital box seeding plan. It is possible with a well-evolved cable eco system. Once an MSO has such a deployment, then everything will fall in place. It will be like building a long lasting real estate value – with multiple services including broadband, cable TV, gaming and VoIP. Later we will see bigger cable companies converting carriage fee into equity in broadcasting networks.

     

    What are your views on Trai’s regulation for non-Cas areas?
    The regulator has given it some shape. If the MSOs had implemented Cas more successfully and effectively, then Trai perhaps would have been confident of extending it to other areas.

  • ‘US, Europe and Canada are growing markets for Indian content’ : Adris Chakraborty – Globosat Entertainment director

    ‘US, Europe and Canada are growing markets for Indian content’ : Adris Chakraborty – Globosat Entertainment director

    With the Indian television market booming and the NRI community becoming more affluent, platforms in the UK and US are looking to service this community better. Hoping to take advantage of this is ethnic content aggregator Globosat Entertainment. Formed three years back, the company hatched a deal with Sahara to distribute its channels in the US, UK and Europe. It also markets the religious channel Aastha and works with various platforms.

     

    Indiantelevision.com’s Ashwin Pinto caught up with Globosat Entertainment director Adris Chakraborty to find out more about the company’s future plans.

     

    Excerpts:

    What are the changing trends for demand of Indian content overseas?
    Bollywood and cricket are the dominant forms of entertainment. Soaps fare less well as the connect is not there; dubbing or subtitling is needed, or else language becomes an issue. News works but to a much lesser extent, as a lot of the diaspora gets that from the internet. To get people to pay for a news service is difficult. People are to an extent also interested in Indian subjects like alternative healing systems, the investment climate, etc.

    How is Globosat positioning itself to take advantage of this?
    We want to leverage the appeal of Bollywood through video-on-demand service offerings. We are talking with production houses to make their content available on VoD through DTH (direct-to-home) and cable platforms. There are entertainment and movie channels.

     

    We are also talking with recently launched Indian broadcasters who want to have a presence abroad. We are also talking with FM radio stations to figure out opportunities to distribute their content on a national scale in the US, UK and Europe, under a subscription-based service model.

    Which are the Indian and South Asian channels that Globosat is currently distributing?
    We distribute the Sahara channels in the US, UK and Europe. We also market NDTV News and promote Aastha channel in the US.

     

    Besides, we are looking at value-added services like ring tones. We are in discussions with a technology service provider to offer subscription-based Bollywood ringback tone services for the South Asian diaspora. We want to work with them to also offer an SMS-based revenue service. The SMS based-revenue, which is big in India, is not being exploited for the South Asian audience. So an NRI watching an Indian Idol on Sony cannot participate through the SMS route. We want to create these kinds of alternative revenue opportunities for our broadcast partners.

    Is interest in Indian content also spreading among mainstream TV viewers in the US and other countries?
    Bollywood is doing that. It is appealing not just to Indians but also to Bangladeshis, Pakistanis and the Hispanic population. They have subtitles or dubbed content.

    What are the services that Globosat offers?
    We work in the ethnic content aggregation and distribution business with focus markets in the US, Canada and UK. Since we understand the South Asian market, we started off in this space.

     

    With a full-fledged marketing team, we help content owners promote and distribute their offerings under different platforms on a subscription basis. We work with multiple platforms and with multiple markets to get the best possible distribution and revenue for broadcast partners. Content distribution could be in the form of VoD for Bollywood movies. We work with DTH platforms and cable networks to help aggregate their VoD content. We have a 60,000-square-foot playout and broadcast facility in New York with five studios. We also have studios in San Francisco and in Toronto.

    Demand overseas for Indian content is more dominant in the areas of Bollywood and cricket. Soaps fare less well as the connect is not there. News works but to a much lesser extent, as a lot of the South Asian diaspora gets that from the internet

    What are the platforms you have relationships with?
    Our partners include DirecTV, Dish, Rogers, Comcast, Time Warner Cable, and BSkyB in the UK. As the platforms deal with many genres, it is important for us to help them give a marketing push to our offerings. The platforms, after all, do not have the time and energy to market our channels. We offer a value add as we understand the community.

    What is the scene for Indian regional channels in the US, UK?
    They have their own viewing pockets. They are mostly a-la-carte offerings on different platforms. However, there are three Bengali channels which are offered as a package and as a la carte as well.

    Do you use Soundview Broadcasting to create innovative content for South Asian audience in the US?
    We have a couple of shows. There is a show called Green Card about the process of getting one. Then we have Astro Guide and we also do a community news programme Your Voice where we cover the US. We do all this for Sahara. We provide NGOs an opportunity to come and discuss issues on a show called Centrestage.

     

    We produce some content for Aastha in the US. This includes religious festivities. We do some local programming and plug it on the feed to build up better connection with the subscribers. We also shoot film premieres, interviews and give it to our partners.

     

    Viewers want to know the reaction to a latest film, for instance. We do this from the point of view of building the subscriber base for our partners. Local production helps build an emotional connect.

    What is the strategy Globosat follows in terms of marketing its offerings?
    Our marketing mechanism is such that we participate in the major media, cultural and trade events in the US, UK, Canada and Europe which are relevant for South Asians. Sometimes we are allowed to put up a booth and run promos of our broadcast partners. We do a lot of cross promotions with print publications. In addition, we do direct mails, dealer network promotions, etc. We also sponsor events like Miss India USA.

     

    We work with platforms to create new offerings. In Europe, in conjunction with a few channels, we created a DTH platform in partnership with a technology playout called GlobeCast. We partnered with Sony in the UK and created a bouquet to be a compelling subscription-based service. This caters to the Indian and Pakistani diaspora. We also have a major Pakistani channel in that bouquet.

    Do you also do ad sales for channels?
    We have started a full-fledged media agency called Media Morphosis. We help clients with media and print placements. It could be PR or cross- promotion strategies. We are connected with large advertisers, and this helps our broadcast partners. We also use this to market the Globosat channels.

     

    We are in the process of launching Media Morphosis in India. The aim is to offer our services to Indian channels that are abroad and want help attracting advertisers. We will also help companies who want to reach the South Asian community in the US, UK and Europe. We are talking with Star to do their ad sales in the US.

     

    Mainstream travel agencies, insurance and money transfer companies in the US and UK find us useful if they want to reach out to the affluent South Asian community. These advertisers also want to partner with broadcasters. We help them leverage relationships in the most cost-effective manner.

     

    We also organise below-the-line activities, road shows, etc. From a media-buying point of view, we work with a lot of channels. The agency is two years old and we did a gross billing of $2 million with a 30 per cent margin.

    Will you be expanding your footprint to Africa, Australia and Europe?
    We would like to. However, at the moment the bandwith in Australia and Africa is limited. We want to maximise our distribution in the US and Europe which is a large exercise. Canada is a growing market for Indian content.

     

    South America, unfortunately, is fragmented on the distribution front. Piracy is rampant and the Indian population is also too small to justify going there and marketing our offerings.

    New media platforms like mobile, net, etc. are growing through platforms like JumpTV. How is this impacting the channel distribution business?
    It is a good thing for us and our broadcast partners. We have room to do more effective deals. Earlier, it was mostly DTH. If a broadcaster comes to us, we can now take him to all the platforms. One thing, though, is that mobile technology is very primitive in the US. So it will take time to develop as a broadcast medium there.

     

    In terms of revenue, what targets does Globosat have?
    With a turnover of $9 million, we are experiencing steady growth.

     

    What plans do you have for other ethnic content?
    We have tied up with an IPTV platform. They have created a bouquet of Chinese channels. They want us to help them promote and distribute that bouquet in Europe. Our affiliate Soundview also has an Afro-French channel, a Caribbean channel and a Punjabi channel which we distribute in the US and Canada.

  • ‘The discerning Hindi viewer has moved away to English news channels’ : Anurradha Prasad – B.A.G Films & Media Ltd managing director

    ‘The discerning Hindi viewer has moved away to English news channels’ : Anurradha Prasad – B.A.G Films & Media Ltd managing director

     When she started Bhagwan Allah God Films, a television content production company, many thought she was out of her mind. The company (known better by the acronym B.A.G Films) has moved far above what it had initially stepped out to achieve. Today, it is a full-blown media house and a public limited company, with stakes in content production, TV broadcasting, radio channels and mobile content development.

     

    In an interview with Sujit Chakraborty, B.A.G Films & Media Ltd managing director Anurradha Prasad talks about the steps the company is taking to emerge as an integrated media company.

     

    Excerpts:

    Now that you have got FDI (foreign direct investment) clearance, how much does it ease your investment plans?
    We had already raised substantial money earlier for our broadcasting venture. Now what we are getting is Rs 600 million from Fidelity. We are also going in for FCCBs (foreign currency convertible bonds) in two tranches.

    With the funding in place, what are your launch plans?
    We are launching E24 in the first week of March. It is not a GEC (general entertainment channel). It has snacky entertainment content – like glamour, lifestyle, Bollywood. We shall not have fiction and soaps. No saas bahus for us, though my content division is doing saas bahus for others (laughs). Moreover, there are already three new GECs and others coming in. My TG is different even within the entertainment genre.

     

    Our next launch will be Bliss24, a wellness channel, after 4-5 months. Life24, the fourth channel, will come up after a similar time lag, and we are firming up the content for that.

     

    Once we are over with the channel launches, we will look at the film production business more seriously as it is an area of expansion.

    What has been the progress of the Hindi news channel which was launched over a month back?
    As far as market position goes, News24 is behind NDTV India but we have a long way to go. We have to sort out distribution problems and go far beyond the channel’s 19 per cent reach. As connectivity grows, we will also grow.

     

    The encouraging thing, though, is that audience stickiness to the channel is high when big news like the Narendra Modi (Gujarat chief minister ) issue breaks. Our stickiness has been as high as the top three Hindi news channels. This strengthens our belief that credibility is valued. Even as one realises that we are operating in a cluttered market, we are also convinced that our stance towards news coverage pays. Otherwise, the credibility of Hindi TV news has eroded.

    Trends show that you might get lower ratings than the rival news channels that have a preponderance of sex, violence and the supernatural. Would you say people in the Hindi belt prefer nonsense to news?
    That is a misnomer. The discerning Hindi viewer has moved away to English news channels. There is definite demand for proper news in Hindi.

    The government has a problem with repetitive shots of violence and abuse – the mainstay of Hindi news. Are you doing the same?
    No we are not. But if it is news, it will be on my channel. Two years back, you could not have thought of one Indian Test win in a series getting an eight-column banner headline in newspapers. But this is happening. So the way people are viewing news is changing. It is a young, vibrant India, and if we do not reinvent at every stage, we shall be out. But it is not that people want only bhoot-pret and sex. If that is so, why should NDTV, CNN IBN or IBN 7 work? And they are working.

    There has been a demand that such channels be termed ‘tabloid channels’ and not news channels. But if people want to see these things, they will. Does any change in definition make any difference?
    Let them. It is for the government to decide what goes on air – whether people are becoming more superstitious or not. I am saying that I shall not go for that kind of news content. Besides, there is a span of time that certain things sell. The same old thing does not last long. Proper news has lasted and will last.

    You created the Hindi news crime show Sansani but are now doing away with sensationalism in your own news channel?
    People have missed the point about Sansani, as it was much more than a show where people with problems would come to us rather than go to a police station. It was a socially important show. We stopped doing Sansani last July because we were coming up with our own news channel.

    Are you planning something on those lines for News24?
    We are going to do something. Crime against women is a big issue for me. We are working on that, after launching the campus programme in which students from across the country report for us.

    Good method of increasing penetration?
    Yes, of course. It works very well.

    Which economic or social segments does your news channel target?
    A and B category viewers. But as I see it, the real problem is with the ratings system. The economic definitions of A and B are not correct. If the criterion is the ownership of a fridge and a TV, then in the last five years a whole lot of lower strata people have moved up in economic terms but not in cultural terms. The system by which weightage is given is flawed. Some channels are taking advantage of that because it is their business model. As a strategist, I would rather trace out the need gap, which I have, and put things that way.

     

    Ultimately as a content person, I must do what I believe is the need and that has to be based on scientific studies. My analysis shows that news was losing credibility. Secondly, a whole lot of channels were not reinventing themselves. There was a strong need for a young, vibrant and credible brand… that’s why News24.

    There is a concern that with tabloid news channels getting more TRPs, advertisers might swing their way. Does that worry you?
    Going forward, it can’t be like that. Any good advertiser will check out whether he is reaching only the masses, or hitting the target consumer or not. As an advertiser, I would be asking my media buying department, Boss, jismey dalaa hai uska return kya hai? (what is the return from the channel where you have placed my ad)? Right now, the returns are all hedged because they are all enmeshed in the whole issue of TRP and GRP.

    E24 shall not have fiction and soaps. No saas bahus for us, though my content division is doing saas bahus for other channels
    In the FM radio business, you were talking of leading a consortium of smaller operators. Since that has not taken place, how has it affected your revenue flows?
    Our revenues are not affected as it was not based on consortium selling. Besides, we now have a network to sell across TV channels and radio.

    Does it make better business sense going to the smaller towns?
    Definitely, because that is where new buying power is coming from. We are now in places like Hissar, Karnal and Patiala, and these stations can be looped. We have still to launch in Simla, Jalgaon and Jabalpur out of the 10 FM stations we have won the bid for.

    Don’t you think metros offer bigger opportunities?
    Metros will be there, but they are saturated markets. The psyche is different in the smaller towns and the push is happening from there. We are not afraid of competing in the bigger cities. But we saw the saturation coming, so it was a conscious business decision to go the small-town way. This will give us better penetration and better revenues.

    How are you differentiating your content from the others?
    Firstly, in most of these cities, we have the first mover advantage. Then interactivity is a huge thing for those towns, and we have fully interactive studios. Besides, we are a content company from the beginning and our content is different. The songs may be the same, but in our case interactivity is huge. And we are geared towards the youth.

    But isn’t every radio operator doing that?
    Yes, I am sure they are, but in these small B and C class cities, the youth is massively aspirational.

    What are the regulatory issues that concern radio operators?
    The government has opened up radio licences but not done those other things that need to make radio a successful industry. They are not allowing news. They have irrationally capped the FDI in radio at 20 per cent. These are crucial issues. In advertising and films, you have 100 per cent FDI.

    When you first forayed into the Film City and started your venture, a lot of newspaper circuit people said it was crazy to shift to media production. So, what was the idea then?
    I did not change. I was just working for someone else. A newsperson in the television arena, I decided to do it for myself instead of doing it for others. I was just quitting the Observer Channel. True, since there was hardly anyone else there, people might have thought “she is crazy.” Television business was not like what it is today. But by the time I started in 1994, Zee TV had launched, and satellite TV had come in. So I could see that things were changing. I felt that if one has to learn about it, why not do so by being with oneself?

    What would you say were some of the landmarks in that phase?
    Every show had been a landmark in its own genre, whether it was Zaikay Ka Safar which was a food and travel show that went on for eight years, or Chitrahaar, in which we radically changed the format and many others. They all were landmarks.

    What, according to you, had been the most important step from the government to boost the industry over the years?
    Actually the best thing is that the government did not do anything for a long time, which ensured that we grow on our own. But the government ought to have done something on the distribution area in the initial stages. Of course, now they have started doing certain things.

    You mean Cas (conditional access system) as one of them?
    Cas is one, and then there are various DTH (direct-to-home) players coming in. But there seems to be no desire to push digitisation forward in a big way.
  • ‘Shows that are optimistic, hopeful, aspirational resonate well with viewers’ : Todd Miller – SPTI Asia executive VP, MD

    ‘Shows that are optimistic, hopeful, aspirational resonate well with viewers’ : Todd Miller – SPTI Asia executive VP, MD

     Last year Sony Pictures Television International (SPTI) set up an office in India. The aim was to get more closely involved with the market and help it grow by offering content in the form of formats. SPTI is also looking at developing more local content from India which can travel overseas. Indiantelevision.com’s Ashwin Pinto caught up with SPTI Asia executive VP, MD Todd Miller to find out more.

     

    Excerpts:

    When you say that SPTI is the Asian Hollywood Studio what does it mean?
    We are by ownership an Asian company. We pride ourselves that our business combines the best of US and Asian content. As a distribution company we offer locally relevant content and global content.

     

    SPTI has distribution, a networks segment and a production business. We are the most active of the US studios in terms of producing and distributing Asian content across Asia. So it positions us in a unique way from the others who only focus on US content. Asia is the fastest growing region for us. Korea, China, East Asia and India are key for us.

    Could you talk about the partnerships SPTI has with local Asian players in terms of co-producing with them and distributing their content overseas?
    We make and distribute content. On the film front we have been active making films like Crouching Tiger, Hidden Dragon. Recently we started to make Indian films. Sawaariya was our first film. We also distribute content on behalf of key Asian partners. With CJ Media in Korea we distribute films and shows.

     

    We distribute it not just in Asia but also outside. This enables our partners to access a wider market for Asian content. So we add value for our business partners. We have also worked with CCTV in China to distribute their show The Stories of Han Dynasty.

    How has SPTI boosted its production facilities and distribution network over the last couple of years?
    We have a strong distribution practice as there is great content to sell. On the distribution side to get closer to clients we set two offices last year – one in India in October and the other in Korea. We want to have a local presence and develop relationships on the ground. We already have offices in Tokyo, Beijing, Hong Kong and Singapore.

     

    So from a footprint perspective we have Asia well covered from a distribution point of view. On the production front we did a lot of work in South East Asia for formats last year. This year we will focus on India.

    How important is India and what is the gameplan to grow the business here?
    This year we will sell formats to India. Power of 10 is one show. It is a primetime game show and airs on CBS in the US. We are also planning to a local version of Ripley’s Believe It Or Not. We also have a lot of scripted formats as well like telenovellas from Latin America. Our dubbed films area is also growing. We were one of the first studios to offer local dubbing of films to channels.

     

    A year from now I can give you examples of how the formats are being developed. Emerging platforms will open up more business avenues. We recently did a deal with Dish TV for pay per view films.

    Are you also looking to create IP as well?
    Through films we are already doing this. Sony is also doing this with its Hindi channel. With AXN we are looking to create original shows that can travel. One of these will be a magic show.

    Have you formed any deals with Indian companies besides the Sony companies in terms of long term partnerships?
    We are talking with parties. One of the things that we pride ourselves on is that we develop relationships with major players across the TV spectrum. These are broadcasters, new media clients.

     

    We sell content to many players beyond just the Sony channels. India is a top five market for us in Asia. As new delivery platforms emerge we support them. As we continue to beef up our distribution infrastructure I would hope that one would see Sony content consumed across all the digital platforms.

    Are you also looking at co-productions in India?
    Our focus is on growing the format business. Once this area is up and running then we will look at other areas.

     

    We recognise the potential in India. We have been doing business for well over a decade in this country. Our management looks to India to be a major driver. One of the advantages we have is that we have different assets (channels, film division, the electronics business) that are already present. We have interesting pieces that often work together.

    We want to have a local presence and develop relationships on the ground

    What have the learnings been in terms of what works and what does not across the region?
    Great content from the US sells. But we also recognise the power of locally produced content and its connection with viewers of each country and even each state. In general though shows that are optimistic, hopeful, aspirational tend to resonate well with viewers across the board.

    A lot of your content comes from the US. What impact will the WGA strike have on this?
    It is having a big impact in terms of scripted shows. We are hopeful that the issue will be resolved soon.

    Viva Laughlin was cancelled by CBS after just two episodes. Do you feel that such an unusual format would have worked better on a cable network like USA Network where there is not so much pressure on ratings?
    It is quite possible that it might have done well there. Truly original shows sometimes do need time to find an audience.

     

    US networks are impatient and they have to be as they are ratings focussed. They do not have the luxury to wait for numbers to grow.

    Besides Damages what are the other high profile shows from Sony US that will debut in India?
    We are looking forward to Cashmere Mafia. It stars Lucy Liu. It is about a group of successful, powerful women friends living and working in New York. The show will come to AXN soon.

    SPTI also tailors content of shows for the mobile in Asia. From a production point of view what are the challenges?
    Our strategy is to make content for mobile and various digital platforms. Taking a multi platform approach allows us to spend more money on our content which results in better production values. At the same time we are not too dependent on any one platform from a revenue standpoint. So a show like Afterworld is a good example of how we are creating content for multiple platforms.

     

    Last year we acquired all television, Internet, digital sell-through, gaming and mobile rights to Afterworld, which is a futuristic 2.5D animated episodic property. This marked SPTI’s first-ever acquisition of a project for exploitation across all of these platforms.

     

    At the same time we also have a catalogue which we can and have repurposed for the mobile. This is what we call ‘minisodes’ which are edited versions of full length episodes of famous TV series Like Charlies Angels. It is a short but complete burst of entertainment. In some parts of Asia where 3G has a high penetration like Korea we are getting really good feedback on our mobile video content. We are also expanding our linear channels into the mobile space. We have created a mobile extension of AXN and Animax.

    When will these services come to India?
    Our mobile content is already available on all key carrier platforms in India through local partners such as Hungama Mobile. Hungama Mobile won the first Meffy (Mobile Entertainment Forum Award) awarded to an Asian company for their campaign on our Casino Royale mobile content.

    Digitisation offers the opportunity to launch more channels. Does SPTI have plans in this regard?
    Yes! We are extremely bullish on India and the region. AXN recently launched a new channel AXN Beyond in East Asia. It is a supernatural, sci fi channel that complements AXN.

     

    It also showcases out of the ordinary shows such as The Dresden Files, a mystery/fantasy series based on the books by Jim Butcher and has actor Nicolas Cage as one of the executive producers. The lead character, Harry Dresden, is a professional wizard and reluctant hero who often helps the police with cases involving ‘unusual’ circumstances.

     

    Another highlight is a sci-fi series called PainKiller Jane which is based on the cult comic book series of the same name. It stars Kristanna Loken as Jane Vasco, a.k.a. PainKiller Jane, she is recruited to contain the threat of Neuros – individuals with superhuman neurological powers. However, she soon discovers that she has a super power herself – that she cannot be killed, but she can still feel the pain.

  • ‘Star One is the number three GEC in the country in ratings’ : Prem Kamath – Star India VP marketing and Communication

    ‘Star One is the number three GEC in the country in ratings’ : Prem Kamath – Star India VP marketing and Communication

    A lot of flip-flop happening in the Hindi general entertainment channels. Yet Star Plus is the leader in the game, while Star One has consolidated its position on the back of new shows and re-positioning itself.

    In conversation with Indiantelevision’s Nasrin Sultana, Star India VP marketing and communication Prem Kamath talks about Star Plus and the kind of resurgence up on Star One.

    Excerpts:

    How has 2007 been for Star India?
    I think it has been a good year of consolidation. Lots of changes have happened within the organisation and in the market as well. But I think the initiatives that we have undertaken had shaped quite well for consolidation.

    How is Star Plus taking the competition further, when Zee TV is edging close to it in terms of ratings?
    Zee TV saw an increase in the ratings post Sa Re Ga Ma Pa launch, which had narrowed the gap between Star Plus and Zee. Though there are a number of other things that have happened in Star Plus which have pushed the channel back to its place. Particularly the last four to five weeks’ data clearly say that Star Plus is considerably ahead of Zee. Several initiatives that we launched further strengthened our position. A weekly fiction based show called Sangam was launched in August. With Sangam, we extended our prime time to 7 pm, followed by Santan at 7:30 pm. Santan is doing extremely well in its time band with 2+ rating. Bidaai, which launched in the 9 pm slot is fetching good numbers. All the newly launched shows cumulatively have consolidated our position in the genre.

    What was the reason for extending prime time?
    Traditionally prime time was always considered to have started from 7:30 pm. But a regular viewer of TV generally gets near the TV around 7, so we thought why not extend our prime time. It sort of prepares the viewers for bigger shows lined up from 8:30 pm.

    Is it true that one of Star Plus’ big ticket shows – Kasautii Zindagii Kay – is going off air?
    Yes it is. It has reached its end. It was a mutual decision taken by both Star and Balaji. For further details you have to wait for a formal announcement.

    Star Plus poached Gajendrra Siingh and his whole team for Star Voice of India, yet it could not fetch the kind of business that Star Plus was looking forward to. What were the reasons that producers of an old and successful show like Sa Ra Ga Ma could not deliver so well on the Star platform?
    Any show’s success is attributed to three or four parameters. There is no direct comparison between the two yet there are some. Sa Re… is an eight to nine years old show, and Star VOI just debuted this year. I think for the first year it has fetched good TRPs. It has garnered 4 to 4.5 TRPs. Besides, it has been extremely consistent with ads. Above all, it has been able to give competition to an old and established show.

    Soon after VOI reached its finale, you had Chhote Ustaad to compete with Zee’s Li’l Champs on the same slot? Where is the differentiated programming?
    It was part of an intended move to retain viewership of the VOI slot. It enjoyed a TRP of 2.8 in its initial weeks. As far as reality shows are concerned, I think these kinds of shows build and develop a relationship with the contestants. The viewers come back on the same show for the bondage that they share with the participants.

    How has the story of Star One been shaping up now?
    What you see now in Star One gives you a feel of serious resurgence. Star One is the number three GEC in the country in ratings. In the last four to five weeks, we have been garnering about 76 GRPs in all day parts, which is about 49 per cent up as compared to the period four weeks before that. This is on the back of the four properties that we have launched recently.

    We launched Dil Mil Gaye, which has touched a TRP of 2, Annu ki hoi gaya Wah Bhai Wah, Choona Hain Aasman, we are launching Pari Hoon Main in the next week, which kind of completes our week day prime time. In the week end we have launched Bol Baby Bol which again has a TRP of 2. We have tasted fair success with Chak De Punjabi. There are lots of vacant time bands in Star One which has not been programmed. There are couple of other shows which will make Star One as the big player in the space.

    With so many launches are you reinventing Star One?
    Yes we are, I mean kind of. Star One was one of the most successful launches seen in the space. We had a great success story. But yes, somewhere down the line, we shifted focus for a variety of reasons. In terms of programming, Star One ended up becoming very similar to Star Plus. What we are doing now is to re-define Star One’s programming for a differentiated market.

    Star One is now completely redesigned, with a universal appeal, yet differentiated. If you take Bol Baby Bol, hosted by Adnan Sami. It is a reality format show, which has mass appeal, yet it is differentiated as it is a lyrics based show. This is a first of its kind show in India. This goes out for Annu ki…, Pari Hoon Main, Dil mil Gaye and Choona Hain Aasman.

    Shows of this kind have a lot of drama in them, yet they are differentiated. Context and sensibility makes them differentiated.

    Nach Baliye grew so huge that it needed a bigger platform than Star One could afford to provide

    Do you think that at one point of time Star One was almost a shadow of Star Plus?
    Hmm, yes when more than a year back, when some of the shows of Star Plus were brought on Star One. Somewhere there had been a duplication of identity.

    But now Star One has defined itself and is certainly differentiated from Star Plus in all respects. Star Plus is a complete family entertainer while Star One’s TG is fixed at the 25-34 age in the top 20 cities.

    When Star One launched, it had set its TG as totally urban youth. Do you think the TG could not contribute anything to Star One’s success?
    What happened was, by default, whatever shows were on air were urban skewed. But some of the programmes did have universal appeal. Like Nach Baliye, which had a phenomenal success, had universal appeal. Same goes for The Great Indian Laughter Challenge.

    A flagship show like Nach Baliye, which has its contribution in putting Star One in the success grid was shifted to an already successful channel and Star One was left only with The Great Indian Laughter Challenge?
    Nach Baliye is a big show. With every year, it grew in volume and economies. It grew so huge that it needed a bigger platform than Star One could afford to provide. The show was so large that it needed a platform like Star Plus to do justice to it. The shift has also got some new shows infused in Star one. It is not that Nach Baliye was uprooted from Star One and nothing was done to Star One. We had a series of launches after it. The good news is that even when Star One does not have Nach Baliye, yet it is on the verge of becoming number three in the GEC space.

    Even The Great Indian Laughter Challenge has been taken off from Star One?
    It is only in its seasonal break. It will come back in a couple of months. There was fatigue after the three seasons were back-to-back.

    Did Comedy Circus on Sony contribute to the fatigue?
    I think Comedy Circus was after LC. It did not have any effect.

    Star One is re-running its popular show Sarabhai vs Sarabhai in its prime time at 9:30 pm. Why not bring it back with new episodes?
    Lots of people are asking for it. Logistically we are working out the possibilities.

    How do you shape up your marketing for the various properties that Star India has?
    We always get the consumer engaged and get the consumer to experience the brand. Many properties on Star Plus have been marketed well on ground activities. Our effort is to shift the focus from mass media to on ground, engaging one-to-one communication with the consumers. Information has to be transferred to the consumer without any barrier in between. That is what an on-ground activity does. It breaks the barrier.

    Properties have been marketed well, whether it’s the on-ground event, road show or a mega event. We are constantly getting more and more into it. It is what we call engagement model. It is nothing but to engage the viewers with the brand, so that they experience more of the brand. We have rounded off 16-20 cities. Before any launch, we actually do a variety of activities and events in these cities.

    Do you see the launch of NDTV Imagine as a threat, if not to Star Plus and Zee, then at least to the lower rung channels where competition is getting tougher?
    The space will get fragmented. Connection with the audience is the best way to beat the competition. Star plus has been doing it extremely well and it will continue to do so.

     

    Some of the major content providers like Hats Off, Sagar Arts and SOL are also working on the up-coming channels. Do you agree that is going to create some conflict?
    I agree that producers bring a lot to the table. With so many channels floating in the market, I do not think duplication of content can be at all avoided. A show being successful has many factors to it. First is the content, second is the platform it is on, and third is the relationship with it.

     

    Coming to Star World, you launched some TG specific shows in the middle of 2007. How has been the response?
    We introduced some familiar shows which got tremendous response, especially for the SEC A, which is the TG of the channel. Shows like Heroes and Desperate Housewives are working tremendously well. But we have to understand that the Star World universe is relatively very small.

     

    How does the story look like with Star Gold?
    It is faring well. It is after Set Max and neck and neck with Zee Cinema. There have been lots of other properties that Star Gold pioneered like Star Gold Sabse Favourite Kaun and Star Gold Comedy Honours.

     

    Earlier Star Gold had dubbed movies, now there are movies channels completly dedicated to dubbed content. Which markets do dubbed content work?
    It works all across all the markets. Some of the films really work. Films which have good action and thrills work well in this genre.

    What was new to Star Plus in 2007? What’s on the cards?
    What you see now is certainly some freshness in its content, with some new launches in the year- Bidaai, Jai Maa Durga. We will get periodic innovation in the channel as and when required. Nothing is to be changed now.

  • ‘Once digitalisation happens, let a thousand channels come’ – Sameer Nair

    ‘Once digitalisation happens, let a thousand channels come’ – Sameer Nair

    Concluding our three-part series of interviews looking at the year that was and on into 2008, we turn the spotlight on NDTV Imagine CEO Sameer Nair.  In a candid chat with Indiantelevision.com, the former Star Entertainment India CEO offers his take on the entertainment industry, why he feels the TV industry needs a kick up, the importance of not just ambling along, and the potential that 2008 offers.

    What were the key points of reference which defined 2007? One would be for you personally and also if you could offer a sense of where the industry is in general?
    Well, I left Star TV, in which I was working for about 13 years. But I think 2007 opened on a good note because we did KBC with Shah Rukh Khan and so I thought that was a good swansong of sorts for me. We also got Gajendra Singh from Zee to Star. He was with Zee for I think 16 years and so this was something equally dramatic.

    So those were the last good things to do at Star. On a personal level it was of course moving on and setting up a whole new company, a whole new business and preparing for the launch of a new channel.

    2007 basically marked preparation for 2008?
    Yes! As you can see, it’s been all the pre-production and production. And now we get ready for release. So it’s been a lot of that kind of hard work. It’s been about team building… It’s been about company building. It was about resource building and also financial resource building and putting it all together.
    I think by the time indiantelevision.com puts up this interview we will have over 132 people, which is I think a good collection of people across all disciplines.

    What were the positives that came out of this year?
    One positive of course is there seems to be a lot of interest in all things media, in all things entertainment. So there have obviously been so many more players entering the market, so much more money being put into the market.
    So that’s obviously a good thing, industry per se. I think a lot of people have announced or started new ventures, which shows that there is obviously place for growth and a place for new players to get into.
    There is some level of consolidation, there is some increased activity of international participation in local business. The movie business has gone through the roof.

    But was it a good year for the business?
    2007 was an interesting year because it, in my mind, remains a sort of a question mark. It will get resolved in years to come as to whether it was a good year or not. But right now everything is too close, so I mean this was the year where millions of dollars were pumped into the system. You know prices went through the roof, newer and newer players getting into it, each man with bigger and bigger claims and promises. Nobody talks the normal figures anymore.
    Everything is in a super inflated scenario. It’s like the wire where the string is really stretched. So whether it will be good or bad, it is hard to say now. Currently, everyone is into this valuation zone and everyone seems to be so rich.

    The rollout of digital cable, which was supposed to proceed in a particular manner, did not go the way it ideally should have. Your views on this?
    That is hardly a surprise. There was always this issue about how it would roll out and if it would be mandatory or voluntary. How does it all work? It didn’t really come as a surprise that it didn’t happen in A or B or C manner.

    So effectively nothing of any real note happened?
    No! There was no landmark legislation that occurred, there was no landmark regulation that occurred, there was no landmark activity. I don’t really think that there has been any major change. The world has not undergone a digital revolution, nor a mobile one. On television, some shows are doing better than others. The gap between Star and Zee narrowed, Zee came within a whisker of Star, than it again fell back. Now it is again coming back pretty much as per calculations. But there was nothing outstanding. It was straightforward.

    But for the industry in terms of sports, a lot happened.
    Sports was an interesting thing that happened. That was pretty good if you look at the high priced acquisition of the ICC rights (by ESPN Star for $ 1.1 billion).

    It is not looking so high-priced now because T-20 was not a factor in that purchase and now it’s there as a very high value part of the ICC rights.
    T-20 is the best thing that happened to Indian cricket. It completely re-energised sport and completely reignited interest in it. Now between ICL and IPL, it has really brought the sport back. But the price points, because there is no distribution revenue in this model of note, is not robust at all.

    The lament is that distribution channels are clogged and yet we have all these channels launching? Isn’t that a big contradiction?
    Well distribution and then everything that will happen as a result. Some people look at this business and they say that, ‘Oh so many new players are launching, there is no space.’ On the one hand we talk about how the market is growing, the media sector is growing. The other version is that it is growing but there is no space for new players, which is actually the exact opposite of growth. You know its like saying that the movie industry is growing but let’s any not make any more movies.
    They are completely contradictory terms. So once digitalisation happens, whichever version they choose to refer it by, I’d say let a thousand channels come. Because water finds it own level, and people decide what they want to see, when they want to see, how they want to see and what they want to pay for and it all sorts out in the end.
    But saying let not a thousand channels come, is not progress at all. It does not mark progress for consumers, or for operators. or for anyone as a matter of fact.
    What the TV business needs is one nice kick in the butt, like the telecom business got. This is what will help it really surge forward. So far it has been sort of ambling along.

    Everybody is expecting that Reliance will give that kick. Reliance is launching DTH this year, Bharti is launching.
    This is why 2008 will be a year to write home about. We hope that 2008 will be the year for the industry to really surge forward and make that big leap forward.

    Each year we talk of the big leap forward, but it’s not happened. 2004, 2005, 2006. You know few things occurred here and there, like suddenly in 2006 the cricket purchase was big. But the rest of the industry didn’t keep up. The whole $ 612 million price point (by Nimbus) was based on some assumptions, and those assumptions didn’t really come through.

    The fact is that all of business is predicated over some basic parameters, which is that people will go to movies, people will buy movie tickets. People will pay their cable bills. Advertisers do need to reach to consumers and they will buy advertising. That’s basic, and our problem is that we don’t have this in the TV part of the business. We don’t have this one little basic matter about people will pay their cable bills which will then be passed on. So it leaves a lot of things in the air when you talk about the television business.

    You are talking about pricing, subscription?
    It is already priced. Subscription is priced. But when you try and compare talk time, in the telecom context to TV, that doesn’t really work. Because the input cost on TV for example is not talk, it is real cash. If people play cricket, make movies, shows, that is like a real cost. It is not talk time. So when you say that every home will pay Rs 5 per month for a channel to see movies and serials, at some point the mathematics are not going to add up. So it is just that these things will get sorted out as it goes along. As more players get into it I think that the industry itself will sort it out.

    But there is also the theory that the government will not allow the market to determine costs of TV (and cricket) because other forms of entertainment are becoming too expensive for too many. Multiplexes for example are out of reach for many. So there is only TV. This would mean that tomorrow the IPL will be termed as being of national importance and will become free to view.
    You must note that there is no such thing as a free lunch ever, so somebody has to pay the bill. What’s been happening in the last so many years is that the advertisers have been paying the bill. The advertiser is the ultimate God who is paying for everybody’s lunch.

    Currently there is a combination of private equity money and advertisers who are footing the bill. But eventually, the bill will have to be paid by the consumers, who consume content in whatever manner or the price points will have to come down. So either all the price points return to normalcy by which the market settles and everything will sort, or you will have to pay the bill.
    Anywhere in the world in a mature TV / entertainment business, you have the twin model (advertising / subscription). That’s the way the business works. For us, it’s always been immature, fully lopsided towards the one side. Do you know any other market which boasts of 300-400 channels which are all essentially ad supported because distribution as a model is all over the place.
    You go to any other country where it is supported this way, you will find 5-10-15 channels. So that’s something which has to be sorted. It is not like players have to think that India is unique. And I think this has to happen.

    It is just a functional evaluation. This is what it needs, that leap forward. The input cost is going through the roof, return is coming down, and for the majors it is flattening their margins.
    For others what would the plan be then? So that, I think that has to happen and as they see that as the defining moment. Whether you define a moment or the moment defines you, in any case the industry will have to define the way forward. Whether it is collective or individual, something has to happen.

    That is exactly the contradiction in this. But it needs resolution. Otherwise a lot of these contradictions can co-exist for a long time. Things can go round and round and circle and circle without imploding or exploding.

    Something has to give?
    Over the last 6-8 months, and with the spate of these new announcements, there has been more addition into the TV space. This is obviously going to create an enormous amount of pressure on the current infrastructure. Obviously we are all new, we wish to make a mark for ourselves, so everyone will do things to try and make a good impression. There will be the existing players, who will obviously look to protect their turf.

    But it is at an interesting point because there is pressure on the system. Now this has never happened before, that there have suddenly been so much, forget new channels, so many new platforms that are all coming at the same time. There is this huge interest in the movie business all of a sudden. In the last year and a half all that has happened.

    Screens are opening up…
    Screens are opening up, It’s happening. So, as the pressure increases, obviously people will find newer and newer ways to do things. New minds enter into it, lots of different people, younger people, coming out with even cleverer ideas. It has to go through a change.

    So 2008 has a lot of potential?
    We hope, though these predictions have been made many times in the past and have sorely let you down. But 2008 seems to have a better chance than most years to make a real impact.

  • ‘Why would BCCI want its biggest new property on a new channel?’ – Kunal Dasgupta

    ‘Why would BCCI want its biggest new property on a new channel?’ – Kunal Dasgupta

    For Sony Entertainment Television (Set) India CEO Kunal Dasgupta, the big wish for 2008 is to throw up that one hit narrative show that would get some momentum going for his network’s flagship channel Set. Other than the vexed issue of Set and its equally struggling Hindi GEC sibling Sab, the network is doing fine thank you, argues the long serving head honcho of the Indian broadcast operations of Sony Pictures  In conversation with Indiantelevision.com recently, Dasgupta looks back on the difficult year that was 2007 and offers some pointers to the strategic direction Set India (now renamed Multi Screen Media Private Limited) is looking to take in 2008 and beyond.Excerpts:

    Let’s start with the new name. Is this because your parent Sony Pictures Entertainment is distancing the Sony brand name from the Indian broadcast entity?
    Certainly not. The name is reflective of the company’s evolution from a pure television broadcaster to a multimedia one. We want to be on all screens that are video enabled. Going forward, we will be actively investing in mobile, movies, Internet, and out of home screens. Mobile in particular is going to be a focus area for us.

    When you say you want to be on all screens, could you elaborate on that?
    I am going to be recycling the over 30,000 hours of television content and 750+ movie titles that I have with me. We plan to repurpose a lot of it not just across the different screens, but across networks too. The realm of exclusivity is no longer the norm. To stay ahead of the game you have to be focused on how best to leverage the content that you have.

    Like the Rs 40 crore (RS 400 million) deal you did with Peter Mukerjea’s INX for 60 movie titles?
    Yes. That deal entitles INX to three airings of each film I have syndicated to them.

    Looking back to 2007, how would you rate the performance of the channels in the Sony network?
    Well, Max was fantastic; Pix became viable. On Sony and Sab we have suffered reverses on account of our fiction programming not working.

    And looking ahead into 2008?
    The business paradigm is changing and we are at the forefront of that. You could say we are the catalysts for change. Syndication, mobile; these are going to be areas that will explode. The one who reads the writing on the wall and adapts will survive.

    How has the year been in terms of revenues? The perception in the market is that Sony had a terrible year?
    If you add up ad sales, distribution and our international business, it would be Rs 1,200 crores (Rs 12 billion) overall, so you can’t say it was a terrible year.

    One reason for the perception that Sony had a lousy year, aside from its programming not working, was the ICC World Cup debacle in March. We understand you lost some RS 800 million odd due to India’s early exit. Comment?

    The ICC rights should not be looked at from the results from one tournament, but on how it delivered over four years. And it delivered on every count for us.

    Looking at the larger perspective, what have been the big challenges the broadcast sector faced and will face, going forward?
    The pathetically slow pace of digital rollout (Cas) has been the biggest challenge for existing players. Though I do believe digital distribution will come into play from 2008 onwards.Combating all these new players will be the big upcoming challenge. The (leadership) pecking order will have to be reestablished. Star is not complacent in its position of number 1. Even Zee as a challenger is not complacent. Everybody will face challenge. The whole media business will face challenge.

    The industry is seeing huge churn now. The channel explosion is going to further fragment audiences. We will soon have 9/10 channels in each of the genres – news, sports and movies.

    You say pathetically slow digital rollout on the cable front is the biggest challenge for the new players as well as the existing players. But if we look at 9X, the numbers they are drawing are not due to cannibalization, but due to new viewers?
    It’s not cannibalization of GEC but other genres like music.

    So you don’t believe that people have an inherent desire to consume entertainment content but may have been tuned off by the lack of variety presently on offer so they are trying out channels like 9X?
    It’s not just 9X. Even Bindass is getting new viewers. 9X is making a lot of noise but give me a name of one show that stands out. On NDTV Imagine also, nothing will stand out.

    What do we have in 2008? BCCI’s Indian Premier League will take off and what else?
    I don’t know on which channel it will take off. I hope it is on ours.

    But as you yourself said, there will be new sports channels launching and we should expect bids from new players?
    They can of course bid but why would BCCI want its biggest new property on a new channel? Its not just money, they (the cricket board) have to make it successful.

    We do have an example of Ten Sports, which launched with World Cup Soccer in 2002?

    There were only two channels – ESPN and Star Sports – then. Today there are seven channels (DD Sports, Ten Sports, Zee Sports, ESPN, Star Sports, Star Cricket, Neo Sports). Additionally, Max is half a sports channel.

    Each time you launch a new channel, the space will get further fragmented. There is too much out there. There is going be a blood bath.

    What about a platform proposition, like in the case of Sky in the UK? For a rights holder, could IPL potentially become as critical as EPL was to Sky?

    Firstly, in India no exclusivity is being allowed. Secondly, the new guys bidding for the rights are channels which are not yet launched. If platforms like Dish TV or Reliance were to buy the rights, then I would understand but the guys buying are unknown people. They are all startups. They are doing it for their business valuations. They are not bothered whether IPL succeeds or not. Whereas BCCI wants IPL to succeed. IPL will collapse with new players.

    Coming back to the year ahead, how do you see 2008 for your network and the industry?

    As far as the industry is concerned, we would want to see the Reliance launches happening. It’s a very big thing. Then IPL should succeed. New players should enter digital distribution in the cable front. More people are required, more funding is required.

    As for ourselves, we will take some other new initiatives and continue to build our business. We need one hit show. Saat Phere was the starting point for Zee. I need one hit show from Monday to Thursday. That is my perspective. I have no problem in any other area of my business except that. We need to build up, which is not happening.

    Each channel is doing its own thing and so are we. In the meantime, I am doing syndication and international distribution. I am doing everything right except getting that one hit show.

  • ‘Working on an umbrella brand strategy is a good way to build a presence in the entertainment space’ : Rajesh Sawhney – Reliance Entertainment President

    ‘Working on an umbrella brand strategy is a good way to build a presence in the entertainment space’ : Rajesh Sawhney – Reliance Entertainment President

    As 2007 comes to a close, Reliance Entertainment president Rajesh Sawhney is an apt choice for our year-ending interview, not necessarily in the context of what Anil Ambani’s company has done in the broadcast space this year, but because of the expectations from industry, going forward.

     

    On the television front, the journey of being a broadcaster starts next year with the launch of two movie channels (first Hindi and later English), a logical extension from Reliance ADAG’s existing film production and distribution business. The broadcast piece will add to a list that ranges from multiplexes to movies, home video, FM radio, direct-to-home (DTH) and IPTV.

     

    On radio, the aim is to consolidate its position. It will also be active in distribution with its DTH platform coming up. Thomas Abraham and Ashwin Pinto caught up with Sawhney to find out about the plans and the kind of impact that Reliance is looking to have on the entertainment space.

     

    Excerpts:

    Firstly, 2007 was the year when Reliance Entertainment sowed the seeds for what is to come. What were the landmarks for this year?
    We are a young player only two years old. Our journey into entertainment kicked off with the Adlabs acquisition. Then we moved into radio in 2006. We started rolling it out by the end of last year. Then we moved into other ventures like Zapak, our gaming portal. From my perspective, we are still in the incubation phase and the larger consideration is that the entertainment and media industry is where telecom was five years back. The media industry will be worth $25 billion in five years time. A lot of value creation will happen in the coming five years similar to what was seen in telecom.

     

    The second big thing will be the emergence of digital entertainment. Platforms are now set. This will be a large driver.

     

    The third thing is that with the economy growing at 10 per cent, the Indian consumer is spending more and more on entertainment. The first indication of this is the multiplex boom. Now even monies spent on entertainment at home like DVD rentals, pay per view are growing.

     

    The entertainment industry is worth $ 11-12 billion out of a trillion dollar economy, which means 1 per cent of the economy. Globally it is 3 per cent. In the US, it is 5 per cent. If we take the telecom parallel, revenue is 3-4 per cent. In India it is 2.5 per cent. India has a convergence deficit in this sense. This is where the real opportunity is going forward.

     

    I see Indian players having strengths in certain verticals. Some are strong in print, others in movies while others focus on radio. Nobody is building a comprehensive brand presence across media. This strategy would allow you to capture the three per cent deficit. This is what we are chasing.

    What is the kind of impact that Reliance is hoping to have on the entertainment space across the different verticals?
    Let us take the movie industry. It is on a huge cusp of change. If you go back 10 years there were no multiplexes, no DVD formats. Home entertainment will be the next value driver for the movie industry in the coming decade. DVD and home entertainment revenues are the biggest source of revenue for Hollywood. Here it is less than 10 per cent. We are going through the first phase which is theatrical revenues. Home entertainment will be the next phase.

     

    For this you need concepts like Big Flicks which will make organised retailing possible. It will make home entertainment delivery through broadband, DTH, IPTV possible. Pay per view revenues will be created for the Indian movie industry. Content in the long tail form across different platforms will offer more choice. The companies who are preparing for this will gain big time as far as the movie industry is concerned.

     

    The second revolution happening in the Indian movie industry is on the content side. So production values have risen. Talent is getting a huge amount of value which is getting aligned to global values. Content will get value from overseas markets, home entertainment, satellite markets. A $10 million movie has become the norm. I can see a situation where $100 million movie is viable but this will take time to happen. You will see Hollywood and Bollywood collaborating more.

    How will Reliance benefit from the synergy between Reliance Communication and Reliance Entertainment?
    Reliance Communication is building distribution capabilities on mobile, DTH, IPTV and broadband platform. Reliance Entertainment is building a presence and capabilities on the content side across different verticals – content, broadcasting, themed entertainment and new media.

    A large part of your plan involves targeting the youth across different verticals. How are you going about this?
    We are a youth focussed company. This has a commercial reason. We believe that youth drives entertainment. Youth is driving the movie consumption business. India has the best youth demographic platform in the world. We are the youngest country in the world. We keep youth in mind in whatever we do whether it is radio with Big FM or making movies or Zapak.

    The government should allow news and current affairs. This is why you do not have talk radio

    You have taken the brand name Big for your businesses like Big FM, Big Flicks. Is the aim here to convey to the consumer an idea about the size and scale of the brand?
    Unlike many companies that work with a house of brands strategy we believe that working on an umbrella brand strategy is a good way to build a presence in the entertainment space. The choice of the name is predicated on three reasons. Firstly it is simple to understand. Everyone, regardless of language, understands Big. The second reason is it is simple to communicate. A mass brand needs to be understood by everyone. And third, the brand name must give people an understanding of the scale at which we want to bring entertainment to consumers.

    How important is the broadcasting space for Reliance?
    It is very important for us. Our first investment has been in radio with Big FM. We won 145 licenses in 2006. We will take part in the next round of bidding when the government goes ahead. We are the largest radio station in the country with 40 stations. With the execution of radio we have shown a clear commitment by executing the fastest. In Delhi, Bangalore and Mumbai we have emerged as a top player. We have created a leadership position not just by the number of stations but also in the markets where they operate, including those that are entrenched. We want to consolidate our position next year.

    Radio needs to differentiate itself instead of just going after the widest lane with popular Hindi songs. Why isn’t this happening?
    I do not blame the private players for this. I blame government policy. The government should allow news and current affairs. This is why you do not have talk radio. Multiple stations should be allowed. At the moment only five to six stations are available in the Metros. The government should ensure that 30-40 stations are available. One company can run five channels in a state. The government should introduce policies to facilitate the next growth phase. Niche formats become viable if frequencies are made available at lower rates. Running a Gujarati channel at a license fee of Rs 30 crores (Rs 300 million) does not make sense in Mumbai.

    Are you also looking at online radio?
    Yes! In the West, radio is a mature industry. Online is a growth industry there. In India FM and online are coming at the same time. The biggest opportunity is in FM. It is hugely underserved India should have 10,000 FM stations. Now there are less than 300 stations. I can run stations in different languages in Mumbai with viability as long as I am allowed to do so. There is also an opportunity to serve the non resident markets.

  • ‘India can become our number one market in Asia’ : Simon Phillips – Marvel Entertainment International president

    ‘India can become our number one market in Asia’ : Simon Phillips – Marvel Entertainment International president

    Marvel Entertainment is tapping the comics business in India. Holding the rights to iconic characters like Spiderman, X-Men and Hulk, it has appointed Kids Media India (KMI) as a subsidiary of Spacetoon Media to represent its licensing, merchandising, publishing and promotional rights in the country.

    Marvel superheroes will be immediately available for licensing on a wide range of consumer products including apparel, stationery, publications, toys and games, party goods and accessories.

    In an interview with Indiantelevision.com’s Ashwin Pinto, Marvel Entertainment International president Simon Phillips talks about the company’s plans for India.

    Excerpts:

    From a commercial standpoint, which are Marvel’s top five characters?
    The number one character is Spiderman. We have had three successful movies with Sony. An animated Spiderman TV series, with 26 half-hour episodes, is scheduled to come out next year. Then there is the comic book programme.

    Our number two character is the Hulk. The TV show in the 1980s, which played globally, grew this character. A movie comes out next year.

    Our number three character is the X-Men. This is a combination property and we have made three movies with Fox. A number of animated TV shows have been made around the X-Men.

    Ironman is another character and we are putting a lot of efforts in launching it as a film. This will be the first film that Marvel Studios has done and will star Robert Downey Jr and Gwyneth Paltrow.

    What is great is that Ironman is a superhero without superhero powers. While Spiderman got his powers after being bitten by a spider and Wolverine has claws, Ironman gets his strength from a suit.

    Tony Starr is also clever and can analyse situations very well. For us, it is about the relationship between the consumer and the character. The closer it is, the more chance there is to develop characters and create a broader licensing programme.

    The great thing is that our characters are flawed, and this makes audiences identify with them. Spiderman, for instance, has financial difficulties and so he has to take a job in a pizza parlour.

    Globally, is there is a difference in the popularity of these characters?
    Each country has different characters for comic books. In Australia, Elektra is a very popular character. Jennifer Garner played her in a film.

    The great thing about Marvel is that we appeal to a broad spectrum. Since we have 5,100 characters, we expose as many of them as possible. If you are a comic book fan, you would know that the Marvel storylines are all interlinked. Thus, you have comics where Hulk meets Spiderman and others where Ironman meets Hulk and Captain America. The more comics people read, the more familiar they become with our various characters.

    Marvel’s business is divided into four operating segments – publishing, licensing, toys and film production. How much does each contribute in terms of revenues?
    The break up changes every year. For example, this year we have had three very successful movies. We started off with Ghost Rider with Nicholas Cage, which, in India alone, generated $4 million. We followed that up with Spiderman 3, which was one of the biggest movies of 2007.

    We rounded off the year with Fantastic Four: Rise of the Silver Surfer. Although our roots lie in comic book publishing, our box office presence coupled with our publishing business meant that our licensing and merchandising programme grew significantly.

    How much of Marvel’s business comes from Asia?
    The global comic market is fragmented. What you have is traditional comics, and when you go to Korea and Japan you have Manga. We are breaking into that area. If you talk about traditional comics, Marvel is number one.

    Asia is a growing market for us. Japan, the Philippines and Singapore are our top three markets. However, I see this changing over the coming years.

    How does India fare?
    We entered India late last year. We had a successful merchandising programme for Spiderman 3. We have a successful publishing programme for Spiderman in India for many years with Gotham Comics. We have also published an Indian version of Spiderman.

    What I am learning is that while the market is a niche vis-?-vis the population, in terms of numbers it is huge. I would like to think that within four years, India would be our number one market in Asia. With Spacetoons, we will be on track to achieve this goal. We have already started working with Spacetoons in the Middle East.

    For India, why did you decide to go with Spacetoon?
    We went with Turner for Spiderman 3. However, Warner has DC Comics, and so we realised that continuing the relationship would not be beneficial for either party. We did research on the intermediate market. We are happy with the work that Spacetoons does in the Middle East for us. We are impressed with how they have invested and grown that market.

    Which are the key areas being looked at for India?
    We have three areas to develop our licensing programme. These are publishing, television and films.

    As far as publishing is concerned, we will work with Gotham comics. Over the next three years, they will be developing localised, Indian content around Marvel. It is not just about publishing in English; it is also about publishing in Hindi and regional dialects. We don’t want to create an elitist view of Marvel. The characters belong to everybody.

    Our movies have worked well in India. Ironman and The Incredible Hulk are slated for release next year. Another movie called The Punisher will also be released. In 2009, Wolverine with Hugh Jackman releases. It shows the origins of this X-Man.

    We follow this with television. The great thing is two of our animated shows are being made in India. Ironman is being produced by DQ Entertainment and Wolverine by Toonz. These will complement our film offerings.

    The emerging trend for us is movies, followed by animation and then merchandising. We are able to be consistent on air, and that is why the consumer has a better relationship with our characters on a continuous basis.

    We need to look at Bollywood and animation in India. We want to see how Indian storytelling can be incorporated into the Marvel world

    In terms of merchandising, what are the key categories being looked at?
    In India, apparel will be key. This wil include T-shirts, shorts, caps, etc. Back-to-school backpacks will also be there. But the main area for us is promotional tie-ups.

    India has challenges. Retail is fragmented. It is not as developed as it is in the UK or US. You do not have multiple stores yet. They are coming though. We have to look at the available channels and then decide what will work the best. Our aim is to develop programmes that will cater to consumers at all levels.

    We are looking forward to generating Rs 250 million in revenue from licensing in the first year. We are also keen on promotions as it will help FMCG companies cut through the clutter. For instance, two companies come out with mineral water. If one of them has the logo of Spiderman, that company gets an edge.

    In addition to Spiderman, which are the other characters well known in India?
    Hulk has a strong fan base as well. Ghost Rider was a bigger film than Shrek 3. In fact, it wasn’t far behind Pirates of The Caribbean 3. The aim is to benefit from the success of films to introduce characters to India. Then we develop merchandise and benefit also from animation shows that we will launch. Not just in India but in many other countries as well, Ironman is seen as a new character by kids. The film is a great opening for us to tell them about this character.

    Are you speaking to production houses regarding licensing your characters for film and TV?
    I haven’t looked at this yet. India has a strong animation business. I want to see Marvel find more production opportunities in India and in other countries. We need to look at Bollywood and animation in India.

    In every culture including India, you have stories of heroes. Some characters might have mystical powers. I don’t see those being too different from Marvel characters. Marvel characters live among us. Spiderman lives in New York. The X-Men characters are from San Francisco. We want to see how Indian storytelling can be incorporated into the Marvel world.

    ACK Media recently acquired Amar Chitra Katha while filmmaker Shekhar Kapur and Richard Branson did a JV last year. Is Marvel also looking at acquiring an Indian firm, which has iconic Indian characters in its portfolio?
    We would grow our business in different ways. I am always looking for the right deal, and if there are Indian characters that can enrich the Marvel portfolio, then we could consider it. But 5,100 characters give us a full portfolio.

    What do you feel about the quality of animation production available in India?
    When I see the two different types of animation shows being done for us in India, I realise that the technical quality is strong.

    I would like to see Indian companies not just being production houses but also being distributors. At the moment, they are a factory. I would like to see Indian companies come to us for licenses, develop the stories, produce the work and then distribute it globally. At the moment they are more a development resource. I would like to see them progress to a level where they become partners.

    How important are videogames globally?
    We have the biggest licensing programme of any comic book company for this category. We have multiple partners. Sega is launching the Ironman game, while Activision has the Spiderman franchise. We work across multiple platforms – PS2, PS3 Xbox, PSP, PC-based games.

    Is innovation important to keep the comics genre fresh?
    Innovation is key. Marvel recently launched the first digital comic website. You have a growing consumer base who want to own a product. It is something better than having just a printed comic which is wonderful in its own way.

    We launched virtual Marvel comics where you can read our offerings online. It is not just HTML text where you simply keep scrolling. We have created a technology whereby you zoom in on different parts of the comic.

    Key partners for Marvel include Sony for films, Sega for video games and Jakks Pacific for toys. How have these relationships evolved over the years?
    The relationships differ across the various segments. Our relationship with Sony has been for the Spiderman films. We are also doing a TV series with them. With Fox, we did the X-Men and Fantastic Four movies. Our biggest toy partner is in fact Hasbro. The innovation that Hasbro does and the marketing muscle that it puts behind our toys is important. Playskool is another partner. Our deal with Sega helps us embrace new technology and help kids and adults enjoy our offerings at new touch points. In Italy, we have a partner who makes toys, stationery and candy items. But they are not a big part of our US business.

     

    What is the revenue split for film between theatre, DVD and merchandise?
    It depends on the title. Sometimes merchandise contributes almost as much as the box office. In some markets, DVD is booming while in others it is giving way to VoD.

     

    Is Marvel nurturing ambitions of becoming a studio to be reckoned with a few years down the line?
    We have established Marvel Studios in Los Angeles. David Liezel heads it. He and his team are putting together the Ironman and Hulk movies. We want to bring the richness of our characters out into the market in a more effective manner. For Ironman, Paramount is our distribution partner, and for The Incredible Hulk, our partner is Universal.

     

    While Spiderman is a hero, The Punisher can be seen as a dark antihero. To what extent, has this affected his appeal?
    It appeals to a different audience. Spiderman is a crossover product. Everybody relates to Spiderman. The Punisher appeals to an older audience. Not every character can appeal to a universal fan base. The important thing is to remind them of the relationship they have through great content.

     

    There is also a trend in films like Spidreman 3 and Batman Begins where the superhero has a dark side. It is also getting more violent. Can we expect more of this going forward?
    Our characters reflect humanity. The dark side of Spiderman after he was infected with Venom was not an effort to do deep analysis. It is at the end of the day overcoming the dark side. Good must triumph over evil.

    In terms of violence, Marvel comics are violent. They are not U-rated comic books.