Category: News Headline

  • Forum BIFF 2025 marks 30 years of K-Arts with big-picture rethink on Asian film education

    Forum BIFF 2025 marks 30 years of K-Arts with big-picture rethink on Asian film education

    BUSAN: The 30th Busan International Film Festival will stage a special Forum BIFF to mark the 30th anniversary of the Korea National University of Arts’ (K-Arts) school of film, TV & multimedia, with a hard look at how Asian film education can reinvent itself for the future.

    Founded in 1995, K-Arts has been the launchpad for a generation of Korean and Asian filmmakers, building co-production bridges with Japan and China, running pan-Asian short-film labs, and powering the global surge of K-content. This year’s forum, themed Revisiting the path of Asian cinema, will spotlight those achievements while grappling with the future: how to sustain cross-border learning, plug into AI-driven change, and keep Asian schools at the cutting edge.

    Sessions will examine collaborative short-film programmes, Korea-Japan and Korea-China co-productions, and the AMA+ scholarship that has seeded talent from across the region. The Campus Asia Plus initiative — linking Korea, Japan, China and Asean — will be in focus for its efforts to build an Asian animation education network that meshes advanced learning, exchange and industry tie-ups.

    The three-part forum will run on 20 September, moderated by professors Choi Yongbae and Steve M. Choe of K-Arts. It will feature a keynote by cinema studies professor Kim Soyoung, presentations from animation professor Lee Jungmin, filmmaking professor Pyeon Jangwan, Cambodian director and AMA+ alumnus Him Sotithya, and producer Ahn Jihye. The closing panel will pull in film critic Lee Seunghee, Japan Institute of the Moving Image president Tengan Daisuke, Beijing Film Academy professor Liu Yu, Yale lecturer Tian Li, and Indonesian director Makbul Mubarak.

    The conversation will stretch from the past three decades of K-Arts’ influence to the next thirty years of Asian cinema education — and what it will take to keep pace with technology and global demand.
     
    BIFF 2025: 17–26 September

    Asian Contents & Film Market: 20–23 September

  • Parrot Analytics launches Sports Demand to put rigour into soaring media rights market

    Parrot Analytics launches Sports Demand to put rigour into soaring media rights market

    LOS ANGELES: : Parrot Analytics, the media analytics firm known for pioneering streaming valuation, has launched Sports Demand, billed as the most advanced global sports analytics system. The tool is designed to arm leagues, teams, broadcasters, streamers and sponsors with data-driven insights to navigate the fast-inflating sports rights market.

    Sports rights fees have surged in recent years, with Paramount’s $7.7 billion deal for UFC events, WWE’s $1.6 billion tie-up with ESPN, and the NFL’s equity-for-content swap with Disney underscoring the scale. Parrot says its system will allow buyers and sellers to measure fan engagement market by market, justify valuations, and extract stronger returns on investment.

    “For the first time, decision-makers can weigh the impact of acquiring a sports league against investing in scripted series or films, within a single framework,” said Parrot Analytics chief executive Wared Seger. By integrating with the firm’s Demand360 platform, Sports Demand lets clients benchmark sports against TV shows, films and on-screen talent.

    Capabilities include global fan mapping across 100 markets, integrated sports-entertainment benchmarking, empirical valuation models, content optimisation, and sponsor alignment analysis. Early adopters include leagues negotiating landmark streaming deals and operators launching direct-to-consumer sports services.

    Seger argued that in an attention economy where sports compete directly with films and television for time and spend, “rigorous, standardised data is essential.” 

    Sports Demand is now available worldwide to Parrot Analytics’ enterprise clients, with dashboard and API access for seamless integration into rights, content and sponsorship strategies.

  • Slurrp Farm stirs up joy with ‘Real Food Really Easy’ mealtime reset

    Slurrp Farm stirs up joy with ‘Real Food Really Easy’ mealtime reset

    MUMBAI: Because let’s face it kids don’t care if the pancake looks like a Michelin star creation. They just want it fluffy, tasty, and on their plate fast. Slurrp Farm, India’s leading millet-based kids’ food brand, has cooked up a new campaign titled “Real Food. Really Easy.”, and it’s flipping the script on mealtime expectations. At the heart of the campaign lies a refreshing truth: children chase joy, not picture-perfect plating. The hero film captures lived-in moments wobbly pancakes, flour-dusted kitchens, families laughing together all underscoring the message that wholesome food made from clean ingredients, with minimal prep, is what actually matters.

    “An empty plate is every mother’s dream,” said Slurrp Farm co-founder Meghana Narayan, adding that Slurrp Farm was built so that “yummy, junk-free food becomes an easy choice every day.” Fellow co-founder Shauravi Malik echoed that ethos, stressing the brand’s focus on real ingredients, quick prep, and meals kids reach for again and again.

    Wholsum Foods chief marketing officer Ankit Kapoor (parent of Slurrp Farm and Mille), summed it up with a smile: “Food that’s eaten, not picture-perfect.”

    The campaign, conceptualised in-house at Wholsum Foods by creative director Vaani Arora, directed by Angshuman Ghosh and produced by Paper Planes, will roll out across digital and social platforms. Always-on storytelling will showcase kid-approved, quick-to-fix meals that balance nutrition with flavour.

    Since its launch, Slurrp Farm has become a pioneer in making millets mainstream, offering products that make parents’ lives easier while keeping children happily fed. With this reset, it’s positioning itself not just as a food brand, but as an honest voice in India’s crowded packaged food industry, one that dares to say mealtime joy beats Instagram perfection every time.

    After all, in a world of spotless plating and polished reels, Slurrp Farm is proudly serving up the beauty of an empty plate and a full heart.

  • Cup of upsets brews as Man United face Grimsby in Carabao Round 2

    Cup of upsets brews as Man United face Grimsby in Carabao Round 2

    MUMBAI: Stormy seas or smooth sailing? The Carabao Cup’s second round promises a splash of drama as Manchester United head to League Two minnows Grimsby Town on 27 August, a fixture that already has the scent of a classic cup upset. United, still chasing their first win of the season under Ruben Amorim, are expected to hand new signing Benjamin Šeško his debut up front, while Harry Maguire could be thrown back into the starting XI. Kick-off at Blundell Park is set for 12:30 am IST and all eyes will be on whether the Red Devils can steady their shaky start.

    The round features nine Premier League clubs, with Graham Potter’s West Ham seeking their first victory of the campaign against Wolves (12:00 am IST). Bournemouth and Brentford collide in the round’s only all-Premier League tie at 12:15 am IST, while Sunderland host Huddersfield and Burnley take on Derby at the same time. Sheffield Wednesday’s clash with Leeds United completes Wednesday’s opening batch at 12:30 am IST.

    The next day, Brighton travel to Oxford United (12:15 am IST), Fulham welcome Bristol City (12:15 am), and Everton face League Two side Mansfield Town (12:15 am). But it’s Grimsby vs Manchester United that has captured the imagination, the kind of David vs Goliath script that has given this competition its fairytale reputation for decades.

    All fixtures will stream live and exclusive on Fancode across web, mobile, and TV.
     

  • Foovies on the menu as Cinépolis serves cinema with a side of flavour

    Foovies on the menu as Cinépolis serves cinema with a side of flavour

    MUMBAI: Dinner and a movie? Cinépolis just scrapped the “and” and turned it into one irresistible package. With the launch of Foovies, India’s first international cinema exhibitor has spiced up the big screen by serving freshly prepared, indulgent meals right inside the theatre. Gone are the days when cinema food meant just popcorn and cola. Foovies flips the script with a vibrant menu ranging from pizzas, wraps, fries, nachos, and samosas to decadent in-house desserts. Every dish is crafted with the same flair that fuels the stories on screen, repositioning Cinépolis as not just a multiplex but a bona fide foodie destination.

    To mark the debut, the chain has rolled out Foovies25, offering 25 per cent off on food and tickets, alongside Club Cinépolis loyalty perks that let patrons earn and redeem points on meals. The move is aimed squarely at India’s two great passions, food and film blending them into a seamless lifestyle experience whether it’s a date night, family outing, or weekend catch-up with friends.

    “At Cinépolis, we don’t just showcase films, we craft experiences,” said Cinépolis India managing director Devang Sampat. “Foovies is our bold step to make every movie visit an immersive lifestyle indulgence, blending the joy of cinema with the comfort of world-class food.”

    Since its India entry in 2009, Cinépolis has set benchmarks with luxury recliners, Dolby surround sound, cutting-edge projection, and its globally famed popcorn. With Foovies, the brand has now raised the stakes again transforming theatres into dining destinations and reshaping the very way India consumes entertainment.

    Because sometimes, the best plot twist isn’t on the screen, but on your plate.
     

  • Centuryply sparks AIgnite to future-proof its business with Generative AI

    Centuryply sparks AIgnite to future-proof its business with Generative AI

    MUMBAI: From plywood to power moves, Century Plyboards (India) Ltd. is setting the stage for a digital transformation that goes beyond building materials. The company has unveiled AIgnite, an organisation-wide initiative designed to weave Generative AI into every corner of its operations from boardroom strategy to shopfloor execution.

    Created in collaboration with Timespro, AIgnite isn’t just a tech experiment but a year-long structured programme aimed at reshaping leadership thinking and functional workflows. Its debut session, AI for Leadership, saw spirited participation from chairman Padma Shri Sajjan Bhajanka, managing director Sanjay Agarwal, the promoter board, and senior executives. The focus: how AI can sharpen decision-making, fast-track innovation, and turbocharge operational intelligence.

    The AIgnite roadmap spans sales, marketing, finance, HR, procurement, IT and SCM, with domain-specific learning tracks rooted in TimesPro’s AI in action framework. Structured into three tiers CXO & leadership strategy sessions, function-centric hands-on labs, and refresher & deep dive modules the programme blends simulations with real-world outcomes, from creating sharper sales pitches and hyper-personalised marketing campaigns to automating finance reporting and optimising procurement.

    Timespro president & CFO for enterprise solutions Arun Kabra underlined the intent: “True transformation is not about learning tools, it’s about rewiring thinking. Our collaboration with Centuryply is proof that when leadership pairs intent with innovation, AI shifts from the periphery to the core.”

    Centuryply’s HR team has already plugged AI into recruitment, sentiment tracking, and employee engagement, signalling how the cultural shift is as crucial as the technical one. “AIgnite is not about adopting a tool, it’s about evolving a mindset,” said Century Plyboards CHRO Rakesh Tiga. “This is how we build a future-ready Centuryply with technology in our hands and purpose in our hearts.”

    The initiative, steered by the learning & development team under Kapil Anand, is designed to maximise relevance and engagement across teams. Beyond upskilling, it sets the foundation for a people-led transformation agenda that positions Centuryply among India’s most forward-looking companies in the AI revolution.

    With AIgnite, Centuryply isn’t just adapting to the future, it’s building it, one algorithm at a time.
     

  • LiveU powers seamless streaming of Rolex Fastnet Race centenary sail

    LiveU powers seamless streaming of Rolex Fastnet Race centenary sail

    MUMBAI: To fully immerse sailing fans in the world’s biggest offshore yacht race, production company, Optical Media turned to LiveU’s On-site Production solution to provide live streamed coverage of the Rolex Fastnet Race. Starting in Cowes on the Isle of Wight, on 26th July and finishing in Cherbourg, France, after rounding the Fastnet Rock off the southwest coast of Ireland, the 2025 biennial event marked its Centenary year and saw more boats participating than ever before. Building on the successful broadcast of the start of the race in 2023, Optical Media further extended its use of LiveU’s live production solutions with the addition of LiveU IQ (LIQ™) to deliver the best available cellular connectivity in this most challenging environment.

    In order to fully capture the excitement as the 3,000 sailors prepared to take on this immense endeavour, Optical Media produced a 15-minute build-up show. The team then live streamed the start of each class, showing the many challenges the crews have to manage, as these huge boats jostle to get the best position at the Royal Yacht Squadron start line – without colliding or accruing a two-hour penalty for setting sail too early. Coverage of the race was broadcast live to the Royal Ocean Racing Club’s YouTube channel and to two European broadcasters.

    Optical Media deployed several LiveU LU600 units to live stream in 4K including one on a high-speed RIB (Rigid Inflatable Boat) equipped with a specialised stabilised camera system. The RIB followed the fleet as they powered across the Solent delivering close-up footage of crews pushing to secure prime positions. LiveU’s LIQ, which dynamically and intelligently switches mobile network operators to provide the highest performing set of cellular connections available, was used on the RIB to ensure a reliable signal would be maintained in these most demanding circumstances chasing the fleet at up to 15-20 knots.

    Optical Media director James Light says, “We certainly never lost the connection on the RIB. I think the LIQ service is very strong and to put it in these challenging conditions proves to me that it really works. It was able to identify whatever key network was there and present it the whole time. I think part of the success this year must go down to LIQ’s capability to react in real-time to changes in network conditions. It’s a weather-proof solution that gives you the best set of options.”

    To complement this dynamic coverage, a second LiveU unit was strategically placed at Egypt Point, which is a pivotal vantage near to the start line, while a third unit provided elevated shots from a hilltop framed with the picturesque Hurst Castle in the background.

    Optical Media also used LiveU’s LU-Link, which enables a plug-and-play cloud service as part of LiveU’s on-site production solution. LU-Link eliminates the need for a custom firewall configuration, enabling the LiveU server to be hosted seamlessly on an unmanaged network. Light adds, “It’s like magic. Using LU-Link we can plug into any network, we just pop the rack in the OB van, which is parked next to the Royal Squadron Building, and off we go. It just works.”

    For the first time Optical Media deployed LiveU’s Audio Connect intercom system.

    Light explains, “The team could plug in their headphone ports connected via a jack extender onboard the RIB, at Egypt Point and Hurst Castle and they were able to hear crystal clear director comms in real-time. There was no messing around with phones or other more complicated audio systems, which was critical for me. It was a big help and I certainly wouldn’t do this project without it in future.”

    He concludes, “I believe our methodology as a production business is to find the best available tools for the job in hand, based on a range of factors including budget, complexity and scenario. Together with the LiveU team we find solutions that work in challenging environments so that we can bring viewers closer to the action. LiveU opens opportunities for us to talk to clients about how we can tell stories in different ways.”

    LiveU sales director for UK Matthew Stringer adds, “This project is one of the more challenging real-world deployments of LiveU IQ, which demonstrated the unmatched power and real-time network diversity LIQ can deliver. Live streaming from the Solent is notoriously challenging due to network conditions, yet LIQ delivered a rock-solid signal throughout. The Rolex Fastnet Race is a prestigious event and by working closely with James and his team, we ensured they had simple plug-and-play LiveU production tools that maximize both productivity and creative freedom no matter how difficult the conditions.”

  • Power Shift as She Shakti 2025 celebrates women driving Bharat forward

    Power Shift as She Shakti 2025 celebrates women driving Bharat forward

    MUMBAI: Who runs the world? At She Shakti 2025, the answer was loud and clear women, and on their own terms. News18 flagship platform, presented by Lions International, returned in Delhi with its grand finale under the theme “From Breaking Barriers to Building Bharat.” From policy corridors to cinema screens, women leaders, changemakers and stars gathered to showcase how they’re rewriting India’s growth story.

    The line-up sparkled with names across domains Smriti Irani, former cabinet minister and founder of The Alliance for Global Good; Nidhi Khare, secretary at the department of consumer affairs; Lindy Cameron, British high commissioner to India; Mallika Srinivasan, chairman & MD of Tractors and Farm Equipment; actors Kriti Sanon and Sanya Malhotra; JNU vice-chancellor Santishree Dhulipudi Pandit; and playback legend Kavita Krishnamurti Subramaniam, among others.

    President Droupadi Murmu set the tone with a powerful video message: “As scientists, engineers, doctors, soldiers, artists, entrepreneurs, athletes, academicians, social workers, policy makers, and in many other roles, women are consistently reaching new heights… In reality, this is not just a change, but a revolution.”

    Smriti Irani, recalling her rise to becoming the highest-paid television actor 25 years ago, urged women to “scream out loud” about their pay cheques. “Today, women don’t just want a seat at the table; they want the capital, the confidence, and a clear pathway to scale their capacities,” she said.

    Kriti Sanon brought an entrepreneurial lens, stressing women’s “problem-solving mindset” in business. Sanya Malhotra drew on her acclaimed film Mrs. to highlight the quiet but seismic fight for freedom at home. “The problem started when she wanted to do something else,” Sanya said of her character, “and wasn’t allowed to.”

    Over the years, She Shakti has grown into more than an event, it’s become a stage where stories of resilience, ambition, and leadership converge. This year’s edition underlined that gender diversity isn’t just about inclusion; it’s about powering Bharat’s future with grit, grace, and an unstoppable revolution.
     

  • Netflix sets guardrails for AI in film and TV productions

    Netflix sets guardrails for AI in film and TV productions

    MUMBAI: Netflix has moved to head off potential controversy over the creeping use of artificial intelligence in film and television, issuing sweeping new guidance for filmmakers, vendors and production partners. The rules, circulated globally this week, make clear that while generative AI (GenAI) can be deployed as a creative aide, it must not slip quietly into final cuts without disclosure, scrutiny and, in some cases, written approval.

    The streamer has stressed that AI is welcome for ideation — moodboards, concept sketches, mock posters — but warns of red lines when it comes to intellectual property, talent likeness and story-critical material. In other words, it’s one thing to ask an algorithm to imagine a dystopian cityscape for a pitch deck; quite another to use it to conjure a new character, rewrite an actor’s performance, or mimic a celebrity’s voice.

    The dos and don’ts

    The 20-page guidance has outlined a hierarchy of acceptable uses. Low-risk experiments that are non-final, non-identifiable and non-copyrighted can usually proceed with a simple “socialise and share” approach. But any GenAI-generated material that:
    * incorporates Netflix’s proprietary assets (scripts, footage, unreleased stills),
    * alters talent performances beyond cosmetic fixes,
    * relies on copyrighted datasets (such as celebrity faces or artistic styles), or
    * appears as final on-screen deliverables,
    must be escalated to the company for legal review and explicit sign-off.

    Perhaps the sharpest line the guidelines draw is around talent. Synthetic replicas of performers — whether de-aged faces, digital bodies or AI-generated voices — require documented consent, in line with union rules. Even subtle digital alterations, such as tweaking lip-sync or emotional delivery, are flagged as reputationally sensitive. Netflix says it permits the use of AI for minor industry-standard post-production tweaks (noise reduction, continuity fixes, cosmetic adjustments), but not for material changes that could distort intent or replace union-covered work.

    The streamer, says it is acutely aware of the reputational stakes. It warns against AI-generated content that could mislead viewers into believing fabricated events are real — such as fake news clips or invented statements attributed to journalists. It has also cautioned against undermining union jobs, an especially hot-button issue after last year’s strikes in Hollywood over the threat posed by AI.

    Vendors and AI studios delivering to Netflix are being told to adhere to the same standards, even if they build custom workflows by stitching multiple tools together. Confidentiality remains non-negotiable: all inputs — from scripts to actor headshots — must be protected inside secure, enterprise-level tools that prevent reuse or resale of data. Production partners have been reminded that they are personally responsible for checking licences, terms and conditions of any third-party AI software.

    The guidance draws a hard distinction between temporary AI-assisted mock-ups and content that makes it into the final cut. A background prop generated by AI may appear harmless, but if a character reads it aloud, it becomes story-relevant and must undergo rights clearance. Netflix insists partners flag such cases early to avoid last-minute legal headaches.

    Why now?
    The move reflects the industry’s jittery embrace of GenAI. While many creatives are already experimenting with it in design, concept art and even scriptwriting, studios are scrambling to balance innovation with ethics, copyright law and union agreements. Netflix is positioning itself as neither a Luddite nor a cheerleader — encouraging experimentation, but within guardrails designed to protect talent, data and audience trust.
    The message from Los Gatos is blunt: AI may be the new toy in the toolbox, but when it comes to finished stories and performers’ rights, the humans are still in charge.

    You can find the detailed guidelines here.
     

  • Ashish Sehgal quits Zee, replaced by old hand Laxmi Shetty

    Ashish Sehgal quits Zee, replaced by old hand Laxmi Shetty

    MUMBAI: Old Zee timer Ashish Sehgal is moving on. Sehgal who was with the Zee group for nearly 20 years was designated as the chief growth officer, advertisement revenue and was known to be very close to promoter Subhash Chandra.

    It was just last month that he had been inducted into the Indian Telly Awards hall of fame for his contribution to the entertainment behemoth. He was also on the board of directors of The Indian Broadcasting & Digital Foundation.

    The company made the announcement through a regulatory filing with the Bombay stock exchange. It said that Sehgal was moving out for personal reasons and the parting was mutual.

    In his resignation note Ashish Sehgal said: “After much reflection, I have decided to step down from my role at Zee Entertainment Enterprise Ltd, marking the end of a truly enriching chapter in my professional journey. It has been an incredible experience spanning almost 20 years, during which I’ve had the privilege to learn every nuance of the trade, grow through challenges, and contribute meaningfully to our shared goals.”

    “Working under your leadership and alongside such talented colleagues has been both an honour and a learning experience. The culture of excellence, collaboration, and innovation here has shaped me in ways I will always carry forward. As I move on to explore new horizons, I do so with immense respect and appreciation for everything this organisation has given me.” 

    The company also announced the elevation of Laxmi Shetty as the head of advertisement revenue, broadcast & digital. Shetty has been part of the leadership team for 20 years, the company said.

    In a press note, Zee highlighted that Laxmi will lead the company’s efforts to enhance monetisation across the linear and digital businesses, further strengthening its financial foundation by maximising revenue generation. In this role, Laxmi will report directly to the CEO, Punit Goenka.

    “Laxmi has been an integral part of the leadership team and a strong pillar of the revenue vertical for over 20 years and has rich experience in the overall advertising landscape. She has been recognized for successfully implementing sustainable creative solutions, enhancing revenue generation opportunities. Her expertise lies in driving strategic excellence across the sales ecosystem through innovative cross-platform solutions, capitalising on newer opportunities, leading to enhanced value delivery to advertisers. In this new role, Laxmi would be responsible for driving a holistic monetization strategy across the business by tapping into newer revenue streams and enhancing the advertiser base by delivering unique solutions at the intersection of content and technology.”