Category: Content Hub

TCH 2024: One Nation: Diverse Voices

Mumbai: Exploring the shift from regional to national content, this synopsis delves into the trends and challenges. It navigates the transformation, analyzing industry dynamics, emerging trends, and the hurdles faced. From preserving regional variation to adapting to a broader audience, it examines the multifaceted journey of regional content evolving into a national narrative. In what ways do the emerging trends and challenges influence the dynamics of the entertainment industry during this transition? How can creators navigate these changes effectively? What strategic approaches can content creators adopt to strike a balance between maintaining regional identity and fostering a cohesive national narrative in their work? How can the transition from ‘regional’ to ‘national content’ impact cultural diversity within the entertainment industry, and what measures can be taken to ensure the preservation of regional variation?

In a rapidly evolving media landscape, seasoned industry professionals have offered valuable insights into the transformation of content consumption and production. The session was chaired by Ernst and Young partner Raghav Anand, MMTV chief executive officer P.R. Satheesh, Sony Marathi business head Ajay Bhalwankar, PTC Network chairman & MD Rabindra Narayan, Shemaroo Entertainment COO, Digital, Saurabh Srivastava esteemed voices in the field, have articulated their perspectives on the burgeoning shift towards globalised content.

Rabindra Narayan emphasised the dissolution of regional boundaries in content consumption, attributing it to the accessibility facilitated by global platforms and connectivity options. He predicts a future where language barriers will fade, citing the potential of technology to clone and adapt voices, thus enabling seamless localization across languages.

Saurabh highlighted the democratisation of content creation in the digital era, underscoring its empowerment and revenue potential, particularly in linguistically diverse markets like India. He emphasizes the value of culturally rooted storytelling in filling gaps in content supply, with technology enabling effective monetization, especially through OTT platforms.

Ajay Bhalwan sheds light on the evolving landscape of Hindi and regional language content, noting a significant shift where a substantial portion of content on Hindi film channels originates from regional languages. He accentuates the importance of language in enhancing authenticity and audience engagement, exemplified by the strong resonance of Marathi content in Maharashtra.

PR Satheesh underscored the paramount importance of content quality in driving viewership and transcending language barriers. Drawing parallels with the global popularity of Korean dramas, he advocates for leveraging technology, including AI and real-time translations, to enhance content creation and distribution.

These insightful perspectives collectively echoed the industry’s adaptation to a globalised content landscape, where technology catalyzes innovation and accessibility. As content continues to evolve, these experts offered valuable guidance on navigating the dynamic media landscape and maximizing the impact of storytelling in diverse markets worldwide.

May 13, 2024
TCH 2024: Need for sustainability & content creation

Mumbai: The eighth edition of The Content Hub Summit delves into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event also explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The fireside chat saw Indiantelevision.com group founder, chairman & editor-in-chief Anil NM Wanvari in conversation with India GreenSet CEO & co-founder Anupama Mandloi.

They discussed the critical importance of sustainability in content creation, especially in India, which leads in volume. They highlighted the industry’s potential for influence and the necessity to adapt to climate change. Mandloi emphasized the need for sustainable practices, citing examples like the Mumbai floods’ impact on business.

Wanvari proposed initiatives like eliminating single-use plastics at events and forming industry alliances for sustainable standards. They emphasized the shift toward sustainability as a cultural change, stressing the industry’s collective responsibility and the need for unity to overcome hurdles.

Mandloi suggested practical steps individuals can take, urging a bottom-up approach to drive the sustainability revolution.

May 10, 2024
TCH 2024: Ink on the edge: Overcoming challenges for writers with audio series

Mumbai: The eighth edition of The Content Hub Summit delved into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximising revenue, and maintaining creative freedom. The event also explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The session was chaired by Radioandmusic.com editor Namrata Kale. It included the following panelists: writer & director Pubali Chaudhuri, screenwriter Ishani Banerjee, Majburi Main Bandha Ek Rishta writer Jigyasa and Pocket FM head – branding and communications Vineet Singh.

The panel discussion shed light on the challenges writers face in the audio, film, and OTT industries, stressing the need for recognition, fair contracts, and empowerment.

Pubali emphasized the need to acknowledge writers’ contributions and improve revenue sharing, while Ishani highlighted the significance of contracts, credits, and acknowledgment in empowering writers. Vineet outlined Pocket FM’s initiatives to empower writers globally with equitable revenue-sharing models, while Jigyasa shared her journey of discovering writing talent during the lockdown and finding success with Pocket FM.

In conclusion, the panel underscored the industry’s commitment to addressing the challenges faced by writers and providing platforms like Pocket FM to showcase diverse narratives.

May 10, 2024
The Content Hub 2024 – Changing Business of Content: How big is the shift and how long is it to stay?

Mumbai: The eighth edition of The Content Hub Summit delved into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The esteemed panel of industry leaders have shared their expertise on adapting to the shifting landscape, tackling daily challenges, and envisioning the future of production.

The session was moderated by Elara Capital senior vice president Karan Taurani which included panelists: Fremantle India managing director Aradhana Bhola, House of Talkies founder & producer Sidharth Jain, Jio Studios Head – Originals Tejkarran Singh Bajaj and producer & content head Ashima Avasthi Chaudhuri.

Guiding the dialogue was Taurani, who steered the conversation towards the imminent trends in content consumption. Bhola espoused the paradigm shift in storytelling possibilities post-COVID, elucidating on the burgeoning spectrum of narratives that now captivate both creators and consumers alike.

Bajaj gave a nuanced perspective on the role of data in decision-making, cautioning against its exclusive reliance. With eloquence, he delineated the delicate balance between leveraging data insights and preserving the intangible essence of creativity that distinguishes human ingenuity from algorithmic predictability.

Jain elucidated on the challenges inherent in curating compelling narratives, underscoring the pivotal role of assembling adept teams to actualise creative visions seamlessly.

Lastly, Chaudhari offered profound reflections on the evolving palate of the audience, emphasizing the imperatives of captivating their increasingly discerning sensibilities. With perspicacity, she underscored the exigency of recalibrating cinematic endeavors to resonate with the evolving expectations of the viewer, amidst the segmentation of diverse entertainment mediums.

In essence, the session forged a roadmap for content creators to navigate the landscape of the digital age.

May 10, 2024
The Content Hub 2024: Audio series: The new blockbuster engine

Mumbai: The eighth edition of The Content Hub Summit delves into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event also explores the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The fireside chat saw Indiantelevision.com group founder, chairman & editor-in-chief Anil NM Wanvari in conversation with Pocket FM head – India and new markets Suyog Gothi.

During the fireside chat, Gothi discussed the platform’s journey from humble beginnings to significant success. He highlighted the inspiration behind Pocket FM, the need for longer-form content in the audio space, and the platform’s unique monetization model.

One memorable quote Gothi said was, “We’re not just competing; we’re creating a niche for ourselves in the entertainment category.” Gothi proudly mentioned that they have had four series crossing the 100 crore revenue mark, with more on the brink, showcasing the platform’s success.

Gothi emphasized their focus on fostering a strong community of writers and their expansion into multiple languages and global markets. He also discussed the role of AI in content creation and their vision to evolve Pocket FM into a holistic entertainment platform.

May 10, 2024
The Content Hub 2024 – Theatrical Bounces back, and how!

Mumbai: The eighth edition of The Content Hub Summit delved into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The esteemed panel of industry leaders have shared their expertise on adapting to the shifting landscape, tackling daily challenges, and envisioning the future of production.

The session was moderated by film critic, journalist and author Mayank Shekhar along with panelists: Reliance Entertainment Studios CEO Shibasish Sarkar, Excel Entertainment producer Rucha Pathak and UFO Moviez CEO – Distribution & Film Services, Pankaj Jaysinh

Shekhar probed the panelists on the inherent unpredictability of the film industry. Sarkar understood this volatility, noting the stark contrast between runaway hits and colossal flops, with little room for middle ground.

Pathak highlighted the ascendancy of OTT platforms over traditional satellite and television mediums. She told that the convergence of content formats, wherein OTT offerings often mirror erstwhile TV content, potentially reshaping the market dynamics for cinematic releases.

Jaysinh echoed this sentiment, pointing out the increasing reluctance among producers to bankroll high-budget extravaganzas. Instead, he lauded the success of smaller, niche-market productions with more modest budgets, citing examples like “Laapataa Ladies” and “Madgaon Express”.

The session culminated on a note of reflection, encapsulating the complexities and opportunities inherent in the contemporary entertainment landscape.

May 10, 2024
The Content Hub 2024 – New Content Trends

Mumbai: The eighth edition of The Content Hub Summit delved into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The esteemed panel of industry leaders has shared their expertise on adapting to the shifting landscape, tackling daily challenges, and envisioning the future of production.

The session was moderated by HitFlik film director & CCO Saurabh Varma which includes panelists: Inspire Films Ltd founder & managing director Yash A Patnaik, Dangal Play head Akshat Singhal, writer & director Soumik Sen, Geophil managing director Robin Philip, producer Monisha Singh Katial, GSEAMS producer, creator Kartk D Nishandar and Pratilipi co-founder & CEO Ranjeet Pratap Singh.

Verma kicked off the discussion by highlighting the future trend of regional content, to which Katial emphasised its growing popularity beyond traditional markets. She noted the increasing viewership of South Indian movies in the Hindi belt, signaling a promising avenue for content creators.

Nishandar echoed this sentiment, stating the importance of creating content within budget constraints while adapting to changing trends. Success, he argued, lies in the ability to evolve with the times and cater to shifting audience preferences.

Singh drew parallels between his platform and a modern-day version of Disney, emphasizing the power of storytelling to transcend barriers of format, language, and geography. In a landscape inundated with content, he stressed the challenge of identifying what resonates with audiences.

Sen stated the importance of audience engagement, stating that creativity thrives on interaction and connection with viewers. In an era of abundance, where choices abound, creators must actively seek to engage their audience rather than passively expect their attention.

Philip shed light on the global perspective, highlighting the significance of international distribution in monetizing Indian content. He urged industry players to aggressively position themselves for global licensing opportunities, viewing it as a lucrative avenue for revenue generation.

Singhal gave more importance to regional content as according to him, focusing more on niche content meaning where people can relate themselves in their daily life, can give an immense boost to the storytelling narrative.

Patnaik gave succinct framework for content success: invite, engage, involve, and entertain. He told the importance of consistency, drawing parallels with the enduring popularity of US sitcoms characterized by their extensive episode count.

The session wrapped up with each panelist expressing a high level of optimism regarding the future of content.

May 10, 2024
TCH 2022: Competition will drive TV to innovate its programming

Mumbai: Two decades ago, when audiences wanted to consume entertainment in a video format, they had only two options – TV and cinema. Today, the modes of delivering video content have grown multi-fold. Content production, too, has seen a democratization with new technologies that have enabled every individual to become a creator. This has radically changed the dynamic of content consumption which is also affecting TV.

At the sixth edition of Viacom18 presents The Content Hub Summit 2022 organized by Indiantelevision.com held recently, panellists discussed the topic ‘Mastering a New TV Language’ to get ahead of changing TV viewing habits and develop content to suit the audience preferences.

The session was chaired by media and entertainment advisor Mansi Darbar and was joined by Fremantle India Television Productions managing director Aradhana Bhola, The Q programming head Ashutosh Barve, Endemol Shine India chief operating officer Gourav Gokhale, Sony Pictures Networks India business head – Sony SAB, PAL and Hindi movies cluster Neeraj Vyas, Dreamiyata Entertainment actor and producer Ravi Dubey, Atrangii founder Vibhu Agarwal, Beyond Dreams Group founder and managing director Yash A Patnaik.

The discussion began by trying to understand what has essentially changed with the audience contrasting the 90s to the 2020s.

Sony Pictures Networks’ Neeraj Vyas, who is a broadcast industry veteran with over 25 years of experience, observed, “Today, TV still has 60 per cent of penetration but there’s a variety of alternatives for video consumption. The environment is a lot more competitive with emerging formats like long-form, short-form, video-on-demand etc.”

He contrasted the current state of TV to the transformation of cinemas post the 80-90s. He said, “The movies of the 80s and 90s were very similar. The movie industry had fallen into a rut until multiplexes opened up, where you could have different shows all screening at the same time. This choice infused a freshness in the movie business with new stories like ‘Lagaan’ and ‘Dil Chahta Hai’.”

“TV is being tested with the variety of alternatives that are available. We need to balance between the TV ratings reality and finding out what the consumer actually wants,” he added.

Fremantle India’s Aradhana Bhola, behind shows like Indian Idol, India’s Got Talent, said that “The biggest change has been the pattern of consumption on TV. There used to be a culture of co-viewing on TV where more than one viewer was in front on a TV set. Now, co-viewing has turned into individual viewing with personal devices such as iPads and smartphones.”

TV producer Yash A Patnaik candidly said that he is as old as the TV industry in India. He is the producer behind the shows Veera for StarPlus, Sadda Haq for Channel V, Ishq Me Marjawan for Colors, Kuch Rang Pyaar Ke Aise Bhi for Sony Pictures Networks and Raksha Bandhan for Dangal.

He noted that content has more of a voice today as compared to platforms. Earlier, the success of a show was dictated by how many episodes of content it aired. But, now, shows have different buyers for different formats and different audience cohorts.

Endemol Shine India’s Gourav Gokhale agreed. “Philosophically speaking, technology has made us impatient,” he stated. “People want to see a finite series for the immediate gratification. The expected size of a show has come down as audiences want the climax to come earlier. Also, audiences are consuming content at any time, anywhere, whether during their lunch break or during their commute.”

He remarked that the nature of TV content being 24-minute long shows airing at 9 p.m in the night needs to be reassessed.

The Q India is changing the language on TV by bringing popular digital formats to TV. Ashutosh Barve said that while consumption of content has changed over the years, the core TV programming has not. “It is the same five per cent of shows that are doing well, today, as they did years ago. The bulk of consumption on TV remains the same.”

However, “there are all sorts of formats making inroads from digital on to TV and we’re leading the charge,” he added.

“The measurement reality of our country is not accurately reflecting the viewing reality of the TV audience as there has been a log of change in the last five years,” said Vyas.

Vyas, who manages six channels under Sony Pictures Networks including Hindi GEC Sony SAB, said that in the future he does not see Sony SAB being just a channel but a differentiated brand that is available across platforms. “

Vibhu Agarwal, who founded OTT platform Ullu and Hindi general entertainment channel Atrangii, said there’s an audience for all kinds of content formats. “When I watch on digital, discovery is a big problem, and by the time I settle on a piece of content, my dinner is finished!” he candidly shared. Highlighting that even with the emergence of digital media, traditional media such as print, radio and TV continue to see robust consumption. “Why did I, as a digital player, choose to launch a TV channel? Because people are just as interested in TV long-format series as much as they are interested in a finite web series.”

Bhola affirmed that content producers are scrutinising which broadcast partner, target audience and genre/format works best to showcase their talent and story. She said that it’s the nature of the idea and duration of the series that dictates which platform it is made available on.

Actor and producer Ravi Dubey recalled that the pioneering shows on TV arrived much before there was any research to back them up. He stated “As a creative person in the industry, I still believe in backing shows based purely on gut instinct.”

Watch the full session.

July 4, 2022
The Content Hub 2022 Summit to be held on 29-30 June

Mumbai: Lights, camera and action! The scene is ready and the camera will soon be rolling on the sixth edition of Viacom18 presents Indiantelevision.com’s The Content Hub to be held on 29th and 30th June at JW Marriott Juhu, Mumbai.

The two-day summit will bring together the leading content creators traversing the spaces of film, television and over-the-top (OTT) entertainment. The event is co-powered by Applause Entertainment and IN10 Media Network. Aaj Tak Connected Stream is the associate partner. The event is supported by industry partners Fremantle, Hill+Knowlton Strategies, One Take Media, Pratilipi, Pocket FM and The Viral Fever. The Indian Motion Pictures Producers’ Association (IMPPA) has come on board as a community partner.

This year, the event is centred around the theme – ‘The Roaring 20s – A Decade of Plenty?’ – signifying the opportunities for creators who are challenging the established content traditions and breaking free with refreshing narratives, content forms and the ability to tell stories on multiple platforms.

The freedom enjoyed by creators today is encapsulated by the spirit of the 1920s which was marked by a general feeling of prosperity, novelty and associated with breaking away from tradition post the culmination of the First World War. A hundred years since the world is undergoing a transformation courtesy of the pandemic, streaming services, new content forms and formats have transformed entertainment consumption and the way content is produced.

When it comes to content, consumers are enjoying a decade of plenty with the convergence of TV, film, video-on-demand, short-form, audio, video games and metaverse formats and transmitted over digital media. Will the next decade see a further revolution and exploitation of the opportunities similar to the 1920s? That’s the question folks!

Hear from India’s content czars and czarinas at The Content Hub outlining their plans for shaping the content landscape for the current decade. The head honchos from leading studios such as International Art Machine, Famous Studios, Applause Entertainment, Juggernaut Productions, StudioNext (Sony Pictures Networks), Endemol Shine India, Roy Kapur Films; OTT platforms including Zee5, Aha, Epic-On and renowned creators such as Alankrita Shrivastava (Bombay Begums), Jeo Baby (The Great Indian Kitchen), Aniruddha Guha (Rashmi Rocket), producer Sunir Kheterpal and more.

India is at an interesting and exciting point in the content space where the next Emmy or Oscar will be awarded to the creator of an Indian film or series. Will Indian content follow the trajectory of the Korean Wave? And how? Will the 2020s prove to be India’s roaring twenties?

June 27, 2022
Netflix’s Monika Shergill talks about crafting stories for every mood on OTT

New Delhi: The OTT platforms have taken the world by storm. If there is one key trend that has completely revolutionised the way content is now being created across mediums, it is definitely these new-age platforms. And leading the way is OTT giant Netflix which currently boasts of over 209 million subscribers worldwide.

From originals, sit-coms, documentaries, adapted formats to movies, the platform offers something for every kind of viewer. It will also be completing ten years in original programming soon, globally.

“In all these years, we have tried to offer all kinds of stories on our platform – stories that feel real, and have universal emotions. We have had powerful novel based series, and multiple seasons each told in a fresh way,” says Netflix India, vice president, content, Monika Shergill at the fifth edition of The Content Hub 2021, which concluded recently.

The three-day mega event organised virtually by Indiantelevision.com brought content makers from the world of television, films and OTT on one platform to delve upon the evolving media and entertainment industry. Indiantelevision.com’s founder and CEO Anil Wanvari got into an engaging fireside chat with Shergill about Netflix’s journey of creating content for the Indian masses.

“Netflix is creating stories for every mood,” highlights Shergill. “As a streaming service, we are designed very uniquely. Everyone’s version of Netflix is different. You can experiment according to your taste, and try new content anytime you want. The way Netflix is designed, it is to really reflect as many lives as we can, mood within moods, genres, creating an ocean of stories and unlocking its full potential.”

The French series, Lupin which was released on the platform in January remained among its Top 10 shows across most countries for weeks. It recently released Taapsee Pannu starrer Haseen Dillruba, and Kriti Sanon’s Mimi, and is gearing up for the release of the much-awaited fifth season of Spanish drama Money Heist. Then, there is the American teen romantic comedy, The Kissing Booth 3 in August.

“Haseen Dillruba has been trending ever since it was released. Ray (an anthology based on the works of Satyajit Ray) also spiked audience’s interest. Money Heist remained in Top 10 for 117 days last year,” Shergill says joyously. “What we are beginning to do is to create programming catering to different tastes. One story cannot work for everyone and we understand that everyone has different tastes, which we must cater to. Viewing of Kids content has increased by 100 per cent, and also the documentaries and films in different languages.”

The final season of Money Heist is now set to launch in two instalments of five episodes each on 3 September and 3 December.

The platform had announced as many as 41 titles early this year, and has a huge pipeline of new series, shares Shergill. “Finding Anamika will mark Madhuri Dixit’s debut on OTT. Then we will have another web-series, Yeh Kaali Kaali Ankhein in August which is a dark romantic series, bound to surprise everyone. R Madhavan will be seen in the comedy series, Decoupled. So, yes, we programme for every mood and taste,” adds Netflix India’s top executive, “Family dramas are also close to our hearts, and they appeal to the widest set of audiences.”

According to Shergill, the platform has also made its mark as a global platform that has been successfully bringing best of stories from the world to India and vice-versa. “At a time when people cannot travel physically, we are taking them to different places through our stories. We are glad we are able to do it. All we want to do is entertain, and we promise that we have something for everyone. And, we deliver it to them in a responsible way,” she sums up.

The fifth edition of the Content Hub 2021 was co-presented by IN10 Media Network and ZEE5, and co-powered by Applause Entertainment and Tipping Point, the digital content unit of Viacom 18 Studios. PTC Network was the supporting partner.

August 3, 2021