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Category: Ficci Frames

  • How will the new breed of content creators fit in the digital space with big daddies around?

    How will the new breed of content creators fit in the digital space with big daddies around?

    MUMBAI: The beauty of digital is that the younger audience can bubble up digital content for the older audience. With videos and internet becoming synonymous with each other, we tend to consume more information in the form of videos in today’s time. Reports say that Indian content gets roughly 7 billion (700 crore) views a month with a watch time of 2 billion (200 crore) hours. And what is driving this massive consumption, but the younger audience? The market is for all age groups, but is largely driven by the youngsters, the millennials. The space has also created a new age of celebrities. Brands are increasingly looking to tie-up with these content creators. The boundaries of broadcast companies, ad agencies, technology companies, music labels, etc., all are morphing into this new medium of entertainment.

    Discussing the birth of a ‘New breed of content creators powered by digital’ was a panel comprising of The Viral Fever CEO Arunabh Kumar, Rajshri Entertainment Private Limited MD and CEO Rajjat Barjatiya, Terribly Tiny Tales founder Anuj Gosalia, East India Comedy founder Kunal Rao, Click Digital studios co-founder Anand Doshi and Ping Digital Broadcast co-founder and director for talent and acquisitions Anagha Rajadhyaksha. The session was moderated by Qyuki co-founder and MD Samir Bangara.

    With big daddies like Hotstar, VOOT, etc, in the digital space, the question that arises is how is this content going to fit in the space or are they going to get stomped out?

    Kumar responded, speaking about his own company, “Obviously there are people sitting with lot of money above us. But the simple difference TVF has is that we started with videos at the time when no one was even watching them. We remain a content company, we wanted to make certain types of shows which no one wanted to produce and hence we started making web series on our own. We wanted to make web series since 2010. We are in love with creating content. The age group of 18-24 is the progressive audience, and they are bored of the stories that come on TV. We still take time and sweat to make something and still get the same amount of joy when someone appreciates it. I don’t think there is any competition. We are still evolving and I don’t think there is any question of competition with the bigger players”.

    Barjatiya said, “I think this is a very sweet spot for us. We have been producing films since 1947 and 10 years ago we started acquiring rights for content. And now we produce 3 hours of short form content for the web every day. We are a platform agnostic company and we have chosen to become the product on other platforms. We want to be the product on others’ shelves. I will never launch my own platform. We have 100 distribution partnerships with national and international companies and we are happy with this. We have got 610 billion (6,10,000 crore) views on Youtube.”

    When asked about the monetisation model that Rajshri follows, Bharjatiya replied, “Organic ads consumed on a platform like Youtube, make an amount of about 10-20 paise per view depending on various factors which comes up to 55 per cent.” He further revealed that long form of premium content works well for the company. “We are getting more traffic from mobile phones and the ad-rates are also inching up. I have been observing that more and more people are watching content on phones.”

    Doshi said, “I think it also depends on the time that you release your video. It also matters. If I release my video when I see a trend, it works more effectively for us. The fill rate also matters in a country like India. Right now we touch 120 million (12 crore) views every month on our network. The concern is that we get 90 per cent traction from mobile. It’s a beautiful scenario and the future is mobile phones but the ad sales are going down.”

    Citing an example, Doshi pointed out one of the spoofs of Prem Ratan Dhan Paayo, Bharjatiya claimed the content from Anand, and hence monetized it. So, the money was directed to Bharjatiya while the subscribers remained with Doshi.

    When asked about the shift from stand-up comedy to sketch, Rao said, “Our motto is to get people out of cinemas to us. No one reads the ads in newspapers. We wanted people to know that stand-up comedy exits. The objective is to reach out to the maximum people. Initially we had to go to places for our shows, but today we don’t have to go everywhere. Content is content; it does not have to be short or extraordinary. We give out very simple content and have roughly 3,50,000 views on our network.”

    The fact that Youtube subscribers cannot be bought or marketed is very well known to all of us. The delivery platforms are blooming up efficiently which is evident by the growing number of views each of the creators gets in a month.

    “In India, subscription is always connected with money. The subscribers don’t know the cost involved and hence don’t click that button often”, added Bharjatiya.

    “On any OTT platform, you pay first and then watch content. But on Youtube, you can watch content first and then subscribe for it. It’s like giving ‘dakshina’,” said Kumar.

    Ping Network basically produces the ‘how to’ videos and fuels search engines. “We are not in the viral business. Our focus is on utility content. As people want to know things every now and then, that is how we have grown. The power of digital is that you are true to your content. If you are pulling out a video, if it’s powerful and is good, the content will definitely work”, said Rajadhyaksha.

    Gosalia added, “We give out tweet size stories and currently reach out to 12 ½ million (1.25 crore) people on social media. We have collaborated with a lot of brands which comes out in the forms of images. We work with around 30,000 writers. We also do text content for brands. We are primarily focused on quality, commitment and reachability.  Videos are difficult and are completely different for us but they have done well for us in the past. For us to stay in this business where we want to scale stories, we went back to text. We are basically attacking the niche-micro fiction and are taking it global.”

    Talking about the money involved, Kumar said, “Way back in 2008, we used to get Rs 20-30,000 for content. The scale has gone up now. The money involved is couple of times more than a TV episode.”

    “In this business, passion is more important than money”, concluded Bharjatiya.

    With these new breed of content creators powered by digital, content will only evolve and leverage various opportunities in a digital consuming world. It will be interesting to see how the industry meets the talent pool in India over the next few years.

  • Is digital taking over print?

    Is digital taking over print?

    MUMBAI: With the growing number of avenues available for news consumption in India, viewers are often puzzled about which source to trust. The explosion of digital, television and print media has changed the way of news consumption.

    And discussing how news had moved avenues with changing time were Indian Express whole time director Anant Goenka, BBC World News television presenter Ros Atkins, Extentia Information Technology CEO Umeed Kothavala, Inshorts founder Azhar Iqubal, The Wire founding editor Siddharth Varadarajan, Zee Media Group CEO Bhaskar Das and CNN International chief New Delhi bureau Ravi Agarwal. Moderating the session was MxM India editor-in-chief Pradyuman Maheshwari.

    Over the years, we have seen news moving from print to magazines to TV and now to digital platforms. Shedding some light, Zee Media’s Das said, “That the market is supposed to move, is a basic axiom. The problem that the majority of the houses are facing is that they are stuck to one business model. With digital, there are multiple ways of making money. Monetisation moves from format to format. In the end, it’s not about the medium. You can’t compare a conventional way of system with a realistic model. There are four monsters like Google, Facebook, Apple and Amazon. They make money. There will be monopolistic tendencies.”

    Indian Express’s Anant added, “Digital has arrived. Our revenues have increased over four years and I see print is going to be there for a long time. I can say that Indian Express can survive digitally with the same reportage and structure. But I think in digital you can’t just stick to advertising. That will not be much. You will have to get audiences to pay for content.

    “Every story is different, and depending on the story, we file digital first or print first. The best investigative story we like to give to print first; exclusivity is a one minute word. At the moment we find it is exclusive on the web only for a minute. Also if it is time critical to break the story, then we do break it on web”, he explained further.

    Das said, “The audiences that consume newspapers today they were born before 1970 and are not post 1990 born. At the same time, most of the stars want to see their names in newspapers.

    The Wire’s Varadarajan added, “With digital the ability to tell stories has enhanced due to the enhanced interactivity. The viewers can consume content according to their convenience on digital platforms. Every TV channel and newspaper today recognises digital as the future. But the old adage of dollars for print, dimes for digital and pennies for mobile still holds true for most organisations.”

    Inshorts Azhar Iqbal when asked about how his news application was working and what was its future replied, “We are not making any money as of now. I don’t know how are we going to perform in the future. We are focused on ‘time is money’. As long as we can attract eyeballs, we will be able to monetize”.

    Adding, Extentia Information Technology’s Umeed Kothavala said, “Digital and technology have changed the context of consumption. Along with monetization, organisations also need to keep track of the growing power of social media, citizen journalism and also the fact that there are many more options for people to get their news from”.

    Anant took on Inshorts Azhar Iqubal, making his displeasure known at the latter copying news from Indian Express without the media group’s consent and rehashing it into a 60 word article for Inshorts’ usage.

    On the entertainment front, Varadarajan commented how a majority of entertainment news in the print sector was paid for by artistes and hence they would always prefer their exclusive interviews to be printed in the print medium rather than digital.

    CNN’s Agrawal said, ““Digital news is the present, not just the future. It is the present and is very important for us. CNN International looks at providing content globally. We don’t have a print medium. The news that we cover is from a global perspective and the information can be accessed by all the people irrespective of the geography. We as an organisation think of being the first to put out the news. We then decide on how news can be distributed across the various delivery platforms.”

    BBC’s Atkins pointed out that if BBC didn’t provide relevant news to the audience, they would not come to it. “On my show BBC Outsource, if there is a credible story, say from CNN, I will show it to my audience. Given that social media is expanding and that news can be accessed through it, we have to provide credible content to the audience.”

    The panellists also discussed the importance of maintaining the same level of credibility and gate-keeping standards on a digital platform as on traditional print or television platforms.

    Voicing his opinion, Varadarajan said, “There are two things which are important – credibility and reliability. One should always try to achieve both these elements. If you can’t pick on one, than you should always give preference to credibility”.

    “We get higher fee from most of our advertisers because the news that we are providing is credible and they know this”, added Das.

    When television came in, the pundits said that it was the end of print. When roll out of the internet, they said that print and television would not be able to compete. All the mediums have so far been able to co-exist, and even grow. With so many upcoming digital avenues, what will be interesting to see is how print will retain for itself its space in the ecosystem and how digital will be a game changer that it is already has become.

  • Is digital taking over print?

    Is digital taking over print?

    MUMBAI: With the growing number of avenues available for news consumption in India, viewers are often puzzled about which source to trust. The explosion of digital, television and print media has changed the way of news consumption.

    And discussing how news had moved avenues with changing time were Indian Express whole time director Anant Goenka, BBC World News television presenter Ros Atkins, Extentia Information Technology CEO Umeed Kothavala, Inshorts founder Azhar Iqubal, The Wire founding editor Siddharth Varadarajan, Zee Media Group CEO Bhaskar Das and CNN International chief New Delhi bureau Ravi Agarwal. Moderating the session was MxM India editor-in-chief Pradyuman Maheshwari.

    Over the years, we have seen news moving from print to magazines to TV and now to digital platforms. Shedding some light, Zee Media’s Das said, “That the market is supposed to move, is a basic axiom. The problem that the majority of the houses are facing is that they are stuck to one business model. With digital, there are multiple ways of making money. Monetisation moves from format to format. In the end, it’s not about the medium. You can’t compare a conventional way of system with a realistic model. There are four monsters like Google, Facebook, Apple and Amazon. They make money. There will be monopolistic tendencies.”

    Indian Express’s Anant added, “Digital has arrived. Our revenues have increased over four years and I see print is going to be there for a long time. I can say that Indian Express can survive digitally with the same reportage and structure. But I think in digital you can’t just stick to advertising. That will not be much. You will have to get audiences to pay for content.

    “Every story is different, and depending on the story, we file digital first or print first. The best investigative story we like to give to print first; exclusivity is a one minute word. At the moment we find it is exclusive on the web only for a minute. Also if it is time critical to break the story, then we do break it on web”, he explained further.

    Das said, “The audiences that consume newspapers today they were born before 1970 and are not post 1990 born. At the same time, most of the stars want to see their names in newspapers.

    The Wire’s Varadarajan added, “With digital the ability to tell stories has enhanced due to the enhanced interactivity. The viewers can consume content according to their convenience on digital platforms. Every TV channel and newspaper today recognises digital as the future. But the old adage of dollars for print, dimes for digital and pennies for mobile still holds true for most organisations.”

    Inshorts Azhar Iqbal when asked about how his news application was working and what was its future replied, “We are not making any money as of now. I don’t know how are we going to perform in the future. We are focused on ‘time is money’. As long as we can attract eyeballs, we will be able to monetize”.

    Adding, Extentia Information Technology’s Umeed Kothavala said, “Digital and technology have changed the context of consumption. Along with monetization, organisations also need to keep track of the growing power of social media, citizen journalism and also the fact that there are many more options for people to get their news from”.

    Anant took on Inshorts Azhar Iqubal, making his displeasure known at the latter copying news from Indian Express without the media group’s consent and rehashing it into a 60 word article for Inshorts’ usage.

    On the entertainment front, Varadarajan commented how a majority of entertainment news in the print sector was paid for by artistes and hence they would always prefer their exclusive interviews to be printed in the print medium rather than digital.

    CNN’s Agrawal said, ““Digital news is the present, not just the future. It is the present and is very important for us. CNN International looks at providing content globally. We don’t have a print medium. The news that we cover is from a global perspective and the information can be accessed by all the people irrespective of the geography. We as an organisation think of being the first to put out the news. We then decide on how news can be distributed across the various delivery platforms.”

    BBC’s Atkins pointed out that if BBC didn’t provide relevant news to the audience, they would not come to it. “On my show BBC Outsource, if there is a credible story, say from CNN, I will show it to my audience. Given that social media is expanding and that news can be accessed through it, we have to provide credible content to the audience.”

    The panellists also discussed the importance of maintaining the same level of credibility and gate-keeping standards on a digital platform as on traditional print or television platforms.

    Voicing his opinion, Varadarajan said, “There are two things which are important – credibility and reliability. One should always try to achieve both these elements. If you can’t pick on one, than you should always give preference to credibility”.

    “We get higher fee from most of our advertisers because the news that we are providing is credible and they know this”, added Das.

    When television came in, the pundits said that it was the end of print. When roll out of the internet, they said that print and television would not be able to compete. All the mediums have so far been able to co-exist, and even grow. With so many upcoming digital avenues, what will be interesting to see is how print will retain for itself its space in the ecosystem and how digital will be a game changer that it is already has become.

  • Govt admits low production of STBs, urges more players to manufacture under Make in India Initiative

    Govt admits low production of STBs, urges more players to manufacture under Make in India Initiative

    MUMBAI: The government today admitted that less than 10 per cent set top boxes being used in India were Indian made. However, Information and Broadcasting Secretary Sunil Arora said the government and his ministry were completely committed to the digitization programme.

    Arora said, “We want the industry to look at this opportunity under the Make In India initiative and produce more STBs in India under the Electronics Manufacturing scheme”.

    The ministry remained committed to promoting ease of doing business in the media and entertainment sector, Arora said in a dialogue with Star India CEO Uday Shankar and veteran filmmaker Ramesh Sippy at FICCI Frames 2016.

    He said the Ministry was also guided by the ‘minimum government, maximum governance’ philosophy. “One of our primary objectives is to bring down the number of visitors to Shastri Bhavan to a trickle. We want to move towards less regulation and facilitate India to become the hub of media and entertainment industry.”

    Arora claimed that clearance for new TV channels had been expedited over the last six months under a liberalized regime. He said the home ministry had agreed to most of the suggestions made by the I&B ministry about liberalizing several conditions. Arora stressed that the ministry intends to play a role of a facilitator for the media and entertainment industry to flourish in the country.

    He said a decision had been taken to set up the National Centre of Excellence in Animation, Gaming and Visual Effects in Mumbai.  The Maharashtra Government is providing a 25 acre land near the Film City in Goregaon for the institute.

    The secretary also said the government had approved the Rs 598 crore National Film Heritage Mission to preserve and promote India’s rich film and cultural heritage. He also referred to the National Museum of Indian Cinema coming up in Films Division Complex on Peddar Road in Mumbai with several interactive exhibits. “Prime Minister Narendra Modi has taken a keen interest in this museum which is being curated by the National Council of Science Museums, Kolkata.”

    Focusing on ease of doing business, Arora said a Film Facilitation Office had opened in the National Film Development Corporation to function as a single window service for film related clearances. The secretary said an award had been instituted as part of the National Film Awards from this year to honour the states that are most film friendly. In 2016, Gujarat has been adjudged the most film friendly state, followed by UP and Kerala.

    Participating in the discussion, Shankar, who is also FICCI Entertainment Panel Chairman expressed concern over the viability of stand-alone news channels. He also said the entry of fringe elements in the news broadcasting field for ‘ancillary facilities’ was affecting credibility. Sippy expressed concern over low theatre density in India.

     

  • Govt admits low production of STBs, urges more players to manufacture under Make in India Initiative

    Govt admits low production of STBs, urges more players to manufacture under Make in India Initiative

    MUMBAI: The government today admitted that less than 10 per cent set top boxes being used in India were Indian made. However, Information and Broadcasting Secretary Sunil Arora said the government and his ministry were completely committed to the digitization programme.

    Arora said, “We want the industry to look at this opportunity under the Make In India initiative and produce more STBs in India under the Electronics Manufacturing scheme”.

    The ministry remained committed to promoting ease of doing business in the media and entertainment sector, Arora said in a dialogue with Star India CEO Uday Shankar and veteran filmmaker Ramesh Sippy at FICCI Frames 2016.

    He said the Ministry was also guided by the ‘minimum government, maximum governance’ philosophy. “One of our primary objectives is to bring down the number of visitors to Shastri Bhavan to a trickle. We want to move towards less regulation and facilitate India to become the hub of media and entertainment industry.”

    Arora claimed that clearance for new TV channels had been expedited over the last six months under a liberalized regime. He said the home ministry had agreed to most of the suggestions made by the I&B ministry about liberalizing several conditions. Arora stressed that the ministry intends to play a role of a facilitator for the media and entertainment industry to flourish in the country.

    He said a decision had been taken to set up the National Centre of Excellence in Animation, Gaming and Visual Effects in Mumbai.  The Maharashtra Government is providing a 25 acre land near the Film City in Goregaon for the institute.

    The secretary also said the government had approved the Rs 598 crore National Film Heritage Mission to preserve and promote India’s rich film and cultural heritage. He also referred to the National Museum of Indian Cinema coming up in Films Division Complex on Peddar Road in Mumbai with several interactive exhibits. “Prime Minister Narendra Modi has taken a keen interest in this museum which is being curated by the National Council of Science Museums, Kolkata.”

    Focusing on ease of doing business, Arora said a Film Facilitation Office had opened in the National Film Development Corporation to function as a single window service for film related clearances. The secretary said an award had been instituted as part of the National Film Awards from this year to honour the states that are most film friendly. In 2016, Gujarat has been adjudged the most film friendly state, followed by UP and Kerala.

    Participating in the discussion, Shankar, who is also FICCI Entertainment Panel Chairman expressed concern over the viability of stand-alone news channels. He also said the entry of fringe elements in the news broadcasting field for ‘ancillary facilities’ was affecting credibility. Sippy expressed concern over low theatre density in India.

     

  • FICCI Frames 2016: Digitization is a boon, but subject to how it is utilized by all stakeholders

    FICCI Frames 2016: Digitization is a boon, but subject to how it is utilized by all stakeholders

    MUMBAI: Even as a general consensus emerged on digitization being a boon, questions were raised at the ongoing FICCI FRAMES meet on whether the concept and advantages of the concept have been fully understood.

    Even as the TV industry has leapfrogged to more than 800 channels, and Indian Pay TV made the leap from analogue to digital and travelled from single to multi-platforms, the session on ‘Future Proofing Broadcast Distribution’ showed there are still some apprehensions on how the new technology can be used.

    The panelist included Times Network MD& CEO MK Anand, Ortel Communication CEO Bibhu Prasad Rath, Indusind Media and Communication MD & CEO Tony D Silva and Microsoft Corporation India Microsoft Azure and server business country head Srikanth Karnakota. The session was moderated by Zee Network president (Legal & Regulatory) Avnindra Mohan.

    Mohan set the ball rolling with a perplexing question on whether the industry had fully understood the implications of ditigization and convergence and whether stakeholders realized that they can use the same network for delivering different content through different modes of mediums. Thus, he said it shows a paradigm shift in the entire gambit of the distribution system.

    “Digitization has been a boon for the broadcast industry. From the broadcaster point of view, digitization started when the Direct to Home (DTH) system launched in 2003 in India. English news and other English general entertainment channels were being treated as the outsiders for the broadcast business. We had 65 million viewers in English from 2000 to 2005 whereas the total number of television viewers was 400 million. The number of English viewers has grown to 200 million now and that happened because of digitization,” says Anand.

    Anand added that in the next five to ten years, the English entertainment viewership should cross 300 million which is almost close to Hindi general entertainment channels viewership due to digitization.  “Times Now has a very strong and loyal audience in a month we cross the viewership of two and half crores but people don’t know that we have 13 crores of viewers on New Media platform,” informs Anand.

    Being a multi-system operator sharing views on the kind of business opportunities Ortel Communication can have in such a scenario, Rath felt India has grown in a unique fashion for the last two decades but the quality of the networks has been compromised. “The Set Top Box is not a solution to a network and we need to handle Phase III and IV in a different manner and not as Phase I and II”, he added.

    Noting that “we in India do not have one definition for Digitisation.It has been portrayed differently by others”, D’silva asked what the country wanted to achieve through digitization. “I believe there should a national objective about what they want to achieve from digitization. In most the industry today including DTH, 50 per cent of revenue goes in tax”. He felt progress was difficult unless the tax was supportive, but this was not going to happen. “It is the MSOs who are putting up the money and buying the STBs. So there has to be a logical regime of taxation. The STB is the only starting point of digitization. There should be an environment where technology and digitization should go hand in hand,” he felt.

  • FICCI Frames 2016: Digitization is a boon, but subject to how it is utilized by all stakeholders

    FICCI Frames 2016: Digitization is a boon, but subject to how it is utilized by all stakeholders

    MUMBAI: Even as a general consensus emerged on digitization being a boon, questions were raised at the ongoing FICCI FRAMES meet on whether the concept and advantages of the concept have been fully understood.

    Even as the TV industry has leapfrogged to more than 800 channels, and Indian Pay TV made the leap from analogue to digital and travelled from single to multi-platforms, the session on ‘Future Proofing Broadcast Distribution’ showed there are still some apprehensions on how the new technology can be used.

    The panelist included Times Network MD& CEO MK Anand, Ortel Communication CEO Bibhu Prasad Rath, Indusind Media and Communication MD & CEO Tony D Silva and Microsoft Corporation India Microsoft Azure and server business country head Srikanth Karnakota. The session was moderated by Zee Network president (Legal & Regulatory) Avnindra Mohan.

    Mohan set the ball rolling with a perplexing question on whether the industry had fully understood the implications of ditigization and convergence and whether stakeholders realized that they can use the same network for delivering different content through different modes of mediums. Thus, he said it shows a paradigm shift in the entire gambit of the distribution system.

    “Digitization has been a boon for the broadcast industry. From the broadcaster point of view, digitization started when the Direct to Home (DTH) system launched in 2003 in India. English news and other English general entertainment channels were being treated as the outsiders for the broadcast business. We had 65 million viewers in English from 2000 to 2005 whereas the total number of television viewers was 400 million. The number of English viewers has grown to 200 million now and that happened because of digitization,” says Anand.

    Anand added that in the next five to ten years, the English entertainment viewership should cross 300 million which is almost close to Hindi general entertainment channels viewership due to digitization.  “Times Now has a very strong and loyal audience in a month we cross the viewership of two and half crores but people don’t know that we have 13 crores of viewers on New Media platform,” informs Anand.

    Being a multi-system operator sharing views on the kind of business opportunities Ortel Communication can have in such a scenario, Rath felt India has grown in a unique fashion for the last two decades but the quality of the networks has been compromised. “The Set Top Box is not a solution to a network and we need to handle Phase III and IV in a different manner and not as Phase I and II”, he added.

    Noting that “we in India do not have one definition for Digitisation.It has been portrayed differently by others”, D’silva asked what the country wanted to achieve through digitization. “I believe there should a national objective about what they want to achieve from digitization. In most the industry today including DTH, 50 per cent of revenue goes in tax”. He felt progress was difficult unless the tax was supportive, but this was not going to happen. “It is the MSOs who are putting up the money and buying the STBs. So there has to be a logical regime of taxation. The STB is the only starting point of digitization. There should be an environment where technology and digitization should go hand in hand,” he felt.

  • FICCI Frames 2016: Live Updates: Sports gets serious what’s next?

    FICCI Frames 2016: Live Updates: Sports gets serious what’s next?

    MUMBAI: The sports ecosystem has seen a see of development in recent past. Non-cricket as a whole graduated from a flying bubble to a serious entity. Pro Kabaddi, from an un-orthodox experiment has become a case study. Cricket is a serious business for the broadcast ecosystem and has been from a long period of time, but now Sports as a whole has become serious business: But What’s next? and that is what the next session of FICCI Frames 2016 is all about.

    Indiantelevision.com will bring to you the updates of the session live and exclusive.

    The panelists will be quizzed by ESPN Cricinfo, Senior Editor: Gaurav Kalra
    Star Sports, President, Nitin Kukreja 
    Owner Gujrat Lions IPL franchise: Keshav Bansal
    USports CEO Supratik Sen
    SE TransStadia MD and CEO: Udit Sheth
    FC Goa CEO Sukhwinder Singh

    Kalra throws the ball at Nitin’s court. Asks him for his initial comment.

    “This Country is in verge of witnessing something special,” Nitin gets the ball rolling.

    “I still remember the morning we launched Kabaddi. We were still unsure. From there to now, we have learned a lot.” “We have learned that all stakeholders need to work together. Some stake holders need more convincing,” ‘collaboration is the key’ the biggest outcome from Nitin’s initial remarks. “Judging our success, it has come at the back of all our stake holders,” he gives credit to all the stake holders.

    Now Kalra goes to the CEO of the most successful PKL team, Supratik Sen narrates how the interest on PKL came. “Ronnie came and said we are going to invest on Kabaddi and that’s where it all started. It was quite a challenge, in the initial days we heard ab gilly danda kyun nhi khel lete, but when we spoke to the 40 plus age group, the women and men have played it in their lives, the answer became easier.”

    He further talks about the challenges, “Our challenge was to take it to the masses, so we reached out to them and got our talent, the we transformed these athheletes, into stars as we could mould them.

    Nitin now asked about the perception ‘Kabaddi won’t work’ He terms it ‘Outsiders view’ “The second season has completely changed the face of the game, the stakes are higher now. You need to go to Ranchi to know how big Hockey is, go to Hyderabad to see how popular Kabaddi is” he remarks.

    “Sporting has become even more local, even when it comes to sporrt revenuee. We were used to ccheer for team Inddia, but now there is a team Goa and team Kolkata” Nitin now talks about the paradigm shift.

    “We don’t expect to make profit from our IPL investment. This investemt is more about marking and building a brand that will reach to millions,” realistic Keshav narrates.

    Kalra quizzes on how to build interest on football to FC goa?

    Singh now has the mic, “While cricket remains the religion, but if we manage to package well and make it more and more engaging for the fans, and allow financial partneers to come forward and be a part pf the process, there is a way to sustain it.”

    “We are not sitting idle when the games are done. We are investing in the grassroots and keeping the aspiration about the game alive in the nine months when there is no league” Singh adds.

    Is there an area we need to pay urgent attention, which has been neglected, to develoe a culture around sport? — kalra

    Udit: Sport infrastructure wasnt thought of as a montisisng asset in our country. India has about 80 stadiums, but none of them are designed for television broadcast. When I was in talks with the Gujarat government, we told them we werent there to build a stadium, but to buld a sporting culture,” infrastructure is too a key, its not about getting them there but keeping them there and provide them quality experience……. great thoughts from Singh.

    What role can broadcasters play in developing a sports culture? A heavyweight question and there can be no one better than Nitin to answer this.

    “Ratings are important,  from an advervenue perspective. But we realise that sport is not just a television product. We realise that grassroots play an important role too,” he is not done yet now he sheds light on the fact that the clubs too need to take a lot of responsibilities “we can do it to a certain extent, but the clubs will have to take it upon themselves to build the culture foreward”

    Keshav now has the mic, “The success of any team worldwide largely depennds on how they perform, Brand building is important, and its a gradual process. The teams who have been in the league from thhe staart have an advantage. They had the time to build their legacy, and meerchandisisng followed. We are also working on building a brand, ut it will take time. Ultimately performance will speak.”

    Are you monetisisng kabaddi enough? shoots a delegate sitting in the ballroom……Well can there be enough monetising ever? ……… Karla diverts the question to Nitin, “As long as you are dong the right thing for the sport, as long as you are investing in the right areas, the money will follow. Its a question whether its in one year two year or three years,”…….. answers Nitin

    Karla now follows the ticker and wraps the session……

    It was Indiantelevision.com Reporter Papri Das sending all the live updates from the venue…

    Hope you liked the coverage….

    Please give us your feedback…. tweet us @ITVNewz…

    This is Anirban Roy Choudhury signing off for today……. 

  • FICCI Frames 2016: Live Updates: Sports gets serious what’s next?

    FICCI Frames 2016: Live Updates: Sports gets serious what’s next?

    MUMBAI: The sports ecosystem has seen a see of development in recent past. Non-cricket as a whole graduated from a flying bubble to a serious entity. Pro Kabaddi, from an un-orthodox experiment has become a case study. Cricket is a serious business for the broadcast ecosystem and has been from a long period of time, but now Sports as a whole has become serious business: But What’s next? and that is what the next session of FICCI Frames 2016 is all about.

    Indiantelevision.com will bring to you the updates of the session live and exclusive.

    The panelists will be quizzed by ESPN Cricinfo, Senior Editor: Gaurav Kalra
    Star Sports, President, Nitin Kukreja 
    Owner Gujrat Lions IPL franchise: Keshav Bansal
    USports CEO Supratik Sen
    SE TransStadia MD and CEO: Udit Sheth
    FC Goa CEO Sukhwinder Singh

    Kalra throws the ball at Nitin’s court. Asks him for his initial comment.

    “This Country is in verge of witnessing something special,” Nitin gets the ball rolling.

    “I still remember the morning we launched Kabaddi. We were still unsure. From there to now, we have learned a lot.” “We have learned that all stakeholders need to work together. Some stake holders need more convincing,” ‘collaboration is the key’ the biggest outcome from Nitin’s initial remarks. “Judging our success, it has come at the back of all our stake holders,” he gives credit to all the stake holders.

    Now Kalra goes to the CEO of the most successful PKL team, Supratik Sen narrates how the interest on PKL came. “Ronnie came and said we are going to invest on Kabaddi and that’s where it all started. It was quite a challenge, in the initial days we heard ab gilly danda kyun nhi khel lete, but when we spoke to the 40 plus age group, the women and men have played it in their lives, the answer became easier.”

    He further talks about the challenges, “Our challenge was to take it to the masses, so we reached out to them and got our talent, the we transformed these athheletes, into stars as we could mould them.

    Nitin now asked about the perception ‘Kabaddi won’t work’ He terms it ‘Outsiders view’ “The second season has completely changed the face of the game, the stakes are higher now. You need to go to Ranchi to know how big Hockey is, go to Hyderabad to see how popular Kabaddi is” he remarks.

    “Sporting has become even more local, even when it comes to sporrt revenuee. We were used to ccheer for team Inddia, but now there is a team Goa and team Kolkata” Nitin now talks about the paradigm shift.

    “We don’t expect to make profit from our IPL investment. This investemt is more about marking and building a brand that will reach to millions,” realistic Keshav narrates.

    Kalra quizzes on how to build interest on football to FC goa?

    Singh now has the mic, “While cricket remains the religion, but if we manage to package well and make it more and more engaging for the fans, and allow financial partneers to come forward and be a part pf the process, there is a way to sustain it.”

    “We are not sitting idle when the games are done. We are investing in the grassroots and keeping the aspiration about the game alive in the nine months when there is no league” Singh adds.

    Is there an area we need to pay urgent attention, which has been neglected, to develoe a culture around sport? — kalra

    Udit: Sport infrastructure wasnt thought of as a montisisng asset in our country. India has about 80 stadiums, but none of them are designed for television broadcast. When I was in talks with the Gujarat government, we told them we werent there to build a stadium, but to buld a sporting culture,” infrastructure is too a key, its not about getting them there but keeping them there and provide them quality experience……. great thoughts from Singh.

    What role can broadcasters play in developing a sports culture? A heavyweight question and there can be no one better than Nitin to answer this.

    “Ratings are important,  from an advervenue perspective. But we realise that sport is not just a television product. We realise that grassroots play an important role too,” he is not done yet now he sheds light on the fact that the clubs too need to take a lot of responsibilities “we can do it to a certain extent, but the clubs will have to take it upon themselves to build the culture foreward”

    Keshav now has the mic, “The success of any team worldwide largely depennds on how they perform, Brand building is important, and its a gradual process. The teams who have been in the league from thhe staart have an advantage. They had the time to build their legacy, and meerchandisisng followed. We are also working on building a brand, ut it will take time. Ultimately performance will speak.”

    Are you monetisisng kabaddi enough? shoots a delegate sitting in the ballroom……Well can there be enough monetising ever? ……… Karla diverts the question to Nitin, “As long as you are dong the right thing for the sport, as long as you are investing in the right areas, the money will follow. Its a question whether its in one year two year or three years,”…….. answers Nitin

    Karla now follows the ticker and wraps the session……

    It was Indiantelevision.com Reporter Papri Das sending all the live updates from the venue…

    Hope you liked the coverage….

    Please give us your feedback…. tweet us @ITVNewz…

    This is Anirban Roy Choudhury signing off for today……. 

  • ‘Make an Indian’ through the right type of kids content

    ‘Make an Indian’ through the right type of kids content

    MUMBAI: In a country where one third of the population is composed of children, very little has been done to encourage and promote kids content. While most will argue and point to the vibrant plethora of content for kids that kids’ networks in India boast of, it is just a fraction of what is required and can be achieved. To discuss the issues that held the industry back from catering quality kids content,  industry stalwarts like filmmaker Subhash Ghai, CFSI chairman Mukesh Khanna, GEAR Education founder Shrinivasan, Green Gold founder and CEO Rajiv Chilaka, Bioscopewala Pictures president Nishith Takia and Viacom 18 Kids cluster head Nina Jaipuria were a part of a panel. Moderated by FICCI animation chairman and Screenyug Creations founder Ashish SK, the panel addressed the need to have a Kids Content Act.

    The panellists unanimously agreed that India lacks any guidelines on what kind of content kids should consume, which exposed them to content that isn’t meant of them. Today’s kids are tomorrow’s future, and hence what content today’s kids consumed would have a character building influence on the adult of tomorrow, was the argument that Ghai had in support of the Act.

    “The formative years till the age of 8 years are crucial for a child. That is why pre-school content for kids has great power to familiarise them with our culture and add morals and values to their lives,” Shrinivasan stressed. “India lacks any form of parenting education. Parents often mistake the TV to be their babysitter, and expect their children to learn life values from it. Therefore we must pay attention to what kids are consuming on television.”

    A large part of the panel discussion was dominated by the need to have more Indian content for kids that reflected Indian culture and connected today’s kids with the roots of their parents. Both Ghai and Khanna felt that this generation of kids were so taken by the second screen – be it the mobile phone or the tablet — they were slowly drifting away from their own culture and embracing the west. They pointed at westernised kids’ content available right now and the lack of proper home grown content that adhered to the values of the land. Chalika also pointed out that he grew up amidst Archie comics and American and British superheroes and characters.

    Jaipuria however begged to differ with her fellow panellists. Pointing out to the progress of her own network, Jaipuria shared that 65 per cent of what Nickelodeon showrd was originally home grown, and the rest was either dubbed or tweaked to make it relatable for the local kids. Bringing in a fresh perspective to the digital era, she shared that soon all players would be in an even field thanks to digitisation. This would lead to such a huge demand for kids content that she doubted the country could meet at the moment with any measure of sustainability. Her reason for supporting an act was to ensure that the industry and all its sections — the creators and the distributors– were prepared with a ready supply of quality kids content for the near future.

    To make that a reality, there were certain legal, financial, and logistical hold ups, the moderator pointed out. Takia, who has been closely involved with the making of the recent National Award winning children’s film Delhi Safari, painted a sad picture of the current motion pictures sector for kids’ films. “Our film did extremely well in China and South Korea, but failed miserably in India. The movie was pulled out of screens way too quickly. Most of the money we made was from foreign market. This shows how we need to create an environment where children’s films reach their due audiences. The act may consider screen reservation or other ways to ensure viewership of such films,” he said. Government sanctions, subsidies, and entertainment tax reliefs were also brought up while discussing the act.

    “The ease of producing a children’s film is the key to take this industry in the right direction. Outside India, most animated children’s films are co-produced but Indian film makers can’t do that. We are restricted by law,” said Khanna. “The act should deal with this and allow filmmakers to co-produce the films and share the financial burden of creating something which requires a huge budget.”

    To address the visibility issue, Ashish proposed a free to air DD Kids channel so that kids living in the most remote parts of the country could enjoy quality content.

    The one take away from the discussion was perhaps the phrase ‘make an Indian.’ Giving a clever twist to the extremely popular ‘Make In India’ phrase that prime minister Modi had devised , the panellists urged that content creators should ‘make an Indian’ out of the tiny tots, riding on powerful home grown kids content that reflected the country’s culture.

    With so much stress on raising the country’s kids to the right type of ‘Indian’, is there a risk of homogenising kids content and regulating creativity? — A question the panel raised but did not answer.