ITV

Category: Event Coverage

  • Movistar+ & Telefonica partner with Beta on first originals

    CANNES: The Spanish telecom giant Telefonica and its premium Pay-channel Movistar+ partner with Beta Film on their first original productions, The Zone and the Velvet-spinoff Velvet Collections.

    The prestigious, high-budget series The Zone is plays out in a post-Fukushima-like mid-sized community and rural area in the North of Spain whose struggle for a return to any semblance of normalcy is severely hampered by a sudden series of gruesome killings in the no-go zone. Velvet Collections takes the best of the ratings-hit into the next generation, when the Marquez-clan opens a glamorous shopping palace in Barcelona.

    The Zone and Velvet Collections are the latest productions in the cooperation of Beta Film and Telefonica, which also includes the Tom Tykwer event-series Babylon Berlin, Oliver Hirschbiegel’s The Same Sky and Sky Italia’s political thriller-series 1993.

    Beta Film’s EVP Acquisitions & Sales Christian Gockel: “We’re extremely proud and bullish about this new installment of our long-standing, successful partnership with Spanish broadcasters and media houses, further underpinning BetaFilm’s position as an essential partner in helping to bring great Spanish TV product to the screen and international marketplace. We are thrilled to be a part of this groundbreaking effort of taking the already high standards of Spanish storytelling and production quality to the next phase.”

    Written, directed and produced by Jorge & Alberto Sánchez-Cabezudo, the Zone (eight hours) follows Inspector Hector Uria, the only survivor among those who were the first to help after the meltdown in the nearby nuclear power plant and his quest to conquer not only the killer but the demons of his own past. Physically recovered but mentally far from it, Hector is drawn into the investigation of the killings which show traces of cannibalism. The eight hour, highly ambitious series marks Telefonica’s first venture into Spanish domestic production and will be delivered at the end of the year.

    Velvet Collections from the Spanish production powerhouse Bambu follows in the footsteps of its outperforming Free-TV-predecessor, sold to more than 100 territories worldwide including a format-deal to the U.S., when the clan sets his sights on the Catalan capital Barcelona where new opportunities call. Telefonica has scheduled ten episodes of the glamorous series for its PayTV-platform Movistar+.

    Both series are currently in pre-production and will be presented by Beta at MIPCOM 2017 in Cannes.

  • Babylon Berlin, Clique, Jailers, Missions and Ride Upon the Storm win at MIPDrama

    CANNES: MIPTV has announced the winners of the second edition of MIPDrama Screenings, which this year included awards in two distinct categories, and from two different juries as well as awards chosen by MIPDrama Screenings buyers.

    The Grand Jury, made up of leading international showrunners and programme creators, awarded the prize in the full episodes category to Jailers (produced by Globo and Gullane/Spray Films, distributed by Globo and broadcast by Globo – Brazil). The Grand Jury prize in the Works in Progress category went to Babylon Berlin (produced by X Filme Creative Pool, ARD Degeto, Sky and Beta Film, distributed by Beta Film and broadcast by Sky Germany and ARD – Germany).

    The TV Critics jury gave its award for best Full Episode to MISSIONS (produced by Empreinte Digitale, distributed by AB International Distribution and broadcast by OCS – France); and the TV Critics award for best Work in Progress to Ride upon the storm (produced by DR Drama in coproduction with Arte and Sam le Français, distributed by Studiocanal and broadcast by DR1/Arte – Denmark).

    And in a MIPTV exclusive, buyers at the MIPDrama Screenings had the chance to vote for their favourite show in both categories via the MIPTV app. The MIPDrama Screenings audience award in the Full Episode category went to Clique (produced by BBC Studios in association with Balloon Entertainment, distributed by all3media International and broadcast by BBC Scotland/BBC Three – United Kingdom), and in the Work in Progress category to Ride Upon the Storm (produced by DR Drama in coproduction with Arte and Sam Le Français, distributed by Studiocanal and broadcast by DR1/Arte – Denmark).

    The 2017 MIPDrama Screenings provided the international drama community, including 450 top buyers, with an exclusive first-look at some of the most exciting upcoming series on the global marketplace.

    Designed to meet growing international demand for high-end drama series from major drama-producing territories, MIPDrama Screenings is a premium showcase curated by the MIP Drama Buyers’ Advisory Board. Six shows were selected to compete in each category, screening before an audience of leading acquisition executives and media from around the world, along with producers, distributors, and agents.

    The awards were presented at the Closing Ceremony of the 2017 MIPDrama Screenings on Sunday 2 April in the Grand Auditorium of the Palais des Festivals, Cannes, on the eve of the MIPTV global entertainment content market, which runs 3-6 April.

    The members of the prestigious Grand Jury were: Frank Spotnitz, Executive Producer and writer (“The X-Files,” “The Man in the High Castle”); Lars Blomgren, Chairman, Scripted Exchange, Endemol Shine Group, Co-Founder and Managing Director of Filmlance International, and Executive Producer (“The Bridge,” “Beck,” “Spring Tide”); Virginie Brac, screenwriter (“Cannabis,” “Paris,” “Spiral”); Ran Tellem , Head of International Content Development for Mediapro and former Head of Content for Keshet, Executive Producer (“Homeland”); and Jalil Lespert, director and actor (“Iris,” “Yves Saint Laurent,” “Versailles”).

    The TV Critics Jury comprised Maureen Ryan, Chief Television Critic, Variety (USA); Benji Wilson, TV Critic for the Telegraph (UK); and Constance Jamet, Critic for Le Figaro (France).

  • XTreme brings social media native creators into broadcast, leads sports content incubation

    CANNES: XTreme Video, the leading multi-platform network for extreme creators, today announces that select digital creators in their network will have two series premiere on international broadcast networks INsight TV and Outside TV: the second season of “MTB Insights” and the first season of “Inside the Masters of Dirt.”

    By bringing social media and YouTube native creators into the broadcast space, XTreme Video is making it known they are a leading incubator for the highest-quality extreme sports content in the world.

    The worldwide visibility, credibility and reach that broadcast television offers is very attractive for digital creators. Concurrently, creators offer huge opportunities to broadcasters looking to attract and engage with fans directly through social media.

    “XTreme Video sees great potential in the originality and resourcefulness of our network of digital creators and we want to translate this social media success into returns for broadcasters,” says XTreme Video CEO Gregg Bywalski. “The extreme sports community has grown exponentially in recent years because of the high-quality content produced as well as the sheer spectacle of these stunts and performances, especially when they’re in 4K formats. It’s time for the broadcast world to embrace them.”

    XTreme Video’s journey from their humble beginnings as a distributor of niche surf documentaries on VHS to a digital powerhouse boasting an umbrella network of the world’s most popular extreme sports digital creators is a testament to their adaptability in a constantly evolving entertainment landscape. All the while, the XTreme Video team has cultivated relationships with television networks around the world through their distribution arm, giving them an edge on other MPNs that can’t tout this.

    The “Inside the Masters of Dirt” series, which was purchased by Insight TV during MIPCOM last fall, follows the adrenaline-addicted crew that produces the popular freestyle motocross arena show of the same name. The Masters of Dirt crew, a part of the XTreme Video Network, boasts upwards of 2 million fans on social media. Their larger than life personalities and the epic visual nature of their shows made it an authentic choice for Insight TV’s international audiences. The first episode will premiere exclusively on Insight TV on April 22nd, 2017, and will also be available on their SVOD service the following day for worldwide fans.

    Information about broadcast availability:

    Germany (HD+: 3M House Holds)

    UK (Sky: 9M HH)

    Portugal (Vodafone: 1M HH)

    Spain (Vodafone: 1M HH)

    Switzerland (Swisscom: 1.3M HH)

    Russia (TriColor: 12.5M HH)

    USA: TBD

    “MTB Insights” filmed by RYYS, a filmmaker and XTreme Video creator, showcases the serious hard work, perseverance and grit required by the growing sport of Mountain Biking. The new season was filmed over the course of one year and follows the top riders on the planet. RYYS is a young Polish director who started filming as an amateur MTB and BMX rider, giving him a solid foundation to start his filmmaking career in the extreme sports industry. As a trusted resource to the mountain bike professionals, RYYS brings an ability to capture the sport in an intimate way that follows its extreme highs and lows, crashes and jumps alike.

    The series was broadcast on Outside TV in the United States early March 2017 and later this year on the French TV channel TREK TV. Worldwide MTB fans will be able to rent or purchase the series on major digital platforms on 13 April, 2017.

  • American Supergroup concludes pilot, seeking partners at MIPTV

    CANNES: Wayne Brothers Entertainment has announced the completion of the successful pilot season for American Supergroup – the original music competition series creating the next big super band. Exec Producers and co-creators of American Supergroup, Gary Wayne Bridges and Kevin Wayne Waldrop, produced five episodes to develop the format and prove the concept. The program aired on Pop, MTV Live and MTV Classic in 4Q16.

    Five bands were formed and are currently in discussion with record labels for representation. American Supergroup is present at MIPTV, seeking international distribution and production partners and is a sponsor, for the 2nd year, of the International Format Awards Gala.

    Judges for the pilot season included award-winning, multi-platinum musicians, all singer/songwriters: pop/soul artist Aloe Blacc, rock/blues artist Elle King, country superstar Jennifer Nettles and classic rock icon Jason Scheff, lead singer/bass player for Rock & Roll Hall of Fame band Chicago. iHeartMedia 104.3MYFM’s Dave Styles was the show’s host. Mentors for the bands were legendary guitarist, James Burton, soul singer Noelle Scaggs of Fitz and Tantrums, singer/songwriter Ed Roland of Soul Collective and song writers Jeffrey Steele and Marti Frederiksen; along with Grammy/Emmy/Dove award-winning producer, Shannon Sanders

    American Supergroup is a music competition program and format showcasing the creation and evolution of the best new band in the country. Guided by a panel of music experts, 25 finalists are selected to form 5 groups of 5 members each — best guitarist, best drummer, best bass player, best keyboards, and best vocalist. Musical genres can be, but are not limited to, Pop, Rock, R&B, Country, Hard-Rock, and Alternative. Audiences interact with, and vote for, bands via social media platforms.

    “American Supergroup has been in development for several years and we are very pleased with our pilot season which brought the concept to life. A short season was produced to prove the format’s viability, which we’ve now done. We are thankful to Pop and Viacom for their support of the program and we were blown away by the amazing talent we discovered in just a short time,” said Bridges.

    Waldrop added, “We are also pleased that American Supergroup is sponsoring the International Format Awards at MIPTV in Cannes for another year, demonstrating our support for the Format industry. We are at MIPTV looking for the best global distribution and production partners. Season 2 is now in development and will air in Fall 2017, with a broadcaster to be confirmed in the coming weeks.”

  • MIPTV: Beta Film opens curtains for ‘Babylon Berlin’, ‘1993’ & ‘Professor T’

    MUMBAI: Beta Film will, at this year’s MIPTV, open its red curtains for Babylon Berlin, presenting first-look excerpts of the extraordinary event series by Tom Tykwer, Henk Handloegten and Achim von Borries.

    The writer/director trio will introduce the show during the MIPDrama Screenings in Cannes with a 20 minute glimpse of what is currently in post-production and has been sold to numerous territories throughout the world. At its International Screening, Beta will feature Professor T., an eccentric but brilliant forensic scientist, who assists police investigations with special charm. The German remake for ZDF, which launched very successfully, is based on the Belgium series original.

    Another remake for TF1 in France is in post-production. 1993 marks the second season of the Italian high-end success series 1992 and follows in the footsteps of corruption and a merciless game of politics. First scenes will be shown at the traditional Beta Brunch on MIPTV-Tuesday, 12.30 pm.

    Babylon Berlin (The Hollywood Reporter: “game changer for high-end TV”) with its 16 episodes and a 40 million Euro budget will premiere on Sky Germany this coming fall, all of Europe including UK as well as overseas and German Free TV ARD will follow. Berlin in the Roaring Twenties is a metropolis for those with talent and ambition. But beneath the glittering surface, the impoverished masses strive for a better life. It is a time for organized crime and political extremism with old militaristic elites not yet abolished while an even more dreadful monster starts flexing its muscles. The show follows a police officer investigating with his own agenda in the capital. Babylon Berlin is produced by X Filme Creative Pool, ARD Degeto, Sky and Beta Film.

    Rome, 30 April 1993: A crowd throws coins at Italian Prime Minister Bettino Craxi – as if the Civil War has begun. It is the setting of 1993 (8 hours; “1992”: 10 hours), the highly ambitious Sky Italia series about political corruption, the mani pulite bribery investigations, the collapse of a political system and the chance for new powers to rise out of the ashes. 1993 is a Sky Italia production realized by Wildside (“The Young Pope”).

    Further highlights among Beta’s event miniseries lineup are Sacher (4 hours), a moovie/Constantin/MR/Beta Film production about the renowned Grand Hotel and glamorous hotspot for the élite of Vienna’s Golden Age and the second season of legal thriller series Shades of Guilt (10 hours, moovie/Oliver Berben), centering on defense lawyer Friedrich Kronberg, who is struggling for justice, no matter how guilty his defendants are. The event movie The Light of Hope (2 hours, Distinto Films Miriam Porté), based on a true story, tells the harrowing tale of Elisabeth Eidenbenz and her female co-workers who saved the lives of almost 600 infants and their mothers who suffered unbearable conditions in refugee and prison camps in Southern France during World War II.

    Formats are flying high at Beta Film, with Professor T. (Rowboat) gaining record ratings on Germany’s ZDF and the French version premiering on TF1 (6 hours, VEMA Production) later this year. The crime format is the latest example of successful shows being adapted abroad, just like the Spanish series Grand Hotel (39×70′, bamboo) with its offspring in the US, Italy and the Middle East or Red Bracelets (German version produced by Bantry Bay), which goes into its third season on Germany’s VOX, even extending the Spanish/Catalan original run.

    The kids’ slate comes with the brand-new scripted show Five2Twelve (26 x 24′) about five teenage boys between 14 and 16 who have their last chance to get it right. All of them already hear the prison doors closing when a judge gives them the option for a new perspective in a mountain boot camp. The series is produced by BR/TV60. Also available are seven new family entertainment features like Timm Thaler (Constantin), the boy who sold his laughter or the friendship adventure of Wendy (Bantry Bay) on vacation at her grandparent’s horse ranch.

    Last but not least, there are new entries in Beta’s movie cycles. Inspector Dupin (16 hours, filmpool) solves murders at Brittany’s seaside and completed its sixth part, while Murder by the Lake (20 hours, Rowboat) presents its seventh case at the three nation border in the heart of Europe.

  • MIPTV: Digital fronts to showcase latest programming alongside content creation brands

    MUMBAI: MIPTV 2017 will put a special emphasis on the new generation of digital content studios aiming at engaging with audiences as part of the Digital Fronts showcase.

    The only international screenings showcase for digital studios and online publishers, Digital Fronts takes place in Cannes from 3-6 April as part of MIPTV, the global entertainment content market.

    Launched in 2014 as the content industry’s first global distribution and acquisition market for high-quality original online productions and web series, MIPTV’s Digital Fronts’ purpose is to bridge the gap between the online video ecosystem and the traditional entertainment content sector. Digital native studios and brands that have turned into content houses themselves will be at the epicentre of the discussion on how to reach the youth audience, which is facing an ever-growing demand for screen-time attention.

    Jukin Media, the global entertainment company powered by user-generated video content, and Zoomin Studios, the new production arm of MTG’s Zoomin, will be making their debut at Digital Fronts. They will join returning digital frontrunners AwesomenessTV, New Form, Studio 71 and Vice Media, who will also be showcasing their content to the MIPTV audience.

    Alongside these digital studios, MIPTV will also feature a special spotlight on brands at the forefront of content creation that have launched their own studios. In a session entitled “Turning Brands into Content Studios” scheduled for Tuesday 4 April, Marriott Intl. (USA) VP Global Creative and Content Marketing David Beebe, Wargaming (Russia) project manager Valeriya Tsygankova and PepsiCo Content Studio (USA) GM Lou Arbetter will explore how brands can no longer be around the content but must be the content in a world where the audience is more solicited than ever. This panel is part of an overall brands initiative at MIPTV.

  • FICCI FRAMES: Legitimate screens, stricter laws, best practices for IPR

    MUMBAI: A National Intellectual Property Rights policy is a healthy prescription for the creative industry that seeks to provide an enabling framework for monetisation, protection and enforcement of copyright, but this can only succeed if there is robust law enforcement in addition to more punitive provisions.

    This was the gist of “Own, Convert and Protect Intellectual Property as a Driver of Innovation and Growth” at the FICCI FRAMES 2017.

    It is equally necessary for creative minds to understand their intellectual property rights globally, and constant amendment of relevant laws, apart from better co-ordination among all stakeholders in the media ecosystem.

    Solstrat Solution advisor S Rama Rao in his special address that set the tone of the discussion explained the difference between tangible and intangible assets such as intellectual property, which, he said was a human right with legal entitlement. He quoted Article 27 Para 3 of the United Nations Charter which underlined the significance of IP.

    However practically, the creative industry’s on lack of understanding of the value of IPR combined with inadequate enforcement mechanism and an inconsistent regulatory framework that stands in the way of the industry’s growth aspirations.

    Saikrishna & Associates senior partner Ameet Datta moderated a discussion where four participants gave their views on different aspects of IPR in India and globally.

    Among the leading lights of the industry who elucidated on the blueprint for translating policy into practice, the Paris-based International Federation of Film Producers Associations (FIAPF) chief representative Benoit Ginistry said a robust law-enforcement system needed to be in place to ensure intellectual property rights are protected.

    Lauding the Indian IPR laws, he said it was a positive step. Globally, he said, IP laws needed to be updated. Ratification and implementation of the laws was important, and technical performance measures (TPM) needed to be secured, he said.

    Ginistry suggested that one needed to protect investments and licences, and one needs to go beyond the copyright laws. India must join anti-piracy groups and campaigns in Europe, Japan and South Korea.

    Whether administrative measure or enforcement was vital to control IPR violation because of proliferation of streaming sites, MPA V-P Asia-Pacific Hank Baker half-jokingly commented that the world today does not allow the creator the leisure of creating and sharing creativity at will. “People are inclined to steal somebody else’s work,” Baker regretted.

    Appreciating the Indian government efforts and laws to protect IP, Baker said that around 42 countries were following “Best Practices” (also including site blocking and watermarking) in the creation and protection of IP. “The shelf life of a movie is a few weeks, but as soon as it is released, a cat and mouse game begins,” Baker complained. Decrying the existence of a transnational pirate network, he said that the ecosystem and the legal framework must be prepared to deal with any IP infringement.

    Baker was sad that the industry had never been as vulnerable as it was now. Censorship and limited number of screens to showcase new films were the other impediments. “People want to see when they want to see – no matter what,” Baker said matter-of-factly. There needs to be wider approach to support the industry.

    Reiterating the United States’s US$ 250 billion annual loss owing to violations, US consul-general to Mumbai Thomas L Vajda said IPR was a huge priority as the world was moving to a knowledge economy. Giving information about the formation of an IP working group two years ago, Vajda said US government was working with a number of state governments in India including Maharashtra towards protection of IPs. For the sake of IP protection, he said co-operation of different sectors was needed. “It’s not just the role of police to help protect IPs, different ministries must be involved in protect original content,” Vajda said.

    Vajda supported the ideas of spurring more innovation, protecting ideas and promoting more investments, but “a genuine intent is important.”

    Speaking about the protection of music IPs, Sony Music Entertainment president – India and Middle East Shridhar Subramaniam said IP laws had been gradually tweaked and a lot of finesse achieved. Although happy about the national policy and amendment to copyright laws in the last couple of years, Subramaniam said he was unhappy about the (monetary) value loss owing to violations by hiding behind safe harbour laws. The primary intent of the laws was to protect the interest of the creator, he added.

    Effectively checking piracy was a court-driven process, he said. Other measures that were being taken were blocking pirate sites and taking down rogue apps, Subramaniam said.

    The Sony Music executive recommended expanding the scope of licencing vis-à-vis radio, broadcasting and internet. He suggested trying and passing on benefits of innovation to the users. National registry and documentation help grow businesses, he felt, but lamented that there was no control over piracy originating from neighbouring markets.

    Music was tech-enabled consumption, Subramanian said, adding that there was a need to foster an environment of licencing. “Our input cost is not regulated,” he said. Although music legitimately belongs to the rights holders, some were using methods disguised as innovation. While ranking the federal states, Subramaniam opined, one could consider IP-friendliness as one of the primary criteria for selection.

  • FICCI Frames 2017: Birth of other mediums cannot kill traditional TV

    MUMBAI: The fast changing scenario and the content ecosystem have gone through a significant change over the years and are keeping all the production houses and the broadcasters on their toes.

    The ‘Grammar of the new TV content’ on the second day of FICCI FRAMES 2017 was discussed as experts from the industry sharing vital pointers in regards to the future of the television content and how this is expected to evolve with many changes coming its way, on a regular basis.

    Moderated by Star India president and content studio head Gaurav Banerjee, the session saw Balaji Telefilms creative director and joint managing director Ekta Kapoor, Keshet International Asia head Gary Pundey, Trailer Park senior producer Robin Humbert, BBC Worldwide Asia Content VP Ryan Shiotani, Discovery Networks International South Asia head and GM Karan Bajaj, and GoNews founder and editor-in-chief Pankaj Pachauri expressing their views..

    Answering a question on TV content, Shiotani said: “As a business we focus on high quality content across the genres. We focus primarily on three areas, one is the distribution of the content around the world, running of branded BBC channels and the third thing is the production around the world. For us, it is very clear to focus on high quality storytelling and production value. The emotional connection with the audiences is something we will continue to do in India and other markets around the world.”

    Sharing her experience, the czarina of the Indian TV ecosystem Ekta Kapoor said: “Television is India’s biggest, most prominent and aggressive medium of entertainment. Women’s Day was celebrated by television. But technology cannot marginalize such a large medium and such a large voice. It challenges, actually give birth to fresher and more interesting content.”

    Bajaj added: “In countries like the US, the UK and all developed broadcast markets, the smart TV penetration has shot through the roof. From 10 to 12 per cent smart TV penetration has reached 50 to 60 per cent in the last six months.”

    Voicing a different viewpoint, Pachauri said: “We are talking about essentially television and digital. We have not touched yet how to change the grammar of the content. India and Bharat are going to come together because of digitization. As far as digital content and its grammar is concerned, we have to change are attitude towards television and no one is trying to change that. We started India’s first digital news television on phone because there are more phones in India then television. Within five years, TV as as we know it would just die. We need new grammar for this new television.”

    Taking the cue, Banerjee claimed that radio was supposed to die in the 1950s, the film industry was over in the 70s, and Doordarshan was expected to be over in the 80s. “We keep foretelling these deaths but the reality is, it is not going to happen. Even in America where a lot of these changes have happened, TV is still incredibly big. The big advantage television has is its reach. Even people watching on digital will watch on television as well.”

    But Pachauri said in India, from 2011 to 2016, the total reach of news television has gone down by 15 per cent according to Nielsen data. “I am not saying that the news will die, or serials or TV will die. There is a new player in the market and we have all to align with that,” he added.

    Talking about the content Balaji produced, Kapoor said: “A lot of questions are raised by India and answered by Bharat. Unfortunately we have to be aware of the problems. If there wouldn’t be any identification to these stories, they won’t be told.”

    She said, “There are three mediums which actually cater to the same people in three different ways. We all have the family phase, the outside world phase, and the individual phase (‘us’ phase). TV is the family phase where the whole family watches the same content. Film is the communal viewing, a screen with 300 people viewing, and digital is content that you want to consume alone. Clearly, for me it is the stories that matter and I cannot say this through other two mediums.”

    Bajaj added: “Discovery is going through intense localization drive, and in the last ten years we have produced 5 to 10 hours of local content, and this year in September we will be moving to 300 hours local content. The learning for us is also this- that it is not the numbers of local hours but that the storytelling in India is different. We are used to very larger than life and entertaining stories so for 200 to 300 hours of local content, we have to shift from the documentary maker to the storytellers and its an interesting journey for us.”

  • Arnab Goswami: Best time to enter news market when there’s no leader

    MUMBAI: Whether off screen or on screen Arnab Goswami is a passionate and animated speaker, though some would say he’s given to histrionics. “The best time to enter the (news) market is when there is no leader,” Goswami said with his trademark flourish, barely few months after leaving Times TV Network as group editor where he often claimed Times NOW was the No. 1 news channel in the country.

    He delivered this almost knockout punch against his previous news platform in a sotto voice dressed casually in a jeans with a jacket draped over it. Hopefully without batting an eyelid (his eyes were hidden behind dark shades, though), he delivered his next punchline: “English news market has flattened out. There was a gap of about 15-20 per cent between Times NOW and other channels when I was leading it, but now there is no clear leader.”

    Gearing up for the launch of his entrepreneurial venture Republic TV, an English News channel, and Republic World, a digital platform, Goswami, in an exclusive conversation with indiantelevision.com on the sidelines of FICCI Frames 2017 here, noted that flattening of the news market was good for his venture

    Though Goswami sounds confident about his venture, but, probably, his previous employers do still rile him still. Remember the story of David and Goliath?

    “One TV channel constantly says that we are not going to let Republic crush us. Every morning they wake up talking about us, giving interviews. I would tell that channel to stop being paranoid,” he drops his voice — may be for effect — and goes on to add loudly, “Your paranoia about us will make you fail.” Full marks for being candid!!

    Well, even when we thought Goswami was through with rubbing it in and we could move over to other topics for discussion, he holds the line, if we use cricket’s bowling analogy: “Unhealthy practices in the TV industry have started. One news channel, which has lost considerable amount of viewership, is going around telling distributors that they would be willing to pay more money if they (distributing platforms) could stop broadcasting Republic for a month. I am horrified.

    “It reveals a sense of deep insecurity (in Republic’s competitors). They say things like ‘some small channel that has not stopped, has been renamed twice and would be renamed the third time just around the time of launch’. These are all signs of growing paranoia and nervousness. I want to tell these channels to not be worried and do something innovative and prepare for our launch. It’s a more healthy way of being in the business. ”

    So which are these TV channels that are maligning Republic and are “nervous” and “insecure”? We urge him to come clean on this name game. This time Goswami ducks the bouncer and counter-questions, “Well, everybody knows who they are. Don’t you people know the facts?”

    According to the media buzz, Goswami will launch both his digital platform and the news channel in two months’ time. Though Goswami refrained from divulging more programming and other details of his ventures, buzz says the TV news anchor, who grew bigger than the company that employed him till few months, will return to the TV screen by anchoring a show on the channel in his trademark style —- critics claim he would continue to be the prosecutor and judge making mincemeat of his panelists. “It will happen soon, much before what is been speculated,” is all that Goswami is willing to state.

    But, just as he cannot let go of a chance to add to the suspense, Goswami pulls back his long-ish hairs and noted with a flourish: “Starting with news in English, the channel (and the whole venture) will expand wherever the audiences exist.”

    The two platforms have received an array of supporters from the advertising and sponsorship worlds. “Loads of people have been lining up to advertise with us. There has been a fantastic reception from the market. There has been a tremendous response from the advertisers from all categories — those who are advertising on news and those who are working with us. They are all excited about the venture,” Goswami boasts, adding bashfully, “This is going to be the most exciting media launch in 2017.”

    For him, viewership is not just limited to market share, but is based on the total number of people watching a product. Strongly believing that unless a TV channel starts engaging with the audience, it would rapidly loose viewership, Goswami explains: “There has been a fall in viewership (of news channels), but that is because there is lack of innovation. Copycats don’t work. You must evolve your own style. I wish people in the English news business start doing different formats on their own. It will be good for them. But, they don’t have much time for that because we are coming with Republic. They just have a few weeks.”

    Is he looking for additional funding for his venture after BJP-backed MP of Rajya Sabha Rajeev Chandrashekhar put in reported over Rs. 3,000 million, apart from several other high networth individuals in their personal capacity? Goswami refused to speak on funding. But he was overheard telling a person, after delivering a keynote address at FICCI Frames 2017 here, that funding for the TV venture is over, though he is actively looking to raise additional investments for the digital platform.

    While delivering his keynote address, reeled out in his usual style with emphasis on anecdotes, theatrics and requests for support from “you all”, Goswami highlighted the changing landscape of new business in India. Some of the highlights are as follows:

    – Plain vanilla is boring. It is overused and dead.

    – Opinion is the future. Having an opinion as a journalist is necessary. Opinions are sacred.

    – Encourage speaking of English the Indian way. ‘Hinglish’ is the way ahead.

    – Content will remain the king (where does that leave distribution platforms, the vehicle on which content will ride, we wonder. More specifically, where would that leave one of his many investors, Sameer Manchanda, who also is founder-promoter of MSO DEN Networks?)

    – Television will outlive all news genres. There will be a collaboration and not competition of TV and digital.

    – Technology will be the democratic enabler for media.

    – Delivering news is what matters to India.

  • ‘Make piracy an economic offence, good cos ‘badvertise’ too’

    MUMBAI: Protection and enforcement of copyright continues to remain a challenge for the Media and Entertainment industry. According to estimates, rogue or pirate sites earned 35 per cent more revenues than the Indian Film Industry in 2016.

    The need of the hour is to form enforcement models and effective strategies to counter the underground pirate economy. Taking the war against online piracy in India one notch higher, A session called ‘Decoding the pirate economy in interconnected world: from Noise to Action’ on online copyright infringement that has facilitated the emergence of pirate economy, was held at FICCI Frames on the first day of the three day conference on the Media and Entertainment industry.

    The panel moderated by MPA India MD Uday Singh was attended by DIPP joint secretary Rajiv Aggarwal, IAS, Inspector General of Maharashtra Police (Cyber) Brijesh Singh, Telugu Film Chamber of Commerce Anti Video Piracy Cell chairman Raj Kumar Akella, Star India legal VP Surender Mann, Strategic IP Information CEO Bharat Dube, Viacom18 group general counsel Sujeet Jain, and The Film and Television Producers Guild of India CEO Kulmeet Makkar.

    According to Singh, the Indian film industry’s attitude about the seven days window to make money at box office should change and one should look at piracy as a threat in a longer run. Public and private partnership is needed to deal with intellectual property violations. Hence, to curb online piracy in India, Maharashtra state is all set to get Maharashtra Intellectual Property Crime Unit, which may be called MIPCU.

    Though, Dube believes that advertising revenue is the primary driver for the content theft industry. The best way to deter advertising revenue from going to pirate networks would be to build comprehensive risk management frameworks in ad agencies, ad networks and advertisers to address this risk proactively. ISPs need to proactively build block lists and adhere to site blocking orders issued by the courts to limit access to pirate sites.

    “The problem is also with mindset where people do not see immorality or illegality in pirating movies,” he added.

    In one of his studies, Dube tracked 1,143 popular pirate sites in India and found that 73 per cent of the sites were ad-supported and had the potential of generating millions of dollars for pirates. It is estimated that large pirate networks can generate between $2-4 million while medium and smaller sites can generate up to $2 million annually. The low levels of industry awareness have resulted in advertisements of legitimate businesses appearing on pirate sites. This study found 425 legitimate advertisers advertising on pirate sites.

    Pirate networks also attract advertising from several High-Risk Advertisers such as, adult dating, pornography, malware, gambling and other unregulated products. This study found 361 advertisers in the high-risk category.

    “Piracy should be made an economic offence. Search engines should take responsibilities and advertising on illegal websites should stop. We have coined a word called ‘Badvertising’ for advertisements on such websites,” added Dube.

    Resonating with Dube’s thoughts, Jain also stated that the search engines have to behave more responsibly an that the bad advertising on rogue websites has to reduce. “Trinity of legislative, executive and judicial authorities need to fight piracy together. We need court orders to block websites completely to curb online piracy,” said Jain. He also pointed out that piracy should be classified as an economical issue for which measures are essential to improve civic sense. According to the IT act, there are intermediary guidelines which have a greater role to play. The responsibility on intermediaries has to increase to win this war against online piracy.

    Sharing similar thoughts, Mann happily agreed to help and support Maharashtra government against online piracy. Jain too accepted the opportunity to become a unit with the Maharashtra state to curb piracy.

    Makkar expressed their support for MIPCU and hope to see the end of piracy in India very soon. He also stated the importance of an awarenesss program. “We are working on some campaigns to spread awareness about the odds that come with piracy across cinema halls, TV channels, etc. ”

    Akella also resonated with the idea of collaborating industry and the state government. “India needs to take responsibility. Piracy is just not the loss of revenues. It affects us in a much larger way,” concluded Akella.