Category: Specials

  • CONGRATULATIONS! Indian Telly Awards: Check out the List of Rising Stars and Fan Favorite Talents on TV

    MUMBAI: Indian Telly Awards by Indiantelevision.com is a star-studded event and has reached its 19th edition this year. The occasion was held on the 25th of April 2023 in Mumbai and was attended by who’s who of the Indian TV industry.

    The awards have been conceptualized and created by Mr. Anil Wanwari, founder and CEO of Indiantelevision.com. It was one of the most remarkable nights attended by the stars of the industry and shall be followed through by many more years ahead.

    Indian Telly Awards is determined to recognize talent and appreciate the efforts of the people in TV industry Who have ruled the hearts of the audience in 2023 and that are responsible for bringing smiles to our viewers with its indispensable impact on their hearts.

    We to bring you the faces that you have seen and loved on your favorite shows and the actors who are picked by fans for their crafts.

    Check out the winners in various categories:-

    Talent Awards:
    • Best Anchor: Arjun Bijlani for Ravivaar with Star Parivaar and Manoj Joshi for Swaraj 
    • Best Child Artist (Female): Asmi Deo for Anupamaa
    • Best Child Artist (Male): Tanmay Rishi Shah for Ghum Hai Kisikey Pyaar Meiin.
    • Best Actress in a Comic Role: Pariva Pranati for Wagle Ki Duniya- Nayi Peedhi, Naye Kissey.
    • Best Actor in a Comic Role: Rohitashv Gour for Bhabhiji Ghar Par Hain.
    • Best Actor in a Supporting Role (Comedy): Tanmay Vekaria for Taarak Mehta Ka Ooltah Chashmah.
    • Best Actress in a Supporting Role (Comedy): Himani Shivpuri for Hapoo ki Ultan Paltan.
    • Best Actress in a Supporting Role: Alpana Buch for Anupamaa and Supriya Pilgaonkar for Kuch Rang Pyaar Ke Aise Bhi season 3.
    • Best actor in a Supporting Role: Aanjjan Srivastav for Wagle Ki Duniya, Nayi Peedhi, Naye Kissey and Rajesh Shrirangpure for Punyashlok Ahilyabai.
    • Best Actress in a Negative Role: Kishori Shahane for Ghum Hai Kisikey Pyaar Meiin.
    • Best Actor in a Negative Role: Ajay Gehi for Hero- Gayab Mode On.
    • Best Television Personality of the Year: Shaheer Sheikh for WoH Toh Hai Albelaa.
    • Fresh New Face (Female): Surabhi Das for Neemia Denzongpa.
    • Fresh New Face (Male): Abhishek Pathania for Kismat Ki Lakeeron Se.
    • Best On – Screen couple: Rupali Ganguly and Gaurav Khanna (MaAn) from Anupamaa.
    • Best Ensemble Cast: Wagle Family from Wagle Ki Duniya: Nayi Peedhi, Naye Kissey
    • Best Actress in a Lead Role: Rupali Ganguly for Anupamaa.
    • Best Actor in a Lead Role: Sumeet Raghavan for Wagle Ki Duniya: Nayi Peedhi, Naye Kissey and Pravisht Mishra for Banni Chow Home Delivery.

    * Fan Favorite Awards:-

    • Fan Favorite Actor: Harshad Chopda for Yeh Rishta Kya Kehlata Hai.
    • Fan Favorite Actress: Nimrit Kaur Ahluwalia for Choti Sarrdaarni
    • Fan Favourite Child Artist Male/Female: Aarohi Kumawat for Bade Acche Lagte Hain 2.
    • Fan Favourite Supporting Actor: Ajay Nagrath for Bade Acche Lagte Hain 2.
    • Fan Favourite Supporting Actress: Anjum Fakih for Kundali Bhagya 
    • Fan Favourite Negative Actor: Karan V Grover for Udaariyaan.
    • Fan Favourite Negative Actress: Mahekk Chahal for Naagin 6.
    • Fan Favourite Jodi: Harshad Chopda and Pranali Rathod from Yeh Rishta Kya Kehlata Hai.
    • Fan Favourite Director: Uttam Ahlawat for Udaariyaan.
    • Fan Favourite Show: Yeh Hai Chahatein.
    • Fan Favourite Mytho/Supernatural Show: RadhaKrishn
    • Fan Favourite Actor/Actress from Mytho/Supernatural Show: Sumedh Mudgalkar for Radha Krishn.
    • Fan Favourite Comedy Show: Taarak Mehta Ka Ooltah Chashmah.
    • Fan Favourite Actor/Actress in a Comic Role: Dilip Joshi for Taarak Mehta Ka Ooltah Chashmah.
     
    * Editorial Choice Awards:-

    • Most Outstanding Performance: Tushar Dalvi for Mere Sai- Shraddha Aur Saburi
    • Most Outstanding Performance: Sudhanshu Pandey for Anupamaa.
    • Best Actor: Jagannath Nivangune for Ek Mahanayak- Dr. B.R.Ambedkar
    • Best Actor: Gaurav Khanna for Anupamaa.
    • Best Actress: Ashi Singh for Meet Badlegi Duniya Ki Reet.
    • Best Actress: Karuna Pandey for Pushpa Impossible.
    • Rising Star : Isha Malviya for Udaariyaan 
    . Most Promising Star : Ayesha Singh for Ghum Hai Kisikey Pyaar Meiin
    * Lifetime Achievement Award goes to Sarita Joshi for her immense contribution to the entertainment industry and for her enthusiasm regarding her craft.
    * Most Fit and Healthy Actor: Nishant Malkani
    * Most Fit and Healthy Actress: Anita Raaj.

    In the making of a show, goes in the hard work and sweat of people who are not only in front of the camera but off camera too; writers, cameramen, stylists, editors are the ones who aid the completion of the episodes. The entire team behind the show and the efforts of the actors on screen is what makes a show great and manages to make a mark on the audience. We are here to commemorate these talents and will do so for many more years ahead.

    Above were the winners who have won our hearts with their contribution!

     

  • CONGRATULATIONS! Indian Telly Awards: Here is the list of WINNING talents from the industry who have reigned on the hearts of the audience this year, check out

    MUMBAI: Indian Telly Awards by Indiantelevision.com is a star-studded event and has reached its 19th edition this year. The occasion was held on the 25th of April 2023 in Mumbai and was attended by who’s who of the Indian TV industry.

    The awards have been conceptualized and created by Mr. Anil Wanwari, founder and CEO of Indiantelevision.com. It was one of the most remarkable nights attended by the stars of the industry and shall be followed through by many more years ahead.

    Indian Telly Awards is determined to recognize talent and appreciate the efforts of the people in TV industry Who have ruled the hearts of the audience in 2023 and that are responsible for bringing smiles to our viewers with its indispensable impact on their hearts.

    Tellychakkar likes to bring you the faces behind the camera and technical teams of the shows on TV that have made the shows even more memorable. These people may not be seen on TV but play a big hand with the work they put into detail behind each episode.

    Check out the winners from the Technical and Programming Categories:-

    *     Technical Awards:

    ·       Best Special/Visual effects goes to Illusion Reality Studioz for Swaraj.

    ·       Best Art Direction (Fiction) goes to Rampratap Singh for Swaraj.

    ·       Best Art Direction (Non Fiction) goes to Omung Kumar for Bigg Boss 16.

    ·       Best TV Cameraman (Fiction) goes to Kunal Kadam for Alibaba: Daastaan-E-Kabul.

    ·       Best TV Cameraman (Non-Fiction) goes to Praveen Bhana & Jigar for Modi: The Untold Story.

    ·       Best TV show packaging goes to Sau Baat Ki Ek Baat for News18 India.

    ·       Best TV Channel Packaging goes to Shemaroo Umang.

    ·       Best Editor (Fiction) – Ganga Kacharla for Hero-Gayab Mode On.

    ·       Best Editor (Non-Fiction) – Ansh Chauhan for Modi : The Untold Story.

    ·       Best Director (Soap and Drama) – Sohail Tatari for Swaraj.

    ·       Best Director (Sitcom) – Harshad Joshi for Taarak Mehta Ka Ooltah Chashmah.

    ·       Best Director (Thriller) – Santram R Verma, Abhigyan Jha and Atif Khan for Pishachini.

    ·       Best Director (Non-Fiction) – Warner Bros. Discovery for Legends of the Ramayana.

    ·       Best Casting Director – Kuldeep Chauhan for Wagle Ki Duniya.

    ·       Best Screenplay Writer (Drama and Soap) – Lakshmi Jaikumar for Ghum Hai Kisikey Pyaar Meiin and Bhavna Vyas for Anupama.

    ·       Best Dialogue Writer (Drama and Soap) – Raghuveer Shekhawat for Meet.

    ·       Best Sitcom / Comedy Writer – Manoj Santoshi, Shashank Bali & Sanjay Koli for Bhabhiji Ghar Par Hain.

    ·       Best Story Writer – Rajita Sharma & Vivek Budakoti for Jaggannath Aur Purvi Ki Dosti Anokhi and Namita Vartak for Anupamaa.

    ·       Best Scriptwriter (Non-Fiction) – Ravi Shukla for Parda Uthega/ America Darega

    ·       Best Background Music for TV programme (Fiction) – Sargam Jassu and Nakash Aziz for Anupamaa.

    ·       Best TV Lyricist – Divy Nidhi Sharma for Anupamaa.

    ·       Best Music Director – Joyraj Bose & Zoheb Ahmed for Pishachini.

    ·       Best Title Singer for a TV show- Abhik Ghosh for Hero- Gayab Mode On.

    ·       Best Choreographer – Himanshu Gadani for Anupama.

    ·       Best Costumes for a TV show – Rohini Salekar for Punyashlok Ahilyabai.

    ·       Best Makeup Artist – James & Prasun for Alibaba : Daastaan-E-Kaabul.

    ·       Best Stylist – Nisha Bedi for Yeh Rishta Kya Kehlata Hai.

    ·       Best Packaging (Fiction) – Pushpa Impossible.

    *     Programming Awards:-

    ·       Best Edutainment/Science/Knowledge Based Show: Modern Marvels – Atal Tunnel

    ·       Best Entertainment show on a News Channel – Bhabhi Tera Dewar Deewana.

    ·       Best Public Service Programme – My Daughter Joined A Cult.

    ·       Best Lifestyle & Fashion Show – Say Yes To The Dress.

    ·       Best Talk Show on an Entertainment Channel – The Kapil Sharma Show.

    ·       Best Cookery Show – Alpenliebe Juzt Jelly Bakers Studio.

    ·       Best Sports Shpw – Jeetega Bhai Jeetega.

    ·       Best Travel Show – Expedition Borderlands with Lev & Ash.

    ·       Best Crime Show – Control Room.

    ·       Best Historical Series – Punyashlok Ahilyabai.

    ·       Best Mythological Series – Dharm Yoddha Garud.

    ·       Best Horror/Thriller Show – Dark Mysteries : Anjaan Kahaaniyaan.

    ·       Best Youth Show – MTV Hustle 2.0

    ·       Best Kid’s Show – Bhaiyyaji Balwan.

    ·       Best Sitcom/ Comedy Show – Bhabhiji Ghar Par Hain and Maddam Sir.

    ·       Best Reality Show – Into the Wild with Bear Grylls & Ajay Devgn, Bigg Boss 16.

    ·       Best Game Show – Smart Jodi.

    ·       Best Dance Talent Show – India’s Best Dancer Season 2.

    ·       Best Singing Talent Show – Indian Idol Season 12.

    ·       Best Comedy Talent Show – Good Night India.

    ·       Best Programme with a Social Message – Wagle Ki Duniya: Nayi Peedhi, Nayi Soch and Pushpa Impossible.

    ·       Best Drama Series – Dhadkan Zindagii Ki.

    ·       Best Televised Award Show – Amrit Ratna.

    ·       Best Televised Entertainment – Umang 22.

    ·       Best Continuing TV programme – Yeh Rishta Kya Kehlata Hai.

    ·       Best Daily Show – Anupamaa.

    ·       Best Weekly Serial – Naagin 6.

    In the making of a show, goes in the hard work and sweat of people who are not only in front of the camera but off camera too; writers, cameramen, stylists, editors are the ones who aid the completion of the episodes.

    Above were the winners who have won our hearts with their contribution!

     

  • Winners of Indian Telly Streaming Awards 2022 announced

    Winners of Indian Telly Streaming Awards 2022 announced

    Mumbai: In the last two years, we saw a record amount of OTT content being produced across all languages. Indiantelevision.com and Telly Chakkar took a leap and organised the second edition of the Indian Telly Streaming Awards. It was indeed a spectacular Saturday night at Mumbai’s JW Marriott, Juhu, as the stars aligned on stage.

    The Indian Telly Streaming Awards is an extension of the first ever television award show (The Indian Telly Awards) in India. Its goal was to recognise the best of the streaming industry—business, creativity, and talent—as well as all of the work that goes into creating premium originals in India.

    We have seen the maximum growth and penetration of OTT in the last few years. Through our initiative, Indiantelevision.com wishes to show and bring awareness to the brilliant people that made OTT content a success in India.

    This year’s event commenced with a poignant moment as the ITV founder and editor-in-chief Anil Wanvari, in his opening speech, remarked that creators have started a movement where they can express themselves freely as compared to television, where there is a focus on TRP, and it’s a glorious time for content.

    The awards were announced across different categories, which included Best Actor, Best Actress, Best Film, Best Story, Best DOP, Best Writer, and Best Director in series as well as movies. Regional talent was particularly recognized, with separate sections set aside to encourage grassroots talent.

    The jury members included eminent names from the industry, such as Showt COO & co-founder Andy Jocobs, Zee Studios senior VP & content head Ashima Awasthi, cinematographer Ayananka Bose, Sri Adhikari Brothers Sabgroup chairman & managing director Markand Adhikari, celebrity chef Ranveer Brar, casting director Mukesh Chhabra, Jio Studios head of content alliances (Media & Entertainment) Shobha Sant, casting director Shruti Mahajan, actor Sumeet Vyas, film producer Sunil Doshi, independent journalist Kaveree Bamzai, actor Sunir Kheterpal, Blive Productions & Music co-founder Suraj Singh and director Umesh Shukla.

    The event was graced by some popular names like Jim Sarbh, Amruta Subhash, Neena Gupta, Asha Negi, Surya Sharma, Akshay Oberoi, Tanvi Azmi, Neelu Koli, Nakuul Mehta, Rahul Dev, Mugdha Godse, and others.

  • IBC 2022: EditShare to showcase cloud and hybrid media workflows

    IBC 2022: EditShare to showcase cloud and hybrid media workflows

    Mumbai: The technology leader, EditShare on Wednesday announced that it will use IBC2022 to showcase how its latest technologies boost quality and efficiency for production & post production. Demonstrations will show how remote working and the cloud can interwork to give creative artists seamless and secure access to the tools they rely on.

    EditShare chief revenue officer Said Bacho commented, “The post industry is changing, in part reflecting the changes enforced by the pandemic, and in part because creative talent is looking to shift the work/life balance.”

    “What we now present is an ecosystem where editors and other post artists can choose their preferred tools, and work where they like, when they like, without it in any way compromising their creativity or limiting the quality, even as we move to 4k and higher resolutions, and to HDR.”

    Central to this development is the ability to use EditShare storage spaces and FLOW workflow tools to synchronise projects across the popular NLE platforms, including Media Composer, Adobe Premiere Pro and DaVinci Resolve.

    The company said that the latest release of core FLOW software allows complex projects to be moved as needed between EditShare media management and whichever edit environment the creative team needs to use.

    EditShare’s FLEX software solutions that enable out-of-the-box cloud and hybrid workflows will get its first showing in Amsterdam during IBC.

    Further, Editshare added that FLEX reflects the powerful business trends in post today, including the migration to a “work anywhere” environment, with ready access to content wherever the creative staff need to be. In adopting cloud storage and processing, it also meets the move towards an OpEx financial model, with the cloud hosting and storage fees flexing to reflect the level of business.

    EditShare’s EFS Multi-Site will also be on the booth for the first time this IBC.  

    Multi-Site allows users with multiple locations to leverage built-in file acceleration to synchronise project storage between EFS clusters in different facilities. This ensures that users have ready access to content, wherever they choose to work. FLEX Cloud Sync extends the capabilities of Multi-Site to cloud storage, providing added flexibility in access as well as security in archiving.

    The company added that for news and sports fast turnaround editing, FLOW supports direct ingest of NDI contribution feeds for immediate editing. Working in conjunction with the Helmut orchestration platform from MoovIT, IBC will see demonstrations of practical high-pressure editing operations linking EditShare storage with Adobe software.

    Content security and availability is vital to professional users, and EditShare has added new hardware and software in this area.

    The new EFS 60NL nearline storage provides 60 drive bays and nearly 1PB of storage in just 4U of rack space.  This offers secure storage for large amounts of content which is needed but not immediately worked on, ready to be transferred to the online servers with virtually no delay. The 60NL is also the first hardware platform to utilise the new EFS capability for erasure coding-based storage goals, eliminating the need for hardware based RAID.

    Rolling updates to EditShare’s FLOW software platform ensure that the latest raw formats from popular camera systems like RED and Blackmagic Design are accepted, with LUTs imposed in real time, both on full resolution material and on proxies, boosting remote working using intelligent proxy management.

    “IBC has always been very important to EditShare, a real opportunity to exchange ideas with our users and partners from around the world,” Bacho added. “The whole team is excited to be returning to Amsterdam, seeing our users and partners face-to-face, and discussing the creative and operational challenges they encounter and how EditShare can provide proven solutions today and into the future.”

  • TCH 2022: Competition will drive TV to innovate its programming

    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. 

  • The Content Hub 2022 Summit to be held on 29-30 June

    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?

  • NT Awards 2022: Check out the winners!

    NT Awards 2022: Check out the winners!

    Mumbai: IndianTelevision.com is back with its latest edition of the News Television (NT) Awards 2022, that recognises, honours and celebrates the ground-breaking work done in the space of Indian television news in the year gone by.

    The 15th edition of the NT Summit and Awards were held at Holiday Inn, New Delhi on Friday. The evening saw the cream of the Indian news industry being felicitated, including regional news channels. The event was co-sponsored by Dalet. GTPL Hathway, Hill+Knowlton Strategies, JW Player and Live U were industry support partners and The Ayurveda Company was gifting partner.

    The NT Awards 2022 felicitated work across English, Hindi, Marathi, Tamil, Telugu, Bangla, Gujarati, and Kannada languages, among others. Each language had five categories including, ‘Programming Awards’, ‘Personality Awards’, ‘Promo, Design and Packaging Awards’, ‘Sales and Marketing Awards’, and ‘Special Awards’.

    A total of 154 awards across 40 categories were given out this year to deserving news channels and eminent personalities in the industry. These included awards presented to channel programmers, anchors, presenters, technicians, producers, editors, reporters and management from news media groups such as TV9 Network, Zee Media Corporation, Network18 Group, India Today Group, Times Network, NDTV, ABP Network, among others.

    This year’s Best Prime Time News Show in the Programming Awards category was conferred upon News18 India’s Sau Baat Ki Ek Baat show while amongst English News channel Wion’s Gravitas took home the award.

    The Prime TV News Anchor (male) award was won by NDTV 24×7’s Sanket Upadhyay, while CNN-News18’s Marya Shakil picked up the coveted award in the female anchor category for English channels.

    In Hindi, Zee Hindustan’s Pratyush Khare and Aaj Tak’s Anjana Om Kashyap bagged the honours, respectively.

    English news channel, Wion took home the top honours for Best Live News Reporting on Ground, as well as the award for Strongest Digital Footprint of a News Network.

    Aaj Tak’s digital campaign won the Strongest Digital Footprint of a News Network Award among Hindi news channels.

    In the Sales and Marketing category, Times Now Navbharat’s ‘Ab Badlega Bharat Banega Navbharat’ campaign won the ‘Best Marketing Initiative from a News Channel’ in Hindi, while in English, CNN-News18’s #DontShowMeYourFace campaign won the honour.

    In the Special Awards category, India Today’s ‘Pehno Sahi’ and TV9 Bharatvarsh’s Suraksha Bandhan with Gulf Oil won the ‘Social Contribution by a News Network’ recognition respectively.

    The esteemed jury for the awards included H+K Strategies India chief executive officer Abhishek Gulyani, Sri Adhikari Brothers chairman and managing director Adhikari Markand, OMD India CEO Anisha Iyer, Airtel VP-media Archana Aggarwal, Upstox senior director-marketing Kunal Bhardwaj, among others.

    The complete list of winners can be viewed below.

  • VidNet 2022: ‘Over half of global online video services are subscription funded’

    VidNet 2022: ‘Over half of global online video services are subscription funded’

    Mumbai: Over half of the online video services worldwide were subscription funded at the end of 2021, according to a study. The key findings of the study pointed out that while there are more subscription funded over-the-top (OTT) services worldwide, advertising is a much larger revenue stream for video-on-demand platforms. Advertising revenue will also outpace subscription revenue over the next five years nudging many global OTT players including Netflix to introduce an ad-supported plan on their platforms. These insights and more were revealed in the session ‘Trends in Global OTT’ presented by Omdia senior principal analyst – digital content and channels Tim Wescott at IndianTelevision.com’s VidNet 2022 Summit on Thursday. 

    The two-day industry event was supported by technology partners Dell Technologies and Synamedia, summit partners Applause Entertainment and Viewlift, industry support partners Gupshup, Lionsgate Play and Pallycon, community partners Screenwriters Association and Indian Film and Television Producers Council and gifting partner The Ayurveda Co.

    Omdia is a research firm that focuses on technology, media and telecommunications sector and connects the dots in the global media ecosystem. 

    Wescott shared that there were 5671 online video services available at the end of 2021. This includes video sharing services like YouTube, subscription video-on-demand (SVOD) services like Amazon Prime Video, Netflix and transactional video services like Apple iTunes. “We have seen a plateau in terms of the number of online video services that peaked in 2019. New services are being launched all the time that are replacing old online video brands. Some services have been shuttered because they haven’t managed to turn a profit.”

    There were slightly more OTT services in 2021 as compared to 2020. There are 2222 subscription funded online video services followed by just over 2000 AVOD platforms and 1362 transactional video-on-demand services. There were just over 1000 dedicated sports streaming services, 600 virtual pay TV operators and 463 free video-on-demand services. Free VOD services are either promotional channels or are public broadcaster funded services.

    There are an estimated 127 online video services in Central and Southern Asia out of which 51 are AVOD services and 45 are SVOD services. “Despite the publicity of SVOD, advertising is the larger revenue stream and has been since 2010,” said Wescott. “It is going to outgrow subscription as a source of revenue for online video services over the next five years.”

    The online video world is dominated by YouTube and Facebook. A lot of OTT streaming services have started offering advertising including HBO Max, Peacock, Hulu, Disney+ (later this year) and Amazon Prime Video. “We heard recently that Netflix is considering adding an advertising tier,” noted Wescott. “It comes as no surprise as advertising supported plans are already being rolled out by other OTT players. We forecast that online video advertising is going to outstrip linear advertising in 2022. It is a very strong source of financing that will continue to grow.”

    The number of global online video subscriptions have seen dramatic growth since 2015 with the launch of more streaming platforms. Amazon Prime Video and Netflix launched globally in 2012 followed by Disney+ and Apple TV+ in 2019, HBOMax and Peacock in 2020 and Paramount+ in 2021. “We will continue to see subscription growth, especially with the advent of SVOD platforms of US studios. Earlier, these studios used to sell content directly to OTT players but now they view them as competitors.” 

    Omdia also conducted a consumer study in eight countries including India to understand consumer preferences when it comes to OTT services. They found that in most countries the arrival of SVOD services had decimated pay TV subscriptions. For example, SVOD services in the US have undercut existing pay TV in terms of pricing and have led to dramatic decline in pay TV subscriptions. The opportunity to watch on demand and binge watch content is something consumers have enthusiastically embraced, according to Wescott. The picture is similar in other countries where pay TV hasn’t declined as much as in the US but there are more SVOD subscriptions in most cases.

    India is slightly different from other markets because the pricing differential between SVOD and pay TV is not the same. In India, SVOD is a premium service whereas pay TV tends to be cheaper. There are also a lot more pay TV households than SVOD in India, though that is also because a lot of people get their television services via fraudulent operators.

    “While there is an increasing array of SVOD services being launched every year, clearly not every household is going to subscribe to all these services,” observed Wescott. “Our research shows that people use free ad funded services the most. So, YouTube is the number one choice in many countries including India. Before 2021, YouTube was the biggest online video service followed by Facebook Watch and then the free ad-supported tier of Disney+ Hotstar. Amazon Prime Video and Netflix are in the middle of the rankings among top ten OTT services. “Netflix has famously said that they’re competing with sleep for the consumer’s time but in reality, all online video services, whether they are AVOD or SVOD are competing for the consumer’s attention,” said Wescott.

    When Omdia asked consumers what they rated highly in a SVOD service, most respondents overwhelmingly said that original exclusive content i.e., content that is not available anywhere else was the most important aspect of any OTT. Consumers also wanted to watch the most talked about TV series that they had yet to catch up on. The depth of the content catalogue is rated as the next most important aspect for consumers of online video services. Advertising or lack of ad-supported content was also a big deal for some consumers but not as much as having original content.

    Omdia’s Wescott also shared some exclusive data at VidNet Summit 2022. The data showed that the number of original productions that were transmitted in 2021 by streaming services including Amazon Prime Video and Netflix were less than the previous year. There were also fewer hours of original content last year. Netflix produced the most original content coming up at 1767 hours. “The main reason for the decline in original productions is due to the production hiatus that began in 2020 due to the pandemic. We see that disruption working into the delivery pipeline for players such as Netflix and Amazon Prime Video. However, if you compare what Netflix is putting versus a typical US linear TV service then it is still a considerable amount of original content.”

    More global OTT platforms are commissioning originals locally. Netflix commissioned content in 47 countries in 2021 that were outside the US. Netflix’s most successful hits are being produced outside the US in languages other than English. In the last five years, Spain (Spanish shows) has been the biggest source of drama content for Netflix followed by India. “When Netflix came to India it wasn’t able to get as much local content as it would have liked and thus was obliged to originate content,” said Wescott. “Also, audiences in India prefer local content. While they will watch content from other countries, what they’re looking for is local content.”

    Similarly, India ranked as an important market for Amazon Prime Video, as most of its original drama productions outside the US, have been made in India in the last few years. Many direct-to-consumer services are offering a broader range of content and not just original content, even though they are increasing their original productions. US studios are expecting their new films to be a very important part of their SVOD service. Studios like Disney, Paramount, Universal and Warner Bros are planning to release their films exclusively on their SVOD services after the theatrical release. They also have deep libraries of film and TV content. Recently, Amazon completed the acquisition of legacy movie studio MGM and has access to 50 per cent of all James Bond titles.

  • #Retrace2021: Influencer-led purchases played a big role in driving growth: SUGAR CEO Vineeta Singh

    #Retrace2021: Influencer-led purchases played a big role in driving growth: SUGAR CEO Vineeta Singh

    An established name in the Indian beauty & personal care market, SUGAR Cosmetics was among the early movers into the D2C (direct-to-consumer) space as a digital-first cosmetic brand. Nurtured by Vineeta Singh, an IIT & IIM graduate who co-founded the beauty startup in the year 2015 along with her husband, the brand today boasts over two million app downloads on iOS and Android and 1.8 million-plus Instagram followers. Not only this, it has established retail touchpoints in over 35,000 outlets across 130+ cities and has raised $21 million in series C funding in early 2021.

    The persistent entrepreneur was third-time lucky after her first two start-ups did not take off. However, the second startup, Fab Bag, a subscription business that offered women an assortment of beauty products every month for a small fee- gave her enough data and insights to kickstart her third one. Singh realized that the makeup brands that were available—foreign or local—didn’t cater to Indian skin tones or the Indian way of life, and poured her academic learning and freshly-learned consumer insights into SUGAR. Unlike most digital-first brands, SUGAR was early to develop an omnichannel presence. The gamble paid off and today the seven-year-old startup has hit an annual run rate of Rs 500 crore as of November 2021, having closed FY21 at approximately Rs 130 crore revenue.

    The massive push to the digital economy that the pandemic offered also proved to be a boon and gave the brand a huge opportunity to connect directly with its consumers.  The multi-faceted serial entrepreneur who describes herself as “CEO @ SUGAR Cosmetics. Mom. Running, cycling, swimming person – in that order” believes that “women make the best all-rounders.”

    IndianTelevision’s Anupama Sajeet, caught up with Vineeta Singh- CEO & cofounder of SUGAR Cosmetics– for an exclusive chat on the key innovations the Beauty brand brought into its portfolio in the past year and its expansion plans in 2022. She also shares her thoughts on trends witnessed by the beauty industry last year while also delving upon the learnings that she carries into the new year.

    Edited excerpts:

    On key changes/innovations brought in 2021 by the brand

    Despite the difficulties that all brands faced during the second wave of the pandemic in 2021, SUGAR Cosmetics launched 30+ new products. Keeping the market scenarios in mind, we also extended our skincare category with the launch of a coffee and citrus-based skincare range. SUGAR Cosmetics also built conversational & educative content using strong videos and infographics, exploring experiential retail marketing tactics and deploying stronger content even on the brand-owned app.

    As we continued to grow stronger on building powerful content, we also ensured that we strengthened our content distribution channels from digital and OOH to TV. Our SUGAR x Taapsee campaign TV Commercial aired on prime TV channels in eight languages witnessed over 50 Million views.

    On the brand’s association with the non-fiction show ‘Shark Tank India’ on Sony

    I am very grateful to have been invited to ‘Shark Tank’ as one of the Sharks. As this wasn’t a kind of brand collaboration, my acceptance of this offer by ‘Shark Tank India’ was purely a personal interest to nurture the entrepreneurship boom in the country. It’s a sheer pleasure being a part of this iconic show that has helped create several multi-million-dollar companies across geographies, over the years, along with a unique viewing experience to the audience not only educating them but entertaining them at the same time.

    On leveraging influencer marketing to connect with consumers

    For SUGAR, influencer marketing has played a big part in creating online and offline popularity for the brand. Not only in the sense of getting our engagement levels high, but also the direct response from consumers through the sales conversions has seen a spike when we have engaged in influencer marketing strategies. In the near future, we plan to take our association to the next level, by creating an exclusive community of these mini brand ambassadors and rolling out an exclusive program for them.

    On expanding the brand’s current consumer demographic

    As a brand, we continue to stay laser-focused and loyal to the 18-to-25-year-old target group. However, with retail rapidly blitz-scaling to become a significant part of our business over the last three years, the brand has also attracted a slightly older target group of 25-to-34-year-olds. What’s common though in both audience sets is that they’re digital-savvy, more peer and influencer-led than celebrity-led and know what a good lipstick looks like. We are definitely foraying into Tier 2 – 3 cities and are already available in more than 500+ cities through just our retail channels.

    On major trends witnessed in the Beauty & Cosmetic industry in 2021 

    We are seeing a dominance of peer/influencer-review led purchases over celebrity-promoted ones. Traditional retail, of course, continues to dominate the lion’s share of colour cosmetics and beauty sales in India but with the democratisation of data and access to low-cost internet, there’s a massive Tier 2/Tier 3 city audience that’s waiting to consume beauty brands like never before. In terms of new product trends, apart from transfer-proof lipsticks and mask-proof makeup, hybrid products are a new rage. Such products have gained a surge in sales for SUGAR through our illuminating moisturizers, lip primers, lip balms, hydrating primers, and more.

    On key trends that might dominate the industry in 2022

    2022 will see further integration of tech in beauty. I definitely see a lot more experimentation happening on these lines as consumers and brands explore the blurred boundaries between the digital and real world. Also as the growing GenZs community joins in as early adopters of makeup – I see a lot of influence of their buying behavior skewed on brands that focus on sustainability, and who explore themes around realistic beauty and inclusivity. Adoption of an omnichannel approach and focus on conversational commerce will also gain popularity among a lot of brands.

    On brand USP amid tough competition from rising players in the D2C cosmetics space

    The three main USPs of the brand – highly coveted colours, the right pigments that compliment all skin tones, and makeup made with formulations that last long, has helped the brand to build a cult following in a short span of time. Our products are just more value for the price tag we command – it will be hard to find products that are more pigmented, longer-lasting, and more suited to the Indian skin tone.

    SUGAR, as a brand has always been more creator-led, than celebrity-led in a cluttered market, where brands spend more time talking about discounts than the power or beauty and cosmetics. Ensuring all SUGAR Cosmetics products are manufactured in regions across the globe that excel in providing high quality for that specific product – has also been a major contributor to maintaining quality. With a clutter-breaking persona, signature low-poly packaging and chart-topping products –SUGAR will continue to keep providing more value and better quality than any other competitor in our price range. We will also continue to be a squarely millennial-focused brand.

    On looking ahead: Goals & plans for 2022

    We will further strengthen our core pillars – distribution, product, content, and community. We aim to be in over one lakh stores in 2022 and make SUGAR one of India’s top three brands in the overall colour cosmetics category with a company turnover of more than Rs 500 crores. We currently employ more than 2000 women and we also aim to raise that number to 3000 so that the brand is truly built by women for women.

    On the personal learnings that she will take into the new year

    Covid-19 has changed the way the world behaves. For SUGAR, we came out stronger with so much gratitude in our hearts. Firstly, towards our customers who continued to support endlessly, secondly towards our retail, warehouse, and HQ employees who were nothing less than frontline workers. Another learning has been that no matter what challenge is thrown at us, agility matters. We realised that growth is not about how fast you get to it, but how well you sustain it once you have arrived. And, lastly, we learnt to not stop making bold and brave decisions, like we always did!

  • #Retrace2021: Associating with marquee properties on TV helped us take a quantum leap on digital: Arjun Mohan

    #Retrace2021: Associating with marquee properties on TV helped us take a quantum leap on digital: Arjun Mohan

    The only ed-tech “to have a ‘donkey’ as its brand ambassador”, upGrad has been hitting all the right notes, starting from its eye-grabbing ‘Don’t lick ass, instead kick ass’ 2020 ad to its fortune-teller donkey ad in early 2021 to drive across its “Sirf Naam Ki Nahi, Kaam Ki Degree” messaging. Having achieved the desired impact with its former campaign, the edtech consciously shifted its brand positioning to ‘Fast Forwarding’ one’s career with upGrad’s online courses, ending the year with a striking print campaign that took on CAT, while also tackling with humor the perception of ‘online’ MBAs not being effective.

    The seven-year-old start-up, known to make full use of its marketing channels to amp up the reach has crossed a subscriber base of two million learners at last count, and the jump from one million to two million came about in approx. eight months.

    As the person at the helm of upGrad’s India operations, Arjun Mohan has steered the edtech unicorn and helped put it on an upward trajectory. An experienced industry professional, Mohan has worked across domains spanning sales, marketing, and product development for over 15 years.  Before upGrad, Mohan worked with edtech major Byju’s as marketing vice-president and later as the chief business officer (CBO). A gold medallist from IIM Kozhikode, Mohan has worked with brands like Titan and Tata services.

    In a free-wheeling conversation with IndianTelevision’s Anupama Sajeet, the upGrad India CEO Arjun Mohan talks about steering the edtech brand through a post-pandemic world and on the key marketing innovations adopted by the brand in the past year. He also shares his thoughts on being a ‘hardcore optimist’ and the trends that might dominate the edtech industry in 2022.

    Edited excerpts:

    On looking back at how the year 2021 fared for upGrad

    In a growing industry, every year is a good year. So, from a business perspective, 2021 was a good year as overall business metrics have been quite good. But it was pretty challenging considering the multiple waves of Covid which struck us – the lockdowns, the inconsistencies of when to come to the office, and the problems that our consumers were facing. As a result, decisions were getting delayed. But then it was these challenges that pushed us and I believe as a result of that we were able to carve out several good ideas on all three aspects of business i.e. products, sales, and marketing. Hence we were able to create an impact in the market.

    On key innovations adopted by the brand in 2021

    Yes, between 2020 and 2021, there have been a lot of changes in the way upGrad communicated. That change is a testimony to consumer behaviour, where the association between education being something ‘serious’ is a thing of the past. And that is why we positioned the brand differently.  We realised that learning, upskilling, lifelong learning- all these aspects are no longer constrained to a few. There are guys who want to learn, upskill, and constantly improve themselves but at the same time, they want to enjoy life. We started talking to our consumers in a lighter vein, started communicating with working professionals in a language they connected to.

    One of the initial communications we did was on office politics- on how one should stop bothering about office politics and focus on specialisations and upskilling that will take your career ahead. The second campaign we built upon was ‘Sirf naam ki nahi, kaam ki degree’. We continuously heard from customers that “we would definitely think of doing this course, par ye degree koi kaam ki honi chahiye.” In India, a degree is associated with – a better job, a promotion, a better salary, a future, and so on. So, we worked on those insights and repositioned the entire company into offering courses that will actually be life-changing. That’s where we moved to our positioning of ‘kaam ki degree’.

    In 2022, we moved into phase two of it. Rather than just talking about online learning, we started focusing more on the value proposition part of it- On how the upGrad course/ degree is better than whatever options you have in the market. Thus, if you see our communication, it has also been based on the life-changing impact that upGrad courses have, followed by two or three shorties or 15-second films where we talk about the USPs. This format has been really helping us with the consideration part and we have been seeing that the conversion on the lead has been on the uptick. So, if last year the donkey was the high point from an ‘awareness’ perspective, then this year the MBA campaigns we did focusing on the ‘value proposition’ – that would be the highlight which saw a lot of impact for us. That’s been a big change in 2021. 

    On launching campaigns sans any celebrity endorsements

    While we do joke about it that every edtech out there has a celebrity brand ambassador- Byju’s has a SRK, Great learning has Virat Kohli, now Vedaantu has got Aamir Khan- and we have a donkey (!), it’s not been a conscious decision. If at a point in time we feel we need a celebrity vehicle we would do that. Currently, we are at an early stage of our brand building and the aspect we have been focusing on, as well as the TG we are talking about, is very different. This is not for mass India; this is for a smart audience. We didn’t see working professionals as the right vehicle for getting a brand ambassador. Even if you look at who or what they follow on OTTs or YouTube platforms – the kind of influencers these people follow are not celebrities. They are very individualistic and iconoclastic in that they follow what they think is right- they don’t believe they need to follow the crowd. And that’s why we stuck to the basics and the donkey!

    On exploring influencer marketing and subsequent ad-spends

    The way we look at brand marketing is that there are three pillars- The first pillar for us is ‘Content’ which includes social etc. Then comes the ‘Mass media’ which is where the TV and Print comes in and finally the ‘PR’ and all other aspects.

    For Content- we focus a lot on the content creators: influencers on YouTube, Instagram, OTT platforms, etc because our TG, especially the knowledge worker who is in IT/ ITES follows this segment a lot. We have started by working with multiple content creators like BeYouNick, Dhruv Rathee, who are very popular with this TG. We work with them on bringing Upgrad into their content very organically.

    Apart from relying on other content creators, we have also started creating our own original content called ‘the office canteen’. This again revolves around the theme of office politics, along with BeYouNick and YouTube, Google and has been a big success for us (trending with ten mn views).

    On the brand’s ad spend across TV, digital and print

    When it comes to mass media like TV and Print, rather than a ‘spray and pray’ our strategy has been focused on large properties.  When we do it, we do it big because we want to work on those properties which have a huge reach. So, we worked on IPL, the Test championship, UEFA, Wimbledon, and such. You can also see the sports association- as sport is connected with winners and ambitions so that works for us. Even in newspapers, our ad was an impact ad. It was more like moment marketing in that we took a dig at CAT, saying ‘CAT is so yesterday’. So that’s the kind of ‘big bang’ approach we are taking with mass media.

    We do digital marketing all the time and we’ve our leaps coming at particular CPL (Cost per lead) and traffic coming with a particular threshold. I want these brand properties on mass media to be at a point where I’ll get a quantum leap on the digital side of it. We plan it in such a way that our traffic moves a threshold and comes to a new benchmark. That’s been our larger strategy.

    Digital is where we get to do direct marketing. And we keep using large-scale marketing properties to get quantum jumps. Because, the kind of scale these properties give, digital will take years to reach there. We are also seriously looking at OOH. We shall do a clinical campaign, once our TG is back in the office, by trying to focus on places where we know our TG is- for instance, an IT park- and then do BTL inside such premises along with hoardings etc.

    So, all of this mass marketing is important to us, and we have a way to measure their impact. For that matter, even ‘Shark Tank’, where we are the title sponsors, we are quite sure that is the direction large-scale mass media is moving into. Rather than doing a couple of ads in between programs, writing your brand into the story is what really works. So that’s something we have really worked on and we have big plans for the show.

    On rising competition in ed-tech space and strengthening their USP

    We have complete confidence in our product. This product took almost five years to develop after multiple iterations. We were always clear that if we are able to get our customer to at least try our product then we can change his/ her perspective and even convince them that online is better than offline. There has been a lot of influx but if you see what’s happening today is that the players with a strong product, and sales & marketing capability are finally emerging out of this. So, I feel the solution for us is just to have our ears to the ground and keep on listening to the customer and then be ready with a solution that they will love. And that’s what we have been doing with our products, sales and marketing.

    On upcoming plans for 2022

    I am a hardcore optimist so I am sure 2022 will be superb for the brand. We are very clear we want to be the largest integrated edtech in the higher education space (post K-12) across the globe. Our international operations, which we started in 2021, is panning out well. We have our offices in the US, APAC and India where we have set up our subsidiaries. Post-India, our focus market will be the US- we really want to crack that market. So really looking forward to 2022 when we can take this to the next level.

    On key trends that might dominate the industry this year

    I think most of the ed-tech players in the K-12 segment will ultimately stabilise with the hybrid model, wherein there’s an offline component to it and an online component. But in higher edtech I don’t see that happening. Higher online learning has gotten established as a clear option or a side-by-side alternative to what used to exist earlier offline. There’s a very clear value proposition that you can continue upskilling even when you are working: ‘Learn while you Earn’.

    Hence, I believe, online education will be the preferred mechanism, at least from a Masters-degree perspective in India. The majority of Indians do not do a Master’s today because they are not sure whether thereafter, they will be able to get a job with that kind of a package. Even from a NNation-building perspective it is important for a country like India, with such a young population that we have highly skilled people. That’s when the country’s economy will move to the next level.

    Also, as we keep getting feedback from our learners, there has to be some social component to even online learning. So we are working to build a social module where learners can share their ideas, meet their lecturers, and have a session offline also. So that’s the way we see it and we will keep improving on it in 2022.