Category: Specials

  • News broadcasters’ expectations from the Union Budget 2016

    News broadcasters’ expectations from the Union Budget 2016

    MUMBAI: As another budget looms ahead of us, expectations are high riding especially amongst the Indian news broadcasters. The budget will be presented by the Finance Minister on 29 February, 2016 and almost every segment has a set of expectations. To get a better perspective of what news broadcasters’ aspirations are from this year’s allotment, Indiantelevision.com spoke to a few stalwarts from the industry.

    Times Network MD and CEO MK Anand says, “Digitisation in general and the rollout of Digital Addressable System (DAS) in the Phase III and IV markets will be perhaps the biggest game changer for Media & Entertainment. We’re looking at addressability and millions of undeclared TV households coming into the radar and huge corrections in the subscription ad revenues anomalies in India. Between Phases III and IV, we are talking around 110 million TV homes. So my biggest budget wish for the industry is that the operators in the distribution chain be empowered, financially, to be able to afford or access, and offer the mandated technically superior digital setups to take their analog TV homes digital. This will become easier if the government accords infrastructure status to the broadcast industry. The cable industry is expected to invest some Rs 40,000 – 45,000 crore on STBs. The government can really help accelerate and optimise the roll-out of DAS to a great extent with this one step.”

    As the press is often considered to be the fourth pillar of democracy in India, it is constantly observed that the fraternity has not been benefited much by the budget.

    Shedding some light on it, News Broadcasters Association honorary treasurer and News24 chairperson cum managing director Anurradha Prasad says, “First, according to me the government should include media industry in the infrastructure sector. Second, the fruits of digitisation should now come to media. It should positively come into news broadcasting. Media is the fourth pillar of democracy and it’s high time that it gets treated differently.”

    However Prasar Bharati CEO Jawhar Sircar is of the opinion that their requirements are being met by the Ministry’s budget. “We don’t seek much from the national budget,” he adds.

    CNN-IBN managing editor Radhakrishnan Nair says, “There is an opportunity available as the global oil prices have come down majorly, so we are sitting on a lot of money. We have not reduced excise on the fuel prices for consumers. There is a lot of tax money that the government has got in. One major thing is that GST, which has not yet been implemented. The budget should look towards the tax structure in which we will make ourselves ready for GST whenever it comes. There could be a possible increase in the taxes or some excise adjustments for different commodities but this year’s budget will not be a great people’s budget or a populist budget. It will be a budget that will try to reserve money for the economy and the government. I do not expect too many freebies rather I am expecting many improvements in the agriculture sector as the sector is facing a lot of stress due to various reasons. I would also like a lot of things for the benefit of the start-ups as they are young and willing to start their own businesses. So I expect a lot of tax allowances or policy allowances in this year’s budget.”

    With the budget round the corner, we journalists are often worried about different ways to cover it with a unique peg to the story. Speaking as a true journalist, NDTV Group CEO Vikram Chandra scorns, “I am not expecting anything from the budget. I am more worried about how I will cover it.”

  • Indian Railways target four-fold increase in advertising revenue: Railway Budget 16-17

    Indian Railways target four-fold increase in advertising revenue: Railway Budget 16-17

    MUMBAI: Aiming to tap newer areas for generating revenue, Railway minister Suresh Prabhu expressed his intention to heavily explore the potential of Indian Railways in generating more advertising revenue, with a target to multiply earnings by almost four times.

    While presenting the Railway Budget 2016 – 2017, Prabhu said, “We have vast physical infrastructure that facilitates exploitation through advertising. We intend to give special focus to exploring advertising potential on trains, stations and land adjacent to tracks of big stations.”

    “We will use customer interfacing assets to earn advertising revenue. Evolve models for revenue potential in 20 stations over the next three months to target ad revenue and improve earnings from advertising by more than four times than the current ad revenue,” added Prabhu.

    To further optimise the service’s potential for advertising revenues, Prabhu also announced the introduction of display screens. “We are soon introducing 20,000 high tech display screens across 2000 stations as rail display network for real time information to passengers and also unlock advertising potential,” Prabhu asserted.

    “Railway has typically focused on increasing revenues on tariff hikes,” Prabhu had stated at the beginning of his budget address at the Rajya Sabha.

    Stressing the need to increase Indian Railways’ revenue through non-tariff resources and methods at the beginning of his address at the Rajya Sabha, Prabhu also shared his plans to capitalise on the heavy digital traffic on the IRCTC website by engaging in e-commerce activities. “Railway has typically focused on increasing revenues on tariff hikes. IRCTC also has potential to exploit e commerce activities due to the large number of hits,” Prabhu shared.

    The minister also announced a special concession for journalists on ticket tariff. “For our journalist friends we will allow e-booking of tickets on concessional passes,” said Prabhu, later adding in jest, “Hoping that they will cover it better.”

  • Indian Railways target four-fold increase in advertising revenue: Railway Budget 16-17

    Indian Railways target four-fold increase in advertising revenue: Railway Budget 16-17

    MUMBAI: Aiming to tap newer areas for generating revenue, Railway minister Suresh Prabhu expressed his intention to heavily explore the potential of Indian Railways in generating more advertising revenue, with a target to multiply earnings by almost four times.

    While presenting the Railway Budget 2016 – 2017, Prabhu said, “We have vast physical infrastructure that facilitates exploitation through advertising. We intend to give special focus to exploring advertising potential on trains, stations and land adjacent to tracks of big stations.”

    “We will use customer interfacing assets to earn advertising revenue. Evolve models for revenue potential in 20 stations over the next three months to target ad revenue and improve earnings from advertising by more than four times than the current ad revenue,” added Prabhu.

    To further optimise the service’s potential for advertising revenues, Prabhu also announced the introduction of display screens. “We are soon introducing 20,000 high tech display screens across 2000 stations as rail display network for real time information to passengers and also unlock advertising potential,” Prabhu asserted.

    “Railway has typically focused on increasing revenues on tariff hikes,” Prabhu had stated at the beginning of his budget address at the Rajya Sabha.

    Stressing the need to increase Indian Railways’ revenue through non-tariff resources and methods at the beginning of his address at the Rajya Sabha, Prabhu also shared his plans to capitalise on the heavy digital traffic on the IRCTC website by engaging in e-commerce activities. “Railway has typically focused on increasing revenues on tariff hikes. IRCTC also has potential to exploit e commerce activities due to the large number of hits,” Prabhu shared.

    The minister also announced a special concession for journalists on ticket tariff. “For our journalist friends we will allow e-booking of tickets on concessional passes,” said Prabhu, later adding in jest, “Hoping that they will cover it better.”

  • FICCI Sports Committee to pitch for raise in sports budget allocation to FM

    FICCI Sports Committee to pitch for raise in sports budget allocation to FM

    NEW DELHI: Sports infrastructure is to get industry status in a bid to scale up the availability and accessibility of sporting facilities in the country.

    Making this announcement, Sports Secretary Rajiv Yadav from the Youth Affairs and Sports Ministry said there was a dire need to increase the budgetary support to the Sports Ministry to enable it to enhance the allocation of funds to upgrade up sports development in the country, especially in small towns and district level towns.

    “The Union Government’s budget for sports was a measly Rs 835 crore,” he said.

    The move to give industry status has been hailed by the sporting community and administrators as it will enable corporates to avail of concessional finance for creation of sports infrastructure on a par with international standards.

    Addressing Turf 2015-16, the seventh edition Global Sports Summit organised by the Federation of Indian Chambers of Commerce and Industry (FICCI) with the support of the Ministry, Yadav urged the FICCI Sports Committee to make a strong pitch to the Finance Minister to raise the allocation for sports in the ensuing budget.

    Yadav said that planning for sports required enlargement of the catchment area for spotting and grooming talent. In this context, he said that his ministry was inspired by the sports ‘khel mahakumbh’ organised annually by Gujarat. It had therefore decided to scale up the National School Games beginning from the fiscal year 2016-17.

    Former cricket captain Kapil Dev pointed out that the onus of providing playgrounds in schools rested with the Government and recommended at least 40 per cent of the land for schools should be earmarked for playgrounds. He also underlined to need to reduce customs duties on sporting equipment to enable import and provide top quality sporting gear to sports persons.

    FICCI Sports Committee chairman and Star India president and head – sports Nitin Kukreja said there is a need to first recognise the importance of sport for the country, then nurture the economic opportunity that the various leagues and events have thrown up, and get India to play by providing access to facilities already available and by making sport a compulsory part of school curriculum – and match all of this with an ambition.

    FICCI DG Dr. Arbind Prasad said that for making India a sporting nation, there is a need for parallel sports both for excellence and grassroots development. FICCI, he said has been proactive in suggesting policy formulation and was working closely with the Sports Ministry and the Sports Authority of India on policy interventions to achieve sports objectives. “We should compare the sports budget of our country with other countries which are leading in sports and give financial security to sports persons to bring about a visible change,” he said.

  • FICCI Sports Committee to pitch for raise in sports budget allocation to FM

    FICCI Sports Committee to pitch for raise in sports budget allocation to FM

    NEW DELHI: Sports infrastructure is to get industry status in a bid to scale up the availability and accessibility of sporting facilities in the country.

    Making this announcement, Sports Secretary Rajiv Yadav from the Youth Affairs and Sports Ministry said there was a dire need to increase the budgetary support to the Sports Ministry to enable it to enhance the allocation of funds to upgrade up sports development in the country, especially in small towns and district level towns.

    “The Union Government’s budget for sports was a measly Rs 835 crore,” he said.

    The move to give industry status has been hailed by the sporting community and administrators as it will enable corporates to avail of concessional finance for creation of sports infrastructure on a par with international standards.

    Addressing Turf 2015-16, the seventh edition Global Sports Summit organised by the Federation of Indian Chambers of Commerce and Industry (FICCI) with the support of the Ministry, Yadav urged the FICCI Sports Committee to make a strong pitch to the Finance Minister to raise the allocation for sports in the ensuing budget.

    Yadav said that planning for sports required enlargement of the catchment area for spotting and grooming talent. In this context, he said that his ministry was inspired by the sports ‘khel mahakumbh’ organised annually by Gujarat. It had therefore decided to scale up the National School Games beginning from the fiscal year 2016-17.

    Former cricket captain Kapil Dev pointed out that the onus of providing playgrounds in schools rested with the Government and recommended at least 40 per cent of the land for schools should be earmarked for playgrounds. He also underlined to need to reduce customs duties on sporting equipment to enable import and provide top quality sporting gear to sports persons.

    FICCI Sports Committee chairman and Star India president and head – sports Nitin Kukreja said there is a need to first recognise the importance of sport for the country, then nurture the economic opportunity that the various leagues and events have thrown up, and get India to play by providing access to facilities already available and by making sport a compulsory part of school curriculum – and match all of this with an ambition.

    FICCI DG Dr. Arbind Prasad said that for making India a sporting nation, there is a need for parallel sports both for excellence and grassroots development. FICCI, he said has been proactive in suggesting policy formulation and was working closely with the Sports Ministry and the Sports Authority of India on policy interventions to achieve sports objectives. “We should compare the sports budget of our country with other countries which are leading in sports and give financial security to sports persons to bring about a visible change,” he said.

  • Who defines prime time – Advertisers or viewers?

    Who defines prime time – Advertisers or viewers?

    MUMBAI: For those who have wondered and often cribbed about why popular channels have mostly nothing original to offer in the afternoon, and later had reluctantly resigned to watch re-runs of shows, The Content Hub 2016’s session on ‘Redefining Primetime’ was the place to be.

     

    The question of the hour was whether there is a need to redefine what we call ‘prime time’ on television. And who better to answer it than those who dabble in the general entertainment channels’ (GEC) prime time of Indian television i.e, Doordarshan ADG Mukesh Sharma, Colors CEO Raj Nayak, Balaji Telefilms CEO Sameer Nair, Reliance Broadcast Network CEO Tarun Katial and Havas Media Group CEO – India and South Asia Anita Nayyar.

     

    Moderator for the session and Indiantelevision.com founder, editor-in-chief and CEO Anil Wanvari struck at the nerve of the issue by posing the pertinent question — What defines the prime time of a Hindi GEC channel? 

     

    While most viewers are oblivious to it, there is a whole science — or as Nayak had pointed out during the discussion — ‘pure economics’ to it. 

     

    “The phrase ‘Kill for prime time’ is what we broadcasters are often heard using. As we don’t have the budget to program for all 24 hours of the day, we prepare content for five to six hours and that becomes our prime time. If we can get good traction for a new show during that time, it may also get an equally good viewership ratings for its reruns as well,” said Nayak.

     

    “There isn’t anything fixed called prime time. It is how broadcasters define it. When we started off, 8 pm to 10 pm was prime time, then we stretched it to 8 pm to 11 pm, and now 6.30 pm to almost 11.30 pm is what we define as prime time. It is a question of content and the availability of a large section of the audience in front of the television. Therefore, by definition it is post evening hours,” he added.

     

    With the advent of digital however, this staple idea of prime time is changing as the audience has access to entertainment media almost all hours of the day at their own convenience via the second screen. “The prime time we are talking about is a very TV thing. OTT audience is not defined by prime time although there are surges in viewership at certain times of a day. For them, anytime is prime time. But that ‘anytime’ isn’t a feasible option for advertisers,” opined Nair.

     

    Getting into the crux of the matter, it is the advertiser who defines the prime time. Because depending on whether a show is coming on prime time or not, the advertising rates are decided. Throwing light on how premium rates for ad slots are determined, Nayyar shared, “The logical way an advertiser defines the prime is when there is content and there is an audience for it. A cricket tournament for example, which can happen at 4 pm in the afternoon will have traction and therefore will attract advertisers as well. So prime time is basically where the eyeballs are. From an agency perspective as well, we look at where and when content is viewed the most and that becomes prime time.”

     

    On the prospect of growing the time band of ‘prime’ shows, Nayak retrospected, “There was a time when Doordarshan used to air only India cricket matches. When ESPN and Star Sports launched, none of the advertisers initially were willing to pay for the non-India matches and test matches. Until in 1996, during the Safari India South Africa series, we decided we will not sell any slots until advertisers are willing to buy it all in a package. For the first three days of the tournaments there were no advertisers. But things have changed now, haven’t they?”

     

    One would think that going by the same logic of ‘viewers will lap up any good content,’ if creativity is not a hindrance with several content creators and writers waiting to get exposure, broadcasters can find reason in allowing relatively small budget shows to redefine a new prime time band with day part programming.

     

    Television being an advertiser dependent medium where a 3 rating in the evening is worth 10 times that of the same rating in the afternoon, broadcasters, especially that of Hindi GECs find the stakes to be too high to take the risk.

     

    “At Star TV there were some original shows in the afternoon time band, which got even better ratings than the evening prime time shows. While the shows worked, its return on investment did not because irrespective of viewership ratings, advertisers were attracted to only to shows aired from 6 pm onwards. The fact remains that the same advertisers, for the same rating at two different times of the day were not willing to pay the same price for the ad slots,” Nayak stated. 

     

    This also paints a sad picture of the broadcast business in south India where there is an ongoing trend of remaking Hindi TV shows into regional languages. Producers are asked to create the same content for half, or even one fourth of the production cost that the same Hindi GEC show had incurred as advertisers are not willing to pay for that region, observed Nair.

     

    “Down south they are remaking Hindi shows at approximately Rs 1 – 1.5 lakh per episode. In the Bengal and Marathi regional markets, it’s even lesser. All this brings me to the advertisement driven industry we have, which eggs on this unfair practice. This in turn makes me wonder how advertisers categorise their consumers in the market and where they place them in terms of ad spends,” said Nair.

     

    Bringing a whole new perspective to it was RBNL’s Katial, whose comedy channel Big Magic is largely dependent on kids for viewership and ratings and therefore the channel’s definition of prime time also varies. 

     

    “We have two channels, which are both very unique in their target audiences. One targets Bihar and Jharkhand, which are mostly dominated by semi urban and rural landscapes. People essentially wake up early and go to bed early, therefore 70 per cent of our GRPs comes from the morning programming. While infrastructure too plays a role, I feel it is our viewers who ultimately define our prime time,” Katial informed.

     

    Citing another example of a non-traditional concept of prime time, Katial added, “On our comedy channel our entry point is kids. We feel it is a good way to expand visibility with mothers and other family members. Therefore we have to build a prime time where there are more kids available than others. Therefore once you define your audience and geography, you have your prime time.”

     

    Taking a queue from Katial and concurring, Nayyar said that from a media planner’s perspective, there are times when it’s more efficient to buy an afternoon ad slot for an advertiser at a lower rate than prime time slots.

     

    “For a client of ours, McDonald’s, we used to buy afternoon time slots because it was far more cost efficient. We were catering to the housewives and mothers, who watched TV shows with their kids. I feel that it rides a lot more on how broadcasters pitch or sell shows. I feel the media industry needs to come together and give the products what they deserve,” quipped Nayyar.

     

    As the panelists dived deeper into the issue, several varying perspectives ruled the discussion, each leading to a different conclusion. However, media heads present on the panel unanimously agreed that even though Indian television was one of the cheapest markets for advertisers to operate in, it was undervalued, be it from talent or financial standpoint. 

     

    The consensus was that rather than thinking of how to get production costs down, the way to bring a change was by coming up with ways to increase ad rates as well as by investing more in original content leading to more hours of it on television, which in turn would lead to a redefined prime time.

  • Who defines prime time – Advertisers or viewers?

    Who defines prime time – Advertisers or viewers?

    MUMBAI: For those who have wondered and often cribbed about why popular channels have mostly nothing original to offer in the afternoon, and later had reluctantly resigned to watch re-runs of shows, The Content Hub 2016’s session on ‘Redefining Primetime’ was the place to be.

     

    The question of the hour was whether there is a need to redefine what we call ‘prime time’ on television. And who better to answer it than those who dabble in the general entertainment channels’ (GEC) prime time of Indian television i.e, Doordarshan ADG Mukesh Sharma, Colors CEO Raj Nayak, Balaji Telefilms CEO Sameer Nair, Reliance Broadcast Network CEO Tarun Katial and Havas Media Group CEO – India and South Asia Anita Nayyar.

     

    Moderator for the session and Indiantelevision.com founder, editor-in-chief and CEO Anil Wanvari struck at the nerve of the issue by posing the pertinent question — What defines the prime time of a Hindi GEC channel? 

     

    While most viewers are oblivious to it, there is a whole science — or as Nayak had pointed out during the discussion — ‘pure economics’ to it. 

     

    “The phrase ‘Kill for prime time’ is what we broadcasters are often heard using. As we don’t have the budget to program for all 24 hours of the day, we prepare content for five to six hours and that becomes our prime time. If we can get good traction for a new show during that time, it may also get an equally good viewership ratings for its reruns as well,” said Nayak.

     

    “There isn’t anything fixed called prime time. It is how broadcasters define it. When we started off, 8 pm to 10 pm was prime time, then we stretched it to 8 pm to 11 pm, and now 6.30 pm to almost 11.30 pm is what we define as prime time. It is a question of content and the availability of a large section of the audience in front of the television. Therefore, by definition it is post evening hours,” he added.

     

    With the advent of digital however, this staple idea of prime time is changing as the audience has access to entertainment media almost all hours of the day at their own convenience via the second screen. “The prime time we are talking about is a very TV thing. OTT audience is not defined by prime time although there are surges in viewership at certain times of a day. For them, anytime is prime time. But that ‘anytime’ isn’t a feasible option for advertisers,” opined Nair.

     

    Getting into the crux of the matter, it is the advertiser who defines the prime time. Because depending on whether a show is coming on prime time or not, the advertising rates are decided. Throwing light on how premium rates for ad slots are determined, Nayyar shared, “The logical way an advertiser defines the prime is when there is content and there is an audience for it. A cricket tournament for example, which can happen at 4 pm in the afternoon will have traction and therefore will attract advertisers as well. So prime time is basically where the eyeballs are. From an agency perspective as well, we look at where and when content is viewed the most and that becomes prime time.”

     

    On the prospect of growing the time band of ‘prime’ shows, Nayak retrospected, “There was a time when Doordarshan used to air only India cricket matches. When ESPN and Star Sports launched, none of the advertisers initially were willing to pay for the non-India matches and test matches. Until in 1996, during the Safari India South Africa series, we decided we will not sell any slots until advertisers are willing to buy it all in a package. For the first three days of the tournaments there were no advertisers. But things have changed now, haven’t they?”

     

    One would think that going by the same logic of ‘viewers will lap up any good content,’ if creativity is not a hindrance with several content creators and writers waiting to get exposure, broadcasters can find reason in allowing relatively small budget shows to redefine a new prime time band with day part programming.

     

    Television being an advertiser dependent medium where a 3 rating in the evening is worth 10 times that of the same rating in the afternoon, broadcasters, especially that of Hindi GECs find the stakes to be too high to take the risk.

     

    “At Star TV there were some original shows in the afternoon time band, which got even better ratings than the evening prime time shows. While the shows worked, its return on investment did not because irrespective of viewership ratings, advertisers were attracted to only to shows aired from 6 pm onwards. The fact remains that the same advertisers, for the same rating at two different times of the day were not willing to pay the same price for the ad slots,” Nayak stated. 

     

    This also paints a sad picture of the broadcast business in south India where there is an ongoing trend of remaking Hindi TV shows into regional languages. Producers are asked to create the same content for half, or even one fourth of the production cost that the same Hindi GEC show had incurred as advertisers are not willing to pay for that region, observed Nair.

     

    “Down south they are remaking Hindi shows at approximately Rs 1 – 1.5 lakh per episode. In the Bengal and Marathi regional markets, it’s even lesser. All this brings me to the advertisement driven industry we have, which eggs on this unfair practice. This in turn makes me wonder how advertisers categorise their consumers in the market and where they place them in terms of ad spends,” said Nair.

     

    Bringing a whole new perspective to it was RBNL’s Katial, whose comedy channel Big Magic is largely dependent on kids for viewership and ratings and therefore the channel’s definition of prime time also varies. 

     

    “We have two channels, which are both very unique in their target audiences. One targets Bihar and Jharkhand, which are mostly dominated by semi urban and rural landscapes. People essentially wake up early and go to bed early, therefore 70 per cent of our GRPs comes from the morning programming. While infrastructure too plays a role, I feel it is our viewers who ultimately define our prime time,” Katial informed.

     

    Citing another example of a non-traditional concept of prime time, Katial added, “On our comedy channel our entry point is kids. We feel it is a good way to expand visibility with mothers and other family members. Therefore we have to build a prime time where there are more kids available than others. Therefore once you define your audience and geography, you have your prime time.”

     

    Taking a queue from Katial and concurring, Nayyar said that from a media planner’s perspective, there are times when it’s more efficient to buy an afternoon ad slot for an advertiser at a lower rate than prime time slots.

     

    “For a client of ours, McDonald’s, we used to buy afternoon time slots because it was far more cost efficient. We were catering to the housewives and mothers, who watched TV shows with their kids. I feel that it rides a lot more on how broadcasters pitch or sell shows. I feel the media industry needs to come together and give the products what they deserve,” quipped Nayyar.

     

    As the panelists dived deeper into the issue, several varying perspectives ruled the discussion, each leading to a different conclusion. However, media heads present on the panel unanimously agreed that even though Indian television was one of the cheapest markets for advertisers to operate in, it was undervalued, be it from talent or financial standpoint. 

     

    The consensus was that rather than thinking of how to get production costs down, the way to bring a change was by coming up with ways to increase ad rates as well as by investing more in original content leading to more hours of it on television, which in turn would lead to a redefined prime time.

  • OTT – The new El Dorado: Nailing the coffin on television?

    OTT – The new El Dorado: Nailing the coffin on television?

    MUMBAI: With the industry buzz word for 2016 being ‘digital content,’ much has been spoken about the vista of prospects that the medium poses for content creators with figures and studies on rapidly growing digital adex often thrown around in the air. But how much of that talk is really translating into reality for those working in the ‘OTT’ or alternate video content business, was the question raised in the Indiantelevision.com organised Content Hub’s penultimate session ‘OTT: The New El Dorado.’

    Panelists on board the discussion were Alt Digital CEO Nachiket Pantvaidya, Isobar India MD Shamsuddin Jasani, The Viral Fever founder and CEO Arunabh Kumar, Big Synergy director Anita Kaul Basu, and Arré CEO Ajay Chacko.

    Just as the title reflects, while looking at the macro picture of digital media of the future, marketers and content creators often forget to ask the basic questions of budget, sustainable revenue models, relevance in future and of course the return on investments.

    Throwing light on ground reality of the matter, each of the panelists shared their insights and experiences.

    I Don’t Watch TV, the upcoming web series from Arré, and its equally disruptive trailer set the tone of the discussion, which was anchored by Indiantelevision.com founder, editor-in-chief and CEO Anil Wanvari.

    Consciously steering away from being called an “OTT” platform, Chacko stated that their new venture was a content brand that believed in disruptive content. Elaborating on the reason, he said, “Digital, like every media transition we have seen in the past, gives you the opportunity to create different tone of content, be experimental and maybe give form to the next big cliché. The need of the hour is social relevance and we not only churn out radical content but also play around with it within the social context. While we crib or joke about the hackneyed television content and the people behind it, the truth is that it isn’t as much. It’s the hackneyed content revenue that compels them to act in a certain way and our effort is to break free from it,” Chacko shares.

    Expanding on the business model of digital platforms, especially with respect to Arré’s on-demand content arm, Chacko confesses that he hails from a very traditional school of thought that Indian content market is ad-funded. “I don’t see an escape from dependency on advertisers even on digital. However, the nature in which a brand or advertisment interacts with content is changing. We are entering an era of the next level of branded content, which has been mastered by my fellow panelist Arunabh (of TVF fame),” Chacko adds.

    Seconding the new form of branded content and possibilities that it brings for marketers, Jasani shares, “From what I have observed, Indian viewers are inherently inclined to not pay for content and that mindset is not changing in the near future. Therefore, ad-funded content is the way forward. The way people are going to consume video will primarily be on demand. It is an interesting crossroad for advertisers and marketers as well on how to use this new age content. Several brands are open to experimenting with branded content with content creators and even take ownership of the content marketing they do. Agencies, marketers and content creators are coming together to make branded content and share the IPs of it, as well as the revenue the property generates.”

    Moving on from the tug of war between television and the second screen, Jasani projects a whole new dynamic in the near future when viewers will be screen agnostic. “A seamless flow of data and videos that is available on all my devices, be it television, laptop or mobile, is what people want in the near future. Therefore, the whole concept of creating for mobile or creating for television needs an overhaul and creators will need to think from a macro perspective.”

    While Jasani paints an optimistic picture on the investment interest advertisers have in the digital content front, TVF’s Kumar begs to differ.

    While taking a question raised in the post session Q&A round, Kumar comes clear on the ground reality of how an advertiser operating in the current landscape thinks of the digital medium as compared to the traditional medium platform for its advertising spends. “Let me be honest, people say digital spend is growing but that’s all lip-service. This is my observation over the last five years. The major advertisers end up striking a deal with a fancy agency and spend crores on TVCs, while their purses become tight when it comes to the digital video space. If brands were to spare even a single digital per cent of what they do on television, it will be a huge boost to the production budget and quality of what digital creators are making. But right now that is hardly happening.”

    Continuing, Kumar further adds, “When we pitch a show to a brand, we have to make it clear that we are not going to make a TVC. We are not asking money for a 30 sec slot, the content for which you have created and paid for. We are actually going to make your brand an integral part of storytelling so that viewers become fans of the show as well as the brand. I believe that is cent per cent more than what a TVC can do for a brand.”

    Jasani admits the challenge the digital believers have in hand is converting the old school thinkers to see the returns that digital content can give, but is equally confident that the change will follow, as the drastically changing content space will only compel the marketers to evolve or be left behind.

     

  • OTT – The new El Dorado: Nailing the coffin on television?

    OTT – The new El Dorado: Nailing the coffin on television?

    MUMBAI: With the industry buzz word for 2016 being ‘digital content,’ much has been spoken about the vista of prospects that the medium poses for content creators with figures and studies on rapidly growing digital adex often thrown around in the air. But how much of that talk is really translating into reality for those working in the ‘OTT’ or alternate video content business, was the question raised in the Indiantelevision.com organised Content Hub’s penultimate session ‘OTT: The New El Dorado.’

    Panelists on board the discussion were Alt Digital CEO Nachiket Pantvaidya, Isobar India MD Shamsuddin Jasani, The Viral Fever founder and CEO Arunabh Kumar, Big Synergy director Anita Kaul Basu, and Arré CEO Ajay Chacko.

    Just as the title reflects, while looking at the macro picture of digital media of the future, marketers and content creators often forget to ask the basic questions of budget, sustainable revenue models, relevance in future and of course the return on investments.

    Throwing light on ground reality of the matter, each of the panelists shared their insights and experiences.

    I Don’t Watch TV, the upcoming web series from Arré, and its equally disruptive trailer set the tone of the discussion, which was anchored by Indiantelevision.com founder, editor-in-chief and CEO Anil Wanvari.

    Consciously steering away from being called an “OTT” platform, Chacko stated that their new venture was a content brand that believed in disruptive content. Elaborating on the reason, he said, “Digital, like every media transition we have seen in the past, gives you the opportunity to create different tone of content, be experimental and maybe give form to the next big cliché. The need of the hour is social relevance and we not only churn out radical content but also play around with it within the social context. While we crib or joke about the hackneyed television content and the people behind it, the truth is that it isn’t as much. It’s the hackneyed content revenue that compels them to act in a certain way and our effort is to break free from it,” Chacko shares.

    Expanding on the business model of digital platforms, especially with respect to Arré’s on-demand content arm, Chacko confesses that he hails from a very traditional school of thought that Indian content market is ad-funded. “I don’t see an escape from dependency on advertisers even on digital. However, the nature in which a brand or advertisment interacts with content is changing. We are entering an era of the next level of branded content, which has been mastered by my fellow panelist Arunabh (of TVF fame),” Chacko adds.

    Seconding the new form of branded content and possibilities that it brings for marketers, Jasani shares, “From what I have observed, Indian viewers are inherently inclined to not pay for content and that mindset is not changing in the near future. Therefore, ad-funded content is the way forward. The way people are going to consume video will primarily be on demand. It is an interesting crossroad for advertisers and marketers as well on how to use this new age content. Several brands are open to experimenting with branded content with content creators and even take ownership of the content marketing they do. Agencies, marketers and content creators are coming together to make branded content and share the IPs of it, as well as the revenue the property generates.”

    Moving on from the tug of war between television and the second screen, Jasani projects a whole new dynamic in the near future when viewers will be screen agnostic. “A seamless flow of data and videos that is available on all my devices, be it television, laptop or mobile, is what people want in the near future. Therefore, the whole concept of creating for mobile or creating for television needs an overhaul and creators will need to think from a macro perspective.”

    While Jasani paints an optimistic picture on the investment interest advertisers have in the digital content front, TVF’s Kumar begs to differ.

    While taking a question raised in the post session Q&A round, Kumar comes clear on the ground reality of how an advertiser operating in the current landscape thinks of the digital medium as compared to the traditional medium platform for its advertising spends. “Let me be honest, people say digital spend is growing but that’s all lip-service. This is my observation over the last five years. The major advertisers end up striking a deal with a fancy agency and spend crores on TVCs, while their purses become tight when it comes to the digital video space. If brands were to spare even a single digital per cent of what they do on television, it will be a huge boost to the production budget and quality of what digital creators are making. But right now that is hardly happening.”

    Continuing, Kumar further adds, “When we pitch a show to a brand, we have to make it clear that we are not going to make a TVC. We are not asking money for a 30 sec slot, the content for which you have created and paid for. We are actually going to make your brand an integral part of storytelling so that viewers become fans of the show as well as the brand. I believe that is cent per cent more than what a TVC can do for a brand.”

    Jasani admits the challenge the digital believers have in hand is converting the old school thinkers to see the returns that digital content can give, but is equally confident that the change will follow, as the drastically changing content space will only compel the marketers to evolve or be left behind.

     

  • FICCI demands infrastructure status for broadcast industry in pre-budget memo

    FICCI demands infrastructure status for broadcast industry in pre-budget memo

    NEW DELHI: The Indian broadcast, cable and direct-to-home (DTH) sectors have been demanding a infrastructure status for the industry as well as seeking all benefits and incentives available for the infrastructure industry including the availability of finance at a concessional rate.

     

    To this effect, the Indian Broadcasting Foundation (IBF) had earlier this month urged the Union Government to grant “Infrastructure Status” to the broadcasting industry.

     

    Now, making this demand, the Entertainment Wing of FICCI has said in a pre-budget memorandum to Finance Minister Arun Jaitley that the sector should be allowed tax concessions as per Section 80-IA of the Income Tax Act.

     

    The digitisation process and the deployment of set top boxes (STBs) are heavy capital oriented and thus require huge investments, which may force various amalgamations and thus they should be allowed to set off accumulated losses and unabsorbed depreciation allowances to be carried forward as per Section 72 A of the Act, the industry body said.

     

    Parity with Manufacturing Industry under Section 72A of the Act

     

    It also said that the disparity between the service and the manufacturing sector is very adversely affecting the growth and consolidation of the Service sector.

     

    The tax benefits under Section 72A of the Act in respect of amalgamation or de-merger (carry forward and set off of accumulated loss and unabsorbed depreciation allowances) are currently limited to industrial undertakings or a ship, hotel, aircraft or banking. The definition of industrial undertaking should be widened to include service industry, broadcasters and content production companies.

     

    Rationalisation of Indirect taxes

     

    The rate of taxes, which range from 30 – 70 per cent, especially the entertainment tax imposed by the states, over and above the service tax, are punitive in nature, FICCI said, adding that such punitive level of taxation incentivises unhealthy practices, such as piracy, revenue leakage on account of under reporting of revenues, etc. It is important that the overall taxation level is brought down for the sector as a whole.

     

    State Entertainment tax legislations levy high taxes on the subscription earned by cable operators and DTH operators. The non-availability of credit of central taxes against the state taxes and vice versa increases the tax burden on the entertainment industry. In addition to this, the Central Government has levied service tax at 14 per cent on the transfer of copyrights, which is already being taxed as ‘goods’ under the various state VAT legislations.

     

    Payment for Content Production

     

    FICCI said there is ambiguity since the tax authorities have been adopting a view that the payment towards production of content is in the nature of fees for technical services and subject to tax at the rate of 10 per cent under section 194J of the Act whereas Explanation III to section 194C of the Act clarifies that payments made towards a contract, concerning broadcasting and telecasting including production of programmes for such broadcasting or telecasting, would fall under the definition of ‘work’ for the purpose of section 194C of the Act.

     

    It suggested that to avoid difference in positions adopted by the tax payer and tax department on applicability of relevant section and to mitigate resultant litigation and hardship, a clarification may be issued regarding appropriate classification of content production services and applicability of relevant section for withholding of taxes.

     

    Carriage Fees/Placement Charges

     

    FICCI has demanded that the Government should provide a clarification that the payments made towards carriage fees are not in the nature of royalty or fees for technical services and TDS is required to be made on such payments as per section 194C of the Act.

     

    It said that the tax department is contending that since cable operators are providing technical services, payments made towards placement of channels is subject to TDS under section 194J of the Act.

     

    Broadcasters pay placement or carriage fee to the cable and DTH operators to place their channel in prime bands, which in turn enhances the viewership of the channel. Such charges are paid under a contract merely for placing the channel on agreed frequency bands.

     

    Deduction of tax at source under Section 194H on the “15% agency commission”

     

    FICCI recommended a clarification that no taxes need to be deducted at source by broadcasters on the “15 per cent agency commission” as mentioned in the invoice raised by broadcasters to advertisement agency or advertisers.

     

    FICCI said the 15 per cent agency commission mentioned by broadcasters in its invoices for ad airtime sale raised on ad agency or advertisers is merely a presentation in the invoices and not a real transaction. Neither the broadcasters nor ad agency recognises the same as revenue or expense. It is customary in nature, as is also evident from the fact that even on the invoices raised directly on advertisers; the said 15 per cent agency commission appears.

     

    Broadcasters are not supposed to make any payments towards 15 per cent agency commission mentioned in the invoice, as there is no agreement or arrangement to pay such the commission with ad agencies or advertisers. In fact, broadcasters do not make any payment in respect of the said commission mentioned on the invoices.

     

    At the outset, FICCI said that the Indian media and entertainment industry grew from Rs 918 billion in 2013 to Rs 1026 billion in 2014, registering an overall growth of 11.7 per cent. The industry is estimated to achieve a growth rate of 13 per cent in 2015 to touch Rs 1159 billion. The sector is projected to grow at a healthy CAGR of 13.9 per cent to reach Rs 1964 billion by 2019.

     

    As per FICCI, television clearly continues to be the dominant segment but strong growth had been posted by new media sectors. Gaming and digital advertising recorded a strong growth of 22.4 per cent and 44.5 per cent compared to the previous year.

     

    The benefits of Phase I and II of cable digital addressable system (DAS) rollout, and continued Phase III rollout are expected to contribute significantly to strong continued growth in the TV sector revenues and its ability to invest in and monetise content. The sector is expected to grow at a CAGR of 15.5 per cent over the period 2015-2019.

     

    Tax Exemptions for Radio Broadcasting

     

    While noting that radio is anticipated to see a spurt in growth after rollout of FM Phase III licensing, FICCI asked the Government to consider providing tax holiday of five years for new capital investment in Phase III; reduce customs duty on capital equipment for radio broadcasting to four per cent; and consider service tax exemption for billings to service recipients covered in the negative list.

     

    Tax Holiday for five years for setting up of new screens

     

    Noting that the film sector had shown a minimal growth of 0.9 per cent in 2014 over 2013, FICCI said there had been an increase in piracy, since the number of screens for viewing films had not increased in proportion to the increase in number of films and the number of people viewing these films.

     

    FICCI said that it was essential to extend the benefit to cinema owners in terms of 80-IB of the Act to multiplexes constructed after March 2005 to encourage the set-up of multiplexes and thereby improve the density of cinema houses in the country. This will encourage setting up of new screens in India and help in improving screen density.

     

    Reduction of prescribed time limit under Rule 9A and 9B

     

    FICCI suggested that the existing period of 90 days before end of the financial year (under Rule 9A and 9B of IT Rules) is suitably reduced to grant relief to assessees whose feature films have incurred losses and have been released for exhibition in the last quarter of the financial year.

     

    Under Rule 9A of the Income Tax Rules, if a film producer sells all rights of exhibition of his feature film, the entire cost of production is allowed as a deduction in computing the profits and gains of such previous year.

     

    However, if the film producer does not sell all rights of exhibition of his film, it is released for exhibition on a commercial basis at least 90 days before end of the financial year and the film producer is eligible to claim deduction of the entire cost of production. Otherwise, a feature film is released for exhibition on a commercial basis within a period 90 days before end of the financial year and the producer is eligible to claim deduction of cost of production only up to a ceiling limit and any excess cost of production is carried forward to the next financial year. This ceiling limit is the amount of revenues generated by the feature film in the financial year.

     

    In certain cases where not all rights of exhibition of a feature film are sold and it is released for exhibition on a commercial basis within 90 days before end of the financial year, the feature film performs poorly and it is exhibited only for a short duration. Consequently, the film producer may not recover costs. In such cases in view of the prevailing IT Rules, the film producers are unable to claim a deduction of entire production cost and, the loss is to be carried forward to the next financial year. Accordingly, such film producers are unable to claim losses in the year the feature film is released for exhibition despite no further scope of income. A similar situation exists in the case of expenditure of distribution rights in view of Rule 9B of IT Rules.

     

    Exemption of Service Tax on major inputs/input services

     

    FICCI recommended that major inputs / input services that are used in relation to theatrical rights in movies, be exempted from service tax. Since the major inputs/input services used in relation to revenue earned from theatrical rights are taxable, the CENVAT credit of service tax paid on such inputs/input services is blocked in the supply chain due to applicability of CCR. Eventually such taxes result in increase of the cost of production thereby defeating the purpose of providing an exemption on the output service.

     

    Re-instatement of the Service Tax exemption on Transmission of digital cinema

     

    FICCI also recommended reinstating the exemption to digital cinema service distributors, as it existed earlier under notification 12/2007 ST of 1 March, 2007, which had been rescinded with the introduction of the negative list.

     

    Service tax on transmission of digital cinema is a direct cost to the producers since the same is in relation to theatrical exhibition of cinematograph film (which is an exempt service with effect from 1 April, 2013) and hence no credit can be availed of such service tax.

     

    Clarity on export status of post-production services

     

    FICCI asked for clarity on the inclusion of post-production activities in the exclusion to this Rule. Alternatively, the second proviso to the Rule 4(a) of the POPS Rules be re-worded.

     

    Given the various technological advances in the Indian film industry, many Indian entities are hired by foreign producers for carrying post production activity. For such activities, the content is temporarily imported into India (either physically or electronically) and re-exported after completion of service. Post-production activities, which may be performed in India, do not find explicit mention in the proviso that carves out exceptions to the performance based rule in POPS Rules.

     

    Service Tax exemption to on-screen advertising in cinemas

     

    The industry body said on-screen advertising in cinemas and multiplexes should be exempted from levy of service tax.

     

    After 1 October, 2014, the negative list of services was amended and on-screen advertising within cinemas is liable to service tax.

     

    The on-screen advertising within cinemas caters to advertisers with small businesses, with limited resources. For large advertisers, on-screen advertising is a secondary medium of advertising at best and they have a small contribution to onscreen advertising within cinemas. The on-screen advertising forms an important source of revenue for the exhibitors, which are already reeling under the pressure of multiple taxes. Re-instatement of service tax on such revenue will only increase their tax burden.

     

    Applicability of Service Tax on food and beverages sold within Cinemas

     

    The food and beverages (F&B) sold in theatres during movies are subject to VAT under local state laws and the same is paid by the exhibitors. But with effect from 1 April, 2011, restaurant services became taxable whereby services rendered by any air-conditioned restaurant serving alcohol were made liable to service tax and later with effect from 2013 the condition of serving alcohol was withdrawn. However, it is still not clear whether the sale of F&B by cinema halls and multiplexes is covered in this service.

     

    Unlike restaurants, there is no seating arrangement, no cutlery is provided and no waiter serves F&B and hence there is no element of service involved in any meaningful manner.

     

    FICCI said levy of service tax is intended on “restaurants” rendering certain services and is not intended on sale of food, beverage and snacks from candy counters in cinema theatres.

     

    Service Tax exemption on entry to award functions, musical performance etc.

     

    The Union Budget of 2015 had amended the negative list of services and effectively withdrawn the unconditional service tax exemption, which was granted to tickets for award functions, music events, sports events etc. With effect from June 2015, service tax is payable when the consideration for admission to entertainment events such as award function, concert, pageant, sporting event etc. is more than Rs 500 per person.

     

    However, FICCI said payment for admission to any event is already liable to a high state entertainment tax and levying of a service tax of 14 per cent over and above the high rates of entertainment imposes a high burden on the entertainment sector.

     

    The industry body asked for a clarification to specify that the value of ticket for the purpose of levy of service tax on such admission (where the ticket price is more than Rs 500) should be the value excluding Entertainment tax. It also wanted clarification on if service tax is payable, the same should be computed on a value exclusive of Entertainment tax and accordingly no service tax should apply on entertainment tax amount.

     

    Customs Duty exemption on film equipment under the ATA Carnet

     

    The ATA Carnet permits duty free temporary admission of goods into a member country. The list of exempted products covers filming equipment too. However, there is no Customs Notification in order to exempt the import of filming equipment from the levy of Customs Duty, on the lines of the ATA Carnet.

     

    FICCI recommended that Customs Duty should be exempted on film equipment under ATA Carnet. The film production equipment is very expensive and not easily available in all countries because of which the film producers are compelled to temporarily import the same on lease for the purpose of producing the film. In absence of a customs notification to exempt filming equipment, the ATA Carnet duty exemption benefit cannot be extended to import of filming equipment.

    These imports significantly increase the burden of tax on the film producers.

     

    Proposals for Animation, Gaming and VFX Industries

     

    FICCI also made some recommendations for the Animation, Gaming & Visual Effects (VFX) industries.

     

    It asked for a 10-year tax holiday for the Animation, Gaming, and VFX industries; and removal of withholding tax on revenues accruing from sales of mobile games in non-India markets as well as removal of withholding tax on the development contracts given to mobile game developers outside India.

     

    FICCI also asked for removal of withholding tax paid by expats working in India for Indian mobile game development companies.

     

    The Minimum Alternate Tax (MAT) applicability for units undertaking animation work in SEZ should be withdrawn to encourage export of animated contents.

     

    The industry body wanted restoration of STPI advantage scheme for AVGC or ITES for another 10 to 20 years and cover/encourage exports as well as IP creation.

     

    To promote domestic gaming market, excise duty on local manufacture should be brought down to nil (similar to film and music industry). This will enable CVD to be brought to zero also. The effective reduction in taxes would be around 15 per cent. Import duty on consoles (gaming hardware) to be brought down to zero per cent to increase the installed base to enable the local developer ecosystem to flourish.

     

    There should be a provision of 50 per cent reimbursable MDA (Market Development Assistance) for travel and registration fees to international market events.

     

    The Government should extend support under Market Development Assistance (MDA) activity for Indian companies to exhibit by setting Indian Pavilions in the world markets. What is needed is to help bringing local production companies to international markets, collect and disseminate information and support creating the infrastructure needed for a healthy media market to develop.