ITV

Category: Television

  • Digital radio is where it’s at

    Digital radio is where it’s at

    SINGAPORE: Looks like it’s time for traditional radio stations in India to pull up their socks, as digital and internet radio is already being lapped up by about 50 million music lovers across the world.

    Not just that, but new ways of accessing music, (via wireless and Internet) has brought in a paradigm shift in the functioning of the traditional audio medium…

    Just a quick dekko at some facts and sweeping changes. With Podcasting gaining ground, interactive and savvy consumers are creating their own customized radio stations online. We already have have more than 40,000 radio stations podcasting live; which is a disturbing fact considering that there are only 30,000 traditional radio stations across the world. Also, the success of sites like myspace.com have gone on to show that social networking sites will become more important for selling music as compared to TV or Radio.

    Media futurist, & ThinkAndLink, CEO, Gerd Leonhard dwelled at length on the future of radio yesterday, the last day of Broadcst Asia. Addressing a packed audience of professionals from across the world, Leonhard said, “Digital & internet radio is now big in countries like UK, Japan, Korea, Scandinavia and very soon it’s going to catch on across the world. Traditional radio companies have to accept this and move ahead with the changes.”

    He further added, “The radio industry is touted to be roughly around $ 50 billion a year, constituting around 15 per cent of total advertising revenues. Now, this pie is going to be further fragmented and shared by mobile companies, and even companies like Apple, Google; even mobile companies as well as wireless companies. What has now emerged is that content owners will not hold distribution rights to their content anymore, so the only thing is to accept this and try to monetize from this. So, one will see a a new type of advertising which will be the revenue driver along with the content.

    Some relevant data which emerged from the session was that myspace.com, which currently has 28 billion page views, seems to be more important tpo advertisers than even a heavy rotation on MTV. Also, to listen to music, it’s the always with you/always on devices that are critical (2 billion mobile users, coupled with 50 million ipods). 
    When queried on his views on the Indian radio market, Leonhard said that, India along with China, and some untapped markets in Africa and Middle East will lead the rapid growth.

    Also, with the mobile and technology revolution sweeping India, the rates will fall further and people will access digital radio sooner than even other parts of the world.

  • ‘Maine Pyar Kyon Kya’ producer to raise Rs 500-550 million via IPO

    ‘Maine Pyar Kyon Kya’ producer to raise Rs 500-550 million via IPO

    MUMBAI: Shree Ashtavinayak Cine Vision Ltd (SACVL), a film production and distribution house, is tapping the capital market. The company plans to raise Rs 500-550 million through an initial public offering (IPO) to ramp up its film production business. 

    SACVL, which produced Maine Pyar Kyon Kya along with Sohail Khan productions, has appointed Allianz Securities to lead manage the issue.

    “We have a business plan to increase our production pipeline from three to five films a year. The size of the IPO should be in the range between Rs 500-550 million. We are awaiting the regulatory approvals,” says Shree Ashtavinayak Cine Vision chief financial officer Shyam Sunder.

    The company will offer a public issue of 37,28,000 equity shares of Rs 10 each at a premium to be decided through the book building process. The price band will be fixed later.

    The IPO proceeds will be used towards film production and purchase of equipment. SACVL has earmarked Rs 459 million for production of three films while Rs 141 million will be for equipment buying. “We have a movie by Abbas Mastan on the floor with Ajay Devgan, Sanjay Dutt and Bipasha Basu as the lead cast. The other two movies are at the pre-production stage,” says Sunder.

    The company distributes 10-12 movies a year. SACVL will be distributing Golmaal which is slated for release on 14 July. Main Hoon Na, Garv, Mujse Shaadi Karogi and Aitraaz are among the movies distributed by the company.

    The promoters’ holding will come down from 74.14 per cent to 50.85 per cent. The company’s turnover for the nine months ended 31 December 2005 stood at Rs 469 million with Maine Pyar Kyon Kya accounting for Rs 320 million while income from distribution stood at Rs 140 million.

  • What content will work on Mobile still the big question

    What content will work on Mobile still the big question

    SINGAPORE: Though a lot is being said about mobile TV and visual content, yet what sort of content will really make waves is not very clear. At the recently concluded Broadcast Asiat 2006, one saw a considerable interest amongst vendors and operators, including broadcasters for the reduction of commercial mobile television services. Basically two methods are being used streaming and broadcasting.

    For broadcasting, a number of standards have been developed to offer mobile broadcast TV, including DVB-H, DMB, ISDB-T and NediaFLO.

    Speaking on a session on synergies and convergance on mobile TV, on how to optimise content for the mobile, Laurant Weill, president Visiware said, “The idea is to make use of interactive tools, and deliver video content on 3G platforms. Content providers should aim to convert mini series into four minute clips or so. Also, try to repurpose the available or create altogether new content. We should also try and summarise the existing standard TV formats. Make automatic clips of a existing news programming as conusmers want to see a V-navigator experience.”

    I-pop executive VP Colin Miles added, “The applications have to be synchronized with the existing TV shows and thanks to use of sms we already have interactive audience who will be more than willing to try new content.”

    While mobile TV services are in their infancy and both research and adoption levels suggest that in the medium term they have potential to generate significant revenues, Juniper Research believes that the total market for streamed and broadcast TV services will increase from $136 million to more than $7.6 billion by 2010.

    NPTV marketing director Laurent Chouraqui was of the opinion that the number of standards developed to offer mobile broadcasters including DVB-H, DMB, ISDB-T amd MediaFlo will help the synchronization of TV content. But over a period of time content users should ease the creation of mobile content for consumers. Make automatic clips of a existing news programming as consumers want to see a V-navigator experience.

    He added, “Linear content will not work on Mobile. New and interesting content will have to be developed. Like, for example the best moments of the World Cup. So, the challenge is really is developing fone minute content, special teasers and mini series.”

  • HDTV: Double digit growth expected over next 5 years

    HDTV: Double digit growth expected over next 5 years

    SINGAPORE: A recent study by US-based IMS Research estimates that by the end of 2010, nearly 87 million households worldwide would be capable of watching HDTV programming.

    At a session on the Future of High Definition Television, it was pointed out that HDTV is becoming an important offering for cable and satellite TV providers. IMS research estimated that last year, about 20.6 million HDTV players were shipped worldwide. The double-digit growth expected in the market over the next five years will result in a forecast of nearly 60 million HDTV displays shipped by 2010.

    Elaborating on the recent trends, Millette Burgos of Asia Pacific Broadcast said, “Depending on the country and the government, initiatives such as FCC‘s Digital Tuner mandate in the US and the HDTV broadcasting quotas in Australia and South Korea, are often the key drivers for the growth in HDTV sets.”

    Countries like Australia and South Korea are proving to be the key drivers for the growth in HDTV sets as they have integrated tuning capacity. While growth in HD monitors will continue in a market where pay TV operators sell or rent the HD set-top box or HD DKR as part of the HDTV service package.

    Often HDTV sets would not be enabled for pay-TV platforms, but are capable of receiving only free-to-air programmes. Of course, exceptions will exist in countries like US and S Korea where cable platforms are standardizing on Cablelabs Digital Cable ready standard.

    “The good news is that many of the adoption impediments of HDTV are now being eliminated,” said IMS research market analyst Jack Mayo. “As HD content increases in availability, equipment costs drop and compression standards improve so we’re likely to see more operators implement HDTV.”

  • How to ride the digital radio wave – tips for tradional radio stations

    How to ride the digital radio wave – tips for tradional radio stations

    SINGAPORE: With music content being distributed across the internet, mobile and wireless technology in the near future; the radio advertising market is expected to erode further in the fragmented space.

    Also, with new narrowcasting services like podcasting, and consumers customiizing music videos of their own choice, what are the different needs of the new audiences, their business sustainability and revenue generation opportunities.

    Gerd Leonhard, Music and Media Futurists lists down certain key lessons which came across from the special session on digital radio.

    *Music companies- be visible on the net- Make your own videos and put them on Youtube, Revver, Video and Google before they do it. Get your own online radio station. Get global CD distribution (CDBaby, Amazon etc) and offer your own ringtones. Also, don’t forget to get global digital distribution and keep bloging your band’s life. (Zebralution, Orchard,

    *Look beyond the traditional revenue streams- With different devices and music videos on demand available, tie up with all the possible media companies, wireless service providers. Look at charging a flat fee for content, along with digital music licenses.

    *What’s in it for content creators – Niche market and mobile powered stars will emerge. Also, social networking sites will become more important for selling music than TV or Radio. More and more consumers will create customized music with interactive software. Major artists might even leave their record labels and look for directdeals as agents will thrive

    *Broadband internet will seriously hurt traditional radio. Just a glimpse of the future that is already here – Just to list out some of the initiatives. There is MyRadio: www.Pandora.com, BBC Creative Futures inititative, Google videos, Nokia Visual Radio www.visualradio.com

    *Understand the new consumer

    MY Schedule – Time-Shifting (anytime anywhere)

    MY Location – Full Mobility (NOT just on PC!)

    MY Device – Full Compatibility between devices and services

    MY Deal – ‘Payment Shifting’ means Feels Like Free Music

    MY Playlists – ‘Editor’ Shifting’ – now, the USER selects

    MY Edits – Peer Produced Content / Re-Mixing

    * What’s the crucial paradigm shift- Mobile music commerce will out number commerce, A new middle class of musicians will come up. Also, wireless broadband will dominate. Sharing amd viral marketing will grow and artists will have to reach their fans no matter what.

  • Random House Group acquires majority stake in BBC Books

    Random House Group acquires majority stake in BBC Books

    MUMBAI: The Random House Group in the UK has agreed to acquire a majority shareholding in BBC Books. The deal brings together two publishers of non-fiction as BBC Books will become part of the Ebury Publishing Division of The Random House Group under Fiona MacIntyre, publisher of the Ebury Publishing Division.

    BBC Worldwide will maintain a shareholding in BBC Books and the latter will continue to license relevant book publishing rights in BBC programmes. BBC Books will, as before, work within BBC editorial and commercial policy guidelines ensuring that appropriate controls are maintained over the BBC brand.

    BBC Books’ recent bestsellers include David Attenborough’s Life in the Undergrowth and Alastair Fothergill’s Planet Earth.

    Random House Group CEO Gail Rebuck said, “It is exciting to announce this new relationship, which complements and enhances our own non-fiction publishing, just as BBC Books celebrates an excellent year and looks forward to a very strong autumn. We have brought together two talented creative and successful publishing teams within one division, which will continue to publish the broad and distinguished range of adult non-fiction for which both companies are widely admired.

    “This combination of the best creative talent backed by Random House’s international sales and distribution capacity ensures that we can expand on existing opportunities and create new projects for the global market.”

    BBC Worldwide CEO John Smith said, “We have for some time stated our intention of seeking a partner for our books business and are delighted to have reached this agreement with a publisher of the calibre of Random House. The union will bring additional scope and scale to BBC Books and enable the imprint to build further on this year’s financial success and continue to grow its enviable list. We look forward to working with our new colleagues.”

    The Random House Group is one of the largest general book publishing companies in the UK. The Group is based in London with subsidiary companies in India, Australia, New Zealand and South Africa. The Group comprises four publishing divisions with 33 diverse and highly individual imprints including Jonathan Cape, William Heinemann, Chatto & Windus, Vintage, Corgi, Doubleday and Bantam Press. Novelists published by the Group include Dan Brown, Jilly Cooper, J M Coetzee, Sebastian Faulks, John Grisham, Robert Harris, Mark Haddon, Ian McEwan and Terry Pratchett.

    The group’s non-fiction publishing consists of broad general non-fiction and specialist categories such as cookery, gardening, travel and business books.

  • Random House Group acquires majority stake in BBC Books

    Random House Group acquires majority stake in BBC Books

    MUMBAI: The Random House Group in the UK has agreed to acquire a majority shareholding in BBC Books. The deal brings together two publishers of non-fiction as BBC Books will become part of the Ebury Publishing Division of The Random House Group under Fiona MacIntyre, publisher of the Ebury Publishing Division.

    BBC Worldwide will maintain a shareholding in BBC Books and the latter will continue to license relevant book publishing rights in BBC programmes. BBC Books will, as before, work within BBC editorial and commercial policy guidelines ensuring that appropriate controls are maintained over the BBC brand.

    BBC Books’ recent bestsellers include David Attenborough’s Life in the Undergrowth and Alastair Fothergill’s Planet Earth.

    Random House Group CEO Gail Rebuck said, “It is exciting to announce this new relationship, which complements and enhances our own non-fiction publishing, just as BBC Books celebrates an excellent year and looks forward to a very strong autumn. We have brought together two talented creative and successful publishing teams within one division, which will continue to publish the broad and distinguished range of adult non-fiction for which both companies are widely admired.

    “This combination of the best creative talent backed by Random House’s international sales and distribution capacity ensures that we can expand on existing opportunities and create new projects for the global market.”

    BBC Worldwide CEO John Smith said, “We have for some time stated our intention of seeking a partner for our books business and are delighted to have reached this agreement with a publisher of the calibre of Random House. The union will bring additional scope and scale to BBC Books and enable the imprint to build further on this year’s financial success and continue to grow its enviable list. We look forward to working with our new colleagues.”

    The Random House Group is one of the largest general book publishing companies in the UK. The Group is based in London with subsidiary companies in India, Australia, New Zealand and South Africa. The Group comprises four publishing divisions with 33 diverse and highly individual imprints including Jonathan Cape, William Heinemann, Chatto & Windus, Vintage, Corgi, Doubleday and Bantam Press. Novelists published by the Group include Dan Brown, Jilly Cooper, J M Coetzee, Sebastian Faulks, John Grisham, Robert Harris, Mark Haddon, Ian McEwan and Terry Pratchett.

    The group’s non-fiction publishing consists of broad general non-fiction and specialist categories such as cookery, gardening, travel and business books.

  • B.A.G Films’ Rajiv Mishra Asia-Pac secy-gen of AIR-IAB

    B.A.G Films’ Rajiv Mishra Asia-Pac secy-gen of AIR-IAB

    NEW DELHI: The board of directors of AIR-IAB has nominated BAG Films radio division head Rajiv Mishra as secretary general of the global organisation’s Asia Pacific region, in a meeting held at Montevideo, Uruguay.

    The International Association of Broadcasting (IAB) and Asociacion Internacional de Radiodifusion (AIR), is the non governmental organization of commercial radio and television networks of the world. It is also a consultant to the United Nation.

    Mishra will present a paper on commercial broadcasting industry scenario in Asia Pacific region to AIR-IAB board of directors in a meeting slated to be held in Guatemala in October.

    He will also work closely with AIR-IAB director-general Héctor Oscar Amengual for the expansion of AIR-IAB to the Asia Pacific region, especially with important private commercial broadcasting countries such as Japan, Korea, Australia, and the Philippines.

    Mishra is the convener of Association of Radio Operators of India (AROI) and COO of BAG Infotainment, presently engaged in establishing 10 FM Radio stations across India

  • And now a interactive version of ‘Who wants to be a Millionaire’

    And now a interactive version of ‘Who wants to be a Millionaire’

    SINGAPORE: Looks like weaving in interactive elements to popular TV formats for the growing number of digitally savvy audiences is the next trend to keep a show going. The new interactive version of Who Wants to be a Millionaire (KBC in India), a popular format devised by David Briggs, is not just helping the show retain a prime time but even raking in moolah.

    At a packed auditorium on Wednesday morning, HTTV France Sales & Marketing director Jean Christopher Jubin said, “The show has had its run in countries like UK, France and Italy for a long time now. But the last three years, the ITV version of the show, with weaved in multi-media elements is what has helped retain the popularity of the show.”

    What really is the ITV version of the show? On the digital sets, viewers can participate in the show. Though they can’t really win a million by answering multiple-choice questions but can make at least 1000 Euros per week just sitting at home. The UK ITV version of the show has a multimedia theme version, synchronized version where viewers can respond and interact with the host at the same without disturbing the ongoing game.

    When queried on the business proposition and the heavy cost incurred for weaving in the interactive elements, Jubin said, “Audiences either pay for the model or then pay per time (i.e the time they play the game for). The revenue streams are also being generated as a result of a tie-up between broadcasters, producers and operators where you can charge for pay per play.

    Currently the ITV version of the popular format has generated more than 2.5 million SMSs on an average per session and can earn up to 3 to 4 euros per person. So, with the digital homes in Europe the revenue will continue to see a upward trend.

  • Prasad EFX delivers VFX for Rakesh Roshan’s ‘Krrish’

    Prasad EFX delivers VFX for Rakesh Roshan’s ‘Krrish’

    MUMBAI: Prasad EFX, one of the largest Digital Post Production Studios in India, has executed more than 1200 VFX shots for the upcoming Hrithik Roshan starrer Krrish.

    The movie, produced and directed by Rakesh Roshan, is loaded with spectacular VFX and is all set to catapult Indian VFX to Hollywood standards, says the company in an official release.

    VFX Supervisors from Hollywood Craig Mumma and Marc Kolbe, worked with a team of more than 100 VFX specialists in Prasad EFX to come out with the VFX sequences.

    Prasad EFX senior team leader Himakumar says, “We have done very high end 3D modeling and animation including whole body scans. A lot of 3D models of cars, bikes, helicopter, birds and animals were created and animated to match live action footage. Fire sequences are always a challenge and we have used it to great effect in Krrish. Very complicated wire removals and compositing work were minutely executed, so were critical special effects that add intensity to images and action shots. A whole futuristic set was designed and implemented by the team at Prasad EFX in 3D.”

    Rakesh Roshan says, “Prasad EFX has exceeded my expectations because they’ve done a fantastic job – unbelievable! I was a bit tense as to whether it will be to the standard of Hollywood but I think they have lifted the status of the film to a very high level. It is not like Hollywood. It is Hollywood. I salute the entire EFX team.”

    Craig Mumma, who has to his credit films including Independence Day and Godzilla, says, “One of the reasons I was approached by Rakesh Roshan to work on Krrish was because we wanted to do some mind blowing, world standard VFX. We had to keep various things in mind, budgets, capability, infrastructure and so on. We looked at many studios and all our efforts pointed to Prasad EFX. I wanted to work with a company that will get involved with the project to a very deep level. EFX in my past couple of years of experience with other projects has delivered the goods well above my expectations.”

    Adds Craig, “Working with the people at Prasad EFX has been a great experience. They understand films, they understand VFX and that way I was able to get the most out of them. The VFX will be a trendsetter. We will see more of this happening in the future.”

    Prasad EFX also provided the Digital Intermediate service for Krrish. Senior line producer, DI, Rajiv Raghunathan says, “DI is catching on fast. Right now it is the big budget and special effects intensive movies that use this service. Once filmmakers understand the advantages of having a Digital Master at 2K/4K resolution, then only the full potential of DI will be realized. Digital Cinema, DVD masters, HD/Sd outputs, Mobile/PDA delivery, web and other future media can be served content from a single digital master resulting in consistency, cost & time savings and flexibility. Very soon DI will be part of the planning for all movies. One obvious change noticed in the past one year is that DI is being used more towards enhancing the look and feel of the film as opposed to correcting shooting flaws.”

    Prasad Film Labs made over 700 prints for Krrish for national and global distribution form the DI negatives, according to the official release.