Category: Fiction

  • Last minute changes in production schedules are very challenging: Tisa Tech Secure

    Last minute changes in production schedules are very challenging: Tisa Tech Secure

    MUMBAI: The pandemic has brought many challenges along with it and one of them is to do constant sanitisation drives at homes and workplaces.

    It has been more than a month since the Maharashtra government gave the nod to resume TV and film production, albeit with conditions. Yesterday, the I&B ministry also announced SOPs for film, TV, and OTT to restart production. The move is expected to bring back the cheer to the industry. 

    However, the rising Covid2019 cases on the production sets have instilled a sense of fear among producers. In order to maintain hygiene and safety production houses are conducting regular sanitisation, thermal checking, and taking several other measures.

    Manish Pupat, who last worked with Contiloe Pictures along with Fidelis Management Consultants director Harish Kale, has collaborated with Tisa Tech Secure CEO Atharva Samant to run a Covid2019 compliance service.

    Kale says that forming together with a new company and getting directors on board was a tedious process hence they found it better to join Samant’s company. Samant who is an expert in the safety and security space has an international and domestic experience of 11 years. He runs a company named Tisa Tech Secure, a security systems integration and consultancy company.

    Founded three months ago, the company is now providing services to BMC, certain Covid2019 hospitals, film, and television production houses. Tisa Tech Secure has provided services to Endemol Shine India and Viacom18 non-fiction show Fear Factor, Studio Next’s Ek Duje Ke Vaste 2 , Directors Cut’s Yeh Rishte Pyar Ke. The firm has also done an outdoor shoot for Banijay. It has provided services for  BBC, Studio Next, and Emmay for a series. The company has also done Covid2019 compliance for Big Boss Promo. It also includes a few ad films with Ransom and Goodfellas. All Zee5 series have Tisa Tech Secure health and safety officers deputed across Mumbai, Hyderabad, Goa and several other places. The firm has also been signed up by few international OTT Platforms for managing and ensuring all their shows and series are Covid2019 compliant.

    Pupat who is ecstatic to join the company said that the entire process of providing compliance services became quite seamless after they decided to hire experienced and trained manpower in the health and safety space. The professionals only needed the training to understand the entertainment industry aspects.

    Speaking about the overall Covid2019 compliance market size Pupat said, “Every shoot that happens in the entertainment space – TV fiction, TV non-fiction, a series, films, ad films, documentaries, promos, photoshoot, the entire gamut is the market size.”

    Kale who has been a part of the media and entertainment industry for more than 18 years believes that trust is the most important part of this service business. There is complete transparency of pricing, in fact depending upon the need of the client pricing is adjusted. He said, “Even if you provide great services but there is no market credibility then the journey becomes difficult.”

    Process

    The process involves recce of the shooting site, with the intention to identify areas that have high chances of getting infected. Post the recee, the TISA team presents a customized solutions presentation to the entire team, which includes crew, production, creative, and in some cases artists and directors and DOP as well. The solutions will differ for an indoor shoot and an outdoor shoot.

    Speaking about challenges faced while working for film and television production houses Samant said, "After every deal a detailed set-up is done and it requires a lot of effort. When a project is canceled on the very last moment it creates a lot of chaos, which the production houses don't realise. Sometimes our people leave for the set and then we receive the call that the shoot is not happening. Sometimes we get the call in the middle of the night to arrange people for services. However, the good thing is producers, actors, technicians all are involved in the process."

    Samant along with Kale looks after operations and training of people, whereas Pupat handles the sales and marketing part of the business. Samant also handles equipment and procurement.

    Pupat and Samant mentioned that trained manpower and the sheer motto of safety as a service sets them apart from other competitors. Additionally, the entire quotations are extremely transparent and detailed for the client to make their decisions easier. At the end, the clients are billed on the actual quantity used rather than charging them for the entire deal.

    While mentioning what has helped them the most while working with clients Pupat said, "I and Harish understand the industry as we have been around for long. Together we hold an experience of nearly 50 years. Add to that Atharva's experience in the safety space and immediate adaptation to the industry and its requirements."

    As of now, the firm has hired over 25 health and safety officers and about 50 members in the sanitization Team plus four executives in the back-end for coordination.

    Pre-shoot sanitisation process involves disinfection and misting. It covers the entire set, main floor, vanity vans, makeup rooms, PCR rooms, equipment, etc. All the disinfectants are EPA approved. The entry has a disinfecting tunnel loaded with thermal scanning kiosks. It also keeps a log of people entering. A team of two or three people is stationed for temperature screening. Apart from that the entire sanitation and fumigation process is done in front of the actors to build trust and a sense of security.

    The tools and other equipment are purchased from different vendors across India and some are purchased with the help of Samant's contact in the security ecosystem.

    As of now, the firm is not doing any promotional or marketing activities the business is purely run on word of mouth. According to associates, there have been no apprehensions from the client while choosing the services. They believe that once the client avails the services they themselves introduce them to other producers. Market credibility has helped them the most.

    No one knows when the pandemic will get over, however, Pupat, Kale, and Samant who started this business with the intention to provide end to end services will eventually go back to their respective areas of work once normalcy returns. Pupat will go back and join a channel and production house as he has predominantly been a COO and business head with numerous organisations over the years. Samant will return to his business of financial audits of budgets and shoots for films, OTT platforms etc and Samant will continue to provide safety and security to his existing list of clientele. Along with this Pupat along with a couple of friends is extensively working on a startup idea that is in the rural media space.

  • Government announces SOPs to restart film, TV, OTT production

    Government announces SOPs to restart film, TV, OTT production

    MUMBAI: It’s all systems go for TV, film and OTT originals’ productions in India. Minister of information and broadcasting Prakash Javadekar today announced the release of standard operating procedures for productions to recommence. Tweeting the announcement Javadekar said, “The general principles behind the SOP will help create a safe working environment for cast and crew in the industry.”

    Amongst the measures the MIB has proposed include:

    ·      Minimum cast and crew to be engaged on sets during shoots.

    ·      Resting and stay over facilities to be provided.

    ·      Staggered call and packup times for production units having multiple production locations.

    ·      Older, pregnant, and comorbid technicians and artistes take extra precautions and preferable not be exposed to front line work requiring direct contact with the public.

    ·      Mandatory wearing of masks by all crew excepting the actors facing the camera for a scene.

    ·      Installation of Aarogya Setu app will be advised to be downloaded and used by all.

    ·      Exit and entry signs

    ·      Special markings to ensure social distancing is maintained at six feet for all during every stage of the film making process.

    ·      Visitors and audiences are barred from sets.

    ·      PPEs for make up technicians as well as hair stylist. Wigs and make up kits to not be shared. As far as possible, actors should do their own makeup.

    ·      Rubber gloves for all working with shared equipment on sets.

    ·      Minimise the use of props, sanitise them, if essential.

    ·      Lapel mikes to be avoided and not share. Direct physical contact with the diaphragms of mikes to be avoided.

    ·      A Covid supervisor to be appointed for each production.

    ·      Permissions to be taken from local authorities.

    The announcement of the SOPs for media production should come as a relief for India’s film studios, ad film and TV and digital originals producers. The sector has for a large part been held back from producing for the past five months, leading to losses running into thousands of crore.

    For a detailed list of the SOPs, click here.

     

     

  • Banijay Rights promotes Endemol’s Matt Creasey as EVP sales, co-productions & acquisitions

    Banijay Rights promotes Endemol’s Matt Creasey as EVP sales, co-productions & acquisitions

    MUMBAI: Banijay Rights today has appointed Matt Creasey as EVP, Sales, Co-Productions and Acquisitions for the rest of the world. The announcement follows after Banijay’s recent acquisition of Endemol Shine Group and onward integration of the two global businesses.

    Creasey, in his new role, will report to Banijay Rights’ CEO Cathy Payne. He joins the leading sales division from Endemol Shine International, where, until now, he served as EVP, sales and acquisitions. Creasey will continue the company’s operation from Los Angeles, he will be responsible for all sales operations and the team for territories outside EMEA.

    Creasey joined Endemol Shine International in 2006 as director of sales and distribution. He has spent his career to date selling and exploiting some of the world’s largest entertainment brands. With an invaluable client base, cross-platform sales experience, unrivaled knowledge of the catalog, and extensive commercial wisdom, he will work closely with Banijay Rights’ newly-appointed leadership team to set the strategy and grow the business across his assigned territories. Exploring opportunities across linear, SVOD and AVOD, he will also handle scripted co-productions in the US and rest of the world, alongside sales and acquisitions.

    Prior to his significant stint at Endemol Shine International, Creasey was head of sales at Celador International.

    Banijay Rights CEO Cathy Payne said,  “Matt has long been a highly-valued senior member of the Endemol Shine team and I could not be more pleased to have him joining me at Banijay Rights. He has an undisputed knowledge of the industry and is sure to thrive in his new position leading the rest of the world across the united catalogues.”

    Creasey on his appointment says, “Bringing together an unrivalled catalogue of global hits, a hugely talented team and an impressive sales network, Banijay Rights now stands as one of the world’s biggest distribution leaders, and what better place to call home. I’m looking forward to working with Cathy again and can’t wait to get started on driving maximum value for our treasure trove of IP in the US and beyond.”

  • Production houses rope in external Covid2019 compliance teams

    Production houses rope in external Covid2019 compliance teams

    MUMBAI: After seven members of Hats Off Productions’ show Bhakarwadi tested positive for Covid2019 and one of them, a tailor present on the set, succumbed to the infection on 21 July, the makers of the show found themselves in a difficult situation.

    The shoot was immediately shut for four days. When shooting resumed on the sets of Bhakarwadi, hygiene and other safety protocols were revisited. Hats Off Productions producer JD Majethia also purchased a UV machine to ensure better screening and the crew was given three vitamin tablets, immunity boosters and warm lemon water daily to boost immunity.

    After these unfortunate incidents, several production houses have hired Covid2019 compliance agencies to monitor the situation. Majethia has also consulted a Covid2019 compliance company called TISA looked after by Manish Popat and Harish Salve.

    Majethia says, “When we resumed shooting, we asked TISA to visit our sets. They joined us on a Zoom conference call with our unit and guided us. They suggested and supplied UV machines. They taught us the right way of wearing a mask too.”

    TISA is also engaged with other companies and shows such as Green Valley Studio, Endemol Shine India’s show Fear Factor, Studio Next’s Ek Duje Ke Vaste, an outdoor shoot happening in Baramati for Banijay India, BBC Studios and is in talks with Amazon Prime too.

    Manish Popat who last worke with Contiloe Pictures and member of  TISA team says, "Our whole purpose of initiating the Covid2019 compliance initiative was from the point of view of "safety as a service ". From the beginning we have been of the opinion that for all to be Covid2019 compliant, presence of a health and safety officer is critical. Trained manpower has to ensure that everyone on set is Covid2019 compliant. All our offering insist on a health and safety officer and we are happy to say that all the clients working with us have believed in us and accepted our solutions lock, stock and barrel.

    In an earlier interaction with Indiantelevision.com, Contiloe Pictures CEO Abhimanyu Singh had mentioned that the studio has hired an external agency called Momentum India to look after sanitisation, fumigation and other safety measures. According to him, it is not the studio’s forte to understand Covid2019 related measures so it is better to hire an outside agency that understands all the nuances.

    Swastik Productions producer Rahul Kumar Tewary highlights that the studio has hired a Covid2019 action team that looks at SOP measures. He has permanently purchased the sanitisation and fumigation equipment.

    He says, “We are rigorously implementing all the guidelines mentioned by the government and we have been fortunate that nothing has happened on our set. They are responsible to look after the number of people who are regularly visiting our sets. They also ensure that the people who are present on the set do not move out or interact with outside people. Access to people visiting from Mumbai is also limited. Even if they come, they have to get quarantined for 14 days. They are responsible for the daily thermal screening and maintaining data. They constantly monitor if social distancing is maintained or not.”

    Tewary’s action team is not involved in any production work. Private vehicles and cars are fumigated once they exit the set. The set is also fumigated after every shoot.

    Creative Eye Limited MD Dheeraj Kumar already has a full-fledged system in place at Kailash Plaza. He is of the opinion that rather than hiring an outside agency it is more suitable to have own people to monitor all the SOP measures.

    Kumar mentions that the protocols are followed at both the production set and office. Kumar has a post-production unit, edit team, dubbing and sound team present in the office. Thrice a week, the entire building and the office premise is sanitised. He too has purchased the equipment permanently and prefers doing the task in-house as the external agency may be neglectful.

    Whether in-house or external, a Covid2019 compliance team seems to be a must for production houses until the pandemic recedes. 

  • Balaji Telefilms elaborates how pandemic hit

    Balaji Telefilms elaborates how pandemic hit

    KOLKATA: The complete shutdown of more than three months has had a sizeable impact on television and movie content creators. Although there has been a notable surge in TV viewing, leading broadcasters are also staring at huge losses as brands have limited their ad spends. In an earnings call, Balaji Telefilms management said that there would be a renegotiation with broadcasters. 

    “We will all have to take a small cut in our end prices but I think we are trying to compensate that by also reducing the cost so that we get closer to the gross margins of this year. It will be a little late than what was there in the financial year that just ended but we are trying to make that good by putting more volume,” the management stated. 

    Balaji Telefilms Ltd had witnessed a sharp decline of Rs 18 crore on the television business side in the Q4 of last financial year. While the pandemic induced crisis started towards the end of the quarter, the production house attributed Rs six crore to the Covid2019 crisis.

    When the industry started feeling the heat of the pandemic, Balaji Telefilms joint managing director and creative head Ekta Kapoor announced that she would forgo a year’s salary of Rs 2.5 crore. Later, several reports floated in late April that it would cut three months salary of their employees. The management mentioned that the salary bill was down to 50 per cent from where it was in pre-Covid2019 time in April, May and June. 

    While production cost was non-existent in that period, it is looking at an overall reduction of minimum 10 to 15 per cent in the production cost both on the digital and television side. “But this has to be measured on a week-to-week basis in the first two weeks of starting production. We are on track and we will keep you updated on how these cost-cutting measures take shape as the year goes on,” the management also mentioned. 

    “All the content that we put on ALTBalaji is for individual audiences whereas our movies and television are for family audiences. Given that theatres are not going to open too soon we will have our business model skewed more towards digital releases, especially for films that cost less than around Rs 25 crore to Rs 30 crore,” it added. 

    The management also addressed the query on finding investors, which was reported earlier by a publication. Although it did not clarify it did not refute it altogether as well. ”We have a roaring digital future. We keep getting enquiries from investors to invest in our platform but we are still holding our horses because we feel we have not reached the peak of our potential and it is going to be an opportunity in this crisis that we are fully poised to exploit in the remaining months of the financial year,” the management said. 

  • GRB Studios Takes Premium Factual Entertainment to Audiences Around the Globe

    GRB Studios Takes Premium Factual Entertainment to Audiences Around the Globe

    MUMBAI:  GRB Studios  International sales and Operations  executive vice president Hud Woodle had announced multiple deals for its top performing factual entertainment programs, with a large volume deal for LatAm with Pluto TV. Deals were also recently completed in Germany, with ProSieben and Discovery; as well as with broadcaster OSN in the Middle East; AETN U.K. took new titles; and a deal was finalized with MNET in Africa. Two territories bought the GRB-produced, real-life medical drama series Untold Stories of the E.R., marking 127 countries that the hit program has been broadcast.

    Pluto LatAm acquired a variety of Spanish-language shows. Nature programs include; Full Force Nature; Anatomy of Disaster, Animals Are People Too, Extreme Contact, and Storm Warning. Action programs include: Fugitivos de la Ley; High Seas Rescue and Now See This; real medical drama series Untold Stories of the E.R., as well as Impact Tv a half hour variety program, featuring peculiar stories from around the world.

    As mentioned, Germany saw two deals for GRB: ProSieben renewed three seasons of true romantic crime series, Wicked Attraction, and licensed S6 for the first time while Discovery Germany acquired Untold Stories of the E.R, marking the first time the program airs in the country.

    AETN acquired S9 of true crime investigative series, On the Case for the U.K. while Middle East channel OSN acquired 6 hours of Top Travel, showcasing luxurious international travel. MNET took three docu-series for Africa: For Peete's Sake; Mind Your Business, and The Book of John Grey.

    Woodle stated: “GRB Studios has been answering the global call for premium factual content during these trying times of Covid-19. We are thrilled to partner with Pluto LatAm, offering over 225 hours of Spanish-language programming in a variety of genres. And our own GRB-produced series, Untold Stories of the E.R. just premiered in its 127th country.  From GRB’s catalog of over 4,000 hours of audience-favorite programming, we offer something intriguing and entertaining for everyone, everywhere.”

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  • Shemaroo op revenue down due to COVID2019 impact

    Shemaroo op revenue down due to COVID2019 impact

    BENGALURU: Indian content creator, aggregator distributor, specifically in the media and entertainment industry and now television broadcaster, Shemaroo  Entertainment Ltd (Shemaroo) reported 39.7 percent drop in consolidated operating revenue at Rs 86.2 crore for the quarter ended 30 June 2020 (Q1 2020, quarter or period under review) as compared to the Rs 143.03 crore  for corresponding year ago quarter Q1 2020. Consolidated operating revenue for Q4 2020 was Rs 122.74 crore. However, the company reported a lower consolidated loss of Rs 12.81 crore for the period under review as compared to the loss of Rs 14.07 crore for the immediate trailing quarter (Q4 2020). The company had reported consolidated profit after tax (PAT) of Rs 16.38 crore in Q1 2020.

    Shemaroo revenue from traditional media in Q1 2021 declined 44.5 percent to Rs 52.3 crore from Rs 94.30 crore in Q1 2020. Revenue from traditional media in Q4 2020 was Rs 76.9 crore. Shemaroo’s revenue from digital media also fell in Q1 2021 to Rs 33.9 crore from Rs 48.7 crore in Q1 2020 (y-o-y decline of 30.4 percent) and Rs 45.8 crore (q-o-q decline of 26 percent) in Q4 2020. However, contribution to revenuefrom digital media has been increasing over time says the company. In Q1 2020, digital media revenue’s contribution to overall revenue was 34.06 percent, which increased to 39.33 percent in Q1 2021. In FY 2020, the contribution of revenue from digital media to operating revenue grew to 38.55 percent from 16.94 percent in FY 2016. Please refer to the figure below:

    Sheamroo says in an investor presentation for Q1 2021 that the nationwide lockdown due to COVID2019 coupled with the overall sluggishness in the Indian economy impacted consumption and hence advertisingspends by brands. It says that during the quarters, deals were either deferred or re-negotiated which had an impact on the margins and cash flows. The company says that since it had alreadyundertaken cost rationalization measures even before the lockdown, it helped the company to tide over this pandemicoperationally. However, Shemaroo says that is cognisant of the external environment and has thereby undertaken several measures to optimize the operations andrationalize thosebusinesses that have been severely impacted.

    Shemaroo’s consolidated operating EBITDA for Q1 2020 was negative Rs 4.89 crore as compared to consolidated operating profit of Rs 31.91 crore for the corresponding year ago quarter. For Q4 2020, Shemarro had negative EBITDA of Rs 3.08 crore.

    Let us look at the other numbers reported by Shemaroo

    Consolidated total income (operating revenue plus other income) for Q1 2021 declined 39.8 percent y-o-y to Rs 86.55 crore from Rs 1543.87 crore in Q1 2020. Consolidated total expenditure for Q1 2021 reduced 15.6 percent y-o-y to Rs 99.82 crore from Rs 118.32 crore in Q1 2020. 

    Consolidated operating costs for the period under review declined 19.1 percent y-o-y to Rs 71.16 crore from Rs 87.91 crore in Q1 2020. Employee benefit expense in Q1 2021 was almost flat (reduced by 0.2 percent) y-o-y at Rs 15.72 crore as compared to Rs 15.75 crore in Q1 2020, Finance costs in Q1 2021 increased 18.9 percent to Rs 6.86 crore from Rs 5.77 crore in Q1 2020. Other expenses in Q1 2021 reduced 43.6 percent y-o-y to Rs 10.22 crore from Rs 7.46 crore in the corresponding year ago quarter.
     

  • Endemol Shine India to produce first Marathi originals

    Endemol Shine India to produce first Marathi originals

    MUMBAI: Endemol Shine India today announced that it will be creating two originals in collaboration with Gulbadan Talkies, a creative video production service boutique based in Mumbai. The two series will include Thorle Vishwasrao Dhakle (TVD) is an eight episode, 45-minute Marathi series and Radical is an eight episode,45-minute, multi-lingual comedy series (primarily Hindi). Both series will showcase actors from BhaDiPa(Bhartiya Digital party) a subset of Gulbadan Talkies.

    Thorle Vishwasrao Dhakle (TVD) is an eight episode, 45-minute Marathi series for Indian fans of Detective Stories, Murder Mysteries, and Conspiracy Theories. Based in Maharashtra, the series focuses on the relationship of a Grandfather (70, retired Private Detective) and his Grandson (26, computer hacker, angsty youth) as they work together to solve a murder that happens in front of their very eyes. However, the solution is not as clear as they thought, and they find themselves wading into a dark world of conspiracy.

    Radical is an eight episode, 45-minute, multi-lingual comedy series (primarily Hindi). Abandoned in the middle of Mumbai – Ahsaan, Samar and Wajid build a life from scratch over the ten years that follow. Their unplanned immigration to Mumbai soon becomes a refuge from their past, a past that has been rightfully demonised. Mumbai’s fate is left to the Mumbaikar himself, be it the aspiring Ahsaan, the family man Samar, or the swindling conman Wajid. Through their actions, they unknowingly repay the debt they owe Mumbai for offering them a chance to carve out their own existence.

    Endemol Shine India CEO Abhishek Rege said, “We are pleased to collaborate with a creative powerhouse brand like BhaDiPa and Gulbadan Talkies for these two shows. At Endemol Shine India, we are always looking at creating content that is exciting and entertaining for our viewers and tying up with fresh talented artists and directors who are eager to showcase their ideas and enhance the creative space.”

    "As creators who carved out our space in Marathi content, we have always believed that regional-language stories should be consumed on a global scale. We’re absolutely kicked to be co-producing a Marathi series and our first Hindi series with an internationally renowned partner, Endemol Shine India," said Gulbadan Talkies & BhaDiPa CEO Paula McGlynn.

    Thorle Vishwasrao Dhakle and Radical are currently under development and will start production soon.

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  • MIPChina virtual edition starts tomorrow

    MIPChina virtual edition starts tomorrow

    MUMBAI: Everyone thought exhibitions and industry gatherings are dead, courtesy Covid2019, right? Reed Midem is just about  to prove them wrong with its fourth edition of its MIPChina endeavour, which normally takes place in the beautiful city of Hangzhou in China. It consists of face to face meetings which are preset depending on buyers and sellers' preferences when they register for the market. Additionally, conferences around the Chinese market are held and networking parties as well.

    This year, starting from tomorrow, 28 July, MIPChina has totally moved online and will be held over four days. Close to 3500 meetings have been designed for the 170 odd buyers and sellers who have signed up for it. Indian majors such as ZeeTV, Disney Star India, In10 Media, IndiaSpark and Lattu Kids are participating in MIPChina.

    “We are delighted to bring MIPChina to the world,” says Reed Midem’s Ted Baracoss. “It’s the first of the content trading markets which is kicking off. And we are hoping many deals will be struck. We are doing this for the love of TV. The meetings are going to be held across 12 different time zones.”

    CMM director Kristian Kender says that the mood is buoyant, television channels need content and hence MIPChina was rolled out. “You have to be flexible when doing deals with the Chinese,” he said. “In terms of contracts, taxation issues, it’s best to have clarity right from the get-go.”

    CMM is the representative in China for Reed Midem’s markets like MIPCOM, MipTV, MipChina, MIPCancun, among others.

    All3Media, ABC, Arte France, Beta Film , Beyond Distribution, Caracoal Television. Bilibili group, IQiyi, China Huace Film Group, Dorimedia, Entertainment One TV, Fuji TV, Global Screen, Global Agency, Kanal D, Hari International, Nippon TV, MediaCorp, Paramount, TV Tokyo, Rai, Warner Bros, ZDF, Alibaba, ANTV, Astro Malayasia, Bytedance, Fuji TV, Huanxee, Henri Advertising, Huawei, JY Animation, KBS Media, Kanal 7, Tencent, TBS, TV Tokyo, Viacom CBS Media, Youkou, are among some of the leading firms that are participating in MIPChina.

    MIPChina’s conference schedule will, however, take place in September.

  • Balaji Telefilms operating profit up; ALT Balaji subs and revenue increase in FY 2020

    Balaji Telefilms operating profit up; ALT Balaji subs and revenue increase in FY 2020

    BENGALURU: The most successful television content and film production house in India, the Shobha Kapoor and Ektaa Kapoor-led Balaji Telefilms Ltd (Balaji) reported 34.1 percent growth in consolidated operating revenue at Rs 573.55 crore for the fiscal ended 31 March 2020 (FY 2020, year under review) as compared to the Rs 427.71 crore reported for the previous year (FY 2019). Consolidated operating revenue for the quarter ended 31 March 2020 (Q4 2020, quarter under review) also increased 21.2 percent y-o-y to Rs 107.68 crore from Rs 88.86 crore in Q4 2019. Consolidated loss of FY 2020 declined to Rs 58.96 crore from Rs 97.75 crore in FY 2019. The company reported lower consolidated loss of Rs 19.84 crore in Q4 2020 as compared to 27.97 crore in Q4 2019.

    Balaji reported having completed 823 hours of commissioned programmes in FY 2020 as compared to 763 hours in FY 2019. Slightly lower programming hours were completed in Q4 2020 – 198 hours as compared to 200.5 hours in the corresponding year ago quarter. The company had halted all production on 18 March 2020 on account of the COVID2019 pandemic.  The company said that the realisation per hour was lower in FY 2020 at Rs 0.37 crore per hour as compared to Rs 0.38 crore per hour in FY 2019 because of lower number of weekend shows. Realisation per hour in Q4 2020 at Rs 0.39 crore per hour was however higher y-o-y as compared to Rs 0.36 crore per hour in Q4 2019.

    On a consolidated basis, the company reported operating profit (Simple EBITDA) of Rs 10.73 crore in FY 2020 as compared to a consolidated operating loss (negative EBITDA) of Rs 105.11 crore in FY 2019. For Q4 2020 also, Balaji reported positive consolidated EBIDTA of Rs 39.58 crore as compared to a consolidated operating loss of Rs 33.24 crore in Q4 2019.

    ALT Balaji numbers

    Though it has yet to become profitable, Balaji’s OTT platform ALT Balaji operating revenue almost doubled (increased 85.1 percent) to Rs 77.49 crore in FY 2020 as compared to Rs 41.87 crore in FY 2019. The company reported lower operating loss for ALT Balaji at Rs 92.16 crore for FY 2020 as compared to an operating loss of Rs 120.81 crore for FY 2019. Balaji says that direct subscription revenue for ALT Balaji has grown over 100 percent year on year.

    ALT Balaji operating revenue increased 61.2 percent y-o-y to Rs 22.18 crore during Q4 2020 as compared to Rs 13.76 crore in Q4 2019. The company reported lower operating loss for ALT Balaji at Rs 14.44 crore for Q4 2020 as compared to an operating loss of Rs 31.75 crore for Q4 2019.

    Commissioned programmes

    Revenue from the company’s television programming (Commissioned programmes) increased 22.5 percent y-o-y to Rs 421.25 crore in FY 2020 as compared to Rs 344.02 crore in the previous year. Commissioned programmes business operating results increased 369.2 percent during FY 2020 to Rs 83.06 crore as compared to Rs 49.09 crore in the pervious year.

    Revenue from the company’s television programming (Commissioned programmes) increased 35.6 percent y-o-y to Rs 110.89 crore in Q4 2020 as compared to Rs 81.80 crore in the corresponding year ago quarter. Commissioned programmes business operating results declined 3.5 percent during Q4 2020 to Rs 19.55 crore as compared to Rs 20.27 crore in the corresponding year ago quarter.

    Films segment

    Revenue from Balaji’s Films segment increased 69.2 percent in FY 2020 to Rs 172.40 crore from Rs 102.27 crore. Films segment operating results grew more than six-fold (grew 555.2 percent) at Rs 54.14 crore as compared to an operating profit of Rs 8.26 crore in FY 2019.

    Revenue from Balaji’s Films segment fell 43.8 percent y-o-y in Q4 2020 to Rs 5.46 crore from Rs 9.72 crore. Films segment operating results was more than three times higher (up 259.4 percent) at Rs 4.49 crore as compared to an operating profit of Rs 1.25 crore in Q4 2019.

    Some standalone numbers

    Standalone PAT for FY 2020 was 63 percent lower at Rs 21.77 crore as compared to Rs 58.87 crore in FY 2019. Balaji’s Standalone PAT for Q4 2020 and Q4 2019 was Rs 10.43 crore and Rs 2.18 crore respectively.

    Balaji’s standalone operating revenue for FY 2020 31 percent higher at Rs 567.63 crore as compared to Rs 438.67 crore in FY 2019. Standalone operating revenue for Q4 2020 and Q4 2019 was Rs 116.06 crore and Rs 82.12 crore respectively.

    Company speak

    Balaji Telefilms Limited managing director Shobha Kapoor said in the investor release, “This year has been one of the best year for Balaji Telefilms despite the partial impact of COVID-19 towards the end of March 2020. We continue to focus on creating good content and growing our digital platform. We are witnessing huge opportunity within the digital space due to COVID-19 and we are gearing ourselves to exploit this opportunity.”

    Let us look at the other numbers reported by Balaji

    Consolidated total income for FY 2020 at Rs 582.16 crore was 26.7 percent higher y-o-y as compared to Rs 459.48 crore. Consolidated total expenses for FY 2020 increased 9.7 percent to Rs 604.33 crore from Rs 1550.90 crore.

    Consolidated cost of production declined 12.6 percent FY 2020 to Rs 349.89 crore as compared to Rs 400.45 crore in FY 2019. Consolidated marketing and distribution expenses in FY 2020 increased 40.4 percent to Rs 60.56 crore from Rs 43.12 crore in the previous year. Consolidated employee benefits expense in FY 2020 declined 26.5 percent to Rs 36.45 crore from Rs 49.57 crore in FY 2019. Consolidated other expenses in FY 2020 increased 19.1 percent to Rs 76.42 crore from Rs 36.45 crore in FY 2019.

    Consolidated total income for Q4 2020 at Rs 106.09 crore was 9 percent higher y-o-y as compared to Rs 97.29 crore. Consolidated total expenses for the quarter under review reduced 5.6 percent y-o-y to Rs 118.74 crore from Rs 125.76 crore.

    Consolidated cost of production declined 16.8 percent y-o-y in Q4 2020 to Rs 75.36 crore as compared to Rs 91.83 crore. Consolidated marketing and distribution expenses in Q4 2020 declined 40 percent y-o-y to Rs 5.01 crore from Rs 8.34 crore. Consolidated employee benefits expense in Q4 2020 declined 35.2 percent y-o-y to Rs 8.57 crore from Rs 13.22 crore. Consolidated other expenses in Q4 2020 reduced 27.5 percent y-o-y to Rs 20.17 crore from Rs 27.82 crore.