ITV

Category: Production House

  • BBC elevates Charlotte Moore as chief content officer

    BBC elevates Charlotte Moore as chief content officer

    In her new role, Moore will be the senior leader for BBC content and audiences across all genres and platforms, with the exception of news and nations and regions. Her responsibilities include television commissioning for all BBC network TV channels and BBC iPlayer, radio commissioning and production for all ten national radio networks and BBC Sounds, multiplatform commissioning and production for all children’s and education content, and BBC Proms and Orchestras.

    BBC chairman Sir David Clementi said: “It is a great pleasure to welcome Charlotte Moore to the BBC Board. Charlotte has made a huge success of bringing audiences to our television portfolio—resulting in record-breaking figures for iPlayer and ensuring the BBC can reach audiences beyond the critical linear channels. She will do a brilliant job as Chief Content Officer and be an important asset to the BBC Board.”

    Moore joined the BBC in 2006 as commissioning executive for documentaries. She has held such roles as acting controller of BBC Daytime Television, controller of BBC One and controller of TV channels and iPlayer. Since 2009, she was the commissioning editor for documentaries where she was responsible for strategy and commissioning for in-house and independents across all four channels. Charlotte transformed the genre to produce a huge breadth of original programming, seeking out the best talent to bring the most compelling and inspiring documentary content to a broad audience. From Bafta-winning titles Protecting Our Children, 7/7 One Day In London, Between Life and Death, The Great British Bake Off, Terry Pratchett’s Choosing To Die, The Choir and Welcome To Lagos to hit series like Inside Claridges, The Call Centre, Lambing Live and The Tube.

    In January 2016, she was appointed as controller of TV channels and iPlayer, where she was the creative, editorial and strategic lead for BBC One, BBC Two, BBC Four and BBC iPlayer, ensuring the channels work in a complementary way while enhancing their distinctive positioning. In July 2016, Moore was elevated as the director of BBC content and controller of BBC One. She was responsible for the creative vision across the portfolio of channels, BBC iPlayer and genres and took on oversight of BBC Sport.

    Prior to joining the BBC, Charlotte was director of contemporary factual at IWC Media focusing on high-profile contemporary narrative documentaries and series for all major UK channels, including BBC Two’s landmark series Stephen Fry: The Secret Life Of A Manic Depressive.  

  • Producers Guild issues statement, slams attackers who are maligning film industry’s reputation

    Producers Guild issues statement, slams attackers who are maligning film industry’s reputation

    The Producers Guild of India (PGI) today issued a statement related to the countless attacks against the film industry. The guild has accepted that the Indian film industry has its own imperfections, but it also highlights that the industry is also one of the most important sources of soft power for the nation at a global level.

    Following the death of Bollywood actor Sushant Singh Rajput, celebrities like Kangana Ranaut have re-ignited the nepotism debate and highlighted the drug abuse in Bollywood. While she has been targeting influential filmmakers for favouring celebrity kids, Ranaut recently claimed that 99 per cent of Bollywood was on drugs.

    “The last few months have seen relentless attacks on the reputation of the Indian film industry across all media. The tragic death of a promising young star has been used by some as a tool to defame and slander the film industry and its members,” the statement read.

     “A picture has been painted of the industry as a terrible place for outsiders to aspire to; a place that treats those who dare to enter it with contempt and derision; a murky den of substance abuse and criminality. This narrative is salacious enough for the media to exploit to great effect in order to boost its ratings, readership and page views. But it is not the truth” the guild added.

     “Like any other sector, there is no doubt that the film industry has its imperfections, and there must always be an ongoing attempt by any industry to improve upon itself, learn and evolve while weeding out unsavoury elements or improper practices that hold it back. But to paint an entire industry with the same brush is a gross misrepresentation of reality,” the guild further said.

    On the positive aspects of the industry, the guild shared, “The film industry employs hundreds of thousands of people, boosts travel and tourism and is one of the most important sources of soft power for India across the world. It has entertained hundreds of millions of people for over a century and has brought joy, honour, and glory to the nation. It has welcomed and embraced talent from across the country – from the worlds of literature, poetry, art and music – and has drawn them in to create a unique cinematic language.”

    The statement read, “This has ensured that we are one of the few countries in the world to still have a vibrant and thriving local film industry across multiple languages, despite the decades-long onslaught of Hollywood.” It also mentioned that the industry has always contributed generously to national causes in times of need, and has offered its resources – name, recognition, time and funds – whenever needed.

    The guild also agreed that it’s not easy to enter the industry.

    “We do not negate the personal experiences of anyone from the industry, and undoubtedly many of those entering the business and seeking to establish themselves have faced numerous hardships, struggles and disappointments in the course of building a career here. But that is no different from the challenges and obstacles faced by new entrants in any field that they are not born into – be it politics, law, business, medicine or the media,” the guild further added.

    It said, “However, a concerted effort has been made to single out the film industry as one that specifically inhibits and prohibits new talent from the outside from thriving. This could not be further from the truth.”

    The letter also mentioned that there are scores of talented actors, directors, writers, musicians, cinematographers, editors, sound designers, production designers, costume designers, art directors, and numerous other film professionals across multiple disciplines who had absolutely no connection in the industry, but they have flourished and done pathbreaking work, which has redefined Indian cinema.

    The statement further read: “Being born into the industry most definitely affords you the privilege of access and a first break, but after that it is up to each individual’s talent, hard work and drive to propel them forward. This is a place that ultimately rewards your talent, work ethic and ability to connect with an audience – regardless of your religion, gender, caste or economic strata.”

    It agreed that the industry is undoubtedly more difficult for an outsider to get that first chance to display their talent. However, with perseverance, persistence and a little bit of luck – it could be achieved.

     “These are difficult times for our country and the world, so rather than venting our fears and frustrations on each other with vile and vicious trolling, it is more important than ever to come together instead of tearing each other apart. Members of the industry on both sides of this debate, especially women, have been subjected to rape threats and death threats. This is unacceptable and must stop now,” the statement said.

  • Ad filmmakers’ express displeasure over I&B ministry’s guideline

    Ad filmmakers’ express displeasure over I&B ministry’s guideline

    MUMBAI: If there’s one group of production professionals who believe that the ministry of information and broadcasting could have done better with its recently released standard operating procedures (SOPs) for filming again, it is the TV commercial film makers.

    According to the Association of Advertising Producers (ASAP), the ministry could have been more granular or detailed in the SOPs.

    ASAP honorary general secretary and Corcoise Films executive producer Cyrus Pagdiwala points out that the I&B ministry’s guidelines are very loosely drafted, risk factors have not been considered nor has it offered any comprehensive solutions. He believes ASAP’s Covid209 measures are far more encompassing and detailed in terms of safety measures, than the I&B’s SOPs.

    TV commercial film makers have already been on the floors, filming commercials for more than a month now, adhering strictly to the ASAP protocols, which mandate risk assessment and plans, leave of absence if anyone on the production shows symptoms of illness, influenza or a simple cough, safe transport for employees and so on.

    “We are not completely satisfied by the government’s directive. There is no specific detail about how many people can be present on the set. The criteria of 33 percent cast and crew members on the set is extremely vague. A larger production unit can still manage to have more people on the set. I believe in a place like India it is not possible to put a number on how many people can be there on the set. Some errant producers can lie about the number of professionals on the site, if one were to look at the I&B SOPs. In some countries the government has specified that you cannot have more than 45 people on the set so something like that can be done in India,” adds Pagdiwala.

    Cutting Edge Production executive producer and ASAP member Billoo Sandhu agrees that the I&B guidelines are basic. He recently shot an ad film in Chandigarh and believes with the opening up of filming across India, film makers can now start planning big budget commercials which were hitherto a no-no, courtesy the lockdowns and restrictions.

    Says he: “Now shooting is not limited to just Mumbai and nearby places, now we will start looking at other studios. But I think shooting in containment zones will still not be allowed as it is not safe. However, the states which are not film friendly will now allow us based on these guidelines.”

    Pagdiwala is pleased that film makers can now travel and shoot in other locations but says the central government’s announcement has come much too late. “Because, Maharashtra government has allowed shooting two months back. So, this directive laid by the central government sounds weak and too dated,” he further states.

    Cutawayy Films executive producer Gaurrav Dhar opines that the centre’s directive to have a Covid2019 coordinator on every shoot is welcome, though he would like to see a specialist or professional appointee being given that responsibility. According to him the I&B’s guidelines have helped remove the stigma that has come to be associated with Covid2019. “While shooting if there are similar protocols and guidelines across, shooting becomes easier and everybody is in sync,” he adds.

    Ogilvy Group 82.5 Communications chairman and chief creative officer Sumanto Chattopadhyay said that while shooting the team is strictly adhering to all the safety measures. Chattopadhyay has been handling shoots in Mumbai, Bangalore, Kerala and several other places remotely through Zoom calls.

    Ad-filmmakers highlight that with the IPL being flagged of in September, the requirement for TVCs is going to skyrocket. “We hope that October onwards, business will be back on track,” says Pagdiwala.

  • Panorama Studios expands its footprint by setting up an office in Ahmedabad

    Panorama Studios expands its footprint by setting up an office in Ahmedabad

    MUMBAI: Fresh from the success of Khuda Haafiz, Panorama Studios has expanded its footprint in the country by opening an office in Ahmedabad, Gujarat. The huge milestone comes for the leading production and  distribution house after having produced over 50 films in Hindi and other regional languages and distributed over 500 films in multiple languages across India and overseas.

     The new office is an addition to the existing three offices (in Mumbai, Delhi and Bangalore) that Panorama Studios operates from, within India. It has been established in Ahmedabad for the production, marketing & distribution of Gujarati films as an addition to their existing slate of releases.

    Panorama Studios, in association with VCS Industries Limited, will jointly run operations in order to provide the said services to the producers & exhibitors of Gujarat with the expertise available locally. The entity will offer a wide range of services including production, distribution, marketing, social media marketing, online and offline PR, publicity design & audiovisual campaign, P&A support, co-production support, in-film branding, co-branding for ready films, etc.

    Panorama Studios director Abhishek Pathak says, “We at Panorama Studios are very positive and excited about having planted a new arm of business in Ahmedabad. It is one of the most vibrant cities in India and we hope to cater generously to its populace. This new office will be an extension of our voice in cinema for the Northwest region.”

    Panorama Studios managing partner Murlidhar Chhatwani says, “We are glad to be able to set a base in a city that is culturally rich and is so perceptive to cinema. Gujarati cinema has evolved to a great extent and tapping into the talent and craft that comes from there will fortify our repertoire.”

    VCS Industries co-founder and directors Rahul Dhyani and Anish Patel said, “Just one great partnership with the right production & distributor company like Panorama Studios will have an incredible impact on our business horizons with the film market leading “VCS” Company in Gujarat. Insiders of the Gujarati film industry have had to travel to and from Mumbai for solutions such as marketing, movie release, overseas distribution, etc. Gollywood producers will have easy access to these solutions with our new office in Ahmedabad."

  • 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.”

    Follow Tellychakkar for the consumer facing news & entertainment