ITV

Category: Production House

  • United Mediaworks & K Sera Sera merge ops; set aside Rs 100 crore as investment

    United Mediaworks & K Sera Sera merge ops; set aside Rs 100 crore as investment

    MUMBAI: K Sera Sera(KSS) Digital Cinema Private Limited and United MediaWorks (UMW) joined forces to become the third largest digital cinema player in the country.

     

    The two companies have decided to integrate their full operations and technology and use their combined energies to develop and consolidate their market position. Post the merger across content, technology and operations, the new venture will serve their existing 600 digital cinema theaters across the country. KSS’s Satish Panchariya will be the Chairman of the new company and UMW’s Ashish Bhandari will be the Managing Director.

     

    To fuel their expansion plans, both the companies plan to invest INR 100 crores over the next two to three years. This investment will be used to build state-of-art and scalable digital cinema technology and on ground servicing, while assisting in digital content security and distribution of the films. Over the next 2 years, the joint venture is aiming to capture 25% market share with presence in 2000 screens across India. 

     

    As part of their growth strategy, the two companies aim at reaching out to advertisers, targeting both, national and regional players and offer them pan India reach. Both the companies are working together to build a common technology platform for content acquisition, content processing and field servicing. The new platform will not only provide cost effective solutions to both multiplexes and single screen theatres, but also offer advertisers a wide reach across the country for better ROIs. Additionally, the companies will mutually work towards delivering best quality services and reaching out to the untapped market segments of India. They intend to serve the Indian cinema industry with best products and services. The exisiting workforce will remain unaffected in both of the companies.

     

    Speaking on the joint venture, United Mediaworks co-founder & joint managing director Ashish Bhandari said, “We are really excited to partner with K Sera Sera, as our goal has always been to support the growth of the Media and Entertainment industry. With this merger, we are aiming to expand our presence across India and create a benchmark for the entire industry in terms of technology and quality services. This collaboration is also an effort to revive and support the single screen theatres that face tough competition from the multiplexes in the industry.”

  • Balaji Telefilms’ TV show report card for H1 2016

    Balaji Telefilms’ TV show report card for H1 2016

    BENGALURU: How is Balaji Telefilms – India’s leading TV production house  – faring as far its contribution to the ratings of its major clients – Star Plus, Zee TV, Colors, Sony, and DD – is concerned? Indiantelevision.com decided to give you a sneak peek using the company’s presentation filed with the BSE for the last quarter. Bear in mind that in its December 2015 corporate presentation, Balaji Telefilms has mentioned BARC ratings and its contributions while in its September 2015 presentation, the company indicated TAM parameters. And we are comparing the numbers for H1-2016 with FY-2015. 

     

    Despite the difference in the two rating bodies’ matrices, this article tries to show the variance of Balaji Telefilms’ contribution to the channels’ GRPs between Week 37 and Week 45, while indicating the slot leaders on these channels. That Balaji Telefilms is a major contributor to most, if not all the channels’ GRPs, is a foregone conclusion.

     

    Channels contribution to Balaji’s revenues

     

    The Star network replaced the Zee Network as the major contributor to Balaji’s revenues in H1-2016 due to Nach Baliye 7 on Star Plus and the discontinuation of Jodha Akbar on Zee TV. The Star network contributed 35 per cent to the company’s revenues in H1-2016 as compared to the 19 per cent it had contributed in FY-2015.

     

    In FY-2015, the Zee Network’s contribution to Balaji Telefilms’ revenue was 44 per cent, whereas in H1-2016 it declined to 28 per cent as per the company’s December 2015 corporate presentation.

     

    Colors’ contribution to Balaji Telefilms’ revenues in H1-2016 increased to 14 per cent as compared to 12 per cent for FY-2015. Sony also increased its contribution in percentage terms to Balaji Telefilms revenues in H1-2016 to 13 per cent from nine per cent in FY-2015, as did Life OK – its contribution to Balaji Telefilms revenues increased to 10 per cent from seven per cent in the previous financial year.

     

    Sony Pal and Doordarshan (DD) had contributed four and five per cent respectively to the company’s revenues in FY-2015, but have made no contribution to Balaji Telefilms’ revenues in the current half year. The company says that DD’s contribution dropped down to zero per cent due to postponing the revenue realisation to the last quarter of FY-2016. Balaji Telefilms says that the new shows from Q3-2016 onwards will further strengthen the contribution of Colors, Star Plus, &TV and Sony to its revenues.

     

    Let’s see how the top three channels fared in weeks 37 and 45 across the two ratings systems vis-?-vis some Balaji Telefilms soaps:

     

    Week 37

     

    In week 37, as per BARC ratings, Colors led the chart with a considerable rise in ratings and grabbed first place amongst the Hindi GECs with 414841 (000Sums) as against 386518 (000Sums) in week 36. Though Star Plus witnessed a rise in ratings, it stood behind Colors in the second spot with 381365 (000Sums) as compared to 370135 (000Sums) in the previous week. Zee TV and Life OK were perched at the third and fourth slot with 256811 (000Sums) and 221762 (000Sums) respectively. Sab secured the fifth berth in the list with 183879 (000Sums).

     

    As per TAM, it was Star Plus that held on to its lead position in Hindi general entertainment channels (GECs) category in week 37 for HSM (including LC1) with 237 GRPs. Colors was in the second slot with 219 GRPs, while Zee TV secured third position with 159 GRPs.

     

    So there is a difference in the top two slots between the two systems – according to BARC, Colors had the highest GRPs, while according to TAM, Star Plus had the highest GRPs in week 37. The third spot according to both the systems belonged to Zee TV.

     

    Week 45

     

    According to BARC, Star Plus led the Hindi GEC genre with 748197 (000Sums), while Zee Anmol bagged the second position with 717923 (000Sums). Colors secured third spot with 656542 (000Sums), while Zee TV fell to the fourth position with 638475 (000Sums).

     

    According to TAM, Colors bagged the first spot with 236 GRPs in week 45 against 221 GRPs in week 44. Star Plus saw a decline in ratings to second slot with 226 GRPs against 239 GRPs in previous week followed by Zee TV in the third spot with 152 GRPs and Life OK at fourth place with 138 GRPs.

     

    Here again there is a difference – TAM says that Colors had the first place in terms of GRPs, while Star Plus was second, and BARC data says that Star Plus was first and Colors second.

     

    Balaji Telefilms’ soaps in weeks 37 and 45 on the top three Hindi GECs

     

    Star Plus

     

    Along with Nach Baliye, fiction shows Yeh Hai Mohabbatein (BARC rating 3.7) and new show Kuch to Hai Tere Mere Darmiyan (BARC rating 0.8), Balaji Telefilms contributed 24 per cent to Star Plus’ GRPs for BARC week 45 as per the company’s corporate presentation for December 2015. Star Plus led the Hindi GEC genre in week 45 as per BARC data. Yeh Hai Mohabbatein was the leader in the 7.30 to 8 pm slot.

     

    Earlier, in its September 2015 corporate presentation, Balaji Telefilms said that its shows contributed 19 per cent to Star Plus GRPs for TAM week 37 with Yeh Hai Mohabbatein (TAM rating 3.43).

     

    Zee TV

     

    In week 45, Balaji’s contribution to Zee TV’s BARC ratings was 20 per cent. Balaji’s fiction show on Zee TV at that time was Kumkum Bhagya (BARC rating 3.8). While Zee TV fell to fourth position in week 45, Kumkum Bhagya was the leader in the 9 – 9.30 pm slot.

     

    Earlier, in week 37 as per Balaji Telefilms’ shows contributed 25 per cent to Zee TV’s GRPs with Kumkum Bhagya being a slot leader with a TAM rating of 3.95. Zee TV saw a marginal downfall in ratings, but secured third position in week 37.

     

    Colors

     

    In week 45, Balaji Telefilms had Meri Aashiqui Tum Se Hi, which was the leader in the 10 – 10.30 pm slot with BARC rating of 3.4 on Colors, which secured third spot as per BARC. Balaji Telefilms’ contribution to Colors GRPs was 14 per cent in week 45.

     

    In week 37, Colors was in the second slot with 219 TAM GRPs in comparison to 198 TAM GRPs in week 36. Balaji Telefilms’ contribution to Colors TAM ratings was 15 per cent with Meri Aashiqui Tum Se Hi recording a slot leadership TAM rating of 3.44.

  • Great success for FremantleMedia at Asian Television Awards

    Great success for FremantleMedia at Asian Television Awards

    SINGAPORE: Congratulations to FremantleMedia (FM) Asia and FremantleMedia India, which have each won an award in the highly prestigious 2015 Asian Television Awards.

     

    Held last night in a glittering ceremony in Singapore, the wins were for the ground-breaking pan-Asian entertainment series, Asia’s Got Talent, which was screened throughout Asia on broadcaster AXN; and for our Indian production Nat Geo Covershot: Maximum City for National Geographic.

     

    Nat Geo Covershot: Maximum City (FM India) won the Best Reality Show award, whereas Best Adaption of an Existing Format went to Asia’s Got Talent (FM Asia).

     

    Determined by an expert panel of over 60 judges from across the region, the Asian Television Awards is the region’s biggest and most prestigious awards, attracting more than 1200 entries across 30 award categories from a wide range of broadcasters and platforms. The awards are recognised by the region’s entertainment industry as an important accolade and it is a great honour to receive four nominations. 

     

    Nat Geo Covershot: Maximum City is an exciting and creative photography-based reality program featuring 16 budding photographers from across India. They compete to be featured on the cover of the National Geographic Traveller India magazine. Here is a fantastic promo for the series:

    Asia’s Got Talent was the highest rated English language show in Asia for 2015, achieving an unprecedented 93 per cent audience share across English language channels in The Philippines for the Grand Final. To sample some of the amazing acts on AGT, please take a look at their YouTube channel:

     

    https://www.YouTube.com/user/asiasgottalent

  • Balaji Motion Pictures ropes in Aman Gill as the new CEO

    Balaji Motion Pictures ropes in Aman Gill as the new CEO

    MUMBAI- Balaji Telefilms Limited has roped in Aman Gill as the CEO of Balaji Motion Pictures. Gill, in his new role, will assume all responsibilities spanning film development ranging from creative, production, marketing, distribution, syndication and will have all division heads report directly to him. He will take up the new position from early December 2015.

    Talking about the new appointment, Balaji Telefilms Ltd. group CEO Sameer Nair asserted, “Aman brilliantly balances creativity with commerce and is most deserving of this position and role. He has vast experience in developing, producing, marketing, distributing and syndicating films in the past with various studios and has worked closely with talent in the agency business”.

    Aman will be serving out his notice period with Junglee Pictures in the interim, where he was the chief content officer since June 2014. In his tenure the company successfully released two of the most critically and commercially acclaimed films of the year Dil Dhadkane Do and Talvar. Gill has also setup in the past, the film talent and literary business at CAA-KWAN from June 2012 to June 2014. He also headed the acquisition and domestic distribution functions at Viacom 18 Motion Pictures.

    Gill started his career with Applause Entertainment, where he was AVP Content. Here he earned his first film credit as an executive producer for Sanjay Leela Bhansali’s critically acclaimed film Black.

    “Aman is a wonderful addition to the management bandwidth we’re building at Balaji. Several exciting projects are already in the pipeline over the next few months, which are in various stages of production and we also plan to scale up our movie business in the coming years. With several very interesting initiatives underway, I believe Aman is the ideal professional to lead the charge”, said Balaji TelefilmsLimited joint managing director Ekta Kapoor.

    Speaking about his new hiring Gill added, “I’m honored that Ekta and Sameer have entrusted me with this responsibility and position. I look forward to work together with a highly talented team to further the formidable brand that Balaji Motion Pictures has built over the years and take it to greater heights.

  • GoQuest Media Takes Turkish Drama Ezel to Nigeria

    GoQuest Media Takes Turkish Drama Ezel to Nigeria

    MUMBAI: The viewers in Nigeria will be on an edge-of-the-seat journey from the month of November. GoQuest Media, an India based television content sales agency, has licensed Ezel – a Turkish crime drama series to a popular television channel in Nigeria.

     

    GoQuest Media Ventures, licenses TV series and Bollywood films to territories across the world. Ezel has been a popular TV series and has been broadcasted around the world. GoQuest Media had licensed Ezel to a top channel in Uganda earlier this year. Owing to its strong foothold in Africa and especially in Nigeria, GoQuest has managed to get this famous Turkish Series to Nigeria. With this deal, the company stands true to its image of providing best programming and is proud to bring the first ever Turkish Drama to Nigeria.  

     

    ”We have always enjoyed good relationships with broadcasters in Nigeria and continue to license popular Indian series in the territory. Continuing with our initiative to provide innovative content, we look forward to bring interesting Game Show Formats and Entertaining Scripts to Nigeria in the near future”, said GoQuest Media managing director Vivek Lath.

     

    Ezel produced by the renowned Ay Yapim Turkish production company is set in modern day Istanbul, Turkey. In 1997 Omer Ucar (Ismail Filiz) and his family lived a comfortable lower middle-class life, until one day his life was changed forever.  After betrayal by his best friends and the love of his life, Omer returns with a new face, new identity and with a flawless revenge plan. GoQuest Media has licensed Ezel from the global drama and formats distributor, Eccho rights.

     

     

     

     

  • Preview to Asia TV Forum & Market

    Preview to Asia TV Forum & Market

    MUMBAI: The 16th edition of the Asia TV Forum & Market (ATF) is scheduled to take place from December 1 to 4 at Singapore’s Marina Bay Sands. Running concurrently with the 5th edition of ScreenSingapore, the 2015 edition of ATF is poised to attract more than 5,000 attendees from across 60 countries, according to Yeow Hui Leng, the Senior Project Director of Asia TV Forum & Market (ATF) and ScreenSingapore (SS) at Reed Exhibitions.

     

    Divided in two parts – market and conferences – ATF market will provide attendees with plenty of business opportunities to buy, sell, network with producers, broadcasters, over-the-top (OTT) players and cable operators in the region.

     

    With over 850 buying companies attending, Asia TV Forum & Market (ATF) brings you closer to Asia’s buying community, facilitating the sale and export of engaging content across all genres and platforms to the Asian buyer.  With growing interest from Asian content buyers, this year we will also see more exhibitors from China and Japan and new entrants such as Bloomberg, Studio Canal, Fox International Channels, Raya Group, Rainbow, MNC Contents who will be participating in ATF for the first time, the market is likely to expect an even more robust performance.

     

    Hui Leng says that the overall ATF line-up this year presents a greater variety of the Asian countries covered, “giving ATF 2015 a more holistic view of the industry in Asia”. Participants can expect to gather a great deal of information from the panel of speakers and thought leaders that will be present at ATF.

     

    Kicking off ATF’s pre-market conference as the keynote speaker for Into the Future of Television: Asia’s Move Forward is TV industry’s well-known business leader  CJ E&M Media Content Business (Korea), president DJ Lee.  This will be one of the most exclusive and progressive insights into one of Asia’s most significant media empires. Another keynote speaker is Maker Studios (USA), International head René Rechtman, who will be elaborating on the Development and Expansion in Asia’s Digital Marketplace.

     

    Buyers and producers will also be presented with the latest know-how and trends for kids’ content at Junior@ATF, alongside the deployment of a dragnet on narratives for new formats and ideas that can travel across borders at Formats@ATF. Its is an initiative that  was developed with producers in mind as a forum to create, develop and market ideas with format experts through a conference setting, as well as masterclasses conducted by renowned creative talents such as Danny Stack, Writer and Director (UK) of  Thunderbirds Are GO, Octonauts, Who Killed Nelson Nutmeg? and Melodie L. Shaw, Member Representative and Organizer of the Writers Guild of America (USA).

     

    Highlighting the current business landscape that traditional players face with disrupters and shifts in content consumption, Steve Macallister, CEO of All3Media International (UK), will share how they stay on top of the United Kingdom and foreign markets. 

     

    Some of Asia’s top buyers like Maggie Xiong, Senior Director of International Acquisitions of Youku Tudou (China) and Charlene Lai, Senior Director, Content Acquisition and Licensing, APAC, Le Corporation Limited (Hong Kong) will discuss more on the evolving role of international acquisitions and the type of new ideas and shows channels that they are looking for among content providers.

     

    Last year’s edition hosted more than 71 speakers and 658 exhibitors, and Leng acknowledges that 2015’s ATF attendees can expect to be a part of the mechanics within the heart of Asian television. From the dynamically curated market and conference, where they can tap into the growth potential of Asia’s market, to experiencing the robust character of Asia’s entertainment content industry by connecting with international content sellers and Asian buyers, participants will be able to mesh together and be allied to the constantly evolving Asian television landscape.

     

    Held in conjunction with ATF, the 2015’s edition of ScreenSingapore (SS) will launch a brand new feature, the Southeast Asian Film Financing (SAFF) Project Market. The first of its kind, SAFF seeks to connect promising producers and their projects with commissioners, investors, and co-production partners.

     

    For more information on ATF’s exciting programme, conference line-up and speakers, please visit www.asiatvforum.com

  • Q2-2016: Trilogic EBIDTA up 17.5% YoY

    Q2-2016: Trilogic EBIDTA up 17.5% YoY

    BENGALURU: Indian broadcast management and audio visual content syndication company Trilogic Digital Media Limited’s (Trilogic) EBIDTA for the quarter ended 30 September, 2015 (Q2-2016, current quarter) increased 17.5 per cent YoY to Rs 1.57 crore (14.4 per cent margin) from Rs 1.33 crore (7.9 per cent margin). Quarter-on-quarter, the company’s EBIDTA in Q2-2016 declined to almost a third (reduced by 64.2 per cent) from Rs 4.37 crore (14.4 per cent margin).

     

    Note: (1) 100,00,000 = 100 lakh = 10 million = 1 crore

    (2) All numbers are standalone unless stated otherwise.

     

    Trilogic’s Total Income from Operations (TIO) reduced 35.7 per cent YoY to Rs 10.86 crore from Rs 16.88 crore and reduced 38.4 per cent QoQ from Rs 17.64 crore.

     

    The company’s PAT in Q2-2016 reduced 3.7 per cent to Rs 0.81 crore (7.5 per cent margin) from Rs 0.84 crore (five per cent margin) in the corresponding year ago quarter and reduced to less than a third (fell by 71 per cent) from Rs 2.79 crore (7.5 per cent margin) in the immediate trailing quarter.

     

    Total Expenditure in the current quarter reduced 38.2 per cent YoY to Rs 9.36 crore (88.7 per cent of TIO) from Rs 15.57 crore (92.3 per cent of TIO) and reduced 29.2 per cent QoQ from Rs 13.60 crore (77.1 per cent of TIO).

     

    Employee Benefits Expense in Q2-2016 increased 17.4 per cent to Rs 0.20 crore (1.8 per cent of TIO) from Rs 0.17 crore (one per cent of TIO) in Q2-2015, but reduced 22.2 per cent from Rs 0.26 crore (1.8 per cent of TIO) in Q1-2016.

  • Q2-2016: Mukta Arts EBIDTA up 32%

    Q2-2016: Mukta Arts EBIDTA up 32%

    BENGALURU: Mukta Arts Limited EBIDTA increased 31.9 per cent YoY in the quarter ended 30 September, 2015 (Q2-2016, current quarter) to Rs 2.16 crore (13.8 per cent margin) as compared to Rs 1.64 crore (6.8 per cent margin), but declined 2.2 per cent QoQ from Rs 2.21 crore (14.5 per cent margin). The company’s net Total Income from Operations (TIO) in the current quarter fell 34.8 per cent YoY to Rs 15.61 crore from Rs 23.95 crore, but increased 2.5 per cent QoQ from Rs 15.23 crore.

     

    Note: 100,00,000 = 100 lakh = 10 million = 1 crore

     

    Mukta Arts reported a small Profit after Tax (PAT) for the current quarter at Rs 0.32 crore (2.1 per cent margin) as compared to a loss of Rs 0.03 crore in Q2-2015 and a loss of Rs 1.43 crore in the immediate trailing quarter.

     

    Segment performance

     

    Mukta Arts has four segments-Software Division; Equipment Division (including other income); Theatrical Exhibition Division and ‘Others.’

     

    Software Division reported revenue of just Rs 1.64 crore in Q2-2016 as compared to Rs 13.89 crore in Q2-2015 and Rs 0.03 crore in Q1-2016. The segment reported less than one fourth of operating profit YoY at Rs 0.08 crore as compared to Rs 0.33 crore. This division had reported an operating loss of Rs 1.94 crore for the immediate trailing quarter.

     

    Equipment Division reported revenue of Rs 0.09 crore in the current quarter as compared to Rs 0.1 crore each in Q2-2015 and Q1-2015. The segment reported operating profit of Rs 0.05 crore in Q2-2016 as compared to a loss of Rs 0.12 crore in Q2-2015 and a loss of Rs 0.04 crore in the immediate trailing quarter.

     

    Theatrical Exhibition Division reported revenue of Rs 12.02 crore in the current quarter as compared to Rs 0.07 crore in Q2-2015 and Rs 11.14 crore in Q1-2016. The segment reported operating profit of Rs 1.36 crore in Q2-2016; operating profit of Rs 0.07 crore in Q2-2015 and operating profit of Rs 0.49 crore in Q1-2016.

     

    ‘Others’ segment reported revenue of Rs 1.87 crore in Q2-2016; revenue of Rs 1.96 crore in Q2-2015 and revenue of Rs 1.97 crore in Q1-2016. The segment reported operating profit of Rs 0.53 crore in Q2-2016; operating profit of Rs 1.68 crore in Q2-2015 and operating profit of Rs 1.40 crore in Q1-2016.

     

    Let us look at the other numbers reported by Mukta Arts

     

    Mukta Arts’ Total Expenditure in Q2-2016 reduced 37.3 per cent YoY to Rs 14.89 crore (95.4 per cent of TIO) from Rs 23.74 crore (99.1 per cent of TIO), but increased 3.4 per cent QoQ from Rs 14.41 crore (94.6 per cent of TIO).

     

    Distributors and producers share in the current quarter reduced 31.1 per cent YoY to Rs 3.96 crore (25.3 per cent of TIO) from Rs 5.74 crore (24 per cent of TIO), but increased 11.9 per cent QoQ from Rs 3.53 crore (23.2 per cent of TIO).

     

    Employee Benefits Expense in Q2-2016 increased 38 per cent YoY to Rs 2.12 crore (13.6 per cent of TIO) from Rs 1.54 crore (6.4 per cent of TIO), but reduced 2.6 per cent QoQ from Rs 2.18 crore (14.3 per cent of TIO).

     

    Purchase of Food and Beverages cost increased 18.9 per cent YoY to Rs 0.85 crore (5.4 per cent of TIO) from Rs 0.71 crore (3 per cent of TIO) and increased 7.7 per cent QoQ from Rs 0.79 crore (5.2 per cent of TIO).

     

    Finance costs in Q2-2016 reduced 12.9 per cent YoY to Rs 1.83 crore (11.8 per cent of TIO) from Rs 2.11 crore (8.8 per cent of TIO), but increased 5.4 per cent QoQ from Rs 1.74 crore (11.4 per cent of TIO).

  • Balaji Telefilms receives board nod to raise Rs 250 crore

    Balaji Telefilms receives board nod to raise Rs 250 crore

    MUMBAI: With a target set to make digital B2C (business to consumer) under the ALT Digital umbrella as its core business in five years’ time, the Ekta Kapoor helmed Balaji Telefilms Ltd is arming itself with a war chest of funds to enter the market with guns blazing.

     

    The company, which was looking at raising Rs 250 crore to ramp up its digital business, has nowreceived board approval for the same. 

    The funds will be raised by way of QIP, GDR, ADR, FCCB, other securities linked to equity, preference shares or any instrument or securities representing convertible securities. 

    This is subject to approval of the company’s shareholders and other necessary approvals. 

    Additionally, the board has also approved to increase the authorised share capital of the company from Rs 20 crore to Rs 26 crore, subject to approval of shareholders.

  • TV Editors call off strike unconditionally

    TV Editors call off strike unconditionally

    MUMBAI: Much to the relief of television producers and broadcasters, the indefinite strike by the Association of Film and TV Editors has been called off unconditionally, after a meeting with Federation of Western Indian Cine Employees (FWICE) on the evening of 9 November.

     

    “We have called off the strike unconditionally, and editors will resume their work with the respective production houses,” Association of Film and TV Editors GM Vaibhav Desai tells indiantelevision.com.

     

    As the strike continued over the weekend, broadcasters and producers had earlier feared repeat telecast of their daily serials that heavily depended on the television editors, as they ran out of bank episodes to air. 

     

    With the strike pulled off, broadcasters have narrowly avoided the risk of repeat telecast and a billion rupees of ad revenue loss.

     

    Indiantelevision.com had earlier reported that out of the 22 crafts, which are part of the federation, members of an association went on strike on 4 November after a memorandum of (MoU) addressing the editor’s wage renewals and better working conditions wasn’t signed by the due date.

     

    To read the full article, click here: http://www.indiantelevision.com/television/tv-channels/gecs/tv-editors-go-on-strike-channels-fear-repeat-telecast-151106

     

    “While all the issues have not been resolved and addressed in the meeting, the federation has assured us that the working conditions of the editors will be improved. They have given us in written that the payment dealt out to our assistants and associates will be given within 30 days. They usually have to wait more than 120 days sometimes to receive their fees, but the federation has taken responsibility that this problem will be addressed,” says Desai.

     

    He however added that there was still some amount of uncertainty surrounding the MoU being signed.

     

    Though worried about the shows, the council of producers had earlier refused to have a meeting with the Association unless the strike was called off. “We want to come to an understanding, and are willing to sit down and talk, but not under any threat. We can only resume a discussion once everybody returns to work,” Indian Film and TV Producers Council (IFTPC) co-chairman JD Majethia had earlier informed.

     

    Now that the strike has been called off, the federation is hopeful that the discussions on the MoU will resume after Diwali, and shall be signed soon after, after reviewing the updated information.