ITV

Category: Production House

  • Q2-2016: Balaji Telefilms’ QoQ PAT more than triples despite lower revenue

    Q2-2016: Balaji Telefilms’ QoQ PAT more than triples despite lower revenue

    BENGALURU: Balaji Telefilms Limited (Balaji Telefilms) reported 3.5 times consolidated profit after tax (PAT) in the quarter ended 30 September, 2015 (Q2-2016, current quarter) at Rs 7.29 crore (13.2 per cent margin) as compared to the Rs 2.09 crore (2.8 per cent of TIO) in the immediate trailing quarter. The company had reported a loss of Rs 75.80 crore in Q2-2015.

     

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

    (2) All numbers are consolidated unless stated otherwise.

     

    The company reported eight per cent YoY drop in consolidated total income from operations (TIO) current quarter to Rs 55.08 crore from Rs 59.86 crore and 27.3 per cent drop from Rs 74.64 crore in Q1-2016. 

     

    The company’s revenue from commissioned programs segment in Q2-2016 increased YoY to Rs 51.18 crore from Rs 49.33 crore but declined 30.4 per cent from Rs 73.58 crore in the immediate trailing quarter. The segment’s operating profit in the current quarter increased by 2.2 times YoY to Rs 13 crore from Rs 5.85 crore and increased 11.4 per cent QoQ from Rs 11.67 crore.

    Total programming hours (excluding Nach Baliye) in the current quarter at 199 were lower than 219 hours in Q2-2015 and 209 hours in Q1-2016. Revenue per hour in Q2-2016 was Rs 24.3 lakh, higher than the Rs 20.50 lakh in the year ago quarter. For the immediate trailing quarter, revenue per hour was also Rs 24.3 lakh. The company says that drop in number of hours in the current quarter is mainly on account of Jodha Akbar going off-air in August 2015.

     

    Balaji’s other segment – Films, reported revenue of just Rs 1.64 crore in the current quarter as compared to Rs 9.43 crore in Q2-2015. The segment reported revenue of Rs 1.04 crore in Q1-2016.

     

    Film’s segment reported operating profit of Rs 0.06 crore in Q2-2016 as compared to an operating loss of Rs 7.46 crore in Q2-2015 and an operating loss of Rs 0.45 crore in the immediate trailing quarter.

     

    Total Expenditure in the current quarter declined 10.2 per cent to Rs 45.85 crore as compared to Rs 51.07 crore in the corresponding year ago quarter and declined 28.5 per cent from Rs 64.16 crore in the immediate trailing quarter.

     

    The company’s cost of production in the current quarter declined 33 per cent YoY to Rs 36.7 crore from Rs 54.6 crore and declined 39 per cent QoQ from Rs 60.2 crore.

     

    Staff cost increased 19 per cent YoY and QoQ to Rs 50 crore from Rs 42 crore.

  • Q1-16: Prime Focus YoY revenue up 28.1 percent

    Q1-16: Prime Focus YoY revenue up 28.1 percent

    BENGALURU: Prime Focus Limited (PFL) has reported a 28.1 percent YoY revenue growth for the quarter ending September 30, 2015 (Q1-2016, current quarter) at Rs 448.57 crore as compared to the Rs 350.17 crore in Q1-2015. However, QoQ, the company’s revenue declined 13.4 percent from Rs 518.21 crore.

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

    (2) The company had filed results for a fifteen month period ended June 30, 2014, hence YoY comparison is being done between Q1-2016 and Q1-2015 and QoQ comparison is between Q1-2016 and  Q4-2015 (quarter ended June, 2015).

    The company’s quarterly bottom line has been negatively affected due to significant exceptional costs primarily in relation to previously announced divestiture of PFL PLC and planned restructuring / integration costs in relation to the merger with Double Negative. In Q1-2016, this amounted to Rs 12.26 crore, in Q4-2015 it was 159.29 crore and in Q1-2015 this figure was Rs 34.27 crore.

    The company reported a net loss of Rs 22.51 crore in Q1-2016; a loss of Rs 22.01 crore in Q1-2015 and a loss of Rs 213.76 crore in the immediate trailing quarter Q4-2015.

    The company’s simple EBIDTA for Q1-2016 at Rs 52.07 crore (11.6 percent margin) more than quadrupled (4.7 times) YoY from Rs 11.19 crore (3.2 percent margin, but declined 39.6 percent from Rs 86.17 crore (16.6 percent margin) in Q4-2015.

    Let us look at the other numbers reported by PFL

    Figures A and B below show PFL’s major expense heads. As is obvious, a major expense head for the company is employee benefit expense or EBE.

    PFL’s EBE in Q1-2016 at Rs 282.57 crore (61.6 percent of TIO) increased 21.4 percent YoY from Rs 232.77 crore (60.4 percent of TIO) and increased 7.4 percent QoQ from Q4-2015 at Rs 263.11 crore (50.8 percent of TIO).

    Technician’s Fees in the current quarter increased 53.8 percent YoY to Rs 9.77 crore (2.2 percent of TIO) from Rs 6.35 crore (1.8 percent of TIO) and increased 6.1 percent QoQ from Rs 9.21 crore (1.8 percent of TIO)

    Fig B indicates that EBE also shows a linear upward trend in terms of percentage of TIO over the eleven quarters starting Q4-2013 until the current quarter Q1-2016.  EBE has been the highest in Q1-2016 (61.6 percent) in terms of absolute rupees, but in terms of percentage of TIO, it was highest in Q3-2015 at 64 percent

    Finance and Interest costs in Q1-2016 at Rs 17.75 crore (4 percent of TIO) increased 12 percent YoY from Rs 15.84 crore (4.5 percent of TIO), but declined 30.1 percent QoQ from Rs 25.39 crore (4.9 percent of TIO).

  • Q3-2015: Dreamworks Animation YoY revenue up 43% at $259.22 million

    Q3-2015: Dreamworks Animation YoY revenue up 43% at $259.22 million

    BENGALURU: DreamWorks Animation SKG Inc. (DWA) reported 43.3 per cent YoY revenue growth in the quarter ended 30 September, 2015 (Q3-2015, current quarter) at $259.22 million as compared to the $180.86 million, which was driven by performance across all operating segments.

     

    For Q3-2015, DWA posted adjusted operating income of $26.8 million. The increase in revenues and segment gross profit was partially offset by an increase in adjusted general and administrative expenses says DWA.

     

    “DreamWorks Animation delivered solid third quarter results, highlighted by strong top-line growth and meaningful segment gross profit across all of our businesses. While we still have considerable work ahead of us, I am proud of the team’s collective efforts and remain confident that we are well positioned to meet or even exceed our stated goals for the year while continuing to drive long term value for our stakeholders,” said DreamWorks Animation CEO Jeffrey Katzenberg.

     

    Segment Revenue

     

    Feature Film segment

     

    Revenues for Q3-2015 from the Feature Film segment increased to $157.9 million, up from $142.4 million in the prior-year period. Segment gross profit decreased to $54.3 million compared to $64.3 million in the same period of last year, primarily due to contributions earned in the prior-year period in the worldwide theatrical market from How To Train Your Dragon 2, which was a higher margin title.

     

    Home contributed feature film segment revenue of $49.7 million in Q3-2015. Home was released in the digital market on 26 June, 2015 and into the physical domestic home entertainment market on 28 July, 2015. The film reached an estimated 4.7 million home entertainment units through the end of the third quarter, net of actual and estimated future returns claims DWA.

     

    The Penguins of Madagascar contributed feature film segment revenue of $39.8 million in the current quarter, primarily from domestic and international pay television. Through the end of the third quarter, the film reached an estimated 3.6 million home entertainment units sold worldwide, net of actual and estimated future returns.

     

    How To Train Your Dragon 2 contributed feature film segment revenue of $7.4 million in the quarter, primarily from international pay television and home entertainment. The film reached an estimated 8.9 million home entertainment units sold worldwide through the end of the third quarter, net of actual and estimated future returns.

     

    Mr. Peabody and Sherman contributed feature film segment revenue of $2.6 million in the quarter, primarily from home entertainment. The film reached an estimated 4.2 million home entertainment units sold worldwide through the end of Q3-2015, net of actual and estimated future returns.

     

    Television Series and Specials segment

     

    Revenues for the quarter ended 30 September, 2015 from the Television Series and Specials segment increased to $50.7 million in Q3-2015, compared to $14.3 million during the prior-year period. The increase in revenues was attributable to a significantly higher number of episodes delivered under DWA’s episodic content licensing arrangements. Segment gross profit increased to $15.3 million in the current quarter, from $2.3 million in Q3-2014. The increase was primarily driven by higher revenues along with favourable amortisation rates associated with episodic series, partially offset by up-front marketing costs associated with the release of DWA’s new television series.

     

    Consumer Products segment

     

    Revenues from the Consumer Products segment increased to $27 million in Q3-2015, compared to $12.1 million in the same period last year. The increase was primarily due to revenues earned from new and extended location based entertainment license arrangements in the quarter, as well as merchandise licensing agreements related to intellectual property rights associated with characters from DWA’s feature films and episodic television series. Revenues also included contributions from merchandising and other licensing activities. Segment gross profit increased to $15.8 million in Q3-2015 from $4.2 million in Q3-2014, as revenues earned from location based entertainment license arrangements have lower associated costs.

     

    New Media Segment

     

    Revenues for Q3-2015 from the company’s New Media segment were $20.7 million compared to $8.5 million during Q3- 2014. This increase was primarily attributable to revenue generated from licensing and distribution of content and brand sponsorship arrangements. In Q3-2014, DWA reported certain advertising and talent management revenues in this segment on a ‘gross’  basis rather than on a ‘net’ basis. For comparative purposes, if the New Media segment’s revenues had been reported on a ‘net’ basis during Q3-2014, revenues for Q3-2015 would reflect an increase of 226 per cent compared with the prior-year period. Segment gross profit, which is not affected by this item, increased to $10.9 million from $2.3 million in the prior-year period, primarily due to higher revenue contributions from licensed content and reduced amortisation of intangible assets.

     

    All other segments

     

    Revenues from All Other segments for Q3-2015 were $2.9 million compared to $3.6 million in the prior-year period and gross profit was $2.4 million compared to a loss of $1.1million in Q3-2014.

  • Q2-2016: B.A.G. FM Radio revenue, operating profit up

    Q2-2016: B.A.G. FM Radio revenue, operating profit up

    BENGALURU: B.A.G. Films and Media Limited (B.A.G. Films) FM Radio segment reported 25.9 per cent YoY operating revenue growth for the quarter ended 30 September, 2015 (Q2-2016, current quarter) at Rs 2.22 crore (8.9 per cent of Total Income from Operations or TIO) as compared to Rs 1.77 crore (5.1 per cent of TIO).

     

    The FM Radio segment’s operating revenue in the current quarter also increased 40.8 per cent QoQ from Rs 1.58 crore (6.1 per cent of TIO). B.A.G. Films’ FM radio network Dhamaal 24 (106.4 FM), which was launched in 2005, operates 10 stations in India.

     

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

     

    The FM Radio segment reported almost threefold (up 2.9 times) operating profit in the current quarter at Rs 0.73 crore as compared to the Rs 0.25 crore in the corresponding year ago quarter. The segment had reported an operating loss of Rs 0.24 crore in the immediate trailing quarter.

     

    B.A.G. Films other major segment, Television Broadcasting (TV segment) reported two per cent YoY growth in segment revenue at Rs 21.66 crore (86.8 per cent of TIO) as compared to the Rs 21.22 crore (64.7 per cent of TIO) and a 4.7 per cent QoQ revenue growth from Rs 20.69 crore (79.7 per cent of Total Income from Operations or TIO).

     

    B.A.G. Films TV segment reported 14.2 per cent YoY drop in operating profit at at Rs 5.07 crore as compared to the Rs 5.91 crore and a 37.3 per cent QoQ drop from Rs 8.08 crore.

     

    B.A.G. Films TIO in the current quarter at Rs 24.94 crore dropped 23.9 per cent YoY as compared to the Rs 32.80 and dropped 3.9 per cent from Rs 25.96 crore in the immediate preceding quarter.

     

    Let’s look at the other numbers reported by B.A.G. Films:

     

    B.A.G. Films reported a higher loss of Rs 3.66 crore in the current quarter as compared to the Rs 2.93 crore in the corresponding year ago quarter and a loss of Rs 1 crore in Q1-2016.

     

    The company’s simple EBIDTA calculated without including other income in the current quarter at Rs 3.93 crore (15.8 per cent margin) declined 9.3 per cent as compared to the Rs 4.34 crore (13.2 per cent margin) in Q2-2015 and was 35.1 per cent lower than the Rs 6.06 crore (23.3 per cent margin) in Q1-2016.

     

    B.A.G. Films’ total expenditure in the current quarter at Rs 24.62 crore (98.7 per cent of TIO) was 23.7 per cent lower than the Rs 32.27 crore (98.4 per cent of TIO), but increased four per cent QoQ from Rs 23.67 crore (91.2 per cent of TIO).

     

    Employee Cost in Q2-2016 at Rs 4.82 crore (19.3 per cent of TIO) increased 1.5 per cent YoY from Rs 4.75 crore (14.5 per cent of IO) and was 1.7 per cent more than Rs 4.74 crore (18.2 per cent of TIO) in Q1-2016.

     

    Segment Numbers

     

    The company has mentioned five segments in its financial results namely: Audio-Visual Production (AVP); Movies: Leasing; FM Radio; and Television Broadcasting. While the movies segment made no contribution to the company’s revenue or operating results in the current quarter, Q2-2015 or Q1-2016, FM Radio and TV Broadcasting segment numbers have already been mentioned above.

     

    Audio Visual Production segment (AVP segment)

     

    AVP segment reported a 78.3 per cent decline in revenue in Q2-2016 at Rs 1 crore as compared to the Rs 4.60 crore in Q2-2015 and 72.2 per cent decline from Rs 3.60 crore in Q1-2016. The segment reported an operating loss of Rs 0.66 crore in the current quarter as compared to an operating profit of Rs 1.98 crore in Q2-2015 and an operating profit of Rs 2.24 crore in Q1-2016.

     

    Leasing segment (The numbers for this segment are mentioned in lakh – 100 lakh = 1 crore)

     

    B.A.G. Films leasing segment reported revenue of just Rs 6.95 lakh in the current quarter as compared to the Rs 15.65 lakh in Q2-2015 and Rs 9.97 lakh in the preceding quarter. The segment reported an operating loss of Rs 82.63 lakh in Q2-2016 as compared to an operating loss of Rs 88.64 lakh in the corresponding year ago quarter and an operating loss of Rs 93.20 lakh in the immediate trailing quarter.

  • Prime Focus Technologies bags award for ‘Digital Next’ campaign

    Prime Focus Technologies bags award for ‘Digital Next’ campaign

    MUMBAI: Prime Focus Technologies (PFT), the technology arm of Prime Focus, has bagged two Platinum Awards as part of the 2015 MarCom Awards competition.

     

    PFT was recognised for its sales collateral, part of a larger, ongoing campaign, Digital Next, launched in April 2015 at National Association of Broadcasters (NAB).

     

    MarCom Awards is a creative competition for any individual or company involved in the concept, writing and design of print, visual, audio and web materials and programs.

     

    The Digital Next offerings help address the challenges faced by the media and entertainment industry to meet the demands of the digital consumer, with a focus on building a connected enterprise and digital ecosystem, over-the-top (OTT) solutions and distribution.

     

    Designed in the shape of an iPhone that emulates various well-known Apple iOS interface menus, the collateral won Platinum Awards in both Brochure for Business to Business and Print Creativity for Brochure categories.

     

    “By utilising a nearly ubiquitous design interface, we are able to communicate the shift to Digital Next realities in a manner that resonates with these exact customers who are struggling to cater to the needs of hyper digital consumers. Receiving these MarCom Awards is an honour and further validation that we’re presenting our offerings in an effective way,” said Prime Focus Technologies vice president and head, global marketing & communications T. Shobhana. 

     

    At the forefront of PFT’s Digital Next offerings is the CLEAR Media ERP Suite, an enterprise software for virtualising the content supply chain.

  • “We plan to introduce innovative disruptive new age content in 2016:” Deepak Dhar

    “We plan to introduce innovative disruptive new age content in 2016:” Deepak Dhar

    Millennials in India have grown up watching reality television perhaps even before they could pick their favourite subjects or role models.

     

    Shows such as Bigg Boss, Master Chef, The Voice and Emotional Attyachar amongst others need no introduction, nor does their production house Endemol Shine India, which is heralded by one of the brightest minds in India’s reality TV landscape – Deepak Dhar as managing director and CEO.

     

    Dhar joined the production and content creating giant in 2005, after paving a successful career in media with companies like Star TV, MTV, Channel V, etc. Armed with his expertise in reality television, Dhar went on to lead Endemol with some of the most challenging and ambitious projects.

     

    At the launch of Khatron Ke Khiladi’s seventh season, which is slated to go on air on Colors early next year, Dhar speaks to Indiantelevision.com’s Papri Das on the current landscape of reality TV, prospects of producing home grown format shows in India, the company’s relationship with broadcasters and more.

     

    Excerpts:

     

    What’s new in Khatron Ke Khiladi season 7 from the production perspective?

    We have 60 different stunts lined up this season. It’s already a task to set up one and now we have 60 of them to put in place. Not to mention, the scale of each stunt will go up this season, matching international standards. The new locale (Argentina) has also allowed us to try different things and explore various possibilities in terms of the type of tasks. The schedule includes shooting in Argentina in Buenos Aires for 40 days. Our crew of about 160 people and contestants will celebrate their Diwali there.

     

    Have you tried anything new when it comes to production technique?

    We are shooting in Argentina, which is an evolved market from a technical standpoint and that works in our favour. We plan to use drones to shoot some scenes as well. They are not easily used in India as there are restrictions, but shooting in Argentina will enable us to do so. These are stunt friendly locations. We have a few things in mind but we plan to explore them once we reach the shoot location.

     

    Do you notice any new trends in the landscape of reality TV shows in India?

    I feel that reality TV has become a very staple diet for Indian viewers. It has also seen an evolution of sorts. At some point in time it used to be more focused on song and dance. People have now moved on from that and are looking for edgy content dealing with relationships, drama and danger. It is all about making it more real and how the people onscreen can relate to the people watching them.

     

    That is why shows like Bigg Boss, Master Chef, Fear Factor etc are doing well as they feel more real, and connect the audience with a sort of warmth on screen. I wouldn’t call this a new trend but that’s just how things are shaping the landscape.

     

    Are there any plans to introduce new international formats in the Indian market in the near future?

    There are quite a few formats from the Endemol Shine system that we are bringing in. Shows like The Hunted, The Circus of the Celebrities and The Australian Spelling Bee. There are a lot of innovative disruptive new age content that we have to offer, that will hit the screens next year.

     

    Are Indian production houses at a stage where a home grown format can be taken internationally?

    Why not? Largely a lot of song and dance reality formats have been home grown here, for example Dance India Dance (DID). A lot of drama, stunt based shows and game shows do come in from across the globe because we want something tried and tested. We don’t want to invest in something that might have a chance of not working with our audience. I do feel that India has the potential to create a home grown format in the song and dance segment.

     

    We also made something called Big Switch for Bindass a few years ago that involved switching people’s identities and their circumstances. We successfully ran that for two seasons and probably will come up with a third very soon.

     

    As producers do you get enough freedom from the broadcasters?

    As far as Endemol Shine India is concerned, our relationship with broadcasters is mutually beneficial. Colors for example has lapped up our formats for reality television quite well. They have taken Bigg Boss and Khatron Ke Khiladi to the next level, with a huge push on the marketing and celebrity side as well as by simply scaling up the content. They believe in airing disruptive content and we tend to have a lot of that.

     

    Out of all the reality shows you have produced or been part of, which has been the most challenging?

    They were all challenging and fun in their own right. But if I had to pick and choose, I found producing five seasons of The Great Indian Laughter Challenge a refreshing experience. It was a challenge because it was an unchartered territory for Indian reality TV. We couldn’t pre-calculate the parameters and variables involved that could go right or wrong for the show. It was all new for us. Comedy wasn’t mainstream those days. It was in the realm of smaller events. We picked it up and established an entire genre of reality shows from it.

     

    With VOD platforms like Hotstar, Voot, HOOQ, ErosNow et al emerging as the new medium for content consumption, how is Endemol positioning itself in the programming ecosystem?

    We are already creating and producing digital content formats for some of these OTT players. We have brought in formats from our international partners because those are evolved markets familiar with OTT and digital content. We are in talks with some of these players to see how we can start mounting them up.

     

    Is India finally catching up to short format fiction shows?

    The shortening of content is bound to happen due to fragmentation of mediums and due to the gradually reducing attention span of viewers. People are getting restless. They want to see the start and end of a scripted program and binge watching is becoming a concept as well. People now want to watch and complete a series maybe within one or two weekends or maybe over a month. With this viewing behaviour spreading across genres, producers must also shift and re-think in that direction, and go for more and more finite shows.

     

    What does week 41 and 42 BARC data mean for you as a content provider?

    It’s still too early to comment or even start shifting gears based on the data. Let the ecosystem stabilise and settle a bit. It is just about stabilising, so we must wait before forming any opinions based on it or our content strategy. The new numbers will throw us new trends as well, and we are keeping an eye on them for new possible show concepts.

  • Balaji Telefilms amps up production value with ‘Naagin’ on Colors

    Balaji Telefilms amps up production value with ‘Naagin’ on Colors

    MUMBAI: Balaji Telefilms has readied a visual treat for viewers with its new show – Naagin, which is slated to go on air on Colors from 1 November.

     

    The soap factory has upped its production value for this show with focus on elements like characterisation, scripting and visual appeal. The new mystical thriller is a dramatically obsessive love story of reincarnation. Naagin will be a finite weekend fiction series, which will be telecast every Saturday and Sunday at 8 pm.

     

    Set against the backdrop of Rajasthan, Naagin is loaded with outstanding VFX effects offering an authentic film-like experience. The musical score of the show will add to the viewing experience as Colors recreates the timeless magic of the song Tere Sang Pyaar Main Nahi Todna through a new-age adaptation.

     

    Commenting on the show’s format, Balaji Telefilms joint managing director and creative director Ekta Kapoor said, “At Balaji, we have always believed in experimenting with different concepts while bringing in some variety for our viewers. The concept of Naagin is something that we, at Balaji, have never explored in the past; it is a completely new facet of love stories that transcends into the mystique of the unknown. With intense focus on different elements like characterization, scripting, visual appeal, etc, we have amped up the production value to make it a winning proposition on the small screen. Putting together an hour-long proposition requires additional investment in terms of story development and high-end technology, and we are looking forward to presenting an all-round offering to Colors’ viewers.”

     

    Speaking about the show, Colors programming head Manisha Sharma added, “After the success of 24 Season 1, Naagin is our second offering within the fiction finite series space airing on weekends. Naagin is a mystical thriller incorporating a dramatic twist at every corner to add an element of thrill and excitement, which will keep viewers engaged. The show is a testimony of Ekta Kapoor and Balaji Telefilms’ conviction towards providing quality entertainment avenues for viewers through new and innovative concepts that appeal to viewers visually and in terms of its narrative.”

     

    The aesthetically narrated saga, Naagin delves into the life of a suave and ambitious business tycoon, Ritik Raheja (Arjun Bijlani) who believed that love and religion are distractions as they make you weak. But his beliefs are challenged when he comes face-to-face with Shivanya (Mouni Roy). While Ritik is enamoured by her simplicity, Shivanya is stuck between two extreme emotions – love and vengeance. Shivanya’s friend, Sesa (Adaa Khan) is her support system, but she has an ulterior motive that no one knows about. The constant conflict between love and revenge drive these protagonists together as their lives clash in a coming together of their past histories.

  • Eros Knowledge Partners 17th Jio MAMI Mumbai Film Festival

    Eros Knowledge Partners 17th Jio MAMI Mumbai Film Festival

    MUMBAI:  Eros International Media has teamed up with the 17th Jio MAMI Mumbai Film Festival as knowledge partner to recognise and support new talent.

     

    With this association, Eros International aims to strengthen its content strategy of backing good cinema, identifying and rewarding new talent. Furthermore, as knowledge partner the company will also be awarding the Gold category winners at the festival.

     

    Eros International managing director  Sunil Lulla said, “As Knowledge Partner, we saw a synergy in tying up with a significant film platform like MAMI, which showcases the best of Indian and international cinema. It’s a perfect opportunity to build on our vision of being a leading content company and recognising new talent. It’s been a fantastic year with some great commercial and critically acclaimed successes like NH10, Badlapur, Tanu Weds Manu Returns andBajrangi Bhaijaan and associating with MAMI is a step forward in supporting good cinema.”

     

    The 17th Jio MAMI Mumbai Film Festival director Anupama Chopra added, “We are thrilled to have Eros International as Knowledge Partner. It’s very exciting that a leading studio has joined hands with our film festival to support new talent. I hope that this opens many doors and enables new voices to emerge.”

     

    The opening of the film festival will held on 29 October.

  • Speculative media reports caused Wells Fargo downgrade: Eros

    Speculative media reports caused Wells Fargo downgrade: Eros

    BENGALURU: The Bombay Stock Exchange (BSE) listed Eros International Media lost nearly 20 per cent of its market value on Monday on the back of American multinational banking and financial services holding company Wells Fargo downgrading its parent company Eros International Plc, which is listed on the New York Stock Exchange (NYSE).

     

    Reacting to a notice from the bourses about the downgrade by Wells Fargo, Eros International Media (Eros) held speculative media reports responsible.

     

    Eros said that analysts downgrade or upgrade stocks regularly and ‘as such that is not a cause for much concern’. Also, the company has responded by pointing out in its reply that Wells Fargo did not revise their own earnings estimate for the quarter or the year end and their price target is $22, well above the price the stock was trading the date it was published. Eros claims in its response that another analyst from Macquire-Tim Nollen, published a very positive report and maintained outperform rating with a $25 target, on the same day as the Wells Fargo report that was published on 23 October, 2015.

     

    Eros’ response to the bourses goes onto assure its shareholders that the company’s fundamentals are strong and there have been no material changes in the previous announced fundamentals. “We continue to be market leaders in the Indian film industry with a dominant share in the global Indian box office. Our library of over 2000 films continues to be of a unique competitive advantage, which we monetise in conjunction with our new release slate of 65-70 films comprising Hindi and regional languages each year, across theatrical, television and digital and ancillary distribution platforms which constitute our diversified revenue streams,” the company said.

     

    The company added that its Q1 results have been strong and nothing materially has changed since then, in fact a further string of hits by the company such as Bajrangi Bhaijaan in Q2. Eros’ Q2 results, which are to be announced towards mid-November, will be strong and will be another opportunity for the company to answer further questions regarding all aspects of its operations and finances during that earnings call.

     

    The response to the BSE and the National Stock Exchange (NSE) has been signed by Eros company secretary and compliance officer Dimple Mehta.

     

    At the end of the day’s trade on the BSE, Eros International Media’s stock was down 19.11 per cent to close at Rs 354.40 as compared its Friday close of Rs 438.10. On Monday, the stock opened at Rs 418.80 but saw a drop as word of the Wells Fargo downgrade spread. The stock reached an intra-day low of Rs 351.

     

    On NYSE, shares of the parent company Eros International Plc, which has a market cap of $842.9 million, too have been losing ground over the last one week. As of 23 October, the company’s shares were down 45 per cent to $14.65 in one week on NYSE.

  • International industry experts to set the direction for the future of media and entertainment content in Asia at ATF 2015

    International industry experts to set the direction for the future of media and entertainment content in Asia at ATF 2015

    MUMBAI: Asia TV Forum & Market (ATF) 2015, has announced that the industry’s notable business leader, D.J. Lee, President of CJ E&M Media Contents Business will be kicking off ATF’s pre-market conference as keynote speaker on 1 Dec 2015 at the Marina Bay Sands.

     

    Keynote Speaker – D.J. Lee

    As Asia’s leading creation  and marketing company, CJ E&M’s media division currently operates 17 television channels and provides approximately 3,000 hours of content a year to various diversified media platforms such as cable, IPTV, and digital media.

    With an ambitious global expansion strategy along with initiatives such as digital-first original  production  under Lee’s guidance, CJ E&M rechristened their Multi-Channel Network (MCN) this year to DIA TV (Digital Influence & Artist TV) to focus on creating strategic  business  partnerships and  opportunities with digital  content creation platforms such as United States’ YouTube, China’s YouKu and France’s DailyMotion.By partnering content creators via the many digital platforms available, CJ  E&M  hopes to provide independent digital producers the opportunities to market their product by providing them with more support in areas such as funding, programming, digital rights management and cross-promotion.

    A veteran in the broadcast industry in Korea, Lee has a career spanning more than 20 years in the television  business.  Before becoming  the President  of Asia’s  leading  content  and media company, CJ E&M Media Content Business, Lee was a forerunner, pioneer and innovator of the Korean broadcasting  industry,  bringing  Total Variety Network (tvN), the country’s  leading content channel, to greater heights and surpassing Free-to-Air giants in terms of ratings and advertising revenue. Being the first to bring international formats into Korea to be localised, while also creating the first international Research & Development department, D.J. Lee has always been a forerunner in the industry, continually seeking to grow one of the region’s most successful broadcast industries.

    With local broadcasting networks in Southeast Asia seeking to augment their original content, Lee’s  address on the topic, Into the Future of Television: An Asian Empire’s Move Forward, will seek to provide insights based on his extensive experiences in cable, formats and the digital sphere.

    Said Mr Lee, “Evolution and Adaptation are two key traits to have in an industry such as ours. Be it the successful localisation of international formats or integrating existing formats into brand new concepts, it is all about providing engaging and contemporary content for your audiences. It’ll be my first time speaking at  ATF  and I’m looking forward to meeting  the  entire entertainment content industry there.”

     
    “With ATF being the premier platform for content providers, buyers and broadcasting networks all around the region, participants can look forward to engaging in knowledge transfer and interactive masterclasses as they learn insights from the industry’s thought leaders through the conference, while the market promises endless possibilities for partnerships and content deals. Attendees can expect to get ahead of the curve with the valuable insights that  D.J. Lee will share,” said Yeow Hui Leng, Senior Project Director of Asia TV Forum & Market  and ScreenSingapore,Reed Exhibitions.

     

    Empowering TV, Going Digital

    As consumer patterns evolve and technological advancements continue to play a strong role in moulding viewer preferences, digital involvement will be a key aspect for buyers and sellers alike within the film and TV industry in the years ahead. In line with this growing trend, Christopher Smith, Head of Digital & Branded Content Asia, Endemol Beyond (Singapore) and Shane Mitchell, Head, Digital, MediaCorp (Singapore) will share insights on how industry players can continue to innovate in order to meet the changing consumer needs for new technologies.

    With the growth of the digital age and seamless integration of all media types, it is important to understand the regional strategies, as well as possible barriers of entries, in achieving a fully integrated  system.  While  content  and  brands  engage  in  deeper  conversations  with  the consumers through the proliferation of digital devices and platforms, the appropriate use of social media to increase engagement and generate traction will be crucial for the industry. Philip Kitcher, VP Asia Pacific, Stylehaul (USA) and Marini Ramlan, GM of Media Prima Digital (Malaysia), will join a panel of other speakers to tackle the various issues of the digital dimension. Leading regional OTT companies will also be speaking on the key regional strategies and deployment as well as the barriers of entry in the realm that thrives on seamlessness.

    Other notable speakers during the pre-market conference include Steve Macallister, CEO, All3Media International (UK) and Dave Winnan, Executive Producer, International Formats, ITV Studios (UK), who will also join Qiu Yuan Yuan, General Manager, Jiangsu Broadcasting International Co., Ltd, for an insightful pairing of two significant pillars of the industry.

     
    On the other hand of the spectrum, Maggie Xiong, Senior Director, International Acquisitions, Youku Tudou (China) and Jose Mari Abacan, 1st Vice President for Program Management, GMA Network, Inc. (Philippines), will join other panellists in a discussion about the evolution of the buyer market within the TV industry. During the session, they will provide information required into tailoring television productions to suit the wants and needs of various content buyers for various genres.

     

    Engaging Formats, Reaching Younger Audience

     
    2015 has been a turning point in the world television with the digital wave now touching TV formats business-wise. Formats players are pumping in significant budget for original engaging content production to build audience loyalty, identify talents, and increase intellectual property. Formats experts will be sharing on how the game will change in 2016 at Formats@ATF. With Asia’s  hunger for kids’ content, the younger viewers have never had it so good. Danny Stack, Writer/Director (UK), will take participants through a masterclass that covers the main elements of good storytelling, which will not only engage children, but also audiences of all ages. Stack will share personal experiences of how he has coped and kept up with the evolution of television through the years, to continue writing and producing top-notch quality programmes such as Octonauts and Thunderbirds Are Go.

     
    The future of Asian television is here, with digital formats paving the way. Embracing the power of digital platforms  will be a key focus at this year’s ATF and participants  will understand and learn how to better conceptualise the inner workings of the future of Asian television.

    Participants can expect to glean a great deal of information from the many speakers and thought leaders that will be present at Asia TV’s premier conference and marketplace. The 2015 edition of the ATF promises to see an even bigger turnout as it returns as part of the second edition of the Singapore Media Festival, so be sure to purchase your tickets at  www.asiatvforum.com to experience the future of Asian Television.