Category: Production House

  • DQE to co-produce ‘The Jungle Book’ season 3 with Ellipsanime

    DQE to co-produce ‘The Jungle Book’ season 3 with Ellipsanime

    MUMBAI: DQ Entertainment (DQE) will be co-producing the the third season of The Jungle Book (52 x 11’) CGI series along with France’s Ellipsanime.

     

    The third season will be supported and co-produced by ZDFE, Germany; ZDFTV, Germany and PIWI (Canal+), France. 

     

    The Jungle Book season 3 continues to receive strong support from Telequbec, Canada and other season 2 broadcast partners. The series is expected to be available for broadcast globally by early 2017.

     

    In the third season, Mowgli and his friends will continue their thrilling and sometimes comedic adventures. Characters like Baloo- the Bear, Bagheera – the Panther and others will team up with Mowgli to keep the dangerous and sly Sher Khan at bay.

     

    ZDF head of international co-productions and acquisitions for children’s and youth programming Nicole Keeb said, “It was an easy decision to continue with The Jungle Book. The first two seasons are working so well for ZDF and KiKA that we were basically obliged to go on. And we do this with great pleasure!”

     

    “ZDF Enterprises is proud to be part of the Jungle Book familyTogether with children all over the world we are waiting with enthusiasm for further adventures of our favourite characters,” said ZDF Enterprises vice president ZDFE.Junior Arne Lohmann.

     

    Canal + (PIWI) Youth Department head of children’s programs and channels Laurence Blaevoet said, “I’m looking forward to work with DQ and Ellipsanime, on the third season of Jungle Book. The two first seasons are already a huge success on Piwi+.”

     

    Ellipsanime general manager and executive producer  Maia Tubiana added, “We were thrilled when DQE asked us to join in! Ellipsanime and Mediatoon are looking forward to this production journey of fruitful collaboration!

     

    DQE chairman and CEO Tapaas Chakravarti said, “Jungle Book has done well in most territories across the world and has become one of the favourite shows of kids aged 4-8 years. We are enthused to partner with leading French broadcasters Piwi-Canal + and the recognized French leader in film and TV production, publishing and digital media – Ellipsanime.  ZDF TV and ZDF E continue to support Jungle Book franchise as co-producers for the third season.”

  • Endemol Beyond USA launches digital eSports & gaming network

    Endemol Beyond USA launches digital eSports & gaming network

    MUMBAI: Endemol Shine North America’s premium content network Endemol Beyond USA is set to launch its new eSports & gaming Smasher Network with the debut of its flagship series Legends of Gaming hosted by Toby Turner.

     

    The network has unveiled seven new original series including Rule’m Sports, based on the hit UK series and hosted by YouTube star Jesse Wellens.

     

    Smasher Network marks the second digital-first network from Endemol Beyond USA, following the launch of ICON, the premium global lifestyle network creatively led by digital pioneer Michelle Phan that is launching in 11 territories globally.

     

    Smasher Network will be available across more than 20 platforms, including YouTube, Roku, TiVo, DailyMotion, Amazon Fire TV, Verizon go90, Vessel and also at Endemol Beyond USA’s OTT platform GetBeyond.US.

     

    In addition to Rule’m Sports, new series set to launch on Smasher Network include: Game FameWe’re in the Game,Fantasy LeaguePro v Pro, and Smashed Up.

     

    Endemol Beyond USA interim president and COO Adrian Sexton said, “eSports is trending globally and we’re excited to be at the tipping point with ‘Legends of Gaming’ hosted by the mega-talented Toby Turner. Our premium networks’ strategy, starting with ICON Network and Michelle Phan, and now heading into Smasher with eSports and gaming, puts us right in the middle of one of the most passionate and intense fan bases in digital. Game on!”

     

    Endemol Beyond USA is producing over 100 videos for Legends of Gaming, with 37 episodes of the premiere series hosted by YouTube sensation Toby Turner (aka Tobuscus). Pizza Hut is on board as the principal integration partner, as well as sponsors Razer and iBuyPower, who outfitted the stage with top-of-the-line equipment and custom gaming systems for the Legends. In addition, Endemol Beyond USA is producing another 37 segments of Legends of Gaming: Game Play showing the complete competition; and 37 companion pieces entitled Legends of Gaming: Bloopers and Outtakes, which gives fans an inside look at the antics that were a part of each episode. There will be cast profiles, win/fail videos and recaps, as well. Legends videos will post seven days a week on YouTube, across five months from 7 October through February 2016.

     

    Legends of Gaming is based on the Endemol Beyond UK format of the same name, which launched in 2014 and is currently in its second season. The US version follows four teams of two gamers who are coached by some of the biggest names in the gaming industry.

     

    Legends talent roster collectively represents 57 million subscribers and followers and over 7.3 billion lifetime views across YouTube and other social media platforms. Coaches include Fatal1ty, Perfect Legend, HotShotGG and Hafu. Contestants include gamers The Jovenshire, Syndicate, Terroriser, TmarTn, OMGitsfirefoxx, iiJERiiCHOii, Lui Calibre and runJDrun.

  • Viacom to open production studio in Miami

    Viacom to open production studio in Miami

    MUMBAI: Viacom Inc will open a two-stage, 88,000 square foot, state-of-the-art production facility in Miami, Florida. 

     

    The new studio, which was built by the Miami Omni Community Redevelopment Agency (CRA) as a public-private partnership with EUE/Screen Gems Studios, will serve as a production hub for Viacom’s global entertainment brands including Nickelodeon, MTV and Comedy Central.

     

    “We are creating more content than ever before across all of our brands at Viacom. The Viacom International Studio in Miami will offer a turnkey facility where we can create even more original, high quality content to meet the increasing demand for long-and-short-form content on all of our global platforms,” said Viacom International Media Networks (VIMN) president and CEO Robert Bakish. 

     

    “We have had terrific success with the recent live action productions we have coming from Miami, and we are very excited to be committed to doing more. We are constantly looking for new creative ideas and content formats that allow us to tell stories in a completely different way, and this facility will certainly forward that effort,” added Viacom Kids and Family Group president Cyma Zarghami.

     

    “Viacom has demonstrated again and again that hits come from all over the world. With an established track record of multi-lingual hits including Every Witch Way and Talia in the Kitchen being produced in Miami for multiple audiences simultaneously, in global collaboration with the US and local Latin American teams, we’re excited to have the opportunity to further expand our production capabilities in the market,” said VIMN Americas president and Nickelodeon International EVP Pierluigi Gazzolo.

     

    Located in central Miami, the studio location offers access to a highly skilled, multi-lingual talent pool essential to creating global productions in multiple languages. The facilities will include two modern sound stages equipped to create a variety of content simultaneously, from daily scripted series, music specials and game shows to short form content for mobile, digital and on-air.

     

    “We welcome Viacom as a long-term partner at our new Miami studios. Our company has worked closely with Viacom to develop a facility worthy of a dynamic content producer. Today, we celebrate our relationship with Viacom, and we applaud our partners at the Omni CRA, whose vision and efforts have made this building possible,” said EUE/Screen Gems Studios COO Chris Cooney.

     

    EUE/Screen Gems has entered into a long-term lease with Miami’s Omni CRA to operate the new facility.

  • Prime Focus World’s DeepGen stereo technology bags AIS award

    Prime Focus World’s DeepGen stereo technology bags AIS award

    NEW DELHI: Prime Focus World (PFW) has won a Lumiere award for its proprietary DeepGen stereo technology.

     

    The award was given by the Advanced Imaging Society (AIS) for technical achievement at their 6th annual technology and new products awards ceremony at Paramount Studios in Hollywood.

     

    PFW’s DeepGen technology, part of its Hybrid Stereo Pipeline, allows the use of deep compositing data in the stereo conversion process, providing superior conversion results, a more efficient workflow and more flexibility and control.

     

    PFW global CEO Namit Malhotra said, “Driving greater innovation through our R&D and pipeline teams is the future of our industry. I believe that our commitment to creating technological breakthroughs is our biggest differentiator, and I wholeheartedly support the effort to help drive our industry forward by constantly raising our own bar.”

     

    Accepting the award on behalf of the PFW technology team were PFW global head of view-D Eoin Greenham and software developer Laszlo Rikker, who attended the awards along with PFW global technical supervisor Rajat Roy and software developer Luke Gray.

     

    “I’m delighted to accept this award on behalf of the PFW technology development team. Having the opportunity to work on some of the best 3D content with the biggest studios in the world is a great honor, and being tasked with finding solutions and developing ever more efficient ways of working is both rewarding and gratifying. It’s a privilege to be working for a dynamic company that is constantly breaking new ground and pushing the boundaries of what is possible in stereo conversion,” said Greenham.

     

    PFW won the award alongside companies such as AMD, Barco, Jaunt, Nokia, Sony Computer Entertainment and Technicolor.

  • Balaji Telefilms targets OTT as core business in 5 years’ time

    Balaji Telefilms targets OTT as core business in 5 years’ time

    BENGALURU: Just a couple of days back at the Indian Digital Operators Summit (IDOS) 2015 organised by Indiantelevision.com and Media Partners Asia, Telecom Regulatory Authority of India (TRAI) principal advisor SK Gupta said that ‘the customer was king’ and suggested that players in the broadcast industry ecosystem look at over-the-top (OTT) platforms to cater to the consumers need.

     

    Taking a cue from the current ‘over the top’ mood in the Indian broadcast industry, Balaji Telefilms Ltd is planning to make digital B2C (business to consumer) as its core business in five years’ time. This strategy will be driven via its own content as well as curated content.

     

    As was reported earlier by Indiantelevision.com, this business will be housed under Balaji’s subsidiary company ALT Digital, which was re-launched in Q2-2016 with renewed vigour.

     

    With a three-pronged growth strategy covering television, films and digital B2C, Balaji Telefilms is looking at becoming a diversified media company. The most important component of the company’s growth strategy is to diversify into new opportunities via digital B2C. Balaji’s plans are built around the emerging changes in the consumers’ viewing habits.

     

    Through ALT Digital, Balaji plans to offer original and curated premium content on its own Subscription Video on Demand (SVOD) and advertising -Video on Demand (AVOD) platform across multiple genres and languages to garner a share of the online mobile and video market. The subscription driven platforms on ALT mobile app and other connected devices as well as the ALT website are slated for a Beta launch in Q3-2016 (quarter ending 31 December, 2016). Additionally, technical development, content production, promo launch and pre-launch marketing is also being targeted in the same quarter. The formal launch is being targeted for Q4-2016 (quarter ending 31 March, 2016).

     

    While Balaji has been a content company, it seldom has had the chance to interact directly with the consumers. Now with the digital foray, not only will it have an opportunity to connect with consumers but will also be the owner of the digital IP unlike in television content where the IP of the show belongs to the broadcaster.

     

    According to the company, a majority of content available online are either re-runs or DIY, which in turn leaves a big opportunity to offer original web-series for internet audience.

     

    The business model that Balaji has chalked out for digital is subscription based ‘freemium’ approach as the primary source of revenue. Revenue from advertising, licensing and sponsorship will be the secondary source of revenue.

     

    Targeting an urban and semi-urban audience group that comprises smartphone internet users active on YouTube and social media in the 19-34 age group, Balaji plans to use global ‘best of breed’ technology to ride on the imminent explosion of internet bandwidth in the country. Viewers will have streaming and offline viewing options, delivered over multiple screens. 

     

    The company’s strategy is to churn out original, edgy, never-seen-before content in India created especially for the OTT platform.

     

    Balaji Telefilms is in the process of putting together a skilled team. Additionally, a robust implementation plan is being executed to help realise the opportunity and meet its goals.

     

    Apart from its digital focus, Balaji Telefilms’ other two areas of focus are its existing businesses of television content and film production. On the television front, the company, which has had Hindi fiction as its mainstay until now, is planning to foray into regional and non-fiction content by making selective risk-reward plays. On the other hand, for films Balaji’s strategy is to scale moderately and become profitable.

  • “It took five years to put ‘Mahabharat’ on air:” Siddharth Kumar Tewary

    “It took five years to put ‘Mahabharat’ on air:” Siddharth Kumar Tewary

    MUMBAI: Known for shows on Hindi general entertainment channels (GECs) like MahabharatRazia Sultan, Yam Hai Hum andManmarziya amongst others, Swastik Productions has completed eight years in the television industry and in its journey so far, the company has managed to create differentiated content as well as maintained its position as one of the top show churners.

     

    Since the launch of its first show – Amber Dhara in 2007, Swastik Productions founder and creative director Siddharth Kumar Tewary has left no stone unturned in making it a successful journey.

     

    Launched with the vision to create and tell stories in a way that no one had done before, Swastik Productions’ journey has been sprinkled with huge amount of learning. 

     

    In an exclusive chat with Indiantelevision.com, Tewary said, “I realized a month back that we are completing eight years. It’s been a very exciting journey. I always wanted to tell stories to the world and the only way I could do that was by opening my own production house. That’s how Swastik came into existence.”

     

    The production house took up the challenge to deliver unique content from day one in the form of Amber Dhara, which was a story about conjoined twins. 

     

    While coming up with a subject like Amber Dhara eight years back was progressive in thought, it was difficult to portray on screen. “The outcome is not in our hands but as long as you try, you will be rewarded sooner or later,” Tewary said.

     

    It was while he was working with Sony that Multi Screen Media CEO NP Singh advised Tewary to open his own production house if he wanted to do something on his own. “Singh has been a very important person in my life. He assured me that I would get an opportunity if I did well. At the time of Amber Dhara, we were very raw and didn’t have any experience. We used to shoot without a set and it was tough to shoot at different locations on a daily basis. Sleeping on the road or in a car was normal for me at that time. I was moving like a zombie but it was an amazing experience,” Tewary recalled.

     

    A major breakthrough for the production house came in the form of Mahabharat, which did really well on the small screen. Star Plus approached Swastik Productions to give the epic a different identity without changing its history. And Tewary was quick to rise up to the challenge. Talking about the show, he said, “When Star Plus asked me to make the show, I had no clue whether I would be able to do it or not. Uday Shankar (CEO Star India) is the most visionary person I have ever met. He asked me to make Mahabharat in a way that nobody else could make it in the country. He was instrumental in upping the scale of the show and that in itself was a big challenge for us. The idea was to put the show on air in eight or nine months but when we actually started working on it, we realised that it was not something that could happen overnight. We needed to go deeper into the subject in order to interpret it and give the show a new take.”

     

    Making the show from a different perspective was no cakewalk. “It wasn’t a remake, rather it was a reinterpretation of the epic. It took us five years to put the series on air. In hindsight, it was much more difficult and than even starting Swastik Productions. Doing a show on a large scale isn’t an easy task. It took us five years to complete the show. We wanted our work to be remembered and Mahabharat was an effort in that direction,” Tewary asserted.

     

    Mahabharat became the talking point because of the story, cast as well as costumes and was much appreciated by the audience. Tewary’s research and studying of every character closely worked. From costume to casting, everything was done under his observation. After trying out numerable people from the industry to give a different look to each character, he zeroed in on Oscar winning costume designer Bhanu Athaiya to design costume for the cast of Mahabharat.

     

    While Mahabharat rakes in the praises, the production house’s other show Manmarziyaan failed to generate sustainable ratings despite being appreciated for its content and production quality. “We made an experimental show and an effort in telling a story in a different style, which connected with the younger audiences but not with the older ones. While we didn’t get the desired number, we are happy and proud that we made an attempt to do something new.” 

     

    After the success of Mahabharat, Tewary was keen to come up with a comedy and it came in the form of Swastik Production’s next show – Yam Hai Hum, which airs on Sab. “We were keen to explore other genres and I really wanted to produce a comedy show. I met Anooj Kapoor (Sab business head) and discussed the concept with him. He loved the idea and that’s how Yum Hai Hum happened,” he informed.

     

    While television remains the mainstay of entertainment, its digital counterparts like OTT and VOD platforms are fast catching up. More and more entertainment content is consumed on the go today. Tewary is of the opinion that in the coming years, digital will be the way to go and there will be no other option left. “Indeed the market is growing and digital will appeal more to metro centric audiences, whereas television will cater to the masses. There is huge market out there for digital, which is needs to be explored,” he said.

     

    Swastik Productions currently has three shows on air namely Yam Hai Hum on Sab TV, Razia Sultan on &TV and Suryaputra Karn on Sony. “Primarily at the core, we are a content company and that is core purpose of Swastik Productions. We are happy with our work. There are some projects in the pipeline and we will make the announcement when the time is right,” he concluded.

  • Sony Pictures Classics acquires Rebecca Miller’s ‘Maggie’s Plan’

    Sony Pictures Classics acquires Rebecca Miller’s ‘Maggie’s Plan’

    MUMBAI: Sony Pictures Classics has acquired all rights in North America, the UK, Australia, New Zealand, CIS, Hungary, Romania, China and various other Asian territories to Rebecca Miller’s Maggie’s Plan.

     

    Written and directed by Miller with a script based on a story by Karen Rinaldi, the film premiered at the 2015 Toronto International Film Festival and will screen at the upcoming New York Film Festival.

     

    Miller’s comedy-drama follows a young woman whose determination to have a child catapults her into a nervy love triangle with a heart-throb academic and his eccentric critical-theorist wife.

     

    The film stars Greta Gerwig, Ethan Hawke, Julianne Moore in the lead along with Bill Hader, Maya Rudolph, Travis Fimmel, Ida Rohatyn, Wallace Shawn and Mina Sundwall.

     

    Maggie’s Plan is produced by Rachael Horovitz, Damon Cardasis and Miller, with executive producers Philip Stephenson and Temple Williams of Freedom Media, Lucy Barzun Donnelly and Alexandra Kerry of Locomotive, Michael J. Mailis and Susan Wrubel of Hyperion Media.

     

    “I’m absolutely thrilled that Sony Classics will be distributing Maggie’s Plan. They are an iconic company and the perfect home for this film,” said Miller.

     

    Horovitz and Cardasis added, “We’re so happy to be teaming up with Sony Pictures Classics. Their long history of bringing quality thoughtful cinema to the screens is one we feel honored to be part of.”

     

    “With Maggie’s Plan, Miller has done the impossible. She has created a totally relatable world that is both fresh and new. The screenplay is surprising and precise, a warm human comedy. The performances are spectacular. It is our good fortune to be working with Rebecca, producers Rachael and Damon and once again with Greta, Ethan, and Julie. We are confident the public will embrace Maggie’s Plan,” said Sony Pictures Classics.

     

    The deal was negotiated between Sony Pictures Classics, CAA and Cinetic Media with International sales being handled by Protagonist Pictures.

     

  • FremantleMedia to launch 45 years of classic characters at MIPCOM

    FremantleMedia to launch 45 years of classic characters at MIPCOM

    MUMBAI: FremantleMedia International is celebrating its drama heritage with launch of 45 years of classic characters, Comedy and Drama. Featuring some of the most iconic titles and legendary characters, the classic collection will be launched to buyers at the upcoming MIPCOM.

     

    From much loved British sitcoms such as Goodnight Sweetheart and Birds of a Feather, to action packed cop dramas The Sweeney and Minder, to internationally renowned favourites such as the unforgettable Baywatch and the laugh out loud Benny Hill, FremantleMedia International’s eclectic portfolio boasts much-loved characters and TV gems.

     

    FremantleMedia director of global drama Sarah Doole said, “For the past few years we’ve put a lot of focus on strengthening our drama portfolio, but little does everyone know that we’ve actually been producing scripted content for quite a while and are very lucky to have some real crown jewels of drama and comedy in our back catalogue. With classic characters, timeless storylines and iconic talent, these shows have entertained and influenced generations. With something for every taste, we’re thrilled to be presenting some of our extensive back catalogue at MIPCOM.”

     

    The 45 Years of Classic Characters: Comedy and Drama also includes shows like The Bill, Homicide: Life on Street, Lovejoy, Bless This House, Man About The House, George and Mildred, Robin’s Nest, Kate and Allie, Family Affairs, Love Hurts, Shine On Harvey Moon, Jack the Ripper, Murder Investigation Team, Fresh Fields and Covington Cro

  • FY-15: Prime Focus revenue up 80%; Q4-2015 YoY revenue up 2.4 times

    FY-15: Prime Focus revenue up 80%; Q4-2015 YoY revenue up 2.4 times

    BENGALURU: Prime Focus Limited (PFL) reported 80 per cent revenue growth for the year ending 30 June, 2015 (FY-2015) at Rs 1607.59 crore as compared to the Rs 892.9 crore during the corresponding 4 quarter (12 month period) of the previous year. Last year, the company had reported revenue of Rs 1081.42 crore for the 15 month period ended 30 June, 2014.

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

    (2) The company had filed results for a fifteen month period ended 30 June, 2014, hence YoY comparison is being done between Q4-2015 and Q5-2014 and QoQ comparison is between Q4-2015 and  Q3-2015 (quarter ended 31 March, 2015).

    YoY, PFL’s revenue increased by 2.4 times in Q4-2015 at Rs 518.21 crore as compared to the Rs 214.99 crore in Q5-2014.

    AnchorThe company’s yearly and 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.

    The company reported a net loss of Rs 292.22 crore in FY-2015 and a loss of Rs 213.76 crore in Q4-2015. The company’s simple EBIDTA for FY-2015 at Rs 241.23 crore (15 per cent margin) was 22.6 per cent more than the Rs 196.76 crore (19.1 per cent margin) for the 15 month period ended 30 June, 2014. PFL says in its earnings release that EBIDTA for the 12 month period ended 30 June, 2014 was Rs 179.6 crore.

    EBIDTA for Q4-2015 at Rs 86.17 crore (16.6 per cent margin) was more than five times the Rs 14.29 crore (6.6 per cent margin) in Q5-2014, but declined 18 per cent as compared to the Rs 105.15 crore (25 per cent margin) in the immediate trailing quarter.
     

    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 Q4-2015 at Rs 263.11 crore (50.8 per cent of TIO) was 13 per cent more the Rs 232.94 crore (64 per cent of TIO) in Q3-2015 and more than double (2.07 times) the Rs 127.11 crore (59.1 per cent of TIO) in Q5-2014.

    Fig B indicates that EBE also shows a linear upward trend in terms of percentage of TIO over the nine quarters starting Q4-2013 until the current quarter Q3-2015. EBE has been the highest in Q4-2015 in terms of absolute rupees, but in terms of percentage of TIO, it was highest in Q3-2015.

    Finance and Interest cost in Q4-2015 at Rs 25.39 crore (4.9 per cent of TIO) was 45.1 per cent more than the Rs 17.50 crore (8.1 per cent of TIO) in Q5-2014 and 78.69 per cent more than the Rs Rs 14.21 crore (3.4 per cent of TIO) Q3-2015.

  • FremantleMedia picks 75% stake in Dutch producer No Pictures Please

    FremantleMedia picks 75% stake in Dutch producer No Pictures Please

    MUMBAI: FremantleMedia has acquired a 75 per cent stake in Dutch business No Pictures Please, a controversial factual programming company owned by presenter and producer Ewout Genemans.

     

    The company will sit alongside FremantleMedia’s entertainment and scripted businesses in the Netherlands, Blue Circle and FourOne.Media. 

     

    No Pictures Please is best known for De Roze Wildernis (Fathers Pride), about gay sons and their fathers; Super Fans: Mijn idool is mijn leven(Super Fans: My idol is my life), which follows fans as they try to get closer to their idols; and From Russia With Love, a look at the men who travel to the former Eastern bloc to find love.

     

    This is the latest in a number of recent investments by FremantleMedia including scripted businesses Wildside (Italy), Fontaram (France) and Corona Pictures (UK). 

     

    The No Pictures Please deal was brokered by Blue Circle CEO Georgette Schlick. 

     

    “Ewout has been on Dutch screens for more than ten years and has developed a very keen eye for what audiences want. We’re delighted to be working with him and excited for what he will continue to produce for the Dutch and global market,” Schlick said. 

     

    Genemans added, “Being a part of Blue Circle and ultimately FremantleMedia presents a great opportunity to work with a fantastic Dutch operation as well as a globally established network of some of the best creative minds in television.”