Category: GECs

  • Saluting TV technicians, the Beyond Dreams way

    Saluting TV technicians, the Beyond Dreams way

    MUMBAI: As an audience, whenever we watch a film or a TV show we only know and remember the faces of our heroes and heroines. Even the national anthem videos which play in the multiplexes before a film starts feature the stars – film or TV or musicians or singers.

    We promptly forget and hardly acknowledge the professionals who work behind the camera. These are the names that appear in the end of the film or the show in the credits. We simply switch the channel or walk out the theatre, without paying heed to any of them as they roll down.

    Breaking the stereotype formula of only highlighting the stars on screen, TV production house Beyond Dreams Entertainment’s Yash Patnaik has featured those behind the scenes in a video of the national anthem, that was released on social media websites such as Facebook, YouTube and Twitter on Independence Day.

    TV crew such as make up artists and hair designers, writers, set designers, spot boys, lighting boys, helpers – pop up in the video singing a word or a line of the national anthem.

    Says Yash: “Whenever events like Independence Day, Diwali or Holi come, we always zoom in on the on-screen talent or directors or producers, and they are given greater respect. But behind the recognition and success we get are  the large crews that work with us and support all our productions. Whenever I visit my set, the affection and love I received from my unit is tremendous. Therefore, we thought of doing the video featuring them and let them feel special on the special day. “

    The national anthem video cost Patnaik – who has three shows (Jaana Na Dil Se Door, Naagarjuna and Kuch Rang Pyar Ke Aise Bhi) under his belt currently  – Rs 3 to 4 lakh to produce. Thanks to the three units that are working on the three shows, Patnaik had access to the 150 crew to participate in the video. Despite that however he states that it was not that easy to make the film.

    “They were not ready to face the camera,” he reveals. “as they are very uncomfortable in front of it. But they came forward after some persuasion and we shot it over four to five days.”

    Even good names from Bollywood stepped forward to lend their support to his effort. Bollywood actor Ali Faisal came forward and gave the voice over at the beginning of the video, with lyricist Abhishek Kumar writing the lines and Udbhav Ojha composing the music for the national anthem.

    The video was released on Facebook and YouTube and simultaneously a social media push was given. The hashtag #GoBeyond was used to promote it on social networking sites. On Twitter, the hashtag #GoBeyond was at the No 1 spot in India and in the world it was on number 20. The reach was 1.5 million and the video generated 165,000 views.  More than that it got a lot of plaudits from fellow and rival producers, industry stalwarts. The video trended at the number three position in Australia

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    Patnaik says another video has been produced with TV  stars paying tribute to the behind the scenes technicians.

    Yash says he is quite enthused by digital and short productions and hopes to launch a digital platform by the end of 2016.

    “Digital  gives you an opportunity to say what you feel and we should all say something which make sense,” says Yash. “You should speak in a voice and that voice should make some difference in the society and we will not shy away from telling the world what we believe in. And this video is first step in that initiative.”

  • Star India to initiate creative freedom discussions with TV producers

    Star India to initiate creative freedom discussions with TV producers

    MUMBAI: Remember the terms perestroika? Glasnost? The first stands for reformation, the second for openness. Both were popular terms used in reference to the USSR as it crumbled to herald the freedom that hit it in the late eighties and nineties.

    Some of that is about to hit Indian television. Remember last week’s admission by Star India deputy chief creative officer Gaurav Banerjee that the network may have erred by starting the mad race of pursuing seven days of soap and drama every week from the five days formula earlier. Speaking at the Indian ScreenWriters’ Conference in Mumbai he candidly stated: “I confess that it was a mistake because we reduced the ideation time of writers and of actors as well. We thought that we could manage the workload and it won’t affect the product but unfortunately we were thinking of a TV industry as a pizza delivery service which was big mistake.”

    He also announced that Star India would cut back the seven-days-a week to five days once again.

    Now Star India and Gaurav are going a step further. He has told producers that he would be more than happy to extend creative freedom to them, something they have been pleading for, demanding and crying for. Each show, said Banerjee, would have a single show runner giving it the much needed vision. He has invited producers for a meeting in Star India’s office on 20 August to further spell out what he means by creative freedom.

    The producers’ fraternity is very excited about the new initiative by Star and are welcoming it. Says Frames Production founder Ranjeet Thakur: “It’s a very great move for the industry on the whiole because the minute the producer comes with a certain plot thought or idea I think it works better. The producer has some vision behind the show and if that creative freedom is given to them to execute in the same manner, it’s a wonderful thing to be happening in the industry. It’s a very positive note. It’s a great move by Gaurav and Star and slowly it will become the norm of the industry.”

    Colosceum Media CEO Lalit Sharma adds, “Firstly, it’s a very good take towards producing good content. Now the show runner will have the responsibility. It’s the happiest moment for the Indian producers but along with that there comes a responsibility. It looks like a win- win situation but one has to be extremely responsible for what they are producing.”

    Fortune Production founder Farhann Salaruddin opined, “It’s totally yes to the intention of giving creative freedom to producers and a lot of people must been waiting for this day to have the ball in their court. Whatever you make good or bad the credit will be yours. It’s a good move but how successful it will be only time will tell us.”

    Shakuntalam Telefilms founder Shyamasis Bhattacharya adds: “ It’s a welcome move. I think we all (producers community) have been wanting this to happen. Last year we met all the CEOs of different channels asked for the same and Star taking the lead is appreciated. Now there will be one vision that can be of the broadcaster’s show runner or the producers. That’s exactly what happens across the world and also in India but not to that extent. If you see Balaji’s shows’ success rate its high because their shows run after Ekta’s vision. I believe the shows’ success rate will go up after this move.”

    And that is exactly what Gaurav is hoping will happen.

  • Star India to initiate creative freedom discussions with TV producers

    Star India to initiate creative freedom discussions with TV producers

    MUMBAI: Remember the terms perestroika? Glasnost? The first stands for reformation, the second for openness. Both were popular terms used in reference to the USSR as it crumbled to herald the freedom that hit it in the late eighties and nineties.

    Some of that is about to hit Indian television. Remember last week’s admission by Star India deputy chief creative officer Gaurav Banerjee that the network may have erred by starting the mad race of pursuing seven days of soap and drama every week from the five days formula earlier. Speaking at the Indian ScreenWriters’ Conference in Mumbai he candidly stated: “I confess that it was a mistake because we reduced the ideation time of writers and of actors as well. We thought that we could manage the workload and it won’t affect the product but unfortunately we were thinking of a TV industry as a pizza delivery service which was big mistake.”

    He also announced that Star India would cut back the seven-days-a week to five days once again.

    Now Star India and Gaurav are going a step further. He has told producers that he would be more than happy to extend creative freedom to them, something they have been pleading for, demanding and crying for. Each show, said Banerjee, would have a single show runner giving it the much needed vision. He has invited producers for a meeting in Star India’s office on 20 August to further spell out what he means by creative freedom.

    The producers’ fraternity is very excited about the new initiative by Star and are welcoming it. Says Frames Production founder Ranjeet Thakur: “It’s a very great move for the industry on the whiole because the minute the producer comes with a certain plot thought or idea I think it works better. The producer has some vision behind the show and if that creative freedom is given to them to execute in the same manner, it’s a wonderful thing to be happening in the industry. It’s a very positive note. It’s a great move by Gaurav and Star and slowly it will become the norm of the industry.”

    Colosceum Media CEO Lalit Sharma adds, “Firstly, it’s a very good take towards producing good content. Now the show runner will have the responsibility. It’s the happiest moment for the Indian producers but along with that there comes a responsibility. It looks like a win- win situation but one has to be extremely responsible for what they are producing.”

    Fortune Production founder Farhann Salaruddin opined, “It’s totally yes to the intention of giving creative freedom to producers and a lot of people must been waiting for this day to have the ball in their court. Whatever you make good or bad the credit will be yours. It’s a good move but how successful it will be only time will tell us.”

    Shakuntalam Telefilms founder Shyamasis Bhattacharya adds: “ It’s a welcome move. I think we all (producers community) have been wanting this to happen. Last year we met all the CEOs of different channels asked for the same and Star taking the lead is appreciated. Now there will be one vision that can be of the broadcaster’s show runner or the producers. That’s exactly what happens across the world and also in India but not to that extent. If you see Balaji’s shows’ success rate its high because their shows run after Ekta’s vision. I believe the shows’ success rate will go up after this move.”

    And that is exactly what Gaurav is hoping will happen.

  • Q1-17: Low programming and low realisation lower Balaji Telefilms standalone topline

    Q1-17: Low programming and low realisation lower Balaji Telefilms standalone topline

    BENGALURU: Balaji Telefilms Limited (Balaji) reported 23 percent year-over-year (y-o-y) decline in standalone total revenue from operations (TIO) for the quarter ended 30 June 2016 (Q1-17, current quarter). The company reported standalone revenue for Q1-17 at Rs 53.59 crore and Rs 69.38 crore for the corresponding year ago quarter.

    Revenue from Balajis’ Commissioned Programs segment in Q1-17 was Rs 52.64 crore, while for Q1-16 it was Rs 68.44 crore. Programming hours for Q1-17 were 225.5 hours, lower than the 257 hours reported for the corresponding year ago quarter. Net realisation per hour was also lower at Rs 23.33 lakh in the current quarter as compared to Rs 26.6 lakh in Q1-16. The company says that the previous quarter included Nach Baliye and Jodha Akbar resulting in higher revenue as compared to the current quarter. The company says that Q2-17 will have two new shows Mazaak Mazaak Mein on Life Ok and Bhramarakshas on Zee TV. Margin was lower in the current quarter due to launch of a new show Kawach on June 11, 2016 which will improve in the subsequent quarters

    The company’s Films segment reported operating revenue of Rs 53.44 crore in Q1-17 as compared to Rs 1.04 crore in Q1-16. The segment’s operating profit in the current quarter was Rs 2.53 crore as compared to an operating loss of Rs 0.45 crore. The company says that revenue growth in the current quarter is due to release of Azhar and Udta Punjab. The company expects revenue of approximately Rs 18.61 crore for satellite, digital and other rights of Azhar and Udta Punjab in Q2-17. It says further that piracy of two of its movies led to a lower profit on Udta Punjab and loss on Great Grand Masti (released in July 2016) resulting into an approximate loss of revenue of Rs 36 crore.

    Balaji’s consolidated TIO increased 54.9 percent y-o-y to Rs 117.38 crore in Q1-17 as compared to Rs 75.80 crore in Q1-16. The company reported negative consolidated EBIDTA of Rs 3.01 crore for the current quarter as compared to a consolidated operating profit of Rs 4.76 crore in Q1-16.

    Total comprehensive income in the current quarter was lower at Rs 0.66 crore as compared to a comprehensive income of Rs 4.28 crore in Q1-16.Balaji reported a consolidated net loss of Rs 0.2 crore in the current quarter as compared to a profit after tax of Rs 4.4 crore in Q1-16. The company says that net loss has been incurred in the current quarter after accounting for income tax of Rs 2.72 crore which relates to its television segment.

    Total Expenditure in the current quarter was Rs 120.35 crore (102.5 percent of TIO) which was 64.5 percent more as compared to Rs 73.16 crore (96.5 percent of TIO) in Q1-16. Cost of Production/Acquisition and Telecast Fees in Q1-17 was Rs 83.92 crore (71.5 percent of TIO), 5.7 percent lower than Rs 89 crore in the corresponding year ago quarter.

    Marketing and distribution expense in Q1-17 increased to Rs 13.26 crore as compared to Rs 0.30 crore in Q1-16. Employee Benefit Expense in the current quarter increased 54.1 percent y-o-y to Rs 6.46 crore (5.5 percent of TIO) as compared to Rs 4.19 crore (5.5 percent of TIO) in Q1-16. Other expenditure in Q1-17 increased 17.3 percent y-o-y to Rs 7.82 crore (6.7 percent of TIO) as compared to Rs 6.67 crore (8.8 percent of TIO).

    Balaji says that it has so far invested Rs14.3 crore in its digital foray ALT Digital, which is currently in a prelaunch phase with expenses mainly on account of content, technology, salaries and other business overheads.

    Note: The unit of currency in this report is the Indian rupee – Rs (also conventionally represented by INR). The Indian numbering system or the Vedic numbering system has been used to denote money values. The basic conversion to the international norm would be:

    (a) 100,00,000 = 100 lakh = 10,000,000 = 10 million = 1 crore.

    (b) 10,000 lakh = 100 crore = 1 arab = 1 billion.

  • Q1-17: Low programming and low realisation lower Balaji Telefilms standalone topline

    Q1-17: Low programming and low realisation lower Balaji Telefilms standalone topline

    BENGALURU: Balaji Telefilms Limited (Balaji) reported 23 percent year-over-year (y-o-y) decline in standalone total revenue from operations (TIO) for the quarter ended 30 June 2016 (Q1-17, current quarter). The company reported standalone revenue for Q1-17 at Rs 53.59 crore and Rs 69.38 crore for the corresponding year ago quarter.

    Revenue from Balajis’ Commissioned Programs segment in Q1-17 was Rs 52.64 crore, while for Q1-16 it was Rs 68.44 crore. Programming hours for Q1-17 were 225.5 hours, lower than the 257 hours reported for the corresponding year ago quarter. Net realisation per hour was also lower at Rs 23.33 lakh in the current quarter as compared to Rs 26.6 lakh in Q1-16. The company says that the previous quarter included Nach Baliye and Jodha Akbar resulting in higher revenue as compared to the current quarter. The company says that Q2-17 will have two new shows Mazaak Mazaak Mein on Life Ok and Bhramarakshas on Zee TV. Margin was lower in the current quarter due to launch of a new show Kawach on June 11, 2016 which will improve in the subsequent quarters

    The company’s Films segment reported operating revenue of Rs 53.44 crore in Q1-17 as compared to Rs 1.04 crore in Q1-16. The segment’s operating profit in the current quarter was Rs 2.53 crore as compared to an operating loss of Rs 0.45 crore. The company says that revenue growth in the current quarter is due to release of Azhar and Udta Punjab. The company expects revenue of approximately Rs 18.61 crore for satellite, digital and other rights of Azhar and Udta Punjab in Q2-17. It says further that piracy of two of its movies led to a lower profit on Udta Punjab and loss on Great Grand Masti (released in July 2016) resulting into an approximate loss of revenue of Rs 36 crore.

    Balaji’s consolidated TIO increased 54.9 percent y-o-y to Rs 117.38 crore in Q1-17 as compared to Rs 75.80 crore in Q1-16. The company reported negative consolidated EBIDTA of Rs 3.01 crore for the current quarter as compared to a consolidated operating profit of Rs 4.76 crore in Q1-16.

    Total comprehensive income in the current quarter was lower at Rs 0.66 crore as compared to a comprehensive income of Rs 4.28 crore in Q1-16.Balaji reported a consolidated net loss of Rs 0.2 crore in the current quarter as compared to a profit after tax of Rs 4.4 crore in Q1-16. The company says that net loss has been incurred in the current quarter after accounting for income tax of Rs 2.72 crore which relates to its television segment.

    Total Expenditure in the current quarter was Rs 120.35 crore (102.5 percent of TIO) which was 64.5 percent more as compared to Rs 73.16 crore (96.5 percent of TIO) in Q1-16. Cost of Production/Acquisition and Telecast Fees in Q1-17 was Rs 83.92 crore (71.5 percent of TIO), 5.7 percent lower than Rs 89 crore in the corresponding year ago quarter.

    Marketing and distribution expense in Q1-17 increased to Rs 13.26 crore as compared to Rs 0.30 crore in Q1-16. Employee Benefit Expense in the current quarter increased 54.1 percent y-o-y to Rs 6.46 crore (5.5 percent of TIO) as compared to Rs 4.19 crore (5.5 percent of TIO) in Q1-16. Other expenditure in Q1-17 increased 17.3 percent y-o-y to Rs 7.82 crore (6.7 percent of TIO) as compared to Rs 6.67 crore (8.8 percent of TIO).

    Balaji says that it has so far invested Rs14.3 crore in its digital foray ALT Digital, which is currently in a prelaunch phase with expenses mainly on account of content, technology, salaries and other business overheads.

    Note: The unit of currency in this report is the Indian rupee – Rs (also conventionally represented by INR). The Indian numbering system or the Vedic numbering system has been used to denote money values. The basic conversion to the international norm would be:

    (a) 100,00,000 = 100 lakh = 10,000,000 = 10 million = 1 crore.

    (b) 10,000 lakh = 100 crore = 1 arab = 1 billion.

  • The secret sauce behind SAB’s 2,000 episode strong Taarak Mehta

    The secret sauce behind SAB’s 2,000 episode strong Taarak Mehta

    MUMBAI: Indian TV producer Asit Kumarr Modi is ecstatic about today, 11 August 2016. The 2000th episode of his long running flagship show Taarak Mehta Ka Ooltah Chashmah will air on Sony Pictures Networks India (SPNI) channel SAB this evening.

    The series has been giving families in Indian TV homes, a chance to smile or laugh at the light-hearted antics and banter that its protagonists have been engaged in over the past eight years, five days a week on screen at 8:30 pm.

    “I have seen Tapu sena grow up on our sets. The cast and crew is a family. We have been shooting 12 hours a day for the past eight years. This amount of time is only given to families,” says the humble and happy Asitbhai.

    Taarak Mehta Ka Ooltah Chashmah is a story of families from a fictional Gokuldham Society with instances from everyday life. The show is inspired from the Gujarati column Duniya Ne Oondha Chashma by Gujarati columnist Taarak Mehta.

    Asit shares that he used to follow this popular column in from his ninth standard and eventually ended up developing a TV show inspired by the clean comedy of the column. The show started airing in 2008.

    “When i started pitching the show, that era was of saas-bahu shows. My script was rejected by many broadcasters like Star and Zee, eventually the script matched the Sab TV’s programming strategy and my past relation with the network. We went on to make the show without realising it would go on for eight years,” says Modi with excitement lighting up his eyes.

    The highlight of the show is how the characters are developed through each episode. “Very uniquely and rarely it so happens that the main characters of the show resonate so well with the audience. Both Daya and Jetha have been often rated as the top 10 characters across the GEC space,” says SAB EVP and business head Anooj Kapoor.

    What has helped in the longevity of the Taarak Mehta Ka.. franchise? For one, there is no single protagonist in the show. There are 24 small and big characters constantly engaging with each other. However, each character has been etched very well and has built up his or her own brand equity with the TV audiences. Be it the colorful shirts of Jethalal played by Dilip Joshi, or the signature garba of Daya played by Disha Vakani or the proud society secretary Aatmaram Tukaram Bhide (Mandar Chandwadkar), each member has his or her own significance in the story.

    Asitbhai – as he known amongst friends and the fraternity – has added his personal experiences of growing up in Mumbai city. Even the well-known Gokuldham society plays a significant role in the story, which is built in a secluded corner of Mumbai film city. It cost about Rs 1 crore in 2008 to build up the society and its building. But it is renovated every alternate year. Modi giggles while saying: “I wish I had known my show would go on for eight years, then I would have built up a real property.”

    At the heart of its success is its story. And the treatment in every episode which is in the able hands of writers Raju Odedra, Rajan Upadhyay, Jitendra Parmar, Abbas Hirapurwala and Niren Bhatt.

    “I think the writing team is relentless and they keep innovating in terms of plots and don’t let the any fatigue set into the show because of the continuous freshness of the plot and the presence of such multiple communities automatically and naturally gives rise to the multiplicity of plots which keeps the show fresh,” stresses Kapoor.

    In spite of a 150 member crew, shooting for more than twelve hours, 23 days a month with a huge cast, there have been hardly any changes over the past few years. Directors Harshad Joshi and Malav Rajda have helmed more than 1500 episodes of the show. According to industry sources, one episode of Taarak Mehta costs about Rs 14-15 lakh, with most of the amount dedicated to writers and actors who have seen their remuneration going up thanks to its sustained popularity.

    “Taarak Mehta Ka Ooltah Chasmah is a microcosm of the macrocosm in the sense that it houses several communities in one housing society, the characters are real and relatable. The problems that they come across are very interesting and don’t repeat themselves, ” adds Kapoor explaining the success of the show.

    A well-known TV producer credits the simplicity of the show for its success. Media planners however told indiantelevision.com that while the content is good, generally television shows have a long life in India.

    “Taarak Mehta Ka Ooltah Chashmah is the backbone of SAB TV. The show gives the channel its maximum number of advertisers and viewers,” says television consultancy Helios Media MD Divya Radhakrishnan.

    Initially, the show had fans primarily in Gujarat, but over the years it has garnered admiration nationally across segments, strata, castes, communities, and age groups. It is one of the highest rated shows on SAB TV.

    According to BARC India, the show has garnered following ratings this year: from week one to eight, 5.9 million average Impressions, followed by 5.2 million average Impressions in week 9 to 12. The ratings dropped in weeks 17 to 24 with 4.8 million average Impressions and jumped back to 5.3 million average impressions in 25-30 weeks. According to reports, the show has remained in the list of top 10 comedy shows for over the past five years. Which has helped it sweep away many an award over the years; Asitbhai estimates that it is 70 plus. So far. Amongst this are many an Indiantelevision.com Indian Telly Awards.

    Its success has helped it attract brands to back it as well. Taarak Mehta ka… is currently sponsored by Oppo mobile and has a history of sponsors from all sectors including FMCG, automobiles, food etc. some of the past sponsors are Lifebuoy, Garnier, Ariel, Surf Excel, Cadbury. According to experts, any brand that targets family audiences would find it a good fit.

    Industry experts suggest that a 10 second ad spot on Taarak Mehta.. goes for double the average advertising rate on other Sab TV shows. That, according to media agency sources, translates into Rs 15,000-20,000 per 10 seconds of ad inventory.

    They further estimate that it contributes about 40 percent of the channel’s revenue.

    The Taraak Mehta cast is so popular that they have been brought in to prop up other shows like CID and Comedy Nights. Additionally, they have also been associated with the Swacch Bharat Abhiyan movement which has been initiated by prime minister Narendra Modi.

    SAB is celebrating the 2000th episode in grand style with a marketing blitz estimated at around Rs 1.5 crore that is to be put behind it through the year. Bus panels, large billboards, activation, digital media, radio channels such as Radio Nasha, Radio Mirchi, newspaper ads, cross channel promos – are all being used to tom tom the landmark achievement. A contest on social media has been asking fans to upload selfies wearing ooltah chashmah, which signifies positivity in life and upload it or hastag #Ooltahchasmah on twitter to win freebies. The channel is pushing the show on various digital platforms.

    To keep up with the times, Asitbhai’s Neela Telefilms is launching an app called Ooltah Chashmah, where his company will release character stories leveraging the popularity of each character and other comedy content. A unique Taarak Mehta ka Ooltah Chashmah app is also being lined up to release with the airing of the 2000th episode. It features games and other content but all in line with the show’s philosophy and brand ethos.

    The app and mobile game have been developed by Devyani and Viral Gandhi’s VAS. The production house has also lined up an animation series based on the show targeting young audiences.

    The remake rights of Taarak Mehta vest with Asitbhai and Neela Telefilms, apart from an understanding with the channel which has allowed him to retain the language dubbing rights. And it is these that he is looking at exploiting globally, apart from remaking the show for international audiences. He has appointed Madhu Entertainment headed by market veteran Hirachand Dhand to help him fulfill his objectives.

    The show has set many benchmarks in India, it is to be seen how well Gokuldham gets accepted internationally,

  • The secret sauce behind SAB’s 2,000 episode strong Taarak Mehta

    The secret sauce behind SAB’s 2,000 episode strong Taarak Mehta

    MUMBAI: Indian TV producer Asit Kumarr Modi is ecstatic about today, 11 August 2016. The 2000th episode of his long running flagship show Taarak Mehta Ka Ooltah Chashmah will air on Sony Pictures Networks India (SPNI) channel SAB this evening.

    The series has been giving families in Indian TV homes, a chance to smile or laugh at the light-hearted antics and banter that its protagonists have been engaged in over the past eight years, five days a week on screen at 8:30 pm.

    “I have seen Tapu sena grow up on our sets. The cast and crew is a family. We have been shooting 12 hours a day for the past eight years. This amount of time is only given to families,” says the humble and happy Asitbhai.

    Taarak Mehta Ka Ooltah Chashmah is a story of families from a fictional Gokuldham Society with instances from everyday life. The show is inspired from the Gujarati column Duniya Ne Oondha Chashma by Gujarati columnist Taarak Mehta.

    Asit shares that he used to follow this popular column in from his ninth standard and eventually ended up developing a TV show inspired by the clean comedy of the column. The show started airing in 2008.

    “When i started pitching the show, that era was of saas-bahu shows. My script was rejected by many broadcasters like Star and Zee, eventually the script matched the Sab TV’s programming strategy and my past relation with the network. We went on to make the show without realising it would go on for eight years,” says Modi with excitement lighting up his eyes.

    The highlight of the show is how the characters are developed through each episode. “Very uniquely and rarely it so happens that the main characters of the show resonate so well with the audience. Both Daya and Jetha have been often rated as the top 10 characters across the GEC space,” says SAB EVP and business head Anooj Kapoor.

    What has helped in the longevity of the Taarak Mehta Ka.. franchise? For one, there is no single protagonist in the show. There are 24 small and big characters constantly engaging with each other. However, each character has been etched very well and has built up his or her own brand equity with the TV audiences. Be it the colorful shirts of Jethalal played by Dilip Joshi, or the signature garba of Daya played by Disha Vakani or the proud society secretary Aatmaram Tukaram Bhide (Mandar Chandwadkar), each member has his or her own significance in the story.

    Asitbhai – as he known amongst friends and the fraternity – has added his personal experiences of growing up in Mumbai city. Even the well-known Gokuldham society plays a significant role in the story, which is built in a secluded corner of Mumbai film city. It cost about Rs 1 crore in 2008 to build up the society and its building. But it is renovated every alternate year. Modi giggles while saying: “I wish I had known my show would go on for eight years, then I would have built up a real property.”

    At the heart of its success is its story. And the treatment in every episode which is in the able hands of writers Raju Odedra, Rajan Upadhyay, Jitendra Parmar, Abbas Hirapurwala and Niren Bhatt.

    “I think the writing team is relentless and they keep innovating in terms of plots and don’t let the any fatigue set into the show because of the continuous freshness of the plot and the presence of such multiple communities automatically and naturally gives rise to the multiplicity of plots which keeps the show fresh,” stresses Kapoor.

    In spite of a 150 member crew, shooting for more than twelve hours, 23 days a month with a huge cast, there have been hardly any changes over the past few years. Directors Harshad Joshi and Malav Rajda have helmed more than 1500 episodes of the show. According to industry sources, one episode of Taarak Mehta costs about Rs 14-15 lakh, with most of the amount dedicated to writers and actors who have seen their remuneration going up thanks to its sustained popularity.

    “Taarak Mehta Ka Ooltah Chasmah is a microcosm of the macrocosm in the sense that it houses several communities in one housing society, the characters are real and relatable. The problems that they come across are very interesting and don’t repeat themselves, ” adds Kapoor explaining the success of the show.

    A well-known TV producer credits the simplicity of the show for its success. Media planners however told indiantelevision.com that while the content is good, generally television shows have a long life in India.

    “Taarak Mehta Ka Ooltah Chashmah is the backbone of SAB TV. The show gives the channel its maximum number of advertisers and viewers,” says television consultancy Helios Media MD Divya Radhakrishnan.

    Initially, the show had fans primarily in Gujarat, but over the years it has garnered admiration nationally across segments, strata, castes, communities, and age groups. It is one of the highest rated shows on SAB TV.

    According to BARC India, the show has garnered following ratings this year: from week one to eight, 5.9 million average Impressions, followed by 5.2 million average Impressions in week 9 to 12. The ratings dropped in weeks 17 to 24 with 4.8 million average Impressions and jumped back to 5.3 million average impressions in 25-30 weeks. According to reports, the show has remained in the list of top 10 comedy shows for over the past five years. Which has helped it sweep away many an award over the years; Asitbhai estimates that it is 70 plus. So far. Amongst this are many an Indiantelevision.com Indian Telly Awards.

    Its success has helped it attract brands to back it as well. Taarak Mehta ka… is currently sponsored by Oppo mobile and has a history of sponsors from all sectors including FMCG, automobiles, food etc. some of the past sponsors are Lifebuoy, Garnier, Ariel, Surf Excel, Cadbury. According to experts, any brand that targets family audiences would find it a good fit.

    Industry experts suggest that a 10 second ad spot on Taarak Mehta.. goes for double the average advertising rate on other Sab TV shows. That, according to media agency sources, translates into Rs 15,000-20,000 per 10 seconds of ad inventory.

    They further estimate that it contributes about 40 percent of the channel’s revenue.

    The Taraak Mehta cast is so popular that they have been brought in to prop up other shows like CID and Comedy Nights. Additionally, they have also been associated with the Swacch Bharat Abhiyan movement which has been initiated by prime minister Narendra Modi.

    SAB is celebrating the 2000th episode in grand style with a marketing blitz estimated at around Rs 1.5 crore that is to be put behind it through the year. Bus panels, large billboards, activation, digital media, radio channels such as Radio Nasha, Radio Mirchi, newspaper ads, cross channel promos – are all being used to tom tom the landmark achievement. A contest on social media has been asking fans to upload selfies wearing ooltah chashmah, which signifies positivity in life and upload it or hastag #Ooltahchasmah on twitter to win freebies. The channel is pushing the show on various digital platforms.

    To keep up with the times, Asitbhai’s Neela Telefilms is launching an app called Ooltah Chashmah, where his company will release character stories leveraging the popularity of each character and other comedy content. A unique Taarak Mehta ka Ooltah Chashmah app is also being lined up to release with the airing of the 2000th episode. It features games and other content but all in line with the show’s philosophy and brand ethos.

    The app and mobile game have been developed by Devyani and Viral Gandhi’s VAS. The production house has also lined up an animation series based on the show targeting young audiences.

    The remake rights of Taarak Mehta vest with Asitbhai and Neela Telefilms, apart from an understanding with the channel which has allowed him to retain the language dubbing rights. And it is these that he is looking at exploiting globally, apart from remaking the show for international audiences. He has appointed Madhu Entertainment headed by market veteran Hirachand Dhand to help him fulfill his objectives.

    The show has set many benchmarks in India, it is to be seen how well Gokuldham gets accepted internationally,

  • Q3-16: Domestic declines, Teenage Mutant Ninja Turtles retard Viacom numbers

    Q3-16: Domestic declines, Teenage Mutant Ninja Turtles retard Viacom numbers

    BENGALURU: Viacom Inc., reported 1.6 percent growth in revenue for the quarter ended 30 June 2016 (Q3-16, current quarter). The company reported revenue of $3,107 million in the current quarter as compared to $3,058 million in the corresponding year ago quarter. The company says that Filmed Entertainment gains more than offset a decrease in Media Networks revenues.

    Media Networks revenues were $2,513 million in Q3-16, a decline of 3.2 percent as compared $2,597 million in the corresponding year ago quarter. Domestic advertising revenues decreased 4 percent, as pricing increases were more than offset by softer ratings at some of Viacom’s networks compared to the previous year, and a continuing strategic reduction of unit loads. International advertising revenues increased 13 percent, driven principally by growth in Europe.

    Absent an adverse 6 percent impact of foreign exchange, international advertising revenues increased 19 percent. Domestic affiliate revenues decreased 10 percent, principally reflecting a difficult comparison with the timing of revenues from certain distribution agreements in the prior year. International affiliate revenues increased 9 percent, and absent an adverse 3 percent impact of foreign exchange, international affiliate revenues increased 12 percent.

    Filmed Entertainment revenues grew 30 percent to $621 million, driven by gains in license fees and theatrical revenues. Worldwide theatrical revenues increased to $91 million in the quarter, reflecting the June release of Teenage Mutant Ninja Turtles: Out of the Shadows. License fees grew 39 percent to $297 million in the quarter, driven by the licensing of certain titles for subscription video-on-demand services and revenues from Paramount Television productions.

    Quarterly operating income declined 29 percent to $769 million. Media Networks adjusted operating income decreased 22 percent $872 million, reflecting revenue declines as well as an increase in programming and marketing expenses. Filmed Entertainment reported an adjusted operating loss of $26 million, reflecting the timing of expenses and theatrical performance in the quarter. Quarterly net earnings attributable to Viacom decreased to $432 million and adjusted net earnings declined to $419 million. Diluted earnings per share for the quarter were $1.09 and adjusted diluted earnings per share were $1.05.

    Company speak

    Viacom executive chairman, president and CEO Philippe Dauman said, “In the quarter, Viacom continued to execute on our strategic plan by increasing investment in high-quality original content, enhancing our connection to audiences, accelerating the growth of data-driven advertising products and further expanding our unmatched global reach. Ratings increased at several of Viacom’s major networks, including Nickelodeon, Nick at Nite, VH1 and TV Land, and ratings trends at nearly all of our networks showed sequential improvement as we successfully completed a very strong upfront across our brands. Internationally, our media networks are driving strong double-digit revenue growth, with new channel launches, growing distribution partnerships and substantial ad sales gains. Viacom’s third quarter results were impacted by the underperformance of Teenage Mutant Ninja Turtles: Out of the Shadows.”

  • Q3-16: Domestic declines, Teenage Mutant Ninja Turtles retard Viacom numbers

    Q3-16: Domestic declines, Teenage Mutant Ninja Turtles retard Viacom numbers

    BENGALURU: Viacom Inc., reported 1.6 percent growth in revenue for the quarter ended 30 June 2016 (Q3-16, current quarter). The company reported revenue of $3,107 million in the current quarter as compared to $3,058 million in the corresponding year ago quarter. The company says that Filmed Entertainment gains more than offset a decrease in Media Networks revenues.

    Media Networks revenues were $2,513 million in Q3-16, a decline of 3.2 percent as compared $2,597 million in the corresponding year ago quarter. Domestic advertising revenues decreased 4 percent, as pricing increases were more than offset by softer ratings at some of Viacom’s networks compared to the previous year, and a continuing strategic reduction of unit loads. International advertising revenues increased 13 percent, driven principally by growth in Europe.

    Absent an adverse 6 percent impact of foreign exchange, international advertising revenues increased 19 percent. Domestic affiliate revenues decreased 10 percent, principally reflecting a difficult comparison with the timing of revenues from certain distribution agreements in the prior year. International affiliate revenues increased 9 percent, and absent an adverse 3 percent impact of foreign exchange, international affiliate revenues increased 12 percent.

    Filmed Entertainment revenues grew 30 percent to $621 million, driven by gains in license fees and theatrical revenues. Worldwide theatrical revenues increased to $91 million in the quarter, reflecting the June release of Teenage Mutant Ninja Turtles: Out of the Shadows. License fees grew 39 percent to $297 million in the quarter, driven by the licensing of certain titles for subscription video-on-demand services and revenues from Paramount Television productions.

    Quarterly operating income declined 29 percent to $769 million. Media Networks adjusted operating income decreased 22 percent $872 million, reflecting revenue declines as well as an increase in programming and marketing expenses. Filmed Entertainment reported an adjusted operating loss of $26 million, reflecting the timing of expenses and theatrical performance in the quarter. Quarterly net earnings attributable to Viacom decreased to $432 million and adjusted net earnings declined to $419 million. Diluted earnings per share for the quarter were $1.09 and adjusted diluted earnings per share were $1.05.

    Company speak

    Viacom executive chairman, president and CEO Philippe Dauman said, “In the quarter, Viacom continued to execute on our strategic plan by increasing investment in high-quality original content, enhancing our connection to audiences, accelerating the growth of data-driven advertising products and further expanding our unmatched global reach. Ratings increased at several of Viacom’s major networks, including Nickelodeon, Nick at Nite, VH1 and TV Land, and ratings trends at nearly all of our networks showed sequential improvement as we successfully completed a very strong upfront across our brands. Internationally, our media networks are driving strong double-digit revenue growth, with new channel launches, growing distribution partnerships and substantial ad sales gains. Viacom’s third quarter results were impacted by the underperformance of Teenage Mutant Ninja Turtles: Out of the Shadows.”

  • News reports claim SPNI is close to acquiring TEN brand from Zeel

    News reports claim SPNI is close to acquiring TEN brand from Zeel

    MUMBAI: A new whisper campaign, which if true, could change the lay of the land in India sports broadcasting has been going on over the past few days. It began with the Mirror tabloid from the Times of India group announcing that Sony Pictures Networks India (SPNI) was close to acquiring the TEN sports brand from the Subhash Chandra owned-Zee Network.

    Of course when the Mirror breaks a piece of news related to business, you kind of keep it to yourself and on the shelf until a confirmation comes.

    Then this morning even The Economoc Times from the same group came out with a similar report. Again no confirmation from both the parties was forthcoming. SPNI sources told the ET that they do not comment on speculation. But the price mentioned in the news item for the transaction is Rs 2,000 crore.

    And when The ET does report something, you at least mention that it has reported it. The newspaper says that post the transaction, sports television in India will become a two horse race between the Twenty First Century Fox owned Star India and the Sony Japan owned SPNI.

    Observers, however, maintain that the enterprise value, if it the deal is indeed happening, of Rs 2,000 crore is too low. Reason: back in 2010, Zeel coughed up close to $44.155 million (Rs 270 crore) to acquire a 45 per cent stake in Taj Television Mauritius and Taj Television India. Prior to that, it had handed out $57 million (close to about Rs 360 crore) to snare a 50 per cent stake from the Bukhatir group. That means Zeel paid about Rs 630 crore to buy Ten Sports. Post that it has spent lots of money acquiring cricket rights and other sports rights, over the years.

    “Selling Ten Sports at 2x what it paid over nine years ago is not a great deal for Zeel,” says an investment banker close to Zeel. “I think the Essel group could be looking for at least 3x to 3.5x of the value. It’s not as if it is a troubled group that it has to resort to a fire sale like that. Zeel’s profitability, operating paramters, top line, debt, all are doing well. Hence, a 3x to 3.5x price is a better asking price.”

    Be that as it may, Indiantelevision.com will be reaching out to the two networks for a confirmation or denial later today. Until then, watch this space.