ITV

Category: GECs

  • Sony gets on-board White Rivers Digital for BCL

    Sony gets on-board White Rivers Digital for BCL

    MUMBAI: What happens when reality television meets the passion of the nation, cricket? Giving viewers the combination of both, Sony Entertainment Television (SET) a few weeks back had announced its first ever sports reality show – Box Cricket League (BCL).

    Produced by Balaji Telefilms, the format is conceptualised by Marinating films’ Sunny Arora and Anand Mishra. They are also the co-owners of the show.

    As the name suggests, BCL features India’s top 150 TV celebrities divided in eight different city teams.

    Moreover, in order to generate the necessary buzz around the whole league, it has assigned the task to White Rivers Digital, a digital company which has established itself in the entertainment and lifestyle space. Via social media, it will help the audience get updated constantly and replicate the locker room drama on digital platforms innovatively.

    White Rivers Digital CEO Shrenik Gandhi believes that digital media is a great tool to connect with the viewers real time. “We are thrilled to curate the digital journey for India’s biggest sports realty show. It is an exciting challenge and great opportunity in itself. Digital Media is a great tool to connect with the viewers real time and we look forward to some great action & drama on field, off field and most importantly, online.’’

    Arora who is known for his unique ways of marketing and innovative ideas feels that BCL is a unique concept that will garner a lot of public attention and to increase their reach it is very important to strengthen their online presence.

    “BCL is a one of its kind idea that will give the audience a sneak peak of their favourite TV celebrities battling out the game of cricket in a Box. With White Rivers being our digital agency on board, we hope to build a strong digital foundation. With their expertise we hope to enhance engagement and brand experience for consumers. The team has shown some great ideas that will mobilise the online audience. We hope we can spread the BCL fire into the digital world as well,’’ he said.

     

  • IQIYI CCO Ma Dong to deliver keynote at Asia TV Forum & Market and ScreenSingapore

    IQIYI CCO Ma Dong to deliver keynote at Asia TV Forum & Market and ScreenSingapore

    MUMBAI: Asia TV Forum & Market (ATF), Asia’s leading entertainment content market announces today that Baidu’s IQIYI chief content officer Ma Dong, will deliver an Asia Media Keynote speech “Digital China: The New Storyteller – IQIYI” on 9 December 2014.

     

    For the third consecutive year, ATF 2014 will be held in conjunction with ScreenSingapore 2014. The four-day conference programme will take place from 9 to 12 December 2014 at Marina Bay Sands Expo and Convention Centre in Singapore. ATF earlier announced a power-packed line up of international speakers including Alon Shtruzman, CEO, Keshet International (Israel), Tom Beattie, Head of Animation and Children’s Programming for Tiger Aspect Productions (United Kingdom) and Nicholas Wodtke, Vice President, Media Solution Centre, Samsung Electronics (Southeast Asia & Oceania).

     

    IQIYI in China’s digital content market

    With over 450 million internet users and a growing middle class in China boosting its business, IQIYI, has grown from strength to strength to now become one of the country’s leading online television and movie portal. To further cement its leadership position in the rapidly growing China online film and TV market, the Baidu subsidiary plans to step up its efforts in 2015, making seven local films, one Hollywood film and producing 500 (15,000 hours) internet dramas. The company is looking to spend at least 300 million yuan to produce its own content.

     

    At the ATF conference, Ma Dong’s session on “Digital China: The New Storyteller – IQIYI”, will see him share about IQIYI’s position in China’s digital world, and the company’s journey to success.

     

    He said, “IQIYI has grown steadily over the years, and our achievements attest to the strategic thinking and foresight of various leaders within the company. We are very pleased with our success, and look forward to further expansion in the years ahead. I am excited about sharing IQIYI’s successes and the story behind our progress at ATF, and certainly hope that conference delegates will find these insights valuable for their businesses.”

  • Life OK gets bolder with action series ‘Pukaar – Call for the Hero’

    Life OK gets bolder with action series ‘Pukaar – Call for the Hero’

    MUMBAI: Off lately, Life OK, has been on an experimenting mode. After experimenting with different genres, the channel is set to introduce an action thriller series christened Pukaar – Call for the Hero.

    A tribute to the Indian army, viewers will get to see a different style of action rarely explored on small screen. Produced by the one who masters in the genre, Vipul Amrutlal Shah, who has made films like Force, Commando and Holiday, which were based on ‘Men in Uniform’.

    With this show, Shah intends to raise the bar of action ever experienced on the small screen. According to him, viewers can expect a 70mm big screen feel while watching the show.

    The show has many firsts. It marks the debut of Rannvijay Singh and Adah Sharma in fictional space. The comedian actor, Devan Bhojani, enters the action genre as the co-director and legendary actor Raj Babaar returns to the television. Talking about action, the show gets its might right from Allan Amin, who is the action director.

    Currently the channel runs Tumhari Paakhi at 8.30 pm and Laut Aao Trisha at 9pm. With the new series on-board, the channel for the first time is putting a male centric show on weekdays (Mon and Tues). The hour-long show will see curtains down on Tumahri Paakhi.

    Life OK EVP and general manager Ajit Thakur say, “We were actually thinking of doing it on Saturdays and Sundays till three weeks back, but then we thought it will be lost somewhere as on weekends there are too many things happening.”

    Thakur states the decision of putting it up on Monday-Tuesday’s might stand out or fail, but it will not be lost. “Women may still not sample it all. That’s a risk. Weekends would not have been as much of novelty.”

    Talking about the theme, Thakur says that the channel wanted to create larger than life heroes which it started with Mahadev and Hatim, and it wanted to get Bollywood creative talent on television.

    Shah and Thakur met five months and after brainstorming, the duo locked on the final concept for two reasons. “If we talk about home grown action series there are shows like Shapath and CID. 24 was more of a thriller. We wanted something which was far more on local issues,” reasons Thakur.

    Also, the channel wanted to explore a new relationship between a father and a son. “While for me action is the main USP of the show, the bigger USP of the show is the father and son relationship that has been rarely been exploded on TV.”

    Isn’t it going in the same lines of Everest where the show talks about a father-daughter relationship? Thakur denies the fact and says that Everest is still centred around Star Plus’s belief on the female protagonist and her journey. “We wanted to continue doing more male centric shows and from that point of view it is his journey and in the context of to win over his father’s love. To that level there is a similarity and of course these are both very proficient Bollywood movie talent, but the similarity ends there.”

    The story is of a soldier (Singh) whose responsibility does not only limit to his country and his family but also to the common man, for it is he who rises above all odds to be recognised as people’s hero and a saviour against a tyrant ruling a city.

    One of the things that Thakur was very keen on doing was that can it not be just chases and explosions, but more than it. Shah completely agreed and came up with hand comb act. The show has used the best of technicians, cameras gadgets and locations for the show.

    Almost 10 episodes have been canned in various locales like Manali and Mumbai. Talking about the marketing strategies, Thakur believes the PR of the show is most interesting. The channel along with the cast will be travelling to the Lucknow and Kanpur Army cantonment and will be showing previews there. Moreover, the channel is aiming at putting longer promos and not restricted to 10-20 seconds. “It is very different type of content, so people will take time to get used to it.”

    The show has got LIC as its powered by sponsor and the channel is hunting for two presenting sponsors for the show.

     

  • Sab TV launches new initiative Chai Pe Chutkule

    Sab TV launches new initiative Chai Pe Chutkule

    MUMBAI: India’s comedy channel SAB TV is offering its viewers an opportunity to its viewers by providing the country’s first ever platform to local and fresh talented individuals who can perform stand-up comedy acts and make people laugh with their comical timing and anecdotes. Families in the city will also get to entertain themselves over some tea and snacks.

     

    Chai Pe Chutkule is all set to provide innovative and fresh content with non-stop laughter. SAB plans to commence this initiative by touring extensively in Rajasthan. The initiative will not only be an event to conduct auditions but will also present the talent to localities and families that come to watch the same. Chai Pe Chutkule will cover the following eight cities – Jaipur, Ganganagar, Kota, Alwar, Bikaner, Ajmer, Hanumangarh and Bharatpur.

     

    The channel is planning to reach out to its audiences in smaller pockets of India in a conscious attempt to involve its audiences to get involved with the channel. 

     

    Sab senior EVP and business head Anooj Kapoor said, “We believe Chai Pe Chutkule has the right mix of interactivity and great content. The property in itself will be intensely engaging whilst also search for some of the best local talent. It is an extension of our brand promise of Asli Mazaa Sab Ke Saaath Aata Hai and we aim to take it around the country looking for genuine local talent with a flair for clean comedy whilst entertaining the local family audiences with their talent”

  • Will ‘Everest’ be able to climb the peak?

    Will ‘Everest’ be able to climb the peak?

    MUMBAI: It all began nearly two years ago, when the numero uno channel Star Plus started brainstorming to develop a content which can break the clutter and should help in taking television to the next level.

    To do so, it joined hands with one of the finest filmmakers – Ashutosh Gowariker to produce a series set against an extraordinary background of the magnificent Mount Everest.

    Produced under Ashutosh Gowariker Productions Private Limited (AGPPL) banner, the show – ‘Everest’ is in line with the GEC’s strategy of offering innovative and differentiated content. It has been conceptualised, shot and presented on a scale never seen before on TV.

    The channel re-defined television when it brought a talk show that spoke about social issues in Satyamev Jayate (SMJ) in 2012, and 2013 saw its mythological series Mahabharat. According to Star Plus general manager Gaurav Banerjee, ‘Everest’ is the next step.

    With the first episode telecast on 3 November, indiantelevision.com spoke to people from the industry to know their views on the concept of the show and whether it will re-define television the way shows like SMJ and Mahabharat did in their respective genres.

    According to Havas Media managing director Mohit Joshi believes that Star has taken the right step by going youth with shows like Airlines and now Everest. For Joshi everyone wants to cater to the youth today and traditional housewives’ viewership is not going to be something on which it can sustain for coming years.

    “With the new age viewers being the way they are, I think it is very important to engage with them in multiple test parts and that is what Star is doing through the show. Audiences today are looking for content, doesn’t matter if Star is delivering it or MTV.  With mobile phones in their hands, it only takes a minute for them to switch between devices. So if you give them promising content to watch, you are the king.”

    Agreeing with Joshi, Maxus managing partner north and east region Navin Khemka believes that right from the production quality to the look and the feel, the show seems extremely well done. He further goes on to say that as more and more such programmes launch, the ratings increase, acceptability increases and the channels will be left with no choice but to increase the production quality level and engagement level with the viewers.

    Penned for about 110 episodes, almost 90 per cent of the shoot was canned before the telecast of the show in locations like Mount Everest, Jodhpur, NIM and Mumbai. It has also used a lot of heavy technical equipments like GoPro cameras, 4K technology and a lot more.

    Joshi feels the concept is enterprising and coming from the AG portfolio with big names, it will be able to garner decent amount of visibility. However, he further reasons that overall the viewership has gone for a toss. “The overall fragmentation has led to a lot of drop as far as viewership is concerned which is why all the shows are not performing at the level they used to perform a couple of years ago,” he says.

    He cites an example of SMJ and says that nowadays numbers are not important, but content and the traction from social media buzz plays a major role. “Like for SMJ, more than the numbers it was social media buzz that showed that the program was a hit.” Joshi feels the way SMJ is activating all the social media platforms on television, the channel has done for Everest as well. At present, on Facebook, SMJ has six million likes and Everest has more than 2,000 likes.

    Khemka states that Star has always been a leader in terms of content they provide to the viewers. He presents the example of shows which airs on sister English GEC Star World such as Homeland which is at par with any Hollywood movie. “A similar transition will happen in India. And as more and more channels started investing in content which is of the standard of Everest and as viewers gradually start accepting it, channels will have no option but to change their programming content,” he narrates.

    The series is presented by Fair and Lovely and co-powered by Godrej Ezee while Vinod Cookware has signed up as an associate sponsor. Joshi is confident that the channel should be able to get good mileage from the advertisers’ side too.

    Talking about the ad-rate per 10-second slot, Madhok earlier revealed that the cost of the show is significantly more expensive than anything else on the channel. “As sponsors have demonstrated, this is top quality television produced by an iconic filmmaker so people are happy to be associated and pay the premium required,” he said.

     

  • All GECs gain in week 44 of TAM TV ratings

    All GECs gain in week 44 of TAM TV ratings

    MUMBAI: In the week 44 of TAM TV ratings, Sony Entertainment Television’s (SET) sister channel, Sab, has retained its fourth position on the ratings chart. It saw a significant growth and delivered 306985 GVTs, up from 287,091  GVTs in the previous week.
     

    The channel’s offerings like Balveer and Chidiya Ghar have witnessed a significant growth in the viewership. They recorded 2300 TVTs, up from 1934 TVTs and 2127 TVTs, up from 1859 TVTs. On the other hand, its chart topper Taarek Mehta Ka Ooltah Chashmah has seen a huge rise in the ratings and noted 6317 TVTs, up from 4,966 TVTs.

     
    All the other general entertainment channels (GECs) witnessed a growth in the ratings as well. Thus, Star Plus continues to lead the pack with 655032 GVTs, up from 594,825 GVTs. Its fiction offering – Diya Aur Baati Hum continued to rule the chart with a huge leap gaining 10798 TVTs up from 8,819 TVTs, Saathiya Saath ranks number two with 594,825 TVTs, up from 6,895 TVTs, and at number three stood Ye Hai Mohababtein which got 8908 TVTs, up from 6,732 TVTs.

     
    Colors continued to occupy second position with 456890 GVTs, up from 432,194 GVTs. In the week 44, Sasural Simar Ka ranked number one with 6447 TVTs, up from 5695 TVTs. Udann came second with 6021 TVTs, up from 5002 TVTs, Comedy Nights with Kapil scored 5863 TVTs, down from 6,393 TVTs and Balika Vadhu reported 4818 TVTs, up from 4,426 TVTs.

     
    Zee TV at number three observed 404572  GVTs, up from 393,512 GVTs. The channel’s historic property Jodha Akbar garnered 8234 GVTs scoring high from 6,667 TVTs, Kumkum Bhagya recorded 7080 TVTs, up from 6,338 TVTs, and Jamai Raja observed 6744 TVTs, up from 5528 TVTs.

     
    Life OK moved to number five with 305165  GVTs, up from 256,529 GVTs. Savdhan India noted 2189 GVTs, up from 1,992 TVTs, Mahadev scored 2050 TVTs, up from 1,548 TVTs and Dare to Dance jumped up with 1852 TVTs, up from 1244 TVTs.

     

     SET garnered 285159 GVTs, up from 247,590 GVTs. CID topped with 3218 TVTs, KBC got 3040 TVTs, up from 2780 TVTs. Its fiction show Maharana Veer Pratap got 2835 TVTs, up from 2322 TVTs.

     
    Big Magic registered 56061 GVTs, down from 59,042 GVTs. Zindagi grew well with 31302 GVTs, up from 26,614 GVTs and Sony Pal stood at 31405  GVTs, up from 26,215 GVTs.

     

  • Our content will cross borders, says Mahesh Samat

    Our content will cross borders, says Mahesh Samat

    MUMBAI: After a wait for almost an year, Mahesh Samat’s Epic will finally see the light of day on 19 November.

    The news of the former Disney executive launching Epic Television Network first broke in 2012 and was supposed to launch the channel by August 2013. However, due to the delay in getting the licence from the Ministry of Information and Broadcasting, the venture backed by Anand Mahindra , Mukesh Ambani and Rohit Khattar, focusing on Indian history, folklore and mythology, had to wait a long time to entertain the audiences.

    As per media reports, Mahindra and Ambani each have a 25.8 per cent stake in the company and together have financial control. Also, there is an initial commitment of Rs 100 crore from the group of ‘angel investors’. Samat has a 48.5 per cent stake in the venture, as per the company’s filing with the Registrar of Companies (RoC).

    The HD pay channel, also available in down-scaled SD version, aims to change the way entertainment is being categorised today. “We are not what people think and call ‘general entertainment’. We are a brand that stands for something which Indian television industry doesn’t have,” says Samat while adding that Indian history has numerous stories to tell and that’s what the channel will do.

    Someone who has keen interest in history, Samat believes there are enough people in urban India who want to watch mythology and know about the historical aspects of the country. The channel, though slightly male skewed, while conventional GECs are heavily female skewed, wants to entertain the whole family.

    With months of research gone into creating the fictional shows like DharamaKshetra, Dariba Diaries as well as non-fictional shows like Adrishya, Raja, Rasoi aur anya Kahaniyaan have been shot in HD and sound recording is on 5.1 Dolby. “Technology is changing the way we tell stories today,” says Samat and highlights how it has also collaborated with Mumbai University and other institutions to help with the facts.

    The channel is working with a new-breed of producers like Bolt Media, Green Light Production, Pride Rock Television among many others, who are willing to take a contemporary take on age-old stories. The research was done by the production houses with the channel’s help. “We got enough creative freedom from the channel,” says a producer of a show soon to be aired on the channel and adds, “The cost of production is higher than that of a show on other channels, but one needs to know how to utilise and make the best of the resources available.” As per industry sources, the cost of production of a show could range from anything between Rs 12 lakh to Rs 20 lakh per episode.

    The shows are finite with most of the shows comprising 20+ episodes and will also see filmmakers like Pankaj Prashar creating content for the channel. “Today a lot of filmmakers want to enter the big world of the small screen. However, most of them don’t have time for infinite shows. Here we are giving them an opportunity to tell stories in a short period of time,” says Samat.

    “And depending on the response and love we get from the audiences we will look at bringing back the show through various seasons,” he adds. Samat believes in changing the way industry works today. “We don’t want to stretch story lines. Everywhere else in the world, seasons work. It’s time we did too.”

    That’s not all; he believes that the content will be so rich and unique that it can be sold to the world. “International syndication is important to me and I want to take our stories to the world,” says Samat. The channel has already got a good response from buyers at MipCom where it showcased the content and Samat believes that before the next edition, the content will have enough takers. “We will not just focus on conventional markets but non-conventional markets as well,” he adds while highlighting that as a pioneer he and his team of 40 have to take risks and go an extra mile to stand out of the crowd. YRF TV’s former head Ravina Kohli is the development head and Aparna Pandey is the business head who also takes marketing decisions.

    The channel will go on air with 13 to 15 shows which will be weekly with the primetime being from 8:30 pm to 11 pm. The morning and afternoon slot currently will show repeats. The channel plans to acquire historic films and programmes as well, which will be aired mostly on the weekends. “As our library grows, the FPC will change too,” he pin points.

    So far, the channel has got no advertiser on board; however, talks are on. “We want to give a week or two for brands to see the content and how they can relate with our philosophy,” says a confident Samat, who feels many will come on board soon. “We are not an AFP driven channel,” he says.

    Media planners too believe that brands will want to watch the content. “No one wants to take a risk,” says a media planner. He adds, “Lifestyle brands will hop on board. However, Reliance and Mahindra brands are always there.” However, several feel that the channel will take time to create a niche of its own as viewers still want to see daily soap operas.

    With a pan-India approach, the channel will be distributed and syndicated by IndiaCast. “Talks are on with all the major DTH players as well as cable operators in DAS area,” says IndiaCast group COO Gaurav Gandhi.

    Subscription rate for the HD channel is Rs 55 while SD will be available at Rs 10.5.

    Beamed off Intelsat 20, the channel will soon start the marketing regime. General entertainment channels (GECs), news as well as other genres will be targeted along with major dailies in the metros. Major hoarding sights will be targeted as well with a lot of focus on digital. Currently, on Youtube, the channel has 1530 subscribers and the first look of the channel has got more than 1.2 million views.

    “Our content will be available online, but will come at a cost,” informs Samat.

    Madison is the media agency while Jack in the Box is the digital agency. Dynamite is the creative agency, though a lot of creatives are done in-house as well.

     

    The channel has entrusted revenue monetisation to Helios Media which has emabrked on seeding the channel in advertiser market. “Everything about Epic is unique. And those with futuristic view will be on board soon,” says the agency’s MD Divya Radhakrishnan.

     

     

  • Time Warner reports y-o-y increase in Q3-2014

    Time Warner reports y-o-y increase in Q3-2014

    BENGALURU: Time Warner Inc (Time Warner) posted 34 per cent higher adjusted EPS for Q3-2014 (quarter ended 30 September 2014) at US$ 1.22 (on a lower adjust outstanding share base) and better than last quarter’s US$ 0.98.

     

    Diluted income per share in Q3-2014 was US$1.11 (average 870.2 million diluted shares outstanding) versus the US$ 1.25 (average 938.8 million diluted shares outstanding) in Q3-2013 and US$ 0.98 (average 894.2 million diluted shares outstanding) in Q2-2014.

     

    For Q3-2014, Time Warner reported total revenue (TIO) of US$  6243 million, which was 3.3 per cent more y-o-y at US$ 6042 million, but 8 per cent less that the US$ 6788 million in Q2-2014. Total adjusted operating income at US$ 993 million in Q3-2014 was 37.5 per cent less than the US$ 1589 million in Q3-2013 and 38.6 per cent lower than the US$ 1618 million in Q2-2014.

     

    Time Warner chairman and CEO Jeff Bewkes said, “We had another good quarter, featuring solid revenue growth as well as strong growth in Adjusted EPS. As we discussed at our Investor Event last month, we’ve refocused the company over the past few years to aggressively pursue the huge global opportunities we see in video content. And once again, we are seeing the benefits of our increased investments in great content and storytelling. In the quarter, both Turner and HBO had double-digit increases in subscription revenues, reflecting the growing strength and appeal of their programming. HBO received 19 Primetime Emmy Awards, the most of any network for the 13th straight year, including five Emmys for newcomer True Detective. At Turner, TNT ranked as ad-supported cable’s #1 primetime network for the second consecutive quarter, TBS was the #2 ad-supported cable network in primetime among adults 18-49 and 25-54, and Adult Swim again shined as ad-supported cable’s #1 total day network among its key adult demos. Turner’s extension last month of its longstanding relationship with the NBA through the 2024-25 season is another great example of investing in distinctive programming that will serve us well for years to come. This fall, Warner Bros. is once again the number one producer for broadcast television, including a strong slate of new shows. Season-to-date, Gotham ranked as broadcast’s #2 new show among adults 18-49, while The Flash had the most-watched telecast ever on The CW. These shows are among five series featuring DC characters that will air this season. DC is also a key component of the ambitious film slate that Warner Bros. recently unveiled. Further demonstrating our continuing commitment to shareholder returns, so far this year we’ve returned over $5.7 billion to our shareholders in the form of share repurchases and dividends.”

     

    Time Warner has three segments that contribute to its numbers – Turner, Home Box Office (HBO) and Warner Bros (WB). Turner, which contributes about 40 per cent of TIO, disappointed with a drop in its share of adjusted operating income to 35.2 per cent versus the approximately 60 per cent during Q2-2013, Q3-2013 and Q2-2014. All of Time Warner’s segments reported y-o-y reduction of adjusted operating income in Q3-2014.

     

    Let us look at the numbers reported by the segments of Time Warner for Q3-2014

     

    Turner

     

    Turner reported revenue of US$ 2556 million (39.2 per cent of TIO), which was 4.6 per cent more than the US$  2338 million (38.7 per cent of TIO), but 11.1 per cent lower than the US$  2750 million (40.5 per cent of TIO) in the immediate trailing quarter ended June 30, 2014.

     

    Adjusted operating income from this segment fell a massive 64 per cent to US$ 350 million (35.2 per cent of total adjusted operating income) from US$ 971 million (61.1 per cent of total  operating income) and was 62.8 per cent lower than the US$ 940 million (35.2 per cent of total adjusted operating income)in Q2-2014.

     

    Here is what the company has to say about its Turner segment results:

     

    Revenues rose 5 per cent (US$ 108 million) to US$ 2.4 billion, mainly due to growth of 10 per cent (US$ 117 million) in subscription revenues and 17 per cent (US$ 12 million) in content revenues, offset in part by a decline of 2 per cent (US$ 18 million) in advertising revenues. The increase in subscription revenues was primarily due to higher domestic rates and international growth. Advertising revenues decreased due to declines at Turner’s international networks. Advertising revenues at Turner’s domestic networks were essentially flat.

     

    Adjusted Operating Income declined 64 per cent (US$ 621 million) to US$ 350 million, as higher revenues were more than offset by higher programming costs and increased restructuring and severance costs. Programming costs grew 84 per cent due to the current year quarter’s US$ 482 million of charges related to Turner’s decision to no longer air certain programming. Excluding these charges, programming costs increased in the low double digits due to higher costs associated with increased volume of original programming and the first year of Turner’s new agreement with Major League Baseball. The current year quarter included US$ 199 million of restructuring and severance costs compared to US$ 30 million in the prior year quarter. Excluding the programming and restructuring and severance charges, Adjusted Operating Income would have been US$ 1.0 billion.

     

    HBO segment

    HBO reported 9.9 per cent increase in revenue in Q3-2014 at US$   1304 million (20.9 per cent of TIO) from US$   1186 million in Q3-2013, but was 8 per cent less than the US$   1417 million (20.9 per cent if TIO) in Q2-2014.

     

    HBO’s adjusted operating income at US$   380 million (38.3 per cent of total adjusted operating income) was 4.3 per cent lower than the US$   397 million (25 per cent of total adjusted operating income) in Q3-2013 and 31.2 per cent lower than the US$   552 million (34.1 per cent of total adjusted operating income) in Q2-2014.

     

    Here is what the company has to say about its HBO segment results:

     

    Revenues grew 10 per cent (US$ 118 million) to US$ 1.3 billion, reflecting increases of 10 per cent (US$ 106 million) in subscription revenues and 7 per cent (US$ 10 million) in content revenues. The increase in subscription revenues resulted from higher domestic rates and subscribers as well as the consolidation of HBO Asia and HBO South Asia (collectively, HBO Asi”). The growth in content revenues was primarily due to increased home video revenues.

     

    Adjusted Operating Income decreased 4 per cent (US$ 17 million) to US$ 380 million, as higher revenues were more than offset by increased expenses due to higher programming and distribution costs as well as increased restructuring and severance costs. Programming costs grew 16 per cent due to increased expenses for original and acquired programming as well as the consolidation of HBO Asia. Distribution costs increased primarily due to higher participation expenses. The current year quarter included US$ 48 million of restructuring and severance costs compared to US$ 24 million in the prior year quarter. Excluding the restructuring and severance charges, Adjusted Operating Income would have been US$ 428 million.

     

    Operating Income declined 24 per cent (US$ 122 million) to US$ 380 million. The prior year quarter included a US$ 105 million gain related to Home Box Office’s acquisition of its former partner’s interests in HBO Asia in September 2013.

     

    Warner Bros (WB)

    WB reported 3 per cent growth in revenue in Q3-2014 to from US$   2775 million (44.4 per cent of TIO) from US$   2694 million (44.6 per cent of TIO) in Q3-2014, but was 3.3 per cent lower than the US$   2870 million (42.3 per cent of TIO) in Q2-2014.

     

    WB’s adjusted operating income at US$   241 million (24.3 per cent of total adjusted operating income) was 20.2 per cent lower than the US$   302 million (19 per cent of total adjusted operating income) in Q3-2014, but 2.1 per cent higher than the US$   236 million (14.6 per cent of total adjusted operating income) in Q2-2014.

     

    Here is what the company has to say about its WB segment results:

    Revenues increased 3 per cent (US$ 81 million) to US$ 2.8 billion, mainly due to growth in subscription video-on-demand revenues for television product, higher licensing of theatrical product, growth in television production, including from the acquisition of Eyeworks Group’s operations outside the U.S., and revenues from a patent license and settlement agreement. These increases were partly offset by softer performance of current year quarter theatrical releases compared to the prior year’s slate, which included Pacific Rim, The Conjuring and We’re the Millers, and lower domestic off-network television license fees.

     

    Adjusted Operating Income decreased 20 per cent (US$ 61 million) to US$ 241 million, as higher revenues were more than offset by increased restructuring and severance costs, higher film costs for television product and a value added tax accrual. The current year quarter included US$ 45 million of restructuring and severance costs compared to US$ 2 million in the prior year quarter. Excluding the restructuring and severance charges, Adjusted Operating Income would have been US$ 286 million.

     

    Operating Income declined 23 per cent (US$ 70 million) to US$ 237 million.

     

    Through 2 November, Annabelle grossed over US$ 230 million at the worldwide box office. Season-to-date, Gotham ranked as broadcast’s #2 new drama series among adults18-49. The premiere of The Flash had a total of 6.8 million total viewers in final live +7 ratings, making it The CW network’s most-watched telecast ever.

     

  • Viacom18 rings in the festive season with ‘Rishtey’ in US & Canada markets

    Viacom18 rings in the festive season with ‘Rishtey’ in US & Canada markets

    MUMBAI: After its successful launch in the UK and India, Viacom18 and IndiaCast announce the launch of the Hindi general entertainment channel ‘Rishtey’ in the US and Canada. Adding the festive fervor for viewers in the region, Rishtey is now available to the US audiences on Dish and Dishworld on channel 699 and to Canada viewers on Rogers Cable on channel 924. As Viacom18’s second general entertainment channel, Rishtey is geared to offer an engaging mix of exciting shows, movies and entertainment from a wide spectrum of genres.

     

    With seven channels already available in North America, IndiaCast currently has a comprehensive portfolio of brands in the region that covers a wide range of entertainment offerings. Rishtey is the eighth channel in the region and will be available on a paid subscription format. With the launch of the Rishtey on Dish and Dishworld, the channel will now be available to around 160K households in the US.

     

    Commenting on Rishtey’s foray into the US & Canada, Gaurav Gandhi – Group COO IndiaCast said, “US and Canada are the most important international markets for South Asian entertainment and we are delighted to launch our second Hindi entertainment channel, Rishtey, in this region.  Our flagship brand Aapka COLORS has seen unprecedented success in the region over the last 4 years. With the launch of Rishtey, we address the audience’s need for variety entertainment and Rishtey will be the classic ‘family channel’ with something for everyone in the South Asian household. Over the last two years, the Rishtey, in its different avatars, has developed a strong foothold in the UK and in India and we are extremely confident that the brand will be a huge success here as well”

     

    Rishtey, for the North America region, is a customized Pay TV service that promises to engage viewers with a plethora of content ranging from scripted dramas from the subcontinent (both India & Pakistan), Indian Kids content, Youth programming, Lifestyle as well as Bollywood content.  The channel is a true variety entertainment service with “something for everyone” in the family.

  • We are introducing the concept of packaging: Star India

    We are introducing the concept of packaging: Star India

    KOLKATA: Commending the decision of the Telecom Disputes Settlement Appellate Tribunal’s (TDSAT) to put Star India channels on a la carte, the network said with this it is likely to introduce the concept of packaging.

     

    Star India legal & regulatory senior vice president Pulak Bagchi and distribution strategy & marketing senior vice president Vivek Takalkar were in the city to explain the benefits of packaging.

     

    The officials from the network highlighted that even though a number of cable TV homes in phase I and II are digitised, the addressability of digitisation has not yet been completed.

     

    They further said that since the main aim of digitisation was to offer choice to the customers in terms of channels they want to subscribe, Star India would offer the bouquet of channels via different packs and thus, offer true benefits of digitisation.

     

    “Customers would get the real choice,” the star official said.

     

    Multi system operators (MSOs) have already met Star India representatives two or three times and are waiting for an “amicable solution”, and if they don’t hear from the Star in next 24 hours, the MSO are most likely to move to the RIO rates options, said Siticable Kolkata director Suresh Sethiya.

     

    “We met with Star India people to find a way out for the RIO rates. The rates should be fashioned in such a way that the broadcaster does not lose revenue and at the same time, consumers do not have to shell out huge amount to watch cable TV,” Sethiya said.

     

    When asked to comment on the TDSAT order which directs the MSOs to put Star channels on RIO from 10 November, Sethiya said the MSOs will have to sign the contract with Star. “MSO would do it in next couple of days and we will run campaign in every media and our channels so that the consumers are well informed,” he concluded.