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Content Hub 2021: Viacom18 Studios’ Ajit Andhare talks about creating cinematic experience on OTT

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New Delhi: As theatres remain shut all through the pandemic, audiences were left with no option, but to turn to the OTT platforms for entertainment. The transition compelled major studios, and production companies to take a relook at their strategies and gear up for the big digital revolution that began transforming the world of content.

For Viacom18 Studios, the transition to digital began much earlier, and it helped the film studio to brace the impact of the pandemic. “It was a conflicting and contrasting experience for us. As the big screen went dark and gloomy, things got exciting on the OTT front. Since, we had already set up our digital content brand – Tipping Point, we were well-poised to tackle this period,” says Viacom18 Studios, COO, Ajit Andhare at the fifth edition of The Content Hub 2021 on Thursday.

The three-day mega event being organised by Indiantelevision.com began virtually on 28 July, bringing content makers from the world of television, films and OTT on one platform to delve upon the evolving media and entertainment industry. Film critic and radio presenter Stutee Ghosh got into an engaging fireside chat with Andhare about the process of creating cinematic experience for OTT.
As theatres remained shut, the studio began enhancing its output through Tipping Point, which included ‘Ray’- a four-part anthology series based on stories of filmmaker Satyajit Ray for Netflix. Much before, the studio had worked on ‘Jamtara’- a story about a small district in Jharkhand – the phishing capital.

According to Andhare, the selection of stories was never dictated by a set formula, but purely led by instincts – something that he adheres to even today. “As a studio, we have never been volume driven. It’s hard to get good storytelling that way. Stories that excite us have stayed with us for several years, before we began working on them,” says the studio’s top executive.

As a strategy, Tipping Point began with its focus on originals, however, as the demand for content skyrocketed, it led the brand towards new territories and it started working on bringing adaptations on screen, from across the world.

“But the approach has always been to look out for distinct ideas, and stories. We don’t want to get caught in a certain formula or method. All our films reflect that, and that’s what people are expecting on the digital front too. That’s the value we want to bring to our brand – to do something that has not been done before. Ray is a great example,” shares Andhare.

Digital is the top choice of medium for different, and eclectic content, that may be too risky to be taken to the big screen for theatrical business, because of the huge runaway costs involved. The medium has also opened up vast opportunities to tell different stories.

When asked about the lessons learnt over the last year, Andhare says optimistically, “One big learning is that, the basics of great series are absolutely the same. We were awed by US premium drama series, and wonder whether we have that capability. The last few years have showed, that we are not lacking in any way. Look at The Family Man. In terms of craft, we aren’t behind. We just did not have enough opportunities for distribution. We have that hurdle removed by digital now. The intensity and engagement that we are able to produce now is as good as anywhere in the world.”

However, another factor that’s lacking, according to the leading content maker, is ‘scale’. India’s digital platforms are yet to see big output like the iconic series – Game of Thrones, or Outlander. “It’s an exciting area, and so many stories are to be told,” says Andhare emphatically, “The Indian OTT system is yet to wake up. That’s the next level for us. A spectacle is not only for theatres or big screens. If combined with dense storytelling, it can work in digital too. I’m really excited about that opportunity.”

On the finance front, Andhare is quite content with the current business model adopted by the studio, which continues to create original content, and then licenses it out to different platforms.

“For content makers, that is the only model. For years, the Indian content industry has been like a carpenter, called home to put nails whenever required. Unlike other countries, IPs have normally belonged to broadcasters in India. It doesn’t happen elsewhere. The content makers have their own ecosystem. In fact, in the UK, individual creators have their own IPs. We are much behind, but we have begun investing in good content and seeing better investment. This is the only business model which will work, the world over. It is a win-win situation for both studios and platforms,” he adds.

When asked about the future of content, especially movies, the top executive is quick to answer. “Both (theatres and OTT) will continue. It is just a matter of time,” he quips in.

“The question is about value,” he elaborates. “Does theatre have value? Any evidence of recent box office release will tell you that it does. People absolutely love to go to theatres. It’s an out-of-home experience that people will continue to want. It is not about a story, but an experience. So, this value will surge after the pandemic. But, OTT has brought in ease of distribution. Digital is great for driving content, and allowing content creators to experiment.”

Centred on the theme – ‘The New Dynamic’, the three-day event will witness several such insightful sessions with industry stakeholders deliberating on how the new forces are transforming the way content is created and stories are told. It will also delve upon the impact of these changes on the business models for the world of films, TV and OTT.

The fifth edition of Content Hub 2021 is co-presented by IN10 Media Network and ZEE5, and co-powered by Applause Entertainment and   the digital content unit of Viacom18 Studios. PTC Network is the supporting partner.

For more details, visit: https://www.thecontenthub.in/

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TCH 2024: One Nation: Diverse Voices

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Mumbai: Exploring the shift from regional to national content, this synopsis delves into the trends and challenges. It navigates the transformation, analyzing industry dynamics, emerging trends, and the hurdles faced. From preserving regional variation to adapting to a broader audience, it examines the multifaceted journey of regional content evolving into a national narrative. In what ways do the emerging trends and challenges influence the dynamics of the entertainment industry during this transition? How can creators navigate these changes effectively? What strategic approaches can content creators adopt to strike a balance between maintaining regional identity and fostering a cohesive national narrative in their work? How can the transition from ‘regional’ to ‘national content’ impact cultural diversity within the entertainment industry, and what measures can be taken to ensure the preservation of regional variation?

In a rapidly evolving media landscape, seasoned industry professionals have offered valuable insights into the transformation of content consumption and production. The session was chaired by Ernst and Young partner Raghav Anand, MMTV chief executive officer P.R. Satheesh, Sony Marathi business head Ajay Bhalwankar, PTC Network chairman & MD Rabindra Narayan, Shemaroo Entertainment COO, Digital, Saurabh Srivastava esteemed voices in the field, have articulated their perspectives on the burgeoning shift towards globalised content.

Rabindra Narayan emphasised the dissolution of regional boundaries in content consumption, attributing it to the accessibility facilitated by global platforms and connectivity options. He predicts a future where language barriers will fade, citing the potential of technology to clone and adapt voices, thus enabling seamless localization across languages.

Saurabh highlighted the democratisation of content creation in the digital era, underscoring its empowerment and revenue potential, particularly in linguistically diverse markets like India. He emphasizes the value of culturally rooted storytelling in filling gaps in content supply, with technology enabling effective monetization, especially through OTT platforms.

Ajay Bhalwan sheds light on the evolving landscape of Hindi and regional language content, noting a significant shift where a substantial portion of content on Hindi film channels originates from regional languages. He accentuates the importance of language in enhancing authenticity and audience engagement, exemplified by the strong resonance of Marathi content in Maharashtra.

PR Satheesh underscored the paramount importance of content quality in driving viewership and transcending language barriers. Drawing parallels with the global popularity of Korean dramas, he advocates for leveraging technology, including AI and real-time translations, to enhance content creation and distribution.

These insightful perspectives collectively echoed the industry’s adaptation to a globalised content landscape, where technology catalyzes innovation and accessibility. As content continues to evolve, these experts offered valuable guidance on navigating the dynamic media landscape and maximizing the impact of storytelling in diverse markets worldwide.

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TCH 2024: Need for sustainability & content creation

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Mumbai: The eighth edition of The Content Hub Summit delves into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event also explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The fireside chat saw Indiantelevision.com group founder, chairman & editor-in-chief Anil NM Wanvari in conversation with India GreenSet CEO & co-founder Anupama Mandloi.

They discussed the critical importance of sustainability in content creation, especially in India, which leads in volume. They highlighted the industry’s potential for influence and the necessity to adapt to climate change. Mandloi emphasized the need for sustainable practices, citing examples like the Mumbai floods’ impact on business.

Wanvari proposed initiatives like eliminating single-use plastics at events and forming industry alliances for sustainable standards. They emphasized the shift toward sustainability as a cultural change, stressing the industry’s collective responsibility and the need for unity to overcome hurdles.

Mandloi suggested practical steps individuals can take, urging a bottom-up approach to drive the sustainability revolution.

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TCH 2024: Ink on the edge: Overcoming challenges for writers with audio series

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Mumbai: The eighth edition of The Content Hub Summit delved into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximising revenue, and maintaining creative freedom. The event also explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

The session was chaired by Radioandmusic.com editor Namrata Kale. It included the following panelists: writer & director Pubali Chaudhuri, screenwriter Ishani Banerjee, Majburi Main Bandha Ek Rishta writer Jigyasa and Pocket FM head – branding and communications Vineet Singh.

The panel discussion shed light on the challenges writers face in the audio, film, and OTT industries, stressing the need for recognition, fair contracts, and empowerment.

Pubali emphasized the need to acknowledge writers’ contributions and improve revenue sharing, while Ishani highlighted the significance of contracts, credits, and acknowledgment in empowering writers. Vineet outlined Pocket FM’s initiatives to empower writers globally with equitable revenue-sharing models, while Jigyasa shared her journey of discovering writing talent during the lockdown and finding success with Pocket FM.

In conclusion, the panel underscored the industry’s commitment to addressing the challenges faced by writers and providing platforms like Pocket FM to showcase diverse narratives.
 

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