Documentary

Miditech does a ‘Vultures: Death Watch’ special for NGC

Published

21 years ago

March 22, 2005

MUMBAI: In India, the once ubiquitous vulture, is now on the brink of extinction. Over a decade, their numbers have dropped by almost 90 per cent.

Vultures: Death Watch produced by Miditech for National Geographic Channel International sets out to find what’s killing vultures on the Indian sub-continent. Is it a virus? Could it be that the increased use of pesticides in the past decade, is resulting in contaminated carcasses?

In India the special airs on National Geographic 26 March at 7 pm. Ornithologists across the world are alarmed. Vultures: Death Watch explores the dependence of man on this carrion eater. The death of the vultures could herald the end of age-old traditions and cultures. The Parsi community who leave their dead out in the open for vultures to scavenge on, fear that this tradition that is closely linked to their faith, will die out.

Shot over a year, the special found that the problem isn’t localised and has now spread beyond India to Nepal, Bangladesh and Pakistan. It follows different theories and scientists as they battle it out to find what is killing vultures in the subcontinent.

The film follows Parsi and television personality Cyrus Broacha as he finds out how deeply the disappearance of the vulture, affects the traditions of the Parsi community who leave their dead out for vultures to feed on. Maintaining purity of the body and soul is one of the key tenets of the Parsi faith and the show explores how the community has been affected by the disappearance of the vulture in India.

The challenge before Miditech: The biggest challenge was also to put into a coherent story, the scientific investigation that has troubled and perplexed experts across the world. What was killing the vultures? Keen journalistic research work coupled with a taut narrative looked to resolve a mystery that was unfolding even as the film was being made.

Miditech CEO Niret Alva, who executive produced, scripted and narrated the film says, “The real challenge was to construct a story like a whodunit given the fact that vultures are not the most charismatic of species and a lot people associate them with death and bad tidings.”

The supervising producer Pria Somiah says, “Considering that consensus on what was killing the vulture was reached during the making of the film, makes it very topical and we hope the film helps, even if in a small way, mobilise efforts to find solutions to the problem that is wiping out vultures in India. Trying to get to the root of the problem has not been easy. The vulture is an extremely shy bird and the vulture crisis has resulted in their numbers dropping so drastically that sighting them in their natural nesting habitat is very difficult.”

The show’s associate director Devika Ahluwalia says, “It was possibly the worst summer Rajasthan had seen in some years. The temperatures were soaring to 46 degees celcius and the sun seemed unrelenting. And this is when we began our hunt for a longbilled or white backed pair who were courting each other.”

Talking about his experiences shooting the film cameraman Alok Upadyay, on the other hand says, “After waiting for the rain abate for a few days, the crew and I climbed these 50 feet high cliffs to get a view of the wooded area. The equipment weighed tons and the one hour climb seemed endless. But as we settled down on a narrow ledge and took our positions, the vultures started a performance. The soared and dived and flew around us as though they knew where the camera was.”

Related Topics:Death Watch'Miditech NGC Special Vultures

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Lola revs up with Superman as Warner Bros joins the race for fans

Published

8 months ago

July 12, 2025

indiantelevision.com Team

MUMBAI: Faster than a speeding bullet and slicker than a pit stop Superman just joined Formula E. In a thrilling fusion of comic book cool and racetrack grit, Lola Cars has joined forces with Warner Bros. Discovery in a strategic partnership that brings superheroes to the circuit. And they’re not easing into it, a Superman-themed race car will blaze onto the track for the Berlin E-Prix this weekend.

The Lola Yamaha ABT Formula E team’s T001 car, driven by Zane Maloney and Lucas di Grassi, will sport an electrifying blue, red and yellow livery, complete with the iconic Superman shield. Even the drivers will suit up literally in race gear inspired by Clark Kent’s legendary alter ego.

Timed with the 11 July theatrical release of DC Studios’ Superman, the stunt marks the start of a long-term collaboration between Lola and Warner Bros. Discovery, who will co-create content around Lola’s motorsport ventures and bring sponsor stories to life across platforms.

But this isn’t just about eye-catching liveries. The partnership also includes integrated sponsorship opportunities, with WBD joining hands to help monetise and maximise exposure through enhanced media packages.

“This is more than a one-off activation,” said Lola Cars chief commercial officer Keith Smout. “It’s a new model for sports-marketing synergy where the track meets the theatre, and content fuels the connection.”

WBD, GVP global sales Patrick Maitrot added, “By pairing the power of Superman with the speed of Formula E, we’re engaging fans in a whole new way using our unrivalled IP and Lola’s racing prowess to tell stories that leap off the screen and onto the track.”

The Superman livery will light up both rounds of the Berlin E-Prix at Tempelhof Airport. For Formula E fans, it’s a visual treat; for Superman fans, a fast-track teaser; and for both brands, a bold play in content-fuelled fandom.

Superman, directed by James Gunn and produced by Peter Safran, is DC Studios’ first feature film and will hit cinemas in the UK and Ireland on 11 July 2025. Meanwhile, Formula E action continues to stream across TNT Sports, Eurosport, discovery+ and HBO Max, with WBD holding exclusive coverage rights across Europe.

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Documentary

Warner Bros. Discovery unveils Shiva-inspired mural in Mumbai

Published

12 months ago

March 19, 2025

indiantelevision.com Team

MUMBAI: Warner Bros. Discovery, in collaboration with Aravani Art Project & ting, has brought mythology to life through a striking artistic tribute. To celebrate the launch of Legends of Shiva with Amish on Discovery Channel India and discovery+, a bold Ardhanarishwara mural now adorns a Mumbai billboard, symbolising the balance of masculine and feminine energies.

Created by the Aravani Art Project, a collective of transgender and non-binary artists, the mural represents identity beyond gender, echoing the themes explored in the series. Its creation was captured in a digital film by ting and ting studios, amplifying the message of self-expression and inclusion.

Warner Bros. Discovery head of marketing south Asia Janhavi Vyas remarked, “India is a land of contrasts, and few figures embody this duality like Lord Shiva. He is both a recluse and a householder, a seamless blend of masculine and feminine. This initiative goes beyond just promotion it is a step towards inclusion, recognition, and celebrating diversity. At Warner Bros. Discovery, we are committed to fostering a world where every voice is heard and valued.”

Ting partner Sudharshan Anandkumar added, “At ting, we craft stories that do more than just promote they spark conversations. Collaborating on Legends of Shiva with Amish allowed us to showcase mythology in a way that resonates with today’s world. The Ardhanarishwara mural is more than art, it is a symbol of balance and inclusivity. Through our digital film, we wanted to emphasise that mythology isn’t just history it is a living dialogue that continues to inspire.”

This initiative goes beyond television, elevating unheard voices and reaffirming the timeless relevance of Shiva’s teachings in contemporary society.

Documentary

BBC Studios considers shuttering Indian operations: Economic Times report

Published

1 year ago

January 21, 2025

indiantelevision.com Team

MUMBAI: Is BBC Studios set to exit India?

If a report in The Economic Times is to be believed it is strongly considering the possibility. Recently, its general manager Sameer Gogate quit the content production arm.

It is also considering other options like zooming in on a strategic investor who will share some of the challenges that have emerged in the severely tested media and entertainment industry. Another option being toyed with is doing co-productions with Indian producers – something which has not been a huge hit in the Indian scenario as yet.

Sources indicate that consolidation and shrinking budgets from television broadcasters and OTT platforms have intensified competition for limited projects, significantly squeezing producers’ profit margins.

Known for popular shows like Criminal Justice, The Office, Out of Love, and Nach Baliye BBC Studios, produces approximately 2,000 hours of content annually and operates in over 20 countries. It also maintains a robust content licensing business in India, licensing British formats such as Dancing with the Stars* and Luther.

Faced with a more selective landscape of OTT platforms and broadcasters, the pressure to maximize output under reduced budgets is prompting a re-evaluation of BBC Studios’ production strategy in India. A company spokesperson confirmed to The Economic Times that the management in the UK is currently reviewing its production operating model to enhance efficiency.

The Indian M&E sector has experienced significant consolidation, with recent major mergers like the Star India and Viacom18 deal and discussions involving the acquisition of Tata Play by Bharti Airtel’s DTH arm, Airtel DTH.

Experts suggest that BBC Studios’ production arm could be among the first casualties of this trend as margin pressures continue to mount.

This potential shift comes as the BBC Group maintains its presence in India through various digital news platforms and joint ventures, including Sony BBC Earth and the recently launched BBC Player and BBC Kids on Prime Video.

Additionally, BBC itself in the UK is under pressure. An audit report of the BBC by the National Audit Office expressed this in no less words when it said: In 2023-24, BBC Studios’ income fell by £253 million (12 per cent) to £1,837 million and profits fell by £50 million (20 per cent ) to £202 million. This was partly due to challenging market conditions, including a reduction in spend by commissioners, including the BBC and global streamers, on the production of programmes and the ending of some high-value contracts which generated significant income in 2022-23. In addition its profits were reduced by higher costs as BBC Studios invested in its digital services such as BBC.com and BritBox International to support its future growth

The audit report was also critical of BBC Studios and its inability to generate too many new IPs and for being dependent on BBC’s catalogue of shows before the production arm was set up in 2016. The report said: “In our 2020 report, we identified that BBC Studios had been less successful than planned in winning new commissions and generating IP.
Since then, although generation of new IP has grown, BBC Studios has not met its targets in this area and remains reliant on the IP from BBC programmes created before it was first established in 2016. In 2023-24, of the 10 titles from its production business which provided the most profit to the BBC, only one was from new IP
generated by BBC Studios.”

Additionally, the Beeb is on track to lay off close to 500 staff by March 2026 and generate savings of 200 million pounds sterling, according to reports.