Content Hub

The Content Hub: How formats are created?

Published

11 years ago

December 6, 2014

MUMBAI: On the day first day of The Content Hub masterclass, The Format People CCO and partner Justin Scroggie, spoke about how ideas are generated and then turned into formats for television.

Defining a format as a series that travels and something that can be adapted in another territory, Scroggie emphasised that certain elements in a format determine how effective it is. In the making of a television programme, the order of television elements, both original and common, have to be in such a way that a distinctive narrative progression is created. These elements could be: set, cast, rules, prize money, audience connect or any other element that make up a television show. Scroggie cited the reality show, ‘Canada’s worst driver’ as an example where the element of ‘elimination’ came as a twist wherein the contestants wanted to get eliminated instead of the avoiding it. He elaborated that the level of originality depends on the order of these elements and how one can give the audience something new. There needs to be a precise beginning, middle and end to each format. According to him, formats need to address three important things – people (who are involved), action (what they have to do) and motivation (why they have to do it). The audience needs to know the genre and core subject of the show.

“In order to generate good television ideas, one should start of by watching television content, in a genre that is unfamiliar to you,” he said. By watching television shows that one is not used to, he/she becomes aware of what else is happening around the realm and it helps in developing better ideas. “The wider your own television experience is, the more broadly you will be able to think”, he added.

Scroggie believes that television influences the way in which people behave, speak and think.

There are several methods from which good content and format can be created. “When we start thinking of ideas, we tend to go down the familiar path. That is how our brains are designed. We need to find ways to trick our way out of that”, he informed.

He went on add that, one can simply begin with a phrase, proverb, movie title or lyrics as a starting point for an idea. For example, one can take the idea of the film title, ‘Frozen’ and formulate a dating show wherein the guy ‘freezes’ upon meeting his date and how he overcomes the same. Ideas can also be generated by changing the angle of a simple show. For example, one can take a simple cooking show and look at it from another angle, that could possibly also highlight domestic problems between married couples. Scroggie added, “When you take a married couple and put them in a kitchen, particularly ‘her’ kitchen, there are bound to be difficulties”.

Another method of creating ideas would be to take an existing show and reverse it. “Things can basically start from anywhere. By reversing ideas, it will help you open up fresh and new stuff”, he commented.

‘Secret Millionaire’ is one such show, that starts with the contestant having a million dollars at the beginning and then starts losing it as the game progresses.

A lot of formats follow a set of narratives. “Audiences like stories with a familiar shape to it, that’s why even movies follow a familiar shape of a beginning, middle and end. Shows have different narratives that add to the value of the show.” he added. Similarly for television, narratives can be applied to the basic themes. One needs to understand these narratives in order to come up with successful formats.

Narratives can be in the form of a make-over as showed in programmes like ‘American dream builders’, ‘Shamba shape up’ and “Let me in” or follow a campaign narrative, like the show ‘Dream school’. There is also the swap narrative format.

According to Scroggie, successful formats are majorly designed along the lines of the ‘fish out of water’ narrative where you put a person or group of people in an unfamiliar situation, out of their comfort zone. “It is a common narrative where you see the outcome of putting people in an unfamiliar situation,” he stated and added, “Narratives that are experimental are also picking up fast these days. Unlike most reality shows that are scripted, experimental narrative has a lot more honesty to it. People want to see open-ended shows where nobody really knows what is going to happen next”.

Apart from that, a creator or writer of a show should try and break rules that could possibly bring about twists in the show. One should also keep an emotional connect with the audience. “You should be clear about the kind of reaction you want from the audience. It could be a feeling of happiness or anger”.

Last but not the least, titles play an important part in grabbing attention.

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TCH 2024: One Nation: Diverse Voices

Published

2 years ago

May 13, 2024

indiantelevision.com Team

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.

Content Hub

TCH 2024: Need for sustainability & content creation

Published

2 years ago

May 10, 2024

indiantelevision.com Team

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.

Content Hub

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

Published

2 years ago

May 10, 2024

indiantelevision.com Team

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.