Blog

  • NBC offers entertainment at gas stations

    NBC offers entertainment at gas stations

    MUMBAI: The media landscape is changing and how! The NBC Universal Television Stations group and VST Media Network are partnering to grab eyeballs at the gas pumps. It will deliver customized local news, weather, sports and entertainment video and headlines to on-pump screens at gas stations on daylight-viewable 17-inch screens with stereo speakers.

    The deal will deliver programming to 17 Shell gas stations in Los Angeles, but by year’s end, VST plans to have 500 stations in L.A., San Francisco and San Diego. VST will also add screens at other gas stations across the country in markets with NBC O&O’s.The terms of the deal were not disclosed.

    Programming is in three-minute bursts, which are activated when pumping begins. That duration was determined to be the average amount of time people spend filling up their gas. “Not to sound too corny, but as you’re filling your tank, we’re filling your mind,” said NBC Universal Television Stations digital media and strategic marketing evp Ric Harris.

    The programming, which will be updated twice daily, will come from local newscasts at the NBC stations in each market, and will be coordinated through NBC’s KNTV in San Francisco.

    The programming is also a vehicle for 15-second ads, which will run between breaks. State Farm Insurance and Tropicana are on board as initial advertisers. The ads try to entice gas pumpers to enter mini-marts. State Farm, which is advertising its car insurance with an ad that compares the high price of gas with the premiums the company’s competitors charge. “It’s utilizing a car moment to bring up car insurance,” said State Farm assistant vp for advertising Mark Gibson.

    According to NBC Universal, each participating gas station averages at least 20,000 pump visits per month

  • Eurasia Cup telecast to be split between SaharaOne, Filmy

    Eurasia Cup telecast to be split between SaharaOne, Filmy

    MUMBAI: Looks like Sahara is not about to let go the foothold it has got into the India cricket telecast game. After having aired the recently concluded series between India and England, SaharaOne has now acquired the rights for the next five years to a new offshore cricket event — the EurAsia Cricket series.

    The first edition of the event will be held in the Gulf Emirate of Abu Dhabi from 22 April to 5 May 2006 and is the result of an alliance between the Jawaharlal Nehru Sports Trust and the Abu Dhabi Cricket Council.

    SaharaOne CEO Shantonu Aditya says, “We are delighted to partner with Creative Eye (from whom Sahara got the rights) in promoting the EurAsia Cricket Series 2006.” Creative Eye had earlier acquired the rights for this VK Sports Management Group.

    BSNL is Sahara’s title sponsor for the event which will feature the A teams of India, Pakistan and Sri Lanka. Making up the numbers for this six-nation event are cricket “minnows” Holland, Ireland and UAE. The teams are divided into two groups. Sahara will simulcast the 14 day-night ODIs on SaharaOne and and recently launched movie channel Filmy. SaharaOne though will take a break between 8:30-10:30 pm to protect its prime time shows while Filmy will air the matches uninterrupted.

    The big question of course is what benefits Sahara expects to get out of a series at a time of serious cricket overload what with the national team literally ending one series and getting into another with barely a break in between. More so since Aditya confirmed that Sahara had no plans to launch a sports channel in the near future.

    According to Sahara One Television COO Purnendu Bose, the Subrato Roy-promoted network sees three clear opportunities that it would be exploiting from this property, for which it holds the global satellite rights as well as in stadia rights.

    First of course is the composition of the Indian team, captained by Venugopala Rao, which includes the latest star in the making and opener Robin Uthappa, pacemen RP Singh and VRV Singh, leg-spinner Piyush Chawla, all-rounder Reetinder Singh Sodhi, and wicketkeeper batsman Dinesh Kaarthick, all of whom have played for India. Opener Vidyut Sivaramakrishnan and middle-order batsman S. Badrinath also find a place.

    The team composition allows for Sahara’s marketing pitch for this series, which is that the network will be showcasing “today’s heroes” or the “Young Tigers” who will have a significant role to play in the Indian cricket scheme of things with the mantra being so much on youth. According to Bose, this event going forward had the potential to become a major property in itself.

    Explaining the programming strategy, Bose states that the event will “get me additional ratings during my graveyard shift (2:30 pm to 7:30 pm)”. The telecast on SaharaOne, in much the same way as national broadcaster Doordarshan does with its main channel DD1 when it telecasts India cricket, will pull away from cricket at 7:30 pm and hook back in at 10:30 pm to get in the “final hour of action”.

    Thirdly, says Bose, “whatever additional sampling that happens because of the cricket is good for the channel.”

    One wonders though that with the Rahul Dravid and the gang playing so much cricket whether there will be any interest left in watching an India A team. No matter how good India A is, the coverage devoted to it in the press indicates that there is a huge question mark over just how much interest the average cricket watcher will have in it.

    Having said that, cricket that does not feature the main eleven has generally been given step motherly treatment in this country. So it is encouraging to see SaharaOne at least try and push the cause of the sport beyond just the main eleven.

  • NDTV clocks 24.5 % growth in FY06; revenues Rs 2.24 billion

    NDTV clocks 24.5 % growth in FY06; revenues Rs 2.24 billion

    MUMBAI: Prannoy Roy’s NDTV has recorded 24.49 percent growth in fiscal 2005-06 with total revenues of Rs 2.239 billion.

    NDTV’s revenues were up from the Rs 1.798 billion recorded in fiscal 2004-05, the company has stated.

    Q4 FY’ 06 saw NDTV hitting its highest ever revenues at Rs 704.4 million versus Rs 497 million in the corresponding quarter of the previous year, representing a 41.73 per cent year-on-year growth.

    Expectedly, the rise in personnel costs took a huge chunk out of the company’s net with profit after tax after ESOP for Q4 FY’ 06 standing at Rs 20.1 million. If ESOPs are discounted then net profit for Q4 has increased 22 per cent to Rs 125.5 million as against Rs 102.9 million in Q4 FY’ 05. There were no ESOPs granted last year.

    Following the results, NDTV has declared a dividend of 20 per cent.

    BUSINESS HIGHLIGHTS

    During the year the company made significant investments in building new businesses and strengthening and consolidating its existing business.

    NDTV’s advertising base has seen an impressive growth this year. The network has added 637 new advertisers and 810 new brands in its portfolio, taking its advertising universe to over 2000. A reflection of the group’s marketing strength is also the strategic tie-up with the Microsoft Network, under which NDTV’s subsidiary, NDTV Media Ltd represents and carries out all marketing activity for MSN exclusively in India.

    The reach of the NDTV News Network’s unduplicated reach amongst C&S households has increased to 90.8 per cent, the highest amongst all news networks. NDTV has also extended its global presence across Africa, Asia, Europe and the US. This year it entered into strategic tie-ups with DirecTV, BskyB and ATN to launch NDTV 24×7 in the US, UK and Canada respectively.

    NDTV’s website ndtv.com has emerged as India’s number one news and television portal, attracting over 200 million page views and 1.2 million unique visitors every month. The focus on monetizing the website by adding transaction based portals – Travel, Gadgets, Shopping, Commodities, Profit, Movies and Music, has begun to drive revenues this year.

    “In this year the company has put in significant investments into building new businesses and going forward we are committed to maximizing shareholder value by capitalizing on these investments,” NDTV chairman Dr Prannoy Roy was quoted in the statement as saying.

    Additionally, NDTV has entered into an agreement with Genpact a leading business and technology services company, to jointly offer outsourcing services to the global media and entertainment industry. This is the first of its kind Media Process Outsourcing company in India which will focus on providing cost effective, high quality media services.

    This year also heralded NDTV’s entry into high end-consultancy for news services. The company has entered into a joint venture agreement with Astro Broadcast of Malaysia to provide consultancy for setting up news channels in Malaysia and Indonesia. The Indonesian channel will be launched shortly.

    The NDTV Group, together with other strategic investors, also acquired a minority shareholding in 3 radio companies that hold licenses for FM radio broadcasting in Mumbai, Delhi and Kolkata under the brand name of RED FM. The company sees tremendous cross media synergies in extending its presence in the radio sector.

  • MySpace appoints Hemanshu Nigam as chief security officer

    MySpace appoints Hemanshu Nigam as chief security officer

    MUMBAI: Fox Interactive Media (FIM), parent of MySpace.com, has appointed industry veteran Hemanshu Nigam to oversee safety, education and privacy programs and law enforcement affairs for MySpace, as well as the growing network of FIM properties.

    Nigam, who currently serves as director of consumer security outreach and child safe computing at Microsoft Corporation, brings more than 15 years of experience in online safety for private industry and law enforcement, including serving as a Federal prosecutor against internet child exploitation for the US Department of Justice, an advisor to a Congressional commission on online child safety, and an advisor to the White House on cyberstalking. Nigam’s appointment is effective 1 May, 2006.

    “Hemanshu is a proven leader in online safety and security. We are fortunate to have him join MySpace, help us educate the public and protect our members’ safety and privacy. MySpace has always been committed to an industry leading role in Internet safety and will continue to partner with all stakeholders including parents, educators, law enforcement and safety groups,” said MySpace CEO Chris DeWolfe.

    “Fox Interactive Media and its network of properties will greatly benefit from Hemu’s experience, stature among law enforcement and private industry leaders, and strategic vision. We look forward to working with Hemu as we continue in our commitment to provide a leadership role in developing industry standards that safeguard our growing community of members,” said Fox Interactive Media president Ross Levinsohn.

    Prior to joining Microsoft, Nigam served as vice president of Worldwide Internet Enforcement at the Motion Picture Association of America. There he built and oversaw the global strategy to combat online motion picture piracy for the seven major Hollywood studios.

  • Sony Pictures Home Entertainment restructures for the digital age

    Sony Pictures Home Entertainment restructures for the digital age

    MUMBAI: Sony Pictures Home Entertainment (SPHE) has announced a reorganisation to meet the challenges and opportunities of the digital era. New appointments and promotions have been made.

    David Bishop will oversee SPHE’s North American business and Matt Brown will oversee SPHE’s European business. Sean Carey will head SPHE’s digital distribution business.

    Explaining the strategy behind the move, SPHE president of Worldwide Home Entertainment, digital distribution and acquisitions Benjamin S. Feingold says, “This month, we started selling movies through digital downloads over the Internet, and next month, we begin to sell Blu-ray Discs for the very first time.

    “With the digital market poised for growth, now is the time for us to organise ourselves to reap the full benefits of this new era, and to maintain and expand our leadership position in the home entertainment market.”

    Sony Pictures Entertainment chairman and CEO Michael Lynton says, “The changes in technology and consumer interests demand that we be innovative and visionary in our approach to home entertainment. The digital market has evolved to the point where it has earned its own place in our home entertainment business. Digital distribution and high definition have evolved from a theoretical concept to a new retail business, and that’s why we’re making the strategic moves necessary to ensure that we aggressively market this business in the months and years ahead.

    “And it all begins with people — putting the right people in the right place at the right time.” Sony Pictures Entertainment Motion Pictures Group chairman Amy Pascal says, “While nothing can replace the theatrical experience, we want people to have the opportunity to see our movies in their homes or wherever they desire. That is true for our new films as well as the tremendous stories and performances that exist in our extensive library.”

    Bishop had been Sony Pictures Entertainment (SPE) president of worldwide brand integration. He will now oversee all aspects of the North American business including sales, marketing, and operations. He will also have an integral role in the international operations of the MGM catalogue.

    Feingold stated, “With the MGM transition nearing completion, I am delighted that David has decided to remain with our company. His strong reputation within the home entertainment industry, as well as his outstanding executive skills, will help to insure the ongoing success and growth of our core business. David’s experience with MGM product will also be a great benefit to the division.”

    Bishop says, “I am thrilled to be at SPHE because this is one of the most exciting and dynamic times in the history of home entertainment. I also look forward to working with Ben and the whole team as we focus on the growth of our core business and explore the new options given to us by the
    digital revolution.”

    Brown, meanwhile, will be based in London and will oversee all aspects of the European business, including sales, marketing and management. Brown will help create and execute strategic business plans for SPHE’s growth throughout Europe, especially in light of the proliferation of new digital technologies in the region. He earlier was SPHE senior VP worldwide franchise properties.

    Carey will focus on two areas. First, developing and managing the North American distribution of movies and other SPE content via the internet as well to mobile devices such as cell phones and PSPs. In that regard, he will also work closely with Sony Pictures Digital Entertainment, Sony Pictures Television and Sony Pictures Television International. He will also will oversee all business aspects of SPHE’s production and acquisition group, as well as negotiate key acquisition agreements.

    Feingold adds, “We are at the dawn of a new age in home entertainment. Digital technology, combined with the increasing sophistication and mobility of devices on which content can be stored and played, opens up a whole new world for us and for consumers. By reorganizing our home entertainment division now, we are positioning ourselves to deliver entertainment to people wherever, whenever and however they want to enjoy it.”

  • Queen to visit BBC on 80th anniversary of Royal Charter

    Queen to visit BBC on 80th anniversary of Royal Charter

    MUMBAI: Britain’s Queen Elizabeth II will visit BBC Broadcasting House on 20 April to mark the 80th anniversary of the granting of the Corporation’s Royal Charter.

    The Queen will officially re-open the original Broadcasting House in Portland Place, London, which has recently been refurbished as a part of the redevelopment of the site.

    The Queen will be shown a model outlining building project plans for Broadcasting House by Sir Richard MacCormac, architect, and the BBC’s chief operating officer, John Smith, and will view a display of digital radio technology and Broadcasting House artefacts.

    The digital radio technology consists of :-

    >A DAB digital radio featuring an electronic programme guide (EPG)

    >A wi-fi radio, which can pick up, via wireless broadband, internet radio stations around the world including all the BBC’s national stations

    >A plasma TV screen with a Freeview box, displaying the BBC’s 24/7 radio service via digital TV

    >A laptop computer demonstrating listening to radio via the internet on the BBC Radio Player

    >Mobile devices capable of receiving radio services -i.e.- The iPod featuring a selection of the BBC’s podcasts and a new mobile telephone with DAB radio access

    The Broadcasting House artefacts consist of: a ‘royal’ microphone used by King George V for Christmas broadcasts in the 1930s. The ‘King’s Radio’, a specially created version of a high quality radio set made by Murphy, the electronics manufacturer, and presented to King George V. The model was subsequently known to the public as the ‘King’s Radio.’ Also, a cigar box in the form of Broadcasting House presented to Lord Reith on his 10th anniversary as manager/director-general of the British Broadcasting Company/Corporation.

    The Queen will then watch a production for BBC 7’s The Big Toe Radio Show and will meet presenters Kirsten O’Brien and Kevin Duala and young competition winners in the Drama studio.

    The Queen will also view a recording for Radio 4’s Woman’s Hour and meet presenter Jenni Murray, programme engineers and interviewees Dr Sarah Childs from Bristol University and Dr Rosie Campbell from Birkbeck College, London.

  • Sony, King World extend association with two new game shows

    Sony, King World extend association with two new game shows

    MUMBAI: King World Productions and Sony Pictures Television, the companies behind two of television’s most successful shows Wheel of Fortune and Jeopardy!, have joined hands once again to create two game shows. The properties will be unveiled during the 2007 fall season.

    Today (17 April), both the companies are set to announce that they will offer two half-hour game shows as a one-hour block in syndication, as according to a Reuters report.

    Wheel of Fortune is in its 23rd season, while Jeopardy! has reached its 22nd season. Both the shows are produced by Sony and sold to stations by King World.

  • ‘We are targeting a 50% growth in 2006-07 on the back of the Fifa World Cup’ : Sricharan Iyengar – ESPN Software India Ltd vice president sales and marketing

    ‘We are targeting a 50% growth in 2006-07 on the back of the Fifa World Cup’ : Sricharan Iyengar – ESPN Software India Ltd vice president sales and marketing

    ESPN Star Sports (ESS), a monopoly in satellite sports broadcasting for years, has found challengers like Ten Sports, Max and Zee Sports with cricket content being fragmented. The latest thorn in the playing field is Harish Thawani who walked away with the coveted four-year India cricket rights from BCCI (Board of Control for Cricket in India) for a humungous $612 million.

     

    For ESPN and Star Sports, the running in the current fiscal has been particularly tough. India-Zimbabwe series was the only India-playing cricket property ESS had. Market observers say subscription revenues from cable TV have seen a substantial dip, with various estimates putting the fall in the region between Rs 1.3 billion to Rs 1.7 billion.

     

    But ESPN Software India Pvt Ltd vice-president, sales and marketing Sricharan Iyengar has strongly dismissed these as “baseless rumours” in the market. According to him, the two sports channels have become strong brands which consumers want because of their all-round sports content. The company has managed to sustain its subscription revenues from cable TV operators, he says. Besides, direct-to-home (DTH) has thrown up an added opportunity even as Dish TV has managed to gather close to one million subscribers.

     

    In an interview with Indiantelevision.com’s Sibabrata Das, Iyengar talks about the important properties that ESS has for the next two years including the Fifa football World Cup. Responsible for overseeing the marketing and distribution functions of ESPN and Star Sports across South Asia, he says ESS has a target of 50 per cent growth in revenues for the 2006-07 fiscal. He also elaborates on how ESS has created a wholesome sports network while pursuing with aggressive buying of cricket rights.

     

    Excerpts.

    Having lost sizeable amount of India-playing cricket, has ESPN Star Sports (ESS) entered into a phase of de-growth in subscription revenues?

     

    We have been able to sustain our revenues in the current fiscal (ended June, 2006) on the back of other sports like football and hockey. We have achieved this despite the absence of key driver programming. The only India-playing cricket property we had was the India-Zimbabwe series, but we had to share it with Doordarshan. This shows that the ESS brand stands for delivering all-round sports. And it is this that makes us optimistic about the future.

    Does this mean that you will return to the growth path in the coming year?

     

    There is no reason for us to feel that the business is unhealthy. We are, in fact, targeting a 50 per cent growth next year on the back of the Fifa World Cup and two India-playing cricket series. Actually, for the next two years, we have 9-10 driver events one behind the other (including India-South Africa, India-England, Natwest, Asia Cup, India-Australia, VB series and Euro Cup). We see healthy growth from the hotel business as well which we started two years ago. The peripheral markets like Pakistan, Bangladesh and Sri Lanka are also expected to grow. Significant contributions will come from direct-to-home (DTH) with the new operator, Tata Sky, preparing for launch by the middle of the year.

    But isn’t it hurting to be off several cable networks like ICC in Pune?

     

    The de-activation rate is just 7-8 per cent. The fact is that the viewer wants our channels because we have a spread of content across sports. Which is why in DTH, we are charging Rs 40 per month on a 100 per cent declaration. That is the power of the brand. As for our contract with ICC, we had certain commercial demands which were not agreed upon. We have consciously sold DTH in Pune. There are 20,000 people who have bought DTH in that market. For all the hoopla about we not having cricket content, all this seems to be negotiating talk. There are short term bottlenecks, but these are taken care of by total market economics.

    So what are the goals you have set to achieve with the World Cup?

     

    We expect the strong content will provide us the handle to get our channels back on some of the cable networks where we were off and drive in higher revenues. Besides, it will help us reduce the average credit period in the market. With the World Cup, we will also start focusing in rural markets. We have packages for these operators – starting from Rs 3,000 per month. What we need to do now is sell them.

    How will you use the World Cup to drive your other football properties?

     

    We plan to make the World Cup bigger than India cricket. That, at least, is what we will strive for. The frenzy has to flow into the rest of the football properties that we have and drive in more viewership for the English Premier League (EPL) and Spanish League. The World Cup will create a bunch of new superstars who audiences will follow even after the event is over. Undoubtedly, the two leagues where these superstars will play are the EPL and the Spanish League. We hope to improve the stickiness for that kind of football as well. The big challenge for us is to exploit the World Cup in driving a new spike for football in future.

    ‘We should have marketed EPL and PHL five years back when we dominated cricket content. As market leaders, we should have used the opportunity to popularise multiple sports as drivers’

    How are you promoting and marketing the World Cup?

    Consumer interest levels are high and the World Cup offers us a brilliant marketing opportunity. On the content front, we have designed special line of programming as a build up to the event. We have already started from 13 April a 13-episode series that will bring alive the magical moments from World Cup performances of Pele, Maradona, Platini and others. Starting from 22 April, we have Fifa Marathon which profiles the past and the present stars, the teams who have and will make a difference at the World Cup.

     

    And from 3rd-24 May, we will show Fifa Preview, a series that will profile stars, coaches and also analyse each nation’s prospects against teams within their groups. Then there is a series of six half-hour programmes that will feature stories on the most surprising and shocking results in the World Cup. (Fifa Stories from 25 May-1 June).

     

    We are also doing contests around the World Cup. We have a tie up with Adidas for identifying nine kids who will be sent from India to carry the Fifa flag. We will invest heavily in hyping up the World Cup – even in pubs and public screenings. It is a big bang product for us and we will do extensive marketing around it.

    Is ESS’s entire focus now on shifting from a cricket-led to a wholesome sports network?

    A very large part of our focus is on how to develop alternative sports and generate viewership for properties like football and Premier Hockey League (PHL). The challenge is to diversify into more driver sports. Like in the US which has a love for baseball, basketball, American football and ice hockey. As our content has a wide spread of leading sports events, we have to create value for the entire network. While we are broadbasing our channels in other sports as well, we recognise the value India-playing cricket has in this country. We will continue to follow an aggressive policy of buying this cricket so that we can drive our channels to greater growth in future.

    Does that explain why ESS made a desperate bid to grab the India cricket rights from the Board of Control for Cricket in India (BCCI)?

    There was no desperate bid from us. We are not in investment mode. We made our calculations and believed we would have made a profit on the amount that we bid had we bought it at that price. Perhaps, startups like Zee Sports have their own strategies and feel that they need to be in investment phase.

    Why then did you revise your bid from $230 million (global rights including India) to $308 million and subsequently to $400 million (just for India territory)?

    Since our first bid, the rates have gone up and new revenue streams of DTH have emerged which was not there two years back when we made our estimate. Even IPTV is emerging on the horizon.

    How big is DTH today?

    With Tata Sky coming in, we will see quicker absorption of new technologies. This will expand the market size for addressability. Already, we have Dish TV claiming close to one million DTH subscribers.

    Have you concluded deals with any IPTV players?

    We are in talks with Reliance Infocomm, Bharti, MTNL and BSNL. We expect some form of IPTV to launch by the year-end.

    ‘The Chennai experiment has killed the market with just five per cent of TV homes watching pay channels. Given our Pune experience, it is ridiculous to believe that such a small TV viewing population is wanting to watch sports’

    Why do you think no headway is being made on the conditional access system (CAS) front which will speed up the rollout of digital cable TV?

    The CAS meetings have become shouting matches with the main aim being to paint the other side black. All are bothered about their own selfish interests. Nobody has a genuine industry perspective.

    What is the perspective you have?

    Unless each value chain works, the system will crumble. There is no joint interest in pushing the technology. As long as the transition is seamless, we do not have a problem. But it should not become a fiasco like in Chennai. DTH is not mandated. So why have a mandated CAS? The way we see it is that a vast majority of consumers in these CAS cities are happy in paying their cable bills for the services that they currently enjoy. There is only a small minority who want to buy less channels and reduce their cable bills. Let these customers be given a choice of migrating to CAS and buying set-top boxes to pay for the channels they want to watch. Why disturb the entire city and create blackouts?

    Aren’t broadcasters unnecessarily worried about the lack of infrastructure for the smooth rollout of CAS?

    The Chennai experiment has killed the pay-TV market. I don’t want to get into who is responsible but the fact is that we have just five per cent of TV homes watching pay channels. And given our Pune experience, it is ridiculous to believe that such a small TV viewing population is wanting to watch sports.

    Aren’t the cable operators better prepared this time for CAS rollout than in 2003?

    Well, the last mile operators are certainly more open about CAS this time because of impending threat from new technologies like DTH and IPTV. But there are other issues and the entire industry has to get together.

    Are you in support of the downlink policy?

    It is the government of India who decides the policy for the country. All we are saying is that we should know in advance what events are going to be shared with the national broadcaster so that we can work out our business model accordingly.

    Wouldn’t you prefer exclusive content which you needn’t share with Doordarshan?

    Yes, exclusivity would help drive our affiliate revenues better.

    But doesn’t it compensate with the advantage that you would have by selling advertisements for DD as well?

    The incremental ad revenue from DD may not be enough to offset the subscription revenue downside that we would have to suffer throughout the year if we are to lose exclusivity. Yes, downlinking policy is going to limit my business. But we are willing to live with it, no issue on that. All that we want is more clarity and we don’t want it with retrospective but prospective effect.

    Have you worked on minimum guarantee (MG) as a model to ramp up subscribers from cable operators?

    We have not used it as a business model across the country except in a few markets like Bihar.

    Would you support cable networks in markets where your signals have been de-activated or is this weapon blunted by the truce on the ground among the operators?

    We will definitely do all that is possible to remain the most widely distributed channel. This includes supporting new technologies, providing decoder boxes to new operators wherever we can, and funding free-to-air (FTA) headends.

    Is ESPN Plus ready for a commercial launch?

    We are toying with the idea of a third channel but have put it on experimental mode. We are yet to decide on what final shape it should take.

    What are the lessons ESS has learnt over the last few years which has seen the fragmentation of sports properties like cricket?

    We feel that we should have marketed EPL and PHL five years back when we dominated cricket content. As market leaders, we should have used the opportunity to popularise multiple sports as drivers.

  • B4U acquires overseas movie telecast rights from Sahara for Rs 15 million

    B4U acquires overseas movie telecast rights from Sahara for Rs 15 million

    MUMBAI: B4U Group has acquired overseas TV telecast rights to around 35 movies from Sahara One Media and Entertainment Ltd. for Rs 15 million.

    The movies include Page 3, Sarkar and Hanuman. B4U will also have telecast rights to some of Boney Kapoor’s films. Last year, Sahara had acquired satellite and pay TV broadcast rights worldwide and in perpetuity to the entire library of Kapoor’s films.

    B4U Movies can show these films in all other markets except India. The channel has a presence in more than 100 countries including the US, UK, Europe, Middle East, Africa, Mauritius and Canada.

    “We have taken rights to around 35 films from Sahara for our international channels. These include strong lineups like Sarkar, Hanuman and Page 3, but include some library products as well. The rights are non exclusive,” said a source in B4U.

    B4U’s Indian operations, however, continue to be starved of funds. The company has stopped movie acquisitions in India for almost two years. Though B4U gave carriage fee to cable TV operators for beefing up distribution of its two channels (B4U Movies and B4U Music) across the country, very little investment has been made on content.

  • Streets ahead on child connect

    That Hindi is our national language is a given. Yet today urban Indian kids are more comfortable with English and ‘Hinglish‘ but not Hindi.

    Sample this: “Aaj mera History ka exam hai.” Now we don‘t expect our kids to say “ithihass” for History but hello… ever heard of the word “pariksha”? How many kids use these basic Hindi words in their day to day lives? And this is just one such example.

    This is where Galli Galli Sim Sim, the Indian version of the world renowned children‘s television series Sesame Street, will play a vital role in developing the language, communication, cognitive and social skills of Indian kids.

     

    In addition to this, Galli Galli Sim Sim will be attempting represent the vibrancy of India‘s multi-culturalism. “The series will celebrate the similarities and differences that are part of children‘s every day lives,” says Turner Entertainment Networks Asia senior vice president regional ad sales and marketing and Sesame India project director Soumitra Saha.

    The series will air on Cartoon Network and Pogo this summer. This is a joint initiative by Sesame Workshop, Turner and Miditech. Also, in order to garner a wider reach, Turner is in talks with Doordarshan to air the series on DD‘s terrestrial network.

    The first season of the series will have 65 half hour episodes and these will be repeated considerably on Turner‘s two kids‘ channels. Also, plans are in progress to launch the series in another Indian language next year. However, the language has not yet been decided upon.

    MUPPETS‘ SNIPPETS

    Four Muppets have been specially created for India – Chamki, Aanchoo, Googly and Boombah. They portray certain positive attitudes and have characteristics that are universal and endearing to all.

    Chamki is a learner, Aanchoo a day dreamer, Googly likes to spend time alone and Boombah the lion is very health-conscious. “Each of the muppets has special characteristics that are representative of Indian kids. The idea is to create characters who transcend geographical, communal and other distinctions,” says Saha.

    Apart from the four main muppet characters, Galli Galli Sim Sim residents include human characters representing different genders, regions and religions. Jugaadu, likes to find innovative solutions to fix problems and does not view his disability as a handicap. Basha Bhaijaan owns a corner store and knows several Indian languages whereas his wife Dawa Di, who is from North East India, teaches dance. Kabir, Basha Bhaijaan and Dawa Di‘s son, is an active and curious eight-year-old.

    Other key characters include: Col. Albert Pinto and his wife, Rukmini (Doctor Aunty). Col. Pinto, a retired army person, is an advocate for healthy living and civic sense. Rukmini, a doctor by profession, is a combination of contemporary and traditional wisdom.

    SIM SIM AIM

    Galli Galli Sim Sim is aimed at serving the 157 million children under the age of six in India and will support India‘s Sarva Shiksha Abhiyan (universal access to education). The primary aim of the show is to make learning fun and add elements of learning into everything that is fun – learning to count and read, about real life situations, about emotions and problems will all be shown via entertaining and light hearted stories.

    “One of our priorities is to teach basic spoken Hindi to the kids of India apart from numeric skills, counting and basic hygiene,” says Miditech president Niret Alva.

    Another aim of the series will be to build bridges between urban and rural India by making rural seem cool and exciting to urban kids and vice versa. “The idea was to focus on what united children of India rather than what divides them. What are the issues that kids are worried about, language and social skills, the diversity of the Indian culture etc was what we zeroed in on,” Alva added.

    LOCAL FOCAL

    While most of the muppets have been specially created for Indian audiences; four popular muppets from the international version will also make appearances on Galli Galli Sim Sim. They are: Ernie (Earny), Bert (Barth), Grover (Grover) and Count Von Count (Count Gilli Sheikh).

    “We chose these four characters from the international series because they are not culture specific and don‘t have cultural nuances. They are also the funniest and great care has been taken as far as their voice-overs are concerned. It‘d not be just the run of the mill dubbing. We have adapted them to Indian sensibilities. For example the muppet called Grover will be a Punjabi in the Indian series,” explains Alva.

    A specific curriculum has been drafted for Galli Galli Sim Sim, which will be strictly adhered to. New stories have been created specifically for India. “What‘s exciting about what we‘ve done is that we‘ve given the animators a chance to create their own stories and characters using their rich Indian aesthetic. While they work within the parameters of the curriculum, they definitely have the freedom to use their creativity,” says Sesame Workshop executive producer for Galli Galli Sim Sim Nadine Zylstra.

    Training workshops were conducted with the National Institute of Design, attended by a select group of young adults 18-23 years from all over India. “Our goal was to infuse a youthful voice into some of the animation. We talked them through the curriculum and they created many storyboards for us. We wound up incorporating seven of their films into the series,” Zylstra added.

    SOCIAL QUOTIENT

     

    The specific features that were identified as significant for creating more civil and humane attitudes and values among Indian children are:

    • A multi-lingual environment
    • Knowing varying ethnicities
    • Familiarity with different life circumstances living in abundance and limited resources
    • Cultivating respect for different occupations and lifestyles
    • Awareness of ways to bring equal opportunity
    • Analysing and challenging gender roles & rigidities, responsibilities and possible diffusions
    • Countering negative stereotypes by learning about commonalties and differences
    • Incorporating blends of formal and informal modes of knowledge-building
    • Infusing imagination and joy in discovering and exploring the world while creating fun and laughter, generating uniquely Indian humour.

    The Indian series, like its international counterparts, has identified some relevant social issues and will be presenting situations around the same in the series. To begin with, Turner commissioned Indian educational experts to write a series of topical papers outlining practical concerns related to topics of relevance to children living in India.

    “This was followed by an Educational Content Seminar in May last year, which brought together over 60 individuals representing a wide variety of backgrounds and areas of expertise related to child development and children‘s concerns. These advisors included teachers, language specialists, artists, academics and others,” said Saha.

    RURAL – URBAN BRIDGE

    Equal importance will be given to rural and urban India in story representations. “We want one to be a mirror to the other. The aim is to make sure that urban kids see rural kids as cool, exciting, dynamic and different, and something that they want to be interested in and vice versa. At the same time we want the things that link kids. Wherever there are different communities, different groups, there are some things that kids have in common – a problem you are dealing with or something you are excited about or want to be shown, so these are things that we will definitely do on the show,” elaborates Saha.

    Laura Bush shakes hands with Googli

    The rural-urban bridge would be achieved by looking at games in a different setting and activities that children do. For example: How cricket is played in different settings? “I go back to the point that there are certain universals – play, enjoyment, singing, music – and we will be linking these universals among Indian children in different places through different aesthetic sensibilities, the artform of different regions, the music, live action films of children in different settings, taking children to different areas, going to school etc,” he adds.

    In addition to the TV series, which will launch in mid 2006, Sesame India is also committed to a long-term educational outreach campaign to reach India‘s young children, particularly those most in need. The educational outreach materials and activities will reinforce the educational potential of the series and promote public awareness; preview key messages and ways children can benefit from the show; and provide tools and information on various platforms that are accessible to parents, caregivers, and early childhood focused NGOs and educators.

    Saha informs that this initiative would be through television, alternative distribution strategies and educational outreach to villages and slums, supported by print materials.

    GALLI GALLI CHALLENGES

    A project the size of Sesame Street obviously comes with a bagful of challenges. The biggest challenge that the parties involved faced was the sheer cultural diversity of our country. “This is one of the reasons why it was a tedious task for us to identify the needs of kids in this country and then create a show that would relate to these children,” explains Saha.

    The other challenge, Alva points out, was that of finding people who were genuinely passionate about working on this project. “To find a team of writers, animators and voice-over artists and have them all under one roof was one of the other challenges that we faced. The entire process was highly dynamic and creative. It was like a three way complicated marriage between Turner, Sesame and Miditech,” Alva says.

    SIM SIM CURRICULUM

    In addition to teaching basic cognitive skills, such as literacy, Galli Galli Sim Sim will represent the vibrancy of India‘s multiculturalism The series will celebrate the similarities and differences that are part of children‘s every day lives.

    Laura Bush and Nafisa Ali with the ‘Galli Galli Sim Sim‘ gang

    “The content seminar helped us a great deal in identifying five broad curricular objectives that embody the India Statement of Educational Objectives for Sesame India, which are: cognition, emotion, physical well being, social relations and culture,” informs Saha.

    Cognition: stimulating and enriching mental functions – This section highlights objectives related to the stimulation of the mental functions such as literacy and communication, mathematics, intuition, thinking and reasoning and creativity.

    Emotion: caring, sharing and nurturing – This goal area concerns objectives such as recognising emotions and coping with emotions.

    Physical Well-Being: body care and safety – Objectives highlighted here include relate to basic health practices and safety, including good hygiene and traffic safety.

    Social Relations: independence and interdependence – This area concerns objectives that relate to modeling positive relationships, such as basic interactions, friendship, conflict resolution and caring for common facilities and spaces.

    Culture: harmonising diversity – This section is oriented towards objectives that relate to embracing diversity, including culture and the arts, ethnic variability and bridging diversity, forging unity.

    In the Indian context, the fifth section – Culture – is unique to India in the Sesame Street scheme of things. “The requirement for such a section was thrown up for the first time at the India content seminar. More importantly, Sesame globally was very impressed with the importance and relevance of such a section and hence they are planning to include the same in the curricula for other Sesame projects across the world,” says Saha.

    FORCES BEHIND THE SCENES

    Galli Galli Sim Sim will have a mix of live action and original animation programming and the production of the series is handled by a robust team. Miditech‘s Prakash Moorthy is in charge of the in-house team of animators in Delhi.

    Turner‘s Anshuman Misra with Dr Asha Singh and Niret Alva

    Noted educationalist DR Asha Singh is the education and research director for Galli Galli Sim Sim and has played a very important role in developing the curriculum for the series.

    Miditech vice president Pria Somiah is the supervising producer for Galli Galli Sim Sim. Umesh Bist, Soumitra Dasgupta and Bhavya Nidhi Sharma are segment directors, whereas Samir Chanda has been responsible for building the expansive sets of Galli Galli Sim Sim.

    Anurag Dhingra is the director of photography and the head writer for the show is Sehba Imam.

    The music for the series has been composed by Julius Packiam, whereas Paramangsu Mukherjee is in charge of live action films.

    “The animators are trained in a variety of styles that are reflected in the series. We made a conscientious effort to reflect these styles so there is a good mix of stop motion, 3D, classic line drawings, oil on glass, paper cut outs, and so on,” informs Zylstra.

    Health conscious Boombah greets Laura Bush

    Internationally, Sesame Street muppets actually take to the road and perform for kids in live shows, which are a huge success. Once the show launches in India, it is likely that Turner will be exploring these opportunities too. However, Saha declined to comment on the same. “At the moment we are focusing on the launch of the show in mid 2006 and have nothing to announce at the moment,” he said.

    In terms of merchandising and licensing around the show too, there are huge opportunities. Games, toys, learning material, books etc are some of the products that have been successful internationally. The home video market is yet another area waiting to be tapped via Galli Galli Sim Sim. But the Indian aim at present is to launch the show.

    The series has been a runaway success in almost all the countries it has been launched in and given the extensive research and dedication that has gone into for the Indian adaptation of the same, it is sure to repeat its success story in India too.