Tag: Anil Wanvari

  • Virtual Fireside Series: A week of exploring the new world order in the marketing space

    Virtual Fireside Series: A week of exploring the new world order in the marketing space

    NEW DELHI: The world of advertising and marketing is going through a massive transformation as the new normal of the pandemic-era syncs in. A business that was based on millions of face-to-face meetings and gazillions of group discussions has gone digital almost completely. Now client relationships are being built across screens and internal meetings are getting virtual. A sea change in consumer behaviour is also expected as they learn to live on bare essentials. 

    All this has been leading to a change in client behaviour too. There is a more than ever increased focus on digital mediums, traditional mediums are expected to transform, and the changing consumer sentiments are leading to great creative transformations too. The publishers are also reworking on their strategies. 

    To understand this new order of the marketing and advertising world, Indiantelevision.com will be hosting a series of fireside chats with the stalwarts of the industry, who will be answering some interesting questions by our founder CEO and editor-in-chief Anil Wanvari. The audience will also get a chance to directly interact with the speakers as the discussions will be live on our social media channels and website. 

    Starting today, the first live discussion will have Bennett Coleman & Co Ltd president-response Partha Sinha giving an overview of the print and digital publishing industry. It will go live at 6:30 pm and you can register for the same here.

    The next discussion scheduled for tomorrow 4:00 pm is with Zee Entertainment Enterprises Ltd chief growth officer advertisement revenue Ashish Sehgal. Register here

    On 2 September, we will be going live with Dentsu Aegis Network CEO APAC and chairman India Ashish Bhasin who will highlight the global perspective along with Indian market sentiments. You can register for the 11:00 am live here.

    The last episode, going live at 5;00 pm on 3 September will feature IPG Mediabrands CEO-India Shashi Sinha giving an extensive insight into the Indian market and changing scenarios. 

    Keep watching this space for more information. 

  • Beauty & Lifestyle Virtual Round Table: Industry to discuss their next big move today

    Beauty & Lifestyle Virtual Round Table: Industry to discuss their next big move today

    NEW DELHI: As we step into the post-pandemic era, beauty and lifestyle brands are hopeful of witnessing another ‘lipstick effect’ to boost up their dwindling cash reserves once again. The opportunities are endless as consumer sentiment is flaring up on account of savings they managed to do over the months and also the upcoming festive season. It seems like the whole industry is waiting for the golden eggs to be laid soon. 

    Albeit, some smart moves in terms of sales channels, advertising strategies, and alluring the consumers will have to be taken. Today’s Beauty & Lifestyle Virtual Round Table by Indiantelevision.com will see the presence of some of the leading industry leaders discussing the same opportunities in strategies, in a free-wheeling conversation moderated by our founder, CEO & editor-in-chief Anil Wanvari.

    Don’t forget to tune in live today at 4 pm for the virtual event with speakers including, VLCC Health Care Limited chief business officer Ameet Kkatyal; Baggit head of marketing Atul Rohan Garg; Lotus Herbals Pvt. Ltd. head-innovation development & brand strategy Ipsita Chatterjee; Myntra head – marketing Harish Narayanan; Max Fashion India senior VP marketing Jiten Mahendra; FBB Future Group India CMO Prachi Mohapatra; mCAFFEINE founder & CEO Tarun Sharma. 

    Sign up for the live chat here: https://us02web.zoom.us/webinar/register/WN_hCuCFX1ZQbSXtDx6UUP4aA

  • Market sentiments, ad volumes to go up with Onam

    Market sentiments, ad volumes to go up with Onam

    NEW DELHI:  Indiantelevision.com’s marquee virtual conclave exploring the scope of growth in Kerala ad market during the upcoming festive season, starting Onam, “The Comeback of Kerala: Onam Returns” wrapped up Wednesday noon with an impressive lineup of speakers sharing their deep insights into the market. The show expressed great hopes and positivity towards markets across the country picking up post-Onam but with a certain air of caution in people’s minds. 

    The virtual event kickstarted with a riveting address by Indiantelevision.com Group founder, CEO, and editor in chief Anil Wanvari following which BARC India CEO Sunil Lulla presented exclusive data on the market highlighting some of the key pre-Covid2019 and Covid2019 trends and an overview of the previous three Onams in the state. 

    He indicated that as Kerala has already started witnessing a growth in ad volumes, going 10 per cent up in the month of July’20 as compared to Jan’20, the trend will continue to be so if the production-supply chains keep picking up. However, for ad revenues to grow, it will take some more time, probably the market will reach pre-Covid2019 levels in 2021. 

    After Lulla’s insightful presentation, next in agenda was a panel discussion on “Unlock 3.0: The National Perspective–Are Brands And Consumers Ready ” moderated by TAM Media Research Pvt Ltd CEO LV Krishnan. Sitting on the panel were ITC Ltd head media and PR Jaikishin Chhaproo, Godrej Consumer Products Ltd head of media Subha Sreenivasan, Initiative CEO Vaishali Verma, Wavemaker India VP Kishan Kumar Shymalan and Zenith India CEO Jai Lala. 

    Chhaproo shared that despite Onam being just around the corner, there hasn’t been any noticeable spike in sales and the market is still dealing with logistical issues. Sreenivasan, however, showed positivity indicating that things will slowly pick up. 

    Lala opined, “The need of the hour is to work together ever before. We need to get information at the ground level. The engagement has to be very deep; TV and newspapers have been impacted which need to get back to their pace."

    The panel agreed that digital is set for double-digit growth this year while for other sectors it is going to be a slow trail in the coming months. 

    Kumar Shyamalan said, “The H2 impact will be far lesser, and the next three months will be extremely critical to see how many opportunities we have while working together.”

    The next panel discussed the retail and local perspective within the Kerala market as Unlock 3.0 begins. The session was moderated by Star Regional Business EVP ad sales Dev Shenoy and had Popular Motor World Pvt Ltd CEO Sujith Chandran, LG Electronics GM Sheebu David, Seematti CEO Beena Kannan, Maitri Advertising Works (P) Ltd director-operations Raju Menon, Mplan Media CEO and founder Parag Masteh, and Pittappillil Agencies MD Peter Paul Pittappillil. 

    Addressing the challenges faced by various industries in terms of consumer behaviour, the panel noted that the biggest issue is restricted mobility, to address which they are investing in digital solutions. Masteh shared that this has led to a boom in e-commerce, especially in apparel and consumer electronics. 

    Pittappillil shared that while the overall sentiment around Onam is positive, he is not expecting performance similar to previous years. Kannan said that they are expecting 20-30 per cent growth. According to Menon, real estate is also showing positive movement in the middle-level. 

    The final panel “Unlock 3.0: Understanding the Overall Brand Sentiments” delved into the greater local and national insights into the shifts expected to happen in the marketing and advertising markets in the coming few months. The panel was made interesting by some thought-provoking inputs shared by Blue Star Ltd VP–sales and marketing for cooling and purification products division C Haridas, Mathrubhumi Group national cluster head Sunil Nambiar, Lodestar UM IPG Mediabrands EVP Laya Menon, Asianet News Network Pvt Ltd VP Unnikrishnan BK, Malayala Manorama VP–marketing Varghese Chandy, and Zee Entertainment Enterprises Ltd south cluster head Siju Prabhakaran, moderated by Kalyan Jewellers independent director and L&K Saatchi and Saatchi former CEO and managing partner Anil S Nair. 

    Haridas noted that though there is an air of caution, people will surely start spending from Onam but they will need the right kind of value and motivation.

    Speaking about sentiments felt in the rest of the country and Kerala cluster Prabhakaran said, “Kerala showed the way to the rest of the country in terms of how to handle this crisis. Brand Kerala is in a very strong position. It has always managed to be in the national limelight. TV was only the choice so viewership was on the rise, but it couldn’t be monetised. Kerala was first to start the production, but I think we have seen a lot of resilience shown by us.”

    You can catch up on the whole conclave here: 

  • “There’s nothing called unbiased news, only the degree of bias changes”: ABP Network’s Avinash Pandey

    “There’s nothing called unbiased news, only the degree of bias changes”: ABP Network’s Avinash Pandey

    The television news ecosphere is battling great image issues in India. Their over-the-top, arguably, frivolous, coverage of sensitive matters and in certain cases, their eyes turning blind to many important issues are attracting a lot of flak from viewers and in a few cases from advertisers alike. Recently, ABP Network (earlier ABP News Network) CEO Avinash Pandey sat down to address these issues and many more with Indiantelevision.com founder, CEO, and editor in chief Anil Wanvari over a virtual fireside chat.

    Edited excerpts:

    How have been the past few months for you amidst the Covid2019 pandemic? 

    When the Covid2019 pandemic started in March, there was a lot of uncertainty around it and no one had any idea how to exit. We could not predict the level of infections or the economic implications it brought. But we looked at it and thought, at the end-of-the-day, we can’t do what we do sitting at home. At the same time, it is important to keep our employees safe, understanding that we are making them face potential death. So, we set up a critical incidents management team and went on with our business. Some of our staff, including me, got infected but we were strong and brave enough to battle that. 

    The viewers were glued to the screen watching the news and we knew our responsibility on the highest level. Business-wise it has been mayhem in the market. The advertising inventory went down and traditional advertisers for the news channels like white goods, car and mobile manufacturers, bike companies, etc., were out of the market because the shops were not open, markets were not open. But fortunately, it picked up at the end of May for most of us. June became a big month for us; it was over-filled and looks like we are slowly inching into a new normal.  

    I would like to know from you what you think about the news industry right now. Roger Ailes, the man who founded Fox News believed that news channels have to have a lot of drama and he propagated that sort of journalism too. Do you think Indian channels have been impacted by his model of journalism?

    In a very poor way, yes. The problem of news television in India is two-fold: how the channels are, what are the entry barriers in the industry and what sort of competitive advantage each product comes and offers in the marketplace. On the other hand, the existing measurement system and how it measures the news channels. 

    As you rightly said, the big problem with news channels is drama but there was a time when there was a scope for intellectual drama. So, shows like Big Fight or sting operations on MPs, or Cash for Questions Scam got good ratings while performing basic duties of doing good journalism. Slowly, that disappeared. What you see on television now is that each channel has created a different type of Rafale and all kind of swings are happening in the studio. Ailes wouldn’t even have thought about drama like that. 

    But I will not solely blame the editors, chief editors or the people who are producing these shows because what happens in that if you do a nice investigative story for 20 minutes, chances are there that you will not get good ratings but if you do 100 news in 10 minutes or five minutes, which is basically telling the same news in five different formats, it will bring ratings. 

    The industry is heavily dependent on advertising and thus ratings, which makes you think what’s the future of doing good journalism on television in our country. 

    So is it just the ratings or you think the Indian audience is such that it likes drama? 

    I think ratings represent society. But also, if you look at the definition of NCCS A category today, our drivers will easily qualify for that. Now, the content sensibilities for different levels of society is very different. And largely because the NCCS model is so generalised, there is hardly any scope for good content. 

    Look at the overall TV industry, so many unique content channels came and shut down because of zero ratings. It’s not that they don’t have an audience but ratings do not reflect their true constituency. It is hard to believe that an audience searching for the same content on pull mediums are rejecting it on push mediums. 

    Both areas, the quality of content and how you measure it need to be worked on. All people have different views about how the rating system should reflect them and that is why we need to look at alternative methods. Some technologies are available and BARC today is headed by the best people in our industry. So I cannot say that they don't know what is to be done. The time for change is right here and if you don’t do it within the next one-two years, it will slim down. We need to refine the system for better and certainly move away from the NCCS system. 

    So how do you see the future of news channels in India? You talked about the whole push and pull medium. How do you see them diversifying on your platforms? 

    We put out the same content that we show on television on our OTT platforms right now. For example, we are the only channel that doesn’t put astrology content on our channel. We do not even take ads from such babas. We do not run the news of death till it is certified and there have been cases that we have delayed in sharing the news of certain celebrity deaths too. So, we follow certain principles and that works for us. It gets us similar traction on all platforms. 

    I am going to slightly contradict you here. Recently, National Human Right Commission had to intervene regarding the insensitive coverage of Sushant Singh Rajput’s death. They even wrote to NBA and all of you responded in your way stating you did not go wrong with that but there are doubts about that. 

    I am not in a position to comment on others but I looked at my content and it was certainly not insensitive. But a celeb’s death is to be covered in a big manner to get people’s attention. If you look at the coverage of princess Diana’s death at that time, all kind of things were written about that. I can tell you Indian media, Indian news journalists are far more sensible than that. 

    We are in a business where people are watching us all the time and it makes our jobs extremely difficult. I have worked in print and late in the night, when the page was ready, we took it to the editor for the final check after some five layers of corrections have already happened. On television, when a piece of news breaks, the assignment receives it and the panel producer on PCR who is probably fifth or sixth in the pecking order in the organisation decides to put it on air or not. The filter and duration to implement are minimal and humans sometimes do make mistakes. 

    When you don’t like something on a news channel you can complain to the NBA. But why should one be doing that? If you don’t like anything on a channel, simply change it. 

    Another thing is that all channels have a stance. They are either left-leaning or right-leaning, or to right-to-the-centre or left-to-the-centre. How does it impact the reporting on news channels and how close are the politicians to these channels? 

    It is a big question and I have a theory of my own, which many would not agree to, that there’s nothing called unbiased, only the degree of bias changes. 

    Having said that, at ABP Network, we are not aligned to any particular belief, ideology, or way of life. That’s one of the reasons why I stopped our 4-5 pm debates because I noticed that whether you are arguing on migration, labour, defence issues or education policies there is a set of people decided by a political party who come and speak on all these subjects. They are not subject matter experts. 

    So, what started happening across news television is that there is a kind of agenda being pushed through these debates. People are asking questions like how many zeroes or what is the full form on a panel, which doesn’t make any sense. If you are going down to that level, then we are not doing any service to our viewers. And that is the reason you are making an opinion that a particular channel may be aligned the particular group and we wanted to escape from that.

    And if we talk about how the channels handled the involvement of Tabhligi Jamat in the Covid2019 cases? 

    See, it was a very charged up time. The only reporting that was happening was death and that became an overbearing thought for most of the reporters too. The Tablighi conference, it used to happen each year and channels have covered that earlier too. But it was an irresponsible behaviour by the organisers this time to lock themselves up and thus leading to a spread. I am not saying that they did this willingly. 

    Now, debates with shouting matches get high ratings and Rubika’s episode never got the highest rating. There are obviously questions being raised about the said episode but when a debate happens, it is the prerogative of the anchor and panellists to take it ahead. The channel or the management has no say in that. People watched the debate for Rubika and it was a charged up time then.

    In the hindsight, it is not right to blame a certain community. But it was a time of unprecedented uncertainty. How do you blame people for reacting a certain way, too? 

    Another thing I want to touch upon; do you think news should go pay or not? You changed from ABP News Network to ABP Network, taking on newer avenues. Why not monetise news and build from there? 

    I have never been in favour of FTA channels. When you give anything in this country for free, people start taking it for granted. High-end content requires investment, then you have to try in that market, so that’s not an easy game. However, I am quite determined that we, as a network, will soon go pay

    We are building that that kind of content for us to be acceptable for people who like to pay for. 

    Do you think it will work in India? 

    My regional channels were already pay. I only became free-to-air because of the uncertain environment set by NTO 1.0. But if you look at the GEC segment, their demand did not drop because they went pay. 

    There is a science and logic behind how the distribution system works and I don’t see a decline happening. Advertisers will not go anywhere because they will get the eyeballs. And even if I have to take a hit for the initial quarter, I am okay with that. 

    Our digital business became profitable last year. We want to be the largest video company in three months. There are a lot of other things that we have planned which we will announce in due time. 

  • “India is not yet developed to venture into TV pay model”: Sri Adhikari Brothers’ Markand Adhikari

    “India is not yet developed to venture into TV pay model”: Sri Adhikari Brothers’ Markand Adhikari

    15 September 1959 saw a small transmitter and a makeshift studio in a corner of Delhi give birth to terrestrial television. Decades later in 1990, India saw the arrival of private television channels. When saas-bahu dramas ruled, SAB TV is credited for putting a smile on the face of the Indian audience with the launch of India’s first and only comedy channel. After acquiring relevant experience in the fields of advertising, marketing and media publicity, Markand Adhikari, along with his late brother Gautam Adhikari, started Sri Adhikari Brothers (SAB) Group – in 1985 as a partnership firm. Later, it went on to become the first publicly-listed television production company in India when it was listed on the BSE in 1995.

    The company initially created regional language programs in Marathi and Gujarati and then moved on to producing Hindi programs on the Doordarshan. With the advent of satellite channels in India, SAB started producing serials for Zee TV. The group had numerous channels like SAB TV (now owned by Sony Networks), Mi Marathi & Mastii. The group made regional channels for rural parts of India like Dabangg, Dhamaal and Dillagi. The duo further forayed into films.

    Sri Adhikari Brothers co-founder Markand Adhikari, in an insightful fireside chat with indiantelevision.com founder, CEO and editor in chief Anil Wanvari, got candid about his journey, plan going forward, advertising and subscription model in television and more.

    Edited Excerpts:

    You have been a part of television industry for 40 decades; can you tell us more about your journey?

    When Doordarshan started in India, it only used to telecast an infotainment show called Krishi Darshan. When I was just a teenager, I met then information and broadcasting minister Vasant Sathe to discuss the chances of bringing commercial shows in India just like the west. At that time, he only asked me to look outside the window and asked me what do you see, I said I could see green trees and a colourful world. He explained to me about vision to bring colour television in India which was heavily criticised back then. Somehow, he accepted my proposal to create a show with Shashi Sharma. It started the era of sponsorship programs on television. We did sponsorship programs on Doordarshan for quite a few years then we ventured into regional space with LPTS (Low Power Transmission). We connected to the regional centres of Mumbai and Ahmedabad. Bandini became the first serial for Bombay Doordarshan. We carried a lot of shows for Doordarshan from the mid 80s to 1991.

    My late brother Gautam Adhikari’s name was registered in Limca book of world records for directing the maximum number of shows. I made Commander with Essel Group chairman Dr Subhash Chandra and I learned a lot from him. With the help of Jeetendra Kapoor (veteran Bollywood actor), I met Ketan Somaiya, a Nairobi-based entrepreneur who used to run an Asia channel in London with Amitabh Bachchan. We created a show called Waqt for him for $11,000 per episode and at that time import and export were free. The show had 52 episodes but due to some non-payment issues, the show was stalled at 26 episodes. After this, I again switched back to Doordarshan because Zee never used to give rights to the shows. DD Metro was recently launched where I did popular shows like Shriman Shrimati and All The Best. At that time, it was Rs 1,20,000 for 10-second spots on DD Metro. Doordarshan wanted us to make an afternoon soap within 15 days. I spoke to TV Asia about my 52 episodes out of which I was only paid for 26 episodes. I imported the pending episodes on half of the rate. Starting with 52 episodes I made Waqt Ki Raftaar which eventually had 600 episodes.

    What happened after you listed your company in 1995?

    Due to the Harshad Mehta Scam, the entire stock market suffered until 1998. Finally, in 1999 the economy was witnessing a boom then I realised it is the perfect time to start our own channel. The main challenge was we were always in production. Broadcasting was altogether a new experience. Our financial adviser only gave the plan of Rs 115 crore for the channel but to launch a channel it was too less. Then with the limited amount at my disposal, I started SAB TV in 2000. Again, due to Ketan Parikh’s scam, the economy was in shambles still we managed to run the channel for five years. We were a trend-setter by bringing a niche comedy channel. Sony Networks took over SAB in 2005, which till date is my biggest regret. However, I am happy that SAB is a big brand. After SAB TV we started two news channels Janmat and Mi Marathi which later I sold at a good price.

    What do you think about the future of television?

    Television in India is not going to die so soon, it will at least stay for another ten years. In the typical Indian household, it is still a culture to watch TV together. Most of the people are not aware of the multi-set concept or firesticks. However, one of the benefits with digital channels is that it is moving whereas television is static. Television is appointment viewing, on the other hand, digital is infinite. But digital requires a lot of capital investment. One cannot enter the digital market with a three-year plan.

    Are you looking at OTT content production?

    Our next-generation has already ventured to digital space with a series called Dheet Patangey that was uploaded on Disney+ Hotstar. It is directed by Gautam Adhikari’s son Ravi. My son Kailashnath and Ravi already have close to five shows which are almost done.

    Television is heavily dependent on advertisers; do you think subscription-based models will be a viable option in the long run?

    As far as television is concerned, I think in India most of the channels will be dependent on ad revenue. Also, I believe India is not yet developed to sustain on a pay model. There are broadcasters, MSO, semi-MSOs and then cable operators who collect money from individual households. So it has a lot of loopholes and layers in between which needs to be identified. There is a lack of transparency. At the same time advertising models will not work on digital platforms because audiences are now used to watching OTT content ad-free.

    What are your thoughts on IPL which is expected to happen during Diwali? Also, will it benefit all the channels or only sports channels?

    I believe it is good news; it is creating a moment with the advertising world and advertisers. IPL or any other cricket forms were running in the same manner as it was before Covid2019. Advertising spends were created keeping all the channels in mind; it was just not for sports channels. I don’t think so IPL will impact the revenue of any other channel.

    According to media planners, 30 per cent of advertising spends are kept for IPL, so do you think it will impact other channels?

    It is not a new scenario. In fact, it is a testing time for other channels, where we will get to see how they perform when IPL arrives.

  • “Looking at creating multinational co-funded and co-financed content”: Applause Entertainment’s Sameer Nair

    “Looking at creating multinational co-funded and co-financed content”: Applause Entertainment’s Sameer Nair

    Many believe this is the golden age for content creators. Applause Entertainment is one of those at the forefront of creating digital content today. However, the company’s ambition isn’t just restricted to India but rather a global audience. Some of the recent names that can be credited to the Sameer Nair-run company are Hostages, Criminal Justice, Rasbhari, Hasmukh, The Office, etc. Under development are an Israeli thriller adaptation for India – Fauda, as well as Luther.

    In the second part of this interview, Applause Entertainment CEO Sameer Nair, in a virtual fireside chat with indiantelevision.com founder, CEO and editor in chief Anil Wanvari spoke at length about content creation for global audience, co-production in different countries, short-form content, TikTok, the role of streamers in today’s digital world and much more.

    Read the first part here

    Edited Excerpts:

    The pandemic has been longer than what we have suspected, do you think it will change the way viewers live. Due to lack of fresh content at their disposal audiences are moving from GECs to OTT now.

    I think what the pandemic has done, in India especially, is that it has exposed a new giant audience to the OTT platform. It is a forced thing that has become a habit now. I think it’s a good thing; the distribution of content via the internet is a golden age of content consumption and content creation. Television, theatre and OTT are very important parts of our business. I don’t think any one part of the business can or should replace the others. From a content creator point of view what you want to have is multiple revenue channels. If it gets monopolised then it will create distortion in the market. 

    Do you think that Indian content has not travelled the world? Also the broadcast industry is heavily dependent on advertising and subscription is not coming to the level it was expected.

    I think from our scheme of things the world is an open playground. For now, we are an Indian studio but thankfully due to streamers content is travelling globally. The US market exists all over the world but in the next 15 or 20 years, the Indian market will have the same influence. Initially, Chinese had a lot of power with their technology and the Koreans have done that but as India seems to have a large market one can be happy because it is such a huge market. But now what global streamers have automatically created is a system where content can be viewed in any part of the world.

    Certain animation studios have set outposts in Hollywood and they are starting co-production and are hiring locals from there. So are you looking at penetrating American market with American style shows rather than doing Indian shows alone?

    It is definitely a possibility and different people in different ways have done that. The story of Hollywood is like when they run out of money they find a new investor. Originally, it was run by Jews then Germans and Russians came and the Indians went for some time. If you talk about co-production in America, I believe they are already more qualified than Asians. It is more about growing together, partnerships, collaborations because they are already doing great stuff and maybe we can contribute to it.

    Is there a chance to do a co-production between India, France and the UK?

    Yes, in fact, we have been approached by a documentary company to figure out if we can co-produce some documentaries which would be partly financed by the French and partly financed by Applause Entertainment. We were looking at monetising it in a way where France would take care of Europe and we could take care of the rest of the world and India. Actually streamers while arriving are shaking up the global content. Originally what used to happen in the  West is that anyone in the US or Europe is completely aware of how these whole syndication licencing models work, how multiple financing models work or how to create content in one market and sell in different countries. Streamers have put a planner in place and they are doing this very effectively.

    We are looking at these partners and seeing how to create a multinational content which is co-funded and co-financed. Finally, what has to work is the economy, the business of it, who pays and the ways to recover money.

    What is your opinion on 15-second 30-second and 90-second short-form story format? Are they lending good storytelling?

    I think the whole TikTok revolution and before that what YouTube did and a lot of short-form content has democratised storytelling. Before the internet and social media came along, only a few could create that content. Either you have to be a filmmaker or a media and TV producer. Then YouTube came and TikTok took it even further. I think storytelling is a form of expressing creativity. I don’t believe it is right to judge anybody. With millions of pieces of content on YouTube some things rise up some things catch our attention and that is how a YouTube star or TikTok star is created just like any other platform. Story of content and its quality remains fundamental. People should be allowed to express their story.

    What do you think about the TikTok ban, now a lot of indigenous brands that have come up or do you think Indians will create a better version then TikTok?

    TikTok is more than a brand and replacement; it is an ecosystem that has been built over so many years. It has been built on very clever insight and how audiences and market works. It is not something that is replaceable; it was also an economic model that needs financial backing. In the end, a lot of social media platforms have huge financial resources that look at building customer acquisition. Personally, I think the TikTok ban will be revoked and it will be sorted out

    Do you think it is important to entertain and impact society at the same time with content?

    I think in a way we are already doing this. What we are today is the outcome we have created for ourselves. Different creators, filmmakers are trying to influence society. One can influence society in a good or a bad way. There are many movies that make you sit and think and there are also some dumb comedies. I don’t think one size fits all or there is a right way. That goes into a dictatorial regime which is against creativity. If I want to laugh about something, then I should be allowed to do so. I don’t have to be meaningful all the time. Television has been the biggest influencer in India but to what extent it has influenced, that we don’t know.

    How do you choose a story or a subject of a story and what is the process of greenlighting the project? Also, which are the genres you are looking at developing further?

    One filter for our selection process is to do something which we are already not doing or have just done. If I have three to four thriller series in development then maybe I won’t do the fifth one right now. There are some broad genres we want to focus on: thriller, crime, homeland security, military biopic, inspirational stories, romance, family drama and historical.

    For us, the process is very simple. The idea of a story comes to us, sometimes it comes through a producer or a writer, then we get into development. We are always involved in the process. We are responsible for every product that comes out of Applause Entertainment. Sometimes the idea comes attached with the producer who then comes with his own director then actors come on board. This is the overall process but it starts with writing.

    Tell us more about your joint production with Gurinder Chadha and Sunder Aaron for Seeker?

    Locomotive Global’s Sunder Aaron was already in talks with Bend it Films & TV’s Gurinder Chadha. They have developed an idea after which they approached Applause Entertainment. I have met Sunder a couple of times where I explained to him about our work. It took some time to complete the paperwork and now we are creating a multi-country writers room. There is a writer in New York then there is a writer’s room in India  and all of us at Applause Entertainment are putting this together. I am very excited about this project.

  • “Lockdown exposed audience to streaming services, cultivating new behaviour”: Netflix’s Monika Shergill

    “Lockdown exposed audience to streaming services, cultivating new behaviour”: Netflix’s Monika Shergill

    International streaming giants have revealed their audacious plans for India already. Before setting an ambitious goal for India what Netflix has done is expanding the team here with experts who have knowledge of the local market. Monika Shergill, the creative mind who has been associated with leading local names in the television industry, like Viacom18 and Star India, is now with the international streaming service. One year into her new role, she has been focusing on churning out interesting stories for the country. Although Shergill was appointed as director of the series, she is now handling the Indian content slate for the platform as VP content. 

    In a freewheeling virtual fireside chat with Indiantelevision.com founder, CEO and editor in chief Anil Wanvari, Shergill shared how the last four months fared for it, the content strategy, plans for other genres like animated content in India and the nature of the new set of audiences coming to the platform. 

    Edited excerpts:

    Your role has been redefined. Could you tell more about this?

    I joined a year ago. I joined as director of series, now I handle India content slate and I have an absolutely fabulous team and all of us are working together on the great slate that we are planning to roll out. 

    How have been the last four months for you and your teams?

    Pandemic, in general, has been difficult for everyone. Not just from the lockdown but from so many different aspects. I think it has not been easy for people across the board. Work has been a very important part of keeping engaged and busy. At Netflix particularly, what been important for us is to be able to do some sort of meaningful time where you are working on something which is impacting someone, somewhere making it easier for them during such a difficult phase.

    What has kept you busy? Are there any changes you have made post the lockdown in the process of commissioning and development?

    Travel has been restricted. So many other things have changed for other industries and entertainment also. For work, specific things I can say, we are fortunate we can work remotely with minimum disruption. Yes, the production has been stalled that’s challenging for a lot of people. But from a preparatory perspective, if I were to say it has been an intense and prolific time for a lot of creators because it gave a pause to everyone to look at ideas, write and pitch. For Netflix, it has been an intense time from meeting creators, pitch meetings and writers reaching to us. We have been very busy with everything post which we announced and we are rolling out now. A lot of people have been gainfully engaged and turning out high-quality work. 

    Are there going to be changes in functions?

    First and foremost, the safety and security of the crew are really important. While we all are itching to go to production, I think it is really important for us to ensure safety. As you know streaming projects are very large scale projects and a lot of people are involved. Generally, production is a high-touch environment. So, it’s important to have the right protocols. At Netflix, we have global best practices and we are also working with local government, producers’ body and all of our projects teams. Whenever we go into production, it will be with the highest standards, keeping all of these things in mind but meanwhile, we are writing, doing prep, casting, etc. I think it’s the same for all the streaming platforms.

    For Netflix, we are fortunate to be a global service where we have a tremendous pipe of content. We are really ahead of the curve in terms of that. Production has opened up in several countries. Even in the last four months, Netflix has been constantly bringing out new content every day from across the world. For us being a full-scale service and content coming out of everywhere and being available to you at your convenience at your language of choice is something we really work hard.

    Who are the new sets of audiences on the service?

    It’s actually not restricted to a particular area. I won’t say it is from tier III cities. Netflix is a different kind of service but yes it is from metros, mini-metros and age-group agnostic. In Netflix, it’s about accounts. So, what we know is that a certain account has signed up with us and we have different profiles. There are family accounts, couples watching and the individual. As a service, we have a very diverse set of members. What we know is what content they are watching and that is most important to us. That is how we are able to recommend to them what should they watch.

    There has been a rapid surge of OTT consumption during this time. But as TV shows are coming back, will that affect streaming viewership?

    Honestly, TV consumption was not even down before. The way the old epics performed, even on GECs. A lot of the channels were playing epic, old successful shows. The viewership was not peaking but it was good. From a steamer perspective, there was a huge burst of people who joined at the beginning of the lockdown. We also know these are temporary numbers, temporary surge. The big uptake, in the long run, is temporary. I feel what has happened, what is different, what the last four months have done is actually a whole lot of new audiences have experienced what streaming content is like, what the experience is, access to premium content is like. Perhaps numbers will go down but in terms of experiencing new service but it is a cultivated behaviour which will prevail.

    OTT platforms have been acquiring movies lately but that pipe will also dry if productions don’t resume. How will the platforms churn out content?

    Actually from our perspective, the way we are positioned both in India and globally, we have a slate for the next few months. Globally, productions have opened up in many places. We are also many quarters ahead in terms of getting our content ready. I don’t see us in trouble unless things take a turn for the worse and don’t improve for several countries. Then we probably may have a challenge towards the second half of next year. But I am hoping that does not happen for the sake of everyone because there are so many livelihoods involved. And I am also hoping all of us are figuring out solutions; there are medical solutions to the situation, there are other innovative solutions that we may bring in production. I am hoping we are able to get back to production soonest and safely.

    Regional services like ZEE5 have large content. Services like Netflix have a global mix of content but the width of slate is also important in local languages. What do you think about that?

    I agree with you that ZEE5 has a lot of local content but actually for us at Netflix, even also from an Indian perspective, we have been releasing at least three new content pieces, a mix of series, new films between licensed and originals. The way people consume Netflix enjoy Netflix is a mix of what they watch from global and Indian slate. Netflix is far from slim from both perspectives.

    Do you have plans for animated content in India?

    We are always looking for breakthrough ideas and interesting stories. If you look at our slate also, animation is on our radar. We have a very talented vertical in-house for family and kids entertainment. They are making a lot of animated content. Our internal animators are working with creators in India.

    What is Netflix doing in regional spaces?

    We are very excited about the different language content we have at our service right now. As we are moving along, it’s going to be more and more robust. It’s a very important focus area for Netflix. 

  • TV9 Network to shut English news channel News9 to focus on digital medium

    TV9 Network to shut English news channel News9 to focus on digital medium

    MUMBAI: With the huge audience shift from television to digital, staying relevant in the broadcast industry is challenging. With that goal, TV9 is all set to venture into the digital medium for its English news. In a fireside chat with Indiantelevision.com founder, CEO and editor in chief Anil Wanvari, TV9 Network CEO Barun Das said that the company will shut down its English channel News9 to focus on expanding its digital platform.

    He said, “Traditional format of television would go and it will get more into the digital space. People below the age of 18 years are not watching news channels. If you see English news channels have shrunk to an extent that they will not sustain. We had News9, a Bangalore-based channel, but I believe city-based English news offerings in the Indian market are not ready yet. We had to take a business call, so we are coming up with a national version of that but on a digital platform. We are coming up with digital web TV.”

    He further explained that the television news genre is overly crowded and even the regional channels are exploding. According to Das, news channels have more than “pure business reasons” to launch channels. So, that is the reason why fringe channels come in and the market gets crowded.

    He added, “But I think viewers and advertisers filter them out. In the regional market, there are not more than four big channels. In Hindi it is a larger market, 45 per cent of our population speaks Hindi. Advertisers look at the top nine channels so every leading new channel gets the share of the pie.”

    As per Das, in the past 10 years Hindi and regional news channels have moved in the same way print has moved in 10 years.

    He pointed out that the channel will continue to grow in double digits leaving out exceptions like Covid2019 period and slowly it will taper into single-digit. Das also clarifies that the content on news will not disappear but the way it is being packaged and distributed will change.

    “In India, digital revenue will overtake the traditional medium by 2025. This scenario will happen to Hindi and regional channels by 2028. We still have good seven to eight years to go. Hence we are currently focusing on the digital front. As TV9 group was not digital-savvy, our focus has turned to embark on a major expansion on the digital side,” he said.

    Das highlighted that the channel has already set up an infrastructure for Studio9 where the team will look to work with clients to develop creative solutions. Studio9 will look at the convergence of television and digital revenue with a solution-driven approach. As a major expansion in the digital medium, TV9 Network has set up a new office of 20,000 square feet where it is briefing teams across the country. The company has recruited close to 400 employees.

    He quipped, “Digital is a big game for us going forward. Raktim Das will be looking at the convergence side. Slowly you will see we will be moving with digital but also keeping a stronghold on TV side revenue. I am also planning to do anchoring in the coming future. I am working on a concept that will see the light of the day, but it will be on the English side.”

    You can catch the full fireside chat here:

  • Creative content, diversity, smart recommendation engine & community building are key to UGC platform growth

    Creative content, diversity, smart recommendation engine & community building are key to UGC platform growth

    MUMBAI: While the last few years have seen the rise of online premium content, several consumers have also emerged as creators. The boom of user-generated content (UGC) has led to the adoption of a plethora of apps other than traditional video-streaming platforms. UGC platforms are here to stay but those need to focus more on personalisation, user information security, smarter recommendation engine and scaled up technology.

    Under The Content Hub Tech Series umbrella Indaintelevision.com hosted a virtual roundtable on the topic which saw Firework head of content and strategic partnerships Sudarshan Kadam, Roposo co-founder and VP product management Glance Avinash Saxena, Samosa Labs founder and ex-CEO Abhilash Inumella, Bolo Indya co-founder and CEO Varun Saxena, Akamai Technologies director of products – APJ Media Rishi Varma, Zee5 business head expansion projects and head of products Rajneel Kumar, moderated by Indiantelevision.com founder, CEO and editor in chief Anil Wanvari.

    The moderator started the session by charting out basic differences between over-the-top (OTT) platforms and UGC platforms. Akamai’s Verma pointed out that the biggest difference between UGC and OTT is the amount of content where the former trumps. He stated that on an average day, some of their UGC consumers individually can have 25,000-30,000 concurrent people broadcasting at any given point in time. While it comes to short videos, they are to the tune of a few millions every minute. 

    Bolo Indya’s Avinash Saxena said that one of the fundamental difference is the users holding power when it comes to UCGs. Along with showcasing talents, users can create multiple opportunities for themselves, even taking financial capital out of it. Inumella mentioned that the proliferation of smartphones has made it easier for common people to create content, leading to a boom in UGC. However, the panellists also noted that having different use cases, OTTs and UGCs can’t be looked at as contenders.

    Interestingly, one of the largest OTT platforms in India, Zee5, will soon venture into UGC. It is prepping itself for its entry into the segment through Hypershots. ZEE5’s Kumar said that the platform has been moving away from two primary types of content, catch up TV and original content in several categories like music videos, live TV and news, consistently over the last year. He noted that it's gaming platform partnered with Gameloft has seen upto six sessions a day per user each eight-minutes long, cementing its decision to work on UGC. 

    One of the major concerns for UGC platforms is content processing and monitoring content so it does not offend anyone. Firework’s Kadam said that it has AI, ML and human moderation for any content goes up on the platform. He added that whenever they see content is flagged by their system or moderation team, they go through the content to see that it is not hurting anyone’s sentiment. Since the platform is available across countries, it also keeps track of country-specific guidelines and sometimes opts for geo-blocking. Bolo Indya’s Avinash Saxena and Roposo’s Varun Saxena also spoke of multi-layered content monitoring. The former added that if the content is flagged they may not necessarily always remove from the platform but restrict to a certain community. 

    The experts agreed that content security is not a big concern for UGCs as they want to grow by getting their content shared across multiple platforms. However, impersonation and manipulation of content can be damaging for the platform. As the platforms have a long run ahead, experts believe more creativity of content, smart recommendation engine, diversity and community building will be key to growth. Even UGC platforms can look at the subscription model if they can add value to basic service while Firework already experimented with such a model.

  • I am passionate about building businesses that have scale: Aditya Pittie

    I am passionate about building businesses that have scale: Aditya Pittie

    From being a young man who had to Google about downlinking and uplinking and did not know how a satellite signal works a decade ago to an entrepreneur at the helm of a media conglomerate, IN10 Media Network and Pittie Group managing director Aditya Pittie has come a long way. Anand Mahindra- and Pittie-promoted IN10 Media has television (Epic TV), OTT platforms (Epic On and Docubay), and production house (Juggernaut) in its kitty.

    Pittie finds his passion is creating value and wealth and building scale.  “That’s why I am interested in multiple businesses, not just any particular business. I am passionate about business, and building businesses that have scale, that gives employment to many people. That is what drives me,” says Pittie during a virtual fireside chat with Indiantelevision.com group founder, CEO and editor-in-chief Anil Wanvari.

    Here he talks about his and his and his father’s association with Patanjali, Aastha and Sanskar television channels, the distribution business and how he ventured into the world of broadcasting. He is very clear about where he wants to position himself in the broadcast business when he says: “I realised that it is better to be part of a smaller genre but have a better market share, rather than be part of a big genre and have an insignificant market share.” Excerpts:

    Describe your journey with Patanjali.

    Our relationship has gone stronger over the years. We have a lot of common values in terms of how business can be used to create value for society at large. We have been connected to him since the seeding of the idea and therefore we share the long-term vision and we continue to be part of that journey in some way or the other.

    Your father had gone to Haridwar and seen him there and invited him to Mumbai and conducted the very big Yoga gathering some 14 years ago.

    That was much before Patanjali. At that time, Swamiji was spreading the knowledge of yoga across the country to as many people as possible and obviously through television. He used to come live on Aastha channel. He was able to create the awareness of how simplified yoga can be done by people in their homes and the value it can add to the health, not just from a weight-loss point of view but from general mental health. So that is the time when my father went to Haridwar first and did yoga camp with him and was impressed with the vision that this man had that we decided to be part of the journey.

    Aastha and he became a big name after that.

    TV played a big role in his popularity. A lot of people don't know this: Swamiji is actually one of the very people in this country who have travelled to every single district by road. Lot of people think his popularity came from TV, which he does. But he has physically conducted big yoga camps with millions of people in the country. I don't think anybody has done this kind of large yoga camps of this scale ever in the history of the country. So his ground connection with the people is so strong; that is where the whole idea or philosophy of Patanjali comes from. It is for the real people that would not have access to real quality products in a market where brands used to mark up their products by creating brand perceptions, sometimes by compromising the underlying value of products. When he travelled across the country, he realised that there was a big gap in that. And he wanted to give better value products to consumers. That was the mission. I think while television was an important part of his popularity, a lot of people don’t know that he really worked hard. Almost seven-eight years he travelled to conduct yoga camps in every part of the country.

    You had a good starting point in a way. Your dad, Acharyaji and Swamiji. Acharyaji was extremely good at Ayurveda. Your father was a good entrepreneur. He was into real estate. Then you came in and expanded the business. Tell us about that. 

    I worked with my father for eight – nine years after my graduation. After that I thought of building my own identity and business. That is when the idea of selling Patanjali in super markets came about. That time Patanjali was a Rs 700-800-crore company. They were not present in any of the supermarket chains. And there was a lot of noise around how modern retailers eventually were going to have a larger share going forward. And I was very intrigued by that. So I thought it was a good business opportunity to build from scratch. Before that, while we were part of the Patanjali journey, I was not involved in any of the management decisions or business of Patanjali. It was completely a new business for me. Luckily, Swamiji supported and gave me an opportunity to see if there is an interest among the retailers. Then the first retailer I went to was Reliance. While they liked the idea of Patanjali they were very supportive of the fact that as an entrepreneur I had to build a business. That’s how the journey started. We piloted with five Reliance outlets in Mumbai first. I still remember I used to make the invoices myself and take order sheets from merchants, just to understand how the business is done on the ground. Then Patanjali grew and we started contributing 10 per cent of Patanjali’s overall business.

    So there is a logistics side to the business, there is construction and there is Patanjali distribution and you came to the media business.

    Real estate is my father’s business. I am not actively involved in the business any more. Over the years we build a lot of capabilities at the backend. We designed solutions that specifically catered to supermarket chains. Dealing with chains was not as easy as dealing with the unorganised sector. We created solutions for the brand to increase market share in supermarket chains. We have a large warehousing network. Now we have started looking for other clients who require this kind of logistical reach and service. Our biggest client continues to be Patanjali.

    Are you open to distributing other companies’ products?

    We are very selective. I have just done a deal with an American company for their beauty brands; they are non-competing with Patanjali. I also have some companies that use only our warehousing logistics. It is sort of a complex structure we have now. We are trying to find our feet on what exactly we would be when we go forward.

    What actually inspired you to get into the media?

    The Sanskar opportunity came to us very organically. When the opportunity came, we thought that the product was really strong. Aastha and Sanskar had 95 per cent of market share in the genre at that time. Our family – though not an orthodox Marwari family – was a pretty religious family. And the family found the opportunity to have Sanskar in our portfolio and to be able to be part of the journey as a good decision. And that’s how we got into the media business, specifically in Sanskar. When I started out, the first thing I did was to google about downlinking and uplinking. Until that time, I did not know how a satellite signal works. That was almost 10 -12 years ago. Sanskar was a very different, unique business model. It wasn’t the typical broadcast business where you invest in programming and then monetise through ad sales. Most of the programming on the spiritual genre was given by the content owners for free, because they want reach. In fact, they pay you to use your platform. It was a great experience. We ran it for five years and sold it to Swamiji for a very good return. That’s how we got interested in the media business. Then we looked at starting other spiritual channels. That’s how Shubh TV came along. And during that time, I had met Anand a couple of times. That’s how the journey of Epic started. The primary objective of the relationship was to make sure that Epic as a brand, which was loved by millions, was able to survive and continue in a viable way with critically acclaimed products, something Anand was proud of. When I researched on the channel, I realized that the product was very strong and definitely worth putting some time to make it work. And that’s how my partnership with Anand started. That’s how we started building Epic again.

    So you also have invested in the channel, right?

    Yes, there is an arrangement where I am also a shareholder.

    With Epic what did you feel was right and what did you feel was wrong? And what did you do go about correcting it?

    The product was just very ahead of its time. Mahesh Samat is a very seasoned media professional. He ran big companies. A lot of people don’t know this: Mahesh is a consumer guy. He understands what a consumer wants in general. Some of the content he created is still our flagship ones. They did a lot of things right. The timing of TAM going away and BARC coming in, etc., and the fact that the content was slightly ahead of time, something the mass audience in India at the time did not accept as Mahesh would have thought. That’s the challenge they have faced. The opportunity was obviously the fact that there was strong brand affinity. While the viewership was low, it was loyal. My research found that in niche products you have less absolute viewership, but you have relevant one. For example, the number of people watching English news is far lower than mostly all genres. But the reason why they get so much traction and advertising is because brands want that TG and affinity require English news for that. With such strong positioning and niche, I felt in the long term it would definitely reap some value. That was the base concept behind my conviction that Epic can be turned around. Then we did the repositioning and changed the distribution strategy. We did multiple things to ensure that we stay on course and on our path to profitability.

    In terms of distribution what did you change? Did you get on to more DPOs?

    Epic was always a pay channel. When you launch a new channel you have to incentivise DPOs and cable operators to carry your channel. When I took over Epic had certain deals in the market with DPOs, which I felt was not ideal, and which we then turned around in a couple of years. This year Epic will be subscription-positive from a distribution point of view for the first time. So we went from being a pay channel that incentivises our DPOs and cable operators to carry the channel to becoming a net-positive subscription earner.

    From being a man who did not know what uplinking and downlinking to a media entrepreneur, you have come a long way. What next?

    My passion is creating value and wealth and building scale.  That’s why I am interested in multiple businesses, not just any particular business. I am passionate about business, and building businesses that have scale, that gives employment to many people. That is what drives me. In Epic and in my partnership with Anand Mahindra I felt that there was an opportunity for a young guy like me to really live up to that dream of wanting to create that opportunity for others.

    So you took up Epic four years ago when you were 32. What did you learn about the business?

    Honestly, I had the luxury of having people around me who had an equation that was not limited not just to work. I worked with them like they are my friends. We have a very democratic approach to finding solutions to challenges that epic faced. We used to always ideate. It was a collective effort. One of the things was to reposition Epic. While it was intended to be a GEC, somewhere in the programming it became a knowledge-based product. People started perceiving it as an infotainment channel. Even in the market, some of the brands started calling it an infotainment channel when it always was in the GEC space. I realised that it is better to be part of a smaller genre but have a better market share, rather than be part of a big genre and have an insignificant market share. That is why I felt that it would be smarter to be moving to infotainment which is what people perceived it to anyway. And that’s why the decision to rebrand the logo the reposition the channel from GEC to infotainment came about.

    It is a smart decision, because GECs’ carriage fee is much higher.

    Carriage fees are one part of the GEC. But content is the key. To get significant market share in GEC, you need a certain amount of capital. Otherwise you cannot compete in that space. At that time Epic was loved because to make it into a GEC would have compromised the value and brand identity of Epic and what it stands for. So the objective was not only to make it viable but also to keep the essence of Epic as a brand alive and to make sure that people who love continue to get that content. It wasn’t just about viability; we had to find the right fit. That’s why infotainment was the right fit. We do about 150 hours of original programming. We acquire a lot of programming as well. We have 600 hours of our own IP, all episodic programming. People love watching them multiple times.

    How was the advertisers’ reaction?

    Infotainment genre is pretty stagnant when it comes to advertising. In the infotainment genre there is a lot of brand integration. A lot of FCTs are done just based on ratings. We have been focusing a lot on content and trying to find brands to plug into the Epic positioning.

    What is the journey ahead for Epic? You launched Epic+ HD.

    A lot of our viewers have wanted an HD version of the channel for a very long time. We want to have a separate channel and programming line-up for Epic+ HD as and when we decide to launch it.