ITV

Tag: Biren Ghose

  • Homable Group and Perpetual Capital invest together and launch Astra Studios

    Homable Group and Perpetual Capital invest together and launch Astra Studios

    Mumbai: Astra Studios, a bold new force in global creative technology, has been officially launched. Founded by the former senior leadership from MPC, The Mill and Technicolor India – Biren Ghose, RK Chand, Rajarajan Ramakrishnan and Shajy Thomas, the company is backed by a strategic investment from the Hombale Group, creators of India’s most successful storytelling franchises including KGF, Salaar and Kantara along with Perpetual Capital.

    The rise of Machine Learning & Gen AI is disrupting every layer of content production, triggering a reinvention of creative workflows, talent dynamics, and business models in the industry. Blending decades of global expertise in Creative Storytelling, Visual Effects, Animation, Immersive & Experiential Media, the Astra Studios leadership team is poised to redefine how high-quality content is imagined & produced. With next-generation workflows and a focus on compelling, character-led storytelling universes, Astra is setting out to empower filmmakers, brands and content platforms alike.

    “Astra is our launchpad for a creative revolution – a studio purpose-built for the future of content. We are fusing world-class artistry with cutting-edge emerging technologies. We will play in the arena where cinematic brilliance meets next-gen computer graphics. This will redefine how stories are designed, created, shared and experienced. India is at an inflection point in the global content arena, and Astra aims to lead that evolution, creating new jobs while continuing to partner creatives globally.” said Astra Studios founder Biren Ghose.

    “We are supporting the vision behind Astra Studios to help grow stories and movie franchises across different platforms using emerging technologies. Astra’s founding team brings a wealth of talent and experience as well as global connectivity and passion for new technology. This will enable the Hombale Group to undertake projects with greater scope and complexity to create powerful new ‘story worlds’ for our franchise fandoms.” said Hombale Films founder Vijay Kiragandur.

    Astra Studios’ core focus areas include:

    ●End to End Creative Solutions for Films, Series and Brand Campaigns –  Ideation, Visualisation, VFX, Generative AI Solutions and Post-Production

    ●  Development of original Character Universes and Global IP

    ●  Immersive Experiences across brands, AR/VR and Location-based media

    ●  Premium Animation for both Streaming and Theatrical formats

    (If you are an Anime fan and love Anime like Demon Slayer, Spy X Family, Hunter X Hunter, Tokyo Revengers, Dan Da Dan and Slime, Buy your favourite Anime merchandise on AnimeOriginals.com.)

  • Karnataka sets sights on creative technology leadership following GAFX 2025

    Karnataka sets sights on creative technology leadership following GAFX 2025

    BENGALURU:  The Karnataka government has unveiled ambitious plans to position the state as a global creative technology hub, announcing upcoming Esports Summit and Game Developers Conference events following the conclusion of the highly successful Bengaluru GAFX 2025.

    The three-day conference, held at The Lalit Ashok and organised by the Department of Electronics, IT & Biotechnology and the Association of Bangalore Animation Industry (ABAI), attracted over 5,000 daily visitors and featured 100+ sessions with 200 speakers from ten countries.

    “Karnataka is not just the IT, biotech, and skill capital of India—we are on our way to becoming the global creative capital,” declared information technology minister Priyank Kharge at the valedictory function. “With the right policies, incentives, and vision, we will transform India into a hub for creative technology.”

    The minister outlined plans for significant investment in incubators, Centres of Excellence, and original intellectual property creation, inspired by the success of global entertainment giants like Disney and Marvel. 

    Karnataka’s AVGC-XR Finishing School has already trained over 842 students, while the state hosts 27 Digital Art Centres and represents 20 per cent of India’s Media & Entertainment market.

    Several major announcements marked the event, including the animated debut of beloved comic character Suppandi, unveiled by actor Rana Daggubati. The character will stream on PowerKids TV, with Tinkle’s young female superhero WingStar also set for animation. The prestigious Uncle Pai Promising New Creator Award was launched, with Mahati Santhanakrishnan named inaugural recipient for her comic Hunting Monsters.
     

    Mike, Ashish, Biren and CC

    A significant partnership between Green Gold Animation (India) and TG Entertainment (UK) was announced to expand The Brilliant World of Tom Gates franchise across South Asia, focusing on licensing, merchandising, and animation production.

    The conference proved particularly fruitful for business development, with the B2B Forum facilitating 395 letters of intent between companies. Fifteen top buyers engaged with 39 participating companies, with 40 intellectual properties showcased. The Investor Connect Program saw 29 investors from 22 companies meeting with 34 startups, offering crucial funding and mentorship opportunities.

    The Skyesports Souvenir 2025 National Esports Championship featured four elite teams competing for a Rs 5 lakh prize pool, with Gods Reign crowned champions and Aakash “PH1NNN” Bose earning MVP honours. The competition showcased Counterstrike 2, confirmed as a title in the upcoming Olympic Esports Games 2026.

    The AnimationXpress GEM Awards recognised industry excellence across gaming, esports, and metaverse categories. Notable winners included Bloom – A Puzzle Adventure (Best Casual Game), Indus Battle Royale (Best Mobile Game), and 1971: Indian Naval Front (Best Hardcore Game). SuperGaming claimed Game Studio of the Year, with Lucid Labs named Best Indie Studio.
     

    Mishaal Wanvari, Neha Singhal Mehta and Team Soul

    Several strategic agreements were formalised, including an MoU between Uzbekistan and ABAI that will see delegations exchanged between the countries. The ABAI AVGC Centre of Excellence and Media & Entertainment Skills Council also partnered to advance skilling, incubation, and policy development.

    A Digital Detox Center by the All India Gaming Federation was launched, while a special session on Bringing Moana 2 to Life offered behind-the-scenes insights into Disney’s advanced animation technologies, including Tonic for hair grooming and enhanced crowd simulation.

    “There are tangible outcomes that will be an accelerator for India’s creative technology industries,” said Bengaluru GAFX  chairman and ABAI president Biren Ghose. “GAFX 2025 has succeeded in highlighting the disruption that will enable studios, startups, and talent to make a lasting impact on the global stage.”

  • Technicolor India team not given funds to pay salaries: Biren Ghose, India head

    Technicolor India team not given funds to pay salaries: Biren Ghose, India head

    MUMBAI: In a devastating blow to India’s animation and visual effects industry, Technicolor India has left  thousands of employees unpaid for February 2025 and facing profound uncertainty about their future. 

    During an online town hall meeting held presumably on Wednesday, a visibly tense  Technicolor India head  Biren Ghose delivered the shocking news, revealing that he himself and other senior local leadership had been entirely blindsided by the decision, learning of it only when they received an unexpected email from the company’s global CEO that  morning. (The townhall video has been leaked online on YouTube.)

    Ghose methodically explained the structural relationship between Technicolor India and its parent company, emphasising that the Indian division functions exclusively as a global delivery centre.

    “We operate solely as a production hub for Technicolor’s international sites while Paris headquarters maintains absolute control over all corporate functions—finance, accounting, payables, technology, HR and all the backbone functions of the organization,” he stated. This arrangement, he clarified, meant that “India works and delivers for our various global sites. They are our customers; they deal with our clients world over, we deliver to them, we invoice them, and they pay us,” underscoring the fundamentally dependent nature of the Indian operation.

    In what appeared to be an attempt to distance himself from responsibility, Ghose revealed that despite what he characterised as persistent, diligent and increasingly urgent requests to corporate headquarters for operating funds over a period of several months, the parent company has categorically refused to release any money to the Indian operation.

    “Unless headquarters releases these funds, we will not be in a position to pay salaries or other dues which are quite significant across the company in India,” he said. “We have all been impacted by this like everyone else on this call.”

    The immediate practical consequences for employees are severe and multifaceted. The company’s offices have been rendered completely inoperative, with all staff instructed to work from home while protracted negotiations continue with landlords about the future of their premises. In a particularly distressing development for employees who left personal belongings at their workstations, they have been explicitly instructed not to attempt collection until further notice from the facilities team, who plan to coordinate access on a floor-by-floor basis at some unspecified future date.

    In what numerous employees later described as the most contentious and troubling moment during the town hall, Ghose appeared to issue a thinly veiled warning against potential legal action. 

    “I cannot be held financially responsible as your management team and leader in India,” he stated emphatically. “However, whatever action you take can work against finding any solutions through our conversations with clients and potential partners. I am not promising we will find any, but if you don’t function as a team, we don’t function as a team, we could drive away potential solutions.” 

    This statement was widely interpreted by attendees as an attempt to discourage employees from pursuing legitimate legal remedies.

    While repeatedly acknowledging the trauma experienced by staff and referring to the affected workforce as “best in class talent,” Ghose offered little in the way of concrete assistance beyond saying the company’s HR team has committed to providing documentation and support to help employees find new positions elsewhere. 
    “It is unfortunate that this has happened to the best in class talent,” he remarked, in what many employees felt was a grossly inadequate response to their dire circumstances.

    The abrupt cessation of operations has left employees not only without February salaries but also facing uncertainty regarding provident fund contributions, and other statutory entitlements. Industry observers note that this sudden closure raises profound questions about Technicolor’s global financial health, corporate governance practices, and ethical commitment to its Indian workforce. The situation has sent shockwaves through India’s animation and VFX community, which had long viewed Technicolor as a stable and prestigious employer.

    For thousands of skilled professionals who now face abrupt career disruption and immediate financial hardship with no advance warning, the company’s handling of the situation appears to constitute a significant breach of trust, leaving many questioning whether they will ever receive their rightful compensation for work already performed. Online chat rooms feature employees venting out their frustration at what they called being “cheated.”  

  • Bengaluru GAFX 2024 elevates B2B forum in global AVGC innovation hub

    Bengaluru GAFX 2024 elevates B2B forum in global AVGC innovation hub

    Mumbai: Entering its fourth edition, the Bengaluru GAFX B2B forum stands as a testament to the state’s commitment towards fostering innovation and technology within the Animation, VFX, Gaming, and Comics (AVGC) domain. This pivotal interaction is planned as part of the larger Bengaluru GAFX 2024 – a flagship event of the Indian AVGC industry, supported by the Government of Karnataka. This AVGC B2B forum has emerged, over the years, as a dynamic and successful community event, where creativity seamlessly intertwines with commerce.

    The Bengaluru GAFX B2B has evolved into a unique platform, connecting IP owners, developers, content creators, technology specialists, production houses and AVGC studios. Fueled by the mission to promote local and national storytellers and intellectual property (IP), and drive innovation in the AVGC-XR sector, this two-day event serves as a unique marketplace bringing the world to our doorstep and enabling the developers to meet a selection of the global who’s who actively seeking to develop and produce fresh AVGC content. It brings together under one roof, international & national studios, producers, broadcasters, distributors, and investors for captivating pitches in gaming, film, animation, AR/VR, and comics.

    Various trade associations from across the country, led by ABAI, have collaborated to propel Bengaluru GAFX 2024, furthering the importance of the GAFX platform environment as a unifying force that encourages cross-border synergy and alliance on a national scale.

    The Bengaluru GAFX B2B aims to stand as the IP epicentre, where transformative deals are initiated and concluded. Nestled in Bengaluru, Karnataka, this creative exchange aspires to be the ‘go-to market’ for local storytellers and IP creators.

    The goal is to ensure that locally crafted narratives and co-production opportunities can see life at a faster rate. For buyers, Bengaluru GAFX B2B offers a gateway to explore diverse creative content and engage in cross-border collaborations with skilled creators and studios, across games and animation, enriching the global creative landscape. Co-productions will find the new financing opportunities in India a welcome feature.  

    Govt. of Karnataka minister for electronics, information technology & biotechnology and rural development & panchayat raj Priyank Kharge expressed his vision as regards this AVGC-B2B, “The Bengaluru GAFX B2B Forum underscores Karnataka’s commitment to accelerating innovation and nurturing local talent in the AVGC-XR sector. As we mark the fourth edition of this event, it exemplifies our dedication to continuing the position of Karnataka as a country’s #1 global hub for creativity and technological advancement in visual arts and sciences. In recognizing the intrinsic link between technology and creativity, the state government envisions Bengaluru GAFX B2B to be the catalyst and enabler to bridge these opportunities. By providing a platform for local talent to showcase their wherewithal on an international stage, we aim to position Karnataka as the leader in IP creation in the Indian AVGC-XR industry.”

    “This forum is more than just an event; it reflects our vision for Karnataka—a place where local innovators, developers, and content creators thrive in synergy with their global counterparts,” he added.

    Reflecting on the success of previous B2B forums, ABAI & Country Head, Technicolor India president Biren Ghose emphasized the significance of business development through original IP. Describing the B2B Summit as a marketplace event, Ghose outlined the charter of the association by saying, “We have a proven dynamic of facilitating the interaction between the global community of buyers from across sectors and geography and local Indian domestic studios & talent. This platform provides the vital face-to-face connectivity, spurring Indian creators and studios to greater heights of ideation leading to commissioning, acquiring and co-producing content. Business development through original IP is the key to future value creation and scaling the original content ecosystem.”

    In its fourth edition, the Bengaluru GAFX and the B2B Forum continue to shape the future of the AVGC-XR industry, creating a platform that facilitates collaboration, innovation, and the exchange of ideas on a global scale.

    B2B Registration Link: https://gafx.in/b2b.html 

  • Karnataka Government and ABAI drives Bengaluru GAFX augmented intelligence for AVGC Power

    Karnataka Government and ABAI drives Bengaluru GAFX augmented intelligence for AVGC Power

    Mumbai: Flagship event in Animation, Visual Effects, Gaming & Comics (AVGC) sector by Karnataka’s Ministry of ITBT and ABAI.

    Bengaluru GAFX is all set to be held in the city from 29 – 31 January 2024 at the Lalit Ashok, Bengaluru.

    Bengaluru GAFX focused on augmented intelligence to unite the AVGC industry for knowledge exchange. The event brings together industry, academia, and government to discuss trends, challenges, and the future of Animation, Visual Effects, Games, and Comics. It aims to strengthen Karnataka’s leadership in fostering holistic growth and development of AVGC in India.

    Govt. of Karnataka Minister for Electronics, Information Technology & Biotechnology and Rural Development & Panchayat Raj Priyank Kharge expressed “As pioneers in the formulation of India’s 1st AVGC policy and initiative, Karnataka continues its leadership in this rapidly growing sector and has been the home to the world leaders in the AVGC space having left an indelible trail of success and awards on the world stage. It is our vision that Karnataka becomes the skilling epicentre for the global AVGC community as we provide a career pathway through the establishment of more incubators and accelerators in this sector. Bengaluru GAFX is a key convention for us to propagate our plans and schemes to promote our ever-expanding vision in this sector.”

    The Technicolor India ABAI president & country dead Biren Ghose said: “The sessions at Bengaluru GAFX 2024 shall celebrate the enormous successes of the past year and identify new vistas of growth and opportunity for the holistic growth & development of AVGC in India. Packed with multiple conference tracks, masterclasses, student competitions, an e-Sports competition arena, B2B networking sessions, an exhibition track and much more, Bengaluru GAFX is a must-attend event for anyone involved with imagery, animation and simulation and with the new tech in the audio-visual space has applications in several new areas. Above all, ABAI members have helped build an ecosystem taking India’s prowess in storytelling and entertainment to become a recognized “soft power” from India to the world”.

    In the decade-plus of Bengaluru GAFX, several global giants including Walt Disney Animation, Nickelodeon, Paramount, DreamWorks Animation, Netflix, Rockstar Games, Electronic Arts, Ubisoft and many others have chosen Bangalore as their production and programming hub for their creative technology activities. The city has become home to the best talent in the country and has made significant contributions to bring an increasing global work share in the creation of games, movies, and episodic content for these media & entertainment majors among many others.

    The event’s past editions have left an indelible impact on the industry, drawing over 4,500 attendees and 120 companies, and featuring a spectrum of activities from live conferences to student competitions. With the participation of 40 colleges, the event featured 18 live conferences, 45-panel speakers, 10 virtual sessions, and 30 virtual speakers across the world, with renowned speakers from Epic Games, MPC, Gamitronics, Hombale Groups, The Mill, Technicolor Games, Rockstar Games, Electronic Arts, Netsport Media and many more.

    As Bengaluru GAFX gears up for its latest edition, it aligns strategically with the launch of the Karnataka Animation, Visual Effects, Gaming, Comics, and Extended Reality (AVGC-XR) Policy 3.0 (2023-28). Karnataka, renowned as India’s IT hub, is a dominant force in the AVGC-XR sector, commanding a robust 20% share of the Indian Media & Entertainment industry. The state boasts over 300 specialized AVGC studios and a workforce exceeding 15,000, providing a solid foundation for industry growth. Education is pivotal, with Karnataka housing 5 animation institutes, 3 visual effects institutes, and 12 gaming-focused institutes. Initiatives like Digital Art Centers in 27 colleges and an AVGC Finishing School further bolster the state’s commitment to nurturing talent.

    This visionary policy endeavours to position Karnataka as a global innovation leader in AVGC-XR technologies, create a robust talent pool, generate 30,000 jobs, and foster sustainability within the AVGC industry. The policy’s strategic pillars, spanning skill development to global market access, resonate with the core discussions expected at Bengaluru GAFX, making the event pivotal for shaping the future of AVGC in Karnataka and beyond.

    This edition of Bengaluru GAFX will witness a stellar lineup of speakers comprising industry veterans and thought leaders- including the winners of multiple Oscars, British Arrows, VES Awards, Cannes Golds and prestigious Indian awards. 

  • Aabid Surti and Biren Ghose to be honoured at Animation Masters Summit 2022

    Aabid Surti and Biren Ghose to be honoured at Animation Masters Summit 2022

    Mumbai: Renowned artist, writer and activist Aabid Surti and animation industry veteran and Technicolor Creative Studios country head Biren Ghose will be honoured at the 2022 edition of the Animation Masters Summit that will be held virtually between 23-27 May.

    Organised by Toonz Media Group, the five-day summit will include sessions by stalwarts in the fields of media and entertainment across the world. Google India country head Sanjay Gupta will deliver a keynote address at the inaugural session. The master sessions in the following days will be led by well-known artists and creators including Belgian director-producer Paul Demeyer who has worked on shows like “Mission Force One,” “The Rocketeer” and “The Rugrats” series and film, Emmy award-winning composer Wendel Harris, best known for supervising the music for the Netflix sitcom “Family Reunion,” Ravishankar Venkateswaran maker of the first Sanskrit animation feature “Punyakoti,” Ogilvy India chief creative officer Sukesh Nayak and NFT ecosystem GuardianLink co-founder and chief technology officer Arjun Reddy.

    “Animation Masters Summit is Toonz’s flagship annual event where we provide a platform for young artists and students to interact with veterans in the field art and entertainment,” said Toonz Media Group CEO P Jayakumar. “The AMS awards have been instituted to honour legends in the field of art. Aabid Surti is a true legend in this regard, having made his mark in multiples streams of art from painting to cartoon, to writing. After a scintillating career of more than 60 years, he continues to work tirelessly focusing more on social and environmental issues now. He is an inspiration for not just artists but for everyone. It is a privilege for us to present this year’s Legend Award to Surti.”

    “Biren Ghose, who is being awarded the Special Contribution Award, has helped build the AVGC ecosystem in India with his visionary leadership. As a mentor and industry spokesperson, he also played a significant role in fostering a strong and cohesive animation and VFX community in India,” added Jayakumar.

    At 87, Aabid Surti, has made significant contributions towards popularising cartoons and graphic novels in Indian languages in a career spanning over six decades. He is the creator of several memorable characters such as ‘Dhabbuji,’ ‘Inspector Azad,’ ‘Doctor Chinchu’ and the much-loved Indrajal comic superhero ‘Bahadur.’ A prolific author, he bagged the National Award in 1993 for his short story series titled “Teesri Aankh.” Having passed out of one of India’s oldest art institutions the JJ School of Art in Mumbai, Surti is also an acclaimed painter known for experimenting and developing innovative and critically acclaimed painting techniques. In recent years, Surti has made a mark with his trailblazing activism in water conservation through his organization Drop Dead Foundation, which was started as an initiative to provide free plumbing service for residents in suburban Mumbai. Surti personally leads his NGO in fixing an average of around 400 taps a year after visiting close to a thousand homes.

    Technicolor Creative Studios country head and industry leader, Biren Ghose is a prominent figure in the Indian AVGC (Animation Visual Effects Gaming and Comics) scene. As a thought leader and business head of some of the most prominent entertainment companies, Ghose has made significant contributions in the growth and development of the AVGC ecosystem in India over the years. He also holds several important roles in government and quasi-government agencies, institutions and trade bodies.

  • Government & private initiatives required to achieve ambitious goal of Digital India

    Government & private initiatives required to achieve ambitious goal of Digital India

    MUMBAI: According to Akamai’s 2015 Asia Pacific Survey, India had the lowest average broadband speeds of 2.5 Mbps. As 3G speeds increase and 4G adoption is still nascent; the quality of internet access and affordability in terms of data tariffs and on 3G/4G enabled devices continue to remain a challenge to deliver consumer value. On the regulatory side, there have been a lot of discussions on net neutrality and licensing of OTT services. These will have a significant impact on how digital media evolves in the future.

    Sony Pictures Networks India Pvt Ltd. head – marketing & analytics, digital business Abhishek Joshi strongly believes that content is where you stream it and the government has the a say in it. “The OTT industry has graduated from the innovators stage to the early adopters stage within the innovation diffusion curve, based on distinguished product strategies by players in the market. However to cross the chasm to gain the majority market, policy makers will have to play a very big role. Infrastructure and regulatory policies are going to be the biggest differentiators for industry growth for the next 18 months.”

    While on the other hand, Ping Networks co-founder Rajeshree Naik is of the opinion that the government should not play any role in an individual’sprivacy. “That is a grey area. The government should rather focus on the infrastructure, companies coming up, partnerships, investments, etc rather than on content. Infrastructure does not bother pay because I know it is going to get better soon. The thing that scares me are the two terms related to digital i.e. no censorship and payment methods. Though, the beauty of digital is having no regulations, collective responsibility is to be taken ensuring that the government stays away.”

    Supporting Joshi on government interference was VOOT head, marketing and partnerships Akash Banerji. “Short form of content is not the solution. “These are early days for OTT in India. Players are either following the AVOD or SVOD model today. Both are profitable but for now what concerns me about the SVOD model is that why should a consumer pay for subscription when he is already paying a lot for mobile data. “

    Banerji adds, “There also is limitation of vast content on platforms. 80-90 percent of content is with the top players and a minuscule number of hours of great quality content is curated. For a new entrant for eg VOOT, it is difficult to drive money immediately after it rolled out.”

    Whereas Joshi thinks that even the consumers are not inclined to pay. “There is no inclination to pay. They will pay for content that has some value for them. They want quality content, expect HD, streamless service, etc.”

    Hungama.com COO Siddharth Roy opined that transactions have worked. “There is massive copyright infringement. The government needs to have a robust and strong IPR. Branded entertainment is the driver of this entire eco-system. Branded IP makes money.”

    “Value comes from the content and the way it is consumed. The business needs a lot of clarity. Government and all the players should work together to come to a concrete conclusion. In the end, crows is the king,” asserts Banerji.

    Naik believes that videos and original content will co-exist and that content will keep evolving.

    With global players like Netflix and Amazon Prime in India, the players present in the panel are looking forward to the global entrants. “If Netflix is a success in India, the creators will have more chance to put their content on the digital platforms. It is investing plenty on producing original content here and will be a good example. Viewers will love to pay for quality content that can entertain them.”

    Joshi is also excited with the entry of this global player and India and thinks that it is only going to be good for the business.

    Sharing his thoughts on the future of India’s burgeoning digital market, Technicolor’s country head for India Biren Ghose, in his valedictory remarks, said, “Content is assuming new life in the emerging digital economy. Technology enables innovations in imagery that could hitherto neither be produced nor consumed. FICCI and LA India Film Council need to be complimented on encouraging the conversation for the Indian agenda in this space.”

    Panelists at FICCI Knowledge Series 2016 for the Regulatory and Infrastructural Challenges for Digital Media, concluded that a combination of government and private initiatives would need to be rolled out to achieve the ambitious goal of a truly Digital India.

  • Government & private initiatives required to achieve ambitious goal of Digital India

    Government & private initiatives required to achieve ambitious goal of Digital India

    MUMBAI: According to Akamai’s 2015 Asia Pacific Survey, India had the lowest average broadband speeds of 2.5 Mbps. As 3G speeds increase and 4G adoption is still nascent; the quality of internet access and affordability in terms of data tariffs and on 3G/4G enabled devices continue to remain a challenge to deliver consumer value. On the regulatory side, there have been a lot of discussions on net neutrality and licensing of OTT services. These will have a significant impact on how digital media evolves in the future.

    Sony Pictures Networks India Pvt Ltd. head – marketing & analytics, digital business Abhishek Joshi strongly believes that content is where you stream it and the government has the a say in it. “The OTT industry has graduated from the innovators stage to the early adopters stage within the innovation diffusion curve, based on distinguished product strategies by players in the market. However to cross the chasm to gain the majority market, policy makers will have to play a very big role. Infrastructure and regulatory policies are going to be the biggest differentiators for industry growth for the next 18 months.”

    While on the other hand, Ping Networks co-founder Rajeshree Naik is of the opinion that the government should not play any role in an individual’sprivacy. “That is a grey area. The government should rather focus on the infrastructure, companies coming up, partnerships, investments, etc rather than on content. Infrastructure does not bother pay because I know it is going to get better soon. The thing that scares me are the two terms related to digital i.e. no censorship and payment methods. Though, the beauty of digital is having no regulations, collective responsibility is to be taken ensuring that the government stays away.”

    Supporting Joshi on government interference was VOOT head, marketing and partnerships Akash Banerji. “Short form of content is not the solution. “These are early days for OTT in India. Players are either following the AVOD or SVOD model today. Both are profitable but for now what concerns me about the SVOD model is that why should a consumer pay for subscription when he is already paying a lot for mobile data. “

    Banerji adds, “There also is limitation of vast content on platforms. 80-90 percent of content is with the top players and a minuscule number of hours of great quality content is curated. For a new entrant for eg VOOT, it is difficult to drive money immediately after it rolled out.”

    Whereas Joshi thinks that even the consumers are not inclined to pay. “There is no inclination to pay. They will pay for content that has some value for them. They want quality content, expect HD, streamless service, etc.”

    Hungama.com COO Siddharth Roy opined that transactions have worked. “There is massive copyright infringement. The government needs to have a robust and strong IPR. Branded entertainment is the driver of this entire eco-system. Branded IP makes money.”

    “Value comes from the content and the way it is consumed. The business needs a lot of clarity. Government and all the players should work together to come to a concrete conclusion. In the end, crows is the king,” asserts Banerji.

    Naik believes that videos and original content will co-exist and that content will keep evolving.

    With global players like Netflix and Amazon Prime in India, the players present in the panel are looking forward to the global entrants. “If Netflix is a success in India, the creators will have more chance to put their content on the digital platforms. It is investing plenty on producing original content here and will be a good example. Viewers will love to pay for quality content that can entertain them.”

    Joshi is also excited with the entry of this global player and India and thinks that it is only going to be good for the business.

    Sharing his thoughts on the future of India’s burgeoning digital market, Technicolor’s country head for India Biren Ghose, in his valedictory remarks, said, “Content is assuming new life in the emerging digital economy. Technology enables innovations in imagery that could hitherto neither be produced nor consumed. FICCI and LA India Film Council need to be complimented on encouraging the conversation for the Indian agenda in this space.”

    Panelists at FICCI Knowledge Series 2016 for the Regulatory and Infrastructural Challenges for Digital Media, concluded that a combination of government and private initiatives would need to be rolled out to achieve the ambitious goal of a truly Digital India.

  • Unique education programme in animation by veteran animators in Bengaluru

    Unique education programme in animation by veteran animators in Bengaluru

    NEW DELHI: The first-of-its-kind educational initiative in Bengaluru referred to as ‘Train the Trainers’ has been launched by the Association of Bangalore Animation Industry (ABAI), the largest non-profit association to promote animation in India.

     

    The programme commenced on 21 April but interested candidates will be enrolled during this week as well. The programme is actively supported by Department of IT, BT, S&T of the Government of Karnataka.

     

     The state government through its KAVGC policy 1.0 is aimed at improving the educational infrastructure of the AVGC (Animation, Visual Effects, Gaming and Comics) industry. In order to improve the quality of the trainers in the AVGC industry, and thereby improving the overall quality of education imparted, TTT programme aims at bringing together national and international trainers to facilitate the training in different modules of various stages of production.

     

     The TTT program, chaired by ABAI secretary Ankur Bhasin, CEO of Bhasinsoft, is envisaged to provide an academically challenging educational experience through effective teaching, research and service, enabling candidates to acquire understanding, knowledge and skills necessary for establishing successful career in teaching and becoming responsible trainers within the animation industry.

     

    “The TTT is an innovation on jump-starting the quality of educational initiative on the digital arts environment. It assesses the pain point of who will impart new media arts learning. It will help plug a major gap in growing a talent that needs tens of thousands of employees over the next 3 to 5 years.” ABAI country head, technicolor India and president Biren Ghose.

     

     The candidates who enroll for this programme stand to gain not only six months of high-quality training but also a chance to work on live projects in a professional studio environment. This will enable the candidates to learn teaching techniques such as creative teaching methodology, class-room management, and all other aspects of AVGC.

     

    “TTT program, in its initial offering, starts with a concentrated batch of 12 candidates per batch to ensure that there is no dilution in the quality of imparted training. A separate Executive TTT course is also offered for working faculties who prefer weekend classes” says Bhasin.

     

    He added, “In my studio, Bhasinsoft, and across the industry it is seen that a large amount of good talent comes from tier 2 and tier 3 hence TTT is also planned in a way to reward trainers in the program with cash incentive for training in these cities.”

     

     Institutes stand to benefit that the candidates will be able bring the exposure and knowledge to impart quality training to students. The teaching methodology, which is a combination of a learner-centred interactive methodology and a project-based teaching, will help bridge the gap between Institute and Industry. A better education quality is bound to improve the students’ placement record, which will further enhance the reputation of Institute.

     

     The programme will be offered in two formats.

     

    1. Standard TTT Program aims to up skill candidates who are looking to enter the AVGC industry as trainers as well as 0 – 6 month of experienced current trainers/ artist in Studio.

      Duration: 6 months (5 Days a week).

     

    2. Executive TTT Program aims to up skill candidates who have 1 or more years working experience in the AVGC industry as trainers.

     Duration: 8 months (1 Week per Month / Weekend Classes).

     

    Guest speakers from renowned studios and industry experts will train the candidates on various disciplines; profound understanding will be given of the fundamentals such as design and aesthetics, storytelling and acting. The programme will have overall technical brush up and up scaling of skills at three stages viz. Pre-production, Production, Post Production; Detailed analysis and activities to understand the industry Pipeline and Work Flow management; Practical work experience at associated Studios / Production houses; Individual project based on specialization and group project for understanding and experiencing team dynamics; and Personal Development through mock lectures and group evaluations.

     

    “Indian AVGC industry is growing at a rapid pace – not only because of larger quantity of Hollywood content being worked on in India but also because of a growing domestic market. The Animation, VFX & Post Production market has grown from Rs 35.3 billion in 2012 to Rs 39.7 billion in 2013 and is expected to add over 40,000 jobs in the coming 3-4 years. For the growth to sustain and further enhance, it is imperative that the quality of students being trained improves which in turn is a result of the quality of trainers imparting the training. Hence, TTT directly addresses the need of the hour.” Ankur emphasized.

  • Get set for festival celebrating animation and VFX

    Get set for festival celebrating animation and VFX

    MUMBAI: ABAI one if India’s primary associations supporting the digital and creative arts sectors is organising Abai Fest 2013 at the University Grounds in Mysore on the 6 and 7 December 2013. This is going to be the first ever festival screening exclusive footage from all over the world in “animation and visual effects”.

    “Computer Graphics has become part and parcel of International and local content creation in film and television. It provides the digital intermediation needed by filmmakers, directors and studios to mount bigger and bolder stories, themes and projects. Too little of how this is done has been exposed to the Indian public,” said ABAI & Country Head – Technicolor India president Biren Ghose.

    Gravity, Superman, Man of Steel, World War Z, The Croods, Epic, Skyfall, Life of Pi and many other recent releases are testimony to the fact that computer graphics (CG) in digital production is now the new norm in filmmaking.

    India is rapidly becoming a global hub for major VFX production and the domestic film industry is also adopting CG rapidly as a tool helping the director to go beyond the limits of the camera.

    “Not enough awareness and screenings of animation and VFX takes place and we want to be a ‘melting pot’ venue for fun, discussion, participation and exclusively presenting content in this part of the world. Not much ‘animation’ is seen outside of the few cartoon channels,” said Ghose.

    The festival would bring some of the world’s latest showcase featuring the best of what has been created in the recent past. Directors, producers and professionals will be at hand to present, meet, discuss and exhibit the state of the art.

    “This will help open minds, hearts and doors in animation, gaming and visual effects (VFX). Come join us in experiencing the fun and festivity,” concluded Ghose.