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Tag: China Media Capital

  • How ISL is putting Indian football on the world map

    How ISL is putting Indian football on the world map

    Indians have long nursed a smouldering passion for football and sporting clubs have been around for decades in the country. A few of these hallowed clubs are over a century old, with an illustrious history and devoted fanbase of their own. In the past though, their woeful refrain was how India had yet to make a mark on the international footballing scene. That has changed over the past few years.

    When the Hero Indian Super League (ISL) gave the clarion call of ‘Let’s Football’, a new generation of football fanatics took up the cry and thus, a sports phenomenon was born. Global recognition soon followed.

     Recently, the fast developing football league has been catching the attention of international investors as well. For starters, the City Football  group plonked down top dollar  to acquire a 65 per cent stake in the Mumbai FC in November 2019. What’s noteworthy is that the group is 78 per cent owned by the Abu Dhabi United group (ADUG), 12 per cent by the American private equity firm Silver Lake with the remainder owned by Chinese firms China Media Capital and CITIC Capital  and it has stakes in in clubs in most of the football  leagues globally. The most prominent is English Premier League major Manchester City FC. The City Football group’s investment in an ISL club showed that the league has arrived on the football map.

    Then in mid-August 2020, ISL franchise Hyderabad FC announced that it had struck a two-year partnership with German Bundesliga giant Borussia Dortmund (BVB), the twelfth richest football team in the world. The intent: use BVB’s experience in nurturing and developing young players, and transplant that into Hyderabad’s academy structure and coaching education. The German club will impart its expertise in technology to drive innovation apart from help expand its fan base.

     Moreover, the Hero ISL has also became the first league from South Asia to be inducted into the prestigious World Leagues Forum, which includes professional football leagues like La Liga, Bundesliga and Premier League, to name a few.

    That India was chosen by these prestigious groups speaks volumes to ISL's contribution in exhibiting the country's potential to be the next big thing in international football. Tie-ups like these are actually advantageous for both parties – while the global players get to expand their audience and fan  base in India, for the home teams it’s a chance to gain exposure and pick up new skills and techniques. It helps build synergies that make the Indian football ecosystem more diverse and competitive, while also being inclusive.

    “It’s similar to how the IPL has helped India in becoming one of the strongest cricketing teams. There are expectations for the ISL to do the same for Indian football. As a sports-loving nation, we need something besides cricket and football can be a game for the masses,” said Kaushik Chakraborty, senior vice president at Vizeum India.

    In some ways, the ISL is still a virgin league next to the EPL and other established brands. But it has emerged as a highly interesting property with global appeal, shared a media veteran. The upcoming season will host 74 overseas players contracted with different clubs. Such 'crossovers' will consequently raise the quality of football being played, especially since a handful of these athletes have played top-flight football in some of the biggest leagues in the world. As the ISL grows bigger in reach and repute, and more investment pours in, it will set the stage for A-list players to consider becoming a part of the league too.

    Investment from foreign teams not only boosts popularity but also helps Indian sides market themselves better, noted Chakraborty.

    But what about the impact of Covid2019 on ad spends?

    The good news is that select advertising categories have been showing they have the appetite to spend, Covid2019 or not, during the unique confluence of the festive period and the IPL this year.

    The question arises: will they continue to spend on the ISL now?

    The answer is a resounding yes.

    An annual event on the sports calendar, it has worked effectively for brands wanting to associate with a tent pole event that gathers a reasonably large cohort at affordable prices. ISL 2020 has already attracted sponsors – some rock solid ones. Among them: Hero, the title partner, which has been associated with the league since inception. Apollo Tyres and Nivia have signed as official partners. And more are jumping on the bandwagon.

    Brands have taken a fancy to associating with the clubs as well. Puma for instance has signed on with the Mumbai FC as its kit partner; sports news site SBOTOP.net has partnered with ATK Mohun Bagan as the team’s principal sponsor.

    Not to mention that the Premier League, the wealthiest and most-watched football league in the world, has come onboard as strategic partner. This, perhaps, is the biggest vote of confidence the homegrown ISL could ask for with regards to its prospects as a global player of the future.

    The ISL has always believed in playing offense. With the support of its sponsors and loyal viewers, it is only a matter of time before it drives India past the goal line and puts us well and truly on the world map of football. 

  • CASBAA Convention Brings Together the Biggest Wave Makers in the Broadcast industry

    CASBAA Convention Brings Together the Biggest Wave Makers in the Broadcast industry

    MUMBAI: The annual CASBAA Convention kicked off today in its new home at the Intercontinental Hotel, Hong Kong. The two-day convention, with the theme ‘Making Waves’ brought together key industry players in the broadcast, cable and satellite industry to discuss and debate the hottest topics and latest developments in the industry today. With the introduction of OTT and digital broadcast services now an established fact, key themes of the day focused on creating quality and relevant content, as well as localization, agile distribution and protection of content.

     

    To kick-start the day, Hong Kong SAR Government chief secretary for administration Carrie Lam, gave an introductory speech where she underscored that the rule of law and freedom of expression were vital to the fundamental strength of the HK broadcast industry. She also highlighted that the HK SAR government believes that investing in creative talent is key to driving growth of the creative industries and so launched the Create Smart initiative which supports students in tertiary education focusing on TV or media studies.

     

    The AOL Digital Prophet David Shing, then looked at content consumption from the audience perspective, highlighting how humans were at the heart of everything and that “technology changes behavior not needs” when looking at the key developments in the digital landscape. Also in a world where people are creating and publishing their own content, it’s important to note that “creativity still rules over technology” as content is now competing with popular culture. China Media Capital Chairman Li Ruigang, commented how there was huge demand from China for premium content yet “while content is important, there is the need to build up a sustainable system to continue to be able to create more content”. Ruigang also discussed how key global partnerships such as Warner Bros, Dreamworks, and Legoland were central to CMC’s strategy of establishing a solid content ecosystem. He also took the opportunity to announce that his company is buying the China Soccer League to further advance the company’s content and distribution strategy.

     

    New content platforms in Asia were discussed when Janice Lee from PCCW gave more detail on the company’s new global Viu OTT platform, announced just yesterday. She mentioned how the company had to become extremely agile in turning around their content in multiple languages to stay competitive as well as beat illegal content, “Windowing has become very important, we get our content out in multiple languages in just eight hours. Historically this didn’t happen, which gave room for piracy.” Mike Hyun-dong Suh of CJ E&M discussed how partnerships were also key to distribution of content, citing a recent collaboration with Japanese app Naver as an example. He also illustrated how taking content offline through events was also important to engage fans. Greg Beitchman from CNN International discussed the need to have content that worked across all their screens and that this was meeting with success. “Digital touchpoints are enhancing our appeal rather than cannibalizing what we do on TV,” he commented. CNNI also commented on localization, highlighting how it had helped make them “more, not less, relevant.”

     

    Alon Shtruzman from Keshet Media, creator of Homeland and other key global formats, maintains that content is, as ever, ‘king’. His company is starting to look further afield for content and he believes ‘Asia is a goldmine for content’ though not without some heavy legwork in understanding what does and doesn’t work in the market.

     

    How to engage with fans with content was discussed by Victorious CEO Sam Rogoway,  who believed their creation of a community of superfans would “change the way fans interact and engage with content.” The inception of the ‘passion graph’ would bring together like-minded individuals that would help drive deeper engagement of content, even when there was no new content available. Distribution of content was discussed by SpaceX President and COO Gwynne Shotwell, who’s company is investigating the feasibility of launching 4,000 satellites into space with a view to connecting people in remote areas throughout the planet.

     

    SeaChange CEO Jay Samit took a hard line on the future of the pay TV business “the pay TV business as we know it is dead. The majority of content is not linear and we need to adapt quickly or die.” With content now being accessed increasingly online, it’s possible to work out who’s watching what at home and provide relevant content based on that. “Pay TV will be completely data driven,” he added. “With social analytics now shaping content offers, the bottom line is you will go out of business if you don’t know who your consumer is.”

     

    Piracy of content was next on the agenda with Mark Mulready of Irdeto showcasing just how difficult it is to distinguish legal from illegal content sites. The Police Intellectual Property Crime Unit example from the UK, where an infringing website list of illegal websites is published and flagged to advertising brands, was flagged a great initiative to disrupt pirate sites. “Through working with the advertising industry, we can remove the incoming revenue to these illegal sites,” commented Det. Chief Supt. David Clark of City of London Police. It was also agreed that it was everyone’s responsibility – whether channel or creator – to protect the value of content. Are Mathisen from Conax AS encouraged all content owners to embrace new technology to combat content theft.

     

    With piracy followed the issue if regulation where Ajit Pai from the US Federal Communications Commission and R.S. Sharma from the Telecom Regulatory Authority of India both agreeing that governments should take a less restrictive approach to regulation to allow new business models to take shape.

     

    A video note from UK actor and writer, James Corden, now host of the US The Late Late Show, concluded today’s session at the convention. Corden discussed how he saw his task was making a brilliant hour of TV every night. “All we really want to do is make a show that is different and feels fresh every night. If you think about it from the internet first then you will come unstuck.” He emphasized the importance of a great creative team and how they try to innovate with new features constantly to be as entertaining as possible. Finally when asked if he was tired doing 44 shows a year, he commented “It’s a luxury to be tired from doing something you love and always dreamt of.”

     

    Sponsors for the CASBAA Convention 2015 include: ABS, Accedo, Akamai, AMC, APT Satellite, AsiaSat, Asia Television Limited, Brightcove, Conax, ContentWise, CreateHK, Discovery Networks Asia-Pacific, Eutelsat, France 24, Ideal Group, InvestHK, Irdeto, ITV Choice, Kantar Media, Letv, Lightning, MEASAT, MediaExcel, One Championship, Patron Spirits, PCCW, PwC, RTL CBS Asia, Scripps Networks Interactive, SES, TIME NOW, The University of Chicago Booth School of Business, Time Warner, True Visions, Turner, TV5Monde and Victorious.

  • Warner Bros & China’s CMC ink joint venture to make films

    Warner Bros & China’s CMC ink joint venture to make films

    MUMBAI: In anticipation of Chinese President Xi’s state visit to the United States, China Media Capital (CMC) and Warner Bros. Entertainment have inked a joint venture to deepen the cultural exchange between the two countries.

     

    They joint venture company called Flagship Entertainment Group Limited will develop and produce a slate of Chinese-language films, including global tentpoles, for distribution around the world, including China.

     

    Flagship Entertainment will be owned 51 per cent by CMC – with Hong Kong broadcaster TVB holding 10 per cent of the CMC-led consortium – and 49 per cent by Warner Bros.

     

    The new entity will combine the expertise of Hollywood’s largest studio with China’s preeminent investment and operational platform dedicated to media and entertainment. Flagship Entertainment’s goal is to capitalize on the rapidly growing market for premium content globally, particularly in China, and the increasing demand for high-quality Chinese-language movies around the world.

     

    Warner Bros chairman and CEO Kevin Tsujihara said, “We look forward to working with CMC in this exciting new venture, as we gain additional insight into the Chinese film industry. Warner Bros. has a proud legacy of making great movies, and we’re excited to share that expertise with our colleagues in China. The country’s incredibly rich history and culture provide a huge trove of great stories, and we want to help tell those stories for new generations of filmgoers, in China and around the world.”

     

    CMC founding chairman Ruigang Li added, “CMC has been actively investing and operating throughout the ecosystem around the explosive content market in China and around the world. With the proliferation of platforms available to consumers, premium content is more valuable than ever. This partnership with Hollywood’s most iconic studio will bring Warner Bros.’ deep experience in creative storytelling and unparalleled expertise in producing global titles to China’s film industry. It will also further CMC’s commitment to building a premier platform for making films that resonate with both Chinese and worldwide audiences, helping to enhance the cultural exchange between China and the rest of the world.”

     

    The new company will be headquartered in Hong Kong, with offices in Beijing and Los Angeles. 

     

    Flagship plans to develop, invest in, acquire and produce films for distribution throughout China and around the world, utilizing Warner Bros.’ global film distribution network. The first titles bearing the new imprint could be released as early as 2016. 

     

    This creative collaboration between US and China filmmaking partners also allows for the exchange of technical expertise and the development of young Chinese talent for years to come, combining Warner Bros.’ technical and creative knowledge base with CMC and TVB’s access to local talent and market expertise.

     

    Local language film production is the cornerstone of China’s booming entertainment business. As Chinese cinemagoers continue to embrace both domestic and international movies, theatre owners are adding thousands of new screens each year, and total box office is on track to surpass $10 billion annually in the next four years.

  • Imax forms 10 film fund with China Media Capital

    Imax forms 10 film fund with China Media Capital

    MUMBAI: Continuing to expand its footprint in the Chinese market, Imax Corporation has created the Imax China Film Fund with its subsidiary Imax China and China Media Capital, to help fund a minimum of 10 tentpole films in Mandarin.

     

    The China Film Fund, which will be capitalized at up to $50 million initially, will target productions that can leverage the Imax brand, relationships, technology and release windows, with the flexibility to produce Imax and non-Imax content, and develop original films or co-finance studio productions.

     

    Led by CMC founding chairman Ruigang Li, China’s prominent media and entertainment focused investment fund, acquired a 10 per cent interest in Imax’s China subsidiary in 2014.

     

    The intent of the China Film Fund is to leverage favorable current trends in the Chinese market, strengthening the Imax brand and capitalizing on relationships across studio, exhibitor and local distribution partners, as well as content creators. The Fund also is meant to support an existing slate of successful Chinese Imax DMR product including such past titles as The Monkey King and Dragon Blade, and leverage CMC’s experience within China’s content-creation industry.

     

    “For more than a decade, Imax has strived to be and continues to work toward being a part of the Chinese entertainment ecosystem,” said Imax CEO Richard L. Gelfond from Shanghai, where he delivered a keynote address at the Shanghai International Film Festival.

     

    “This fund is the next step in that evolution as it allows us to join with our good partner CMC and work closely with the country’s top filmmakers to bring to Chinese audiences and to export to international audiences top-quality Mandarin content,” Gelfond added.

     

    “CMC has witnessed, and been part of, the exciting development of China’s film industry through this most dynamic time with a series of strategic investments. We are determined to continue this effort, and we believe that by teaming up with our partners such as Imax, which has world-class industry leading technology and an extensive global network, we will be able to create a technology-driven force that is unique and immensely helpful to China films’ realizing their full potential in the global market,” added CMC chairman Li.

     

    “Imax is committed to continuing our growth in China and meeting the rising demand of Chinese audiences for premium content. Coupled with the significant expansion of the Imax theatre network in China, totaling more than 205 Imax screens to date, the establishment of this Imax China Film Fund points directly to our pledge to help grow the Chinese film market,” said Imax China CEO Jiande Chen.

     

    Through the Fund, Imax China and CMC will be able to provide new digital content to theatres throughout China, as well as to select theatres in Imax’s global network. The Fund will target contributions of between $3 million and $7 million per film, and will operate under an Imax-CMC greenlight committee. The Fund is also in discussions with additional investors.

  • FremantleMedia inks JV with Shanghai Media Group

    FremantleMedia inks JV with Shanghai Media Group

     

    MUMBAI: FremantleMedia has inked an exclusive joint venture deal with Shanghai Media Group’s (SMG) BesTV and China Media Capital (CMC). Under the JV, the companies will create and develop entertainment formats for the China market, set to reach millions of viewers on Dragon TV and BesTV platforms, and take proprietary China content to the world market through FremantleMedia’s global distribution network.

     

    Based in Shanghai, the bespoke development team will include international experts and local producers and will draw on FremantleMedia’s creative strength to develop original entertainment IP. Outside of mainland China, FremantleMedia International will represent the newly-created IP through its worldwide distribution network. 

     

    FremantleMedia global CEO Cecile Frot-Coutaz said, “The Chinese television market is rapidly becoming one of the most important in the world. This new relationship with BesTV, SMG and CMC allows FremantleMedia to build on its existing presence in China and strengthen our ties in this territory. It brings with it the opportunity for FremantleMedia to showcase its world-renowned creativity to millions of new viewers, with content that is made specifically for them.”

     

    CMC founding chairman Ruigang Li added, “China’s TV sector is undergoing the most exciting transformation, and the value of premium content is being created and manifested with unprecedented enthusiasm. CMC is delighted to team up with SMG and FremantleMedia, a global leader in entertainment content, to bring together the profound understanding of the market, the established creative capacity and the strength of a global network to further shape the China TV landscape and take more of China’s original content to the world market.”

     

    SMG president Madame Wang Jianjun said, “We envision BesTV to be a new media conglomerate after the restructuring and China’s foremost OTT service provider. It will build a new media eco-system in which BesTV straddles over content production, distribution channels, and products and services. As format and idea development is a key part in content production, the joint venture will undoubtedly bring the best resources from all the companies together and gives a strong boost to BesTV. The collaboration will give SMG the wonderful opportunity to learn how to create good ideas and how to grow these ideas into formats and productions. It will greatly enhance SMG’s production capacity and help SMG make phenomenal variety shows in the future.”

     

    FremantleMedia Asia Pacific CEO Ian Hogg added, “This is a ground breaking deal, not only for Best TV, SMG, CMC, and FremantleMedia, but for Chinese audiences. The opportunity to create and execute story telling that focuses on Chinese values and tastes blended with western structure and creativity is a very powerful combination.”

     

    FremantleMedia has already forged strong relationships with a number of China’s broadcasters and has licensed around 20 titles, including Got Talent, Idols, The X Factor, Don’t Stop Me Now, Take Me Out Hole in the Wall and Family Feud.

  • Rupert Murdoch sells Fox’s TV stake in China

    Rupert Murdoch sells Fox’s TV stake in China

    MUMBAI: After divorcing his third wife, Wendi Deng, Rupert Murdoch has ended all ties with China by selling off 21st Century Fox’s minority stake in the broadcaster Star China TV to a private equity.

     

    Star China’s majority shareholder since 2010, China Media Capital, has agreed to buy Murdoch’s remaining 47 per cent stake for an undisclosed sum, estimated to be roughly $150 million.

     

     

    The existing Chinese management team will remain in place, broadcasting three Mandarin channels and producing China’s Got Talent.

     

    The move means that it is the final stage of a retreat from China, which Rupert Murdoch has tried to crack since 1993.

     

    However, as part of 21st Century Fox, Star TV, will now continue to focus its ambitions on India.

     

    James Murdoch oversees 21st Century Fox’s international businesses.