Tag: cinema

  • “Wiz Films will always venture into new creative formats”: Wiz Films’ Viraf Sarkari

    “Wiz Films will always venture into new creative formats”: Wiz Films’ Viraf Sarkari

    Mumbai: In today’s dynamic entertainment landscape, the art of storytelling takes myriad forms, capturing hearts and minds across cultures and generations. Diverse content creation has become the heartbeat of modern narratives, where stories unfold in multifaceted ways—from riveting films and immersive series to innovative formats that challenge conventions.

    Amidst this vibrant tapestry, Wiz Films emerges as a beacon of creative brilliance, driven by a mission to craft distinctive content that establishes meaningful connections and resonates with a diverse global audience. Wiz Films, driven by a deep commitment to storytelling, thrives on captivating imaginations through innovative technologies and diverse formats. Beyond films and series, they offer line production, film liaison services across regions, and content syndication. As it ventures into filmmaking, Wiz Films aims to become a global production powerhouse, delivering entertaining and valuable content for audiences, and create value for stakeholders.

    Indiantelevision.com in conversation with Wiz Films director Viraf Sarkari delved deeper into Wiz Films’ inception, its target audience, the inspiration behind the latest film ‘Kadak Singh’, and more…

    Sarkari, a dynamic professional and prominent figure in the entertainment industry, stands as one of the co-founders of Wizcraft and serves as a director of Wiz Films. He has produced and directed Broadway-style musical productions like Zangoora, the world’s largest and longest-running Bollywood musical, and Jaan-e-Jigar in Dubai Parks & Resorts. As a seasoned producer and director, Viraf has orchestrated global sporting opening and closing ceremonies, mega concerts with renowned artists, and film award ceremonies. Currently, he has expanded his horizons to produce and direct innovative content for OTT platforms and cinema releases, involving ventures such as web series, docu-series, feature films, ad films, and music videos. His diverse portfolio underscores his influential role in shaping the landscape of entertainment on a global scale.

    Edited Excerpts:

    On the inception of Wiz Films

    Wiz Films was conceived as a natural progression in our three-decade-long journey in the entertainment and live events industry. With 36 years of experience in organising diverse formats such as corporate events, parties, award functions, concerts, and musical and theatrical productions, Andre, Sabbas, and I sensed the opportunity to extend our expertise to film production. This expansion marks a significant milestone for us, completing the circle of our journey in the dynamic world of entertainment.

    On Wiz Films setting itself apart from so many production houses in terms of storytelling and content creation

    Wiz Films distinguishes itself in the realm of storytelling and content creation by focusing on the essence of meaningful cinema. While we acknowledge our presence in the industry, with just one film to our credit, we refrain from drawing direct comparisons with other production houses. Our primary goal is to craft compelling narratives inspired by true events, striving to deliver impactful and high-quality films that resonate with audiences. At Wiz Films, our commitment lies in bringing forth the best stories to the world, contributing to the cinematic landscape with authenticity and purpose.

    On Wiz Films having a niche genre or specific audience that it primarily targets, or is it more about universal appeal

    Wiz Films strives itself on exploring a diverse range of genres to cater to a broad audience. Whether it’s a compelling family drama, a gripping murder mystery, a laugh-out-loud comedy, an adrenaline-pumping action film, a quirky and unconventional movie, or a heartwarming romantic story, we are open to it all. Our primary focus lies in identifying exceptional stories and well-crafted scripts. The key criterion for us is a narrative that stands out and has the potential to captivate audiences. We prioritise uniqueness, steering away from current trends to bring fresh and engaging content to audiences across the world.

    On any new genres or forms that Wiz Films is keen on exploring in the near future

    Wiz Films will always venture into new creative formats. We are exploring the possibilities of adapting our Broadway-style Bollywood musical production “Balle Balle” a big fat Indian wedding.

    On the inspiration behind ‘Kadak Singh’, and Wiz Films seeing this film contributing to the current cinematic landscape

    Kadak Singh was conceived 12 years ago, and after a dedicated six-year production effort, we successfully brought it to fruition. The primary focus throughout this journey was crafting a unique and compelling script, which we believe sets the film apart. Contributing to the current cinematic landscape, Kadak Singh stands out as a multi-genre experience—blending elements of family drama, crime, romance, and comedy. The film’s distinctiveness lies not only in its diverse genres but also in its well-crafted screenplay. Overall, Kadak Singh offers a fresh perspective, enriching the cinematic landscape with its innovative approach.

    On Wiz Films approaching the production of diverse content, such as web series, docu-series, feature films, ad films, and music videos

    Wiz Films adopts a tailored approach to producing diverse content, spanning web series, docu-series, feature films, ad films, and music videos. Each genre is handled by a dedicated team of specialists, ensuring a focused and nuanced execution. For instance, when working on a docu-series, we enlist a director with expertise in that specific format. The same principle applies to web series, feature films, ad films, and music videos, where teams are curated based on their proficiency in the respective genres. This strategic allocation of specialized teams allows Wiz Films to deliver high-quality and targeted content across a spectrum of creative formats.

    On your film liaison services across India, Southeast Asia, and the Middle East, are there any collaborations or partnerships on the horizon that audiences should be excited about

    Currently, we are working on a project which is an exciting Indo-Bollywood collaboration tentatively titled “Children of God”. With this project we will explore to leverage the technical expertise and creative talent from both Hollywood and Indian Cinema, presenting a unique and ground-breaking production. As technology advances rapidly, our goal is to stay ahead of the curve. We envision creating interactive films and embracing emerging trends such as VR movies, 3D, and 360-degree experiences.

    On Wiz Films’ future plans and aspirations, including any new market entries or the exploration of emerging trends in the entertainment sector

    Wiz Films has a clear vision for the future, focusing on creating captivating films with global appeal. As technology advances rapidly, our goal is to stay ahead of the curve. In our strategic planning, we are exploring the integration of technology and creativity. By constantly updating ourselves with the latest technology, we aim to position Wiz Films as a leading force in the industry, where the world becomes our stage. Our commitment is to remain current and innovative, ensuring our films resonate with audiences globally. 

  • Chrome Pictures has continued to push boundaries of storytelling through its film production

    Chrome Pictures has continued to push boundaries of storytelling through its film production

    Mumbai: As the year draws to a close, Chrome Pictures production house with cutting-edge advertisements and films, takes a moment to reflect on a year supposed to have creativity, innovation and success.

    In the ever-evolving landscape of the entertainment industry, Chrome Pictures has continued to push boundaries of storytelling through its approach to film production. With a commitment to quality, originality and diverse narratives, the production house positioned itself as a trailblazer in the world of cinema. Led by a dynamic team of founders and directors, Amit Sharma, Aleya Sen, Hemant Bhandari, and a talented in-house roster, Chrome Pictures has nurtured filmmakers who have grown to become influential figures in the ad industry.

    After making a mark of its feature film debut, the national award-winning & ‘Badhaai Ho’, Chrome Pictures ventured into Original Web Films for OTT platforms. ‘’Trial Period’’ released on 21 July 2023, directed by Aleya Sen, starring Genelia Deshmukh and Manav Kaul, presented yet another unique concept of ‘Father on rent’ that struck a chord with the audience. The reviews ranged from ’Being an ode to familyhood’ to being “an unavoidable, feel good film”. Likewise, ‘’Lust Stories 2 (Tilchatta)’’, Directed by Amit Sharma left a lasting impact. His much talked about film, “Maidaan”, starring Ajay Devgn is awaited.

    Both releases received esteemed awards – Genelia Deshmukh received a Talentrack award for Best Actor in a Comic Role (Female) for ‘Trial Period’ and Amit Sharma received the Top 10 most popular Indian movies (Streaming) of 2023 IMDb award for Lust Stories 2.

    Chrome Pictures filled the advertisement space this year with campaigns for “Mahindra Automotives”, “VI #BeSomeonesWe”, “Astral Pipes” #AccessToCleanWater, “Colgate” #ToothlessGranny, “TATA IPL”, “Lever Ayush” and “Titan Raga” directed by Amit R. Sharma, “Piramal Finance” – Hum Kaagaz Se Zyaada, Neeyat Dekhte Hain, “Glow & Lovely” #KaamyabiKeRangDikhao and “Limca” – Sab Nichord Le #MatThak by Hemant Bhandari, “Asian Paints” #MeraWalaMood in collaboration with Ogilvy aired during the festive season, “HDFC” #ZindagiKeLiyeSIP and “Flite” – #SarUthaKadamBadha by Advait Chandan. The other talented directors of Chrome Pictures kicked off campaigns throughout the year.

    Among them are the “Epigamia” and “Britannia Bourbon” Ads and the recent “IndusInd Bank” Ads directed by Roopali Singhal which was aired during the recent ICC Men’s Cricket World Cup. Much talked about “Astral Pipes” #BharosaChuno, “Digital India ka TATA IPL” and “Cadbury Celebrations” #BrothersWhoCare was directed by Rai.

    “Lipton” Darjeeling Green Tea directed by Debanjolie Bhattacharjee and “MTR” Badam Milk directed by Mithun Shaw. Throughout the year, Chrome has successfully delivered a diverse range of projects that have captivated audiences globally. Amongst the many accolades that Chrome Pictures has won this year, some of their best ads won multiple awards, mainly –

    1. ‘Dove #StopTheBeautyTest’ | Directed by Amit Sharma – Cannes Lion Award, D’& D Award, LIA Award, Kyoorius creative award, TheAbbys, INDIAA awards.

    2. Truecaller | Buri Nazar Waale Tera Call Laal | Directed by Amit Sharma -Spikes Asia award, TheAbbys, Kyoorius Creative Award, INDIAA awards,

    3. Mutual Funds #ZindagiKeLiyeSIP |Directed by Advait Chandan- INDIAA awards

    4. Epigamia | Directed by Roopali Singhal – New Director Lotus – AdFest Award.

    Speaking of expansion, Director Aleya Sen talked about their latest launch CRIMSEN TALES, a Creative Lab. “It’s an initiative of bridging gaps between Industry stalwarts and young talents. There is untapped young talent in abundance today, Crimsen is a stepping stone in finding the best of talents in various fields and providing opportunities”. Their first workshop at Soho house with top women producers of Industry made noise and was well received.

    On the other hand, Chrome’s digital wing, Minikin DG Works, has continued to ardently focus on delivering and catering specifically to the ever-growing modern demands of the virtual market. It is one of the most progressive and cost-effective ways of communication.

    Looking forward to the coming year, Chrome Pictures is poised for achievements. With a slate of projects in the pipeline and a continued commitment to pushing boundaries, the team is set to make a mark in the world of entertainment.

    As we bid farewell to 2023, Chrome Pictures expresses gratitude to its dedicated team, partners and the audience for their unwavering support. The production house looks forward to continuing its journey of innovation, storytelling and excellence in the years to come!

    Film Links –

    1. Trial Period – Official Trailer | Genelia Deshmukh | Manav Kaul | Streaming Free 21 July | JioCinema

    2. VI #BeSomeonesWe -#BeSomeonesVi | VI | CHROME PICTURES Director: Amit Sharma,

    #BeSomeonesWe | VI | CHROME PICTURES Director: Amit Sharma

    BeSomeonesWe | VI | CHROME PICTURES Director: Amit Sharma

    #BeSomeonesWe | VI | CHROME PICTURES Director: Amit Sharma

    3. Astral Pipes #AccessToWater – https://youtu.be/Ru48Xrx12qI? Feature=shared

    4. The Toothless Granny | Colgate Strong Teeth | CHROME PICTURES Director: Amit Sharma

    5. Digital India Ka TATA IPL | JioCinema | CHROME PICTURES Director: Rai

    6. Not Aaaahh! | Lever Ayush | CHROME PICTURES Director: Amit Sharma

    7. #LoveYourselfBoldly | Titan Raga | CHROME PICTURES Director: Amit Sharma

    8. Hum Kaagaz Se Zyaada, Neeyat Dekhte Hain | Piramal Finance| CHROME PICTURES Director: Hemant Bhandari

    9. #KaamyabiKeRangDikhao | Glow & Lovely | CHROME PICTURES Director: Hemant Bhandari

    10. Sab Nichord Le #MatThak | Limca | CHROME PICTURES Director: Hemant Bhandari

    11. #ZindagiKeLiyeSIP | HDFC Mutual Fund | CHROME PICTURES Director: Advait Chandan

    12. Sar Utha Kadam Badha- Flite | Relaxo | CHROME PICTURES Director: Advait Chandan

    13. Asian Paints #MeraWalaMood – #MeraWalaMood | Asian Paints | CHROME PICTURES Director: Advait Chandan

    #MeraWalaMood | Asian Paints | CHROME PICTURES Director: Advait Chandan

    #MeraWalaMood | Asian Paints | CHROME PICTURES Director: Advait Chandan

    #MeraWalaMood | Asian Paints | CHROME PICTURES Director: Advait Chandan

    #MeraWalaMood | Asian Paints | CHROME PICTURES Director: Advait Chandan

    #MeraWalaMood | Asian Paints | CHROME PICTURES Director: Advait Chandan

    14. Tell me something new! | EPIGAMIA | CHROME PICTURES Director Roopali Singhal

    15. It’S Chocolate, Chocolate, Chocolate | Britannia | CHROME PICTURES Director: Roopali Singhal

    16. IndusInd Bank presents INDIE | IndusInd Bank | CHROME PICTURES Director: Roopali Singhal

    17. Bharosa chuno | Astral Pipes | CHROME PICTURES Director: Rai

    18. #BrothersWhoCare | Cadbury Celebrations | CHROME PICTURES Director: Rai

    19. Digital India Ka TATA IPL | JioCinema | CHROME PICTURES Director: Rai

    20. “Is a masterpiece!” | Lipton Darjeeling Tea | CHROME PICTURES Director: Debanjolie Bhattacharjee

    21. MTR Badam Milk | MTR Foods | MINIKIN DGWORKS Director: Mithun R Shaw

    22. #StopTheBeautyTest | DOVE | CHROME PICTURES Director: Amit Sharma

    23. Truecaller – Buri Nazar Waale Tera Call Laal | Dir. Amit Sharma

  • Inox brings T20 Men’s World Cup 2022 in cinemas; inks deal with ICC

    Inox brings T20 Men’s World Cup 2022 in cinemas; inks deal with ICC

    Mumbai: Inox Leisure on Wednesday announced signing an agreement with the International Cricket Council (ICC) for live screening of ICC Men’s T20 World Cup 2022 matches on the cinema screens at its multiplexes across the country.

    The eighth edition of the ICC Men’s T20 World Cup commences on 16 October, with the super 12 stage kicking off on 22 October, and the final scheduled for 13 November in Melbourne.

    Inox will showcase all group matches to be played by Team India, starting with their first match on 23 October against Pakistan, followed by the semi-finals and the final match. The live matches will be screened across Inox multiplexes in more than 25 cities. Inox’s initiative of screening live matches will provide a supreme stadium-like experience in movie theatres. The comfort of the cinema hall in an air-conditioned environment will add to their overall cricket watching experience in the company of like-minded fans of the game of cricket. In addition, fans will be able to enjoy exciting food-combos and scrumptious gourmet options served at Inox cinemas while enjoying the matches.

    Commenting on the announcement, Inox Leisure chief operating officer Anand Vishal said, “By screening cricket in cinemas, we are bringing together the thrill of the giant screen experience and thunderous sound with the most loved sport in our country, and that is cricket. The excitement and emotions of the World Cup would add to this combination, resulting in a virtual treat for cricket lovers. We are grateful to the International Cricket Council for providing us with an opportunity yet again to offer an all-immersive cricket-viewing experience for the fans. We are prepared to welcome our guests and let them take their festive spirits to a new level with this cricket festival on the giant screen.”

  • IFFI invites media delegates to register for its 53rd edition

    IFFI invites media delegates to register for its 53rd edition

    Mumbai: The 53rd edition of the International Film Festival of India (IFFI), has invited media delegates to be a part of the festival. The festival, which will be held in Goa from 20 – 28 November will showcase contemporary and classic films from India and around the globe.

    At IFFI, the awaiting media delegates are filmmakers, actors, technicians, critics, academicians, not to mention fellow film enthusiasts. All of them will congregate in the tourist state of Goa to immerse themselves in an ocean of cinematic celebration and inspiration.

    IFFI said that it will celebrate the joy of cinema, the vibrant beauty of the stories these films tell, and the eclectic variety of the lives, aspirations, struggles and dreams of the filmmakers themselves. Partake in the celebration of films which happens in, on and off the screens. The festival will bring not only cinematic excellence from India and across the world, but also the opportunity to be inspired by an array of masterclasses, panel discussions, seminars and other conversations.

    Information and communication, IFFI added, has a central role in the success of the festival, in propagating film culture, in cultivating genuine love for the art, in helping people soak themselves in the breadth and depth of the human condition.

    One can be a media delegate if one has completed 21 years of age as on 1 January, 2022 and belongs to a print, electronic, or a digital / online media organisation. The link for registration is https://my.iffigoa.org/extranet/media/

  • Ad spend to remain bullish this festive season

    Ad spend to remain bullish this festive season

    Mumbai: After two Covid-impacted years, the mood among consumers and advertisers for the festive season is a lot better. Media agencies expect a decent uptick in ad spends.

    The overall sentiment is positive. iProspect India executive vice president Kaushik Chakraborty explains, “Unlike the last two years, this festive season will be far more exciting. We can expect brands to encash on the positive sentiment. While media spends will be primarily driven by TV and digital, print and OOH spends will also grow,” he tells Indiantelevision.com.

    He explains further that there has been a robust growth in ad spends during festive seasons in the last three years. “In 2021, the growth was more than 20 per cent as compared to the previous year. Although the inflationary pressure will impact overall consumer sentiments, we can expect a 10 per cent plus growth in media spend this festive season.”

    The key categories that will witness a strong push in demand are e-commerce, automobiles, e-wallets, BFSI, and retail.

    “Normally, festivities contribute around 40 per cent of AdEx. A similar trend will continue this year. The bulk of the spending will happen till Diwali, and post that, advertisers will rationalise spending,” he says.

    When asked about the impact of startups being under pressure to conserve cash, he points out that startups contribute less than 13 per cent of overall AdEx. “Traditional advertising players will contribute during the festive seasons, while seasonal advertisers will continue their spending.”

    IPG Mediabrands chief investment officer Hema Malik says that ad spend growth will be 10-15 per cent. Print, radio, cinema and out-to-home (OOH) are bouncing back. She expects the print media’s festive season ad spend growth to be over 50 per cent. “This will be the first festive season in three years without restrictions. The festive season will be celebrated in full-swing on-ground. Earlier, there were issues with masks, fewer places to visit and timings. The market should see a good pick-up currently.”

    However, Malik highlights that television ad spends during the festive season will be flat due to the Indian Premier League (IPL) that happened last year. The annual advertising budget was diverted to IPL promotions. Also, the upcoming Twenty20 World Cup in Australia will take place after Diwali, which is an appropriate time and cooling-off period for advertisers. Hopefully, things will pick up in the advertising market and advertisers will likely increase their spending.

    “Companies discontinue campaigns after Diwali and take a break. There will also be a struggle due to the disappointing IPL viewership recently and also the mediocre performance of India in the Asia Cup. It will be difficult to watch the Twenty20 World Cup on television. The challenge for television is that viewership has been steadily declining. The numbers are unexplainable. It is becoming a deterrent to price revisions. This has been a perennial issue for a couple of months now,” Malik tells Indiantelevision.com.

    Elucidating further on the startup situation, she says, “Startups are facing a slowdown that is another challenge for television and digital media. Big sports properties will come under pressure. Other categories will fill up the gap, and selling inventory will not be an issue. The issue is whether those companies would be willing to spend as much as startups who have a target reach.”

    Filling up inventory is never an issue for television, Malik explains further. It is yield maximisation that will be the challenge. The startup issue will also have an impact digitally. “The dampener is the startups and new-age companies that are under a slowdown this year. That is impacting the advertising mood and AdEx growth, she adds.

    She adds that a few categories are firing, but not all. She expects categories like confectionery, paint, and jewellery to do well. “They will come back in full force. Retail is expanding into more areas. E-commerce will also be there,” she concludes.

  • PVR expecting full recovery over the next couple of quarters: Chairman & MD Ajay Bijli

    PVR expecting full recovery over the next couple of quarters: Chairman & MD Ajay Bijli

    Mumbai: At the investor conference call post the announcement of its first quarter results, multiplex chain PVR’s chairman and managing director Ajay Bijli, said that the company is expecting a full recovery over the next couple of quarters.

    “Given the excellent performance of the movies in the last few months and a very promising lineup of content that is up for release during the rest of the year, we are expecting a full recovery in admissions and advertising income over the next couple of quarters. I believe that this year will be a great year for the company,” he added.

    PVR CFO Nitin Sood noted that there is still a large segment of people who have not shown up at the cinemas. “Our sense is that it will take a few months for the full recovery to play out as more films get released across theatres, as more genres of films get released across theatres, whether it is Hindi films or big tent poles like Avatar, which will draw consumers back to cinemas. So, the full recovery will take another six months to play out. Our sense is that by December 2022, when we have had a big run of films, effectively, recovery should take shape fully, because you must also understand that in a country like India, there is a very large segment of people who show up at the theatres only once or twice a year. So, for that to play out, you have to give it time and see a full recovery. So, our sense is by the end of December 2022, we should hopefully be able to see some of that.”

    Offering a quick update on the progress on the proposed merger of Inox Leisure with the company, Bijli said, “Both the companies got no objection certificates from the two stock exchanges, i.e., Bombay Stock Exchange (BSE) and National Stock Exchange (NSE), on the proposed scheme of the merger, and we are in the process of filing our application for the approval of the scheme of merger with the National Company Law Tribunal (NCLT) in the next couple of weeks. I am told that the NCLT process typically takes anywhere between five and seven months, so we seem to be on track.”

    Bijli is bullish on the content pipeline moving forward, he added, “The content pipeline in the months ahead looks promising. Over the next few months, we have several big-budget Bollywood movies lined up for release, like “Shamshera,” “Lal Singh Chaddha,” “Brahmastra,” and “Vikram Vedha.” From Hollywood, we have “Bullet Train,” “Paws of Fury,” “DC League of Super-Pets,” amongst others. From the regional genre, we have “Vikrant Rona,” “Liger,” “Godfather,” and “Ponniyin Selvan.””

    On the screen expansion plans, he said that the company opened 14 screens across three properties in the last quarter and is fast ramping up its capex plan to open a total of 125 screens by the end of the current fiscal. “About a third of our new screen additions will be in the tier two and tier three cities, and we will be entering 9 new cities during the year. The entire capex will be funded through internal accruals and liquidity available to the company. Our screen portfolio currently stands at 854 screens across 173 cinemas in more than 75 cities in India and Sri Lanka,” he explained.

    When asked about Hindi movies not doing well, he said, “No, there is no issue. I think it’s too early; it’s only been three-four months since movies have started coming out, and basically, I am not going to write-off Hindi movies so soon. There are some big movies lined up.” He added that one quarter is too short a timeframe to draw any conclusions that only regional terms will dominate and Hindi will not do well anymore.  

    He said that people just want to watch whatever appeals to them and it just so happens that two big regional language films did exceedingly well and they overshadowed other releases.

    PVR Pictures’ chief of business planning and strategy & CEO Kamal Giachandani noted that Hindi films have done well. ““Gangubai,” “Kashmir Files,” “Bhool Bhulaiyaa,” even “Jug Jug Jiyo,” which came out recently, have all done well. And also, we have to keep in mind that “K.G.F” and “RRR” actually performed a lot better in the Hindi version. Whether you would categorise them as a Hindi film, or would you consider them as a Kannada or a Telugu film, is a matter of debate. It depends on which angle you are looking at it from. But we think of them as Hindi films and the way we look at it is that if “RRR” and “K.G.F,” which are films essentially dubbed into Hindi, can do so well, imagine a Hindi film in the original version with a popular actor or with multiple popular actors, will connect to the audience. Imagine the upper limit for those films. Imagine the potential for those films. So, we see it as a big positive, and those were the three elements that made us think content is done well; these four months have done so well for us,” he mentioned.

    On the admissions front he said that when the company looks at the lineup that will come in the third and the fourth quarter of the fiscal it feels fairly confident that this could turn out to be a year which will end up with aggregate admissions which are a lot better than what was achieved in 2019- 20. “We feel extremely buoyant looking at the lineup and the response that we have got from the audiences. That said, our business is of hit and miss. I think it’s best to look at it on an annual basis rather than on a quarter-to-quarter basis in terms of admissions. There are segments like Hollywood films which have a depressed number in terms of quantity. Quality is fantastic, “Dr. Strange,” “Spiderman,” “Top Gun,” all of these films have exceeded the expectations, “Jurassic World.” But as far as the quantity goes, studios are still ramping up their production. Same is the case with Hindi films, producers are still ramping up their production. There has been a lot of disruption in terms of shooting over the last two years. We could have some surprises as we move forward but I think at an annual level, the entire financial year we are looking at a very strong set of numbers in terms of admissions.”

    Talking about the ad scene, PVR CEO Gautam Dutta said that in the second quarter the company should be getting its averages a lot better than the pre-Covid numbers of Q1 as compared to Q1 of last year. “So, currently we are in a gap of about 38 per cent, which should be reduced to about 20 per cent or so in Q2. By Q3, which is really a festive period and a lot of advertisers begin to advertise, we believe that we will be within the pre-Covid levels or maybe five or seven per cent lower. I am very certain that by Q4 we will end up sort of exceeding the pre-Covid numbers. So, that is going to be the trajectory, and having said that, yes, there has also been a big churn in the advertisers who used to come earlier to now.

    “We are seeing a lot of traction with new age advertisers who have come in, some of the FMCG and the multinational brands are taking a little more time. We hope that by quarter three they would possibly be back at the cinemas, so that’s largely what it is. Retail clients are showing a quicker turnaround, and we are seeing that while the RO size is small, they are kind of coming back to cinemas much faster. So, overall, I think quarter two is going to be a little under pressure but the average will get better than what we have achieved in Q1, but Q3 is really where I believe that we will be largely in the hitting range of pre-Covid numbers,” Dutta added.

  • India’s entertainment & media industry to grow 8.8% CAGR by 2026: PwC Report

    India’s entertainment & media industry to grow 8.8% CAGR by 2026: PwC Report

    Mumbai: By 2026, the Indian entertainment & media sector is anticipated to grow by 8.8 per cent compound annual growth rate (CAGR) to reach Rs 4,30,401 crore. These figures are taken from PwC’s Global Entertainment & Media (E&M) Outlook 2022–2026, which is the 23rd annual analysis and forecast of E&M expenditures by consumers and advertisers across 52 territories.

    ”The Indian media and entertainment outlook for the next few years is quite unique. There is an exciting pace of growth of digital media and advertising led by the deeper penetration of internet and mobile devices in our market,” said PwC India partner & leader – entertainment & media Rajib Basu. “At the same time, traditional media will maintain their steady growth rate over the next few years. We shall see a very different profile of media and entertainment related businesses & revenue models emerging in the digital space once we have the rollout of 5G.”

    Key findings for India in this year’s Outlook include:

    OTT Video: The elimination of public entertainment and more time spent at home helped the total OTT revenue more than double in 2020. Revenue nearly doubled once more in 2021 as a result of this pattern. The market would still increase at a remarkable 14.1 per cent CAGR to reach Rs 21,032 crore in 2026, despite slower growth rates. Subscription services, which accounted for 90.5 per cent of revenue in 2021 and are projected to account for 95 per cent of revenue in 2026, are fueling this rapid growth.

    Video games & esports: India’s overall revenue from video games and esports is expected to rise by 18.3 per cent CAGR to Rs 37,535 crore by 2026 from Rs 16,200 crore in 2021. India is the third-fastest-growing market for video games in the world, behind Pakistan and Turkey, although still being a relatively small market given the size and population of the nation. Social/casual gaming accounted for Rs 13,244 crore, or 83.9 per cent, of India’s overall video game and esports revenue in 2021. Revenue from social/casual gaming is anticipated to grow at a 20.6 per cent CAGR and reach Rs 34,581 crore by 2026. The introduction of 5G technology to the market will be a key enabler of this segment.

    TV advertising: India’s TV advertising market had a -10.8 per cent fall over 2019 levels in 2020 as a result of the Covid-19 recession, which struck after several years of rapid expansion. This turned out to be a brief setback. This sector increased by 16.9 per cent to Rs 32,374 crore in 2021 as the country’s economy  started to expand again. By 2026, the market would have grown by 6.3 per cent CAGR, reaching Rs 43,410 crore. After the US, Japan, China, and the UK, India will soon rank as the world’s fifth-largest TV advertising market.

    Cinema: India is projected to expand at the highest growth rate among all segments throughout the forecast period, with a startling 38.3 per cent CAGR, to reach Rs 16,198 crore by 2026. India is now the third-largest market globally in terms of admissions after China and the US. More than 379 million cinema tickets were sold in India in 2021, a respectable rise over the 278 million admissions in 2020 (and higher than the 226 million admissions in the US in 2020) but a significant decrease (-85.4 per cent) from the 1.9 billion tickets sold prior to the pre-pandemic.

    Internet advertising: The Indian Internet advertising market is anticipated to grow at a CAGR of 12.1 per cent to Rs 28,234 crore by 2026. The mobile sector dominates the country’s Internet advertising business, accounting for 60.1 per cent of total revenue in 2021 and rising to 69.3 per cent by 2026 due to India’s market for mobile-first internet access. The mobile sector is dominated by display advertising, which generated 90.7 per cent of total income in 2021 but will drop to 88.9 per cent of the total in 2026. India’s revenue from wired Internet access was Rs 6,379 crore in 2021, and it is expected to grow at a CAGR of 6.3 per cent to Rs 8,829 crore by 2026.

    Out-Of-Home Advertising: One of the strongest comebacks globally is being made by the out-of-home (OOH) advertising market in India, which is expected to rise at a 12.57 percent CAGR to reach Rs 5,562 crore in 2026. One of the sharpest market downturns and the largest revenue decline among the main economies of the world, total OOH revenue recovered by 63.4 per cent in 2021 over the levels of 2020. The total OOH revenue in 2021 reached Rs 3,076 crore. The momentum of this rebound will carry over into 2022, and by year-end the market will be at the value Rs 4,084 crore.

  • PVR Cinemas partners with Cinionic to provide 100 percent laser projection

    PVR Cinemas partners with Cinionic to provide 100 percent laser projection

    MUMBAI: PVR Cinemas has announced an expanded preferred partnership agreement with Cinionic, the world’s leading provider of laser cinema solutions, to power 500 screens with Barco Series 4 4K laser projection. On completion of the rollout on new and existing screens, PVR will be the first exhibition chain in India to go 100 percent 4K RGB laser projection. The announcement was made at CineEurope, a European convention and trade show for major, regional and independent cinema exhibitors, which is taking place this week in Barcelona.

    The Barco Series 4 family from Cinionic features next generation 4K laser projection that supports sustainability with reduced waste, lower energy consumption, and an extended lifetime. The thoughtfully designed Series 4 moves away from the use of consumables, utilizing reusable components like air filters, and the laser light source eliminates the need for lamps and their subsequent replacement and disposal. All models within this leading laser projection range are also exceptionally efficient, reducing power consumption with smart power management, minimized heat dissipation, and increased operational efficiency.

    PVR chairman & managing director Ajay Bijli said, “PVR is aligned to the Climate Action SDG goal of the United Nations and has committed to lower its emission and reduce its carbon footprint. The BARCO Series 4 4K RGB laser projectors is a sustainable investment from PVR as part of its endeavor to make changes in operational practices for reducing emissions and conserve energy for a sustainable future”.

    This announcement continues a long-standing partnership between PVR and Cinionic as together they work to elevate the cinematic experience for audiences in India. Laser Projection by Cinionic delivers exceptional presentation quality with vivid colours, high brightness, and clear on-screen images. Through the expanded agreement with Cinionic, PVR will also benefit from Cinionic’s enhanced services with Cinionic Cloud, a digital platform for managed services through remote connectivity, improving the performance and optimizing the cost of operation over time. Cinionic services help to ensure worry-free operations for cinemas, by monitoring the health of the projector, predicting service interventions in advance, and minimizing screen downtime.

    “PVR continues to enhance the theatrical experience for India, offering cinematic excellence and a commitment to a sustainable future. We are proud to expand our strong relationship with PVR to deliver a fully laser-powered theatrical experience. The eco-friendly Barco Series 4 offers audiences across India a greener way to go to the movies” said Cinionic CEO Wim Buyens.

    In observing evolving trends in the cinema exhibition industry, energy-efficient and eco-friendly product designs are gaining momentum. Energy is no longer simply an internal cost factor. Today’s leading exhibitors are looking for ways to reach their sustainability goals without sacrificing quality and identifying how every part of their cinema value chain can contribute towards supporting a greener value proposition.

  • Global entertainment & media revenues surge to $2.3 trillion; OTT growth to moderate: PwC

    Global entertainment & media revenues surge to $2.3 trillion; OTT growth to moderate: PwC

    Mumbai: Last year, the global entertainment and media (E&M) industry grew significantly faster than the world economy as a whole. Following a 2.3 per cent dip in 2020 due to the pandemic, E&M sales increased by a solid 10.4 per cent in 2021, from $2.12 trillion to $2.34 trillion.

    Virtual reality (VR) and gaming are significant growth drivers for the industry as it becomes more digital, mobile, and youth-focused, and digital advertising permeates every aspect of the industry. These conclusions are drawn from PwC’s Global Entertainment & Media Outlook 2022–2026, which represents the 23rd annual research and forecast of E&M spending by consumers and advertisers across 52 countries & territories.

    Findings in this year’s Outlook include:

    – After growing by 35.4 per cent in 2020, OTT (over-the-top) video revenues increased by 22.8 per cent in 2021, to $79.1 billion. The rate of OTT revenue growth is anticipated to slow slightly; it will increase at a 7.6 per cent CAGR (compound annual growth rate) through 2026, pushing revenues to $114.1 billion.

    – Traditional TV still brings in a sizable amount of money, but it is facing intense competition from OTT streaming services. Global sales are expected to shrink at a CAGR of -0.8 per cent, from $231 billion in 2021 to $222.1 billion in 2026.

    – Revenue from video games and esports worldwide was $215.6 billion in 2021, and it is anticipated to increase by 8.5 per cent CAGR to $323.5 billion in 2026. With $109.4 billion, Asia Pacific produced the majority of the world’s revenues in 2021, more than double the second-highest region, North America. Gaming has overtaken video and communications as the third-largest data-consuming E&M content category.

    – Despite starting from a small base, VR continues to be the fastest-growing E&M segment. Following a strong 39 per cent growth in 2020, global VR spending increased by 36 per cent y-o-y to $2.6 billion in 2021. The segment is anticipated to grow at a CAGR of 24 per cent between 2021 and 2026, reaching $7.6 billion. With $1.9 billion in revenue in 2021, gaming content is the main source of VR revenue. By 2026, this should rise to $6.5 billion, or 85 per cent of all VR revenue.

    – Due to its widespread use in the digital sphere, advertising now dominates its own industry sector. After falling by almost seven per cent in 2020, advertising increased by an astonishing 22.6 per cent in 2021, reaching $747.2 billion. Advertising is expected to expand at a 6.6 per cent CAGR through 2026, driven nearly entirely by digital. The revenue from internet advertising is expected to increase even more quickly, increasing at a CAGR of 9.1 per cent. Advertising is anticipated to exceed consumer spending and internet access in 2026 to become a one trillion dollar business and the largest E&M revenue stream.

    – In 2023, global cinema revenue is anticipated to hit a new high of $46.4 billion after experiencing losses due to the pandemic. Box office revenue is anticipated to grow by 18.9 per cent CAGR from $20.8 billion in 2021 to $49.4 billion in 2026. In 2020, China surpassed the US to become the world’s biggest cinema market, and it is predicted that it will continue to hold this position through 2026.

    – In 2024, live music revenue is anticipated to surpass pre-pandemic levels. Recorded music sales are expected to increase from $36.1 billion in 2021 to $45.8 billion in 2026, driven by the development of digital music streaming subscriptions.

    – Massive data consumption is being fueled by the expansion of content. Data consumption was 2.6 million petabytes (PB) in 2021, and it is projected to increase by 26 per cent CAGR to 8.1 million PB by 2026. With a predicted CAGR of 29.6 per cent, gaming will consume data at the quickest rate during the projection period. The fastest-growing device category between 2021 and 2026 will be mobile handsets, growing at a CAGR of 28.8 per cent and predicted to increase mobile data usage from 1.1 PB to 3.8 PB.

    PwC Germany Global Entertainment And Media Industry Leader Werner Ballhaus said, “Industry press tends to focus on the companies that have dominated the E&M industry. But it is the choices that billions of consumers make about where they will invest their time, attention and money that are fueling the industry’s transformation and driving the trends.  We are seeing the emergence of a global E&M consumer base for the coming years that is younger, more digital and more into streaming and gaming than the current consumer population. This is shaping the future of the industry.”

    North America dominates per capita E&M, but faster growth resides elsewhere: Regionally, North America has by far the biggest E&M expenditures per capita at $2,229, nearly double that of Western Europe’s $1,158. In contrast, Asia Pacific, which had E&M sales of $844.7 billion in 2021, had a per-capita expenditure of $224. Of all regions in the world, the Middle East and Africa spend $82 less per capita on E&M.

    While OTT video and gaming account for the majority of revenue growth, esports and the cinema industry are also experiencing rapid expansion. Latin America, the Middle East, Africa, and Asia make up the top ten growth markets by CAGR. The countries with the best prospects for E&M consumer spend growth over the five-year forecast period are Turkey (estimated 14.2 per cent CAGR), Argentina (10.4 per cent), India (9.1 per cent), and Nigeria (8.8 per cent).

    The metaverse awaits: The metaverse may soon develop into a wonderfully realistic environment where people may access immersive virtual experiences using a VR headset or other connecting device. The potential financial and commercial worth of the metaverse extends far beyond VR because it is an evolution that might fundamentally alter how companies and customers engage with goods, services, and one another. Over time, a significant portion of the profits from video games, musical performances, advertisements, and even online shopping may move into the metaverse.

    How big is the E&M opportunity in the metaverse?  

    One place to start is the rapidly expanding VR sector. Although it is now one of the less significant areas studied, the 36 per cent increase in global spending over the previous year gives an indication of its long-term potential. The number of stand-alone and tethered VR headsets installed worldwide is expected to increase from 21.6 million in 2021 to 65.9 million in 2026.

    Ballhaus added, “With the impressive growth and potential of the E&M industry comes tremendous volatility and what we describe as fault lines and fractures opening up between companies, within sectors and across geographies and generations. For businesses, intense competition and continual disruption will remain the order of the day. Our data shows the mix of revenues and spending is changing rapidly. As fault lines proliferate and widen, every business in E&M stands to be disrupted. The challenge and goal must be to understand your consumer and end up on the right side of disruption.”

  • Zee Cinema brings world television premiere of ‘The Kashmir Files’ &  ‘Attack’

    Zee Cinema brings world television premiere of ‘The Kashmir Files’ & ‘Attack’

    Mumbai: Zee Cinema is all set to present the world television premiere of “The Kashmir Files”, and “Attack” on 25 and 26 June at 8 pm, respectively.

    The stirring masterpiece, “The Kashmir Files”, struck a strong connection with audiences and critics alike. The colossal conversation rounds and overwhelming response from the global viewers at the box office is what holds testament to what sincere storytelling with riveting execution is capable of. Donning the role of Pushkar Nath Pandit, Anupam Kher has given one of the most defining performances of his career. Speaking of defining performances, we see gripping performances from Pallavi Joshi, Mithun Chakraborty and Darshan Kumar in significant roles that left the audience in absolute awe. A directorial marvel by the award-winning filmmaker Vivek Agnihotri, “The Kashmir Files”, uncoil the saga of Kashmir’s history in the voice of the Kashmiris. Recounting the tragic event of exodus of Kashmiri Pandits in 1990 in its honest form, left the world spellbound. With the sizable reach of Zee Cinema, the most awaited film by the viewers, “The Kashmir Files”, will be available to the entire nation.

    Sharing his experience, Anupam Kher said, “Being someone who has Kashmiri roots, this film was also instrumental in bringing back a lot – memories of cherries coming into my house through a window back in Baramulla, the pleasantness of Kheer Bhawani, Nishad Garden, and Dal Lake that I keep thinking of even after having travelled the world. The “Kashmir Files” is an impeccable example of how a mid-budget film with an impactive story can reach such great heights. For the audience, watching it was an emotional experience. It was instrumental in bringing out a story that deserved to be told, striking a special and lasting connection with the viewers, and to any actor that means more success than anything.”

    Director Vivek Agnihotri said, “This film is about humanity, it’s about oneness, and with the response received, I believe the audience of the country, as well as outside, have resonated with it. The emotions that this movie has evoked in people, have left a lasting impression on their mind. I am a person with integrity. I want to work with talented people. My aim is to do creative work and showcase Indian films as a soft power to the world. “The Kashmir Files” has helped reinforce my belief in the strength of honest storytelling.”

    “Vivek and I spent four years on the film, and three years on the research. We went down to victims’ houses, interviewed them, sat with them, and ate with them. Apart from my experience of being a producer for the film, my role was also really different from what I’ve done in the past, so this came as a welcome change for me. This is a story that needed to be told in all dimensions, with great fidelity, and a super-strong portrayal of every character,” shared Pallavi Joshi.

    The advent of technology has taken Warcraft to a new height. While our weapons and strategies were upgraded with technology, “Attack” took this invention to another level and introduced India’s first ever AI driven Super-soldier. The film showcases how tech induced warfare helps to reduce any kind of human collateral damage. With scintillating performances by John Abraham along with Rakul Preet Singh and Jacqueline Fernandez, get set to be immersed in a wondrous experience of high-octane action, thrill, lined with an impactful story of patriotism. “Attack”, one of India’s first sci-fi action thrillers portraying an unattempted concept of a super-soldier on a quest to destroy some of the most villainous terrorists, won over the audience with its adrenaline-fueled cinematic experience. So, get ready for an ultimate experience jab Ek super-soldier karega aatank pe attack!

    Talking about the film, John Abraham said, “’Attack’ is not a futuristic film, but it’s a very relevant film. I believe that we might anticipate such technology a few years down the line. The idea with “Attack” was to challenge, so we are challenging the audience’s mind and trying to do something different. If Hollywood can make it, why can’t India? It is my humble attempt to make India proud. We’ve all heard that films are made for masses or classes, but I don’t think so. I only think there are two kinds of films: good films and bad films. And this is a good film that I believe families and people of all ages will enjoy. This isn’t a regular action film, but it is meant to put an important message across – nothing can come in the way for a true patriot, as he will fight for his country selflessly, and in all passion with a staunch belief that his nation comes ahead of everything.”

    Rakul Preet Singh added, “’Attack’ is a film I am proud of and will always be. Ironically, as a kid, I wanted to be a scientist and with this film, I got to chase that dream. We’ve seen Captain America and Iron Man on international levels creating a space in global audiences’ minds. “Attack” is a great experiment from India. It’s an under-explored genre. More than an actor, after looking at the film as a viewer, what personally spoke to me deeply was how John’s character fought against terrorism selflessly, and relentlessly portraying the essence of a true patriot despite all limitations. Today, we’re a part of a great space. I feel all kinds of cinema and experiments are being celebrated and it is this sentiment that will shape the industry from now on.”

    “Attack” moves along the quest of a super-soldier who has lost everything and puts his life on the line to serve his nation, willing to make the ultimate sacrifice.