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Tag: Entertainment industry

  • Micromax ropes in Hugh Jackman as its brand ambassador

    Micromax ropes in Hugh Jackman as its brand ambassador

    Mumbai: Building on the promise of ‘nothing like anything’ experience, Micromax has signed Hollywood actor Hugh Jackman as its brand ambassador.

     

    In a first of its kind association for the brand, the actor will be seen endorsing the Canvas series of the brand. The association would start with its new smartphone  – Canvas Turbo that will be soon launched in the Indian market.

     

    Speaking on the association, Micromax chief marketing officer Shubhodip Pal said: “We are very excited to welcome Hugh Jackman in the Micromax family as he truly embodies the aspirational, reinventing and fearless persona of the brand. As we look to expand our footprint across the globe in various international markets, the association with Jackman is an ideal partnership for us to connect with audiences as he is the leading name in the entertainment industry in the world.”

     

    He further added: “At Micromax, we have always believed in offering products and services that empower our consumers with the latest technologies and innovations. This is a strategic partnership and we look forward to creating a strong 360 degrees campaign for our audiences across print, TV and online platforms.”

     

    Reinventing the story of empowerment, Micromax has always urged consumers to explore new boundaries in the Indian market.

     

    out the association with Micromax, Jackman said, “I am extremely thrilled and honored to be a part of the Micromax family. I am a huge lover of India as it is one of the most exciting countries in the world and we also share our love for cricket. Phones are genuinely time saving devices that can help you live a better life while juggling around with different situations. The new Canvas phone is a leap in innovation with great sense of fun and amazing features that helps me balance my work with all the different roles that I play in my everyday life.”

  • Balaji Telefilms Q1-2014 revenue more than doubles Q1-2013, Q4-2013

    Balaji Telefilms Q1-2014 revenue more than doubles Q1-2013, Q4-2013

    BENGALURU: The blue-eyed entity of the Indian media and entertainment industry, Balaji Telefilms Limited (BTL) reported consolidated revenue of Rs 84.03 crore for Q1-2014, more than double (up by 131 per cent) the revenue of Rs 36.37 crore in Q1-2013. BTL’s Q1-2014 consolidated revenue was also more than double (up by 117 per cent) the revenue of Rs 38.71 crore for Q4-2013.

     

    Let us take a look at BTL’s other figures for Q1-2014

     

    Despite a negative EBIDTA of Rs 5.02 crore, BTL’s other income of Rs 12.86 crore resulted in a PAT of Rs 3.62 crore for Q1-2014, almost triple (up by 179 per cent) the PAT of Rs 1.39 crore for Q1-2013, and more than sixfold the Rs 0.5143 crore PAT in Q4-2013. BTL’s EBIDTA for Q1-2013 was Rs 0.1861 crore for Q1-2013 and a negative EBIDTA of Rs (-4.5) crore for Q4-2013.

     

    The company attributes the EBDITA loss in Q1-2014 of Rs 5.02 crore to discontinuance of television serials and deferment of non-theatrical revenues.

     

    BTL’s expenditure towards marketing and distribution of television serials and movies for Q1-2014 of Rs 80.22 crore was up by 163 per cent (more than double) the Rs 38.56 crore during Q1-2013 and was 134.4 per cent (again more than double) more than the Rs 34.22 crore in Q4-2013.

     

    BTL’s overhead expenditure for Q1-2014 at Rs 9.25 crore was 17 per cent more than the Rs 7.91 crore for Q1-2013, but 18.22 per cent lower than the Rs 11.31 crore in Q4-2014.

     

    Breakup of figures from Television, Balaji Motion Pictures Limited (BMPL) and Bolt Media Limited (Bolt) for Q1-2014

     

    Including other operating income, Television reported Rs 22.40 as total operating income for Q-2014, Rs 18.34 crore was spent towards production, acquisition marketing and distribution, staff cost, depreciation, and other expenses were Rs 7.12 crore, resulting in a loss from operations of Rs (-3.06) crore. Other Income of Rs 12.86 crore in Q1-2014 resulted in a PAT of Rs 7.43 crore.

     

    The company says that it had lower revenues from Television on account of discontinuance of two shows and it expects commissioned revenues to drive both volume and realisation.

     

    BMPL reported total operating income of Rs 61.67 crore for Q1-2014. Expenditure towards production, acquisition marketing and distribution was Rs 61.58 crore, staff cost, depreciation and other expenses were Rs 3.65 crore, resulting in a loss of Rs 3.57 crore for BMPL.

     

    The company says that actual BMPL EBDITA would be Rs 3.52 crore if marketing and distribution expense of Rs 7.02 crore for two upcoming movies Lootera and Once Upon Ay Time In Mumbai Dobaara is excluded.

     

    Bolt reported revenue of Rs 0.8289 crore for Q1-2014. Expenditure towards production, acquisition marketing and distribution was Rs 0.6691 crore and staff cost, depreciation and other expenses were Rs 0.3787 crore, resulting in a loss of Rs 0.219 crore from Bolt.

     

    Click here for Balaji Telefilms Limited – Financial Report Q1 FY-2014

     

    Click here for Balaji Telefilms Limited – Investor Presentation Q1
    FY-2014

  • The curious case of CCI’s TAM Media investigation

    The curious case of CCI’s TAM Media investigation

    MUMBAI: The TV ratings tornado that had struck the industry a couple of months ago has died down and it appears as if even the same has happened with the TAM Media investigation being conducted by the Competition Commission of India (CCI). Of course the CCI will deny it, but, it does seem so.

     

    The deadline for the responses to the queries sent out to media industry stakeholders by the CCI was 18 July.

     

    “We had received the questionnaire by the enquiry committee of CCI on 18 July. The responses to which were sent to them on the same day. After that we have not received any update from CCI,” informs a highly placed official in Prasar Bharati.

     

    It may be recalled that the CCI had started the investigation post a complaint filed by Prasar Bharati against the audience measurement agency for anti-competitive practices in November last year. The complaint was filed under section 4 of the Competition Act 2002, which pertains to abuse of a dominant position by a market player.

     

    “We are still in the process of collecting data from the stakeholders. The matter is still being investigated,” informs a source from the CCI. The body has asked for an extension to collect the data. “There is a provision to extend the time frame and we are seeking extensions to ensure a proper investigation,” adds the source who refuses to comment any further on the investigation.

     

    It was in late June, this year that the CCI had started sending out notices to key players in the media and entertainment industry seeking information on TAM in order to ascertain whether there was any case to be made against it. The notice sent by CCI was just the first step to find out what reported “wrongs” was TAM Media doing.

     

    When Indiantelevision.com contacted TAM for its comment on the same, a TAM representative responded by say, “We have decided not to comment on the investigation.”

     

    With CCI not yet completing the first step of investigation, how long will the body take to come out with its final verdict? Or are more pressing matters taking up its attention? “You can’t forget, things such as these have a process and take time,” says a media observer. “Don’t be surprised if a damning report against TAM emerges closer to the time of the ratings launch under BARC next year.”

  • Bengal TV ad market to touch Rs 19 bn by 2016

    MUMBAI: The total advertising spend on Bengali television is projected to reach Rs 19 billion by 2016 from an estimated Rs 7.8 billion in 2012, according to a Deloitte report on the media and entertainment industry in West Bengal.

    Out of the Rs 7.8 billion in the current year, about Rs 6 billion was cornered by the Bengali general entertainment channels (GECs) while the rest is split between news, movies and other channels.

    The report says GECs continue to dominate the canvas of West Bengal television market, with high production values, a robust content bank based on movies and local programming, helping them propel ahead.

    The industry, the reports contends, could not realise its complete growth potential this year due to scaling back of operations by a few channels in a veiled reference to the shutting down of ABP Group‘s Bengali GEC Sananda TV.

    However, phased digitisation and continued interest of audiences in Bengali TV is expected to revive the growth in coming years through investment from newer players like Network18 (post ETV investment) and newer ventures of national producers like Sphere Origin (Chirosathi) and Balaji Telefilms, it said.

    According to Deloitte, West Bengal also generated an estimated Rs 9.5 billion in subscription revenues during 2012, which is expected to grow at a fast pace due to digitisation roll-out.

    “Advent of Digital Addressable System (DAS) is expected to help the broadcasters increase their subscription revenues, reduce distribution expenses and add to the health of the industry,” the report states.

    The other salient features of the report:

    Trends in Content

    The diversity of content in Bengali television is expected to increase going forward. Digitisation is expected to be an important lever enabling this over the next 5 years, especially if the timeline beyond Kolkata is maintained.

    Increased investment from various players based on the reach and growth potential of the Bengali television market is also expected to act as an enabler.

    Driven by strong investment in content, Bengali channels have managed to garner a bigger share of eyeballs in West Bengal, the report noted.

    The production budgets of content for Bengali GECs are roughly 25 per cent of what is spent on national GECs.

    However, creativity under budgetary constraints has allowed Bengali content to almost match the production values of any other national or regional content. As the national players in the Bengali TV space lay emphasis on the Bengali television, the production budgets of content are expected to increase

    Emergence of niche channels

    With digitisation expected to support more channels, players in West Bengal are getting ready to explore niche content and channels. The launch of Bengali movie channels by Zeel and Star India are portends of this trend.

    The TV industry may also see launches of music channels with Bengali film and non-film music; lifestyle channels; youth entertainment channels and channels focusing on content around Rabindranath Tagore or Satyajit Ray, amongst others.

    The existing channels are likely to begin testing such content through dedicated time slots before launching full-fledged channels based on the content‘s acceptability and popularity. A similar trend was sampled in the 90s‘when the national GECs started testing the waters with Bengali content in the evenings before launching full scale Bengali channels.

    Rise of flagship, non-mass programming

    Though the primary focus of GECs continues to be around mass market, they have also started exploring newer formats. This is due to changing consumer preferences driven by younger audiences and lack of distinctive content in the soaps/serials space.

    With digitization working in their stride, broadcasters are likely to have more resources to plough back into content. As a result, short series and telefilms are expected to grow. Moreover, many in the industry sense a space for flagship programs (e.g. such as ‘Satyamev Jayate‘ on national airwaves) on Bengali GECs, which are aimed at creating buzz, starting conversations and attracting newer audiences.

    National players in production will look to play a bigger role

    While national players like Sphere Origins (e.g. Chirosathi on Star Jalsha) and Reliance are already looking at producing content for the Bengali GECs, this trend is likely to accelerate going forward. It will be driven by higher budgets of Bengali GECs as well as the rise of niche channels with their own need for content.

    Cross-pollination of content and formats from other languages
    Bengali GECs have been able to maintain a program mix based on adaptations of successful national content, along with original content inspired by rich Bengali literary heritage.

    Fiction shows, which are preferred to closely resemble the local everyday life and culture by the Bengali audiences, are perceived as more challenging to adapt from successful stories in other languages than a commercial film. Bengali channels have been able to portray a very authentic but aspirational depiction of customs, rituals and traditions that are omniscient – in their homes, roads, markets, and in the hearts of Bengalis for their successes.

    On the other hand, there have been adaptions of Bengali success stories for national television: e.g. “Ma” and “Sansaar Shukher Hoy Romonir Gune” were adapted for larger Hindi audience. This displays the best-in-class creative skills and high quality of technicians in Bengali television industry, which have been able to create national quality content even at the fraction of costs as compared to the national television.

    Increase in online engagement

    Like in other traditional mediums, online presence will play an increasingly important role for promotion and engagement with viewers for television as well. Existing engagement like Facebook pages are largely aimed at urban audiences. Going forward, the Bengali television industry is looking at closer integration (e.g. Zee Bangla exploring online auditions for Sa Re Ga Ma Pa), which will encompass the population from larger districts audiences as well.
    Star and Zee, amongst others, currently distribute their bouquet of channels globally and Bengali television has seen acceptance from the larger Bengali diaspora. This is expected to increase as the television content becomes available and easier to monetize through multiple screens.

    In parallel, channels are also looking at newer ways to increase their adoption in Bangladesh. Zee Bangla8 has been engaging audiences in Bangladesh through holding auditions for its shows like ‘Mirakkel‘ in Dhaka. This trend will accelerate in sync with use of online medium, which can take such participation to more places around the globe.

  • ‘Our aim is to become the currency tool for media research’ : Ormax Media co-founder & CEO Shailesh Kapoor

    ‘Our aim is to become the currency tool for media research’ : Ormax Media co-founder & CEO Shailesh Kapoor

    Ormax Media, the consumer knowledge and consulting firm for the media and entertainment industry, was launched jointly by Vispy Doctor, the managing director of Ormax Consultants, a specialist in qualitative research, and former Filmy business head Shailesh Kapoor in July 2008.

    The company has expanded across categories like television, radio, films, and media agencies. It has launched various tools, which can predict the future of a show or a film.

    The expansion plan includes doing research in the news and South Indian market. The aim is to establish Ormax Media as the currency tool for media research.

    In an interview with Indiatelevision.com‘s Gaurav Laghate, Kapoor sheds light on the research needs in the media and entertainment industry and Ormax Media‘s drive to plug the gaps.

    Excerpts:

    You have worked with companies like Sony, Zee, Zoom and Filmy in roles across marketing, content and business strategy. So what led to Ormax Media?
    The idea was always there, I wanted to start something of my own. And I wanted to set up something which combined the media and entertainment industry where I came from with the marketing and consumer understanding that was always my interest.

    The exciting part is that we are working on multiple categories – like GECs (general entertainment channels), niche channels, movies, radio and digital. So there is a wide variety that makes the learning experience far more dynamic than it would have been in a traditional media role.

    What the company has achieved in these two years?
    Since it has been a new company, the first year focus was on consolidation and the second year was really of growth and expansion into new categories, businesses and clients.

    We started with TV. It was for two reasons – a far more organised industry in the M&E sector and also because of size.

    In 2009 we started with GECs, then moved on to niche channels and radio. During this time, we also started creating specific products.

    How did you identify the need for the product offerings?
    As we met more and more people, we recognised that there were common needs across the category. For example, there was common need for tracking marketing campaigns for TV programmes. This resulted in a tool – Showbuzz.

    You said you are in expansion mode. What all categories are you looking at?
    Initially, we spent time on developing tools, products and methodology. Then our focus was clearly on categories where we had strength. Like Bollywood – so we launched Cinematix. We are planning to launch a structured product of test screening of Hindi movies soon.

    How has the film industry responded so far?
    We have already worked on 7-8 movies in the last six months. And I think for an industry which is still getting used to the idea of research, it‘s a pretty healthy number. Going forward, the film industry will continue to be the focus. First we were trying to get them on board and trying to make them understand the whole idea of research. And we were pleasantly surprised. Once they (film industry) were exposed to this; they were more than willing to receive research in a far more flexible manner.
     

    What are the challenges you have been facing for getting clients?
    The biggest challenge has been to meet more and more people and give them the flavour of what research can give them. And once they get the right flavour and do one project, they certainly understand the importance of it.

    Apart from films, what are the other areas you will be focusing on now?
    The areas which we are going to focus on now are specific categories – like South and news.

    What opportunities do you see in the southern regional market?
    South is a very big market for both TV and cinema industry. The fundamentals of TV and film research are not different. And we have teams in the four southern states.

    And what are your plans for the news industry?
    The news market is one that largely relies on Tam. But at the category level, there may not be any tools and products available. So we are looking at that option.

    News is also a big category in terms of revenue. It is a category where the advertiser buying is often based on decisions based not directly on the function of the ratings. Particularly English news channels where many different parameters come into play.

    All your tools basically try to asses and predict the future – cinematix or showbuzz?
    A lot of our work is going into putting tools and analytics in place. We are trying to create ways in which future prediction and future analysis can be made rather than just looking at the past and getting a sense of that.

    Research is not just looking at today and giving feedback at what people are liking or not liking. I think the more important area, where a lot of our energies are focused on, is to predict the future.

    So what all services you offer to clients?
    We have three kinds of products. Syndicated products are owned by us like Showbuzz, Cinematics, Characters India Love, RJ Files. We do them at our cost, irrespective of who is subscribing or not subscribing to it. This is data which is registered and trademarked to us. Whoever subscribes to it, gets it.

    These products are most cost effective for all as they are common to the industry. Multiple people are subscribing and paying for it . It cannot be affordable for someone wanting to do it alone.

    Second is commissioned research, which could be qualitative or quantitative research. These are need based research.

    We also do consulting work, which is specifically beyond consumer research and is more advisory in nature. But it is not our main area of work. We are primarily a consumer understanding firm.

    How much market share are you looking at acquiring in future?
    We hope to be controlling at least 75-80 per cent of the research market in a couple of years. That doesn‘t mean we are going to compete with already established systems such as Tam, Ram etc. We are going to complement the information available through them. So if Tam gives the viewership, we will add value by explaining the viewership understanding. We are more about adding value beyond the measurement systems.
    If some other similar company starts working on the same lines, what will be your plan of action?
    See, eventually, in a category like this, one becomes currency. We have seen that in case of Tam. The second player to come will have a disadvantage. It is difficult to say at this stage who will become currency, but my sense is that till the time other players will come, we will be established as the industry currency. We are moving in the right direction.

  • MSOs, industry chambers firm up lobbying for entertainment industry on budget

     

     

    NEW DELHI: Amidst an overwhelming sense of dismay, all three industry bodies are lining up their lobbies to get the demands of the entertainment and broadcasting industry sewn into the budget, somehow.

    However, the position of sector regulator Trai is not clear so far on this issue and also, the Indian Broadcasting Foundation feels that there is no point in lobbying.

     

    The major MSO body, MSO Alliance is also gearing up to impress upon the government the need for concessions favouring digitalisation and removing meaningless double-taxation.

    So far, senior executives-industrialists have already met the Finance Minister once but the response to their pleas is not immediately known.

    “There seems to be nothing on the horizon at the moment,” Bobby Bedi, head of the Confederation of Indian Industry‘s entertainment industry committee, told indiantelevision.com.

    “We have already met the I&B minister and he is solidly with us. The problem is the finance minister,” argued another senior executive, saying that “perhaps people do not realise that the industry is poised for a quantum jump.

    “There are immense possibilities in the areas of digital exhibition, outsourcing, post-production, etc., which needs a boost,” Bedi said.

    He revealed that the Federation has already taken up lobbying with members of Parliament on getting some of their crucial demands met.

    Bedi suggested: “We should see some of the concessions coming up, though maybe not necessarily as the final budget provisions, but maybe sometime later in the year.”

    A senior official in the entertainment industry cell of the Federation of Indian Chambers of Commerce and Industry also revealed to indiantelevision.com that they have already started lobbying with members of Parliament, but would not reveal their names, saying: “We have a centralises system,” she said.

    The Associated Chambers of Commerce and Industry in India‘s representative Ajay Sharma said that the three chambers had met the finance minister yesterday already, but would not discuss what the response of the minister was.

    The Telecom Regulatory Authority of India has not decided what course it will take. Responding to a question, RN Choubey, Trai advisor (Broadcasting and Cable Services) told indiantelevision.com: “The MSOs had certain suggestions, so we had sent them the finance ministry, but they had come in late, so the proposals reached late. By then the major formulations in the budget must have been sealed.”

    So is Trai still going to press further and lobby for the demands being taken up by finance ministry? “Nothing is ruled out nor ruled in. What Trai is going to do is for them to decide, and I cannot assume that role.”

    Roop Sharma, Cable Operators Federation of India president said: “We have already held a meeting with Assocham, and we are going to take this issue up seriously, especially digitalisation and bringing down duties and taxes.

    IBF director-finance, Naresh Chahal said: “What do we do with more lobbying? We had sent so many crucial suggestions and are dismayed. This has been the position of the government for the past three years, so I do not think anything will change by lobbying.”

    Chahal said, however, some may have a feeling that broadcasters are all very rich and need no concessions, but that was not true. There are many small broadcasters who suffer immensely and there are so many newer ones coming up who need initial start-up concessions, he reasoned.

    Meanwhile, the MSO Alliance is also firming up its plans and will go with the chambers of commerce and industry.

    Ashok Mansukhani, senior official at Incable and a senior member of the MSOA said: “The government has simply blackballed the issue of digitalisation, completely ignoring even the recommendations of the Planning Commission.”

    He said that MSO and cable TV, as well as broadcasting are a telecom service issue now, with all of the players regulated by Trai. “So we cannot be a service and pay service tax, and then also pay entertainment tax, which the cinema halls do. Where is the level playing field?” Mansukhani demanded to know.

  • Ficci gears up for Frames convention

    Ficci gears up for Frames convention

    MUMBAI: Frames, the convention for the business of Indian entertainment organised by Ficci, will take place from 26 – 28 March in Mumbai.

    Business delegation from over 20 countries is expected for the event which is in its eight year. This year Italy is a partner country.

    The television track kicks off with a plenary session – Regulatory Framework for Entertainment Industry on the opening day.

    There has been a regular debate among various stakeholders on regulation. How much of regulation should be there? Should the content regulation be consistent across all delivery mediums such as TV, radio, films and print? Should there be a price regulation? Or the industry should be left to market forces to evolve on its own?

    With the boom of news channels, there will be a session on Changing face of News. In order to survive, news channels along with newsworthiness should have something different. Along with managing editorial content, the gatekeepers are also acting as brand managers.

    Viewers wanting a global perspective of television can attend Fresh TV around the World. This special session, now a regular item at the television trade events in Cannes, France Mip TV and Mipcom, presents the world’s freshest and most popular TV shows of the season, specially edited for Frames participants.

    This includes clips from the world’s most successful, innovative and most talked about TV shows. Based on the monthly The Wit Fresh TV Report which spots new shows launched in more than 30 markets worldwide, the presentation also covers the most creative trends in different programming genres.

    With Cas and DTH already introduced, Frames will have a Plenary Session on The Last Mile: Battle of reaching consumers. The challenge of retaining existing consumers is going to be tough. Are existing distributors well equipped to take up this challenge?

    Another plenary session examines the importance of content. Innovative marketing and promotional campaigns can be of little hope unless it is fuelled with winning content. Irrespective of platform, the key to success is high quality content. Can anybody afford to disagree?

    There will also be a focus on the Asian TV Market in a session. Asia has common cultural values thereby having huge potential of sharing content with countries like Sri Lanka, Pakistan, Nepal, and Singapore. How the trade of content can be further strengthened among these countries?

    The Film Track kicks off with the crucial topic of marketing and distribution. This has always been an integral part of the business plan for film producers. The success of a film no longer depends on just the content, storyline and the starcast, but also on how well the film is marketed. The successes of Krissh, Don and Dhoom 2 in India scenario are prime example.

    The session will discuss the new methods employed to get to the target audience especially in international markets. Another session looks at digital cinema. From Celluloid to digital …Indian multiplexes and stand alone theatres are adopting the digital technology. Earlier business models were driving the technological applications. The scenario is just the opposite now, it’s the technology driving the business of Indian Cinema. The digital technology is changing the way the movies are being watched…. What lies in the future?

    Another session examines whether remakes and sequels revisits the past or is it the result of intellectual bankruptcy. Indian films now have a lot of sequels and remixes. Sequels of Munnabhai, Krissh, Hera Pheri, Dhoom and remakes like Don and Umrao Jaan and their success has added a new dimension to the Indian film industry. Some see it as a case of intellectual bankruptcy. In the era of commercialisation does storytelling hold a chance?

    What makes popular cinema tick? Is there a magic formula for success at box office? Increasingly the taste and sensibilities of the Indian audiences are changing. This is reflected in the different genres of movies making box office history this year. Films like Dhoom 2, Krishh, Rang De Basanti and Munnabhai have generated mass hysteria. There is a radical change in the scripts, treatment and presentation. The changing trends of Hindi films will be looked at in a session.

  • EMI releases music catalog on Qtrax

    EMI releases music catalog on Qtrax

    MUMBAI: EMI Group would make its music catalog available to the first advertising supported peer-to-peer service as the entertainment industry embraces the same technology that once nearly crippled it.

    The service, called Qtrax, was developed by LTDnetwork, and at launch, will provide consumers the ability to download songs for free only as well as the option to subscribe to a premium version of the service or to purchase music tracks and albums on an a la carte basis.

    The financial terms of the deal were not disclosed.

    “Working with Qtrax is just one way EMI is actively supporting emerging business models, technologies and platforms to deliver music to fans,” said EMI Music North America chairman and CEO David Munns. “We believe Qtrax offers a good consumer experience and significant up-selling opportunities. Our collaboration with Qtrax will give us great consumer insight and help us gauge the boundaries between sampling and purchasing music. Ultimately, the feedback we get from Qtrax will help EMI be more responsive to consumer demand. The Qtrax service will also ensure that our artists are compensated for their works and that the value of their music and integrity of our content is protected.”

    In an official release, Qtrax will offer two tiers of service: the first is a free, advertising-supported tier designed to work with and filter copyrighted content from existing peer-to-peer networks.

    The second tier is a premium subscription service which will require a monthly fee. The two-tiered business model is intended to attract a broad base of consumers to try out the service, and then graduate those consumers to purchase music permanently or subscribe.

    In the ad-supported, free tier, users will be able to search the network for specific tracks, and those tracks registered with Qtrax will be made available for download in Qtrax’s proprietary “.mpq” file format.

    Users will then be able to play the downloaded .mpq file in full-fidelity sound quality for a pre-defined number of times. Each time a consumer plays a track, the Qtrax player will also offer fans click-to-buy purchase options, as well as the opportunity to upgrade to a premium subscription service for a flat monthly fee.

    The premium subscription service tier uses Microsoft’s Janus DRM technology, which allows consumers to pay a monthly fee for unlimited access to music in the Qtrax network. Subscribers will also have the ability to transfer content to Windows Media enabled portable devices for as long as the subscription stays active.

    The service will also include consumer-friendly community-building and music discovery tools, which enable fans to easily access to a vast selection of music and other content, all while generating revenues for artists and content owners.

    In addition, Qtrax will offer incentive programs that will allow fans to accrue points redeemable for additional plays for tracks acquired through the free service, or for discounts off a la carte purchases or subscription fees.

    “Qtrax is an innovative approach to creating a legitimate P2P offering, so we are pleased that EMI has agreed to be the first of the major music companies to participate. In addition to offering a great consumer experience which we believe will get more consumers excited about digital music, Qtrax will ensure that artists are getting paid when their songs are accesses in a P2P environment. In addition, EMI and other music companies will share in Internet advertising revenues, which according to the Interactive Advertising Bureau and PricewaterhouseCoopers reached a new record of $3.9 billion for the first quarter of 2006 in the US — a 38 percent increase over Q1 2005,” said Brilliant Technologies parent company of LTDnetwork president & CEO Allan Klepfisz.

    The Qtrax service is expected to enter a test phase later this year and will initially pilot the service in the United States. In preparation for the launch, EMI will immediately begin delivering and registering its content with Qtrax’s filtering system, powered by Audible Magic.

  • Entertainment industry to be valued at Rs 650 billion

    Entertainment industry to be valued at Rs 650 billion

    A comprehensive report on the entertainment industry, the first of its kind, has been compiled by the Federation of Indian Chambers of Commerce and Industry (Ficci) along with Arthur Anderson. The report reveals very positive and optimistic figures projected for the entertainment industry’s growth. The media committee is headed by Lalit Modi and the members include Plus Channel’s CEO Amit Khanna, Sone Entertainment Television’s CEO Kunal Das Gupta and ESPN India Chairman Manu Sawhney along with representatives of film, music and entertaiment industry.

    The report says that the Indian entertainment industry’s turnover will touch Rs 650 billion in the year 2005 from the current Rs 150 billion. The television software industry is slated to grow to Rs 90 billion, music industry to Rs 22 billion from the current Rs 12.54 billion where as the live entertainment sector would be worth Rs 33.65 billion from the current Rs 2 billion.

    The survey suggests private or progressive participation in Doordarshan. Other suggestions are as follows:

    * Creating a special anti-piracy cell with the police department to combat the growing piracy menace.
    * Developing closer association with international cells guarding against piracy and streamlining anti-piracy laws with that of US, UK etc.
    * Bringing the industry in parity with the information technology sector with respect to overseas investment and stock listing norms.
    * Providing stable legislation for the issue of radio broadcasting licences.
    * Reviewing the functioning of the Censor Board in light of the changing scenario and citizens increasingly demanding the right to make their own decisions on entertainment.
    * Issuing board regulations/guidelines for banks and financial institutions to facilitate lending to this intellectual property related industry.
    * Reviewing archaic laws and onerous responsibilities cast on the industry particularly in the film exhibition and live entertainment sectors.

    The Ficci has organised a conference on 30 March and 31 March, 2000 in Mumbai to discuss the problems faced by the entertainment industry. Industry bigwigs and political bigwigs are slated to attend the seminar.