Tag: Ficci

  • 30 large sites average earnings/year in 2013 was $4.4 million from advertising-financed piracy in US

    30 large sites average earnings/year in 2013 was $4.4 million from advertising-financed piracy in US

    NEW DELHl: Advertising-financed piracy was an extremely profitable business as an economic study of the US market alone showed estimated pirate website ad revenue at $227 million annually.

    In a presentation on ‘Online Advertising, Brand Integrity and Content Creation: Problems and Solutions’, Cable and Satellite Broadcasting Association of Asia (CASBAA) Chief Policy Officer John Medeiros said the 30 largest sites had earned an average of $4.4 million per year in 2013 and even small sites could easily have earned $100,000. Barriers to entry awere low and attracting a user base required little effort or investment.

    Speaking at a FICCI conference on ‘Digital Advertising: Protecting Brand Integrity & Stimulating Content Creation’, he said Invalid Traffic (IVT) hosts were using online systems to generate non-human traffic (NHT) to illegitimately increase profit and high rates of IVT were seen 50 times more frequently among illegitimate sites than legitimate ones. He added that the growing problem of online ad misplacement was not only resulting in financially encouraging various illegal activities but was also causing serious damage to the integrity of major brands when they appeared on illegal sites.

    Meanwhile, the session was informed that the British Police Intellectual Property Crime Unit (PIPCU)’s Operation Creative law enforcement programme was coming down hard on online pirates to combat the menace of digital piracy.

    City of London police detective chief superintendent David Clark said PIPCU’s aim was to investigate, disrupt and serious and organized intellectual property crime which causes significant harm or damage to the UK economy or the general public.

    Clark said the strategic objectives of the UK police were to address IP crime through prosecution and disruption; use a problem-solving approach to address the international threat; maintain an intelligence-led capability; support enforcement activity with effective media coverage; develop a PREVENT strategy with the IPO and other organizations; and reduce IP crime through a partnership approach with stakeholders.

    He added that there was an urgent need for behavioral change as well in consumers who should realize that buying illegal products was a crime.

    A Digital Trading Standards Group (DTSG) had been established to ensure that digital display advertising was not supporting inappropriate or illegal content/services in the United Kingdom, he added.

    UK Good Practice Principles had also been drafted which integrated the industry-police approach. Highlighting the achievements of the UK police, Clark said 8,500 counterfeit websites have been suspended since PIPCU’s inception in 2013.

    21 Century Fox senior vice president for government relations Joe Welch said FICCI’s advocacy on IPR policy had led to many significant and effective changes in the policies related to IP. He added that a sound policy dialogue to appropriately tackle the menace of piracy and a conducive environment to invigorate investment climate for the creative industry in India will definitely benefit and project India globally as a preferred destination for investments by the creative industries of the world.

    After the inaugural session, discussions on the critical issue of misplaced ads resulting in funding of illegal activities were held and potential solutions that could be adopted by India to curtail this practice were explored to help digital advertising and the creative industries co-exist and flourish in today’s innovative and investment-led economy.

     

  • 30 large sites average earnings/year in 2013 was $4.4 million from advertising-financed piracy in US

    30 large sites average earnings/year in 2013 was $4.4 million from advertising-financed piracy in US

    NEW DELHl: Advertising-financed piracy was an extremely profitable business as an economic study of the US market alone showed estimated pirate website ad revenue at $227 million annually.

    In a presentation on ‘Online Advertising, Brand Integrity and Content Creation: Problems and Solutions’, Cable and Satellite Broadcasting Association of Asia (CASBAA) Chief Policy Officer John Medeiros said the 30 largest sites had earned an average of $4.4 million per year in 2013 and even small sites could easily have earned $100,000. Barriers to entry awere low and attracting a user base required little effort or investment.

    Speaking at a FICCI conference on ‘Digital Advertising: Protecting Brand Integrity & Stimulating Content Creation’, he said Invalid Traffic (IVT) hosts were using online systems to generate non-human traffic (NHT) to illegitimately increase profit and high rates of IVT were seen 50 times more frequently among illegitimate sites than legitimate ones. He added that the growing problem of online ad misplacement was not only resulting in financially encouraging various illegal activities but was also causing serious damage to the integrity of major brands when they appeared on illegal sites.

    Meanwhile, the session was informed that the British Police Intellectual Property Crime Unit (PIPCU)’s Operation Creative law enforcement programme was coming down hard on online pirates to combat the menace of digital piracy.

    City of London police detective chief superintendent David Clark said PIPCU’s aim was to investigate, disrupt and serious and organized intellectual property crime which causes significant harm or damage to the UK economy or the general public.

    Clark said the strategic objectives of the UK police were to address IP crime through prosecution and disruption; use a problem-solving approach to address the international threat; maintain an intelligence-led capability; support enforcement activity with effective media coverage; develop a PREVENT strategy with the IPO and other organizations; and reduce IP crime through a partnership approach with stakeholders.

    He added that there was an urgent need for behavioral change as well in consumers who should realize that buying illegal products was a crime.

    A Digital Trading Standards Group (DTSG) had been established to ensure that digital display advertising was not supporting inappropriate or illegal content/services in the United Kingdom, he added.

    UK Good Practice Principles had also been drafted which integrated the industry-police approach. Highlighting the achievements of the UK police, Clark said 8,500 counterfeit websites have been suspended since PIPCU’s inception in 2013.

    21 Century Fox senior vice president for government relations Joe Welch said FICCI’s advocacy on IPR policy had led to many significant and effective changes in the policies related to IP. He added that a sound policy dialogue to appropriately tackle the menace of piracy and a conducive environment to invigorate investment climate for the creative industry in India will definitely benefit and project India globally as a preferred destination for investments by the creative industries of the world.

    After the inaugural session, discussions on the critical issue of misplaced ads resulting in funding of illegal activities were held and potential solutions that could be adopted by India to curtail this practice were explored to help digital advertising and the creative industries co-exist and flourish in today’s innovative and investment-led economy.

     

  • Govt partners industry bodies to curb misleading and fake ads

    Govt partners industry bodies to curb misleading and fake ads

    New Delhi: The Department of Consumer Affairs has entered into partnership with the industry associations ASSOCHAM, CII, DICCI, FICCI and PHD Chamber of Commerce and Industry to implement a six point agenda to protect the rights of consumers against misleading advertisements, fake and counterfeit products, and for effective redressal of consumer complaints.

    An MOU in this regard will be signed tomorrow in the presence of Consumer Affairs, Food and Public Distribution Minister Ram Vilas Paswan. 

    The MoU will broadly cover the collaborative programmes on developing and implementing a self-regulated code of fair business practices, establishing a consumer affairs division/vertical within the industry body, initiating advocacy action against unfair trade practices and preventing fake, counterfeit and sub-standard products and services and adoption of voluntary standards by Industry members.

    Earmarking of CSR funds for consumer awareness and protection activities, partnering with the National Consumer Helpline and State Consumer Helplines for grievance redressal; launching joint consumer awareness, education and training programmes under the “Jago Grahak Jago” will also be part of the agenda.

    A joint working group will monitor the implementation of agenda. 

    A self-regulation code of ethical business conduct and video spots on consumer advocacy by the industry bodies will also be released during the event.The joint initiatives of the government and the industry bodies will surely go a long way in protecting the interests of the consumers and will be a win-win situation for all the stakeholders. 

    The Department of Consumer Affairs is celebrating the World Consumer Rights Day 2016tomorrow. This is an annual occasion for celebration and solidarity within the International Consumer movement. The World Consumer Rights Day is an opportunity to promote and protect the basic rights of consumers.  

     

  • Govt partners industry bodies to curb misleading and fake ads

    Govt partners industry bodies to curb misleading and fake ads

    New Delhi: The Department of Consumer Affairs has entered into partnership with the industry associations ASSOCHAM, CII, DICCI, FICCI and PHD Chamber of Commerce and Industry to implement a six point agenda to protect the rights of consumers against misleading advertisements, fake and counterfeit products, and for effective redressal of consumer complaints.

    An MOU in this regard will be signed tomorrow in the presence of Consumer Affairs, Food and Public Distribution Minister Ram Vilas Paswan. 

    The MoU will broadly cover the collaborative programmes on developing and implementing a self-regulated code of fair business practices, establishing a consumer affairs division/vertical within the industry body, initiating advocacy action against unfair trade practices and preventing fake, counterfeit and sub-standard products and services and adoption of voluntary standards by Industry members.

    Earmarking of CSR funds for consumer awareness and protection activities, partnering with the National Consumer Helpline and State Consumer Helplines for grievance redressal; launching joint consumer awareness, education and training programmes under the “Jago Grahak Jago” will also be part of the agenda.

    A joint working group will monitor the implementation of agenda. 

    A self-regulation code of ethical business conduct and video spots on consumer advocacy by the industry bodies will also be released during the event.The joint initiatives of the government and the industry bodies will surely go a long way in protecting the interests of the consumers and will be a win-win situation for all the stakeholders. 

    The Department of Consumer Affairs is celebrating the World Consumer Rights Day 2016tomorrow. This is an annual occasion for celebration and solidarity within the International Consumer movement. The World Consumer Rights Day is an opportunity to promote and protect the basic rights of consumers.  

     

  • ONGC & YES Bank bag FICCI awards as best sports promoters in public & private sector

    ONGC & YES Bank bag FICCI awards as best sports promoters in public & private sector

    NEW DELHI: Oil and Natural Gas Corporation (ONGC) and YES Bank have been lauded as the best companies for promotion of sports in the public and private sectors.

    The India Sports Awards 2015 were given away here at the conclusion of ‘Turf 2015-16’ organised by the Federation of Indian Chambers of Commerce and Industry (FICCI) with the support of the Youth Affairs and Sports Ministry.

    Technology Frontiers (India) was awarded as the best professional services company and STAIRS was lauded as best NGO Promoting Sports.

    HotFut Sports Infrastructure was recognised as the best sports start-up.

    The Amateur Kabaddi Federation of India was awarded as Best National Sports Federation, Lalita Shivaji Babar (Athletics) got the Sports Person of the Year award and Dipa Karmakar (Gymnastics) got the Breakthrough Sports Person of the Year: 

    The jury comprised Justice Mukul Mudgal (Retd.) who had headed the Supreme Court Probe Panel on IPL match fixing scandal; Star India’s Deepak Jacob; and Charu Sharma; Bhupesh Kumar, apart from Rajpal Singh of FICCI.

    The other awards were:
    Coach or Support Staff of the Year: Kuldeep Handoo (Wushu)
    Best State: Gujarat
    Lifetime Achievement Award: Balbir Singh

    Special Recognition:

    Company Promoting Sports (Public Sector): Delhi Development Authority
    Company Promoting Sports (Private Sector): Infinity Optimal Solutions Pvt Ltd (IOS)
    Professional Services Company: India On Track
    NGO Promoting Sports: Sports Coaching Foundation
    Sports Start-up: Athletto
    National Sports Federation: Rowing Federation Of India
    Breakthrough Sports Person of the Year: Dattu Bhokanal (Rowing)
    Coach or Support Staff of the Year: Bishweshwar Nandi (Gymnastics)
    State: Manipur

  • ONGC & YES Bank bag FICCI awards as best sports promoters in public & private sector

    ONGC & YES Bank bag FICCI awards as best sports promoters in public & private sector

    NEW DELHI: Oil and Natural Gas Corporation (ONGC) and YES Bank have been lauded as the best companies for promotion of sports in the public and private sectors.

    The India Sports Awards 2015 were given away here at the conclusion of ‘Turf 2015-16’ organised by the Federation of Indian Chambers of Commerce and Industry (FICCI) with the support of the Youth Affairs and Sports Ministry.

    Technology Frontiers (India) was awarded as the best professional services company and STAIRS was lauded as best NGO Promoting Sports.

    HotFut Sports Infrastructure was recognised as the best sports start-up.

    The Amateur Kabaddi Federation of India was awarded as Best National Sports Federation, Lalita Shivaji Babar (Athletics) got the Sports Person of the Year award and Dipa Karmakar (Gymnastics) got the Breakthrough Sports Person of the Year: 

    The jury comprised Justice Mukul Mudgal (Retd.) who had headed the Supreme Court Probe Panel on IPL match fixing scandal; Star India’s Deepak Jacob; and Charu Sharma; Bhupesh Kumar, apart from Rajpal Singh of FICCI.

    The other awards were:
    Coach or Support Staff of the Year: Kuldeep Handoo (Wushu)
    Best State: Gujarat
    Lifetime Achievement Award: Balbir Singh

    Special Recognition:

    Company Promoting Sports (Public Sector): Delhi Development Authority
    Company Promoting Sports (Private Sector): Infinity Optimal Solutions Pvt Ltd (IOS)
    Professional Services Company: India On Track
    NGO Promoting Sports: Sports Coaching Foundation
    Sports Start-up: Athletto
    National Sports Federation: Rowing Federation Of India
    Breakthrough Sports Person of the Year: Dattu Bhokanal (Rowing)
    Coach or Support Staff of the Year: Bishweshwar Nandi (Gymnastics)
    State: Manipur

  • FICCI demands infrastructure status for broadcast industry in pre-budget memo

    FICCI demands infrastructure status for broadcast industry in pre-budget memo

    NEW DELHI: The Indian broadcast, cable and direct-to-home (DTH) sectors have been demanding a infrastructure status for the industry as well as seeking all benefits and incentives available for the infrastructure industry including the availability of finance at a concessional rate.

     

    To this effect, the Indian Broadcasting Foundation (IBF) had earlier this month urged the Union Government to grant “Infrastructure Status” to the broadcasting industry.

     

    Now, making this demand, the Entertainment Wing of FICCI has said in a pre-budget memorandum to Finance Minister Arun Jaitley that the sector should be allowed tax concessions as per Section 80-IA of the Income Tax Act.

     

    The digitisation process and the deployment of set top boxes (STBs) are heavy capital oriented and thus require huge investments, which may force various amalgamations and thus they should be allowed to set off accumulated losses and unabsorbed depreciation allowances to be carried forward as per Section 72 A of the Act, the industry body said.

     

    Parity with Manufacturing Industry under Section 72A of the Act

     

    It also said that the disparity between the service and the manufacturing sector is very adversely affecting the growth and consolidation of the Service sector.

     

    The tax benefits under Section 72A of the Act in respect of amalgamation or de-merger (carry forward and set off of accumulated loss and unabsorbed depreciation allowances) are currently limited to industrial undertakings or a ship, hotel, aircraft or banking. The definition of industrial undertaking should be widened to include service industry, broadcasters and content production companies.

     

    Rationalisation of Indirect taxes

     

    The rate of taxes, which range from 30 – 70 per cent, especially the entertainment tax imposed by the states, over and above the service tax, are punitive in nature, FICCI said, adding that such punitive level of taxation incentivises unhealthy practices, such as piracy, revenue leakage on account of under reporting of revenues, etc. It is important that the overall taxation level is brought down for the sector as a whole.

     

    State Entertainment tax legislations levy high taxes on the subscription earned by cable operators and DTH operators. The non-availability of credit of central taxes against the state taxes and vice versa increases the tax burden on the entertainment industry. In addition to this, the Central Government has levied service tax at 14 per cent on the transfer of copyrights, which is already being taxed as ‘goods’ under the various state VAT legislations.

     

    Payment for Content Production

     

    FICCI said there is ambiguity since the tax authorities have been adopting a view that the payment towards production of content is in the nature of fees for technical services and subject to tax at the rate of 10 per cent under section 194J of the Act whereas Explanation III to section 194C of the Act clarifies that payments made towards a contract, concerning broadcasting and telecasting including production of programmes for such broadcasting or telecasting, would fall under the definition of ‘work’ for the purpose of section 194C of the Act.

     

    It suggested that to avoid difference in positions adopted by the tax payer and tax department on applicability of relevant section and to mitigate resultant litigation and hardship, a clarification may be issued regarding appropriate classification of content production services and applicability of relevant section for withholding of taxes.

     

    Carriage Fees/Placement Charges

     

    FICCI has demanded that the Government should provide a clarification that the payments made towards carriage fees are not in the nature of royalty or fees for technical services and TDS is required to be made on such payments as per section 194C of the Act.

     

    It said that the tax department is contending that since cable operators are providing technical services, payments made towards placement of channels is subject to TDS under section 194J of the Act.

     

    Broadcasters pay placement or carriage fee to the cable and DTH operators to place their channel in prime bands, which in turn enhances the viewership of the channel. Such charges are paid under a contract merely for placing the channel on agreed frequency bands.

     

    Deduction of tax at source under Section 194H on the “15% agency commission”

     

    FICCI recommended a clarification that no taxes need to be deducted at source by broadcasters on the “15 per cent agency commission” as mentioned in the invoice raised by broadcasters to advertisement agency or advertisers.

     

    FICCI said the 15 per cent agency commission mentioned by broadcasters in its invoices for ad airtime sale raised on ad agency or advertisers is merely a presentation in the invoices and not a real transaction. Neither the broadcasters nor ad agency recognises the same as revenue or expense. It is customary in nature, as is also evident from the fact that even on the invoices raised directly on advertisers; the said 15 per cent agency commission appears.

     

    Broadcasters are not supposed to make any payments towards 15 per cent agency commission mentioned in the invoice, as there is no agreement or arrangement to pay such the commission with ad agencies or advertisers. In fact, broadcasters do not make any payment in respect of the said commission mentioned on the invoices.

     

    At the outset, FICCI said that the Indian media and entertainment industry grew from Rs 918 billion in 2013 to Rs 1026 billion in 2014, registering an overall growth of 11.7 per cent. The industry is estimated to achieve a growth rate of 13 per cent in 2015 to touch Rs 1159 billion. The sector is projected to grow at a healthy CAGR of 13.9 per cent to reach Rs 1964 billion by 2019.

     

    As per FICCI, television clearly continues to be the dominant segment but strong growth had been posted by new media sectors. Gaming and digital advertising recorded a strong growth of 22.4 per cent and 44.5 per cent compared to the previous year.

     

    The benefits of Phase I and II of cable digital addressable system (DAS) rollout, and continued Phase III rollout are expected to contribute significantly to strong continued growth in the TV sector revenues and its ability to invest in and monetise content. The sector is expected to grow at a CAGR of 15.5 per cent over the period 2015-2019.

     

    Tax Exemptions for Radio Broadcasting

     

    While noting that radio is anticipated to see a spurt in growth after rollout of FM Phase III licensing, FICCI asked the Government to consider providing tax holiday of five years for new capital investment in Phase III; reduce customs duty on capital equipment for radio broadcasting to four per cent; and consider service tax exemption for billings to service recipients covered in the negative list.

     

    Tax Holiday for five years for setting up of new screens

     

    Noting that the film sector had shown a minimal growth of 0.9 per cent in 2014 over 2013, FICCI said there had been an increase in piracy, since the number of screens for viewing films had not increased in proportion to the increase in number of films and the number of people viewing these films.

     

    FICCI said that it was essential to extend the benefit to cinema owners in terms of 80-IB of the Act to multiplexes constructed after March 2005 to encourage the set-up of multiplexes and thereby improve the density of cinema houses in the country. This will encourage setting up of new screens in India and help in improving screen density.

     

    Reduction of prescribed time limit under Rule 9A and 9B

     

    FICCI suggested that the existing period of 90 days before end of the financial year (under Rule 9A and 9B of IT Rules) is suitably reduced to grant relief to assessees whose feature films have incurred losses and have been released for exhibition in the last quarter of the financial year.

     

    Under Rule 9A of the Income Tax Rules, if a film producer sells all rights of exhibition of his feature film, the entire cost of production is allowed as a deduction in computing the profits and gains of such previous year.

     

    However, if the film producer does not sell all rights of exhibition of his film, it is released for exhibition on a commercial basis at least 90 days before end of the financial year and the film producer is eligible to claim deduction of the entire cost of production. Otherwise, a feature film is released for exhibition on a commercial basis within a period 90 days before end of the financial year and the producer is eligible to claim deduction of cost of production only up to a ceiling limit and any excess cost of production is carried forward to the next financial year. This ceiling limit is the amount of revenues generated by the feature film in the financial year.

     

    In certain cases where not all rights of exhibition of a feature film are sold and it is released for exhibition on a commercial basis within 90 days before end of the financial year, the feature film performs poorly and it is exhibited only for a short duration. Consequently, the film producer may not recover costs. In such cases in view of the prevailing IT Rules, the film producers are unable to claim a deduction of entire production cost and, the loss is to be carried forward to the next financial year. Accordingly, such film producers are unable to claim losses in the year the feature film is released for exhibition despite no further scope of income. A similar situation exists in the case of expenditure of distribution rights in view of Rule 9B of IT Rules.

     

    Exemption of Service Tax on major inputs/input services

     

    FICCI recommended that major inputs / input services that are used in relation to theatrical rights in movies, be exempted from service tax. Since the major inputs/input services used in relation to revenue earned from theatrical rights are taxable, the CENVAT credit of service tax paid on such inputs/input services is blocked in the supply chain due to applicability of CCR. Eventually such taxes result in increase of the cost of production thereby defeating the purpose of providing an exemption on the output service.

     

    Re-instatement of the Service Tax exemption on Transmission of digital cinema

     

    FICCI also recommended reinstating the exemption to digital cinema service distributors, as it existed earlier under notification 12/2007 ST of 1 March, 2007, which had been rescinded with the introduction of the negative list.

     

    Service tax on transmission of digital cinema is a direct cost to the producers since the same is in relation to theatrical exhibition of cinematograph film (which is an exempt service with effect from 1 April, 2013) and hence no credit can be availed of such service tax.

     

    Clarity on export status of post-production services

     

    FICCI asked for clarity on the inclusion of post-production activities in the exclusion to this Rule. Alternatively, the second proviso to the Rule 4(a) of the POPS Rules be re-worded.

     

    Given the various technological advances in the Indian film industry, many Indian entities are hired by foreign producers for carrying post production activity. For such activities, the content is temporarily imported into India (either physically or electronically) and re-exported after completion of service. Post-production activities, which may be performed in India, do not find explicit mention in the proviso that carves out exceptions to the performance based rule in POPS Rules.

     

    Service Tax exemption to on-screen advertising in cinemas

     

    The industry body said on-screen advertising in cinemas and multiplexes should be exempted from levy of service tax.

     

    After 1 October, 2014, the negative list of services was amended and on-screen advertising within cinemas is liable to service tax.

     

    The on-screen advertising within cinemas caters to advertisers with small businesses, with limited resources. For large advertisers, on-screen advertising is a secondary medium of advertising at best and they have a small contribution to onscreen advertising within cinemas. The on-screen advertising forms an important source of revenue for the exhibitors, which are already reeling under the pressure of multiple taxes. Re-instatement of service tax on such revenue will only increase their tax burden.

     

    Applicability of Service Tax on food and beverages sold within Cinemas

     

    The food and beverages (F&B) sold in theatres during movies are subject to VAT under local state laws and the same is paid by the exhibitors. But with effect from 1 April, 2011, restaurant services became taxable whereby services rendered by any air-conditioned restaurant serving alcohol were made liable to service tax and later with effect from 2013 the condition of serving alcohol was withdrawn. However, it is still not clear whether the sale of F&B by cinema halls and multiplexes is covered in this service.

     

    Unlike restaurants, there is no seating arrangement, no cutlery is provided and no waiter serves F&B and hence there is no element of service involved in any meaningful manner.

     

    FICCI said levy of service tax is intended on “restaurants” rendering certain services and is not intended on sale of food, beverage and snacks from candy counters in cinema theatres.

     

    Service Tax exemption on entry to award functions, musical performance etc.

     

    The Union Budget of 2015 had amended the negative list of services and effectively withdrawn the unconditional service tax exemption, which was granted to tickets for award functions, music events, sports events etc. With effect from June 2015, service tax is payable when the consideration for admission to entertainment events such as award function, concert, pageant, sporting event etc. is more than Rs 500 per person.

     

    However, FICCI said payment for admission to any event is already liable to a high state entertainment tax and levying of a service tax of 14 per cent over and above the high rates of entertainment imposes a high burden on the entertainment sector.

     

    The industry body asked for a clarification to specify that the value of ticket for the purpose of levy of service tax on such admission (where the ticket price is more than Rs 500) should be the value excluding Entertainment tax. It also wanted clarification on if service tax is payable, the same should be computed on a value exclusive of Entertainment tax and accordingly no service tax should apply on entertainment tax amount.

     

    Customs Duty exemption on film equipment under the ATA Carnet

     

    The ATA Carnet permits duty free temporary admission of goods into a member country. The list of exempted products covers filming equipment too. However, there is no Customs Notification in order to exempt the import of filming equipment from the levy of Customs Duty, on the lines of the ATA Carnet.

     

    FICCI recommended that Customs Duty should be exempted on film equipment under ATA Carnet. The film production equipment is very expensive and not easily available in all countries because of which the film producers are compelled to temporarily import the same on lease for the purpose of producing the film. In absence of a customs notification to exempt filming equipment, the ATA Carnet duty exemption benefit cannot be extended to import of filming equipment.

    These imports significantly increase the burden of tax on the film producers.

     

    Proposals for Animation, Gaming and VFX Industries

     

    FICCI also made some recommendations for the Animation, Gaming & Visual Effects (VFX) industries.

     

    It asked for a 10-year tax holiday for the Animation, Gaming, and VFX industries; and removal of withholding tax on revenues accruing from sales of mobile games in non-India markets as well as removal of withholding tax on the development contracts given to mobile game developers outside India.

     

    FICCI also asked for removal of withholding tax paid by expats working in India for Indian mobile game development companies.

     

    The Minimum Alternate Tax (MAT) applicability for units undertaking animation work in SEZ should be withdrawn to encourage export of animated contents.

     

    The industry body wanted restoration of STPI advantage scheme for AVGC or ITES for another 10 to 20 years and cover/encourage exports as well as IP creation.

     

    To promote domestic gaming market, excise duty on local manufacture should be brought down to nil (similar to film and music industry). This will enable CVD to be brought to zero also. The effective reduction in taxes would be around 15 per cent. Import duty on consoles (gaming hardware) to be brought down to zero per cent to increase the installed base to enable the local developer ecosystem to flourish.

     

    There should be a provision of 50 per cent reimbursable MDA (Market Development Assistance) for travel and registration fees to international market events.

     

    The Government should extend support under Market Development Assistance (MDA) activity for Indian companies to exhibit by setting Indian Pavilions in the world markets. What is needed is to help bringing local production companies to international markets, collect and disseminate information and support creating the infrastructure needed for a healthy media market to develop.

  • FICCI demands infrastructure status for broadcast industry in pre-budget memo

    FICCI demands infrastructure status for broadcast industry in pre-budget memo

    NEW DELHI: The Indian broadcast, cable and direct-to-home (DTH) sectors have been demanding a infrastructure status for the industry as well as seeking all benefits and incentives available for the infrastructure industry including the availability of finance at a concessional rate.

     

    To this effect, the Indian Broadcasting Foundation (IBF) had earlier this month urged the Union Government to grant “Infrastructure Status” to the broadcasting industry.

     

    Now, making this demand, the Entertainment Wing of FICCI has said in a pre-budget memorandum to Finance Minister Arun Jaitley that the sector should be allowed tax concessions as per Section 80-IA of the Income Tax Act.

     

    The digitisation process and the deployment of set top boxes (STBs) are heavy capital oriented and thus require huge investments, which may force various amalgamations and thus they should be allowed to set off accumulated losses and unabsorbed depreciation allowances to be carried forward as per Section 72 A of the Act, the industry body said.

     

    Parity with Manufacturing Industry under Section 72A of the Act

     

    It also said that the disparity between the service and the manufacturing sector is very adversely affecting the growth and consolidation of the Service sector.

     

    The tax benefits under Section 72A of the Act in respect of amalgamation or de-merger (carry forward and set off of accumulated loss and unabsorbed depreciation allowances) are currently limited to industrial undertakings or a ship, hotel, aircraft or banking. The definition of industrial undertaking should be widened to include service industry, broadcasters and content production companies.

     

    Rationalisation of Indirect taxes

     

    The rate of taxes, which range from 30 – 70 per cent, especially the entertainment tax imposed by the states, over and above the service tax, are punitive in nature, FICCI said, adding that such punitive level of taxation incentivises unhealthy practices, such as piracy, revenue leakage on account of under reporting of revenues, etc. It is important that the overall taxation level is brought down for the sector as a whole.

     

    State Entertainment tax legislations levy high taxes on the subscription earned by cable operators and DTH operators. The non-availability of credit of central taxes against the state taxes and vice versa increases the tax burden on the entertainment industry. In addition to this, the Central Government has levied service tax at 14 per cent on the transfer of copyrights, which is already being taxed as ‘goods’ under the various state VAT legislations.

     

    Payment for Content Production

     

    FICCI said there is ambiguity since the tax authorities have been adopting a view that the payment towards production of content is in the nature of fees for technical services and subject to tax at the rate of 10 per cent under section 194J of the Act whereas Explanation III to section 194C of the Act clarifies that payments made towards a contract, concerning broadcasting and telecasting including production of programmes for such broadcasting or telecasting, would fall under the definition of ‘work’ for the purpose of section 194C of the Act.

     

    It suggested that to avoid difference in positions adopted by the tax payer and tax department on applicability of relevant section and to mitigate resultant litigation and hardship, a clarification may be issued regarding appropriate classification of content production services and applicability of relevant section for withholding of taxes.

     

    Carriage Fees/Placement Charges

     

    FICCI has demanded that the Government should provide a clarification that the payments made towards carriage fees are not in the nature of royalty or fees for technical services and TDS is required to be made on such payments as per section 194C of the Act.

     

    It said that the tax department is contending that since cable operators are providing technical services, payments made towards placement of channels is subject to TDS under section 194J of the Act.

     

    Broadcasters pay placement or carriage fee to the cable and DTH operators to place their channel in prime bands, which in turn enhances the viewership of the channel. Such charges are paid under a contract merely for placing the channel on agreed frequency bands.

     

    Deduction of tax at source under Section 194H on the “15% agency commission”

     

    FICCI recommended a clarification that no taxes need to be deducted at source by broadcasters on the “15 per cent agency commission” as mentioned in the invoice raised by broadcasters to advertisement agency or advertisers.

     

    FICCI said the 15 per cent agency commission mentioned by broadcasters in its invoices for ad airtime sale raised on ad agency or advertisers is merely a presentation in the invoices and not a real transaction. Neither the broadcasters nor ad agency recognises the same as revenue or expense. It is customary in nature, as is also evident from the fact that even on the invoices raised directly on advertisers; the said 15 per cent agency commission appears.

     

    Broadcasters are not supposed to make any payments towards 15 per cent agency commission mentioned in the invoice, as there is no agreement or arrangement to pay such the commission with ad agencies or advertisers. In fact, broadcasters do not make any payment in respect of the said commission mentioned on the invoices.

     

    At the outset, FICCI said that the Indian media and entertainment industry grew from Rs 918 billion in 2013 to Rs 1026 billion in 2014, registering an overall growth of 11.7 per cent. The industry is estimated to achieve a growth rate of 13 per cent in 2015 to touch Rs 1159 billion. The sector is projected to grow at a healthy CAGR of 13.9 per cent to reach Rs 1964 billion by 2019.

     

    As per FICCI, television clearly continues to be the dominant segment but strong growth had been posted by new media sectors. Gaming and digital advertising recorded a strong growth of 22.4 per cent and 44.5 per cent compared to the previous year.

     

    The benefits of Phase I and II of cable digital addressable system (DAS) rollout, and continued Phase III rollout are expected to contribute significantly to strong continued growth in the TV sector revenues and its ability to invest in and monetise content. The sector is expected to grow at a CAGR of 15.5 per cent over the period 2015-2019.

     

    Tax Exemptions for Radio Broadcasting

     

    While noting that radio is anticipated to see a spurt in growth after rollout of FM Phase III licensing, FICCI asked the Government to consider providing tax holiday of five years for new capital investment in Phase III; reduce customs duty on capital equipment for radio broadcasting to four per cent; and consider service tax exemption for billings to service recipients covered in the negative list.

     

    Tax Holiday for five years for setting up of new screens

     

    Noting that the film sector had shown a minimal growth of 0.9 per cent in 2014 over 2013, FICCI said there had been an increase in piracy, since the number of screens for viewing films had not increased in proportion to the increase in number of films and the number of people viewing these films.

     

    FICCI said that it was essential to extend the benefit to cinema owners in terms of 80-IB of the Act to multiplexes constructed after March 2005 to encourage the set-up of multiplexes and thereby improve the density of cinema houses in the country. This will encourage setting up of new screens in India and help in improving screen density.

     

    Reduction of prescribed time limit under Rule 9A and 9B

     

    FICCI suggested that the existing period of 90 days before end of the financial year (under Rule 9A and 9B of IT Rules) is suitably reduced to grant relief to assessees whose feature films have incurred losses and have been released for exhibition in the last quarter of the financial year.

     

    Under Rule 9A of the Income Tax Rules, if a film producer sells all rights of exhibition of his feature film, the entire cost of production is allowed as a deduction in computing the profits and gains of such previous year.

     

    However, if the film producer does not sell all rights of exhibition of his film, it is released for exhibition on a commercial basis at least 90 days before end of the financial year and the film producer is eligible to claim deduction of the entire cost of production. Otherwise, a feature film is released for exhibition on a commercial basis within a period 90 days before end of the financial year and the producer is eligible to claim deduction of cost of production only up to a ceiling limit and any excess cost of production is carried forward to the next financial year. This ceiling limit is the amount of revenues generated by the feature film in the financial year.

     

    In certain cases where not all rights of exhibition of a feature film are sold and it is released for exhibition on a commercial basis within 90 days before end of the financial year, the feature film performs poorly and it is exhibited only for a short duration. Consequently, the film producer may not recover costs. In such cases in view of the prevailing IT Rules, the film producers are unable to claim a deduction of entire production cost and, the loss is to be carried forward to the next financial year. Accordingly, such film producers are unable to claim losses in the year the feature film is released for exhibition despite no further scope of income. A similar situation exists in the case of expenditure of distribution rights in view of Rule 9B of IT Rules.

     

    Exemption of Service Tax on major inputs/input services

     

    FICCI recommended that major inputs / input services that are used in relation to theatrical rights in movies, be exempted from service tax. Since the major inputs/input services used in relation to revenue earned from theatrical rights are taxable, the CENVAT credit of service tax paid on such inputs/input services is blocked in the supply chain due to applicability of CCR. Eventually such taxes result in increase of the cost of production thereby defeating the purpose of providing an exemption on the output service.

     

    Re-instatement of the Service Tax exemption on Transmission of digital cinema

     

    FICCI also recommended reinstating the exemption to digital cinema service distributors, as it existed earlier under notification 12/2007 ST of 1 March, 2007, which had been rescinded with the introduction of the negative list.

     

    Service tax on transmission of digital cinema is a direct cost to the producers since the same is in relation to theatrical exhibition of cinematograph film (which is an exempt service with effect from 1 April, 2013) and hence no credit can be availed of such service tax.

     

    Clarity on export status of post-production services

     

    FICCI asked for clarity on the inclusion of post-production activities in the exclusion to this Rule. Alternatively, the second proviso to the Rule 4(a) of the POPS Rules be re-worded.

     

    Given the various technological advances in the Indian film industry, many Indian entities are hired by foreign producers for carrying post production activity. For such activities, the content is temporarily imported into India (either physically or electronically) and re-exported after completion of service. Post-production activities, which may be performed in India, do not find explicit mention in the proviso that carves out exceptions to the performance based rule in POPS Rules.

     

    Service Tax exemption to on-screen advertising in cinemas

     

    The industry body said on-screen advertising in cinemas and multiplexes should be exempted from levy of service tax.

     

    After 1 October, 2014, the negative list of services was amended and on-screen advertising within cinemas is liable to service tax.

     

    The on-screen advertising within cinemas caters to advertisers with small businesses, with limited resources. For large advertisers, on-screen advertising is a secondary medium of advertising at best and they have a small contribution to onscreen advertising within cinemas. The on-screen advertising forms an important source of revenue for the exhibitors, which are already reeling under the pressure of multiple taxes. Re-instatement of service tax on such revenue will only increase their tax burden.

     

    Applicability of Service Tax on food and beverages sold within Cinemas

     

    The food and beverages (F&B) sold in theatres during movies are subject to VAT under local state laws and the same is paid by the exhibitors. But with effect from 1 April, 2011, restaurant services became taxable whereby services rendered by any air-conditioned restaurant serving alcohol were made liable to service tax and later with effect from 2013 the condition of serving alcohol was withdrawn. However, it is still not clear whether the sale of F&B by cinema halls and multiplexes is covered in this service.

     

    Unlike restaurants, there is no seating arrangement, no cutlery is provided and no waiter serves F&B and hence there is no element of service involved in any meaningful manner.

     

    FICCI said levy of service tax is intended on “restaurants” rendering certain services and is not intended on sale of food, beverage and snacks from candy counters in cinema theatres.

     

    Service Tax exemption on entry to award functions, musical performance etc.

     

    The Union Budget of 2015 had amended the negative list of services and effectively withdrawn the unconditional service tax exemption, which was granted to tickets for award functions, music events, sports events etc. With effect from June 2015, service tax is payable when the consideration for admission to entertainment events such as award function, concert, pageant, sporting event etc. is more than Rs 500 per person.

     

    However, FICCI said payment for admission to any event is already liable to a high state entertainment tax and levying of a service tax of 14 per cent over and above the high rates of entertainment imposes a high burden on the entertainment sector.

     

    The industry body asked for a clarification to specify that the value of ticket for the purpose of levy of service tax on such admission (where the ticket price is more than Rs 500) should be the value excluding Entertainment tax. It also wanted clarification on if service tax is payable, the same should be computed on a value exclusive of Entertainment tax and accordingly no service tax should apply on entertainment tax amount.

     

    Customs Duty exemption on film equipment under the ATA Carnet

     

    The ATA Carnet permits duty free temporary admission of goods into a member country. The list of exempted products covers filming equipment too. However, there is no Customs Notification in order to exempt the import of filming equipment from the levy of Customs Duty, on the lines of the ATA Carnet.

     

    FICCI recommended that Customs Duty should be exempted on film equipment under ATA Carnet. The film production equipment is very expensive and not easily available in all countries because of which the film producers are compelled to temporarily import the same on lease for the purpose of producing the film. In absence of a customs notification to exempt filming equipment, the ATA Carnet duty exemption benefit cannot be extended to import of filming equipment.

    These imports significantly increase the burden of tax on the film producers.

     

    Proposals for Animation, Gaming and VFX Industries

     

    FICCI also made some recommendations for the Animation, Gaming & Visual Effects (VFX) industries.

     

    It asked for a 10-year tax holiday for the Animation, Gaming, and VFX industries; and removal of withholding tax on revenues accruing from sales of mobile games in non-India markets as well as removal of withholding tax on the development contracts given to mobile game developers outside India.

     

    FICCI also asked for removal of withholding tax paid by expats working in India for Indian mobile game development companies.

     

    The Minimum Alternate Tax (MAT) applicability for units undertaking animation work in SEZ should be withdrawn to encourage export of animated contents.

     

    The industry body wanted restoration of STPI advantage scheme for AVGC or ITES for another 10 to 20 years and cover/encourage exports as well as IP creation.

     

    To promote domestic gaming market, excise duty on local manufacture should be brought down to nil (similar to film and music industry). This will enable CVD to be brought to zero also. The effective reduction in taxes would be around 15 per cent. Import duty on consoles (gaming hardware) to be brought down to zero per cent to increase the installed base to enable the local developer ecosystem to flourish.

     

    There should be a provision of 50 per cent reimbursable MDA (Market Development Assistance) for travel and registration fees to international market events.

     

    The Government should extend support under Market Development Assistance (MDA) activity for Indian companies to exhibit by setting Indian Pavilions in the world markets. What is needed is to help bringing local production companies to international markets, collect and disseminate information and support creating the infrastructure needed for a healthy media market to develop.

  • The vehemently tailored factual entertainment genre in India

    The vehemently tailored factual entertainment genre in India

    The factual entertainment channels’ genre in India has seen rapid growth over the last couple of years. While the big daddies of factual entertainment like Discovery,National Geographic Channel and HistoryTV18 have already carved out a niche for themselves with a balanced mix of international and localised content,a few new channels have also sprung up,which are trying to make their mark. What’s more,with a handful of more channels slated to launch soon,the genre is poised to get a huge impetus.

    The genre has shaped effectively due to key factors like digitisation,change in lifestyle and localised content amongst others. Breaking away from the soaps and movies,it is observed that the demand for non-fiction and reality content is on the rise.

    The entire genre,both in terms of share and viewership has grown exceptionally,by providing a great breeding ground for advertisers to effectively target a larger number of niche audience. Viewers now are demanding good quality entertainment with a blend of enrichment and learning.

    According to the FICCI-KPMG M&E report 2015,the factual entertainment genre enjoys a viewership share of 1.3 per cent of the total market,higher than the 0.9 per cent of English Entertainment and 0.1 per cent of English News,while the genre’s AdEx share stands at two per cent of Rs 175 billion ad spends for 2015.

    India is a young and diverse country,where viewers have a high demand for inspirational programming. They want to be informed and entertained at the same time. Television viewing in India has undergone a dramatic shift over the last decade. The change has come into play owing to factors like tastes and preferences of the audience,competition in the TV entertainment industry as well as changes in regulation. Though the factual entertainment genre is not that diverse,apart from the pioneers in the space,newer channels like Travel XP,Insight Channel,Living Foodz are also catering to the needs of the audience. Additionally,channels like Sony BBC Earth,Living Travelz,Living Rootz and Living Homez are all waiting to launch and further expand the genre.

    Discovery Networks has many firsts to its credit. Discovery has pioneered the factual entertainment genre in India since 1995 and has also introduced a refreshing new wave of programming. It also led dubbing of international content with multiple language feeds in the country.

    Discovery was the first mover in bringing the best of non-fiction programming across genres like science,exploration,survival,natural history,sustainability of the environment,technology,anthropology,health and wellness,engineering,adventure,lifestyles and current events. Lately,the channel has expanded its portfolio to include reality television and pseudo-scientific entertainment.

    Discovery Channel has maintained its leadership in the factual entertainment genre. The new rural rating released by BARC has reiterated viewership trends amongst urban and rural audience alike. The channel showed a viewership increase of 84 per cent from 2014.

    The channel has played an important role in shaping the entire infotainment genre in India.

    Discovery Networks Asia Pacific executive vice president and general manager – South Asia Rahul Johri tells Indiantelevision.com,”We have also witnessed increased demand for genres such as adventure,wildlife,survival,technology,travel,cuisine,auto and science. The channel runs with original content globally as well as in India. The channel airs shows like Man v/s Wild,HRX Heroes and How Do They Do It,etc.’

    Observing that India has a significantly diverse viewer base with differentiated tastes and preferences,Johri says,”While local content finds more appeal,there is demand for a mix of international and localised content from our network. Discovery Networks offers viewers a window to the world.’

    Viewers expect to see unique facets of India from the prism of such infotainment channels and hence,localisation forms the bedrock of the India growth strategy.

    The channel has very well stuck to its localised content by airing a new India series every month like Tiger Sisters of Telia,Story of Yoga,India’s Wandering Lions,India Emerges,1965: A Visual History,Jai Ho with A.R. Rahman and HRX Heroes with Hrithik Roshan. While Investigative Discovery saw Indian shows like Khooni Saaya with actor Rohit Roy and Shaitaan with Sharad Kelkar,the Discovery Kids channel contributed with series like Kisna and Luv Kushh amongst others.

    While some channels have advanced to the 4K format,Johri is of the opinion that 4K is still in its nascent stage in India. “We continue to explore new opportunities to make a strong connect with our viewers. 4K is at its nascent stage in India and as technology evolves,we shall assess the prospects,’ he says.

    The channel claims to have evenly distributed the revenues across both advertising and affiliate business. Emphasising that the network values both cable as well as DTH subscriptions due to their respective advantages,Johri adds,”While cable is cheaper,it gives wider penetration to the channels. On the other hand,DTH offers more value to its consumers viz. variety,clarity,service and offers high growth in revenues for broadcasters.’

    The channel claims to have nearly three billion cumulative subscribers in more than 220 countries and territories. In the Asia Pacific region,Discovery’s reach is at 209 million subscribers.

    “Our vision moving forward would be to bring best in class content and offer distinct value to all our stakeholders. We shall also relentlessly explore new opportunities of growth. India content has been a key focus for the network and we shall continue to produce path-breaking programs to suit Indian viewers’ tastes. Our aim is to continue to innovate and deliver value to viewers,advertisers and affiliates alike,’ says Johri.

    While in 2015,Discovery took its focus a notch up with an intensive slate of India shows across all brands,in 2016 plans are to keep the momentum high with new formats,exclusive accesses,topical shows and refreshing hosts in a bid to satisfy the curiosity of Indian viewers.

    Cable television digitisation has been a major change that the industry has witnessed,which has also helped drive up the value of differentiated and high quality content. “Backed by digitisation,we launched eight new channels including three high-definition channels,a kids channel (Discovery Kids),a regional (Discovery Tamil) and a Hindi entertainment channel (ID) in the last five years. Each of these channels has garnered tremendous response from the viewers,advertisers and affiliates alike,’ says Johri.

    Catering to a specific audience segment,Animal Planet has climbed up the ropes in the factual entertainment genre and is successfully surging ahead of competition. The channel offers entertainment-focused programming tapping people’s primal instincts with compelling stories,engaging characters and the innate drama of the natural world.

    The channel aims to bring refreshing television content for Indian audiences making for family entertainment. Beyond just animals,the channel will continue to offers different perspective to the animal kingdom. It will immerse viewers in a rich range of wildlife content – from blue chip natural history to adventure,conservation to extreme expeditions,and intimate stories of wildlife enthusiasts to bizarre creatures; catering to audience across age groups.

    Animal Planet has sharpened its claws and is ready for 2016 with a new programming line-up including series and specials to strengthen its content slate. In the first quarter of the year,the channel will launch Masters of the Jungle,which will be aired every night at 9 pm. The band is one of the highly rated time bands that will bring exciting new adventures of the channel’s hosts and wildlife experts. Animal Planet will also bring the fifth edition of Where Tigers Rule,an initiative to shine spotlight on the importance of tiger,which will be aired every night at 9 pm starting from March.

    “We have a well-entrenched portfolio that provides high-quality and differentiated audience through the year for advertisers across categories. Our brands offer consistent and targeted viewers,which is what the advertisers look for. This is evident from the fact that our channels have a wide range of advertisers and product categories across markets,pan India,’ adds Johri.

    The channel will also introduce two new shows namely Rann Bhoomi,which will be aired every night at 10 pm uncovering the lives of the world’s most elusive predators and Return of the Lions,which will air every Monday at 8 pm,honouring the majestic lion. The channel will also be bringing the new season of its popular series The Wildlife of Tim Faulkner,River Monsters,etc this year.

    “In a cluttered television environment,the challenge remains to establish unique and differentiated proposition and we have succeeded in our mission to provide the highest quality entertainment across our 11 brands,’ asserts Johri.

     

    As per data provided by Discovery Network, the channel in AA 4+, All India market is placed at second slot.

    Another channel that enjoys a strong foothold in the space is National Geographic Channel (NGC). The channel is owned by Fox Cable Networks,which had seen its inception in 1997. It airs non-fiction television programs and also features documentaries with factual content involving nature,science,culture,history,reality and pseudo-scientific entertainment programming. The channel ranks third in the genre in Week 1,2016 all India (U+R) data from Broadcast Audience Research Council (BARC) India with 4090 (000Sums).

    With the digitisation wave in India,the channel has witnessed a shift in the audiences’ TV viewing habits. There is an increasing demand for specialised content,which in turn has created an opportunity for special interest channels. The other significant impact of digitisation has been a gradual demand for quality and localised content. “Infotainment channels like National Geographic are slowly but steadily commanding a much larger viewership pie compared to what they were commanding earlier. Competition is making sure that everyone has enough and more to keep the audience hooked on to TV,’ says National Geographic and Fox International Channels India business head Swati Mohan.

    “Viewers expect content to be world class,distinctive,informative and awe inspiring. Nat Geo takes pride in continuing to deliver on this promise,’ adds Mohan. Even as the genre has seen an increase in the local content hours,Mohan is of the opinion that there will always be room for stories,facts,innovations from across the world that Indian viewers will continue to want to see and learn about.

    Content creation for the infotainment genre is definitely not inexpensive,but at the same time the channel also believes in the unique access it provides,the conversations it creates,and the evergreen nature of the content as priceless. Maintaining a balance between what the viewers want and what will the advertisers be interested in,is NGC’s core are of focus.

     

     

    Travel XP,the home-grown travel channel owned by Celebrities Management Private Limited,flagged in 2011 and enjoys good viewership in India. The channel features shows like Xp Guide,Great World Hotels,Great Indian Hotels,Bada Weekend,Foodicted,Strictly Street,Xplore World,etc and is known to provide 100 per cent original content to viewers as well as license its shows to several networks outside India.

    Travel XP believes in localising content for the Indian trade. “The sensibilities and requirements of the Indian consumers are different and so are the consumption patterns. Audiences have to identify with the content and we think local content is what they would relate to,’ says Travel XP CEO Prashant Chothani. The channel is aggressively investing in 4K and will be soon migrating its complete production from HD to 4K.

    The channel is widely available across India,Sri Lanka,Africa,Canada and the Middle East. The ad free channel effectively reaches out to viewers through DTH and cable and rakes in revenue from domestic as well as international subscription. The channel syndicates its content to over 50 networks across various geographies and licenses content to over 15 airlines for in-flight entertainment.

    “There has been a lot of activity in the genre in recent times. Niche has its own distinct audience and advertisers. Original content will help the genre grow in terms of viewership but the quality cannot be compromised. Overall,I see the genre doing well,’ says a media planning and buying veteran,who did not wish to be named.

     

     

    One of the factual entertainment channels enjoying success in India is History TV18,which began its sprawl in 2011. The channel is jointly owned by A+E Networks and TV18 and broadcasts programmes related to historical events,infotainment and persons. It is available in eight languages across all major markets in India. The channel ranked second in Week 1,2016 all India (U+R) data from BARC India with 5143 (000Sums).

    “The entire factual entertainment genre lacked some action and was operating in a niche space before the launch of History TV18,concentrating more on GEC,sports,etc. Post our channel’s launch,the entire genre grew by 30 per cent,’ informs A+E Networks | TV18 vice president and head marketing Sangeetha Iyer. “With more players in the fray,the entire genre expands with a larger number of audience sampling the genre,’ she adds.

    Even though History TV18 runs with original content,Iyer believes that there is not much local content to dramatically change the landscape of the genre yet. “Players run with only 10-15 per cent of original content and are cautious about localising it. If you don’t invest in original content and not talk the language that the local market understands,the business opportunities won’t grow,’ voices Iyer.

    The channel is strategising to invest more in storytelling,idea,innovation and uniqueness of the story by talking about things that are rooted in people’s culture,lifestyle and choices.

    The newest player in town is Trilogic Digital Media and iTV Network’s Insight,which is a linear and non-linear channel. The channel is focussed on technology with an emphasis on showcasing talent to its viewers. It claims to change the ordinary television viewing experience and has a strategically planned line-up that will upgrade the level. “We are working towards taking the interaction and integration on TV to an entirely different podium globally. We are working on how the product is coming out and how will it work in the market,” says iTV Network MD Kartikeya Sharma.

    “Subscription revenue is a contending contributor and a lot depends on the implementation of Conditional Access System (CAS) for this to become a larger contributor.Currently,the subscription revenue is in the range of 20-30 per cent overall and about as high as 35 per cent for infotainment at this point. Infotainment has higher reach through cable therefore,the implementation of CAS is critical for their overall growth,” informs Madison Media COO Karthik Laxminarayan.

    The ad free channel,Insight,has been positively received by DTH players and expects to yield up to 30 per cent subscription revenue in year two of operations. “We are aiming for a 35 per cent hike in subscription revenue in our third year,” says Trilogic Digital Media COO Shivani Jaisingh.

    Insight idealises that growth depends on the content available and claims to reach out to 80 million viewers. The channel has laid down content for the entire year exclusively for a splendid 4K experience. “Talking about ad spends,the figure has been growing quite highly and is in the 15 per cent range,while the infotainment spends are growing at 10-12 per cent annually,” adds Jaisingh.

    The infotainment channels are expecting a drastic change with the phase III of digitisation and have rolled up their sleeves in preparations. With more channels poised to enter the market soon,the genre’s growth will be interesting to watch. “The phase III of digitisation will be a milestone achievement for the country and will generate higher value for all stakeholders,especially the viewers. It will also be crucial for broadcasters and will see a substantial growth in the reach and revenue,” adds a media observer.

  • ‘Broadcasters should black out areas where DAS implementation is tardy; Govt should move SC:’ VD Wadhwa

    ‘Broadcasters should black out areas where DAS implementation is tardy; Govt should move SC:’ VD Wadhwa

    An Alumnus of Harvard Business School and a fellow member of the Institute of Company Secretaries of India, V D Wadhwa carries his multifarious responsibilities with a humility and ease that belies the positions he had occupied in the private sector. 

     

    SitiCable executive director and CEO, Wadhwa has almost 30 years of general management experience in consumer lifestyle and retail industries. Additionally, he has also served on various committees of FICCI and Assocham besides serving as president of the Horological Federation of India.

     

    His personal interests include – playing squash, adventure sports, and travelling.

     

    Donning the hat of All India Digital Cable Federation’s president for the past 15 months, Wadhwa is convinced that the move towards digital addressable system (DAS) is in the  right direction. In an interview with Indiantelevision.com, he justifies this and is of the opinion that there should be no let up.

     

    Excerpts from the interview:

     

    With cable operators and multi system operators in so many states having got extension orders from the courts, do you feel the government should have given more time before implementing Phase III covering all urban areas?

    No, I feel that the Government has taken the right decision in not extending the date except where Court orders have come. With reports that there are pockets even in the first two phases where analogue signal is still being beamed, any extension by the Government would have made the MSOs and LCOs go slow and this could have gone on for years.

     

    At least the stakeholders now know they have a deadline that they have to meet. We should not forget that all stakeholders knew since September 2014 that the Government had set a deadline it would stick to, and had enough time to get ready for DAS Phase III.

     

    What is the way out?

    The Government should go to the Supreme Court and stop all the High Court cases on DAS.

     

    But there is great shortage of set top boxes, if you go by the pleadings before the High Courts…

    In SitiCable, we have 11 million subscribers on our network and we have already seeded three million STBs in Phase III. I am confident that we will complete five to six million in the next couple of months and reach 10 million by March. Thus we will cover 6.5 million boxes of the first three phases. Other stakeholders had enough time to order STBs if they had acted in time.

     

    But these are Chinese STBs with little or no service.

    They are Chinese, but they are reliable and when we fit this in any household, we give the requisite service for taking care of any problems.

     

    What about indigenous STBs?

    It is true that there is very little indigenous production with just two manufacturers. There are less than two per cent indigenous STBs. The Government will have to facilitate more under its Make in India scheme. But that is not our field. We have expertise as the distribution pipe.

     

    Pricing of STBs is also a problem since there is no fixed rate.

    STBs had initially cost much more, but are now being sold for just around Rs 1200 and even on a rental basis.

     

    What do you think should be done to speed up the DAS process?

    Implementation on the ground needs support. And the broadcasters should black out areas where implementation is tardy.

     

    And now the Government is gearing up for Phase IV, which covers the rural areas…

    In my view, Phase III and Phase IV should have been done together as the government had initially planned. In any case, there is a 30 per cent base of direct-to-home (DTH) platforms in Phase IV so a large pocket is already digitised. In fact, the total DTH segment in Phase III and IV is around seventy per cent.

     

    What are SitiCable’s future plans?

    We are very clear that we now have to concentrate on broadband and add on at least 500,000 subscribers every year.