Tag: Industry

  • Future Watch: Expectations from Indian OTT Industry in 2017

    Future Watch: Expectations from Indian OTT Industry in 2017

    India has witnessed an over-the-top (OTT) explosion in 2016. The entry of leading international players, coupled with the rise of local OTT ventures, has only intensified the competition in a market earmarked for exponential growth.

    Statistics underline why OTT is fast becoming the primary medium of entertainment consumption for Indian viewers. Over 65% of the 450+ million internet users in India are currently mobile-only, and the country is adding 6 million new internet users every month who are exclusively accessing digital connectivity through on a mobile phone.

    With almost 2.1 billion people, or 28.7% of the world’s population, already estimated to own smartphones, the rate of smartphone adoption will continue to be robust across the globe with double-digit growth. Smartphones will also outstrip feature phones when it comes to sales and adoption. “Nearly 47.4% of mobile phone users own a smartphone at present. Keeping in mind the industry trends, smartphone users could very well outnumber feature phone users by the end of 2017.”

     Nearly 47.4% of mobile phone users will possess smartphones by the end of this year. By the end of 2017, smartphone users will outnumber feature phone users. (Source: eMarketer)

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    Source: eMarketer

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    Source: iCube

    Mobile is driving the growth for Internet in India; the country is predicted to be home to 640 million internet users and 700 million smartphone users by 2020 (Source: iCube). Online video content, as a result, is thriving; videos comprise 50% of total mobile data traffic at present. This clearly shows the potential that the Indian market is sitting on. The gold rush will continue in the future as well, as more viewers shift towards easy-to-use, on-demand services that offer cross-platform access.

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    The Indian OTT industry has been majorly driven by disruption. OTT Trends to watch for in 2017 (Source: MUVI):

    LIVE Streaming:

    As more consumers shift towards anytime, anywhere viewing experience, live streaming will continue to be in demand in 2017. To make the most of it, OTT platforms must have to leverage the following:
    –    Capture live on Ad-hoc/breaking stories (to capture the thrill)
    –    Live Sports & Events
    –    Linear TV schedule of the series programming (creating a VOD playout)

    People are demanding more and more live experiences for their favorite content over-the-top, especially for top content such as news and sports. Studies suggest that viewers in fact demand this content later if they miss the live broadcast.

    Sports live streaming saw impressive reception in the year 2016, with UEFA European Champions 2016 in France scoring massive viewership on SonyLIV’s web and mobile app platforms. With much more expected in the live streaming space in the coming year, the trend is here to stay.

    AR, VR & 360 videos:
    Videos in recent times have moved beyond their traditional boundaries and have become more immersive with the advent of augmented reality and virtual reality tech. With 4K becoming the hot new trend for device manufacturers, video qualities have improved dramatically. As a result, engaging  life-like experiences through videos are no longer far-fetched fantasies, but are actively becoming a part and parcel of the overall entertainment viewing.

    Original Content:

    OTT players have started coming up with their own original series to hook viewers’ attention. This is generating impressive traction and has viewers switching over from the expensive Pay TV, thanks to the freshness and greater relevance of the content as well as the increased convenience of anytime, anywhere viewing.
    Hybrid Platforms:

    OTT right now, is at a position where e-commerce was a few years ago – new, and trending, and adapting to new ways of winning. Making OTT platforms capable of selling physical products along with audio and video service offerings is definitely going to be an upward trend in 2017 due to the synergy between the two sectors. A prime example of this is Amazon, an e-commerce company, which has now jumped into video streaming. Allowing free shipping of Amazon products on Prime Video memberships has very quickly allowed the company to transform most of its e-commerce consumers as streaming service subscribers.

    Rural will drive the internet growth and local languages content will rise:

    India is estimated to have 250 million rural internet users, while non-metros are driving 60% of the overall e-commerce growth. Nearly 43% of internet users are non-English, a number which is estimated to grow to 62% by 2020. This could see a tangible increase in regional language-based content available on the digital medium, as more and more OTT platforms and production houses develop entertainment tailored to meet the specific requirements and sensibilities of their regional audiences.

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    Source: IAMAI India Internet Report, Indian Readership Survey

    Micro transactions & cashless transactions:

    According to a Frost & Sullivan report, there are 66 million unique connected video viewers in India, of which 1.3 million are paid video subscribers. These video subscription numbers, however, are not absolute, and fluctuate drastically every month. But with the country heading towards becoming a cashless economy and colossal changes expected in the way netizens make their day-to-day transactions, the number of OTT subscribers is expected to grow and stabilize, even as the number of unique online video viewers grows to 355 million by 2020.

    E-payments and mobile wallets are getting more popular among the millennials in the country. Digitization of cash will accelerate over the next few years. Non-cash payments, which today constitute 22% of all consumer payments, will overtake cash transactions by 2023.

    Digital payments instruments will drive the growth in non-cash payments, according to a Google BCG Report. Micro-transactions will form a substantial portion of the industry, with over 50% of person-to-merchant transactions expected to be under INR 100 according to the study. The report also predicts that the value of remittances and money transfer that will pass through alternate digital payment instruments will double to 30% by 2020.

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    Source: Google – BCG

    TV ad revenue to shift to Digital by 2017 in Asia-Pacific

    Net advertising revenue in the Asia-Pacific has grown at 5.8% in 2016 and is expected to increase at a compound annual growth rate (CAGR) of 5.5% till 2020. This reflects stable but moderate growth across both mature and emerging markets in the region.

    India and China will continue to be the fastest growing ad markets in the region, expanding in excess of 10% and 8% respectively according to a new report by Media Partners Asia, an advisory, research, and consulting firm. The share of digital media in the advertising market in Asia-Pacific is projected to overtake that of television by 2017 and increase to 44.2% by 2020, up from 30.7% in 2015. The biggest contributors to this growth will be Australia, China, Korea, Japan, and Taiwan.

    Although television will remain a critical advertising medium, its regional advertising share will decline as ad spending in Australia and China shifts to digital. However, television will continue to be the biggest advertising medium in key markets such as India, Japan, and Korea even in 2020. The Media Partners Asia report forecasts that over the next five years, the fastest growing markets in Asia-Pacific will be India at 10.7%, China at 8.4% and Indonesia at 8.2%. In 2015, the net advertising revenue in Asia-Pacific grew by 5.3%, the slowest rate of growth since 2009. Advertising expenditure growth continued to remain slow in Indonesia and contracted in Singapore, Malaysia, and Hong Kong.

    Social Platforms

    Mobile video accounts for 50% of mobile traffic around the world and, by 2021, video will account for 70% of the overall mobile internet traffic. (Source: Ericsson Mobility Report).
    1 out of 8 people around the world accesses Facebook on a mobile phone at least once a day. (Source: BI Intelligence estimates, Facebook)

    Snapchat is the up-and-coming disrupter. It isn’t just mobile-first; it is mobile-ONLY and is witnessing exponential growth in its mobile audience. (Source: Snapchat, BI Intelligence estimates)

    Skype, WhatsApp video call has brought the world and its people closer to one another. LIVE serves the same purpose, allowing brands an opportunity to add personality and a personal touch to their communication. LIVE comes as a breath of fresh air to engage with dormant audiences and boost engagement. From a brand’s point of view, this can be a way of showing people what actually happens behind the scene rather than pushing out branded content all the time. This will allow them to  tap Audiences which might have otherwise been inaccessible to them. For example, while only a few thousands could attend the Coldplay concert in India, millions could view it on the LIVE broadcast. Additionally, when a brand goes LIVE, it gives an assurance to audiences that there is no gimmick involved and everything that is being showcased is true, which adds credibility. With LIVE, the brand and consumer relation stands to evolve. Facebook LIVE has started a new trail of information share from brands. Some good examples of LIVE video are the El Clasico LIVE voting on SonyLIV, which got a reach of 1 million organically in only 90 minutes while the match was live. Multiple creative uses of the feature can be seen in the coming year, as marketers will look to use it differently to engage their target audiences. With LIVE expected to evolve further in future iterations, brands and marketers can look forward to exciting times ahead.

    Cord Cutting:

    The increased digitisation of entertainment means that cord cutting will continue to grow in the coming year as well. One in every four millennials does not subscribe to pay TV, and 13% have never used a pay TV subscription. Digital TV Research estimates that the number of pay TV subscribers in Canada and the U.S. will fall, while Statista predicts that there will only remain 96.4 million pay TV households by 2019.

    People have been ditching their pay TV connections due to the lack of interesting content on-demand and the high costs of subscriptions. OTT platforms, by providing viewers the flexibility of accessing their favourite content at their fingertips, anytime, anywhere, have been winning this battle.

    On-demand platforms are adding TV programs to their bundles, bringing in a better content library of old as well as original programming, localizing in niche territories, and keeping up with technological innovations such as 4K, AR, VR and 360-degree video production. This will allow them to leapfrog appointment-based TV broadcasters and establish OTT platforms as the default medium of entertainment content consumption.

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    (Abhishek Joshi is Sony Pictures Networks India VP & Head – Marketing & Analytics, Digital Business. The views expressed here are personal, and Indiantelevision.com need not necessarily subscribe to them.)

     

  • 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.

  • Q2-2015: US Cable industry: Internet, biz services continue as growth drivers; video continues to lose subscribers

    Q2-2015: US Cable industry: Internet, biz services continue as growth drivers; video continues to lose subscribers

    BENGALURU: The cable industry in the US continues to bleed video subscribers, albeit slower than earlier, while internet and business services continue to be growth drivers in terms of subscription numbers and revenue, if one were to go by the results reported by five major players in the US for the quarter ended 30 June, 2015 (Q2-2015). Overall, YoY and QoQ subscription numbers or customer relationships of the bigger three of the five players in this report have increased.

    The five players in this report are Comcast Inc., Cable Communications segment, the largest player by far among the sample players in this report; Time Warner Cable, Inc., (TWC), a little less than half the size of Comcast’s Cable communications segment in terms of revenue; Charter Communications with revenues that are less than half again as TWC’s. Cablevision, the fourth player in the sample had a little more than two-thirds of Charter’s revenues in Q2-2015, while the smallest, Suddenlink whose major operating areas includeArizona, Arkansas, Louisiana, North Carolina, Oklahoma, Texas, West Virginia, had revenue that was a little more than a third of Cablevision’s revenue in Q2-2015.  

    Despite the continued slide in video customer relationship, the combined sum of video subscribers in Q2-2015 of the five entities is about 4.09 crore or almost two thirds (62 per cent) of the 6.6 crore video subscribers through wire in the US as of 2013. The five players in this report are generally considered amongst the biggest players in the US cable television industry. All have three major revenue streams – Video, Internet and Voice (VIVE).

    Note: (a) 100,00,000 = 100 lakh = 10 million = 1 crore

    (b) While denominations for $have been mentioned in millions or billions where applicable, denominations for numbers have been mentioned lakhs and crores.

    (c)Residential customer relationship numbers have been used in this report wherever the breakup has been mentioned in SEC filings by the concerned entity.

    (d) The results and the conclusions in this report may not necessarily reflect the true trends and nature of the cablecommunications industry in US.

    It is noteworthy that an even smaller company, Mediacom Broadband alone, without Mediacom LLC numbers, had revenue of about $246 million (Rs 1626.53 crore, ($1 = Rs 63.5363 as on 30 June, 2015) in Q2-2015, many times more than the revenue generated by the largest cable company in India. Mediacom Broadband’s revenue was less than half $608.02 million revenue reported by Suddenlink in Q2-2015.

    Performance in Q2-2015

    In general, six streams add to most of the five entities’ revenue – three products -Video, high speed Internet, Voice; Business Services (BS); Advertising; and Other. Collectively, the first three have been given the acronym VIVE by the author. Generally VIVE numbers, be they subscription or revenue indicate residential subscribers and revenue from these subscribers in this report. Some of the companies don’t indicate the breakup of VIVE revenue from business services, and hence these figures could be included in the overall VIVE revenue .This reports examines VIVE and touches briefly upon business services of some of the players in this report later on.

    In general, Internet has been driving growth, both in terms of revenue and subscription numbers. Contribution by business services is growing and is in the sub or low double digits in terms of percentage of overall revenue.

    Subscription numbers in Q2-2015

    Figure A below displays the subscription numbers of the five players considered in this report. Individual as well as combined Video subscribers or Video customer relationships have dropped year-on-year (YoY) and quarter-on-quarter (QoQ) during Q2-2015. Internet subscription numbers of all the five players in this report have increased, while Voice subscription numbers of four of the five companies have gone up. Cablevision has reported a small dip in Voice subscription numbers in Q2-2015.

    YoY and QoQ combined Total Customer Relationships of all the five players have gone up in Q2-2015 by 2.03 per cent and 0.24 per cent respectively. In Q2-2015, the combined Total Customer Relationships of all the five companies was 525.64 lakh as compared to 515.19 lakh in Q2-2014 and 524.41 lakh in Q1-2015. Though QoQ customer relationships of all the five companies have gone up, in the case of Cablevision and Suddenlink, customer relationships were actually lower in Q2-2015. Cablevision saw a decline 1.52 per cent in Q2-2015 to 31.17 lakh as compared to the 31.65 lakh in Q2-2014, while Suddenlink saw a QoQ decline of 0.86 per cent to 14.39 lakh in Q2-2015 from 14.52 lakh.

    Video

    As mentioned above, the US Cable communications industry continues to lose video customers. YoY, the combined Total Customer Relationships declined 1.53 per cent to 409.40 lakh in Q2-2015 as compared to the 415.74 lakh. QoQ the decline was 0.47 per cent from 411.32 lakh. Suddenlink saw the highest YoY drop among the five players in this report in Video subscribers at 5.66 per cent (lost 66200 subscribers) to 11.03 lakh in the current quarter as compared to 11.69 lakh in Q2-2014. Suddenlink’s YoY decline in Video customers was also the steepest among the five companies at 2.6 per cent (lost 29400 subscribers) from 11.32 lakh in Q1-2015. 

    In absolute numbers, TWC had the highest YoY decline of video subscribers among the five players in the current quarter of 2.27 lakh to 107.74 lakh from 110.11 lakh. QoQ, Comcast’s Cable communications has seen the largest fall in absolute numbers among the 5 companies, a fall of 69,000 (0.31 per cent) Video subscribers in Q2-2015 to 223.06 lakh from 223.75 lakh in the immediate trailing quarter.

    Internet

    Overall, the five entities reported a 6.07 per cent YoY increase in Internet subscribers in Q2-2015 at a combined total of 436.33 lakh from 411.36 lakh in the corresponding year ago quarter and a one per cent increase from 432.01 lakh in the immediate trailing quarter. The five entities gained 24.965 lakh subscribers YoY and 4.322 lakh subscribers QoQ in Q2-2015. As is obvious, the number of internet subscribers exceeds the number of video subscribers.

    All the five companies in this report witnessed a YoY increase in Internet subscribers. Charter had highest growth in percentage terms at 8.6 per cent ( gained 3.93 lakh subscribers) increase in Internet subscription in Q2-2015 with the subscriber base reaching 49.61 lakh from 45.68 lakh in the corresponding year ago quarter and 1.43 per cent higher (gained 70000 subscribers) QoQ from 48.91 lakh. 

    QoQ, both TWC (gained 7.47 lakh subscribers) and Charter reported 1.43 per cent growth in Q2-2015, while Comcast and Cablevsion reported 0.80 (gained 1.79 lakh subscribers) and 0.51 growth (gained 14000 subscribers) in Internet subscribers. Suddenlink reported a slight QoQ decline of 0.24 per cent (lost 2800 subscribers) to 11.81 lakh in the current quarter as compared to the 11.84 lakh in the immediate trailing quarter.

    In absolute numbers, Comcast Cable Communications reported the highest YoY and QoQ Internet subscription growth among the five companies in Q2-2015 at 12.77 lakh (six per cent) and 1.79 lakh (0.80 per cent) respectively.

    Voice

    The five entities reported a 6.19 per cent YoY growth and a 1.48 per cent QoQ growth in combined Total Voice Subscriber base of 224.55 lakh in Q2-2015. This translates to a YoY increase of 13.092 lakh and QoQ increase of 3.275 lakh subscribers in absolute numbers.

    Except for Cablevision, the other four players reported YoY and QoQ increase in subscription numbers. Cablevison reported a YoY decline of 2.86 per cent (65000) and a QoQ decline of 0.32 per cent (7000) in Voice Subscribers in Q2-2015 to 22.08 lakh from 22.73 lakh in Q2-2014 and from 22.15 lakh in Q1-2015 respectively.

    The highest YoY growth in Voice subscribers among the five players in this report in Q2-2015 in percentage as well as absolute numbers was 17.71 per cent and 8.81 lakh by TWC, which saw its numbers grow to 58.56 lakh from 47.75 crore in Q2-2014. TWC also reported the highest QoQ growth in percentage and absolute terms in Voice subscribers among the five players by 4.5 per cent and 2.52 lakh to 58.56 lakh in Q2-2015.

    Single, double and triple play numbers

    Four of the five players have indicated the breakup of their single, double and triple play customer relationships.

    Generally, all have been losing single play and double play subscribers either because of conversion from single to double or triple play, or from double to triple play, or because of subscriber churn, while Suddnelink has also reported numbers than indicate growth in its non-video customer relationships.

    Revenue numbers in Q2-2015

    Please refer to Fig A1 below. Combined Total revenue of all the five players in this report increased YoY 2.46 per cent ($517 million) to $21566 million from $21049 million in Q2-2014, but declined 0.2 per cent ($43 million) from $21609 million in Q1-2015. Charter saw the largest YoY increase of total revenue in percentage terms among the five at 7.57 per cent ($171 million) in Q2-2014. In absolute numbers, Comcast Cable Communications segment reported the highest YoY growth of total revenue of $700 million (6.35 per cent) and QoQ growth of $399 million (2.62 per cent) in the current quarter. QoQ, Suddenlink saw the highest growth in Total revenue among the 5 players in percentage terms of 3.36 per cent ($28 million) in Q2-2015.

    Combined YoY and QoQ VIVE revenues of all the five entities increased 5.15 per cent ($890 million) and 1.43 per cent ($257 million) respectively in Q2-2015$ 18170 million. Here also, Charter reported the highest YoY growth in percentage terms of VIVE revenue of 7.07 per cent ($134 million) in Q2-2015. QoQ, Suddenlink reported the highest growth among the five players in percentage terms at 3.49 per cent ($31 million) in the current quarter.

    As far as absolute US dollars are concerned, Comcast’s Cable Communications segment reported the highest YoY and QoQ growth at $455 million (5.07 per cent) and $154 million (1.66 per cent) respectively in Q2-2015.

    Among the three products, Video was the biggest contributor to revenue of all the five companies in this report. Video’s contribution to VIVE revenue was in the range of 50 to 60 per cent. Internet contributed between 25 and 35 per cent and Voice between 6 to 17 per cent to VIVE revenue.

    YoY, combined Total Video and combined Total Internet revenue increased by 2.04 per cent and 13.22 per cent respectively, while Voice revenue declined by 1.89 per cent. QoQ, Video, Internet and Voice revenue in Q2-2015 increased by 1.08 per cent, 2.41 per cent and 0.15 per cent respectively.

    Video

    Despite a drop in Video Customer Relationships, combined Total Video revenue YoY increased by $204 million and increased QoQ by $109 million to $10198 million in Q2-2015. The highest increase in Video revenue among the five players was by Comcast at 3.66 per cent and $192 million in Q2-2015, while Suddenlink saw its Video Revenue drop by 0.68 per cent and $2 million in Q2-2015.

    Internet

    Combined Internet revenue of the five players in this report increased by 13.22 per cent and $720 million YoY and increased QoQ by 2.41 per cent and $145 million to $$6171.4 million in Q2-2015.

    The highest YoY as well as QoQ growth in percentage terms of Internet revenue among the five players was by Suddenlnk with 17.07 per cent ($31 million) and 4.40 per cent ($9 million) respectively in the current quarter. In absolute US dollar terms, Comcast Cableshowed the highest YoY and QoQ growth at $282 million (10 per cent) and $57 million (1.87 per cent) respectively.

    Voice

    Though Voice subscription numbers have been growing, the combined Voice revenue of the 5 players declined YoY by 1.89 per cent ($35 million) to $1800 million. The combined voice revenue of the players increased marginally QoQ by 0.15 per cent ($3 million) in the current quarter. 

    The big three players – Comcast Cable Communications, TWC and Charter saw their YoY Voice revenue decline by 2.06 per cent ($19 million), 2.45 per cent ($12 million) and 6.9 per cent ($10 million) respectively. Cablevision and Suddenlink saw their YoY Voice revenue increase by 2.2 per cent ($5 million) and 2.53 per cent ($1 million) respectively.

    Comcast Cable Communications and Suddenlink saw their QoQ Voice revenues drop 0.33 per cent ($3 million) and 0.48 per cent ($0.25 million) in the current quarter, while TWC and Charter saw their YoY Voice revenues increase by 1.06 per cent ($5 million) and 0.75 per cent (one million) respectively . Cablevision’s Voice revenue remained flat in Q1-2015 and Q2-2015 at $232 million.

    Comcast Cable, TWC and Charter have indicated business services revenue in their quarterly filings. Please refer to Fig B below. As is obvious, business services revenue (BSR) has been going up in value as well as in terms of percentage of Overall or Total Revenue (OR)

  • It’s ‘Agility’ for festival of Media Asia Pacific

    It’s ‘Agility’ for festival of Media Asia Pacific

    MUMBAI: The Festival of Media Asia Pacific (FOMAP), the largest gathering of media leaders in Asia Pacific, is back for its third year.

    “The theme of this year’s event is ‘Agility’, and will see influential speakers sharing unique regional perspectives on how businesses can be more ‘agile’ in adapting to the ever-changing media landscape,” said, Founder of Festival of Media and Chairman of C Squared Charlie Crowe. “Attendees will have the opportunity to learn about some of the most topical issues affecting the industry today, whilst getting the chance to network with a broad range of media companies from across Asia.”

    Topics being discussed at the 2014 event include the future of Native Advertising in Asia, virtual media trading, social media in the newly-opened up Myanmar, unlocking the potential of Indian consumers and understanding Bitcoin, among others.
    The Festival will attract over 700 delegates from across 22 countries in Asia, who will be coming together to hear from some of the media industry’s most agile and forward-thinking leaders.

    Charlie Crowe added, “A stellar line-up of exciting industry speakers, excellent awards programs, and thought-provoking content, all within the larger Asian media context, means that FOMAP 2014 is set to be the most exciting yet.”

    Some of the speakers for the event include:

        Linda Yueh, Chief Business Correspondent, BBC World News
        Rita Nguyen, Co-Founder and CEO, SQUAR
        Vipul Chawla, VP and CMO, Yum! Asia
        Mark Laudi, Former CNBC presenter
        Daryl Lee, Global CEO, UM
        Leo Liang, Senior Director of National Business Development, Youku Tudou
        Steve Mosko, President, Sony Pictures Television
        Scott Lamb, VP of International, Buzzfeed
        Lakshmi Pratury, Host and Curator, The INK Conference
        Rose Tsou, Senior Vice President, APAC, Yahoo!
        Peter Vessenes, Founder and CEO, CoinLab, Chairman Bitcoin Foundation
        Manmeet Vohra, Marketing Director, Tata Starbucks
        Jerry Wind, Professor, Wharton Future of Advertising Program

     The festival will take place from 16-18 March at the Capella Singapore.

  • The alarming L’affaire Tejpal

    The alarming L’affaire Tejpal

    The media industry as well as the common man was shocked yesterday when Tehelka magazine editor Tarun Tejpal reportedly admitted ‘misconduct’ against a woman journalist and offered to step aside from the post, and the office, for six months as a penance. The journo in question had alleged that Tejpal sexually assaulted her at an event organised by the magazine in Goa earlier this month.

     

    So what’s all the fuss about? We live in times when adults having consensual sex has become quite common at workplaces. From Fatal Attraction to Inkaar, the subject has been captured on celluloid and written about a zillion times. There’s a term coined for it as well, ‘office spouse.’ We hear about such relationships every other day; be it in classrooms or boardrooms.

     

    And the media, much as it may like to pretend otherwise, isn’t too far behind in these matters. Prominent journalists have had consensual relationships which are a known fact among the fraternity but no one really talks about them, openly, at least.

     

    One wouldn’t be wrong if he/she calls media as a cesspool. Just that those who are in the business of washing other people’s dirty linen in public, won’t wash theirs in full public view. That would be just so wrong!

     

    One wouldn’t be wrong if he/she calls media as a cesspool. Just that those who are in the business of washing other people’s dirty linen in public, won’t wash theirs in full public view. That would be just so wrong!
    _____****__________________________________________________________

    Like Tehelka managing editor Shoma Chaudhary side-stepped a news reporter’s query saying, “This is an internal matter”. Wouldn’t others of her ilk have said the same thing if they were in such a mess?

     

    There are many Tejpals striding the passages in media organisations around India. And more and more women are entering the media industry – whether in television news or general entertainment channels or newspapers – especially at the junior level. It is they who become an easy target for the ones sitting in their cozy cabins. Some of the younger lot might “cooperate” to get a helping hand in their careers while others who become victims might choose to keep mum so as to not harm their progress.

     

    It takes a lot of courage for one to step-up and take on the boss. The young Tehelka journalist did so and needs to be patted on her back for not letting the possible repercussions hold her back. But how many of them will do so? That is the worrying part.

     

    But there is a saving grace. Those in senior positions or positions of power should remember: Everyone is under scrutiny and no one — no matter how powerful — can escape from one’s actions in the liberalised social media environment of today. This is borne out by l’affaire Tejpal which has once again brought the much celebrated journalist in focus. But unlike earlier times when he was in the limelight unearthing scandals, this time, he is the scandal. The once media darling is now being crucified by one and all as a beast, and rightly so. Indeed, Tejpal and Tehelka, which made headlines with umpteen sting operations, finds itself being stung by scandal and that too rather badly.

     

    For a magazine known to take a stance, no matter what the consequences, it has come under severe criticism for taking a rather serious issue lightly. “He stepped down. It was not something she’d asked for. It was over and above that”, says Chaudhary matter-of-factly.

     

    Not only is the world shocked to know that Tejpal sexually harassed a junior colleague, who happens to be his daughter’s close friend, his decision to step aside from the editorship of the magazine and from the Tehelka office for six months as ‘atonement’ for what he describes as ‘a bad lapse of judgement, an awful misreading of the situation…’ has been labelled ‘inappropriate and grossly insufficient’ by many.

     

    Those in senior positions or positions of power should remember: Everyone is under scrutiny and no one — no matter how powerful — can escape from one’s actions in the liberalised social media environment of today. This is borne out by l’affaire Tejpal which has once again brought the much celebrated journalist in focus.
    _____****____________________________________________________

    Apparently, Tejpal, in his letter to Chaudhary, has said he repents his ‘drunken banter’ and offered to step aside from his post and the office for six months to ‘atone for his misconduct’. But does that absolve him from all responsibility? Maybe he hopes his close connections with the Congress president will help him in return of all the snooping he has done on the rival party.

     

    And what do we say to Chaudhary, otherwise known to be at the forefront of all women’s causes, who has in this instance chosen to support Tejpal, requesting Tehelka employees to ‘stand by the institution in this hard time.’

     

    Institution yes… but one whose future hangs in the balance. Will it outlast Tejpal when he is tried and thrown into jail as is being demanded by many on Twitter and on social media? This is probably what was playing in the mind of the victim, which is why she is still considering constitution of a committee by the magazine to go into the issue and take action. Remember, Tejpal allegedly forced himself on the girl in an elevator in a five star hotel more than 10 days ago. With a slew of publications downing shutters, and television channels shedding staff, another magazine folding up will not be good news for the industry, that too because of one man…

     

    While one can’t foresee the future, a niggling question remains: “What was Tejpal thinking (or smoking or guzzling) when a man of his stature did what he calls ‘a bad lapse of judgement’?”

     

    Maybe he doesn’t believe in practicing what he preaches.

     

  • Indias TV NOW selects GrassValley Solutions to launch first HD news channel

    NEW DELHI: The new Malayalam news television channel TV Now is launching a fully-integrated high definition news production using GrassValley.

     

    Operated by the Kerala Chamber of Commerce and Industry, it will deliver programming in high definition to forty million viewers across Kerala. “As the only business consortium to launch a news channel in India, it is important for us to have the most modern technologies in place to reach out to our millions of viewers in a timely and efficient manner”, said TV Now’s Bhagath Chandrashekhar.

     

    TV Now’s new infrastructure will include three GV director non-linear live production systems, the GV STRATUS nonlinear media production tools, nine LDX Flex HD Studio cameras, a Trinix NXT digital video routing switcher, a K2 Summit 3G transmission servicer, EDIUS non-linear editing software, and HD K2 SAN storage. These solutions will enable TV Now to get news to air more quickly and without any interruptions, which is crucial to the smooth running of an operation that airs 24×7.

     

    “With GrassValley’s powerful tool set at our fingertips, we will have an integrated platform that combines production tools and asset management a TV Now so that we can confidently sign-on with state-of-the-art production processes,” said KCCI chairman K N Marzook. “With TV Now, we aim to create an exceptional TV viewing experience and the only way to do that is with superior technology in place”, he added.

     

    “The broadcast market in India is currently going through a period of exciting change and is a vital part of GrassValley’s pathway,” said GrassValley’s Asia Pacific VP Stephen Wong. He said it also marks the first time that GV Director and GV STRATUS will be deployed in India and signifies a powerful step for GrassValley’s presence in India’s growing broadcast market.

  • moneycontrol.com editorial shuffled; moves to integrated news room

    moneycontrol.com editorial shuffled; moves to integrated news room

    KOLKATA: From today, the skeleton editing staff of moneycontrol.com, a business and finance news portal, which operated from Matunga (West), will be operating from the television unit at Lower Parel.
    It is learnt from industry sources that more than six reporters who were engaged in the financial news writing have been asked to leave.

    “Network18 Group won’t be producing any original content for moneycontrol.com. It has adopted a rationalised move by laying off all the reporters engaged in financial news writing. More than six reporters have been asked to resign and made to cite that they are walking out from the news organisation on personal reasons, the release letters of the employees disclose,” revealed the highly placed media source.

    TV18 Broadcast which has laid off around 300-400 people as a part of its restructuring exercise and has merged the operational teams of CNN IBN and IBN7, will now be producing the content for moneycontrol.com too. The young team would be editing the copies filed by the television bureau, sources added.

    The portal’s editor Santosh Nair has been asked to report in the Lower Parel office, but there is no clarification regarding whom he will be reporting to. Earlier, Nair reported to R Jagannathan, editor at Firstpost.com.

    Also, it is interesting to note that the portal’s chief executive officer Joyson Thomson was mulling to list the entity but it seems he has changed his plans overnight. “Though of late, moneycontrol.com was driven by marketing strategies and not hard core news perspective which it adopted earlier,” sources said.

    There were talks the news portal would set up an editorial team at Delhi and Kolkata. “In fact a year ago, the company was eagerly looking to hire an editorial staff for the Delhi bureau,” sources said.

    “The first carnage happened in the second week of August when TV18 said it would ask around 300-400 employees to leave. We got the notice in the last week of August,” recounts an employee.

    When asked about the compensation package, he said: “The compensation package is up to the mark as we have been offered three months CTC and not in hand salary.”

    Media analysts said that TV18 has restructured its operations and reduced its workforce significantly, as part of a cost cutting exercise due to the lackluster advertising environment and government regulations like the 12 minutes advertising cap on broad asters.

    Now going forward with this downsizing, journalists are required to work across both internet and TV medium, as the group has created integrated newsrooms.

  • Tata Elxsi introduces consulting services for M&E industry

    Tata Elxsi introduces consulting services for M&E industry

    MUMBAI: Global technology and engineering services provider Tata Elxsi has announced the launch of Strategy & Technology Consulting services (S&TC) for the Media & Entertainment industry.

    The bouquet of consulting services is directed towards Multi System Operators (MSOs), Broadcasters and Original Equipment Manufacturers (OEMs) facing challenges related to growth, expansion and technology in both mature and emerging markets, including US, Europe, Latin America and India.

    Tata Elxsi offers its experience in devising and improving customer-centric strategies to increase reach, engagement and monetisation, technology-led strategies to help clients identify, evaluate and deploy cutting-edge B2C technologies and operational aspects to help improve service delivery and quality.

    Tata Elxsi‘s VP and Head-Broadcast Business Unit M Thangarajan said, “Our customers face different and constantly evolving priorities and challenges across geographies. For example, government driven digital switchover policies in countries such as Brazil, India and Mexico present great opportunities as well as challenges for operators, including the choice of adopting technology in a phased manner versus leapfrogging, and related aspects of deployment and operations. The expertise and insight we have developed in mature markets will help us provide the right solutions and strategies for such customers.”

    Tata Elxsi has over 15 years of specialised and global experience in working with leading MSOs, Broadcasters, OEMs, platform and software vendors, supporting their technology, product and services roadmaps.

  • Industry asks Govt to help prevent frivolous litigation against films

    Industry asks Govt to help prevent frivolous litigation against films

    NEW DELHI: The film industry has strongly protested the manner in which the freedom of speech and expression has been ‘grossly mistreated by filing of frivolous litigations against the content of cinematograph films‘ despite their getting certified by the Central Board for Film Certification.

    In a letter to Information and Broadcasting Minister Manish Tewari, Film and Television Producers Guild of India President Mukesh Bhatt described this as an "extremely serious issue concerning the entire film fraternity all over the country as it is abuse of the legal system which is meant for protection of individual rights and freedom".

    Bhatt said: “Any litigation initiated for challenging the content of a cinematograph film as objectionable after its certification by CBFC is superfluous and gratuitous since it disregards the authority and competence of CBFC. Such litigation is detrimental to the society at large apart from the film industry and needs to be discouraged. Moreover, any attempt to trigger the process of pre-censorship by addressing frivolous letters to the CBFC as has been done in several instances results in CBFC being over-cautious, conservative and using a magnifying class to certify films for public exhibition. The freedom of speech and expression of a filmmaker is thus jeopardized when the CBFC acts in an unstructured and conventional manner."

    He added: "It is disheartening to mention that the filmmakers have also been exploited at the instance of government and public authorities who have themselves demonstrated lack of faith in the statutory body constituted for certification. Films such as Aarakshan and Mausam are witnesses to such exploitation."

    Urging the Minister to find ways to discourage speculative litigation, Bhatt said the judicial process had also been "ill-treated at the hands of political parties and fake interest groups who find such frolicsome litigations an effortless and uncomplicated way to achieve self-advertisement and popular choice. Even kick starting a procedure by initiating litigation and summoning the CBFC, producers, directors, actors and distributors of cinematograph films is sufficient to give mammoth publicity to the litigant on one hand and cause undue harassment to those associated with the film on the other hand."

    A film scheduled for release is "therefore perceived as a potential wage for undue gains in terms of money, fame and publicity and it has become a preferred tendency to approach courts at the last minute before scheduled release of a film to suit such mala fide purpose", Bhatt added.

    However, he said the courts had been vigilant in evaluating and addressing such mischief. The Delhi High Court while deciding the validity of summons issued on the famous painter M F Hussain in relation to a contemporary painting made by him had ‘rightly observed that our scenario of painters, actors, writers, directors and theatre personalities being dragged to court on account of a mechanical exercise of issuance of summons results in growing fear and curtailment of the right of the free expression in such creative persons is hardly a desirable or an acceptable state of affairs’.

    "The need of the hour is therefore to instill faith in the expert body which, in my respectful submission, comprises of qualified members competent to certify films. It is also pertinent to inspire faith in the process of certification which prescribes a reasonable classification of certification such as ‘A‘, ‘U/A‘, ‘S‘, ‘R‘, based on the content", he said