ITV

Tag: IP

  • India to have highest IP traffic growth in four years

    India to have highest IP traffic growth in four years

    NEW DELHI: India is set to have the highest Internet Protocol (IP) traffic growth rate with a 44 per cent compound annual growth rate from 2012-2017 followed by Indonesia (42 per cent CAGR) and South Africa (31 per cent CAGR) over the forecast period, a new study has revealed.

    The Cisco Visual Networking Index (VNI) Forecast (2012-2017) projects that global IP traffic will grow three-fold between 2012 and 2017.

    By 2017, the highest traffic-generating countries will be the United States (37 exabytes per month) and China (18 exabytes per month), says the report.

    At the regional level, the Middle East and Africa (MEA) will continue to be the fastest growing IP traffic region from 2012-2017 (five-fold growth, 38 per cent compound annual growth rate over the forecast period); MEA was the fastest growing region last year as well (10-fold growth, 57 per cent compound annual growth rate for 2011- 2016 forecast period) in this category, the report said.

    Asia-Pacific (APAC) will generate the most IP traffic by 2017 (43.4 exabytes/month), maintaining its leadership from last year.

    According to the report, by 2017, there will be about 3.6 billion Internet users – more than 48 per cent of the world‘s projected population (7.6 billion). In 2012, there were 2.3 billion Internet users – about 32 per cent of the world‘s population (7.2 billion).

    By 2017, there will be more than 19 billion global network connections (fixed/mobile personal devices, M2M connections), up from about 12 billion connections in 2012.

    Global network users will generate 3 trillion internet video minutes per month, that is six million years of video per month, or 1.2 million video minutes every second or more than two years worth of video every second.

  • “The challenge in India is to create indigenous formats and retain IP that will allow us to take our shows outside”

    “The challenge in India is to create indigenous formats and retain IP that will allow us to take our shows outside”

    A vibrant and curious professional is what describes FremantleMedia India head of content Anupama Mandloi. Based out of Mumbai, Anupama joined the production house in 2010, which was then led by managing director S.K. Barua, who departed a little later. But since his departure she has been involved in furthering the India strategy, along with commercial and operations head Vidyuth Bhandary, of the subsidiary of German media firm RTL.

    The affable and soft spoken but firm Anupama is best known for her nine-year stint with Sony Entertainment Television where she finally rose to head programming. She followed that up with a stint as the non-fiction head at Star India‘s Star Plus for two years.

    Anupama loves taking the challenge of successfully setting up large entertainment properties and rolling out innovative concepts to television. She is currently creatively helming Indian Idol Junior which is being aired on Sony Entertainment Television. Indiantelevision.com‘s Seema Singh spoke to Anupama to get her insights and perspectives on the road ahead for FremantleMedia.

    Excerpts:

    Since you joined FremantleMedia, what are the changes that have been brought in the content? Elaborate on your experience with Fremantle?

    My experience with FremantleMedia has been an eye opener. The work is truly enriching. The culture is extremely professional and the people are like-minded. We enjoy content. We take pride in what we do.

    In every show, be it another season of an established format or creating indigenous content, the intent is always to push the envelope. We have introduced scripted reality shows in its true form and will be doing a lot more of that going forward.

    What is the vision for FremantleMedia in India? 

    To be the best and to work with the best. We are also looking at creating more innovative and inspiring content. To create indigenous shows that travel worldwide.

    Is non-fiction the only genre you want to cater to or are you looking at expanding into fiction and other genres as well? You seem to have a very good relationship with Sony? Have you been able to extend it to other broadcasters too? And other languages too?

    We are in the business of content creation and this is not specific to any particular genre. We have not yet moved into daily soap production but we have been creating fiction and scripted reality like Savdhan India on Life Ok, Zindagi Ki Haqeeqat Se Aamna Saamna (four seasons) and have a couple more bi-weekly shows in the pipeline.

    We enjoy good relations with all broadcasters. And yes, now that we have consolidated our space in content creation, we will be moving into drama as well but more on this front later.

    Where would you rank FremantleMedia as a production house in India? And where do you see it going in terms of being amongst the top players in India? Do you have any competitors? 

    I would rank it amongst the top players. The day we establish our credentials in the daily fiction space we will be unbeatable with our teams, our international presence and content that we can carry across continents.

    We are looking at it (the south) and while we do have licensed deals with some regional channels like Jaya TV and BIG, we have yet to get into production for regional channels

    How did FremantleMedia fare in 2012? Did recession affect the production house in any way?

    FremantleMedia started its India operation in 2010 with Indian Idol 5 and since then has produced a multitude of shows in various genres. The organisation has grown slowly and steadily and moving forward we have plans to build several verticals while strengthening the core. 2012 was a very good year for us.

    What is FremantleMedia‘s core competence in India? How large is the team? How is it structured? How many shows is Fremantle working on currently? How many hours of production have you achieved across all your shows to date?

    Our core competence is production and content creation. The internal team is lean but we work with freelancers on a project basis. We are particular about the people we work with and we focus on building talent.

    Our belief is that shows are as good as the people who make them. So we focus more on building teams. To date we have created approximately 400 hours of content.

    After six seasons of Indian Idol, what led to Sony choosing Indian Idol Junior? We know it failed in the US but has done well in Latin America? Why then go for it in India?

    Why not? It was the next logical step in the format in India. The talent we have discovered this season is a case in point.

    What are the limiting factors of doing production and the formats business in India? And what are the good points of doing production and the formats business in India? How important is FremantleMedia India in the Asian scheme of things and in the global scheme of things? 

    India is important in all schemes of things, globally or otherwise. Internationally, FremantleMedia, is not seen just as a production house. We are one of the biggest distributors of content worldwide. The formats that we own are adapted, produced and licensed worldwide. Our ability to get content to travel across the world is phenomenal.

    We collaborate with boutique content companies, license content and develop as well as adapt and produce across territories.

    In India, lack of IP while developing and producing indigenous content is a hurdle. It would be great to see shows developed locally being adapted in other countries as well. We would be able to do that with shows that have the potential to travel.

    The day we establish our credentials in the daily fiction space we will be unbeatable with our teams, our international presence and content that we can carry across continents

    Any new show that can be expected this year? Any new format deals on the anvil? 

    Yes. There are several new shows on the anvil as well as collaborations.

    How are you using digital space to promote FremantleMedia production shows? Any apps that have been added to attract audiences? What is the response to these apps? How many downloads? 

    Our formats have merchandising as well as digital extensions. On Indian Idol Junior itself we have launched an app this season that has had approximately 70,000 downloads.

    Sony is extremely receptive and keen to push the digital experience and we work collaboratively on that front. Internationally, the second screen phenomenon is huge and all our digital extensions are geared to fulfill the parallel TV viewing experience across our formats.

    Are you also looking at extending your reach to the South? 

    We are looking at it and while we do have licensed deals with some regional channels like Jaya TV and BIG, we have yet to get into production for regional channels.

    Are you open to licensing a format in your catalogue and having another production house produce the show for a channel? Has that worked? Why and why not? 

    No. That will not happen while we have our production set up in the country. It makes no sense.

    Is the format licensing biz becoming interesting in India? Why and why not? 

    Yes it is. The reason it is interesting is that there is increasing recognition of the fact that production houses own shows that have already created an audience in other territories and are now available to a new market, that is, India.The challenge is to be able to create indigenous formats and retain IP that will allow us to take our shows outside.

    What are the shows that FremantleMedia has produced so far?

    * India‘s Got Talent – two seasons

    * Indian Idol -three seasons

    * X Factor – one season

    * Zindagi Ki Haqeeqat Se Aamna Saamna – three seasons

    * Aamna Saamna Investigative

    * Savdhan India – two seasons / 44 episodes (part of a producer mix)

    * Mission Cover shot – National Geographic

    * Food Food Maha Challenge Assignment

  • Asean, Casbaa, USPTO heighten awareness of broadcast IPR

    Asean, Casbaa, USPTO heighten awareness of broadcast IPR

    MUMBAI: The Asean Secretariat and US Patent and Trademark Office (USPTO), with the support and assistance of the Cable and Satellite Broadcasting Association of Asia (Casbaa), today launched a high-level, two-day seminar focusing on best practices in anti-piracy enforcement and intellectual property (IP) rights in broadcasting.

    The seminar marked the first time the Asean Secretariat, Casbaa and the USPTO have combined resources, bringing together government officials with pay-TV industry executives, local and international cable operators, content creators, regional regulators and IPR experts.

    Robert L. Stoll, Director, Office of Enforcement (USPTO) said, “A robust regulatory framework is crucial for protecting and promoting the flow of creative work of all of the individuals and companies in the broadcast business.”

    Rohazar Wati Zuallcobley, Deputy Director General, Malaysian Intellectual Property Office speaking on behalf of the Asean Working Group on Intellectual Property Cooperation said, “The television industry has enormous potential for growth in many Asean economies. However, we must act with urgency to strengthen the protection and enforcement of IP rights to fully realise that potential.”

    “We are pleased to support the USPTO and the Asean Secretariat in this joint initiative,” said Marcel Fenez, the Chairman of Casbaa. “Cooperation between government and the private sector plays a significant role in reducing piracy and driving the pay-TV sector’s contribution to economic progress within Asean countries.”

    Casbaa recently released estimates showing that annual losses from illegal pay-TV connections will reach US$1.13 billion in 2006.

    Key issues addressed at the forum included how to the structure regulatory regimes to successfully protect IP in broadcasting, the latest developments in anti-piracy technology and the challenges posed by new delivery platforms such as mobile TV and web casting.

  • Trai urges unified licensing to spur next generation networks

    Trai urges unified licensing to spur next generation networks

    MUMBAI: Telecom regulator Trai today said that operators should be encouraged to move to next generation networks (NGN) for effective utilisation of spectrum for mobile services asked government to act fast on unified licensing regime to make NGN a reality.

    Trai’s recommendations for a unified licensing regime, dated 13th January 2005, should be considered expeditiously so that various operators can make best use of NGN platform to provide all types of telecom, data, video and broadcast services through a single licence, Trai said in its recommendations.

    A statement issued by Trai today says: “Due to technological advancements there is a trend towards unification of networks & services leading to the emergence of Next Generation Networks, which are predominantly IP based. The NGNs enable the service providers to provide a wide range of services (voice, data, video) over the same platform.”

    In addition, NGNs also enable fixed-mobile convergence / substitution resulting into reduced demand on mobile services spectrum, the statement points out.

    Increase in broadband penetration is a must for wider deployment of NGN services and since the policy targets for broadband have not been met, it is time to undertake the review of various recommendations on broadband access related issues, Trai said, adding that unless various operators are able to deploy NGN in access to provide multiple services its full benefits cannot be made available to customers.