Tag: Kannada TV

  • South Indian channels brace for production resumption

    South Indian channels brace for production resumption

    MUMBAI: After an extraordinary lull of two months, during which the entire TV production activity came to an abrupt standstill ravaging advertising revenues in its wake, general entertainment channels (GECs) in some south states soon can air fresh content. While the Karnataka government has given approval for resuming indoor shooting of serials to begin from 25 May, the Kerala government has responded favourably to the TV producers’ request.

    The lockdown caused by the Covid2019 pandemic has affected the television industry adversely. While news channels, having been put under the essential service category, continued to function, most of the GECs found the going tough. It has been even tougher for those entertainment channels which aren’t lucky enough to have a vast movie library to boot.

    In fact, those with a huge movie depository sustained, and even flourished. In Kerala, for instance, Surya TV got lucky with its huge movie bank as it made up for the lack of fresh programmes by banking on its movie library. The GEC, part of the Sun Network, edged out Asianet from its top position in week 15 of BARC just by airing movies back-to-back from its bank. However, between week 16 and 18, it has slipped to the second spot.

    But, not all are lucky. And the unlucky ones are now seeing a glimmer of light at the end of this lockdown tunnel with the prospect of resuming shooting.

    “You will need to give a plot recap before you start airing the fresh sequences to soaps,” a programming head with a Kannada TV channel quipped wryly. That pretty much sums up the desperation on the ground. After all, how long would you bank on the library to keep a home-bound, entertainment-hungry audience hooked?

    Cost constraints

    Regional channels, faced with the twin challenges of cash crunch and limited resources in the changed scenario, will have to adjust to the new normal.  “GECs, especially regional ones, have to deal with the problem of costs and cannot cough up more. They cannot afford to have the kind of strict parameters and protocols that have now been put in place in production activities by studios in Hollywood,” said a senior hand working with an entertainment channel in Bangalore, who prefers not to be named because he is not authorised to speak to the media.  

    Viacom18 regional TV head Ravish Kumar said: “We are currently awaiting approvals from the relevant authorities and will adhere to all norms, formalities and SOPs. We will resume shoots only once we have a formal go-ahead from the concerned authorities and will continue to follow best practices and guidelines laid down by them to ensure safety and well-being of all involved.”

    Viacom18’s Colors has two entertainment channels in Tamil and Kannada.

    Programme producers say that things will not be the same as they were before. “No liberal shooting will be allowed. There will be a lot of restrictions like the number of people allowed in a shooting set, etc. So many things cannot be visualized unlike in the past. We need to plan because of these reasons,” said a programme executive in Karnataka.

    With outdoor shooting still a distant dream, serial plots will go for a lot of changes. Scenes where outdoor shooting are required will have to be rewritten or tweaked.  

    As of now, entertainment channels have an oversupply of scripts for serials and other programmes. “We are ready with scripts for 40 to 50 serials. Writers, with plenty of free times, have been churning out serial plots prolifically since the start of the lockdown. But we are not yet sure as to how we can work it out with all the restrictions,’’ he said.

    SOP for shooting

    The Karnataka government has given tentative approval for TV serials to resume indoor shooting from 25 May, with a lot of restrictions. Shootings in the state came to an end on 22 March following the lockdown.

    Karnataka Television Association (KTVA) has put in place operational procedures for shooting from 25 May. As per the SOP, only indoor shoots are permitted. The social distance should be maintained at the location. Only required actors for the shot and main technicians should be at the spot and others have to wait outside. The number of crew members should not exceed more than 18 people. The director and production manager should decide on crew and casting on a daily basis so as to maintain the minimum crew at any point of time. The artist support staff/ personal assistant should not stay at the shooting spot. They have to drop off and leave.

    The body temperature of each member needs to be checked before entering the shooting spot and if it is high, they should not be allowed. The producer has to provide a thermal scanner at the location. The name and address of all the cast and crew members should be recorded on a daily basis and the same to be provided to visiting government/medical officers at any time. The production manager needs to record this every morning without fail and ask the cast and crew to write it in the ledger.

    Producers have to provide transport for all the actors, technicians and crew members and follow the government instructions on transport facilities. People travelling in generator vehicles too should follow general Covid2019 instructions. No vehicle should be overloaded than the prescribed number of passengers. If not followed, authorities will have all the rights to cancel the shooting.

    The producer has to provide hand sanitizer, liquid soap and other materials to maintain cleanliness at the shooting spot. Everyone at the location should follow instructions provided by the government on covid-19 situation.

    Refillable sanitizers have to be provided along with hand wash dispensers at the wash basins. Covid2019 precautionary instructions have to be printed in bold letters and pasted at shooting spots (both in English and Kannada)

    Except for actors acting before the camera, everyone at the shooting spot should be wearing masks and hand gloves all the time. All the actors and crew should carry their own mask and wear in all the time

    Makeup crew should get sanitized before putting makeup on each artist. No back-to-back makeup without sanitizing. Usage of wet cloth is banned and the same has to be replaced by wet tissues and needs to be disposed of carefully.

    Makeup crew need to report early and artists have to go for makeup according to the shooting plan. Wet tissues have to be provided to actors and they have use it themselves and put the used ones in dedicated waste bin

    The microphones, both lapel and boom rods used in the set, need to be cleaned with sanitizer before putting it on the actors and bringing it into the set.

    Disinfectant spray should be sprayed before and in between the shots at the location. Phenyl mixed with Dettol should be applied on shooting floors, doors, windows, sofas, tables, chairs and other properties before use.

    One set assistant should be kept only for this and he/she should be wearing washable hand gloves and masks all the time.

    Follow the standard travel plan for cast and crew members and make sure no vehicles should carry more than the prescribed number of passengers. All the vehicles needs to be disinfected before using for shooting purpose

    Pressing of costumes should be avoided at the location and all the actors should get ready to wear costumes from their home. The direction and production team need to inform the artist well in advance about the respective costumes with continuity details.

    Only packed food, sealed in aluminium foil, to be provided at the shooting location. Actors and main technicians ideally should carry their own food if possible and avoid sitting next to each other and eating.

    Those travelling from outside for shooting have to follow the self-quarantine rules as per the government order. Actors, associates and assistants need to be informed 15 days in advance to reach Bangalore and be in home quarantine before coming to the shooting spot.

    In other states

    Elsewhere, in Tamil Nadu, the channels are keeping their fingers crossed as they have yet to receive a go-ahead signal from the government. The television fraternity in the state has made representations with the government, hoping for a resumption of production activities. The government allowed post-production works from 11 May.  

    "As of now, we have not got any approvals from the government. We will follow the same SOP proposed by the IBF to the government,” said the business head of an entertainment channel.  

    In Kerala, broadcasters are hoping for a favourable decision from the government to resume the shooting activities. Malayalam television fraternity, an association of television directors and producers, the other day met the chief minister in this regard. The CM has assured the fraternity members that he will consider their request favourably.

    The GECs are hoping that a favourable government decision will come very soon. ZEE Keralam’s business head Santosh J Nair said that the industry is going through very tough times. “There is no new content and advertising revenue is also at the lowest. We are eagerly waiting to start shooting soon keeping in mind protocols. Based on government approvals we will start our work. All this while, we relied on our content bank. But after our original banked episodes were exhausted and shooting stopped, we did not have fresh content. We have survived with a mix of reruns of fictions and films.”

    “The fraternity members got an assurance from the CM. A quick decision will come soon. But it is uncertain about the kind of controls that will be put in place for shooting. But it will be done in a controlled environment. It is unlikely that outdoor shoots will happen,” said Kairali TV programme head Unni Cherian.

  • Kannada TV shows to resume shooting from 25 May

    Kannada TV shows to resume shooting from 25 May

    MUMBAI: There is finally some reprieve for the TV production industry. The Karnataka government has finally granted permission to the Kannada television industry to resume shooting from 25 May.

    However, the government has advised production houses to take pandemic-related precautionary measures for their members available on the set. This includes compulsory use of masks, proper sanitisation on set, buffet system for breakfast and lunch, etc. They can resume indoor shoots with an essential crew of 18 to 20 people. Senior citizens are barred from entering the set.

    Kannada Television Association, in an official statement, stated, “By having a discussion with television technical department, directors and producers it has been unanimously decided to resume shooting from 25 May by following all precautionary measures like having sanitizers on the sets, wearing masks is a must for crew members and maintaining social distancing so that no person on the sets gets affected by the pandemic.”

    This comes after Kannada television association president S V Shivakumar took up the lead to meet Karnataka CM BS Yediyurappa requesting him to grant permission to shoot television shows which were on halt since the lockdown.

    For more than one month, almost all general entertainment channels (GEC) have been airing the repeat telecasts of their shows, while several others are re-running their popular old shows.

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  • Colors launches finite series on Kannada TV, love triangle blossomed on Bigg Boss

    MUMBAI: Television experience in India is evolving at an exponential pace, so is the need for revolution in the offerings by entertainment providers. With the increasing appreciation of finite series on Indian television, viewers’ have developed an affinity towards the format, leading to a noticeable growth in their popularity and trends.

    Anticipating the need of the audience and catering to their growing demand, Colors Kannada presents the first ever finite series on Kannada Television – Sanju Mattu Naanu. Starting May 27, 2017, the 24-episode show will air every Saturday and Sunday at 9pm.

    Pioneering in general entertainment, Colors Kannada is all set to break away from the traditional format of reality-programming at primetime during weekends. Colors Kannada’s latest offering, is a first of its kind show, that will blend the horizon between fiction and reality, to create a unique hybrid show.

    Picking up where they left off, the participants of Bigg Boss Kannada – Season 4, Pratham, Bhuvan and Sanjana will rekindle their romantic equation on the show. Piquing the curiosity of the viewers until the very finale of Bigg Boss Kannada, Pratham’s proclamation of love for Sanjana was met with mysterious unresponsiveness. Reigniting that flame, Sanju Mattu Naanu, will bring the three hearts at the crossroad of their feelings and decisions of the mind.

    Commenting on the latest show, Ravish Kumar – Head, Regional Entertainment, Viacom18 said, “Colors Kannada has always been ahead of the curve in the Kannada entertainment space. Finite series as a format has become popular world over and across all platforms and we’re proud to be introducing the same to our Kannada viewers through Sanju Mattu Naanu. And, the novelty doesn’t end there. This is a step up in terms of content innovation as well. First time ever a real-life love triangle which was brewing inside the Bigg Boss house will now see its culmination in the form of a fiction show. It has been our constant endeavor to renovate our offerings so that our audiences have the best television experience on our platform.”

    Commenting further Parameshwar Gundkal – Business Head of Colors Kannada and Colors Super, said, “We constantly reinvent our formats to keep up with not only the growing trends but also the emerging content consumption appetite of our viewers. The popularity of finite series has been taking over the rest of the world, and we believe it shall make its place in the Kannada GEC space as well. The genesis of Sanju Mattu Naanu was formed in our reality show Bigg Boss. Going by the popularity that Pratham, Bhuvan and Sanjana gained in the show, we are now extending their chemistry in the form of a fiction show. It’s going to be a short series of 24 episodes airing over the weekend and we hope the viewers appreciate the ingenuity of our content.”

  • “Story telling and production quality are going to drive the Kannada TV market”- Ashok Namboodiri

    “Story telling and production quality are going to drive the Kannada TV market”- Ashok Namboodiri

    Three months back Ashok Namboodiri replaced Star India’s Kannada entertainment channel Suvarna’s business head Anup Chandrasekharan.

    Namboodiri hails from a very strong FMCG background with more than 20 years experience with heavyweight MNCs like HUL, Coca Cola, Tata Tea, and Britannia. Prior to joining the channel, Namboodiri was the business head of J K Helene Curtis where he was responsible for building the FMCG portfolio of brands like Park Avenue and Raymond.

    In a very short span, under his guidance, Star India revamped its nine-year old brand Suvarna as Star Suvarna and its movie channel Suvarna Plus as Star Suvarna Plus. This was a part of an initiative to lift the channel’s position to numero uno in the Kannada market.  

    Indiantelevision.com’s Sonam Saini had a tete a tete with Namboodiri who spoke about his journey in the media & entertainment space, challenges and his plans for Star Suvarna. Excerpts from the conversation:

    How different is the media and entertainment space as compared to the other industry categories you have worked in before? Where do you draw your motivation from?

    I think it’s a very exciting space. The ability to understand the style of the consumer and then to address that with stories which can have an impact which goes beyond entertainment but that impacts life itself in some way.. And I particularly think this aspect of the story is very important. Compared to what I was doing earlier then this is a very fascinating and exciting space to be in.

    Motivation comes from people interaction. In some form and manner your ability to reach out to people, get insights, keeping your eyes and ears to story ideas that can come from anywhere that  makes for a very enriching experience.

    What is it like to be the business head of the channel? If you were to describe three biggest challenges what would they be?

    When it comes to running a business, the principle remains the same. You need to establish the systems and processes, put down your metrics to review periodically and also you need people to rally around a larger vision that you set for the business.

    Where I am finding this extremely challenging and exciting is in the area where I have to really convert ideas to stories that attract and engages consumer eyeballs. Here the product is something that is intangible, yet touches so deeply at the same time.

    Picking up the right story is the challenge, with the evolution of technologies, consumers are so well connected to  global trends that keeping pace and raising the bar is very important. Also, making sure in execution,  quality is not sacrificed.

    How is regional broadcasting in India different now from say what it was three years back?

    From the standpoint  of the kind of stories that need to be told, the regional market is becoming extremely competitive than what it was three years back.

    It opens the environment and gives the viewer a much more enriching experience as you have new shows, stories, characters, new technology that has come in due to the increased competitive intensity.

    Each market is different and has a different style of telling stories. In Star Suvarna we have launched Har Har Mahadev on a much higher scale when it comes to production and quality, which has completely changed the standard. That is the other thing where regional television is actually going through a change.

    How has the profile of a regional channel viewer changed say in the past three years?

    There are two things, one is the matter of trends – globalization, access to what is happening around the world, and the fact that the world is becoming younger..these trends are applicable to all including regional viewers. Secondly, the social and cultural trends are changing.

    If you were to pitch a brand to come and associate with Suvarna what would your differentiator be that your competition cannot offer?

    Star Suvarna has been here for nine years in the business and whatever research we have done one thing is evident that Star Suvarna enjoys a very unique place in the life of the Kannada consumer. Our DNA is about exclusive content and being the exclusive in content attracts potential advertisers as well.

    HD in regional channels has been the talking point over the past few months. Do you think having an HD offering in the regional market is a profitable proposition?

    With the evolution of technology, consumers are accessing content through various formats and as well as through channels in the form of HD and SD. That really doesn’t matter, at the end of day, the thing that will drive the  future is better stories and those which are executed in a superior manner. The quality will become very crucial going forward.  

    Do you think there is enough marketing of content in the region you operate? What would  Suvarna’s marketing spend per year be  and what is the media mix in terms of TV, Print, Outdoor and Digital?

    Yes, we have rolled out a 360 degree marketing campaign for our launch along with Har Har Mahadev. We are doing unique things like running a campaign reaching out the people of Karnataka. We are covering all the media channels through this campaign. We don’t comment on particular numbers. We aim to be very competitive and establishing properties that drive the marketing spends. We go for everything basically the home channel is the big one. We pick and choose the media depending on what is the objective.  

    You have just revamped the nine year old brand Suvarna and Suvarna Plus. What is the idea behind it? What new will we see in the channel?

    When we did our research and we found out that we have the capability to raise the bars altogether to a new level. We have done a lot of work on the show Har Har Mahadev – visual effects, production quality that we have has never been seen in any other show in the Kannada market. Using this as the disruption in the market, we thought it’s the right time to relaunch the channel.  We all are excited about the new line up which is there in the pipeline and of course we will leverage the Star network for technological upgradation and the entire expertise that is there to leverage from the ecosystem.  

    How has the satellite acquisition rights space for Kannada films been? Has there been a rise in acquisition price? What kind of competition is there?

    I won’t be able to comment on the price but films are an integral part of the programming line up of any GEC channel so we are also looking at the same.

    What are the programming innovations that a regional movie channel can undertake?

    Innovations can be done in two ways, one in the execution and other in the way of storytelling and content.

    What do you think will be the key driver of growth in Kannada regional market?

    Execution is the big one, talent, getting the right kind of expertise, infrastructures and digitization are going to be the key drivers. The Kannada consumer is as demanding as any other consumer, therefore fulfilling their desires will also be the important driver of growth in Kannada market. 

  • “Story telling and production quality are going to drive the Kannada TV market”- Ashok Namboodiri

    “Story telling and production quality are going to drive the Kannada TV market”- Ashok Namboodiri

    Three months back Ashok Namboodiri replaced Star India’s Kannada entertainment channel Suvarna’s business head Anup Chandrasekharan.

    Namboodiri hails from a very strong FMCG background with more than 20 years experience with heavyweight MNCs like HUL, Coca Cola, Tata Tea, and Britannia. Prior to joining the channel, Namboodiri was the business head of J K Helene Curtis where he was responsible for building the FMCG portfolio of brands like Park Avenue and Raymond.

    In a very short span, under his guidance, Star India revamped its nine-year old brand Suvarna as Star Suvarna and its movie channel Suvarna Plus as Star Suvarna Plus. This was a part of an initiative to lift the channel’s position to numero uno in the Kannada market.  

    Indiantelevision.com’s Sonam Saini had a tete a tete with Namboodiri who spoke about his journey in the media & entertainment space, challenges and his plans for Star Suvarna. Excerpts from the conversation:

    How different is the media and entertainment space as compared to the other industry categories you have worked in before? Where do you draw your motivation from?

    I think it’s a very exciting space. The ability to understand the style of the consumer and then to address that with stories which can have an impact which goes beyond entertainment but that impacts life itself in some way.. And I particularly think this aspect of the story is very important. Compared to what I was doing earlier then this is a very fascinating and exciting space to be in.

    Motivation comes from people interaction. In some form and manner your ability to reach out to people, get insights, keeping your eyes and ears to story ideas that can come from anywhere that  makes for a very enriching experience.

    What is it like to be the business head of the channel? If you were to describe three biggest challenges what would they be?

    When it comes to running a business, the principle remains the same. You need to establish the systems and processes, put down your metrics to review periodically and also you need people to rally around a larger vision that you set for the business.

    Where I am finding this extremely challenging and exciting is in the area where I have to really convert ideas to stories that attract and engages consumer eyeballs. Here the product is something that is intangible, yet touches so deeply at the same time.

    Picking up the right story is the challenge, with the evolution of technologies, consumers are so well connected to  global trends that keeping pace and raising the bar is very important. Also, making sure in execution,  quality is not sacrificed.

    How is regional broadcasting in India different now from say what it was three years back?

    From the standpoint  of the kind of stories that need to be told, the regional market is becoming extremely competitive than what it was three years back.

    It opens the environment and gives the viewer a much more enriching experience as you have new shows, stories, characters, new technology that has come in due to the increased competitive intensity.

    Each market is different and has a different style of telling stories. In Star Suvarna we have launched Har Har Mahadev on a much higher scale when it comes to production and quality, which has completely changed the standard. That is the other thing where regional television is actually going through a change.

    How has the profile of a regional channel viewer changed say in the past three years?

    There are two things, one is the matter of trends – globalization, access to what is happening around the world, and the fact that the world is becoming younger..these trends are applicable to all including regional viewers. Secondly, the social and cultural trends are changing.

    If you were to pitch a brand to come and associate with Suvarna what would your differentiator be that your competition cannot offer?

    Star Suvarna has been here for nine years in the business and whatever research we have done one thing is evident that Star Suvarna enjoys a very unique place in the life of the Kannada consumer. Our DNA is about exclusive content and being the exclusive in content attracts potential advertisers as well.

    HD in regional channels has been the talking point over the past few months. Do you think having an HD offering in the regional market is a profitable proposition?

    With the evolution of technology, consumers are accessing content through various formats and as well as through channels in the form of HD and SD. That really doesn’t matter, at the end of day, the thing that will drive the  future is better stories and those which are executed in a superior manner. The quality will become very crucial going forward.  

    Do you think there is enough marketing of content in the region you operate? What would  Suvarna’s marketing spend per year be  and what is the media mix in terms of TV, Print, Outdoor and Digital?

    Yes, we have rolled out a 360 degree marketing campaign for our launch along with Har Har Mahadev. We are doing unique things like running a campaign reaching out the people of Karnataka. We are covering all the media channels through this campaign. We don’t comment on particular numbers. We aim to be very competitive and establishing properties that drive the marketing spends. We go for everything basically the home channel is the big one. We pick and choose the media depending on what is the objective.  

    You have just revamped the nine year old brand Suvarna and Suvarna Plus. What is the idea behind it? What new will we see in the channel?

    When we did our research and we found out that we have the capability to raise the bars altogether to a new level. We have done a lot of work on the show Har Har Mahadev – visual effects, production quality that we have has never been seen in any other show in the Kannada market. Using this as the disruption in the market, we thought it’s the right time to relaunch the channel.  We all are excited about the new line up which is there in the pipeline and of course we will leverage the Star network for technological upgradation and the entire expertise that is there to leverage from the ecosystem.  

    How has the satellite acquisition rights space for Kannada films been? Has there been a rise in acquisition price? What kind of competition is there?

    I won’t be able to comment on the price but films are an integral part of the programming line up of any GEC channel so we are also looking at the same.

    What are the programming innovations that a regional movie channel can undertake?

    Innovations can be done in two ways, one in the execution and other in the way of storytelling and content.

    What do you think will be the key driver of growth in Kannada regional market?

    Execution is the big one, talent, getting the right kind of expertise, infrastructures and digitization are going to be the key drivers. The Kannada consumer is as demanding as any other consumer, therefore fulfilling their desires will also be the important driver of growth in Kannada market.