Tag: production house

  • Red Ice Films launches new TVC for Streax Hair Colour

    Red Ice Films launches new TVC for Streax Hair Colour

    MUMBAI: The ad film production house Red Ice Films has launched the latest campaign for Streax hair colour featuring actress Sonakshi Sinha for the first time.

    The campaign conceptualised by Situations Advertising. The ad highlights walnut’s essence in the brand that enhances the natural shine of the hair.

    The TV ad showcases Sinha talking about the product and emphasising how much she trusts on the natural elements for her hair and later on, the actress introduce the brand in the ad.

    Speaking on the campaign, Red Ice Productions creative producer Robby Grewal said, “Being a youth icon, Sonakshi’s presence in the campaign ensures a distinct brand identity and consumer connect to the Streax as a brand. Apart from working with Sonakshi, collaborating with Marco Pinesi an international director, on this project was the icing on the cake. He understood the local nuances well and also gave a global look and feel to the commercial. We were able to work together to give a new dimension to the brand through the TVC. Overall, the whole experience was extremely enriching and hopefully this has reflected itself in a truly memorable commercial for Streax.”

    Situations advertising creative director Samrat Dasgupta said, “With the number of hair colour products increasing with each passing day, the consumer is extremely confused. The need of the hour was a campaign that clears misconceptions and guides the audiences to choose the right hair colour. It was integral that the brand message is communicated by a trusted source, hence we chose Sonakshi Sinha as the youth trusts her.

    Red Ice Films was initiated on 15 August 1999. Red Ice has worked with several brands like Britannia, Coca Cola, Dell, Dabur, Pepsi, Saffola, Slice, Titan, Visa, and Vaseline.

  • Ad film maker Film Farm to foray into feature films post TV success

    Ad film maker Film Farm to foray into feature films post TV success

    Film Farm India, a leading ad-cum-entertainment film production house, is planning to foray into the feature film business after a successful foray into the television production. The firm is already working with top ad agencies including Lowe, JWT, O&M amongst others. The feature film will be an out and out commercial film.
     

    The Economic Times Brand Equity dated 4 June 2003 featured two of the ad film firm’s commercials in a compilation of “three best commercials of the week”. The two commercials that were featured in Brand Equity include “Rasna Juc- Up” directed by Pushpendra Mishra; and “Kissan Mr. Fruit” directed by Navdeep Singh, both a part of the Film Farm team of directors and both produced by Film Farm.
     

    In a double whammy, the company also celebrated the success of the television division’s successful foray into the TV production business at a party held in Mumbai on 6 June 2003. The serial Dil…Na Jaane Kyon on Zee TV – as part of it’s new initiative Chausat Panne – has reached the No. 2 slot in Zee’s Top 10 list just below Astitva Ek Prem Kahani.
     

    While speaking to the indiantelevision.com team, Film Farm India’s managing partner Harsh Dave says: “We are amongst two or three top companies that have adopted a different model – talent kitty within an ad film. We have a panel of young directors who have developed a core competency area of expertise and domain knowledge. The ad film industry is constantly evolving and clients/ad agencies prefer to rope in the younger generation in an attempt to get fresh ideas. The senior team within our group merely nurtures talent and guides them. Our films look much more contemporary and original.”
     

    Film Farm has a team comprising of 32 professionals. Different directors specialize in conceptualizing films related to different themes – be it fashion or food or people. “The younger lot has a lot of fire in their belly, more enthusiasm and have a broader perspective. Also, there is no one-upmanship within the team and everybody contributes in the brainstorm sessions,” Dave adds.
     

    Dave is also not in favour of creatively-oriented people running an ad production house. “We believe that production houses need managers who work out economies of scale and keep the focus on costs and schedules. There has to be a balance – since the business involves both Saraswati and Laxmi. There must be teams that focus purely on business development, others that nurture relationships and the rest who focus on creative aspects.”
     

    In less than five years since its conception Film Farm has done advertising work for companies such as Hindustan Levers, Dabur, Hero Honda, Revlon, MTV, J & J, Marico, Nerolac Paints, Jyoti Laboratories, MRF, Bombay Dyeing, Rasna, V.I.P. to name a few.
     

    “Clients and ad agencies want value and seek a comfort level while working with any ad film maker. The focus is not on cutting costs. After all, at any point of time, an ad film maker makes a Rs 3 million film that will be part of a Rs 30-million media campaign which in turn will decide the fate of a Rs 300-million brand,” adds Dave.
     

    Along with two more in-house and some more freelance directors from advertising fraternity, Film Farm has also produced TV commercials with directors of feature film background like John Mathew Mathan (Denim soap commercial), Mansoor Khan (Nerolac commercial), Pankaj Parasher (Hercules cycles with Akshay Kumar), Kundan Shah , Govind Nihalani and Rituparno Ghosh (Ponds). “We use different directors based on their styles or personality or expertise or even areas of interest,” says Dave.
     

    Besides India, Film Farm has done work for companies in Thailand, U.A.E.,Malaysia, Australia and South Africa working with directors from the same regions. Film Farm has also collaborated in production with U.K. based Academy Films for the prestigious music videos for bands like UB 40, Basement Jaxx.
     

    “We believe in two-way traffic. We have also done line productions and provided value added services to Europe/US firms that want to shoot in India. Through our international affiliations, we have also sourced good directors from a talent pool; got them down to India to shoot some of our campaigns.”
     

    Currently, the production house has an 80:20 mix as far as the ad business and television business is concerned. However, the mix will vary after we foray into the feature film production arena and increase our presence on TV channels,” adds Dave.
     

    Film Farm India is definitely planning to give it’s close competitors Big Brother and MAD a complex!

  • Network18 to spin off Cell18 as a separate company

    Network18 to spin off Cell18 as a separate company

    MUMBAI: Cell18, Network18 group’s creative division, is planning to establish itself as a separate company, providing services to clients only outside the network group.
     

    The Cell, Network18’s specialist promo and packaging unit, will continue making ad films and promos apart from packaging design for outfits within the Network18 group.
     

    “Cell18 was already working for clients outside the company. However, now with our capabilities growing day by day, we want to establish Cell18 as a separate revenue generating body for ourselves. Hence Cell18 is migrating to become a company,” said an official source.

     

    The company will be establishing itself as a creative production house, also specialising in brand design and documentary making.
     

    “For the past few months we have been producing work for the clients of many top line agencies like Lowe, JWT and Mudra.To understand the revenue generating capacity of the creative division, Cell18 underwent an experimental phase during January, February and March during which it clocked Rs 25 million, making a profit of Rs 14 million. Now that we have expanded across the industry, we want to create Cell18 as a creative production company also specialising in brand design and documentary making,” added the source.

     

    Cell 18 hopes to excel in competitive pricing. Hence it has installed in-house equipments. It has brought in 12 FCPs, 40 graphic work stations and two online machines-two smokes and one flint. Thus, starting from the pre-production process till the post-production stage, nothing will have to be outsourced, thereby lowering the entire cost of production.
     

    Cell 18 is also venturing into making mobisodes, audio visuals for mobile phones. It will be launching its first mobisode sometime next month.

    “Web and mobiles are the new interactive media that need to be exploited immensely to reach out to today’s audience. We have already made 20 webisodes (web films) for Pepsi and our latest is the one on IPL’s Kolkata Night Riders. Now we will be venturing into making mobisodes and the first one will be launching next month,” stated Network18 Group Network creative director Zubin Driver.
     

    Cell 18 has recently finished making a documentary on Gulbarg Museum in Gujrat for social activist Teesta Setalvad.

  • Miditech goes global for NGC

    Miditech goes global for NGC

    MUMBAI: Production house Miditech is getting more ambitious in its vision to rise to the top. It will make three documentaries for National Geographic.
     

    What is unique however is that unlike their previous show Leopards Of Bollywood the three upcoming projects will be shot across the globe.

     

    Speaking to Indiantekevision.com, Miditech CEO Nikhil Alva said, “This is a part of the documentary production fund programme that National Geographic has with the Singapore Economic Development Board (EDB). The aim is to fund documentary filmmakers from across the Asian region. 330 entries were received. Out of this 28 were short listed. 12 ideas were then chosen.”

    “We were the only company that is doing more than one film. We will be shooting the films in US, Australia, South Africa. Another film will be shot in China. With this we are looking to take the next leap in terms of production values and scale. This competition is in its third year. The first year we had done Operation Hot Pursuit,” he added.

     

    Alva added that what gave Miditech the edge over the competition was the fact that their international ideas were unique. “In our presentation we also lucidly explained how the programmes would appeal to National Geographic’s global audience.
     

    “These shows will have an Indian element but the bulk of the work will be done outside. They will air on the channel across the world next year. So while we are an Indian company we want to send out the message that we are equally capable of making high quality products for the global market.”
     

    Alva said that one programme for National Geographic Witchcraft has just been completed. This will air in the December-January period. The other companies that have been selected by National Geographic and the EDB include APV Media (Singapore), India’s Asoka Raina Productions and Southern Star Entertainment (Singapore).
     

    The closing date for the contest was 30 August 2004. 16 Asian countries had sent in entries. The chosen entries will have a potential viewership of 220 million homes.

    NGC Intl executive VP production Bryan Smith, said, “This is the third year that National Geographic Channels International is working with local producers. The quality of entries has improved over the years. We are very pleased with the high standard of these documentary proposals received for the third season. 
     

    “We will continue to groom and raise the bar of the Asian filmmaking community to produce exceptional documentary programs for the global audience. Great stories told by Asian documentary producers will present new angles to our understanding of the world. “
     

    Similar to the first two seasons, a National Geographic documentary workshop will be organised for the winners to learn first-hand experience and insights about the makings of National Geographic programmes.

  • NGC to celebrate events that happen only in India

    NGC to celebrate events that happen only in India

    MUMBAI: One way that the National Geographic Channel (NGC) has been building the brand in India has been through showcasing Indian themed documentaries and specials made by local production houses.

    Last year it had showcased specials like Leopards Of Bollywood and Skeleton Lake. Later this year it will unveil a major initiative It Happens Only In India.

    Speaking to Indiantelevision.com on the initiative, NGC senior VP content and communication Dilshad Master says, “NGC has brought a variety of quality programming produced by Indian production houses to its viewers.Leopards of Bollywood and Skeleton Lake received an overwhelming response from audiences. Bringing alive the frightening story of leopard killings in the heart of modern day Mumbai, Leopards of Bollywood was both relevant and relatable. Directed by Chandramouli Basu and written by Niret and Nikhil Alva, Skeletons Lake was aired on the channel as a part of the F.I.R series and was very well received by viewers.
     

    Vultures: Death Watch was another documentary aired earlier this year that was very topical. Coming up very soon is a special series called It Happens Only In India. This is a combination of very interesting and diverse topics that will be explored in each episode.”
     

    Last year one of NGC’s major on-ground endeavous was Nokia Innovations. However Master says that there are no plans as of now on the Innovation series for this year. “However National Geographic Channel will continue to innovate and excite our viewers with properties that are compelling and original.”
     

    On the marketing front Master notes that NGC has always used and will continue to use innovative initiatives involving on ground and new media to reach its viewers. Programmes such as Mission EverestMission Mars,Nokia InnovationNat Geo Investigates among others have in the past been used to engage viewers in an interesting manner and our new programmes coming up later this year will also have a huge interactive angle.
     

    “For It Happens Only in India we have innovative on ground and online ideas lined up. As a channel affiliated to the Star Network we plan to use Star’s 7827 in house short code to connect with viewers. Interactivity is key in broadcasting today and we are definitely planning to reach out to our viewers with exciting and innovative contests and promotions through the mobile media.”

  • Despite lower y-o-y revenue, Radaan reports higher PAT for Q2-2014

    Despite lower y-o-y revenue, Radaan reports higher PAT for Q2-2014

    BENGALURU: The R. Radhikaa Sharathkumar led south Indian television production house Radaan Mediaworks reported standalone revenue of Rs 7.39 crore and a PAT of Rs 0.20 crore for Q2-2014 as compared to revenue of Rs 8.92 crore and a PAT of Rs 0.188 crore for the corresponding quarter of last year. For Q1-2014, the company had reported revenue of Rs 7.63 crore and a PAT of Rs 0.183 crore.

     

    For FY-2013 (year ended March 31, 2013), Radaan had reported revenue of Rs 33.01 crore and a PAT of Rs 1.051 crore.

     

    Radaan’s EBIDTA however at Rs 0.661 crore was 14.2 per cent lower than the Rs 0.77 crore y-o-y, but 11.1 per cent higher than the Rs 0.595 crore for Q1-2014.

     

    Radaan’s expenditure for Q2-2014 at Rs 6.73 crore was 17 per cent lower than the Rs 8.14 crore for Q2-2013 and four per cent lower than the Rs 7.04 crore for the immediate trailing quarter Q1-2014.

     

    The company paid two per cent more towards interest at Rs.0.309 crore as compared to the Rs 0.303 crore for Q2-2013 and 15.7 per cent more than the Rs 0.267 crore for Q1-2014.

  • A Sooper se Ooper launch of Jigsaw Pictures into feature films

    A Sooper se Ooper launch of Jigsaw Pictures into feature films

    Having produced over 150 television commercials, music videos and even a critically acclaimed short film, The Fall (starring Rahul Bose), production house Jigsaw Pictures is now venturing into feature films with their first commercial film Sooper Se Ooper. This quirky drama with Vir Das in lead has been co produced with Reliance Entertainment and is scheduled to come to theatres across India on 25 October, 2013.

     

    Jigsaw Pictures CEO and creative producer Rajnish Lall has had over nine years of experience in advertising, having worked in Clarion, Contract & Bates and thereafter headed the marketing division at B4U shortly after. He then founded Jigsaw Pictures about eight years ago and will debut as a creative producer and the line producer of Sooper se Ooper. He is among a few who is comfortably straddling the productions both in the TV commercials and feature films.  

     

    On his first production, Rajnish said, “Working on this film was like taking a fresh guard in the field of production… it has been an amazing, exciting and rich experience in the last two years. From fine tuning the script, putting together the right cast and technical team of my choice, the extensive shoot in Rajasthan and Mumbai to production of lovely songs all within a modest budget has been a Sooper se Ooper experience! In this journey we had the support and guidance of a big studio like Reliance Entertainment.”

     

    The movie Sooper se Ooper is based on an Indian superstition ‘that making a will (legal document) is an indication that that your time has come near’. The story revolves around the character of Vir Das, whose fortune has dwindled and selling his ancestral property may just be the way out of the situation but he runs into a problem as the ancestral land was not will-ed to him by his parents. Filmed in Rajasthan and Mumbai, the story takes an interesting and entertaining turn during the journey from village to city and vice-versa.

     

    The film stars Vir Das, Gulshan Grover, Deepak Dobriyal, Kirti Kulhari and Yashpal Sharma, among others. The music has been composed by Sonu Niigam and Bickram Ghosh who debut as a music duo in Hindi films and has quirky fusion BGM from Ranjit Barot. The director, a veteran of TV commercials also makes his debut with this film. The film is being presented by Reliance Entertainment and produced by Jigsaw Pictures.

     

    Jigsaw Pictures’ next feature production is a comic thriller set in Mumbai and Kerala, which they will start shooting in April 2014.

  • Grand Masti gets a whooping Rs 39.8 crore opening

    Grand Masti gets a whooping Rs 39.8 crore opening

    Grand Masti has a terrific weekend raking in a big moolah at the box office. The film, with huge support from single screens, has collected Rs 39.8 crore for its opening weekend. This is a sequel to the previous adult comedy Masti and the three friends are back together and this time they are coming together at their college reunion. The film stars Ritesh Deshmukh, Aftab Shivdasani and Vivek Oberoi.

     

    John Day has not been able to make a mark despite Naseeruddin Shah leading the cast. The film has managed to collect just about Rs 1.7crore for the first weekend.

     

    Horror Story, a grossly under publicised film, has managed to cross the Rs two crore mark in its first three days.

     

    Shuddh Desi Romance has had a good first week. A pleasant love story with a contemporary theme of live-in couple scared to commit through the institution of marriage, the film has collected Rs 35.7 crore for its first week.

     

    Zanjeer, much in news because of its copyrights controversy involving the writers of the original version and the production house, Prakash Mehra Productions, has turned out to be a damp squib, having collected just Rs 13.75 crore.

     

    Satyagraha, which failed to stir up the box office and collected Rs 51.7 crore in its first week, has added Rs 6.9 crore in its second week to take its two week total to Rs 58.6 crore.

     

    Madras Café has collected Rs 1.1 crore in its third week to take its three week tally to Rs 40.65 crore.

     

    Channai Express has added Rs 1.1 crore in its fifth week thus taking its six week total to Rs 200.5 crore.

  • Anubhav Sinha launches production house Help to make films on survival

    Anubhav Sinha launches production house Help to make films on survival

    Mumbai: Anubhav Sinha, who received high accolades for his deft handling of his last super hero venture in Shah Rukh Khan’s Ra.One, is all set to turn producer with the launching of his outfit Help.

    Sinha has confirmed the report, saying: “Yes, I am starting this franchise. I call them survival films, a genre I have been very intrigued by. They will all be high concept films and I have already zeroed in on two of them that are German. Of these, one I am starting almost immediately. But apart from Offenes Wasser, I would not like to give out the names of these films although I have bought their rights.”

    Offenes Wasser is based on a real-life story of a group of youngsters who got trapped in a sea infested by sharks and tells the story of how a few of them actually manage to survive.

    It is learnt that the film will be a multi-starrer with some top stars. Sinha is currently figuring out the technical team and the locations.

    The production house will make at least one film bearing the title ‘Help‘ and a tag line describing the film every year.

  • ‘We want to be the No. 1 channel in two years’ : Sony Entertainment Television business head Ajit Thakur

    ‘We want to be the No. 1 channel in two years’ : Sony Entertainment Television business head Ajit Thakur

    Struggling to jump into the top Hindi GEC league, it was a year back when Sony Entertainment Television decided to undergo a complete overhaul. New programmes were introduced and a new association was inked with the biggest film production house, Yash Raj Films, to produce soaps that were different both in narration and production value. While not all could fetch the requisite numbers for Sony, they did help the channel cover quite a distance – from a 80 GRP mark to a peak of 180 GRPs.

     

    Now as Sony enters into its next phase of growth, it is betting big on the decade-old KBC, helmed by Bollywood legend Amitabh Bachchan. Sony believes that the property, infused with fresh innovations,will do more than just getting the numbers: it will help the channel change its fortunes.

     

    In an interview with Indiantelevision.com‘s Anindita Sarkar, Sony Entertainment Television business head Ajit Thakur speaks about the channel‘s programming plans at large.

     

    Excerpts:
     

    How challenging has been the last one year for you at Sony?

    Sony is a great brand but in the last couple of years it had not lived up to its potential. Now as I look back one year from the time I joined, we have achieved a lot and the credit goes to the brand. It has always been so strong that every time we do something that is targeted at our audience right, we always get results.

     
    So what has been the focus for Sony?

    The focus in the last one year has been on three things. The first one of these has been research. Audience taste in this country is shifting every 1-2 years and, therefore, we were very clear that everything that we do has to be supported by rigorous consumer testing and extensive research to enhance our consumer focus. And research is not just to track but also to forecast the future trends.

     

    The second focus for the channel has been to strengthen as pioneers in new programming. We got in a wide variety of shows ranging from the Yash Raj banner which were very diverse in terms of content and production value to something like Crime Patrol. We also made Aahat into a daily and Indian Idol, which had been traditionally a weekend property, was shifted to weekdays to give audiences a new experience. Also, no other channel has a daily thriller like CID.

     

    The third very important and conscious thing that we are concentrating on is to produce content that entertains the entire family – and is not just exclusive to women or men or kids. Also, the content should do more than just entertainment.

     
    But even after so many launches in the past one year, the channel is still perceived to be synonymous with CID while also deriving ratings from Indian Idol. Why so?

    Yes, CID is our flagship property and has been doing very well for us. So, if we have a strong property, why not build on it? We have extended the property to CID gallantry awards and we are thinking of CID comics towards the end of the year.

     

    Meanwhile, the growth has not come just from one property. We are slowly and steadily expanding on our properties. Now we have Indian Idol, then we will have KBC and we will be building one property at a time.

     

    Our other shows – Aahat, Crime Patrol and Boogie Woogie – are also fairing well for the channel. Baat Hamari Pakki Hai is picking up. And if you see, none of our shows is similar to the other. 

     

     
    But you still weak on fiction as compared to the rest of the competitors…

    Look, it has been a very conscious part of our strategy to give audience differentiated content. So, if you see, our programmes are very different from what is happening on all the other four channels. The fact is that from last June to this June we have seen an almost 100 per cent growth. Also, our primetime GRPs have grown from 40-75 GRPs. Meanwhile, in DTH households, we are the number two channel already. And DTH is a controlled environment where everything is in place and it is no more a Bombay-Delhi phenomenon. This shows that our content has future potential.
     

    Does that mean you do not want a successful soap on the channel?

    We do want to do a successful daily soap and build more on fiction but it has to be unifying and should be carrying a message. Also, we will not look at dragging a soap just for the sake of TRPs. We will look at finite properties that will help build the brand Sony and stand for it. We are expected to bring variety and target younger people. India has a lot more people below the age of 35 and Sony has a very high skew towards this audience segment. 

     
    ‘Now that it is time to enter the second phase of our growth, we want to kickstart it with KBC ‘

     
    Then why is it that even after bringing in young and differentiated content with the YRF shows and some other new ones too, it did not do much well for the channel?

    When we launched YRF, Seven and Mahi Way did fairly well. But all of them were not up to the expectations that the market wanted. However, when we went for it we actually knew that the content is ahead of its time in comparison to current television in terms of narrative as well as treatment. So we were the early adopters and the ratings did not come in the first season. But we have learnt that they will work if we be at it for some time and bring back new seasons.

     

    Also, another learning for us is that we shouldn‘t launch multiple properties together. Which is why this time we will bring back the shows one by one so that the audiences grow on them.
     

    When do you plan to bring back the new YRF shows?

    We will be launching two new shows from the YRF stable by the end of this year and the new seasons of two more properties will be launched next year. Apart from these, we will also be launching two other fiction properties by the year-end. 

     

    Why did you decide to bring back KBC despite it being an old property?

    The difference between reality shows and game shows are that reality shows are often very edgy and not suitable for the whole family. And since we are targeting the entire family, we knew it was time to bring back a game show on the channel.

     

    When we did our testing for KBC, everyone said that they would watch the show because it has knowledge, entertainment and Mr Bachchan. So they encapsulated the show for us very well and that has a huge implication for us. We are sure that apart from numbers, the show is going to generate huge eyeballs for the channel.

     

    Also, now that it is time to enter the second phase of our growth, we wanted to kickstart it with KBC. 

     
    What is your scheduling strategy? Which time bands do you concentrate on?

    Because a lot of our focus is on research, our scheduling strategy is pretty much about what is happening in the household. So we start our early primetime with soaps that are for the regular family and then as we go through the day, we move into non-fiction that is Indian Idol. Towards the end of the day, there is Crime Patrol, Aahat and CID as there is more of older audiences and men coming into the channel.

     

    Also, we are trying to keep as much of content on the channel to keep the family together. Earlier, it was just the weekends that would look at keeping everybody together – but now it‘s weekdays too.

     

    And the third thing is that while a lot of the channels are doing afternoons, we have opened up the late primetime at 11 pm as an original time band.

     
    What are your movie plans?

    We are actually looking at doing less and less of movies. About a year back, we were doing 4-5 movies a week. But now we are doing only two movies a week. And within this, we are looking at interesting titles. We have about eight programmes on the channel and we will repeat that during off primetime. We are also looking more at events.  
     

     

    What are the challenges and opportunities for Sony in this cluttered market?

    We want to maintain a steady growth curve upwards. We want to take optimal decisions in terms of investments and programming and don‘t want to take away the positioning of the channel. Our daily worry is what is the next new innovative programming that we need to bring in and what is the next new insight we need to catch from the consumers.

     

    The challenge for us will be to continue retaining our present viewers while getting in new audiences. We will also have to continue to build on our youth base – more from the smaller towns.
     

    So is there a GRP or position you have in mind?
    We want to be the number one channel in two years.