Tag: production

  • Producers in Maharashtra gearing up to resume shooting

    Producers in Maharashtra gearing up to resume shooting

    MUMBAI: Producers are gearing up to resume production after Maharashtra government on Sunday gave the official sanction in this regard.

    The government gave green signal for the resumption of film and television shootings in non-containment zones.

    Indian Film & TV Producers Council chairman (TV division) and Hats Off Productions founder J D Majethia told Indiantelevision.com that producers have started the process to resume shooting of films and television/OTT serials.  

    He said, “Every producer will have to fill up an application form. If someone wants to shoot outside Mumbai, he/she will need to take permission from the district collector. Currently, we are in the process of filling up an application form with all the details that will be uploaded in the course of next two to three days.”

    After filing the application form, the concerned authority will scrutinise the details based on numerous factors like studio space, SOPs, etc. After evaluating the application and depending on the situation, they might be granted permission within seven days, he explained.

    Regarding the exact shooting date, Majethia said it will be finalised after discussing with other producers in two to three days.

    He added that every broadcaster, film producer and OTT platform will have to apply for permission separately. Shooting outside Maharashtra, however, is not allowed. The cultural affairs ministry said that producers will have to conduct pre-production and post-production works by adhering to the rules and regulation laid down by the government.

    Producers will have to apply to the managing director of the Maharashtra Film City in Goregaon, Mumbai, and to district collectors outside Mumbai for resuming shootings.

    Majethia clearly stated that they are filling up the application form after taking into consideration the well-being of everyone involved. He concluded: “Our topmost priority is to safeguard the lives of our people; we are thinking of all possible measures to resume the shoot without risking anybody’s life.” 

  • Grafdoer recommences production with a brand-new line of  Hygienic Touch-less Products

    Grafdoer recommences production with a brand-new line of Hygienic Touch-less Products

    New Delhi : To curb the spread of novel Coronavirus, companies across various sectors are diversifying their inventories with new and innovative products to meet the growing need of consumers. Kitchen and Sanitary-ware brand Grafdoer announced the commencement of its production of new touch-less product range which comprises products such as – touch-less faucets, touch-less sanitizer and soap dispensers, hand dryers, etc which will be soon available in the market at an affordable price.

    The inventory includes automatic sensor faucets, self-closing taps, pedal control taps for basins and automatic soap/sanitizer dispensers. All the products produced by Grafdoer allows hand-free accessibility and easy-to-operate mechanism. The touch-less faucets range is designed by intelligent computerized means which also ensures a reduction in water wastage up to 70%.  Developed under top quality standards, the entire product range also comes with standard warranty. Keeping the current pandemic in mind, the touch-less series is specially designed to provide maximum safety in offices, public utility areas such as gyms, lounge, restaurants, institutions, and homes as well.

    The novice product range is scheduled to be up for sales in June and will be easily available across all retail stores. Grafdoer through its new product range wants to provide a promise of utmost safety and hygiene while ensuring easy installation and secured after-sales services at a consumer-friendly price range.

    Commenting on the same, Mr. Vinay Jain, Founder, and CEO, Grafdoer added “Necessity is the mother of Invention. Dealing with the pandemic and making the most out of it while at the same time providing our customers with best-in-class and innovative products is the need of the hour. At Grafdoer, we are working 24/7 to serve our customers with quality products ensuring proper hygiene as well. Our new Touch-less series aims at catering to the growing customer need for products that ensure proper hygiene without compromising on the safety and quality of the products and that too at an affordable price.”

  • Producers’ association warns against fake news of production restarting

    Producers’ association warns against fake news of production restarting

    MUMBAI: Indian Motion Pictures Producers' Association (IMPPA) has appealed to people not to fall prey to false and baseless information regarding re-starting of shooting.

    IMPPA in a press release said that they have been informed by many members who have come across messages being spread in the press and social media in the name of Federation of Western India Cine Employees (FWICE). The official release by IMPPA also mentioned the latest WhatsApp message being circulated in the name of the office-bearers of FWICE.

    According IMPPA, the false news spreading on social media in the name of FWICE states: “Shooting of TV serials shall start from June end for which FWICE has issued guidelines that one inspector and ambulance shall have to be present on sets at all times and though only 50 per cent workers will be allowed to work, the producers will have to pay workers and if anything untoward happens to any worker due to Covid2019, the concerned producer will have to pay compensation of Rs 50 lakh  to that worker.”

    To verify the details, IMPPA spoke to FWICE general secretary Ashok Dubey who informed that all these guidelines and directions circulated in the name of FWICE are totally false and baseless.

    FWICE also confirmed that no such decision or guideline shall be finalized unless all the producers’ association agrees to the same. It also made it clear that the decision to restart shoot post Covid-2019 pandemic shall be valid and subsisting only if the same is countersigned and authenticated by FWICE and the producers’ association and the president of IMPAA.

  • Cine employees fed appeals to Maharashtra CM to resume post-production works

    Cine employees fed appeals to Maharashtra CM to resume post-production works

    MUMBAI:Federation of Western India Cine Employees has appealed to Maharashtra chief minister Uddhav Thackeray to grant permission to resume the post-production work of the media and entertainment industry. 

    In the letter the federation said that the media and entertainment industry is the largest revenue earner, but the Covid2019 lockdown has ceased all the production activities. As a result the industry is suffering huge losses.

    Producers have poured in huge funds into various projects. The association appealed that it will be a great relief to them if they are able to release their projects immediately after the lockdown is lifted.

    The federation sought the chief minister’s permission to continue with the post production activities, such as editing, sound recording, etc. of such projects nearing completion, so that it will give relief to the industry.

    It assured the chief minister that necessary guidelines pertaining to the health, safety and security of the workers involved in such post-production activities will be adhered to.

    The federation expressed the hope that the chief minister will be considerate and thoughtful regarding its plea and provide the necessary permissions to resume the post-production activities for the stuck projects in the media and entertainment industry.

  • Disney-Fox merger sees more layoffs: Report

    Disney-Fox merger sees more layoffs: Report

    MUMBAI: The Walt Disney Studios (Disney) 21st Century Fox (Fox) merger continues to cost jobs with another round of layoffs this week. A large number of employees have been laid off from both sides. Since Disney completed its $71.3 billion acquisition of much of Fox, nearly 250 people have exited so far.

    A report from Variety revealed that the latest round of layoff comes in the backdrop of analysts’ prediction of more than 1000 jobs being eliminated due to the merger. According to the report, the latest episode has mainly impacted the production and visual effects departments.

    Visual effects head  John Kilkenny, feature production executive VP Fred Baron, physical production executive VP Dana Belcastro and post-production executive VP Fred Chandler are among the executives who have received pink slips on the Fox side. Those roles reported to Fox film production vice chairman and president Emma Watts prior to the acquisition. Although Disney has enacted three previous rounds of layoffs mostly impacting Fox staffers, severance packages have been generous.

    Disney also informed its staffs that it would shut Fox Research Library on or before 6 January 2020. Fox Library’s content would be integrated into Disney’s own archives. While the teams at the Walt Disney Archives (founded 1970) and the Imagineering Research Library will be evaluating and handling the collection, it is not clear yet if the library’s archivists will also be laid off.

  • PRODUCTION BEGINS ON DISNEY JUNIOR’S ‘MIRA, ROYAL DETECTIVE,’ A MYSTERY-ADVENTURE SERIES FOR PRESCHOOLERS INSPIRED BY THE CULTURES AND CUSTOMS OF INDIA

    PRODUCTION BEGINS ON DISNEY JUNIOR’S ‘MIRA, ROYAL DETECTIVE,’ A MYSTERY-ADVENTURE SERIES FOR PRESCHOOLERS INSPIRED BY THE CULTURES AND CUSTOMS OF INDIA

    MUMBAI: Production has begun on "Mira, Royal Detective," an animated mystery-adventure series for preschoolers slated to debut on Disney Junior channels and programming blocks around the world in 2020. Set in the magical Indian-inspired land of Jalpur, the series follows the brave and resourceful Mira, a commoner who is appointed to the role of royal detective after solving a mystery that involves saving the kingdom's young prince. The role of Mira will be voiced by 15-year-old newcomer Leela Ladnier. The announcement was made today by Joe D'Ambrosia, senior vice president, Original Programming, Disney Junior.

    D'Ambrosia said, "We are eager to introduce kids and their families to the rich, diverse cultures and customs of India through Mira, a young girl who looks at things with her own unique lens to gain different perspectives and help others in her community. We hope that she will encourage our audience to actively engage with the inspiring world around them and appreciate the little details that make life extraordinary."

    As royal detective, Mira travels throughout the kingdom helping royals and commoners alike. Along with her friend Prince Neel, a talented inventor, creative cousin Priya, and comical mongoose sidekicks Mikku and Chikku, she will stop at nothing to solve a case, taking young viewers on adventures that highlight critical thinking and encourage deductive reasoning. Rooted in India's vibrant heritage, each episode will weave authentic music, dance and customs into two 11-minutes stories.

    In addition to Ladnier, the "Mira, Royal Detective" voice cast includes Freida Pinto ("The Path") as Queen Shanti; Hannah Simone ("New Girl") as a young commoner named Pinky; Jameela Jamil ("The Good Place") as Mira's Auntie Pushpa; Kal Penn ("Designated Survivor") and Utkarsh Ambudkar ("The Mindy Project") as mongooses Mikku and Chikku, respectively; Aasif Mandvi ("Shut Eye") as Mira's father, Sahil; Sarita Choudhury ("Homeland") as Prince Neel's Great-Aunt Rupa; Aparna Nancherla ("BoJack Horseman") as Mira's cousin Meena; Kamran Lucas (Disney's "Mech-X4") as Prince Neel; Karan Brar (Disney Channel's "BUNK'D") as Prince Veer; Karan Soni ("Deadpool") as twins Ranjeet and Manjeet; Sarayu Blue ("I Feel Bad") as the palace tailor; Parvesh Cheena ("Crazy Ex-Girlfriend") and Sonal Shah ("Scrubs") as bandits, Manish and Poonam, respectively; and newcomer Roshni Edwards as Mira's cousin Priya.

    Emmy® Award-nominated Sascha Paladino ("Miles from Tomorrowland") is executive producer of the series, which was developed by Becca Topol ("Elena of Avalor") who also serves as story editor. Sue Perotto and Dorothea Schoentag (both of "Phineas and Ferb") are supervising director and art director, respectively. IW Group's Shagorika Ghosh is the series' cultural consultant. Additional consultants include Bollywood dancer and choreographer Nakul Dev Mahajan ("So You Think You Can Dance") and music producer Deepak Ramapriyan ("Basmati Blues"). Emmy Award nominees Matthew Tishler ("Fancy Nancy") and Jeannie Lurie ("The Muppets") will write and produce original songs, and Amritha Vaz ("Miss India America") will serve as composer. The series is produced by Wild Canary in association with Disney Junior.

  • Star spending up to Rs 2 cr on production per IPL match

    Star spending up to Rs 2 cr on production per IPL match

    MUMBAI: After having bought rights for almost all important sporting properties in India, Star India had the massive task to ensure that it sets a new benchmark for cricket. In February, it won the audio-visual production rights for IPL 2018, making it the first time that a broadcaster is producing IPL as till last year, the production rights was with the BCCI.

    Star hired ‘Why Project’ a management company based in London. About 28-32 cameras are being used for every match include drones swooping around all stadiums but Kolkata (where it didn’t get the permission) for the first time. A total of 16 DSNG OB vans are used for the live telecast of a match. Eight vans work on the world feed, four on the Hindi feed and rest on the regional feeds. The English feeds are being transmitted to other countries like the US and New Zealand. Two levels of quality check are done on the feeds, firstly the ground check then comes the Star India’s office and then goes on to uplink.

    Star has added Marathi and Malayalam feeds for the IPL finale as well. On the decision to do so, a Star India spokesperson said, “On social media there was a lot of demand for the Marathi commentary. The attempt is to make the broadcast of the finals available to the widest possible audience. Any region that we felt was potentially underserved by our current offering, we decided to add it to the mix which is Marathi and Malayalam.” Star Pravah and Asianet will be the channels to host the respective languages.

    It also provides tailor-made content for core cricket followers contextualised with a deep and passionate understanding from expert commentators and panellists through Select Dugout on Star Sports Select. It is an experience that extends beyond traditional ball-by-ball commentary, providing fans with a richer analytical experience, interactive demos with experts, before, after as well as during the matches. Star even added new arenas like a gaming experience WatchN’Play as well as virtual reality feeds.

    “We want the IPL finals to be a landmark event in Indian television, 17 channels will be airing it in eight different languages. The production cost of a match in IPL ranges from Rs 60 lakh to Rs 2 crore depending on the match. 700-800 people together are working hard towards the production of IPL 2018 including the regional feeds,” the spokesperson added.

    Being practical, Star doesn’t hope to sell much inventory on the newly added feeds. 

    The IPL finals will be telecast on 17 different feeds across the Star network – Star Sports 1 English, Star Sports 1 HD English, Star Sports 1 Hindi, Star Sports 1 HD Hindi, Star Sports 1 Tamil, Star Sports 1 Select SD English, Star Sports 1 Select HD English, Star Plus SD, Star Plus HD, Star Pravah SD, Star Pravah HD, Star Gold SD, Star Gold HD, Star Suvarna Plus, Star Maa Movies, Star Jalsha Movies and Asianet Movies.

    According to the numbers provided by the broadcaster, its OTT platform, Hotstar was viewed by 5.5 million viewers in virtual reality (VR) in week six. 30-35 per cent of the viewers watched it live and the remaining watched it in highlights.

    The same team is ensuring that content is being churned out on both TV and digital. Reports suggest that Star may also want to rein in homemakers by airing playoffs and finals on Star Plus.

    It introduced several regional feeds to hook new viewers but sources say that the incremental from there will not be more than 10 per cent. On Hotstar, it found that the highest concurrency in a match was around seven million and it has increased the bandwidth to 10 million. The highest concurrency which Star India has witnessed apart from IPL was in the ICC Champions Trophy 2017 of around 5.5 million.

    Nevertheless, any technical work is bound to have some glitches and Star isn’t immune to them. Viewers have mentioned about screens freezing and the DRS review replay being that of a different match. But the agility that Star is known for will ensure it resolves these as they crop up.

  • Star India bags production rights for IPL 2018

    Star India bags production rights for IPL 2018

    MUMBAI: Star India, which holds the TV and digital rights of the Indian Premier League, today also won the audio-visual production rights for IPL 2018 as well as the BCCI’s domestic circuit for the 2018-19 season. The deal amount has not been revealed.

    In a release, the board’s acting secretary Amitabh Choudhary said that the BCCI reserved the right to extend the term for one more season of the IPL and one more season of domestic cricket. “The board, at its discretion, can extend the term to include IPL season 2020, as provided for in the services agreement,” he added.

    The BCCI had invited request-for-proposal (RFP) documents for services relating to the live production of all matches for the IPL and the domestic cricket season.

    A lot is riding on this year’s season for sponsors as the T20 tournament has gone on to become the fifth most popular sports event in the world with more than 335 million viewers. Last year, Star India won the global IPL media rights for Rs 16,347 crore for a period of five years.

    Also Read:

    IPL 2018 gets a makeover with Star India

    IPL 2018: Team sponsorship deals may see an uptick

    IPL auction: Gayle to play for KXIP, Unadkat most expensive Indian player

  • Focus shifts to online streaming for Eros

    Focus shifts to online streaming for Eros

    Mumbai: Production and distribution company Eros International no longer wants to be a film studio but a digital content company.

    Listed on the BSE as well as the NYSE, Eros is reducing its dependence on box office and is focussing on its online video streaming platform Eros Now instead. “Over the last two and a half years, Eros Now has tripled in growth. About 25% of our overall revenue comes from digital platform and in three years, digital will be three quarters of our revenue. We are moving on from being a film studio to a digital company,” said Jyoti Deshpande, group chief executive officer at Eros, which aims $260-270 million revenue this financial year.

    Launched in 2014, Eros Now has 3.7 million paying subscribers, which the company expects to touch 6-8 million by March. Eros Now charges Rs 50 a month for streaming content and Rs 100 a month for downloading and watching the content offline. The company has commissioned six films which will be released directly on Eros Now.

    As part of its strategy, Eros, which produced movies such as comedy drama Shubh Mangal Saavdhan, Rajkumar Rao-starrer Newton and Amole Gupte-directed Sniff in 2017, is now only investing in films which are low cost, have a high return on investment and are suitable for digital platforms.

    Although the platform is film-heavy with Eros’s library, the company is working on launching one or two digital series every month. “We are doing a series on human trafficking starring Radhika Apte. We are also working on a comedy one,” said Deshpande.

    Revenue from domestic theatrical releases saw a 1.6% decline in 2016 to Rs9,980 crore, down from Rs10,140 crore in 2015, according to the Indian Media and Entertainment Report 2017 released by lobby group Ficci and consulting firm KPMG, in March. The number of movies that were able to record a positive return on investment also declined from 27 in 2014 to 18 in 2016.

    “On an industry level, the charm of big budget films with star cast appeal is going away as no such project is making money. Even the films which have been declared hit, there is nothing in the profit and loss accounts, when you actually look there. We were one of the first companies to call the trend,” added Deshpande.

    Earlier this year, Eros suffered a brief liquidity crisis ahead of the maturing of its $85 million revolving credit facility (RCF) on 31 March. Standard and Poor’s (S&P) had lowered its long-term corporate credit rating on Eros International to “B-” from “B+” and placed it on credit watch with negative implications. The company, however, won a last-minute reprieve from creditors by executing documentation to extend the maturity of the RCF by six months.

  • Zee TV’s new weekend detective drama costs 50% more to produce

    Zee TV’s new weekend detective drama costs 50% more to produce

    MUMBAI: Women empowerment is Zee TV’s new motto as it embraces the recently adopted brand philosophy – ‘Aaj Likhenge Kal’. Its latest weekend primetime show Detective Didi will attempt to inspire the girls of India by showing how Bunty Sharma chooses a bold career of a detective in a male-dominated field.

    Produced by Manik Bedi and Ila Bedi Dutta, the show is both set and shot in the bylanes of Delhi. Bedi, who has previously produced Hitler Didi, says that the investment is also 50 per cent more because of the location change. “The entire crew has been brought from Mumbai for the shoot. It’s an expensive experiment,” he says. The shooting schedule is one year and so planning is being done three months in advance.

    The local police are supporting the shoot as they cover iconic Delhi locations like Chandni Chowk, Jama Masjid, India Gate and Parliament House. “We are mobilising in a way that it is similar to shooting in Mumbai,” he adds.

    Zee TV deputy business head Deepak Rajadhyaksha says that the character demanded Delhi due to its different socio-cultural ethos and to give authenticity to the adventures. He agrees that shooting cost is higher but the channel can manage it.

    Following up Detective Didi’s new time slot of 8-9 pm on weekend, the channel will be opening more such slots. “There is no recipe for success and this show is a big experiment. What we can control are understanding sentiments, requirements and the aspirations and to portray them effectively through the shows,” says Rajadhyaksha.

    Similar shows on other channels target the 9 pm slot but Zee didn’t want to cater to a pure crime audience but rather those that can be relatable to and viewed by families. A few years ago, the channel experimented with Neeli Chhatri Waale at this time which took a dive in ratings after the initial hype. “Our new programming strategy is to provide three different entertainment types from 8-11/11.30 pm,” reveals Rajadhyaksha. If Didi makes a mark in one year, the channel may give the producers a longer lifeline. This is also Zee’s first attempt at a detective drama on the weekend.

    Rajadhyaksha says that Didi’s storytelling is different from others because of two episodes making one story. That leaves room for just the weekend slot. Bedi says this is better for producers since one topic will be explored on two consecutive days and so the recall value is higher. Zee TV was the one to decide the time slot for the show, which begins on 9 December. Bedi also explains that the success of a show doesn’t solely depend on the time slot, though that is a major factor.

    In the show, Bunty is assisted by a second character Bhim Singh Bhullar and it will attempt to be hilarious as the duo takes different routes to solve cases. Dutta says that Bunty is the reflection of many ambitious Indian women who don’t forget their family responsibilities. “She isn’t a professional detective. She is an amateur with an uncanny knack for spotting crime and arresting it in time. The emotional aspects of a situation help her in cracking a case.”

    The earlier name for the show was Delhi Crime Diaries but that would have made it Delhi-specific, says Dutta. Instead, the producers thought of using the common term ‘didi’ to make it relatable to the audiences.

    Detective Didi is being sponsored by Bagh Bakri Mili Chai, Flamingo Knee Cap and Pillsbury Cookie cake, special partner – Combiflam Icy hot. It is hunting for a title sponsor.

    Didi follows the lives of special agent Bhim Singh Bhullar and private detective Bunty’s journey, amidst their professional assignments, making way for some lighter moments while they investigate the city’s most baffling criminal cases. While Bhim is a jolly cop from the Delhi crime branch who investigates staying well within the rule book, Bunty takes matters into her own hands as she has no faith in the capabilities of the police. In the chase for who solves the case first, Bhim and Bunty, a man and a woman who can’t stand each other, fight tooth and nail to catch criminals and solve many interesting cases. Brilliant at their work and having their own individual strengths, they employ distinctly different methods while solving the same cases. But, when both Bunty and Bhim work together as a unit despite their differences, they seem to successfully solve cases with relative ease. Playing the dynamic character of Bunty Sharma is actor Sonia Balani while Manish Goplani will be seen stepping into the pivotal role of Bhim Singh Bhullar.