Tag: Television

  • ‘GEC space will see turmoil this year’ : Rohit Gupta – MSM president (network sales, licensing & telephony)

    ‘GEC space will see turmoil this year’ : Rohit Gupta – MSM president (network sales, licensing & telephony)

    2 009 is expected to be a rough year for all in media. Television is no exception. With the stockmarket collapsing and balance sheets getting battered, advertisers have become cautious and the current quarter is expected to be extremely choppy. Multi Screen Media president (network sales, licensing & telephony) Rohit Gupta concedes that clients are consistently assessing the environment and signing quarterly deals as against the annual ones earlier. He, however, is confident that Sony Entertainment will ride through the stormy times on account of the strength of its network.

     

    Indiantelevision.com’s Ashwin Pinto caught up with Gupta to find out about what lies ahead, the mood in the market, the importance of tentpole properties etc.

     

    Excerpts:

    How was 2008 for Sony in terms of revenues? What growth was managed over 2007?
    It was a successful year for us. All our channels grew their revenue. Some by 25 per cent, others grew in the range of 10-15 per cent. The other success story was the IPL. We created benchmark rates for Indian cricket before the event had even started.

    This year is expected to be challenging with the recession. What impact will this have on Sony and the television industry?
    As we move forward this year will present challenges. The key one is the meltdown. A client would cut marketing spends but television as a genre will still grow. We believe that television is the cheapest form of advertising in terms of the reach it delivers. TV gives you the best RoI and this is what clients focus on during a slowdown.

     

    Print and outdoor will take a larger hit but television will still grow. A recent report projected a 10 per cent growth which is fair. TV has been growing at 18 per cent over the last few years. While that will not happen this year, there will still be growth.

    For the IPL what is the upside being looked at this time around?
    We have established rates that are in line with what we had decided upon earlier. IPL will be a bigger property this year.

     

    Everybody including the franchisees have more time to prepare. Last time we just had 45 days to prepare. This year the hype will start after the auction ends. We will hold a meeting with the franchisees after 6 February to decide on the course of action to take. Also at the point of time there is no other major property on television.

    So you are confident on the financial performance of Sony for the IPL despite the slowdown?
    Yes! What happens during a slowdown is that the clients’ ability to take risks decreases. IPL is a proven property. There is no risk in being associated with it. People will put money on ‘sure’ properties. The IPL is one of them. Last time the IPL had an 80 per cent reach on Max.

    Have deals been closed?
    Yes! However I cannot divulge any details. Some deals are for both the IPL and the New Zealand series that comes before it. We do not have category exclusivity this time around for spot buys.

     

    This allows us to access more brands. Last time the IPL was not tested. Exclusivity was an incentive that we had to concede. By not giving exclusivity we will ensure that multiple brands can co-exist.

    But won’t it be a challenge to get many brands on-board in a difficult climate?
    You have to understand that cricket’s cost rating per rating point (CPRPs) are still holding up. The reach of the channel is key. Max does not have this issue. So we are confident of getting the desired rates.

     

    I don’t think that the rates are a problem. The challenge will lie in the outlay that a client puts on IPL. So this time around we will have smaller packages. The number of clients taking spot buys will go up. One does not have to buy all 59 games. A company can buy for ten games at a stretch. There is flexibility.

    Has the revenue split within the group changed over the last couple of years?
    I cannot give any numbers. However our dependence on the large channels is not that high. AXN and Pix are growing substantially. Max is now a very big channel in our network.

    What is the clients mood like in general?
    They are more cautious. They are adopting a quarter by quarter approach. They are not signing large deals for a year which used to be the case. For this quarter ending March, clients are being extra cautious. Companies want to show better results with this being the last quarter. So it will be tough.

     

    The key is to have tentpole properties that can be sold. You need to have a distinctive niche in the market. Clients want more accountability. As a broadcaster you need to be responsive and understand clients’ needs. You have to make sure that the client gets value back. Everything is not necessarily about a rate. The question lies in the effectiveness of the media buy.

    Apart from IPL what are the other tentpole properties coming up for the group?
    In March we are launching Operation Dikhla Jaye on Sony. This will be a directors cut where four of Bollywood’s top directors will produce shows for us. It will be a 13 week initiative and will be the first time that anybody has tried it in India. These are one hour shows. We have roped in directors like Madhur Bhandarkar, Mahesh Manjrekar, Vikram Bhatt. Then the IPL starts. Post that we will have re-launches of our big shows.

    In the GEC space are the new arrivals having any impact? Is the ad pie growing or merely getting sliced further?
    There has been growth overall. But this year since growth will be restricted there will be some slicing of the pie. The GEC space will see turmoil this year. New players will come in and others will go away. GEC costs are huge and it is a question of who will survive. The like of Star, Sony, Zee will always be around come what may.

     

    New channels will come. They may be on top for a while but the fact is that nobody is on top all the time. Clients also look at networks as opposed to channels per se. They want networks which are strong enough to withstand pressure. They want networks that have the sustaining power to ride over the tough times. Besides that you need big properties which ensure that clients look at you differently.

     

    Each of our channels is in the top four in their respective genre. Sab is number one in the second level GEC tier. Sony has managed to hold on to its share more or less. Other channels have experienced a bigger fall in the GEC space. We may not have many channels but what we have done is to focus on building them.

    How has Sony built up its client relationship management efforts over the years?
    Our focus has always been on giving value back to the client. We were the first to start a client servicing team four years ago. Then other channels started doing this. We work closely with brands to integrate them into our properties. This is how we add value that goes beyond just 10 second spots. Therefore even though there are days when ratings have not been what they should be the clients have supported us. The relationship with clients makes a big difference in terms of your ability to raise rates.

    Which categories will be affected in terms of TV advertising due to the slowdown?
    If you look at it the categories most affected by the meltdown which are real estate and retail these are not big on television. Finance was not as big on television compared with other mediums. Auto companies are shifting budgets from print to television.

    Coming back to the cricket front the New Zealand tour is the first time that Sony will air bilateral cricket. How is this event being positioned for viewers and clients?
    This is a full blown tour. India has not visited New Zealand since 2002. We lost very badly then and so this is a big challenge. There will be anticipation. In fact this is the Indian team’s biggest challenge after playing Australia twice recently.

    But isn’t the timing an issue as the telecast of the matches is very early in the morning?
    The timings are good for the T20 Games which start at 11 in the morning. The ODIs start at around 6:30 in the morning. Test matches start earlier but they are not a big revenue contributor compared with the other two formats.

    How many sponsors are being looked at?
    We have clients who are interested in both the New Zealand series and IPL. That would give them visibility from Feb till June. So we are doing special deals for them. Generally we look at six to eight sponsors.
    Are you also looking at doing long term deals with clients for IPL?
    No! We believe that the IPL which is a big opportunity is better served through yearly deals. You have the option to re-look at things.
    IPL broadened the viewer base. Has the client base also grown for cricket as a result?
    Yes! Godrej an FMCG company came on board. They do not associate themselves with cricket. Max New York Life came on board. It worked well for them. It was not the traditional clients that came on board. This year also you can expect to see some surprise companies coming on board. IPL after all changed the way TV viewership happens. It is not just the male TG that tunes in.
    Will the IPL be simulcast?
    No! It will only be on Max. We did that with the Cricket World Cup in 2007 where some matches also aired on Sab. However viewership got disrupted and the channel loses share. Then it is difficult to get viewers back.

    When HBO left there was a gap created. Is Pix now starting to fill this gap?
    Pix has made a lot of progress over the last couple of years. Pix started when there were already established players. Now it is competing. In some weeks it beats HBO. Advertisers have followed this. Pix is making investments in terms of acquisitions. The aim over the next couple of years is that in terms of ad revenues it can reach the level of HBO and Star Movies.

     

    It is pitched as a premium movie channel. It delivers in the 25+ SEC A, B category which is what a lot of marketers target. All the large brands are on it.

    How come Pix decided to air soccer with the FA Cup?
    The audience for it is similar. It is SEC A,B. We decided to offer viewers something new and extra. Matches air on the weekends and so the movie schedule is not disrupted.

    The other two major distribution bouquets have two English movie channels – a mass one and a niche one. Isn’t Sony at a disadvantage here with just one channel that does not have the latest offerings?
    It does not affect the advertising side. Channels like MGM (which is in the Star Den bouquet) do not carry ads anyway and it is dependent more on a subscription kind of revenue stream.
    What is the roadmap forward for AXN?
    AXN is doing well and has been growing at 25 per cent CAGR. You will continue to see local content. You will shortly see the AXN Action Awards. Each year you will have three shows produced in India.
    Does cost control become important in this environment though?
    This is an area we always look at. It is something that we are always conscious of and it is not as if this area has suddenly assumed importance. For us it is business as usual. One has to see the returns more carefully though.
    On the licensing front how has business grown over the past year?
    This was small four years back. However we participate more actively in trade fairs like Mipcom and we showcase more content in the form of formats there. Our shows are sold in European markets, the US. We took all our formats to Mipcom. along with other shows like Filmfare, Stardust Awards. The other aspect is the Hindi movie licensing business. We syndicate them wherever we have rights.
    Finally we are seeing channels advertise on rivals. What is Sony’s policy?
    We do not advertise on competitors nor do we accept ads from them. We accept ads from kids channels, news channels as we do not operate in that space. But you will never see us air ads from a movie channel belonging to a rival network. We are not desperate for revenue.
  • ‘Going global is a key part of our TV content scale up plan’ : Ajit Thakur – UTV Television COO

    ‘Going global is a key part of our TV content scale up plan’ : Ajit Thakur – UTV Television COO

    With industry pundits expecting the television content industry to explode from Rs 14 billion to Rs 30 billion over the next two years, UTV Software Communications is laying the foundation to ride on this boom.

    Having slipped in the television content production business over the years, UTV’s revival strategy includes holding IPR rights for some of the content that it creates, working out a genre-specific approach, and striking partnerships with other production houses.

    The Ronnie Screwvala promoted company, which has set the pace for the Bollywood industry, is readying to develop formats and content that can travel across the globe.

    In an interview with Indiantelevision.com’s Sibabrata Das & Anindita Sarkar, UTV Television COO Ajit Thakur explains how the company plans to scale up its content business.

    Excerpts:

    Why is it that UTV’s television content production business slipped over the years?
    A few years back, production houses started emerging as specialist content providers. While Hats Off Productions mastered comedies, Fire Works started working on thrillers and Synergy specialised in format shows.

    UTV did not take steps in this direction. We didn’t have a genre-specific approach, but continued to do a number of things. Also, good talent was lacking in the industry.

    Is UTV going to focus on specific genres as part of its revival strategy?
    Our key focus now is to specialise in different genres and develop formats for which we can hold the IPR. We have identified a need gap in reality formats and have gone into it. We are also looking at formats and content that can travel in the global marketplace. We are clear that we want to hold the rights to some of our content. That is what keeps international content companies like Endemol and FremantleMedia in strong financial health; about 70 per cent of their turnover comes from 3-4 big shows.

    Which is why you are interested in creating a property like Gandhi?
    Exactly. If you do not hold the IPR to the big properties that you create, you will never be able to cushion yourself from the cyclic downturns that every creative content company goes through. The current structure of the broadcasting business is such that there is no value model for the production houses. We are out to change that. As part of that ambition, we are producing Gandhi for India as well as the world.

    How much will the fund requirement be for this project and are you planning to strike a deal with an international broadcaster ahead of production as a de-risk strategy?
    We will have to get there, no matter what it takes. We are creating an internal research team and will have a panel of Indian and international historians. Most of the creative team will not be from the television but the film industry. We will have writers from Bollywood and the West. Since we are sure that the content will travel, we are producing it in Hindi as well as in the English language. We are in talks with US and UK broadcasters.

    Will you hold the IPR for the Indian market as well?
    We will hold the global rights while selling the Hindi version of the drama series to an Indian broadcaster. Once we have a definite fix on the story board and zero in on the cast, we will know about the costs. We haven’t worked out the budget yet but are prepared to spend on the project. It is easy to go to the Middle East and South East Asian markets. We want our content to travel to the US, UK and European markets.

    If content firms do not hold the IPR, they will never be able to cushion themselves from cyclic downturns

    How will the basic revenue flow from the content supply to local broadcasters be taken care of?
    There is a business opportunity in soaps, reality, mythology and fantasy content. For starters, we have hit on the reality genre. We have set up the team for it and have produced EK Se Badhkar Ek for Zee TV. We will be replacing it with another reality show for the same channel. We will have Ek Khiladi Ek Hasina, a weekly dance reality show which has six leading cricketers as participants, on Colors. The game show, Cash Cab, has been developed by us on a licensed format, originally produced by Lion Television for ITV. Bindaas will be airing it from 15 September.

    We see the reality genre having the potential to travel to overseas markets as well. Our aim is to produce six reality shows by the end of this fiscal.

    Our next look will be in fiction and we will take a genre-specific approach. In fact, every six months we will get into a new genre and consolidate in that space.

    What are the genres that carry an opportunity for UTV and could be tapped?
    We are definitely not looking at the saas-bahu genre as the audience for this segment is steadily diminishing. There are thriller, comedy, fantasy and mythology genres. There is enough scope for period dramas too.

    UTV has got into co-production partnerships with different local production houses. Isn’t this the beginning of a new trend, much like what has happened in the movie business?
    Our aim is to be among the top two TV content producers in the Indian market. One way of getting there is by creating partnerships with other production houses who have a distinct content flavour. We have equal joint ventures with three players and are looking at other proposals. We have JVs with Smriti Irani Television Ltd (SITL), Windmill Entertainment with Shekhar Suman, and another with Rajesh Beri. On the Gandhi project, we are doing it with SITL.

    Going global, of course, is a key part of the scale up plan. We have another big project coming up which we feel we can take to the global arena.

    Hasn’t UTV recently started getting into TV content production in the southern languages?
    We were earlier doing only airtime sales for the Sun TV network. But recently we have got into production as well and are doing a show for Sun TV (Tamil) and Gemini (Telugu). It is not a big revenue earner for us, but is more of strategic value. Since we were doing airtime sales, it was a logical step for us to integrate it with our creative resources. Once we have 5-6 shows on Sun, it can be a big step for us.

    In a unique deal, UTV paid a minimum guarantee to NDTV Imagine for Ramayan and syndicated it to the Sun TV network of channels. Will we see more such deals?
    We are close to signing up with a broadcaster for another mythology and syndicating that content down south.

  • “With IPL you have the power of 10”

    “With IPL you have the power of 10”

    It’s the festival of lights. And for many the festival of noise courtesy exploding fireworks. In the hope of reducing the number of those belonging to the latter tribe, we, at indiantelevision.com, decided to put a display of firecracker articles for visitors this Diwali. We have had many top journalists reporting, analysing, over the many years of indiantelevision.com’s existence. The articles we are presenting are representative of some of the best writing on the business of cable and satellite television and media for which we have gained renown. Read on to get a flavour and taste of indiantelevision.com over the years from some of its finest writers. And have a happy and safe Diwali!

    Written By Thomas Abraham

     

    Posted on 28 April 2008

     

    The Indian Premier League (IPL) has got off to a solid start. The ratings have been positive and crowds have thronged the stadiums. For Sony the IPL marks their return to cricket. Set India CEO Kunal Dasgupta offers Thomas Abraham and Ashwin Pinto his views on what he expects IPL to do for the game, telecast channel Max, as well as the importance of sustaining the brand. Excerpts:

     

    As a broadcaster what do you expect?
    T20 is a made for television format. When India played a T20 match against Australia at the Wankhede stadium, ratings touched 20. I am looking for a rating of 4 or 5, which is possible, given that ICL, which has retired players, got 2.5. This is a good base for us to take off from.

     

    The format will mean that besides country against country, one will also view it as being team versus team. This is what exists in other sports like soccer, hockey, and baseball.

     

    IPL is being pushed as being the ultimate in reality television. In that case how do you get that competitive environment?
    The prize money (Rs 48 million goes to the winner) will ensure this. This is much more than you get for playing for the country and so the players will go all out. The matches will be hard fought. Here all the teams are evenly balanced and so you do not know the result. It will be unpredictable and matches will go down the wire. All teams have a good mix of batsmen, bowlers and youth.

     

    What are you hoping for in the first year as the telecast partner?
    Ideally I would want the IPL to be a successful brand that has a long term play. After June, I will continue to do promotions to keep the team brands alive. This was one of the conditions on which we bid.

     

    We will do shows around the IPL. You could see teams (franchises) practicing and discussing strategies for the next season.

     

    ‘The trick for us is not getting ratings for the first season. The challenge is to sustain the excitement after that’

     
    But wouldn’t an ideal situation be for a franchise to build a brand without the big names who might be on national duty?
    This might happen. Apart from April-May, you cannot have another period where all the stars are available. What will happen is that once the league is built the new players who are playing will become the core. You can then have matches in different parts of the world to popularise the game there using these new players.

     

    The trick for us is not getting ratings for the first season. This will happen as a matter of course because of the way the IPL has been hyped. The challenge is to sustain the excitement after that and it is here where we will have to take a leaf out of the book of the EPL. Teams have marketed themselves and have thus become iconic brands.

     

    So Mallya for instance, will use the Royal Challenger brand name to go out there and create opportunities for exhibition matches. They can do charity work in Bangalore and build a fan base. Each franchise will have its own website where clips will be available. They can create merchandise.

     

    Sony will pitch in through magazine shows. Otherwise it will just be a flash in the pan. As we come closer to the next season you will see transfers and there will be speculation.

     

    New heroes will be born. It is possible that the likes of current heroes like Glenn McGrath, Kumble, and Saurav will not play beyond two seasons. Once that happens, then the brand will live outside the big names.

     

    One of the aims is to broaden the viewer base is to get in more children, women, But for that you have to create marketing that speaks to those demographics. What is Sony planning?
    One of the major attractions will be the presence of big Bollywood stars. Akshay Kumar will perform for Delhi. SRK will perform for Kolkata You will see proper Bollywood entertainment.

     

    We have even tweaked the timings of some of the matches to accommodate our entertainment specials. One match was supposed to start at 4 pm but we have pushed it back to 5:30 pm. We will even have stand up comedy for Extraaa Innings. On air we have gone in for fresh faces. We did not want Mandira (Bedi) for this. She is more suited for ODI cricket. I want 20-year-olds in T20. We also did not want Kapil Dev, Gavaskar. We wanted anchors who represent today’s kids. With the ICC World Cup we broke the mould and brought in females. Now we are breaking the mould back

     

    What is the distribution upside from IPL?
    This is a question mark. We are supposed to have a dip but we will retain the same level. There is no minimum guarantee now. Had Ten Sports still been present it would have been difficult to determine the value of IPL. Our team is happy as they are closing deals for the year and it is one of the distribution cornerstones.

     

    At $ 59 million in Year 1 and an average of $ 61 million over five years, IPL was literally sold at floor price. Wasn’t that a great deal?
    It was. Most of the payout ($ 612 million) is from the next five years. ESPN’s bid was $150 million for the first five years. They had put in conditions that the top players should be there. We did not put in any conditions.

     

    Anyway, the way it has turned out, all the top players are taking part.

  • ‘For the Zee Network, regional channels will be strong pillars’ : Nitin Vaidya – Zee Entertainment Enterprises Ltd. director regional channels

    ‘For the Zee Network, regional channels will be strong pillars’ : Nitin Vaidya – Zee Entertainment Enterprises Ltd. director regional channels

    As localized channels are gaining momentum on television, the Zee Network has been quick to grab untapped genres in regional markets. Spearheading four regional channels from the Zee bouquet, including Zee Marathi, Zee Bangla, Zee Gujarati and now Zee Talkies, is Zee Entertainment Enterprises Ltd director regional channels Nitin Vaidya.

     

    In a free flowing conversation with Indiantelevision.com’s Renelle Snelleksz, the Zee veteran outlines the growth trajectory of each region and the targets set for “regional channels to become the pillars of the Zee Network.”

     

    Excerpts:

    Zee has strengthened its position in Maharashtra with three channels – general entertainment, news and now movies. How has this market evolved and what is the growth story for Zee?
    In 1999 when we entered Maharasthra, there was a widespread belief that though Marathi audiences were bilingual, the market was largely Hindi skewed. It was expected that few viewers would be attracted to a Marathi channel.

     

    Till 2003, it was a real struggle but we were determined to provide value for the investors, for advertisers and for consumers.

     

    In 2003, the share of the Marathi television market was 8.3 per cent. Currently, the share of the market stands at 16.8 per cent (Tam data; January till Week 35, C&S 4+). Though Maharastra was believed to be Hindi dominated, the share of Hindi general entertainment channels dropped from 34.9 per cent in 2003 to 24.4 in 2007.

     

    Over the last four years, Zee Marathi has driven viewers to the genre through a very aggressive programming and marketing push.

     

    Evidence of that is seen in the channel share of Zee Marathi. In 2003, it stood at 40 per cent while ETV Marathi was at 35 and DD Sahyadri at 25. Although there was a decline in 2005, Zee Marathi has regained its leadership position in 2007 with a channel share of 45 per cent while ETV Marathi is at 36 and DD Sahyadri at 11.

    Can you identify the factors that contributed to Zee Marathi’s growth?
    We achieved two things in this market. Firstly, we were able to divert viewers from Hindi entertainment channels. In doing this we also changed the existing perception of the Marathi market being Hindi skewed. Secondly, the television universe as a whole has also grown considerably.

     

    This picture tells a story of how audiences are embracing local channels which they first try and then stick to. This gave us encouragement to invest monies behind this proposition.

    What is the growth that the Bengali market has witnessed?
    Bengal is far ahead of Maharasthra in terms of what has been accomplished as it consistently stayed ahead of Hindi GECs. In 2003, the Bangla market occupied a share of 28.6 as opposed to Hindi GEC which was at 22.9. The average for this year is 33.6 per cent share and Hindi GEC is 20.

    What were the differentiators used to combat competition and pull audiences from Hindi channels to Zee Marathi and Zee Bangla?
    We did not follow the set formula that is commonly used on Hindi GECs and replicate it for our regional audiences. We decided to take a different route and deliberately resisted the ‘saas-bahu’ dramas. Instead, we chose to focus on the interpersonal relationships that reflect the ethos of that particular region.

     

    These family dramas along with our popular musical format Sa Re Ga Ma Pa have been the major drivers of audiences for both these channels.

     

    Besides, we have not compromised on the production values for these channels and have attempted to extensively involve our viewers in daily programming through a host of interactive shows.

     

    This strategy even attracted urban viewers from Mumbai and Kolkata, areas considered too cosmopolitan for a regional channel. Both channels have surpassed Star Plus in C&S 15+ female SEC-A,B&C and while in C&S 4+ market Zee Bangla is far ahead of Star in Bengal, Zee Marathi is just 20 GRPs away from Star Plus in Maharashtra.

    But the growth witnessed by Marathi and Bengali has not been seen with Zee Gujarati – Why so? What was the setbacks that the channel encountered in this market?
    With Zee Gujarati we did have a problem. This too is a market strongly dominated by Hindi. With only three players in the game ETV, Zee and DD, the market has seen marginal growth over the last couple of years.

     

    Zee Gujarati requires the push that was given to Marathi and Bengali and going forward this is our plan. We will pump in more investments into the Gujarati market as well as rope in good talent and push our content more aggressively. One can expect to see a turnaround of Zee Gujarati.

    Zee Gujarati will see a turnaround in the next two years

    What is the time line that Zee has set for revamping Zee Gujarati?
    Within the next two years, Zee Gujarati will witness a complete turn around. In fact, the potential of this market is more than that of Marathi and Bangla due to the mere consumption of the State. Therefore, we are putting serious monies behind the channel.

    How much will you pumping into Zee Gujarati?
    I would not like on that at the moment.

    What is the current ad pie for each of the three markets and what growth is expected in these regions?
    The ad revenue of the Bangla language channels in the Bengali TV market is expected to touch Rs 280 crore (Rs 2.8 billion) in 2007 and grow to a category share of 35 per cent. Meanwhile, Marathi language channels will cross Rs 225 crores to occupy 25 per cent share of the Maharashtra TV market this year. However, the Gujarati market is presently a mere Rs 50 crores.

    The network recently made its foray into the Marathi movie segment with the launch of Zee Talkies in August, what has been the response thus far?
    Although, we were aware of the untapped Marathi movie genre, the response to Zee Talkies has been phenomenal as it touched 70 GRPs in its first week of launch. The was far beyond our expectations.

     

    This was supported by an extensive marketing push of Rs 80 million dedicated to the launch campaign. We consciously decided that for the first 20 days the channel will not have a single advertiser. We wanted them to first see the response before they put money on the table. The numbers speak for themselves!

    As part of the network’s attempt to boost Marathi cinema, you tied up with three production houses for a slate of 15 films across two years. When will these movies be released and what is the investment outlay for these films?
    The first film will be released by the end of this year in theatres, following which it will be telecast on Zee Talkies. Close to Rs 10 million will be spent on each film.

    Do you have plans to enter Bengali film production as well?
    We are currently in talks with a few production companies for Bengali movies. We plan to get into Bengali film production very soon.

    Which production companies are you in talks with and what is the budget allocation for Bengali films?
    We have not yet zeroed in on the production houses yet, so it would be premature to talk about it now. But we will definitely be spending more than Rs 10 million on each film.

    So, are you looking to launch a Bengali movie channel as well?
    (Laughs) No! Not at the moment.

    Going forward what are the growth opportunities that you foresee in the three regions?
    The addressable television environment will definitely provide a huge thrust in pushing these channels ahead. For the Zee Network, the regional channels will be strong pillars. This will help grow both subscription and ad revenues for the network.
  • Parents place high value on originality of kids shows in the UK: study

    Parents place high value on originality of kids shows in the UK: study

    MUMBAI: According to the results of a YouGov poll, parents in Great Britain place a high value on originally produced, children’s programming and like to watch their favourite children’s programmes with their own children.

    The poll, commissioned by Pact – the trade association for independent producers – was conducted amongst a sample of 2551 adults across the UK.

    Other key findings of the survey include the following:

    • 66 per cent of parents believe original children’s programming provides families with shared cultural experiences

    • 70 per cent believe that original UK children’s programmes contribute to the UK’s cultural identity

    • 73 per cent agree that original UK produced children’s programmes encourage children to read and play imaginatively

    • 73 per cent agreed that original UK children’s programming is even more important in the age of multi-channel television

    • Just 21 per cent agree that programmes from countries like Japan and the US are just as high quality and family friendly as children’s programmes produced in the UK.

    These findings come at a critical time for the UK children’s programming industry. Over recent years there has been a steady decline in the level of new UK children’s programming shown on commercially funded public service broadcasters (ITV, Channel 4 and Five).

    ITV stopped commissioning new UK children’s programmes 12 months ago. It has continued with this policy despite Ofcom’s ruling that it is not allowed to cut the amount of children’s hours it broadcasts each week. Furthermore, it has also recently cut the total number of children’s hours to just two per week, despite Ofcom’s ruling.

    Pact also understands that Five’s commissioning of new UK programmes for older kids (outside the so-called pre-school genre) is under severe pressure.

    Historically the UK’s broadcasters have been renowned the world over for funding and broadcasting imaginative, high-quality and family-friendly programming.

    Successful contemporary shows made by the commercial broadcasters include:

    * My Life As A Popat: nominated for a Commission for Racial Equality award (ITV)
    * My Parents Are Aliens: deals with contemporary family values (ITV)
    * Fifi And The Flowertots: promotes the environment and health (Channel Five)
    * Peppa Pig: celebrates the warmth and humour of family life (Nick Jr)
    * A Different Life: teaches about children with unusual lives – from having rare disabilities to living in the South African bush (Five)
    * Art Attack: encourages kids to experiment (ITV)
    * Michaela’s Wild Challenge: explores nature and the environment (Five)
    * Brainiac: promotes science as fun (Sky1)

     

  • CBS posts profit of $335 mn in fourth quarter

    CBS posts profit of $335 mn in fourth quarter

    MUMBAI: US media conglomerate CBS has recorded a profit in the fourth quarter from a year ago period.

    This included a major charge to write down the value of its television and radio businesses

    CBS reported net income of $335 million, or 43 cents per share, in the October-December period. A year ago, the company reported a loss of $9.14 billion, or $12 per share. That included a charge of $9.48 billion for the asset impairment.

    Operating income for the quarter is up 14 to per cent to $759.3 million. For the year revenues were $14.3 billion. This marked an increase of one per cent from the prior year, with increases of two per cent at television, eight per cent at outdoor and six per cent at publishing. This was partially offset by a decline of seven per cent at radio.

    For the year, television revenues increased by two per cent to $9.5 billion from 2005 primarily reflecting increases in television license fees and affiliate revenues partially offset by lower home entertainment and advertising revenues. Television license fees increased by 26 per cent primarily due
    to the 2006 availabilities of CSI: Miami, Frasier, Star Trek: Voyager and Without A Trace.

    This was partially offset by the absence of license fees from the prior year second- cycle cable renewal of Everybody Loves Raymond. Affiliate revenues increased eight per cent due to rate increases and subscriber growth at Showtime and the inclusion of the results of CSTV Networks since its acquisition in January 2006. Ad revenues decreased by one per cent from 2005 as higher political ad sales were more than offset by lower revenues from the absence of UPN and decreases at CBS Network.

    Home entertainment revenues decreased by 68 per cent principally due to the switch from self-distribution in 2005 to third party distribution in 2006.

    CBS executive chairman Sumner Redstone says, “CBS’ first year out of the gate was a great one. Our strong performance in the fourth quarter and full year of 2006 is the result of strategic vision and operational excellence. Leslie and his team are building our existing businesses to capitalise on the digital revolution and to position CBS for continued success well into the future.”

    CBS president and CEO Leslie Moonves says, “CBS’ fourth quarter results capped off a strong first year as a stand-alone company, Strong fourth quarter operating results at television, outdoor and publishing helped us surpass our key financial targets for the year.

    “Looking forward, we will continue to focus on running our core operations effectively; reshaping our portfolio into better-margin, higher-growth businesses; using the interactive opportunity to deepen and broaden our relationship with audiences; and receiving compensation for our content through retransmission consent agreements and new interactive platforms.

    ” I am confident that the company is well positioned to deliver long-term growth, strong cash flow, and increased value for our shareholders.”

  • NBC’s Sci Fi channel inks multimedia deal with Virgin Comics

    NBC’s Sci Fi channel inks multimedia deal with Virgin Comics

    MUMBAI: Sci Fi Channel, an NBC Universal network, is teaming up with Sir Richard Branson’s Virgin Comics to create a co-branded multimedia partnership called Sci Fi/Virgin Comics.

    With five new comic book titles serving as a jumping off point, Sci Fi/Virgin Comics will develop fresh properties that integrate the spirit and vitality of both brands. Delivering innovative, multi-platform projects, original concepts will be considered across all mediums from publishing, film and television to digital and gaming.

    The announcement was made today by, Sci Fi Executive Vice President and general manager Dave Howe and Virgin Comics CEO and publisher Sharad Devarajan at New York Comic Con, the season’s pop culture and comic book event.

    The first Sci Fi/Virgin titles, distributed by Diamond Comics, can be expected to hit shelves later this year, informs an official release.

    “Virgin Comics and I are delighted to collaborate with Sci Fi and the rest of the NBC Universal family,” said Sir Richard Branson, “to create stories that will inspire a new generation of thinkers and dreamers throughout the world.”

    “Sci Fi/Virgin Comics marks an important step in our strategy to extend the Sci Fi brand into new cross-media platforms. We’re thrilled to be partnering with Virgin Comics to create exciting new titles, characters and stories that can live beyond the pages of the comic book,” added Howe. “Virgin is the perfect brand to help us connect with the youth audience around the world.”

    “With Sci Fi we are changing the face of the comic book industry – seamlessly developing characters and stories for books, television, online and other media,” said Devarajan. “Together we are creating stories as innovative as the ways consumers will get to experience them.”

    Utilizing the global creative and synergistic resources that exist both at Sci Fi Channel and Virgin Comics, the partnership will aim to attract some of the biggest names and talent from the worlds of comic books, television and movies. Sci Fi and Virgin Comics will bring together a multimedia, creative editorial board with members representing comic books, television, movies, digital, gaming, licensing and merchandising.

  • Ofcom to phase out junk food ads targeted at children

    Ofcom to phase out junk food ads targeted at children

    MUMBAI: UK content regulator Ofcom is going ahead with its earlier announced intentions to restrict television advertising of “junk food” targeting children under 16.

    Television advertising that promote food and drinks high in fat, salt and sugar directed towards children will be phased out in a phsed manner from 1 April onwards.

    To start with the rules will apply to the under 10 year old category with effect from 1 April, while ads targeted at the under 16 year old segment will be implemented after 1 January 2008.

    The three phases will flow out as follows:

    – From 1 April 2007, HFSS advertisements will not be permitted in or around programmes made for children (including pre-school children), or in or around programmes that are likely to be of particular appeal to children aged 4-9;

    – From 1 January 2008, HFSS advertisements will not be permitted in or around programmes made for children (including pre-school children), or in or around programmes that are likely to be of particular appeal to children aged 4-15.

    – As set out in the November Statement, children’s channels will be allowed a graduated phase-in period, with full implementation required by the end of December 2008.

    Ofcom’s co-regulatory partners, the Broadcast Committee on Advertising Practice (BCAP) and the Advertising Standards Authority, are responsible for implementing the new scheduling and content rules and securing compliance respectively. The new rules will form part of the BCAP Television Advertising Standards Code.

    New content rules come into effect immediately for new advertising campaigns. Existing advertising campaigns or those in the final stages of creative execution can be broadcast until the end of June 2007. However, from 1 July 2007 all advertising campaigns must comply with the new content rules, adds the release.

  • PCCW bags rights for Italian Serie A soccer

    PCCW bags rights for Italian Serie A soccer

    MUMBAI: Hong Kong communications firm PCCW has announced that its broadband platform now TV has won the media rights to broadcast Italy’s soccer event – the Serie A Championship – in the 2007/2008, 2008/2009 and 2009/2010 seasons.

    Serie A is contested by 20 clubs in a round-robin competition format and comprises a total of 380 matches per season. Under the package acquired from Media Partners & Silva /Dentsu which jointly distribute serie A media rights in Asia, now TV has the television, broadband, IPTV and mobile TV rights for not less than 130 live matches, including most home games featuring major Italian teams such as AC Milan, Inter Milan, Juventus and Roma.

    All Serie A matches available on now TV will be included as further enhancements to the Mega Sports Pack offered for $218 per month on a 12-month term plan. Customers subscribing to the Mega Sports Pack before 30 April, 2007 will be able to enjoy an early bird offer of $178 per month (mini-pack price), with five months’ free viewing if they sign for 18 months.

    The Mega Sports Pack includes not only soccer championships, such as Uefa Champions League, English FA Cup and Serie A, but also other top sporting events like the 2007 FIVB World Grand Prix, 2007 FIVB World Cup and
    IAAF Grand Prix Athletics 2007

    Now TV currently serves an installed customer base of more than 700,000 and offers a choice of more than 120 channels including HBO, Star Movies, ESPN and Star Sports.
     

  • FremantleMedia takes ‘Project Runway’ to Canada

    FremantleMedia takes ‘Project Runway’ to Canada

    MUMBAI: Television format cerator and distributor FremantleMedia has signed a deal with Canadian firm Alliance Atlantis Communications and Insight Production.

    The deal is for the fashion based reality show Project Runway Canada will premiere on the newly-branded network Slice.

    The Canadian version format of the US series which was developed by Miramax and The Weinstein Company will find Canadian fashion designers competing in a number of head-to-head challenges for the chance to be discovered as the next ‘It’ Canadian designer, and is set to debutlater this year.
    Slice also airs the US and UK versions of the series. In addition to Project Runway Canada, Slice will debut the second season of Project Catwalk, the UK version of the show from March 2007.

    Alliance Atlantis Communications senior VP, content, lifestyle channels Karen Gelbart says, “Our viewers have become addicted to the U.S. and U.K versions of the Project Runway series, and it’s truly a thrill to partner with Insight and FremantleMedia Enterprises to welcome Project Runway Canada to Slice.

    “We see this as a tremendous opportunity to shine a spotlight on the wealth of talented designers working in Canada’s unique and successful fashion industry. And, given that the world of fashion is competitive, catty and amazingly glamorous, we have no doubt the series will create memorable personalities that will have people talking week after week.”