Tag: TV industry

  • YuppTV introduces “Janya”, a disruptive solution in the TV industry

    YuppTV introduces “Janya”, a disruptive solution in the TV industry

    Mumbai: South Asian content provider YuppTv has announced the launch of Janya, a cloud-based playout solution. Janya is a disruptive solution that provides live TV and on-demand playout infrastructure in the cloud.

    Janya’s cloud playout solution enables any news, entertainment, or sports broadcaster the opportunity to immediately set up channels on the cloud-based platform, accessing a larger audience without upfront capital investment, limited resources, and operations. With the evolution and growth of OTT, the Janya cloud playout solution helps broadcasters be compatible with the OTT platforms and monetise through advertising with the implementation of SCTE-35 markers.

    The current market for live TV and on-demand video content is driven by hyperlocal content curated according to mass consumption. Janya addresses the hyperlocal requirements to create multiple channels with a low-cost but efficient setup.

    Leveraging Janya’s multi-channel set-up and ad-monetisation capabilities, broadcasters will be able to launch channels on FAST (free ad-supported television) networks through its cloud playout infrastructure.

    Janya’s cloud playout infrastructure also provides other innovative and interesting features such as interactive polls and graphics, cloud-based video editing, live debates, and live events.

    Speaking on Janya’s launch, YuppTV, Janya founder & CEO Uday Reddy said, “Video content production and distribution is witnessing a transformative phase in the present age. With the introduction of a cloud-based playout, OTTs, news, sports, and entertainment channels have an opportunity like never before. Janya allows various video content providers a platform to reach out to a larger audience, leveraging its technology to cater to the hyperlocal needs of the masses, creating new avenues for revenue generation through advertisements and more, all without the hassle of upfront capital investments, enabling multi-channel opportunities for broadcasters.”

  • Zee and Sun TV likely to witness opportune times as ad revenue growth returns this festive season: Report

    Zee and Sun TV likely to witness opportune times as ad revenue growth returns this festive season: Report

    Mumbai: Despite facing an adverse impact in the wake of the covid pandemic last year, the media & entertainment industry witnessed some respite in ad revenues for the current quarter-on-quarter (QoQ). According to a report published by Elara Securities (India), in comparison to other traditional media, the television industry has reported healthy growth in the post-covid era. The report also indicated a positive outlook for ad revenues in the upcoming festive season.

    TV Segment: Some respite (QoQ) in ad revenue, led by festive season 

    Traditional advertisers such as fast-moving consumer goods (FMCG) continue to spend on ads, while new-age players such as edtech, fintech, and gaming have chosen to reduce their ad spending. The CPG and automobile industries, as stated in the report, continue to maintain their ad spending, the report highlighted.

    The report noted that Zee group and Sun TV are likely to expect better ad revenue of 3.5 per cent and 6.4 per cent, respectively, while ad revenue may be flat for TV Today. This growth will be driven by some stability in ad spending and the start of the festive season.

    Zee’s subscription revenue, as noted by the report, may decelerate by 1.2 per cent, whereas Sun TV is likely to expect a growth of 4.2 per cent.

    Sun TV reported a growth of 12 per cent as compared to the pre-covid period or FY2020, which also witnessed the absence of income generated from IPL and movies, and stood at 7.4 per cent year-on-year (YoY) of Rs 8,899 million.

    Meanwhile, Zee and TV Today reported 3.7 per cent and 1.1 per cent YoY revenue declines, respectively.

    Zee’s earnings before interest, taxes, depreciation, and amortisation (Ebitda) QoQ margin is expected to rise by 85 basis points (bps), while Sun TV and TV Today to fall by 100 and 535 bps, respectively.

    According to the report, expect margin to be under pressure on content investments for Zee and Sun TV, driven by programming initiatives in Tamil and other genres, and TV Today, on lower YoY revenue and digital segment development, which may also witness the same strain.

    Zee’s and TV Today’s YoY profit after tax (PAT) is estimated to decelerate by 46 per cent and 25 per cent, respectively. TV Today, as the report noted, is estimated to grow by nine per cent.

    Exhibitors – Subdued Q2 hit by weak content

    Multiplexes can experience a series of downgrades due to poor Bollywood content. Large-scale films with poor box office results like Laal Singh Chadha, Raksha Bandhan, Shamshera, and Ek Villain Returns were expected to drive strong Q2FY23 performance, but their failure hit revenue growth for mega-multiples operators PVR and Inox.

    According to the report, Hindi box office revenue has noted a decline of 47 per cent compared to pre-covid levels in Q2FY23, as no film performed except Brahamastra (which recorded Rs 256.25 crore in domestic ticket receipts).

    Domestic box office collections are expected to fall 41.5 per cent and 42 per cent sequentially, respectively, and 35 per cent and 34 per cent as compared to Q2FY20 for PVR and Inox.

    Average ticket price (ATP) and spend per head (SPH), driven by premium content traction, have already outperformed Q2FY20 by 22 per cent and 24 per cent, respectively, in Q1FY23. On low-quality content, ATP/SPH may start getting soft, the report said.

    It further highlighted that ad revenue recovery is delayed and may only revive to a pre-covid level in FY24 and added that this recovery is expected to recover to 60 per cent of pre-pandemic levels of Q2FY20.

    PVR and Inox (including INDAS) are expected to have Ebitda margins of 11.6 per cent and 11 per cent, respectively, in Q2FY23, as screen additions may pick up in H2FY23.

  • VBS 2022: Getting ready for the post-pandemic world

    VBS 2022: Getting ready for the post-pandemic world

    Mumbai: Indiantelevision.com is back with the 18th edition of the Video & Broadband Summit (VBS). The day-long summit will be held virtually on 19 January 2022, from 10.00 am to 5.00 pm. VBS 2022 is co-powered by broadpeak. Disney Star is presenting partner and NxtDigital is the summit partner.

    This year’s Video & Broadband Summit will provide a platform for industry and opinion leaders to discuss key issues being faced by the television industry as a result of the Telecom Regulatory Authority of India (Trai)’s New Tariff Order 2.0, broadband-fuelled growth of digital platforms, and the impact of cord-cutting on DPOs, as well as the possible ramifications of the impending 5G launch that has already created a stir among broadcasters and distributors.

    Some of the broad themes to be covered include Rising Cost of Video Entertainment, Changing Business Models and Revenue Models, Value-Added Services, and getting back to basics in a Post-Pandemic World. VBS 2022 will also delve into the concerns and opportunities around the 5G Teleco Threat, Virtual MVPDs, Cable TV’s Technology, and Back-End Challenges, DPO’s Marketing Drive, and the gradual expansion of Over the Top (OTT) Platforms.

    The summit will begin with an introduction by Indiantelevision.com Group founder CEO and editor-in-chief Anil Wanvari, followed by a presentation on the rising cost of video entertainment.

    First on the agenda is a fireside chat with M&E consultant Anuj Gandhi. During the next session moderated by former senior VP Star TV and CEO KCCL Shaji Mathews, Fastway’s Prem Ojha, Travelxp’s Prashant Chothani, Asia Satellite Telecommunications Holdings’ Rajdeepsinh Gohil, Shemaroo Entertainment’s Sandeep Gupta, BBC Global News’ Sunil Joshi, and Zeel’s Anil Malhotra will share their thought on ‘Getting Back to Basics and to a Post Pandemic World’.

    Lined up next is another fireside chat between NxtDigital MD and CEO Vynsley Fernandes and Anil Wanvari. Thereafter Gurjeev Singh Kapoor (Star & Disney India), Vynsley Fernandes, Amit Arora (Indiacast Media Distribution), Sambasivan G (Tata Sky), Ashish Pherwani (E&Y), and SN Sharma (DEN Networks) will delve on ‘Shaping the growth of linear TV distribution and subscription’.  

    In the post-lunch session, a panel consisting of MN Vyas (founder-director PlanetCast), Abhishek Gupta  (vice president IT, Dish TV), Yann Begassat (business development director, Broadpeak), and Salil Thomas (general manager & head ACV & Technology,  Asianet Satellite Communications Ltd) will demystify ‘The 5G Opportunity’ for the viewers. The talk will be moderated by Satcom Industry Association – India, senior director technology and policy Rajeev Gambhir.

    Following a fireside chat with Jio Platform’s Saurabh Sancheti, the event will wrap up with a discussion on ‘Delighting the Indian Consumer – Challenges & Opportunities’ between Rajib Mukherji (EVP-Strategy, IndiaCast Media Distribution Pvt Ltd.), Nagesh Chhabria (promoter, Metrocast), Rouse Koshy (chief operating officer, NXTDigital) and Yatin Gupta (senior VP, GTPL).

    The Video & Broadband Summit (VBS) 2022 will be live-streamed on Indiantelevision.com’s social media handles.

    For more details: https://www.videoandbroadbandsummit.com/ 

  • GUEST COLUMN: How to combat streaming piracy with OTT’s broken protocol?

    GUEST COLUMN: How to combat streaming piracy with OTT’s broken protocol?

    Mumbai: With vast sums of money to be made, it’s not surprising that streaming pirates are continually upping their game to keep their highly profitable illegal businesses afloat.  A recent global study conducted by Ampere Analysis for Synamedia found that sports streaming piracy alone is worth over $28 billion and the Global Innovation Policy Centre places the global TV industry’s losses from digital piracy between $39.3 to $95.4 billion per year.

    From Bollywood and Hollywood blockbusters to LIVE sports including IPL and women’s football, streaming piracy has reached an industrial scale in India. Within minutes of release, stolen content is circulated, exchanged and sold on open internet sites and social media platforms, such as Telegram and WhatsApp, as well as on closed subscription-based pirate networks and dedicated OTT applications. Some illegitimate, subscription-based pirate services are now so good that consumers think they are using the brand’s own service, damaging the brand of the legitimate service and preventing upsell opportunities.

    But with superior intelligence and the appropriate technology and legal procedures in place, the industry can stay one step ahead, protect its revenue streams and stop criminals siphoning off billions in revenue that rightfully belong to content owners and services providers.

    Pirate profiteers raise the stakes

    Although low quality pirate content filmed surreptitiously in cinemas is still available, as more consumers switch to digital platforms, pirates are using increasingly sophisticated ways to steal content – and deliver it in pristine quality.

    And the pirates’ methods have advanced considerably since they simply exploited “the analogue hole”: in other words, stole content from the HDMI ports of Set Top Boxes. As license owners and operators have increased their protection methods, cracking down with a combination of source-detection and disruption technologies as well as legal action, pirates have been hunting for new and more concealed ways to source content and find the weak link in the chain.

    From Digital Rights Management (DRM) hacking as seen recently with Widevine, to bypassing client watermarking and manipulating legitimate OTT applications, today’s streaming pirates have found ways to steal not just high-quality content but entire OTT services, including redistributing directly from the service provider’s content delivery network (CDN).

    Sourcing, aggregating and distributing content

    A quick Google search will quickly take you into a world of organised crime: industrial scale professional hackers, criminal technology experts with content aggregators, content wholesalers and content resellers conducting the biggest criminal heist the world has ever seen.

    Current anti-piracy approaches – such as DRM, client hardening and concurrency restrictions are simply scratching the surface of OTT piracy and pirates continue to profit.

    Using the intelligence provided by our operational security team and with access to pirates’ scripts, we have unearthed the root source of this problem – the OTT protocol is broken. The technology of OTT delivery makes it simple and cheap to set up as a pirate operator. Pirates don’t necessarily need to break the DRM to steal content. Using pirate servers and clients, pirates are hacking the OTT protocol to get the DRM license and redirect pirate clients to legitimate service and content providers’ CDNs.

    With little to no acquisition or content costs, pirates have become ultimate media super-aggregators. They can bring highly-sought after content together at an unbeatable price with no geo restrictions or competition law challenges – and then redistribute the stolen content to their paying customers at the expense of the video service provider by using their infrastructure undetected. 

    Protecting content across the ecosystem

    With an understanding about the methods used and insight into how pirates operate, Synamedia has developed the industry’s first solution to systemically address the inherent weaknesses that make it easy for pirates to not only steal content but also entire OTT services, including gaining access to the service provider’s CDN.

    Synamedia OTT ServiceGuard makes it possible to securely distribute content on open platforms by validating that only legitimate subscribers and applications are granted authorised access and receive content. It gives each client a unique identity that is not cloneable and allocates secure keys for signing service requests, ensuring all client messages are validated for their authenticity and origin. This has a critical role to play in protecting content, but tackling piracy requires an all-round team approach, blending pre-breach approaches with proactive detection and disruption technologies and solutions.

    Synamedia’s unrivalled intelligence-based model leverages AI technologies alongside human intelligence – including undercover investigators and cyber security, psychology, criminology, and sociology experts – to monitor and map the piracy supply chain, detect, deter and disrupt piracy and orchestrate anti-piracy activities and legal and technical takedowns.

    The financial rewards on offer and the ease of set-up – combined with the low risk of arrest or meaningful punishment – means the problem of piracy will not go away.  But, by making life as difficult as possible for both pirates and viewers of illicit streams and making legal subscriptions more attractive, content owners and rights holders can not only protect their content investments, but video service providers can cut infrastructure costs and create the opportunity to capture new subscribers.

    (Deepak Bhatia is general manager and head of sales, India at Synamedia. The views expressed in this column are personal and Indiantelevision.com may not subscribe to them)

     

  • AR Rahman returns as BAFTA Breakthrough India ambassador

    AR Rahman returns as BAFTA Breakthrough India ambassador

    Mumbai: The British Academy of Film and Television Arts (BAFTA) has announced AR Rahman as the Breakthrough India ambassador for another year as they invite a new round of applications in India for the programme. Supported by Netflix, this programme will be open for prospective talent across the film, games, and television industries. 

    The BAFTA Breakthrough India programme will once again identify, promote and support Indian talent within these industries on a global scale, said the organisation in a statement on Wednesday. 

    “BAFTA Breakthrough India is an awe-inspiring initiative that offers the unique opportunity to promising artists to connect with influential experts in their field, serving as a life-changing experience,” remarked AR Rahman. “India has the supreme talent to offer which was evidenced by the overwhelming response received during the first round of Breakthrough India that compelled the jury to select ten deserving participants instead of five as originally planned.”

    Akin to the debut initiative, BAFTA Breakthrough aims to celebrate Indian talent by offering a bespoke programme of support – helping participants develop knowledge about the industry, develop their craft, address barriers to progression, and network globally with people who can influence their careers. 

    The programme provides a bursary to support international networking opportunities, further to this, recipients will also receive: One-to-one industry meetings and group roundtable sessions; Global networking opportunities with BAFTA membership, industry and peer to pee Breakthrough cohorts; Access to Career Coaching sessions and support with professional skills development; Access to BAFTA’s virtual programme of events and screenings for 12 months, and PR support and showcasing as part of Breakthrough.

    “India has a wealth of talent waiting to be discovered and showcased. For the second year, we are delighted to open applications for BAFTA Breakthrough supported by Netflix,” stated BAFTA chief executive Amanda Berry OBE. “The high quality of applicants in our first year prompted the jury to select ten individuals rather than five, and we look forward to receiving applications from the very best emerging talent in film, games, and television again.”

    The incredibly talented list of BAFTA Breakthrough’s first cohort comprised of the future stars of the film, games, and television industries: Akshay Singh (writer), Arun Karthick (director/writer), Jay Pinak Oza (cinematographer), Karthikeya Murthy (composer), Palomi Ghosh (actor), Renu Savant (director/writer), Shruti Ghosh (game developer & art director), Sumit Purohit (director/writer), Tanya Maniktala (actor) and Vikramaditya Singh (director).

    “Coming together to create opportunities for fresh talent and offering them a global platform is vital to the growth of the entertainment industry,” said Netflix India VP – content Monika Shergill. “Through the BAFTA Breakthrough India initiative, we want to drive progress in creating a more inclusive industry where many tales are told, and many voices tell those stories. We look forward to an equally enthusiastic and quality response as in the first year.”

  • Content spending to top $250 billion by year-end, amid soaring demand

    New Delhi: Despite a year of uncertainty and production hiatuses due to the global pandemic, streaming platforms have set the global film and TV industry on a trajectory of accelerated growth with no imminent ceiling in sight. According to a latest assessment by London-based fin-tech platform, Purely Streamonomics, audience demand, production spending, and TV budgets reached all-time highs during the pandemic.

    While the actual number of films that went into production dropped last year, and TV series experienced shooting delays, more cash than ever was committed to content, reflecting continually rising production budgets and greater rights-buying activity.

    Production spending to top $250 billion by year-end

    Based on current trend lines, Purely expects production spending to top $250 billion by year-end, and then keep rising beyond that, especially as media mergers: Warner Bros Discovery, Amazon-MGM and Televisa-Univision start to flex their combined muscles around the planet.

    “What is remarkable about these record numbers is that the industry’s spending has yet to bump up against any natural ceiling. Every year there is talk of the industry being on the cusp of ‘peak television’ and yet it is clear from our own business dealings that the streaming of films and TV shows is only now starting to reach escape velocity,” said Purely, founder and CEO, Wayne Marc Godfrey, “Streaming is not just displacing traditional sources of entertainment revenue such as pay-TV and linear broadcasting, it is actually expanding the global marketplace for video.”

    The research shows that gross cash amount spent producing and licensing new entertainment content (excluding sports) soared by 16.4 per cent in 2020 to reach $220.2 billion, setting yet another milestone that is on track to be surpassed again this year. “But this is only the start of what’s to come. Even more spending growth is on the short-term horizon as a new wave of ad-supported platforms start gaining a stronger foothold around the world, alongside the subscription-funded services that have been driving the streaming marketplace until now,” says the report by the London-based fin-tech platform.

    Four emerging trends:

    Deluge of new streaming platforms:

    Since 2019, the number of global customers subscribing to streaming video platforms (has grown from 642 million to more than 1.1 billion, a 71 per cent leap that has been turbo-charged by months of enforced lockdowns at home. The pandemic not only drove rampant growth on existing platforms, it also accelerated the acceptance of powerful new global competitors including Disney Plus, Apple TV Plus, HBO Max, Peacock, Discovery Plus, Paramount Plus and Star. Joining these global platforms in the hunt for monthly customers are several regional Champions. Total number of subscribers is expected to reach at least 1.6 billion by 2025—representing about a fifth of the planet’s total projected population by then.

    Content Spending Reaches a New High

    As more platforms entered the streaming market and audience demand reached all-time highs in 2020, overall Film & TV production spending increased worldwide.

    According to the research, The Walt Disney Co remains the biggest single spender on content, with a grossed-up total of $28.6 billion for 2020 – which is more than spend across the whole of Asia ($27.7 billion) last year, followed by recently formed Warner Bros. Discovery and Netflix. Once Amazon completes its own acquisition of MGM, that combined entity would rank as the fourth largest North American production. On that basis these top four companies alone, with combined spending of $75.3 billion, almost equates to the entire worldwide spending outside of North America ($77.3)

    Spending On Indie Content Surges

    As much as Netflix and the five major Hollywood studios spend producing their own content, independently made and acquired content accounts for twice as much money globally. According to Purely Streamonomics’ global research, indie content spending jumped by 25.3 per cent year-on-year in 2020 and now accounts for 65.5 per cent of the world’s film and TV production activity.

    Budgets Are Soaring for TV shows

    As audiences continue to grow, and more competition enters the market, the stakes keep getting higher. In order to stay competitive, producers face pressure to up their production spending. As a result, budgets have risen in recent years, especially for TV shows. According to the research, average budgets across all new series in the US– scripted, unscripted, daytime and kids – was on the rise, up 16.5 per cent in 2020. The cost of introducing and monitoring COVID protocols in 2020 also added 20-30 per cent to production budgets.

    The findings of the research were presented in the form of infographics by Purely Streamonomics and created by digital publisher Visual Capitalist. The data is based on SEC filings by U.S. media conglomerates and tech giants, as well as reports published by national film and TV data-gathering organisations around the world.

  • NTO 2.0 case: Judgement reserved, TRAI can’t take any coercive step

    NTO 2.0 case: Judgement reserved, TRAI can’t take any coercive step

    KOLKATA: The Bombay High Court bench today reserved its judgement on the NTO 2.0 case. After hearing both sides, the court has also ordered the Telecom Regulatory Authority of India (TRAI) not to take any coercive action against the broadcasters for non-implementation of the amended tariff order.

    Within a very short span of new tariff order (NTO) implementation, TRAI had issued a set of amendments at the beginning of 2020. It was challenged legally by the major broadcasters. Even while the case was sub-judice, TRAI had released fresh directives on 24 July, asking broadcasters to publish details including maximum retail price per month of channels and maximum retail price per month of bouquets of channels, the composition of bouquets and also amended RIO and other details. This further irked the broadcasters.

    In the last couple of years, the industry has been overburdened by regulations. According to a FICCI -EY report, NTO 1.0 reduced the number of TV subscribers by 26 million. While broadcasters are reeling from the impact of Covid2019 , it is of serious concern how another change will impact the industry.

  • Bombay high court questions TRAI on twin conditions, DPO bouquets

    Bombay high court questions TRAI on twin conditions, DPO bouquets

    KOLKATA: Within a very short span of the new tariff order (NTO) implementation, the Telecom Regulatory Authority of India (TRAI) issued a set of amendments at the beginning of 2020. These have been challenged legally by the major broadcasters, and the litigation is still in progress.

    In an interesting twist, at today's hearing yesterday, the bench at Bombay High Court has questioned the relevance of a few important clauses of the regulation.

    The division bench of the Bombay high court comprising Justice AA Sayed and Justice Anuja Prabhu Desai asked whether the twin conditions were placed by TRAI for consultation. The industry regulator had introduced this clause citing “manipulation” of consumer choice by broadcasters.

    Read more news on Trai

    “The sum of the a-la-carte rates of the pay channels (MRP) forming part of a bouquet shall in no case exceed one and half times the rate of the bouquet of which such pay channels are a part. The a-la-carte rates of each pay channel (MRP),forming part of a bouquet, shall in no case exceed three times the average rate of a pay channel of the bouquet of which such pay channel is a part,” TRAI said along with introducing the Rs 12 cap for introducing a channel in a bouquet.

    TRAI has been upholding (amended tariff order) NTO 2.0 for bringing rationality between a-la-carte price and the bouquet price. But several reports have indicated that consumers opted for the distribution platform operator (DPO)-designed bouquets post NTO 1.0.

    Considerably, the bench also mentioned that more than 90 per cent bouquets in the market are DPO bouquets which do not appear to be under the same restrictions as the broadcaster’s bouquets. The bench asked TRAI's counsel to explain how and whether DPO bouquets are bound by restrictions as compared to the broadcasters.

    Giving an example of NTO 1.0 which was implemented without the discount cap on the formation of a bouquet by the broadcasters, the bench asked whether NTO 2.0 could be implemented without some of the provisions.

    Read more news on NTO

    The counsel appearing for TRAI has sought time to respond till the next date of hearing, 8 October.

     It is expected that counsels for the union of India and TRAI will complete their arguments during the next hearing. However, keeping in mind the rejoinder to be made by the broadcasters, the first half of Friday has been kept as reserve time.

    Over the past couple of years, the industry has been overburdened by regulations. According to a FICCI -EY report, NTO 1.0 reduced the number of TV subscribers by 26 million. While broadcasters are reeling from the Covid2019 impact, it is of serious concern how another change will impact the industry. 

  • Industry needs to handhold to come out of this crisis

    Industry needs to handhold to come out of this crisis

    MUMBAI: The film and television producers are gearing up to restart shooting in the wake of guidelines issued by the Maharashtra government and the easing of lockdown restrictions. Film and TV post-production activities in Tamil Nadu, Kerala, Karnataka and Telangana have also resumed, albeit with restrictions.

    Indiantelevision.com reached out to leading TV producers to understand their plans in the days ahead.

    Shakuntalam Telefilms founder Shyamashis Bhattacharya said, “People are eager to work; getting them on set is difficult but getting them to work is easy. We have new challenges before us like sanitisation and social distancing, but we will strictly adhere to all the norms.”

    But how production houses with lower budgets will work with added costs of sanitisation and other procedures? According to him, Hindi GECs would be able to sustain and work as soon as the government gives permission. Budget constraints, however, will pose challenges to regional channels. In that case, they might take more time than others to think of suitable measures. He said that broadcasters and production houses are already in talks to find out if there can be deduction in production budgets.

    Producers already have plans to start fiction shows with a lesser number of crew. Non-fiction shows, however, will be on hold as they require larger crews. According to him, broadcasters are also under pressure as there haven’t been any advertising revenues for many months.

    Optimystix Entertainment founder-MD Vipul D Shah suggests, as a measure of social distancing, that editing rooms will require redesigning. A separate space will be allotted to editors with one in one room. Most preferably, they will be asked to work from home.

    Makeup artists and hairdressers are constantly required to be with actors. But, to maintain social distancing, actors will now have to work without makeup artists at least for a few months. However, all these measures are still on paper; one has to wait till shooting starts to test the efficacy of their implementation.

    Indiantelevision.com reached out to Vaishnave Media Works Ltd MD-chairman Kutty Padmini to understand how things have progressed in the Tamil industry.

    She said, “Full-fledged shooting has not yet started in the Tamil industry as not more than 15 to 20 people can work together at a time. So, we have requested the Tamil Nadu government to grant permission for 40 people.” She adds that 30 people can be present inside the set and 10 outside; they will include drivers, generator operators and the rest.

    She said that the pending post-production works like dubbing, CJI, and VFX have started.

    According to Padmini, the Tamil Nadu government decided to resume shooting with 20 people after someone suggested that in Hollywood the shoot is happening with just 22 members. She says that this scenario is not relevant to India.

    “Resuming shoot with minimum people is possible for me as I do my own scripts and everything else, but it might not be possible for other people. It is not quite difficult also. Today, the technology is so advanced that we do not need so many lights or technicians like in the black-and-white era.”

    Padmini made it clear that she is planning to resume shooting only after 15 June. Currently, she is busy creating content for her YouTube channel.

    On creating a bank of certain episodes, Padmini says that now broadcasters allow the creation of banks of only five episodes. Story narrations might change in accordance with other factors like change in TRPs. And then there are many other factors like availability of actors, who come from Karnataka and Kerala.

    During the pandemic, a lot of production houses had to lay off employees, but the situation has been different for Padmini as she preferred to hire people based on projects.

    Padmini is utilising this lockdown period to create scripts which are doable with lesser crew. She is currently working with MSN, Amazon Prime, Dangal and Aha Media in Hyderabad.

    Creative Eye founder Dheeraj Kumar is positive that soon Maharashtra will also start post-production works like other states. Kumar’s 20-year-old show Shree Ganesh will make a comeback on Star Plus. The show will premiere on 2 June and air from Monday to Sunday at 6:30 pm.

    “The show is going to start but I have to do some additions, promos, and post production works. So, I am giving whatever technological help that is required through constant communication with editors and technicians. Basically, my problems are very immediate. The bigger challenge is we cannot start our post-production works until and unless we follow all the guidelines imposed by Maharashtra government,” he added.

    Kumar has his own studio, pro-cut machines, tools, equipment for mixing and sound. Apart from this, he regularly sanitises his studio building. He is bringing in place sanitise tunnels to effectively disinfect offices and equipment. In order to maintain social distancing norms Kumar has enough rooms that could be allotted to the technical staff.

    Kumar is also going to implement an odd-even formula in terms of staff to begin shooting. He believes broadcasters and producers will have to support each other in these troubled times.

    “Going forward we will have to think very carefully with regard to logistics and finances. Necessity is the mother of invention. We will have to learn to work with less crew and a tight budget. Industry needs to do the handholding to come out of this crisis,” he concludes. 

  • How Netflix is Killing Traditional TV

    How Netflix is Killing Traditional TV

    Because of the birth of Netflix, the future of television looks unpromising. The ratings of some TV shows have dropped since viewers are now able to watch their favorite shows via online streaming. That makes the future bleak for traditional TV. It’s the biggest problem? Netflix. It is the streaming goliath’s attack on the traditional programming competition. It is Netflix’s newly made-up method of distribution that has people and the TV industry unsure of its future. The distribution model of Netflix is that it puts an entire season’s episodes together and uploads it in bulk. That is because Netflix believes that it is a level-up in making the ideal experience for viewers. But then again, it may possibly mess up the structure and foundation of traditional TV beyond repair, and unintentionally take along itself down with traditional TV.

    People have been doing movie marathons and spending many hours in front of a television for decades. In fact, watching television shows have been the most famous past time of almost everyone. And now, along with that, cable TV providers boom and grow well by airing marathon episodes of hit TV shows from a certain genre. In addition, purchasing DVD copies of TV shows lets fans take pleasure in watching without TV commercials. In this day and age, watchers have more freedom. They no longer have to settle for what is being shown on traditional television. Now they have the power over what to watch and when to watch.

    Let’s look closely. What’s with Netflix? This new center of entertainment features and shows off catalogues of a lot of movies and TV shows. Every season – past and present – is made available with just the click of a mouse. Currently, Netflix covers one-third of all the streaming bandwidth the Internet can give. That only shows that watchers are really fascinated by it. Netflix can be likened to permissive and tolerant parents who let their children indulge. This can be a result of the “instant culture,” where people always expect instant results and instant satisfaction – instant food, instant messaging, instant streaming, instant everything!

    Without a doubt, the emergence of streaming, along with how it has drastically redesigned the distribution and transfer of content to watchers, often appears to ask this question – is Netflix killing traditional TV?

    Through Netflix, a tumultuous change in traditional TV triggered off. But then again, there are still individuals who prefer traditional TV watching. So if you’re one of those people, you can check out this article about the best options for satellite TV.