Tag: TV

  • ‘Indian promoters have build a scale where they can attract foreign media companies’ : Ravi Sardana – ICICI Securities Limited Vice President

    ‘Indian promoters have build a scale where they can attract foreign media companies’ : Ravi Sardana – ICICI Securities Limited Vice President

     Foreign media companies like Walt Disney and Turner have entered into equity deals with Indian firms to grow their business in India.

     

    The last two years has seen a spate of equity deals, changing the media landscape in India. Indian promoters have raised money to build scale and also brought in corporate structures.

     

    In an interview with Sibabrata Das, ICICI Securities vice president Ravi Sardana talks about the immense potential that the media sector offers to investors and the consolidation that is waiting to happen.

     

    Excerpts:

    Multinational media companies like Walt Disney and Turner had come to India on their own. Why are they now entering into JVs with local partners?
    When the foreign players entered the market, there was no Indian media company of size to attract a buyout. Besides, the market has become too crowded today. It is better for them to build on whatever is available. Managing the government and distribution on cable networks is also difficult.

    Why are the Indian media companies becoming attractive to financial and private equity investors as well?
    Indian promoters have taken their companies to a scale where even Walt Disney and Time Warner have gone ahead to do equity deals with them. The business has become scalable with the opening of multiple platforms. There are also lots of markets in India which are still under penetrated. Media companies can expand their business by entering into new geographies.

    Which are the segments in the media sector that are proving lucrative?
    In the broadcasting space, every big player wants to build a full boutique. Even smaller TV production companies like Miditech and BAG Films are getting into broadcasting. All of this will require funding.

     

    Distribution is also becoming a big value driver and a new segment that investors have started looking into as the revenue leakages are getting plugged with digitalisation. The regional space is another interesting segment and will see higher growth compared to Hindi and English media. Regional TV has not build scale like print has, but there is a serious interest. Growth is faster in tier-II and tier-III towns.

    But aren’t DTH companies saddled with losses?
    In the short run, they may not be attractive for investors. But DTH service providers are mopping up subscribers. That will add value and open up the space for investors.

    Aren’t investors shying away from cable companies as digitalisation is slow?
    Cas (conditional access system) has been introduced in pockets of Delhi, Mumbai and Kolkata. Consolidation is also happening at the multi-system operator (MSO) level in analogue cable. The process is underway to convert this to digital. We are already getting feelers from investors who are exploring options to put money behind cable networks.

    Since the size and scale of the movie business has shot up, there is a need for capital. While good financing sources for debt are being made available, there is a requirement of providing risk capital for this business

    Only one media company raised money through an initial public offering in 2007. Why are IPOs drying up in the media sector?
    The first wave of IPOs happened when companies like Mukta Arts and Creative Eye tapped the market. It was a pre-matured phase. Now Indian media companies have set up corporate systems from being just promoter-led. But there are not many large media companies that are privately held.

    The economy is slowing down and interest rates are hardening. Do you see media organisations being cash strapped to fund their growth?
    Companies have chalked out aggressive growth plans. They believe the wider pull of channels they have, the easier it will be to sort out distribution issues. But to expand their presence in all genres of broadcasting, they need capital. Fund raising for some companies has definitely slowed down. But they can tap alternate sources of funding like debt, private equity and convertible instruments.

    Is the broadcasting space heading for consolidation?
    In every genre, the top 3-5 channels will make money. There will be a huge competition to reach those levels. We will see some consolidation and there will be pressure to differentiate content.

    Are news channels getting bogged down by a steep rise in operational costs?
    More than operational expense, it is distribution costs that are inflating and going to hurt.

    Is the news channel space getting too cluttered with companies from all sectors wanting to rush into it?
    Historically, the journalist-led channels have done well. Already there is a clutter and there are a large number of strongly entrenched players. New entrants will have a challenging task; they will have to create a new niche space.

    Will there be room for so many regional news channels?
    If they are able to get market share, then in 2-3 years they will break even. The big players can also amortise their costs with the main channels.

    Do you see the other revenue streams growing for news broadcasters?
    The other revenue streams in India are still very small. News channels should focus on kicking in subscription revenues.

    How are the movie companies shaping up in India and what are the challenges they face?
    In the movie business, there are already the four tigers – UTV, Adlabs, Eros and Studio18. Multiplex operator PVR is also into movie production. For a pure film exhibition company, profitability could be range bound. So there is need to enter into other streams like film production and distribution.
    What are the new financing options available for companies?
    For the film business, Indian companies have tapped the Alternative Investment Market (AIM) of the London Stock Exchange. Since the size and scale of the business has shot up, there is a need for capital. While good financing sources for debt are being made available, there is a requirement of providing risk capital for this business.
  • TV is top source of news in US: Pew

    TV is top source of news in US: Pew

    MUMBAI: Television is the leading source of news in the US. According to the Pew Research Centre’s bi-annual survey on news consumption habits, fewer Americans are reading newspapers.

    As per the survey, younger people tend to get more of their news on the Internet, while older folks use traditional media such as television and newspapers.

    Forty-six per cent of those polled — had a “heavy reliance” on television for their news at all times of the day. This group is the oldest, with a median age of 52, and least affluent, with 43 percent unemployed. They are unlikely to own a computer or go online for news.

    Overall, among those who get some of their news on TV, less watch the 6:30 broadcast network newscasts, and instead opt for cable news sources such as CNN or Fox News Channel. Majority of CNN’s audience consists of Democrats — while 39 percent of Fox News viewers are Republicans, 33 percent Democrats.

    The group that relies most on the Internet for news is the youngest at a median age of 35. It is also the smallest, at 13 percent of those polled. Fewer than half of them watch television news on a regular basis.

    As per the survey, consumers of online news tend to be more educated than those who get their news from traditional sources, with 44 percent of college graduates say that they read news online every day. Just 11 percent of those who topped out with a high school education go online for news.

    The survey was conducted by Princeton Survey Research Associates International. It polled 3,615 adults 18 years or older by telephone between 30 April and 1 June.

  • ‘If there are large eyeballs to address with local content, we will do it’ : Sumantra Dutta – Star country head, Middle East, Africa and Pakistan

    ‘If there are large eyeballs to address with local content, we will do it’ : Sumantra Dutta – Star country head, Middle East, Africa and Pakistan

    Star is eyeing growth in Middle East, Pakistan and Africa. Which is why it has created the new post of country head for these three markets and appointed Sumantra Dutta, who has been in the News Corp family for 14 years, to take up this role from 1 July.

     

    Dutta rejoins Star from News Outdoor India (News Corp‘s out-of-home subsidiary), where he served as the company‘s managing director.

     

    Dutta was also involved in the FM radio start-up venture and successfully established Radio City as a strong brand with a revenue that fell just below market leader Radio Mirchi which had a seven-station presence compared with Star‘s four.

     

    Prior to this, Dutta led Star India‘s advertising sales and marketing teams.

     

    In an interview with Indiantelevision.com, Dutta talks of his new role and the company‘s growth plans in the three markets that he will spearhead.

     

    Excerpts:

    By creating the new post of a country head for Middle East, Africa and Pakistan, has Star identified these three as high growth markets?
    Middle East is emerging as the hot spot for growth. Pakistan is also expected to boom because of globalisation. Africa is an almost virgin market for us and there is scope in taking our channels to various countries there. The businesses in these three markets is under exploited. The task is to identify the opportunities, develop distribution, push ad sales.

    Will Star‘s effort include localising content for the Middle East market?
    India and the Middle East share similarities in TV content consumption. In India, Star Plus is the leader channel and the Star bouquet is very strong. The task is to aggressively grow the Star brand in the region. The need to develop connect with the larger audience base is always there. We will study the market and find the right profiling, language and content offering.

    Even Zee network had to experiment with local content for further growth. Is the advertising revenue skewed heavily towards local content?
    The television ad spend in Middle East is broadly in the region of $1.5 billion. The free-to-air (FTA) channels account for 90 per cent of the total ad pie and within this category, Arabic content gets the lion‘s share.

    So will Star get into local content with local partners?
    There is scope to grow ad revenues even within the pay-TV segment. The Middle East is booming – be it in real estate, tourism, or other areas of business. Star has clear plans in servicing the burgeoning demand in this market. If there are large eyeballs to address with local content, we will do it. But our first task is to study the market and identify the gaps.

    How challenging is the Middle East market to conquer?
    The challenges are similar to that of India. It is a highly competitive environment and has about 360 channels beaming into the region. The only differentiator is that media buying and planning is much more sophisticated in India. The idea is to put the learnings of this market in place in the Middle East.

    I have the added advantage of being associated with Star‘s start-up businesses. The size of the business is really in the opportunity that it throws open for the company to exploit

    Isn‘t the distribution scenario also a lot more different?
    Distribution is much more organised than in India. The region has DTH (direct-to-home) and FTA. In India, cable TV continues to be strong. The idea is to also find newer channels and revenue streams. The mobile telephony base, for instance, is big and Star has not tapped this segment.

    What is Star‘s strategy going to be in these three markets?
    It is too early for me to define that now. But we need to go into a higher growth trajectory. Faster, higher, stronger – that is the credo. We will play the same game but with more attitude. We will be growing the team – because you are only as good as your team. The idea is to go and knock the ball out of the park.

    Don‘t you feel that you are being continuously marginalised into businesses that are relatively smaller in size than what you were earlier handling being part of Star India‘s core team in the broadcasting arena?
    I have the added advantage of being associated with Star‘s start-up businesses. I moved from the high of television to the FM radio space. I was out not to just launch a FM radio station, but to kick-start the entire category. In the outdoor advertising business, the challenge was to bring respect to the category and get the local administration lease out long-term contracts. The size of the business is really in the opportunity that it throws open for the company to exploit.

    Since News Corp is globally getting out of the outdoor business, is the India part up for sale?
    I wouldn‘t like to comment on this.

    For somebody who has been associated with Star for such a long period, which are your most precious moments?
    The launching of Star News in 1998 and National Geographic Channel in 1999 were momentous events. But nothing beats the launch of the Amitabh Bachchan-hosted game show Kaun Banega Crorepati (KBC) in July 2000 as it changed the fortunes of Star in India.

  • ‘India is a dynamic and an absolute key market for us’ : Anne Barnard – BBC World Ltd. managing director

    ‘India is a dynamic and an absolute key market for us’ : Anne Barnard – BBC World Ltd. managing director

    BBC World News is positioning itself as a tri-media news service with presence in TV, online and mobile. Editorially, it is looking to deliver more live up-to-the minute news reporting, across a broader news agenda.

     

    Eyeing India as an important platform, BBC has set up its regional marketing centre in Mumbai to tap into Pakistan, Bangladesh, Sri Lanka and Nepal.

     

    In an interview with Indiantelevision.com’s Nasrin Sultana, BBC World Ltd. managing director Anne Barnard unveils the changes that news media organisations have to prepare for in the convergence era and talks about the company’s growth plans in India.

     

    Excerpts:

    In terms of audience reach and viewership, where would you place BBC World News?
    BBC World News has a global weekly television audience of 78 million, up from 76 million in 2006. It reaches 159 million full-time households, up 8 per cent from 2006, and 276 million total households globally. In terms of hotel-rooms, BBC World News has increased from 1.4 million to 1.6 million.

     

    On the mobile front, the channel is available on 34 platforms. Mobile is the fastest growing out-of-home platform for us. In India, we have inked content deal with six mobile service providers in India. The list includes BPL, MTNL, Airtel, Vodafone, Spice Telecom and Idea Cellular.

     

    BBC World News is also present in 42 airlines and 57 cruise ships. 29 million unique users (excluding the UK) visit BBC.com every month.

    Where is the audience growth coming from?
    Over the past five years there has been a 50 per cent increase in weekly European audiences and a growth of 25 per cent in Asian viewership.

    Where does BBC World News stand in terms of ad sales revenue?
    In ad sales, we have seen a 20 per cent growth and overall revenue has seen double digit growth.

    In terms of revenue, what kind of growth has Asia seen?
    In Asia, we have achieved a growth of 20 per cent.

    How much does subscription revenue contribute?
    We have recently launched two channels in India. We are in pay mode in India. The subscription revenue has just started to kicking in. Most of the channels in South Asia are largely free. In Southern Europe, we do not get subscription revenue at all.

    What are the key markets in Asia for BBC?
    From our commercial and advertsing point of view our key markets are India, Singapore, Hong Kong, and Japan. We see huge potential in the Korean market, especially with our online product.

    In Asia, we have achieved an ad sales growth of 20 per cent

    Why did you zero in Mumbai as your first regional marketing centre outside the UK?
    BBC World News wants to create a much more definite approach to new online and mobile products of BBC News and its consumers. India is a dynamic and an absolute key market for us. The regional centre in Mumbai will focus on the South Asian market.

    After the launch of the first regional marketing centre outside the UK, will there be any change to operations in South Asia?
    There will be key changes to the operations in South Asia, with a series of appointments for the regional marketing centre in Mumbai.

     

    BBC Global News will bring together BBC World Service radio, BBC World News television, the BBC’s international facing online news services and BBC Monitoring.

     

    All South Asian marketing, communications and audience insight (MC&A) activities will be managed from Mumbai. The Mumbai office will continue to service BBC World News’ MC&A needs in India, but will now additionally manage World Service’s extensive activities across the region, including Pakistan, Bangladesh, Sri Lanka, and Nepal.

     

    Vaishali Sharma has been promoted to head of marketing & communications, BBC Global News, South Asia.

     

    Dezma De Melo, who was previously head of audience insight for BBC World, has been promoted to head of audience insight, BBC Global News, South Asia.

     

    De Melo and Sharma will work across consumer and trade activities and will, for the first time, provide in-region support for World Service business development teams.

    Are you making any changes in your programming mix this year?
    BBC World News is now positioned itself as a tri-media news service, delivering international news and information across multiple platforms – TV, online and mobile. Editorially, BBC World News is looking to deliver more live up-to-the minute news reporting, across a broader news agenda. It will also focus on providing more in-depth news and debate, plus global and regional news, business and sports programming including the popular World News Today with Nik Gowing, and India Business Report which target the Indian market.

     

    We plan to expand our family of World News Today programmes from five hours, to seven hours a day. In July, a new World New Today programme with Mishal Husain will be launched. Our weekends will be focused on delivering topical lifestyle and documentary programming.

     

    A number of BBC programme seasons are also planned over the course of the year and will be broadcast across TV, radio and online.

    What about ad funded programming?
    It is the advertisers’ creation and ideas that we further push as a funded programming. But in all such cases, the editorial rests with us. Ad sales team does not impose upon any story on the editorial; they only suggest ideas. After we receive all the entries for the ad funded programming, we select only six programmes which suit our programming code.

    Which is your best ad funded programming?
    Our best is World Challenge sponsored by Shell. This year we will be in our fourth season. In the fourth season, we have teamed up with Newsweek and Shell for the World Challenge, to identify and reward people and groups that bring economic and social benefits to their local communities.

     

    This year each nomination must fall under one of the following categories: community welfare and enterprise; health and education; sustainable farming; energy; water and environment.
    A panel of judges will then shortlist the entries down to the 12 best examples of community-based projects or businesses.

     

    BBC World News will then produce six 30-minute programmes profiling the 12 finalists showing how their projects and businesses are changing lives. These programmes will be broadcast to the channel’s global audience in October and November, and the channel’s viewers will be invited to vote online for their favourite project or business.

     

    Last year a record 942 nominations were received from 99 countries worldwide. Winning project T’ikapapa – a Peruvian project set up to bridge the gap between Andean farmers and the potato market – was presented with a $20,000 grant from Shell to further develop their initiative.

    Would such programming have been possible for BBC to undertake without the ad fund support?
    No.

    With pressure coming from commercialisation, what are the changes that BBC News has gone through recently?
    There are no such pressures. Editorial and sales are two different entities.

     

    How do you position BBC World News in an Indian scenario where there is a mushrooming of popular local news channels?
    Our aim is to present a different and unique point of view. We do not want to put ourselves under pressure of becoming a market leader in India.

  • ‘Online consumption of content in India is more pervasive than we think it is’ : Kamal Gianchandani – BigFlicks COO

    ‘Online consumption of content in India is more pervasive than we think it is’ : Kamal Gianchandani – BigFlicks COO

     BigFlicks, Reliance Entertainment’s online film rental service, plans to invest $100 million over three years. The plan includes a strong offline presence as well. With 50 offline rental stores already dotting the landscape, the ramp up agenda includes 200 stores by the end of this year.

     

    In an interview with Indiantelevision.com’s Ashwin Pinto, BigFlicks COO Kamal Gianchandani talks about the company’s growth plans.

     

    Excerpts:

    What progress has BigFlicks made so far?
    We have over 1000 films on our online library. We have acquired TV content that runs into thousands of hours. We also have short form content. So the content part has grown exponentially. In terms of registrations which are free, we have 400,000 customers.

     

    We have done lakhs of streams. In terms of the rental business in India, we have reached 50 stores. We operate in 10 cities spread across Bangalore, Hyderabad, Indore, Ahmedabad and Pune.

    BigFlicks is investing $100 million over three years. Where will this mostly go?
    The key areas would be our rental service, followed by Video-on-Demand (VoD). We would also add community features as we go along. This will also take investments.

    What is the revenue model for BigFlicks?
    The model for the rental business is subscription. In VoD the model is two-fold. One can download films for a fee ranging from $2-$10. As we go along we will have ad revenue from free streaming. But it is too early to speak about revenue targets.

    What is BigFlicks’ USP vis-a-vis other film rental companies?
    We offer convenience, multiple access points. We offer stores in combination with an online service. Most competitors offer either online or offline. We offer both as an integrated service. Our presence is more pervasive. We have a call centre with a common number. Customers can also reach us through SMS. Typical mom and pop stores do not offer these multiple access points.

    What are the synergies that exist between Big Flicks and Reliance Entertainment’s other verticals?
    Some synergies are apparent. There is direct synergy with Big TV for instance. It offers VoD of limited titles. We have a broad spectrum of titles for VoD.

     

    Then there are synergies that are not so apparent and which are diverse. For instance in Delhi and Mumbai, Reliance Energy has a huge base of consumers who use the power that they supply. This offers us bundling opportunities.

     

    Which company in Reliance Entertainment acquires films for various platforms?
    We have a central acquisition team. They acquire films for all platforms and also make sure that each department’s interests are looked after. If, however, a title’s rights are broken up, then we will acquire it for VoD directly from the producer.

    Who are the major content owners that Big Flicks has deals with?
    We have deals with several parties. Shemaroo is one of them. We also have deals with smaller players. On the television side, we have deals with the likes of NDTV, Raj Television, Zoom. Most of them are revenue sharing deals. Some of them are also fixed amount deals. In our VoD business, we have over a thousand titles. For rental we have 15,000 titles.

    What strategy has BigFlicks followed to create awareness?
    In India we will be doing a 360 degree marketing campaign. This will encompass television, print, online, radio, outdoor. We will also look at alliances as we move forward.

     

    For the overseas markets, we have done a lot of search related marketing. We have done things like banner displays. We have also done alliances with services that target the same audience. We have tied up with Reliance India Calling Cards. They are big in the US which is also our main market abroad. We do a lot of marketing and promotional activities with them. On television, we have a tie up with below.tv. They are a broadband site that offers cricket subscription.

     

    We recently did a deal with Willow TV for the IPL. We also have a deal with Remit2India which is a Times of India Group company. They target NRIs who send money to India.

    When you talk about the online space, piracy is a big headache. How is Big Flicks approaching this challenge?
    We monitor this actively. We keep a track of the rights we have and we are vigilant. If a site is offering downloads of a film illegally, then we inform the producers and right owners. We let them take action against the concerned parties. BigFlicks also has DRM software to prevent illegal downloads.

    What trends have been noticed in terms of how films are consumed online?
    Films are the dominant form of online media consumption. They also offer repeat value. While we offer new titles that are popular, the older titles like Golmaal also get consumed a lot.

     

    What we are also seeing is that there is preference in consuming short form content which could be three minutes in duration. This is consumed when people are on the move or when they are in the home and wish to break the monotony. We have music videos and other kinds of short form content.

    Is the TG mainly the net savvy youth or do older people also go online?
    Our main TG is in the 18-35 year age bracket. People who are on the older side also visit, but they are a small portion.

    Could you give me examples of unique promotions that BigFlicks does?
    When we launched Jab We Met we had free streaming for 24 hours. We advertised this move. The reception was positive. We also did a Laughter Riot Week where comedies were showcased.

     

    We have weeks where we focus on an actor and we pull out all his films and put it for our users. Going forward, we will be doing interactive initiatives involving film stars. This could be in the form of contests.

    If you want to have business of a certain scale in India, then you need to be offline as well

    How is BigFlicks leveraging the online social networking phenomenon?
    We will be adding community features. The idea is to create more stickiness on the site. While consumers come to rent or watch streaming movies, they also have their need to express opinions.

     

    Some elements like reviews and ratings given to movies are already present. But web 2.0 features like having a forum, tagging are being introduced so that consumers will not feel the urge to jump onto another site to express their viewpoints.

    In terms of allowing people to transfer downloaded content to the mobile, what arrangement has been made to facilitate this?
    We already have the backend to support this. We are looking at doing this in the next three months.
    Why did Big Flicks feel the need for an offline presence in India?
    At the current level if you want to have business of a certain scale in India, then you need to be offline. If you are only an online player, then you will target a smaller segment.

    What were the logistical challenges faced in setting up stores?
    The biggest challenge is the lack of an organised delivery mechanism. The postal service and courier companies deliver goods one way. The return path, though, is complicated for them. We have had to hire delivery boys on our own. They have to be trained. Inventory has to be managed. We do not have an efficient third party solution yet in the country.

     

    We also have a customer relationship management (CRM) team that focusses on the consumer. They look at feedback, complaints and issues that customers raise. Our call centre is a part of it. In any case training is in the DNA of Reliance Entertainment. We constantly train our people and ensure that their skills get upgraded. This is an on-going process.

    How many stores will there be by the end of the year?
    We will have 200 stores by the end of the year. The first 50 stores are our own. The next 75 will be with Reliance World. We will do a shop-in-shop model.

     

    The remaining 75 will come through franchisees. We have received a lot of queries in this regard but we have not formulated a franchise plan as of now.

    The dynamics of the home video market are changing due to aggressive pricing. What is the strategy of BigFlicks in this regard?
    Aggressive pricing is good for the market as it encourages consumers to buy DVD players and consume more content at home. It also fights piracy. We focus on our quality of service.

     

    We want to aggregate as much content as possible. People want access to a huge catalogue in one place. Our monthly charge schemes are Rs 250, Rs 399 and Rs 499. There is no restriction on the number of DVDs one can take in a month and there is no time limit to return a DVD.

    What would be more popular in India – downloads or rentals?
    In the near to mid term, monthly rentals would be more popular. But the future lies in digital copies being downloaded.

    Will offline or online be more important down the line?
    Our main business will be online. The broadband bottleneck will have been broken by then. Already companies like Reliance and Tatas are working to achieve this goal.

     

    The offline space will become more of a customer acquisition point and more about customer relationship management. But servicing and watching films will happen more online.

    What have the learnings been from servicing consumers?
    Indian consumers want a dependable service. They do not just want a cheap service. At the same time, price elasticity is less in our business. Online consumption of content in India is more pervasive than we think it is. Eighty per cent of our members use the online service.

     

    Overseas, the phenomenon of the long tail is visible. People consume content that has been seen repeatedly. Niche content also has a lot of takers overseas.

    What kind of tie ups and alliances are you looking at in India?
    We are talking with DVD manufacturers. We are also talking with retail outlets for cross promotional tie ups. We will offer subscription as a bundle like when somebody buys DVDs or say a data card for the laptop which has a net connection, they get a monthly subscription. For a retail store if the customer’s billing reaches a certain amount, then he/she gets a monthly subscription from BigFlicks.
    Are you looking at acquiring companies operating in the home video space?
    At the moment we have nothing on the table. But if a suitable opportunity comes, we will look at it. It would depend on the strategic value that the other company brings to the table.

    In the US a film that does not fare too well in cinema halls, can recover the rest through home video, PPV and even make a profit. How far away are we from seeing this happen in India?
    In developed markets like the US, the home video business is bigger than theatrical. The cinema route is used to set up a film and build a brand. The money comes from other avenues like VoD, television rights, etc.

     

    In India we still depend heavily on theatrical revenues. I don’t see the situation changing drastically in the near term. But the home video segment is growing. The amount of revenue a film gets from theatres has come down to around 60 per cent from 80 per cent earlier.

     

    As entertainment economies get more mature, the trend globally is that people increasingly watch movies at home. A similar trend will happen in India.

  • ‘We look at the IPL as a business and a media investment’ : Hiren Pandit- GroupM ESP managing partner

    ‘We look at the IPL as a business and a media investment’ : Hiren Pandit- GroupM ESP managing partner

    Being a regional player in the media business, Deccan Chronicle saw an opportunity in IPL to grab the national platform in line with the company’s strategy to step into new markets. It bought the Hyderabad team franchise which was named as Deccan Chargers while GroupM ESP played the consultancy role.

     

    Indiantelevision.com’s Ashwin Pinto caught up with GroupM ESP managing partner Hiren Pandit to find out about the plans for IPL, its usefulness as a brand-building exercise and the progress that has been made so far.

     

    Excerpts:

    What progress has GroupM ESP made since launch?
    We work in the areas of entertainment, sports and partnerships. We have broken the entertainment business into two spaces – film and TV content. We have done over 250 hours of branded content programming on TV. One of them was for NGC’s Genius where we got in Lufthansa as a partner for that show.

     

    In the film space, we help with in-film placements and also with partnerships. We do 25-30 in-film placements and partnerships a year. We got Reebok involved with Goal. Reebok launched a range of Goal products in their stores.

     

    Another innovation was helping Virgin Mobile partner with Channel (V) for the first live movie shot. Richard Branson actually danced on stage. We also worked with the Johnny Walker Golf tournament. Now we are working on the IPL with our partner Deccan Chronicle. We act as a consultancy for them.

    What is the aim when you are providing solutions to clients?
    We look for long-term strategic solutions. It is about creating a consumer connect in an increasingly fragmented market. Consumers spend time on different things at the same time. The effectiveness of the 30-second spot is reducing. Spends are going towards non-traditional media. We need to be present in this space. We give clients solutions that are out of the box and go beyond conventional media buying. Media is anything that consumers relate with and our aim is to provide solutions to clients that consumers can relate to. The Goal deal was one such example.

     

    In the partnership space we have deals for content creation, sales. We partner companies with implementation capabilities. The thinking, planning is what we do. The implementation is sourced. We are looking at a partnership for the marketing of sporting events and sports products. We also work with production houses. We worked with Miditech for the NGC show. The client requirement is our priority. A partnership is driven by a client need.

    What role does the IPL play in the overall scheme of
    things?

    We look at the IPL as a business opportunity. The intention was to see if we could do something substantial in that space with a partner. Deccan Chronicle loved the idea. We helped them bid for the team, players, seating, corporate boxes. We believe that it is a team that we also own.

     

    There are two poles of thinking. Some feel that it will not work. We feel that it will work. It is already a $2 billion industry straight away. The industry has been created overnight. The way the top players come in shows that the boards back it strongly. IPL is about cricket first and then entertainment. You cannot let the two merge. If it does, then the event will not do well. The cricket element should not be touched. As long as the quality of that is high, everything will fall into place.

    How does IPL help Deccan Chronicle from a brand
    building perspective?

    It gives Deccan Chronicle a platform on the national stage. It has two editions – in Andhra Pradesh and Tamil Nadu. They are looking to launch in other markets. They are also looking at a business daily. The IPL gives them visibility across the nation.

     

    While Deccan Chargers is a separate business, it can be used as a platform to build awareness for Deccan Chronicle. Markets like Delhi and Jaipur will get to know of Deccan Chronicle through the IPL which otherwise would not have been possible. It makes it easier for them to enter new markets.

     

    At the same time they have put in a lot of money to get the team and we have to make sure they get their money back.

    What was the strategy you followed in bidding for
    Hyderabad and the players?

    Initially we wanted to launch two to three teams. However the IPL rules did not allow that. So we decided to have a franchise in either Hyderabad or Bangalore or Chennai. Hyderabad was our first priority. We did a lot of homework in terms of different revenue streams. We predicted the kind of revenue television would bring in. We also predicted local revenues.

     

    We were, thus, able to figure out the bidding range we should be at. There were other players like GMR who are Hyderabad-based and so we needed to ensure that we came out on top to keep them out of Hyderabad. We got what we wanted. As far as the team is concerned, it took us two weeks of work to form a strategy. We gave ourselves five options of teams each of which were unique by themselves. They took into account the IPL rules as well as the local talent available in Orissa, Hyderabad and Andhra Pradesh.

     

    There was $5 million available. $17 million was the total base bid price of all players. Since the total purse that could be spent was $40 million, $23 million was the possible variation. We listed what we believed players would be bought at. Some players were given at 25 per cent or 50 per cent or 80 per cent depending on their availability to play. So you had more money to play with. VVS Laxman was graceful enough not to take icon status so that we would have more money. We followed a batting order process to select players we wanted. Some players were got reasonably but we did not overprice ourselves with any player.

     

    We looked at it from a T20 perspective. We wanted players who can bat up and down the order like Afridi. Gibbs can also do the same. Gilchrist has a dual role of a batsman and wicketkeeper. Symonds is also a match winner.

     

    Ladbrokes has rated us as one of the top teams to win the IPL. The onus is for the players to make sure it happens. The job of delivering a good side has been done. It is now a question of on-field delivery.

    Could you talk about the team’s positioning?
    The name of the team is Deccan chargers. We are not a team of stars. We are a unit and this needs to come across. We are there to play hard and win. We do not want superstars. We want players who will operate as a team. We are a bunch of individuals playing as a team. Deccan Chargers are all about Deccan. Hyderabad Deccan is associated with royalty. The charging bull, red eye, gold colour all stand for certain attributes.

    What plans are there to attract women and children?
    We have certain plans. One of them is a school programme. In the stadium, we are looking to create a family enclosure so that women can come. We had thought about having a women’s only enclosure but that may be some time way. We are trying to create a family entertainment atmosphere. You need to make it pleasurable outing for the family. The venue has to be comfortable.

     

    We started communicating with people from the day that we got the Hyderabad franchise. We ran an ad asking what people would want the team to comprise of. The build up started from there. We are doing activities in malls and multiplexes in Hyderabad. We have made a huge bat so that people can sign wishing the team good luck.

    What about creating a fan base? How long will it take
    to create one like say a Manchester United following?

    It will take at least two to three years. This is our second task. We need to make sure that fans know that it is a privilege for us to be associated with them. This year time has been too short to start the process of building a fan base. The only fan following we have as of now is on our website where half the hits come from the US.

     

    They already want a T-Shirt and so build up is happening. We are looking at privileged dinners, special ticketing offers, T-shirts, player interaction as time goes by. People at the moment are not used to a city-based team that has players from different loyalties. That connection has to be built up by the franchisees. Today fans relate to cricket with the country but over time people will root for their city. They will believe that an Andrew Symonds can play with VVS Laxman in the same time. This is when fans will start to bond with teams.

    IPL gives Deccan Chronicle a platform on the national stage. It makes it easier for them to enter new markets

    How is the team doing in terms of sponsorships?
    We have structured our deals differently from other franchises. Everybody is selling logos on T-shirts – front and back.

     

    We will have a team partner. That partner will have ownership of the team. The logos on the team will go to the partner.

     

    The second partner is entertainment. Anything to do with entertainment from cheerleaders to fours and sixes hit goes to that party. The third partner is the performance partner. This is for things like man of the match, six sixes in an over etc. Then there is a partner for pre game entertainment. The fifth partner is the apparel partner. Each association is distinct and has clear value. We do not want to be like a F1 car.

     

    The entertainment partner has to be related to entertainment. The performance partner has to be known for performance. Otherwise you mix things and brands get associated with things that do not fit with what they stand for. We have structured our partnerships so that we leverage the value. We will announce deals in this regard next week, as that is when our players will be together.

     

    Since we are a newspaper we advertise in it. Other teams would have to buy ads. SRK uses the PR route and has also tied up with Telegraph locally. Our media costs come down since we are a media owner. We look at the IPL as a business and a media investment. If someone is losing money it could be that he is using it as an investment for his own benefit. In this case you need to look at it as a media investment and not as a revenue opportunity.

     

    If you treat it as a business you can make money in the first three years. In three years we expect to make money and it could be for our pocket and also for media investment opportunities.

    One of the challenges is to keep the brand alive after
    the event ends. What plans does Hyderabad have?

    It is not just about a fan base for us. It is also about giving back to cricket. Deccan Chronicle wants to be associated with cricket at the grassroots level. We will start coaching camps, academies. Our partners will also be involved here. This is the difference between just being a sponsor and being a partner.

     

    Our involvement with cricket is not just about IPL. We will tie up with the Hyderabad Cricket Association, Orissa Cricket Association to see how we can get involved with their tournaments and bring value. We are also looking to get involved with other sports.

    What about taking the team abroad for matches?
    That might be an option as long as the sanctity of the on field play is not compromised. If it is a charity game for instance, then it has to be clear.

    If a team fares poorly in the IPL and finishes eighth,
    will the franchise suffer?

    It depends on the quality of play. If the matches were close and hard fought, then fans will not mind. If, however, the team consistently played badly and failed to compete, then not only will the fans ask questions but so too will the sponsors. It will also be a challenge to fill up the stadium as you go forward. There will be a chain reaction.

     

    As far as players are concerned, if one plays badly then the news will travel and the player will be dropped. It is about delivery. A lot of money has exchanged hands on account of expectations. The effort needs to be put in.

    What on-air and mobile plans do you have?
    Our site is already up and running. There are lots of forums and debates. On the mobile we will look at it in terms of ticketing and SMS. But the real fun will come when 3G applications come in and they will impact how people view cricket. This will be in the form of streaming video.
    What about tying up with channels for content related
    to the Hyderabad team?

    We are in talks with channels that want to do off-cricket coverage of our team. We will do this in conjunction with our players.
    With the IPL trying to attract women and children, do you see this helping other forms of the game in expanding the viewer base?
    I don’t see it affecting test cricket. It might help ODIs after a period of time. T20 means a faster rate of scoring which will be transferred to ODIs. If you score six to seven an over in T20, you will see the same rate in ODIs. When a lot of action is going on in terms of high scoring, we have noticed that more women tune in.
     

    On the negative side the kind of stroke play that takes place should not deviate from what quality cricket is. Technique should not suffer due to T20.

    GroupM ESP also has a tie up with John Abraham. What
    is the nature of this deal?

    We have got into the celebrity endorsement and management space. We look after his sponsorships and endorsements. We are looking at other celebrities. The celebrity space has blown apart with Dhoni and Yuvraj and MGs (minimum guarantees) being the norm. We are not sure about taking that route.
     

    The celebrity management space is different in India. Abroad, companies manage this sphere. In India, though, individuals manage it. The Indian model must evolve. There is no valuation process in place to see if the return on investments are good. It has to be a win-win situation between the celebrity and the client. Right now, this is a cluttered space.

     

    The brands that John has endorsed like ESPN and Wrangler stand for values that fit John. You need to keep in mind the sentimental values of individuals. Many celebrities, though, endorse brands where there is no fit. The association is unreal and nobody believes it. Consumers are not dumb.

    How do cricket and Bollywood stack up against each
    other?

    Celebrities have to be careful about the brands they endorse. If they make a mistake, then they pull their own brand value down. Bollywood is less risky. If an actor has a flop, his value does not go down. If a cricketer, however, gets dropped from the national side, there is a huge difference. Brands that he is endorsing will not get full value. The young cricketers are coming in at scary price points. I am not sure how many brands can afford them. If he is not in the team six months later due to in injury, the
    brand is in trouble. The valuation equation should make sense.
  • BBC’s teen brand Switch launches new content

    BBC’s teen brand Switch launches new content

    MUMBAI: BBC’s teen brand BBC Switch has announced a raft of new content aimed at 12 to 17-year-olds, across TV and online at bbc.co.uk/switch.

    The first programme to launch in late March/early April on BBC Two will be The Surgery. The remaining content will launch on BBC Two in May.

    New teen talk show The Surgery will be a series of 15-minute programmes linked to BBC Radio 1’s The Surgery, giving British teenagers a voice. The show, hosted by new signing Jeff Leach, will deal with an assortment of topical issues facing teens such as dating, family, social networking, ASBOs, fashion, drinking and drugs, body image, celebs, politics and more.

    Each week, Jeff will have an open and challenging discussion with the teen studio audience, with weekly contributions from teens across the UK. The Surgery will also have a dedicated section on bbc.co.uk/switch, which offers expert advice and practical information.

    Class of 2008 is an observational documentary series that follows six up-and-coming young talented people in London on their creative journeys as they strive to establish themselves as successes in their fields of fashion, music, design, acting, DJing and entrepreneurship.

    The eight-episode series will follow the group and their ups and downs as they try to land record deals, modelling contracts, acting roles, show fashion collections and launch club nights.

    Revealed will be a journalism series of current affairs programmes that give an authentic depiction of the teenage world in the UK today. The show, presented by young journalists Charlotte Ashton and Anthony Baxter, will inform and lead viewers on a journey to make sense of a variety of subjects such as teen alienation, gangs, family life, sex, school and more.

    Kyle XY is a teen drama from the US which will air for the first time on UK terrestrial TV. The show tells the story of a unique teenage boy Kyle, played by Matt Dallas, who has a mysterious past and the family that takes him in.

    Launched in October 2007, BBC Switch is the BBC’s teen service delivering content to 12 to 17-year-olds across multiple platforms, TV, Radio 1 and online.

  • ‘Once digitalisation happens, let a thousand channels come’ – Sameer Nair

    ‘Once digitalisation happens, let a thousand channels come’ – Sameer Nair

    Concluding our three-part series of interviews looking at the year that was and on into 2008, we turn the spotlight on NDTV Imagine CEO Sameer Nair.  In a candid chat with Indiantelevision.com, the former Star Entertainment India CEO offers his take on the entertainment industry, why he feels the TV industry needs a kick up, the importance of not just ambling along, and the potential that 2008 offers.

    What were the key points of reference which defined 2007? One would be for you personally and also if you could offer a sense of where the industry is in general?
    Well, I left Star TV, in which I was working for about 13 years. But I think 2007 opened on a good note because we did KBC with Shah Rukh Khan and so I thought that was a good swansong of sorts for me. We also got Gajendra Singh from Zee to Star. He was with Zee for I think 16 years and so this was something equally dramatic.

    So those were the last good things to do at Star. On a personal level it was of course moving on and setting up a whole new company, a whole new business and preparing for the launch of a new channel.

    2007 basically marked preparation for 2008?
    Yes! As you can see, it’s been all the pre-production and production. And now we get ready for release. So it’s been a lot of that kind of hard work. It’s been about team building… It’s been about company building. It was about resource building and also financial resource building and putting it all together.
    I think by the time indiantelevision.com puts up this interview we will have over 132 people, which is I think a good collection of people across all disciplines.

    What were the positives that came out of this year?
    One positive of course is there seems to be a lot of interest in all things media, in all things entertainment. So there have obviously been so many more players entering the market, so much more money being put into the market.
    So that’s obviously a good thing, industry per se. I think a lot of people have announced or started new ventures, which shows that there is obviously place for growth and a place for new players to get into.
    There is some level of consolidation, there is some increased activity of international participation in local business. The movie business has gone through the roof.

    But was it a good year for the business?
    2007 was an interesting year because it, in my mind, remains a sort of a question mark. It will get resolved in years to come as to whether it was a good year or not. But right now everything is too close, so I mean this was the year where millions of dollars were pumped into the system. You know prices went through the roof, newer and newer players getting into it, each man with bigger and bigger claims and promises. Nobody talks the normal figures anymore.
    Everything is in a super inflated scenario. It’s like the wire where the string is really stretched. So whether it will be good or bad, it is hard to say now. Currently, everyone is into this valuation zone and everyone seems to be so rich.

    The rollout of digital cable, which was supposed to proceed in a particular manner, did not go the way it ideally should have. Your views on this?
    That is hardly a surprise. There was always this issue about how it would roll out and if it would be mandatory or voluntary. How does it all work? It didn’t really come as a surprise that it didn’t happen in A or B or C manner.

    So effectively nothing of any real note happened?
    No! There was no landmark legislation that occurred, there was no landmark regulation that occurred, there was no landmark activity. I don’t really think that there has been any major change. The world has not undergone a digital revolution, nor a mobile one. On television, some shows are doing better than others. The gap between Star and Zee narrowed, Zee came within a whisker of Star, than it again fell back. Now it is again coming back pretty much as per calculations. But there was nothing outstanding. It was straightforward.

    But for the industry in terms of sports, a lot happened.
    Sports was an interesting thing that happened. That was pretty good if you look at the high priced acquisition of the ICC rights (by ESPN Star for $ 1.1 billion).

    It is not looking so high-priced now because T-20 was not a factor in that purchase and now it’s there as a very high value part of the ICC rights.
    T-20 is the best thing that happened to Indian cricket. It completely re-energised sport and completely reignited interest in it. Now between ICL and IPL, it has really brought the sport back. But the price points, because there is no distribution revenue in this model of note, is not robust at all.

    The lament is that distribution channels are clogged and yet we have all these channels launching? Isn’t that a big contradiction?
    Well distribution and then everything that will happen as a result. Some people look at this business and they say that, ‘Oh so many new players are launching, there is no space.’ On the one hand we talk about how the market is growing, the media sector is growing. The other version is that it is growing but there is no space for new players, which is actually the exact opposite of growth. You know its like saying that the movie industry is growing but let’s any not make any more movies.
    They are completely contradictory terms. So once digitalisation happens, whichever version they choose to refer it by, I’d say let a thousand channels come. Because water finds it own level, and people decide what they want to see, when they want to see, how they want to see and what they want to pay for and it all sorts out in the end.
    But saying let not a thousand channels come, is not progress at all. It does not mark progress for consumers, or for operators. or for anyone as a matter of fact.
    What the TV business needs is one nice kick in the butt, like the telecom business got. This is what will help it really surge forward. So far it has been sort of ambling along.

    Everybody is expecting that Reliance will give that kick. Reliance is launching DTH this year, Bharti is launching.
    This is why 2008 will be a year to write home about. We hope that 2008 will be the year for the industry to really surge forward and make that big leap forward.

    Each year we talk of the big leap forward, but it’s not happened. 2004, 2005, 2006. You know few things occurred here and there, like suddenly in 2006 the cricket purchase was big. But the rest of the industry didn’t keep up. The whole $ 612 million price point (by Nimbus) was based on some assumptions, and those assumptions didn’t really come through.

    The fact is that all of business is predicated over some basic parameters, which is that people will go to movies, people will buy movie tickets. People will pay their cable bills. Advertisers do need to reach to consumers and they will buy advertising. That’s basic, and our problem is that we don’t have this in the TV part of the business. We don’t have this one little basic matter about people will pay their cable bills which will then be passed on. So it leaves a lot of things in the air when you talk about the television business.

    You are talking about pricing, subscription?
    It is already priced. Subscription is priced. But when you try and compare talk time, in the telecom context to TV, that doesn’t really work. Because the input cost on TV for example is not talk, it is real cash. If people play cricket, make movies, shows, that is like a real cost. It is not talk time. So when you say that every home will pay Rs 5 per month for a channel to see movies and serials, at some point the mathematics are not going to add up. So it is just that these things will get sorted out as it goes along. As more players get into it I think that the industry itself will sort it out.

    But there is also the theory that the government will not allow the market to determine costs of TV (and cricket) because other forms of entertainment are becoming too expensive for too many. Multiplexes for example are out of reach for many. So there is only TV. This would mean that tomorrow the IPL will be termed as being of national importance and will become free to view.
    You must note that there is no such thing as a free lunch ever, so somebody has to pay the bill. What’s been happening in the last so many years is that the advertisers have been paying the bill. The advertiser is the ultimate God who is paying for everybody’s lunch.

    Currently there is a combination of private equity money and advertisers who are footing the bill. But eventually, the bill will have to be paid by the consumers, who consume content in whatever manner or the price points will have to come down. So either all the price points return to normalcy by which the market settles and everything will sort, or you will have to pay the bill.
    Anywhere in the world in a mature TV / entertainment business, you have the twin model (advertising / subscription). That’s the way the business works. For us, it’s always been immature, fully lopsided towards the one side. Do you know any other market which boasts of 300-400 channels which are all essentially ad supported because distribution as a model is all over the place.
    You go to any other country where it is supported this way, you will find 5-10-15 channels. So that’s something which has to be sorted. It is not like players have to think that India is unique. And I think this has to happen.

    It is just a functional evaluation. This is what it needs, that leap forward. The input cost is going through the roof, return is coming down, and for the majors it is flattening their margins.
    For others what would the plan be then? So that, I think that has to happen and as they see that as the defining moment. Whether you define a moment or the moment defines you, in any case the industry will have to define the way forward. Whether it is collective or individual, something has to happen.

    That is exactly the contradiction in this. But it needs resolution. Otherwise a lot of these contradictions can co-exist for a long time. Things can go round and round and circle and circle without imploding or exploding.

    Something has to give?
    Over the last 6-8 months, and with the spate of these new announcements, there has been more addition into the TV space. This is obviously going to create an enormous amount of pressure on the current infrastructure. Obviously we are all new, we wish to make a mark for ourselves, so everyone will do things to try and make a good impression. There will be the existing players, who will obviously look to protect their turf.

    But it is at an interesting point because there is pressure on the system. Now this has never happened before, that there have suddenly been so much, forget new channels, so many new platforms that are all coming at the same time. There is this huge interest in the movie business all of a sudden. In the last year and a half all that has happened.

    Screens are opening up…
    Screens are opening up, It’s happening. So, as the pressure increases, obviously people will find newer and newer ways to do things. New minds enter into it, lots of different people, younger people, coming out with even cleverer ideas. It has to go through a change.

    So 2008 has a lot of potential?
    We hope, though these predictions have been made many times in the past and have sorely let you down. But 2008 seems to have a better chance than most years to make a real impact.

  • BBC invites pitches for youth shows in UK

    MUMBAI: Finding original drama for a younger audience remains an ambition for UK pubcaster the BBC. It has invited a range of in-house and independent production companies to pitch two series for young audiences to be broadcast on BBC Three and BBC Switch in the UK.

    The shows will air in 2009 and have a fully integrated multimedia campaign to run alongside the series.

    BBC Three controller Danny Cohen says, “Building loyalty with young viewers is crucial to BBC Three. Developing a slate of returnable, authentic and youthful drama can play a vital role in this.”

    BBC Switch controller Andy Parfit says, “BBC Switch is a distinctive offer for UK teenagers across BBC Radio, TV and on the web. Producing originated British drama for this audience is key for us and I welcome the opportunity to work with Danny on this important collaboration.”

    The series will follow in the footsteps of other recently-commissioned dramas which will include Spooks Liberty, P.A.s and Things I Haven’t Told You.

  • ‘Teenage audiences are hard fish to catch’ : Orion Ross- Turner Entertainment VP creative and original content

    ‘Teenage audiences are hard fish to catch’ : Orion Ross- Turner Entertainment VP creative and original content

    Turner is looking to take localisation efforts for its kids channels to the next level. It has announced a slew of five locally produced shows which will air on Pogo while two will be on Cartoon Network.

    Turner also wants to expand associations with more local production houses as the talent pool in India is huge.

    Indiantelevision.com’s Ashwin Pinto caught up with Turner Entertainment VP creative and original content Orion Ross to find out more about Turner’s plans in India.

    Excerpts:

    The aim this year is to take local efforts to the next level. How is this being done?
    We are building on the successes that we have had over the past few years. We are trying to do more shows. We started in 2004 with 50 hours of original production on Pogo. We have built it steadily every year. Today we have reached critical mass where we are able to announce the launch of seven shows. This is an exciting milestone for us as what was a trickle earlier turned into a stream and then a flood.

     

    What is the ratio between international and locally produced content that you are looking at?
    It is important to have a strong variety. Krishna works as does Harry Potter. Tom and Jerry works as does M.A.D. I don’t want to talk about percentages but conceptually it is a mixture of both on the channels.

    We are putting Ben 10 into the premiere 6 pm slot on Cartoon Network. This is the after school must see TV slot. M.A.D. and Skatoony are on Sunday mornings.

    I don’t think that the number of hours is an important metric. What matters is what are the key destinations that people know your channel for? What are the flagships of your brand?

    Pogo has to have Harry Potter and M.A.D. These are the two pillars of the brand. Cartoon Network has to have Krishna and Ben 10.

    Could you shed light on the production values and budgets of these shows?
    I can’t talk about budgets. However, we probably spend more on M.A.D. than what channels might spend on a throwaway soap opera. This is because we want M.A.D. to be repeatable.

    It repeats really well. In the first season we found that the repeat episodes had more ratings than the premiere. So M.A.D. has built up its audience. We invested a lot into this production to ensure that each episode has a lot of content. It takes more time to shoot. It has to be well researched.

    Before every series we do a full workshop where we go and try out 20 theme ideas. We build all the stuff to see what it looks like. So before we go into production we make sure that it will actually work. Our per half hour cost is pretty high. Ben 10, for instance, is a combination of an international style with anime touches.

    Is Turner looking at taking a stake in an Indian production company?
    We are happy with how things are working out for us. We get to pick the right production company for a project. We want to start with the idea and then follow it wherever it takes us.

    There are some companies that are better suited to some ideas than to others. We like the flexibility of being able to pick a la carte.

    With which Indian production houses does Turner have tie ups with?
    Miditech has done a couple of shows with us including Galli Galli Sim Sim. We are working with Endemol India on the finale of the Pogo Amazing Kids Awards. Contiloe is doing Cumballa Investigation Agency. DJ Creations is doing Sunaaina for us.

    We are also really happy to be working with Siddhartha Basu and Synergy Adlabs on FAQ. For the science show they bring a lot of expertise to actually making educational science shows.

    Before you give the go ahead to a local concept, what are the key things you look for?
    We look for a show that has never been done before in a certain manner – something that is innovative and will connect with our audiences. We have a close relationship with our audience in terms of research and focus groups. We do a lot of studies like New Generations to try and really understand what kids do all day, and what is really important to them.

    We talk to mothers. We get a lot of mail. So we are informed by all of this. What we would do from a local concept point of view is that when someone comes to us with an idea, we ask is it right for the channels? Does it fit our brand? Is it positive, optimistic, of global standard, and off-centre?

    We want everything we make in India to be world class. M.A.D. is a show that can be comfortably compared to any kids show on any channel anywhere in the world. If we get a good idea, it turns into a creative development process. This is about finding the right writers, production company, right graphic designers if required, the right people to build game show mechanisms. Every show has a different kind of gestation process.

    You mentioned the importance of innovation. Could you give examples of this from the new slate?
    Cumballa Investigation Agency is a mystery whodunit show. There has not been a kids show like this one – five kids solving mysteries. People look at kids television and throw in a lot of magical stuff like magic lamps. They tend to have genies. While there is a place for that, the thing about our show is that it is more hard-hitting and naturalistic. An idea earlier one was that an alien would arrive.

    But we decided against doing X-Files kind of show. We are not going to do magic lamps, genies. This show takes kids and mystery solving more seriously.

    This doesn’t make it any less exciting. There are still these quirky stories that happen. While we like to have a lot of fun, Pogo takes its audience seriously. We never talk down to kids. We figure that it is better to treat kids a little bit older than they are – as opposed to the other way around.

    The worst thing you can do is talk to a 14-year-old like an eight year old. It is always better to err on the side of being too smart.

    As far as M.A.D. is concerned, people have been doing arts and crafts shows on children’s television for five decades. However, nobody has done it in the way that Rob has. He has brought a lot to the table in terms of his own take on things. Nobody has incorporated music, art and dance together. The idea that every show has a dance number is very Indian.

    M.A.D. is an Indian take on the format. It hasn’t been tried anywhere else in the world but it works well here. With Skatoony for the first time you have kids and cartoons in one show.

    Skatoony is a unique concept in that it fuses live action and animation. How does this work?
    We shoot the game show round first with the kids. It is pretty straightforward to work with from a production standpoint. It is real game play and the kids are competing. All the questions are written in advance. We have cartoons on the set. There is some post production work involved.

    Galli Galli Sim Sim looks to strike a balance between entertainment and education. Is this going to be an important focus area for you going forward?
    Yes! The second season has just kicked off. We are committed to the project for five years. It is an ambitious project about getting an educational message to pre-schoolers out onto as many platforms as possible. It is on Cartoon Network, Pogo, DD.

    We also have an outreach programme so that it even travels to places where people do not have television. It is a different project form your regular TV show. It is about benefiting all kids and making pre-schoolers better prepared for school and life.

    It is a challenge to reach all kids with one show. There are many diverse socio-economic backgrounds. But the thing about this show is that despite the gritty message, it is also a lot of fun. It has to be both educational and entertaining at the same time. Otherwise, neither mission works.

    Will locally produced shows also travel to other markets like the US?
    The format of M.A.D. can travel. Cumballa Investigation Agency is a format that can work really well. We will launch our local animation projects in the future. Those will also travel well overseas.

    Does localisation play an important role across Asia?
    Our focus is on animation in the other Asian markets. We are looking at doing Skatoony in other markets. It is a good way to get kids closer to the Cartoon Network brand. We have an animation development programme across Asia.

    So we are doing animation series in Thailand, Australia, Taiwan, Korea, Japan and Hong Kong. We focus on animation across the region as there is so much talent. We also feel that if there is a really funny guy in say Thailand who comes up with a cartoon, then it will travel really well. We have a lot of shows in the early development stages.

    How much of your revenue goes back into original productions?
    I cannot talk about numbers. However, original productions are not cheap to do. The money does not come out of some magic box. It is based on the expectation that it will drive our business.

    Are you also looking at making original films?
    We are looking at some long form projects on Pogo like having a movie-of-the-month kind of concept. We wouldn’t rule out making films.

    Our focus is on animation in the other Asian markets. It is a good way to get kids closer to the Cartoon Network brand. We have an animation development programme across Asia

    How do you see the kids genre evolving over the next couple of years in India?
    In India, the situation is acute in that kids are watching what grown ups watch. 85 per cent of kids viewing in the age group of 4-14 goes on to non kids channels. Obviously, the 15 per cent that we get can grow.

    As the market matures and with the different players in the kids market working together, we can grow the genre. That is why we welcome competition. Having investment and attention focussed on this sector not just by us but also by other players will benefit everybody in the long run.

    One challenge is that with youth channels now launching, the upper age of your audiences may migrate. How do you see things panning out?
    I know that one of these channels is planning to send their fans into space. 35 per cent of our audience is over 14 years of age. But our core audience is still 4-14 years. We think that teenage audiences are very hard to capture. They are constantly on the move. Music channels are finding out just how tough it is to capture this audience.

    Teens watch less television. They are more engaged with doing other activities. They socialise more. Their studies become more intense. They have less time for entertainment. So good luck to channels chasing this audience segment. They are very hard fish to catch. They will not necessarily sit and watch a linear network.

    What plans do you have to exploit new media platforms?
    As broadband penetration grows in the country, more content will become available online through streaming. Our on demand services will grow.

    We already have a number of mobile content deals. Short cartoons are a perfect packet for the mobile. Sending a fan a sentimental cartoon on his/her mobile is a great way to forge closer connect. It is important for us to get people to experience our brands in as many ways as possible.

    But it is not just high tech stuff. Our theme parks are coming up outside Delhi. This is another platform. With M.A.D. we have a publishing deal. Fans can get books and learn how Rob does all his stuff.

     

    When is the theme park coming up and are attractions modelled after characters and shows like what Disney is doing?
    The Pogo park is launching early next year. There will be attractions based on shows. Disney is the grand daddy of all theme parks. Our parks will be a little bit different, but fans will experience our brands up close and personal in this environment.