Tag: TV

  • ‘In India, we want games to be the prime reason why people buy PCs’ : Quentin Staes-Polet – Kreeda Games CEO and co-founder

    ‘In India, we want games to be the prime reason why people buy PCs’ : Quentin Staes-Polet – Kreeda Games CEO and co-founder

    Quentin Staes-Polet is the CEO and co-founder of Kreeda Games, one of the first Indian internet companies dedicated to massively multiplayer online gaming (MMOG). The company received its first round of funding in March 2007 from US based IDG Ventures and Japan’s Softbank.

    Kreeda’s flagship Bollywood music and dance game Dance Mela (The Carnival of Dance) recently made it to the Changemakers gaming honours and according to Quentin, it managed to do so because it successfully merged fitness and entertainment into a deeply localized game for India.

    In an interview with Indiantelevision.com’s Arcopol Chaudhuri, Quentin talks about the opportunities, challenges and gives his perspective on the larger gaming industry in India, which is beginning to gradually stand-up on its own feet.

    Excerpts:

    Your first round of funding took place in March. When is the next round likely to take place?
    Well, I cannot share that with you, but it’s not anytime soon. We’re quite satisfied with the way things are going at the moment. Corporate interest in the gaming business is increasing, not just in India, but globally as well.

    The gaming industry in India is still at a nascent stage. How is Kreeda combating alternate entertainment options like TV and cinema in this phase?
    Gaming is the TV of the future. And there’s online gaming as well. With the bandwidth increasing, we see a lot of interactivity coming in. Although India is still a couple of years away from where we can get healthy bandwidths, we see the combat happening slowly and surely.

    What’s the current size of the current gaming industry in India?
    The Indian gaming market is very very small. Currently it is evaluated at about $5 million. Nobody really knows the exact size and there are various numbers floating around. It is estimated to reach $200 million by 2010.

    But frankly, I wouldn’t bet on any of the numbers. Because a lot of these numbers are part of revenues paid to companies outside India.

    Has the gaming industry woken up to in-game advertising?
    We’re one of the first few companies to have deployed in-game advertising. I can’t tell you which brands are advertising, but the good news is we have the necessary technology to incorporate it into our games.

    What are the advantages it offers to advertisers compared to conventional mediums?
    In-game advertising is a much better media for advertising than TV because the user involvement is so high and it allows for content integration. It’s not interruptive nor is it intrusive. Customization features are high and I can even make it the sole reason why the user is playing it.

    What about measurability? How is Dance Mela a valuable proposition for an advertiser?
    Indeed, the best part is the measurability it offers. For online and mobile games at least, the advertiser comes to know exactly how many users are interacting with his brand and what demographic do they comprise. Being an immersive medium, it offers much more promise to the advertiser.

    There’s a notion that a gamer is too immersed in the game to actually notice brands in the background?
    Well, I’d beg to differ on that. Ad avoidance is high on TV too. Unless of course, you customize the branding to the gamer. The idea is to create intelligent clickable opportunities for the advertiser. For example, I create a shop inside my game where the user can buy branded accessories which helps him improvise his gameplay.

    What revenue model is likely to work in a market like India?
    For us, I think subscription model is a little early in India. A game where there is no entry level fee, can be monetized at whatever the gamer is willing to give – his disposable income, in this case.

    What offerings has Kreeda lined up, post Dance Mela?
    We are looking to release 3-4 games a year. Dance Mela will be our flagship product for the next few months. The strategy is to pick up successful games from abroad and localize them for India. We’ll be looking at sports games, adventure games and games which are easily adaptable to Indian cultural milieu.

    How challenging was it to localize Dance Mela?
    Bollywood and dance are two themes that are very strong in India. This helped us get in new gamers, especially females. Dance is a strong theme – we couldn’t have had Korean dancing, Chinese – dance has its own identity and Dance Mela is, therefore, the most localized game in this world. It is the deepest example of localization in any country. We devoted about eight months putting into place the characters, dance steps, clothes, sets and music for Dance Mela.

    So is that what your strategy going to be from now on? Licensing them from abroad or developing games in-house?
    Actually a high-end game takes about two years to launch. But we licensed the game from China and then localized it for India, fine tuning several aspects of the game for the Indian gaming audience. It’s easier and more sensible to do this, for a market like India and the returns involved.

    Why aren’t you developing games in-house?
    As long as the gaming market crystallizes in India, we don’t see developing games ourselves. The costs are anything between $3 million-$15 million, which makes no sense in a market that is emerging. As the market matures, we would look at developing our own games. India is a unique market and there is vast potential for developing games specifically targeted towards Indian gamers. We will do it eventually, but only when the market justifies the cost and effort involved.

    Our strategy is to pick up successful games from abroad and localize them for India
    How much are existing international gaming majors like EA a challenge to your business in India?
    The gaming majors are not a challenge at all. They cater to a hardcore gaming audience – people whom we at Kreeda are not after. Of course, we would love it if they played Dance mela as well, but then to be a successful gaming company in India, you need to think 100 times that number. You compare that to the projected $200 million and you think it’s not going to happen.

    Look at China – the country jumped from zero to $1.5 billion in a period of seven years. In 1999-2000, China was no different than India in terms of internet connectivity and PC penetration, amongst other things.

    So what according to you is going to be a compelling reason for people to take up gaming?
    In US and China, the reason for PC penetration has been the perks it offers in the form of broadband connectivity, softwares and games. In India, as a gaming company, we want games to be the prime reason why people buy PCs. Gaming should be the driver of PC penetration in India.

    What’s the audience strategy for Kreeda right now – converting existing gaming population to Dance Mela or wooing a fresh audience base?
    We would be looking to convert them of course, but that’s not an audience we’ll be banking on in the long term. Currently there is a gaming population of 50,000 to 60,000 in India today, we look to expanding that to 2-4 million in the next few years.

    Which genre is going to be the catalyst for growth in this sector – mobile, console, PC, online gaming?
    Well, I think its going to be across genres. Console gaming will offer premium experience and will contribute a larger share to the gaming revenue. Meanwhile, mobile gaming already has the advantage of a huge user base which is waiting to be aggressively tapped once connectivity issues are resolved. But the PC and online gaming scene is most promising since penetration in both broadband and PCs is showing rapid growth.

    How much have perceptions towards gaming been a challenge in India? Violent actions packed games are a strict no-no, if academic opinion is to be believed?
    Perceptions, of course, matter but as of now that’s not a cause for concern for us, since Dance Mela is not a violent game. There is moderation involved and we make sure that there is no abuse in any form. For the gaming industry right now, there are many more issues much more than perception that are worrying.

    What are these issues?
    Distribution, PC penetration, marketing channels. There is still no entity yet, that takes care of the distribution requirements of the entire country.

    And how is Kreeda addressing these issues?
    We’re tying up with retailers who are embracing box-game distribution for the first time. We are setting up our own sales force who visit internet cafes and take our games over there.

    What hurdles are you facing while you do this?
    The biggest hurdle we are facing is that the retail scene in India is undergoing a huge churn in terms of nature of operations, infrastructure and monies involved. It’s great in a way since it gives us many more outlets, but the scene is slightly messy right now.

    Is the market too fragmented right now?
    The scene is very fragmented. In India, to reach your game to all the malls in the country there is no single channel distributor. Plus there are transaction issues involved like octroi and transportation which add to the costs of an emerging retail distribution scene for gaming. However, we are hopeful that it will stabilize very soon.

    It’s not just our problem, even majors like Sony, Microsoft and Apple are facing similar issues for selling their boxes and iPods in India.

    What is Kreeda’s presence across shelves in India?
    Currently we are in about 4,000 retail stores and 2000 internet cafes across the country.

    What payment mechanisms are you offering users?
    The current crop of payment options include credit cards for transactions over the internet and prepaid cards. We are also introducing our own gaming cards which can be used at internet cafes where our games are present.

    How are you promoting Dance Mela?
    We are planning to associate with college festivals where we can give students a full-demo of Dance Mela and our company profile. Soon we will also be looking at associating with a TV programme where the game will be integrated into the show’s proceedings. Our objective is to reach 1 million users by March 2008 and we’re working aggressively on our sales strategy to reach that target.

    How does a start-up company like Kreeda see the inroads of Reliance’s Zapak in the gaming market? Are they creating an over-powering presence?
    I think Zapak’s entry is great for the gaming industry. We’re all grateful to Reliance for taking so much interest in this market. Thanks to Zapak, curiosity and following has increased dramatically in the country. The sector is just emerging – there are 4-5 players when there is space for about 50. We’re right now creating a pie and then we will work together in growing it. When it’s grown big enough, we can fight for market share.

    If you were to do a SWOT analysis, how would the gaming sector look like?
    The strengths would include interactivity, demand, business models and high profit margins in India. The weaknesses are distribution, perception and novelty while the opportunities comprise cafes distribution, Indian retail boom, advertising and educational gaming

    As for threats, fragmentation is definitely there. The government might also come up with a regulatory policy when the industry scales up.

  • ‘What we are telling the regulator is that the sheer volume of content this industry generates is impossible to police’ : Paritosh Joshi – Star India advertising, sales and distribution president

    ‘What we are telling the regulator is that the sheer volume of content this industry generates is impossible to police’ : Paritosh Joshi – Star India advertising, sales and distribution president

    It’s nigh on one-and-a-half years since Star India brought in a “media outsider” Paritosh Joshi as president – advertising sales & distribution, thereby consolidating the two major revenue streams of India’s lead broadcast network under one position.

    That it’s not been exactly hunky dory for Joshi since his induction is putting it mildly. His arrival has coincided with the return to the ratings reckonings for the former number one Hindi entertainment network Zee TV while on the distribution side the story has been one of the sector regulator’s increasingly watchful eye on the industry. There is also the government mandated CAS rollout timetable that Star has stated it will fully support.

    Joshi spoke at length on this and a number of other issues in an evening tete-a-tete with Indiantelevision.com.

    Excerpts:

    It’s close to one-and-a-half years since you joined Star. What have you done and managed that made a difference?
    Well, for one my coming to Star challenged many notions, since I had no prior media experience. But it had its advantages in that I came on board carrying no baggage and no preconceived notions.

    Interestingly, your induction also coincided in a time frame sense with Sameer’s pet theory that the entertainment business operates in a four-year cycle…
    The real reason for Sameer’s continuing success is that not only does he challenge his own beliefs but he encourages others to challenge his beliefs.

    As for me, my task was to look at both sides (distribution and ad sales) from above and approach revenue in a derisked sense. What we have realized is that the different parts of our business are not functioning as silos but have a number of linkages that need to be tapped into in a more holistic manner. This involves making decisions on a continuous basis.

    The converged new world is what it sounds like. Could you expand on that?
    We are developing a new understanding of the TV ecosystem. How do all these work in tandem is what we are trying to get a grip on. There are interactions across the businesses as well as new opportunities.

    For instance, we have put in Nanette D’Sa as head of licencing and merchandising; there is the branded entertainment division we have launched.

    Then there is our internet play. We have the online rights for ICC cricket and we’ve launched iccchampionstrophy.indya.com. We will soon be bringing myspace to India. Ajay Vidyasagar is actively involved there.

    On the mobile front we have the 7827 shortcode that works across all networks. A lot is happening on that front, which is Viren Popli’s baby.

    What are the principal challenges that you are confronting?
    There is an extremely complex regulatory environment in place.

    One could say there was hardly any worthwhile regulation earlier, so it’s about time.
    You have a point, but from no regulation to over regulation in one shot is also not the best way to do it either.

    We will have to demonstrate by behaving right that we are willing to work on a collaborative model than an antagonistic model

    Well, if you were to place the kind of content that is put out on our networks before Britain’s Ofcom for instance, I am sure virtually all channels would have quite a few questions to answer.
    That’s not really a correct comparison. We (the Indian television industry) have had to grow from infancy to adulthood in one dozen years while it is a 50-year-old story in Britain. The government should make some allowance for that.

    What we are saying is that we will work with you (the government) in each part of the business to get the system in order. What we are also telling the regulator is that somewhere along the line, the sheer volume of content that this industry generates is impossible to police.

    Look at it this way. We (Star) produce 12 hours of original content every day. And there is virtually no time lag between production and delivery. If our degrees of freedom are circumscribed, our ability to deliver a quality product to our constituency gets diminished.

    Agreed, but the flip side is that whenever you try to bring order into what has been a free-for-all, there will be some amount of pain and chaos involved. That has been shown when PAN cards were introduced, as too VAT. As long as the intent is not malafide, shouldn’t industry leaders be taking the long term view?
    We’ve got too much at stake to think in the short term. And I am sure the same applies for the other big networks like Zee and Sony. The big networks should be and can be trusted to do the right thing.

    We will have to demonstrate by behaving right that we are willing to work on a collaborative model than an antagonistic model. Dialogue across constituencies is important and I am actively involved on this front.

    How many know that Star has substantially contributed to the working of the content code?

    Coming to the specifics of your network, where do you see the biggest upside on revenues coming, going forward?
    DTH will be truly it, over the next couple of years, though in discontinuous spurts. By this time next year we should be looking at between 2.5 to 3 million subscribers between the two networks (Tata Sky and Dish). Even at the Rs 27 per sub that we have been forced into agreeing to (as per the TDSAT order), you can do the math.

    That’s assuming that all subscribers will take your offering.
    As far as our current crop of channels go, we will be on the basic packages across all services so would expect to get those numbers.

    What about addressable cable. Isn’t that where the real big numbers are? More so with CAS getting rolled out?
    The addressable cable rollout is unclear as to its shape at this juncture. I think that what will happen is that while there may be some false starts, it will all settle down in due course.

    If addressable cable rolls out well, then great. We are platform agnostic on addressable systems so it can only benefit us.

    Speaking of CAS, how do you see that impacting revenues?
    We are close to signing all our CAS contracts. Star is ready to roll on CAS. The IBF will work together with other stakeholders to facilitate this in any way we can.

    Another difficulty that has hit both Star Movies and HBO is on the issue of certification of films. The Festival season is here, is there any resolution in sight there?
    We expect some solution but it will take time. We’ve basically written it off for this quarter.

    What does that mean in percentage terms?
    That would mean a write-off of about one third of the revenues we would normally have expected for the quarter.

    The most recent addition to your bouquet has been Neo Sports. Word is that you have committed a massive MG to Harish Thawani.
    I can’t comment on the size of the MG but we have to work on the fundamental premise that cricket played in India will get viewership like nothing else can, which is why Harish made the punt he did…

    What about the regional language story?
    In Bengali, we have already started our activity with a two-hour entertainment band in the afternoons on Star Anando (news channel). You could say that is the test run though we are yet to fix a date on a full fledged Bengali entertainment channel launch.

    We’re looking at the Telugu channel sometime early next year. Probably March or April.

    Are you considering the acquisition route for the Telugu channel?
    Not at all. We will be launching a completely new channel from ground up.
    On the advertising front, what are the issues that are worrisome?
    With no disrespect to LV (Krishnan, CEO of Tam India) meant, considering the heterogeneity of the country, the present ratings system is inadequate. In India we have 5,000 meters, there are 18,500 in the UK where the population is much more homogenous.

    I’ll end this by saying, ‘As providers of content real estate, our value proposition has been reduced to the absurdity called CPRP that determines and assesses everything. We would argue that this obsession with one single metric destroys value rather than creates it.’

  • ‘The game development and design visualisation markets have grown the quickest for us’ : Rob Hoffman- Autodesk Global product marketing manager media and entertainment division

    ‘The game development and design visualisation markets have grown the quickest for us’ : Rob Hoffman- Autodesk Global product marketing manager media and entertainment division

    Autodesk which manufactures software technologies for the media and entertainment industry as one of its major activities, is looking to grow the business in India.

     

    Realising that a lot of production facilities in the US are doing their film, TV and gaming work from India, the company is keen to aggressively tap this market segment.

     

    Indiantelevision.com’s Ashwin Pinto caught up with Autodesk Global product marketing manager media and entertainment division Rob Hoffman to find out more on how the firm’s software is helping the media industry.

     

    Excerpts:

    For a software solutions company catering to manufacturing, building and construction, how much of revenue does the media and entertainment segment contribute?
    The 3D entertainment space is a sizeable business for Autodesk. Our core areas have always been R&D and designing products like Autocast. We cover the areas of film, television, game development and design visualisation.

     

    For us, the game development and design visualisation markets have grown the quickest. You now have next generation gaming consoles like Playstation 3, Xbox 360 and Nintendo. There is a huge demand for game titles.

    Could you shed light on how your solutions accelerate collaborative digital content creation workflow?
    We have 3Ds Max 2008 and Maya 2008. We have done a lot of work to accelerate the creative work that our clients do. We do this in two ways. We have worked on the two softwares so that they perform much faster on the new generation of hardware – whether they be multicore or multiprocessor workstations, latest operating systems or graphics cardsware.

     

    We are trying to take advantage of new technologies coming out and take advantage of the speed these technologies give our software. We have also done a lot of work with the user interface and the workflows of both our softwares. The aim is that artists complete their projects much faster. Something that takes six steps to complete in the past we have managed to reduce to three steps.

     

    This is a very important goal for us as it represents time savings for the artist. Modelling and animation type features have helped us achieve this. Our aim is to enable clients achieve their tasks with much more efficient tools.

    In what manner have your products been used to enhance films?
    Our 3D products are used extensively on films like Pirates Of The Caribbean, Shrek, Spiderman. Maya has been used a lot here. It has been an extensible software from the standpoint that production facilities and artists are able to enhance the software or extend its capabilities through different kinds of scripting. The software also has rich features in animation, modelling and the ability to create different types of visual effects.

    You mentioned gaming as growing the quickest. What is the work being done here?
    We work closely with the large game facilities globally to find out what challenges they face and then we try to address that within our software. We have added games specific features and functionality in the 2008 releases of our software.

    Could you shed more light on how the two products have been enhanced?
    With Maya one of the big things that artists and production facilities have been telling us is that they needed the product to run faster not just on existing hardware but also on new hardware.

     

    They also need the artists to work faster on the software in terms of the graphic user interface and the workflow. We have done work on modelling capabilities. We have enhanced the functionality of features that artists are used to.

     

    We have also done a lot of work on performance. So we have done a lot of work to take advantage of either a single core or a multicore workstation. We have rewritten a lot of the software algorithms to make it inherently faster.

     

    The Maya Mesh Smooth workflow, for instance, has been dramatically streamlined. You can now preview a smoothed mesh while editing the mesh cage – with a strong performance, particularly on multiprocessor workstations. Other much-requested workflow enhancements include the ability to position objects along a curve, replace objects within a scene, and convert instances to objects.

     

    To make it more effective on game consoles we have a new hardware shader API. With Maya clients can effectively create and display sophisticated looks for content destined for the next-generation game consoles. In particular, native support for DirectX HLSL shaders in addition to the existing CgFX support lets clients work with assets in the viewport and see them as they will be seen on the target console. Artists get better representation of the content they are creating using Maya. They don’t have to continuously go back and forth between Maya and the game engine.

     

    We have also done work on character animation. We have new rigging and skinning capabilities. We have got new non-destructive skin editing capabilities. The animator can now add more bones to an arm without disturbing the surface object. Maya also supports a large number of operating systems from Windows to Linux. We now also support Windows Vista 32 and 64
    bit.

    What about 3Ds Max?
    For 3Ds Max we have worked on the viewing of a large, complex scene. It has been known to work with large amounts of data. Artists can have a character with several million polygons. The performance is really good. The issue was that if the artist had tens of thousands of objects with millions of polygons the performance would be slow.

     

    We have worked on 3DS Max so that the artists will get the same performance with several objects that they would get working with one object.

     

    It is about being faster and working with larger amounts of data. Our aim is to allow the artist to focus on the art itself as opposed to focussing on the tools and spending time trying to find out how to use them. Our product also allows artists to get a better representation within the interactive environment. Clients also do not have to go through a trial and error process.

     

    We have done a lot of work on the pipeline. A lot of artists have used scripting as a way to automate or enhance 3Ds Max. We have made the software become more intuitive for artists who are not as technically savvy. This way the scripting capabilities are opened up for artists who traditionally would not have used it in the past.

    What advantages does Autodesk provide vis-?-vis the competition?
    Our products are industry standard software. So there are more people trained on our software. This is because our software is used widely. Artists can get a job more easily if they know how to use our software. We also spend heavily on education. We invest in building an education curriculum for schools.

     

    We also print our own learning tools. We have DVDs. We do community work as well. We have a community website where artists can come and share ideas. Since Autodesk is a big and stable company it allows to invest in supporting software development or customer service or technical assistance.

    Due to education programmes we are seeing the number of artists grow rapidly in India. We see India as a market that has come in and will help out the rest of the world create content

    What potential do you see in India for growing the business?
    The potential is great. Right now you are seeing more work being done in India not just to create local content but also for the global market. A large number of talented artists can be found in India. So a lot of production facilities in the US are doing their film, TV and games work from India.

     

    Due to education programmes we are seeing the number of artists grow rapidly in India. We see India as a market that has come in and will help out the rest of the world create content.

    How many Indian clients do you have and what is the strategy being followed to grow the business here?
    We have a huge number of artists using our software. It is growing daily. We are doing different types of awareness activities. We will be conducting roadshows across the country. We will have super user events where we will bring customers from large production facilities like Industrial Light and Magic. People will talk about projects like Pirates Of the Caribbean.

     

    A lot of development work for our software has been done in India. As far as partnering with Indian software firms to enhance our offerings, this is something we will always look into. It is a question of whether or not it makes sense at a certain time to do so.

    Globally who are some of your major clients and what have been the key learnings working with them?
    We have clients throughout the world. Some of them are Planet Digital in New Zealand, Industrial Light and Magic, Disney, Dreamworks in the US, The Moving Picture Company in Europe. These firms really push the capabilities of the software. So we constantly learn about their requirements and challenges.

     

    They do things never done before. It is about learning where the industry is going and what are the issues that will come up.

    What are some of these issues?
    There are two challenges right now. The first one is that there is a need for talented artists. If an artist has talent, any job they want can be done with any production facility in the world. This is why we work on education initiatives. We do a lot of work on learning tools and work with schools and universities.

     

    The other challenge is that the entertainment industry’s work is getting more complex. Films like Lord Of The Rings mean that viewers expect to see bigger and more beautiful effects. So production facilities have to constantly outdo themselves. In television we are moving from standard definition to high definition.

     

    The themes and characters are more complex. On the games front, the amount of data the consoles can handle is larger than the amount of content that the companies had to deal with in the past. Can software work with these large amounts of data in an efficient manner? That is what clients look for.

     

    With the transition from standard to high definition in television, there is a need for new software capabilities. For those working in traditional broadcasting they have to now adopt a more film like production process. The data complexity that they work with is starting to come close to film.

     

    The other issue that they run into is that although they are working with more complex data, their budgets are much smaller compared to film. The timelines to finish the production are much shorter. Our aim has been to see that artists get high quality of work in a less amount of time. Our software has been used in commercials, interviews as well as episodic TV shows.

    Could you talk about Autodesk’s R&D facilities?
    For 3Ds Max we have development facilities in Montreal, and Toronto. We have development groups working on the software. We also have a pure science group that works on new technologies. They work on different ways to approach problems.

     

    The other thing to remember is that when we develop software, we work closely with the production facilities using them. We use their knowledge to help our developers create better software. Production facilities give us their perspective and ideas on how we can better serve them.

    What role does the Autodesk reseller network play in expanding your presence globally?
    They play an important role globally for us. They are the ones who work and talk with our customers on a day to day basis. We have a close relationship with our resellers throughout the world.

     

    Resellers give us feedback on customer’s opinions. We also ensure that our resellers are knowledgeable and skilled. They have to be familiar with the industry they are addressing.

    What is Autodesk University?
    This is a networking event held annually. As of now, we only hold it in the US. This year it will be in Las Vegas. The event allows us to better understand the requirements of clients.
  • ‘Convert pirate users into paying consumers & gaming industry will be worth Rs 3 billion’ : Vishal Gondal – Indiagames founder

    ‘Convert pirate users into paying consumers & gaming industry will be worth Rs 3 billion’ : Vishal Gondal – Indiagames founder

     Gaming firm Indiagames is on the move. It recently came back into the online gaming space with its Games on Demand concept. UTV also took a majority stake in the company. Indiantelevision.com's Ashwin Pinto caught up with Indiagames founder Vishal Gondal to find out how the company has evolved and the plans ahead.

    Excerpts:

    How has your business model evolved over the years?
    We started off as an online games company. We did free flash games where money came from advertising. However, we found that it was not scalable and limited. So we took a call to move out of online gaming and into the services business.

    Then we saw the opportunities in mobile gaming and so we became a developer and then a publisher of mobile games. Last year we returned to online gaming with a new strategy games on demand. We have a subscription based gaming service. Users can play unlimited games for a flat fee.

    Right now we are at a time when gaming is starting to take off in India. How do you see the gaming space faring vis-a-vis traditional entertainment like TV, films?
    Globally gaming is bigger than film. In the US, it is bigger than Hollywood. The same thing will happen in India eventually. In every mature market where it has spread it has done that – like Korea, China. India has a lot of young people who do not watch 'Saas Bahu soaps.

    They are not as much into current television, which is dominated by the housewives. I am not saying that this segment is bad. However going forward more people will get into interactive entertainment. Gaming is part of this, along with activities like Second Life. More and more people will take to the virtual world.

    What would you say is the main challenge gaming faces
    in India?

    The problem in India is not that people don't game. The problem is that people buy pirated games. Nobody was paying for legal games. Indiagames is trying to build an eco system where price points are such that the consumer does not want to pirate anymore.

    If we are able to convert the pirate users into paying consumers, that alone will make the gaming industry worth Rs 3 billion.

    'We are about to launch a Godzilla game; we are about to release a cricket Twenty20 game'

    What kind of price points are you looking at?
    To give you an example; for the games on demand service we offer unlimited games for Rs 200. Today when you pay Rs 150 for cable TV, do you want to buy pirated tapes of TV content? Our logic is the same. When consumers can get all games for Rs 200 why would you buy pirated games for Rs 100?

    Who are your partners for games on demand?
    We have partnered with pretty much all the major gaming publishers in the world for content. So we have distribution deals with firms like Popcap, Atari, Activision, Codemaster Playfirst. We also have a tie up with MTNL, Sify, among other platforms. We also work with Qualcomm, Microsoft to make sure that our games are cutting edge.

    UTV recently bought a majority stake in Indiagames.
    What synergies do you see here?

    UTV is an integrated entertainment firm. If you see what Ronnie is doing, he is building a business that encompasses the entire gamut of entertainment from TV, to films, to online entertainment. So the UTV deal allows us to be a part of the bigger picture. Bindass is UTV's effort tap into the youth. The youth want gaming and so we will work with Bindass to see how we can integrate gaming with their offerings.

    UTV also has a stake in Ignition, which is a console game publisher. Between Ignition and us we have capabilities across all platforms. We will be looking at how we can exploit IP into the console space and vice versa. UTV will also create IP in the form of movies and TV shows. So we can adapt some of these into games, which we then market.

    Are we going to see more tie ups like this as traditional entertainment firms seek to broaden their horizons?
    The Indian film and media industry are getting more professional. They are also converging a lot. Previously, the film industry was a different silo, the broadcasting sector was a different silo the net industry was a different silo.

    However Fox buying MySpace triggered off a chain of events where media firms want to have their share of the pie in every segment to boost customer interaction. So if customers are increasing their time spent on the internet, mobile then for traditional media firms who are in TV or print it is a natural progression for them to look at exploiting the other screens too.

    You will see more corporate deals. Traditional media firms realise that it is difficult to build a new media business from scratch. It is better to buy such businesses from market leaders in their respective fields. Adobe and Cisco also have a stake in Indiagames.

    What targets have been set by Indiagames in terms of market share?
    It is too early to talk about revenue targets. On the market share front on the mobile side we enjoy upwards of 50-60 per cent share. On the online front we are the only firm to offer games on demand service. The other players are trying to sell MMOPGs which is a niche segment. It is early to say if there is competition online as the market is new.

    What have been some of your biggest properties so far
    and what have you learnt from their success?

    We have worked on properties like Bruce Lee, Jurassic Park, Rush Hour 3. In India, we also distribute content from the likes of Electronic Arts, Fifa, Batman, Transformers.

    It is important to work on the right kind of property. You cannot take any movie or any story or any character and convert it into a game. The brand has to lend itself to gaming. In the past games have come out of family drama. However cricket, action, sports games work better than love stories.

    Which are your five big markets globally and how many
    partners do you have?

    We have 150 partners globally, Our key markets are the US, Australia, Japan, Europe and India. We have offices in London, Los Angeles, Beijing, Mumbai. These are the core hubs where we do business from. We recently set up an office in Madrid, Spain to cover Southern Europe.

    What would you say is the main difference between
    developing games for the internet and for the mobile?

    The screen size is the first major difference. Attention spans differ. For the mobile you design a game for someone on the move. His time with a game is limited. He/she also has limited access to 10 different keys. Online people tend to spend more time on a game. The control is wider.
     
    When you work with a firm like NBC how much of a
    collaborative process is it?

    It is very collaborative. We have to work with the production team, share creative ideas with them. We have to get approval for game concepts. We work together to exploit the complete commercial value of the property.
     
    Could you shed light on the relationship between gaming and social networking?
    Gaming was the first social network. If you look at xBox Live you see gamers wanting to connect with other gamers. This is how social networking was born. After that social networking was adapted to other common interests. We have had social networking since the first multi player games came up.
     
    Where does Indiagames get creative ideas for new games from?
    We have a team that brainstorms on creative ideas. We have to see whether properties are relevant in different markets. You do not want to have a situation where a property is only well known in one market. So we have to do research to find out whether people in the US, Australia, Europe, India know about the property. If it is less or more in one country then what is the extent? Our business is about taking calculated bets.
     
    From a client viewpoint what does Indiagames bring to the table vis-a-vis the competition?
    People know that India is good for technical execution. India has been looked at as an outsourcing base. We have changed this perception. We were the first firm to start licensing games from India. Nobody in the world thought that Indian firms could go the publishing route. Our first success was Spiderman which we worked on with Marvel. We proved that we could not only produce quality stuff in India but that we could market the same globally.
     
    Going forward are you looking to sign long term deals with entertainment conglomerates like NBC Universal for games or will it still be on a project to project basis?
    It is better to work on a project to project basis as all projects that they do may not be relevant for us and vice versa. I don't know if this will change in the future but as of now we work on a case by case basis.
     
    What are the major projects Indiagames is now working on?
    We are about to launch a Godzilla game. We are about to release a cricket Twenty20 game.
     
    Do you think that game developers in India have an advantage in terms of being able to learn from the experience of mature markets like Korea?
    There is always an advantage in being able to learn from different markets. At the same time each market has its own nuances and challenges. It is important not to just blindly follow what a country like Korea is doing as there are cultural issues and local intelligence.

    Indian preferences for games tend to lean more towards the West than the East. Indians play games like Counter Strike, Fifa, need For Speed. China and Korea on the other hand have a lot of massive multiplayer online gaming.

    How important is organising on ground events for you?
    Very! We have been doing the Cybergame championships for sometime now. We are working with the CII and the government to see if T-Sports and gaming can be recognised professionally as a sport. It should be given equal status as any other sport. We have the Indian national champions who will be going to Seattle to compete in the Cybergame Championships. We also organised an India versus Pakistan event where Kapil Dev was the chief guest. They played various games like Counter Strike.
     
    Finally where do you see Indiagames five years from now?
    Right now we are leading in the mobile space. Five years from now I see Indiagames leading in all gaming spaces.
  • ‘Strategic investor will take stake in the broadcasting entity’ : Shantanu Aditya – UTV Global Broadcasting executive director and V&S Boardcasting CEO

    ‘Strategic investor will take stake in the broadcasting entity’ : Shantanu Aditya – UTV Global Broadcasting executive director and V&S Boardcasting CEO

    UTV is lining up nine channels and is planning to bet Rs 6 billion in it. The company is in talks with strategic investors to support its broadcasting venture which will be under the umbrella of UTV Global Broadcasting.

    The aim is to try and carve out a place in the youth and niche segments. The three TV verticals UTV wants to operate on are Genx Entertainment which will roll out the four youth-centric Bindass channels, UTV News for the business news channel, and V&S Broadcasting for movie and Hindi speciality channels.

    The company expects the Hindi movie channel to drive this bouquet of pay channels along with Bindass.

    In an interview with Indiantelevision.com's Sibabrata Das and Renelle Snelleksz, UTV Global Broadcasting executive director and V&S Broadcasting CEO Shantonu Aditya chalks out the road ahead for UTV's plans in the broadcast space.

    Excerpts:

    How is UTV arranging funds for the slew of nine channels it plans to launch?
    The total investment requirement for these nine channels is Rs 6 billion. While UTV will be investing Rs 1.5 billion as part of its contribution, the balance will be raised by a combination of equity at a premium and any other suitable instrument.

    Is UTV in talks to rope in strategic or financial investors?
    We are in advanced talks to get a strategic investor who will hold minority stake and come in at a premium.

    Will the strategic investor take stake in UTV Software Communications, which is the listed entity, or in the broadcasting arm?
    It will be in the broadcasting entity and not in UTV Software Communications. The broadcasting initiatives are under UTV Global Broadcasting. It has three wholly owned subsidiary companies – Genx Entertainment, V&S Broadcasting and UTV News Ltd. I wouldn't be in a position to comment on exactly where the investor is going to take a stake.

    Does UTV Software Communications have a stake in UTV Global Broadcasting?
    UTV Global Broadcasting is privately held. But this equity ownership arrangement could change after the investor is roped in.

    UTV had earlier announced that Genx, which would launch the Bindass channels, would be a joint venture with Astro as an equal partner. So is it that the three subsidiaries would be having different partners and still you would have an investor in the parent company?
    It is premature to discuss this at this stage.

    Is there a possibility of Astro picking up stake in UTV Global Broadcasting?
    As I said earlier, we can't comment on this at all.

    Will UTV News Ltd. have a separate structure as news channels uplinking from India come under a 26 per cent cap on foreign investment?
    We will abide by the current guidelines on investment in news channels.

    Speculation is that a group of Indian investors are going to invest in the news channel?
    We are speaking to a number of interested investors. It will be premature to mention any specific names at this stage.

    Will you be launching Bindass it in the first week of September?
    We will be progressively rolling out all the nine channels by mid-2008. Bindass, the youth Hindi general entertainment channel, will be up soon. This will be followed by Bindass Movies.

    Will they be pay channels?
    All our channels will be pay from the first day of launch. The first two channels are priced together at Rs 20 in non-Cas (conditional access system) and Rs 10 in Cas markets.

    'If you have a good acquisition and syndication strategy, you can build a successful Hindi movie channel'

    What are the other two channels to be launched by Genx under the Bindass brand?
    They will be in the regional space. Most probably they will be Tamil and Telugu language channels. But we are currently conducting research to support this.

    What are the four channels being launched by V&S Broadcasting?
    We will be launching a Hindi movie channel which will drive our distribution bouquet along with Bindass. We will have a world movie channel and there will be two Hindi speciality channels. We are also launching an English business news channel as we feel there is a considerable gap between viewer expectations and what they get right now.

    What are the scheduled dates for these channel launches?
    We are launching the World movie channel in November. The two Hindi speciality channels should be up in January and February. The business channel is targetted for a January launch and we should be ready with the Hindi movie channel in February.

    UTV had tied up with Palador Pictures for the world cinema venture with Olive as the brand. But with the split and Palador getting back all the titles, isn't it a setback for UTV?
    We have already acquired 150 titles and are looking at 300 at the time of launch. We will be screening the best of contemporary cinema and see a big opportunity in this. There are award winning titles and there are also good films from Bosnia, Iran and Argentina.

    Will high-priced DVDs be an important source of revenue and support system for this kind of cinema which will in any case attract niche audiences?
    We will have DVDs and theatrical release. We haven't decided whether we should go in for a high pricing or a volume strategy. But the channel has to drive by itself.

    How will you make a mark in the Hindi movie channel space when the existing players are entrenched, many more are on eve of launch, and acquisition costs are high?
    We are looking to launch with a bank of 300 titles, of which 50 films have already been acquired. The dynamics of the business is also changing. I see a syndication model coming into place and a lot of sharing of titles across channels. You may not see clean straight exclusive deals over a longer period as in the past. There will be a variety in the way you purchase movie rights.

    If you have a good acquisition and syndication strategy, you can build a successful model. Movie channels are platform agnostic and audiences are loyal to titles.

    While several broadcasters are eyeing the GEC space, why is it that UTV decided to foray into the niche genres of special interest channels?
    We have consciously decided to stay away from launching a general entertainment channel primarily because there has been a drop in viewership of 30 per cent in the Hindi GEC space in the age bracket of 15 – 35 years. The market needs segment-dedicated channels – and that is the domain we are entering into.

    Distribution of the new channels is a critical area. Have you set aside huge carriage costs?
    Carriage charges are a challenge. However, we have signed contracts with almost all the multi-system operators (MSOs) for our first set of channels.

    Have you stitched deals also with the direct-to-home (DTH) operators?
    I can't comment at this stage.

    Given the current media boom that the industry is witnessing, how are going to attract and retain talent?
    We have already recruited around 170 people for our broadcasting business. We are drawing in talent through a combination of compensation and stock options. Retention is a big part of our strategy.

  • ‘We want to become the GEC for young India’ : Zarina Metha – Bindass CEO

    ‘We want to become the GEC for young India’ : Zarina Metha – Bindass CEO

     She waits with baited breath, jittery to unlock her next treasure. Bindass CEO Zarina Mehta is bubbling with energy as she talks about her second baby Bindass. This time round, Mehta is casting her magic wand over the Indian youth segment, but with a mammoth approach as she navigates across multiple media platforms to capture her target audience. Some question whether she will rewrite the Hungama TV story and the impact it had on the Indian kid’s space. However, in this case she looking to unveil a quartette of four Bindass television channels by April 2008.

    With the backing of Malaysia based media company Astro, she seems geared up to take on competition with other broadcasters also foraying into the youth general entertainment segment. As this television space is heating up, Mehta is leaving no stone unturned to capture what she calls the “sweet spot.” In an exclusive t?te-?-t?te with Indiantelevision.com’s Renelle Snelleksz, Zarina Mehta exudes the excitement and the anxiety before she breathes life into her next creation.

    Excerpts:

    Why have you decided to change your TG positioning by extending the demographic beyond the 15-24 year olds even before launching Bindass?
    When we initally conceived the channnel, we were looking at the 15 – 24 year olds, but further research urged us to redefine our target audience as 15-34 year olds. The median age for India has dropped by two years to 24 years since the 2001 census.

    But how do you manage to make one brand appeal to this wide audience? It is all about targeting what we call our “sweet spot” or the 17 -21 year olds. We realized that if we target our sweet spot, then we will automatically attract the larger segment of 15 – 34. This is because the 15 year olds long to belong, while the 34 year olds just do not want to grow up. This ‘down aging’ phenomena is a sensational find because if I get my 17 – 21 year olds correct (which I pray I do, she laughs), then I will capture this larger segment as well.

    What opportunities does this segment offer?
    Between the 15 – 34 age group we have got 379 million Indians (All India) and in the C&S homes 95 million Indians. But who is currently engaging this audience? Star One did it in its old avatar, Sab is making a good attempt, there are also one off shows from GECs and some niche channels. But there is definitely a gap.

    The 15 -34 year olds comprise 42 per cent of all TV viewing. This is a fantastic opportunity for us. The viewership patterns from 2005 till now are also changing, which shows the decline of the GECs as viewers are moving away from their traditional consumption and trying new things. There is thus a gap in the general entertainment space on television and we want to cater to this segment. We want to become the GEC for young India.

    The concept behind Bindass has largely been supported by research. Are there any significant findings that have helped give shape to your upcoming channel?
    We did three and a half months of solid research, we have a proprietary name test which we had done for Hungama TV, Ceria and for Bindass. Secondly, we did an ethnographic qualitative study, followed by a quantitative study based on attitudes conducted by Synovate across six Indian cities and 2500 samples. Our research is invaluable and the key finding stated that our sweet spot (core TG 17- 21 year olds) have a ‘duality’ but are very comfortable with having a traditional heart with a cool exterior. This forms the core brand value of Bindass.

    The ‘Bindass’ name is imbued with certain brand properties that resonate with factors like chilled out, edgy, sexy and young. But as the creators of brand Bindass these values were not sufficient to create a 360 degree long term brand. So we added values that will further energize the brand and came up with the following propositions. If you are not “yo dude” and you are not “saas bahu” then you are Bindass. We are the reality of young India that consists of the four F’s – Fun, Frank, Fearless and Freedom.

    Our logo has been designed by BDA and is exactly what we represent, completely Indian with a cool exterior, that is what we believe will work.

    On the programming front, what’s your strategy?
    The channel will have no music, no soaps, no gadget shows, no lifestyle shows and no VJ’s. So what are we left with? It is going to have a lot of comedy. We will have action thrillers, Hollywood blockbusters and the best of local and International shows, accompanied by late night horror, International movies and extreme sports.

    Our daily driver primetime shows include a stand up comedy Lagegi that is shot 24 to 48 hours prior to telecast from Monday to Thursday. We will have seven BIA’s – Bindass Intellegent Agents from the top cities giving us reports on what is happening across India. Then there is Shakira, a dark angel fighting for justice, every man’s fantasy, while another daily comedy is Sun Yaar Chill Maar. We also have a street magician show by Ugesh Sarcar.

    Our programming is tailored to fit our research findings which show that the 15 -24 age group watches two and half hours of TV a week and movie channels are consumed for six hours a week by this TG.

    In the highly cluttered TV environment, have you identified what your primetime is going to be?
    Our primetime is definitely going to be the normal primetime 7.30 – 11.30 pm. But what is interesting is that this audience will be consuming TV across the day, so we will be discovering new primetimes. There will probably be the regular primetime and two other primetimes, which we have also identified and we are pushing your programmes at that time as well. This will be a learning curve for us.

    But won’t this interfere with GEC primetime, especially in the reality of a single TV household?
    Yes, we will, thus, be discovering our own primetime. Is our TG going to be able to snatch the remote or not? We believe that within this primetime they will snatch the remote. But basically there are two time slots within primetime that we are gunning for. Apart from that, we do believe there will emerge other primetimes which will be a morning and afternoon one. We are looking to garner ratings right through the day.

    We will be discovering our own primetime, but there are two slots within 7.30 – 11.30 pm that we are gunning for

    You are also looking to have a strong movie line up on Bindass?
    We have top of the line Hollywood blockbusters that we will dub, along with Japanese and Chinese films as well. It is important that the movie is ‘bindass.’ Even if I know a movie will rate well but if it does not qualify as a bindass film, then I won’t put it on the channel.

    We are not going to have Hindi movies on our channel, for the same reason that we are not having music, because it is ‘undifferentiated viewing.’ The way Hindi movies are bought in bulk, you are not allowed to pick and choose, thus you cannot build your brand, but in case of international films you can do this.

    Will this mean that you will not have any films from the UTV stable?
    We may have them eventually, but only if it’s a Bindass movie. It also depends on whether we can afford it. At the moment, I am only looking at international movies from Asia and the West.

    What is your movie strategy for the channel?
    Primetime movies will be for the weekends, but we will also showcase two movies a day largely off primetime.

    What about animated content on the channel?
    I personally love animation but unfortunately in India animation is perceived as being for kids. I can’t afford to have that on Bindass when we launch. Maybe after the brand has settled and people have realized that it’s a 15+ brand, then I can put it on. But this will definitely not happen in the first year.

    Are all the Bindass shows produced in-house?
    Two have been produced in house i.e. Shakira and Sun Yaar Chill Maar but Lagegi has been done by the production house Encompass. However, all the concept ideas have come from us.

    How many locally produced shows will be on the channel?
    At the moment we have three shows. But we will have six original hours of content per day which includes a mix of locally produced shows, dubbed acquired content and movies.

    Will the mix be largely skewed towards local content? What is the proportion of local versus acquired content?
    We will just have to wait and watch although I believe local content is very vital. Our primetime will be completely local. But we have also learnt from our experience with the kid’s channel Hungama TV that acquired content can also do very well.

    Local programming will consist of 45 per cent and acquired 55 per cent. But we have to first see what works and then decide eventually.

    What are the plans to introduce other Bindass channels in India?
    By April 2008 we will have four channels which will be variations of Bindass. We are currently exploring what those will be and are even exploring whether it will be a regional channel or maybe even another genre within this youth audience space. We have, however, decided to launch a movie channel called Bindass Movies by early October. We have acquired a huge library consisting of about 150 movies to start with.

    By April 2008 we will have 4 channels which will be variations of Bindass

    Will this new channel also have only international movies dubbed in Hindi or are you also looking to infuse some Bollywood content?
    Not when we launch, but eventually we may consider infusing some Hindi movies into the channel. What was an eye opener for us was that our analysis of over a year’s ratings indicated that a dubbed Hollywood movie gets three times the ratings of the non-dubbed version of the same movie, while a Bollywood film gets only double of that. So as a cost benefit analysis, this is the way to go.

    Will this also be a pay channel like Bindass?
    Yes, I only believe in the pay channel model. All our channels will be pay from day one.

    What will Bindass across the mobile and online platform be like?
    For our mobile platform we have tied up with all the telecom operators in India and our own short code is 5995 to showcase both Bindass and acquired content. There are two kinds of content we are working on. One is popular content which accounts for 95 per cent of revenues. The other five per cent is high-end content which people rarely use but is the future. Popular content consists of wallpapers, ring tones, gaming and contests. We are going to prepare ourselves for what we believe is going to come on mobile, the high technology stuff which includes mobisodes, television clippings, online chat and blogs for which we are talking to people.

    All this is an opportunity to get the content of my brand across all touch points. We don’t see it as competition to TV, we see online and mobile as fantastic opportunities to communicate with our audience. So by taking our content across platforms we will kick off with Lagegi.com an online comedy portal having Lagegi content and other content including user generated content and clips not aired on the show. We will also have Bindass.com which will showcase the brand and the shows.

    Are the retail and merchandising plans for Bindass already underway?
    I am going to start focusing on our retail ventures post the launch of the channel. I have given myself 12 months before I launch two cafés in Mumbai and Delhi. These will be brand extensions of Bindass to create a touch and feel of our brand. We are still in the process of conducting research to arrive at the right representations of the brand. But we have zeroed in on gaming consoles, web zones and merchandising counters that will be a part of the ambience along with some other big ideas. These café’s will be unique to an entertainment brand.

    With the first two café’s, I would like to see how these concepts click with our TG and then we will roll out completely. I don’t want to push it.

    Are you considering roping in a partner for this initiative? The investments for this are outside the Rs two billion that was declared earlier. So what are the investments for this?
    No, not at the moment I am not considering a partner. Maybe I will kick off on my own and get a partner later.

    Yes, the investments are outside the JV and are very high. The investments from the JV alone are Rs 2.7 billion which will be largely dedicated to the four channels.

    What is the marketing push that you have planned to get Bindass off the ground?
    For the media plan, we will start with a big push for Lagegi on TV and with the website in August. This will be followed by Space Yatra which is a contest that will kick off in September giving seven Bindass people across the country the opportunity to go into space.

    With several players now eyeing the youth demographic, how do you see the television space shaping up this year?
    We love competition, without competition we are dead. I am so happy that many people have announced their plans to enter this space. You don’t want to be alone, you want competition to grow the space, to come up with better ideas, you keep going one up and the space grows. I know this sector is going to hot up, in fact it already has. In the Rs 65 billion market there is Rs 18 billion targeting our “sweet spot” – the college going kids. The opportunity is huge as 72 per cent of India is below the age of 34 years.

    What about your plans to take a prototype of the channel overseas (Southeast Asia) like you did with Hungama TV in Malaysia?
    Absolutely, but first it is important to make the mother brand successful at home and then duplicate it. We are looking to extend the brand not only to Southeast Asia but also to take it to the Middle East and East Asia by late 2008 or early 2009.

  • “The adoption of multiple frequencies will mark the next inflation point in radio” : Naveen Chandra- Radio Mirchi SVP & National sales head Naveen Chandra

    “The adoption of multiple frequencies will mark the next inflation point in radio” : Naveen Chandra- Radio Mirchi SVP & National sales head Naveen Chandra

    The media industry has recently been eyeing the advantages that radio is promising to offer, but when it comes to the monies, advertisers are still apprehensive to bet big on the medium. As the radio industry in India evolves progressively from mass to niche, the industry is setting its targets to rake in the moolah. However, obstacles are inevitable and the biggest threat is of under valuation in proportion to its reach and accessibility.

    In a free flowing conversation, Radio Mirchi SVP and National sales head Naveen Chandra shares his views on the scope of the medium in India, which he believes will be fuelled following the Government’s sanction of a multiple frequency approach adopted by a single radio operator. He tells Indiantelevision.com’s Renelle Snelleksz that this will mark “the next inflection point in radio.” Geared to take on the big guns of print and television, this radio player has set high standards for itself and demands a premium as it moves into the radio era.

    Excerpts:

    Could you shed some light on Radio Mirchi’s sales and media strategy?
    As a market leader we have been pioneering efforts to look at things very differently. As a medium, radio is very unique because it can be both National and local at the same time. There is no parallel to this, for instance television is national by nature, and although regional television does come close, it is still very fragmented and exits in certain pockets. In terms of a National network, even print does not have editions across the country and is more regionalized. Thus we are a medium that’s does not have limitations of geography, which places us very uniquely to conduct a national or local campaign.

    The second thing about radio is that if you look at Tam data radio lures advertisers from across different product categories. While there are some categories that will use print or niche channels like FMCG, the auto, telecom and banking sectors will not advertise on GEC’s. Radio in this respect is an all encompassing medium as it offers a solution to a wide spectrum of categories that advertise on different genres of print and TV.

    Which are the biggest categories as revenue drivers on Radio Mirchi? How do they stack up percentage wise?
    Banking and finance contribute to 11 -12 per cent, media and entertainment 10 – 11 per cent, telecom 9 per cent, retail and real estate 8 – 10 per cent, automobiles 7 – 8 per cent and durables (which on an annual basis is cyclical).

    Which are the new entrants that are flocking to radio?
    We recently conducted an IPO marketing seminar with merchant bankers to get them to look at the medium positively as it can provide returns due its large reach, which exceeds a Star Plus or Times Of India. Besides radio can also provide a lot of on-ground and BTL brand building activities that attract audiences to consumer the product.

    How do you justify the fact that radio exceeds the reach of Star Plus or TOI?
    If you look at five minutes of continuous viewing on any television channel, you will notice that it is lower than the reach of radio. Using one simple metric – to consume television you need cable connectivity, to consume print you need literacy but to consume radio you nothing but to enjoy good music. Therefore radio by definition, reaches 99 per cent of the population and the reach will always be larger than any other medium.

    What is the current reach for the station nationally?
    Currently, 1.7 crore people tune into Radio Mirchi daily across 10 stations that include the four key metros Mumbai, Delhi, Kolkata, Chennai, as well as Bangalore, Hyderabad, Ahmedabad, Indore, Jaipur. Stations in Patna, Jalandhar and Goa have recently been added.

    What are your plans to increase your network across the country?
    We are looking to launch another 20 stations across the country within the next six months.

    What’s the revenue growth that Radio Mirchi has seen over this fiscal?
    We have seen good growth over this year, however I will not be able to share exact numbers until our annual report is out.

    But we have marked about 50 – 60 per cent revenue growth on radio.

    What is the current revenue generating model that radio operates on and how does it compare with television and print advertising rates?
    For radio we follow ILT research that helps us to operate on a cost per reach (in thousands) model, so while our rates are high, our cost per thousand is very low. Typically print and TV operate on the on cost per thousand (CPT) approach but at about Rs 1300 – 1400 depending on the channel.

    Our rate is Rs 70 per thousand people, which is very low in comparison to television and print. But as a means of comparison, one ad in print is equivalent to about 30 ads on radio, so in that sense it is much lower.

    The reach of radio exceeds a Star Plus or Times Of India

    What’s the ad growth curve that the station has seen over this year?
    With our focus towards a lot more on corporate driven advertising, if you look at the ad growth we have seen good growth over the last four to five years. Additionally, the ad durations have come down significantly from about 45 seconds to about 15 seconds on an average because the advertising environment has become more promotional led than as branding activities.

    In terms of spot rates, what is the margin between Radio Mirchi rates and your closest competitor?
    In Mumbai, our rate would be Rs 1,800 for 10 seconds, while other stations would range between Rs 400 – 1000 for the same.

    What is the current market size for radio in India?
    It presently stands at about Rs 500 – 600 crores.

    Could you highlight key benefits of radio as a medium?
    Radio is very linear medium, for instance in New York there are 89 radio stations but the average number of stations a person listens to is 1.7, which is under two. Essentially, this indicates a high loyalty towards radio stations as programs are seamless and it’s not like every hour there is different show. The characteristic of radio is such that it is very personal and intense and therefore is consumed as a medium of ‘one,’ it’s a mass as well as a personal medium. While for television, every half hour there is differentiated content which forces the viewer to keep shifting in and out of channels. Similarly, a Friends fan will watch the show on which ever channel it beams, so even if cricket had to shift to something like B4U, then everyone would flock there even if they have never seen the channel before.

    Therefore, for radio the research we conduct points to many unduplicated audiences that are loyal to one station alone. Thus, many unduplicated audiences will continue to be present but will not be reached even if one operator were to buy out a set five to seven stations.

    However, acquisitions will increase your presence across the country, so are you looking to buy out other stations?
    Well, we don’t know that yet. But in a sense the next inflection point in radio will be multiple frequencies.

    With India experiencing a boom in radio, what are the key differentiators for Radio Mirchi in this cluttered environment?
    Our key differentiator would be our programming and jocks which are very contemporary. Through a lot of analysis and research we cater to the needs of listeners. We often tie up with Bollywood to premiere music on our station.

    Radio has a lot of elements that a listener can identify with like for instance a radio jock. Also, every radio station has a particular ‘stationality.’

    In more mature markets, often clients only advertise on stations that are a natural extension of their brand and its values? How far away is India on that evolutionary scale?
    Let me give an example – There was a time when Warner Brothers would advertise on Go 92.5FM because it was English and niche, but today advertisers such as these are seeing the benefits of a mass radio stations as well.

    With television further fragmenting into ‘niche’ specific channel offerings, how long before radio also branches out into the realm of niche stations? Given that Go 92.5 FM grew quickly extinct and resorted to mass appeal, what barriers would radio encounter before it adopts a niche approach?
    Once the Government approves of a multiple frequency model, where a single radio operator will have different frequencies, it is then that radio will experiment and take the route of niche stations. But this will not take shape unless all the radio stations that are scheduled to launch this year roll out there plans.

    What do you see as the way forward for the radio industry in India?
    Currently, radio only occupies two per cent of an advertiser’s ad pie expenditure and that is dispensable. As a medium I feel our rate structure is under priced, the average cost for a radio campaign is about Rs 60, 00,000 across eight to nine markets. The challenge is to increase this by three times.

  • Sony to allow movie, TV downloads on Playstation 3

    Sony to allow movie, TV downloads on Playstation 3

    MUMBAI: Japanese media conglomerate Sony has announced that users of the PlayStation 3 will shortly be able to download Sony movies and television shows on their gaming console.

    Sony made this announcement to hype the launch of the PlayStation 3 in Europe as well as push more sales of the system in the US.

    In creating a movie and music download service for the PlayStation 3, Sony will be putting itself in competition most directly with Microsoft and the Xbox 360 platform. The inclusion of a hard drive in the PlayStation 3 is part of a larger strategy to boost the PlayStation’s presence as an entertainment hardware device, rather than just a game machine.
     

  • ‘TV will continue to be important, but its importance will decline’ : Rahul Welde – HLL general manager – media services

    ‘TV will continue to be important, but its importance will decline’ : Rahul Welde – HLL general manager – media services

    For over 50 years FMCG major Hindustan Lever has dominated the Indian market with brands that have become a household name for many. Now it is about to turn over a new leaf to welcome its mother company Unilever. After having hogged the media space, especially television and now opening its doors to new media like internet and radio, the time seems right to question its experts on their outlook to the fast developing media landscape.

     

    In conversation with Sujatha Shreedharan and Renelle Snelleksz, HLL general manager – media services Rahul Welde, who is most uncomfortable in front of a camera, puts aside all his inhibitions once he begins speaking on his area of proficiency – media and advertising.

     

    Excerpts:

    With the HLL name change announced, the next question is how would this pan out in terms of a branding and marketing strategy?

    Since it’s just been announced, we haven’t really planned that out as yet. It will be put to vote in the AGM in May, after which it will get adopted and implemented.

    One of the biggest advertisers on television, HLL is now looking beyond the medium. What kind of media mix does HLL now look at? You have also maintained that TV is bound to decline?

    Television will continue to be important. However it will also continue to decline in importance. The reason for this primarily has to do with the way consumers are reacting to television messages. Studies indicate that there is a greater degree of ad avoidance, greater degree of clutter on television and that has resulted in lesser interest in television by consumers.

     

    Simultaneously people are spending more time outdoors, doing other things than just watching television. As a result television is facing a lot of competition from the other media.

     

    There was a time when there was no television and print had all the advertising – but that lasted only until television made an appearance. It ate big time into print advertising. Something similar will happen to television with the advent of radio, internet, mobile communication and other types of new media. Eventually they will fight for the same share of the rupee.

     

    I don’t think anything as drastic as the death of television is bound to happen anytime soon but it is staring into the face of a huge challenge even while other media grow at an exceptionally fast pace. The same applies to our understanding of media buying as well. Our focus has shifted to alternate media and is much higher than what it used to be two years ago.

     

    Also, I must say that there is also nothing like an HLL mix, as it depends on our brands. Some will focus on TV and spend nothing on print and vice versa, so the strategic thinking as to what to use comes from the brand and consumer lens. We are thus excited about the internet when it comes to youth brands, while outdoor and DD are key for brands like Wheel. From an industry perspective, I think radio will experience growth.

    With HLL always known to be television heavy, what happens in the case of mass channels and niche channels, what strategy would you follow in that case?

    Well, we do spend on niche and mass channels, but with the whole area of fragmentation of audiences with multiple channels emerging, where stickiness is a challenge and competition is high. Now what it really means for us is that segmentation and multiplication of channels provides the opportunity to peg note and talk to the consumer.

     

    Unfortunately, the costs have increased and given that the overall advertising pie is fixed. The ad pie doesn’t grow because there are more channels, but what is happening is money is shifting from the big to the small or from the leaders to the challengers.

     

    The growth of channels, we will see an increase in the number seconds, but what is often interpreted is that spends are also increasing in the same proportion. It is of course a big challenge as fragmentation makes the task of planning even more difficult, where agencies will produce software and optimizers making the process more sophisticated. This scenario is good for segmentation, bad for costs. Thus I don’t know whether to call it a ‘happy situation’ because after a point of time your returns become sub-optimal when costs are high. Then that becomes a worry.

    Given that you are the biggest advertiser on kid’s channels, what is the potential that you see in this space and how do you (as an advertiser) think it will shape up in the coming years?

    For us it is important, but the degree of importance it would be very low because you have to look at it from the brand and consumer fitment perspective. There are a few of our brands that actually talk directly to kids while a larger percentage of our brands look at the older demographic.

     

    Even then we are the largest advertisers. So you can imagine if kid’s were to become important then we would really have to up our spends. But the interesting part is that kid’s involvement in influencing the purchase decision is growing. Now does that mean that they participate in the decision to buy a laundry powder? My guess is that they don’t.

     

    Thus, it’s not really a major part of our media thinking but it’s interesting because there is a lot of stuff happening in the kid’s space.

    You’ve shown a lot of enthusiasm about radio. But it seems HLL mostly uses AIR and not private station. How do you view private FM?

    I see private FM as a very exciting space for us because suddenly with the addition of newer towns, viewers will have more choice in media. This viewer engagement will attract more advertising, so from our perspective which brand will resort to using radio will depend on the brand and consumer fit. Right now we are in the process of taking stock of radio advertising and as we see it increasing to about 300 stations, but more importantly the excitement is about the increase in towns.

     

    Now whom we are in partnership with has to be strategically thought out, but we are in talks with several partners. The good part is that there are new and established players coming into the fray. Even now we are the largest advertisers on AIR and FM, this will only mean that our footprint will become broader within the radio space.

    Media planners are hesitant about radio due to the lack of key differentiators, what are your views on that?

    Somewhere a woman/man is being wooed and while people begin to analyze this space I think we will get on to the bus much faster. We have in the past invested in the medium and will continue to do so. We will not wait to see who emerges as different, as differentiators are what you create. You don’t view TV the way you used to therefore, radio will also be consumed differently. I don’t know what media agencies generally view this space, for us what is important is what we can do to it. Currently, we are holding our excitement.

    Following Wheel Smart Shreemati and Rin Mera Star Super Star will AFP’s be given greater importance going forward?

    All our AFP’s played out very well for us, Wheel was the top rated show on Doordarshan. Although, it may appear like something we mounted and happened to do well for us, but the truth is we were working on it for three years. In 2004, the germ of the idea began, 2005 we tested it on a smaller channel and 2006 we took it to DD. Our planning and research helped us get to where it is as the top rated show.

     

    The challenge is that you have to combine the arithmetic of the brand, communication and commercial and get the trio to work. However, the effort required for AFP’s is disproportionate. It calls for a genuine collaborated effort with the channel, the clients and the production house. It gives a new lens to the planning effort and it’s the next practice.

     

    We have been cautious with in-films as we don’t really know how it pays back. It is one step higher than AFP in terms of collaborative effort, in fact it ends up being more of a ‘punt’ than TV.

    Talking about the online space could you highlight what is currently being done with online marketing after Sunsilk Gang of Girls and Axe land?

    We have got stuff in progress but not in the development stage yet. The Gang of Girls gave us better results that what we expected both from the returns and consumer engagement we got. The sheer numbers were amazing, we tracked all the measures and it appears the time spent by these girls was almost 11 to 14 minutes. We did it to get engagement rather than exposure and it was a collaborated effort with partners like Monster.com, Elle and Cosmopolitan. It went beyond just talking about hair to discussing everyday issues among friends, to have an extended conversation with the consumer. So both thematically and in terms of engagement it played out very well.

     

    Also with Axe we did Axe Unlimited Academy and will roll out something along the lines shortly. So will we have all brands participate aggressively on the net? Probably no. But definitely our youth brands will, because it’s really about redefining the role of engagement. Therefore for us the whole space of internet is going to grow very fast and it will grow through a combination of such websites and simultaneously through traditional web based advertising. The net allows a huge amount of interaction but it depends on how you exploit it.

    How does this translate into sales?

    This was a brand building effort, but of course everything that goes towards building a brand must translate into sales. But it is about driving brand preference and an alternate way of communication.

     

    A big change is likely to be seen which is currently under the surface, but the in the coming years the numbers in terms of advertising will show that.

     

    The only thing that we consider is the brand and the consumer, the media needs to fit into that, so if online would largely be urban, but this is also applied to the rural I-Shakti programme, however, net penetration is still restricted to urban India, but progressively it will spread.

     

    Even the outdoor space is very interesting, however it’s not being exploited sufficiently. Every time people travel, it’s an opportunity for advertisers. In fact, among different forms of media there are definitely some that are really likely to rock!

    Could you name three different media that you think will rock in 2007?

    I think for the next two-three years radio will rock, maybe not in 2007 because lets not forget that print is some 1,000 crores (Rs 10 billion) and radio only some 100 crores. If I were to have a prognosis I believe that radio will really double, because it’s just the sheer scale that cannot be ignored. But within this space there are also so many players, coupled with the lack of measurement at the moment will make it even more difficult, so who do you back, how do you know it works? Thus a half baked science gets applied. But the minute you put measurement, predictability and science behind it that will cause inflection, otherwise people will be cautious.

     

    What will also make a big shift, whether it will rock financially I cannot say, but the whole business of in-store on-screen advertising, suddenly you will find them all over the place and therefore it will peel off mainstream advertising and then get evaluated analytically by agencies.

     

    Even in the TV space, the whole area of Cas and DTH will keep the excitement alive. DTH is getting into rural space so that will be interesting. There is great action happening there as well, KBC 3 and others.

     

    Another thing is that regional media is also getting more and more important across all genres, whether it has been Marathi, Bengali, Oriya and traditionally Telugu, Tamil and Kannada have been strong anyways.

    We’ve talked conventional media and new media but HLL has always been a strong advocate of rural marketing? But the focus keeps shifting and after some time all talks of rural marketing die out. Can you give us an update on what has been happening on this front?

    The biggest challenge for us is that a large part of India is still media dark. What that means is that television or print does not really reach there. Then there is the problem of infrastructure and literacy. Therefore from our perspective we’ve really tried to concentrate on on ground activation- demonstration, sampling and events.

     

    While the problem of infrastructure, non motorable roads, etc. remains there is also a challenge of scalability. We’ve been active in the rural areas for a long time and progressively have increased our thrust in this area. The big change is of course in the scale. We have upped the scale in these initiatives.

     

    We’ve got two-three programmes which we have been looking at for the last few years. One of them is Lifebuoy Swasthya Chetana- a rural communication programme around Lifebuoy that has touched over 130 million consumers across Bihar, UP and Rajasthan. Similarly, there is Project Shakti. The Shakti Vani is a programme that we started keeping in mind communication with rural consumers.

     

    While Lifebuoy Swasthya Chetana is a brand specific programme, Shakti Vani cuts across all the brands to speak to the consumer. The action in rural India is all about being ‘their type.’

    Is there also a challenge of making these initiatives profitable? You have talked to us about scaling it up? Since you do talk about the challenges, how do you go about building your capabilities and expanding it?

    The issue is not so much about profit although there is a worry of cost effectiveness. So when you know that there is a cost involved in physically being there which cannot always be done. When I say scalability, the challenge is to do with two things – one is to do with researches on ground.

     

    If you want Western class communication to reach rural India, you need a full stream of resources which works down the line, is well trained and which understands what is being spoken about. The fact remains that the scope of the country is so vast and immense that no matter how much you do, it’s never going to be enough. Despite this, I don’t know any other company which does as much in rural marketing as we do.

     

    We work with one agency on our rural initiatives – Ogilvy Outreach and have built a strong network through our vendors. I think over time we have built our capabilities in this segment. As for expanding this further, yes we would look into that as well. We are expanding in almost every sphere and rural marketing will come under that focus too.

    Big monies are being pumped into cricket on TV, but I don’t see the same quantum of returns

    If we could just talk about HLL brand and brand categories. You have largely spoken about brands in the health and personal care segment, in this respect has the push in the food division been milder?

    We do have firm positions in beverages. In fact, we just re-launched Taj across a multimedia campaign. There is excitement in foods but the scale and salience is very different. It is largely to do with the category and not so much to with the brand itself. Our tea brands are the largest in the category but if you look at these brands in advertising terms they are not as active as the personal care. Inevitably you would see Lux, Lifebouy, Sunsilk, Surf, Rin as large media and advertising brands.

    As opposed to the parent company, which has a strong presence in the food category, therefore would the recent global alignment following the inclusion of Unilever into the companies name, mean that there expertise in foods would be brought to India?

    It’s outside my remit to comment on that because that’s a matter of corporate strategy and how the food units would grow and I can only comment on advertising. But in totality the investments in this space are as hot as personal care and it’s growing as much. It is smaller in scale but as active.

    Finally, with the World Cup Cricket right around the corner, any new initiatives or plans for the season?

    (Laughs) You know every year there is great excitement over World Cup Cricket among advertisers and also channels. We share that excitement too, but we don’t want to be carried away by it. We will have certain things in place for cricket, some of our brands will have World Cup Cricket branding. But the fact of the matter is that a lot of money is pumped into cricket on television. The question to ask is where does this extra resource come from? It is but obvious that it is either pulled out from some other kitty or companies start following a cost cutting plan. So while I may be excited about it, I don’t see the same quantum of returns in World Cup, so I am cautious.

     

    So it is great that the advertisers are looking at World Cup. For us the larger worry is the movement of eyeballs from the general entertainment channels to the sports and news channels. Finally it’s a question of checks and balances. Is this rupee spent worth it? Any advertiser would ask himself that before putting up his money. Otherwise it becomes like a punter’s game.

  • Net Insight ‘s solution to improve transport system for TV on mobile

    Net Insight ‘s solution to improve transport system for TV on mobile

    MUMBAI: Net Insight, which develops scalable optical transport solutions for media, IP and broadcast networks, announces the Nimbra 360 multiservice access/edge switch.

    This solution integrates transport of digital terrestrial television (DTT) TV operators deploying Digital Terrestrial TV based on Nimbra 360 not only get a DTT network but a multi-service transport infrastructure that opens up new business opportunities.

    The multicast feature makes it easy to distribute both digital TV and radio. Adding a higher-speed backbone and plug-in modules for uncompressed video and audio services turns the network into a media contribution platform. The built-in GbE interface and Ethernet multicast features make the solution very suitable for IPTV distribution or WiFi/Wimax aggregation. The same platform can also be used for mobile TV whether distributed over IP or ASI MPEG.

     
    DTT and Mobile TV often require a Single Frequency Network (SFN) where the transmitter stations must be synchronized to send their signals at exactly the same time. Nimbra 360 has a time transfer capability that allows accurate distribution of real time over the same network that carries the video signals. This eliminates the need for costly and potentially vulnerable GPS receivers in the network.

    DTT networks are being built, and are going to be built in many countries during the coming years. In Norway, Norkring AS delivers infrastructure and network services to premier broadcasters. The company, owned by Telenor ASA, has nation-wide transmission networks for television and radio where Nimbra 360 nodes are being deployed.

    Net Insight CEO Fredrik Tragardh says, “The Nimbra 360 was especially designed for Digital Terrestrial and Mobile TV networks and has several unique features for these applications. In addition, Nimbra 360 offers a flexible and cost-effective solution for delivering advanced multimedia services in broadcast and media networks and for IPTV/CATV distribution.”

    With four built-in multirate SONET/SDH SFP ports and one Gigabit Ethernet port the product is ready-to-go for demanding applications already in its basic configuration. In addition, up to 16 DVB-ASI ports or other combinations of multiservice access and trunk interfaces are available using the two slots for plug-in modules.

     
    TV operators deploying DTT based on Nimbra 360 not only get a DTT network but a multi-service transport infrastructure that opens up new business opportunities. The unique multicast feature makes it easy to distribute both digital TV and radio. Adding a higher-speed backbone and plug-in modules for uncompressed video and audio services turns the network into a very powerful media contribution platform.

    The built-in GbE interface and Ethernet multicast features make the solution very suitable for IPTV distribution or WiFi/Wimax aggregation. The same platform can also be used for mobile TV whether distributed over IP or ASI MPEG.