ITV

Tag: Umesh Shukla

  • Juggernaut Productions ties up with Umesh Shukla’s Merry Go Round Studios

    Juggernaut Productions ties up with Umesh Shukla’s Merry Go Round Studios

    Mumbai: IN10 Media’s Juggernaut Productions has collaborated with Umesh Shukla and Ashish Wagh’s Merry Go Round Studios to co-produce content for OTT platforms.

    Umesh Shukla, known for the critically and commercially successful films Oh My God with Amitabh Bachchan and Rishi Kapoor-starrer 102 Not Out and his rich theatrical background, has mastered the art of illustrating simple human stories with compelling emotions.

    After producing successful series like Shoorveer, Code M S1 & 2, The Married Woman, Avrodh, and others, Juggernaut Productions aims to expand its development and content slate via such partnerships. The production house will co-develop content that is rich in human stories, employing Umesh’s expertise in storytelling.

    On the collaboration, Juggernaut Productions (OTT) CEO Samar Khan said, “Juggernaut Productions is happy to co-create content with Merry Go Round and work with a talented filmmaker like Umesh Shukla. He portrays human emotions with excellence and ease. This partnership will further expand our horizon of storytelling with varied themes that resonate with audiences across the country.”

    Merry Go Round Studios co-founder Umesh Shukla added, “Juggernaut Productions has created a niche for itself with some ground-breaking shows in the past couple of years. We are excited to partner with them, as our energies are in sync. We both want to capture the audience’s pulse and give them innovative and disruptive shows.”

    The two will co-develop a series revolving around an acclaimed Gujarati play, Ek Room Rasodu (One Room Kitchen), directed by Umesh Shukla. The play, based on a true story and written by Jayesh Mehta, is full of laughter and the irony of life and has been running successfully for over 100 shows across cities like Ahmedabad, Mumbai, Kolkata, Bangalore, and others.

  • Twitter, broadcasters & brands: Building a win-win partnership

    Twitter, broadcasters & brands: Building a win-win partnership

    MUMBAI: For some time now, the popularity of Facebook and Twitter has majorly concerned broadcasters and other industry stakeholders for its impact on the viewership ratings. The second screen can distract its audience easily and chip away at the already reduced attention span of this attention deficit hyperactivity disorder  (ADHD)  generation.

    Naturally companies like Twitter are mostly seen as competition, especially now that it is equipped with its own video arm. But if we were to say TV audience’s exposure to social media, and the digital chatter over Twitter is actually a plus for the broadcasters, would anyone agree?

    A fine example is the reception that the singing reality show Sa Re Ga Ma Pa got for its  finale episode. It notched  up record ratings for Zee TV, and the latter says it owes a good part of the success to the role Twitter played.

    “We were pleased to partner with Twitter India and set new benchmarks in terms of digital engagement. Twitter’s real-time, conversational capabilities helped audiences connect with the show and experience its world like nothing else can. This collaboration has also helped our contestants and mentors engage better with our viewers,” a Zee Tv spokesperson had earlier shared.

    The show had gained over 25 million tweet impressions, establishing itself as the biggest singing reality TV show on the platform in India and Zee Tv’s twitter handle, @ZeeTV gained more than 100K followers in just three months.

    “#SaReGaMaPa is a great example of how a TV show can leverage a platform like Twitter to celebrate the talent of a reality show, and to foster collaboration between a TV channel, talent and fans. For the first time, a multitude of voices in the TV ecosystem (TV channel, contestants, judges and fans) came together to provide a complementary experience to the reality TV show. Twitter lit up with more than 300,000 Tweets during this iconic social TV moment, and it brought viewers closer to the show via Tweets, behind-the-scenes and highlight videos,” said Twitter India head of TV partnerships Viral Jani.

    In fact the 12 final contestants were given special attention from Twitter team as part of this partnership with Zee TV. “We got them on board the platform and gave them individual training sessions on how to use twitter better, and leverage their stardom with it. We also gave them an idea of how international singing reality stars use twitter both when live and behind the scenes,” Jani explained.

    The result was phenomenal. Contestants tweeted twice the times of  videos than the @ZeeTV handle

    And added 115 per cent more Tweet impressions to @ZeeTV handle through the season (@ZeeTV  with 9.5 million impressions), as per the data shared by Twitter India.

    Zee TV and Sa Re Ga Ma Pa aren’t the only examples of a successful twitter + TV partnership in India in the recent past.

    In July 2015, EPIC TV  and Twitter launched a unique innovation for the channel’s new campaign – #EPICat10, where in the broadcaster used the Twitter Alarm letting followers set a reminder for the 10pm shows for the first time. ColorsTV and BiggBoss created massive engagement with #BB9 viewers using native video uploads on Twitter powered by SnappyTV – including sneak peeks, uncensored videos and live tweeting with fun videos, with Twitter being the only external platform showcasing Bigg Boss videos. India Today Television has joined hands with Twitter in an exclusive partnership to conduct Twitter Town Halls that gives an opportunity to followers on Twitter to engage with newsmakers, opinion makers and other eminent personalities. Apart from  this Twitter also works in regional markets with other partners such as the Sun Network in the south and ZEEL’s  certain regional channels.

    Apart from this Star Plus, CNN IBN and IBN7 have regularly used Twitter’s live-streaming app Periscope to engage with audiences. SPNI’s SAB has also collaborated with Twitter for  brand as well as several show promotions.

    “In fact, for our recent show launches like Khidki and Y.A.R.O Ka Tashan we had collaborated with Twitter at a more comprehensive level. For Khidki, we actively scouted comic content from consumers. We partnered with the micro-blogging site to run a contest titled ‘#Tweetyourfunnystory’ and also did a live Q&A session with the producers of the show JD Majethia and Umesh Shukla on Twitter’s video-streaming app Periscope. This initiative sure got the viewers excited enough to share some of their funniest stories. We received over 12000 plus stories,” shared SAB TV EVP & business head Anooj Kapoor.

    For its show, Y.A.R.O Ka Tashan, SAB  created a unique Twitter BOT representing the Humanoid – Y.A.R.O, a lead character in its new show. The BOT replicated the characteristics of Y.A.R.O by answering all kind of question thrown at it.

    “Adding to this online campaign, we also had live outdoor hoardings in several high-traffic vantage points. Wherein, if someone was around the vicinity and happen to ask a question on Twitter with #SABKaYaro, his/her tweet and the response got displayed on this outdoor medium,” Kapoor said, adding that the broadcaster has attempted several other Twitter centric promotions in the recent past.

    The natural question is: did it have any significant impact in the channel or the shows’ popularity?

    “While we would be unable to directly measure the growth in ratings or viewership being driven from Twitter or any social medium for that matter, we can certainly say one thing that such collaborations and engagement with viewers on the online platform does drives home more youth and newer audiences for our shows. It also helps us gauge their interest levels for our concepts, opinions, feedback and these insights together help us deliver better,” Kapoor states frankly.

    When it comes finding a direct correlation between twitter engagement and a channel’s viewership ratings global info measurement leader Nielsen and  its TV and social media measurement output SocialGuide has the industry covered. In 2013, a study released by data scientists identified Twitter as one of three statistically significant variables (in addition to prior-year rating and advertising spend) to align with TV ratings.

    “Increases in Twitter volume correlate to increases in TV ratings for varying age groups, revealing a stronger correlation for younger audiences. Specifically, the study found that for 18-34 year olds, an 8.5% increase in Twitter volume corresponds to a 1% increase in TV ratings for premiere episodes, and a 4.2% increase in Twitter volume corresponds with a 1% increase in ratings for mid-season episodes,” the study read.

    Albeit the observation was sampled from 32 million unique people in the US, but similar inferences can be drawn from the study for the Indian market as well, as youth in India aren’t a world removed from the global youth when it comes to their online behaviour especially since the explosion in smartphone penetration in the country in the past three years.

    If Tweeting frequently, in greater volume and gaining traction is all there is to it, what advantages does a partnership with Twitter India give any broadcaster that its social management team can’t master on its own?

    “It’s true that being an open platform, anyone can launch their own handle and tweet. When we partner a broadcaster for a brand or show promotion, there are a bunch of advantages that come with it. Firstly we invest time with our partners to create creative strategies that they can follow on Twitter, which includes sharing data and global case studies that help them get a better idea. Secondly, we also give our partners access to certain tools and accessories that are helpful in creating inherently viral content,” answers Jani.

    This includes access to the Twitter India Blue Room that is a great platform for brands, TV personalities  to come and interact live with the twitterati. Twitter Challenger app, the Twitter Q & A app, Twitter Challenger App, Vine and the Twitter Mirror app are some of the other accessories that could be a part of the deal with each broadcaster/ brand.

    “Preferred partners are also given access to tool called Snappytv specially created for broadcasters  to allow them to beam short videos through its handles picked up from its broadcast feed in real time,” adds Jani. Twitter also gives access to its co-monetised product Amplify available to only select partners, that helps them monetise broadcasters/brands its premium content on Twitter.

    Interestingly, not all of these partnerships are commercial contracts per say, but ‘relationship building’ on the social media platform’s part. Most often Twitter only plays the role of a consultant explaining to the broadcaster on how it can use the platform better and more efficiently, without any promised monetary deal. “We work with our partners with the aim of audience growth,” Jani quips.

    So is there anything there for Twitter in these ‘philanthropic’ endeavours?

    “Globally we have seen the TV viewers tweet while watching TV, and carry the conversation online way after the show is over by following their favourite shows, or stars online. We have identified it as one of the verticals that is good to invest in. it is a mutually beneficial initiative as the broadcasters get to grow their audiences, and we get more traction and our users get good content on the platform,” Jani explains.

    And how can broadcasters leverage this to  their commercial benefit? A media planner says that the TV-Twitter metrics can be incorporated in the media planning and buying presence to identify shows with high audience engagement.

    Brands and advertisers either sponsoring or taking up FCT on a show on television can also work with the broadcasters social teams  to forge deeper conversations and engagements about the brand with the series’ audience on Twitter and vice-versa to further build buzz.

    “Collaborations such as this can build brand or show love,” says the planner.  “And it is this love of a brand which drives transactions and engagement with it.”

    Now isn’t that a win-win situation?

    (With inputs from Sonam Saini )

  • Twitter, broadcasters & brands: Building a win-win partnership

    Twitter, broadcasters & brands: Building a win-win partnership

    MUMBAI: For some time now, the popularity of Facebook and Twitter has majorly concerned broadcasters and other industry stakeholders for its impact on the viewership ratings. The second screen can distract its audience easily and chip away at the already reduced attention span of this attention deficit hyperactivity disorder  (ADHD)  generation.

    Naturally companies like Twitter are mostly seen as competition, especially now that it is equipped with its own video arm. But if we were to say TV audience’s exposure to social media, and the digital chatter over Twitter is actually a plus for the broadcasters, would anyone agree?

    A fine example is the reception that the singing reality show Sa Re Ga Ma Pa got for its  finale episode. It notched  up record ratings for Zee TV, and the latter says it owes a good part of the success to the role Twitter played.

    “We were pleased to partner with Twitter India and set new benchmarks in terms of digital engagement. Twitter’s real-time, conversational capabilities helped audiences connect with the show and experience its world like nothing else can. This collaboration has also helped our contestants and mentors engage better with our viewers,” a Zee Tv spokesperson had earlier shared.

    The show had gained over 25 million tweet impressions, establishing itself as the biggest singing reality TV show on the platform in India and Zee Tv’s twitter handle, @ZeeTV gained more than 100K followers in just three months.

    “#SaReGaMaPa is a great example of how a TV show can leverage a platform like Twitter to celebrate the talent of a reality show, and to foster collaboration between a TV channel, talent and fans. For the first time, a multitude of voices in the TV ecosystem (TV channel, contestants, judges and fans) came together to provide a complementary experience to the reality TV show. Twitter lit up with more than 300,000 Tweets during this iconic social TV moment, and it brought viewers closer to the show via Tweets, behind-the-scenes and highlight videos,” said Twitter India head of TV partnerships Viral Jani.

    In fact the 12 final contestants were given special attention from Twitter team as part of this partnership with Zee TV. “We got them on board the platform and gave them individual training sessions on how to use twitter better, and leverage their stardom with it. We also gave them an idea of how international singing reality stars use twitter both when live and behind the scenes,” Jani explained.

    The result was phenomenal. Contestants tweeted twice the times of  videos than the @ZeeTV handle

    And added 115 per cent more Tweet impressions to @ZeeTV handle through the season (@ZeeTV  with 9.5 million impressions), as per the data shared by Twitter India.

    Zee TV and Sa Re Ga Ma Pa aren’t the only examples of a successful twitter + TV partnership in India in the recent past.

    In July 2015, EPIC TV  and Twitter launched a unique innovation for the channel’s new campaign – #EPICat10, where in the broadcaster used the Twitter Alarm letting followers set a reminder for the 10pm shows for the first time. ColorsTV and BiggBoss created massive engagement with #BB9 viewers using native video uploads on Twitter powered by SnappyTV – including sneak peeks, uncensored videos and live tweeting with fun videos, with Twitter being the only external platform showcasing Bigg Boss videos. India Today Television has joined hands with Twitter in an exclusive partnership to conduct Twitter Town Halls that gives an opportunity to followers on Twitter to engage with newsmakers, opinion makers and other eminent personalities. Apart from  this Twitter also works in regional markets with other partners such as the Sun Network in the south and ZEEL’s  certain regional channels.

    Apart from this Star Plus, CNN IBN and IBN7 have regularly used Twitter’s live-streaming app Periscope to engage with audiences. SPNI’s SAB has also collaborated with Twitter for  brand as well as several show promotions.

    “In fact, for our recent show launches like Khidki and Y.A.R.O Ka Tashan we had collaborated with Twitter at a more comprehensive level. For Khidki, we actively scouted comic content from consumers. We partnered with the micro-blogging site to run a contest titled ‘#Tweetyourfunnystory’ and also did a live Q&A session with the producers of the show JD Majethia and Umesh Shukla on Twitter’s video-streaming app Periscope. This initiative sure got the viewers excited enough to share some of their funniest stories. We received over 12000 plus stories,” shared SAB TV EVP & business head Anooj Kapoor.

    For its show, Y.A.R.O Ka Tashan, SAB  created a unique Twitter BOT representing the Humanoid – Y.A.R.O, a lead character in its new show. The BOT replicated the characteristics of Y.A.R.O by answering all kind of question thrown at it.

    “Adding to this online campaign, we also had live outdoor hoardings in several high-traffic vantage points. Wherein, if someone was around the vicinity and happen to ask a question on Twitter with #SABKaYaro, his/her tweet and the response got displayed on this outdoor medium,” Kapoor said, adding that the broadcaster has attempted several other Twitter centric promotions in the recent past.

    The natural question is: did it have any significant impact in the channel or the shows’ popularity?

    “While we would be unable to directly measure the growth in ratings or viewership being driven from Twitter or any social medium for that matter, we can certainly say one thing that such collaborations and engagement with viewers on the online platform does drives home more youth and newer audiences for our shows. It also helps us gauge their interest levels for our concepts, opinions, feedback and these insights together help us deliver better,” Kapoor states frankly.

    When it comes finding a direct correlation between twitter engagement and a channel’s viewership ratings global info measurement leader Nielsen and  its TV and social media measurement output SocialGuide has the industry covered. In 2013, a study released by data scientists identified Twitter as one of three statistically significant variables (in addition to prior-year rating and advertising spend) to align with TV ratings.

    “Increases in Twitter volume correlate to increases in TV ratings for varying age groups, revealing a stronger correlation for younger audiences. Specifically, the study found that for 18-34 year olds, an 8.5% increase in Twitter volume corresponds to a 1% increase in TV ratings for premiere episodes, and a 4.2% increase in Twitter volume corresponds with a 1% increase in ratings for mid-season episodes,” the study read.

    Albeit the observation was sampled from 32 million unique people in the US, but similar inferences can be drawn from the study for the Indian market as well, as youth in India aren’t a world removed from the global youth when it comes to their online behaviour especially since the explosion in smartphone penetration in the country in the past three years.

    If Tweeting frequently, in greater volume and gaining traction is all there is to it, what advantages does a partnership with Twitter India give any broadcaster that its social management team can’t master on its own?

    “It’s true that being an open platform, anyone can launch their own handle and tweet. When we partner a broadcaster for a brand or show promotion, there are a bunch of advantages that come with it. Firstly we invest time with our partners to create creative strategies that they can follow on Twitter, which includes sharing data and global case studies that help them get a better idea. Secondly, we also give our partners access to certain tools and accessories that are helpful in creating inherently viral content,” answers Jani.

    This includes access to the Twitter India Blue Room that is a great platform for brands, TV personalities  to come and interact live with the twitterati. Twitter Challenger app, the Twitter Q & A app, Twitter Challenger App, Vine and the Twitter Mirror app are some of the other accessories that could be a part of the deal with each broadcaster/ brand.

    “Preferred partners are also given access to tool called Snappytv specially created for broadcasters  to allow them to beam short videos through its handles picked up from its broadcast feed in real time,” adds Jani. Twitter also gives access to its co-monetised product Amplify available to only select partners, that helps them monetise broadcasters/brands its premium content on Twitter.

    Interestingly, not all of these partnerships are commercial contracts per say, but ‘relationship building’ on the social media platform’s part. Most often Twitter only plays the role of a consultant explaining to the broadcaster on how it can use the platform better and more efficiently, without any promised monetary deal. “We work with our partners with the aim of audience growth,” Jani quips.

    So is there anything there for Twitter in these ‘philanthropic’ endeavours?

    “Globally we have seen the TV viewers tweet while watching TV, and carry the conversation online way after the show is over by following their favourite shows, or stars online. We have identified it as one of the verticals that is good to invest in. it is a mutually beneficial initiative as the broadcasters get to grow their audiences, and we get more traction and our users get good content on the platform,” Jani explains.

    And how can broadcasters leverage this to  their commercial benefit? A media planner says that the TV-Twitter metrics can be incorporated in the media planning and buying presence to identify shows with high audience engagement.

    Brands and advertisers either sponsoring or taking up FCT on a show on television can also work with the broadcasters social teams  to forge deeper conversations and engagements about the brand with the series’ audience on Twitter and vice-versa to further build buzz.

    “Collaborations such as this can build brand or show love,” says the planner.  “And it is this love of a brand which drives transactions and engagement with it.”

    Now isn’t that a win-win situation?

    (With inputs from Sonam Saini )

  • Sony SAB heralds its new show, ‘Khidki’ in an innovative way

    Sony SAB heralds its new show, ‘Khidki’ in an innovative way

    MUMBAI: Sony SAB has undertaken an innovative and unique approach in promoting one of its new shows –‘Khidki’. What defines the new mini-series is that ‘real’ life funny stories sourced from audiences from all parts of Indiawill be dramatized, developed and adapted for the small screen. With the intention of crowd sourcing such genuineand cherished stories from viewers, thec hannel has embarked on a phase-wise campaign to create awareness about the show and invite entries.

    ‘Khidki’s ongoing publicity campaign has met with considerable success generating a total of 12,345 (twelve thousand and three hundred forty-five stories), thus far! The first phase of this campaign was devised to actively scout for comic content from consumers. From partnering with the micro-blogging site – Twitter to run a contest titled ‘#Tweetyourfunnystory’, to a live Q&A session with the producers of the show JD Majethia and Umesh Shukla onTwitter’s video-streaming app Periscope, the channel has pulled out all stops in ensuring that it stokes excitement amongst consumers in sharing some of their funniest stories. Sticking to its promise of presenting viewers ‘interesting, real life stories from every corner of India’, SAB has conducted an activation program in long-distance trains like Rajdhani, Shatabadi and Garib Rath. In addition, SAB has also run multiple promos on its home channel encouraging consumers to upload their funny stories on the microsite.

    From ushering the need for people to share some of their heartfelt stories in the first phase of the campaign, SAB has now decided to add momentum to its campaign movement by undertaking initiatives to drive tune-ins for the show in the second phase. Leaving no stone unturned in creating a buzz about the new show, the channel has embarked on a 9-series illustration-based print advertising campaign, each depicting the kind of story that will be featured in Khidki. The 9-insert campaign is being released across 23 national and regional publications. Further, illustration based outdoor hoardings will be put up across 10 towns. A radio jingle sung by Actor Raghubeer Yadav will be played across Hindi speaking market (HSM) stations and local trains.

    True to its personality of successfully connecting, entertaining and engaging with viewers, SAB has decided tolaunch ‘Khidki’ in a manner no different. For a show who’s USP is ‘real’ stories, the channel has decided to ride high on the ‘relatability’ aspect by getting its SAB Family Club members to unveil the show in different cities across India.

    ‘Khidki’s’cast will feature a set of recurring actors like Sarita Joshi, Rajeev Mehta and Lubna Salim to name a few who will portray different characters in different stories, along with narration by host JD Majethia, who is also the producer of the show. Each story will be weaved in episodes designed to last for minimum of three to eight episodes, depending on the length of each story.

  • Sony SAB heralds its new show, ‘Khidki’ in an innovative way

    Sony SAB heralds its new show, ‘Khidki’ in an innovative way

    MUMBAI: Sony SAB has undertaken an innovative and unique approach in promoting one of its new shows –‘Khidki’. What defines the new mini-series is that ‘real’ life funny stories sourced from audiences from all parts of Indiawill be dramatized, developed and adapted for the small screen. With the intention of crowd sourcing such genuineand cherished stories from viewers, thec hannel has embarked on a phase-wise campaign to create awareness about the show and invite entries.

    ‘Khidki’s ongoing publicity campaign has met with considerable success generating a total of 12,345 (twelve thousand and three hundred forty-five stories), thus far! The first phase of this campaign was devised to actively scout for comic content from consumers. From partnering with the micro-blogging site – Twitter to run a contest titled ‘#Tweetyourfunnystory’, to a live Q&A session with the producers of the show JD Majethia and Umesh Shukla onTwitter’s video-streaming app Periscope, the channel has pulled out all stops in ensuring that it stokes excitement amongst consumers in sharing some of their funniest stories. Sticking to its promise of presenting viewers ‘interesting, real life stories from every corner of India’, SAB has conducted an activation program in long-distance trains like Rajdhani, Shatabadi and Garib Rath. In addition, SAB has also run multiple promos on its home channel encouraging consumers to upload their funny stories on the microsite.

    From ushering the need for people to share some of their heartfelt stories in the first phase of the campaign, SAB has now decided to add momentum to its campaign movement by undertaking initiatives to drive tune-ins for the show in the second phase. Leaving no stone unturned in creating a buzz about the new show, the channel has embarked on a 9-series illustration-based print advertising campaign, each depicting the kind of story that will be featured in Khidki. The 9-insert campaign is being released across 23 national and regional publications. Further, illustration based outdoor hoardings will be put up across 10 towns. A radio jingle sung by Actor Raghubeer Yadav will be played across Hindi speaking market (HSM) stations and local trains.

    True to its personality of successfully connecting, entertaining and engaging with viewers, SAB has decided tolaunch ‘Khidki’ in a manner no different. For a show who’s USP is ‘real’ stories, the channel has decided to ride high on the ‘relatability’ aspect by getting its SAB Family Club members to unveil the show in different cities across India.

    ‘Khidki’s’cast will feature a set of recurring actors like Sarita Joshi, Rajeev Mehta and Lubna Salim to name a few who will portray different characters in different stories, along with narration by host JD Majethia, who is also the producer of the show. Each story will be weaved in episodes designed to last for minimum of three to eight episodes, depending on the length of each story.

  • TV meets digital; Sab TV ties up with Twitter

    TV meets digital; Sab TV ties up with Twitter

    MUMBAI: Gone are the days when the social media platform Twitter was just for a casual chit chat, it is now an important tool for mainstream media. Breaking the stereotype trend, Sab TV staying true to its brand belief of ‘Differentiation through Innovation’, brings to its audience yet another unique concept- Khidki.  The channel in partnership with television producer JD Majethia and Bollywood director Umesh Shukla has called in for entries i.e. stories from the common man through Twitter – #TweetAFunnyStory.

    The brief is that entries should encompass unique yet funny stories that one has experienced in life, something that holds a special place in one’s memories and brings out the laughs. The shortlisted stories will then be presented to the world in the form of an episodic series on the channel.

    Sab TV will give an opportunity to millions of families to tell their funny stories to the world. The viewers can submit their entries on Twitter or email them to humarifunnykahani@setindia.com. The most interesting and entertaining story will be told on-screen and the family will also get a chance to be a part of the series as the story heads towards the climax.

    Until now, the channel has received around 4,000 stories.  The show Khidki will be a half-hour weekday show. Though the channel has not finalized the date as yet, it is planning to launch the show post IPL.

    Speaking with Indiantelevision.com, Sab TV senior EVP and business head Anooj Kapoor said, “The show will be based on real life stories. So we are asking them to send their stories and incidents to us which we shall develop into an episode. At the end of that particular episode, the person who sent that incident will get a chance to appear on the show and get to talk little more about it. This will be not only give a chance to the viewer to get the sense of complete engagement, it will also make the story extremely relative to the audiences.”

    Kapoor further added, “We have to attract such stories from various platforms and therefore the partnership with Twitter became a very obvious choice because it is very easy for twitterti to tweet the story and same could be evaluated by us.”   

    The channel is following a robust marketing strategy for Khidki. Sab TV is going all out to aggressively promote the show and invite stories through innovative marketing.

    Using a unique concept, the channel is conducting marketing activation programs in the Rajdhani Express and the Shatabdi Express and some long distance trains to engage with family commuters and invite stories.  Further, window-structured ‘Khidki’ outdoor innovations have been installed to generate a buzz around the initiative. These are in addition to the traditional media mix which includes television, print, radio and outdoor. “Besides our partnership with Twitter for #TweetAFunnyStory, we are collaborating with multiple digital platforms to generate stories,” revealed Kapoor.

    Twitter is complementary to the full experience of viewing a TV channel today, with each tweet being an opportunity for channels to strengthen relationships with their audiences. Twitter India continues to build strategic partnerships with broadcasters helping them amplify their message, drive more viewers and generate more user engagement with their content on the platform

    On the partnership between the channel and Twitter India, Twitter India TV partnership head Viral Jani said, “We are coming together and inviting stories from the platform to give consumers a platform. We amplify their effort on our platform and with this initiative we want to tell to the world that it is a great example how you can use Twitter to reach out to your consumer. There is no deal per se, but it’s a partnership which can be mutually beneficial and also beneficial for our consumers.  Sab TV is not only engaging with our users, but also giving them an opportunity to be a part of a TV show. It is just a first step in the long term relationship with Sab TV. We will be in partnership with Sab TV for more events that it is planning to launch in few months, this is just a beginning.”  

    With television being one of the largest conversation generators on the platform, Twitter aims to become the second screen to TV in India engaging audiences in real-time with the best of television content. “Twitter has always been a second screen app for TV viewers, globally and as well as in India. People watch shows on television and tweet about those shows on Twitter. They love to engage with the shows, channels and celebrities who are the part of the television series. They are interested in behind the scenes, pictures, videos, and they love to do interactions, be it for a reality television show or a new show. Twitter is like a unique platform where all of them can interact with each other. Considering this, there was a hunger from the users and the TV partners, and we believe that it’s a great thing for us and for them,” concluded Jani.

     

  • TV meets digital; Sab TV ties up with Twitter

    TV meets digital; Sab TV ties up with Twitter

    MUMBAI: Gone are the days when the social media platform Twitter was just for a casual chit chat, it is now an important tool for mainstream media. Breaking the stereotype trend, Sab TV staying true to its brand belief of ‘Differentiation through Innovation’, brings to its audience yet another unique concept- Khidki.  The channel in partnership with television producer JD Majethia and Bollywood director Umesh Shukla has called in for entries i.e. stories from the common man through Twitter – #TweetAFunnyStory.

    The brief is that entries should encompass unique yet funny stories that one has experienced in life, something that holds a special place in one’s memories and brings out the laughs. The shortlisted stories will then be presented to the world in the form of an episodic series on the channel.

    Sab TV will give an opportunity to millions of families to tell their funny stories to the world. The viewers can submit their entries on Twitter or email them to humarifunnykahani@setindia.com. The most interesting and entertaining story will be told on-screen and the family will also get a chance to be a part of the series as the story heads towards the climax.

    Until now, the channel has received around 4,000 stories.  The show Khidki will be a half-hour weekday show. Though the channel has not finalized the date as yet, it is planning to launch the show post IPL.

    Speaking with Indiantelevision.com, Sab TV senior EVP and business head Anooj Kapoor said, “The show will be based on real life stories. So we are asking them to send their stories and incidents to us which we shall develop into an episode. At the end of that particular episode, the person who sent that incident will get a chance to appear on the show and get to talk little more about it. This will be not only give a chance to the viewer to get the sense of complete engagement, it will also make the story extremely relative to the audiences.”

    Kapoor further added, “We have to attract such stories from various platforms and therefore the partnership with Twitter became a very obvious choice because it is very easy for twitterti to tweet the story and same could be evaluated by us.”   

    The channel is following a robust marketing strategy for Khidki. Sab TV is going all out to aggressively promote the show and invite stories through innovative marketing.

    Using a unique concept, the channel is conducting marketing activation programs in the Rajdhani Express and the Shatabdi Express and some long distance trains to engage with family commuters and invite stories.  Further, window-structured ‘Khidki’ outdoor innovations have been installed to generate a buzz around the initiative. These are in addition to the traditional media mix which includes television, print, radio and outdoor. “Besides our partnership with Twitter for #TweetAFunnyStory, we are collaborating with multiple digital platforms to generate stories,” revealed Kapoor.

    Twitter is complementary to the full experience of viewing a TV channel today, with each tweet being an opportunity for channels to strengthen relationships with their audiences. Twitter India continues to build strategic partnerships with broadcasters helping them amplify their message, drive more viewers and generate more user engagement with their content on the platform

    On the partnership between the channel and Twitter India, Twitter India TV partnership head Viral Jani said, “We are coming together and inviting stories from the platform to give consumers a platform. We amplify their effort on our platform and with this initiative we want to tell to the world that it is a great example how you can use Twitter to reach out to your consumer. There is no deal per se, but it’s a partnership which can be mutually beneficial and also beneficial for our consumers.  Sab TV is not only engaging with our users, but also giving them an opportunity to be a part of a TV show. It is just a first step in the long term relationship with Sab TV. We will be in partnership with Sab TV for more events that it is planning to launch in few months, this is just a beginning.”  

    With television being one of the largest conversation generators on the platform, Twitter aims to become the second screen to TV in India engaging audiences in real-time with the best of television content. “Twitter has always been a second screen app for TV viewers, globally and as well as in India. People watch shows on television and tweet about those shows on Twitter. They love to engage with the shows, channels and celebrities who are the part of the television series. They are interested in behind the scenes, pictures, videos, and they love to do interactions, be it for a reality television show or a new show. Twitter is like a unique platform where all of them can interact with each other. Considering this, there was a hunger from the users and the TV partners, and we believe that it’s a great thing for us and for them,” concluded Jani.

     

  • ‘All Is Well’: Not really

    ‘All Is Well’: Not really

    MUMBAI: Some films one just goes to watch without expectations. 

    Same is the case with All Is Well despite being directed by Umesh Shukla, who earlier gave us OMG: Oh My God. This is because, if the script does not add up to much and the credits list actors who are not known to carry a film on their own shoulders, no director can work miracles. 

    The film promises to be at least a visual delight as it takes off in Bangkok but that is just a bait. It soon moves rock stock and barrel into the hinterlands of North India, probably Haryana or is it Punjab? Well, the language and the attires seem to be those of Punjabi / Sikh and so is the ambience. Soon, it stops mattering for, if the makers don’t know, how could we?

    Abhishek Bachchan is a writer and composer of music who has been trying to get a break to cut an album in Bangkok. May be, Bangkok is where new talent in Hindi music are launched!?! Tiku Talsania seems to be the man who holds a monopoly in launching new talent. However, he does not invest; an aspirant has to finance his own album. That is where Abhishek falls short for he has no money. 

    Back home, Abhishek has parents, mother Supriya Pathak and father Rishi Kapoor. This is one messed up family suffering from total lack of communication despite being a family of three. Rishi has inherited a bakery from his father, which has a customer base of around four people. He is badly off, has no ambitions and gives vent to his frustration on his son and wife thus estranging Abhishek, who he asks to leave. Abhishek’s passion is his guitar and his music, which Rishi dislikes. 

    Abhishek has to raise money so that Tiku can launch him and that is when he gets a communication from his father’s lawyer that Abhishek needs to come to India and sign an agreement to sell off the bakery premises since his grandfather left it in the joint name with his father. Abhishek wants nothing of it but his friend convinces him that this probably is the money he was looking for his album. 

    Abhishek also has an admirer in Asin who loves him and wants to marry him. She is in a hurry to convince Abhishek because her father has already found a suitor for her back home. Both are on their way to India and end up taking the same flight. They also end up using the same cab (clichés never went out of fashion). Asin is glued to Abhishek, at times by her own devise, at others, by the writer’s plotting. 

    When Abhishek reaches home, he learns that he has been really fooled into coming by a goon, Mohammed Zeeshan Ayub, to whom Rishi owes a lot of money. The goon wants the bakery premises in lieu of his money. Soon, Abhishek also learns that there is not a single person in his town to whom Rishi does not owe money! The bickering between father and son resumes after a ten year break. Supriya has been conveniently put out of scene consigned as an Alzheimer affected patient, who is left to be a mute spectator to father and son’s verbal duals.

    Here on, the makers seem to decide to take it as it comes with no particular sequence of events as father and son play hide and seek with Mohammed and his bunch of buffoons who pass off as his toughies. In between the mess, they realise that they actually love and care for each other. For whatever corny reason, Rishi had divorced Supriya so Abhishek decides to get them married again. Abhishek has also paid up Mohamed’s dues by selling his songs to another singer against his principles and wishes. 

    That done; it is now Rishi and company’s turn to get Abhishek and Asin together. For convenience sake, Asin’s suitor has decided to marry her cousin. 

    All Is Well is a poorly conceived, half-baked script. Substance is at premium here. The director is totally at sea doing a patch up job giving the film a last century B grade feel and the set designs making it only worse. Even regional films or limited budget small films have more finesse. Editing could have been better. The film has various singers giving voice to Abhishek or his none lip-sync number, which sounds rather odd. The only hummable song is Baaton ko teri…composed by Himmesh Reshamiya (the film has four composers besides having borrowed a number from Anand Milind’s score from Qayamat Se Qayamat Tak).

    Performances are generally bad. Even Rishi does not bother to act. Abhishek and Asin both suffer from poorly etched characters. Supriya manages to look blank forgetting to act; Alzheimer makes a patient forget things, you know. 

    Talking of expectations, All Is Well is a let-down even for one with no expectations.

    Producers: Bhushan Kumar, Kishan Kumar, Shyam Bajaj, Varun Bajaj

    Director: Umesh Shukla

    Cast: Rishi Kapoor, Supriya Pathak,  Abhishek Bachchan, Asin, Mohammed Zeeshan Ayub and Sonakshi Sinha in an item number

  • Big B to do Bhushan Kumar’s 102 Not Out

    Big B to do Bhushan Kumar’s 102 Not Out

    Good news for all Big B lovers. Amitabh Bachchan began the shoot for Bhoothnath Returns on 9 October, at Filmcity, Mumbai. Producer Bhushan Kumar is very excited with his very first association with Bachchan that he has showed his eagerness to work with Big B again. Even before starting Bhoothnath Returns shoot in full force, Bhushan Kumar announced his next project with Amitabh Bachchan.

     

    On the special occasion of Amitabh Bachchan’s birthday, Bhushan announced his new project with him. After listening the story, the shahensha of Bollywood has given a nod to star in T-Series’ next production being directed by Umesh Shukla.

    Titled 102 Not Out, the movie is about an old man who decides to break the world record of longevity. With Bachchan playing the lead role, the movie shows us how to live a life as opposed to merely existing. This Amitabh Bachchan starrer will also have Paresh Rawal is a pivotal role.

     

    102 Not Out will be directed by Umesh Shukla and will be his second movie under the T-Series exclusive five film deal. Big B was last seen in Prakash Jha’s Satyagraha.

  • Bhushan Kumar’s T-series signs a power packed four film deal

    Bhushan Kumar’s T-series signs a power packed four film deal

    MUMBAI: After Aashiqui 2‘s Rs 130 crore mega success worldwide, T-Series producer Bhushan Kumar is now eyeing to cash it on a star studded slate of films. It is reported that T-Series has gone on to sign a four film deal roping in OMG Oh My God director Umesh Shukla.

    With preparations on board, T-Series reports that the first movie will star Abhishek Bachchan in the lead, however the search for the film‘s leading lady is still on. Obviously seeking a big budget release, producer Bhushan Kumar is currently in talks with several big names to lock on the actress.

    Clearing all speculations, Bhushan clarified, "Yes we have signed a four film deal with director Umesh Shukla and the first being an Abhishek-Bachchan starrer. He is an extremely talented director and as a producer I have full faith in his ability to helm the film. We are very excited to have him onboard. We are yet to sign the female lead."