Tag: UTV

  • TV tops news consumption in the UK

    TV tops news consumption in the UK

    MUMBAI: In the UK, TV is the most used platform for news (79 per cent) according to the 2018 News Consumption in the UK research report published by communications regulator Ofcom.

    TV is followed by internet (64 per cent), radio (44 per cent) and newspapers (40 per cent) among adults. However, internet is the most popular platform among 16-24s (82 per cent) and ethnic minority groups (EMGs) (73 per cent).

    Television being the most-used platform, BBC One is the most important news source and is used by 62 per cent adults in UK followed by ITV (41 per cent) and Facebook (33 per cent). When it comes to online news, social media is used by 44 per cent adults.

    BBC One is the most used source for news in Wales, Scotland and England, while UTV is most popular in Northern Ireland (NI). Facebook is the third most popular source across all nations. Welsh respondents are most likely to say they’re interested in news about their nation (55 per cent vs 49 per cent in Scotland, 37 per cent in NI and 32 per cent in England).

    One in seven adults (14 per cent) use all four main platforms for news (i.e. TV, radio, newspapers and the internet).

    Eighty two per cent of 12-15 year olds said that the news they heard from family was either ‘always’ or ‘mostly’ true, compared to 77 per cent for radio and 73 per cent for TV. Only one in three (34 per cent) think news stories on social media are reported truthfully.

  • With Star India, Disney emerges as India’s largest M&E firm

    With Star India, Disney emerges as India’s largest M&E firm

    MUMBAI: Unlike the US, where the merger of The Walt Disney Co and 21st Century Fox’s entertainment assets is between two near equals, the scenario in India is totally different. 21st Century Fox’s India venture Star India is a $1.7 billion dollar media and entertainment behemoth while Disney India is a minnow with just about $150 or so million in sales, including its theatrical releases, TV businesses, and merchandising and licensing of the Disney characters and brands.

    For long, the mouse house has struggled to attain scale in India, like it has done in China with its $100 million box office theatrical releases and successful Shanghai Disneyland but it has not attained the success it would have wanted.

    Acquiring Ronnie Screwvala’s UTV half a decade ago gave Disney four channels—Bindaas, Hungama TV, UTV Action and UTV Movies, apart from a film production studio which it shuttered last year despite having
    a huge hit in the Aamir Khan starrer Dangal.  Other channels in its portfolio include Disney Channel, Disney Junior, Disney Channel HD, and Disney Junior HD.

    The acquisition of Star India with its 61 channels, stakes in DTH operator Tata Sky, VOD service Hotstar, and in-film production and distribution has in one fell swoop catapulted it to the number one media and entertainment company status in India.

    However, it’s most likely that Star India chairman & CEO Uday Shankar will be given the mandate to steer and drive the enthusiastic young and new management team in Disney India, in synergy with Star India.  Shankar has been focused on regional language entertainment channel expansion, sports and Hotstar at the powerful media firm–a portfolio he has grown since he took over in 2007.

    Disney India is run by Abhishek Maheshwari–who was elevated to that position recently–following the promotion of Mahesh Samat as executive VP & managing director for South Asia.  How Shankar will manage the operations and whether he will restructure the management there will become clearer over the next few months.

    Star India has lacked kids channels in its portfolio; the addition of the Disney channels will help complete that. 

    Its Hotstar service has the most complete international portfolio and has had exclusive access to fresh Disney content, shows from HBO, Fox, CBS, and Showtime. And with it, Disney India will get more than 70 odd million active users consuming a multiple billion minutes a month of content.  

    “It is going to be an unrivalled media and entertainment powerhouse,” says a media observer. “All other media companies pale in comparison in the country.”

    The Tata Sky stake immediately brings into the Disney fold a satellite TV distribution platform making it a first for the company. UK satellite TV distributor Sky will most likely be the second one if the Murdochs’ bid for it in the UK gets the go-ahead from local authorities in time. 

    Of course, the arrangement in India will give Disney access to the world’s most valued cricket league, the IPL, for which Star India bid aggressively this year–some say too much. Then there are other sports activities that it automatically gets, like the leagues for kabaddi, football, hockey, and badminton. But being a part of Disney will aid its larger partner, too; it will have the facility to dip into the former’s massive cash trove to aid Shankar’s aggressive growth and entrepreneurial urge whether on video-streaming expansion or in sports.

    Interesting times are clearly on hand for the media and entertainment business in India.

    Also read:

    Comment: The rise and rise of Uday Shankar

    Disney to buy 21st Century Fox assets for $52.4 billion

    Disney expected to announce 21 CF buyout tomorrow: media reports

    Now, Comcast in talks to buy 21st Century Fox

  • Times’ Anuj Katiyar joins BTVi, aims at impactful content & strategic mktg (updated)

    MUMBAI: Times Now’s marketing head Anuj Katiyar has joined BTVi as the head of marketing and research.

    A source close to the development confirmed the news to www.indiantelevision.com that Katiyar has replaced Shivi Chopra. Katiyar will report to BTVi COO Monica Tata.

    BTVi COO Monica Tata said, “We believe that Anuj’s expertise in the marketing and research domain will be a valuable asset to the channel. His knowledge and experience will help BTVi brand to scale new heights.” Katiyar said, “BTVi comes from an extremely strong lineage of great content. This year, we will focus on building BTVi into a strong brand backed by rich and impactful content, coupled with strategic marketing initiatives.”

    Katiyar’s previous stint was with Times Now as the marketing head. He worked with Times Now for over two years. Before joining Times Network, he worked with Zee Learn as the head of marketing and research.

    A post-graduate from N.L. Dalmia Institute of Management Studies and Research, Katiyar was also associated with the companies such as UTV where he worked as the senior manager of marketing, and Viacom 18’s Colors as the marketing manager.

  • Lean Disney to focus on core strengths

    Lean Disney to focus on core strengths

    MUMBAI: World’s biggest media and entertainment group with over US$22 billion in annual revenue The Walt Disney Company is prepared to restructure its India operations under the recently-appointed managing director Mahesh Samat, who rejoined in October.

    Disney has lately been working towards a lean structure, aligned more to the international organisational set-up. The India operations will be focusing on consumer products business and Hollywood films — its main strengths.

    After sustaining major losses, Disney has planned to temporarily drop its Hindi film production business that includes interactives, media networks, licensing and merchandising.

    Disney India head of revenue – media networks Nikhil Gandhi and head of interactive Sameer Ganapathy have resigned already. Also, Disney India may reportedly trim its workforce by 35-40 per cent in a couple of months.

    It was earlier reported that Disney India may be closing down game development at Indiagames. Ganapathy, who had replaced Indiagames co-founder Vishal Gondal after Indiagames was acquired by Disney, lead the interactive business which included development and delivery of multiplatform games and digital products including apps for multi-brands under The Walt Disney Company – Indiagames, Disney, Marvel, UTV, and Disney Pixar.

  • Lean Disney to focus on core strengths

    Lean Disney to focus on core strengths

    MUMBAI: World’s biggest media and entertainment group with over US$22 billion in annual revenue The Walt Disney Company is prepared to restructure its India operations under the recently-appointed managing director Mahesh Samat, who rejoined in October.

    Disney has lately been working towards a lean structure, aligned more to the international organisational set-up. The India operations will be focusing on consumer products business and Hollywood films — its main strengths.

    After sustaining major losses, Disney has planned to temporarily drop its Hindi film production business that includes interactives, media networks, licensing and merchandising.

    Disney India head of revenue – media networks Nikhil Gandhi and head of interactive Sameer Ganapathy have resigned already. Also, Disney India may reportedly trim its workforce by 35-40 per cent in a couple of months.

    It was earlier reported that Disney India may be closing down game development at Indiagames. Ganapathy, who had replaced Indiagames co-founder Vishal Gondal after Indiagames was acquired by Disney, lead the interactive business which included development and delivery of multiplatform games and digital products including apps for multi-brands under The Walt Disney Company – Indiagames, Disney, Marvel, UTV, and Disney Pixar.

  • Disney India confirms ending Hindi film production

    Disney India confirms ending Hindi film production

    MUMBAI: Reams and reams of newsprint and countless words have been written over the past week, about the exit of Disney India from the motion picture business and the departure of its managing director Siddharth Roy Kapur. The company refrained from reacting to any of the news reports.

    But it has now decided to issue an official statement confirming that it is indeed bringing down the curtains on its bold Hindi production initiative which it once considered as a crown jewel when it acquired UTV from Ronnie Screwvala four years ago.

    “We periodically review and realign our business priorities in response to evolving market dynamics. Given the challenges with the current economic model for investing in the local film industry, we intend to shift the focus of our film strategy to driving our Hollywood movie slate in India. These movies have enjoyed considerable success, including The Jungle Book, which is the highest-grossing Hollywood movie of all time in India. We remain optimistic about the incredible potential of the Indian market and will continue to invest in growing the Disney brand in India with our movies, television networks, consumer and interactive products, and live experiences,” reads the official statement from the company, which is to be attributed to ‘Disney spokesperson.’

    While Disney India has reserved all comments about Sid hanging up his boots, there is clear indication that he is quitting as a headhunt has commenced to find a replacement for him. .

    To many industry observers the decision to bring up the closing scene to its Hindi film production story, is not a sudden move but is a very calculated step that seeks to have it focusing on nurturing the revenue generating businesses rather than doing the balancing act at the local box office.

    While some may point that it is the dud performance of Mohenjo Daro at the box office that served as the catalyst behind this decision, it is the overall market dynamics that doesn’t favour profitability in the movie making business, is Disney India’s belief.

    The Hindi box office has been declining in the last few years whereas Hollywood has grown by almost 50 per cent this year. Out of the 250 plus Hindi movies that release every year and within the top 20, less than half the films make profits for the investing studio. Considering the cost of each film, it is very hard to get that money back and make moolah with the limited screens that the country has, shared a veteran in the movie distribution business. Even if a movie does make money, a lion’s share of that profit goes to the stars.

    Since Walt Disney is in the business of making money, staying in the Hindi film market doesn’t make sense for it.

    “Few of the projects that they have greenlit didn’t make practical sense honestly. Filmmakers and studios need to draw realistic budgets if they are to stay in business. A movie like Mohenjo Daro that required a heavy budget due to its historic storyline didn’t seem like a sensible investment from a business standpoint. Not to mention instead of a solo release, it hit the screens with another project and therefore the number of screens it was exposed to were less,” opined Mumbai-based film distributor Rajesh Thadani.

    To be fair to Disney India, Thadani shared that several other studios including Balaji and 20th Century Fox have had their fair share of mistakes and calls this development at Disney India a cue for the film industry to do a reality check for a more realistic approach to making films. “It won’t impact the film making in the industry but it definitely has given the corporate world food for thought,” he shared.

    While the studio will not sign any new production deals in the Indian film market, it will release the promised magnum opuses with due diligence — Dangal in December 2016 and Jagga Jasoos in April 2017.

  • Disney India confirms ending Hindi film production

    Disney India confirms ending Hindi film production

    MUMBAI: Reams and reams of newsprint and countless words have been written over the past week, about the exit of Disney India from the motion picture business and the departure of its managing director Siddharth Roy Kapur. The company refrained from reacting to any of the news reports.

    But it has now decided to issue an official statement confirming that it is indeed bringing down the curtains on its bold Hindi production initiative which it once considered as a crown jewel when it acquired UTV from Ronnie Screwvala four years ago.

    “We periodically review and realign our business priorities in response to evolving market dynamics. Given the challenges with the current economic model for investing in the local film industry, we intend to shift the focus of our film strategy to driving our Hollywood movie slate in India. These movies have enjoyed considerable success, including The Jungle Book, which is the highest-grossing Hollywood movie of all time in India. We remain optimistic about the incredible potential of the Indian market and will continue to invest in growing the Disney brand in India with our movies, television networks, consumer and interactive products, and live experiences,” reads the official statement from the company, which is to be attributed to ‘Disney spokesperson.’

    While Disney India has reserved all comments about Sid hanging up his boots, there is clear indication that he is quitting as a headhunt has commenced to find a replacement for him. .

    To many industry observers the decision to bring up the closing scene to its Hindi film production story, is not a sudden move but is a very calculated step that seeks to have it focusing on nurturing the revenue generating businesses rather than doing the balancing act at the local box office.

    While some may point that it is the dud performance of Mohenjo Daro at the box office that served as the catalyst behind this decision, it is the overall market dynamics that doesn’t favour profitability in the movie making business, is Disney India’s belief.

    The Hindi box office has been declining in the last few years whereas Hollywood has grown by almost 50 per cent this year. Out of the 250 plus Hindi movies that release every year and within the top 20, less than half the films make profits for the investing studio. Considering the cost of each film, it is very hard to get that money back and make moolah with the limited screens that the country has, shared a veteran in the movie distribution business. Even if a movie does make money, a lion’s share of that profit goes to the stars.

    Since Walt Disney is in the business of making money, staying in the Hindi film market doesn’t make sense for it.

    “Few of the projects that they have greenlit didn’t make practical sense honestly. Filmmakers and studios need to draw realistic budgets if they are to stay in business. A movie like Mohenjo Daro that required a heavy budget due to its historic storyline didn’t seem like a sensible investment from a business standpoint. Not to mention instead of a solo release, it hit the screens with another project and therefore the number of screens it was exposed to were less,” opined Mumbai-based film distributor Rajesh Thadani.

    To be fair to Disney India, Thadani shared that several other studios including Balaji and 20th Century Fox have had their fair share of mistakes and calls this development at Disney India a cue for the film industry to do a reality check for a more realistic approach to making films. “It won’t impact the film making in the industry but it definitely has given the corporate world food for thought,” he shared.

    While the studio will not sign any new production deals in the Indian film market, it will release the promised magnum opuses with due diligence — Dangal in December 2016 and Jagga Jasoos in April 2017.

  • Headhunt on for Siddharth Roy Kapur replacement

    Headhunt on for Siddharth Roy Kapur replacement

    MUMBAI: Rumours have been floating for the last fortnight around about the departure of Disney India managing director Siddharth Roy Kapur to get into film production.

    The fact is that Sid – as he is known in media circles – had expressed his desire to discontinue with the company a while ago. And Walt Disney International chairman Andy Bird has sent out a mandate to zoom in on a replacement. The HR team at Walt Disney International too has been working on the search.

    Sid joined UTV when it was run by Ronnie Screwvala in 2008. UTV was acquired by Disney and was integrated into its Indian operations. Sid took over as MD of Disney India in 2014.

    Even senior management within the Indian offshoot are unclear about the way forward on the leadership of the company as no mails have allegedly been sent out either from Walt Disney International to the India team clarifying Kapur’s position and departure dates, claim insiders within Disney India.

  • Headhunt on for Siddharth Roy Kapur replacement

    Headhunt on for Siddharth Roy Kapur replacement

    MUMBAI: Rumours have been floating for the last fortnight around about the departure of Disney India managing director Siddharth Roy Kapur to get into film production.

    The fact is that Sid – as he is known in media circles – had expressed his desire to discontinue with the company a while ago. And Walt Disney International chairman Andy Bird has sent out a mandate to zoom in on a replacement. The HR team at Walt Disney International too has been working on the search.

    Sid joined UTV when it was run by Ronnie Screwvala in 2008. UTV was acquired by Disney and was integrated into its Indian operations. Sid took over as MD of Disney India in 2014.

    Even senior management within the Indian offshoot are unclear about the way forward on the leadership of the company as no mails have allegedly been sent out either from Walt Disney International to the India team clarifying Kapur’s position and departure dates, claim insiders within Disney India.

  • Pubcasters still account for more than half of broadcast TV viewing, claims Ofcom

    Pubcasters still account for more than half of broadcast TV viewing, claims Ofcom

    NEW DELHI: Even as Prasar Bharati continues to struggle with the Sam Pitroda report which was largely a reiteration of earlier reports, the British Broadcasting Corporation last year brought out a Green Paper to review its working and make changes.

    Now, a report by the British media regulator Ofcom says public service broadcasters (PSBs) still account for more than half of broadcast TV viewing and around three in four viewers are satisfied with their services.

    Investment by PSBs in programmes on their public service channels appears to be stabilising after several years of decline and spending has increased on new factual programmes and original drama. However, spending on children’s shows, the arts and classical music and religion has continued to decline.

    Ofcom has said in is latest PSB Annual Research Report published this week that has shown that 16 to 24 year old people have particularly embraced on-demand services, and spend around a third of their daily viewing time watching free (e.g. BBC iPlayer, All 4, ITV player) or paid (e.g. Netflix, Amazon Video) on-demand services. Live TV accounts for 36% of daily viewing in this age group, a 14 percentage-point decrease in two years.

    The study was based on BBC, ITV, STV in Scotland, UTV in Northern Ireland, Channel 4, S4C in Wales and Channel 5.

    The main five public service channels provided by PSBs1 reached 84% of the TV population in a typical week, and accounted for 51% of all broadcast TV viewing in 2015, according to a report on the OfCom website.

    This share is similar to the last three years but represents a decline from ten years ago when PSBs held a 70% share of viewing. When PSBs’ ‘portfolio’ channels – such as BBC Four, ITV2 or E4 – are included, their share of viewing was 71% in 2015.

    Overall, TV viewing has fallen in recent years with viewers now watching 26 minutes less a day than in 2010. While the average person watched three hours and 36 minutes of TV per day in 2015, there is a widening generational gap in the viewing habits of the youngest and oldest audiences.
    People under 25 are watching around a quarter less broadcast TV than in 2010, while the average viewing of those aged 55 to 64 has only declined by 5%.

    The PSBs spent £2.50 billion on new UK programmes3 on their public service channels in 2015, a 2% increase since 2013; the most recent comparable year due to the absence of major sporting events4 .

    PSBs’ spending on new UK factual programmes rose by 8% to £522m, more than any other genre and the highest investment in this type of programme since 2008. They also spent more in 2015 on original UK drama (up 12% to £311m), and showed more of it – 416 hours, up from 371 hours.

    However, the hours of original UK children’s programmes decreased in 2015 – from 672 in 2014 to 580. This was the first time fewer than 600 hours of original UK children’s programmes have been broadcast since 1998. Spending on this genre was £77m, 13% down on 2014.

    The PSBs also spent less on new UK arts and classical music programmes in 2015 – £36m, down 14% from 2014 – as well as religion and ethics (down by 6% to £12m). Original UK comedy also decreased (by 4%, to £99m).

    Audiences continue to value programmes from the public service broadcasters: 73% of viewers said they were satisfied with PSB public service broadcasting overall, while 7% were dissatisfied.
    Nearly nine in ten (86%) viewers of public service channels cited trustworthy news programmes, and showing programmes of a high quality, as an important purpose of public service broadcasting.

    This was the most-cited purpose, followed by programmes that help viewers understand what is happening in the world (83%).

    The BBC, along with ITV, STV and UTV (the ‘Channel 3′ licence holders), spent a combined £270m on programmes specifically directed towards viewers in the particular nations and regions of the UK in 2015.

    At least seven in ten regular viewers are satisfied with BBC One and Channel 3’s delivery of nations and regions news.

    S4C spent £63m on original Welsh-language programmes in the 2015/16 financial year, a slight increase from the previous year.

    Jane Rumble, Director of Market Intelligence at Ofcom said: “Our research shows that UK audiences still watch and value public service broadcasting. But there are significant differences in the viewing habits of older and younger audiences.

    “As media and technology continue to evolve, it is important that broadcasters respond to these changes, so they can keep meeting the needs and expectations of viewers.”

    OfCom clarified that its data was from Ofcom Digital Day research 2016 as there is currently no single industry-wide measurement for understanding the share of viewing to all forms of viewing across all screens.

    It also found that Public service channels typically spend more in even-numbered years (2014), which contain major sporting events such as World Cups, European Championships, Olympic or Commonwealth Games. Spending here covers new UK network programming only, and excludes nations and regions content.