Tag: Viacom18

  • IndiaCast rejigs revenue top brass in bid to grow across markets, platforms

    IndiaCast rejigs revenue top brass in bid to grow across markets, platforms

    MUMBAI: In a move aimed at synergizing processes and business opportunities to scale up revenues, IndiaCast, the domestic, international and digital distribution arm of Viacom18 and TV18, today, announced an organizational rejig of its revenue management structure.

    Amit Arora, who has exceptionally steered the domestic business for IndiaCast to greater heights over the years, has been elevated as president, India affiliate business.  Additionally, Arora will also drive the South Asia business along with linear distribution with telcos.

    Govind Shahi, a seasoned veteran, known for his sharp & strategic mindset, will now take over the mandate of heading the International business for IndiaCast. As the International business head, Shahi will oversee and drive business and revenues across functions and regions. All regional and vertical heads would report to him.

    Commenting on the organizational restructuring, IndiaCast group CEO, Anuj Gandhi commented, “As technology opens up newer viewing platforms and content evolves in both duration and variation, the business of distribution and syndication of content is evolving rapidly – in terms of new markets and new avenues of showcase, thereby ensuring that monetization opportunities are scaling up beyond traditional markets and platforms. This organizational rejig allows us to leverage the existing capabilities and strengths of our leaders and their teams in growing revenues and to explore new opportunities across various technologies and markets globally”.

    Sachin Gokhale, previously responsible for nurturing and successfully developing and rapidly growing the Middle East and Africa region and has managed our Asia Pacific & Business operations verticals, will now assume the new role of heading the Americas’ Business. Gokhale would be responsible for expansion and growth of business to new markets in the Americas and dialing up various digital initiatives in the region. 

    Debkumar Dasgupta, who continues to impressively grow the global syndication business, will take on the added responsibility of heading the Middle East and Africa region.

    Both Amit Arora and Govind Shahi will continue to report into Anuj Gandhi.

  • Watch the phenoms take stage at the 2018 American Music Awards – music industry’s largest fan-voted award show exclusively on Vh1

    Watch the phenoms take stage at the 2018 American Music Awards – music industry’s largest fan-voted award show exclusively on Vh1

    National: Celebrating and honoring music talent at the biggest stage, Vh1 brings to fans the 2018 American Music Awards from the Microsoft Theater in LA, California. Hosted by the versatile Tracey Ellis Ross, witness magical and captivating performances by pop icon Taylor Swift, break-out hip-hop star Post Malone & Ty Dolla $ign, along with some of the most eminent names in the music space including the likes of Cardi B, Benny Blanco, Halsey, Khalid and many more. After a pulsating week-long build-up to the coveted award revels, the telecast commences at 6:30am IST on Wednesday, October 10, followed by a repeat telecast at 9pm exclusively on Vh1.

    Commenting on the telecast of 2018 edition, Hashim Dsouza – Head of Programming, English Entertainment, Viacom18 said, “Leading the pack by showcasing the best of international music and music-based events, Vh1 is dedicated to fulfilling the wishes and needs of its constantly-growing viewer base. The American Music Awards is one of the biggest award ceremonies in the world and we take immense pride at being the only channel that brings such monumental music events, making Vh1 the one-stop-shop for music enthusiasts.”

    The American Music Awards honors artists in multiple musical genres, that are nominated based on key fan interactions, album & digital song sales, radio airplay, streaming, social activity and touring as tracked by Billboard. The categories include – Pop/Rock, Alternative Rock, Country, Rap/Hip-Hop, Soul/R&B, Adult Contemporary, Contemporary Inspirational, Latin, EDM and Soundtrack, alongside awards for New Artist of the Year, Collaboration of the Year, Tour of the Year, Video of the Year, Favorite Song and Artist of the Year.

  • MTV bolsters original content offering to dominate youth channel space

    MTV bolsters original content offering to dominate youth channel space

    MUMBAI: After Star India had decided to pull the plug on its youth channel Channel V, Viacom18’s MTV channel is the only one left to entertain viewers with the original content. The tug-of-war between MTV and Channel V was worthwhile as the audiences were served with the plethora of original content.

    MTV seems to be enjoying its only presence in the youth and entertainment genre as the network is scaling up its pie by announcing 10 hours of new original content per week.

    Viacom18 head—youth, music and English entertainment Ferzad Palia said that the network has seen a phenomenal response in the last 12-18 months and has grown from strength to strength on all counts. “Whether its ratings, revenue, buzz, social engagement, we are the only one creating this content. So we are literally a genre in ourselves with everyone else turning back to playing music videos.”

    Being bullish about the youth genre, he said, “There’s only MTV, there’s no other youth genre, and who else do you compare with us? Everyone else who used to make any sort of original content has either folded up or has switched being the music video channel.” He added that when the channel had reorganised the portfolio in 2018, it had a clear vision that MTV Beats will take the lead when music is concerned and MTV will look at original content creation.

    Palia said that the cluster had experimented in the last 12-18 months, which has resulted in great success on TV and digital. “Our ratings for TV has doubled and the consumption on digital space on digital has gone up three times. Whichever TG you look at, 15-30 years of age group, we are now at about 13 million gbm. We have upped the game almost 10 fold.”

    The network has set its ball rolling to launch three new shows, the fourth season of India’s Next Top Model, premiering from 6 October every Saturday at 6 pm, Elevator Pitch—airing on 12 October, every Friday at 7 pm and Ace of Space ¬scheduled every day at 6 pm from 20 October.

    When asked about the ad inventories sold for the new shows, Palia said, “A lot of the ad inventory is sold and a lot of them will get sold. Since it is also festive season so we are actually going oversold on MTV to drop many spots on the daily basis, we would love to accommodate it, but we cannot and that is thankfully the good problem to have currently. In addition, it is not just the inventories the sponsorships, the integration and the customisations that we do, we also have another source of revenue which is very healthy source of revenue and that is the branded content. We do a lot of turnkey work for advertisers who want to reach out to the youth and leverage them who can really speak best and integrate them as we did recently for Airbnb with Saif and Kareena.”

    MTV had cemented its grasp over young India with 400 million viewers tuned into the channel and garnering 6 billion watch-minutes on Voot in the last one year. As per the BARC data’s week 39, MTV rules the chart with 18495 Impressions (000s) sum, followed by Zing, E24 and MTV HD+ securing second, third and fourth positions respectively with 10169 Impressions (000s) sum, 4128 Impressions (000s) sum and 190 Impressions (000s) sum.

  • Want to leave a legacy as ‘storytellers’: Gaurav Lulla

    Want to leave a legacy as ‘storytellers’: Gaurav Lulla

    MUMBAI: Customers are pulling the horse by the reins today. Brands are no longer deciding how, when and where they wanted to “interact” with consumers. Customers can easily reject you with the “skip” button if the storytelling isn’t interesting. But how can you possibly keep churning out interesting stuff constantly? This is where a content studio comes into play. They can give a spin to the brand’s traditional communication and make it rather interesting, engaging and efficient in driving more ROI (return on investment).

    Consumers today want appealing and exciting stories. A brand that engages the audience with story driven content ultimately wins brand loyalty. Today, content studios have become the new shiny object that brands are chasing to create compelling stories and content.

    Content studios often solve the problem that internal marketing teams face on how to produce volumes of content at the speed and scale they need it.

    Former Viacom18 executives Gaurav Lulla along Pavneet Gakhal have launched their own content studio after moving away from the company. Loose Cannons Content Studio is a boutique content studio that specialises in content creation for media hubs and brands.

    The studio has a catalogue of content IPs across limited fiction series and non-fiction show formats which are currently being pitched to all and sundry.

    The studio operates in two diverse universes, wherein it partners with various media houses across platforms to enrich their content offering while aiming to solve the imminent communication challenge facing brands to engage audiences beyond awareness scores.

    Indiantelevision.com caught up with the co-founder CEO Gaurav Lulla to discuss his new innings as an entrepreneur, the content studio, challenges and more.

    You had a successful inning at Viacom18. Why did you decide on leaving that and launching a content studio?

    While we were at Viacom18, Pavneet and I realised that we were doing a certain kind of content. I come from a digital marketing and content background and she comes from a music and talent management background. We both wanted to explore our boundaries. In the last seven years that we’ve spent in the media industry, we have worked with around 350 brands and over 900 content creators in different capacities (writers, directors, actors). Pavneet and I understood perfectly what media hubs and brands will need from a content standpoint and what does the artist ecosystem need to bring it together and then deliver that to the media hubs.

    You and Pavneet have been colleagues at Viacom18. How did you guys start the conversation about launching your own venture?

    I joined Viacom18 in 2011. Pavneet and I have been very close friends for my entire duration at Viacom18. The point where we both decided that we needed to do this was when we were discussing what is it that we want to be known for and what legacy will we leave the world with. We wanted to be known as storytellers and people who said endearing stories. Most people think that storytellers want to eventually make a movie but we don’t restrict ourselves. We believe some of the strongest stories are also said in 2 mins, 30 seconds and now thanks to Insta-Stories even 10s.

    What does having a content studio in India even mean?

    The word content studio is fairly abused in India because people don’t understand what it actually does. If we compare it to an international ecosystem, a content studio becomes an intermediary between an array of creators and a media entity/brand that wants to commission content. We want to serve that purpose as we go along.

    So what is exactly the difference between an in-house content studio and a content studio? How different is a content studio?

    The existence of an in-house content studio starts from the brand’s communication and it is an inside-out approach to content whereas we have an outside-in approach. When you’re so close to a brand, you live and breathe the brand you and you often don’t see it in its entirety and end up missing out on how the world sees it. If you take the brand story and marry it with a human insight you might be able to reach out to a larger audience and create a greater consideration for your brand.

    What potential do you see in this space? Why do brands need a content studio?

    Every brand today has the desire to do content marketing and their media and digital agencies are working with them. But, what they are missing out today is a story development that brings the brand out alive and that’s where we come into the picture.

    What we have been noticing lately is that a lot of agencies now have their own in-content studio. While you say that you don’t want to compete with them, how will it work out in that case?

    The agencies in content studio engine internally whereas we will operate from the outside. The agency’s in-house content studio comes from the brand’s perspective because they are guarding the brand’s mandate…

    Won’t you be competing with agencies then?

    We are happy to work with every agency out there to bring the story out of a brand. We are not here to replace anybody or to make someone feel redundant. The field of communication has changed drastically in the last five years. What needs to change the most is the existence of content storytellers and that’s where a content studio comes into the picture. We constantly keep curating a collection of stories at our end and if they fit a brand, we bring it to life for them. We are also open to create a whole new one for brands.

    So you’re saying that this is the right time to launch a content studio in India?

    There was no better time for us to do it than right now! A lot of people that have been doing it for some time now have at some point pivoted into something else because there wasn’t much opportunity in the field. But I think that we are walking into the golden age of content in India with over 35 OTTS.

    What you’re saying is that you will always be a content studio and will not divert your business as other players have?

    I always say, “Never say never”. As a startup, we are very nimble and realistic about what we want to do. Today, the lines are blurring between content creators, YouTube channels, multi channel network and platforms. No matter what we do, content will always be at the heart of it.

    It’s been close to a month now since you donned the entrepreneurial hat. How has it been so far?

    It has honestly been very encouraging so far. We are already creating some interesting content with TVF (The Viral Fever). We are also talking to Arre, Viacom18, digital agencies, talent management companies, music labels, PR agencies as well as brands for some interesting content initiatives.

    You have been a part of the content ecosystem even before it actually kicked off in India. You have seen it evolve over the years. What is your view on the current content ecosystem?

    I think it will explode in a way we cannot fathom. I have been doing branded content before it was called branded content and before the term content marketing came into existence. In the process of its growth, firstly, we as an ecosystem need to do away with is templatisation of content as it is easy. We have a tendency to templatise success. Typically, a boy’s struggle in engineering college is a successful template for a YouTube video. Secondly, we also need to define roles of every entity that’s a part of the content journey. Thirdly, we need to create an incubator for the storytelling talent. We have done that very well with startups wherein if there is a new startup, an incubator comes in and grows the idea by taking an equity in the business. I think the same thing should apply in talent. It also happens in Bollywood in acting talent where we see them getting on board and being groomed but we don’t see that happening to directors and writers.

    What’s the team size of Loose Cannons Content Studio?

    We are currently a team of five people operating out of our living rooms. We have few young talented people who help in conceptualisation of ideas and pitching process. We also have two people who help us in the production. So far, we have already tied up with eight production houses. We have a bank of 15 completed scripts and seven other that are in the process of getting developed which we are looking at commissioning right now.

    Do you see any competition from other content producers in the market or you see them as an ally?

    I don’t think that we have any competition as much as we have opportunities to collaborate with. We love the fact that we are like a Swiss knife that fits into any iota of missing that our clients may have. A talent agency today may miss a content creator, and we are right there for them. Technically, if they get somebody else to make content for them, then they are competitive but then they are not anymore because they are collaborating with us. Similar is the case for an OTT player and production houses, where they make content and so do we, and we are competitors but the moment they look at us thinking we can make content for them, we are not the competition anymore.

  • Viacom18 and NODWIN Gaming bring digital gaming festival ‘DreamHack’ for the first time to Asia

    Viacom18 and NODWIN Gaming bring digital gaming festival ‘DreamHack’ for the first time to Asia

    Mumbai, September 28th, 2018: NODWIN Gaming; a pioneer in e-sports and a subsidiary of Nazara Technologies Ltd. (Nazara) and Viacom18 – India’s fastest growing media and entertainment network have come together to bring the world’s largest gaming festival – DreamHack – to India. The DreamHack India event will take place from 21-23 December 2018, at NESCO, Mumbai.
    Speaking about the network’s endeavours into e-sports, Sudhanshu Vats, Group CEO and Managing Director Designate, Viacom18 said: “Viacom18 has never been one to shy away from experimenting with new concepts, ideas and formats. Given the strong affinity youth audiences have with our content, brands and experiences, we think this is the right time for us to dip our toes in the fast-paced, thrilling world of e-sports. The world is changing fast and lines are blurring between different content genres. Given the abundance of data that has been unleashed by Jio, it is only natural for the fandom around e-sports to grow by leaps and bounds in India. As the country’s youngest full-play media organization, we want to stay ahead of the curve and tap into tomorrow’s big passion points today. Our association with DreamHack is a step in this direction.”

    DreamHack is a digital festival where gamers and digital natives come together for a three-day weekend which features a 24-hour-a-day Local Area Network (LAN) party, e-sports gaming competitions; Bring Your Own Computer (BYOC). The festival will be jam-packed with players/gamers who will be invited for a gaming championship in pro e-sports tournaments, collegiate matches, world famous LAN party, cosplay championship, panels, activities, expos, music concert, art and more. Till date, DreamHack has organized multiple events in the North America and European regions.
    On bringing DreamHack to India, Akshat Rathee, Founder and CEO, NODWIN Gaming says, “DreamHack has always been the epitome of the celebration of gaming and esports globally and we are delighted to partner with Dreamhack on their Indian journey. India with its dynamic youth and famed hospitality is a great beachhead into bringing the Dreamhack experience to Asia. NODWIN Gaming has been working hard on providing the best for our community of gamers across the country. This places the love for gaming right at the centre of our ecosystem. Partnering with Viacom18 brings the synergy full circle. Their reach to the youth of our country is unparalleled and we look forward to the convergence”
    The scope will see events with leading games such as DOTA, CSGO and KO Fight Nights (a street fighter championship) along with a Mobile Cricket event, the participants will also get a chance to meet and greet with international teams and gamers and enjoy an engaging experience in streamer zones. The gaming festival will be a ticketed event starting from INR 399/- and will be streamed live on VOOT.
    Elaborating on this partnership, Sidharth Kedia, Head – Corporate Strategy, M&A, Data Sciences & Dy. Chief Commercial Officer, Viacom18 said, “There is an avid gaming community in India and with Viacom18’s presence across live, digital and broadcast media alongwith a strong connect with the Indian youth, we are uniquely poised to leverage properties such as DreamHack in India and take e-sports to a larger audience base. We look forward to introducing this exciting property to Indian audiences.”
    On India getting its biggest festival, Gautam Virk, Chief Operating Officer, NODWIN Gaming said, “DreamHack brings in the zest of a digital festival which also happens to be the biggest LAN event the country has ever seen. NODWIN Gaming is pleased to have partnered with DreamHack for their Indian counterpart. We are constantly working for the excellent gaming community and we are most excited to provide them with something of this magnitude. We will make sure that no stones are left unturned in our efforts on this milestone event”
    The event will also host a ‘Retro Zone’ featuring arcade machines with classic games from the yesteryears. Event partners will also organize exclusive expo zones at the event and allow visitors a chance to lay their hands on the latest technology and gadgets. DreamHack India will not only develop an emotional connect among attendees, but also leave them with lifelong memories to cherish. The festival will offer something for everyone who is a part of the gaming universe/gaming enthusiasts.

    “We are excited about entering another continent as DreamHack open its doors to the first DreamHack India event. The partnership with NODWIN Gaming helps us redefine professional gaming in India where we can offer something exciting and for millions of gamers across the region. This, we believe, will give the pro gamers the right setup to play at their full potential,” said DreamHack CEO, Marcus Lindmark. “Our goal is to build a healthy gaming ecosystem, and we look forward to helping build a successful and competitive event”, he further adds.

  • Colors to launch historical saga ‘Daastaan-e-Mohabbat’

    Colors to launch historical saga ‘Daastaan-e-Mohabbat’

    MUMBAI: Even as Bigg Boss 12 continues to thrill viewers of Colors, the channel is all set to launch a historical saga, Daastaan-e-Mohabbat Salim-Anarkali produced by Writers Galaxy Studios. The show will premiere on 1 October 2018, Monday to Friday at 8.30 pm.
    The show is about the love that shook the foundation of the Mughal empire, a timeless romance of a young crown prince and a beautiful courtesan. The show is presented by Dabur Red Paste and is powered by MDH Deggi Mirch.
    Viacom18 CCO Hindi mass entertainment Manisha Sharma said that since it is a daily show, it will have at least 200 episodes. The show recounts the epic love story of prince Salim who is in love with a kaneez, Anarkali. “This show is sure to grip the viewers as it is a portrayal of an era that we have grown up both watching and reading about,” she said.

    Writers Galaxy founder Anirudh Pathak said, “We decided to bring this show because it has been ages that no one has explored this story. With advanced technology and great creativity, we are looking forward to giving our audience a cinematic experience.”
    Bollywood’s Omung Kumar has created the set. The set spreads over 1 acre of land and boasts of a lavish darbar, a royal bedroom and an artistic harem to depict the different scenes of the show. All the costumes have been crafted under designer Nidhi Yasha’s guidance that best highlights the culture of this period drama. More than 200 people are part of the crew.
    It is remained to be seen whether the new show is able to create a buzz in the market as compared to the other players that are airing different shows in the same time band. Colors is no stranger to historical dramas having previously aired Chakravartin Ashoka Samrat and Veer Shivaji. The historical genre is one that most GECs are experimenting with given the advancement in technology.
    According to BARC data week 37, in the Hindi GEC (U+R) areas, Colors stood at sixth position with 627968 impressions ‘000s sum. In the rural areas, Colors stood at ninth position with 196563 impressions ‘000s sum. Moreover, in the urban sector the channel stood at third position with 431405 impressions ‘000s sum.

  • Committed to Saving India’s Cinematic Heritage, Viacom18 partners with Film Heritage Foundation for the 4th Film Preservation & Restoration Workshop India 2018

    Committed to Saving India’s Cinematic Heritage, Viacom18 partners with Film Heritage Foundation for the 4th Film Preservation & Restoration Workshop India 2018

    MUMBAI: Celebrating a century of Bengali cinema, Viacom18 and Film Heritage Foundation (FHF) announces the 4th Film Preservation & Restoration Workshop India 2018 (FPRWI) in Kolkata. After successfully partnering with the FHF for the past 3 years, supporting the workshop in Mumbai, Pune and Chennai, the objective of FPRWI 2018 is to create awareness on the urgent need to preserve the moving image heritage in the Bengali film industry thereby, making it accessible to global audiences. Applications for the week-long workshop are currently open on http://filmheritagefoundation.co.in/film-preservation-restoration-workshop-india-2018/  

    Speaking about the Film Preservation & Restoration Workshop, Sudhanshu Vats, Group CEO and Managing Director Designate, Viacom18 said: “India is a country of epic tales that weave through every aspect of our life. Our cinema has been one of the foremost tools of bringing these stories to form our nation’s collective consciousness, across regions and languages. For close to two and a half decades, starting circa 1950, Bengali cinema moulded this collective conscious as it saw a galaxy of talented directors, actors and musicians shape not only the region’s cinema but also setting the narrative for progressive Indian cinema. Personalities like Satyajit Ray, Ritwick Ghatak, Mrinal Sen, Uttam Kumar, Aparna Sen, Sharmila Tagore et al not only were revered throughout the world as film personalities but also shaped the discourse of socio-political culture both within and outside of India. Their works define our times and as such it is imperative that we preserve and restore them so that the generations to come appreciate our rich cultural heritage. It is this single philosophy that prompted us to partner Film Heritage Foundation through the last 3 years and after Maharashtra and Tamil Nadu, bring the Film Preservation & Restoration Workshop to the Bengali film industry.”

    FPRWI will focus on the need to skill and train a resource of archivists to take on the challenge of preserving and archiving film heritage. The workshop will take place in Kolkata, India from November 15 – 22, 2018 at Rabindranath Tagore Center and will have participation from India, Sri Lanka, Nepal, Bangladesh, Bhutan, Myanmar and Malaysia. In addition to the workshop, daily screening sessions of restored classics will take place at Nandan and Rabindra Sadan in Kolkata.

    Speaking about bringing the workshop to Kolkata this year, Shivendra Singh Dungarpur, Founder, Film Heritage Foundation said, “When we conducted the first film preservation and restoration workshop in Mumbai in 2015, people were not aware that films needed to be preserved. I am proud to say that after having conducted these workshops in Mumbai, Pune and Chennai over the last three years in partnership with the International Federation of Film Archives (FIAF), we are already seeing the impact. Selecting Kolkata as a venue for our fourth workshop was a foregone conclusion with Bengal being the jewel in the crown of India’s film heritage. Unfortunately, very little survives of this precious legacy. “Jamai Babu” (1931) is only one Bengali film of the silent era that survives. We hope to change this scenario by creating awareness and building capability. What is truly incredible about this workshop is that 30 students will get to do the course absolutely free of cost.

    If urgent steps are not taken these films will be just faint memories from another time and the generations to come will forget the existence of the great artists who came before and from whom we learned so much.”

    FPRWI 2018 is supported by globally renowned industry bodies like The Academy of Motion Picture, Arts & Sciences, L’Immagine Ritrovata, Fondazione Cineteca di Bologna, British Film Institute, The Criterion Collection, the Irish Film Institute, the Austrian Film Museum, Eye Filmmuseum, Bundesarchiv (German Federal Archives), the Indiana University Libraries Moving Image Archive, Centre for Creative Photography, University of Arizona, ARRI and Media Inventions.

    FPRWI is considered to be the most comprehensive workshop of its kind, and has become a model for the International Federation of Film Archives (FIAF) for its international training programs. The workshop is certified by FIAF and is designed to cover the subject through theory and practical sessions with detailed insight about the best practices of preservation and restoration for films and film-related paper and photographic material. The 2018 edition of the workshop will introduce a fresh format where in the selected participants will be given an opportunity to choose an area of specialization from 4 broad categories including Film Handling and Repair, Digital Preservation and Restoration, Cataloguing and Paper, and Photographic Conservation. The workshop will also have a practical session with the latest and world class ARRISCAN XT giving participants hands-on training on film scanning.

    FPRWI 2018 will be conducted by a faculty of international experts from leading institutions around the world including:

    David Walsh – FIAF – Film and digital technology and preservation strategies
    Camille Blot-Wellens – FIAF – Film identification
    Thelma Ross – FIAF – Documentation and Cataloguing
    Kieron Webb – British Film Institute – Film selection
    Marianna de Sanctis – L’Immagine Ritrovata – Film Repair
    Benjamin Tucker – Film handling
    Mick Newnham – Film in bad condition
    Dawn Jaros – Academy of Motion Picture, Arts & Sciences – Paper conservation
    Dana Hemmenway – Centre for Creative Photography, University of Arizona – Photograph conservation
    Jeroen de Mol – Eye Filmmuseum – Digital preservation
    Dave Rice – Practical digital technology
    Thilo Gottschling – ARRI – film scanning
    Giles Sherwood – The Criterion Collection – Colour Grading
    Cara Shatzman – The Criterion Collection – Digital Restoration
    Oliver Danner – Bundesarchiv – Soundtrack preservation
    Davide Pozzi – L’Immagine Ritrovata – Restoration ethics and practice
    Cecilia Cenciarelli – Fondazione Cineteca di Bologna – Restoration case study
    Lee Kline – The Criterion Collection – Restoration case study
    Jakub Stadnik – Media Innovations – Soundtrack preservation
    Kasandra O’Connell – Archive management policies and business plans
    Jurij Meden – Running a digitization project
    Andy Uhrich – Access presentation and programming

    Applications for the 2018 workshop are open until October 1, 2018. Selected applicants will be notified and scholarships will be presented to deserving local and international candidates.

  • Viacom18’s Colors Kannada Cinema aims to break even within 3 years

    Viacom18’s Colors Kannada Cinema aims to break even within 3 years

    MUMBAI: Viacom18 is making moves in the regional space. Its latest bet was to launch a movie channel for the Kannada market called Colors Kannada Cinema. The conglomerate has a Hindi movie channel called Rishtey Cineplex which broke even in two years. Similarly, the idea is to get the Kannada movie channel to break even within three years too.
    Viacom18 head regional entertainment Ravish Kumar told indiantelevision.com that that typically a movie channel or any other channel looks at three years to break even but Colors Kannada Cinema will break even before that. He explained that owning many titles makes it easier as it won’t have to spend on creating a library.
    With Colors Kannada and Colors Super gaining popularity, the channels aren’t able to accommodate many movies and so the need for a separate channel to utilise the assets was felt. The network has better leverage with more channels to showcase movies on.
    Surprisingly, Kumar said that pre-selling of ad inventory hasn’t been done for the new movies channel. “They undervalue your asset and the other point is people feel cheated if they put their faith in you and the return isn’t as expected,” he said. Instead, the idea is to get the channel going and work on distribution before thinking of ad rates.
    While production cost for Hindi keeps growing, Kumar says that there is a cap in the regional space. The increase will be inflation or technology led. He gave the example of a federation strike in West Bengal asking for an increase in technician rate. “That is going to lead to an overall 5-6 per cent increase across the board. But in a lot of the other markets, we have held costs and in some markets, we have actually reduced them,” he said. If the network decides to skew in favour of more reality shows or events, then the cost is likely to shoot up but fiction will see a moderate increase.
    According to the KPMG report 2018, adex on regional channels observed an increase of 5.4 per cent in FY18. Kumar said that part of it could possibly be caused by the FTA channels which have come up in Hindi. The viewership has moved to them and that has led to margin dilution as opposed to margin accretion. “On the regional space, you must have seen a lot of consolidation on the top end so where the strong are getting stronger and the weak are getting weaker, more margins are analysed which normally means that the ability to command high rates are high.” He added that it is backed up with a lot of investment in formats like reality, movie premiers or events which typically tend to command higher rates.

    He further added that the growth in regional space is seeing a double digit in the regions across markets. Talking specifically about the languages that observed a marginal decline in the adex, Tamil and Marathi saw 2 per cent and 9 per cent downfall respectively. Commenting on the same, Kumar said that looking at the longer point of view the ratings of regional channels have only increased steadily over the years and short term ups and downs are expected.
    Talking viewership, among all the regional language channels that Viacom18 has, Colors Bangla stood at third position with 74982 impressions ‘000 in the Bengali market according to the BARC data’s week 37. Colors Gujarati secured first position with 29915 impressions ‘000. Colors Kannada also stands at the leadership position with 461396 impressions ‘000. In the Marathi space, Colors Marathi secured second position with 136791 impressions ‘.

  • Nicktoons Motu-Patlu and Shiva join hands with CMCA’s 700 students for a Chakachak Mumbai

    Nicktoons Motu-Patlu and Shiva join hands with CMCA’s 700 students for a Chakachak Mumbai

    Mumbai : The network with a humane purpose, Viacom18, along with 700 student volunteers associated with the Children’s Movement for Civic Awareness (CMCA) today supported the city civic authorities by organizing a clean-up drive across major beach promenades in the city. As a part of the Chakachak Mumbai initiative, Viacom18’s flagship CSR project, the organisation has been partnering with CMCA for 3 years now to support the annual beach clean-up post Ganpati Visarjan.

    Joining the young volunteers were popular Nickelodeon toons Motu Patlu and Shiva, who encouraged and motivated them towards environment friendly living and responsible celebrations. Accompanying them was popular actor Archana Nipankar who plays Dipika in the popular Colors Marathi show Radha Prem Rangi Rangali.

    Over 700 children from twelve schools assembled at various locations across the city to be a part of the beach clean-up. The beach clean-up is an annual event organized by CMCA, where scores of children from CMCA member schools participate to clean up the beaches after Ganapathi Visarjan.

    Every year during the month of September, the streets of our city play host to Ganesh Chaturthi celebrations. A large section of the society is still unaware of the pollution and environmental damage caused by Plaster of Paris (POP) idols and chemical paints. CMCA has always stressed on the importance of celebrating festivals in a responsible manner. As part of the learning process, children conduct eco-Ganesha campaigns in their schools and neighbourhoods to spread awareness about the environmental impact of Plaster of Paris and to encourage people to celebrate festivals in an environmental friendly way.

  • Raj Nayak, Janak Sarda to be felicitated by International Advertising Association

    Raj Nayak, Janak Sarda to be felicitated by International Advertising Association

    MUMBAI: At the annual International Advertising Association (IAA) Inspire awards to be held at Bucharest on 2 October 2018 with advertising and marketing leaders from all over the world in attendance, Viacom18 COO Raj Nayak and past president IAA India Chapter will be felicitated with the prestigious “Champion Award”. Nayak will be recognized for his excellence in leadership, vision and distinguished services of leaders in the IAA and his contributions to advancing the IAA and communications in the worldwide marketing communications industry.
    The IAA Inspire award will also recognize Deshdhoot Group of Publications joint managing director Janak Sarda with the Young Leader Award for excellence in contributing leadership and services in the IAA Young Professionals arena and creating dynamics in marketing communications.
    Speaking about the felicitation of Raj Nayak, IAA India Chapter president, Ramesh Narayan said, “I am really overjoyed to announce this news. Having worked closely in the IAA with Raj Nayak I have been a witness to his dynamism, his receptivity to ideas, and his capacity to contribute to anything that furthers the cause of marketing communications in India. He drove and launched the prestigious IAA “Lighting a Billion Lives Campaign” which set the tone to provide solar lighting in millions of dark homes across the country. He also played a major role in the rolling out and nurturing the prestigious IAA leadership Awards for marketing and business excellence which has grown enormously over the last six years. This award is an honor not just for Raj but also for the entire communications industry in the country.”
    He further added, “Janak Sarda has played a solid role in spreading the message of marketing and communications to the younger generation of professionals which he himself represents so well. His contribution is actually a sign of the larger role one can expect from him in the years to come. I wish him well.”