Tag: Viacom18

  • Gaurav Lulla & Pavneet Gakhal get ready to fire on all cylinders

    Gaurav Lulla & Pavneet Gakhal get ready to fire on all cylinders

    MUMBAI: Viacom18’s Gaurav Lulla has moved on from the network where he was the head of digital media for MTV India and English Cluster including Vh1, Comedy Central and Colors Infinity.

    In his new innings, Gaurav has cofounded Loose Cannons Content Studio along with another senior Viacom18 manager Pavneet Gakhal.

    Loose Cannons is a boutique content studio that specialises in content creation for media hubs and brands.

    Confirming this to Indiantelevision.com, Loose Cannons Content Studio Co-Founder Gaurav Lulla says, “The current content ecosystem is at a tipping point. With the massive influx of content pipes, over and above the traditional ones that existed, the playground has changed dramatically. This has led to two very diverse challenges  – content pipes need to collaborate with varied creators to bring engaging stories to their platforms and the current form of advertising needs to alter to reach out to consumers in unique formats applicable to each content consumption touchpoint. To address this alteration, the ecosystem needs an almost disruptive approach by a motley bunch of loose cannons who keep firing and experimenting with varied content initiatives. Pavneet and I identified with this at a very personal level and hence “Loose Cannons Content Studio.”

    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.

    Adds Gaurav: “Loose Cannons Content Studio operates in two diverse universes. On the one hand, we partner with various media houses across platforms to enrich their content offering. On the other hand, we aim to solve the imminent communication challenge facing brands to engage audiences beyond awareness scores. The good news is that both of these journeys have the same starting point : a strong story.”

    Gakhal has a clear vision where the boutique studio is headed. Says she:  “With an aim to establish strategic alliances and collaborations with a bouquet of production houses, talent management outfits and new age technocrats, we aim to create content that enthrals audiences across all screens. We have a catalogue of content IPs across limited fiction series and non-fiction show formats which we are in the process of getting commissioned.  We will dabble with all kinds of branded content initiatives all the way from conceptualization of the content, producing it to be relevant across platforms of consumption and finally  building a content marketing campaign around it to amplify its reach.”

    At Viacom18, Lulla was responsible for all digital content initiatives and monetisation strategy for the cluster and creating a content funnel by working closely with the entire creative ecosystem of content creators, talent managers and production houses.

    During his tenure at the network, engagement scores grew by 3X for all brands on social through creation of ancillary digital content for marquee properties such as Roadies, Splitsvilla, India Next Top Model, The Stage and more. 

    Gaurav joined Viacom18 in 2011 as the head of innovations and client solutions MTV and later took on many roles at the network including as the head of digital media and brand solutions, INS (Integrated Network Solutions) in 2013 and as the head of digital media and brand solutions English Cluster in 2015. He eventually became the head of digital media for MTV India and English Cluster in 2016.

  • Viacom18 dials up its kid’s ecosystem –  extends the KidZania association to Mumbai

    Viacom18 dials up its kid’s ecosystem – extends the KidZania association to Mumbai

    MUMBAI: Viacom18, India’s fastest growing media & entertainment network is all set to extend its association with KidZania to Mumbai.  After the tremendous success of its COLORS and NICKELODEON themed studios in Delhi, kids will now experience a slice of immersive experiential entertainment in Mumbai.  This successful association with KidZania has been another step forward in Viacom18’s strategy of building ecosystems outside of the traditional television landscape, creating synergies across brands and platforms.

    KidZania is a safe, unique, and interactive indoor theme park that empowers, inspires and educates kids through real-life role-play activities. The association with Nickelodeon & Colors is a step towards empowering kids by allowing them to get behind the scenes of their favorite shows and characters. By providing a heady mix of reality and learning with entertainment, this association will provide a powerful developmental platform for kids to explore the inner workings of the enthralling world of media and entertainment.

    About the COLORS Studio at KidZania Mumbai:

    The COLORS Studio will allow kids to actively interact and understand the story that is going to unfold for COLORS show properties be it India’s Got Talent, Rising Star, or the currently ongoing Dance Deewane.  They can choose to be in front of the camera or behind it; enact the role of a celebrity host or get ready to dance with the stars and step into the shoes of their favorite judges, show characters. Through this role-playing activity, children will understand every aspect of a show production.

    About the Nickelodeon Studio at KidZania Mumbai

    With the Nickelodeon studio the channel aims at engaging their young viewers beyond television. Aimed at creating an immersive experience for kids, the Nickelodeon studio at KidZania will bring to life the engaging world of toons, allowing kids to enter and experience the wonderful world of stories. Through these role-playing activities at the dubbing studio, kids will be able to enjoy a true to life simulated dubbing experience, by giving voice to their favorite characters like Motu Patlu, Shiva, Rudra to name a few. 

    The COLORS and Nickelodeon studio will open its doors at the KidZania in R- city Mall, Mumbai starting 18th September 2018.

  • Endemol Shine’s new bet on the scripted genre

    Endemol Shine’s new bet on the scripted genre

    MUMBAI: Endemol Shine, known for producing shows such as Bigg Boss, Master Chef, Khatron Ke Khiladi and Dance India among others and also known as the non-scripted format giant, has plans to play the next game in the scripted genre. After Deepak Dhar made a move from the company, Abhishek Rege filled his shoes, adding regional flavour to Bigg Boss in the Viacom18’s bouquet and web series for ALTBalaji. Now, the network is looking forward to creating original content for Netflix and Amazon Prime.

    Indiantelevision.com caught hold of Rege at the Bigg Boss 12 launch event. He said that the major chunk of programming right now on Hindi GECs is daily soaps. “It is still the staple to a large extent. This apart, talent and reality shows work well in terms of viewership. Among the talent shows, I believe that dance programs have a slight edge over singing,” said Rege.

    As per the KPMG M&E report 2018, reality shows got just 28 per cent of viewers, followed by comedy serials, family drama and serials, Hindi feature films and news/ news-based programmes garnered 34 per cent, 37 per cent, 38 per cent and 56 per cent respectively.

    Producing a show for the regional audience is costs less than the Hindi speaking market. Rege said that the cost of production will increase with inflation and other things such as the salaries of the employees, but the allocated cost of production needs to be decreased down the line. “Globally also we try out newer technologies, newer processes to follow to reduce cost without sacrificing quality. We are testing out a few technologies and hopefully in the near future we would be able to do this in India as well,” he added.

    The company’s new focus is on scripted formats. Rege doesn’t count web series as digital property but rather a scripted property meant for a different audience that consumes content on different platforms.

    As far as TV’s relevance in the digital age is concerned, Rege said that the future of TV is large even now. “Digital platforms have been offering a certain premium content that will be far and few in between because I think that Netflix doing Sacred Games has found the right spot. So we see the activity will go up and also Voot has just announced a number of shows. Similarly, Hotstar, ALTBalaji, Amazon and Netflix also have a lot coming up,” he said.

    There are a decent number of players in the market for programming and what remains to be seen is the amount of content they need to put on air to create a good library. For this year, apart from its regular diet of Bigg Boss and Fear Factor, there are investments in scripted genres. A certain book’s rights and some original ideas are under development.

    Endemol’s aim would be to retain the shows’ IPs. “While everyone thinks that it is easy to do that on web series, it will depend on how it will be monetised. If there is a clear monetisation potential, then we can take the risk of an X amount of the total cost of production. When you go ahead you know where the money is coming from and how much of it is coming to us. Unless that is completely clear it is not easy to take the risk and therefore it is still some time away, but the attempt is to keep every IP of the shows that we produce,” he said. 

  • Viacom18 rejigs top deck as it gears up for the next growth phase

    Viacom18 rejigs top deck as it gears up for the next growth phase

    MUMBAI: Viacom18 today announced a management restructuring aimed to consolidate its growing portfolio play as it prepares to further enhance performance through focused content innovation and collaboration across brands.

    Manisha Sharma, who has been the force behind the continued success of Colors, has now been elevated to chief content officer, Hindi mass entertainment. In her new role, she will be heading content for the entire HME cluster including Colors and Rishtey. Manisha will now report directly to Viacom18 group CEO and managing director designate Sudhanshu Vats.

    In a first for the organization, Viacom18 has unified all revenue across the network under the leadership of chief operating officer Raj Nayak.

    Nina Elavia Jaipuria’s role has been expanded to head – Hindi and kids TV network. Her mandate now includes channels across kids and Hindi mass entertainment clusters.
    Head of the regional TV network Ravish Kumar will be leading the network’s foray into regional broadcast entertainment across languages and genres.

    Ferzad Palia will continue leading the network’s efforts in strengthening Viacom18’s command on youth, music and English entertainment while creating content and experiences for Viacom18’s young audience.

    Ajit Andhare will now take on the expanded role of Viacom18 Studios chief operating officer to drive Viacom18 Motion Pictures’ forays into national and regional cinema and build Tipping Point as a brand for digital content production.

    Saugato Bhowmik will continue to lead Integrated Network Solutions, building homegrown IPs in experiential entertainment and driving the licensing business under Viacom18 Consumer Products.

     All the above will report into Sudhanshu Vats.

    “The first decade of Viacom18 marked the hyper-growth phase for us with  50X growth in topline. In order to make Viacom18 future-ready and dial up growth across different lines of business, it is imperative to drive synergies, leverage scale and build content capabilities across screens. As we step into our next phase, it is important that we shape an organizational structure that allows us to retain the garage-nimbleness that got us here while enabling Viacom18’s independent business lines to leverage the synergies that consolidation brings. Integrating our revenues  and building content engines to cater to multiple screens across India, under the above leaders, is an important step towards a forward-looking organization,” said Vats.

    These organizational changes will be operationalised with immediate effect. 

  • Viacom18 solidifies regional presence with Colors Kannada Cinema

    Viacom18 solidifies regional presence with Colors Kannada Cinema

    MUMBAI: Hot on the heels of its foray into the Tamil market, Viacom18 is all set to launch the third channel in the lucrative Kannada market, Colors Kannada Cinema.

    Viacom18 group CEO Sudhanshu Vats said that the network’s top priority is to complete its portfolios in the regions that it already exists. “We will continue to dial up our library in the slate as well because this business is a lot about availability,” he said.

    He added that this move would help the network to increase its market share, both in terms of viewership and revenue, in the country’s third biggest regional market.

    Furthermore, Viacom18 head- regional entertainment Ravish Kumar said that the only reason to enter the Kannada market is that it is the strongest market and the movies genre contributes about 11 per cent of the total television viewership in Karnataka. “While we continue to strengthen our regional bouquet with strategic channel launches in multiple languages, we are also committed to expanding vertically to offer a more segmented and wholesome entertainment to our loyal viewers,” he added.  

    As far as the reach of the regional space is concerned, Vats said that people communicating in the regional languages outside of Hindi is close to 59 per cent. He added, “The growth rates in regional are far in excess. As we measure deeper and measure more of India and what India watches, you will see that the indexation of regional will go up further. You will also continue to see more investments as we go forward and as I have also said when we look at deepening, we look forward at doing in the same geographies.”

    After Rishtey Cineplex, Colors Kannada Cinema, a 24-hour movie channel, highlights the network’s expansion within the movies broadcast category while reinforcing the network’s objective of strengthening its regional presence. It reaffirms Viacom18’s leadership position in the Kannada space along with its GECs – Colors Kannada and Colors Super – which currently occupy about 46 per cent viewership share in the market. Equipped with blockbuster movies, the channel will unfold its FPC from 24 September 2018.

    Giving further details about the channel, Viacom18 business head- Kannada entertainment cluster Parameshwar Gundkal said, “With a robust library of over 450 films, we have strategically curated our movie line-up to appeal to a wide range of audience.”

    Apart from films, the channel will also have an interesting mix of programmes like behind the scenes, trivia around the film and sneak peeks into houses of stars giving all the more reason to our loyal patrons to sit back and enjoy a good film with their family.

    While Star, Zee and Sony are all present in the English movies space, Viacom18 is visibly absent. On asked about the network’s presence here, Vats said, “We need to play a role which cuts across TV and digital rather than just trying to do something in television particularly in the English space. We are now looking at the content very comprehensively; let it be on TV screen or digital.”

  • Viacom18 dials up its Movies Broadcast Portfolio with the Launch of COLORS Kannada Cinema

    Viacom18 dials up its Movies Broadcast Portfolio with the Launch of COLORS Kannada Cinema

    MUMBAI: Viacom18, India’s fastest growing media and entertainment company, today, announced the launch of its second movie channel – COLORS Kannada Cinema. The network’s foray into movie broadcast space was through Rishtey Cineplex in the year 2016. Hard on the heels of its foray into the Tamil market, the network’s third channel in the lucrative Kannada market, COLORS Kannada Cinema, underlines Viacom18’s aggressive expansion in the growing regional broadcast entertainment space. Equipped with blockbuster movies, the channel will unfold its FPC from 24th September, 2018.

    Speaking on the occasion, Sudhanshu Vats, Group CEO, Viacom18 said, “COLORS Kannada Cinema is an important addition to our offering and a first in genre expansion in the Regional space. This demonstrates our strategic commitment to deepen and widen our presence as we drive Regional growth aggressively. This move would help us to increase our market share, both in terms of viewership and revenue, in the country’s 3rd biggest regional market. Finally, as we look to leverage synergies across our brands, COLORS Kannada Cinema complements our portfolio play across our forays into filmed entertainment production and filmed entertainment broadcast.”

    Adding to that, Ravish Kumar, Head – Regional Entertainment, Viacom18 said, “At Viacom18, our strategy has always been to make significant inroads to achieve market leadership, especially with our regional portfolio. Movies contribute about 11% of the total television viewership in Karnataka and COLORS Kannada Cinema is launching at the opportune time with the regional cinema industry witnessing an exponential growth in consumption, across screens. While we continue to strengthen our regional bouquet with strategic channel launches in multiple languages, we are also committed to expanding vertically to offer a more segmented and wholesome entertainment to our loyal viewers.” 

    After Rishtey Cineplex, COLORS Kannada Cinema, a 24-hour movie channel highlights the network’s expansion within the movies broadcast category while reinforcing the network’s objective of strengthening its regional presence. It reaffirms Viacom18’s leadership position in the Kannada space along with its GEC’s – COLORS Kannada and COLORS Super – which currently occupy ~46% viewership share in the Kannada market.

    Giving further details about the channel, Parameshwar Gundkal, Business Head – Kannada Entertainment Cluster, Viacom18, “With a robust library of over 450 films, we have strategically curated our movie line-up to appeal to a wide range of audience. Going by the Brand philosophy – Mane Maneya Chitramandira (Har ghar ka theatre) the family entertainment movie channel will usher a fresh in-home cinematic experience for Kannadigas as it celebrates 84 years of the Sandalwood film industry with iconic classics, blockbusters, award-winning and latest films making it a premiere movie destination. The vast library catering to all, encompasses films across genres like romance, action, comedy, mythology, thriller, drama, etc. Backed with strong programming and promotion strategy, the channel will also air unique content around Kannada cinema like behind the scenes, film reviews, interviews and more, thus creating a stronger appeal for movie buffs.”

    Be it the latest hits like Gultoo or timeless classics like Gandhada Gudi and Sampattige Saval, COLORS Kannada Cinema is here to create a lasting impression with our viewers. Apart from films, the channel will also have an interesting mix of programmes like; behind the scenes, trivia around the film and sneak peeks into houses of stars giving all the more reason to our loyal patrons to sit back and enjoy a good film with their family.

  • 60% ad inventory for ‘Bigg Boss’ 12 sold

    60% ad inventory for ‘Bigg Boss’ 12 sold

    MUMBAI: The launch of the festive season in India generally coincides with the start of the most popular reality show on TV – Big Boss. Produced by Endemol Shine and broadcast on Colors, the show is in its twelfth successful run.

    Bigg Boss 12 has retained Appy Fizz as the presenting sponsor and Oppo F9 PRO as the ‘powered by’ sponsor. Viacom18 COO Raj Nayak said that Panasonic, L’Oreal and Capital Foods have already signed up and two more brands are expected to come on board. “We have almost sold 50-60 per cent of the ad inventory and by this Friday we will sign two more advertisers,” he said.

    The channel says it has increased ad rates by 5-8 per cent. As far as last season is concerned, the channel had hiked of ad rates for new advertisers and had kept incremental cost between 12.5-15 per cent.

    This year too, the channel will make use of its OTT platform Voot. Nayak said, “We will surely have extra episodes, voting and full episodes on Voot. It will be on MTV as well because it is a youth channel and they love to watch such kind of shows. We had got traction even on the different time slot when we aired on the channel.” Last year, the channel re-broadcasted bits of the show on MTV at different time slots of 2-3 pm and 11.30 pm to 1 am which also ended up getting youngsters.

    Reports state that each episode costs anywhere between Rs 4-5 crore and is Colors’ most expensive show. Nayak, who was earlier heading Colors, knows Big Boss like his baby. For several years, Big Boss guzzled more investment than it gave revenue but all the sweat has started to yield fruits. He has always maintained that the show’s X-factor and buzz-creation ability is what sways the network.

    “Bigg Boss was obviously a loss-making venture at first and now we have broken even and of course it is also profitable. But the buzz that it creates and the different kind of viewership that Bigg Boss has, I don’t think any show other than this has the same. People will watch it even if we play it 365 days,” he said.

    This year’s theme is ‘jodis’ which means players will play in pairs which will be relevant to their identity as celebrities or commoners. The first episode will air on 16 September at 9 pm with regular episodes from Monday to Friday at 10.30 pm. Since the weekends are empty, the channel has lined up Khatron Ke Khiladi.

  • Sudhanshu Vats unveils Voot’s audacious plans in Viacom18 show of strength

    Sudhanshu Vats unveils Voot’s audacious plans in Viacom18 show of strength

    Viacom18 put on quite a show as it offered a peak into what’s in store for its OTT platform Voot at a five-star hotel in Mumbai on Thursday. Leading the charge was managing director Sudhanshu Vats with key colleagues Monika Shergill, Ajit Andhare, Ravish Kumar and Akash Banerji in tow. The company made a series of box-office announcements, throwing down the gauntlet to competition. Voot showcased the first bundle of its upcoming Voot Originals – 18 multi-lingual premium web series cutting across genres. Viacom18 Motion Pictures, the network’s movie studio, will now be producing web series for VOOT under the banner of Tipping Point Films. 

    In a bid to tap into the country’s regional markets, the regional broadcast entertainment cluster of company will produce multi-lingual Voot Originals. The streaming service will add news (16 live channels across 13 languages) to its diverse portfolio in partnership with Network18. Sprucing up its content and product play, Voot is set to go international, beginning with the United Kingdom in November this year.

    Driving synergies within the network, Vats’ vision is to build a future-ready Viacom18 that is screen, platform and pipe agnostic. In a bid take rapid strides, Viacom18 is bound to throw the might of all its media and entertainment properties behind Voot. Case in point, utilising Reliance Jio as a platform to showcase content and a carrier of the app’s services.

    To ramp up its engagement and user interactivity experience, Voot will be adding to the user search experience and facilitating easy discoverability will be the adoption of Google Watch Action, an industry first in APAC for premium OTT players. The introduction of dolby surround sound for all Voot Originals is a first amongst Indian OTT brands.

    Viacom18’s show of strength not only signals intent but also suggests that the company is building up ammunition in order to go the distance in the OTT warfare. Vats’ ambitious roadmap for Voot is likely to get the early entrants and leaders Hotstar, SonyLIV and Zee5 to sit up and take note.

    Vats, who was promoted last month, has seen the company transition from a joint venture with Viacom to one that is now majority-owned by Mukesh Ambani’s Reliance Industries. After he and his team made the big-ticket Voot announcements, the big boss of Viacom18 sat down to express his views on a range of subjects.

    International distribution

    If you look at the model, particularly the behind paywall model, there are two very important components, which we have to be careful about. One is the acquisition cost, and the other is the marketing. So, at this juncture in our journey as we try and test the waters in the international market, our thinking is that going with a telco partner will be a good thing to do. And the choice of the market is because we wanted to go to a diaspora market, which has got a reasonably good representation of India. It has also got a good mix of traditional Indian families and now the younger audience. It is also a market where we could also test out some of the appeal of the Indian content with youth, population outside of our own diaspora. So from all of those, it was a good mix. UK has got two million south Asian diaspora. Our brand has been there for some time. UK is a market where we have Colors, Rishtey, Colors HD, MTV Beats, and we have a movie channel as well now.

    Partnership with Jio

    We are going to build a deeper relationship with Jio as we go forward. Some of the stuff is already happening. We want to build a lot of interactivity as well. Jio is our both parent and partner. So it makes perfect sense for us to be together. Instead of worrying about other telcos, we focus on what VOOT can do for Jio, and vice-versa. We are strengthening and deepening this partnership. We have a very dedicated partner. Jio has revolutionised the market, they are a leader in any case in data. 

    Revenue model

    You saw few of them (originals). Especially the last one Feet Up With The Stars coming on the AVOD platform. So I think it will be a mix, some of them will be ahead the paywall, some of them may come behind the paywall. It will depend on the timing of our launch, on our strategy. What our product offering will be, it’s premature to talk about this. We are doubling down on original content. As we will go along we will decide what comes where. But as far as AVOD is concerned these originals will also come on AVOD after windowing even these go behind the paywall.

    Marketing mix

    It will be a classic marketing mix. They (Voot) will get right network support that is always there. In case of certain originals, you’ll see 360 degree marketing. Otherwise, network and digital support will be there for all of our shows and that works very well for us. We’ll bring 360 for some others depending on which one and when it is being released. It depends on program to program.

    TRAI’s tariff order

    Let me answer it in three ways. We are working on our response on the tariff order. It is premature for me to comment so I won’t comment on anything specifically. In terms of the order, it’s still sub-judice in some ways because there is a further hearing in Supreme Court on 5 September, and there’s also a Delhi high court case which is on the merits of the order, so those two things are happening in parallel. You will see our response as well and I think like the other players in the industry we’ll respond early September depending on how the Supreme Court case is closed. And I have always said about this tariff order, that at the conceptual level I think it’s a good thing to do but we have to find the right ways to operationalise it. Because in principal, giving more choice to the consumer, it’s the right thing to do especially when digital is also coming in. Having said that TV has had a different phenomenon of bundling and there is some merit in bundling and giving in a bundle. So, we need to find a right balance.

    Voot Kids and the freemium model

    As we go forward we’ll build a portfolio play which is basically what you see currently is an AVOD play. We are going to look at Voot international, which we have announced today already, we are going to look at Voot premium, which we are working on. We’ll also look at a dedicated Voot Kids service and you will hear very shortly about that. That’s a very interesting service, so that’s something we are working on in a very different space. 

    No sports offering

    We’ll continue to evaluate as I have said always about sports, we’ll continue to evaluate the opportunities which will come our way. Some of the big-ticket events are gone for sometime. So, they are locked out for another four-five years. Most of the cricketing properties  like IPL are out. Even the different series of Boards are also out, but we’ll continue to evaluate and we’ll continue to build this.

    Future of OTT industry

    Two or three things that will happen I can say. One is that there is a small section that will get into smartphones, that will be consuming content more digitally even on a television, for example how Netflix is consumed in the US. I think there is a lot of work happening on infrastructure and transportation if you look at it so I see a lot of commute consumption and that will be interesting. The good news is all of it will be incremental consumption. India will  have national scale OTTs, segmented OTTs and in both you may have some national players and some international players. India is a pretty large country for it to have eight to ten very robust OTT models. Among these, four may come from content players like ourselves, there could be one or two very dedicated international players like Netflix and Amazon, there could be also two to three telco players and also some of the telco models. I think India will go the China way, it’ll be a hybrid market, there will be a large AVOD play but there will be also substantial SVOD or premium model.

  • Audience is understanding importance of licensed merchandise: Saugato Bhowmik

    Audience is understanding importance of licensed merchandise: Saugato Bhowmik

    MUMBAI: You walk into a kids store and you see Sponge Bob backpacks, a sipper of Lightning McQueen from Cars, or a t-shirt with the word Barbie embossed on it. Licensed merchandises are everywhere today.

    The retail licensing business in India is estimated to be worth $1.26 billion where entertainment license is valued at $406 million, sports licensing at $30 million and fashion licensing at $594 million. However, Indian brands make up less than 10 per cent of licensing and merchandising activity in India. 

    The Indian licensing and merchandising market is primarily dominated by Disney followed by Viacom18 and Turner (Cartoon Network). While Disney merchandise has been available in India for over 30 years, Viacom entered the business only 8 years back and already has a large share in the segment. 

    Viacom18 Consumer Products is a significant player in the ever-growing consumer products space with its diverse portfolio. Viacom18 has channels including Colors, Nickelodeon, Comedy Central, Vh1 and MTV and sells licensed merchandises for its marquee characters including perfumes, jewellery, footwear, watches, bottles, tiffin boxes, apparel, backpacks, jackets, beauty products, etc. 

    The advancements in technology and expanding marketplaces have been key to successful licensing programmes in India in the last few years. But local trademark owners and licensees need to now follow in the footsteps of international brands and adopt licensing as a core revenue stream.

    While the licensing business is pretty fascinating, it has its own challenges. While you may be able to buy a licensed product in a store or a mall at Rs 200, you will find the same product being sold at street corners for Rs 100. Counterfeit is a huge challenge for the industry and though it can’t be completely eradicated, it can, however, be reduced by exercising raids and creating consumer awareness.

    License India recently concluded its trade show India Licensing Expo 2018 for the budding licensing fraternity to apprise themselves on the concept of licensing as a business module, and explore exhibited licensing opportunities in multiple product categories. The show gathers the potential of the industry to network and connect, to further explore possibilities to grow bigger and faster in the given peripheries. 

    Indiantelevision.com spoke exclusively to Voot Kids, INS and consumer products business head Saugato Bhowmik and Viacom International Media Networks London VP licensing and business development Dan Frugtniet where they discussed the licensing business in India, the scope and challenges, their target consumer and much more. Excerpts:

    Licensing is relatively new in India as an organised sector. How do you view the segment? 

    Saugato Bhowmik: Licensing is an exciting business where India has grown rapidly. It is a young industry and there are a lot of brands that have come to India which have been led by us and our friendly competitors but we still need more brands to come in.

    How big is the licensing sector in India? What is the market size?

    Saugato Bhowmik: As per our estimate, the licensing business today is around $1.4 billion of retail sales which includes all kinds of licensing — fashion, sports, entertainment and characters. Viacom18 operates in about 40 per cent of the licensing segment which is in entertainment and character licensing and some part of the sports licensing. It has been an exciting journey for the last 5-6 years for Viacom18 consumer products because we have grown rapidly. 

    What is Viacom18 Consumer Product’s market share in the licensing business?

    Saugato Bhowmik: There is no way to identify the market share of any player as there are no syndicated industry reports that suggest market share. Also, it’s difficult to identify the market share of a business that is a horizontal multi-category business. However, what we’ve learnt from our partners is that Viacom18 Consumer Products is the second largest consumer product business in India. The number one player has been in India for 30 years, whereas we have been here for only 6-7 years but we have grown aggressively in the last five years.

    But licensing as a business is still expensive in India…

    Saugato Bhowmik: If you are going to add the value to the brand to a product, that price incremental will happen. Yes, some licensed merchandises like toys, hard lines are important because a lot of the manufacturing base is not yet in India. The Indian government, on the contrary, wants the manufacturing to move to India because that is when the pricing will go down and the industry will grow further. It’s slow going on that front, but we expect that in the upcoming years, as more consumers move into this piece, the demand will grow and you will see manufacturing base growing further. 

    What are your most popular characters for licensing and merchandising?

    We are primarily structured around our brands SpongeBob, Teenage Mutant Ninja Turtle, Dora, Shimmer and Shine and others. We also have Viacom18’s own homegrown animation that has been tremendously successful. Motu Patlu, Gattu Battu, Shiva and Rudra have been some of our exciting properties. Motu Patlu is in the top three brands in India at any given time. We are also seeing spectacular results with Shivaas well.

    You are here at the India Licensing Expo 2018. What is Viacom18 looking at from this licensing expo?

    Dan Frugtniet: India Licensing Expo is a place where common shareholders, stakeholders, licensees, licensors get together to build the industry. We need much more of this. We are a huge believer in these trade shows and expect the footfall to increase over the years. These trade shows are for long term building and commitment on partnership and trust because we need to meet our partners in person. It’s important to have domestic market trade shows where we can help home grown stakeholders have a meeting place but also where all licensors can come and expand their business by meeting their partners.

    What are the key challenges in this sector? What’s your plan to overcome them?

    Saugato Bhowmik: There are a lot of challenges for licensing business in India in terms of infrastructure, retail fragmentation and depth of audience. But all the metrics are in the right direction and the economy is in the right direction. The e-commerce is headed in the right direction and the audience is now understanding the importance/worth of licensed merchandise. We are getting better at it with more licensees coming into the business, more distributors being added to the business, more manufacturers and retailers coming in. The industry is headed in the right direction but we have to continue investing as there is no easy growth. It’s still a long distance to go before licensing as an industry becomes massive yardstick business like it is in the UK and US.

    Today, there are several international brands present in the market that have become kids’ favourite. Is there a competition and challenge for you to create distinguished products?

    Saugato Bhowmik: There is no such theory to prove it and it’s all about brand love. Different people get attached to different brands. A fan of Motu Patlu who is five years old is obsessed with Motu Patlu. The concept of international and domestic doesn’t exist in kids’ head and it’s the characters that they fall in love with. This domestic v/s international characters may be the theory for adult audiences where they may view international brands as more premium. But I can’t really comment on it.

    What about Roadies merchandise? We don’t get to see them a lot. What are your sales points for them?

    Saugato Bhowmik: You can find Roadies collection on e-commerce sites. Earlier we had done several deals in the apparel and eyewear category. We have exited a lot of existing partnerships. We are going a little slow on youth space because we want the right partnership to happen for both MTV and Roadies. For youth, we don’t want to get a deal with smaller partners. While partnering with someone, we look at the product aesthetics, distribution, ability to market as it has to be at a different level altogether, which is why are taking it slow and selectively appointing partner.

    The time between your deciding on launching merchandise and it actually hitting the shop is huge! How do you strategise on what to launch and what to miss?

    Dan Frugtniet: There is nothing worse for a brand owner than its product launch not working because it reflects badly on us. There’s a lot of time, energy and money that goes behind it and that’s why it is best to invest cautiously on youth market as it’s very difficult to identify what is hot and what is not for the target demographic as it changes rapidly and our deals are not fast. It may take us 3-6 months to get the contract signed, followed by 3-9 months to get the product produced, shipped and listed on stores. You’re talking 12 months which is the quickest you can get a product out in the market. By that time, some of the trends have gone! We have to be extremely cautious about what we launch and select the properties with a detailed eye. 

    Where do you see most of your consumers coming from that want to buy merchandise?

    Saugato Bhowmik: At the moment, most of our consumers come in from six metros but over the next 3-4 years, I do predict that half of our audiences will come from beyond the metro cities because of e-commerce and a lot of local animation licensing taking off.

    What’s your distribution strength and how do you plan on penetrating rural India?

    Saugato Bhowmik: We want to tap into everyone from rural and urban equally. We want to tap into people from all kinds of economy strata and not just have one kind of consumers but have a wide portfolio. 

    What are your online sales like?

    Saugato Bhowmik: E-commerce definitely gives us a lot of access into cities and towns where we did not have any presence in. But, discoverability has always been a challenge on online platforms and we work with our partners to improve our discoverability. 

    How do you choose your partners?

    Saugato Bhowmik: For us to decide on a successful partnership, we ensure the partners have enough expertise and professionalism. Product quality is most important and ensuring the partner has good distribution is also needed.

    Do you think counterfeit is a challenge for the licensing industry or does it not bother you?

    Saugato Bhowmik: Imitation products only get sold if there’s a demand and it makes us happy to see that there is a demand. We do take actions from time to time to send the message out but today, license merchandising business is not yet equipped to address everyone in the Indian market and gradually over a period of time, counterfeiting will go away as our technology and reach gets better. It’s what happened to music streaming, where there was a point when nobody paid for music streaming but today music piracy has gone away. Technology changed the game for them and while it might not change the game completely for us but technology will change the industry.

    Dan Frugtniet: We have reduced counterfeit with direct action by raids and seizures. I think it’s important to educate the consumers about the health risks of giving imitated toys to their kids. If not today, these things will eventually stop.

    How do you view the licensing business in India going forward?

    Saugato Bhowmik: I think more and more players will keep coming in because the industry is going to grow. I think a lot of international players will come in and a lot of Indian brands will also start to understand the licensing business and they will get into it.

    What is your strategy and plan for Viacom18 Consumer Product growth? How do you want to take the business forward?

    Saugato Bhowmik: The plan is to just keep growing very aggressively in high double digits every year because we want to make it a large scale profitable business. We want to continuously grow our existing brand portfolio and bring in more brands, open new categories and new experiences categories. A lot of hard work ahead but an exciting time.

  • Colors Marathi adds traditional sports with Kusti Champions League

    Colors Marathi adds traditional sports with Kusti Champions League

    MUMBAI:  The local sports scenario in India is taking off on TV. Colors Marathi, Viacom18’s regional GEC, along with Maharashtra Wrestling Championship League (MWCL) Sports and Maharashtra State Wrestling Association together announced the launch of Kusti Champions League (KCL) – Apla Banda, Khel Zinda.

    Organised by MWCL Sports in association with Maharashtra State Wrestling Association, the live telecast of KCL will be aired exclusively on Colors Marathi and OTT app Voot. The league will premiere on 7 October 2018 and conclude its inaugural season with the grand finale on 28 October 2018. KCL will serve as a mega platform for the sport by inspiring and creating opportunities for local Maharashtrian players in the field. 

    Talking to Indiantelevision.com, Viacom18 head regional entertainment Ravish Kumar said, “Colors Marathi is delighted by the opportunity and down the road, we will continue to look forward to sports which are rooted and are a part of our tradition. This is first of its kind we are getting into, especially in the regional space.”   

    KCL will be played by six teams consisting of 72 players in total. KCL has selected over 300 players from across Maharashtra for an auction process.  Each team will consist of eight men and four women who are professionally trained in kusti. The cities participating in KCL are Mumbai, Pune, Nashik, Aurangabad, Nagpur and Kolhapur. A total of 90 matches across 21 days will be played on mat and soil at Balevadi Stadium, Pune in Maharashtra. 

    “If you look at the sport, it is very deep rooted throughout Maharashtra, with a long history and tradition and present at grassroot levels. It’s a great partnership as Colors Marathi is also rooted in terms of its content, being a regional channel we really appeal to the length and width of the state,” he added.

    “To uplift the sport further with an international approach towards mat wrestling, Kusti Champions League collectively aims to bring contenders from six regions of Maharashtra on one platform and establish them as strong contenders for Olympic 2020,” said KCL founder Pushkaraj Kelkar. “We want to take wrestling to every nook and corner of Maharashtra, give it the deserved fame and subsequently, create an international platform for the sport,” he added.

    Talking about the ad rates of KCL, Kumar said, “As the matches will be telecast at early prime-time from 5:30 to 6:30 pm, we are also waiting to see how the market will respond as we are doing it for the first time. The ad rates will be lower than that of primetime.”

    The six teams are Jigarbaaz Nashik, Kolhapur Shahu, Jaabaaz Aurangabad, Narveer Nagpur, Zunzaar Pune and Ranayoddha Mumbai. Each franchise will be given a salary purse of Rs 30 lakh in which it has to buy a minimum of 12 players.

    Maharashtra State Wrestling Association and Maharashtra Olympic Asociation General secretary Balasaheb Langdesaid, “Kusti, the most ancient sport of Maharashtra will now be presented to the audience through Colors Marathi. Prior to this, kabaddi has been viewed in league format which was a commercial success for both the players and organisers. Similarly, to ensure that this Kusti League is a successful initiative, we would require the support of the people of India. This league will play a vital role in the player’s morale for the 2020 Olympics.” 

    KCL COO Pradeep Iyengar said, “Wrestling has been one historical sport that has always contributed to India’s sporting prowess, and we are proud to be associated at the state level to take it into the next phase of upliftment and are keenly looking at least five medals from the state at the 2020 Olympics. Kusti Champion League is committed to bringing out the best from the state’s best.” 

    The official radio partner for Kusti Champion League Season 1 is Radio City.

    Earlier this year, DSport acquired the rights for Nidahas trophy, a tri-nation series tournament featuring India, Sri Lanka and Bangladesh. The channel joined hands with Viacom18 to live telecast the series in Hindi commentary on its mass entertainment channels Rishtey Cineplex and Cineplex HD. 

    In BARC week 10, Rishtey Cineplex climbed to the first position in the Hindi-speaking market with 545,931 impressions (000s) sum. It managed to match pubcaster DD Sports viewership leaving behind DSport in the urban plus rural (U+R) category. “This viewership was very impressive and it also brought to light that if people like a channel they expect to see everything on it,” Kumar concluded.