Tag: Zee

  • Indranil SenGupta leaves Viacom18

    Indranil SenGupta leaves Viacom18

    Mumbai: Indranil SenGupta, associate vice president, business head – Non Music IPs, brand and B2B marketing, Viacom18, has recently left Viacom18. He had joined the company in May 2013.

    Prior to Viacom 18, SenGupta has worked with Hungama as general manager and head – marketing. Before that, he worked with Zee Entertainment Enterprises as assistant vice president, marketing head. He has also worked with Baaya Design, Rediffusion Y&R and Good Relations in the course of his 17-year career.

    SenGupta will take up his next assignment in January.

  • Indian OTTs to be in focus on day 2 of ATF

    Indian OTTs to be in focus on day 2 of ATF

    MUMBAI: Singapore-based Reed Exhibitions’ Asia TV Forum (ATF) will commence today with 60 countries taking part. The first day will see sessions based on content, advertising and the evolution of storytelling and digital traditions and innovation Ninety thought leaders will deliver fresh insights in over 24 sessions from 28 November to 1 December 2017, discussing present-day issues such as big data, movement in the over-the-top (OTT) scene, new monetisation strategies, unscripted entertainment formats and kids’ content.

    The Indian sessions will start from the second day. The first one will be ‘Bollywood & Beyond: Fresh content from India’. The speakers present for the session will be Epic TV network head content syndication Adita Jain, Greengold Animation VP content sales Bharath Laxmipati, One Life Studios founder Siddharth Kumar Tewary, Rajshri Entertainment MD Neha Barjatya, and Toonz Animation India senior manager- content syndication and distribution Viju Thomas. The session will be moderated by Indiantelevision.com group founder, CEO and editor-in-chief Anil Wanvari.

    Wanvari has been working on developing opportunities for India’s animation and live action sector – whether for TV or OTT – over the past three years at ATF as its representative for India, Pakistan, Sri Lanka and Bangladesh.

    India’s OTT ecosystem has been exploding with newer apps popping up ever so quickly. At last count, close to 42 OTT services were operational in India. The second Indian session will be about the needs and wants of Indian OTT buyers. The panellists for the discussion will be Pittie Group/Epic TV CEO and MD Aditya Pittie, Viacom18 Digital ventures COO Gaurav Gandhi, producer, entrepreneur and storyteller Sidharth Jain, Spuul founder and global CEO Subin Subaiah, and GoQuest Media Ventures MD Vivek Lath. This panel discussion will also be moderated by Wanvari.

    ATF will also focus on virtual reality (VR) sessions, which will delve into the discourse that takes place among ecosystem partners, from content concept, creation and circulation. Real Vision VR filmmaker, speaker and published author Clyde Desouza will moderate the panel. Desouza is working with Times Now for its VR immersive journalism.

    On day three, listen to GreenGold Animation founder and CEO Rajiv Chilaka talk about how to provide 360-degree experience to kids. Chilaka has created and built one of the India’s largest animation brands Chhota Bheem, which currently has a viewership of over 40 million across platforms. He will also talk about nurturing localised IPs and stories and priming them to go global.

    The major Indian satellite TV networks Sony Pictures Networks India, Star India, Indiacast-Viacom18, and Zee Telefilms have their syndication and licensing teams exhibiting at the Marina Bay Sands venue. Other noteworthy exhibitors include: format and content syndication company GoQuest, Swastik Productions’ One Life Studios that is hawking its mega-budget Porus and homegrown formats, One Take Media, which is selling its kids animation and cookery shows, film and digital content creator and distributor Rajshri Entertainment, infotainment channel Epic TV, and kids’ content pioneer GreenGold.

  • ZEEL’s Amit Goenka: Target 3 billion audiences in the next 5 years

    ZEEL’s Amit Goenka: Target 3 billion audiences in the next 5 years

    MUMBAI: To conquer half the world – that is the aim of the 25-year old Zee Network. Barely weeks into the channel refresh of Zee Entertainment Enterprises (ZEEL) channels, the conglomerate has a new brand philosophy – ‘Extraordinary Together’.

    ZEEL CEO Punit Goenka admits that for the last 25 years it has been choosing the time slot for people to watch television. “But in next 25 years we have to listen to the consumers and where he wants to consume, in which format and through which medium. That is the biggest change we see going forward,” he adds.

    The company has reached 1.3 billion viewers globally with the presence in over 173 countries since 23 years. The foray into producing international content is recent and today Zee produces content in nine different languages. “We plan to produce more global content but 80 per cent will stay Indian content. We plan to target three billion audiences in the next five years,” says ZEEL International broadcast business CEO Amit Goenka.

    In India, ZEEL will soon enter the Malayalam market. Along with this, the network plans to launch its consolidated digital platform Z5 soon.

    Punit Goenka is optimistic that the company’s content will differentiate it from others. It will span Hindi and 11 regional languages, and a large film library in multiple languages. Though TV content will be on Z5, there will be original ones too.
    He also said and expressed his wish to take theatre to extreme heights both in India and abroad.

    Goenka clarified that ZEEL isn’t abandoning its earlier philosophy of Vasudeva Kutumbakam, but it is rather encompassing it all together.

  • MIB, Prasar Bharati mulling B-school help on DD & FreeDish biz models

    MIB, Prasar Bharati mulling B-school help on DD & FreeDish biz models

    MUMBAI: The government is exploring seeking help of an Indian Institute of Management to suggest ways on revitalising Doordarshan, including studying the existing business model of national broadcaster’s FTA DTH service DD FreeDish and whether further suggested improvements could be implemented.

    According to government sources, the move is part of ministry of information and broadcasting (MIB)’s efforts to shore up the bottomlines of Prasar Bharati, an autonomous body that manages India’s two pubcasters, Doordarshan and All India Radio.

    A B-school may be roped in to study the business model of DD FreeDish — that at present auctions slots on the platform to private broadcasters too — and explore whether if private sector TV channels are bumped off DD can generate revenue on the strength of its own channels, many of them also distributed terrestrially.

    As per some media reports, DD not only put on hold the latest round of e-auctions for slots on FreeDish in August 2017 on an advisory from MIB, but has also stopped renewing agreements of TV channels, which are presently on the DTH platform but are faced with a blackout once their annual contract comes to an end.

    A top Prasar Bharati official is said to have made a presentation to MIB minister Smriti Irani recently on how the DD set-up could be revitalised, including rejigging the business model for DD FreeDish, amongst other things.

    Though most big private sector broadcasters like Star India, Zee, Viacom18 and Sony, all having their channels on FreeDish, have not yet officially reacted to DD FreeDish keeping in abeyance the e-auctions for administrative reasons, smaller TV channels may feel the pinch. One of them, Cinema 24×7, has moved the telecoms and broadcast disputes tribunal TDSAT seeking interim relief as its contract expired in September 2017 and, according to its petition, it failed to get clarifications from DD on future auctions.

    The magic of DD’s FTA platform was discovered by TV channels a couple of years back with the battle for a slot intensifying in the last one year or so, egged on by BARC India starting to measure non-urban and rural audience. On DD FreeDish, it’s not pubcaster’s channels that top the list in terms of audience ratings, but mostly those belonging to the private broadcasters.

    A TV executive, on the condition of anonymity, explained that while Doordarshan, as a statutory body, survives on annual grants from the government, in 2016-17, DD FreeDish recorded revenues of about Rs 2641.7 million, a 47 per cent increase from a year ago. Hence efforts to revamp the current business model for DD FreeDish, having almost 52 per cent rural viewership that attracts private TV channels willing to pay hefty carriage fee, could prove detrimental for the pubcaster’s revenue, the exec added.

    Former MIB minister Manish Tiwari, while criticising DD’s reported moves to change the existing revenue models for DD FreeDish by putting on hold a transparent mechanism like e-auctions, told Indiantelevision.com, “DD FreeDish benefits from the presence of private TV channels on its platforms as it provides diversity of content to non-paying rural audiences.”

    ALSO READ ;

    WOW Cinema petitions TDSAT on delayed auctions for DD FreeDish slots

    Govt to help revitalise DD under ‘autonomous Prasar’, dubs censors as ‘facilitators’ within law

  • MIB issued licence to ZMCL; Leader, Turner and Zee ME among five cancelled last month, nine allowed as per court orders

    MIB issued licence to ZMCL; Leader, Turner and Zee ME among five cancelled last month, nine allowed as per court orders

    MUMBAI: In all, the number of private satellite TV channels having valid permission in India as of 30 September, 2017, are 877. Of these, the number of permitted news and current affairs channels is 388, according to data provided by the ministry of information and broadcasting (MIB).

    In fact, the total number of permissions granted to private satellite TV channels so far is 1098, of which 221 permissions have been cancelled so far.

    Last month, MIB issued one and cancelled five licences. The solitary permission granted was to Zee Media Corporation Ltd (ZMCL), to launch Zee Uttar Pradesh Uttarakhand.

    The channels licences of which were revoked are — Leader Television and Entertainment’s Leader TV, L And C Media’s SS Entertainment, Turner International India’s TCM Turner Classic Movies, Vyjayanthi Televentures’ Mayabazar and Zee Cinema Middle East.

    Of the 877 channels, nine have been cancelled by the MIB but are running following orders from the courts of law. These are —

    1. Punjab Today

    2. STV    Jammu-Kashmir News
    (Earlier STV – Marathi News)

    3. STV Haryana News

    4. STV    UP    News (STV-Rajasthan)
    (Earlier STV    Bihar-Jharkhand News)

    5. Mahuaa Media Private News
    Uplinking    03-03-2016*

    6. Mahuaa News
    Mahuaa Media Private Limited
    News
    Uplinking    03-03-2016*

    7. First    India    (earlier, Mahuaa Khobor)
    Mahuaa Media Private Limited
    News
    Uplinking    03-03-2016*

    8. Mahua  Music  (Mahuaa  News  Line)
    (Uttar Pradesh /Uttrakhand)
    [earlier Mahuaa Bangla]    
    Mahua Media Private Limited
    Non-news
    Uplinking    03-03-2016*

    9. Mahuaa Movies
    Mahuaa Media Private Limited
    Non-news     
    Uplinking    03-03-2016*

    The total number of TV channels permitted for uplinking from India, and downlinking into India is 778, of which 368 are new channels, and the remainder is the number of non-news channels.

    The number of TV channels permitted for uplinking from India but not permitted to downlink in India is 16, of which five are news channels. And, the number of TV channels permitted to only downlink into India (uplinked from aboard) is 83, of which 15 are news channels.

    click here to view list

  • Zee takes drama, factual and lifestyle shows to MIPCOM, celebrates 25 years

    Zee takes drama, factual and lifestyle shows to MIPCOM, celebrates 25 years

    MUMBAI: Global Content Hub by Zee, the syndication division of Zee Entertainment Enterprises Limited (ZEEL), has announced its slate of new shows for MIPCOM 2017. This MIPCOM also marks the start of 25 years in business for Zee TV, one of of the leading Indian broadcasters with a reach in 171 countries.

    Debuting at the market is Lala’s Ladiez, Zee’s first-ever English adaptation. Based on Zee’s Indian comedy series Hum Paanch, the story is about a father living with five spirited daughters and his English wife. Each daughter possesses a different personality – one being a feminist; another is all beauty and no brains; yet another is an eco-warrior; a smart tomboy with the youngest being the most fearless. A Zee Format Factory initiative, this 20-part series is being produced in the UK by Endemol Shine.

    Zee’s Indian dramas – Piya Albela, Kundali Bhagya, Woh Apna Sa, Kundali Bhagya are coming to MIPCOM for the first time.

    Piya Albela is a modern love story revolving two people who are worlds apart in character. Naren is a thoughtful and spiritual young man, studying psychology at college, while Pooja is a very modern woman. Naren’s business-tycoon father hires Pooja to entice his son away from his austere life to join the family business. Pooja comes to understand Naren and develop a deep bond. Woh Apna Sa – an Indian drama series about a troubled marriage and the potential love triangle.

    Kundali Bhagya is a spinoff of the family series of the very popular Indian drama series, Kum Kum Bhagya, and the show is about two young girls Preeta and Shristi who discover the existence of their mother ‘Sarla’ and sister Pragya after the death of their father.

    Coming from Zee’s US lifestyle catalogue, Z Living, 34 hours of fresh content have been added to the outstanding library of 1700 hours of health and lifestyle content.

    All are produced in the US in English-language including Conquered, showcasing uplifting stories about people from the everyday to the influential who have broken boundaries and conquered obstacles to achieve their goals in fitness, relationships, career, health and more as well as a second season of Altar’d — the popular wedding reality series featuring fitness and nutrition experts who work with a future bride and groom to shape them up for their big wedding day; Yoga Girls is a never-before-seen side of yoga in Los Angeles, a cut-throat city where the practice can sometimes lead to kicking some serious “asana” and Big Fat Truth is available featuring host/mentor, JD Roth, one of television’s most experienced producers of transformational programming.

    JD helps contestants in this inspiring reality series, inspiring people to change their lives and gain the rewards of a healthier lifestyle.

    Family reality competition programming along with the format is also being featured at MIPCOM. “India’s Asli Champion… HAI DUM!” is hosted by Suniel Shetty. This uniquely crafted show aims to find and crown the “fittest Indian.” After an intensive search across India, 12 contestants, six boys and girls each, coming from different walks of life, have been short-listed for the competition. These 12 contestants battle it out in the ultimate test of physical and mental endurance to win the glorious title of India’s Asli Champion.

    From Zee’s Format Factory, come several scripted and non-scripted formats including: surreal scripted series Phantasmagoria, game show Moksha, scripted comedy Love Thy Neighbour, and family competition, Asli Champion.

    ZEEL’s chief business officer – international ad sales, global syndication and production Sunita Uchil said, “Global Content Hub by Zee has dynamic new drama and comedy series, exciting formats – both scripted and non-scripted — as well as inspiring, English-language, mainstream lifestyle programmes from our US channel, Z Living.”

  • &Prive HD campaigns for ‘Jackie’, ‘Pele’ etc premieres, presents first twin-screen trailer

    &Prive HD campaigns for ‘Jackie’, ‘Pele’ etc premieres, presents first twin-screen trailer

    MUMBAI: &Privé HD, the new premium English movie destination from the Zee stable, is leaving no stone unturned with a 360-degree marketing campaign promoting the Indian television premieres of movies like Moonlight, Pele, Jackie and Lion amongst others, across various digital and on-ground platforms.  

    &Privé HD is all set to take you back in history to relive First Lady, Jaqueline Kennedy’s journey in the days following her husband’s assassination. 

    The Oscar-nominated movie ‘Jackie’ directed by Pablo Larraín, premieres on 1 October.

    Following the assassination of President John F. Kennedy, the First Lady fights through grief and trauma to regain her faith, console her children and define her husband’s historic legacy. Jackie quickly realises that the days immediately after the assassination will determine how history will define her husband’s legacy and how she herself will be remembered. 

    Click here to experience the other side now.

    With a strong emphasis on digital marketing innovation, &Privé launched a unique technology on its social platforms – world’s first twin screen trailer. The channel, which is specially designed for those who look beyond the usual and delve into the introspective minds of the protagonists, this technology gave viewers a sneak peek into what to expect from &Privé ahead of its launch. 

    This distinctive technology enabled viewers to experience the other side of cinema with the help of a second device in a fun and engaging manner. While one screen showed the obvious, the other screen presented a second perspective, perfectly encapsulating and displaying the channel philosophy. All viewers need is two devices running simultaneously. 

    On one device, log on to feeltheotherside.com and on the other, ftos.co. Enter the code on Device 1 and hit validate. Hit play on device 2 and experience the magic of two sides. 

    This technology aims to redefine the movie trailer watching experience for the viewers, allowing them to connect with the film at a deeper level.

    Along with technological innovations, &Privé also presented striking installations on-ground for the audiences. For the premiere of Moonlight, the channel created a larger-than-life installation of a gun on a rainbow coloured platform. In line with the theme of the movie, the gun signified the protagonist Chiron’s upbringing in a rough neighbourhood of Miami and his journey of becoming a gangster whereas the rainbow colours of the platform, which symbolizes the LGBT community, perfectly summed up his struggle with his sexuality. 

    For the premiere of Pelé, &Privé HD paid an ode to the legendary footballer with a magnificent installation of a life-size goal post with the numbers 1281 made out of multiple footballs depicting the total number goals Pelé scored. 

    &Privé HD is surely engaging viewers across platforms. 

  • Star’s Uday Shankar on distribution challenges, IPL, FTA vs. pay TV, innovations, Made in India content…and much more

    Star’s Uday Shankar on distribution challenges, IPL, FTA vs. pay TV, innovations, Made in India content…and much more

    From the thirty seventh floor room, consisting of a table for the occupant to stand and work, some thought-provoking books and a huge TV screen, apart from other knick-knacks, the city life and environs below look scenic. Rather, most of the surrounding sea-facing skyscrapers in between the  green patches of land that could be seen below belie the image that it’s India. Until a Mumbai local train passes by, giving away the address of  Urmi Estate (which houses Star India’s Hq) , it could have been located anywhere in Hong Kong or Singapore for that matter.

    But in sharp contrast to the tranquil view of Mumbai from behind big glass windows of the thirty seventh floor, in most of the other 14 floors occupied by Star India in a tony building in South Mumbai’s Lower Parel business area, there is a sense of urgency — and excitement. And, why not? After all one of the biggest media companies in India — some say it’s the largest in terms of revenues — has many things on the plates of every employee, including the top honchos residing in the top floor. Bagging the global media rights for the  much-coveted IPL  is just one of the many issues engaging Star India’s employees. Though, in all fairness, it won’t be wrong to state that IPL probably could be one of the most important issues presently. Simply because, as the dust settles on the euphoria of this massive win , the difficult task of planning for returns on  the investment of $ 2.55 billion starts now.

    Ushered into the room with a view, its occupant and Star India chairman and CEO Uday Shankar shakes my hand warmly, exuding the same camaraderie that he did almost three decades back when we used to meet as journalist colleagues sometimes in the New Delhi house of one of his early mentors, Siddharth Ray (India’s first general manager  for Star TV  – yes, in the 90s it carried that name officially). Over tea (for him) and strong Espresso coffee for Indiantelevision.com’s consulting editor Anjan Mitra, a wide range of media matters were debated for about 90 minutes. Edited excerpts from a free-wheeling interview follow. Read on:

    How do you view the Indian broadcast and entertainment industry as of today?

    There are two or three things that I feel very strongly about. From a consumer point of view it’s a great time for them because large volumes and range of domestic and global content is being made available to them at increasingly competitive prices. But when it comes to the industry itself, it’s a bit of a mixed bag. Though the industry has grown dramatically in terms of the number of players in the last several years, the business case of the industry looks under pressure. When I say business case, I don’t mean just the profit model, which is under pressure for a large segment, but the sustainability itself for the whole industry. 

    I think, the IPL bidding is a very interesting case in point and an indicator of things to happen in future in the media sector.  This is probably the only place and example where for a major content right, the contenders included two very strong media companies (Star and Sony Pictures Networks India), two big telecom companies (Airtel and Reliance Jio) and a couple of global digital/technology companies (including Facebook). And, they all valued the property almost equally as important and almost in the same ballpark.

    So, media is no longer the sole domain of traditional media companies. We have heard this being said for some time now, but it played out for the first time in broad day light here. What is more significant is that such competitive bidding for content has not happened in the UK or the US, which are considered mature and big media markets with good broadband infrastructure, but in a country where the digital distribution of content is of very recent vintage.

    I think in some way we set ourselves up for such high inflation by creating Hotstar, which led everybody to realize that there is a value in that kind of a business model. So, for the industry this is time to wake up and take note.

    Third, while parts of the media and entertainment businesses have leaped forward as has the consumer, the distribution and the regulatory models remain locked up in legacy issues and that’s creating a bit of a mismatch. That’s a challenge that we need to solve together as an industry.

    What are the problems besetting video content distribution in India?

    There are various aspects. If you are talking about it in the digital domain, I think with the launch of Reliance Jio there has been a huge disruption. But access to data still remains limited and expensive. The broadband infrastructure has improved in the last 12 months or so, but is still nowhere where it should be. The number of smart phones has grown dramatically in India, but is still a small percentage of the total mobile penetration.

    On the TV side, the industry has done a great job on many fronts. Still, we have to realize that we are competing with global companies with great resources and scale, and the benchmarks too are global. Whether it is story telling or quality of production or marketing or brand strategy, benchmarks are global. So, we the content industry need to step up our game.

    The competition for Star will not be only from similarly placed media companies in India but will come from technology and other global companies; from the likes of Amazon, Alibaba, Google and Facebook. Are we ready for that as an industry? Individual companies may be ready for such competition, but I am not sure if we are ready as the content industry.

    Part of the problem is because the monetization models haven’t evolved much. We still have regulatory issues, which are challenges, though I don’t want to go into too many details on that aspect.

    Still, the entire TV distribution industry, according to me, has done an amazing job of creating 180+ million connected homes. Now that segment has to make sure each one of those homes is going up the value chain rather than trying to offer them discounts, etc. The stakeholders are competing only on the price front. If you are competing only on the price point, then you are compromising on the consumer experience and soon the consumer will start questioning whether it is worth having a cheap service, minus the experience. So, there is this whole challenge of getting the consumer up the value chain.

    Where do you see Star India placed in the scenario that you have painted where both challenges and the opportunities abound?

    There are things that an individual or a company can do with its own enterprise. Then there are things that all of us can do as an industry. I believe that if the whole industry is not progressing, individual companies can only progress so much. In that context, at Star India, we have done a good job and I am satisfied. Can we do more? Of course we can always do better. But we have managed to create a fairly deep and diverse entertainment platform on television and have leadership in a large number of entertainment markets.

    To give you an example of the enterprise we have shown, take sports for instance. Five years ago we got into sports (management and broadcasting) and have created, perhaps, some of the most exciting franchises anywhere in the world. We have not limited ourselves to the sport that guarantees success (cricket), but have gone and experimented too. We have put our faith behind new initiatives in sports whether they are kabaddi or badminton or hockey or football. Our mission is to try turning India from a one-sport nation to a multi-sport one, while maintaining the pre-eminence of cricket. Some progress in that direction has been made and it’s satisfying.

    Can Star make it a mission to get India the Olympic gold considering its continued investments in sports?

    Star is a media and entertainment company and I would not want to have the arrogance to say we can make India win an Olympic gold medal. All I can say is that we’d be happy to partner with any agency or initiative that is designed to get India closer to the Olympic gold(s). Our job is to make sure that we showcase sports’ growth and breakout stories. I think we have done that job very well. I would like to believe that with Star Sports we are able to showcase the new (sporting) heroes far more prominently today than what we could have done few years back. If national team members of various sports, who were relatively unknown, now are recognized by ordinary citizens, I think we have done our job — in fact we are doing just that.

    That being said, I would like to add that private investment in sports ought to be welcome as it is this investment that helps sporting organizations plough funds into infrastructure, training and facilities, which in turn contribute to sporting success.

    What are the changes on the content distribution front that you have seen and what are the continuing challenges for the industry, considering Star has had limited exposure to the distribution business?

    If you look at how much we have moved in the last 10 years, it’s an impressive story.  The problem is that the process of digitization, which started essentially with DTH, and then picked up steam in 2011-2012 hasn’t delivered the full value.

    Digitization still remains an unfinished agenda though it was meant to have been over quite some time back. It was supposed to have meant that people had access to better content at competitive prices and for good content to get easier distribution avenues. That hasn’t happened. The idea of digitization was also to allow content creators like us to offer integrated services to the consumers. That too hasn’t happened and the story has really not moved. Broadband access may have improved dramatically, but the participation of cable and DTH sector in that is miniscule.

    public://Uday Image--1_1.JPGDigitisation still remains an unfinished agenda. People should have access to better content at competitive prices, and for good content to get easier distribution avenues

    To put it bluntly, a bunch of people, who have got used to the idea of benefitting from an economy of shortages or scarcity, continue to create scarcities or continue to create conditions of scarcities (of content) and benefit. Fundamentally, it hurts the society and the industry. That is the disappointing side of the distribution business.

    Star could have continued contributing by remaining a stakeholder in the distribution business. Comment.

    While we were a minority shareholder (in Hathway) our ability to influence the business was limited. That is why we decided to get out because we were not shaping the (distribution or the company) agenda. We do have a minority investment in Tata Sky, but, again, our ability to set the agenda of that company is limited.

    Will Star review its distribution business exit or its paring down, now that the government has liberalized investment norms for the DTH and cable sectors?

    Government has allowed (increased FDI in DTH and cable companies) only at a headline level. The problem is that we were restricted even before the FDI investment limits went to 100 per cent. I think the Prime Minister has eased the investment norms facilitating more FDI in this sector, but we are hampered by other regulations. Cross media restrictions, which in any case is a discriminatory piece of regulation, has only blocked a company like Star from investing in the distribution sector more aggressively. This restriction is applicable only to DTH/HITS ventures but not to cable or IPTV, which in itself appears to be an arbitrary measure. And, we don’t want to skirt around regulations to create business entities to be in a business. We don’t want to invest and create a value when our say in a company remains locked. In that sense, our ability to invest more in Tata Sky is still restricted.

    Is the business model in India changing for content aggregators and owners like Star? Has it now boiled down to free-to-air (FTA) vs. pay TV?

    I am glad you asked this question. It is amazing how in this country we indulge in polarized arguments where none needs to exist.  Where does the question on pay TV versus FTA arise? Why should it exist at all? In most other countries, there is a place for FTA and pay TV businesses. The problem starts arising when they start competing with each other and that does not need to happen. In this country, a major part of the broadcasting business that developed in the last 20 years was primarily done by pay TV broadcasters. As access to FTA broadcasting, which is mostly terrestrial, was not open to private broadcasters it remained in the hands of the public broadcaster. Until Doordarshan FreeDish came along.

    Now technology has opened up an opportunity creating a space for FTA and pay TV broadcasting.  I personally believe that the two should and could co-exist in this country — pay TV for those who want to pay and have access to a much diverse and richer range of content and FTA platform for those who don’t want to pay as much for all of it but still want to get some basic content.

    Does it happen vice versa too when pay TV content or channel is brought onto a free platform just to botch up the competitor’s business plans?

    I think that should not happen. My public position has been that we should not take pay TV content onto a free platform (like DD FreeDish) because it not only undermines a pay TV consumer, but also a pay TV platform. In my opinion that is a wrong strategy. I personally started a dialogue between platforms and broadcasters to stop such a practice but it has not been too fruitful. We launched Star Bharat on the FreeDish platform, but it has fresh content.

    Q: Will Star Bharat continue to remain a pay channel also as per media reports?

    Don’t trust everything that you read in the media. However, there is nothing that prohibits a channel being available on DD FreeDish and on pay TV platforms. A whole bunch of channels in the past have done this; almost the entire language news category is on pay TV and FreeDish platforms at the same time. A whole bunch of entertainment channels too have followed that practice. So, what you hear about Star Bharat is simply mischievous.

    Q: Please clarify whether for Star Bharat a consumer will have to pay if available on DTH or cable platforms?

    Yes, a consumer of a DTH service or a cable platform will continue to pay for Star Bharat just as he did for Life OK for the time being. We sought permission from the government saying the channel will be rebranded as Star Bharat and would be offered on DD FreeDish as well. So, the pricing issue remains where it is.  Some people have chosen to find a problem with Star Bharat, while being totally comfortable with their own friendly channels. We are the only ones to have fresh original content for a channel on FreeDish like Star Bharat. Quality of production is high on Star Bharat as we are spending the same amount of money per hour or per half hour that we would have spent on Star Plus, which is a premium channel.

    Q: James Murdoch said in an investor call that Star India is on course for $ 500 million EBIDTA for year 2018 and that cricket bids would have to be disciplined. Do you agree?

    (Smiles) If my bosses have said that we are on course, then I would have to follow the directions. However, those statements were made in a responsible manner as we do have a plan and are working towards the goal. If the Indian economy remains on course, we are on course for all that.

    As far as disciplined bids (for cricket rights) are concerned, of course it was a disciplined bid for IPL. Everybody has seen how close it was where the margin of victory was just three per cent. So, what more can I say in defense? Six years ago when we signed up for BCCI rights (media rights to Indian cricket), we paid Rs. 430 million (per match). At that time critics said Star had probably paid too much. It turns out now that we didn’t and that worked out really well for us. Today that (figure) has become the new normal. Now people are saying we are paying too much for IPL (US $ 2.55 billion for a five-year global media rights) only because 10 years ago it went at a much lower price. But then ten years ago the world was different, India was different and IPL was an untested product.

    Q: Would you agree with Indiantelevision.com’s analysis that Star actually got a good bargain for the $ 2.55 billion it bid for IPL rights?

    I don’t understand why people are so excited about it. Hardly ever a sports media rights been awarded at such a close margin. Why are people asking ‘why has Star paid so much’? Clearly there were a whole bunch of people who were willing to pay and it was evident in the bidding numbers.

    public://Uday Image--2_2.JPGEach media company has its strengths. I respect Zee enormously

    As an aside, my personal view is that BCCI (Indian cricket board) lost a lot of value because of the duration of the contract. If it had been for 10 years, the value would have gone up dramatically. And, I am not just saying so because of the length (of the contract). Had it been for a longer period, per year value too would have increased tremendously —shorter the period, lesser is the flexibility. 

    Q: What are your plans to monetize the IPL property?

    These are still early days, so you have to give us time to think through our strategies, which will unfold in due course. But I certainly won’t share with the media what I am trying to do.

    Whether we have bid high or not will be judged by the fans of cricket. All I know is that IPL’s a very powerful tournament and cricket runs really deep in everybody’s bones in this country. To be successful, you just need to work on intensifying and heightening the experience of cricket further.

    I believe that power of sports is such that you don’t need to give it steroids. You just need to be true to the spirit of the game and make sure that the experience for the fans is evolving continuously.  That is where our strength comes in and I would like to believe that as Star is the company that successfully created a few sports franchises that didn’t exist in the public domain earlier. We should be able to do that with IPL too. With cricket it’s not a one shot affair, it’s a process where you need to continuously evolve and we will work on that.

    Q: Will you continue to work on Pro Kabaddi League too and bring it up to the IPL level?

    We have brought PKL already in the limelight. But to be honest, though PKL still has some distance to travel to reach the levels of IPL, its growth has been phenomenal. When we were looking for franchisees for the inaugural edition, it took Anand Mahindra’s personal charm to get people in. This time round, when we added four new teams, there was a problem of plenty — a large number of top corporate houses and individuals were extremely keen to get associated with PKL. So, clearly people believe in what we are trying to do. Look at the Indian Super League (soccer) story, which is in partnership with Reliance Industries. Except a few loyal pockets in the country, football nowhere figured in the country’s psyche or much in public debates. However, we have managed to turn the passion for football into a serious commitment for fans all over the country.

    Q) Is that why you are picking up another indigenous game kho-kho to try its rediscovery?

    Are we? We haven’t taken a decision on that sport yet. 

    Q) Which media company is the closest competitor of Star whom you respect?

    Each media company has its strengths. I respect Zee enormously.  I think it is very strong on discipline and doesn’t get distracted by what others are doing. It works hard to execute a plan it has. Similarly, other companies have their own strengths.

    This is a business where competition is very dynamic and the power lies in the hands of the consumer. One half hour gone wrong can swing things away from you. As we have such a diverse portfolio, it is not about one competitor. Even if we are the leaders in one segment, in some other part of the business we are facing heat. But the entire business, hopefully, will not face heat from any one competitor.

    Q: So Star is in a dominant position.

    I don’t like the `dominant’ word. Especially because I feel this whole idea of dominance in a business — especially a media business — is a spurious claim. Either it comes from a complete lack of understanding of the business or it’s a mischievous allegation. Simply because there is no one product called Star India. For viewers and advertisers, it is a combination of multiple TV channels and each of those channels consist of large number of shows. You may have a show at 8 pm that is chart-busting and then at 8.30 pm you may have a show that nobody is watching, which usually is the case. A show that was doing really well three months ago can go into a total free fall if one artist is not there or there’s twist in the story-line.

    Take sports, for example, again. You go and get rights of a property for a number of years and after that it goes to the public when anybody else can also bid for the rights and participate. On the digital front, the competition is even crazier. So this argument of anybody building dominance, not only Star, is totally mischievous and spurious.

    Q: Let us rephrase the question. Isn’t it a great feeling to continue being a leader?

    In some parts of the business, we continue to stay ahead and that’s because we work harder. We spend more money on our content and are less focused on profits. We reinvest (in the business) more than probably anybody else in this sector in the country. Media and critics have written for the last five years or so that Star was not making profits in sports after investing heavily in sports content and now people are saying otherwise. We have now started investing in Hotstar, a digital platform. I think the one big difference between us and everybody else, and which gives us leadership and a little more of steadiness, is that we are always trying out new things.

    We have tried to explore new horizons and boundaries. Not all such initiatives have been successful, though. I would like to believe that we have pushed the creative envelope in a responsible way far more than what has been done in the past. Are we trying to future-proof ourselves, as you ask? I wish it could have been possible. But, yes, we are investing in the future.

    Q: Critics and some industry players feel that Star India has become so big that it can challenge the sector regulator too. Comment.

    First, we have not taken on any regulator. We have had some fundamental and limited issues, which became sharper in the new tariff order (of TRAI, the broadcast regulator). Our understanding of the TRAI Act says that the regulator has jurisdiction over distribution/transmission of content, but not the content itself, which in our case can be determined only under the ambit of the copyright law of the country. The law of the land gives every aggrieved person the freedom to go to a court for adjudication. And, that’s what we have done. There is nothing like challenging the jurisdiction of the TRAI.

    Q: Is the India market over regulated compared to some other markets in Asia or the west?

    I would not make such a blanket statement. There are parts of the market that are over regulated and there are parts which are not. All I would like to humbly submit is that there are some parts in the existing regulations — especially those dealing in relationships between distributors and content owners — that are debatable. If the proposed regulations were to come into effect today as they are, any new entrant to the Indian broadcast industry would find it a difficult and expensive proposition.

    Q: What more would you like the government and regulator to do to be a bigger facilitator of doing business apart from what they have already done?

    We don’t have to create a shoe to fit every foot as there are different feet sizes. Similarly, there are different needs for different set of people in terms of content. However, let me make it clear that I am not making a case for smut because Star doesn’t do sleazy content.

    TV is a family medium and we should be mindful of that; Star certainly is. There may be families where kids also watch television along with elders, but there are homes where there are no kids. Hence, the need (for content) of the latter family might be different and mature. So, content creators should be allowed to factor in all such diversities and create a spectrum of content rather than just uniform content in a one shoe-fits- all model. TV is an instrument of change and also a huge driver of employment and wealth creation.

    While agreeing there are areas where some restrictions are needed, I would say policy-makers should allow the whole eco-system to come together and be more flexible. Take, for example, the number of people who are dependent, formally or informally, on the TV industry as a category. That number would be around five million if the whole value chain is taken into consideration. I feel the number can increase manifold.

    Q: How do you see the Hotstar growth story now that it has been launched in the US and Canada?

    I find that space very exciting. It’s a market with an affluent South Asian diaspora with huge appetite for Indian content whether sports or drama or movies. They pay high subscription money presently to watch Indian content on American platforms as the structure for getting access to South Asian content is complicated and expensive. We think with Hotstar we can make a difference by offering people living abroad high quality content and world class experience at prices far more competitive than what they are paying now.

    Q: Does Star have a time frame, say 12 months, to rollout Hotstar worldwide?

    I don’t have a hard and fast deadline. For me it is more important to first build a business, stabilize it and then scale it up. We are not playing a valuation or a stock market game. I would like to build things on a solid foundation. So, to answer your question, I think it is clearly not going to happen in one year’s time.

    Q: How closely is IPL’s monetization linked with Hotstar?

    We have got the global rights for IPL and we will explore internally what trade-offs we can do. We would have to examine whether we can get better business value by offering it (IPL) ourselves or we should license it to other companies. The financial case will influence those decisions.

    Q: Is Star still in the lookout for properties to acquire to fill gaps?

    We are not a big M&A company. In my 10 years at Star India, we have acquired MAA TV and before that Asianet (both companies located in South India).  In this company, my bosses, my colleagues and I like to build things ourselves as that way we can shape the business the way we want to. Such initiatives are also more sustainable and self-sufficient and, remember, we have an exceptionally high quality plan execution team.

    However, I would admit there are always gaps, but you need not fill all of them. Also, there are not many quality assets available in the media space presently.

    Q: What about the regional space? No opportunities there?

    There would always be opportunities, but I don’t think we are considering any (M&A) in the regional language side in the foreseeable future and going deeper in the regional markets. We already have much on the plate.

    Q: Would Star like to review an earlier decision and return to news business in India?

    There is no plan to get back into the (television) news business. Moreover, with my limited understanding, news on television globally faces challenges these days as second on second updates are available on one’s hand-held devices. So, what new proposition can one create for people to come back night after night, 365 days on television, to spend some time watching you? Those who had created a brand on news television and are carrying on can continue to benefit from a legacy habit. But creating new news brands on television is lot more difficult today than in the past. People also have access to news on digital platforms as there is so much news available in one form or the other, including professionally produced and user generated. So, at the moment there are no plans to revisit our decision to exit news business in India.

    Q: Hotstar seems to have a special affinity for Republic TV and is it filling Star’s news need?

    (Smiles) In the same way Hotstar offers Sky News, Republic too is offered to consumers. If others are interested, we will give them a platform too. Don’t read too much into the agreement with Republic TV; it’s a simple distribution arrangement.

    Q: Would you agree that because of the audience ratings game, entertainment is becoming news and news is becoming entertainment in India?

    I would, rather, not get into that argument at all. However, since you have asked, I don’t think TRP(s) is a bad word. In the business that we are in, which is called mass media, if you take out the mass there is no business left. If it is mass media, measurement of the masses comes from ratings. The question is: what all would you do to get ratings? The answer lies in each individual and each company’s value systems. At Star, we have decided that we would do certain things and we would never do certain other things to get ratings. Some other people have defined that differently.

    Q: You have said in the past media and entertainment industry is not throwing up young talents because of inadequate human resources R&D. Do you still believe so and what has Star done to counter the inadequacy?

    The industry was not geared for creating so much of output as it is today between films and TV. Look at these small shops that have mushroomed all over.  We have been unable to expand the pipeline of training creative talent whether it is at the MCRC or the FTII, for example. In the meantime, requirement has grown manifold.

    I, generally, believe that our ability to compete with companies that are modern, resourceful and global will depend on the (human) resources and talent we create in the country. In a country where formal institutions are not geared to identify and shape new talent, the industry has to do it. I have been an advocate of that for a long time. Though we need to do this collectively as an industry, a beginning has been made by Star. We have created a big academy where we have got a respected name from Hollywood to be based in India to teach.

    Q: What are your thoughts on Made in India content for the world market?

    We are doing some things on that front by creating products that we can take outside India. We have succeeded in that endeavour with few Hindi films like `Neerja’ and ‘Dhoni’.  Hopefully, we will be able to open up that market more. At some stage, hopefully, some of the sports leagues that we have created, especially kabaddi, will be of interest to people outside India.

    public://60371509.jpg

    Technology has created space for FTA and pay TV. The two could co-exist — pay TV for those who want diverse and richer content, FTA for those who want basic content

    However, I don’t see Indian drama in its current form travelling outside India for a long time. Such shows are culturally too specific and too rooted in our family culture. Moreover, our business model is different that works the best when we offer large number of episodes. When you do that, given the monetization model, limited revenue comes from the investments made in a show with huge number of episodes. Until a totally distribution driven business model for premium content comes along, I think Indian entertainment content would not be competing in the global market.

    Q: What’s your perception on linear TV continuing as a medium in India?

    In this country TV will continue for a long time. I am not one of those who believe that linear TV would disappear in five years time and people would go completely digital. First, in a country where the family values are still strong, TV continues to act as glue for the family to get together. I don’t think, and hope, it would change very soon. Second, TV’s biggest comparative advantage comes from it being very affordable. Despite prices of broadband having dropped, if you take into account the cost of data and content, a digital platform is still way more expensive than TV. For anything between Rs 150-Rs 400, people can get more content than they can ever watch on TV.

    Then there is a long tail of households that is still waiting to get into the television world. The question is: can we create innovative price models for different user groups so it’s a win-win for the creative people and the business too? 

    It is also a mistake to think that television is only competing with television. No. TV also competes with digital platforms and people only have finite time to spend watching shows. Again, are we innovating enough? I think we are not innovating enough for TV to be at the cutting edge of competition with digital.

    Q: In terms of management of Star’s Indian operations some structural changes happened two years ago. Are some more in the offing?

    We created a new structure, as you have said, where we pushed decision making further down. I think Star India is, probably, the most decentralized media company in this country. We have different CEOs for sports, entertainment, digital and South Indian markets, and a head for international business. Not only it is fairly deep, but also diverse and aimed towards creating more entrepreneurship.

    Q: Having begun your career as a print media journalist, you have gone on to head Star India, an entertainment company. What would be the achievements over the last 10 years for the company, people and you?

    We have created a healthy and robust company with a bench of high quality talents across all segments of our business. Not only at Star we have encouraged innovation and entrepreneurship, but have created serious consensus on a whole bunch of issues in the industry ranging from content creation to brands. Personally, I take a lot of satisfaction in driving initiatives like self-regulation in content, etc. Above all, it is a matter of huge satisfaction that we have taken initiatives that have gone beyond the remit of a traditional media company like Star — like create and build sports leagues.

    I keep talking about it (various sports leagues) only because it’s only a matter of time before other companies will also get into it and then the transformation would really impact the country. I would like to see the same transformation in India that has been seen in places like parts of Latin America, Africa and Europe where the power of sports has acted as a social glue to create opportunities for people who would otherwise be totally on the margins of society. Being able to be part of such a transformation has been hugely motivating for me all these years.

    Q: Where do you see yourself five years from now?

    I am typically the kind of person who doesn’t forget his background and my base has been in news where I was extremely focused on tonight’s headlines as tomorrow is another day. So, I am very focused on clarity for today without worrying about tomorrow. I believe that one thing leads to another. Honestly, I have never planned my life, but it has been a great ride till now.

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  • Zee, Sony and Disney tech providers NexGuard, Colorfront collaborate to ensure distributors stay ahead of pirates

    Zee, Sony and Disney tech providers NexGuard, Colorfront collaborate to ensure distributors stay ahead of pirates

    MUMBAI: NexGuard and Colorfront have released key updates to their joint solution, adding support for multi-layer watermarking workflows and enhanced scalability and automation of forensic watermarking.

    NexGuard’s Emmy award-winning solutions are used by content producers, broadcasters, Pay TV operators and OTT providers around the world, including all major Hollywood studios; AMC Networks in the US; iQiyi, the largest Internet and mobile video service provider in China; ZEE TV in India and sports leagues.

    NexGuard MD Harrie Tholen will also be speaking at the IBC panel discussion “Protecting media assets and countering cyber threats in the OTT world” on 18 September at Content Everywhere Hub.

    NexGuard, a Kudelski company and provider of forensic watermarking technology and solutions, and Colorfront, the Academy and Emmy Award-winning developer of high-performance, on-set dailies and transcoding systems for motion pictures, high-end episodic TV and commercials, released the updates to their joint solution launched in 2016.

    NexGuard also works with the majority of the members of the newly founded Alliance for Creativity and Entertainment, a new global coalition dedicated to protecting the dynamic legal market for creative content and reducing online piracy.

    The joint Colorfront-NexGuard solution protects digital content assets, particularly 4K/UHDTV and High Dynamic Range (HDR), in digital cinema, broadcast, Over-The-Top (OTT) internet entertainment and Video on Demand (VoD) applications.

    The solution enables the protection for a vast range of dailies, mezzanine and master deliverables at all stages of the production and post production workflow, whilst also allowing users to track the source of illicit B2B and B2C distribution, particularly of 4K/UHDTV and HDR content.

    The joint solution leverages NexGuard’s world-leading forensic watermarking alongside Colorfront Transkoder deployments by major Hollywood studios including Sony Pictures, Disney, Fox, Paramount, Warner Bros. and Universal, and Colorfront On-Set Dailies systems used in the workflows motion picture and high-end episodic TV productions including Blade Runner 2049 (Warner), Atomic Blonde (Universal), Game Of Thrones – Season 7 (HBO), Avengers: Infinity War (Marvel/Disney), Robin Hood: Origins (Lionsgate), Moonlight (A24) and The Revenant (20th Century Fox).

    “Security of media assets is a matter Colorfront takes take very seriously. We work closely with our media and entertainment customers to help them find new and better ways to safeguard their content,” says Aron Jaszberenyi, managing director of Colorfront. “Colorfront joined forces with NexGuard in 2016 to integrate their forensic watermarking technology into our On-Set Dailies and Transkoder product. Now, the full integration of the new generation of NexGuard watermarking technology means we are delivering even more advanced content protection tools, to support our clients as they continue the challenge of staying one step ahead of the pirates.”

    New for IBC 2017, the solution has been extended to include:
    Full integration of the NexGuard Manager with the Colorfront Transkoder: Users of the joint solution can easily scale up their use of forensic watermarking on pre-theatrical and pre-aired content, and store all their NexGuard watermarking job metadata in a centralized database for a 360-degree view of all watermarking activities.

    Support for multi-layer watermarking: Up to three levels of NexGuard “G2” watermark layers can be embedded in any given pre-release or pre-aired piece of content by using different watermarking keys, which do not affect the robustness and imperceptibility of the watermarks. This feature enables watermarks to be embedded at the ingest and outgest of post-production workflows.

    “Last year, we joined forces with Colorfront to launch a tool that protects content when it is at its most vulnerable – during the production and post-production phase’’ said Tholen. “As the industry becomes more aware of the dangers of piracy for the creative industries, solutions that provide a robust yet simple integration into existing workflows are increasingly essential. The latest additions to our solution provide customers of the combined Colorfront-NexGuard solution, ranging from studios through to post-production companies and distributors, with an even higher level of content protection and full visibility on all watermarking activities to secure prime assets.”

    Based on the world’s leading forensic watermark, NexGuard forensic watermarking adds a unique, invisible identifier to video content. The watermark remains with the content, even in the case of transcoding, resizing, downscaling, recording by camcorder or any other alteration before illegal re-distribution.

  • ZEEL’s  &Privé  HD channel to target upscale non-conformists in six metros

    ZEEL’s &Privé HD channel to target upscale non-conformists in six metros

    MUMBAI: There’s a thin sliver amongst  the hundreds of millions of cinema lovers in India that gorge on international independent and award winning films. Leading indian TV network Zee Entertainment Enterprise Ltd (ZEEL) is about to offer them something that is going to keep them glued to their TV sets  when  &Privé HD launches come 24 September 2017. 

    “The breeze of change is seen as everyone is focusing on connoisseur, hedonist and explorers, but we are targeting the non-conformist,” says ZEEL English cluster head Aparna Bhosle.

    &Privé HD’s tagline is ‘Feel the Other Side’ which distinguishes it from others in the English movie channel  genre.

    With films  from 28 independent Hollywood players and studios such as Paramount and PVR, &Privé HD library boasts of 350 exclusive titles.

    &Privé HD, designed and packaged by Zink, a Canadian digital agency, will telecast over 40 premieres in six months after the launch. Moonlight will be the first premier on the launch day, airing on two time-slots — 1 and 9pm. Other premieres and movies on &Privé HD include:  Lion, Pele, Jackie, Arrival and Free State of Jones.

    “The English movies TV channel  market (in India) is worth Rs 4.5–Rs 6 billion; English content viewership (on HD channels) is on the rise,” points out Bhosle.

    &Privé HD is targeting the six metros and will be available on Dish TV, Tata Sky, Airtel Digital TV, and Sun TV. Zeel was in talks with Videocon d2h for distribution at the time of writing.

    “In 2015, India had five million HD STBs, which saw a 160 per cent increase over the past three years. Today, we have around 10.8 million HD STBs,” Bhosle revealed.

    The marketing and promotional campaign of &Privé HD has been drawn up by FCB Ulka. Zeel’s team has conjured an innovative out-of-the-box promotional plans for the niche channel, apart from pushing the launch TVC on all  sister-HD channels. Digital, print and OOH media are slated to start rolling out the messaging for &Privé HD.

    “Our digital platform has a reach of 14 million which will help us to increase our viewership. Our outdoor campaign will hit Delhi, Mumbai, Hyderabad and Bengaluru on 18 September and multiplex promotions will start two days before the launch,” Bhosle adds.

    Attempts have been made to crack the niche genres in the past with efforts by the likes of NDTV with NDTV Lumiere, which lasted a couple of years, but was pulled off, despite critical appreciation, on account of a lack of a profitable business model. And since then others have entered like HBO Hits, Sony Le Plex and Star Movies Select HD.

    A media professional states that times are different now and discerning viewers – around two million of them in India – are willing to pay to watch exclusive differentiated content in HD as evident from the traction Amazon Prime and Netflix have got in recent times.  “Hence, it’s quite likely that if Zee sticks by &Privé HD and gives it time, it could end up finding a profitable niche for itself in, let’s say, the next three years,” she says.

    That’s how Indian movie lovers are hoping &Privé’s script will play out.

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