Thursday, January 29, 2015

Prime Focus inks technology licensing deal with Gener8 : indiantelevision.com

MUMBAI: Prime Focus Group has entered into a licensing and 3D conversion partnership with Gener8 Media Corp.
 
As per the terms of the definitive agreement, Prime Focus will enter into an exclusive worldwide license to use the company's proprietary 3D conversion technology throughout the entertainment industry.
The Gener8 brand and team, which has become synonymous with top-quality 3D conversion in Hollywood, will continue to provide even more capacity for the 3D conversion business with help from the Prime Focus worldwide workforce. This will give Hollywood more confidence in Gener8's ability to perform 3D conversion on a larger volume of movies. Further, by licensing the company's technology, Prime Focus will push the quality and technical standards of the 3D even higher.
"We could not hope for a better partner in this transaction, and we strongly believe the partnership will be good for Hollywood and the 3D conversion industry. This is the absolute perfect agreement for both parties--it facilitates the spread of technology to help improve the quality for all in the industry, while also allowing Gener8 to prove it can handle greater volume, which has been what has held back Gener8's ability to grow. It is exciting to tap into Prime Focus's production systems, experience and workforce," said Gener8 CEO Rory Armes.
"We are focused on building a comprehensive creative services business, with an emphasis on visual effects and 3D conversion services. Our strength to date has been our significant offshore capabilities, which have now been enhanced by our technology partnership with Gener8. As well, with our recent merger with Reliance MediaWorks, we can leverage the Reliance infrastructure as a back end to help Gener8 increase capacity. This partnership will harness the strengths of both companies to create the best options for Hollywood in terms of 3D conversion and visual effects and leverage the existing workforce and scale of Prime Focus's production capacity in India," added Prime Focus CEO Namit Malhotra.
Upon transaction closing, Prime Focus will enter into a five-year worldwide exclusive license agreement to use its 3D technology. Total consideration payable by Prime Focus to Gener8 over the five-year period will range between $11.5 million to $16.5 million. The two companies will also enter into a Technology Services Agreement, where Gener8 will provide technical service and support on a cost recovery basis. Proceeds from the transaction will be used to grow Gener8's 3D technology as well as its other new and disruptive technologies, Cumul8 and Reelhouse.

Eros International Announces Partnership with RailTel : heraldonline.com



LONDON — Eros International Plc (NYSE: EROS) (“Eros”), a leading global company in the Indian film entertainment industry, announced today that it has partnered with RailTel Corporation of India Ltd (“RailTel”), one of the largest telecom infrastructure service providers in the country and a government of India public sector company under the Ministry of Railways, to provide ErosNow broadband streaming services to railway passengers. The Wi-Fi service was successfully implemented at the New Delhi and Bangalore stations recently providing high speed Internet to passengers, with plans to provide the service to 75 major railway stations in India as well as inside passenger trains in the future.

The broadband streaming service will enable passengers at railway stations across India to download and view ErosNow content on their phones. RailTel has launched a high speed Wi-Fi network at key railway stations and passengers will be informed about this exclusive service on arrival at stations.

Commenting on the partnership with RailTel, Rishika Lulla Singh, CEO, and ErosNow said, “We are pleased to partner with RailTel in the Indian government’s endeavour to provide Wi-Fi facilities to the broad population which has increasingly become a necessity. The partnership will further amplify the reach of ErosNow in providing the best in entertainment to a wider range of consumers.”

About Eros Now

ErosNow is the company’s on-demand entertainment portal accessible anytime, anywhere on nearly any Internet-connected screen. The ErosNow platform currently offers users thousands of new and catalogue movies from Eros as well as other major Bollywood studios, a large selection of premium television content syndicated from major TV studios as well as thousands of music videos and audio tracks. Members have several options to consume content including through monthly subscriptions, download to rent and download to own – all without advertisements. For further information please visit: www.erosnow.com

About Eros International Plc

Eros International Plc (NYSE: EROS) is a leading global company in the Indian film entertainment industry that acquires, co-produces and distributes Indian films across all available formats such as cinema, television and digital new media. Eros International Plc became the first Indian media company to list on the New York Stock Exchange. Eros International has experience of over three decades in establishing a global platform for Indian cinema. The Company has an extensive and growing movie library comprising of over 2,300 films, which include Hindi, Tamil, and other regional language films for home entertainment distribution. For further information please visit:www.erosplc.com

Read more here: http://www.heraldonline.com/2015/01/28/6743489/eros-international-announces-partnership.html#storylink=cpy

Arun Jaitley opposes cap on ads in TV, print media : Economic Times

NEW DELHI: Indicating that the government was not inclined to interfere either in the content or the business of media entities, information and broadcasting minister Arun Jaitleyon Sunday said his government was not in favour of a cap on advertising for TV or print media. 

Delivering the first JS Verma Memorial Lecture, Jaitley spoke out against the 12-minute-an-hour cap on advertising stipulated for TV news channels by Telecom Regulatory Authority of India ( Trai). He wondered how such a cap fit with Article 19(1)A of the Constitution that guarantees freedom of the press. 

"It will be music to the years of media persons. My ministry a couple of years ago came out with a statutory law that no channel will telecast advertisements beyond so many minutes. I have been struggling, in my own mind, since then as to how this meets the challenge of Article 19(1)A," Jaitley said. 

"Is the government supposed to tell newspapers and channels as to how much advertisement and how much news. If viewers or readers find it monotonous, they have the power to switch on something else. Government getting into the business of how much news and how much ads is a bad precedent to lay down," he added. 

Media houses have been strongly opposed to this regulation as usurious carriage fees and falling advertisement rates have stifled TV news channels and broadcasters have been struggling to break even. The law has been legally challenged and the matter is pending in court. 

Jaitley also batted for increasing FDI in media from the current cap of 26%, saying when foreign newspapers were anyway available online in India, there was no point opposing the move.

He said, "The debate over whether foreign media should be allowed to establish in the country and the extent of foreign equity has been made irrelevant by technology. Today, sitting here, I can access any newspaper in the world over internet." 

Jaitley made these observations while talking about the financial pressure on modern media and the challenges it threw. "The financial model of most media organizations is becoming challenging.

The cost of news distribution has become huge. Cost of circulation is high. Most are unable to sustain. This is leading to consolidations and mergers. Those with deep pockets are acquiring media," Jaitley said, warning that the situation had led to conflict of interest. 

The minister said the media, in the spirit of fairness, must carry a disclaimer with respect to news where there was a conflict of interest. 

The minister also flagged the issue of financial pressure on media affecting the quality of news and, in turn, its credibility. "Because of this, media houses spend less and less on news collection, hire less reporters who are not paid well. All of this affects quality," said Jaitley. 

He stressed on the challenge posed by digital media to the traditional forms of news dissemination and pointed out how newspapers and magazines abroad were shutting down in favour of digital platforms.

He, however, said the revenue model for digital media was not clear and it was still evolving. 

He also raised the issue of cross-media ownership and said in his concluding remarks that it was an issue that needed to be debated. "Most jurisdictions world over ban cross-holdings in the media. Can all mediums be vested with one person? How is larger public interest going to be impacted by this? It should be debated," Jaitley said.

link to the webpage

Wednesday, January 28, 2015

Disappointing year for Telugu film industry : The Hindu



The year 2014 has not been a particularly good year for the Telugu film industry, one that averages between 150 and 200 straight films plus about a 100 dubbed from other languages, primarily, English, Hindi, Tamil and few more Indian languages.
After Bollywood, it is Telugu tinseltown that produces the second largest number of films but it has always been plagued with a success ratebetween 12 and 15 per cent a year. But in 2014, it is estimated that 195 straight films and 82 more dubbed ones hit the screens, but considering the production values and the strength of the script, analysts pegged the success rate at a bare 8.5 per cent. The more than Rs. 1,200 crore industry witnessed only a few hits.
Among big ones, productions that came with more pre-production than post-production hype for more reasons than one, but failed to deliver were ‘One’ and ‘Aagadu’ starring Mahesh Babu and the NTR-starrer ‘Rabhasa’. Even ‘Lingaa’ with which Rajnikant wanted to impress fans out here did not click. While those involved would not comment on record, it is a known fact that dozens of people who betted big did not manage to make the box office ring.
Big films that became a hit in the true sense of the term included ‘Legend’ in which Nandamuri Balakrishna plays the lead and ‘Race Gurram’ with Allu Arjun as hero. They are ‘jubilee’ films - they cross a 100 days first, then go on to touch silver jubilee (25 weeks or 175 days).
‘Legend’ is racing towards becoming the only golden jubilee this year (50 weeks) - it is still in theatres at Proddatur and Yemmiganur, while ‘Race Gurram’ has already trotted past the 100-day mark.
Nagarjuna’s ‘Manam’ was a sentimental surprise with three generations of Akkineni family members – Nageswara Rao, Nagarjuna and his son Naga Chaitanya doing key roles apart from Akhil in a cameo, considering it came after the demise of the thespian. Other big films that managed ‘average’ or slightly above average were ‘Dhrushyam’ (Venkatesh) and ‘Yevvadu’ and Govindhudu Andarivaade le’ (Ramcharan).
Relatively-smaller movies that gave the makers their money back include ‘Oohalu Gusa Gusalaade’, ‘Karthikeya’, ‘Lovers’, ‘Geetanjali’, ‘Lakshmi Raave Maa Intiki’, ‘Mukunda’ and ‘Chinadana Neekosam’ that released on December 25 and was the last straight film to hit the screens in 2014.

link to the webpage

Two Telugu film bodies vie for representation rights : Times of India



HYDERABAD: A chaotic situation is prevailing in the Telugu film industry post bifurcation. And the ball is now in chief minister K Chandrasekhar Rao's court to bring the curtains down on a dispute that has been raging for the last few months.The Andhra Pradesh Film Chamber of Commerce (APFCC) and the Telangana State Film Chamber of Commerce (TSFCC), both film umbrella bodies, have been vying to be recognized as the legitimate body to represent the Telugu film industry. "It is only fair that the TSFCC represent the interests of the film community in Telangana," president of the body, M Vijayendar Reddy, told TOI after an executive committee meeting on Tuesday. In fact, representations have been made to the chief minister and cinematography minister Talasani Srinivasa Yadav. "The minister has assured that he will speak to all those concerned with the issues related to the film industry," he added.
The APFCC, however, is unwilling to be sidelined in Telangana. It has even said it would change its name to the Telugu Film Chamber of Commerce so that it can represent the film industry in both the states.But the TSFCC has made it clear that APFCC can retain its name and represent only the AP film industry. To assert its identity as a separate body, the Telangana Film Chamber of Commerce had changed its name to Telangana State Film Chamber of Commerce after the new state was formed. With the film industry sharply divided on this issue, the elections to the APFCC that were scheduled for June 2014 were postponed.
Until the bifurcation, the APFCC was the umbrella body which was also accepted by the TFCC as its members were also part of the former. However, with the bifurcation, TFCC became TSFCC, and is determined to part ways with the APFCC and become the sole body to represent the film industry in Telangana.
TSFCC's idea to increase state revenue
The TSFCC has come up with suggestions on how to increase the commercial taxes revenue for the Telangana government. It is seeking an online ticket booking system for all theatres in Telangana and has proposed that the commercial taxes department keep track of the number of tickets sold. The entertainment tax is paid on the basis of occupancy rate in theatres, and the exhibitors will not be able to resort to any malpractices if an online ticket booking system is introduced. It is an open secret that some theatre managements themselves indulge in black-marketing of tickets. The online booking would prevent such malpractices.
The online ticket booking facility that is now available in the city is an arrangement only between the filmgoer and the theatre. TSFCC wants to connect the system to the commercial taxes department as well.
link to webpage

Chennai Company to Release Films Across Digital Platforms : indiawest.com

The venture would start with releasing Tamil film “Velu Prabhakaranin Kadhal Kadhai” on JSK Film Corporation’s official YouTube channel, they said.

"JSK Film Corporation has decided to take advantage of the growing digital and mobile-user base by releasing films on multiple platforms. The majority of films, post their theatrical release, either have limited access for audiences to use pirated versions or wait till a television channel broadcasts it," the company said in a statement here.

"JSK Film Corporation has retained rights for some of its movies and will be releasing them on online platforms such as YouTube, Google Play, iTunes, DTH operators in India, Malaysia, North America," it added.
link to the webpage

Tollywood in Desperate Need of Revival: Report : indiawest.com

Kolkata — The Rs. 150-crore Bengali film industry which produces around a hundred movies annually, delivers only five or six hits a year, according to an industry report.
"Although Bengali cinema today releases around a 100 odd films every year, which is almost three times higher than comparable figures in 2005, the recent trends in box-office collections have not been that encouraging," said a report on the Bengali film industry by CII and IMRB.



Citing industry estimates, it said not more than 10 percent of films released in a year break even and around a handful of films, typically five or six, generate enough surpluses to be termed as hits.
The total investment in the Bengali film industry, fondly called Tollywood, is estimated to be around Rs. 150-180 crore, of which a very large portion is from Shree Venkatesh Films.
"The buoyancy in the investment, however, is not matched by the absolute and the growth in earnings in recent years. The industry is valued at Rs. 120-150 crore in terms of expected revenue in 2014 and has shown negligible growth over the last year," the report said.
A primary survey of 35 single screen theaters across Kolkata and West Bengal revealed a dismal 30 percent occupancy on weekends and around 20 percent on weekdays.
Almost 70 percent of the box-office collections of Bengali films today are claimed by 22-25 films emanating from three or four large production houses.

"This has left a large number of individual producers and small-time players operating in the space on a short-term basis, unable to recover their promotional expenses let alone production costs," the report said.
Industry experts believe that the current trend in Bengali film production is not a sustainable one. Home to acclaimed directors and actors, there is a need to revive an industry that contributes to eight percent of the total films made in the country but fails to account for its fair share of revenue.
A survey of Bengali film viewers in Kolkata revealed that a majority (54 percent) have not been to movie theaters over the past year to watch a Bengali film despite the proliferation of multiplexes.
In the districts, around two-thirds have visited cinema halls to catch a Bengali film, but the frequency of visits is quite low — amounting to not even three films in a year.
Mobile phones, on the other hand, are fast becoming the preferred medium of entertainment, especially in smaller towns where six out of 10 people watch films on their phones.
The highest grossing Bengali film of 2013 was Dev-starrer adventure film “Chander Pahar” whose box-office collection was over Rs. 15 crore, a figure unheard of by Tollywood standards.
Some of the other releases in recent years which did excellent business at the box office are “Awara” (2012), “Paglu” (2011) and “Mishawr Rawhoshyo” (2013).
To transform the regional industry, CII suggests that the primary focus should be on content and converting single-screen theaters into miniplexes.

link to the website

Zee TV Launches New Channel with Shah Rukh Khan : indiawest.com



MUMBAI — Zee Entertainment Enterprises Limited (ZEEL) announced the launch of “&TV,” their new Hindi GEC (General Entertainment Channel) under the “&” bouquet Jan. 21 at Film City.

The newest entrant in the Indian GEC marquee, &TV unveiled its flagship property, “India Poochega – Sabse Shaana Kaun?” adapted from the international format, “Who’s Asking?” by Israel-based Armoza. The anchor of this show is Shah Rukh Khan.


Like the host, the very format of the game show challenges conventions. This is a show wherein the common man will don the role of the “Asker,” as well as that of the “Contestant.” While the Askers shall pose the questions, the contestants will try to win the prize money. Produced by Siddhartha Basu of Big Synergy, this new-age game show is touted to change the dynamics of non-fiction formats on Indian television.

Other shows launched at the &TV event included “Begusarai,” a quintessential quirky land set in the hinterland of Bihar; “Razia Sultan,” produced by Swastik Productions, written by Mihir Bhuta and with production design by Omung Kumar; “Bhabi Ji Ghar Par Hai!” which brings to life the lanes of Kanpur and introduces two neighboring couples; and the family drama “Badii Devrani.”

Derived from the conjunction ‘&’, the channel stands for binding people, ideologies and philosophies. &TV will mirror the thinking and values of an evolved India with contemporary and contextual content.

Punit Goenka, managing director and chief executive officer, Zee, said, “&TV will offer a more substantial viewing experience to an audience that is always seeking fresh and relevant content. The channel extends our Hindi entertainment portfolio under the ‘&’ bouquet and will add to the consolidation of our leading position in the entertainment industry.”

Rajesh Iyer, business head, &TV said, “& is a symbol of revaluation and the channel has been conceptualized to depict change and stay contextual and contemporary. While the spirit of &TV is young, it is deep rooted in values. We intend to be a powerhouse of entertainment, by tapping into and harnessing the powerful changes in the thinking, mindset and belief sweeping through this country of billions.”

The channel, to be launched in March, will be available across all cable and DTH platforms.

NFDC Not Shutting Down : businessofcinema.com




National Films Development Corporation (NFDC), which has been funding and co producing over 300 films is recently in news for wrong reasons.

There have been reports in the news that NFDC one of the 50 central public sector enterprise, which the government is considering to shut down. The reason that was stated that it is running into losses and it has lost relevance. Therefore this enterprise is under the red mark according to recent news.

However Arun Jaitley, the minister of Information and Broadcasting of India officially confirmed that the news is ‘untrue’. NFDC will not shut down and such rumors, which are in news, are completely false and baseless is what he had to say on the issue.

He even made it clear that instead of shutting they are planning to pump it up and revive its lost glory. Therefore now it is confirmed that NFDC is not shutting down.

Well all we hope NFDC makes up their ‘lost relevance’ and gains more hold on their economy.

Link to the webpage

Cinépolis acquires Fun Cinemas for an undisclosed sum : Economic Times




NEW DELHI: Mexican multiplex chain operator Cinepolis today fully acquired Essel Group'sFun Cinemas for an undisclosed sum which is its first acquisition in the country. 
The company, which started operations in India in 2009, said this acquisition is in line "with its vision to operate 400 screens by 2017." Commenting on the acquisition, Cinepolis India Managing Director Javier Sotomayor said: "We have a clear vision of being the leader in cinema exhibition in India and operate 400 screens by 2017. This acquisition is a step in that direction." 
He added: "There are two key drivers for the decision to acquire Fun Cinemas. First of all, this will strengthen the reach of the company in the two main cities of India - Delhi and Mumbai. 
"Secondly, there are 5 markets where Fun Cinemas and Cinepolis are present together and the synergies brought in would maximise the profitability of joint operations." 
Sotomayor added that the company will continue to operate under two different brand names till the time it integrates its processes. With this acquisition, Cinepolis' screen count in India has risen to 193, across 41 multiplexes and 31 cities. Fun Cinemas has a total of 83 screens across 24 properties. 
Earlier this month, media and entertainment firm Network18 exited from multiplex business by divesting its stake in Stargaze Entertainment to Carnival Films for an undisclosed sum. 
Last month, Carnival acquired Big Cinemas from Anil Ambani-led Reliance Group for an estimated Rs 700 crore, the biggest ever in this sector. 


Sunday, January 25, 2015

Amazon doubles down on entertainment with 'indie' movie bet: Reuters


Jan 19 (Reuters) - Amazon.com Inc is making a high-stakes foray into the challenging realm of independent movies, the latest step in its attempt to move beyond simply distributing digital entertainment content to creating it.

Amazon said on Monday it was aiming to produce close to 12 movies a year for theatrical release which would then be available on its Prime video service within two months, significantly faster than the roughly one-year wait it normally faces to stream Hollywood releases.

Amazon expects to focus on "indie" movies with budgets of between $5 million and $25 million, spokeswoman Sally Fouts said. While modest compared with Hollywood blockbusters, the move will add to already hefty spending at Amazon, potentially unnerving investors concerned about the company's lack of profitability.

Such have proved challenging even for major Hollywood studios bowed out of the business in recent years, said Jeff Bock, Box office analyst at Exhibitor Relations.
"It's a tough, tough racket to play consistently," the difficulty of getting good content and the competition for quality at festivals like Sundance.

The move shows Amazon's growing ambitions in digital media, coming just days after the online retailer signed director Woody Allen to create a TV series and one of its existing series won a Golden Globe Award, a first for Internet TV services.

Unlike rival Netflix Inc, a standalone Internet TV service, Amazon's Prime video service comes bundled with the Internet retailer's two-day delivery for items purchased on the site, which costs $99 a year, a key driver of revenue for the company.

'SPECIALIZED FILM VIBE'

It remains unclear whether Amazon believes the movie business can make money on its own, but most of its other ventures are ultimately aimed at bolstering its underlying retail business.Amazon founder Jeff Bezos is known for his hunger to tackle new markets but the company has had a mixed track record, as with the recent Amazon Fire phone, whose price tag it has slashed after weak sales.

movie-production ups the ante Netflix, which said in September it would jointly produce a sequel to "Crouching Tiger, Hidden Dragon" and in October signed a deal for comedian Adam Sandler to star in and produce four films to be shown exclusively on the service.
Amazon said it has hired Ted Hope, a producer of independent movies including "Crouching Tiger, Hidden Dragon" and Academy Award-nominated "Eat Drink Man Woman", to spearhead the effort.

"He's very much tuned into the indie world and the specialized film vibe," said Paul Dergarabedian, an analyst at Rentrak. "It's just a way to get out the kind of edgy, interesting and sometimes enlightening content that these films sometimes provide."
If successful, Amazon Original Movies could further threaten traditional big-screen movie theaters, which have been coping with dwindling audiences. Sony Pictures' recent success in releasing its comedy "The Interview" through video-on-demand services after threats from hackers was also seen as a blow to businesses.

"That verbiage probably scares theater owners," Bock said, referring to Amazons' plan to narrow the window between theatrical releases and streaming availability, adding that the theater chains could take some solace in Amazon's decision not to go for simultaneous release or just putting films straight out on video.

National Association of Theater Owners Vice President Patrick Corcoran declined to comment on Amazon's move but said the between theatrical and home video release would play into theaters' decision on whether to take a particular film. Some theater chains objected vociferously when Netflix said it hoped to release the "Crouching Tiger, Hidden Dragon" sequel in select IMAX theaters and its streaming service at the same time.

Amazon may have decided to target theatrical releases rather than pushing movies straight to Prime because big name talent still associates paying ticketholders with prestige, said Phil Contrino, chief analyst at Boxoffice.com.

"At the end of the day a theatrical release still generates a lot of publicity, it gets a movie reviewed - every person that goes to watch that movie is paying for it," he said.
While Hope is known for making independent movies rather than big-budget Hollywood blockbusters, Amazon Studios has succeeded in the world of television in part by aligning itself with high-profile directors like Allen and Steven Soderbergh of "Ocean's Eleven" fame.

The company spent an estimated $2 billion on content in 2014 with about $200 million of that used to develop original shows, according to Wedbush Securities analysts. Such projects include "Mozart in the Jungle" and the multi-Golden Globe Award-winning "Transparent".

"The Golden Globes, they got that, now the next step is Oscar nominations," Bock said, adding that only theatrically released movies are eligible for Hollywood's biggest award. (Reporting By Shubhankar Chakravorty and Sneha Banerjee in Bengaluru, and Christian Plumb and Hilary Russ in New York; Editing by Nick Zieminski and Alden Bentley)



Blumhouse, Ivanhoe And Phantom Form Partnership In India : businessofcinema.com

Blumhouse ProductionsIvanhoe Pictures and Phantom Films announced today that they have formed a multi-year partnership to produce local language genre movies in India. The deal calls for the production of a minimum of ten films over five years.
Ivanhoe, the recently launched Asian focused film and television production company, will finance the films, Phantom, which is India’s first director led production house, will produce while one of its founders Anurag Kashyap, the acclaimed Indian filmmaker, will direct one of the movies and Blumhouse will help oversee the creative, bringing its expertise creating horror franchises like Paranormal Activity,The PurgeInsidious and Sinister. The films will be released in India under the Blumhouse brand, which has generated success in the area. Distribution will be announced at a later time.
Ivanhoe co-founder and CEO John Penotti commented: “We are so pleased to be part of this extraordinary partnership. Blumhouse and Phantom are two of the film world’s most innovative and forward thinking producers of highly commercial, quality driven films in the market. We look forward to many years of productive and thrill-filled collaboration.”
Madhu Mantena, one of the founders of Phantom Films said: “We are very proud of being part of this first of its kind association in the Indian Sub Continent and couldn’t be more excited about our collaboration with the progressive creative forces of Blumhouse and Ivanhoe. Look forward to some terrifying films from India.”
Jason Blum, founder and CEO of Blumhouse said: “Ivanhoe and Phantom are the perfect partners to help create engaging, terrifying films for the rapidly growing Indian market. We are excited to bring our approach of empowering filmmakers to tell their favorite genre stories to local-language productions.”
The deal was negotiated on behalf of Ivanhoe Pictures by CFO Suraj Gohill, CAA for Blumhouse and CAA KWAN for Phantom.

Wednesday, January 21, 2015

NAB Show Collaborative Global Series Planned for 2015 : IT News Online

The National Association of Broadcasters (NAB) announced it will again present NAB Show Collaborative, a global initiative designed to support and strengthen innovation, growth and opportunity in the digital media and entertainment industry. As part of the initiative, NAB has partnered with leading events around the world to host conferences and sessions for Mobile World Congress (MWC) in Barcelona, CABSAT in Dubai and SET Expo in São Paulo. In all, NAB will present more than 40 sessions featuring industry leaders and best-in-class educational programming.

The 2015 series will kick off with Mobile World Congress 2015, where NAB Show Collaborative will host a one-day symposium on Monday, March 2 in Barcelona. The event will bring together industry leaders to share their insights on the “Future of Media and Entertainment in a Multi-platform World.” NAB President and CEO Gordon Smith will provide opening remarks, and BBC Research and Development Director of Operations Jon Page will give the keynote address. The program will also include presentations and interviews with leading technology and entertainment companies including Ovum, Qualcomm, Google, Technicolor, ESPN, the National Basketball Association (NBA), Piksel and Ericsson. The interviews will be conducted by international producer and presenter Saleha Williams of Clarity Creative.

NAB Show Collaborative will continue with CABSAT in Dubai, March 10-11, with programming focused on “Connecting Live Content Opportunities”. The conference will cover the latest disruptive and convergence trends in filmed entertainment and digital media, as well as developments in live video content production in the MEASA markets. Highlights will include presentations from ITV (UK), Huffington Post (UK), ESPN, the NBA, The Creative Grid, Frost & Sullivan, PayWizard, Ericsson Media Room and Coca-Cola. Corey Bridges, CEO LifeMap Solutions and former CMO to James Cameron will provide the keynote address CABSAT will also feature the Middle East Post-Production Conference (MEPPW), showcasing state-of-the-art tools and training for global distribution of professionally created content.

"We are pleased to expand our relationships with these world class events and to extend globally NAB Show’s brand and educational programs to convention goers around the world,” said NAB Executive Vice President, Conventions and Business Operations, Chris Brown. “Together with our partners, we will uncover the best ideas, leaders and technologies and provide a forum that serves media and entertainment communities world-wide.”

To view archived session videos, live social media updates, on-site interviews and event highlights, visit the NAB Show Collaborative official website: http://collaborative.nabshow.com/


About NAB Show Collaborative

NAB Show Collaborative supports the advancement of a global industry by collaborating with leading regional events to build a global network of learning and innovation and to provide a forum to serve the broadcast, media and entertainment communities. Current NAB Show Collaborative partners include Mobile World Congress in Barcelona, CABSAT in Dubai and SET Expo in Brazil.

About NAB Show

NAB Show, held April 11-15, 2015 in Las Vegas, is the world's largest electronic media show covering filmed entertainment and the development, management and delivery of content across all mediums. With more than 93,000 attendees from 156 countries and 1,550+ exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is home to the solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. Complete details are available at www.nabshow.com.

Amazon India may start offering music, movie and video streaming services in India : Economic Times


BENGALURU: Amazon India may start offering music, movie and video streaming services later this year besides debuting its Prime subscription service as it looks to expand offerings in the country, key to its global expansion strategy. The Jeff Bezos-led company is currently evaluating the feasibility of such services while building up a content library, which would be a critical element of Amazon Prime.


The Indian unit of the Seattle-based ecommerce company has tasked Nitesh Kripalani, former executive vicepresident at Multi Screen Media — which runs Sony Entertainment Channels — to get access to "digital content", according to a person familiar with the development.

"We are working towards it... difficult to say by when as Nitesh has just been brought in... but he will soon start talks with content providers," said a second executive aware of the discussions. "The biggest limitation is the slow Internet speeds. So, we are looking at how we can bridge this. Hopefully, we should have some of these offerings available sometime in the second half of the year."

Amazon India's push into the entertainment space marks an important step in the fiercely competitive ecommerce space where participants are looking to position themselves as a central gateway for customers — from everyday purchases such as grocery and diapers to music, books and movies.

The company is yet to appoint an executive who will roll out Prime in India, but it has started strengthening its logistics and shipping team and is expected to more than double this to 14,000 people by July from the current 6,000.

link to the webpage

Screwvala returns to media space with a digital brand : Economic Times

MUMBAI: Entrepreneur Ronnie Screwvala, who sold his erstwhile UTV Group to The Walt
Disney Company last year, is returning to the media and entertainment sector by launching a digital media company in partnership with B Saikumar, former group CEO of Network 18. While Screwvala will bring in the initial investment of Rs 150 crore, Saikumar will head the company as its managing director. The two have also roped in Ajay Chacko, former COO at Network 18, as the CEO.

Based out of Mumbai, the company will start off with a digital brand offering multigenre,
multi­lingual content across video, audio, text and other traditional and newage forms, the two founding partners said. Video content will be a key part of the offering and to create that the company will source talent from the broadcasting sector across the globe, Saikumar said.

He said the company will carry out a global talent hunt across tech, design and content
space. He is also bullish on global syndication. The partners see huge potential for video content on the Internet — including video­ondemand models such as Netflix — as the
government goes ahead with its Digital India plan to ensure high­speed Internet access across the country. "India is the most under­Internet­utilised country," said Screwvala. He said the company may explore subscription model for its digital offerings. In many global markets, digital media has already surpassed traditional broadcast TV, radio and print as the primary choice of consumers and marketers. With over 300 million Internet users, India is slated to become the world's third­largest digital media market

From agri-trading to a multiplex challenger: The Carnival has just begun for Shrikant Bhasi : Economic Times

Shrikant Bhasi
MUMBAI: In the beginning of 2014, Shrikant Bhasi was a fringe newcomer in the business of movie exhibition with just three screens in Kerala. Twelve months, two acquisitions and over 300 screens later, he closed the year as the fastest growing multiplex mogul in the country and his flagship Carnival Group already the third largest in the industry pecking order. But by the look of it, it seems this was just the trailer.

So after closing the biggest deal in his career so far ­ Rs 700 crore acquisition of Big Cinemas from Reliance Mediaworks just last month ­ Bhasi is already plotting his next move. In his shopping list, say industry sources, are at least three more potential regional
multiplex chains including SRS Cinemas in Delhi, Glitz (for north and Central India) and a
South­based operator.

Even for each of Big Cinemas' 242 locations there is a big turnaround blueprint that is being put in place set to kick in once the CCI approvals come through by the middle of this month. But one got a sense of what's imminent, when just a day after announcing the Big buyout,Bhasi took time out for a recce of the iconic Metro Cinema in South Mumbai where he instructed his management team to remove an entire row of seats in each of the screens to ensure better leg space while his CEO addressed the staff at Big in an afternoon town hall.

Parallel to this, Bhasi is also in advance negotiations with L&T to buy their 1.15 million square foot integrated commercial real estate project in Chandigarh which houses the Elante mall, office blocks and the Hyatt hotel for an Rs 1800 crore valuation. Real estate is not a business but an "investment portfolio" that generates cash flows from rent yields part of which are ploughed back into the core exhibition business. Last year, the promoters of the cash strapped Leela Hotels sold two of their IT parks in Kerala to Bhasi. Rivals and peers gawk at these audacious moves; detractors question his financial and operational bandwidth and insist that he remains a "rank outsider" but his admirers swear by his single­minded focus and attention to details. For the moment though, Bhasi seems nonplussed with all the spotlight.

"I am not in the numbers game," says the dapper 46­year old agri­trader turned multiplex maverick and chairman, Carnival Group. "During the Big Cinemas negotiations, I told Anil Ambani that I may not have the operational experience of my peers. But I have a definitive rollout
strategy and it's a profitable one."

It's this confidence that has always helped him breakout. Be it in Britannia where he first cut his teeth, joining as a young accounts assistant during the last year of his B­Comm studies and then rising from within the ranks to become a star agri­trader in the late 80s. It equally came handy when he started his own entrepreneurial set up Advantage Overseas Pvt Ltd a decade later and branched out to agrifinancing for several global players like Bunge, where he still is an advisor.

"He never switches off and is endowed with tremendous mental and physical energy. He is very clear about what he wants to do and is very aggressive about reaching his goal," recalls Ravi Nigam, MD, Tasty Bites, a ready­to­eat foods company, and his former boss at Britannia. "But most importantly he has an uncanny ability to spot new opportunities and move in quickly." 

For Bhasi ­­ a Malayalee NRI from Singapore who grew up in Bhopal ­ a complete career switch after finding success in commodity trading and financing to move into the multiplex business around 2008 was just that. In between he even tried to replicate his structured finance learnings to bankroll and produce movies especially down south. "Financing Bollywood films was too expensive," realls Bhasi, "so we went back to our home market to finance, produce and distribute Malayalam films."
And that's when it struck him that there were just no decent screens available for screenings. "In 2008, Kerala had only 2 multiplexes and a total of 30­35 theatres. We did a nation­wide survey and found people wanted to go to theatres but the environment was not conducive to take families. We figured a golden opportunity exists," says Bhasi.

Right then, through a state government auction Bhasi won a tender to develop a 17,000 sq ft space above a bus shelter near the Kochi international airport. "Carnival at the bus stand" was a runaway hit ­­ 65­70% occupancy versus and the 40% average for competition buoyed Bhasi to ramp up in the South expanding to Kerala and Tamil Nadu. The two acquisitions ­ HDIL's Broadway and Big ­­ have now catapulted Carnival as a pan India player and more importantly has given it access to lucrative metro markets of north, west and east. It has in the process also increased its bargaining power with film producers and distributors for a larger share of the box office receipts. ""Once the industry converges around 3­4 players, a lot of equations within the film industry will change and people will exert market power. The big players will also see more automation as scale goes up. The exhibitors will also become partners in the industry with equal stake," feels Jehil Thakkar, Partner and head of media and entertainment, KPMG India.

But even as he goes on a buying spree, Bhasi is very clear that most of his organic growth in future will come from smaller beta cities. Going back to his Madhya Pradesh roots, he is planning to put up 400 screens across 128 centres over the next two years at a cost of Rs 650­700 crore. Bhasi has already tied up subsidies from the state government as well as a 5­year tax holiday similar to the one in Maharashtra for multiplexes.

"Places like Satna have a decent population but do not have a multiplex. Incomes are from agriculture are rising and you find people go all the way to Bhopal, stay the night at a hotel there, watch a film and come back," says Bhasi. Aware that he has to keep his overheads and ticket prices low, Carnival will use pre­fabricated materials for these 100­125 seaters, lower the cost of per screen to under a crore and add a community centre with a small restaurant which can be a money spinner round the year.
The whole idea is to be a holistic provider of entertainment for at least four hours per person. "Watching a film at our multiplex is just one of the options. We will also provide a viewer our restaurants and food courts, spas and entertainment zones. It will reduce our dependability on film content which is variable, at best and ensure revenue flows throughout," explains Bhasi. So along
with the multiplex, Carnival has also launched its very own food courts under the aegis of Travancore Foods with QSR brands as diverse as Simbly South, Noodle Point, Kebab Station, Gulp and D'Bell cafes and lounges.

The target is to reduce box receipts to just 40% of gross revenues from the current 60% while upping the share of F&B and entertainment to 60%. "The next set of growth will come for Tier II cities but you need to pick and choose selectively. Real estate costs will be low and these markets are starved of entertainment options. But ticket prices will not be as high as the metros but that can be offset by adding F&B," says Sudhir Pillai, Partner, Walker & Chandiok, who specializes on the multiplex sector.

For his team Bhasi has already set an ambitious 1000 screens target by 2017. Next in line is also a logical entry into film distribution to improve his bargaining power with film studios. "We shall contract 500 single screens for this. We will also add our own portfolio of 400 (and counting) and aim to have a network of 900­ 1000 screens nationwide for distributing smaller, independent films who do not always get the right backing," says Bhasi, who himself has also made cameo appearances in Malayalam and even a Bollywood film.

But is he biting off more than what he can chew? Questions remain about Bhasi's funding capabilities to support the growth plans. So far Carnival's total investment in the two mutiplex acquisitions is Rs 820 crore. Another Rs 250­Rs 280 crore will be required if he goes ahead with the next two. Even the real estate acquisition will come at a very steep valuation of Rs 1800 crore. So far his agri­trading businesses and rent income provide the group's financial backbone, but its profits are not enough to support all the sky­high ambitions.

The multiplex operations will close its first full year operations with a Rs 90 crore topline and an EBITDA margin of 16­17%, the end of this financial year. Carnival ­ a debt free company before Big Cinemas buy ­ is securing a Rs 500 crore debt line from Yes Bank to complete the deal and Bhasi says has plans to bring in PE investors in each of the key verticals as they scale up. "He has to bring in equity either of his own or from financial investors to substitute debt. He is taking long term investment bets with short term funding and that can bite," warns a banker familiar with the plans.
It's been a trailblazing journey thus far. But to draw a filmy parallel Carnival has to last the long haul before entering the multiplex hall of fame. For that, Picture abhi baaki hain mera dost.