Wednesday, February 25, 2015

Cinema advertising on the fast track : Business Standard



NUTSHELL

Cinema advertising is generating a lot of interest among advertisers in the country as per the ADEX Reort released by Group M. A 20% growth is forecasted here in 2015. While the growth of 25% in 2014 was mainly owing to the elections, even in 2013 the segment exhibited a growth 15%. Even though this category constitutes only .83 % of the total ad pie in the country, a sustained double digit growth is expected, the report specifies.



The consolidation of multiplex business and increasing footfalls in multiplex is cited as a major reason for this renewed interest among all segments of advertisers, local as well as national. The longer duration available in cinemas as against the high priced 10 seconders in TV helps advertisers drive home message to their target audience, thus also making it more cost effective. Entry of international players like Rentrack as well as launch of products like Group M’s CAM has enhanced the possibilities to track the cinema advertisements.

The total advertising in India for 2015 is expected to Rs 48976 crores.

The Article 

That digital as an advertising medium has been growing consistently in the last few years is a trend that has been well-documented by a number of studies that track ad spends in the country. However, what is striking about the latest AdEx Report released by the country's largest media agency network, GroupM, is the growth of cinema advertisingin India. GroupM forecasts a rate of growth of 20 per cent for cinema advertising in 2015, second only to digital advertising, which comes at 37 per cent.


While the growth last year of cinema advertising was 25 per cent, according to GroupM estimates, thanks to elections, officials at the media agency network say a comparable number would be the growth seen the previous year (2013), when it (cinema advertising) was 12 per cent. Officials say this is the broad range of growth of cinema advertising in the country in the last few years. Though the base of cinema advertising in the country is small - only 0.83 per cent of estimated total advertising of Rs 48,976 crore for 2015 - GroupM says that it does have the scope to grow in the coming years, if high double-digit grow rates remain.

"The cinema numbers this year are an eye-opener," says CVL Srinivas, chief executive officer, GroupM, South Asia. "The consolidation of the multiplex business in the last few years makes it an exciting proposition for advertisers. Footfalls have been growing inside theatres and multiplexes in particular and when there are eyeballs for a medium, advertisers are automatically drawn to it," he says.



A big contributor to footfalls in theaters has been the digitisation of single screens as well as tier-II and III multiplex screens in the last few years. Digitisation, say experts, has given exhibitors the flexibility in selecting movies, and especially last year, when mainline Bollywood films failed to deliver, regional films have been able to save the day for distribution and exhibition companies. Thanks to this, cinema halls have been able to maintain footfalls, making in-cinema advertising a lucrative option for brands, notably, regional brands.




‘Increasingly we find there are a number of local and national companies across categories that 

want to advertise and build their brands. It is no longer a prerogative of large companies alone. Like their larger counterparts, smaller players look at cinema as an avenue to advertise their products," says Prashanth Kumar, Mindshare's South Asia CEO-designate, who heads GroupM's Central Trading Unit.


For those who cannot afford expensive television spots, cinema ad rates are a fraction of what TV channels charge, driving regional brands to embrace advertising in theatres even more. There are also no constraints on time like in TV, where ten-seconders typically rule. Ads in cinemas are anywhere between 30 to 60 seconds, giving advertisers more room to drive home their communication message. Not to mention that the mechanism to track cinema advertising in the country has grown over the years. GroupM launched a measurement system called Cinema Audit and Monitoring (CAM) in 2013. Global major Rentrack has hopped onto the bandwagon now, though it measures box office collections to begin with. Globally, Rentrack monitors cinema advertising besides measuring box office collections.

How other media stack up
Amongst mainline media, television advertising retains a healthy 16 per cent growth rate this year (15 per cent last year), GroupM says, while print advertising is likely to see a growth rate of 5 per cent (7 per cent last year). Both TV and print remain the largest and second-largest contributors to total advertising at 46 per cent (Rs 22,446 crore) and 34 per cent (Rs 16,872 crore), respectively. From 1.2 per cent a decade ago, digital advertising today is pegged at 9.5 per cent of total advertising. It is forecast to be Rs 4,661 crore in size this year. Interestingly, the growth of digital advertising co-incides with the drop in print advertising in the last decade. In 2005, print advertising was 53 per cent of total advertising, making it the largest advertising medium in India.

TV advertising, on the other hand, was 37 per cent, putting it in second place. While the tables have turned in the last decade, the trend going forward is the further growth of digital. According to industry estimates, digital advertising is expected to cross the 20-per-cent-mark by 2020.

link to the webpage

Film producers to brave dry days ahead : The Hindu



NUTSHELL


With an unprecedented increase in number of films being produced in Tamil Language , there is a dearth of screens and dates available for releases to happen in the peak season. This has forced filmmakers to opt for generally dry months at Boxoffice such as March ( due to exams, world cup this year ) to release their movies. Actor Siddharth’s Ennakul Oruvan , Sivakarthikeyan’s Kakki Sattai , Karthi’s Komban and Vijay Sethupathy’s Idam Porul Eval are some of the projects releasing in March. In the given scenario, a new initiative that is witnessed is that producers like C V Kumar along with others like him have together floated an independent distribution company ‘Dream Factory” to provide regular content to theatres so that they have a preference of allocation.

                                                     
                                                     



The month of March is dreaded by the Tamil film industry because the bulk of movie audiences are either writing exams or watching Chennai Super Kings in the Indian Premier League (or the cricket world cup this year).

It is only logical to think producers would be wary of the likely reduction in footfalls but, this year, Tamil film producers have decided to take a big risk with a slew of releases.

Actor Siddharth’s Ennakul Oruvan , Sivakarthikeyan’s Kakki Sattai , Karthi’s Komban and Vijay Sethupathy’s Idam Porul Eval are all ready for release one weekend after the other. Some producers agree that it makes little business sense, but they say that they are left with no choice. “What do we do? We can’t compete with big movies which are slated for release during April or May. We have to release our films when we get a window,” says C.V. Kumar, producer of Ennakul Oruvan , which is ready for release on March 6.

With the digital revolution reducing the production costs, there has been an exponential increase in the number of films being produced. Last year alone, more than 200 Tamil films were released. With supply exceeding demand, producers are finding it tough to find more screens for release.

But, the situation is not so dire, says trade analyst Sreedhar Pillai. While he agrees that it is certainly a risk to go for a March release, he argues that a film with great content will still bring in the crowd. “March is the new season for releases. With 200 films releasing, the four weekends in March cannot be missed. There is no other way. The audience will appreciate a good film. If they don’t release the film quickly, they might not get a later date in summer and their interest rates will go up,” he points out.

While the producers hope that the number of movies under production will come down, ultimately easing the demand for more screens, theatre owners don’t seem to be complaining.

In an effort to work within this trend, producers like Mr. Kumar, along with others active in the circuit, have floated an independent distribution company called ‘Dream Factory’, through which they distribute movies produced by them without much hassle. “We provide movies to theatres on a regular basis and therefore, we are given preference. Otherwise, an independent producer would find it difficult to seek out distributors and sell the film,” he says.

For now, the producers are still hoping that people would come out in good numbers to watch movies.

Monday, February 23, 2015

India's greatest export to the world is its entertainment: Gaurav Gandhi : exchange4media.com

“India may not take over the world with its army or politics, but will take over the world with its ‘soft power’ - the attraction to our culture, music, dance, yoga, cuisine and most of all, our entertainment…” The former Under-Secretary General for Communications and Public Information at the United Nations, Dr Shahi Tharoor’s words ring true as we enter a vibrant new age of the Indian media and entertainment industry. The sheer size is testament.



The Indian entertainment and media industry clocked in about 25 Billion USD on last record. It is a well-documented fact that TV makes up a large chuck of the industry revenue. With 600 + TV Channels reaching over 150 mn TV homes in India alone, the medium is witness to over 400 hours of TV content produced each week. To top this, we also boast of the largest film Industry in the world, producing over a thousand films every year, several routing back to the TV for the masses. Considering content syndication is a growing revenue generator, Indian Television also boasts of an international footprint of 150+ countries, earning over $300 mn from these markets. The icing on the cake is that the Indian media & entertainment industry attracts the biggest foreign investment in Asia.

Exporting Indian Entertainment to the World

Ever since liberalization and the entrance of international programming in India, a reverse trend was also born. Homegrown formats and Indian entertainment brands began to cross the seas to vast nostalgic Indian communities in US, Canada, UK, South Africa, Australia and the South East Asian region.

The trend saw a shift within the first decade of the new millennium wherein even non-diaspora markets lapped up Indian TV content. All of North America, most part of Asia and Australia as well as many more markets in Africa now consumed Indian content irrespective of whether Indians resided in those regions.

In the present times, distribution caters to a wide demand for Indian fiction content by dubbing or providing subtitles to an audience that extends to a sizeable audience in South America and most parts of Europe as well.

Today, Indian celebrities are not only known but also command a roaring fan following of their own on foreign shores. Whether it is Aishwarya Rai on the Cannes red carpet; Indian films dubbed into Russian, Japanese, or Spanish; mega stars Shahrukh Khan and Aamir Khan on the cover of Time Magazine – Indian film celebrities are everywhere!

And while our filmdom expands, why should TV lag behind?

Indian TV content has established some unusual social norms in the unlikeliest of regions? For example, you can’t call an Afghan at 8:30 pm. A huge possibility, he or she is getting his daily dose of Indian soap opera and disturbing them is the last thing you want to do! In fact, the series Kyunki Saas Bhi Kabhi Bahu Thhi hypnotized the whole country. Indian soaps with subtitles are popular at salons in Bosnia and are dubbed for local audiences in Eastern-Europe.

Clearly, India’s greatest export to the world is its entertainment!

Inspiration, Aspiration

Whether it is Lata Mangeshkar’s “Thoda Resham Lagta Hai” in Truth Hurts’ Addictive, or "Ye Mera Dil Yaar Ka Diwana" from Don featuring in The Black Eyed Peas' Grammy Award winning 2005 song "Don't Phunk with My Heart", Bollywood has always succeeded in making its way into international hearts with its melodies. Now, the likes of Priyanka Chopra also record international tracks establishing the global nature of our entertainment. Our colour, energy and variety of costumes have been vastly popularized across the globe through our entertainment. This phenomenon has even witnessed international artists adapting and integrating Indian elements into their dance, theatre and music.

The Dil-Se-Indian Opportunity

The population of Indian diaspora exceeds 26 million globally, making it the second largest. Aside of food and a familiar face, entertainment is the only thing that provides a feeling of a home away from home. The enormity of viewership is the most obvious source of demand for the Indian entertainment business. The emotional connect that these audiences experience adds a significant layer of opportunity for producers to supply quality content to these markets. Over and above the ‘people’ factor, several of these markets offer attractive economic benefits to entertainers – making the prospect of supplying Indian entertainment to the world most lucrative.

The India Fascination

Foreigners associate a distinct set of values to India because of their varied exposure to Indian entertainment – magnitude, family, emotional, culturally colourful. Global audiences also relate to the international formats, especially non-fiction programming, that Indian TV channels adopt. Some homegrown formats also enjoy immense demand among international viewers.

With Indian films raking in substantial revenues from international markets, and international entertainment giants partnering Indian media companies, the road ahead will unfold the truth of Mr Tharoor’s prophesy rather poignantly!

The author is Group Chief Operating officer of IndiaCast Media Distribution

Indian media & entertainment sector on cusp of strong growth, says Punit Goenka : dnaindia.com



NUTSHELL

Wharton India Economic Forum (WIEF) is a student-led business conference on India started in 1996 and held annually at The Wharton School, University of Pennsylvania. The keynote adress at the 19th WIEF, which had India:Delivering the Dream as its theme, was delivered by Punit Goenka, MD & CEO of ZEEL.

Excerpts
  • Widespread technological advances have changed industry mindset to make business quicker, targeted, transparent & collaborative.
  • The M&E industry which is a sunrise sector is on the cusp of a strong growth phase.
  • Unlike international media companies which moved into India, ZEE has travelled from here to be present in 169 countries catering to 730 million viewers.



Punit Goenka, managing director & CEO, Zee Entertainment Enterprises Ltd (ZEEL), on Saturday delivered a keynote address at the 19th Wharton India Economic Forum (WIEF) held at The Wharton School, University of Pennsylvania.

In his address, which was on the theme of the conference ‘India: Delivering the Dream’, Goenka spoke about the changed business environment in India with initiatives by the new government and the current state of the media and entertainment industry in India. He also discussed ZEEL’s journey over the past 20 years and the opportunities and challenges he foresees over the next few years.

Speaking on the media & entertainment industry in India, Goenka said, “Widespread technological advances in the ecosystem and the digital experience driven mainly by aspects like digitisation of cable industry, have brought a new mindset to make business quicker, targeted, transparent, and collaborative. This industry is certainly a sunrise sector for the nation’s economy. Proving its resilience to the world, the Indian M&E sector is on the cusp of a strong phase of growth.”

He commented on ZEEL’s journey saying, “With most industry firsts to our credit, we as a global entertainment conglomerate have always been at the crest of innovation and leadership. We take immense pride in the fact that, unlike other global media companies which have travelled to India to set up their operations, ZEE has travelled against the flow and has successfully set up its presence across 169 countries, entertaining over 730 million viewers across the globe.”

WIEF is a student-led business conference to discuss the opportunities and challenges faced by India. Started in 1996, it is a leading India-focused business forum held annually at The Wharton School, University of Pennsylvania which is among the top three institutions in the world for business education. It attracts business leaders, policy-makers, professionals and students to engage in fruitful dialogue and is attended by over 400 delegates including Wharton MBA, Penn graduate and undergraduate students. The other keynote speaker at the Forum was Hital Meswani from Reliance Industries Ltd. Other speakers included Rehan A Khan of Abbott India, Sanket Akerker of Microsoft.

Saturday, February 21, 2015

Lucrative Telugu TV Market Attracting Global Players


 NUTSHELL

The south television channels, Telugu in particular, is garnering international attention lately. Two years after US media giant, Viacom with its joint venture TV18 Broadcast, along with Mukesh Ambani-led Reliance Industries Ltd, acquired 100 per cent stake in several channels of ETV in a high value transaction, Star India has struck a deal to take over Maa TV for a whopping estimated Rs 2500 crore.

There are a few reasons why global players find the Telugu market attractive

· Telugu TV market is considered the second largest regional entertainment space after Tamil in the country

· Southern markets acoounts for 35% of subscribers in the country. The TV penetration is south is above country average

· The indian entertainment industry is worth Rs 83000 crores. Of this tv comprises of Rs 42000 crores· 

· There are 826 channels in india which includes the 135 news channels. Regional channels account for 27 % of tv viewership and 27.2 % of advertising market share. 

· Tamil and Telugu markets account for 50 % of total viewership.

· 30 % of total revenues of sStar and Zee networks come from regional channels.

· Advertising revenue is set to grow at 13 % per annum 


Telugu TV market has the highest number of news channels totaling around 20. 25% of revenues come from here.



HYDERABAD: The Telugu television industry seems to be in a phase of consolidation. Interestingly, global media moghuls seem to be breaking the bank to own a slice of the regional entertainment industry specialising in low-budget, local-language soaps.

On Wednesday, Star India, which is part of media baron Rupert Murdoch’s 21st Century Fox, struck a deal to acquire Maa TV for an estimated Rs 2,500 crore.

A couple of years ago, another US media giant, Viacom Inc that operates channels like MTV, Comedy Central and Nickelodeon, with its joint venture TV18 Broadcast, along with Mukesh Ambani-led Reliance Industries Ltd, acquired 100 per cent stake in several channels of ETV valued at Rs 2,053 crore through a complex transaction . Prior to this, private equity investor Blackstone agreed to acquire ETV but the deal fell through.

The Telugu TV market is considered the second largest regional entertainment space after Tamil in the country and the sudden rush to gobble up regional channels seems only justifiable.

According to a recent FICCI-KPMG report on ‘Indian Media and Entertainment Industry’, the southern market accounts for about 35 per cent of subscribers in the country. Also, the penetration of TV in the southern region is more than the all India average.

Consider this. The size of the Indian media and entertainment industry (including print, TV, film, etc) is pegged at Rs 83,000 crore. Of this, the TV market alone comprises half at over Rs 42,000 crore.

As per the data available with the ministry of information and broadcasting, 826 channels including 135 news channels and the rest being non-news channels are beaming content across the country as on December 2014. While Hindi channels have a dominant position, regional channels accounted for more than 27 per cent of the total television viewership in 2012 and an advertising market share of 27.2 per cent, said Ficci.

Similarly, Tamil and Telugu markets accounted for about 50 per cent of the total regional viewership, followed by Marathi and Bengali at 29 per cent, thus making it attractive for prospective investors both domestic and foreign to penetrate their presence.

Incidentally, regional channels are estimated to account for approximately 30 per cent of the total revenues of Star and Zee networks as on 2012. “Regional genres are showing phenomenal growth in terms of viewership. Advertisers are yet to tap into the large potential of the retail consumers in these markets and local advertisers would be willing to pay a premium for this audience,” Punit Goenka, MD & CEO, Zee Enterprises Entertainment Ltd had said.

Besides, market research firm PricewaterhouseCoopers estimates that with digital transmission (DTH) in place, advertisement revenue is set to grow at about 13 per cent per annum till 2018.

Meanwhile, it’s not just entertainment and non-news channels that are attracting investor momentum. The Telugu TV market, which boasts of the highest number of regional news channels aggregating to more than 20 including TV9, TV5, Sakshi and NTV is also gathering attention. For sometime, TV9, partly-owned by angel investor Srini Raju of Peepul Capital, has been trying to offload his stake valued upwards Rs 500 crore.

Estimates reveal that 25 per cent of the Telugu TV advertisement market comes from news channels and is growing. “Of this, the top three or four news channels get a lion’s share. Consolidation is bound to happen in news channels too with some of them bleeding due to higher operational expenses,” said an industry analyst. Watch this space.

link to the webpage

Friday, February 20, 2015

Hotstar to stream Oscars live : livemint.com

============================================================================================================
NUTSHELL

Star Goup which has acquired the digital media rights of Oscar Awards ceremony for three years starting form 2015, will live stream the event on its recently launched mobile application platform Hotstar. Marquee Brands like Cocacola and Jaguar have already confirmed sponsorships raising the stakes in the digital broadcast to around Rs 1.5 crores . 

The academy awards will be available on the platform for the next two weeks. This is to cater to the larger part of the consumption, expected to happen outside the live telecast window which starts at 5 am IST.

Hotstar has been hugely succesful with a record number of downloads leveraging on Star's enormous database of movies and television shows. it also promises live sports action to its users. the The India-Pakistan cricket World Cup 2015 garnered close to a record 25 million views on hotstar and starsports.com in India.

The entire business model is riding on the increasing penetration of smartphones in India which is expected to reach 213 million by June 2015—a 23% jump over six months. If reports by research agencies are to be considered, the number of mobile Internet users in rural India is set to grow at a rate of 33% from October 2014 to reach 49 million by March 2015 and 53 million by June 2015.
=============================================================================================================

New Delhi: It’s the closest you’ll come to clutching an Oscar, in a manner of speaking, as you hold your mobile phone to watch the Hollywood awards ceremony live. 

Broadcaster Star India Pvt. Ltd is ready to live stream the the 87th Academy Awards presentation starting at 5am India time on Monday through its latest mobile application, hotstar, for the first time. “We will be promoting the Oscars extensively on television and on digital. Apart from showing the Oscars live on hotstar, the Academy Awards will also be available on the Star app for the next two weeks,” said a spokesperson for Star India. “We will be promoting that as well. We are chasing aggressive targets for Oscars on hotstar.” 

Star has the digital media rights for the Oscars for three years starting 2015. 

An estimated Rs.1.5 crore is riding on the digital broadcast of the Oscars, according to media buyers’ estimates, with marquee brands such Coca-Cola Zero, Jaguar and Levi’s Strauss and Co. confirmed as sponsors. Two sponsorship slots are still up for grabs. 

Hotstar was launched on 1 February and has got 5 million downloads so far, as per company data. It offers more than 35,000 hours of content in seven languages, promising viewers a big library of movies, television shows and even live sports (cricket, football, tennis and kabaddi). Viewers can download hotstar app, available across platforms including Android and iOS, or access the content from the hotstar website free of cost. 

The India-Pakistan cricket match in World Cup 2015 garnered close to 25 million views on hotstar and starsports.com in India—one of the highest for a digital platform for a single game in a sporting event, as per data from Star India, the official broadcaster of the event. 

Debabrata Mukherjee, vice-president, marketing and commercial, Coca-Cola India and Southwest Asia, said: “We are also looking to leverage this partnership (with hotstar app) through our own social and digital media assets. This weaves in neatly with our philosophy of being media agnostic for targeted messaging.” 

The frequency of ads aired on the digital platform would be similar to that on the telecast, said Praseed Prasad, national director (digital trading) at GroupM, a WPP agency handling the mandate of media buying for the hotstar app. With the increasing penetration of smartphones, the number of mobile Internet users in India is expected to reach 213 million by June 2015—a 23% jump over six months, according to the Mobile Internet in India 2014 report released last month. India had 173 million mobile Internet users in December last year. According to the report by the Internet and Mobile Association of India (Iamai) and IMRB International, a market research firm, the number of mobile Internet users in rural India is set to grow at a rate of 33% from October 2014 to reach 49 million by March 2015 and 53 million by June 2015. 

According to media buyers, the live telecast of the award ceremony to be hosted by actor Neil Patrick Harris, might not get as much traction as the repeat telecasts due to the timing of the ceremony. “A large part of the consumption will happen outside of live telecast window. Even on television, the repeat telecasts do well for them,” Prasad of GroupM said. Mallikarjun Das, chief executive officer of Starcom MediaVest Group (SMG), agreed. “The audience will be really small. It’s possible that only a hardcore movie buff will watch it live at 5 in the morning.” Last year, the live telecast of the Academy Awards itself garnered a viewership of 900,000 on Star Movies in India, the highest recorded in the last five years, said the company. In 2013, the Oscars was watched by 1.1 million viewers (including live and repeat telecasts) in India.

link to the webpage

Friday, February 13, 2015

With Hotstar, Star India aims to change the way content is consumed in India : livemint.com

===================================================================================================================================
NUTSHELL

  • The Hotstar app is Star India’s latest and biggest digital initiative
  • Launched by wholly owned subsidiary Novi Digital Entertainment Pvt. Ltd
  • Hotstar offers more than 35,000 hours of content in 7 different languages free of cost
  • All the shows telecast on the Star channels is made available a day later on Hotstar & this includes English dramas and serials that premiere in the US
  • Cricket World Cup matches live
  • Options for content to be downloaded and watched at a later time.
  • The Hotstar app has seen 1.5 million downloads in the span of a week
  • the platform expected  contribute around 20-25% to the overall revenue for Star India in the next 4-5 years.
  • In India , currently there are 20,000 advertisers on television, across all channels and 500,000 advertisers on digital media.
  • Digital media is expected to grow at 37% in 2015
  • Revenue from the digital space, is roughly around Rs.4,000 crore in India

===================================================================================================================================


Mumbai: Star India’s latest and biggest digital initiative, the Hotstar app, launched over a week ago, is aiming to change the way Indians consume content. Coming 18 months after the launch of its other digital property, Starsports.com, Hotstar has been launched under its wholly owned subsidiary Novi Digital Entertainment Pvt. Ltd that also won the digital media rights for the Indian Premier League (IPL) on Tuesday. Hotstar offers more than 35,000 hours of content in 7 different languages—promising viewers a big library of movies, television shows and even live sports (cricket, football, tennis and kabaddi). Viewers can download the Hotstar app, available across all platforms including Android and iOS, or even access the content from the Hotstar website free of cost.


 For the 21st Century Fox-owned broadcaster, Hotstar, which was in the making for more than 15 months, is perhaps its most ambitious digital offering so far. The idea, said Sanjay Gupta, chief operating officer, Star India, is to be a one-stop destination for users to consume premium content across genres and languages and, more importantly, at their own convenience. “There aren’t many platforms available to Indian consumers offering high-quality, curated content besides, say, YouTube,” he said. 

Viewers will be able to watch all the shows telecast on the Star channels a day later on Hotstar. Similarly, for the first time, English dramas and serials that premiere in the US and are showcased on Star in India, will also be available for consumption on Hotstar. 

The platform will also stream upcoming Cricket World Cup matches live, with a five-minute delay.

 The opportunity is immense for Star India, said Gupta. For one, it gives them access to a much larger and valuable target audience—primarily the younger generation and also those in the 25-and-above age bracket, wanting to consume content on the go. To address bandwidth issues, Hotstar also offers the option for content to be downloaded and watched at a later time. The broadcaster has also gone one step ahead and is offering this platform on Nokia Asha devices, enabling it to reach people beyond the big cities. 

Since content is being offered free of cost, Star said it is looking at monetizing purely through advertising. Gupta was not forthcoming on the estimated revenue from Hotstar, but he said the platform would contribute around 20-25% to the overall revenue for Star India in the next 4-5 years. 

“It’s a valuable audience and advertising will be very targeted. We can charge a premium versus other digital players,” he said.

 There’s also scope for more advertising on digital. There are about 20,000 advertisers on television, across all channels. “Compare this with the 500,000 advertisers on digital,” he said, adding that this will open up the scale of advertising in the country. According to a report by global media-buying and planning firm GroupM, digital media is expected to grow at 37% in 2015, compared with an average rate of 35% over the last two years. This year within digital media, video, mobile and social will be the biggest growth drivers, the report said. 

At the moment, revenue from the digital space, is roughly around Rs.4,000 crore in India, said Gupta. Star India is looking at a good chunk of this number, Gupta said. The Hotstar app has seen 1.5 million downloads in the span of a week, topping the list of free apps available on the Android Play Store. Gupta said their idea was to first build scale, like they did in Starsports.com, and then build revenue. 

To make the Hotstar initiative work, Star launched a marketing blitz on its own channels. It also ran a print campaign and is looking at spending close to Rs.50-100 crore on advertising and promotion in the near future. 

Gupta isn’t too worried about competition from platforms such as Singapore-based Spuul.com, Times Internet-led Box TV or Zee group’s Ditto TV, among others. Other media experts seem to agree: “Star has strong brand equity among advertisers. They are long-term players and must have thought out their strategy,” noted Charulata Ravi Kumar, CEO, Razorfish India, a digital agency. “What works in Star’s favour is the kind of content aggregation they have put in place. Quite unlike other players in this space, which offer either just movies or TV.” She added that offering live TV shows on Hotstar may not necessarily work, as that would take away from the broadcaster’s television ad revenues—its biggest earner currently. 

Star said it would also look at leveraging this platform later on, to exclusively showcase content, be it award shows, movie premieres, or other content designed exclusively for Hotstar. 

Vikram Menon, president and country head—OgilvyOne Worldwide, India, added that in some ways, Star has the first-mover advantage with the quality of their content. “The whole idea of appointment viewing is slowly seeing a shift, with people increasingly choosing to watch content on their personal devices, at their own time,” he said. “I’m sure they will look at different ways to monetize going forward,” he added. 

Anil K. Nair CEO, digital, L&K Saatchi and Saatchi, a digital agency, agreed, pointing out that the overlap between video-on-demand and mobility is one of the hottest areas of growth. “It’s a lucrative growth opportunity for a player like Star to saturate the market.”

 Nair said it would be interesting if Star, down the line, is able to integrate more features on its platform, such as being able to chat with friends during the course of a programme, or to be able to shop for the fashion shown on television.

 Starplayer.com, launched by Star India earlier, which showcased TV serials and dramas has been discontinued and the same content will now be available on Hotstar.


link to the webpage

Thursday, February 12, 2015

Face off: Ananya Amin, international manager – India & Middle East, Guvera : The Financial Express


===================================================================================================================================
NUTSHELL
  • Australia-based Guvera Ltd launched in 2008 as an ad-funded model to share and access digital entertainment. 
  • It provides brands with a platform to reach relevant audience through an algorithm-based program
  • For every one hour of the service, a user would see or hear three and a half minutes of advertising. 
  • Guvera recently entered India tying up with major music labels like Sony Music, Hungama.com (T-Series & Speed Records), Universal, Saregama, Eros International, etc.
  • Brands associated with them are the likes of Godrej, Nikon and Croma
  • Guvera aims to give consumers a free, legal alternative to music streaming
  • India’s smartphone penetration which is currently stands at more than 350 million presents a huge opportunity
  • Guvera currently has more than 500,000 active users in India 
  • The legal music industry in the country is currently pegged at Rs 960 crore and is expected to grow further through a significant
  • Opportunity is huge but 90% of the addressable market still belongs to the pirates.
  • Other than Bollywood, the focus has been on serving up regional music, as well.
==================================================================================================================================


EVERYONE likes to download music from the internet but no one wants to pay for it. That has led to a situation where 95% of music downloads around the world is illegal. Australia-based Guvera Ltd found a way to get around this problem when in 2008 it launched its ad-funded model, through which users access and share digital entertainment content in a way that their favourite artists get paid for each file they download. The ad-funded model provides brands with a platform to seamlessly integrate their messages with the content and to target their relevant audience through a proprietary, algorithm-based program. As its website says, for every one hour of the service, a user would see or hear three and a half minutes of advertising. The service can be accessed on the web or through Guvera’s Android and iOS mobile apps.


Guvera recently entered India tying up with major music labels and content aggregators in India, including Sony Music, Hungama.com (T-Series & Speed Records), Universal, Saregama, Eros International, Times Music, Believe, Orchard, TuneCore, CDBaby and INGrooves. It has a library of over 12 million tracks including Bollywood music. Among the brands advertising on its platform are Godrej, Nikon and Croma. In an interview with FE Brandwagon’s Anindita Sarkar, Ananya Amin, international manager—India & Middle East for Guvera talks about the music streaming service and its potential to become a hit with music aficionados in India. Edited excerpts:

What made you decide to enter the Indian market at this point of time?

Given the dynamic ecosystem that exists for music in the country, India is a lucrative market to be present in. Moreover, a major chunk of the music consumption in the market currently takes place through unlicensed channels which in itself represents a sizeable opportunity for new digital services to help users migrate to legal and easy-to-use platforms such as ours. As with all the markets that Guvera enters, we aim to give consumers a free, legal alternative to music streaming. Our ability to collaborate with local labels means that the Indian population are able to listen to the latest, popular local music, free and legally which, research tells us, is what they are looking for.

Moreover, India’s smartphone penetration which currently stands at more than 350 million, presents us with a great opportunity, what with the growing adoption of 3G enabled smartphones and the imminent rollout of 4G services in the country. In addition, the country’s mobile internet user base of 180 million spells a latent opportunity for us as these subscribers will most likely upgrade to smartphones in the days to come.

What is Guvera’s target for India? How do you plan achieve it?

Guvera currently has more than 500,000 active users in India and plans to take that figure up to 1 million. We plan to grow this number on the back of our superior localised content, innovative features and offerings such as branded channels which allow the users to go beyond the realm of music streaming and interact with brands in a more engaging fashion. We’re also focused on rewarding our users through on-ground events and unique experiences. We want to bring the Guvera experience to them in new and exciting ways. For instance, we staged concerts in Singapore and Malaysia; in Jakarta, we organised a Music Run for running enthusiasts and created a special playlist for the event. Similarly in India, we plan to do that through a number of live music cum experiential events in the coming days. Our recent partnership with Harley Davidson for their annual live music event, Harley Rock Riders held in Mumbai was a step in that direction.

What has the advertiser response been for Guvera in India?

In India, Guvera has already partnered with premium brands including Nikon, Croma and Godrej Cinthol. Additionally, we are in talks with many prospective brands to make Guvera a platform for brands to seamlessly integrate music programming with some of their own properties including websites, e-stores, etc. We understand that music, and the artists that make it, are integral to helping connect brands with consumers, and as such, any brand that wants a deeper connection with their consumers, and to align their brand with a platform that enables consumers to engage with brands on their terms will be interested in working with us.

What are the biggest opportunities and challenges when it comes to dealing with the Indian music industry?

India is both a dynamic as well as a challenging market for music. The legal music industry in the country is currently pegged at R960 crore and is expected to grow further through a significant, potential increase in digital downloads, internet and mobile consumption and retail marketing. Even as the total market size is expected to grow exponentially through these drivers, the music industry has been able to monetise only up to 10% of the internet consumption, as 90% of the addressable market still belongs to the pirates. This translates into an opportunity as well as a threat for both us and our industry. However, we believe that we have a strong differentiator in our overall product and should be able to garner traction in the market with it.

In terms of content, film music still continues to dominate the local music consumption. We, have therefore, put together a very strong Bollywood selection, which gets updated regularly. Apart from Bollywood, the focus has been on serving up regional music, which has also started enjoying a fairly large listener base.

Wednesday, February 11, 2015

India’s Internet market : livemint.com

========================================================================================================
 NUTSHELL

Morgan Stanley research report
  • Increase in indian internet users :50 mil(2007) to 100mil(2010) 300mil(2014)
  • Indian Internet market in terms of gross merchandise value is to rise from $11 bil in 2013 to $137 bil by 2020
  • The $11 billion Indian Internet market break up: travel ($8 bil), e-commerce (around $3 bil) and classifieds/online advertising ($800 mil)
  •  Internet market to grow to $137 billion by 2020, at a CAGR of 43% (7% of current GDP)
=========================================================================================================

The number of Internet users in India has shot up from 50 million in 2007 to 100 million in 2010 and more than 300 million in 2014, making India the world’s second-largest Internet market. 

Further, the size of the Indian Internet market in terms of gross merchandise value is likely to rise from $11 billion in 2013 to $137 billion by 2020, according to a new Morgan Stanley research report. The market value of the industry could also touch $160-200 billion, the report released on 2 February said. 

Morgan Stanley analysts believe that given India’s strong entrepreneurial talent and opportunities thrown up by the Internet and the Internet of Things, the country, like the US, provides a wide assortment of companies that can transform the way more than one billion people live their daily lives. 

The $11 billion Indian Internet market in 2013 was dominated by travel ($8 billion) followed by e-commerce (around $3 billion) and classifieds/online advertising ($800 million), the report noted. According to the report, the total Internet market can grow to $137 billion by 2020, a compound annual growth rate (CAGR) of 43% and representing 7% of current gross domestic product (from 0.6% now).

 E-commerce is forecast to form the largest part of the overall Internet market ($102 billion, 66% CAGR) followed by travel ($28 billion, 20% CAGR) and classifieds/online advertising ($7 billion, 37% CAGR). 


In the US (excluding Google, Facebook and Twitter) and China, e-commerce companies account for more than 50% of Internet market capitalization.


photo
photo
photo

Star India agrees to buy largest Telugu entertainment channel Maa TV : The Economic Times

======================================================================================================================
NUTSHELL
  • Star India announces buyout of  broadcasting business of the leading Telugu entertainment network Maa Television, India's second largest regional language entertainment space.
  • Present MAA TV management includes Nimmagadda Prasad, Chiranjeevi, Nagarjuna & Allu Arvind
  • STAR establishes presence in all South India
  • STAR in other South states : Vijay TV (TN), Asianet (kerala) & Suvarna (Karnataka)
  • MAA TV with a marketshare of 27% is valued at Rs 2000 crore.
======================================================================================================================

HYDERABAD: Global media mogul Rupert Murdoch­owned Star India has agreed to buy the broadcasting business of the leading Telugu entertainment network Maa Television, involving its brand, assets and four channels, for an undisclosed consideration.



Announcing the deal in Hyderabad on Wednesday, the Star India chief executive Uday Shankar said the acquisition would give Star India, part of the Nasdaq listed 21st Century Fox, access to highly attractive Telugu TV market. 


The strategic deal would come into effect upon complying with the necessary regulatory formalities, which are expected to take few months of time. The deal enables Star India to have presence in all the South Indian language markets. The Rupert Murdoch owned entity had earlier bought the general entertainment channels in Tamil, Kannada and Malayalam languages. The management of Maa Television Network, owned by the serial entrepreneur Nimmagadda Prasad and Telugu film personalities Chiranjeevi, Akkineni Nagarjuna and Allu Arvind, will however retain the company to explore business opportunities, which they will preferred to announce later.

 Maa TV Network has a bouquet of four channels that include Maa, Maa Music, Maa Movies and Maa Gold, currently enjoying a market share of around 27% in India's second largest regional language entertainment space valued at around Rs 2,000 crore.

Bookmyshow buys majority stake in Eventifier for $2 million : Economic Times

=======================================================================================================================
NUTSHELL
  • Bookmyshow acquires majority stake in Eventifier for over $2 million 
  • Eventifier stitches archives of social media content from conferences and events across the globe
  • Eventifier's next stage of growth is to tap into the data in the movie ticketing space
  • This is the 2nd acquisition for Bookmyshow after its buyout of  online ticketing portal Ticket Green in March 2013
  • The last round of funding valued Bookmyshow at over Rs 1000 Crore.
  • Such acquisition or acquihires backed by investors as it helps talent procurement & faster market access
========================================================================================================================

MUMBAI/BENGALURU: Big Tree Entertainment, which owns Bookmyshow, is acquiring Bengaluru ­based startup Eventifier as the Mumbai­based company looks to expand across the entertainment value chain. The deal involves Bookmyshow acquiring majority stake in Eventifier for over $2 million in cash with the investors exiting.

The move underlines the increasing appetite among well­ funded internet companies to make tuck­in acquisitions as they expand to new markets. 

Co­founded by Mohammed Saud, Nazim Zeeshan and Jazeel Badur Ferry in 2012, Eventifier stitches archives of social media content from conferences and events across the globe. Initially mentored by Chennai's The Startup Centre, it also raised venture capital funding from Accel Partners and Kae Capital. The company has over 1,500 clients like Pearson, UBM Tech, Clinton Foundation and NASA.

 "Eventifier solves a larger problem of social media, which is fragmented today but is extremely critical to any business need. Companies need to connect the dots on how consumers sitting on various social media platforms are relevant to them," said Ashish Hemrajani, co­founder & CEO of Bookmyshow. 

Eventifier is expected to retain the brand and will operate as a separate entity. The startup will chart its next stage of growth by developing an end­ to­ end social media platform, tapping into the data in the movie ticketing space that Bookmyshow sits on. The platform will factor analytics, marketing and sentimentality to help brands increase their outreach.

 "This is a strategic way for us to get bigger," said Eventifier CEO Ferry. "Bookmyshow is moving forward in the social media space. That's where we will come in and help them."

 Hemrajani said the company is open to more such acquisitions though no other deal is in the pipeline right now. The deal is the second acquisition for Bookmyshow after its buyout of Chennai­based online ticketing portal Ticket Green in March 2013. Bookmyshow raised a Rs 150­crore funding round in June 2014, which valued the company at over Rs 1,000 crore. Its investors include SAIF Partners, Accel Partners and Network18 Media, which is now owned by Reliance Industries. 

More such deals could be in the pipeline going ahead. While large players like Flipkart and Snapdeal have been making acquisitions over the last couple of years, now even a new set of players like Newshunt, Cardekho and FreeCharge are said to be eyeing acquisitions. 

Industry observers indicate that all digital companies, which have managed to raise over $30­40 million funding in the last six months, are eyeing small acquisition or acqui­hires (where companies are bought for their team), actively backed by their investors. 

"Now even more players are keen on acquisitions as the industry is turning increasingly competitive," said Sasha Mirchandani, founder of Kae Capital. "These deals help companies acquire talent and get to market faster. You will see more of this in the coming months and years.

" Newshunt, a local language mobile news aggregation service, acqui­hired analytics and big data processing startup Vauntz two months back. Going ahead, the company, which has raised over $40 million in funding since September 2014, is looking to acquire, invest or getting into partnership with more startups around the local language ecosystem.

 "We see ourselves as a local language players' platform and anybody developing an interesting content category like test preparation or solving problems digitisation or great utility apps are of interest to us," said founder & CEO Virendra Gupta.

Tuesday, February 10, 2015

Sony Pictures Team Up With Marvel Studios For Remake Of Spider-Man :businessofcinema.com




Sony Pictures has now decided to team up with Disney’s Marvel Studio to bring a new character ofSpider-Man out for the audience. According to the reports, the new character will first appear in one of the Marvel movies, and later a full-fledged Spider-Man movie will be released by 2017.

After the poor performance of Amazing Spiderman 2, talks of this partnership had started last summer. To which now finally there’s been a confirmation of the two giant production houses coming together to bring the character of Spiderman back to life for its fans. According to the companies, the duo will collaborate on a new creative direction for the web slinger.

Along with Sony Picture’s recently retired Co-chairwoman Amy Pascal, Marvel’s Kevin Feige will join as a producer on the new movie. According to Feige, “Marvel’s involvement will hopefully deliver the creative continuity and authenticity that fans demand from the MCU. I am equally excited for the opportunity to have Spider-Man appear in the MCU, something which both we at Marvel, and fans alike, have been looking forward to for years.”

After the character has been re-launched in one of the Marvel movies, which is most likely to beCaptain America: Civil War, Sony will start working on the new Spiderman movie which is scheduled to come out on July 28, 2017. As the Spiderman character was a major player in the comic’s storyline in Captain America, it is the only possibility although no confirmation has yet been made.

Being rival studios, this tie up is a major decision made by Sony, as Spiderman was its most profitable venture. The unsuccessful performance by Amazing Spiderman 2, and Marvel’s unmatched successful line up of action hero flicks, might be the reason of such a tie up.

link to the website

Telangana film industry divided? Times of India

Telangana film industry finds itself divided as stakeholders slug it out for control of the proposed Telangana Film Development Corporation. The infighting among Telangana based filmmakers has caused CM K Chandrasekhar Rao to postpone instituting Telangana Film Development Corporation (TFDC). Since the formation of Telangana State,native filmmakers have been urging the government to establish the TFDC to facilitate the formation of official trade bodies and safeguard the interest of local film fraternity.


Several self-anointed Telangana film bodies have met the CM and presented multiple 'wish-lists' of measures needed to enable Telangana cinema emerge from the shadows of Telugu cinema. "The government has received multiple representations from various groups. But the infighting and ego clashes among the various representatives have created a lot of confusion for the officials of ministry of cinematography," rues President of the existing Telangana Film Chamber of Commerce, Vijayender Reddy, whose effigy was burnt by a rival camp which accused him of being pro-Andhra.

Director N Shankar, of Jai Bolo Telangana fame, had also formed the Telangana Cinema Force and filed a requisition seeking formation of a new Telangana Film Chamber, claims that a few "black sheep" within the fraternity are to be blamed. "Our file is pending with the Home Secretary for the last nine months. A few lumpen elements are trying to mar the momentum. But CM KCR is knowledgeable enough. Those who are trying to protect Andhra-born exhibitors won't have their way," says N Shankar.

Writer-director Prem Raj concurs, saying, "A few big Andhra-born filmmakers tried to influence the government to stall the bifurcation of the film industry. We were hopeful that TRS government would do justice but it's a pity that we still call ourselves 'Telugu film industry' even nine months after the formation of Telangana state.

Government officials are not taking the issue seriously and hinting 'meerantha okate kadha' (aren't you all one). It's not fair."

We are hoping that the government would establish TFDC soon and restore the lost identity of Telangana cinema. Appointing somebody like award winning Telangana filmmaker B Narsing Rao as the head of the TFDC would help revive Telangana cinema. — Sana Yadireddy,President, Telangana Producers' Council

Contributor: BVS Prakash

Friday, February 6, 2015

PVR set to acquire Chennai’s movie exhibition company SPI Cinemas for Rs 750 - ­1,000 crore : The Economic Times

MUMBAI: The Ajay Bijli led PVR group seems set to acquire Chennai's premier movie exhibition company SPI Cinemas, popularly known as Sathyam Cinemas, in what could end up to be the biggest deal in Bijli's career as well for India's multiplex sector. Multiple sources aware of the on­going discussions said save last­minute developments, the deal may close for a rather steep valuation of approximately Rs 750­1,000 crore for just 40 odd screens, located predominantly in the Southern metro. To put this in perspective, last month Carnival Cinemas paid a little over Rs 700 crore to buy out Anil Ambani's Big Cinemas that has 242 screens across the country. This also underscores the growing consolidation frenzy that has gripped the multiplex industry in recent times ­ with 5 deals in 12 months, valued at over Rs 1600 crore ­­­ as theatre operators seek to improve their bargaining power with film studios and distribution companies to gain a bigger share of box office receipts. 

Additionally, with a prolonged slowdown in commercial real estate (read malls that typically anchors these multiplexes), dominant players feel inorganic growth is faster than time consuming greenfield developments. The SPI Group currently runs a cinema exhibition, distribution and production business but are known for their portfolio of some of the most iconic cinema destinations across South India. According to the company's website, it currently operate close to 40 screens under 5 categories ­­ Sathyam, Escape, thecinema, Luxe, their uber premium offering and S2 Cinemas and are poised to open over 50 screens by early 2015. PVR, with 454 screens in 102 locations across 43 cities, is the largest cinema exhibitor in the country today. Ajay Bijli, Chairman & Managing Director, PVR Ltd did not respond to ET's email query. Attempts to reach him or his top management on their mobiles also did not yield any result. A company spokesperson declined to comment on market speculation. "We are exploring several options to raise capital and are also in talks with several PE players. We have not taken any final call on the future course of action. A sale is an option but at this moment I have nothing to comment about on any valuations or potential discussions as nothing has firmed up yet," Kiran Reddy, Chief Executive Officer of SPI Group told ET. Sources add that they have been in the market for almost a year now and have been sought after by most of their peers. While most discussions fell through with the Reddy's insistence on a significant valuation premium, PVR has pursuing the opportunity for months now. PWC and EY are believed to be advisors in the deal. Earlier in December, newspaper reports had said that the two sides were in negotiations 

JEWEL IN THE CROWN 

What makes SPI Cinemas such a prized catch despite a small portfolio of just 40 odd screens that are largely concentrated in just 1 city ­ Chennai. For one, it is amongst the most profitable operators today with one of the highest average occupancy ­ over 65% ­­ anywhere in the country. It draws over 3 million customers a year. One of the sources mentioned above said the Reddy family owned chain is expected to post an Rs 85­88 crore EBITDA by the end of this financial year. Recent multiplex transactions in India have been sealed at 10­12 times EBITDA multiples, almost double that of global averages. As per data available from the registrar of companies, in FY 14, SPI Cinemas posted around Rs 39 crore of EBITDA on revenues of Rs 189.4 crore. The company had Rs 186 crore of debt then

link to the webpage

Thursday, February 5, 2015

Leading film markets worldwide from 2011 to 2013, by gross box office revenue (in billions U.S. dollars): courtesy statista.com

Markets 2013 2012 2011
US & Canada 10.9 10.8 10.19
China 3.54 2.74 2.03
Japan 1.99 2.41 2.26
Unite Kingdom 1.69 1.74 1.67
France 1.67 1.68 1.91
India 1.59 1.59 1.47
S.Korea 1.42 1.31 1.11
Germany 1.36 1.35 1.33
Russian fed 1.34 1.2 1.16
Australia 1.06 1.17 1.13