Findings on TV & Digital Content Mapping India 2019

A Short Report By CMS Media Lab

An Initiative of TCNA

RESEARCH HOUSE Saket Community Centre (CMS) 110017 Ph: 911126851660, 26864020

Content Page No Part A Entertainment Media Scene 01-04 Key Facts: Broadcast/TV Media 01 Key Facts: Digital Media 01 Major Online Platforms 02 Growth in Regional Content Libraries of OTT Players 02 Investments and Planned Launches of Original Content 03 Genres of Original Content on Major OTT Platforms 04 Originals Released in Regional Languages (FY 19) 04

Part B Content Creation Process – TV, Digital & Production House 05-09 Content Creation Process- TV 05 Content Creation Process- Digital 05 Content Creation Process -Production House 06 Organizational HR & System Structure- General 07 Organizational HR & System Structure- General (TV) 07 Digital 08 Production House 08 Organizational HR & System Structure- Content Team 09 Production House 09 Role and Function of Content Creation Team Members 09 Role and Function of Content Creation Team 09

Part C Conclusion & Recommendation 10-10

About the Report: This short report presents key facts of TV and digital entertainment media. It identifies key steps of content creation process in TV, digital platform & production house with key decision makers. Based on key facts of TV and Digital media in the light of content creation process, it presents conclusions and recommendations for future actions.

Part A- Entertainment Media Scene

Key Facts: Broadcast/TV Media S.No 1 Number of private satellite TV channels permitted by the 880 Ministry of I&B for uplinking only/downlinking / uplinking 2 Number of Pay TV Channels as reported by broadcasters 330 3 Number of Pay Subscribers net Active with Private DTH 70.49 Million Operators 4 Number of pay DTH Operators 5 5 Number of TV Households 183 Million Household 6 Number of TV Viewers 780 Million Individuals 7 Urban India – Reach 88% 8 Rural India- Reach 55% 9 Total Reach 66 % 10 Total Daily Tune-ins on TV 557 Million 11 Viewers Daily Time Spend 03:44:28 12 Hindi GEC- Weekly Reach in Million in 2017 499 Source: TRAI Report April 2019, KPMG M&E Report 2019 & BARC Report 2018

Key Facts: Digital Media S. No Internet Subscribers 1 Total Internet Subscribers 604.21 Million 2 Wired Internet Subscribers 21.42 Million 3 Wireless Internet Subscribers 582.79 Million 4 Urban Internet Subscribers 390.91 Million 5 Rural Internet Subscribers 213.30 Million 6 Total Internet Subscribers per 100 population 46.13 7 Urban Internet Subscribers per 100 population 93.86 8 Rural Internet Subscribers per 100 population 23.87 Source: TRAI Report April 2019

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Major Online Platforms S.No Platform Name Parent Company 1 Hotstar Star Network 2 Amazon 3 Netflix Netflix 4 Voot Viacom 18 5 Airtel TV Airtel 6 ZEE5 Zee Entertainment 7 SonyLIV Sony Pictures Networks India 8 Eros Now Eros International 9 ALTBalaji Balaji Telefilms 10 Jio Cinema/Jio TV Reliance Entertainment Digital 11 Hulu TV The Walt Disney Company 12 You Tube Alphabet Inc. /Google

Source: CMS Media Lab Compilation

Key Factors Influencing the Growth of Digital Consumption Second Growth in Cheapest Growth in Growth in Growth in highest per smartphone users in mobile data average data online Video average capita India to ~340 Mn in in the world usage per content to mobile data consumption 2018 (2015-200 mn). (INR subscriber meet the download of online 11% growth in 18.5/GB) per month to demands speed to 9.93 video in the feature phones (2015- 8.7 GB in from 325 Mbps in world shipments, higher INR313/GB) 2018 (2016- million Nov'18 than smartphones 0.88 GB) viewers as of (Nov'17-8.88 growth in 2018.) FY 19 mbps) Source: KPMG in India analysis, 2019

Growth in Regional Content Libraries of OTT Players Zee5 Sony Hotstar VOOT Alt Amazon Hoichoi Eros Netflix Liv Balaji Prime Video Now Tamil Y Y Y Y Y Y N Y Y Telugu Y Y Y Y Y Y N Y Y Marathi Y Y Y Y Y Y N Y Y Malayalam Y Y Y N Y Y N Y Y Bangla Y Y Y Y Y Y Y Y Y Kannada Y N Y Y N Y N Y Y Bhojpuri Y N N N Y N N N N Gujarati Y Y Y Y Y Y N Y Y

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Monthly subscription TV Basic HD pack (INR) OTT subscription (INR) Star TV vs Hotstar 85 30 Zee TV vs Zee5 60 83 Sony TV vs Sony Liv 70 40 Viacom TV vs VOOT 32 0 Total 247 153

Number of movies (approx.) Live TV channels Netflix 3800 NA Amazon Prime 4700 NA Hotstar 2800 32 Sony Liv 1600 26 Zee5 2600 100

Key Originals Launched on Major OTT Platforms in India (FY 19) Amazon Prime Netflix Hotstar ALTBalaji Zee5 Eros Now MX Player Video India Delhi Crime Made in Heaven Roar of Kehne Ko Karenjit Kaur Flip ImMature Sacred Four More Shots the Lion Humsafar Hain Life Sahi Hai 2 Metro Park Hey Prabhu! Games Mirzapur On Air Zaban Sambhal Abhay Operation Aafat Lust stories with AIB ke The Final Call Cobra Love Ok Ghoul The Great Rangbaaz Enaaya Please Selection Indian Smoke Day Dysfunctional Family

Source: KPMG in India analysis based on secondary research

Investments and Planned Launches of Original Content OTT Investments in originals Planned launch of original Platform content Netflix INR6 billion per year At least nine original series and eight original movies in 2019 Amazon Committed INR22.3 billion in 2017, expected 10 original series in 2019 Prime to be allocated over the course of two-three years Hotstar INR1.2 billion on 'Hotstar Specials' Tied up with 15 filmmakers for original content Alt Balaji In FY20, INR 1.50-1.75 billion, with at least 24-30 shows in 2019 75% of going into content creation Zee5 72 originals (12 movies & 60 series) over a period of one year (till Mar' 20) across genres and languages Source: KPMG in India analysis based on secondary research

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Genres of Original Content on Major OTT Platforms Comedy 31% Drama 27% Romance 13% Thriller 11% Horror 3% Action 3% Reality shows 3% Crime 3% Sports 2% Docudrama 1% Documentary 1% Talk Shows 1% Source: KPMG in India analysis based on secondary research

Originals Released in Regional Languages (FY 19) OTT platform No. of regional Regional languages of Examples language originals originals Netflix 2 Tamil, Marathi Sometimes, Firebrand Amazon Prime 2 Tamil, Telugu Vella Raja, Alt Balaji 1 Bhojpuri Hero Varrdiwala Zee5 24 Tamil, Telugu, Malayalam, Sigai, Kaali, Liftman, Kalavu, Marathi, Bangla, Punjabi Chitra Vichitram, Khoj Sony LIV 2 Marathi Founders, Full Tight Source: KPMG in India analysis based on secondary research

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Part B-Content Creation Process – TV, Digital & Production House

Content Creation Process- TV Stages of Content Key Steps Key Decision Maker creation New Content o Production houses approach channel with a CEO/MD & Creative Creation script and pilot episode [10 minutes]. Content Head Final Decision o Content team evaluates the proposal-script& Marketing Head Budget pilot episode. Limit o Marketing team finalizes budget. o Production house makes full pilot episodes. o Pretesting of pilot episodes for market feedback. o Content Head oversees any changes required in the show and content. Ongoing Content o Production house sends script to creative team Creative Head/team Running Process of the channel. approves or asks for changes o Creative team suggests changes or approve it, in the content. shoot begins. o After shoot, Post-production team sends rough cuts to the channel. o Changes are made in the content if required [ sometimes daily]. o The content is sent for telecasting [team fixes technical glitches if any before telecast]. Ongoing Content o Regular tacking of TRP [ by channel and Marketing team [tracks TRP Killing Process production house.] & inform creative team] o If TRP goes down, a review meeting is Marketing team & Creative conducted. team/CEO [takes final call] o If the TRP drops frequently, then content is killed

Content Creation Process- Digital Stages of Key Steps Key Decision Maker Content creation New Content o Writer presents the draft of a story idea to the The producer decides story Creation producer/ creative director. ideas & budget. o Shortlisting and finalization of the script. The creative head/VP o After approval, screenplay is written. decides content & team. o An estimated budget is fixed upon approval of the story. o Director and teams are selected. o Different teams are formed for production. Content Running o Daily shot content is reviewed and changes are The creative content team Process flagged. and post- production team o All content shot and banked before online finalizes the changes streaming. required.

Ongoing Content Not Applicable Killing Process

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Content Creation Process -Production House Stages of Key Steps Key Decision Maker Content creation New Content o A story idea is locked and an extensive research The writer story ideas, Creation is conducted for the same. research. o It is then presented to the producer. The producer finalizes o Once the story is approved, the screenplay story ideas & budget. writing process begins. The screenplay writer o Once the screenplay is approved, the shoot writes screenplay for begins. shoot. Creative director [ content] & Executive Producer [ execution]

Content o Post- production department for editing the Executive Producer, Running video and putting together an episode Creative Director and Process o Creative team/ head of channel decides any Creative Head take all change required decisions on set during the shoot.

Ongoing o When the TRP drops, the channel informs the The producer takes the call Content Killing producer. of killing the content in a Process o They try a different angle for a while to see production house. how the audience respond to it. o If there is no improvement, the content is killed.

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Content Creation People of TV Channels/ Digital Platform/ Production House

Organizational Structure- General TV Digital Production House CEO Creative Head Producer/ Founder Business/Marketing Head Director of Marketing Business/Marketing Head Content/Creative Head Director of English/Non-English Creative Head/ Director/ originals Production Head

Organizational Structure- General (TV)

Viacom 18 (Colors) CEO and Managing Director Sudhanshu Vats Creative Content Head Manisha Sharma Head of Ad and Sales Mahesh Shetty Associate Creative Director Sheetal Ayyer Marketing Manager Vandana Sharma Note: The Creative Content head, head of Ad and Sales, Associate Creative Director and the Marketing Manager report directly to the CEO Sudhanshu Vats.

Star TV India President and CEO Uday Shankar Country Manager Sanjay Gupta President & Head - Hindi GEC Gaurav Banerjee President & Head - Consumer Strategy and Innovation Gayatri Yadav, Note: Gaurav Banerjee takes all the decisions regarding the Hindi shows on Star channels under the leadership of CEO Uday Shankar.

Zee TV CEO and Managing Director Punit Goenka Marketing Head Ajmat Jagmag Creative Director Bhakti Apte Note: The Creative Director and the Marketing head under the CEO Punit Goenka. The telecasting team works under CEO as well.

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Organizational Structure- General (Digital)

Netflix Creative Head Monica Shergill Content Legal Priyanka Chaudhari Director of International originals Shrishti Behl VP for Non-English originals Bela Bajariya Director of marketing Swati Mohan Note: Monika Shergill also oversees Content Acquisition, Content Planning, Creative Content, Post Production, Product Animation and other departments as well.

ALT Balaji Producer/Founder Ekta Kapoor Vice President Dushyant Godia Supervising Producer Pradeep Mondal Executive Producer Pranay Mahante Note: i. The Vice President, Supervising Producer and the Executive Producer answer directly to Ekta Kapoor. ii. Art Director, Costume designer, creative department and directors report to Executive Producer Pranav Mahante

Organizational Structure- General (Production House)

Rashmi Sharma Founder and Producer Rashmi Sharma and Pawan Kumar Marut Business Head Akhilesh Singh Chief Financial officer Abhishek Jain Accounts Head Pravin Singh Creative Head Ishita Production Guddu Ji Post Production Danish Note: The CFO, Business Head and the Human Resource manager work directly under Producer Rashmi Sharma

Contiloe Producer Abhimanyu Singh Business Head Manish Pupat Chief Financial Officer Nitish Dadoo Human Resources Rupali Kadyan Note: Business Head, CFO, legal head and the account head report directly to the CEO Abhimanyu Singh. He also oversees the Post and pre-production processes at this production house.

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Organizational HR & System Structure- Content Team

1. Producer 2. Creative Head 3. Writer 4. Screenplay writer 5. Dialogue writer

Production House Producer/Creative Director Creative Head Writer Screenplay Writer Dialogue Writer Executive Producer Supervising Producer Art Director

Role and Function of Content Creation Team Members

1. Creative Director – handles the scenes on set 2. Creative Head – overlooks everything 3. Asst. Creative Head – handles all the operations 4. Executive Producer – Manages everything on set 5. Production Manager – takes care of logistics on set

Role and Function of Content Creation Team

Designation Role Creative Director Creative director is the captain of the set. He handles directing and shooting the scenes and ensures that everything is working as per the pre- determined screenplay. Creative director checks whether the set up for the shoot is ready. Creative Head Creative head overlooks everything right from the beginning. All the scripts go through the creative head. The creative head also overlooks the shooting process. Assistant Creative Head Assistant creative head handles all the operations on set. Executive Producer Executive producer is involved in the shooting set and he monitors if the shoot is done according to the said screenplay. He monitors if the money is used effectively. Executive producer, creative director and the creative head takes all the decisions on set Production Manager Production manager takes care of the logistics of the set. He keeps a check on whether the AC is working, if the lights are working, if the right artists have arrived, etc.

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Part C - Conclusion & Recommendation

1. C- Hindi GEC covers around 25 % of TV Universe. Any top 5 Hindi GEC will have market share of around 5 %. R- Alliance should work with at least [2 or 3] leading Hindi GEC for five years. Any transformative content on one TV platform can have multiplier effect if it crosses popularity threshold. 2. C- Content creation people are the most important for bringing change in content. They are content team of TV channels and Production houses. R- We should create strong network with channels creative team, producer, creative director writer, etc. within a year. 3. C- Content creation process is the most common process in different models of OTT platforms, TV channels and production houses. There are other processes like content running and killing process only applicable to TV Network & production houses. R – We should be involved at new content creation stage with TV channels, OTT platform & Production House. This is most critical process for success of our Vision. 4. C- Digital medium[OTT] is emerging platform for entertainment. There are three different models of OTT- TV Network owned OTT [ Hotstar, Zee5], Production House owned OTT [ALT Balaji] and Independent OTT- [ Amazon Prime, Netflix]. It has least barrier & less risk compared to TV. Digital platform’s ability to experiment and produce transformative content is huge. Digital platform does not have content running and killing process unlike TV Platform. R- We should invest our energy and resources in influencing content creation process of OTT Platform for 5-10 years. 5. C- There is no standardized system to recognize pro- social content on regular basis. R- We should create a platform like Hall of Fame for different categories of content creation. It should be available on digital and physical platform. 6. C- There is no platform for Pro- social content creators. R- We should create a national network of Pro- social content creators. Preferably, we should create a nationwide pool of young, energetic, dedicated and self-motivated fellows. We should invest minimum 5 years to train them to create movement for Pro- social content in different entertainment zones of the country covering major language entertainment media. Pro- social content creators should use their output to train students of school/colleges/universities on multiple pro- social issues. Young fellows can contribute in creating resources and training process. 7. C- There is no platform for Professional & Academic researchers on transformative entertainment communication research. R- We should create four study zones on entertainment communication/media research in India to document change in entertainment narrative across the nation. We should start this initiative with 5- 10 lakh rupees of initial fund. The finding of these studies should be shared with stakeholders including media & film colleges/ institutes/universities.

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