AL

iCalI
p ecE
P
SS
919
0210
V2
TPVT
IMPI
M

Issue No. 2
April 2019
CONTENTS
 Editor’s Note

C ontent has always been –

and continues - to be the
lifeblood of enjoyable
and engaging entertainment.
And that’s why markets like
action studios.

In India a push towards local originals is taking

place and that is documented in the story which
you can read on page 14. Both broadcasters and
MIPTV, MIPCOM and ATF (in OTT platforms are abetting this trend.
Singapore) continue to be
important as the world Additionally, attempts to get audiences to
shrinks into a global village come to theatres to watch animation feature
where programmers, films are once again being made. Previous tries
creative talents, producers, were aborted and the few ones that did make it
and distributors congregate to to the big screen bombed. You can read more
look for the next big creative about this trend on page 8.
idea in video.
Bollywood has started a new trend wherein smaller
What’s crashing the geographical, budget films featuring a new breed of actors but with
cultural and language boundaries is alternate solid believable storylines are making a mark
the spread of global streamers like at the box office beating the collections of big budget
Netflix, Amazon Prime, Apple TV and banners with megastars. You can read about this trend
the soon to come Disney Plus. in Bollywood’s alternate storyline on page 25.
Additionally, local streamers in
almost every region are also looking India’s stock is rising globally and it is making a mark
at expanding their footprint region- as one of the fastest growing economies. As more
wide and some even worldwide. and more disposable income comes into the hands
of India’s employed, they will need avenues to
And their maw for content, both spend it. An increasing amount of that money is
catalogue and extremely edgy going towards entertainment – television, movies,
originals, continues to grow as they sport, cars, travel, eating out – and what have you – as
seek to feed the insatiable hunger of Indians have been deprived of it for decades. This
their millions of subscribers globally. thirst for entertainment is going to benefit the many
who strive to quench it. Indian or international.
For long, four major studios have been the
flagbearers of Indian animation. Now Green Anil Wanvari
G o l d , To o n z , C o s m o s M aya a n d D Q Founder, CEO & Editor-in-Chief
Entertainment are about to get some
company. TV producers with a track record of
rolling out successful drama series are now
haring into animation. This trend is tracked in
our cover story on page 18 and also our cover
page showcases animation projects from three live-
Founder, CEO & Editor-in-chief Design
Anil Wanvari Heena Bohra
Yugandhara Shete
Director - Operation & Resource
Larysa Savinska Ad Sales Lead An AnimationXpress.com Special
Neha Singhal Mehta Animation Xpress India Pvt. Ltd.
Strategy Lead C-350, Oshiwara Industrial Center,
Ad Sales
Mishaal Wanvari New Link Road, Opp Oshiwara Bus
Sarfaraz Shaikh
Hemani Sarvaiya Depot,Goregaon (W),
Editorial Lead Mumbai, 400104, India
Krishanu Ghosal Client Servicing [email protected]
Anish Rao
Editorial ©AnimtionXpress.com 2019
Sharmindrila Paul
Cover Images:
Yugandhara Shete
Poonam Mondal Left- Contiloe Pictures’ Mahayoddha Rama
Right- Sphereorigins’ Kuku Mey Mey
Parth Kaushik
Bottom right- One Life Studios’ Kilkariyan

AnimationXpress SPARK | April 2019 05

Promonet Feature

Asit
Kumarr
Modi:

Indiaʼs
Chuck
Lorre
ventures
out
his forte, his knack and insights have
allowed Neela Tele Films to dish out quality
entertainment for family audiences.

Modi has produced an array of shows like

Meri Biwi Wonderful (an adaptation of
English Classic Comedy Bewitched), Yeh
Duniya Hai Rangeen (Comedy), Humari
Saas Leela (Mother In Law and Daughter In
Law Daily soap), Sab Khelo Sab Jeeto
Neela Tele Films Way Forward… ( Fa m i l y G a m e s h o w ) , K r i s h n a b e n
Khakhrawala (Drama Series of Inspiring
With over 5000 episodes of original content Women).
produced for top Indian television channels
including Sony Entertainment Television
India (Sony Pictures Networks India), Colors
(Viacom 18 Media), Star Plus (Star India)
and SAB TV (Sony Pictures Networks India),
Neela Tele Films has emerged as one of the
leading IP and content creation studios in
India.

Hardly any television enthusiast in India has

escaped the waves made by its flagship
show, Taarak Mehta Ka Ooltah Chashmah The compelling content it dishes out is
(TMKOC), the daily family comedy show designed for broadcast on all media
that has dominated Indian television for platforms in India is well on its way to
over a decade. spread wings beyond the Indian
subcontinent.In a bid to create progressive
The Man with the Midas Touch and thoughtful quality entertainment for
family audiences, Neela Tele Films is also
Asit Kumarr Modi, the founder and set to foray into the digital space.
managing director, who has a great taste for
stories with a unique ability for storytelling Tarak Mehta ka Ooltah Chashma (TMKOC)
and catching the pulse of the audience, has
been at the forefront of the evolution of his The world’s longest-running sitcom,
production house. The comedy genre being TMKOC is also rocking at number one

06 AnimationXpress SPARK | April 2019

 Promonet Feature

position on Indian television with over 100

million views on digital alone. With over
2700 episodes, TMKOC is still going strong
and has gone on to bag dozens of
prestigious awards. The 22- minutes
sitcom, is about the comic interplay
between the multicultural residents of
Gokuldhaam Society in their day-to-day
lives, supplemented with social
commentary, bringing alive the everyday Founder & MD Neela Tele Films
life situations by characters who look like Asit Kumarr Modi
lovable people-next-door.
He further reveals that they also have a
The dialogues and characters are very format of TMKOC ready with more than 250
simple and relatable to the common man, stories from the 2700 episodes, which
each with their own quirks . Their problems Neela Tele Films is to ready to present to the
are common but their solutions, unique world. The format is also open for
and wacky. “Through our shows, we distribution in different territories along
present a wholesome comedy within the with dubbing , character licensing ,
framework of family values, simplicity and animation and merchandising rights for
togetherness,” says Modi. specific territories.

“On top of this, we celebrate each festival Foray into the animation space with
with its own fervour and tastes, putting up Taarak Mehta Ka Tapu Sena
grand celebrations and everyone coming
together to enjoy the occasion irrespective Taarak Mehta Ka Tapu Sena which is in the
of their religious and cultural beliefs, works, is a kid’s series and will track the
funny and innocent daily adventures of
showcasing the unity in diversity that India Tapu and his friends who live with their
has to offer, Gokuldhaam Society itself families in Gokuldhaam Society, where the
representing a mini-India.,” points out residents have occasional problems that
Modi. are sweet and hilarious rather than serious
ones The sublime thought behind the
Modi firmly believes that creating concept is Gokuldhaam is like Vrindavan
awareness through entertainment and and Tapu is like Krishna, who’s loved by
laughter is the best way to bring about everyone.
social change and is the best way to serve
the nation. It is also one of the first nine In the new avatar, the company is all set to
nominees and the only TV serial that has undertake new projects in the space of
been nominated by Indian Government's feature films, OTT content, animation
Clean India Mission on 2 October 2014 series and interactive content in Hindi and
announced by PM Narendra Modi. other Indian languages.

AnimationXpress SPARK | April 2019 07

Special Report

Animated
feature
films
rev
up
Yugandhara Shete

L ights! Camera! Action!

One often hears this common cue on
live action film sets. But one is hearing
that increasingly in Indian animation studio
offices these days as more and more of
Trend Setter
According to industry lobby outfit
Federation of Indian Chambers of
Commerce and Industry (FICCI) latest
entertainment industry report which
them are foraying into the animated released in March 2019, at the start of
feature film space. An increasing number of 2018, India had around 300 animation
locally created animated features are studios. Animation grew 10 per cent in
finding their way into theatres. And they 2018 to reach Rs 18.8 billion and by 2021;
are being funded with some reasonable the animation segment is expected to reach
P&A budgets. a size of Rs 24.4 billion. Observers point out
that the turning point for animated
Animation as a genre features came with the success of the
needs to be established animated feature Chaar Sahibzaade which
in Bollywood. And this chronicled the sacrifice that the four sons of
will happen only if there Sikh leader Guru Gobind Singh made while
are many hits and efforts
are made to make this
battling Mughal invaders.
a reality.
The latest release from Indian makers is the
- Green Gold Animation
Founder & CEO Rajiv Chilaka
animated feature, Goopi Gawaiyaa Bagha
Bajaiya (GGBB), which is executed from the
original story written by Upendra Kishore
Ray Chowdhary and brought to the silver
screen by Satyajit Ray as Goopi Byne
“It’s great to see the appetite for Indian Baagha Byne.
studios to produce full length animated
features,” says an animation industry
veteran. “Studios like UTV, Yash Raj,
released films but they received a cold
reception at the box office. And that
dissuaded even a world class film maker like
Karan Johar who kept one of his pet
projects Koochie Koochie Hota Hain in the
deep freezer.” Today, however, professional
world class studios such as Green Gold,
Cosmos Maya, DQ and other smaller
Goopi Gawaiya Bagha Bajaiya
studios are daring to take risks .

08 AnimationXpress SPARK | April 2019

 Special Report

Produced by the Children’s Film Society of required level of animation.

India (CFSI) in association with Karadi Tales,
GGBB is directed by animator and
educationist Shilpa Ranade, with the
a n i m at i o n exe c u te d b y Pa p e r b o at
Animation Studios. Says Ranade: “The
language of moving images is so strong and
deep that it cuts all the barriers. Audiences
abroad have asked if they could have the
movie in their language.”
Hanuman vs Mahiravana
We need original
But Green Gold Animation’s Hanuman Vs
storytelling that kids
Mahiravana is taking a page from the global
are going to watch
biggies, as it has been made across five
today and five years
later as well. countries and involved various artists and
studios from Japan, Australia, Mexico, India
- Paperboat Animation Studios
Co-founder & Chairman and USA. The movie also won the FICCI
Soumitra Ranade
Frames BAF Award 2019 for Best Animated
Film (Indian).

Another film that is set to hit the screens is “We wanted this movie to inspire the next
Bengaluru based Native Puppets Animation generation to feel proud about our heritage
Studio’s Misadventures of Coco & Inika. and enjoy this as much as they enjoy
The interesting combination of live-action international features,” highlights Green
and animation will help the creators grab Gold Animation founder and CEO Rajiv
attention from their desired target Chilaka. With the international animation
audience. trend growing tremendously, Indian
studios are upping their production quality
“The coming to life of Coco from being an to that of globally loved films.
inanimate object in Inika's world to
becoming the hyper-cute cartoony baby First of its kind
elephant in to the real world is an engaging Another upcoming feature from Green
transformation,” says Native Puppets Gold will see the popular animated
Animation Studio founder Anand Baid. c h a r a c t e r, C h h o t a B h e e m i n C G I
stereoscopic 3D for the first time. Bheem
In the case of animated films, the budget of will be seen travelling to China with his
global studios would average 20 to 30 times friends in the feature Kung Fu Dhamaka.
the budget for a typical Indian product. Due
to this, even a movie such as The Jungle Keeping cultural and traditional values
Book, which is India-based, is created by intact, independent filmmaker Ravi
foreign animation houses as they have the Shankar created Punyakoti, the first
budget required for carrying out the animated film in Sanskrit.

AnimationXpress SPARK | April 2019 09

Special Report

India being a multilingual country, the

creators want to cater to even the regional
population. One such studio is DP
Animation Studio, which is working on a
Marathi animated feature that will be
released in multiple languages. Titled Kidzz
these days!, the feature revolves around a
Punyakoti nine year old girl Lily Madhav and her
Apart from the concept, what makes the adventures in her native town during a
feature standout is its unique animation vacation.
style inspired by Indian folk-art with a mix of
t ra d i t i o n a l a n d d i g i t a l a n i m a t i o n DP Animation Studio founder Dattaprasad
techniques with more emphasis on the Mete reveals: “I hope that the animated
storytelling than on the technical prowess. feature gets a better shelf life as it won't be
too local to alienate the global
Instead of assigning the project to a audience nor will it be an
single studio, the Punyakoti inauthentic representation
team opened the doors to of our culture.”
the best animation talent
around the world. Bombay Rose by
Since there was a lot filmmaker and
of constraint in the animator Gitanjali Rao
budget space, is waiting to be
Shankar, determined revealed soon, besides
to choose a different stop-motion animated
path, crowd funded feature Lubdhak by
the project, which well-known DOP Avik
went on to become Mukhopadhyay.
one of the largest
funded projects with “India has probably the
over four million rupees youngest population watching
collected through a crowd- all the international animated
funding platform in India. features in cinemas. Gradually,
a s m o re a n d m o re I n d i a n
The determination to bring animated features are released
something worthy to viewers has in theatres, we will see audiences
seen some really appreciated queuing up at cinema halls to
projects being created in India. watch them as they get used to
Creators feel that relatable Indian titles,” says the media
characters, engaging narrative, veteran quoted earlier.
Lily from
fresh music and overall good ‘Kidz these days!’

cinematic experience will bring the Well a start seems to have been
audience to theatres. made!

10 AnimationXpress SPARK | April 2019

Promonet Feature

Cosmos-Maya:

The
rapidly
expanding
global
entity

C osmos-Maya has come a long way as

one of the most aggressive players in
the Indian animation industry. It has
paved the way for a lot of changes - industry
transition from outsourced service
2017, Emerald Media, the Pan-Asian media
investment platform backed by US private
equity giant KKR, acquired a controlling
stake in Cosmos-Maya. KKR’s global
expertise aligned with Cosmos-Maya’s
providers to content creators and objective of global expansion. There has
Intellectual Property (IP) owners and have been no looking back for them since.
emerged the most successful in that regard.
Nine of their IPs are currently on air and a Presently, Cosmos-Maya is working on
handful will be added in 2019, of which a several international projects like Italian co-
major proportion will be international co- productions, namely Leo Da Vinci (with
productions. Gruppo Alcuni and All Rights

Domestically, Cosmos-Maya has almost 60 Entertainment), Berry Bees (with Atlantyca,

p e r c e nt m a r ket s h a re to d ay. T h e SLR and Telegael), and Atchoo! (with Studio
company’s content is aired on all major Campedelli and Cartobaleno) which is
Indian broadcasters in the traditional and already airing on Amazon Prime Video.
new media space including- Nickelodeon, Their first French co-production, Galactic
Disney, Sony, Discovery Kids, Cartoon Agency with Studio 100, was also recently
Network, Netflix, Amazon Prime Video and announced, with Captain Cactus and Help
Jio to name a few. It is aired in more than Me Ganesha in development at the
150 countries and has reached almost all moment.
corners of the world.
As a studio, Cosmos-Maya creatively loves
The travesty of animation has for long been to push the envelope for every IP that they
the lack of profitability. It is a passion driven develop or partner on. The animation
business, rather than profit driven. Come studio has constantly challenged

12 AnimationXpress SPARK | April 2019

 Promonet Feature

themselves by balancing different creative Cosmos-Maya believes that IP creation is

sensibilities, merging cultures and taking the way forward, and has championed the
creative inputs from each side, while co- Indian IP revolution. The company is now
producing any show as the markets are staking claims to the global animation pie,
different. European markets are very and following the winds of change they’re
different from each other. Cosmos-Maya, on the right track.
as a studio, creatively loves to push the
envelope for every IP that they develop or Digital platforms have played a huge role in
partner on. helping their content reach different parts
of the world. Today, digital gives real time
Cosmos-Maya has almost 25 years of updates in terms of which audiences from
experience in animation production with which geographies are spending how much
training facilities time on which episode
and proprietary of which IP. This level
software helping in of granular data is very
cost cutting. helpful from the
M o re o ve r, t h e y perspective of
have created an planning the
economy of scale programming strategy
w h e re t h ey a re of our content. It also
able to produce 50 helps them draw the
half hours of creative insights for
content every subsequent projects.
month. These insights are also
helpful in deciding the kind of international
On the syndication front, their shows have co-productions we would want to be part
been well received internationally. Their of.
current catalogue of shows have been
syndicated to different countries, for Viewers can now access their content
instance, Motu Patlu is doing exceedingly directly on YouTube under their umbrella
well in Indonesia, Singapore and was brand, WowKidz, which is one of the largest
recently syndicated to Nickelodeon, MENA on YouTube with more than 18 million
region. In fact, such is the admiration of the subscribers and over 10 billion views as of
show that it was recently declared the most March 2019.
popular Indian TV show in the world by
Google! WowKidz airs a diversified mix of great
content. With iconic global brands, from
Crossover shows like Eena Meena Deeka The Smurfs to popular digital IPs like Little
and Tik Tak Tail with a universal appeal, Baby Bum, to one of China’s biggest IPs,
have reached more than 150 countries Boonie Bears, Cosmos-Maya has
worldwide, and Atchoo! which was recently partnerships with other big YouTube
acquired by Nickelodeon, has reached channels which broadcast their content in
more than 100 countries. different countries.

AnimationXpress SPARK | April 2019 13

 Industry Feature

Local
animation
gets
a
leg
up
Sharmindrila Paul

K ids animation in India is showing

signs of growing up. Thanks to the
broadcasting and OTT sector that is
being increasingly supportive of local
studios and commissioning local shows
recently launched FICCI EY report, the
animation segment grew by 10 per cent in
2018 to reach Rs 18.8 billion and it’s
estimated to reach Rs 24.4 billion by 2021.

based on local culture and local stories. Animation for domestic broadcasting is
growing at a healthy rate of around 30 per
India has about a score of kids channels cent. TV comprises of 65 per cent of all
serving more than 200 million strong kids animation in India followed by film and
population. Among these are: Disney, digital.
Disney Junior, Pogo, Cartoon Network,
Nick, Nick Jr, Discovery Kids, Chutthi TV, This number will continue to increase as the
Hungama, Sony YAY!, Kochu TV, Kushi TV, broadcasters are now focusing even more
Chintu TV and Marvel XD. on commissioned original animated shows
and building their own library rather than
While most of them broadcast in Hindi and simply licensing content.
English, some of them have regional
language versions of the same. And a new Creating an IP is majorly a collaborative
player has been announced in the form of effort between broadcasters, production
Star Movies Kids which got the houses, creators, writers, directors,
governmental nod in early 2019. When it designers and animators. While
flags off, it will add to the 12 to 14 Indian commissioning any IP, some broadcasters
originated shows which are being churned completely own the rights, while others
out every week by India’s animation hold the rights in partnership.
majors.

The Upward Curve

With a flurry of “Broadcasters are generally the
channels churning outlet to show any content to the
out local fare and world. Any collaboration is
telling kids to watch successful if the partners have a
them, the genre has
seen a spurt in
common goal and are able to
viewership in 2018 leverage that.”
from an average 499 - Discovery Kids head Uttam Pal
GRPs to 550 GRPs. Singh
According to the

14 AnimationXpress SPARK | April 2019

 Industry Feature

Paperboat Animation co-founder and The OTT Allure

chairman Soumitra Ranade adds to this He also reveals
view. Says he: ”We need to develop our that he has been
own aesthetic. IP creation is a scientific pitching. Some
thing related to the socio-political situation interesting work
in the country and the world. It’s not going with a number of big
to work if we make B-grade version of names in the OTT
Disney or Pixar. In the race to be global, we ind u str y. And
tend to copy the West which is a trap. We t h a t ’s w h e r e
must keep faith in our own art of some action is
storytelling ideas, visual and sound taking place with
traditions and we’ll get there where we leaders like Netflix
want to.” and Amazon Prime
investing in the genre.
But there’s no guarantee that even doing
local fare will attract kids to the show. ” Several animation shows, both acquired
and original, are making the rounds of a
Hear out Bioscopewala Pictures managing number of OTT platforms. And almost
partner Nishith Takia. Says he: “I produced every major animation studio – whether it
a film called Delhi Safari, sadly it didn’t run is Green Gold or Cosmos Maya or Toonz
in India at all. But we released it in 1200 Animation has been commissioned or is in
screens in China and had more than two conversation to produce fresh shows for
million tickets sold in Korea, whose the OTT platforms.
population is lesser than Mumbai. I think if
we create a relevant storytelling, we can Golden Robot Animation head of business
attract audience anywhere. It did good in all development RK Chand says: “The best
the 32 countries we sold it, except our own. thing about OTT platforms like Netflix and
The quality of animation is affected by the Amazon is that they have given us the
budget. If channels here are not giving us liberty to innovate and experiment with the
budget, we can’t provide quality animation storytelling. Kalari Kids is the first Indian
unless we invest our own. So we want to kids content (Beyond Chhota Bheem) on
collaborate with interested people in Amazon. Basically, the secret of success lies
Europe who are aware of the aesthetic on the style of storytelling and reach. With
space and not just budgets.” Mighty Little Bheem, we’re trying to reach
that.”

Indian animation is expected to make a

mark on the global and gain traction with
kids, cross age groups and geographical
boundaries with their breakout animation
show ideas.

Kalari Kids Shall we say amen to that?

AnimationXpress SPARK | April 2019 15

Promonet Feature

Streaming
Platform
DocuBay

to
Preview
at
MIPDOC
2019

D ocuBay Media is a global

subscription based service
designed to stream non-fiction
documentaries. A video-on-demand
platform, positioned as a niche video
the world that cater to the virtually
untapped factual entertainment audience,
with a particular emphasis on
documentaries. DocuBay offered an
exclusive first look at MIPDOC 2019.
service, DocuBay offers premium non-
fiction content in categories such as Headquartered in Mumbai, India, It is
HistoryBay; ScienceBay; NatureBay etc. scheduled for an international consumer

Laying emphasis on curation and discovery, launch in the summer of 2019.

DocuBay's launch proposition includes a
release schedule of one documentary daily. What according to you is the potential for
a ser vice like DocuBay, India and
A global offering from India, it aims at internationally?
building a community around documentary
aficionados. Developed specifically to cater The paradigm shift that was forecast with
to a gap in the community of factual the growing proliferation and penetration
entertainment viewers, it seeks to immerse of the internet and other online services is
viewers into a world that is alive with happening all around us. An overlooked,
stunning visuals, extraordinary and historically under-recognized category
experiences, and events beyond the scope within the space of media and
of imagination entertainment has been the factual
entertainment business. Riding this wave of
It is India's first and amongst the first few in digital transformation, the factual

16 AnimationXpress SPARK | April 2019

 Promonet Feature

community of viewers and makers is of players the

growing at an unprecedented rate. For global market
example, 16 per cent of the Cannes film offering factual
m a r ket i s n ow d o c u m e nta r i e s – a entertainment.
remarkable growth, and one which
indicates the popularity of this genre. This is DocuBay has a
the piece of the pie that DocuBay focusses clear positioning
on. as the window to
a selection of
Like there are feature films and series in the c a r e f u l l y
broad entertainment category, within the h a n d p i c k e d DocuBay COO Akul Tripathi
factual entertainment category, there is documentaries.
docu-series and documentary movies. And in the current scenario, the
Documentaries are the feature possibilities are truly limitless.
presentation of the factual world. Films of
the real world. And everything from their What is the revenue model?
conceptualization, story-telling, and
execution has quietly undergone a Subscription. That is the future of quality
revolution. entertainment. DocuBay is a premium
documentary-focused SVOD service that
The documentaries of today are engaging includes innovative discovery features and
pieces that tell the story of humankind. recommendation models.

Documentary makers are not only picking What is the plan post immediate launch?
engaging subjects, they're going through
great lengths to present cinematic Grow, grow , and grow some more. Also
moments using art and innovative grow on the consumers as a brand.
technology, pulling the viewer into the
investigation, and presenting reality in a A new age in non-fiction has arrived and we
raw and real manner which has proven very are planning to acquire the best catalogue
appealing to the public. This is reflected and keep adding new genres and languages
even in Netflix's stats, where 73 percent of for a global audience. There is undeniably
its subscribers watched at least one no dearth of creativity and a lot of
documentary in 2016 which means over 68 outstanding, award winning documentar-
million people watched a Netflix ies disappear without a shred of the
documentary in 2016. audience they deserve.

Non-fiction storytelling is pushing Just like at the pitch of MIPDOC, there are
boundaries of modern entertainment. innumerable ideas that are seeds of
Everyone  —  from professional documentaries in the making, and to have
documentarians, commercial directors, these germinate by providing the right kind
content generators, actors are getting in on of environment and support is something
the potentials of non-fiction. There are lot that is priority for us.

AnimationXpress SPARK | April 2019 17

 Cover Story

Indian
live
action
studios

get
animated!
Krishanu Ghosal

T he fast growing Indian animation

industry has come under the
international spotlight over the past
decade or so. Many view it as a service
destination for odd animation jobs. But
husband wife duo of Sunjoy and Komal
Waddhwa, the production firm has around
a dozen top rated shows and 6500 hours of
content under its belt for leading
broadcasters such as Star India, Zee TV,
what has also piqued global imagination is Colors and Sony Pictures Entertainment.
the dainty steps that Indian animation
studios have been taking in creating local
characters and stories in television series.

Now even more players are joining this

bunch of animation pioneers. And these
are coming from top television production
houses who are better known for creating
TRP busting live action TV series. They are
testing the waters with animation features
Sphereorigins Founder & MD
and also beginning to create animation Sunjoy Waddhwa
series.
Waddhwa is very enthused with the
And with reason: studios such as Green prospects in animation. Recently, the Rs
Gold, Cosmos Maya, Toonz Animation and 1600 million Sphereorigins acquired a
DQ Entertainment have left their imprint small animation studio called Hopmotion
as IP creators not just in India but in parts and integrated it with itself. And he’s
of Asia and Europe and they have built bristling to create animated shows that
healthy pipelines as well as attractive can find audiences not just in India but
bottomlines. 2018’s Federation of Indian overseas as well.
Chambers of Commerce and Industry
entertainment report (FICCI) reveals that Says he: “We feel now is the perfect time
the animation industry in India grew by 10 to enter the animation ecosystem and be
per cent in 2018, reaching Rs. 18.8 billion. in the business of that vertical as it’s
But wait, it’s expected to grow around 30 growing on a sharp scale. This venture is
per cent to touch about Rs 24.4 billion by exciting for us because we believe in the
2021. synergy and the insatiable force within
and it keeps driving us to explore new
Enough for almost anyone to want to ride avenues. We want to focus and specialise
that growth. Which the TV guys are doing. i n I P c re a t i o n , d e v e l o p m e n t a n d
Sphereorigins for instance. Headed by the production.”

18 AnimationXpress SPARK | April 2019

 Cover Story

Leading TV producer Contiloe Pictures is young country with millions and millions of
also gung ho about animation. In fact, children that would want to consume
founder Abhimanyu Singh has for almost a animated content as well as a large young
decade nurtured ambitions to succeed in audience that loves watching animated
animation. An early attempted feature on stories and therefore there is great
the elephant God Ganesh was a moderate potential and a great growth story there.”
to poor success at the box office. But Singh
is not one to give up. He worked on another Swastik Productions international arm of
film on the Indian epic Ramayana which One Life Productions too has set its sights
won him the national film award which he on animated content. Founder Siddharth
proudly showcases in his office. Contiloe Tewary who has written and directed many
has been known to have expertise in of the award winning drama, historical and
p ro d u c i n g t h r i l l e rs , h i sto r i ca l a n d mythological shows that have been
mythological fiction – both of which require viewership busters on TV would like to see
extensive VFX. some of the live action fare he has
p ro d u c e d o ve r t h e d e ca d e o f t h e
Where earlier he used to work with a gaggle company’s existence being remade as
of external studios for this animation animated series, apart from foraying into
features, he has now set up a state-of-the- feature films.
art animation facility in the Indian state of
Odisha to add to its current facility which is Says he: “I really don’t want to talk much
in Mumbai. He is expecting to increase the about it. I would rather develop a few
hours of animation output by hiring successful animated shows and then reveal
aggressively in Odisha and rolling out more. You can be sure that some animation
animated shows for both broadcast and series will emerge from One Life.”
OTT platforms.
Adds his brother and director in the firm
Says Singh:, “The industry has a long way to Rahul Kumar Tewary: “We have won the
go, still. There are some stories that have FICCI BAF Awards for three consecutive
broken out. However, the potential of years (2017 & 2018 - Best VFX Episode,
where and how many more stories can National and International respectively, TV,
break out is immense. 2019 - National and International Non-
Therefore there is a long road feature Best Visual effects . It’s a growing
still to travel on vertical with a huge potential.”
and it also
has a great An observer points out that it makes
potential eminent sense for live action studios to
considering foray into animation and even VFX services.
the fact For one they have access to writing and
that we creative talent in-house, along with
are a infrastructure. And the more futuristic
Contiloe Pictures Founder looking producers have been investing in
Abhimanyu Singh VFX facilities and VFX and animation talent

AnimationXpress SPARK | April 2019 19

 Cover Story

drama series for television. on the piggy bank. But

with with healthy cash
“With around 150 to 600 seats providing flows from their live
VFX services for their internal shows, the action shows these
natural extension was to start thinking leading production
about producing animation as the domestic houses’ VFX and
demand for local animated series is animation units are
increasing,” says he. co n sta nt ly b u sy
and they start
Te wa r y g i ve s a n o t h e r re a s o n w hy toying with One Life studios Producer & MD
Rahul Tewary
animation is seeing a rush. Says he: “There w i t h
are states which have policies in support of animati
t h e i n d u s t r y ; i t c re a t e s t h e r i g h t on concepts and storylines to keep them
environment of growth. The states creatively refreshed. Some of these get
understand the potential growth of the converted to pilots.
industry and its contribution to create a
positive impact on employment. Hence Says Singh, “There are many stories that
they are encouraging us in every way.” may be told through animation in India.
And India is a country full of stories . Telling
Others say that the rise of OTT platforms is some of these through live action would
another reason for the growth in interest, take hundreds of millions of dollars. But
animation for domestic broadcasting is animation allows us to do so in a fraction of
growing at a healthy rate of around 30
per cent, and now accounts for 30 to 35
that cost and with a lot more ease.”
per cent of revenues generated in the
Indian animation segment, according to the Even as they are gung-ho about animation,
latest FICCI report. they are also treading cautiously and not
going over board on new IPs and projects.
However, given that the OTT industry in “We would like to get everything right
India growing exponentially thanks to the rather than going the whole hog,” says
availability of cheap data prices, the Siddharth. “We understand production and
demand for content has stood up like never have succeeded at it for decades now and
before. And platforms like Netflix, Amazon, have the experience of the same. Getting
Disney+, Apple TV Plus, will over the next into animation is our way of building a more
few years localise even more seeking out complete production firm.”
local producers with skill sets to produce
almost every genre of video programming. Adds Wadhwa: “At the end of the day, we
Setting up an animation studio might be a are in the business of producing quality
challenge for a start up because of the huge fiction content which is engaging and that
investments needed in infrastructure and could be either live action or animation.”
talent without any project or service work
in hand. Additionally, original projects have With that kind of approach, it is more likely
long gestation periods which prove a drain that they will breast the winning tape.

20 AnimationXpress SPARK | April 2019

AnimationXpress SPARK | April 2019 21
Industry Feature

Indian
OTT:

The
originals
gambit
gains
pace
Sharmindrila Paul

O TT services in India are moving into

the fast lane - especially in the area
of originals. If you take a dekko at
the programming line up of leaders like
Netflix, Amazon Prime, ZEE5, Hotstar, Voot,
Hotstar, Sony LIV and Voot. What changed
the game was the huge budget premium
shows from Netflix, Amazon Prime as well
as the low cost shows from the likes of ALT
Balaji, Viu, Hoichoi and originals from ZEE5,
or Sony LIV, ALT Balaji, Jio Digital Life, it EROS NOW.
looks fresh as a cucumber, as they move
into the next phase of their business cycle. Adds former Viacom18 COO Raj Nayak:
“Audience taste is evolving and they want
compelling stories. Everyone is hoping that
the kind of content OTT players are
producing these days will do the trick.”

OTT Space Heating Up: According to the

Federation of Indian Chambers of
Commerce and Industry (FICCI)’s 2019
media and entertainment report, digital
2018 saw them launching some fresh media in India grew by 42 per cent to reach
shows, and 2019 is set to see them going Rs 169 billion in 2018. Estimates are that,
into overdrive with originals made in India. video consumption has been growing at
Phase I was of getting their services off the 500 per cent per annum and most of it is
ground, getting the distribution in place, coming from mobile handsets.
and getting stable streams going to deal
with the millions who tune-in to watch the
shows, and finally customer acquisition.

“Technology has changed. Telling stories to

a particular audience in a better way is the
trend now. The advantage of OTT is the
ability to customise, experiment and be a
part of the broader lens,” says Viacom18
Media MD and group chief executive officer The report further states that smartphone
Sudhanshu Vats. users reached 340 million in the past year
and are predicted to touch 925 million by
Programming earlier on OTT was more of 2023. The revised data plans have
acquired shows and films. Then came some encouraged people to consume more video
insignificant shows from the likes of content. Digital subscription revenues have

22 AnimationXpress SPARK | April 2019

 Industry Feature

also grown by a whopping 262 per cent in

2018 to Rs 14 billion and this is further
expected to cross the Rs 20 billion mark in a
year from now. It is predicted that over 500
million Indians will have watched videos
online by 2020.

Originals Galore: The report further states

that over 1,200 hours of fresh original
content was created for OTT platforms in
2018. And that is expected to balloon
significantly in 2019 as OTT platforms
spread their services globally.

includes: Metro Park, Flip, Operation

Cobra, Flesh, Bhumi, Crisis and many
others. EROS NOW chief operating officer
Ali Hussein recently said: “We’re looking
to launch 100 originals in 2019 and also
looking for partners and distributors in
Southeast Asia.”

The investment in originals is going to

accelerate exponentially reveals Alphabeta
VOOT has launched 12 original shows Strategy and Economics engagement
under the name of ‘Shortcuts’ which manager Konstantine Matthies. Says he:
includes - Derma, Googly, Joy Ride, Bauma “Global VOD players will continue to
(Bengali), Chacha and Cheetah’s trip,Glitch, actively invest in Asian/Indian content and
Grey, A(U)N, Teaspoon, Maya, On the Road, foreign direct investment (FDI) is expected
Red Velvet and It’s not that Simple. There to rise by five times till 2022.”
are more coming up in the near future.
And the best example of this, is streaming
giant and industry leader Netflix. The
reason: locally produced content in one
nation is attracting audiences globally. Says
Netflix director of partnerships Abhishek
Nag: “Two out of three people who have
watched Sacred Games are non-Indians. It
was localised in 24 languages and viewed in
190 countries. Because of the portrayal of
Mumbai in it. Resonating stories and
EROS NOW too is racing up in the OTT gripping content are what we are focusing
game. Its slate of originals this year on.”

AnimationXpress SPARK | April 2019 23

Industry Feature

crime thriller by Amit Kumar and Asif

Kapadia and so on.

Other platforms like ZEE5, Hotstar, ALT

Balaji, Viu are also emphasising on a sound
number of original shows. ZEE5’s recent
and upcoming shows include, Abhay, The
Final Call, Parchayee, The Sholay Girl, 377
Ab-normal, The Lovely Mrs. Mukherjee
(Bengali), Sharate Aaj (Bengali), Veergati,
Sex, Drugs and Theatre and others.
Netflix has already launched a number of
local originals in 2019, like- Soni, Selection ALT Balaji’s 2019 slate consists of titles like,
Day, Delhi Crime, Patriot Act, Cricket Fever Kehne ko Humsafar Hain, Punch Beat, Dil hi
(on Mumbai Indians), Fireband and there toh hai, Hero Vardiwaala, Apaharan,
are many more to come. Some of them Broken But Beautiful, Dev DD, CyberSquad,
include 706, Mighty Little Bheem, Karrle Tu Bhi Mohabbat, Bewafaa Si Wafaa,
Baahubali: Prequel, Midnight Romil And Jugal, Ragini MMS Returns,
M i s a d v e n t u r e s w i t h M a l l i ka D u a , Maya Thirrai, Gandi Baat 2, Zaban Sambhal
Chopsticks, Bulbul, Upstarts, Cobalt Blue, Ke, The Test Case, Hum - I'm because of us,
15th August, Music Teacher, Hotel Mumbai. Bose: Dead/Alive and others.

Local going Global: Amazon Prime Video

too is not far behind and has announced a
global lineup of 20 original shows. The first
of these to debut was Inside Edge which
was the first Indian VOD show to be
nominated for an International Emmy in
2018.

Exults Amazon Prime Video India director

and country manager Gaurav Gandhi, “The
shift in content over the past few years has Regional OTT players like Hoichoi too are
happened as we cater to different sectors producing a number of original content to
of people. The genres being explored today, bring more subscription based audience to
the treatment and execution were not seen their app. Their fresh content line up for
in any other formats. Thus originals are 2019 includes Dhaka Metro, Pnaachforon,
popular and successful.” Dhanbad Blues, Bou Keno Psycho?, Astey
Ladies, 3 Cup Cha and lot more.
Amazon Prime Video’s slate includes Four
More Shots Please, Made in Heaven, The flood is expected to continue
Bandish Bandits, a romantic musical unabated. That should be good news for
directed by Anand Tiwari, The Last Hour, king Indian viewer.

24 AnimationXpress SPARK | April 2019

 Trends

Bollywoodʼs
alternate
storyline
Poonam Mondal

T here is a new success script being

written in India’s Bollywood. And it’s
coming courtesy Indian audiences.
Increasingly, they are rejecting films at the
box office even if they have mega budgets
portrayed the former as a dwarf thanks to
some world-class VFX, the audience could
not relate with the unbelievable and flawed
storyline.

and a top star cast. Bollywood is no longer Then the Aamir Khan and Amitabh
driven by the dominance of superstardom. Bachchan starring mega budget Thugs of
Gone are the days when the success was Hindustan sank with collections of just
measured by the popularity of the actors.

Instead, movie buffs are embracing small Rs 143.25 crore. The reason: the audience
budget, films with relatively lesser known could not relate to the fantasy drama which
film stars but with good, alternative was quite similar to Pirates of the
storylines. Caribbean.

Budgets Splurge Game Changers

Consider: Superstar Shah Rukh Khan starrer As compared to that there have been many
Zero, despite its fabulous VFX, and numero sleeper hits with relatively less known
uno actor flopped with collections of just Rs ta l e nt . A m o n g t h e m : B a d h a a i H o,
89.25 crore. Even though Shar Rukh and his Andhadhun, Raazi, Stree, Sonu Ke Titu Ki
leading lady Anushka Sharma put up Sweety and Gully Boy. All these movies had
commendable performances and the film lesser-known stars in the mix but their

AnimationXpress SPARK | April 2019 25

 Trends

common point was a strong script, aimed to report a crime that was actually
alternate believable storylines and never witnessed by him since he was blind.
characters and direction. The movie was again a comparatively low
budget one but the storytelling and the
An interesting part of the movie Badhaai Ho thrill in the script enticed the audience till
is that it is a comedy-drama around how a the end and it was successful at the box
grown-up man faces embarrassment in office too with the collection of Rs 111
society when he finds out his ageing crore. The movie’s budget was Rs 32 crore.
mother is pregnant. Starring Ayushmann
Khurrana, Neena Gupta, Gajraj Rao, the Says a film industry veteran: “There was a
movie received a massive response - its time when Indian audiences guzzled down
final gross box office was a anything that was hurled
staggering Rs 222 odd at them as long as it
crore and it was made on a featured their favourite
shoestring budget of Rs 29 stars. No more. The
crore. It emerged as the collective consciousness
sixth highest grossing film seems to have cruised
in 2018. away from the NRI-
appeasing love stories
Sleeper hit Stree - which is and fantasies. No longer
about a female spirit and will the audiences gorge
her search for a man who on the saccharin diet of
could love her no matter mindless escapist
what and was made at a Rs fantasies. They want
23 crore budget – notched good well-scripted
up Rs 180 odd crore at the stories, credible
box office. The film starred p e r fo r m a n c e s f r o m
actors Shraddha Kapoor whosoever the actor is,
and Rajkummar Rao. good direction, and
good production. The
Raazi, based on the novel Calling Sehmat, emergence of multiplexes and OTT
by ex-naval officer Harinder Sikka, is a platforms has encouraged filmmakers to
fictionalised account of a reportedly true experiment with genres and stories as they
story about an Indian Kashmiri undercover know they will be in a position to monetise
agent, set during the time of the 1971 Indo- their productions. These films are bringing
Pak war. It recorded gross box office back hitherto disenchanted filmgoers back
revenues of nearly Rs 200 crore and it was to the cinemas apart from attracting the
made on a budget of Rs 35 crore. new generation.”

Another masterpiece Andhadhun which is Another film industry observer points out
an Indian black comedy crime thriller film is that small budget films are also getting
around a series of mysterious events which mega releases by being screened in many
changed the life of a blind pianist who theatres. Badhaai Ho – for instance-

26 AnimationXpress SPARK | April 2019

 Trends

released in 2100 theatres and Stree in 1800 in Bollywood couldn’t manage to draw as
theatres. If they weren't released in so much of a crowd on the first day or first
many screens, perhaps they wouldn’t have weekend after the launch. Today the
made that much money. Additionally, these audience gets hooked on the first day and
movies are being marketed aggressively the box office is collecting around five to
and are being made available on global eight crore from the first day itself,” says
digital platforms, attracting global another film industry expert.
attention.
There is science to making
Hail Content! small budget films and
producers, writers and
Overall, film buffs are directors are bringing all their
queuing up for films experience to bear while
which are relatable, filming. Stree writer Raj
using dialects that are Nidimoru disclosed he wrote
real, passionate and the screenplay keeping in
fierce which are like a mind when he would release
mirror to society. it. Director Amar Kaushik
reveals that Stree is his first
“Apna time ayega... Tu film. He adds: “I was an
nanga hi toh aaya hai, assistant director for eight to
kya ghanta lekar ten years and thus my
jaega?” (Your time will upbringing was small budget
come. You came naked. films-content driven like Go
Do you think you will take anything with Goa Gone.”
you?). That’s the rap from the movie Gully
Boy that everyone is singing these days as Additionally, filmmakers are also digging
the vibe is fresh and the storyline is realistic. deep opting for different story tracks
Rap has been doing the rounds in India’s focusing on the female-led protagonists in
alternative culture but with the song from an industry where male-led scripts are the
Gully Boy the genre is gaining popularity rage. They are also scouring through books,
amongst the masses. acquiring movie rights for works of
literature – allowing for experimentation of
Gully Boy is one of the examples of such a a greater variety of subjects.
real-life story which is fictional and not a
biopic inspired by the real-life stories of “It’s a great time to be in content creation,”
underground rappers Divine and Naezy and says a senior media observer.“ This
finally managed to collect Rs 134.3 crore at generation has got opportunities like no
the box office. generation before, thanks to the collapsing
of global boundaries courtesy the internet.
“Small-budget films are depicting big ideas Filmmakers are riding this wave and giving
and are running parallel to commercial freedom to their creativity. And audiences
films. Earlier, by and large, parallel movies are loving it.”

AnimationXpress SPARK | April 2019 27

 Industry Focus
Report

Industry
gears
up
for

another
busy
MIPTV!
Parth Kaushik

M IP TV, the annually held global

TV, and digital content market,
organised by Paris-based Reed
Midem has been stirring up a storm
globally with unfailing regularity.
chief business officer global syndication,
co-productions and international ad sales
Sunita Uchil, Epic TV promoter Aditya
Pittie, DocuBay COO Akul Tripathi,
GoQuest CEO Vivek Lath, Greymatter
Entertainment director Chandradev
Having long ridden the crests and troughs, Bhagat, One Life Studios managing
India’s content creators, programmers, and director Rahul Kumar Tewary, Wilderness
distribution executives are prepared to Films boss Rupin Dang, and Applause
string up their proverbial surfboards and Entertainment head-content business
ride the surging MIPTV wave all the way to operations Mansi Darbar are some of the
France where the many names that are
floodgates of going to be
content are attending
set to MIPTV
ceremoni- and/or MIP
ously FORMATS
open on and MIP
8 April. Neela Telefilms COO FOODLooking Digital Wilderness Films India Doc this
Darshan Ashwin Director Founder year.
Trivedi Ashraf Abbas Rupin Dang
With nearly
10,000 delegates While some would be
from 102 countries with a scou-ting for new shows to
unique smorgasbord of learning, acquire, there is an equally burgeoning
networking and deal-stitching demand and pre- occupation to do co-
opportunities, the salience of MIPTV has productions. With over 900 channels and
particularly attracted Indian exhibitors and now a thriving flurry of OTT platforms,
participants. Packing a creative hotspot, India’s content creators are slowly but
Indian studios can’t wait to surely setting their sights on capturing a
sashay down the MIP floor owing to their larger share of the international market.
vast and diverse repository of content
offerings and pitches. The highlights of this year’s MIPTV are the
InDevelopment co-production programme,
IndiaCast SVP and business head the Buyers Exchange initiative, the focus
syndication and digital Debkumar Das on France, Cannes Series, and two India
Gupta, SEPC - director general Sangeeta sessions, which have been curated by
Godbole, Zee Entertainment Enterprises media veteran Anil Wanvari.

AnimationXpress SPARK | April 2019 29