What kind of synergies exist between an ad agency and Mudra Videotec? How will clients benefit from the same?
Mudra's expertise lies in advertising and communication. We are exploring all the possibilities that can help us strengthen relationships with clients; or that will add value to our core competency. Our skills in the area of media, ad film production and servicing can be leveraged to create successful entertainment brands.

Mudra Videotec has managed to introduce sophisticated scientific methods in programme pricing and acquisitions. After all, ad sales and marketing requires a precise knowledge of media planning and buying. For instance, the critical elements such as - what will be the critical threshold level at which a certain programme becomes viable or unviable; or the co-relation between pricing and ratings amongst others. Through Optimum Media Solutions, we can access syndicated research and other surveys or studies.

In fact, eventually, I feel that Mudra Videotec will give something back to the media division. Since, Videotec will be in touch with the happenings on a regular basis, it will have access to domain knowledge that can be shared with the media division. It will sharpen their outlook and give the media executives an edge and better understanding.

As far as productions are concerned, we shall soon be involved in offering services to in-house clients as well as others within the network who require these specialised services. We have always been involved in these activities and it will be an extension of services.

As advertising gets more complicated and clutter levels get higher and higher, it would make sense for clients to employ professionals who understand the medium of content. In the near future, entertainment could be the plank on which clients could ride. Brand-oriented software that is linked to entertainment will reap rich dividends and ensure that the brand communication stands out. For instance, we can explore avenues such as in-film placements.

What about C&S channels?
We are also planning to create more software for free-to-air channels like ETV. Some of the south India-based broadcasting houses provide us with lots of opportunities - a combination of production and sales. There are several smaller players (catering to localised advertisers) in the south who seek localised content.

However, being one of the largest players in the business, we get enquiries from all quarters - many independent writers and producers approach us with projects. They feel safer on the remuneration front as we do deliver. Also, we assure them a certain quality in terms of production values and standards.

We are moving cautiously as far as the big three - Star, Zee and Sony - are concerned. These channels are looking for dailies due to the market economics. However, it is our experience that dailies require a longer break-even time and higher initial investment. Moreover, there is no dearth of content or producers on these channels. If we undertake any projects on the above mentioned channels, we shall attempt to do something different. We have decided to move ahead in a phased manner.

Give us an example of some contribution made by you that has changed the fortunes of any show that wasn't doing well?
I have been actively involved in creative aspects of certain programmes - especially the ones in Hindi. I have also introduced a sense of discipline and overall emphasis on cost-effectiveness.

For instance, Shayad Tum started with an impressive star cast - it had Shekhar Suman in it. However, the programme didn't get the kind of TRPs it should have; and it became an expensive but "loss making" proposition. We considered it a challenge and took a bold step of dropping Suman from the show.

However, we introduced the twist very intelligently. He made it look as if the character had been abducted and introduced a masked crusader character. There was suspense whether the character was alive or dead and the viewers felt that the masked crusader was the abducted character. We tested the concept for a certain length of time and got positive feedback for the same. Soon, we were confident that we could pull it off.

In one masterstroke, we managed to reduce costs and convert the neither here-nor-there show into a thriller. We hadn't moved away from the original storyline.

What about collections? Is there some change needed?
We always attract national advertisers who route advertising through the accredited agencies. Sometimes, the collection situation has it's own share of problems. The broadcasting business should have a strong association or organisation equivalent to what the INS (Indian Newspaper Society) is to the print industry.

Associations such as the IBF must become more pro-active. Currently, the AAAI offers help but there is no protection. We have to give up business if we have doubts about not collecting. Many a times, we deliberately avoid clients who have dubious reputations - especially the single owner businesses. I feel that the 75-day period is ideal and anything beyond that is unrealistic.

What about the ad-film business?
As far as ad-films and audio-visual production is concerned, we are aggressively pitching for in-house business from within the Mudra network. We are hoping to leverage our expertise in software/content production and offer value-added services to clients.

We have done quality work for clients such as McDonald's, Reliance Infocomm, Godrej group, HP lubricants amongst others. In fact, the McDonald's campaign has won seven awards last year inclusive of three Abby awards and four AAAI awards. We are hoping to convert other large clients within the Mudra fold such as Yamaha and Dainik Bhaskar from the Delhi office.

Incidentally, Mudra Videotec had worked on the Reliance Infocomm launch AV films that were aired at the Reliance technology centre in Navi Mumbai on the launch date earlier this year. A 12*40 feet data screen was constructed on the day of the launch and showed the network in the entire country - it had a NASA feel about it. We managed to deliver despite constraints of hectic schedules and almost impossible deadlines. We were creating three to four films every week! This excellent work has been noticed by our peers.