MAM
Call to experiment with new platforms, technologies: CII seminar
MUMBAI: While new technologies have the risk of copyright violation it is important for the Indian entertainment industry to explore the possibilities offered by new delivery platforms whether it is IPTV, mobile, DTH.
At the same time the rights situation particularly for the film industry needs to be made clearer.
This was one of the points stressed at a panel discussion organised as part of the Confederation of Indian Industries (CII) Legal Workshop this morning. The speakers were Sony head – licensing and telephony Kaushal Modi, Hutchison Essar VP value added services S.P. Narayanan, UTV VP international Ashoka Holla and consultant Raj Tilak. The session was moderated by Tata Teleservices VP value added services Pankaj Sethi.
Modi pointed out that with new distribution platforms emerging the rights situation for the older film titles is not clear. There is more clarity regarding the newer titles but there is more work to be done. Definitions need to be clear like Vod, Pay per view.
Tilak says that the film industry needs to come together and form a common standard that will be adhered to by both buyers and sellers. A common body needs to be set up who will interpret the rights situation in a uniform manner. In the US for instance video on demand is not a right by itself. It is segmented in different platforms. Unfortunately among some Indian filmmakers there is a lack of understanding about the emerging technologies. So perhaps distributors of content need to sit down with content creators and explain to them the different ways in which content can be exploited for the mutual benefit of both parties.
He also suggests a robust system of arbitration be put in place. So any dispute over revenue sharing or who has the rights can be brought before a panel whose word in the matter will be final.
Holla said that content creators compound the situation by sometime abusing the rights of their own property. So sometimes the DVD release date is brought forward and is available before the film has had a decent run in theatres. For UTV which distributes its own films and those of other producers this poses a problem he says. Creators need to respect the different windows of release.
Modi spoke about the need for content owners to experiment with new platforms and modes of distribution. He gave the example of music ringtones which have become very profitable despite the music industry’s fear of copyright issues in new media.
The situation though requires planning on the part of the content creator and provider says Modi. It is not that there is a simply readymade new media platform that a content owner whether it is film or television can just put his offerings on and then start making money. The platform has to be grown and content has to be tailored. He says that Sony is experimenting with its own content rather than what is aggregated. When it acquires content like formats it is usually for all formats to avoid confusion later on.
Sure some people try to use software to forward ringtones and wallpapers on the mobile but that is small compared to the opportunity that exists. Another area of new media is mobile. Here too there are grey areas. A case in point is SMS updates on cricket news scores. While cricket news is available if it is used by a mobile operator for commercial purposes then a case can be made that there is a copyright issue. Right now a lot of operators offer cricket scores and updates. However the BCCI is wisening up and is looking at the mobile as a huge opportunity.
After all if news channels pay for news clips of cricket matches then why shouldn’t mobile firms pay for using scores to boost their SMS facility. There is a case going on in the Madras High Court regarding the use of SMS to offer cricket scores. The Formula One body got strict on use of SMS alerts on race status.
Another new media arena that can be looked at as a friend rather than a foe are the community sites like myspace. There are videos uploaded some of which are copyrighted. At the same time content creators can use community sites which attract millions of users as a place to sell their product offerings in the form of paid downloads.
Narayanan dwelt on how compression techynology has helped the mobile become a tool for value added offerings. Now one can download full music tracks. Java and bluetooth has taken mobile gaming to another level. The memory storage in handsets will grow. Therefore mobile games can afford to become more complex and content rich. data connections speeds have grown. So content can be relayde to diffeernt devices.
MAM
Lessons from global media markets on building enduring content franchises
Rose Audio Visuals COO and CFO Mitesh Patel.
MUMBAI: The global media landscape has undergone a fundamental shift. Success today is no longer defined by a single hit show. It is defined by the ability to build intellectual property (IP) that travels, evolves, and compounds over time.
At Rose Audio Visuals, this shift is central to how we think about content pitching and creation. We are no longer in the business of just making shows. We are in the business of building IP ecosystems.
From Hits to Franchises
Globally, the most successful content is designed to extend beyond its first outing. It travels across: Seasons, Platforms (TV → OTT → Digital), Formats (series → spin-offs) Shows like Stranger Things and Money Heist are not just successful series they are multi-layered franchises with global recall, fan engagement, and long-term monetisation. The key learning is simple: If content cannot scale beyond one season or one platform, it remains a project not a franchise.
Local Stories, Global Impact
One of the most powerful global trends is the rise of culturally rooted storytelling. Platforms today reward local authenticity combined with universal emotion. Stories that are deeply regional are no longer limited by geography they are amplified by it. Consider the global impact of Squid Game or India’s own Sacred Games. The takeaway is clear: The more authentic the story, the greater its potential to travel if the emotion resonates universally.
Monetisation Begins After the First Window
A critical global learning is that the true value of content is not realised at launch, it is realised over time.
Strong franchises unlock multiple revenue streams: Licensing, International remakes, Brand integrations, Digital extensions , Events and immersive experiences
Global players like The Walt Disney Company have mastered this approach, turning content into long-term ecosystems that extend far beyond the screen.
The first window is just the beginning. The real value lies in what follows.
At Rose Audio Visuals, we increasingly evaluate projects not just on commissioning value, but on their long-term franchise potential.
The Rise of Creator-Led Franchises
An important global shift is the emergence of creator-led IP ecosystems.
Creators today are not just content producers they are building full-scale franchises across platforms, formats, and businesses.
A powerful example is MrBeast. What started as YouTube videos has evolved into: Multiple content formats, Global audience scale , Brand extensions and businesses, High-impact experiential content This is a fundamentally different model digital-first, audience-owned, and infinitely scalable.
This model is still in its early stages in Indian but it represents a massive opportunity.
The next wave of Indian content franchises may not come from traditional studios alone but from creators who think like media companies.
Balancing Data with Creative Instinct
Streaming platforms today are deeply data-driven. Data helps Identify emerging genres, Predict audience behaviour , Inform commissioning decisions However, global experience shows that data alone does not create hits. Data informs scale, but storytelling creates impact.
Talent is the Foundation of Franchises
Enduring franchises are rarely accidental they are built through long-term creative partnerships. Globally, there is a clear focus on nurturing Actors, Writter, Show runner and director. Franchises are not built on scripts alone they are built on creators. This is an area where we continue to invest deeply building long-term relationships with talent rather than project-based collaborations.
Multi-Platform Thinking from Day One
Content consumption today is inherently multi-platform. A successful show must be designed not just for its primary platform, but for: Short-form extensions, Social media amplification, Digital-first engagement. Every show today needs a second life beyond its original format.
India: A Market at an Inflection Point
India today stands at a unique moment in its content journey.
We are seeing significant opportunity in Regional markets (Telugu, Tamil, Marathi and others) Emerging formats such as micro-dramas, Scalable, franchise-driven fiction IP
India does not lack stories. What we have historically lacked is structured franchise thinking something that is now beginning to evolve.
The Way Forward
The biggest lesson from global markets is this: The future belongs to companies that do not chase hits, but systematically build franchises. Because while hits may deliver immediate success, franchises create long-term value, recall, and compounding growth.
At Rose Audio Visuals, this belief shapes how we develop, greenlight, and scale content across platforms.
For content companies today, the question is no longer “Will this show work?” It is: “Can this become a franchise?”
A Personal Note
Having worked across content, business, and strategy, one thing has become increasingly clear to me, the most valuable companies in our industry will not be those that create the most content, but those that create content that endures.
Building a franchise requires patience, conviction, and a long-term lens something that the industry is only now beginning to fully embrace.As we continue this journey at Rose Audio Visuals, our focus remains simple: to move from volume-driven creation to value-driven storytelling. Because in the end, stories may start conversations but franchises build legacies.
