MAM
Advertisers should focus on kids genre for better monization of animation industry, says experts
MUMBAI: The animation industry is growing at 30 to 35 per cent but there are many challenges that this sector is facing from upgradation of hardware or software on time to time bases to revenue generation. According to experts the industry has many opportunities on kids channels, OTT platform and YouTube and to explore that it needs more successful studios, young talent and more attention of advertisers in kids genre.
In a panel discussion 'Animation 2020' at KAM Summit organised by Animation Xpress on August 30, 2019 discussed on what does this industry holds in 2020. The panel discussion was moderated by FICCI chairman animation and gaming Ashish Kulkarni and panelists were Green Gold Animation founder and CEO Rajiv Chilaka; Sony Yay! programming head Ronojay Chakraborty; DQ Entertainment COO Manoj Mishra; Viacom 18 programming head Anu Sikka; Big Animation COO Tejonidhi Bhandare and Cosmos Maya AVP revenue and corporate strategy Devdatta Potnis.
Chakraborty said, "Animation as an industry is growing at a healthy pace. 35 per cent of the growth has come from the industry's producers and domestic broadcasters. As a channel we started with 100 hours of content. In 2020 more hours of content will be added. The producer depends on the broadcasters for financing, broadcasters look at the advertisers for finance, so the monitization aspect needs to be looked into. Advertisers have to take notice of this category very much. We are one fourth the size of entire GEC category but in terms of revenue we are one tenth. So, there is a need that the advertisers pay attention to this category as well because the category is appealing to the citizens. Once the monitory aspect improves more and different varieties of programmes will be commission and that will help the industry.
Mishra shared his view on monitization of content in the international market. He said, "In terms of animation USA market is evolving and creating great shows.The animation industry in Europe is not growing at the rate on which it should have grown. From studio perspective in 2020 we see that demand is there and it is a stable market at this moment. IP monitization and creating IP for global market play an important role from our studio perspective."
Chilaka wants to see more successful studios and young talent coming in in this industry in 2020. He said,"As a studio we have been here for last 18 years and we realise the challenges faced by animation studios like upgradation of hardware and software from time to time bases. But for the growth of the industry, it's very important to have more successful studios. We have so many advantages as well, there are so many kids channels and OTT platform in India. We also have the opportunity to reach Indian diaspora who are not just in India but across the world."
Potnis said, "India is growing on all front especially on digital and there is a opportunity or area for us to be there. We finalised nine new shows in the domestic market and few months before we signed three European co-production. We also have a YouTube platform called Wow Kids which has 27 million subscribers. May be by 2022 we may also create a original for that platform in addition to working with broadcasters and OTT players."
Bhandare said, "Animation 2020 is not a vision but a start for animation industry as there are lots of things that are opening up for the industry. We need to focus more on talent and ways to how do we build up talents. We need to create awareness regards to what animation is, it not only caters to kids like in west it caters to all age group. we are not creating that kind of content yet. Our focus should be on creating a great content. Platform is set for us to grow and there is lot of opportunities coming up."
Kulkarni also asked the panelist- will that situation come in 2020 where we have very good story board artist? To which Mishra replied, "This is the area where we are looking in very strongly as far as our curriculum is concern. We are trying to get story board artist who are helping us from international market to provide training to the artist in India. At the same time some kind of exposure in creating the curriculum is important and giving them the opportunity, we have to trust our artist. We as an organisation also have got our interest and trust more on the talent outside India and then we move to talent in India, that's something which we need to change."
"There is a need for language training to fill the gap between the script writer and story board artist for better transforming from the script to animation," commented Bhandare.
Kulkarni also touched upon the topic of co-production in animation industry. He commented, "We are in a process of re- defining and including changing the definition of audio visual co-production treaty but India was never a very active partner in co-production. We would really like to see India on the map of co-production."
Potnis shared his view on the same, "There is a feature project that we are working on. Couple of days ago I had conversation with studios in Ireland, Canada and Australia to compile the sort of support they get in term of subsidiaries amount or tune of the volume they get is 30 to 40 per cent of their budget and we stand no where in that sense. That is the big area and now government is also interested in this sector little bit more. One thing that co-production has helps do is to scale up on the quality front."
On revenue perspective Sikka said, "Unfortunately the advertising revenue is not growing at the pace of which industry is growing. The kind of ratings that we get for both of our channels in kids genre unfortunately the ad revenue is not growing at that pace. Animation will continue to progress and we will continue to cater to the audience of 7 to 14 years. We will do something in pre-school segment when the advertisers start recognising the potential of pre-school content in the audience. Today a generation has grown on animation for whom animation is no longer a taboo. The scope for family animation should also be explored."
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.
