Kids
MIPJunior: Can Indian animation make its mark?
CANNES: As the MIPJunior Lab got filled with an inquisitive audience, “The Passage to India” session began with the moderator, Indiantelevision.com founder, CEO and editor-in-chief Anil Wanvari, giving facts and figures about the kids broadcasting space in India.
Wanvari started off by mentioning the humungous size of the 0-14 year population group – at 350 million at last count, which is expected to touch 375 million or so by 2020. Which is why the Indian market is attractive, he pointed out for kids programming and animation. Highlighting statistics from 2015 data, he stated that localization is helping the 20-plus kids channels operating in India up the local-international ratio from 10:90 to 80:20. With that wide a ratio and language dubs of each channel, content from the US dominates the television market with about 44 per cent, Japan 17 per cent, India 16 per cent, the UK and France four per cent, Canada one per cent; and if compared to statistics of 2014, it was 42 per cent, 17 per cent, 13 per cent, seven per cent and four per cent, three per cent, respectively.
These statistics clearly paint the picture of how locally produced shows are being favoured not just by the audience but also the broadcasters. The top six to eight spots of the kids genre are occupied by locally produced programmes such as Motu-Patlu and Chotta Bheem, among others.
Wanvari pointed out that kids genre accounts for six minutes per cent of total viewership and most of the kids content is in animation format the production cost of which per 30 minutes is between Rs 1.5 to six million.
After introducing the panelists – Green Gold Animation founder and CEO, Rajiv Chilaka, Viacom18 Digital Ventures COO Gaurav Gandhi, Cosmos-Maya founder, Anish Mehta, and Graphiti Multimedia director and COO Munjal Shroff, Wanvari threw the question to the panelists asking what makes the prospects of the Indian animation sector so bright this time around; earlier attempts have failed.
He also queried them about how the Indian animation space has changed over the years, in which areas are the opportunities available for international players, and what content works for broadcasters and digital platform for kids.
Chilaka mentioned, “Back in 2001, there was only one channel catering to kids segment and now, there are 25-plus channels which showcase content produced locally as well. Over the years, the quality of animation, the technology, the services provided all have improved, and to support that, are the increased budgets.”
Speaking about the international market, Shroff commented, “Through our show ‘Kulveera’, we did a case study with Cartoon Network UK wherein we produced a pilot episode and gauged the response of the audience and it was interesting to see that kids loved the show.” So, as long as one’s series has a strong storytelling going on, the place from where the content originates hardly matters.
Mehta’s animation studio Cosmos-Maya has been doing wonders and, at present, has three co-production deals going on. “Our co-production deals are with Italian, French and German companies. We will be launching the French co-produced show ‘Captain Cactus’ which was made in association with Euope’s well-known film maker Olivier Jean-Marie,” expounded Mehta.
“Over the period of 20 years, our work has evolved from being a service company to IP production, and finally we are at a stage where we can co-produce.”
With the advent of digital platform, and Voot being probably the biggest kids SVOD service, Gandhi added, “It’s said that, in next three years, more homes will be have the streaming device than television sets. We are an open market, and ready to buy any good content.”
Mehta also stated that, for co-productions to work, it’s necessary that one needs to understand the demographics. “Personally, after doing research, we follow a mixed model which blends well with both the countries.
Since ‘Captain Cactus’ is a co-production between India and Europe, the animation style and narrative is set according to the tastes of audience of both the countries.”
The session was wrapped up with Q&A round wherein many people were interested in learning more about how can they work with not just Indian animation studios but also on how their content can work across the various platforms.
Kids
Mukta Arts and Green Gold ink MOU to animate iconic film IPs
Kalicharan, Karz, Hero, Karma, Ram Lakhan to spawn animated shows plus features.
MUMBAI: When classic hindi movie meets animation, the result is a fresh reel of nostalgia with a cartoon twist. Mukta Arts Ltd. and Green Gold Animation have signed a Memorandum of Understanding (MOU) to collaborate on animated shows and feature films drawn from Mukta Arts’ four-decade treasure trove of iconic IPs. The partnership taps Mukta’s SGM Animation Studio launched in 2025 as its dedicated animation and games arm and Green Gold’s proven track record in building scalable, homegrown franchises. Creative teams from both sides have already kicked off discussions, with the first project currently in development.
The slate will draw inspiration from landmark Mukta films including Kalicharan, Karz, Hero, Karma, Ram Lakhan, Khalnayak, Saudagar and Iqbal, plus character-led spin-offs from those universes. The aim is to reimagine these stories for today’s young, global audiences while preserving their emotional core.
Green Gold Animation (home of Chhota Bheem) founder and CEO Rajiv Chilaka said, “This partnership with SGM Studios allows us to apply our experience in building long-lasting animation IPs to a truly iconic film catalogue. Together, we aim to create animated worlds that are rooted in these legendary stories, yet designed to connect with today’s young, global audiences.”
Mukta Arts Ltd. filmmaker and founder Subhash Ghai added, “Mukta Arts has always believed in creating stories with lasting emotional value. Through animation, we are extending our IP into a new medium for the next generation.”
In an industry where timeless tales never go out of fashion, this collaboration promises to bring beloved characters back to life with a modern, animated glow proving that some stories are too good to stay in live-action. Stay tuned for the first animated frame to drop.
