Overview, Trends & Analysis of the Indian Media & Entertainment industry as of Jan 2020. P.S. The impact of the lockdown has not been built into the 2020 & beyond numbers...

1. The Indian Media & Entertainment Industry
2020
Chaitanya Chinchlikar
chaitanya.c@whistlingwoods.net
Vice President & Chief Technology Officer – Whistling Woods International
Overview – Trends & Analysis
(Data & Charts from the FICCI-E&Y Report 2020 & other industry reports)

2. The Indian M&E Industry
•Key Characteristic Armed
with volume, looking for
value.
•Grew 9% in 2019 to reach
INR 1.82tn / US$ 25.7bn
•Digital media overtook
film to become the 3rd
largest segment of the
M&E sector; expected to
overtake print by 2021
Segments: Television, Print, OTT/Digital, Film,
Animation, VFX, Gaming, Radio, Music, Events,
Sports, Out-of-home, Theme Parks & others
1476
1674
1823
1965
2416
0
500
1000
1500
2000
2500
2017 2018 2019 2020 2022
INRBillions
Indian M&E Industry
13%
9%
10%

3. M&E Industry
45% 44% 43% 40%
37%
21%
18%
16%
15%
13%
11%
10%
10%
11%
10%
8%
10%
12%
14%
17%
5% 5% 5% 6%
6%
4% 4% 5% 5%
5%
2% 3% 4% 5% 8%
2% 2% 2% 2% 2%2% 2% 2% 2% 1%1% 1% 1% 1% 1%
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
2017 2018 2019 2020 2022
Music
Radio
OOH
Online
Gaming
Live Events
Animation
& VFX
Digital
Film
Print
TV

4. Made in India, enjoyed globally
• Mighty Little Bheem – Since its April 2019 release, Mighty
Little Bheem is the No 1 pre-school series globally on Netflix.
• Sacred Games Season 1 – Two of three viewers of Sacred
Games Season 1 were from outside India.
• Inside Edge Season 1 – Inside Edge Season 1 was nominated
for a “Best Drama Series” International Emmy in 2018.
• Breathe – Amazon Original Breathe Season 1 saw over a third
of its viewership from international geographies.

5. Key Numbers
• Highest in the world
– 1,800+ films (3500+ hrs of content)
– 1,600+ hours of original OTT content
– 2L+ hours of television content
– 723mn internet subscribers and 400mn+ smartphone users
• 31% growth in online gaming. One out of 4 Indians now is a gamer.
• Print readership fell for the first time.

6. Customer Segmentation
• Digital only – consume content only on
digital platforms, do not access television
• Tactical digital – Consume Pay TV and at
least one paid OTT service
• Bundled digital – Consume Pay TV and
generally only telco-bundled content
• Mass consumers – Consume Pay TV and
occasionally some OTT content
• Free consumers – Do not pay for content
Just India’s Mass Consumers are more than the entire
content consumption population of the US

7. The Indian Film Industry
Picture abhi rocking hai…

8. The Indian Film Industry
• Largest in the world by:
– Films produced: 1,800+
– Tickets sold: 4bn+
• Grew 9.5% in 2019 to reach INR 191bn / US$ 2.6bn
• Record domestic theatrical numbers in 2019. Box
Office Collections cross 10,000Cr for the first time.
• Is afflicted with a double whammy of:
– Being one of the world’s most underscreened markets
– Having a very low Average Ticket Price (less than Rs 106/-
/ US$2)
62% 59% 60% 61% 60%
16%
17% 14% 12% 12%
12%
12% 12% 11% 10%
5% 8% 10% 12% 13%
4% 4% 4% 4% 4%
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
2017 2018 2019 2020 2022
DomesticTheatrical Overseas Theatrical Cable & Satellite Rights
Digital / OTT In-Cinema Advertising Home Video

9. The Indian Film Industry = ‘Bollywood’

10. The ‘Indian’ Film Industry
Hindi
15%
Telugu
14%
Kannada
12%Tamil
12%Malayalam
11%Marathi
6%
English
6%
Bengali
6%
Bhojpuri
4%
Guajrati
3% Punjabi
3%
Odiya
2%
Others
(Incl
dubbed)
6%
44% 45% 46%
9% 11% 13%
37% 35%
35%
10% 9% 6%
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
2017 2018 2019
Language-wise collections
Hindi English SouthIndian Others
While ‘Bollywood’ is a commonly used term to define the Indian Film industry, Hindi films (which the word refers to),
accounted for only 15% of films produced in 2019. That said, Hindi did account for 46% of the revenues.
Inside Secret: Most people in the film industry dislike the word ‘Bollywood’. Use it very reluctantly.

11. Regional
•Kannada showed the most growth in Box office at 36%. Followed by Malayalam (17%), Tamil (14%),
Punjabi (13%) and Hindi (10%).
•Punjabi’s steady growth & the crashing of Marathi & Bengali industries by 45% and 33% respec_vely
has moved Punjabi above Marathi & Bengali in share of box office. It now has a 2% share in India’s
GBOC. it also has a higher ATP than both these languages. Content creators from Marathi & Bengali
need to introspect.
•The meteoric rise of Gujara_ cinema of the past few years has plateaued, with only 3% growth in 2019.

12. 3 Idiots made 450 Cr at the global box office.
What do you think its real impact was for India?

13. Tourism Impact of Films – 3 Idiots
Value Added by film-induced tourism
- 4x revenue of the film
- 500x employment generation

14. Film revenues rocked it in 2019…

15. Revenues & Films
5 6 5 6 7
10 11
3 2
1 0
1
1
5
0 1
1 2
2
2
1
0
2
4
6
8
10
12
14
16
18
2013 2014 2015 2016 2017 2018 2019
Hindi Films 100Cr+
300Cr
200Cr
100Cr
• The number of films crossing 100Cr
crossed 30 for the first time in history
with Hindi accounting for 17 of them.
• Footfalls for Hindi films in 2019, at 34Cr,
were the highest ever in history.
• The top 20 Hindi films contributed only
78% to its box office, the lowest in history.
Giving indications that films that aren’t
necessarily ‘superhits’ are also making
money, albeit less.

16. So where does all the money go?

17. Ticket Rate Split
When you pay Rs 100 for a movie ticket, where does the money go?
• Gross – Rs 100
• GST – Rs 15 (18% of Rs 85)
• Net – Rs 85
• Exhibitor & Distributor each get 50% each – Rs 42.5
• Producer(s) – depends on the distribution deal (Outright / Min Guarantee / Commission / Distrib Fee)
• Co-producer(s) – depends on the agreement with each other
• Publicity & Advertising funding – deal specific, but usually is Last-In-First-Out
• Talent (Actor/Director) – (s)he may be the producer OR may have sweat equity / some rights

18. The first weekend madness!

19. Key Numbers
The first weekend collections stood at 39% (Hindi Cinema at 37%), which is
the lowest in the past decade, showing that people aren’t succumbing to
marketing & stars alone and actually want good content.

20. We need MORE Screens

21. Exhibition – Needs expansion!
124
68
48
18
7
0
20
40
60
80
100
120
140
US UK China Brazil India
Screens/Million
4,723
18,195
41,179
50,776
60,079
66,028
10,635 9,951 9,481 9,530 9,601 9,527
-
10,000
20,000
30,000
40,000
50,000
60,000
70,000
2009 2013 2016 2017 2018 2019
Screens
China India
3.5
4.7
5.7
6.5
7.5
8.73
9.2
1.4 1.4 1.4 1.4 1.4 1.5 1.6
-
2.0
4.0
6.0
8.0
10.0
2013 2014 2015 2016 2017 2018 2019
Billion$
Domestic Box Office Size

22. Exhibition – Multiplex v Single Screen
925 1,225 1,500 2,100 2,450 2,750 2,950 3,200
9,710 9,121 8,451 7,400 7,031 6,780 6,651 6,327
-
2,000
4,000
6,000
8,000
10,000
12,000
2009 2011 2013 2015 2016 2017 2018 2019
Multiplex SingleScreen
9,530 9,601 9,527
ATP: Multiplex – Rs 150 | Single Screen – Rs 97
1.66 1.56 1.46
109
110
114
106
107
108
109
110
111
112
113
114
115
1.35
1.4
1.45
1.5
1.55
1.6
1.65
1.7
2017 2018 2019
Footfalls
Collections
48 51
61
61 60
53
0
20
40
60
80
100
120
2017 2018 2019
INBBn
Collections
Single Screen
Multiplex

23. Is the world watching Indian films?

24. Indian Films go global?
331 332 350
439
491
332
0
100
200
300
400
500
600
320
325
330
335
340
345
350
355
2017 2018 2019
Overseas - Releases vs Collections
Films Collections
• Less than 15% of India’s film
revenue comes from overseas
• 70% of Hollywood’s revenue comes
from outside US
• Less than 1% of India’s revenue
comes from non-diaspora viewers

25. Is Hollywood a threat?

26. Oh Hollywood…
Hollywood marketshare in 2017 was 10%.
In 2019 at 15%.
With growing access to global content, cultural
alienation between India & the world is reducing.
• No 1 film at Indian Box Office in 2019 – Avengers Endgame.
• Footfalls for Hollywood at ~ 10Cr – highest in history.
• Hollywood is the 2nd largest contributor to box office.
Hindi is at 44%. Hollywood (15%) above Tamil & Telugu
(13% each).
• Hollywood Avg Ticket Price at Rs 163/-.
Hindi at Rs 142/-. Others < Rs 97/-.

27. What about Education?

28. Film Education
• A majority of the people involved in the crea`ve process of Filmmaking are not formally trained /
educated.
• Despite having 18% of the world’s popula`on and 12% of the economy, the Indian M&E industry is less
than 2% of the world’s M&E industry.
• We do not make films that appeal to the rest of the world
and hence end up leaving out a massive market for our content.
• We need 5-`mes as many graduates each year
• We have no globally merchandisable IP
• Affects all areas of M&E Film, TV, Journalism, Events, etc.
India USA
Population
130Cr
1.35 bilion
33Cr
330million
No of Films being made 1800+ 450+
No of world-class film
schools
4-5 150-160
No of graduates from
these schools each year
300-500 15,000+

29. The Indian Television Industry
The ‘Newsy’ Idiot Box

30. The Indian Television Industry
• Homes: 177 mn
• Large drop in subscribers
on account of NTO.
• Value: >10bn US$
• Revenue Ratio
– Distribution 60%
– Advertising 40%
• ARPU pm: INR225 / US$3
• Channels: 918
660
740
787 790
882
0
100
200
300
400
500
600
700
800
900
1000
2017 2018 2019 2020 2022
INRBillions
161
133
36
39
2
5
0
50
100
150
200
250
2018 2019
Subscribers
Pay TV Free TV Connected TV
393
435 468 449
495
267
305 320 341
388
0
100
200
300
400
500
600
2017 2018 2019 2020 2022
INRBilions
Distribution Revenue
Advertising Revenue
199
177

31. Do we have too many channels?

32. Channels
• India has added, on an avg, 42 new channels
per year for the last 19 yrs! !
• News has 42% of all channels ! ! ! but
only 9% viewership.
5
55
130
263
550
800
885 918
0
200
400
600
800
1000
1990 1995 2000 2005 2010 2015 2018 2019
505
380
532
386
0
100
200
300
400
500
600
Non-news News
49.9%
23.9%
8.9%
6.4% 6.4%
3.2% 1.3%
0.0%
10.0%
20.0%
30.0%
40.0%
50.0%
60.0%
GEC Movie News Music Kids Sports Others
Viewership
2018
2019

33. What languages are people watching?

34. Viewership by Language The 2 highest
watched
languages both
dropped in 2019
over 2018 in
minutes watched,
as did English by a
whopping 23%.
44.0%
12.0%
12.0%
7.0%
7.0%
4.0%
4.0%
3.0%
2.0%
2.0% 1.0%
1.0% 0.5% 0.3% 0.1%
Hindi Telugu Tamil Kannada Others
Marathi Bangla Malayalam Bhojpuri Odia
Punjabi English Assamese Gujarati Urdu

35. Regions – Sports – Kids

36. Viewership – Region, Sports, Kids
Three of four people in
South India watch TV
every day.
Kids watch a lot more
than kids content
Cricket
is
KING

37. Why we see what we see on TV?

38. GEC – TRP v/s Profitability
Why do we see what we see on
General Entertainment Channels?
How does programming get divided
between building a viewer base and
profitability, thorough the application of
the concept of ‘stick-ability’!
Low Viewership High Viewership
Low
Profitability
High
Profitability
Long running soaps
Low-cost game /
performance-based
reality shows
Mythological series
Recently released movies
Celebrity-based shows
Finite
Fiction Series

39. Kya aap Kajaria tiles khareedenge? !!!

40. Celebrities & Ads
24% of all ads used celebrity endorsements

41. The Indian OTT/Digital Industry
Roti-Kapda-Makaan-Data

42. OTT/Digital
• Valued at US$ 2.95bn in 2019. To double by 2022.
• World’s 2nd largest internet using country –
725mn internet users as of 2019.
Added (215mn users = a Brazil) in 1 yr.
• English content is not the first choice for 93 out of 100 consumers.
• India has 400mn+ smartphones in 2019, which is ~40% of all phones.
• 9 out of 10 OTT consumers watch content on their cellphones.
• Mobile data cost crashed – Rs 16/GB (22c) in 2016 to Rs 3.5/GB (4.6c) in 2019.
• Per capita data consumption more than tripled – 4GBpm in 2017 to 13.6GBpm in 2019.
119
169
221
279
414
0
50
100
150
200
250
300
350
400
450
2017 2018 2019 2020 2022
INRBillions
42%
23%
CAGR
31%

43. How many Indians have mobile connections?

44. Telecom & Internet
Dec 2019
Tele-Density: 86.98
Urban: 151.9, Rural: 56.39
Subscribers Dec-2019
Reliance Jio 370,016,160
Vodafone Idea 332,612,871
Bharti Airtel 327,297,725
BSNL 118,116,323
MTNL 3,376,303
Reliance Com 17,717
Total 1,151,437,099
668 648 647
499 528 507
0
200
400
600
800
1000
1200
1400
2017 2018 2019
Users(millions)
Mobile Subscribers Urban Rural
345
507
641
18
18
20
0
100
200
300
400
500
600
700
2017 2018 2019
Broadband Users
Wireless Wired
314
391
462
132
197
261
0
100
200
300
400
500
600
700
800
2017 2018 2019
Internet Users
Urban Rural
363
525
661
83
79
62
0
100
200
300
400
500
600
700
800
2017 2018 2019
Internet Users
Broadband Narrowband

45. Where’s the money though?

46. Industry revenue, Subscriptions, etc…
4
11
16
7
21
32
0
5
10
15
20
25
30
35
2018 2019 2020
Subscribers & Subscriptions
Subscribers Subscriptions
114.9
154.4
191.5
235.9
349.6
3.9 14.2 29.2 42.8
64.4
-
50.0
100.0
150.0
200.0
250.0
300.0
350.0
400.0
2017 2018 2019 2020 2022
Digital Industry Revenue (INR bn)
Advertising Subscription
Paid digital subscribers crossed 10 million and subscription revenue grew 106%
as Indians started paying for quality content.

47. That damn Social Media "#!!!

48. Social Media & Online News
Contrary to popular opinion, Twitter is the least used
Social Media platform in India.
It has significantly more influence given that it is
used significantly as a news-dissemination service.
India is the 2nd largest online news market in the world
Unique visitors to
news sites / apps
(mn)

49. Is India a mobile video country?

50. India is a mobile video country!
325
378
430
488
0
100
200
300
400
500
600
2018 2019 2020 2022
Mobile Video Viewers (mn)
56%
37%
7%
60%
32%
8%
0% 10% 20% 30% 40% 50% 60% 70%
Hindi
Regional
English
Language-wise Viewership
2018
2019
1200
1600
0
500
1000
1500
2000
2018 2019
Original OTT Content created (Hours)
Per-capita per week video watching hours
33%

51. Platforms Galore!

52. Opportunities in Digital
• Digital is the present & the future. Industry should look at it beyond JUST a 3rd screen with no censorship.
• Content consumption modes are changing – a large number of sub-18-yr-olds find their ‘stars’ online.
• The number of internet connected smartphones will double to 800 million by 2025, bringing the
small:mini screen ratio to 1:4. Will result in a massive demand for short format content.
• Content consumers will become creators on platforms like YouTube, TikTok and Firework
– Around 2,000 such creators today have 1million+ followers
– Expected to cross 10,000 by 2025

53. Immersive
No more just ‘content’, now get ready for ‘experiences’

54. Content ‘Experience’
• Technology-enabled
experiences in content
consumption are what the
consumer is seeking out.
• The consumption
experience is becoming as
important is the content.

55. Functional v/s Narrative
Functional
¤ Simulations (Flying/Driving)
¤ Remote access (Medicine, Drilling, etc)
¤ Mental Health
¤ Education
¤ Gaming
¤ Marketing
Narrative
¤ Cinematic VR
¤ Live VR (Concerts, Sports)
¤ Mental Health
¤ Education
¤ Gaming
¤ Marketing

56. Is there money in this? And do people really like it?

57. VR – Numbers
Q: Do you want to watch Content in VR?

58. VR Content Business Models
Low Volume High Volume
Low
Value
High
Value
Tethered
HMD`s
Location-Based VR experiences
Wireless
connected
HMDs
Mobile + Headset
Tethered + seated +
multi-sensory experiences
LBE
Tethered + Seated
Tethered
Wireless-Connected Headsets
/ Standalones
Mobile + Headset

59. Where to from here for Cinematic VR?

60. Cinematic VR’s expected journey from 2019-2022
• Widespread fiction / narrative immersive & interactive experiences in all content / business models.
• First generation of Cinematic VR content creators to emerge, by 2020-21
• Increased Festival inclusion, dedicated VR film festivals.
• Tech pipeline to get better:
– High quality, film-grade sensors, cinematic lenses, 6 DoF, VolCap, Point Cloud Capture & Photogrammetry
– Stabilisation of VR workflow using the OMAF / HEVC / MPEG-H codecs
– HMDs to get better – 4k / wireless / nearly-weightless
– Native spatial audio in all headsets & mobiles
– Adequate computing & graphic computing power
– 5G for High Quality Streaming

61. Virtual Filmmaking
Huh???
What sorcery is this???

62. What is Virtual Filmmaking?
Virtual Filmmaking is doing in the Virtual world what has been done in live action for 100+ years, using
a combination of Previsualisation, 3D Assets, Virtual Camera(s), Object-tracking & a Game engine
Virtual Filmmaking allows you to make:
• The Matrix Trilogy
• Ready Player One / Blade Runner 2049 / Gravity
• Avengers Infinity War & Endgame / Planet of the Apes
• The Lion King
• High quality blended content for TV – where anchors / hosts interact with animated content / graphics.

63. Content Platforms

64. Content Platforms
Film / Theatrical TV Digital/OTT VR/AR
Nature of
Viewing
Captive Community viewing Non-captive Family viewing Non-captive Individual viewing Captive Individual viewing
Platform
Viewing
Details
Fixed frame, large screen,
2D & 3D
Fixed frame, small screen,
2D
Fixed frame, mini screen,
2D
FRAMELESS, 2D & 3D,
Duration &
Structure
110-180 mins
60-100 scenes
1-8 shots / scene
22–44 mins
8-10 scenes
1-20 shots / scene
3–60 mins
2-20 scenes
1-4 shots / scene
60secs - 60mins
Fiction
Content
Structure
Primarily stand-alone,
marginally serial
Primarily serial, marginally
stand-alone
Equal amount of stand-alone &
serial content
Equal amount of stand-
alone & serial content
USP
Larger Than Life,
Audio-visual narrative
spectacle
Appointment Viewing,
Story & Character
development
Individuality,
High concept, less formulaic,
writing-focused, pace is critical
???
Immersive & interactive is
all we know currently

65. Platforms
Low Volume High Volume
Low
Value
High
Value
Premium OTT
Theatrical
Immersive
Content
Free(mium) OTT
C&S / DTH
Note:
This is India-specific
There are 4 viewing
platforms & multiple types
of content presently.
On a Viewership / Value
matrix, this is where are
they now & where are they
likely to be 5 yrs from now. Free OTT

66. Animation, VFX & Post-Production

67. Animation, VFX & Post-Production
• Strong growth on the back of VFX.
• India is the world’s VFX factory.
• India’s diminishing cost arbitrage in Animation & lack of
original IP are the major reason of low growth in
Animation, though that is changing now with studios
starting to move from jobwork to IP creation.
• Domestic broadcasters commissioned more original
animation content.
• There is a large education imbalance in the Animation,
VFX & Post-prodn verticals
67
79
95
112
156
0
20
40
60
80
100
120
140
160
180
2017 2018 2019 2020 2022
INRBillions
18%
18%
20%
31.3 39.6 49.5 60.3
89.318.3
20.5
23.1
25.9
32.5
17.0
18.8
22.3
25.6
33.8
-
40.0
80.0
120.0
160.0
2017 2018 2019 2020 2022
INRBillions
VFX Post-Prodn Animation Services

68. VFX

69. Indian IPs on Indian Screens
• Hindi Film IP spinoffs gained steam with Little Singham,
Fukrey Boyzzz & Golmaal Jr to add on to the original
successful IPs like Chhota Bheem & Motu Patlu
• Broadcasters are willing to pay 2x for good quality Indian
Animated content as compared to general entertainment
content, even though this segment gets only 6% of the
viewership, as compared to 50% for GECs.
• Despite being under-indexed for advertising, It offers repeat
viewing value, multi-language dubbing value and
merchandising value & has long-tail revenue.

70. Gaming
The next big thing…

71. Gaming
• Gamers grew 100% between 2017
& 2019 from 183 mn to 365mn.
• 1 in 4 Indians is a gamer.
• 2019 saw 5.6bn mobile game apps
downloaded, highest worldwide.
• Fantasy gamers doubled in 2019.
• Fortnite global championship
winner prize money was 3mn$.
That is more than Wimbledon.
Grand Theft Auto 5 is the single most
profitable piece of media of ALL TIME
Produced at a cost of US$265mn, it has
revenues of over US$8bn as of 2019.
Online Gamers (millions)

72. E-Sports $%
Really???

73. E-Sports – Big potential!
Certain online games which need both skill & luck are
classified as e-sports

74. Sports

75. Sports
• Sports, with 17% growth in 2019, is one of
the largest content providers to the M&E
industry.
• In 2019, viewership of Cricket grew by 15%
& that of Wrestling crashed by 50%.
• Highlights/Repeats viewership is 3x of live.
• Cricketers get the brand moolah
– 329 endorsement deals, 228 cricketers
– 70 new brand deals signed by sports stars, 50 involved
cricketers
– 85% of total brand endorsements came from cricketers
– 63% of total brand endorsements were from only 2
platers – Virat Kohli and MS Dhoni
15% 16% 17%
51%
34% 32%
34%
49% 51%
0%
20%
40%
60%
80%
100%
2017 2018 2019
Sports Viewership Details
Highlights
/ Repeats
Related
Live

76. Wonder who watches all this sport?

77. Sports
The urban + male sports-watcher stereotype has been broken
with 35%+ female & 40%+ rural viewership for IPL+ISL+PKL.

78. Live Events

79. Live Events
• Still largely unorganised.
• Licensing & Taxation issues
• Ticket sales account for less than 15% of industry revenues.
• Corporates account for 80% of the organised industry’s
revenues
• Weddings continue to be high value generators for the
industry.
• India has seen a steady increase in large-format stage
musicals - starting from Mughal-e-Azam to Beauty & The
Beast & Alladin and most-recently – Cirque du Soleil.
65
75
83
94
122
0
20
40
60
80
100
120
140
2017 2018 2019 2020 2022
INRBillions
15%
14%
11%

80. Radio

81. Radio
• The industry shrunk 9% in 2019, primarily
as political & governmental spends
dropped in the last half of 2019 in addition
to economic slowdown which hit Radio
harder than other verticals.
• Only 5 states generated over 60% of the ad-
revenue.
• In addition to the 33 FM broadcasters
running 367 private radio stations in 104
cities, AIR has 470 stations in 23 languages
reaching 99% of India’s population.
29
34
31
33
36
0
5
10
15
20
25
30
35
40
45
50
2017 2018 2019 2020 2022
INRBillions
17% 5%-9%

82. Music

83. Music
• 8%+ growth, on the back of music
streaming & performance rights.
• YouTube contributed 45% of the
industry’s revenues.
• T-Series became the world’s most
subscribed channel on YouTube.
• Performance rights grew at over
35% with better implementation
of collection mechanisms.
13
14
15
17
20
0
5
10
15
20
25
2017 2018 2019 2020 2022
INRBillions
9%
10%
8%

84. Technology

85. Technology in the Industry
Where we are at:
• 8k content acquisition & workflows for Film.
• 8k/6k stereo content acquisition in 360VR.
• 4k content acquisition & workflows for TV/OTT.
• Mobile filmmaking & ‘Script-to-Screen in a room’ workflow.
• Indigenization of the entire VFX pipeline.
• Usage of Motion Capture in advertising, some films.
• Emergence of Virtual Filmmaking for Previz.
• Emergence of ‘Digital Labour’ for RPA.
• Immersive content in Gaming, Tourism, Sports.
What Next?:
• Ubiquitous 4k/8k workflows for
Film, TV & High-end OTT.
• Virtual Filmmaking beyond Previz.
• Mainstream Cinematic VR.
• 6DoF Volumetric capture.
• 5G (It’s the next ‘panacea’).
• Mainstreaming of ‘Digital Labour’.

86. Opportunities

87. The big opportunities in Indian M&E
• Education in M&E
• IP creation – Globally merchandisable IPs across Film, TV, OTT, Gaming – both live action & animated
• Content that travels well globally (to non-diaspora viewers)
• Multiplex Screens
• Non-English / Non-Hindi OTT content
• Immersive Content – VR & AR
• Virtual Filmmaking Technology pipelines
• E-Sports & Online Gaming

88. In any industry, building volume is hard. India already
has the volume and is the largest free-access digital
market in the world.
We now need to build value to each unit of volume. Only
way to do it is quality.

89. References
Most of the Data & Many of the Charts taken from the FICCI-E&Y Report 2020
Other data & charts from various other domestic & global industry reports

90. THANK YOU
Chaitanya Chinchlikar
Vice President & Chief Technology Officer
chaitanya.c@whistlingwoods.net