Production houses pivot to digital content
While some studios have pivoted 100% to doing digital content, others said nearly 50-60% of their annual slates are now for OTT services.
A number of content production houses traditionally making films and TV shows are increasingly shifting to creating web shows for better remuneration, acting talent, storylines and creative freedom. While some studios have pivoted 100% to doing digital content, others said nearly 50-60% of their annual slates are now for OTT services.
Companies like Saregama-owned Yoodlee, Reliance Entertainment, Sikhya Entertainment and others known for making niche, urban Hindi films lead this change. They claim the web offers far more freedom in terms of writing and acting, and technical talent is more easily available as compared to television along with changing audience tastes making this economically viable.
“The process for a producer to make a film is still the same. OTT platforms have allowed us to tell braver stories which were tougher to tell in the business model for theatres,” said Achin Jain, producer at Sikhya Entertainment. The company that is known for films like The Lunchbox and Masaan, will release Kathal, starring Sanya Malhotra on Netflix next year. “People are generally sceptical of anything new. Initially many actors, technicians and filmmakers were not open to moving to digital mediums. Additionally, OTT platforms only curated selected films. However, the strategies of OTT have evolved, and consumers have also adapted,” Jain said.
There was a certain amount of scepticism with OTTs initially, agreed producer Anand Pandit. Web shows’ access to A-list actors was also limited, as most stars were very reluctant to explore OTT offers because of the perception that it would be like working on television. “What has changed is the understanding of the breadth, respectability, and acceptability of OTT platforms and the money people are willing to invest in them,” Pandit pointed out.
For a company used to the controlled budgets of television, OTT has helped redefine investments and bring makers closer to the ecosystem of cinema, said Vaibhav Modi, founder director at Victor Tango Entertainment that is known for ZEE5 original Mukhbir. “In television, everything depends on how long the show works. Today, a small boutique studio and a big production house are competing for the same resources (allotted by OTTs). While some may feel they are a disadvantage, overall the commercials have definitely improved,” Modi said.
To be sure, marquee directors and actors, over the years, have realized the merit of being a part of OTT shows and films, said Roshni Ghosh, senior producer at Locomotive Global Media, a production house working on Netflix original Rana Naidu. The prestige associated with such projects is well recognized. “The downside is that talent has become more unavailable and expensive. All good heads of department are extremely busy as there is currently a glut of OTT shows and films in the market. The challenge hence is that the demand for good creators and actors today is far greater than the supply,” Ghosh said.
With the OTT market having somewhat stabilized in India, platforms are definitely re-evaluating budgets, said Siddharth Anand Kumar, vice-president, films and television, Saregama India, which owns boutique studio Yoodlee Films. “It takes a lot of effort to prepare that Bible to pitch to platforms with the cast and other details of the project. Plus, the decision-making time, even if they were to reject the pitch, is very long,” Kumar pointed out. He added that several companies are, therefore, beginning to utilize their own resources to put projects together, and pitch them to platforms.
Catch all the Industry News, Banking News and Updates on Live Mint. Download The Mint News App to get Daily Market Updates.
MoreLess
First Published:15 Nov 2022, 02:53 PM IST
- Top Gainers
- Top Losers
- 52 Week High