intellectual property guide for m&e to navigate critical ... · at dg@ servicesepc.org. sepc...

SERVICES EXPORT PROMOTION COUNCIL3rd Floor, 6A/6, NCHF Building,Siri Fort Institutional Area, August Kranti Marg, New Delhi-110049Phone: +91 11-41046327-28-29, +91 11-41734632 Email: [email protected]: www.servicesepc.org, www.indiaservices.in

MADE IN INDIA, FOR THE WORLD

Intellectual Property Guide for M&E to

navigate critical aspects of IP creation with a

catalogue of Indian IPs

India Service Guide_Catalogue_Cover_2019.indd 1-3 07-10-2019 PM 02:39:55

The Power of Idea

sepc final IP_inner pages_081019_09.52pm.indd 1 08-10-2019 22:38:19

3SEPC | INDIA IP GUIDE

SEPC Push to Indian IPsMake in India, Show the World. Creative and business minds (both domes-

tic and overseas) in the media and entertainment industry have a great opportunity to collaborate to create new media products and services out of India. One of the areas currently getting traction is the Intellectual Property (IP) creation in the media and entertainment space.

The rise of the innovation and digital transformation has opened up new plat-forms and avenues of growth to the media and entertainment sector. IP is the most important asset for many economies as well as companies. The creation of content (live action, animation, films, digital, OTT) and protection of IP has never been important before. The idea behind this India Intellectual Property

(IP) Guide is to present a reality picture on the resur-gence of Intellectual Property creation in the Indian animation sector. This is the first of its kind initiative by SEPC and our major objective is to hand hold small and medium entertainment companies to thrive, excel and expand global footprint.

The guide collectively positions India’s strength and di-versity in the IP creation across the country. It also of-fers some practical, business-focused perspectives on IP.

In addition to the fresh perspectives of thought leaders and creative professionals on IP Creation, the guide presents completed Indian IP animation properties that can be made available to global buyers, distribu-tors and sales agents. The guide also lists IPs in development and production stage for companies to scout for co-production partners and distributors.

India provides a window of opportunity to position itself as a digital hub for the glob-al media and entertainment industry. There is enormous opportunity for Indian M&E companies to scale, open doors for collaboration between creative minds to work across various platforms and create demand for Make In India content.

THE GUIDE COLLECTIVELY

POSITIONS INDIA’S STRENGTH AND

DIVERSITY IN THE IP CREATION

ACROSS THE COUNTRY

FROM THE DESK OF SEPC CHAIRMAN

Vivek NairChairman,

Services Export Promotion Council


India’s IP Strength in M&E Space

The GovernmenT of IndIa Is

commITTed To safeGuard

aGaInsT InfrInGemenT

of orIGInalITy and creaTIvITy of The makers, To GIve a boosT

To servIces exporTs

foreWord by dr anup WadhaWan, commerce secreTary

Dr Anup Wadhawan, IASCommerce Secretary,Ministry of Commerce & Industry, Govt of India

I am happy to present the Indian Intellectual Property (IP) Guide to delegates at the 36th MIPCOM, the world’s entertainment content market at Cannes,

France. This IP Guide for the media & entertainment sector with a catalogue of completed original animation IPs and properties that are under development is being brought out for the first time by Services Exports Promotion Council (set-up by the Ministry of Commerce & Industry, Government of India) to showcase India’s strengths in the IP creation space.

One of the key objectives is to help and handhold small and medium media & entertainment companies to navigate critical aspects of IP creation and to pres-ent IPs from India to the buyers and distributors from across the globe. The IP Guide is to illustrate strengths of the Indian content creators.

The Indian audio visual sector is recognized as a priority sector for support by Government of India under its Champion Service Sector initiative. With over 900 television channels, more than 600 million Internet users, 175 million Pay TV households, 500 million smart phone users, 100,000 + newspapers, over 1,500 films produced annually and multiple delivery platforms, India’s vibrant media and enter-tainment industry provides exciting growth oppor-tunities to global and domestic companies.

With the growth of broadband, mobile technologies and emergence of digital media, the sector is wit-nessing rapid transformation in a converging world. IP is the most important asset for its creators in the media and entertainment sector. We firmly believe the significance of IPR as the centerpiece of the industry’s future growth. The Government of India is committed to safeguard against infringement of origi-nality and creativity of the makers, to give a boost to services exports.

2 INDIA IP GUIDE | SEPC


One of the key objectives at Services Export Promotion Council (set-up by the Ministry

of Commerce & Industry) is to facilitate Services exporters of India and handhold medium and small enterprises to expand their global footprint. In this context, Intellectual Property (IP), especially

in the innovation economy of today, is vital to a large number of SEPC’s stakeholders.

The Indian media and entertainment sector is growing e x p o n e n t i a l l y . SEPC acts to encourage small companies find a foot-hold in the

global market as also larger companies to spread and deepen their global footprint. It is with this vision that SEPC works in the M&E and all other Services sectors.

In fact, Indian Media and Entertainment Sector is a prime example of value creation in the IP arena. Intellectual Property (IP) is the most important asset for many economies as well as companies. Experts point out that IP accounts for more than 80 per cent of companies’ value. Intellectual Property is intangible property, which you cannot see, but can value and build over a period of time.

IP gets legal protection which can be harnessed for value in perpetuity. Any transgression of the intellectual property lends itself to legal action. SEPC’s firm belief in the value and protection of IP has given shape to this India IP Guide.

Supporting Indian IP to Create a Stronger Global Footprint

MAKING IP ASSETS GROW

Indian media, entertainment and technology companies are growing at an accelerated pace on the back of growing acceptance of our content, especially in animation, VFX, gaming and AR/VR. SEPC firmly believes that creation, protection and expansion of IP in the media and entertainment sector alone will bring huge returns, says Sangeeta Godbole, DG, SEPC. Actioning this belief, we proudly present this first effort of a catalogue of IP products as a tool to facilitate trade in creative goods and services

Sangeeta GodboleDirector General, SEPC



For the creative and business minds in the M&E sector, an IP portfolio is a matter of both pride and business sustainability. IP creation is also vital for creation of new jobs, investment and growth. To accelerate growth, M&E organisations must rebuild their IP strategies to conquer the emerging digital landscape. The world of online and new OTT platforms have opened up mind boggling avenues of distribution for content creation. Digital platforms have opened up tremendous opportunity that never existed before – for creators, storytellers -- to reach out to the world.

While we have been deliberating on this, we proudly present, for the first time, a compendium of best practices and narratives which dominate the Indian M&E IP scenario. This catalogue is only representative of what is being created out

of India. It gives a glimpse of readily available IP creations for distribution and products in development. Over the next editions, we will present updates of properties across media and entertainment verticals.

The creative and business minds have captured a set of mega trends that are emerging in the IP creation. There are a number of examples of how companies are handling their IP and penetrate new markets. Every idea or a product needs an innovative approach and these suggestions are examples that will power to create fresh success stories.

Indian media, entertainment and technology companies are growing at an accelerated pace on the back of growing acceptance of our content, especially in animation, VFX, gaming and AR/VR. The Indian animation and VFX have gained a lot of traction among the international producers and production houses. Top Indian companies have attained leadership to create content and distribute them in new markets.

To encourage this growing trend, in the coming months, SEPC plans to launch an online IP helpline, so that anybody who has plain simple question can get feedback on IP related queries. SEPC will also create a committee which will help small and medium entertainment companies to navigate critical aspects of IP creation. The aim is to assist companies and content creators to maximise the value that IPs can provide.

If you would like to contribute to this small but significant effort in any way, feel free to mail your suggestions and comments on this India IP Guide at dg@ servicesepc.org.

SEPC PLANS TO LAUNCH AN ONLINE IP HELPLINE, SO

THAT ANYBODY WHO HAS PLAIN SIMPLE QUESTION

CAN GET FEEDBACK ON IP RELATED QUERIES.

SEPC WILL ALSO CREATE A COMMITTEE WHICH

WILL HELP SMALL AND MEDIUM ENTERTAINMENT COMPANIES TO NAVIGATE CRITICAL ASPECTS OF IP

CREATION



Chhota Bheem’s journey to the small screen was by no means an easy one. I realised the

huge opportunity in our country for original Indian Kids IP content. Chhota Bheem was an idea conceptualized in 2004 itself. The industry at that time was not open to many ideas and the scope of an indigenous IP was minimal. But the potential was there to be tapped into. I truly believed that kids would connect with and love a character that they could relate to and thus decided to focus

on creating IP content for Indian audience.

Multiple pitches and numerous iterations later, we finally got the green signal from Pogo to create the Chhota Bheem show in 2007. Looking back today, the amazing

love and acceptance shown by kids towards Bheem makes the arduous journey worth every moment. The love for the show ensured that Chhota Bheem never went off air in India since its pilot episode. It resulted in a decade of Bheem entertaining kids in different avatars, the latest of which is Mighty Little Bheem. The franchise today has an audience of over 100 million and growing.

I have always believed that the love for Bheem is universal but Mighty Little Bheem was the litmus test. We put our heart and soul in creating Mighty Little Bheem. It was a departure for us as well from our conventional projects as it was our first preschool show. The entire creation process has been a brilliant rollercoaster and an eye opener for us. Creating a non-dialogue music driven show that transcended cultural and geographical boundaries has been a revelation. Little Bheem became the top pre-school title globally on Netflix. It is performing well in US, Canada, Brazil, Mexico and other territories. Bheem today is a loving part of homes across 190 countries.

Chhota Bheem - A Journey Worth Every Moment

TRANSCENDING GEOGRAPHICAL BOUNDARIES

Beginning its journey in 2008 on Pogo, Chhota Bheem and its different avatars have transcended cultural and geographical boundaries to gain love and acceptance from an audience of over 100 million and growing

Rajiv ChilakaFounder & CEO, Green Gold Animation





Chhota Bheem, the brand, has been growing for the last decade. When we realized the popularity of Bheem, we also realized that kids wanted to have a personal Bheem, thus started our merchandising journey. From a few comics and products, we have grown our presence to exclusive retail, modern trade, ecommerce as well as licensing. With over 100 brands partnering with us over the last decade, Chhota Bheem has consistently been among the most recognized and recalled kids brand in India.

And it all started in Hyderabad. The city is the hub for visual arts and animation, and it will soon have its IMAGE tower, a beautiful amalgamation of history, modern design and technology. Animation, Gaming and Visual Fx industries thrive on creative and technology ecosystems. The world-class tower provides a vibrant environment for the AVGC industry. The Telangana Government dedicated IMAGE policy on the industry will empower young and talented entrepreneurs to foray further and compete with the best projects worldwide.



The animation and the VFX segment witnessed a strong growth of 18.7% in FY19, to reach a size of Rs. 87.7 billion. The sector will grow at a CAGR of 16% between FY19 and FY24 and reach Rs. 184 billion. What is extremely heartening to know is that the Indian Animation IP production (excluding animation services) has a year-on-year double digit growth: almost double of what it was in 2012. With a population of 373 million between ages of 1-14 in India itself, this trend will only improve upon in the coming years.

Even though 70-80% of animation revenue in India comes from international projects, India’s share in the global industry is less than 1%. Immense potential is here. With the advent of OTT, the average content consumption in India has gone up from 450 hours a year, to almost 6000+ hours a year in the last 5 years. Animation has had a big role to play here. The success of Mighty Little Bheem and other Indian IPs globally has proven the importance of region agnostic content and the caliber of home grown IPs. I believe this is the right time to move forward and take our rightful place in the global animation industry.

The ease of access to global content has evolved the audiences taste and raised the standards for all creators. The quality and the ability of it to connect across regions is paramount. Keeping this in mind, we have set up our offices in Los Angeles to focus on and create IPs with global potential and appeal. The team, led by Mr. Marc Lumer, a veteran of the industry and illustrator extraordinaire, is creating IPs which are presently in various stages of production. The world is becoming a smaller place. And there is so much potential to do stories which are from India, of Indian stories.

LITTLE BHEEM BECAME THE TOP PRESCHOOL TITLE GLOBALLY ON NETFLIX. IT IS

PERFORMING WELL IN US, CANADA, BRAZIL, MEXICO AND OTHER TERRITORIES.

BHEEM TODAY IS A LOVING PART OF HOMES ACROSS

190 COUNTRIES



Intellectual Property (IP) is the talk of the town today. Infact it has been so for the last few

years and quite understandably so. The coming of new-age technologies and their stupendous growth have opened up entirely new possibilities for all stakeholders, be it the government and their agencies, distributors, exhibitors, satellite channels, OTT platforms and other key participants in this continually expanding arena.

But most impor-tantly, what does it mean for the cre-ators themselves!

IPs we create is an important aspect of our art and cul-ture. We as a na-tion are known for our extraordinary art in the form of sculpture, paint-ing, architecture, literature, cinema,

music, etc. It is the murals at Ajanta, sculptures at Kailash temple, Kangra miniatures, Mughal architecture, Hindustani and the Carnatic mu-sic, and so many other vibrant renditions in various art forms that define us as a nation, as a culture.

We are after all, what we create and we are after all what we like to see. What we create today as IP should not only reflect our culture, but it should also influence and construct it. It is up to us, the creators, to choose the way forward. What kind of a nation do we want to build? How do we want the rest of the world to see us?

There are three fundamental entities that contribute towards making of any IP: the funders, the creative personnel and the audiences. These three could sometimes have different interests and it is for all three to strike a balance so that the IPs we create have high standards and that these standards keep increasing. A synergy between the three is vital for us to build, promote and nurture creativity and innovation.

What we create today as IP should not only reflect our culture, but it should also influence and construct it. It is up to us, the creators, to choose the way forward.

From Ajanta Frescoes to Digital Screens

Soumitra RanadeCreative Head & CEO Paperboat DesignStudios

REFLECTING DREAMS OF INDIA



Our IPs need to be rooted in our

land, in its diverse fragrances and

its distinct shades. We must tell our

extraordinary stories through our

extraordinary audiovisual traditions.

For this to happen, we first need to be

proud of the immense wealth that we

have. Instead of looking constantly

towards the west, we must look within

ourselves, within our own souls and

that’s where the real Indian IPs exist



Throughout history whenever there was complete synergy between the three, a high level of art was achieved; from as diverse periods as the Renaissance or the Chola period. Whenever there have been gaps between the three, the art of that period has suffered.

For a country that has such an enormous treasure of stories; of images and sounds, of colors and textures, of melodies and rhythms, very few Indian IPs have crossed the shores and gone global. Many have tried for several years and yet only a few have succeeded. What makes our IPs mostly confined within our borders?

What we create here in our country – not just as a geographical unit but as a composite culture, must I feel, reflect our stories, our dreams, our images and our sounds. Our IPs need to be rooted in our

land, in its diverse fragrances and its distinct shades. We must tell our extraordinary stories through our extraordinary audiovisual traditions. For this to happen, we first need to be proud of the immense wealth that we have. Instead of looking c o n s t a n t l y towards the west, we must look within o u r s e l v e s , within our own souls and that’s where the real Indian IPs exist.

Only those artists who

THERE ARE THREE FUNDAMENTAL ENTITIES THAT

CONTRIBUTE TOWARDS

MAKING OF ANY IP: THE FUNDERS,

THE CREATIVE PERSONNEL AND

THE AUDIENCES



have truly been rooted in the culture of our land have gone global in the real sense of the word, be it Satyajit Ray, Pt. Ravi Shankar or M.F.Hussain amongst others. It is always the most local that eventually becomes global; there are enough examples from all over the world to substantiate this. Even Superman, probably one of the most popular global icons has perhaps the most American soul. The Disney collection and the Manga art and animation are some of the other examples that come immediately to mind.

In recent times, the two animation films from India—Goopi Gawaiyaa Bagha Bajaiyaa and Bombay Rose—have crossed the boarders and have gone international in a big way. Both these films are rooted in the Indian aesthetic not only thematically but also stylistically.

There is however a catch here! If we go back to our roots without innovation, we will only be repeating ourselves. If we render the same stories in the same ol’ ways we will become irrelevant for the newer generations. We need to rethink and reinterpret. While we do this, we must bring in that edge, that zeitgeist of our times, the spirit of our era.

This is where I think the government can play a key role. The Services Exports Promotion Council, set up by the Ministry of Commerce & Industry, Government of India, is a great initiative in this direction. The government stands alone, away from the other three entities and has the power and capital to give direction to things to come and I anticipate exciting times ahead.

We can’t repaint the Ajanta frescoes all over again. There’s no point in doing that or even attempting to do that. But ignoring them would only be a colossal tragedy. What we must do is to reimagine Ajanta that will be represented in a form that is modern. That is contemporary.

And we must be on our toes because who knows as early as tomorrow morning the medium might change. Today it’s the digital screen but tomorrow it may be something else. One thing however will remain constant, always, for eternity – the Bodhisattva Padmapani!

We must embrace it.

IT IS THE MURALS AT AJANTA, SCULPTURES AT KAILASH TEMPLE, KANGRA MINIATURES, MUGHAL ARCHITECTURE,

HINDUSTANI AND THE CARNATIC MUSIC, AND SO MANY OTHER VIBRANT RENDITIONS IN VARIOUS ART FORMS THAT

DEFINE US AS A NATION, AS A CULTURE



One of the most important considerations while communicating with a large section

of nation’s population, especially kids, is to look within while looking forward.

The communication patterns that are trusted upon at that ten-der age play a critical role in shaping their future. In thins digital era kids are exposed to all sorts of informa-tion from across the globe. Thus, the responsibili-ty of the creative content creators and programming directors is to en-

sure that a balanced content is fed particularly to this category of audiences.

As efforts are made to develop the future genera-tions into truly global citizens, the understanding of the regional heritage, culture, history and sto-ries is also extremely important.

Animation story telling in India is skewed towards kids’ genre. Hence we have a limitation in many ways. It all started through television as a medium in mid-nineties. Most of the content creators then understood live action creations. India as a dominant live action country with over 100 years of cinema history took little time to understand the grammar of animation story telling. However, animation story telling being a long drawn creation process requires patience, which was hard to find back then as television medium was growing at a rapid speed after liberalisation process was rolled out in early 1990s. Therefore, the global content took a strong

IP Creation: The Great India Opportunity

LOOKING WITHIN, LOOKING FORWARD

While the formula of Indian animation IPs doing well for Indian kids has succeeded greatly, the next logical step for the original Indian animation IP creators is to get opportunities to create the global Indian animation character brands

Ashish S KFounder-Chairman Punnaryug Artvision Pvt Ltd, & Founder-CEO Screenyug Creations Pvt Ltd.



position in this segment and the kids in India were found growing up on all sorts of foreign kids’ animation content.

This was followed by an era when foreign animation content was getting dubbed in local Indian languages, which was marked by a growth in viewership as kids gradually started understanding the stories with a little more clarity.

It was almost after a decade that this era ended when few Indian animation creators took a plunge to create original Indian IPs, a step replete with risks. But when the television programming teams decided to air these shows, the viewership went through the roof. It provided the impetus for the kids’ category to grow multi-fold, and the percentage viewership of kids gained a bigger pie in the total viewership universe.

Properties like Hanuman, Little Krishna, Chotta Bheem, Tenalirama, Pancha tantra, Shaktimaan, Gatotkutch, etc, proved successful enough to compel the kids’ networks to invest more in original Indian animation shows.

However, at this stage the supporting eco-system for character licensing, merchandising, brand associations, character events and school contact programs was absent in India. It was against this backdrop that the creators of Chotta Bheem took a bold step to self-distribute the content internationally; create own character licensing and merchandising; forge brand associations; organise character events; open Chotta Bheem stores at airports, events and malls, etc. The creators went on to produce and successfully release a series of theatrical animated feature film in the last six years. Eventually, Chotta Bheem emerged as the biggest animated character brand out of India.

While the original animation IP story was beginning to unfold in India, the co-production of animation IPs also existed in the business modules of several studios. That was another way of partially holding the rights of global original animation IPs.

We have many shows produced under the co-productions, but the positioning of Indian studios was way lower in the value-chain as India was initially positioned as the animation production services destination. Hence it sometimes became very difficult for the Indian original animation IP’s / ideas to move up and become the co-productions. It was always the ideas or IPs originating from other countries that were translated into the co-production shows. Nevertheless Indian animation studios did not give up. Some of the global IPs co-produced by the Indian studios include Jungle Book, Peter Pan, Davincibles, Casper, The Little Princes, Animated World Tales etc.

THE NEW AVENUES OF CREATION AND

MONETISATION OF ORIGINAL INDIAN ANIMATION IPS

SHOW A LOT OF PROMISE IN THE UN-EXPLORED AREAS

OF PRE-SCHOOL ANIMATION CONTENT AND DIGITAL

PLATFORMS FOR ORIGINAL ANIMATION CREATIONS



Since 2011-2012, few Indian animation studios focused on co-productions of international animated feature films. However, they have succeeded in setting up world-class 3D character animation pipelines and are delivering international features through co-productions continuously. Some of these theatrical features and DVD shows include Iron Man, Norm Of the North series, The Swan Princes Series, ALpha and Omega, Artic Dogs, Blinky Bill, Little NICK, Robin Hood, etc.

Post 2014, the Indian animation entered a new evolution phase as now the networks wanted to move over 60% original Indian animation content to even a new kids’ network.

By now original Indian animation had grown to over 100 animation character brands. While some of these character brands were produced in several seasons, some of them made a great start. For example, IPs like Motu Patlu, Shiva, Little Singham, Krishna, Aryan, Dabang Girls, Krish Trish and Batliboy, Jr. Gol Mall, My Bhoot Friends, icko & Super Speedo, Sab Jholmaal, Honey Bunny, Pakdam Pakdai, Rudra, Keymon Ache, Roll No 21, Super Bheem, Andy Pirki, Oye Golu, Gattu Battu, Mighty Raju,Kalari Kids, Kumbha karan, Chotti Anandi, etc, rose as the original Indian animation brands to reckon with.

While all the stakeholders recognise that creating the original Indian animation IPs is the way to go forward, the sole dependency on the television network is making it difficult for a self-sustaining business module to run as the cost of production made available is very low. Although the percentage of kids’ universe is very large in terms of total viewership base, there is a mismatch in terms of advertising revenues. Hence the pressure on production costs doesn’t

allow the creators to enhance the quality of the shows. The frustration of the creators can be gauged by the fact that they are delivering higher quality production values in the outsourcing animation services projects while unable to do it for Indian projects though the talent pool remains the same for both.

While the formula of Indian animation IPs doing well for Indian kids has succeeded greatly, the next logical step for the original Indian animation IP creators is to get opportunities to create the global Indian animation character brands. Secondly, the independent animation studios creating original Indian animation must get a chance to retain the IP of the characters and shows, as in the present format they lose all the rights in the first green lighting stage itself.

The new avenues of creation and monetisation of original Indian animation IPs show a lot of promise in the un-explored areas of pre-school animation content and digital platforms for original animation creations.

While BARC has included the kids’ content from 2 years to 14 years now, the advertising and network marketing teams will require a viewership data break up for 2 to 5 years, 6 to 10 years, and 11 to 14 years separately, as the content subject interests are fast changing in kids as they are growing up this age profiles.

Presently, the pre-school category has substantial viewership base but no advertising revenues. Hence we do not get shows green lit in pre-school animation. This is a very high potential content creation growth area for near future.

Secondly, so far we have seen only one big success for an Indian original animation created for a well known digital platform, i.e. Might Little Bheem.



The second example of success of the re-run of the original Indian animation content for television, but now placed on a famous international digital content platform dubbed in several languages doing well is Krish, Trish and Baltiboy.

Few steps that will further consolidate promising growth of the original animation IP’s will be as follows:

1. Expand the genre from only kids to family entertainment

2. Create local co-production and original IP funding mechanism.

3 Create and establish a free to air kids public broadcasting networks with focused funding for creation original Indian animation content.

4 Establish a Co-production & finished content market in India and get buyers for the animation content from all over the world.

5 Funding for promotion of Indian original animation content globally thru several content markets

6 Create a special animated kids feature film distribution mechanism.

7 Pre-school viewership data to be measured and made available to the advertising and kids network, in order to ensure infusion of production funds for pre-school animation programming.

The original Indian animation characters are in a nascent stage and require a right attention as 27% population of India is between 0 to 14 years of age. The highest loyalty and stickiness for the television network or an animation character brand is displayed by this age profile. More over the kids who were born in India in 90’s and 2000, who grew up watching animation content, will soon become parents.

That gives a great opportunity to Indian original animation content creators to widen the animation viewers’ genre from kids to family in next 5 to 10 years. Hence the potential to take the original Indian animation creation to the global heights is certain.

IPS LIKE MOTU PATLU, SHIVA, LITTLE SINGHAM, KRISHNA, ARYAN, DABANG GIRLS, KRISH TRISH AND BATLIBOY, JR. GOL MALL, MY BHOOT FRIENDS, ICKO & SUPER SPEEDO,

HONEY BUNNY, PAKDAM PAKDAI, RUDRA, ROLL NO 21, SUPER BHEEM, GATTU BATTU, MIGHTY RAJU, KUMBHA KARAN, CHOTTI ANANDI, ETC, ROSE AS THE ORIGINAL

INDIAN ANIMATION BRANDS TO RECKON WITH



Indian animation studios are increasingly realizing the need and the potential of 360

degree monetization by creating their own IPS. The Indian animation industry has proved its mettle in the global markets.

We are now experi-encing a global phe-nomenon of huge consumption in animated content, one of the reasons being that people are realizing that animation travels better.

With the way our live action Indian movies have been

doing globally, it is only a matter of time that we develop truly Indian animated IPs based on our own stories with potential to go global.

There is a demand for stories which are Indian but need to be presented to the global audience in a way that any kid living anywhere in the world could easily identify with it.

The kids’ animation sector has shown tremendous growth potential of original domestic content. From storytelling strategies to presentation and consumption of content, the distribution platforms are now providing such rich variety of content that

Producers are now spoilt for choice. The animation industry, both locally and globally, has come to love and adopt OTT platforms such as Netflix, Amazon Prime, Hulu, etc.

It’s High Time OTT Platforms be Leveraged to Gain Global Scale

DEVELOPING TRULY INDIAN IPS

The shows being created by the Indian studios presently are focussed more on the Indian market, and hence fail to strike a chord on a worldwide scale.

Manoj MishraCOO, DQ Entertainment



Given the kind of liberty and exposure animated content can enjoy if consumed through OTT platforms, Indian producers need to leverage this opportunity and take some calculated risks in creating content that is in essence Indian but having global appeal.

The future clearly is digital and content is now being tailor-made to cater to digital platforms first. There seems to be a lot of clarity now among the young audience on what belongs on Television and what belongs on digital platforms such as SVOD, YouTube and social media. More

and more producers now need to come forward to develop original Indian content to address each of these platforms and leverage its potential to reach out to millions of viewers.

For example, Jungle Book, which is essentially an Indian story based on the Seonee Jungle, we have already produced three season of the series with multiple spin offs based on it. The Jungle Book is a complete kids and family entertainer. The fun series is filled with humour, action combined with great story telling, and has been successful in entertaining kids from across the globe.

Recognising the power of digital platforms for their reach and also the medium’s potential to earn substantial revenues over a sustained period of time in addition to the traditional broadcast way, we launched our You Tube channel – called Powerkids TV few months. The Powerkids TV channel on YouTube has witnessed tremendous viewership and watch time for our high quality global shows. We have observed that our animated show Jungle Book has millions of views on each of its episodes and our four million strong and growing subscribers have been consuming our content in huge volumes on a daily basis.

The IP has been broadcast in more than 165 countries and has over 500 product categories ranging from books , apparels, toys, plush, bags, stationary, pencils, inflatables, walkie- talkies, lollipops, playing cards, beach toys, stickers, puzzles, etc, in terms of merchandize.

Jungle Book is one approach in leveraging and expanding the monetization venues of an IP. However, every producer needs to strategize their approach for their respective IPs based on the strengths and weaknesses of the show they are producing.



Given the kind of liberty and exposure animated content can enjoy if consumed through OTT platforms, Indian producers need to leverage this opportunity and take some calculated risks in creating content that is in essence Indian but having global appeal.

The future clearly is digital and content is now being tailor-made to cater to digital platforms first. There seems to be a lot of clarity now among the young audience on what belongs on Television and what belongs on digital platforms such as SVOD, YouTube and social media. More

and more producers now need to come forward to develop original Indian content to address each of these platforms and leverage its potential to reach out to millions of viewers.

For example, Jungle Book, which is essentially an Indian story based on the Seonee Jungle, we have already produced three season of the series with multiple spin offs based on it. The Jungle Book is a complete kids and family entertainer. The fun series is filled with humour, action combined with great story telling, and has been successful in entertaining kids from across the globe.

Recognising the power of digital platforms for their reach and also the medium’s potential to earn substantial revenues over a sustained period of time in addition to the traditional broadcast way, we launched our You Tube channel – called Powerkids TV few months. The Powerkids TV channel on YouTube has witnessed tremendous viewership and watch time for our high quality global shows. We have observed that our animated show Jungle Book has millions of views on each of its episodes and our four million strong and growing subscribers have been consuming our content in huge volumes on a daily basis.

The IP has been broadcast in more than 165 countries and has over 500 product categories ranging from books , apparels, toys, plush, bags, stationary, pencils, inflatables, walkie- talkies, lollipops, playing cards, beach toys, stickers, puzzles, etc, in terms of merchandize.

Jungle Book is one approach in leveraging and expanding the monetization venues of an IP. However, every producer needs to strategize their approach for their respective IPs based on the strengths and weaknesses of the show they are producing.



Why should we partner with Indian Animation Studios? That’s the most obvious question many international producers interested in partnering with Indian studios would ask themselves. Indian animation studios have already established their credentials as a strong production partner with proven track record, but there is a lot more to Indian animation industry then just cost arbitrage. Let’s scratch the surface and look closely at some of the other factors that underscore Indian

animation studios as a very strong partner to develop and co-produce original IPs.

Animation in In-dia started with the first Indian animated short film, Aagkadyan-chi Mouj (Match-stick’s Fun), pro-duced in 1915 by Dadasaheb Phal-

ke! This was barely two years after he produced India’s first feature film in 1913, Raja Harish-chandra. Phalke is considered as the Father of Indian Cinema.

Origin of animation in India can be traced further back as far as 5th century BC where scroll paintings and later shadow puppets were used to narrate stories. In fact, in the ancient times storytelling was a well-established profession. India has a very rich literature with thousands of stories, mythologies and epics beyond the Mahabharata and Ramayana. Apart from stories, there are hundreds of rich and diverse schools of paintings, graphics folk arts and even varied puppet styles as well. Stories and art are in the DNA of Indian artist.

At India’s premiere animation studio Graphiti, we are passionate about our rich artistic heritage. We decided very early to tap into our rich heritage to develop our own shows-our IP. We chose to bring alive the world of colour, art and stories through our unique movie series Krish, Trish and Baltiboy, recipient of the Audience Choice Award

SERVING INDIAN CONTENT TO GLOBAL AUDIENCE

Munjal ShroffDirector & COO, Graphiti Multimedia

OTT platforms like Netflix are already working with Indian producers to develop original IPs and acquire content which have strong Indian connect. Graphiti’s shows Krish, Trish and Baltiboy and Yom have been acquired by Netflix and released not just in English but also in Chinese, Korean, Turkish and Polish language.

Partnering with Indian Studio



at 2011’s CMS Children’s Film Festival. Our 40+ million viewers on Cartoon Network India just love the show.

India has a very rich mythology with well-renowned epics like Mahabharata and Ramayana. The challenge with these epics is that they have a religious context which may not have a global appeal as buyers refrain from buying kids’ content with any religious tones. The key is to filter that out, develop fun characters and engaging stories with a lot of playfulness, drama and some intrigue and create something fresh which the global audience can enjoy even without having any cultural context.

In 2009, Cartoon Network shorts program SNAPTOONS cherry picked three Indian

studios—Miditech, Famous and Graphiti—to co-develop three shows: Sulochana and Nature Detectives, Johnny Goes to Bollywood and Kul Veera. The shorts produced were then screened across all the Cartoon Network Channels in Asia Pacific to gauge the audience reaction. Graphiti’s Kul Veera was the top rated shorts out of the 15 shorts produced by various studios of APAC. Kul Veera is a gripping fast paced, original story with characters from the Mahabharata and some new ones as well. The action, the choreography, the 3D animation is fabulous and featured great performancesas well, it is tightly scripted and has a global appeal.Kul Veera was packaged for the international market, it featured top voice talent from Hollwood including Mark Hamill (Luke Skywalker in Star Wars: The Last Jedi).



Yoga is India’s biggest gift to the world and a global trend, and yet it still not been explored enough in the kids’ space. So Graphiti tapped into Yoga and gave it a unique superhero spin to create Yom. Yom follows the adventures of a brash young boy who gets animal-based superpowers by performing…yoga poses. Yom was developed in close association with Disney and was released on Disney Channel India in 2018, garnering high ratings and critical acclaim.

Bollywood films have been gaining global audiences and Indian producers are capitalizing on this trend and producing shows inspired and based on characters from hit Bollywood films. In 2004 Graphiti co-produced with Nickelodeon the award winning live action cum animated series J Bole Toh Jadoo, based on the licensed character Jadoo from the hit Bollywood film Koi Mil Gaya. In fact Nick re-launched the channel in India with this show. The trend continues today with Fukkrey Boyzz and Little Singham on Discovery Kid and Golmaal Jr on Nick’s Channel Sonic.

OTT platforms like Netflix are already working with Indian producers to develop original IPs and acquire content which have strong Indian connect. Graphiti’s shows Krish, Trish and Baltiboy and Yom have been acquired by Netflix and released not just in English but also in Chinese, Korean, Turkish and Polish language. This clearly shows that these shows are being also served to a global audience and not just English language audience. Recently, the Indian show Mighty Little Bheem produced by Green Gold Animation became the second most popular Netflix Kids Original.GRAPHITI’S SHOWS KRISH,

TRISH AND BALTIBOY AND YOM HAVE BEEN ACQUIRED BY NETFLIX AND RELEASED

NOT JUST IN ENGLISH BUT ALSO IN CHINESE, KOREAN,

TURKISH AND POLISH LANGUAGE. THIS CLEARLY

SHOWS THAT THESE SHOWS ARE BEING ALSO SERVED

TO A GLOBAL AUDIENCE AND NOT JUST ENGLISH

LANGUAGE AUDIENCE



Some of the Indian studios have been producing high-end animated TV commercials for global brands such as Kellogg’s, Pepsi, Coke, Pillsbury Doughboy and Cheetos. Veteran American producer Joanna Ferrone, creator of iconic characters such as Angela Anaconda and Fido Dido, partnered with Graphiti to give Fido a contemporary make over. We worked closely to re-imagine Fido as a 3D character and produce a series of shorts—Fido Xtreme Shorts. This rejuvenated the brand and boosted the character licensing of Fido.

The domestic Indian market is massive and growing rapidly. Even the licensing market in India is growing rapidly as expendable income is increasing across the spectrum of the population. The Government is now working closely with the

animation, VFX and the gaming industry, and is planning various schemes such as co-production funds, signing co-production treaties and launching a public kids broadcasting channel. All these factors will benefit any co-production that is done with Indian Studios.

Studios like Technicolor have already setup captive facilities to tap into the Indian talent pool. Indian studios growing breed of talented artists, animators, directors, writers, designers and storytellers are exploring the plethora of unique Indian art, culture and stories, this certainly makes the future of Indian animation and storytelling even brighter. This is what the international producers needs to and partner with Indian studios and develop original IP for the global market.



Indian motion pictures are increasingly popular around the world. Movies either made in India or featuring Indian characters have been doing excellently at the box office. To be competitive, movies from the subcontinent need to be marketed using the latest and most effective marketing systems—and that means online.

Today, the potential market for any idea or Intellectual Property is almost unlimited and easier to reach than at any time in history. For example, the potential global motion picture market has never been larger.

The marketing methods, distribution systems, and media of the past are no longer effective. In

just a few years into this millennium, systems for the development of entertainment media have taken a quantum leap thanks to brilliant digital applications that serve to globally aggregate audiences online.

Targeted audiences can now be contacted with the single push of a computer key. There are 4.33 billion active, intelligent, media literate, aware internet users (56% of the people on the planet) who have expanding horizons and discretionary income.

IP MANAGEMENT BEST PRACTICES

Omar KaczmarczykMotion Picture ProducerSharecroppers Media

Hilary Clay HicksTrans-Media ProducerSharecroppers Media

Understanding Intellectual Property Asset Management begins as “Trans Media”, wherein multiple media products are manifested as individual brands that cross promote each other while providing multiple income streams.

Understanding IP Asset Management in 21st Century



Simply put, the Intellectual Property

Asset is the Brand Name, Identity,

and Logo. Think Star Wars, The

Simpsons and Steam Boat Willy

(also known as Mickey Mouse)

now over a hundred years old and

still growing across all media. Next,

think the Mahabharata, the great

history of the human race and the

stories therein.Trans Media provides

a library of copyrights that can be

extended with each adaptation



The internet is the ecosystem for proactive promotional efforts and reiteration to create awareness. Today’s tools include websites, social media, and net-friendly content. Personalized online branding is built on a solid foundation that multiplies relationships and expands exponentially around the world.

Understanding Intellectual Property Asset Management begins as “Trans Media”, wherein multiple media products are manifested as individual brands that cross promote each other while providing multiple income streams.

This bears a superficial resemblance to the legacy model of vertical integration, but rather than consist of separate divisions operating within one business structure, multiple income streams are manifested as individual brands created to exploit a master intellectual property (IP) brand.

Psychographics is the study of personality, values, opinions, attitudes, interests and lifestyles (not be confused with demographics, which are statistical data relating to the population and particular socio-economic strata). Today, target audiences can be identified psychographically thanks to the abundance of personal interest online communities found throughout social media and websites in all languages.

Simply put, the Intellectual Property Asset is the Brand Name, Identity, and Logo. Trans Media Marketing is the multi-platform exploitation and development of the Master Brand Name, Identity, and or Logo. Think Star Wars, Marvel Comics, The Simpsons (the first adult animation on TV), and Steam Boat Willy (also known as Mickey Mouse) now over a hundred years old and still growing across all media. Next, think

the Mahabharata, the great history of the human race and the stories therein.Trans Media provides a library of copyrights that can be extended with each adaptation.

A Trans Media/Multi Platform Constellation consists of hard and/or soft cover book or books, movie(s), a TV broadcast series, video streaming media, original music, graphic novel(s), comic books, serialization online or in print media, special events, licensing, merchandising of sportswear and souvenirs, and whatever else the imagination provides for which an audience can be identified.

The purpose of the Trans Media/Multi Platform model is to provide a cascade of products, publicity, sales, and revenue. A Multi Platform Cascade results when an IP’s Trans Media brands on various platforms with individual interactive websites are marketed via social media, streaming media, electronic news and information media, print news and information media, and cable news and information media all work together producing multiple revenue streams and cross-promotion.These are synergistic systems that adapt to current and evolving media platforms to assure a Master Brand identity that lives forever.

Trans Media audiovisual properties may be distributed to the seven screens: theatrical motion picture, broadcast TV, streaming platforms (Netflix, Hulu, Amazon, etc.), cable and satellite TV, Pay-Per-View, DVDs (retail and rental), and hand-held devices including smart phones and tablets.

Social media campaigns for most IP brands are a “blue ocean,” that is, there is no competition. The purpose of a social media campaign is to create



online brand awareness for “sales” of trans-media value. It also serves as a public relations/publicity vehicle. Social Media Distribution includes social media channels with visual assets and copy (content) connecting psychographically consonant affinity groups.

The base effort includes establishing and promoting personalized channels (groups), niche email marketing, central blogs, and social communities. These efforts foster optimization of organic content, that is, user created content as opposed to the IP owner’s content: These efforts are more about volume than quality, in that they foster interactivity and metadata growth.

The process is aided by expert or even celebrity participation or “social proof” and the support of influencer marketing (referrals to social media audiences), the “low hanging fruit” of social media marketing. Special attention is paid to ongoing management (“hand to hand combat”) interacting with groups and communities. PR contacts are “scraped” or data mined for application to templates and then automated. Special software exists for performing these tasks. IP managers, on behalf of the content creators, are tasked with “hearing the market” (tracking) in order to create

momentum to estimate and adjust to reach goals. We are to be scientists experimenting in the lab to come up with the special formula to implement our goals.

To be certain, everything mentioned in this article is a beginning for Intellectual Property Asset Management as a script becomes a motion picture. This is preliminary work, organizing and planning every aspect to enhance the story’s impact. Every language and every culture will embrace a powerful story. A perfect example is Satyajit Ray’s Pather Panchali, the beginning of the ApuTrilogy, which is still seen in cinemas and on television in almost every country on the planet. Proper IP Asset Management will make certain that all showings of this wonderful work of art are still providing global revenue to the copyright holders.

It is the science and complex omni-experiencing of 21st Century communication processes with which we can simplify and co-create a vibrant experience of storytelling in a way never possible previous to this moment.

(Sharecroppers Media, LA-Based Intellectual Property Asset Management firm)

TODAY, THE POTENTIAL MARKET FOR ANY IDEA OR INTELLECTUAL PROPERTY IS ALMOST UNLIMITED AND

EASIER TO REACH THAN AT ANY TIME IN HISTORY. TARGETED AUDIENCES CAN NOW BE CONTACTED WITH

THE SINGLE PUSH OF A COMPUTER KEY. THERE ARE 4.33 BILLION ACTIVE, INTELLIGENT, MEDIA LITERATE,

AWARE INTERNET USERS (56% OF THE PEOPLE ON THE PLANET) WHO HAVE EXPANDING HORIZONS AND

DISCRETIONARY INCOME



Questions have been asked numerous times about IP—a subject near and dear to its developer—to find a suitable home for it or make it worthy in the eyes of the beholder. Unfortunately, this effort is many a times a last ditch effort to salvage the IP, much later in its development and after spending substantial amount of time and money. And then the only alternative left is to redesign and repack-

age it. When an under development IP is presented, its journey can be vi-sualised as to how the IP’s building blocks were built and brought togeth-er. Where the efforts took a different turn as the thoughts and people changed. The net result is really not what was intended.

Important aspect needed on behalf of primary creators/storyteller, while developing an IP is the ability of detaching oneself from it and viewing it from third point of view of its “consumption”.

In the real world the consumption props up questions every IP developer struggles to finding suitable answers to. What is the USP of IP, can you explain in one line? What is the Series Synopsis in 500 words? What is the Target Age group? What is the Genre it represents? Who are the protagonists? How many protagonists? Does the story propagate through one protagonist or there are others? Does it preach? Does it have any violence and bloodletting? Is the story in continuation or can it be watched stand alone? And so on and so forth.

The target age group is divided into categories such as Infant (0-2), Toddlers (2-4), Pre-School (4-6), Pre-Teen (6-9), Teen (9-11) and Teen adults (11-14). Stories, Storytelling, Audio and Visual treatments differ significantly for each age group.

How to Avoid Pitfalls During IP Development

FROM THE POINT OF CONSUMPTION

Today’s markets offer the benefits of new digital world. The streaming platforms give a wide array of marketing and revenue options. To renew confidence in own IP, a quick litmus test is to release the first pilot on You Tube

Shambhoo Phalke Animation Consultant with leading Indian animation companies



TODAY’S MARKETS OFFER THE

BENEFITS OF NEW DIGITAL

WORLD. THE STREAMING

PLATFORMS GIVE A WIDE ARRAY

OF MARKETING AND REVENUE

OPTIONS. TO RENEW CONFIDENCE

IN OWN IP, A QUICK LITMUS TEST

IS TO RELEASE THE FIRST PILOT

ON YOUTUBE AND SEE IF YOU GET

3,000 VIEWS IN THE FIRST MONTH.

IF YOU DO, THE IP IS SOLID AND

SELLABLE



The genre is the classification of feelings, the IP entices. These would be Romance, Action, Chase, Comedy, Horror, Drama, Dark Comedy, History, Sci-fi, etc.

In India currently the 6-9 age group is active in Genre of Action, Comedy, and Chase with a boy hero.

The unattended age groups and genres are an

ocean of opportunity. There is a wide market available here. Sooner or later domestic kid space channels would enter these age groups with different genres.

So, how should the development process of IP be designed in such a way as to avoid the pitfall.

A strong IP usually is a result of years of BROODING in the minds of its creator, which then one fine day suddenly transforms itself into an IDEA. It can be called a EUREKA moment for the creator. This is an exciting stage. The IDEA then expands into million threads and grows exponentially. This period is quite short and is following natural progression lasting for a few months. Both these processes occur in the deep and upper sub conscious.

While the IDEA is still at its infancy, the CONCEPT work is undertaken. This is the first mistake. This is where we find clashing designs, characters, stories and plots. What is strongly recommended here is that the developer should take a firm STOP after the ideation and resist the urge to pen down a CONCEPT. It’s way too early.

The physical CONCEPT creation, in itself works like a radioactive material and starts multiplying and propagating. And then a lot of money and time is engaged and before you know it the IP starts getting diluted due to opinions expressed mid-way during its incubation.

What is generally seen is a rush to deploy a script writer almost instantaneously, while even the characters are at their early design stage. This early desire “to feel the product” is one of the biggest hindrances in IP development.

The solution is simple. At this stage, the IP creator

IMPORTANT ASPECT NEEDED ON BEHALF OF

PRIMARY CREATORS/STORYTELLER, WHILE

DEVELOPING AN IP IS THE ABILITY OF DETACHING ONESELF FROM IT AND

VIEWING IT FROM THIRD POINT OF VIEW OF ITS

“CONSUMPTION”



should invest a few months in the process of THOUGHT, an extremely important point of development. The sum total of IDEAS should get channelized into a THOUGHT. This is where wild imagination pours downs into its first moulds of loosely formed words and sentences. It takes shape and forms a loose boundary. The boundary then further develops into compartments.

At this juncture it is important to find a couple of people who would brainstorm and ideate and pose some real world questions. The day you Pen down a CONCEPTS, IP’s Physical avatar, it more or less gets locked down and there is very little one can change from there on. Hence the time spent of THOUGHT of at least 3 to 6 monthsis well spent and proves rewarding in time and cost savings.

A simple analogy is with development of baby. BROODING is fertilization, IDEA is a prenatal development or the germinal stage of embryonic development, THOUGHT is fetal development and birth is CONCEPT.

Some of the other obvious pitfalls in creation of IP is its character development, bible, teaser/pilots and point of sales and marketing.

The Character development is a first step in building the bible. The design must convey at least 4 to 6 primary behavioural attributes of the character. The next step of location should set the mood of the storytelling and build up extended visualisation of the tales happening in the minds of reader.

The TEASERS keep a way open to amend the treatment based on extensive feedbacks from the markets. The Teaser should aptly convey what the series is all about and cover the USP in flat two to max three minutes. This stage sometimes is quite frustrating and the generally acceptable routes

results in no significant development initially. Be Patient! Note down all the feedbacks. See what is liked and what is appreciated and what needs to adapt. Episodic pilot should be developed only upon getting the nod from the industry.

Today’s markets offer the benefits of new digital world. The streaming platforms give a wide array of marketing and revenue options. To renew confidence in own IP, a quick litmus test is to release the first pilot on You Tube and see if you get 3,000 views in the first month. If you do, the IP is solid and sellable.

IP’s do have a golden period approaching very fast. It is a question of time. A slight push from Government of India laying down minimum percent of daily original content would certainly bring the dawn of golden era way earlier.

About the Author

The author has worked extensively in the field of animation and VFX for the last 25 years and has completed six theatrical animated features and 30,000 minutes of TV series content. He has held senior key positions in Anibrain, Reliance Media Works Limited, Maya Entertainment Ltd and Pentamedia Graphics Limited.



India is a relatively new entrant in the IPR game. Just over two decades ago, India believed that

IPR should be free. I remember an Indian diplomat talking at a WIPO event in Geneva and she was rabidly opposed to the protection of IPR.

It was a time when we felt that as a developing na-tion, India should not have to pay royalties for soft-

ware; new medi-cines and expensive textbooks. Apart from software, med-icines and books, there was rampant theft of internation-al music and some-times international films too. But no one cared. Some years ago, we made a film called Mango which was based on

a Korean story called Couples. We paid substantial royalties for the rights. However, it didn’t help be-cause someone else copied it first and released their film. We sued and got the money, but the film could not find a release.

Fortunately, such conundrum is now a thing of the past and our IT industry is the catalyzing force behind this change. India has become a creator of IP and this has led to the realisation that we need to protect our Intellectual Property. Laws have been changed and tweaked to match the new reality and today it is difficult to violate copyrights. I suppose that it is natural that your desire to protect your property is driven by the fact that you now own property.

The entertainment sector, too, has witnessed a major change in the way it perceives IP. This has been driven by two factors.

Firstly, the Western world has realized that India is a much larger market for films than it was.

Intellectual Property in India is Coming of Age

PREVENTING PIRACY, CURBING COPYING

India has become a creator of IP and this has led to the realisation that we need to protect our Intellectual Property. Laws have been changed and tweaked to match the new reality and today it is difficult to violate copyrights

Bobby BediCEO & Producer, Contentflow Studios



This growth has been driven by the dubbing of big Hollywood films into local languages. The big ones now compete with the biggest of Bollywood. This has propelled the American studios to tie up with big Indian producers to attack piracy at all levels.

Secondly, for the first time India is realizing the international value of its property. This has been driven by the advent of the streamers or Apps, as we call them. Netflix, Amazon and the studios have finally brought in international quality to India. This has affected the Indian producer in two ways—they may either compete or perish—and many are perishing.

Fortunately, some are competing too. They have also completely changed the budgetary landscape of Indian content. Series that were made for hundreds of thousands of rupees are now being made for tens of millions. All those participating in the creation of IP—writers, actors, directors and producers—are benefiting. Finally, as our IP is being protected we are creating high quality, innovative content that the world is likely to consume. That is a great change.

It would seem that this is becoming a great story with a happy ending. But sadly, this is not entirely true. This story has a serious twist in the

tail. A danger lurks, and it lurks in the space of Intellectual Property Creation.

Very briefly, I want to talk about the nature of property, real or intellectual. A film or show is no different from a piece of real estate. It has a capital value and it has a revenue generating capability. So far, we lived of the revenue generating capability of our virtual assets. Our films and shows made money for us at release and then gave us a steady stream of revenue from various re-sales thereafter. I have lived off the licensing revenues of my films for decades.

Today’s buyer is much more inclined to purchase your property outright. This means money up front but nothing thereafter. It’s a good recipe for good times but sadly, good times don’t last forever.

Now that our intellectual property has value, someone else gets to own it.

As we mature as producers, we will have to find sustainable hybrids wherein we get to keep some of our IP and with it, future earnings from our content. Some people with financial strength are trying out models where they get to retain their IP, but for most it is a one way street.

There’s no such thing as a free lunch.

INDIA HAS BECOME A CREATOR OF IP AND THIS HAS LED TO THE REALISATION THAT WE NEED TO PROTECT OUR

INTELLECTUAL PROPERTY. LAWS HAVE BEEN CHANGED AND TWEAKED TO MATCH THE NEW REALITY AND TODAY IT

IS DIFFICULT TO VIOLATE COPYRIGHTS


* The views and comments expressed by media and entertainment industry leaders in their respective columns are their own and not either of SEPC or Department of Commerce.


Completed IPs for Distribution,

Digital Rights, L & M



BEO n PENOBEO n’ PENO is a 39 episodes x 7 minutes animated series of fast paced action, slap-stick comedy and adventure for kids of age group between 4 to 12 years. The fun run happening between an idiosyncratic BEO , the Polar Bear and PENO, the quirky Penguin. They are friends who never get along with each other. BEO is twice the size of Peno. He is sweet but extremely short tempered. PENO on the other hand is a thinker. Each episode will witness the everyday lives of Beo and Peno with a lot of brawls, pranks, chases, cuddles and love. Basically Fun !

DETAILSProducer/s: Prabakar Thirunavukarasu

Director/s: A K Sudhakar

Writer/s: A K Sudhakar, Prabakar Thirunavukarasu

Budget: 325,000 USD

Sales Rights: China, Taiwan, Hong Kong, Macau, Israel, Korea.

You Tube and Amazon rights worldwide.

Website: www.animantz.com

Phone: +91 9840929191

Email: [email protected]

ANIMANTZ

39 episodes x 7 minutes | Animation | Completed

DETAILSProducer/s: Super Audio Madras Pvt Ltd

Director/s: V Murugan

Sales Rights: All Rights Available

Website: www.musicandchants.com

Phone: +91 9841081118


SUPER AUDIO MADRAS PVT LTD

90 Minutes | Animation | Completed |

Broadcast, OTT & L&M

Ali Baba and the Forty ThievesAli Baba finds a cave of treasures belonging to a gang of bandits. the bandits realise there have been intruders, they seek revenge. Ali Baba must try to out-wit his pursuers before he gets killed.



DETAILSProducer/s: DVV Entertainments

Director/s: Koratala Siva

Writer/s: Koratala Siva

Sales Rights: SVOD, TVOD

Phone/Whatsapp: +91 9100038389


MANGO MASS MEDIA PVT LTD

Bharath Ane NenuSynopsis: Bharat, a graduate from Oxford, is forced to take up his father’s position as the Chief Minister after his sudden death. He tries to reform the corrupt society but faces ob-stacles from his enemies.

2 Hours 54 Minutes| Drama

| Completed



DETAILSProducer/s: R.Mathiseelan, K.R.Senthil Kumar

Director/s: Dhanasekar & David Hamby

Writer/s: Brett Pierce & Kent Pierce

Budget: 2 Million USD

Website: www.gustostudios.in

Phone: +91 99400 22553


GUSTO STUDIOS

Bommi & FriendsBommi & Friends centers on the interaction of a community of diverse characters who come from different backgrounds and traditions. This grouping of characters is designed to mir-ror today’s increasingly global society. And at the center we have Bommi a character from a small Indian Village, on the disconnected side of the digital divide. Bommi and Friends is an original 3D animation IP for 2-15 year kids globally. This first season was broadcast in UK based network KIDSCO in 2010. The show was dubbed into local language such as Ger-man, Spanish, Polish etc, Bommi & Friends is the first Indi-an IP, originally created and traveled to nearly 100 countries across Europe, Africa, the Middle East, Asia, and Australia.

22 min x 13 episodes HD| Animation

| Completed




Director/s: Dhanasekar & David Hamby

Writer/s: Brett Pierce & Kent Pierce



Phone: +91 99400 22553


GUSTO STUDIOS

Bommi & FriendsBommi & Friends centers on the interaction of a community of diverse characters who come from different backgrounds and traditions. This grouping of characters is designed to mir-ror today’s increasingly global society. And at the center we have Bommi a character from a small Indian Village, on the disconnected side of the digital divide. Bommi and Friends is an original 3D animation IP for 2-15 year kids globally. This first season was broadcast in UK based network KIDSCO in 2010. The show was dubbed into local language such as Ger-man, Spanish, Polish etc, Bommi & Friends is the first Indi-an IP, originally created and traveled to nearly 100 countries across Europe, Africa, the Middle East, Asia, and Australia.

22 min x 13 episodes HD| Animation | Completed


39

DETAILSProducer/s: Wide Angle Media Pvt. Ltd.

Director/s: Ramji Achary

Writer: WAMINDIA

Sales Rights: All world territories in all world languages

Website: www.wamindia.com

Phone: +91 9820157456


WIDE ANGLE MEDIA PVT. LTD. (WAMINDIA)

Season 1: 10 Ep. x 11 Mins.

| 2D Animated Motion Comics | Season 1 ready

52 X 11’ | Animation | Completed

Bhoot And FriendsA friendly ghost helps a bunch of children, who are out to save a precious na-tional treasure. The mystery of the treasure has to be resolved to save every-one’s lives.Continued from one of the most popular live action kid’s adventure film, scoring high ratings on TV in India with its lovable characters Ghost Uncle and his little friends.

Chacha ChaudharyThe series follows the thrilling and fun-filled adventures of Chacha Chaudhary as he tackles the baddies and villains of the world with his razor-sharp wit, playful sense of humour and amazing reflexes. Already a household name and popular among both kids and adults for his intelligence, Chacha Chaudhary reveals a more energetic and fun-loving side as he turns tables on even the smartest of villains and the most devious of plans. The chemistry between Chacha and Sabu, his friend from Jupiter, gets more interesting as Chacha calls out formula attacks that only

Sabu understands. Chacha takes on not just the criminals, but even the mundane problems of the town of Achrajganj as he coolly munches on almonds, making life easier and laughter-filled for his friends and family.

DETAILSProducer/s Toonz Enter-tainment PTE LTD, Pran’s Features LLP & Media Guru.

Director/s: Dilip T Pra-bhakaran

Writer/s: Darsana Radhakrishnan

Sales Rights: All Rights

Website: toonz.co



TOONZ ANIMATION INDIA



Chhoti Sardaarni (The brave hearted)Story of a fiercely independent woman who takes on the world to protect her family.Meher is coerced by her mother into marrying Sarabjeet, a widower with a 5 year-old child. But, much to her mother’s dislike, Meher is pregnant with her lover, Manav’s child. Can she stand up for her love and fight her own?


Director/s: Karthik Chandan

Writer/s: Karthik Chandan



Phone: +91 9841081118



DETAILSSales Rights: TV + Digital

Website: www.indiacast.com

Phone: +91 22 66977715


INDIACAST MEDIA DISTRIBUTION PVT LTD

30 min x 260 eps (HD)| Family Drama/Romance

| ON-AIR

Chota SharkChota Shark (Baby Shark) is a funny, ani-mated series that takes place at the bottom of the ocean, the home of our characters - CHOTA SHARK (baby shark) and his friend CRABO (Crab) who tackle various situa-tions created by HAMMY (HammerHead shark) and his friend, ROBOT. Hammy and Robot never miss an opportunity to disrupt the otherwise happy lives of Chota shark and Crabo. But they always get beaten by Crabo’s super brain and by the spe-cial powers Chota Shark gets by eating sea broccoli. This fun-filled animated series is a definitive entertainer for all ages.

5 Minutes / 10 Episodes | Animation | Completed | Broadcast, OTT & L&M



Chhoti Sardaarni (The brave hearted)Story of a fiercely independent woman who takes on the world to protect her family.Meher is coerced by her mother into marrying Sarabjeet, a widower with a 5 year-old child. But, much to her mother’s dislike, Meher is pregnant with her lover, Manav’s child. Can she stand up for her love and fight her own?



Writer/s: Karthik Chandan



Phone: +91 9841081118





Phone: +91 22 66977715



30 min x 260 eps (HD)| Family Drama/Romance | ON-AIR

Chota SharkChota Shark (Baby Shark) is a funny, ani-mated series that takes place at the bottom of the ocean, the home of our characters - CHOTA SHARK (baby shark) and his friend CRABO (Crab) who tackle various situa-tions created by HAMMY (HammerHead shark) and his friend, ROBOT. Hammy and Robot never miss an opportunity to disrupt the otherwise happy lives of Chota shark and Crabo. But they always get beaten by Crabo’s super brain and by the spe-cial powers Chota Shark gets by eating sea broccoli. This fun-filled animated series is a definitive entertainer for all ages.

5 Minutes / 10 Episodes | Animation | Completed | Broadcast, OTT & L&M



ChippaWhen Chippa is handed a letter addressed to him, from his father whom he does not remember, the little boy decides to leave his pavement abode and find out more. Unfor-tunately, the letter is written in Urdu so he needs someone to read it for him. A fight with his grand aunt (with whom he lives) confirms his initial intention. At the stroke of midnight, on his tenth birthday, Chippa grabs a bag full of knick-knacks, and heads out to discover the city and its street nightlife, while trying to discover the connections to his father. Chippa is a coming of age tale, told through a single night in the winters of Kolkata. While the story at its core is gritty, the film is seen through Chippa’s eyes, full of magic, wonder and en-chanting conversations.

90 Minutes | Drama | Completed

DETAILSProducer/s: Sushilkumar Agrawal, Rajat Agrawal, A V T Shankardass & Celine loop

Director/s: Safdar Rahman

Writer/s: Safdar Rahman


Website: www.chippathefilm.com

Phone: +91 9620100604


ULTRA MEDIA & ENTER-TAINMENT PVT. LTD.



DETAILSProducer: Toonz Enter-tainment PTE LTD, Neon Creation INC, Cengkerik SDN. BHD


Website: toonz.co

Phone: +91 9895836836


TOONZ ENTERTAINMENT PTE LTD, NEON CREATION INC, CENGKERIK SDN. BHD

Dee DeeSmiley and cheer-ful Dee Dee has found a magic book with lots of amazing spells in it, in the back of a cupboard. There are spells to make things fly, to change one’s luck, to put someone in a good mood, and even to make a musical instrument play on its own! Magic doesn’t always work straight away, especially when you are learning, and so the results can some-times be quite surprising. Luckily for Dee Dee, her friends are very patient and understanding, and together they manage to resolve all sorts of everyday things.


EvaruEvaru is an Indian Telugu-language crime thriller film directed by Ven-kat Ramji. The movie is produced by Pearl V. Potluri, Param V. Potluri and Kavin Anne. The film starring Adivi Sesh, Regina Cassandra, and Naveen Chandra follows the story of corrupt cop Vikram Vasudev.

DETAILSProducer: PVP

Director: VV Ramji

Writer: VV Ramji

Sales Rights: SVOD, TVOD

MANGO MASS MEDIA PVT LTD

1 Hour 58 Minutes| Completed



Fido Xtreme ShortsFido Xtreme Shorts is a series of one min-ute shorts which features Fido applying his unique Fidosophies to the his universe of ex-traordinary situations. But this time Fido is not alone, as he is accompanied by his “bud-dy” The Dawg. The shorts have no dialogues. Graphiti has partnered with Joanna Ferrone, Creator of Angela Anaconda & Fido Dido to create Fido Xtreme Shorts. It is now seeking Broadcasters & Co-producers for production of 104 x 1 minute shorts.

13 x 1min | Animation | Completed

DETAILSProducer/s: Joanna Fer-rone & Munjal Shroff

Director/s: Munjal Shroff & Tilak Shetty

Writer/s: Joanna Ferrone & Munjal Shroff

Sales Rights: Broadcast, OTT & L&M

Website: www.graphiti.net

Phone: +91 9821148757


GRAPHITI



DETAILSProducer/s: ACCEL ANIMATION STUDIOS (A Division of ACCEL LIMITED, formerly known as ACCEL TRANSMATIC LIMITED

Director/s: DEVA SARAVANAN / RA-MAKRISHNAN, RAMESH / JOCKSON

Writer/s: SUKI SIVAM, GNANA-SAMPATHAM, SHANMUGAVADIVEL, DURAI

Website: accelmedia.in/portfolio_item/indian-fables/

Phone: 91- 44 - 2922 2262


ACCEL ANIMATION STUDIOS

Indian FablesThis 3D animated series for children in the 5 to 7 years age group is adapted from the popular Panchatantra animal stories, comprising of 26 episodes, each eleven minutes long and is incorporated with the teachings of the centuries old Thirukkural writings of famed poet and philosopher Thi-ruvalluvar. It is depicted with popular animals in a jungle, each with their own personalities and ideologies. The adap-tation of lessons from the famous book Thirukkural, which is a repository of messages for righteous and harmonies living, adds value to this portrayal and makes it unique. Each lesson is adapted into anengrossing and lively episode involving the various jungle characters. Real life charac-terization and identifiable situations make it an interesting and entertaining watch.

11 Minutes / 26 Episodes / HD |

EDUTAINMENT | Completed



DETAILSProducer/s: Munjal Shroff & Tilak Shetty

Director/s: Tilak Shetty & Munjal Shroff

Writer/s: Deven Sansare, Svani Parekh & Sweksha Bhagat

Sales Rights: Broadcast, OTT & L&M


Phone: +919821148757


GRAPHITI

Krish, Trish and BaltiboyMeet the marvellous minstrels trio – Krish, a smart-alack monkey; Trish - a Ms. Know- it- all cat and Baltiboy, every-one’s favourite goofball donkey are here to bring folktales to life. Join them on a magical journey through the exotic music, art and culture of folktales from across Asia. The trio will whisk you into the rich world of Indian folk tales of wit, humour and heart, beautifully animated using exqui-site art of the region, flavoured with its own ethnic music & woven together with the timeless power of timeless story-telling. The series is airing on Cartoon Network, Pogo and Big Magic in India and neighbouring countries. It already has 40 million viewers in India alone. Netflix has recently launched subtitled versions in Simplified Chinese, Tradi-tional Chinese, Turkish, Polish and Korean.

Format:8 x 60 mins| Animation - Movie Series

| Completed



Luv Kush (Sons of Lord Ram & Sita)Virtues of Lord Ram and Goddess Sita nar-rated through the lens of their sons, Luv and Kush.The magnus opus show unearths the journey of Lord Ram and Goddess Sita through the lens of their sons, Luv and Kush and narrates how the sons become instrumental in bringing their estranged parents together

30 min x 260 eps (HD)| Mythology

| ON-AIR



Phone: +91 22 66977715





Mighty Little BheemThe show revolves around an innocent toddler whose boundless curiosity and extraordinary might, lead to mischief and adventure in his small India town.

52 Episodes of 5 Minutes Each

| Animated TV Series | Completed

DETAILSProducer/s: Rajiv Chilaka

Director/s: Rajiv Chilaka

Website: www.greengold.tv

Phone: + 91 9949995822


GREEN GOLD ANIMATION PVT LTD



Pandavas 5 Kuru regime is in search of its next prince, as the story revolves around the adventures of five charming and uniquely talented Pandavas and their journey from rigorous training at Dronacharya’s hermitage to winning spectacularly at a competition held in the city of Panchal. With instruc-tions on craftsmanship of a warrior from Krupacharya, constant encour-agement from Bhishma Pitamah, and the resentful competition from their cousins—The Kauravas— The Pan-davas excel at the art of warfare and aesthetics.

Producer/s: Rudra Matsa

Director/s: Rudra Masta

Writer/s: Rudra Masta

Sales Rights: Exclusive All Rights

Website: toonz.co

Phone: +9895836836


RUDRA MASTA

DETAILSProducer/s: Pankaj Sharma / Darshan Singh

Director: Pankaj Sharma

Writer/s: Pankaj Sharma / Rajendra Mehra

Budget: USD 8000 per Episode


Website: www.astutemediavision.com

Phone: +91 9820143558


ASTUTE MEDIA VISION

My Little FriendsPari is a smart and caring Girl, whose father Dr. Dev is a Hi-tech Genius Scientist/Researcher who is working to save mankind & Environment by re-searching genetic culture & creating creatures/mutants/Hybrids with Superpowers to fight the de-structors of mankind. He loves his only daughter Pari & has created a talking lit-tle dragon for Pari, who always makes her smile in his absence. An Evil Invisible power Supremo, along with his sidekicks Huddy and Buddy kidnaps him and convert him from Dr. Dev to Villain Deva in order to use his brain skills to fulfill their destructive motives. Now Deva under Supremo’s destructive Magical con-trol starts creating different species, who instead of saving the mankind are out to destroy it. To save her father from the clutches of Supremo , Pari converts into Super girl riding her Dragon with her glowing magical Sword

10 mins / 56 Episodes / Full HD | Live cum

Animation Episodic Series | Completed

:(1 X 90’) | Mythological| Completed |



DETAILSProducer/s: ONE LIFE STUDIOS - Siddharth Kumar Tewary & Rahul Kumar Tewary

Director/s: Siddharth Kumar Tewary

Writer/s: Siddharth Kumar Tewary


Website: www.onelifestudios.in

Phone: +91 9619188997


ONE LIFE STUDIOS

PORUSAn epic historical drama series on emperor Porus, one of the most iconic rulers of ancient India, defends his mother-land against defends his motherland against Alexander, the mightiest power of the West. In this epic both leaders battle to fulfil their ultimate destinies as conqueror and saviour culminating in one of the greatest face-off battles in the world history.

299 X 22 mins | Costume Drama | Completed



DETAILSProducer/s: Paankaj Sharma

Director/s: Pankaj Sharma

Writer/s: Rhymes

Budget: USD 1500 TO USD 2500


Website: www.astuteme-diavision.com

Phone: +91 9820143558


ASTUTE MEDIA VISION

2-4 mins each / 63 Rhymes and 35 Moral

Stories / Full HD| 3D Animation

| Completed

Pankoo Kidz 3D Rhymes and SoriesPopular 3D English Nursery Rhymes and Hindi Moral Stories for Kids

Princess MiaYoung Princess Mia is the only daughter of King Karan and Queen Roshni but she has a secret- Princess Mia has the rare ability to perform magic, a talent she ac-quired from her mother, who disappeared from the kingdom under mysterious cir-cumstances. Without her mother’s guidance and the fear of magic in the kingdom,

Mia is forced to hide her talents and lives a secluded life in her palace with her only friend - an imaginary gnome named Nan-dan. Her life takes a magical turn when her father, King Karan, gives her a book that had once belonged to her mother. Through the book, Mia learns about magic spells and finds a doorway to the realm of Moonshadow, a special place where mag-ic exists. But the more time she spends in Moonshadow, the more she learns about its inhabitants and she stumbles across the reason for her mother’s disappear-ance.



Writer/s: Stephen Mwonge-la & Mason Bauer


Phone: +91 9841081118



22 Minutes / 1 Episodes | Animation |

Completed



Raju the rickshawThis HD 3D Animated series features a young, friendly and color-ful Rickshaw, popular in India and other Asian Countries. Fondly called Raju, the rickshaw along with his friends, live in a village called Funpur, and get into humorous and difficult situations only to come out fine through witty and clever maneuvers. Short tales of 7 minutes each narrated in 78 episodes, the characters and the locales are an instant hit with pre-schoolers in the 3 to 6 years age group. Easily identifiable characterization and real life situation make this a fun watch even for all in the family, conveying lessons in character building and socially harmonious living. It is for the first time that the popular Auto-rickshaw has been personified to such an extent.

7 Minutes / 78 Episodes / HD Format |

Edutainment | Completed

DETAILSProducer/s: ACCEL ANIMATION STUDIOS ( A Division of ACCEL LIMITED, Formerly known as ACCEL TRANSMATIC LIMITED)

Director/s: SURAJ VARMA

Writer/s:APARNA UPADHYAYA

Website: accelmedia.in/original-ip/

Phone: +91 44 2822 2262


ACCEL ANIMATION STUDIOS


52 INDIA IP GUIDE | SEPC 52

Purple TurtlePurple Turtle is a little guy who craves Big Adventures, but he is level-headed and can be a calming voice among his wacky friends. When one of them goes off on a well-intentioned tangent, Purple Turtle joins the fun. But if their ad-venture leads them down a wrong path, he is likely to say: “Let’s slow down and check this out.” He is enchanted by the mysteries of nature: he is as capti-vated by a field of sparkling fireflies as by a sky of twinkling stars. Purple Tur-tle is the most multi-layered and textured character of our group of friends, but he’s still a kid, fun-loving and able to get in over his head. He can be brave without being a show-off. He listens to his friends, and validates their feelings; he never belittles them.

DETAILSProducer/s: Manish Rajoria and Ankita Shrivastava

Director/s: Swati Rajoria

Writer/s: Karl Geurs,Dev Ross,Carter Crocker,Paul Parkes,Phil Harnage

Budget: 6.2 Million USD

Sales Rights: All rights available and distributed by Cyber group Studio

Website: www.aadarsh.com

Phone: +91 9977064979


AADARSH PVT. LTD.

Format:52*7 | Animation | Completed

Rana and Riv’s Wonder ForestYoung explorers Rana and Riv, live in Kar-li, a mountain village that happens to be right next to the Wonder Forest, a secret realm filled with strange tribes, magical creatures and ice cream trees


Director/s: Pradeesh Pushpakaran

Writer/s: Paul Pimenta






13 Minutes / 10 Episodes | Animation

Motion Comics | Completed



DETAILSProducer/s: Toonz Entertainment PTE LTD, Creative Media Partners


Website: toonz.co

Phone: +91 9895836836


TOONZ ENTERTAINMENT PTE LTD

Sindbad and the 7 Galaxies14-year-old Sindbad and his friends Zac, Lana and Lee are out to save the 7 Galaxies from life-threatening and environmen-tal disaster. At the end of each school day, Sindbad becomes a real intergalactic celebrity and embarks on his space adven-tures, but only of course after completing his homework! In this boy-driven girl-inclusive adventure comedy, the group of friends must ensure that the inhabitants, the creatures and the environments of the 7 Galaxies remain safe and secure from a host of the lurking dangers.




Robin HoodYoung Robin and his friends stand up to Prince John’s whims, in a fun show where fan-tastic action, magic and friend-ship combine to make a happy mix.At just 10 years old, Robin Hood is already a real hero. Declared an outlaw by Prince John, Robin has settled in an old mill in the middle of the huge Sher-wood Forest. Helped by his friends and young Maid Marian, the King’s ward, Robin stands up bravely to Prince John’s silly decisions and the unjust tax-es the mini-despot imposes to fund his fads. Most of the characters in ‘Robin Hood’ are children. At the age of ten, they have already lived adventures that make others dream, without ever missing an opportunity to have fun! Robin Hood promises to be a riot of mishaps, action, adventure and a whole lot more!!

DETAILSProducer/s: Tapaas Chakravarti

Sales Rights: All Broad-cast,OTT & L&M rights

Website: www.dqentertainment.com

Phone: +91 9550607890


DQ ENTERTAINMENT INTERNATIONAL LTD

104 episodes of 11 minutes | Animation |

Completed

Sivaji the Boss (Telugu)Sivaji, a software engineer, returns from the US. He is all set to work for his vision of education to all. But he is made to run from pillar to post to get clear-ances from the government, thanks to corrupt system. Posing him a huge hur-dle in achieving his mission is Aadhi, who runs a chain of institutions, as he fears Sivaji would bring down his empire. At one point of time, Sivaji is left on road without a single penny in his pocket. And, his life is too at stake. The rest is all about how Sivaji bounces back in style and realises his dream.

DETAILSProducer/s: AVM PRODUCTIONS

Director/s: Shankar

Writer/s: Sujatha

Website: www.avm.in



AVM PRODUCTIONS

3:09:34 hours| Action | Completed


55

Stories By Rabindranath TagoreA personification of the classic short stories by Bengali polymath Rabindranath Tagore from his most fecund period, Stories By Rabindranath Tagore is EPIC’s widely appreciated show. These stories have been adapted to the small screen by acclaimed film director An-urag Basu, renowned for his distinctive narratives and visual story-telling in movies. The show brings to life the timeless characters created by Gurudev and exceptionally portrayed by renowned actors like Radhika Apte, Amrita Puri and Abigail Jain among many others in lead roles. Unlike ordinary characters, these personalities pack a rebellious punch. They break the traditional paths and root themselves into our hopeful hearts.

26 Episodes X 60 Minutes

| Episodic Literature Drama | Completed

DETAILSDirector/s: Anurag Basu


Website: www.epicchannel.com


EPIC TV



DETAILSProducer/s: Asit Modi, Production Company: Neela Tele Films Private Limited

Director/s: Harshad Joshi & Malav Rajda

Writer/s: Various

Estimated Budget: On Request

Sales Rights: Available as Fin-ished Episodes & Format

Territory: Worldwide

Website: www.neelatelefilms.com

Phone: +91 9769399913


NEELA TELE FILMS PRIVATE LIMITED

Taarak Mehta Ka Ooltah ChashmahLooking At The World Upside Down (Taarak Mehta Ka Ool-tah Chashmah) is about the comic interplay between the multicultural residents of Gokuldhaam Society (apartment complex) in their day-to-day lives, supplemented with social commentary, bringing alive the everyday life situations by characters who look like lovable people-next-door.Gokuld-haam society is well known for its culture, unity, love and care for each other and all the fun that happens there. People from different religions and cultures live here and in spite of their differences; they worship each God and celebrate each and every festival with equal charm, referring to their soci-ety as “Mini-India”, spreading the message of unity.The di-alogues and characters are very simple and relatable to the common man, each with their own quirks and idiosyncrasies.

2800 X 22 mins (Available as 150

episodes Season)| Sitcom/ Comedy /

Dramedy | Completed



The Jungle BookThe stories will narrate new escapades of the man cub Mowgli who was raised in Indian jungle by a pack of wolves. More drama, same excitement and adventure mixed with a high element of comedy will tell tales of Mowgli, his beloved mentor, Baloo, the wise bear, Bagheera, his panther buddy and the lazy rock-python Kaa. Together they take on the evil Shere Khan who is out to get Mowgli. His adventures will open out in the lush tropical for-est of Seeonee amidst splendid Indian royal forts, temples, waterfalls, the Waigunga river and many other picturesque locales.

156 episodes of 11 minutes | Animation |

Completed


Sales Rights: Broad-cast,OTT,L&M rights in USA,Canada,UK,Middle East & North Africa,Asia

Website: www.dqenter-tainment.com

Phone: +91 9550607890






Sales Rights: All Broadcast,OTT & L&M rights

Website: www.dqentertainment.com

Phone: +919550607890



The Psammy ShowTV series featuring Peter Pan, his best friend Tinkerbell, new generation Wendy, her brothers John and Michael and their dog Newfie in Neverland and beyond. 52 X 22” Fantasy-Action-Adventure series set in the timeless and magical world of Neverland and 21st century London will have Peter and his friends taking on Peter’s long time foe, Captain Hook and his pirates in a fantasy adventure 3D HD TV series.

52 episodes of 22 minutes each |

Animation | Completed



The Wish FishOpil doesn’t eat fish. In a desperate attempt to stop him from wolfing down junk food, his mother serves him a spe-cial dish: the wish fish. But Opil no longer believes in fairy tales and takes it as a joke: “I hope some mutant aliens come and take away with them all the fish from the planet”. The following morning, the troops of evil Saturon arrive aboard their spacecraft to suck out all the oceans, spread chaos and seriously endanger the whole world. With the help of Captain Mackerel, his daughter Marina, and Lady Rapfish of the White Duchy, he is to embark on a crazy adventure during which he will have to do his utmost to recover the sea and save the planet.

75 min Feature film | Animation | Completed


Director/s: Gorka Vazauez & Ivan Oneka

Writer/s: Txetxu Atlolagiree



Phone: +91 9940022553


GUSTO STUDIOS



UP UP & UPThis is a story of dreaming the impossible and making it happen. The hero of the story is KAMLU, a baby camel, like a child of about 9 yrs in human terms. Kamlu’s ambition in life is to fly...to fly up into the clouds... to the top of the rainbow to see his mom and dad, who had to leave for war and never returned... KAMLU has his band of buddies... Bhola, a shepherd boy (9yrs.), Leela, the princess (9yrs.), Longo, the ‘lungoor’ monkey and Mangli, the magic bird that can appear from any where any time and can change shape and turn into anything or anyone. Shera, the bandit, along with Naga and Bakru, his henchmen, has forcefully occupied an ancient well and extorts money from poor villagers who walk miles to get water from this public well...the water that has been available free to poor villagers for centuries. Kamlu and his friends confront Shera on this issue... Leela, the princess of the desert kingdom, threatens the bandits that if they didn’t obey her orders and clear off, they would face dire consequences. Shera is frightened and rides away with his gang... But was Shera really frightened? Of course not...he faked it...because he saw a great opportuni-ty to make big money quickly... In a surprise move, Shera returns, kidnaps Leela and rides away into the desert. Leela’s friends are shocked.

82 MINTS | Animation| Completed

DETAILSProducer/s: Vihaan Dand

Director/s: Govind Nihalani

Writer: Govind Nihalani

Budget: $3,000,000 (estimated)

Sales Rights: All Rights Available Worldwide Ex-cluding Latin America.

Website: www.bluelionent.com

Phone: +91 7738508150


BLUE LION ENTERTAINMENT CO.



DETAILSProducer/s: Munjal Shroff & Tilak Shetty

Director/s: Munjal Shroff & Tilak Shetty

Writer/s: Svani Parekh & Sweksha Bhagat

Sales Rights: Broadcast, OTT and L &M


Phone: +91 9821148757


GRAPHITI

YOMMeet YOM – a yoga-master super-sleuth, who kicks butt with his aweesome animal powers. Yom seems like a regular kid – he avoids homework, loves gadgets and gleefully outsmarts the school bully. But... every time Yom strikes a yoga pose that is based on a particular animal...he gains that animal’s pow-ers! He can swoop like an eagle, track scent like a dog, or even swim like a fish! However, to his horror...he also absorbs the animal’s weaknesses! Yom grapples with his unique powers to battle dastardly villains and keep his town safe. The series is airing on Disney Channel India since May 2017 and also avail-able on Netflix in major territories in North America, UK, Australia, New Zealand and Indian sub-continent. It already has 20 million viewers in India on Disney Channel.

52 x 11mins | Animation

| Completed- Season 1



IPs currently In-development, Pilot,

Script and Bible



DETAILSProducer/s: Infobells

Director/s: Jayalakshmi Kuber

Budget: 20 Million

Sales Rights: World Wide

Website: infobells.com

Phone: +91 9341240970


INFOBELLS INTERACTIVE SOLUTIONS

Adventures of Chinnu and Crazy PappuCome and witness the Adventures of Chinnu and her friends as they overcome the challenges, they face in their day to day life. The story revolves around a smart and beautiful girl named Chinnu and the various adversities she faces be-cause of her impulsive brother Chitti and her stubborn dog Pappu. She receives help from her classmate Kanna, well known for his vast array of talents. Chinnu must team up with the gang to save the day. This series contains an experi-ence so unique that it will blow the minds of its young view-ers and therefore, instilling in them a spirit of adventure.

7 Mins - 20 Episodes | In Production |

Animation| Sales and Distribution|

Broadcast, OTT


65

Amazing KidsAbacus (the leader), Maya, Neon, Geo and Flora are best friends studying in 5th grade. They go to a jungle camp where they run into an evil alien who claims to have gathered more knowledge about earth than the mankind itself. He believes that he can rule the earth.

The kids simply laugh on the alien and tell him that how he can be so sure about the mankind when he cannot even beat the five kids in any challenge that is based on the knowledge of their planet. The Alien gets furious and cre-ates a maze, a virtual world that is the replica of the forest. The Alien asks the kids to solve the maze in the virtual forest before the time-out or he will take away the “element” that he has put on stake.

The alien also gives a utility box to the kids that will come handy during the mission. The virtual forest is set on fire and oxygen is on stake. Kids accept the challenge and enter through the door that the evil alien has created.

DETAILSContent Creator/s: Ashish S K, Anand Pandey

Phone(s): +91 9765041999 +91 9326802288

Email: [email protected] [email protected]

Website: www.screenyug.com

Target Audience: Kids between 5 and 9

SCREEN YUG

Flash/3D Animated Series | 104 Episodes X 22 min | Education/

Adventure/Comedy

52 X 7’ | In Production | 2D Animation series| Sales&Distribution, Coproduction partner

Ant & ElephantFirst of its kind no dialogue Sportstoon, this is a fun filled and hilarious rollercoaster ride of game tales between two best buddies –an ant & an elephant, who are quite opposite in sizes and traits but share a common passion of playing a sport. It’s a crazy dream - What it would be like if a tiny ant and a giant elephant play a sport in their own imaginary planes. No logics, but just a pure fun.

DETAILSProducer/s: Rahul Reddy

Director/s: Bhargava Kodavanti

Writer/s: Bhargava Kodavanti

Budget: $500K

Sales Rights: Available

Website: www.inanimedia.com

Phone: +91 8971974975


INANIMEDIA PVT LTD



DETAILSProducer/s: Prismart Productions

Director/s: Mr. Deepak Deopa

Writer/s: Mr. Deepak Deopa

Budget: 6 Crore

Sales Rights: @prismart productions

Website: www.prismartglobal.com

Phone: +91 8755789789


GYAN ERA LEARNING SOLU-TIONS PVT.LTD (PRISMART PRODUCTIONS)

ANU (Origin of Existence)ANU is the story of a son’s yearning for his mother and a mother’s desire to reunite with her son after death. It is the story of some of the great inventions of man that connected time present to time past and future. It is also the story of some brave warriors who come together to fight against an evil force. It is the story of the emotions kindled in a holo-graphic image of a mother. It is the story of a vicious crea-ture Galwadore who thirst for power makes him wage war against the gods and the human race. And, Anu is so much more which makes it a must-watch for everyone!!

3 Seasons*52 Episodes

| Episodic and Animation | Pilot | OTT | Co-Produc-

tion Partner



DETAILSProducer/s: Pankaj Sharma

Director/s: Pankaj Sharma

Writer: Pankaj Sharma

Budget: USD 400,000/-


Website: www.astuteme-diavision.com

Phone: +91 9820143558


ASTUTE MEDIA VISION

Billu GamerSynopsis: The Story is about a boy Patty, who lives with his Teen-ager sister and parents and is attached to his video game and its Gaming character Billu. His Beautiful and Talkative Elder Sister Lolly is protective of him and looks after him well. Patty is bullied by his seniors and peers in and outside the school. He thinks even his parents won’t listen to him. He has a Tomboyish Classmate friend Ruby, who always supports him. One day he comes home dejected , being taunted by Bullies and reprimanded by his teach-er for no fault of his. Even his parents blame himand advise him to be more careful and respectful at the school, He and his sis-ter tries to reason but in vain. Dejected, he latches his room and prays to God, admiring Gaming character Billu and falls asleep...

85-90 mins Movie

/ Full HD | Live cum Animation

/ Live Action VFx | Completed| Sales and Distribution



DETAILSProducer/s: Anuradha Javeri

Writer/s: Pamela Hickey and Dennys McCoy

Sales Rights: All rights avail-able

Website: www.yoboho.com

Phone: +91 9892100750


YOBOHO/ HOOPLAKIDZ

Captain FunTimeCaptain FunTime’ is 5 minutes of insane non-verbal, galac-tic comedy, about four best friends and their favorite super-hero – Captain FunTime.

Every afternoon, after school, these four friends rush home and plop down in front of the TV to have an exciting time watching their beloved television superhero, “The Guard-ian of Good,” CAPTAIN FUNTIME. But the real “fun-time” begins after the show – that’s when the four kids imagine what it would be like to go on fantastic and hilarious adven-tures, defeating a bad guy’s evil plans, or saving the planet, with their super-powered pal.

Imagine Batman with four 7-year-old Robins eager (RA-BID!) to prove they’re superheroes!

52X5 | In Production | Animation

| Co-producers


6969

Cuddle CubbiesCuddle Cubbies is an interactive CGI animated series for preschoolers be-tween the ages of three to five. The Cuddle Cubbies are normal preschoolers with a special ability. When they come together and hug, their bodies begin to glow, they become bathed in a swirling light, and they take on…Cuddle Power! With Cuddle Power, the sweet and sassy Cuddle Cubbies can do extraordinary things because strength and success come from working as a team! What it’s really about is the Joy of Learning, Child Empowerment, and Friendship. Of-ten times, in order to overcome a problem, the Cubbies must join together to create ‘Cuddle Power’. Cuddle Cubbies is a show that engages the imagina-tion, challenges the mind, and informs preschoolers through the use of fun songs, delightful stories and adorably colourful and spunky characters . This series encourages curiosity, promotes investigation, and inspires exploration, discovery, and knowledge of the natural world. Whenever there’s a problem, gather together, throw your arms around each other, give a big hug, and shout, “Cuddle Cubbies, cuddle!”

Doctor VeggiesHave you ever met a doctor? Stethoscope, syringe, tablets etc.…Well, I bet that you certainly haven’t met this doctor who doesn’t use any of the aforemen-tioned items. Strange right? You see them every day, hiding in the very plain sight. The ‘Doctor Veggies’ deal with a lot of challenges trying to stop the dis-ease-carrying germs. Every day is a new challenge and every challenge is an opportunity.


Budget: $5M

Sales Rights: All rights

Website: www.dqenter-tainment.com

Phone: +91 9550607890



DETAILSProducer/s: Infobells

Director/s: Jayalakshmi Kuber

Writer/s: Infobells

Budget: 10 Million

Sales Rights: World Wide

Website: infobells.com

Phone: +91 9341240970


INFOBELLS INTERAC-TIVE SOLUTIONS

78 episodes of 7 minutes | Pilot | Animation

| Co-production partner

7 Min - 15 Episodes | Animation | In Production

Broadcast & OTT




| 2D Animated TV Series | In Development

52*11 | Action / Comedy | In-Production | Teaser, 2

scripts, bible completed

DuchessHigh fashion meets psychedelic spy adventures in this fast paced and stylish girl power adventure series.

Eric Bones and the Monster App“Monster App” is the story of Eric Bones, a highly imaginative,hyper-active kid whose knack for drawing monsters leads him to the discovery of a magical drawing app on his tablet computer, which transforms him into the monsters he draws, and pits our Monster hero against the villainous Boogeyman,whose devilish desire is to turn every kid’s fear into his worst nightmare!




Phone: + 91 9949995822



DETAILSProducer/s: philmCGI

Director/s: Arpan Gaglani

Writer/s: Michael Maurer

Budget: 6-8 Million Dollars

Sales Rights: All rights available

Website: www.philmcgi.com

Phone: +91 9892697808


PHILMCGI PVT. LTD.


71

Golmaal JrGopal Gopal is a 14 year old who is well built, bold, confident and strong. All the kids fear him, except Madhav. He enjoys picking fights and irritating Mad-hav as he knows that Madhav wants to be ahead of him in everything. Gopal’s weakness is that he is afraid of the dark, something that Madhav, Laxman 2 and Lucky take advantage of. His second weakness is that he goes into a trance when anyone points their index finger at him and must forcefully twirl them around to get out of it.

DETAILSProducer/s: Reliance Animation

Director/s: Vikram Veturi

Writer/s: Ruve Narang

Website: www.relianceanimation.com

Phone: +91 93735 29935


RELIANCE ANIMATION

71

Ghost StationThe ghost are not fearful… they are infact comedy characters and very fright-ened themselves who instead of creating fear brings comedy for the audience...




Website/s: www.relianceanimation.com

Phone: +91-93735 29935


RELIANCE ANIMATION

104 episodes* 11 Minutes | Animation

Comedy | Pilot

208 Episode* 11Minutes

| Animation Comedy | In Production



13 Ep. X 11 Mints. | Pilot Episode Ready |

3D Animation-Adventure Series | Broadcast, OTT,

L&M

Jungle TroubleFour colorful jungle creatures utilize whatever crude, gross, and downright disgustingly-hilarious resources nature has to offer them to drive out a greedy land-developing bird and his dim-witted rhino henchman who try to turn their pristine habitat into a condo-covered wasteland.

JUNIOR GIndian super boy V/S Super dark powers. Gaurav, a 11-year-old lad, thinks he is an ordinary boy... until he is blessed with divine magical powers and is chosen by destiny to fight evil and is named Junior G.

This is the 3D animated avatar of the original live action TV serial which was one of the most popular kid’s serials on Indian television.





Phone: + 91 9949995822



DETAILSProducer/s: Wide Angle Media Pvt. Ltd.

Director/s: Ramji Achary

Writer: WAMINDIA

Sales Rights: All world territories in all world languages

WIDE ANGLE MEDIA PVT. LTD. (WAMINDIA)

52 Episodes of 11 Minutes Each | Slapstick Comedy - 2D Animated

series | In Development



DETAILSProducer/s: Soumitra Ranade, Aashish Mall, Mayank PatelDirector/s: Soumitra RanadeWriter/s: Soumitra RanadeBudget: 1500000 USDAll rights open Website: www.paperboatstudios.coPhone: +91 9821070395Email: [email protected]

PAPERBOAT DESIGN STUDIOS PVT. LTD.

Kabuliwala - Man from KabulMini is an impish six-year-old girl living in Kolkata with her par-ents. In a chance encounter, she meets Abdul a dry-fruit seller from Kabul. Initially she is intimidated by his appearance but his brilliantly mirrored shoulder bag fascinates her and when he magically pulls out a gorgeous Arabian horse from it, she is mes-merized. Soon an intimate bond develops between the two and the most unlikely friends become inseparable. Then, a devastat-ing accident separates them for 15 years. When they reunite, Mini comes to know of Kabuliwala’s tragic past – of incessant wars and his daughter Amina.

This animated film, underlines that beyond geographical bound-aries, religion, race and culture, the true essence of our existence is shared humanity

75 mins | Animation Feature |

Pre-Production | Co-Pro-duction Partner



Kaa the futureKaa is spending humorous time with Saka and Toka in the huge olden city until he receives the secret code through the magical leaf from great leader called Guka, who has a natural power to solve any ecological problem around the world.

The magical leaf will be a guide to Kaa and his friends toward the Former super crows, who is in mediation for thousand years to obey the knowledge of Guka Former super crows relocate to find the solution by taking down the Naka’s plans.

DETAILSDirector/s: Damodaran

Writer/s: Damodaran and UK writer

Budget: 3,64,00,000

Phone: +91 9840891759


11 x 26 / HD | Animation | Pilot

| Seeking sales and distri-bution | In Production

7 MINUTES/20 EPIDODES/ 5 SEASONS

| Animation |

KAPI & TIGAKapi & Tiga are a couple of happy-go-lucky young animals who live in Auzo-nia. With their friends Ana, Hira, Tedi, Tiga, and Ubi, Kapi & Tiga study hard and play hard, goof around, and travel. Just like any group of friends, they fight and disagree with each other. But, with the help of their gurus Bansa and Duga, these smart kids sort out their differences with a flourish and learn to work together along the way! Come and see the adventures brewing with Kapi, Tiga and their friends in Auzonia!”

DETAILSProducer/s: Saravanan Sundaramoorthy

Director/s: Mohanakrishnan

Writer/s: Saravanan Sundaramoorthy

Budget: $ 4958333

Sales Rights: Sales Rights Available

Website: www.magical7studios.com

Phone: +91 9047006000


MAGICAL 7 STUDIOS



DETAILSProducer/s: Munjal Shroff

Director/s: Tilak Shetty

Writer/s: Umesh Padalkar


Phone: +919821148757


GRAPHITI

Kul VeeraKul Veera is the story of five princes in waiting who are training at the most exclusive academy of the land together with their bit-ter rivals. Before becoming the legendary heroes of the classic In-dian epic, Mahabharata, they were just teenagers each of whom dreamed of becoming Kul Veera, the hero of the clan.

Kul Veera theatrical short was co-developed and co-produced with Carton Network Asia as a part of Snaptoons program. It was the top rated short of the program.

90 minutes | Pilot Com-pleted | Animation



Little SinghamA quiet yet inquisitive character, Ajay’s (Protagonist) life changes with a freak accident in the science lab leading to his DNA being with infused with that of Lion. His newfound restless Leonine energy coursing through him forces him to have a hyperactive lifestyle which includes the protection of his loved city “Mirchi Nagar” from goons, bank robbers and even aliens! Ajay confronts them with stellar courage, heroic fervor and a generous sense of humor – mix-ing both brains and brawns to bring every ominous bad guy to book. His im-mense love for the nation and a large heart which urges him to protect and save the people of Mirchi Nagar earns him the title of “Little Singham”




Website: www.reliance-animation.com

Phone: +91 93735 29935


RELIANCE ANIMATION

156 Episodes* 11 Minutes | Animation

Action Comedy | In-Production

52 X 5 minutes | Animation | In

Production | Sales and Distribution

Mango MinutesMango Minutes is a humorous non-verbal show, suitable for children aged 3 and up. It follows the solo antics of the mischievous monkey Mango, of ‘The Adventures of Annie & Ben’ fame. He was such a popular character that he got his own spin-off !

Each stand-alone episode of 5 minutes each puts Mango in a new sticky - and often fantastical - situation. How will the plucky monkey wiggle his way out?


Directors: Leon Majia Masson

Writer/s: Pamela Hickey and Dennys McCoy

Budget: $ 1.43 M





YOBOHO/ HOOPLAKIDZ



DETAILSProducer/s: Screen Yug

Contact: Ashish S K

Phone: +91-9765041999


SCREEN YUG

Mary Kom JuniorScreen Yug has signed exclusive rights for animation content with boxing champion Mary Kom to make Mary Kom Jr, India’s first girl super hero. The story revolves around Mary Kom Jr, an 8-year-old boxing champion who owns a pair of magical boxing gloves.

Mary Kom and her team - Onir, Mona and their coach Master Oja - travel to various exotic and fictional destinations in India and around the world to take part in boxing

competitions. During these adventurous journeys, they encoun-ter several dangerous situations and many powerful enemies of all kinds, shapes and sizes.

Action comedy for kids from 4 to 8 years |

11 minutes x 52 episodes animated series



52 X 1.5 minutes | Animation | In

Production | Sales and Distribution

MASTIPURMastipur - The pranking Wonder of the World

Foreign visitors to Mastipur are ‘warmly’ welcomed with witty and innova-tive pranks played by an inspired prince, princess and Pranky. The hilarious situations leave everybody ‘red-in-the-face’ – the guests with mirth and the Maharaja with pride. As Mastipur adapts to changing times it becomes the most entertaining destination.

Momo & TulusTULUS and MOMO are monsters that turn any situation into fun and ridicu-lous moments. Every idea, every action of these charismatic characters ends in mischief. They live on their planet, they belong to another dimension. Chap-ter to chapter falls from the sky, without any explanation, an element belong-ing to the human world, which they do not know because those elements do not exist on their planet. These elements are pure surprise for them, in each episode, they will find a new element with which they interact, experiment, play and have fun. As the chapters advance these elements are incorporated into their world.

DETAILSProducer/s: CROSS-OVER MEDIA & DE-SIGN PVT LTD

Director/s: Neeru Nanda

Writer: HICKEY-McCOY PRODS

Budget: Rs 150,000,000

Sales Rights: World-wide

Website: guppytheatre.com

Phone: +919833324675


CROSSOVER MEDIA & DESIGN PVT LTD


Director/s: YoBoHo New Media

Writer/s: YoBoHo New Media

Estimated Budget: 4.5 L





YOBOHO/ HOOPLAKIDZ

26 x 7min | NON-VERBAL/ANIMAT-

ED/COMEDY | Pilot| Co-production






Phone: + 91 9949995822



Mighty Little BheemThe show revolves around an innocent toddler whose boundless curiosity and extraordinary might, lead to mischief and adventure in his small India town.


| Animated TV Series | Completed



52 Episodes 11 Minutes | Animation | Pilot |

Broadcast, OTT & L&M

MONTY ON THE MOONMonty, The astronaut monkey is left stranded on the moon after his rocket crash landed. But he is not alone. He finds three aliens Chiki, Big Tooth and Little Fury as his companions. They soon become Frenimes. These two un-civilized alien beings to each other, fight over anything from silly to serious. adding more to the hilarious plat lines is I-Bot, a robot that Monty Finds in his spaceship. I-Bot who is supposed to be the Terror to Aliens is unfortunately an Error.

The quaint, quite moon would have been boring if Monty and the aliens were’nt there to spice things up!

Come, lets go BANANAS!

PinkiPinki’s character was created back in 1978, and you can imagine the success it has seen by the fact that the comics currently get published in 10 languages. First published in Lot Pot magazine, it quickly became popular and spread to other publications and newspapers like Punjab Kesari, Hind Samachar, Nav Bharat Times, Amar Ujalla, Gujarat Guardian, Illustrated Weekly etc. Mis-chievous and playful, Pinki stole the hearts of her audience with her naughty antics. Everyone laughed along with her as she got others in trouble, adored her as she stepped in to hel everyone and went with her on her wild adventures in catching and defeating all kinds of villains.

DETAILSProducer/s: E Plus Studio

Director/s: Shailesh Gurav

Writer/s: Sandiip Paatil

Website: www.eplusstudio.co.in

Phone: +91 9820210402


E PLUS STUDIO - E PLUS TECHNOLOGIES INDIA PVT. LTD.

DETAILSProducer/s: Vikas Kumar & Nikhil Pran

Director/s: Ayan Banarjee

Writer/s: Nikhil Pran & Jyoti Pran

Budget: $ 1000000

Website: www.digitoonz.com

Phone: +91 9811569906


DIGITOONZ MEDIA & ENTERTAINMENT PVT. LTD.

7’ 78 episodes - HD | In Production |

Animation



DETAILSProducer/s: Reliance AnimationDirector/s: Vikram VeturiWriter/s: Shekhar VeturiWebsite: www.relianceanima-tion.comPhone: +91-93735 29935Email: [email protected] ANIMATION

Tales of KrishnaKamsa, the King of Mathura, while celebrating his dear sister De-vaki’s marriage, hears the divine prophecy of his end at the hands of her 8th son. Enraged, Kamsa builds a complex dungeon and im-prisons both Devaki and her husband Vasudeva in it. To prove his invincibility, he becomes a ruthless conqueror and one of the most powerful and feared men in the land. Kamsa however is unable to snatch away the new girl child this time, who vanishes in the sky, warning him that Devaki’s son has escaped and is alive. Out of fear, Kamsa releases Devaki and Vasudeva. Meanwhile, in Gokul, Krishna’s birth is celebrated as a great festival with fanfare by the simple and colorful folk of Gokul.

78Episodes* 22Minutes | Animation Action Adven-

ture | Pilot



The Story of Bookworm GoGoWhen the lights go out in a New York second-hand bookshop, a storybook world comes to life. Four adorable little bookworms wriggle out between the pages and, every night, transform into actors and put on a play upon the life-like stage of a pop-up book.

Every night they choose to act out a different well-known story from around the globe, travelling into a marvelous fantasy book world where imagination is the only limit.

DETAILSProducer/s: Toonz Entertainment PTE LTD, XrisP Co., LTD


Website: toonz.co

Phone: +91 9895836836


TOONZ ENTERTAIN-MENT PTE LTD, XRISP CO., LTD

Animation | In Production

Spiritual | Shot digitally in 1920x1080p HD

Quality @ 25fps. | Each episode duration is

44 min.

Temples of IndiaIndia is the land of temples. And Temples of India takes the audience on a visual spiritual tour. As content it has eternal shelf life just like the temples. The temples are so far covered primarily under devotional Programme. But Temples of India has given importance to the archeological aspects as well.

The series is created as one point source of reference for anyone who is visit-ing these temples and also resolves all the queries which may arise pertaining to that temple. For the first time a vast range of temples will to be covered in such detail under one programme.

DETAILSProducer/s: Suvarna Kulkarni

Contact: Ashish S K

Phone: +91-9765041999


Budget: Rs 1 crore to Rs 1.25 crore for a 44 minute episode.

SCREEN YUG


83

Animated Series | 52 Episodes x 24

minutes | Comic series on Indian war heroes transformed into an

animation series

Toadlly AwesomeFollow the adventures of racecar driving, skydiving, yodeling, and extreme minigolfing, hyperactive Toad and his two best friends, Mole and Ratty, in the world of Toadlly Awesome, where every day is a new adventure. Each and ev-ery day, the restless Toad finds a new passion, and jumps right into it, dragging his two friends on a wild adventure that shakes up the quiet, remote animal town of Willowsville! Meanwhile, lurking, the jealous Weasels will try every-thing to steal Toad’s thunder…Toadlly Awesome is a new 52 x 11 minutes CGI comedy series about friendship and adventure that will take kids on a unique crazy journey in every episode!

An animated series which will bring to life the unmatched gallantry of Indian war heroes, how they lived, how they fought and how they won the wars for their beloved country.

Inspiring stories of bravery and patrio-tism, of war and heroics will be the key content for the series.


Estimated Budget: $7M


Phone: +919550607890



DETAILSProducer/s: Screenyug Creations Pvt. Ltd.

Writer and concept creator: Major General G D Bakshi

Target Age Group: 9+ Years

Contact: Ashish S K, Anand Pandey

Website www.screenyug.com

Phone +91-9765041999 +91-9326802288

Email [email protected] [email protected]

SCREEN YUG

52 episodes of 11 minutes| Animation | Pilot

War Heroes of India



52 X 7’ | Teaser, 2 scripts, bible completed |

Pre School

ZambooraAs someone said, ‘Wonder is the beginning of wisdom.’ The core concept of this show is based on this very thought. When we are born and come into this world we wonder. And when wonder meets fun, it’s wonderful! Welcome to Zamboo-ra!! Zamboora offers to draw in the interest of children in the age group of 3-6 years who are wondering about the world and have various questions boiling in there head. Zamboora will transport children into an imaginary paper world of wonder, exploration and fun times. Along the way, our core characters will meet and interact with lovable and special paper friends. That will stick like glue. Zamboora will teach and instruct through simple reasoning storylines and problem-solving episodes in an entertaining way. With song, dance, and sup-porting dazzling characters. Zamboora will make wonder a fun enterprise.

DETAILSProducer/s: philmCGI

Director/s: Arpan Gaglani

Writer: K.W. Willard

Budget: 4-5 Million Dollars


Website: www.philmcgi.com

Phone: +91 9892697808


PHILMCGI PVT. LTD.

World of OOThe World of OO - is Baby’s busy box, it has been co-developed by Honest En-tertainment and Graphiti. Babies will love it. Moms and Dads will even like it too. The World of OO is simple and lovely to look at.

Here is a little rectangle of life in motion brought to you by small and enter-taining friends. It is funny, active, spontaneous, tender and sweet. The sounds, rhythms and beats of life will engage the ears - MUSIKAZOO. Colorful scenes with familiar shape and characters that literally pop out taking the babies on a visual adventures - PEEKABOO.

Bouncing baby kangaroos jump from Ma’s pouch to chase a baby bunny and imitate its bounce - SKIPTOMAROO. Little monkey friends see and try to do what babies can. BABY ‘SEZ’ and MONKEY- DOO.

DETAILSProducer/s: Munjal Shroff & Joanna Ferrone

Director/s: Munjal Shroff

Writer/s: Joanna Ferrone & James Occhino


Phone: +91 9821148757


GRAPHITI

26 x 22 mins & 104 x 6 mins

| Animation | Pilot


SEPC is an Export Promotion Council set by Ministry of Commerce & Industry, Government of India. It is an apex trade body which facilitates service exporters of India. As an advisory body it actively contributes to the formulation of policies of Government of India and acts as an interface between the Services Industry and the Government.

SEPC has been instrumental in promoting the efforts of Indian service exporting community, and in projecting India’s image abroad as a reliable supplier of high quality services. It organizes a large number of promotional activities such as buyer-seller meets (BSM) – both in India and abroad, overseas trade fairs/exhibitions, and India pavilion/information booths in selected overseas exhibitions to demonstrate the capabilities of Indian Services Industry.

The Council encourages and monitors the observance of international standards and specifications by exporters and keeps abreast of the trends and opportunities in international markets for services and assist members in taking advantage of such opportunities in order to expand and diversify exports.

Set up in 2006, SEPC now has a strong membership base of more than 5000 members from over 50 service sectors which come under its purview. Members of SEPC can avail of befits of the SEIS and other Schemes of Ministry of Commerce and Industry, Government of India.

An Interface between the World & Indian service providers: SEPC is the nodal point for Indian Service exports as well as for foreign corporates who are looking for business opportunities in India under Mode -1, Mode -2, Mode -3 & Mode-4 of services trade. It is also the nodal point for individuals who want to avail benefits of better quality services at competitive rates in comparison with other countries. Foreign clients can contact SEPC for details of services providers in India.

SERVICE EXPORTS PROMOTION COUNCIL


SEPC is an Export Promotion Council set by Ministry of Commerce & Industry, Government of India. It is an apex trade body which facilitates service exporters of India. As an advisory body it actively contributes to the formulation of policies of Government of India and acts as an interface between the Services Industry and the Government.

SEPC has been instrumental in promoting the efforts of Indian service exporting community, and in projecting India’s image abroad as a reliable supplier of high quality services. It organizes a large number of promotional activities such as buyer-seller meets (BSM) – both in India and abroad, overseas trade fairs/exhibitions, and India pavilion/information booths in selected overseas exhibitions to demonstrate the capabilities of Indian Services Industry.

The Council encourages and monitors the observance of international standards and specifications by exporters and keeps abreast of the trends and opportunities in international markets for services and assist members in taking advantage of such opportunities in order to expand and diversify exports.

Set up in 2006, SEPC now has a strong membership base of more than 5000 members from over 50 service sectors which come under its purview. Members of SEPC can avail of befits of the SEIS and other Schemes of Ministry of Commerce and Industry, Government of India.

An Interface between the World & Indian service providers: SEPC is the nodal point for Indian Service exports as well as for foreign corporates who are looking for business opportunities in India under Mode -1, Mode -2, Mode -3 & Mode-4 of services trade. It is also the nodal point for individuals who want to avail benefits of better quality services at competitive rates in comparison with other countries. Foreign clients can contact SEPC for details of services providers in India.

SERVICE EXPORTS PROMOTION COUNCIL


SERVICES EXPORT PROMOTION COUNCIL3rd Floor, 6A/6, NCHF Building,Siri Fort Institutional Area, August Kranti Marg, New Delhi-110049Phone: +91 11-41046327-28-29, +91 11-41734632 Email: [email protected]: www.servicesepc.org, www.indiaservices.in

MADE IN INDIA, FOR THE WORLD

Intellectual Property Guide for M&E to

navigate critical aspects of IP creation with a

catalogue of Indian IPs


intellectual property guide for m&e to navigate critical ... · at dg@ servicesepc.org. sepc...

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