ASSIGNMENT

OF BUSINESS ENVIRONMENT
ENTERTAINMENT INDUSTRY

SUBMITTED TO:
MR. LALIT BHARDWAJ
FACULTY OF LSM

SUBMITTED BY:
GURARPANJEET SINGH
ROLL NO.A22
B.COM(P)
REGD. NO.-10805687

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 ACKNOWLEDGEMENT

It is a pleasure to express my thanks and gratitude to MR., LALIT BHARDWAJwho has

been very kind on me in completion of my assignment. I could achieve this target only
because of his kind and ever supporting guidance.

Gurarpanjeet singh

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 INTRODUCTION OF

ENTERTAINMENT INDUSTRY IN INDIA

The Enteratainment Industry in India though a late starter, is considered as one of the
fastest growing segments of the Indian industry. The entertainment Industry in India
gained significance as an outsourced destination for work due to low cost, skilled labour
as its many advantages. This industry can be categorized into four different components:
Entertainment, education, content development and multimedia/web design. The
animation market in India is relatively new compared to some other Asian countries. But
it is among the fastest-growing in the Indian entertainment sector. With approximately
200 animation studios, India has emerged as a global outsourcing hub for animation
technology services. The key drivers for the animation industry are the increasing
domestic demand for animation movies and the increase in animation studios and training
centers across the country.

MEANING OF PESTLE ANALYSIS

P-Political
E-Economical
S-Social
T-Technological
L-Legal
E-Environmental

• Political factors are how and to what degree a government intervenes in the
economy. Specifically, political factors include areas such as tax policy, labour
law, environmental law, trade restrictions, tariffs, and political stability. Political
factors may also include goods and services which the government wants to
provide or be provided (merit goods) and those that the government does not want
to be provided (demerit goods or merit bads). Furthermore, governments have
great influence on the health, education, and infrastructure of a nation.
• Economical factors include economic growth, interest rates, exchange rates and
the inflation rate. These factors have major impacts on how businesses operate
and make decisions. For example, interest rates affect a firm's cost of capital and
therefore to what extent a business grows and expands. Exchange rates affect the
costs of exporting goods and the supply and price of imported goods in an
economy
• Social factors include the cultural aspects and include health consciousness,
population growth rate, age distribution, career attitudes and emphasis on safety.
Trends in social factors affect the demand for a company's products and how that
company operates. For example, an ageing population may imply a smaller and

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 less-willing workforce (thus increasing the cost of labour). Furthermore,
companies may change various management strategies to adapt to these social
trends (such as recruiting older workers).
• Technological factors include ecological and environmental aspects, such as
R&D activity, automation, technology incentives and the rate of technological
change. They can determine barriers to entry, minimum efficient production level
and influence outsourcing decisions. Furthermore, technological shifts can affect
costs, quality, and lead to innovation.
• Legal factors include discrimination law, consumer law, antitrust law,
employment law, and health and safety law. These factors can affect how a
company operates, its costs, and the demand for its products. Consumer protection
laws are designed to ensure fair competition and the free flow of truthful
information in the marketplace. These factors can affect how a company operates,
its costs, and the demand for its products.
• Environmental factors include weather, climate, and climate change, which may
especially affect industries such as tourism, farming, and insurance. Furthermore,
growing awareness to climate change is affecting how companies operate and the
products they offer--it is both creating new markets and diminishing or destroying
existing ones.

POLITICAL ANALYSIS OF FILM AND ANIMATION

INDUSTRY

• Government Support

Mr. Kapil Sibal, Minister of State for Science and Technology, identified entertainment
industry as one of the important sector for India’s export oriented growth.10 However,
compared to governments in other countries; efforts by the Indian government to
encourage the sector have been very minimal. The government of South Korea funds
animation ventures on a partnership basis.11 Bangladesh has a World Bank-funded
support programme for the entertainment industry. In contrast, there have not been many
initiatives from the Indian government to promote the entertainment industry, at least till
the past one year.
The Indian government signed co-production treaty with France about 20 years ago and
efforts are on to reactivate it. A treaty was signed with the Italian government, which in
turn sent a delegation to Goa. Efforts are also on to sign similar agreements with Britain,
Japan, Brazil, Canada, Netherlands and China. These treaties will lead to sharing of costs
by partner nations and also the dispersion of technical know-how amongst the partner
nations.

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 • New Government Initiatives

A 25-acre Special Export Zone (SEZ) is going to be constructed in the outskirts of

Thiruvananthapuram exclusively for the animation industry. The commerce ministry is
said to have approved the creation of the SEZ within the Film and Video Park (FV Park)
set up by the Kerala Industrial Infrastructure Development Corporation near
Thiruvananthapuram. The state government is said to have created a 15,000 sq meters
animation facility to welcome animation houses to create their bases. The FV Park made
a good start when the Chennai-based Prasad Labs has made it its base to process all
Malayalam films for the next two years. Kerala has been making efforts at convergence
in the areas of information technology and cinema. The Animation Production
Association of India recently suggested to the Information and Broadcasting Ministry of
India that all TV channels must ensure 10% reservation for local animated content. The
government can further encourage investments and participation in this sector by
providing tax benefits. It can provide grants to Indian animators for participation in
international conference and for taking up training programs abroad.

2. ECONOMICAL ANALYSIS OF ENTERTAINMENT

INDUSTRY
India’s attractiveness as an entertainment hub lies in the presence of an English-speaking
workforce, high-quality software engineers, a large pool of creative talent, good studios
and low costs. The cost of producing a 30-minute 3D animation programme in India is
US$60,000 compared to US$250,000-400,000 in the United States and Canada. India has
a cost advantage compared to the Philippines, which is another low cost producer of
animations. The average monthly salary of an animation professional in India is US$600
compared to US$1,000-US$1,200 in the Philippines. The cost of outsourcing one hour of
animation work to India is estimated to be 30% to 40% of the corresponding costs in
leading animation centres in Korea, Taiwan and the Philippines.
India’s advantages in low costs have been exploited by many multinational firms and
production studios. The advent of digital animation coincided with the liberalization of
the Indian economy and India offered the benefits of lower production costs, strong
creative and technical skills and a large English speaking population. This has led to the
development of state of the art animation studios in several Indian cities, and these
studios are collaborating with global entertainment companies.

3. SOCIAL ANALYSIS OF FILM AND ANIMATION

INDUSTRY
The interactive media and animation industry in India has a large domestic market too to
tap on. A field-study based research conducted by one of the authors in July-August 2004

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on the diffusion of ICTs in India’s rural areas offers some interesting results in this
regard.6 The study showed that television is a highly popular medium as a source of
information in the Indian countryside, as it combines visual and audio effects and is less
demanding of the cognitive skills of the user. Almost 35 per cent of India’s over 1 billion
population is illiterate. There is great demand from this segment of Indian population for
an innovative medium that facilitate communication and information sharing, while at the
same time, being easily accessible to the masses via the television. Products of interactive
media and animation can fill this demand gap to a large extent; they can be great tools for
education, entertainment and awareness among illiterates in India’s rural and urban areas.

Despite the impressive growth forecasts, the Indian Animation and Gaming industry will
account for less than two percent of the worldwide market in 2010. Obviously a much
larger opportunity exists beyond what is currently being envisaged and the potential
remains high. India can participate in a more significant way in the global Animation
market, provided the country has built up requisite manpower, with the relevant
expertise, to fuel its growth. According to analysts, India has the potential to grow its
Animation industry to around US$ 1 billion by 2010, but will remain restricted to US$
869 million on account of a looming demand-supply gap in the area of employable
human resources.

A similar situation exists in the gaming segment as well, which has the potential to
achieve revenues of US$ 732 million by 2010, but is expected to touch only around US$
424 million by that period, owing to the paucity of skilled manpower.

The employment statistics for the Indian animation and gaming industry during 2006
were as follows:

• Around 16,500 professionals were employed by the Indian Animation industry

during 2006.
• This figure is forecast to increase at a CAGR of 14-15 percent and exceed 26,000
by 2010.
• There were nearly 150 gaming companies in India, employing about 2,500
people.
• This number is forecast to increase at a CAGR of over 50 percent to exceed
13,000 by 2010, with the industry revenue forecast to grow nearly ten-fold and
reach US$ 424 million.

4. TECHNOLOGICAL ANALYSIS OFENTERTAINMENT

INDUSTRY
While it is true that India’s animation industry is growing at a remarkable pace, the fact
remains that this growth is largely a result of the mushrooming of “studios-for-hire.” In
animation feature films, for example, while Indian companies carry out the technological
animation work, character design, and storyboarding are done abroad. India is yet to

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become a successful player in concept creation, the high value-adding segment of the
industry which remains a preserve of western firms. India’s advantages of low costs in
this industry will be too short-lived, and sooner rather than later, the country will have to
start developing new technologies.

Skills

The entertainment industry is still young. Indian cinema is yet to make its mark on the
global stage. The booming animation outsourcing industry is constantly demanding new
skills and fresh infusion of new talent into the industry. As such, it is imperative that we
have a healthy pipeline to supply talent to the industry. Skills required in the animation
field can be clubbed under two broad categories, mainly technical skills and soft skills.
Programming expertise, analytical ability, and proficiency on the software are basic
requirements for technical skills. The number of professionals joining the animation
industry has been growing at a compound annual growth rate (CAGR) of 18.2 percent
and is expected to grow at the same rate. Though India possesses the manpower with the
requisite skill set, what remains an area of concern is the education imparted to this
manpower from the quality perspective. This has resulted in mushrooming of multimedia
institutes. What is interesting is that quite a few reputed organizations have come forward
and started a chain of multimedia institutions for two reasons. One, they can use the
trained professionals for in-house animation development and secondly, use this
education channel for market diversification and penetration. However, companies need
to invest considerable time and money in bringing these students up to the levels where
they start earning revenue for the organization.

Need For technological training to employees

"There are no academic institutes like Indian Institutes of Technology, Regional

Engineering Colleges, Polytechnics, etc., churning out animators by the thousands. What
we have are only fine arts schools which teach the fundamentals but not the technical
skills required for production," points out K. Chandrasekhar, General Manager, Media
Works, and Tata Elxsi. According to him, this is a major drawback for the industry in
India.

Education in new media has to be embedded into the mainstream curriculum. Students
have to realize that they can have a lucrative career as animators, and the governments as
well as educational institutions have to start programmes for their career development.
The animation sector will benefit greatly by giving encouragement to the community of
traditional artists as much as to technically trained professionals. In other words,
integration of the rural and urban talent will prove highly beneficial. Also, NASSCOM’s
President Kiran Karnik believes that there is a need for an animation academy to build a
steady inflow of animation professionals in the industry. NASSCOM extended its help to
the government for framing the curriculum and also work with the industry players to
enhance the academic-industry interface.

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 5. LEGAL ANALYSIS OF ENTERTAINMENT INDUSTRY
• Intellectual property

Outsourcers have always been concerned with the protection of their intellectual property
in India. India is one of the few countries which have failed to take stern action against its
infringement. India needs to strengthen its IP policy and ensure that companies operating
in the outsourcing sphere take stringent steps to take care of clients’ IP rights.

International Cooperation

The Indian government is signing co-production treaties with other countries.

Professional organisations too are trying to promote the Indian animation sector abroad.
ASIFA, India, organises film festivals, conducts workshops and animation film
competitions at the international level. Kahani and Animation Bridge have showcased
their animation shows at Cannes Mipcom (a summit where mobile, broadband and
interactive professionals from 95 countries interact with broadcasters, producers and
distributors) in October 2005.
X-media Lab has been floated to help local, independent digital media producers reach
their ideas successfully to the market with assistance from outstanding international new
media professionals, who act as mentors to the companies and project teams. The second
lab held in Singapore from 17 – 19 November 2005, "Creating Successful Computer
Games”, attracted worldwide response. Indian developers have also been invited to
interact with eight of the best games people in the world. There is also a plan to do a lab
in India next year.14
According to Mohit Anand, Country Manager, Microsoft Entertainment and Devices
Division, Microsoft India, “Gaming in the last 7-8 years has really come a long way but it
still has a long way to go. Critical factors like PC penetration, organised retail,
broadband, and gaming hardware need to be addressed to help the industry. Those factors
are gradually changing and the future definitely looks bright. India is the youngest
country in the world, and the new generation is completely tech savvy. We believe that
gaming is definitely here to stay and evolve.”15
What are the opportunities for engagement between India, Singapore and other Southeast
Asian countries in the field of interactive media and animation industry? To begin with,
Singapore and Southeast Asia will be an important market for products from India’s
animation industry. Singapore has significant expertise in telecommunication and media
industry. Harnessing the favourable trade and investment climate offered by the
Comprehensive Economic Cooperation Agreement between the two countries, firms in
Singapore should consider investing in India’s animation and media business. Maya
Academy of Advanced Cinematic, a leading player in the Indian animation industry, is
planning to extend its operations to Singapore. It is currently working on a project for
BBC and has also been involved in the video games division.
Entertainment is one of the fastest growing sectors in India-ASEAN relations. The
entertainment industry is expected to grow at a compound annual growth rate of 20
percent from 2002 to 2007. The entertainment industry, with total revenues of US$3.6

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billion in 2002, is projected to grow up to US$8.7 billion by 2007. ASEAN is a big
market for Indian films. There are tremendous collaboration opportunities between India
and ASEAN in the area of 3D animation, graphics, etc.
The Philippines was, until recently, a fast growing animation industry, rich in creative
talent, and it was a major destination for outsourcing by animation firms in the United
States. However, with rise in costs, the animation industry in the Philippines has begun to
decline, and Filipino workers in the industry have been migrating to India and Singapore
in search of jobs. India, the Philippines, Singapore and even China must realize that there
is little to be gained in the animation industry in the long run by competing with each
other on costs. Rather, they should seek avenues for cooperation, and direct their efforts
at acquiring intellectual property rights in this creative industry.

6. ENVIRONMENTAL ANALYSIS OF ENTERTAINMENT INDUSTRY

Ability to scale operations. Indian firms are facing a talent shortage which affects their
ability to scale up their operations based on client demands. This also affects the client’s
confidence in off shoring large chunks of work. Though Indian companies have put in
place huge expansion plans, these are often marred by various reasons. Tie-ups with
educational institutes are helping overcome this difficulty.

• Opportunities in Collaborations

Indian companies are trying to improve quality and making attempts to compete globally
with the market leaders in the industry. It is said that the year 2004 is a watershed for the
Indian animation and gaming industry (according to the Federation of Indian Chambers
of Commerce and Industry [FICCI] report on the Entertainment Industry). The year was
marked by increased use of animation in the Bollywood segment. According to the FICCI
report, the increasing demand for downloads of games on mobile phones will enhance the
opportunities for gaming companies and bring in new entrants.

Several Indian companies are entering into collaborations with foreign new media
companies, which outsource their work to the Indian companies. Recently, Toonz
Animation floated a joint venture with First Serve International LLC, a global media
company which aims to produce and distribute top-notch animation programming for the
world market. The new venture will be headed by former Walt Disney executive Ed
Bordering. In 2004, a Chinese company also invested in India Games Ltd.

Toronto-based entertainment Products Company Kahani is collaborating with Mumbai

based Animation Bridge. In this venture, Kahani is expected to invest US$30-US$40
million over the next three years to engage in film production. The storylines and scripts
will be completed in Canada whilst product development and promotion are expected to
be done in India. The company is also planning to tie up with Bangalore and Hyderabad-
based studios. Zee’s animation arm, Padmalaya Telefilms, has signed a US$14 million

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contract with Italian producer-distributor, Mondo TV, to co-produce four new animated
series. Padmalaya also has collaborations with British animation companies Mallard
Media and Ealing Animation.

OPPORTUNITIES AND THREATS IN ENTERTAINMENT

INDUSTRY:

Entertainment Industry in India has registered an explosive growth in last two decades
making it one of the fastest emerging industries in India. Television itself witnessed its
transformation from a single government owned channels to a medium telecasting more
than 300 national and regional channels. At present Indian film industry or Bollywood is
a perfect combination of entertainment and commercial sector, producing close to
thousand movies in a year in various Indian languages. Indian film industry supersedes
Hollywood in terms of movie production quantity by more than three times.

As per the recent report by PricewaterhouseCooopers (PwC), Indians are likely to spend
more on entertainment in the coming years with a steady growth in their disposable
income. And as per the combined survey report by KMPG and FICCI, the entertainment
industry in India is expected to expand by 12.5% every year and is likely to reach US$
20.09 billion by the year 2013.

OPPORTUNITIES:

1. The concept of crossover movies, such as Bend It Like Beckham has helped open up
new doors to the crossover audience and offers immense potential for development.

2. The increasing interest of the global investors in the sector.

3. The media penetration is poor among the poorer sections of the society, offering
opportunities for expansion in the area.

4. The nascent stage of the new distribution channels offers an opportunity for
development.

5. Rapid de-regulation in the Industry

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6. Rise in the viewership and the advertising expenditure.

7. Technological innovations like animations, multiplexes, etc and new distribution

channels like mobiles and Internet have opened up the doors of new opportunities in the
sector.

THREATS:

1. Piracy, violation of intellectual property rights pose a major treat to the Media
And Entertainment companies

2. Lack of quality content has emerged as a major concern because of the 'Quick
buck' route being followed in the industry.

3. With technological innovations taking place so rapidly, the media sector is facing
considerable uncertainty about success in the marketplace.

OPPORTUNITIES AND THREATS OF DISH TV:

Dish TV is a DTH satellite television provider in India, using MPEG-2 digital compression
technology, transmitting using NSS Satellite at 95.0. Dish Tv's managing director and Head Of
Business is Jawahar Goel who is also the promoter of Essel Group and is also the President of
Indian Broadcasting Foundation. DTH service was launched back in 2004 by launching of Dish
TV by Essel Group's Zee Entertainment Enterprises. Dish TV is on the same satellite whereDD
Direct+ is.

Dish TV was only DTH operator in India to carry the two Turner channels Turner Classic
Movies and Boomerang. Both the channels were removed from the platform due to unknown
reasons in March 2009.

OPPORTUNITIES:
India’s 127 million television owning households, which define the potential depth for
the DTH category will act as a low hanging fruit for adoption. The further roll out of
CAS by the new Government, into more towns will impact the growth rate of the DTH
category and trigger consumers to make a decision between digital cable and DTH,
thereby aiding faster expansion of the digital entertainment world. Enrichment of Value
Added Services(VAS) basket with gaming and a host of active services, some going pay,

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will continue to be opportunity areas for revenue enhancement. An eventful sporting
calendar with the ensuing Commonwealth games and a series of Cricketing tournaments
will act as a catalyst for this category too. The recent stabilization and a revived hope for
bouncing back of the economy as early as the second half of this year will facilitate faster
adoption of the category. Emergence and growth of traffic at the organized retail chains
like Big bazaar, Next, The mobile store, Reliance digital etc. will also add more visibility
leading to better acceptance of the product.

THREATS:

DTH is currently a five player market. Price cuts and reduced margins, spurred by severe
competition, can pose a threat to revenue enhancement. Improved quality of services by
digital cable and IPTV players are potential threats. Churn management and retention
costs can negatively impact bottom-lines unless constant attention and strategy is
deployed to manage and control the subscribers’ base.

OPPORTUNITIES AND THREATS OF ZEE TELEFILMS

The Zee Entertainment Enterprises Ltd. (NSE: ZEEL) is the largest media and
entertainment company in India and is a subsidiary of Finnish media corporation Turner
Group. The company's Chairman, Managing Director and Founder is Subhash
Chandra and its Chief Executive Officer is Puneet Goenka. It was previously known
as Zee Telefims until 2006 when it was renamed and the news and entertainment units
were spun off into four smaller divisions. Zee currently operates over 15 different
television channels, a cable company SitiCable, a record label Zee Records, a production
company and other businesses as well. It launched in October 1992 and has since grown
into a dominant player in Indian television. It has expanded operations abroad, with
several of its channels available in the UK and U.S. as well as Africa and Asia. In 2002
Zee Entertainment Enterprises acquired a majority stake (51%) in ETC Networks. In
2006, they acquired Integrated Subscriber Management Services Limited and in
November 2006, Zee acquired an interest (50%) in Taj television TEN Sports. In FEb
2010 Zee Entertainment Enterprises acquired a additional stake(95%) in TEN sports .
As Zee Telefilms, the company formed part of BSE Sensex from 2000-2005. The news
and regional entertainment channel business was spun off into a separate company in
2006 under the corporate banner Zee News.

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OPPORTUNITIES:
 Benefit from the robust growth of the Entertainment and Media sector: The
future of the entertainment industry will be decided on the interplay of a number
of factors like consumerism, advertising spend, content, pricing, technology and
regulation. According to the FICCI-PWC report on the entertainment and media
industry it is estimated that the entertainment and the media industry is set to
grow at a CAGR of 18% to reach an estimated size of Rs 1 trillion in 2011. The
television industry revenues are expected to grow from the present size of Rs 191
bn to Rs 519 bn by 2011, implying a 22% CAGR over the next five years.

 Digitisation (rollout of CAS and DTH) means that cable penetration will increase
from 70 m homes in 2006 to around 113 m homes by 2011. Subscription revenues
are projected to be the key growth driver for the Indian television industry over
the next five years. Subscription revenues will increase both from the number of
pay TV homes as well as increased subscription rates. India's robust economic
growth has an attractive proxy in its advertising industry. The ad spend is a mere
0.4% of the GDP compared to 1.4% in the U S. Advertising revenue of the
television industry is projected to grow from Rs 66 bn in 2006 to Rs 123 bn by
2011. Thus Zee Entertainment has the opportunity to benefit from the projected
robust growth of the media and entertainment industry.

THREATS:
 Slowdown in India's economic growth: Any slowdown in India's economic
growth will reduce the demand for the advertiser's products, which may lead to a
cut in their ad budgets. This will have a negative impact on its advertising
revenues.

 Increased competition: The Hindi General Entertainment space will become

very competitive with the entry of the TV 18 group, UTV, NDTV, INX Media.
All these players though initially would make losses but are adequately funded
and have a good management team at the helm to cause a potential dent in Zee's
market share. A fall in Zee's TRP's will lead to a decline in its advertisement and
subscription revenues.

 Slow rollout of CAS: The government may delay the rollout of CAS. The
consumers may show some hesitation in opting for paid channels and many
viewers may opt only for FTA channels. Both these factors may cause a dent in
the subscription revenues of Zee TV.

 Declining viewership and revenue share of GEC channels: Zee Entertainment

derives majority of its revenues and profits from the flagship channel 'Zee TV'

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which is a general entertainment channel. However the viewership and revenue
share of GEC channels are seen on a declining trend while that of niche channels
is increasing.

% Share of viewership Share of revenues

Channel genre 2003 2004 2005 2003 2004 2005
GEC 42 33 34 53 47 39
Regional 42 41 36 16 20 24
Niches 16 26 30 31 33 37
English Entetainment 2 2 1 3 5 4
Child infotainment 2 3 4 1 2 3
Hindi movies 4 5 8 7 4 6
Music/ Lifestyle 1 2 2 2 2 3
News 2 5 7 13 10 12
Sports 5 9 8 5 10 9
Total 100 100 100 100 100 100

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