Digital Studio Magazine - December 2016

In this issue

India has rich cinematic heritage but many original film prints have been lost, damaged or are beyond repair. Some gems have been painstakingly restored, like Satyajit Ray’s Apu Trilogy or Guru Dutt’s Pyaasa, while others have slipped into celluloid history. Though India is amongst the largest movie producers globally, preservation and restoration is not a priority for content creators, media companies or broadcasters. Given the growing interest in classic films and documentaries, content owners are keen to restore them and unlock its fiscal value. In our cover story this issue, we find out how the industry can benefit from the emergence of digital platforms by which content can be digitally restored, repurposed, stored and delivered globally where there is great demand for Indian cinema and video programming. We also discover how solutions like playout automation and channel-in-a-box help broadcasters to get channels on air quickly especially when they are in the expansion mode, or if they want to establish their presence in a new geography. Interestingly, this market is projected to grow to $17.46 billion by 2020 globally, up from $831.2 million in 2015, riding on the wave of new channels introduced by broadcasters. In our interviews section, we speak to Jai Maroo, director of Shemaroo Entertainment, who believes that while OTT is growing, TV viewership is not significantly decreasing, which proves that the two co-exist, and in many cases, even feed off each other. We also nudge renowned cinematographer Dewald Aukema to reveal how he chooses the right camera equipment to capture his award-winning photos and filmography. This is just a primer; there is a lot more that makes this an interesting and information-packed December issue.