'Indian content today is world-class'

IN CONVERSATION

They were mainly Europe and government-owned TV stations. Today, there's an explosion with the emergence of many digital platforms.

Miptv gives all participating countries a view on everything from content ideas to the purchase of content. We transact over $ 2 billion worth of business every year.

Has the concept worked for India?

Every year we have a 200 per cent increase in participation from the Indian delegation "� from less than 10 participants three years ago to over 40 companies in India now. India's participation in Miptv has been steadily on the rise. The Indian content being generated today is world-class.

Since India is a growing market, the opportunities to grow there are enough for most people. However, if Indian content is looking at going global, this is the time they are really look at international partnerships.

Indian content today is undervalued and is also battling a wrong image and perception. We partnered with FICCI last month towards this end. Miptv has also been talking about having a Country of Honour Day for India. Once we announce that, it will really drive Indian content business overseas.

Where is Indian content market heading?

In India, IPTV is going be the next hot thing. Of course it will take time to catch on till the whole country has access to the Internet and faster speeds.

But that can be helped by mobile TV as it may actually be a way of broadband distribution in the future. So, the two could be very closely developed together. I think India is just a year or two behind the West.

What is your revenue model?

Reed Midem is a division of Reed Exhibitions, the largest exhibition company in the world. Miptv and Mipcom represent the second highest revenue earners for Reed Exhibitions in the world. The delegate fees range anywhere between 360 to 5,000 euros. It's a small investment to get a big return.

Can you share some of the broad TV trends?

Content producers today just cannot identify any one broadcast partner as was the case earlier. Initially, a producer would have gone to a TV commisioner with his concept and asked for financing for a show.

Now, you discover that top broadcastors have a Digital Commisioner who is above the TV commissioner (who gets the projects and passes it on to the digital commisioner).

The digital commissioner, in turn, looks at that project across the whole value chain of distribution "� not just for TV broadcasting but for home entertainment, mobile television, Internet and even the iPod "� to squeeze every ounce of value they can get out of that content.

It will now be the consumer who chooses when to watch programmes, at what time and which genre, and when to schedule it themselves.