Media-Entertainment NSDC Report (2022)

Media & EntertainmentIndustry Sector (2022)

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Human Resource and Skill Requirements in the Media and Entertainment Industry

Study on mapping of human resource skill gaps in

India till 2022


Page 2 of 40

Table of Contents

1. Environment Scanning and Competitiveness of Media and Entertainment Sector in India . 4

1.1. Overview ................................................................................................................................. 4

1.2. Overview of the Film Segment ............................................................................................... 6

1.3. Overview of the Television Segment ...................................................................................... 9

1.4. Overview of the Print Segment ............................................................................................. 11

1.5. Overview of the Gaming Segment ........................................................................................ 13

1.6. Overview of the Animation Segment .................................................................................... 16

1.7. Key players in the Media and Entertainment sector ............................................................. 16

2. Human Resource and Skill Requirements in the Media and Entertainment Industry ........ 18

2.1. Film and Television Segment ............................................................................................... 18

2.2. Animation Segment............................................................................................................... 26

2.3. Games Segment .................................................................................................................... 29

2.4. Radio Segment ...................................................................................................................... 30

2.5. Projected Industry Size and Human Resource Requirement ................................................ 33

2.6. Focus areas for Skill Building ............................................................................................... 35

List of Figures

Figure 1: Share of various segments in Media and Entertainment sector in 2009 (Estimates) ............... 5

Figure 2: Demand drivers of the domestic film segment ........................................................................ 7

Figure 3: Demand drivers of the overseas film segment ......................................................................... 8

Figure 4: Key Success and Risk Factors in the Film Segment ............................................................... 9

Figure 5: Demand drivers in Television ............................................................................................... 10

Figure 6: Key Success and Risk Factors in the Television segment ..................................................... 11

Figure 7: Demand drivers in the Print Industry .................................................................................... 12

Figure 8: Demand drivers of the Gaming Segment .............................................................................. 14

Figure 9: Profile of persons engaged in the production of a movie ...................................................... 18

Figure 10: Profile of Persons in the Production of Film and Television Segment ................................ 19

Figure 11: Profile of Persons in the Radio Segment ............................................................................. 30


Page 3 of 40

List of Tables

Table 1: Size and growth of the Media and Entertainment Industry in India ......................................... 5

Table 2: Key players in the Media and Entertainment sector ............................................................... 16

Table 3: Skill Requirements and Skill Gaps Common to Film and Television segment ...................... 19

Table 4: Skill Requirements in other areas in the Film and Television Segment ................................. 25

Table 5: Application areas of Animation in the Media and Entertainment Industry ............................ 26

Table 6: Profile of persons employed in the Animation Segment ........................................................ 27

Table 7: Function-wise Distribution of Persons Employed in Animation Segment ............................. 27

Table 8: Skill Requirements and Skill Gaps in the Animation segment ............................................... 27

Table 9: Profile of People in Games Segment ...................................................................................... 29

Table 10: Skill Requirements and Skill Gaps Common to Games segment ......................................... 29

Table 11: Skill Requirements and Skill Gaps Common to Radio Segment .......................................... 31

Table 12: Skill Requirements in other areas in the Film and Television Segment ............................... 32

Table 13: Current employment in the Media and Entertainment Industry (in ‘000s) – direct

employment only .................................................................................................................................. 33

Table 14: Projected size of key segments in the Media and Entertainment Industry (Rs. billion) – 2008

and 2022 ................................................................................................................................................ 34

Table 15: Projected human resource requirement – 2008 to 2022 (in ‘000s) ....................................... 35

Table 16: Focus Areas for Skill Building in Media and Entertainment ................................................ 35


Page 4 of 40

1. Environment Scanning and Competitiveness of Media and

Entertainment Sector in India

1.1. Overview

The Indian Media and Entertainment industry, with a size of Rs. 584 billion and a Compounded

Annual Growth Rate (CAGR) of 15% between 2005 and 20081, is one of the fastest growing sectors

in the country. The key drivers of the growth of Indian Media and Entertainment industry have been

the rising spend on entertainment by the growing Indian middle class, regulatory initiatives, increased

corporate investments and integration of existing players across the value chain. In addition to the

expected increase in spend of the Indian middle class towards entertainment, the rising global interest

in Indian content is also expected to fuel growth in this industry. Also, technological advances and

liberal government policies favoring foreign direct investment (FDI) continue to aid expansion.

1.1.1. Size and Growth of the Indian Media and Entertainment Industry

The Media and Entertainment industry comprises of the following segments:

Television

Print

Films

Radio

Music

Animation

Gaming

Advertising – Internet and Outdoor.

The following table presents the size and growth recorded in this industry. It is estimated that the size

of the industry in 2009 would amount to Rs. 628 billion.

1 Federation of Indian Chambers of Commerce and Industry (FICCI) – Frames 2009 Report


Page 5 of 40

Table 1: Size and growth of the Media and Entertainment Industry in India

Sector

(Rs. billion)

2005 2006 2007 2008 2009(E) CAGR

2005-09

Television 163.3 182.5 211.3 240.5 262.7 12.6%

Print 117.1 138.6 160.4 172.6 183.9 11.9%

Film 66.9 81.7 96.4 109.3 109.2 13.0%

Radio 4.9 6.0 7.4 8.4 9.2 17.1%

Music 8.3 7.8 7.4 7.3 7.5 -2.5%

Animation 10.0 12.0 14.5 17.4 20.0 18.9%

Gaming 2.2 3.0 4.4 6.5 9.4 43.8%

Internet

Advertising

2.0 2.0 3.9 6.2 8.4 43.2%

Outdoor 10.0 11.7 14.0 16.1 17.7 15.3%

Total 384.7 445.3 519.7 584.3 628.0 13.0%

Source: FICCI Frames 2009

Though the Television, Print, and Film segments dominate the Media & Entertainment space in India,

new segments such as gaming, animation, outdoor (Out of Home – OOH) and internet advertising are

gaining importance. The share of various segments in the Media and Entertainment sector are shown

below.

Figure 1: Share of various segments in Media and Entertainment sector in 2009 (Estimates)

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Page 7 of 40

the share in revenue However, ‘piracy’ is an important risk factor which can threaten the growth of

this industry.

The last four to five years have been characterised by several changes in the Indian film segment,

such as reduction in the contribution of domestic theatrical from about 78% in 2005 to about 72% in

2008, over 100% increase in the number of multiplex screens, availability of organized funding.

1.2.1. Demand Drivers of the Film Segment

The demand drivers for the Film Segment may be categorised into demand drivers for domestic sales

and demand drivers for overseas sales. One of the key reasons for the rapid growth of the film

segment in the domestic and overseas markets has been the strong influence of several favourable

drivers of demand.

Demand drivers in Domestic Film Segment

Figure 2: Demand drivers of the domestic film segment

• Increasing disposable incomes: Disposable incomes have been rising at a CAGR (FY 2000-

2007) of 10.3%. The share of recreation in disposable income is expected to increase at the

rate of 8% annually. Hence, the spend on recreational activities such as film viewing has

increased.

• No. of screens – Multiplex & single screen: The southern states of Tamil Nadu, Karnataka,

Kerala and Andhra Pradesh account for 59% of the number of theatres of India, while

servicing only 22% of the population. Across India, the number of multiplex screens is

expected to increase from 1,350 in 2007 to around 5,000 by 2012. The number of single

screens in the same time is expected to reduce from 8,841 to 7,500.

Key demand drivers of the domestic film

segment market

Increasing disposable incomes

No. of screens –Multiplex & single screen

Average ticket prices

Number of movies released


Page 8 of 40

• Average ticket prices: Average ticket price in single screens is around Rs 13 while Rs 110 in

multiplexes. Most of the new multiplexes are planned in Tier II cities (with lower ticket

prices). Hence, multiplex ticket prices are expected to reduce from Rs 110 in 2007 to Rs 80 in

2012. Increase in the number of multiplexes is positively influencing the average ticket prices

with the overall average ticket prices expected to rise from Rs 22 in 2007 to over Rs 35 in

2012.

• Number of movies released: In 2007 alone 1,146 different films were released and this trend

is increasing at around 8-10% YoY. The number of films has reached a stable state in terms

of numbers and is expected to grow only at around 5% YoY. Also, the Indian film segment is

no longer dominated only by Hindi movies. In 2007, 241 Telugu films and 76 Bhojpuri films

were released.

Demand drivers of the overseas film segment

Figure 3: Demand drivers of the overseas film segment

• Increased selling and marketing focus in the overseas market and more organised

distribution plans: Players such as Yash Raj Films, Adlabs and UTV have entered the

overseas distribution business. Given their strong distribution as also ability to invest heavily

in marketing of movies in the international market, Indian movies are witnessing higher

overseas collections.

• Growing popularity of Indian films overseas: Hindi movies are also finding increasing

favour in non-US and non-UK markets. These markets, earlier accounting for 10% of the

overseas revenues, now contribute 25-30% of a film’s total overseas revenues.

Key demand drivers of the overseas film

segment market

Increased selling & marketing focus in the overseas market and

more organised distribution plans

Growing popularity of India films overseas


Page 10 of 40

1.3.1. Demand Drivers of the Television Segment

Figure 5: Demand drivers in Television

• Increase in number of television channels and niche segments: The number of television

channels in India has been on the rise. There were about 120 channels available in 2003,

which has now grown to over 450. Increasing number of channels increases the demand for

content. Niche segments such as news channels, lifestyle, kids, reality shows, and spiritual

shows are on the rise. Thus, the viewer now has greater choice in mass entertainment and

niche segments.

• Increasing disposable incomes: Disposable incomes have been rising at a CAGR (FY 2000-

2007) of 10.3%. Hence the ability to spend on electronic goods such as televisions have

increased – for example, TV sales in India are growing at 12% annually by volume. The

growth is as high as 25% in the rural India. The demand for TVs with flat panel display (FPD)

terminals, such as LCD and Plasma, is expected to cross three million units by 2010-11.

During fiscal 2007-08, it registered a growth of over 100 %. The number of households with

TV are expected to rise from 11.9 crore in 2007 to 13.2 crore in 2012.

• Emergence of digital mediums of distribution: There are currently three modes of television

distribution, namely, DTH, Digital cable and IPTV. Digitization allows better picture and

sound quality and thus commands greater viewership. ‘Corporaterisation’ of the DTH sector

is happening in India, leading to high growth of the sector – the pay DTH market is now

expected to have over 10 million subscribers. Digitization has been further enabled by the

implementation of CAS in some metros. Penetration of IPTV, though in its nascent stages in

India, is expected to increase.

Key demand drivers of the

television segment

Increase in number of television

channels and niche segments

Increasing disposable incomes

Emergence of digital mediums of distribution


Page 12 of 40

segment. The most widely read vernacular newspapers are Dainik Jagaran, Dainik Bhaskar,

Hindustan, Amar Ujala and Daily Thanthi and the most widely read English newspapers are Times of

India, The Hindu, Hindustan Times, Deccan Chronicle and The Telegraph. Major players have

launched tabloids and magazines to flank their market share and develop niche growth markets.

Example: HTML – Mint (Business daily), Metro Now (Tabloid), Nandan, Kadambini (Magazines).

As regards magazines, the segment is dominated by General Interest and Women magazines. B2B

magazines account for 3% to 4% of the market while B2C magazines account for 96%-97%. Key

magazines in India include Saras Salil (Hindi), Kungumam (Tamil), Vanitha (Malayalam), India

Today (English ), Grihashobha (Hindi), Kumudam (Tamil), India Today (Hindi), Malayala Manorama

(Malayalam), Ananda Vikatan (Tamil) and Meri Saheli (Hindi).

1.4.1. Demand Drivers of the Print Segment

Figure 7: Demand drivers in the Print Industry

• Rising literacy rates: There exists a strong correlation between literacy rates and circulation.

For example, literacy rates increased from 65% to 70% between 2001 and 2006. This has also

driven up circulation of dailies to 88 million, a CAGR of about 8% during the same period.

• Increase in ad spends: India’s ad spend as a % of GDP is only 0.34%, compared to the global

average of 0.98%. This is set to increase - India’s ad spend market is expected to increase

from Rs. 16,300 crore in 2006 to Rs. 32,000 crore in 2011, a CAGR of about 14% to 15%.

Retail accounts for 48% of ad spend and if retailers spend 5% of their revenues in advertising,

the portion from retail itself can touch Rs 7,200 crore.

• Increase in penetration: The Print media has an 85% reach in the urban markets (SEC A and

SEC B) and a low 33% reach in rural markets (SEC C, SEC D and SEC E). There is thus


Print segment

Rising literacy rates

Increase in ad spends

Increase in penetration


Page 13 of 40

further potential for demand in the rural sector. Also, the readership base of the print market

in India is 250 million while the Indian population crosses over 1150 million, of which about

750 million are literate. There is thus a large population yet to be targeted.

1.5. Overview of the Gaming Segment

The gaming segment in India is still at a very nascent stage but is poised for growth in the future. The

segment is currently a small contributor to the size of the Indian Media and Entertainment sector and

currently accounts for only about 1% of the size of the sector. The size of the gaming segment was

estimated at about Rs. 7 billion in 2009 and the CAGR between 2005 and 2009(E) is estimated at

about 33%7.

The gaming industry can be classified into one of the following key types of gaming: Online /

computer gaming, Mobile gaming and Console gaming. Amongst all forms of gaming, the highest

contribution is that of Mobile gaming but the highest growth potential lies in Online gaming format.

The growth in the Mobile gaming market has been enabled by widespread availability of high end

mobile handsets (especially GPRS/Java/Brew) and removal of subscription charges on GPRS access

on mobile phones by telecom operators. India has around 4 million broadband subscribers and this is

expected to increase to around 18 million by 2012. Around 50 million people are already using

internet in India and the number of internet users in India are expected to increase to over 100 million

by 2012. The console games are primarily imported in India which attracts a duty of 54% and retail at

prices of Rs 1,500 or above. The console makers drive to indigenise the gaming content would lead to

the growth in console gaming industry in India.

The key players in the gaming industry are Indiagames, Zapak, Games2win, Kreeda, Sify, Dhruva

Interactive, Paradox Studios, Level Up!, etc.

7 FICCI Frames 2009, IMaCS analysis


Page 14 of 40

1.5.1. Demand Drivers of the Gaming Segment

Figure 8: Demand drivers of the Gaming Segment

• Rise of enablers like internet penetration: A greater number of people in India are expected

to have access to the internet (broadband at home / usage in cyber cafes), thus in turn giving

impetus to the online gaming sub-segment. India has around 40 lakh broadband subscribers

and these are expected to increase to around 180 lakh by 2012. Around 5 crore people are

already using internet in India - SEC A and B account for 77% of the internet users in India.

The number of internet users in India is expected to increase to over 10 crore by 2012. Also

the potential target segment8 for online gaming accessing the internet from cyber-café is

expected to grow at 20% CAGR till 2012.

• Demographic profile of internet users: Gaming as a recreational occupation9 is more likely

to attract the younger population. Currently around 2/3rd of the internet users in India are less

than 35 years age and the demographic distribution has been stable over last couple of years.

• Increase in the mobile subscriber base and high-end cell phones: Mobile gaming is through

the usage of mobile phones. The mobile subscriber base has grown at a CAGR of 39% from

2005 to 2008 from 7.5 crore subscribers to 26.1 crore subscribers. The GSM subscribers base

8 Typically school kids, college students, young men [<35 years age, working / non-working] and non-working women, residing in top 8 metros, small metros and non-metros and who belong to SEC A and SEC B 9 Only 3% of the gamers in India are serious gamers with the remaining 97% being casual gamers.


gaming segment (online, mobile, co

nsole)

Growth of enablers like

internet penetration

Demographic profile of internet

users

Increase in the mobile subscriber

base and high-end cell phones

Affordable pricing of mobile

games

Marketing efforts of console makers and publishers

Reduction in console prices


Page 15 of 40

has reached 19.27 crore while the CDMA subscribers base has reached 6.837 crore in 2008.

The rise in the mobile subscriber base which is primarily due to drop in call charges, cheaper

handsets, wider range of handsets available, in turn supports the mobile gaming industry.

• Affordable pricing of mobile games: The effective end-user price of mobile games per game

download is Rs. 35-40 for GSM networks and about Rs. 15 for CDMA networks (except

Reliance BREW). The industry average price per download is around Rs. 30; around 50% of

the game download occurs in the Rs. 30 – Rs. 50 price range and around 30% of the game

downloads happen in the Rs. 5 – Rs. 10 price range.

• Marketing efforts of console makers and publishers: The console gaming has graduated

from a cult group to a lifestyle product. The console makers are promoting games with

indigenous appeal. For example, Cricket – with Yuvraj Singh International Cricket 2007 by

Xbox and subsidised by Microsoft. The trend is towards development of games that would

involve all the members of the family

• Reduction in console prices: Currently, the consoles in India are imported and attract a steep

duty of 35% which increases their retail price. Also, they do not come with preloaded games -

games are primarily imported and retailed in the range of Rs.1,500 - Rs.3,000 including the

duty of 54% on imported games. Console makers are now aiming to reduce the recurring high

costs of the games. For example, Sony Computer Entertainment is negotiating with game

engine developers to reduce license fee for game developers which would reduce the price of

the final game.


Page 16 of 40

1.6. Overview of the Animation Segment

The animation segment in India is in its early growth stage and is poised for growth in the future. The

segment is currently a small contributor to the size of the Indian M&E sector and currently accounts

for only about 3% of the size of the sector.

Animation is used in television, films and on-screen visual effects. The most popularly used

animation technologies are 2D animation, clay animation and 3D animation. Although most of the

animation in India is 2D, 3D animation space is expected to become popular in the future. The quality

of visual effects done in the Indian market is still very low as compared to the West. Although there

are over 200 animation companies and about 40 specialised VFX companies in India, there are only a

handful which do quality work. The key players in this industry are Crest Animation Studios, Prime

Focus, Maya Entertainment Ltd., Toonz Animation India Pvt. Ltd., Pixion-Century Communications

Ltd. and Paprikaas animation studios.

The key revenue streams in the animation segment are entertainment (through television, fully

animated movies, visual effects – VFX and home entertainment – direct to DVD), e-education and

web designing. The entertainment animation section contributes to around 70% to the total animation

industry. TV animation, the largest user of animation in India, is considered to be the most basic form

of animation from which most of the companies start and evolve to other forms like VFX and fully

animated movies. Growth in the usage of animation in movies is expected to fuel the visual effects

usage in future. Apart from Crest Animation Studios, no other Indian player has capabilities to

develop high-end 3D fully animated movies. Though India has the cost advantage, significant

shortage of talent is hampering the growth of the industry.

1.7. Key players in the Media and Entertainment sector

The Media and Entertainment sector has seen a number of media conglomerates who are active across

various media categories from films, print to radio. The Indian players in segments like animation and

internet are very small as the segment is still in its nascent stage in India. A large portfolio has offered

these conglomerates considerable advantage in gaining customers and advertisement revenues.

Table 2: Key players in the Media and Entertainment sector

Segment Key Players Product of service offering

Television

Dish TV, Wire&Wireless, In Cable Net, Tata Sky, Hathway TV Distribution networks

Zee Entertainment Start Network, Sun TV Network, NDTV, Sahara One Media; and Doordarshan TV Broadcasting


Page 17 of 40

Segment Key Players Product of service offering

Balaji Telefilms, BAG films, Cinevistas K Sera Sera Productions Content Producers

Print

Times of India, The Hindu, Deccan Chronicle English Newspapers

Dainik Jagran, Dainik Bhaskar, Hindustan Vernacular Newspapers

India Today, Outlook, Femina, Business world Magazines

Films

Pyramid Saimira, Adlabs, Inox, PVR Multiplexes

UTV Motion Pictures, Sahara One Media, Mukta Arts, K Sera Sera productions Films production

Saregama, Tips Industries, Moser Baer, T-series, Ultra Home Video segment

Radio Radio Mirchi, Banyan Tree Communications, FM 97.1; and All India Radio FM radio stations

Music Saregama India, Tips Industries, Times Music Music production and distribution

Animation

Indiagames Ltd., FXLabs Studio Game developers and distributors

Zapak Digital Entertainment Ltd., Games2win Gaming Portals

Sony Playstations, Nitendo, Microsoft Xbox Console gaming

Crest Animations, Prime Focus, Famous Studios, Maya Entertainment Animation studios

OOH Laqshya, OOH Media, V-Jive, Big Street OOH advertising

360o Experience, Teamwork Film Pvt. Ltd., Unsual Entertainment OOH entertainment

Internet Sify, Connect Turf, Tribal DDB Internet Advertising

Yahoo, MSN, Rediff Advertising portals

Source: Various secondary sources

Having reviewed the current structure of the Media and Entertainment sector, we shall now

proceed to understand the human resource and skill requirements in the industry.


Page 18 of 40

2. Human Resource and Skill Requirements in the Media and

Entertainment Industry

The skill requirements and gaps in the Media andEntertainment Industry are elaborated for the

following segments:

Films and Television

Animation

Gaming

Radio.

These select segments account for about 70% of the industry revenues.

2.1. Film and Television Segment

2.1.1. Profiles of persons employed

About 100 to 120 persons are required to produce a movie. The profile of persons engaged in this

activity is indicated in the following figure10.

Figure 9: Profile of persons engaged in the production of a movie

Source: Stakeholder interactions and IMaCS analysis

10 This does not include Distribution and Exhibition activities and is limited to Film Production alone

Misc, 27%

Music Crew, 18%

Production Crew, 12%

Mess, 9%

Director Crew, 7% Camera Crew, 4%

Makeupman, 4%

Art Crew, 3%

Editing Crew, 3%

Dance Master, 3%

Costume designers, 3%

Dialogue writers, 2%Still

Photographers, 2%Stunt

Coordinator, 1%

Other, 12%


Page 19 of 40

The following is the profile of persons employed by various production houses engaged in TV and

Film production.

Figure 10: Profile of Persons in the Production of Film and Television Segment

Source: Primary Research and IMaCS analysis

2.1.2. Skill Requirements and Skill Gaps in Film and Television Segment

The following table presents the skill requirements and gaps across various functions in Film segment

and is largely applicable to the Television segment as well in terms of technical aspects.

Table 3: Skill Requirements and Skill Gaps Common to Film and Television segment

Function Level Skills required Skill gaps

Development Producer Finalising and hiring of the

crew including Directors,

Cameramen, Artists, etc.

Through understanding of

the industry and various

activities involved in film

Insufficient organising

skills

Inadequate negotiation

skills

Lack of production

designing skill. For

High School or

below, with 0-1 year of experience

With more than 1-2 years of experience

With more than 5-8 years of

experience

Producer

Directors

Cameraman

Stunt CoordinatorsDance Master

ArtistEditor

Art Director

MakeupmanCostume Designers

Set DesignerMusic

Director Music Team

Production Manager

Production boys


Page 20 of 40


making.

Ability to plan and perform

filming activities in an

organised / systematic

manner

Ability to take right

decision at right time

Negotiation skills

Budgeting skills

Marketing and distribution

skills

Knowledge on the evolving

trends in society, fashion,

etc.

example, in India a film

is produced in 60 days

(approx) which can be

reduced to 15 days by

having Unit Director

Concept.

Writer Ability to write an original

story

Creative skills

Story telling skills

Ability to undertake

research

Ability to include

contemporary thoughts

Lack of adequate

originality in work

Script writer Ability to convert an idea

into a film

Ability to visualise the film.

Ability to bring the story

line alive

Creativity

Ability to use story board

software

Inadequate creativity

Inadequate ability to use

software

Concept Artist Fine-art skills

Ability to interpret ideas in

a creative manner

Ability to work within

Inadequate ability to

make self-explanatory

sketches keeping story

line in mind


Page 21 of 40


deadlines

Ability to make sketches

Ability to use software such

as Photoshop, Corel Painter,

and other graphics software

Pre Production

/ Production

Production

Manager

Assisting in hiring of crew

including Directors,

Cameramen, Artists, etc.

Production budgeting skills

Ability to prepare and

manage production

schedule

Negotiation skills to

negotiate with different

persons for equipments,

location, setting properties,

hiring artist, hiring

technicians, etc.

Ability to coordinate with

film financiers and the

directors

Obtaining permission from

concerned authorities for

shooting whenever

required.

Procuring, assembling and

managing the required

infrastructure for the set.

Inadequate production

and budgeting skills

Inadequate planning and

execution skills

Director Ability to visualise the

script

Ability to make a movie

People management skills

Ability to guide the

technical team in terms of

Insufficient creative

skills


guide the technical team


understand cinema and


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camera angle, lighting, set

design, etc

Creative skills

Ability to decide the look

and of the film

Ability to work with editor

during post-production to

ensure the mix of emotions

with story line and the shots

taken.

TV trends

Lack of application

knowledge of graphics

and special effects,

thereby increasing the

production cost.

Assistant

Director

Ability to manage shooting

schedules

Ability to manage the

logistics of shooting

Ability to execute work as

assigned by the director

The following skills are

inadequate:

Planning skills

Time Management skills

Scheduling skills

People management

skills

Art Directors Ensure smooth functioning

of the department.

Knowledge on set

designing, graphic works,

craft works

Ability to oversee the

aesthetic characters and

textural details of the set

Ability to manage the

various functions including

set, costumes, makeup,

hairstyle etc.

Insufficient knowledge

on graphic works and its

impact on art

Cinematographer Photography skills

Directing lighting and

camera personnel

Deciding on film guage

selection

Insufficient skill on

camera angle, focus etc.


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Ability to oversee lab work

Ability to select lens, to

decide the exposure level

and focus.

Ability to enhance the

mood and look of the film

Ability to use filters

People management skills

Post

Production

and

Distribution

Editor Ability to decide the take

which goes into the final film

along with the director

Ability to keep the story line

alive

Familiarity with editing tools

Sound editor prepares the

dialogues, background sounds

etc for the movie

Proper synchronisation of

sound track with the edited

video and effects to make the

final movie.


maintain the flow in the

movie

Inadequate knowledge of

mixing, editing and

animation techniques

Sound Editor Ability to locate the correct

audio for the take

Ability to remove unwanted

noise in the background from

the selected sound tracks

Ability to create sound effects

in the film

Ability to use sound editing

software

Inadequate ability to use

advance sound editing

software to create rich

sound effects

Distributors Marketing skills

Knowledge on latest

technologies used in

distribution such as satellite

Inadequate marketing

skills


coordinate with a large


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distribution number of cinema

owners

Inadequate ability to fix

revenue sharing terms

Cinema Manager Ability to spot upcoming

trends in entertainment

industry and provide

recommendations to

management

Strong leadership and

motivational skills

Troubleshooting skills

Carry out product launches

with the help of manager

and other associates

Knowledge of organisation

policy and ensuring

communication and

adherence by the employees

Supervising entire

operations of the centre

Inadequate industry

knowledge

Inadequate problem

solving skills

Inadequate managerial

skills to manage the

operations of the theatre

– technical,

maintenance,

supervisory

Exhibition Cinema

Programmer

Ability to spot customer

preferences and design

movie schedules to achieve

maximum occupancy

Negotiation skills to interact

with distributor and obtain

content, which requires good

understanding of cinema

Lack of sufficient

number of good quality

cinema programmers

which requires both

scheduling skills

(analytical ability) and

marketing skills (ability

to promote movie and


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industry

Marketing skills to

undertake promotion of

upcoming movies

understand customer

trends)


In addition to the above, the following are skills required in other related areas:

Table 4: Skill Requirements in other areas in the Film and Television Segment

Level Skills required

Music Director and Assistants Ability to intensify the emotional content in the film

Creativity

Ability to use virtual instruments

Set Builder Ability to build the set as per the requirement

On-time completion work without delaying the shooting

schedule

Creativity

Adequate knowledge of construction

Knowledge of Plastic casting, Electronic works, etc.

Cameraman Knowledge on techniques to set camera angle, lighting, etc

Videography skills

Visual Communication

Video editing and photography skills

Costume Designers Ability to understand the characters, their role, scene in the

film

Creativity skills

Ability to use fashion designing software

Knowledge on pattern development, fashion, textile,

drafting the model etc.

Ability to develop costumes to enhance the character

personality, changing trends, etc.


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Ability to design costumes in such a way that the

characters can move freely without damaging the garments

(especially during stunts).

Makeup man Ability to improve the look/appearance of the artist

Knowledge on advanced makeup techniques

Time management

Choreographer Ability to compose dance movements in relation to music

Creativity

Ability to teach dance movements

Ability bring expressions out while dancing

Stunt Coordinator Highly trained and professional stunt skills

Creativity

Knowledge to ensure safety of performers


2.2. Animation Segment

Animation is fairly recent concept in Indian cinema. Some of the Indian animated movie makers have

collaborated with Dreamworks, Walt Disney, and Pixar Animation. Apart from pure 2D or 3D

animated movies, application of animation in Films is also increasing.

Table 5: Application areas of Animation in the Media and Entertainment Industry

Area Percentage of application into respective areas

TV 50%

Film (Animated movies + Others)

Theatre 10%-25%

Direct to DVD 10%-30%



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Table 6: Profile of persons employed in the Animation Segment

Educational Level Percentage share

Fine-Arts with computer knowledge 50%

Technicians with computer knowledge 40%-45%

Professionally qualified 5%-10%


Table 7: Function-wise Distribution of Persons Employed in Animation Segment

Functions Percentage of People

Pre-Production 5% - 10%

Production 80% - 90%

Post –Production 5% - 10%


2.2.1. Skill Requirements and Skill Gaps in Animation Segment

Table 8: Skill Requirements and Skill Gaps in the Animation segment


Pre-production Script writer Ability to undertake

research

Creative skills

Narrative skills


write script keeping target

segment in mind

Story boarder Ability to conceptualise the

idea

Ability to develop a story

concept

Drawing skills

Design skills

Inadequate drawing and

design skills


bring out emotion in the

characters

Lack of deep


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Narrative skills

Ability to imagine the

interaction of the images

with voice, music etc

Deep understanding of

scripts

understanding of scripts

Production

Modeller Creative skills

Ability to convert a simple

object (primitives) into a

refined and detailed output.

An understanding of

lighting and colour on the

object

Cinematography skills

Ability to use the 3D

modelling software such as

3DS Max, Maya, etc

Drawing and Designing

skills

Inadequate

cinematography skills

Insufficient knowledge on

the usage of 3D software.

Rigger Develop tools for facial

animation production

process

Ability to create and

maintain animator friendly

rigs

Ability to work in software

such as Maya, 3DS MAX

Problem solving skills

Ability to work with

Mel/Python scripts

Inadequate problem

solving ability

Inability to create

friendly rigs


to understand and work

with Mel scripts

Animators Ability to manoeuvre a 3D

object

Lighting skills

Cinematography skills

Insufficient

Cinematography skills.


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Knowledge of camera

angles and techniques

Familiarity with related

software.

Post-

production

Compositor Ability to blend the

computer generated

footage with live footage

Ability to provide special

effects during various

situations such as

explosions, etc.

Inadequate knowledge on

application of special

effects.


2.3. Games Segment

The following is the profile of persons employed in the Gaming industry.

Table 9: Profile of People in Games Segment

Educational Level Percentage share

Fine-Arts with computer knowledge 50%

Technicians with computer knowledge 30% - 40%

Professionally qualified 10% - 20%


2.3.1. Skill Requirements and Skill Gaps in Game Designing and Development

Segment

The skill sets required for Game Designing and Development are the quite similar to that of

Animation. In addition, the following skills are required:

Table 10: Skill Requirements and Skill Gaps Common to Games segment


Game

designing

Designer Ability to conceptualise

characters and design the

Inadequate knowledge

of acting/cinematic


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Game

development

game

Ability to incorporate the

required expressions during

the design of the character

Knowledge on Art and

design history

requirements during

designing


on Art and design

history

Programmer Software engineering skills

Behavioural modelling

Graphics programming

Network programming

I/O programming.


of gaming and graphics

programming

Inadequate aesthetic

sense.


2.4. Radio Segment

The profile of persons engaged in Radio content production is detailed in the following figure.

Figure 11: Profile of Persons in the Radio Segment


Graduate / Post Graduate with 0-3 years of experience

Graduate/ Post Graduate, with over 3-5

years of experience

Graduate / Post Graduate/ Professional qualification

with over 10 years of experience

Head

Producer

Radio Jockey

Copy writers

News Editor

News Reporter

News Reader

Sales Manager

Sales Exective


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2.4.1. Skill Requirements and Skill Gaps in Radio Segment

Table 11: Skill Requirements and Skill Gaps Common to Radio Segment


Programming Radio Jockeys Adequate communication

skills – ability to address a

large audience

Creative with language –

should be able to innovate

within a given broad

framework of show style and

content

Ability to remain enthusiastic

and cheerful

Insufficient soft skills

Inadequate creativity

Producers Need to be responsible for a

given show, knowledge of

technical and cultural aspects

of radio

Ability to understand customer

trends and design programmes

pertaining to them

Innovation and out of the box

thinking

Team-work skills – ability to

liaise with marketing and copy

writer

Inadequate

understanding

customer requirements

and trends


coordinate with

technical and

marketing team

Copywriters Strong grasp of language of

broadcasting(Hindi/vernacular)

Ability to translate the ideas in

the show into dialogues

Team-work skills – interact


of current language

trends


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with producer and Radio

Jockey


In addition to the above, the following are skills required in the News section:

Table 12: Skill Requirements in other areas in the Film and Television Segment


News Editor Strong writing and editing skills

A clear understanding of news and its emotive impact

Ability to spot a story and make it a readable into an

interesting piece.

New Reporters Ability to collects news

Ability to interact with people

Ability to spot events that can be converted into news –

that which is news-worthy

Ability to maintain a strong information network.

News Readers Correct pronunciation

Accent and modulation

Proficiency in the language and in translation

Knowledge of current affairs, both Indian and international

Acquaintance with names of notable personalities both in

Indian and abroad


Note: The above tables are illustrative and not exhaustive.


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2.5. Projected Industry Size and Human Resource Requirement

2.5.1. Current Employment Pattern

We shall first review the current employment pattern before analysing the future human resource

requirement. We will restrict our analysis to the following segments which comprise a combination of

traditional growth areas as well as new/sunrise sectors in the Media and Entertainment space:

Television

Film

Print

Radio

Animation

Gaming.

Collectively, these sectors account for about 95% of the size of the industry. Our analysis of current

and future human requirement would be limited to these segments.

The current employment across these segments is estimated to be over 1 million persons (in terms of

direct employment only).

Table 13: Current employment in the Media and Entertainment Industry (in ‘000s) – direct employment only

Segment Current direct employment (in ‘000s) Proportion to total

(%)

Television and Film11 975 93%

Production12 (comprising of directors, cameramen, actors, make-up men, technicians, lightmen)

300 29%

Distribution of TV content (cable operators)

510 48%

Distribution of Film content (multiplexes and single screen theatres)

165 16%

Print13 14-15 1%-2%

11 Compiled from data from Film Associations, discussions, CMIE, and IMaCS analysis 12 Including Doordarshan and private TV channels and those engaged in Film production 13 Print: Limited to those employed in newspaper publication and excludes distribution and newspaper delivery men


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Segment Current direct employment (in ‘000s) Proportion to total

(%)

Animation14 10 1%

Gaming15 4-5 0.4%-0.5%

Radio16 43 4%-5%

Total 1,000-1,100 100%

Source: IMaCS analysis

2.5.2. Projected Industry Size

The Private Final Consumption Expenditure (PFCE) on Entertainment17 has grown at a Compounded

Annual Growth Rate (CAGR) of 12.5% between 2000 and 2008. It is expected that the PFCE on

Entertainment would grow at a CAGR of 13% to 14% between 2008 and 202218.

Accordingly, it is expected that the industry would continue to record growth rates between 13% and

14% till 2013. Furthermore, on a long term basis, we expect that the Media and Entertainment

industry to grow at a CAGR of about 12% to 13% between 2008 and 2022.

The projected industry size and growth rates for key sectors are detailed below.

Table 14: Projected size of key segments in the Media and Entertainment Industry (Rs. billion) – 2008 and 2022

Television and Films

Print Radio Animation Gaming Total

2008 372 173 8 17 7 577

2012 550 239 14 33 23 859

2018 1,197 422 30 88 53 1,790

2022 1,972 610 50 168 89 2,889

CAGR 12.7% 9.4% 13.6% 17.6% 20.6% 12.2%

Source: FICCI Frames 2009, Primary Research, and IMaCS analysis based on long term projection of PFCE

2.5.3. Projected Human Resource Requirements

Keeping in mind the current employment, and the expected growth in different segments in the

industry, we project that the total employment in the Media and Entertainment industry would

14 Comprises of developers/programmers 15 Comprises of developers/programmers 16 Including All India Radio and other Private Channels 17 Excluding the spend on ‘Education’ from the category ‘Recreation, Education, and Cultural Services’ 18 IMaCS analysis


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increase from about 1 to 1.1 million persons in 2008 to about 4 to 4.1 million persons in 2022, an

incremental human resource requirement of about 3 million persons.

The details of the total and incremental human resource requirements between 2008 and 2022 are

shown in the following table.

Table 15: Projected human resource requirement – 2008 to 2022 (in ‘000s)

Television and Films

Print Radio Animation Gaming Total

2008 974 14 43 11 4 1,046

2012 1,311 18 65 19 13 1,425

2018 2,473 28 123 43 26 2,692

2022 3,705 36 185 74 39 4,040

Incremental (between 2008 and 2022, in ‘000s)

2,731 22 141 64 35 2,994

Source: IMaCS analysis

2.6. Focus areas for Skill Building

Based on the current profile of persons employed, stakeholder interactions indicating demand for

skilled human resource, and the projected size of the industry and human resource requirements

thereof, it is expected that the following are the potential areas for skill building in the Media and

Entertainment sector. These skill building/training initiatives can be undertaken with duration of 3

months to 1 year.

Table 16: Focus Areas for Skill Building in Media and Entertainment

Segment Key skilled personnel in

demand/key function

Broad areas for skill building

Film and TV Directors Technical skills

Knowledge of all aspects of filming –

pre-production to post-production

Visual story-telling strategies

Grammar and language of motion

picture and television

Characterisation

Screenwriting

Shot breakdown and storyboarding

techniques


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demand/key function


Editing styles

Use of sound and music

Directing actors to achieve natural and

specific performances

Cinematography

Casting

Soft skills

Time management

People management

Communication skill

Leadership qualities

Cinematographer Technical skill

Directing the team - camera operator,

camera assistants, lighting technicians,

electricians

Usage of latest technology in cameras

Visual effects techniques

Camera and lighting techniques

Soft skills

Time management

Communication skills

Editing Usage of editing software

Mixing techniques

Editing techniques

Script writer Story telling skills

Narrative styles

Creative skills

Usage of related software

Artist Basic acting techniques

Developing characters

Dance, fighting and stunt skills


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demand/key function


Acting and presentation

Producer Searching for scripts

Developing original ideas

Arranging finance

Budgeting skills

Marketing and distribution skills

Market analysis

Understanding the taste of viewers

Tracking developments in the field

Understanding legal/censor aspects

Sound designer/editor Synchronisation of sound and motion

Microphone techniques

Digital sound recording

Foley

Sound editing

Audio sweetening

Familiarity with sound recording

software

Sound recording and production

Animation Pre-Production Technical skills

Concept development

Script writing

Story boarding

Artistic skills

Art and design history

Print and advertising graphics

2D graphics and animation

Virtual set design (3DS MAX)

3D graphics and animation (MAYA)

Compositing and Special effects

Internet and web design

Animator Technical skills


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demand/key function


Observation skills

TV graphics and animation

Visualisisation

Direction

Cinematography

Creativity

Familiarity with 3D Software

Print and advertising graphics

2D graphics and animation

Virtual set design (3DS MAX)

3D graphics and animation (MAYA)

Compositing and Special effects

Soft skills

Communication skills

Professional skills

Time management

Game Design and

Development

Game Design Research towards character/concept

development

Modelling skills

Story boarding concept

Concept art

Game Developer Technical skills

Programming skills

Aesthetic sense

Hardware skills

Soft skills

Communication skill

Professional skill

Time management

Radio Radio Jockey Creativity

Communication skill


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demand/key function


Presence of mind

Ability to speak multiple languages

Diction and pronunciation

Knowledge of current affairs and trends in

relevant topic area.


The following areas also hold potential for skill development:

Digital Camera Photography

Videography

Mass Communication.

In conclusion, the above mentioned areas would cover a large portion of the need for skilled human

resource in the Media and Entertainment sector and are possible areas for skill building initiatives to

drive focus.


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This report has been prepared by ICRA Management Consulting Services Limited (IMaCS).

IMaCS is a multi-line management and development consulting firm headquartered in India. It has an

established track record of over 15 years in consulting across various sectors and countries. IMaCS

has completed over 950 consulting assignments and has worked in over 30 countries across the globe.

Through the process of carrying out several assignments over the last decade and half, IMaCS has

accumulated considerable analytical and consulting expertise, backed by the following capabilities:

• Deep understanding of policy formulation.

• Extensive and organised database on several sectors.

• Knowledge of key factors of success in different projects and programmes.

• Ability to research emerging trends in the economy, as well as in specific sectors.

• Insight into different programmes and organisational processes.

• Ability to carry out economic analysis, build quantitative and financial models to project future

performance and identify imperatives.

• Ability to identify the various types of risks and suggest appropriate strategies to mitigate the

same.

The Education and Skills practice at IMaCS focusses on identifying skill gaps, mapping future skill

requirements, and formulating strategies to address them. Our service offerings encompass diagnosis,

design and implementation of education and skill development interventions for government and

private sector.

R. Raghuttama Rao

Managing Director

IMaCS

4th floor, Electric Mansion

Appasaheb Marathe Marg, Prabhadevi

Mumbai – 400 025

Tel: 91 22 3047 0047, Fax: 91 22 3047 0081

Email: [email protected]

M. Sairam

Head – Process Consulting

IMaCS

5th floor, Karumuttu Centre

634, Anna Salai, Nandanam,

Chennai – 600 035

Tel: 91 44 2434 0043, Fax: 91 44 2434 3663

Email: [email protected]

National Skill Development CorporationD-4, Clarion Collection, (Qutab Hotel)Shaheed Jeet Singh MargNew Delhi 11 0 016Tel : 011 46 56 0414Fax : 011 4656 0417Email : [email protected] www.nsdcindia.org

Media-Entertainment NSDC Report (2022)

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