REPORT

On

ROLE OF BPR IN ENTERTAINMENT &MEDIA INDUSTRY

Business Process Reengineering

(MBCG 749)

Submitted to:

Dr. NEERAJ ANAND

Associate Professor - CMES

Submitted by :

PRANAB KUNDU R600209073

RAHUL UBANA R600209082
ROOPALI BAJPAI R600209090
SAAD AHMED R600209092
SHIKHA ASWAL R600209101

UNIVERSITY OF PETROLEUM & ENERGY STUDIES

DEHRADUN

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 TABLE OF CONTENTS

S.No Topic Page No.

1 Introduction 3

2 Objective And scope of Study 5

3 Literature review 6

4 Research design 16

5 Conclusion 31

6 References 33

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 CHAPTER 1

INTRODUCTION

Business process management (BPM) is a management approach focused on aligning all aspects
of an organization with the wants and needs of clients. It is a holistic management approach that
promotes business effectiveness and efficiency while striving for innovation, flexibility, and
integration with technology. Business process management attempts to improve processes
continuously. It could therefore be described as a "process optimization process." It is argued that
BPM enables organizations to be more efficient, more effective and more capable of change than
a functionally focused, traditional hierarchical management approach

Although the initial focus of BPM was on the automation of business processes with the use of
information technology, it has since been extended to integrate human-driven processes in which
human interaction takes place in series or parallel with the use of technology. For example (in
workflow systems), when individual steps in the business process require human intuition or
judgment to be performed, these steps are assigned to appropriate members within the
organization

Because BPM allows organizations to abstract business process from technology infrastructure, it
goes far beyond automating business processes (software) or solving business problems (suite).
BPM enables business to respond to changing consumer, market, and regulatory demands faster
than competitors - creating competitive advantage.

Most recently, technology has allowed the coupling of BPM to other methodologies, such as Six
Sigma. BPM tools now allow the user to:

• Define - baseline the process or the process improvement

• Model - Simulate the change to the process.
• Analyze - Compare the various simulations to determine an optimal improvement
• Improve - Select and implement the improvement
• Control - Deploy this implementation and by use of User defined dashboards monitor the
improvement in real time and feed the performance information back into the simulation
model in preparation for the next improvement iteration.

This brings with it the benefit of being able to simulate changes to your business process based on
real life data (not assumed knowledge). Also, the coupling of BPM to industry methodologies
allows users to continually streamline and optimize the process to ensure that it is tuned to its
market need

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The Indian entertainment and media industry has outperformed the Indian economy and is one of
the fastest growing sectors in India. The E&M industry generally tends to grow faster when the
economy is expanding. The Indian economy has been growing at a fast clip over the last few
years, and the income levels too have been experiencing a high growth rate. Above that, a
consumer spending is also on the rise, due to sustainable increase in disposable incomes, brought
about by reduction in personal income tax over the last decade. All these have given an impetus to
the E&M industry and are likely to contribute to the growth of this industry in the future. Besides
these economic and personal income linked factors, there are a host of other factors that are
contributing to this high growth rate. Some of this enumerated below:-

1. Low media penetration in lower socio- economic classes

2. Low and spends

3. Liberalizing foreign investment regime

The Indian entertainment and media industry today has everything going for it be it regulations
that allow foreign investment, the impetus from the economy ,the digital lifestyle and spending
habits of the consumers and the opportunities throw open by the advancements in technology. All
it has to do is to cash in on the growth potential and the opportunities. The government, on its
part, needs to pay a more active role in sorting out policy related impediments to growth. The
industry needs to flight all road blocks such as piracy in a concerted manner, while churning out
high- quality, world class end products. The entertainment and media industry has all that it takes
to be a star performer of the Indian economy.

CHAPTER 2

OBJECTIVE AND SCOPE

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Objective

• To study the role of BPR in Entertainment industry

• To study the effect of BPR in Entertainment industry

• To study the various changes taken place in media and entertainment

• To study the changes taken place in print media

• To get knowledge how event management program affecting the Entertainment & Media

Scope

Creativity is not only the prerequisite for innovation and, thus a core competitive factor in
contemporary organizations. Creativity influences business processes and the way we conduct
business process management. We have presented exemplary strategies and actions that
organizations apply to deal with the phenomenon of creativity to enhance process performance
and quality of creative products. We believe it is both relevant and timely to take a closer look the
role that creativity plays within business process and how it can be managed. Existent modeling
techniques, software tools and management practices may support some of the important aspects
in this context. However, until now there is no comprehensive approach on how to manage
creativity from a business process perspective. We would like to set the base line for a discussion
on the notion of the creativity- intensive process.

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 CHAPTER 3

LITERATURE REVIEW

As the Indian economy is continuously growing, so it has provided an incremental growth to the
other segment of the industry. In this context entertainment industry is one if them; Advancement
of IT and its Implementation in entertainment industry had shown a tremendous growth in the
sector, it had also increased the competition also among the different players. For the ease of
study it is divided in different categories namely

1. Advertisement industry

2. Cartoon industry

3. 3D Animation

4. Media industry

5. Print Industry

Creative people and their processes play a prominent role in business processes as
organizations seek to deploy the merits of business process management to more than just the
set of transactional processes. Product development and marketing campaigns are just two
examples of such creativity-intensive processes that increasingly find their way into the agenda
ofprocess managers. Besides this, there are entire and quickly growing industries designed around
creative processes, with the entertainment industry being the most prominent example of a
creative industry. Whether as a key process in the creative industries or as a complementary
process in non-creative industries, creativity-intensive processes have one element in common:
they consist of pockets of creativity. A pocket of creativity is a subset of a business process in
which the input of creative personality is required to solve a creative task. Even more, these
pockets of creativity are sections where the organization distinguishes itself from competitors,
creates innovation, and gains competitive advantages.
It is important to note that creative processes often are not necessarily processes that occur only
once, like the design phase of a new product. They actually might be executed quite frequently.
Let’s consider a visual effects company producing hundreds of frames and animation sequences
per year. Every sequence may involve highly creative acts involving divergent thinking. Although
a particular task (designing a skeleton, designing movements) may seem straightforward to the
observer, it actually is a highly creative task and may massively impact the outcome of the overall
business process. The notion of pockets of creativity helps to pinpoint those process parts that

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have high requirements regarding creativity management while the remaining parts of a process
could be approached by “conventional” BPM wisdom.
we introduce the notion of creativity-intensive processes as a subtype of knowledge-intensive
processes that are characterized by the involvement of creative people who produce creative
products, often largely depending on divergent thinking. Creativity-intensive processes involve
pockets of creativity that are crucial elements of business processes directly related to an
organization’s success and innovativeness and can lead to particular problems the process owner
is facing.

How Does Creativity Impact BPM?

When managing creativity-intensive processes, it is necessary to distinguish two main
perspectives: task-level (or activity-level) analysis and process-level analysis. The task-level
perspective pertains to the questions of how pockets of creativity are characterized and how they
can be supported. In contrast, the process-level perspective takes a look at the overall business
process; as mentioned earlier, the existence of creative tasks within a business process
significantly affects the process as a whole.

In the following we introduce some typical scenarios in which creativity impacts business
processes and their management. This is then followed by a section where we describe exemplary
actions and strategies that can be implemented to deal with challenges that arise from the
existence of creative tasks within business processes.
• Allocating resources (task-level, process level): Let us consider a process in the film industry
comprised of both creative and non-creative tasks; e.g. the development of an animation
sequence. The particular creative tasks are resource and time-intensive. Thus, the process owner
has to decide what resources (budget, equipment, creative individuals) have to be allocated to
what task. She has to deal with a quite complex situation: First, it is necessary to identify where

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the actual creative tasks are within the process and how they integrate into the process. Second,
the process owner needs a good understanding of how the task is characterized. Third, the process
owner has to estimate the impact of the task on the overall process performance considering what
can be referred to as the task’s creative
impact. Based on this, she can decide how much time, budget, and freedom are granted to alter
process and product.
• Enhancing creativity (task-level): After having identified a particularly important task for the
overall process (a task with particularly high creative impact), the process owner may want to
enhance the quality of the creative product as the core output of that task. Having identified the
characteristics of the task, strategies can be developed to support it in the best possible way.
Typical questions: Should creative people meet face to face? Should we include a brainstorming
session? Should we provide access to a knowledge base? All these questions depend on the
characteristics of the creative tasks (who is involved, what type of creative task, etc.). Creativity
could relate to the generation of a new idea, the evaluation of alternative proposals, or a selection
process. A key difference with
“‘conventional” knowledge-intensive tasks is that enhancing creativity means to foster, in
particular, divergent thinking, which can lead to the generation of truly creative products but may
also produce unwanted risks.
• Managing creative risks (task-level, process-level): Creative tasks are inherently connected to
high variance of possible outcomes, which is due to the fact that being creative means to be
original and come up with novel ideas and solutions. This may lead to unwanted consequences,
such as losing control of process (losing control of time and budget), low product quality (which
may lead to customer dissatisfaction), and lack of external compliance (which can lead to a loss of
reputation or even to lawsuits). This is again of particular relevance in the film industry when the
customer is often unable to
specify the requirements and the visual effects studio, for example, has to provide a set of
iterative solutions to get closer to the actual requirements. At the same time, the company has to
keep control of time and budget and to comply with external requirements such as governmental
policies and legal requirements (e. g., a scene must not be too sexually explicit for a particular
target audience). The identification of creative tasks and their attributes within a process is the
prerequisite to successfully implementing risk management strategies. Prominent examples of
how to mitigate (creative) risks are appropriate review cycles. In this context a number of
questions arise: Where within the process should be reviewed? Who should be involved within
the review cycle? Where is formal approval needed? Should people meet physically to discuss the
artefact? Can we distribute a digitized artefact for evaluation? Again, these decisions highly
depend on the characteristics of the creative task as well as on the characteristics of the involved
creative and non-creative persons. There is a particular challenge from the perspective of human
performance analysis: What are the creative capabilities of particular persons? Where in the
process can a person be involved to be able to actually evaluate the creative product? On a task
level, the process owner can consider particular creativity techniques as well as knowledge

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management support and the allocation of other resources such as time and budget to avoid
creative risks beforehand (risk avoidance).
• Enhancing process performance (process-level): As mentioned earlier, creativity intensive
processes are characterized by a high demand for flexibility. That is, conventional process
automation approaches such as workflow management or even more sophisticated approaches
such as exception handling or evolutionary workflow solutions may not be appropriate. However,
processes may be comprised of both wellstructured parts and pockets of creativity that may not
have any obvious structure at all. Identifying and better understanding these pockets of creativity
therefore allows for designing an IT solution that can provide a maximum level of automation
where it is suitable. However, we strictly recommend not trying to conventionally “model” and
automate the creative parts of the processes in the conservative sense, as typical methods do not
cater to the specific requirements of creativity. What is needed is rather a resource-based, data-
driven perspective that does not impose too many constraints on
the process. The aim has to be to “manage creativity without sacrificing creativity.” The examples
show that there are numerous problems creativity-intensive processes create for process owners.
We summarize different facets under the term creativity-oriented BPM. Figure 1 provides an
overview about the key requirements of such processes.

Managing Creativity-intensive Processes

Facilitating transparency by identifying pockets of creativity is only a first step on the way to
managing creativity-intensive processes. The process owner has to be equipped with appropriate
actions and strategies. As indicated earlier, the different strategies/actions apply on two different
levels: task-level and process level. However, in reality, this distinction may not always be that
clear-cut. Undoubtedly, there is a close relationship between the two areas. In the following, we
provide an overview of some examples. As mentioned earlier, creative thinking, expertise, and
motivation are the main factors that influence people’s creativity. Particularly the strategies and
actions that we propose on task level aim to enhance creativity by targeting these properties of
creative persons. At the same time, it is necessary to provide means to manage the overall process
considering aspects such as process performance, cost, or risk.

Strategies/actions on task level:

• Creativity techniques: Creativity techniques can be applied to enhance the creative potential of
a task. What creativity techniques can be applied depends on the type and characteristics of a
pocket of creativity. Examples for different types of pockets of creativity are generation (an
artefact [e.g., a product] is designed), evaluation (creative evaluation of an artefact), and selection
(selection of one or more artefacts out of a number of artefacts). Advanced BPM tools could
potentially provide a set of pre-defined
process patterns that capture alternative creativity techniques (e.g., the process of a brainstorming
session).
• Knowledge management: Creative tasks are knowledge-intensive. There is a close relationship
between a person’s knowledge and a person’s ability to be creative (Weisberg, 1999). For
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example, a creative director said to us, “Everything you draw on, everything I draw on in my
creativity comes from somewhere. So it’s already been created somewhere.” Thus, for every
pocket of creativity, you will want to consider what type of knowledge can be made available
(e.g., technical guidelines on how to use a tool, previous experiences for a type of task, artefacts
that have been created earlier and that can now be used as reference material). A particular
challenge lies in fostering both convergent and divergent thinking by knowledge management in
order to allow people to be truly creative.
• Resource allocation: Pockets of creativity are crucial to an organization’s success. Therefore,
the allocation of resources should be based on the analysis of the impact different pockets of
creativity have on the overall process performance and on the quality of the creative output.
Identifying task characteristics is the prerequisite for resource allocation including time and
budget as well as the appropriate equipment and creative persons.
• Allowing latitude / freedom: Allowing freedom for a particular task increases variance and
decreases predictability. This leads to greater creative potential but also to greater risk. The
process owner has to carefully decide what freedom she allows for each and every task to achieve
high creativity and innovation while still everybody works towards one aim. As Amabile puts it,
autonomy “around process fosters creativity because giving people freedom in how they approach
their work heightens their intrinsic motivation and sense of ownership. Freedom about process
also allows people to approach problems in ways that make the most of their expertise and their
creative-thinking skills.” By defining pockets of creativity and setting up goals and constraints it
can be ensured that creative persons are actually granted the freedom where it is needed while
they do not have to “diverge at their own risk” (Amabile, 1998). Possible constraints are
deadlines, clearly defined outputs (such as a certain number of alternative artefacts, etc.), review
processes, and regular communication among creative persons and stakeholders.
Obviously, there is a connection to the resource perspective as the allocation of resources such as
time and budget plays a crucial role in allowing latitude and freedom.
• Incentives / consequences: Motivation is one of the main factors that influences a person’s
creativity (Amabile, 1998; Runco, 2007). We expect that incentives for creative people with their
own sense of creativity and aesthetics are different from established incentives. For example,
there is a close relationship between creative freedom and motivation. As we have stated earlier,
creative people’s motivation may be fostered by means such as allowing them freedom or even
putting them under time pressure. It is important to note that monetary incentives in most cases
are not the sole source of motivation to enhance people’s creative power. Another important
source to enhance intrinsic motivation is information sharing and collaboration. Here, process
management can serve as a facilitator as the identification of pockets of creativity and their
required knowledge helps to understand where knowledge is created, where it is stored and
located, and how it is transferred and applied.

Strategies / actions on process level

• Approval processes / reviewing processes: Approval processes are a means to ensure that the
creative product meets the requirements. It can be distinguished between quality assurance
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(technical aspects) and creative reviews (Does the product meet the creative expectations?)
Approval processes are quite a complex strategy, as the process owner has make different
decisions, such as “When should the approval happen?” “Who should be invited/ involved?” “Do
we have to meet physically?” This is strategy on the process level that requires identification of
pockets of creativity and the particular (creative) risks due to a high variance of possible
outcomes.
• Flexible process automation: Depending on how pockets of creativity integrate into the overall
business process, flexible workflow support can be implemented. Normally, creative tasks are
associated with a great number of potential exceptions that may occur. Modeling every possible
exception may lead to an over-engineered and hard to manage model. Consequently, approaches
such as exception handling (Casati et al., 1999) or even case handling (v.d.Aalst et al., 2005)
should be considered. Moreover, recent Web 2.0 technologies such as widgets and blogs can be
integrated to build more flexible infrastructures supporting the particular requirements of creative
teams in rapidly changing business environments.
• Group communication systems / continuous communication: Communication is essential for
creativity (Kristensson & Norlander, 2003). A thorough understanding of the pockets of creativity
within a process and their interrelations in terms of information flow allows designing appropriate
communication strategies (face-to-face meetings versus asynchronous media, etc.). Continuous
communication ensures that the project team works towards one aim. Thus, this strategy aims to
mitigate variance that may be caused by weak requirements specifications as well as creative
freedom.

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APPLICATION OF EVENT-DRIVEN BPM IN THE ENTERTAINMENT INDUSTRY

The difficulty in accurately detecting, predicting and handling complex situations is a decisive
process in many domains like automotive, finance, logistics or entertainment. Being an aspiring
technology, the Complex Event Processing (CEP) approach helps to gain situational insight from
service or event oriented architectures while processing event flows in real-time. BusinessProcess
Management (BPM) and CEP are currently deployed side by side by the adopters having the
barrier of suitably designing and implementing BPM and CEP solutions on the basis of domain
specific problems. Herein BPM provides the ability to model, manage and optimize a companies
business processes whereas CEP resides as a parallel running platform providing the analyses and
processing of events. Event-Driven Business Process Management (ED-BPM) enhances BPM
with CEP-capabilities allowing a communication via events which are emitted by a wide variety
of sources. This leads to an even more urgent need of interconnecting and enhancing BPM not
only with CEP but moreover with Service Oriented Architecture (SOA), Event Driven
Architecture (EDA), Software as a Service (SaaS) and Business Activity Monitoring (BAM).

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Many entertainment companies today, e.g. Slicethepie Ltd. Or Gameforge AG have developed
business models, “services” in the broader sense, which are tailored to a broad mass of users
relying on the internet as a participation and collaboration platform. Due to testing, performance,
cost and reliability causes, mostly heavyweight or flash-based client application are distributed to
consumers which pre-process data on the client side before communicating the output to the
company’s often internally hosted servers as shown in figure .

Simplified communication structure via the internet

Such an architecture is per se limited regarding changes and modifications on the business
process and workflow side along with restricted capabilities in real-time data processing or fraud
detection and prevention. Furthermore changes in a business process result most likely in a
change of the source code of the application involving downtimes and very often the loss of work
in flight from users who are currently connected to the system.

The Future Internet of Services, the paradigm to which the Internet is evolving, consisting of
services which are produced, consumed and mashed up by a worldwide network of participants
the entertainment domain with its strong affinity to the internet itself has to prepare its business
models and business processes for a grave change. Because of being heavily dependent on
massive user collaborations, fast and reliable content delivery and the processing of the
consequential contribution data, the entertainment domain stands in the forefront of adapting ED-
BPM to act and react proactively on occurring issues. Use-Case scenarios cover a wide field of
activities including fraud detection/management, user characteristics analysis, service
interoperability, third-party implementations and the aggregation and interpretation of complex
interrelations between those activities to dynamically change and influence business processes.
Transcribing these goals in the entertainment domain reveals the need for a domain specific
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reference model by assembling and researching fundamental event patterns and substantial
domain wide similarities. An exemplified architecture is shown in figure below, enhancing figure
above by lightweight clients on heterogeneous consumer devices providing platform
independency from the consumer point of view.

Architectural view on a possible ED-BPM via Internet of Services structure

On the service provider side the computing center is replaced with the resources directly attached
by a cloud computing company to gain maximum flexibility in terms of performance, scalability,
redundancy, reliability and cost. The legacy infrastructure supersedes the internal computing
center in order to observe, aggregate and process the event streams generated by the consumers
and other producers who provided services via the Internet of Services. Though having a
widespread mix of protocol standards on the fragmented market it is not enough to simply
transform and mediate the streamed information .Furthermore the event streams need to be
processed, by a variety of software components like an Enterprise Service Bus (ESB) in addition
to a CEP-Engine within an ED-BPM approach to achieve a business process and workflow
environment which is dynamically shaped and triggered by the occurrence of complex events. A

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use case scenario can be the implementation of this technology in the scouting and reviewing
application from Slicethepie.
The application is currently limited to rigid business processes and an inflexible database system
which results in a heavyweight client system to monitor the reviews with forensic linguistic
software and avoid the incidence of fraudulent scouts within the actual session. By adopting ED-
BPM in this scenario the application for the reviewers will be trimmed towards a solely
presentation and interaction interface for the services emitted and maintained by Slicethepie. The
backbone of the system including the reusable linguistic fraud detection software will be hosted
externally by a cloud computing provider whereas the business logic is maintained in-house.
Standing in the center of the ingoing and outgoing event streams, allows the observation and
correlation of both real-time and persistent stored data which can be used as event triggers for
starting new business processes as well as for changing the flow of business processes that have
already been launched according to situation suited procedures. Reviews that are shared between
consumers via instant messaging systems to bypass the fraud detection system could be detected,
weighed on a threshold scale and either get marked as suspicious or in immediate cases get passed
on to a manual investigation.
Furthermore it is possible to enhance the system to act as a service provider for business partners
in means of allowing other companies or interested parties, e.g. movie studios or media
publishers, the usage of services, again automatically managed by the underlying infrastructure
and business processes. This consecutively derives the need for a domain specific reference
model for the entertainment sector in which domain wide similarities are identified and
specifically tailored to suite the requirements. This model will then reside as part of the
DoReMoPat approach delivering bundled standards, interconnection options and domain specific
solutions to lay a solid foundation for the competitiveness and agility in the Future Internet of
Services.

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Media Industry

The media industry had always played a vital role to connect with the common man, in the earlier
days when Britishers had ruled India , the Indian press had taken the opportunity to aware all the
Indians regarding the movements.

As the time passes innovations taken place in every stage, first the newspapers were printed in
black & white, but currently the newspapers were printed in color.

As the market is growing there is having a huge potential, which had invited the other players to
take part in the sectors. Now many newspapers in different languages had captured the market
regionally. Some of them are “DanikBhaskar, Amar Ujala, Punjab Kesri, Nayi Duniya, and
Navbharat Times” and English newspaper “Times of India, The Hindu, The Chronicle,
Hindustaan Times. The Statesman, Indian Express”

Advancement in IT had greatly influenced the media sector, previously through photos only the
replaced by Private news channel. Now news updating can be flashed in an hour if a happening is
there. Some of the private news channel are “ Aaj Tak, NDTV, Times Now, Tez, Star news, zee
News” and some of the local News channels.

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 CHAPTER 4

RESEARCH METHODOLOGY

ADVERTISEMENT INDUSTRY

In the world of marketing practice, there is no question that the information revolution has
had an impact on various marketing activities such as, channels of distribution, networking of
global markets, product design std new product development, customer data management, home
shopping, home banking, real time manufacturing and marketing, to name a few.

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Although the field of advertising or, in general, the academic scholarship in marketing
communications has not addressed the nature and impact of information technology, there is a lot
that is happening in the diffusion of information technology across all sectors of the society that
has relevance to the field of marketing communications and advertising.

Advertising encompasses the domain of mass communication, is involved in information transfer

from producer to the consumer, and is a unidirectional system of communication from the sender
to the receiver.

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The convergence of many technologies is rapidly occurring. It is now possible as never before to
linkcomputers, communications, telephone, and entertainment technologies. As a result of cross-
over technologies. stew possibilities hove emerged.
New information technologies have been introduced into the home successfully e.g. the
answering machine and the fax - paving the way for similar introductions. New electronic
services are also becoming available, video-on-demand, home shopping, home banking, and
home financial manage. As a result of cross-ova technologies, we find that companies are leaving
their traditional business areas seeking unfamiliar territories for exploration. Apple (computers) is
stow getting into multimedia, AT&T (telecommunications) is getting
into entertainment. Philips (entertainment and consumer electronics) is now moving into smart
homes, CBS (Broadcasting) is trying to move into haute shopping and so on.

Information Highway
The information highway is a powerful electronic network capable of delivering vast amounts of
data and entertainment to businesses, households and other publics which in turn can be inter-
connected. An ultimate global connection will link various national markets on a real-time basis.
The highway is in the early stages of planning but some existing links will form the foundation
for a full-fledged construction that might take anywhere from ten to fifteen years for completion.
As part of the information highway, multimedia, interactivity, and virtual environments are the
mechanisms for delivering image, test arid sound data in which the user interacts with the
databases using a combination of the television, the telephone, and the personal computer.
The information high way consists of many facilities and systems; data compression and storage,
savers, the conduit (e.g. fiber optics), the user interface (TV or PC), the act top box (multimedia
converter), and communication systems for correspondence, voice mail and video images.
Below are some brief descriptions of multimedia, virtual reality, and interactivity. These are not
mutually exclusive and highly inter-dependent in tams of their structure and scope.

Multimedia
Multimedia refers to electronic data processing technology that can combine several functions:
text processing systems to format and prepare text documents: text retrieval systems to find a
document from a set of documents; database management systems to store and retrieve a
structured data; special systems to handle animations, images, video ands sound. Usually, the
access to such technological functions involves a computer with telecommunication facilities
(telephone, cable TV). In the absence of a computer a television td can be used as the main
interface for accessing these various functions. From the technology side the construction of
multimedia requires an infrastructure that is at its very elementary stages of development. This is
the reason why the Information superhighway has been proposed.
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Multimedia resources ate very expensive to produce and require capital expenditures that only a
few organizations can make. They also require the expertise of several disciplines. For example,
in a smart home project now in progress in Copenhagen, Denmark, over a hundred companies are
involved. They requite highly specialized tools. Systems that integrate various multimedia
functions ate still under development. but the technology is moving very fast.

Virtual Reality
Virtual reality is a set of computer technologies which, when combined, provide an interface to
the computer with which the user can believe he or she is actually in a computer-generated world.
This computer-generated world could be model of a real-world object such as s house not yet
been built or currently existing, or it might be any abstract world or simulated real world. The
computer interface provided by virtual reality is three-dimensional. The world or model to be
viewed by the user is apparently real, completely surrounding the user, and responds
appropriately to the uses natural motion and interactions. The user is led to believe that the model
being viewed is real.
Two key concepts of virtual reality are immersion and interaction. The user must feel immersed
in the virtual environment, end must be able to interact with the world using hands, arms, head
and legs. Without both immersion and interaction. the user will not readily believe that the world
is real, and will not gain the same depth of understanding of the model or data. Virtual reality
incorporates much human aspects engineering which maximizes its impact on human senses and
perceptions. The technology was born from the merging of many disciplines including
psychology, cybernetics, computer graphics, data base design, real-time and distributed systems,
electronics, robotics, multimedia, and telepresence.

Interactivity
Interactivity refers to the active participatory role of the individual in computer-based virtual and
multimedia environments. The traditional electronic media, radio and television are non
interactive media.

The first interactivity began with the introduction of VCRs and remote control switches for the
TV. But they am interactive in a very limited sense for they do not change the environments in
any significant way.
Another early example of interactivity are the video games but games are not real environments
although they are very interactive. Telephone is the only tax long-standing interactive technology
but it is limited to voice-to-voice interface.
Interactivity in current parlance means the real world participation of the individual by
establishing simultaneous a sequential communication with the source of communication In the

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context of multimedia.The word source of communication is somewhat meaningless because the
initiator could he at either end of the communication chain.
According to various industry sources and academic researchers the following areas have been
identified a having an impact because of the new technologies and electronic media:
Teleworking/telecommuting, Home Entertainment. Education. Teleshopping/Home shopping
(Grant 1991). Telecommunications, Home Computing/Home Management. In no sense are Own
areas to be considered mutually exclusive or exhaustive. Here is a brief description of how these
areas ere developing and will continue to develop.

Teleworking: This refers to work at home. Our own research (1990, 1992) shows that this a
growing activity largely aided by computers at home. In our research. we identified five different
types of teleworking, telecommuters who substitute working at home for commuting to work,
moonlighters who work on different jobs from their primary employment during weekends a
evenings, supplemental workers who work at home in addition to full time work, self-employed
people who use the home as their business, and part-timers who work a horns for outside
organizations on contract work.

Home Entertainment: Includes two principle services, movies-on-demand std video games. Many
industry experts believe that this will be the most commercially successful market among
interactive services. The mason for this Is that home entertainment via TV and VCR is already
well established and also because of the low level effort involved by the user.

Teleshopping: Teleshopping promises consumers the ability to purchase goods and services
through the TV set. This is still in a development stage although some companies ere quite
successful in the home shopping business. Home Shopping Network and QVC. There also have
been some failures, as evidenced by the closing down of 1.C. Penney's interactive shopping
system and Sears Roebuck's joint veriture with IBM on Prodigy Services Corporation.

Telecommunications: This is a rapidly growing area especially with possible integration of the
telephone, personal computer, and television. Some already existing facilities include,
computerized fax systems, electronic mail, and telemedicine.

Computing in the Home: This was a promised land in the eighties and while the growth ho been
slow, it seems to be coming on its own. Currently, computer services, such as, Prodigy. America
On-line, and Compuserve re pushing their services aggressively.
Internet: This refers to electronic networking of individuals with other individuals and
organizations on a one-to-one basis or simultaneously.

Home Management and Intelligent Have Systems: The user is granted convenience and control
over appliances and electrical equipment in the home through interactive systems, thus
minimizing manual operations. There are three functional categories in the home system:
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interactive smart products, intelligent subsystems, and central home automation systems. This is
at a very experimental stage and requires the integration of computers, fiber optics, multimedia
capabilities, where data, voice, and visual communications come together.

MEDIA INDUSTRY

For the study purposes exploratory research is conducted, the secondary method is selected to
collect the data.

Current status of the industry and its growth potential

The Indian economy continues to perform strongly and one of the key sectors that benefits from
this fast economic growth is the E&M industry. This is because the E&M industry is a cyclical
industry that grows faster when the economy is expanding. It also grows faster than the nominal
GDP during all phases of economic activity due to its income elasticity wherein when incomes
rise, more resources get spent on leisure and entertainment and less on necessities. Further,
consumption spending itself is increasing due to rising disposable incomes on account of
sustained growth in income levels, and this also builds the case for a strong bullish growth in the
sector.
The size of E&M in India is currently estimated at INR 353 billion and is expected to grow at a
compounded annual growth rate of 19 percent over the next five years.
The television industry continues to dominate the E&M industry by garnering a share of over 42
percent, which is expected to increase by a further 9 percent to reach about 51 percent. The share

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of the film industry, which currently stands at 19 percent, is not expected to change materially
over the next five years. Print media, which stands at over 31 percent, is projected to lose some of
its share in favor of the emerging segments.

Key growth drivers

Television
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. The buoyancy of the Indian economy will drive the
homes, both in rural and urban (second TV set homes) areas to buy televisions and subscribe for
the pay services. New distribution platforms like DTH and IPTV will only increase the subscriber
base and push up the subscription revenues.
Filmed entertainment
Indians love to watch movies. And advancements in technology are helping the Indian film
industry in all the spheres – film production, film exhibition and marketing. The industry is
increasingly getting more corporatised. Several film production, distribution and exhibition
companies are coming out with public issues. More theatres across the country are getting
upgraded to multiplexes and initiatives to set up more digital cinema halls in the country are
already underway. This will not only improve the quality of prints and thereby make film viewing
a more pleasurable experience, but also reduce piracy of prints.

Print media
A booming Indian economy, growing need for content and government initiatives that have
opened up the sector to foreign investment are driving growth in the print media. With the literate
population on the rise, more people in rural and urban areas are reading newspapers and
magazines today. Also, there is more interest in India amongst the global investor community.
This leads to demand for more Indian content from India. Foreign media too is evincing interest
in investing in Indian publications. And the internet today offers a new avenue to generate more
advertising revenues.
Radio
The cheapest and oldest form of entertainment in the country, which was hitherto dominated by
the AIR, is going to witness a sea-change very shortly. In 2005, the government opened up the
sector to foreign investment – and this is the key factor that will drive growth in this sector. As
many as 338 licences are being given out by the Indian government for FM radio channels in 91
big and small towns and cities. This deluge of radio stations will result in rising need for content
and professionals. New concepts like satellite, internet and community radio have also begun to
hit the market. Increasingly, radio is making a comeback in the lifestyles of Indians.
Live entertainment

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This segment of the entertainment industry, also known as event management, is growing at a fast
and steady rate. While this industry is still evolving, Indian event managers have clearly
demonstrated their capabilities in successfully managing several mega national and international
events over the past few years. In fact, event managers are also developing properties around
events. The growing number of corporate awards, television and sports events are helping this
sector. With rising incomes, people are also spending more on wedding, parties and other
personal functions. However, issues like high entertainment taxes in certain states, lack of world-
class infrastructure and the unorganised nature of most event management companies, continue to
somewhat check the potential growth in this segment of the industry.
Out-of-home advertising
Outdoor media sites in India are predominantly owned or operated by small, local players and are
typically, directly marketed by them to advertisers and advertising agencies. However, this
segment too is witnessing a sea-change with technological innovations. Growing billboard
advertising is fuelled by technologies such as light-emitting diode (LED) video billboard. This is
a segment that is seeing interesting technological innovations across the world and is likely to
evolve in India too in the short-term.

Barriers to investment in the entertainment and media industry

A lot more investment can be drawn into the entertainment and media industry if certain sectoral
policy barriers can be addressed. Some of the issues that need to be addressed which commonly
impacts all segments and need to be addressed urgently include:
1. Piracy
The problem of piracy assumes a different proportion in a country such as India with an area of
3.3 million sq. km. and a population of over 1 billion speaking 22 different languages. It impacts
all segments of the industry especially films, music and television. Most of the credible efforts
today to combat piracy have been initiated by industry bodies themselves. On part of the
government, lack of empowered officers for enforcement of anti-piracy laws remains the key
issue that is encouraging the menace of piracy. This, coupled with the lengthy legal and
arbitration process, is being viewed as a deterrent to the crusade against pirates. The current
Copyrights Act too is dated in terms of technology improvements, and above all, it does not
address the needs of the electronic media which has maximum instances of piracy today. The
draft of the Optical Disc Law to address the need for regulating piracy at the manufacturing stage
is still lying with the ministry for approval.
2. Lack of a uniform media policy for foreign investment

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The sector currently lacks a consistent and uniform media policy for foreign investment. Some of
the inconsistencies include different caps in foreign direct investment in various segments. This is
enumerated below:
• Television distribution: DTH 49% (strategic FDI only 20%); cable 49% (ownership can only be
with India citizens).
• Content (news): Television and print - 26%; radio - nil
• Content (non-news): Television and print - 100%; radio 20% (only portfolio)
3. Level playing field with incumbents
Most sectors of the Indian E&M industry have traditionally operated under various agencies of
the Indian government, which were later opened to the private players in various stages. FM radio
is one such example where the incumbent All India Radio (AIR) was the sole player in the
medium of both AM and FM radio broadcasting. Limited frequencies of FM broadcasting have
been opened to the private players but with a licence fee, which is not currently applicable to the
incumbent AIR. Similarly, in television segment, all terrestrial broadcasting rights continue to be
with the incumbent Doordarshan.
4. Content regulation
A long-standing debate continues amongst the industry members on regulation of content. Some
of the issues that need to be addressed in this sphere include:
• Should there be a content regulator or should the industry be allowed self-regulation under a
broad framework?
• If there needs to be one, should the content regulator be independent of the carriage regulator?
• Should the content regulations be consistent across all delivery mediums such as films,
television, radio and print or different sets of regulation should be evolved for each medium?
• What should be the working mechanisms of a content regulation in terms of enforcement,
penalties for default from prescribed guidelines etc.?
5. Price regulation in the television industry
As per a notification issued by the TRAI, broadcast media pricing has been frozen for over a year
now. Though TRAI did allow a 7 percent inflationary adjustment late in 2004, the inflationary
adjustment of 4 percent in 2005 is under a legal dispute. Such price controls limit a broadcaster’s
ability to shape their business model, based on market demand and the competitive environment.
Since the market has so far been efficiently regulated through competition, price regulation thus
becomes a deterrent.
6. Cross-media ownership rules
Media integration is an important tool in the hands of the media industry which by its very nature
could lead to anti-competitive behaviour hurting the entire value chain of the industry. The
government has been mulling over evolving cross-media ownership rules for which even a public
draft has not been evolved as yet. Most E&M sectoral policy documents have an in-built
compliance clause, which states that companies have to abide by the cross-media rules. However,
in the absence of any draft rules or an established time-frame for evolution of such rules, potential
foreign investors can’t evolve their long-term investment strategy for India.
7. Lack of empowered regulators
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At present, the government has appointed an independent regulator – TRAI – for only television
and radio. Here too, the role of the regulator has been restricted to providing recommendations on
segment issues to the government, as a result the government has still not acted upon several
recommendations by the regulator. Some of the key recommendations include ‘issues relating to
broadcasting and distribution of TV channels’ of which ‘addressability in distribution’ forms a
significant part impacting the largest segment of television. Other pending recommendations
include ‘digitalisation of cable TV’, ‘privatisation of terrestrial broadcasting’, ‘licensing of
satellite radio’ etc.
8. Merging of the FII and FDI caps
Some industry members are of the view that converting the current cap on foreign institutional
investment (FII) investment to foreign direct investment (FDI) is not a very encouraging move by
the government. FII is primarily considered “hot money” and is invested by foreign funds to make
quick returns unlike FDI, which is longer term in nature and is actually invested into the business.
FDI in several cases is also accompanied with expertise (such as technology) being brought into
the country that helps in the growth and development of the industry. An FII invests like a
financial investor with the prime motive of quick appreciation of its invested capital rather than
taking a longer-term view of the business, whereas an FDI investor is more in the nature of a
strategic investor and is in the business for the long haul. The new policy does not recognise the
need for creating an environment that encourages strategic investors in making investments in the
sector.

9. Tax treatment of foreign broadcasting companies

The tax treatment of foreign companies in the broadcasting sector in India is emerging as the
single most important policy issue deterring foreign investment in the country.
A major issue pertains to taxation of satellite segment usage fee paid by broadcasters to foreign
satellite companies. Tax assessing officers have attempted to treat such a payment as royalty
income and tax the same on source rule basis. Such satellite companies do not have any office or
presence in India.

CARTOON INDUSTRY
Profiles of major names in cartoon and animation industry

1.Dreamworks animation SKG is a fairly recent addition to the animation industry.

2.Pixar animation studios is famous for its computer-animated film shorts and for the feature
films that it produces with Disney.

3.Eidos interactive is world’s leading developers and publishers of entertainment software, and
is the largest video game developer in U.K.

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4.Square Enix is responsible for video-games such as the final fantasy series, secret of mana,
chrono trigger.

5.Walt Disney company is no doubt one of the most famous names in the animation industry,
known for providing entertainment directed to adults and children alike; with theme parks around
the world and a world-class animation studio and business franchise, the company nearly
dominates the industry.

TRADITIONAL ANIMATION VERSUS COMPUTER ANIMATION

Traditional animation (also called cel animation or hand-drawn animation) was the process used
for most animated films of the 20th century. The individual frames of a traditionally animated
film are photographs of drawings, which are first drawn on paper. To create the illusion of
movement, each drawing differs slightly from the one before it. The animators' drawings are
traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in
assigned colors or tones on the side opposite the line drawings. The completed character cels are
photographed one-by-one onto motion picture film against a painted background

Computer animation the traditional cel animation process became obsolete by the beginning of
the 21st century. Today, animators' drawings and the backgrounds are either scanned into or
drawn directly into a computer system. Various software programs are used to color the drawings
and simulate camera movement and effects. The final animated piece is output to one of several
delivery media, including traditional 35mm film and newer media such as digital video. The
"look" of traditional cel animation is still preserved, and the character animators work has
remained essentially the same over the past 70 years. Some animation producers have used the
term "tradigital" to describe cel animation which makes extensive use of computer technology.

Types of animation-

Full animation-refers to the process of producing high-quality traditionally animated films,

which regularly use detailed drawings and plausible movement. Fully animated films can be done
in a variety of styles, from more realistically animated works such as those produced by the-Walt
Disney to the more "cartoony" styles of those produced by the warner bros.

Limited animation-involves the use of less detailed and/or more stylized drawings and methods
of movement.

Rotoscoping-is a technique where animators trace live-action movement frame by frame The
source film can be directly copied from actors' outlines into animated drawings as in LORDS OF
THE RING movie.

Types of computer animation-

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2D animation-figures are created and/or edited on the computer using 2D bitmap graphics or
created and edited using 2D vector graphics. This includes automated computerized versions of
traditional animation techniques.

3D animation-are digitally modeled and manipulated by an animator. In order to manipulate a

mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is
called rigging. Various other techniques can be applied, such as mathematical functions (ex.
gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use of
Motion capture to name but a few, these techniques fall under the category of 3d dynamics. Many
3D animations are very believable and are commonly used as Visual effects for recent movies.

Other animation techniques

• Drawn on film animation: a technique where footage is produced by creating the image.

• Paint on glass animation a technique for making animated films by manipulating slow
drying on oil paints and glass sheets.

• Erasure animation: a technique using tradition 2D medium, photographed over time as

the artist manipulates the image
•
• Pinscreen animation makes use of a screen filled with movable pins, which can be
moved in or out by pressing an object onto the screen. The screen is lit from the side so
that the pins cast shadows. The technique has been used to create animated films with a
range of textural effects difficult to achieve with traditional cel animation.
• Sand animation sand is moved around on a back- or front-lighted piece of glass to create
each frame for an animated film. This creates an interesting effect when animated because
of the light contrast.

Flip book flip book (sometimes, especially in British English, called a flick book) is a book with
a series of pictures that vary gradually from one page to the next, so that when the pages are
turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip
books are often illustrated books for children, but may also be geared towards adults and employ
a series of photographs rather than drawings. Flip books are not always separate books, but may
appear as an added feature in ordinary books or magazines, often in the page corners. Software
packages and websites are also available that convert digital video files into custom-made flip
books.

Motion capture to name but a few, these techniques fall under the category of 3d dynamics. Many
3D animations are very believable and are commonly used as Visual effects for recent movies.
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Other animation techniques

• Drawn on film animation: a technique where footage is produced by creating the image.
• Paint on glass animation a technique for making animated films by manipulating slow
drying on oil paints and glass sheets.

• Erasure animation: a technique using tradition 2D medium, photographed over time as

the artist manipulates the image
• Pinscreen animation makes use of a screen filled with movable pins, which can be
moved in or out by pressing an object onto the screen. The screen is lit from the side so
that the pins cast shadows. The technique has been used to create animated films with a
range of textural effects difficult to achieve with traditional cel animation.
• Sand animation sand is moved around on a back- or front-lighted piece of glass to create
each frame for an animated film. This creates an interesting effect when animated because
of the light contrast.

Flip book flip book (sometimes, especially in British English, called a flick book) is a book with
a series of pictures that vary gradually from one page to the next, so that when the pages are
turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip
books are often illustrated books for children, but may also be geared towards adults and employ
a series of photographs rather than drawings. Flip books are not always separate books, but may
appear as an added feature in ordinary books or magazines, often in the page corners. Software
packages and websites are also available that convert digital video files into custom-made flip
books.

Stereo (3D) photography

A photograph can be very beautiful but is always limited to projecting a view onto a two-
dimensional plane (the film/photo). Stereo photography is a technique to make two photographs
of the same subject, from slightly different positions. For normal close, small objects, the two
positions should differ approximately by the human eye distance (about 10cm or 4").

Care must be taken to photograph the same sky with exactly the same settings and do the two
exposures as soon as possible after each other, in order to photograph the sky statically

Viewing stereo photo pairs requires some practice, but after this, anyone should be able to view
stereo photos. The idea is that the pair of photos should be separated by approximately the same
distance as that of your two eyes. Then, you have to look to infinity, while accommodating your
eyes on the close pair of photos. The accommodation you will do automatically, but this is an
unusual state of your eyes (usually when your eyes focus to infinity, they also accommodate to
infinity), and you may develop a slight headache.

29
Focusing to infinity while accommodating to a nearby photo is what you have to practice. Do this
by identifying two objects in both photos which are the same. Then gradually relax your focus.
Do not keep focusing on the pictures. You will notice that the two objects which you were
looking at, seem to merge together.

Photographing soap film colors

Soap films, films of oil on water, and some kinds of thin plastics may exhibit light-interference
colors. These interference colors also occur in nature. Examples are cloud irisation and solar or
lunar coronas in clouds.To study (and photograph) the interference colors, it is handy to know the
basics of soap films. You will have seen them when you were a youth, blowing soap bubbles, or
as an adolescent, doing the dishes. use a 50mm standard lens on macro mode (bellows), but the
camera may get too close to the wire frame and actually block the sunlight. This results in
shadowed parts of your photo. You cannot circumvent this by photographing the film at an angle,
as your depth-of-focus on macro mode is very shallow and parts of your photo would be
unsharp.Try to leave the wire frame out of your photo. Keep in mind that the camera viewfinder
may show less of the actual photo (many cameras show only 80% to 90%).You need to wait a few
minutes for the soap film to become stable. Initially, you will see that the color bands appear,
move and deform quickly. Since you may need exposure times down to 1/4 second, make sure
that the colors are stationary.

Photographing mammatus

Mammatus is one of the more bizarre cloud forms. Many people who see mammatus for the first
time are awe-inspired. Indeed, the mammatus with its inverted bulges of smooth cloud,
sometimes showing high ordering, is a remarkable sight.

Mammatus occurs whenever there is a conditionally unstable cloud layer above clear air: when an
air parcel from this cloud layer descends into the clear air below, the cloud droplets evaporate,
cooling down the air parcel and making it descend even faster. Photography of mammatus
requires either a super-wide angle lens, if you want to include the landscape (because good

mammatus is very high up in the sky, up to overhead), or a zoom lens and zooming in on the
mammatus without a foreground.

Equatorial mounts for astrophotography

Equatorial mount which has one axis of rotation aimed exactly to either the north or south pole,
so that the mount's polar axis is parallel to Earth's rotation axis. This mount requires only one
motor, to rotate the polar axis once every sidereal day. This axis controls the right ascension.
There is another axis which sets the declination ('vertical') angle, but this doesn't need to be
motorized if you just want to take wide-field photos with a camera. The company Orion sells
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relatively cheap mounts for around $200 that perform very well. If you are going to be very much
into astrophotography, you will want a better and more expensive mount, but for starters the
cheaper mounts perform well, especially if you only do wide-field photography. The easiest way
to get rewarding photographs (wide-field) is to mount the camera directly on the mount and let it
track the stars. If you are new to astrophotography, I recommend you to use this method first,
because it takes no special equipment other than the mount, and the photos can be amazing.

Photographing Iridium flares

Iridium flares are the name given to satellites from Iridium Co. frequently flaring up due to
reflected sunlight off of one of their three antennae. The Iridium network consists of 66 satellites
for global cell-phone communication, and the satellites are positioned very accurately about their
vertical axis. Due to that accurate attitude, the reflections of sunlight from their antennae are very
predictable, up to a few seconds accuracy days ahead of time.

Flares range in magnitude down to -9, which is about a factor 100 brighter (!) than Venus can get.
A -9 flare briefly outshines all other stars and planets in the sky and is worthwhile to watch.

To observe or photograph a flare, the first thing you should do is look up when a flare will be due
at your location.Some low angle flares (near the horizon) will be visible longer along the
satellite's track than flares higher up in the sky. A flare path for a mag. -9 flare may be as long as
15 or 20 degrees, so it is really necessary to aim the camera well, or use a wide angle lens if you
are unsure. The field of view of a 50mm standard lens is about 30 degrees.

Use 100 or 200 speed film and an aperture of f/2.8 or f/4. Set the camera on 'B' setting (Bulb
mode) and open the shutter about 30 seconds to one minute before the flare is due.

EVENT MANAGEMENT

Event management is the application of project management to the creation and development of
festivals, events and conferences.

Event management involves studying the intricacies of the brand, identifying the target audience,
devising the event concept, planning the logistics and coordinating the technical aspects before
actually executing the modalities of the proposed event. Post-event analysis and ensuring a return
on investment have become significant drivers for the event industry.

The recent growth of festivals and events as an industry around the world means that the
management can no longer be ad hoc. Events and festivals, such as the Asian Games, have a large
impact on their communities and, in some cases, the whole country.

The industry now includes events of all sizes from the Olympics down to a breakfast meeting for
ten business people. Many industries, charitable organizations, and interest groups will hold

31
events of some size in order to market themselves, build business relationships, raise money or
celebrate.

Event management is considered one of the strategic marketing and communication tools by
companies of all sizes. From product launches to press conferences, companies create
promotional events to help them communicate with clients and potential clients. They might
target their audience by using the news media, hoping to generate media coverage which will
reach thousands or millions of people. They can also invite their audience to their events and
reach them at the actual event.

Event management companies and organizations service a variety of areas including corporate
events (product launches, press conferences, corporate meetings and conferences), marketing
programs (road shows, grand opening events), and special corporate hospitality events like
concerts, award ceremonies, film premieres, launch/release parties, fashion shows, commercial
events, private (personal) events such as weddings and bar mitzvahs.

Clients hire event management companies to handle a specific scope of services for the given
event, which at its maximum may include all creative, technical and logistical elements of the
event. (Or just a subset of these, depending on the client's needs, expertise and budget).

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 CONCLUSION

Creativity is not only the prerequisite for innovation and, thus, a core competitive factor in
contemporary organizations. Creativity influences business processes and the way we conduct
business process management. We have described typical scenarios in which creativity impacts
business processes and their management. Moreover, we have presented exemplary strategies
and actions that organizations apply to deal with the phenomenon of creativity to enhance process
performance and quality of creative products. We believe it is both relevant and timely to
take a closer look at the role that creativity plays within business processes and how it can be
managed. Existent modeling techniques, software tools and management practices may support
some of the important aspects in this context. However, until now there is no comprehensive
approach on how to manage creativity from a business process perspective. With this paper we
would like to set the baseline for a discussion on the notion of the creativity-intensive process.

Over time, the online advertisement space is expected to change its composition. Presently, search
engine marketing has a fairly high share of this space which is glaring in matured markets.
Display advertisement, however, will continue to hold its share due to its distinct advantages such
as ensuring long-term impression of a brand, a higher possibility of interactivity and delivering
rich media messages to users. At the same time, online publishers and agencies are developing the
space to deliver an immersive brand experience by bringing in concepts like augmented reality.
The market is poised for huge growth, specially considering the fact that the traditional
advertisers (FMCG, Consumer Durables, etc.) still form a small proportion of the overall online
display advertising market in India . Further, the medium has a high viability for opening up a
new segment of buyers altogether – the SMEs which form a substantial chunk of businesses in
India.
In order to grow the market, the online display advertising industry in India needs to develop
globally accepted performance measures that also cut across various other media vehicles like
television, print and radio. This would allow true media meshing. With the distinct advantage of
online in terms of the number of hours spent online, immersive experience that online can offer
and the contextual delivery of messages, online advertising is bound to emerge a winner.

33
Further, the online publishers need to continue developing better user experiences so that online
ads are not seen as a nuisance, rather are sought after.
All in all there are exciting times ahead for the online display advertising in India.

The Indian entertainment and media industry today has everything going for it - be it regulations
that allow foreign investment, the impetus from the economy, the digital lifestyle and spending
habits of the consumers and the opportunities thrown open by the advancements in technology.
All it has to do is to cash in on the growth potential and the opportunities. The government, on its
part, needs to play a more active role in sorting out policy-related impediments to growth. The
industry needs to fight all roadblocks- such as piracy- in a concerted manner, while churning out
high-quality, world class end products. The entertainment and media industry has all that it takes
to be a star performer of the Indian economy.

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REFRENCES:

www.bptrends.com

www.pwc.com/india

http://www.sigs.de/publications

www.nessi-europe.eu

www.euromonitor.com

www.crito.uci.edu/noah

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