Exclusive - Ranneeti producer Sunjoy Waddhwa – ‘Future of OTT is great in India as per what I can see’

"To create a show based on defence has been a long-standing passion for me and a show on hybrid warfare was never attempted before in India. The constraints of television in terms of scale and time limitations poses major challenges in fully realising the ambitious vision for this project. With the changing media landscape, it was an opportunity to expand our creative horizons from traditional television to the digital realm. It provided a greater scope for storytelling, reaching a wider audience, and experimenting with different formats that might not have been feasible in the past. By leveraging the episodic format on OTT platforms, one has the opportunity to delve into the nuances of the defence-related subject matter, develop multi-layered characters, and weave intricate narratives that can unfold over the course of multiple episodes. The flexibility and extended runtime of episodic content on digital platforms allow for a deeper exploration of storylines that might not have been feasible within the confines of a traditional television format or a single film. OTT also has a wider and diverse audience reach compared to the traditional channels.The concept and story idea was narrated to me by Sanjay Chopra who is a pilot himself. I really liked it as I was looking for a good defence-based subject and hence we started working on it. Collaborating with someone who is familiar with the subject matter allows you to create a more immersive experience"

2. You come from a family business background to then jump into, say, filmmaking, how did that transition happen?

Well, yes, I do come from a business family background. The television landscape was evolving rapidly with the emergence of private channels and there was an opportunity to explore new avenues. It was a bold move to embrace new challenges, but I guess the excitement and dynamism of the entertainment industry compelled me to take that plunge. Stepping out of the comfort zone into a completely new field was a risk, but I am glad I followed my instincts to explore new opportunities in the entertainment media industry.

3. But in which case then are there any specific challenges that you would face when you're producing a web show of this scale and this magnitude, especially when you compare it to traditional television?

Both mediums are different. Television is more character & emotion based and we need to hold that throughout as it’s a longer running daily format. It is not easy to keep the audiences hooked on a particular show for years.

Producing a web show of significant scale and magnitude on platforms like OTT poses unique challenges compared to traditional television. A show like Ranneeti needs to be navigated effectively as it is a film narrative which is divided into episodic web series. The magnitude is huge and one of the primary challenges is maintaining the pacing and structure of the film narrative when transitioning it into an episodic format. Films typically have a linear progression with a defined beginning, middle, and end, whereas web series require breaking down the story into episodes with cliffhangers or compelling hooks to retain audience interest.

Adapting the film's visual aesthetics, cinematography, and production values to suit the episodic format without compromising quality is a significant challenge for creators and production teams. While films have the advantage of a single, unified visual style and production design, web series must maintain visual consistency across multiple episodes while often working with constrained budgets and resources.

4. What would you say is your perspective on the growth of web series in the country?

And how have you seen the space evolve and how do you see the space evolving, especially for a show of the magnitude of, say, Ranneeti?

As we all know, India is a diverse market with multiple languages and regional preferences. The coexistence of GEC & OTT platforms in the media and entertainment landscape is likely to continue for the foreseeable future. The OTT industry in India is still evolving, with stakeholders navigating challenges around content strategy and monetisation. Developing sustainable monetisation strategies is a key challenge for OTT platforms in India as the landscape of advertisers shifting to OTT platforms is continuously evolving. Decision-makers are evaluating the metrics of different content formats, genres and audience segments to determine the budget allocation and strategies that balance the production costs and revenue potential of big-budget and smaller-scale shows.

OTT platforms have provided creators with the freedom to explore diverse and often more realistic settings and narratives. Stories that are based in heartland and more relatable. This shift towards authentic storytelling rooted in local cultures and experiences has resonated with audiences, contributing to the popularity of OTT content. The audience relates to the characters and story telling. So according to me, the future in India holds great promise as the digital streaming industry continues to evolve. Having said that, the traditional GEC will continue to play a significant role as they reach out to mass audiences in India. Both cater to different audience segments and complement each other.

The co-existence of GEC and OTT signifies a period of transition where viewers have access to a broad content choice across different platforms and the advertisers have multi channel marketing opportunities to maximise brand visibility among TV and digital audience. So, I would say the OTT industry is still at evolving stages into an investment mode currently and trying to figure out various aspects of monetisation.

5. Can you tell us a bit about the process that you went through with Ranneeti?

When the initial idea was presented to me, I decided to move the project forward to produce it. This led to discussions with Jio for further development. The unforeseen challenge of the pandemic impacted the progress of the show causing delays in implementation. But in hindsight, I feel it gave us a lot of time in terms of writing and planning as it was a difficult show to write and execute.

The show was about Indian Airforce, Indian Military and about an event which is in public domain. Representing the Indian Armed Forces authentically comes with several specific challenges due to the sensitive nature of the subject and the need to uphold accuracy and integrity in portraying our defence forces. As makers, we were clear that we need to balance engaging narratives with realistic portrayals and ethical storytelling along-with positive representation of military personnel. Sensitivity to the human aspects of service members, veterans, and their families requires a delicate approach to avoid sensationalism or distortion of real-life experiences.

We reached out to MOD to ensure that we are complying within legal guidelines, clearances, and approvals for showcasing specific defence-related content, insignia, uniforms, etc. To avoid any inaccuracies in portraying the details, we had a defence consultant in our team who had first-hand experience in defence-related matters. He ensured the accuracy and creditability of the content, went through all the scripts, had major interactions with the director, production designer, costume designer and was present on the sets on particular days when required. Careful attention to detail to terminology usage, dress codes, mannerisms, and factual consistency was incorporated. The team focussed on the finer details during the writing, production and execution stages to maintain the integrity of their portrayal of the Indian armed forces.

At the production level, this show demanded high production standards in terms of locations, scale, action sequences, and technical aspects, like aerial sequences and cockpit scenes. We collaborated with experienced professionals, like aerial choreographer Steven Moth, whose expertise brought a cinematic quality to the project, elevating its visual impact and narrative depth. Steven has worked on projects like Mission Impossible, Dunkrik, etc. Special technicians were flown from Norway. A project of mammoth scale involving the Indian Armed Forces requires comprehensive planning along with significant logistical support and resources like military bases, equipments, etc. We used real military artillery & fighter jets for our shoots. We shot across various locations in multiple cities and countries to bring together a cohesive production.

6. We are seeing a lot of adaptations of foreign shows in India, for OTT. What is your take on that?

The adaptation has to emotionally connect with audiences in that specific country. In India, cultural identity is more necessary in the adaptations as it is closely related with the society for which it is created. Literal translation of a show does not resonate with audiences. Adapting a foreign show to a new setting involves more than just translating dialogue or changing locations—it requires a deep understanding of the target audience's cultural norms, values and preferences.

For the Indian adaptation of ‘Your Honor,’ that we produced, the storyline was set in Punjab. The adaptation retained the core ethical dilemma faced by the judge but reimagined the legal system, societal dynamics, and familial relationships to suit the Indian context. We added more characters to expand the world of the series infusing it with fresh perspectives and complexities. By taking the basic core of the original show we craft a narrative that resonates with the audience while staying true to the essence of the source material.

7. But do you think it's easier to adapt?

Adapting a story for a new medium or audience is indeed a complex and challenging task for the writers as it comes with its own set difficulties. Staying true to the original story is a fundamental aspect of successful adaptation. The challenge lies in honouring the essence of the story that inspired the adaptation in the first place while authentically connecting with the cultural nuances and sensibilities of the new audience. The balance is important as one has to maintain the sanctity of the original story.

8.What are the future projects for OTT that Sphereorigins is working on?

There are some exciting projects in the works for OTT & GEC. We are also collaborating with international partners to create diverse content which shall be announced soon.