Indian company: Prime Focus

Udita Jhunjhunwala meets Namit Malhotra, the man who turned a one-room editing studio in a Mumbai garage into Prime Focus, a global post house whose 1200 staff deliver visual entertainment services across India, North America and Europe.

In 1995, Namit Malhotra, Prime Focus’ founder and CEO, was just 19 years old when he started the humble but dynamic editing shop with the help of two friends. While they brought in basic training in computer graphics, Malhotra utilised his considerable exposure to the Indian film industry via his cinematographer grandad and producer father. Staying on the cutting edge of technological upgrades and innovation has remained the Prime Focus mantra – as long as it facilitates and fuels creativity.

Today, Prime Focus provides an impressive range of services to the film, broadcast, commercials, gaming, internet and media industries, covering everything from pre-production, pre-visualisation and equipment hire to visual effects, post-production, digital intermediate and distribution. Operating out of offices in Mumbai, Hyderabad, Chennai, Goa, Bangalore, London, Los Angeles, New York, Winnipeg and Vancouver, some of their work was recently seen in Avatar (10 per cent of the visual effects), Twilight Saga: New Moon and in the 2D-to-3D conversion of Clash of the Titans.

“When we set up shop in 1995, we were on the brink of new technology. Computers were replacing traditional editing systems,” says Malhotra. They began working in TV before moving into advertising and movies, finally integrating these to become a one-stop services shop. “In the early days the TV market was not big enough and the film industry was technology averse. We were among the early adopters of technology in India and found advertising to be the perfect place to work. We could take the creative vision of the advertising guys to the next level.”

By 2000, the company was in an interesting place. “We were one of the first to bring in colour correction for advertising. We proved ourselves to be risktakers who were carving a niche but doing it correctly – by bringing in international expertise and training our team in new technology. We were able to provide real value to advertisers, which instilled confidence in our capabilities,” says Malhotra.

By 2005, Prime Focus was an integrated end-to-end player and charting a course to make a splash globally, in 2006, with the acquisition of two UK companies, VTR and Clear. “We used our capabilities in India and our position in London to build bridges by working across markets. We were able to turn loss-making companies into profitable ones. And then we set foot in North America,” explains Malhotra.

By the end of 2009, they had rebranded themselves as Prime Focus Worldwide, offering a common platform of post production and visual effects facilities for clients around the world. Ask him why the need to expand globally and Malhotra says: “To not expand would have been a life less lived. Once we were leading the pack domestically, the next step was a bigger playing field. In the last few years we have been associated with some of the best international films, established our credibility and built brand equity. The last two years have been a challenge, but we have come out of it very well.”

While the rest of the world weathered severe economic crisis, India remained largely resilient. Malhotra believes that economic strength and the ability to use the same technology available in the West is what makes Indian advertising globally competitive. Though he also feels that the budgets and creative finesse of the films requires attention. “Creativity in Indian advertising, like Indian culture, reflects diversity,” says Malhotra. “But while adaptability is an advantage, this cultural diversity is also the biggest challenge for Indian advertising.”

With numerous languages, different cultural and state-level diversities, advertisers are tested by having to create commercial strategies that will appeal to many cultures and languages within the same country. Looking ahead, with the foundation laid, Malhotra sees Prime Focus consolidating its global presence and playing across various media. “We see ourselves in a leadership position in the content services space. We have always believed in having the right people in our team and always sold ourselves on our knowledge of technology and skills to use it most effectively to best enhance the creative reinvention and vision of our clients,” says Malhotra.

He concedes that the post production business in India is tough-going. “The creative aspirations of the team and the rapid pace of technological change make it a complex business, and there is such a strong dependence on both,” he says, adding that while in the West, filmmakers appreciate the value of technology, in India filmmakers are less conversant with it and face greater financial limitations.

“In the West, they value post production, but in India many clients don’t understand the need to spend on a job. A client might be willing to build a set for Rs10million, but won’t be able to appreciate the value that Rs2.5million worth of post production can add. There is no substitute for post production in advertising. It puts the whiteness in the toothpaste; repairs damaged hair. Post is the most effective way of showing before-and-after changes. It’s the quickest way of communicating visually in 20-30 seconds.”