As the Indian Super League (ISL) progresses through its 12th season, the league’s broadcast production has undergone a significant shift, with KPS Studios taking over as the official producer of the World Feed under the direction of industry veteran Rajiv Mehra. Entrusted with delivering all 91 matches this season, the organisation has vast expertise in Indian football, having previously handled production for tournaments such as the I-League and the Durand Cup.
KPS Studios aims to reinvent football broadcasting in India by blending high-quality output with optimised production costs.
In an exclusive interview with SportsMint Media, Mr Rajiv Mehra discussed the scope of this mission, the strategic use of technology in modern sports broadcasting, and how the firm plans to improve the viewing experience for fans across all platforms.
1. KPS Studios has taken over the responsibility of producing the world feed for all 91 ISL matches. What does this mean for the company from a business and operational standpoint? How big is this for KPS?
See, we have been working in football broadcasting and football production for the last eight to nine years. This has always been our ultimate goal — to do the ISL broadcast. We had started planning for this about two years back when we were doing the Durand Cup, and that gave us the confidence that we could also take on ISL. There was always a catch that if FSDL continued, we might not get the opportunity. But fortunately, the bid came and we won it. We really wanted to do this, so we didn’t want to let it go. We gave a very competitive bid. For others it might look low, but for us it was calculated and competitive. From here, we see growth not just in ISL but also in other sports. This is part of our long-term plan and ambition. We are rising from here and moving towards the top.
2. Production costs have reduced significantly compared to previous models. From a business perspective, was the earlier model overproduced, or has KPS found a way to optimise high-end sports broadcasting?
FSDL was doing a very good job in production, there is no doubt about that. But their cost of production was high because of the way they were operating, especially their manpower and technology setup. The main difference is technology. We are using a different approach. In fact, we are using higher-end cameras, all our cameras are 4K, while earlier they were using HD cameras. But the output is still HD, so we down-convert it for broadcast. The quality is actually better, but the cost is controlled. Also, earlier around 30–35 people would travel to the ground for production. In our system, only 15 people go. Earlier, they used to carry 2,000–3,000 kg of equipment; now we operate with around 500–600 kg. That changes everything — logistics cost, manpower cost, transport cost. So the equipment quality remains the same or better, but the overall system is more efficient because of technology.
3. How does KPS structure its business model to ensure sustainable returns on such large-scale projects?
We started investing gradually. From 2020 onwards, during the I-League, we began investing in cameras, setups, and infrastructure. We started getting returns from that itself. Then came Durand Cup, again I-League, and this cycle continued. We did three I-League seasons and three Durand Cups, and during that time we kept improving ourselves and building our infrastructure step by step. Sometimes we invested through loans, sometimes we worked without profits. But slowly we built everything — hardware, software, team, and systems.
Now we are in a position where we can execute ISL without any external support, whether in manpower or finance. Everything is in place. From here, we will only grow further. If tomorrow there are multiple matches across different sports, we are capable of handling them.
4. What were your goals for this ISL season, and how has your previous experience shaped your approach?
Our main challenge was how to make the production better for the viewers in terms of technology, graphics, and match coverage. Initially, we made some mistakes, but we learned quickly and improved. We are constantly experimenting, especially in big matches, with new camera angles, better coverage, and different approaches. The aim is to give a world-class viewing experience. We are also getting strong support from FanCode and Sony, with their suggestions and inputs. That has helped us improve. Our goal is simple, to reach the highest level. If we get the next ISL as well, then our vision will be even bigger because this season will become our benchmark.
5. Do you think production companies like KPS can play a larger role in the commercial growth of sports leagues in India?
Definitely. Sports production in India is going to grow massively in the next five years. People want to watch live sports, and the demand is only increasing. Many companies will come into sports production, but we believe we are one step ahead because of our technology-driven approach. Earlier, it was all about cameras, manpower, and heavy setups. We have broken that system.
Remote production is the future, especially when there are multiple venues. It is the easiest and most cost-effective way to produce content. The next five years will belong to sports production.
6. What are your goals going forward, and what innovations can we expect from KPS?
One major gap in Indian football broadcasting is VAR, which is still not available. We are already ready with a light VAR system. We have the technology and hardware, and we have already offered it to AIFF. There are some conditions and internal discussions, so we are waiting, but it will come. Going forward, the difference between Indian and international production is mainly technology and format. So we are focusing on improving that. For big matches, we plan to introduce more cameras, more super slow-motion feeds, and more angles. Currently, we use two to three super slow-motion cameras, but we can scale that up to six in important matches. The aim is always to improve the viewing experience.
7. How has the collaboration with clubs and stakeholders influenced the production process?
The clubs have been very helpful. From the beginning, they have been giving suggestions on what they expect and what quality they want. They share previous ISL footage and highlight areas for improvement. If there is any issue, they immediately communicate with us. Commentators also provide inputs. Everyone is working together because the goal is the same, to make the production better. If the broadcast quality improves, the league grows. Everyone understands that if this season fails, it affects the future of ISL. So it’s a collective effort from all sides — AIFF, broadcasters, clubs, and us.
