Sameer Sippy Productions (Mumbai) has executed a cross-border IP licensing agreement with Service Street Pictures (Vancouver) to adapt the N.C. Sippy film library into vertical microdramas. This deal represents a fundamental format shift: taking 1970s–80s wide-release feature films and restructuring them into 60-second episodic “vertical soaps” for mobile consumption. The IP travels from an Indian copyright holder to a Canadian physical production hub, where it undergoes “Narrative Decoupling”—the process of extracting the plot structure while stripping away the original language and cultural context. The first asset to undergo this transformation is the 1983 classic Kissi Se Na Kehna, retitled The Billionaire’s Fake Wife for the ReelShort platform.

Sameer Sippy Productions: The IP Source. Led by Sameer Raj Sippy, the company controls the underlying narrative rights to the N.C. Sippy catalogue. Service Street Pictures: The Adaptation & Production Hub. Led by President Sammie Astaneh, this Vancouver entity handles the physical “trans-creation”—rewriting scripts to fit Western settings and shooting in the vertical format.

The advantage for Sippy is global monetization without the need for subtitles or dubbing, which often limits reach in mass markets. By licensing the plot rather than the film, they bypass cultural barriers. For Service Street, this solves the “Script Deficit.” Microdramas require high-stakes emotional hooks every 60 seconds; Bollywood scripts are structurally dense with these exact twists, offering a proven narrative engine that is cheaper to adapt than developing original IP from scratch.

This is Unique because it industrializes the adaptation process. While remakes exist (e.g., The Office UK to US), this is a high-volume, low-cost conversion of library assets into a completely different medium (Cinema to App).

• Competition: Most microdrama platforms (DreameShort, FlexTV) rely on adapting web-novels.

• Unique Factor: Using cinema-grade legacy IP provides stronger narrative coherence than typical user-generated web fiction.

This establishes a “Decoupled” Supply Chain. The IP originates in Mumbai (Concept), moves to Vancouver for localization and manufacturing (Production), and settles on US/Global servers (Distribution). It highlights a shift where the “Story” is separated from its “Origin Culture.” The production team strips away the Indian context—music, language, setting—retaining only the emotional skeleton to fit the “Billionaire/Romance” vertical algorithm.

We are witnessing the emergence of “IP Mining” for the attention economy. Rights holders of Telenovelas (Mexico/Colombia) and K-Dramas will likely follow suit, selling their plot rights to North American producers to create localized, vertical versions. This creates a new secondary market for film libraries that were previously considered dormant outside their home territory.