'If creators and audiences in India start talking about Shark Tank Nepal, that will be a huge sign of success'

Nishant Nayak

Multi-camera Director, Mumbai

Nishant Nayak is a multi-camera director based in Mumbai, known for his work in the unscripted and live content space. Over the years, he has directed Indian versions of some of the biggest global formats like Shark Tank, Fear Factor, MasterChef and Top Model. His experience also extends deeply into the music world, having directed iconic shows like Coke Studio, MTV Unplugged, Times of Music, and many live concerts for legends like AR Rahman, Anirudh Ravichander and Pritam.

Nayak’s journey has been shaped by a strong foundation in editing, which gave him a deep understanding of structure, rhythm and storytelling. His love for music, nurtured by his lifelong passion for playing the piano, helps him translate sound into rich visual experiences. Whether working on intimate shows like MTV Unplugged or large live broadcasts, he believes that blending structure with spontaneity is the key to capturing true, powerful moments on screen.

Deeply passionate about the creative possibilities across South Asia, Nayak sees huge potential for collaborations between countries like Nepal and India, especially in music and reality formats. He believes that investing in better production infrastructure and encouraging independent creators are crucial steps for building a stronger ecosystem. Driven by curiosity and a love for real human stories, Nayak continues to explore new ways of storytelling, with dreams of creating projects that blend music, culture, and raw human emotion.

He was recently in Kathmandu to offer advice and insights for Shark Tank Nepal, where Business 360 had the opportunity to catch up with him. Excerpts:

As a multi-camera director, how do you balance spontaneity and structure, especially in the unscripted space where anything can happen?

I think the first thing you need to do is work out a structure for yourself; you have to be very clear about your own process. I was fortunate because before becoming a director, I worked as an editor. That experience taught me how important it is to have a strong sense of structure.

When you understand how edits work, it helps you plan better on set. So, I would say the first step is developing a solid process. Once things go live, you lose a lot of control and that is where adaptability comes in. But if your internal structure is strong, you can make smart decisions in the moment.

And honestly, this only comes with experience. You have to be part of many different-sized productions to understand how much to control and when to let go. So, my advice is: work a lot, make your mistakes, refine your own system, and then once that foundation is strong, you will naturally become more flexible on the day of the shoot.

You have worked on iconic shows like Coke Studio and MTV Unplugged, which have really changed how India visualises music. How do you translate sound into a visual story?

I feel very blessed because I am also a musician. I have been playing the piano since I was a child; not professionally but music has always been a part of my life. That background really helps me communicate with musicians because we speak a shared language.

When you understand music deeply, you do not just hear it, you start to see it. You can visualise the emotion, the rhythm and the energy. I know it sounds a bit abstract but many musicians will tell you the same thing.

One project that really shaped me was Sound Tripping, a travel show where we roamed across India recording local sounds and creating tracks from them. That experience taught me how to ‘see’ sounds differently. We even discovered the Nooran Sisters during that show, who are now superstars!

And of course, having been a fan of MTV Unplugged and Coke Studio before working on them, I brought my personal love and respect for that content into my work. So, it was a mix of passion, musical understanding and just watching a lot of great content growing up.

Nepal’s music and film industries are growing rapidly. Do you see potential for cross-border collaborations, especially in music and reality formats?

Absolutely. In fact, I have said this before, I really believe we need a unifying talent contest across the region, something like a ‘South Asian Eurovision’. It would be incredible to discover and celebrate the talent that exists across countries like Nepal, India, Bangladesh and beyond.

We already share so much culturally. So why not create a platform that showcases emerging talent from all these places? It is already happening organically on YouTube but a formal cultural exchange; maybe Nepali creators working in India and Indian creators working in Nepal, would be amazing.

One of my dreams is to create a show where, for example, Indian singers perform Nepali songs and vice versa. Imagine the kind of beautiful new music and appreciation that could come out of that. The potential is huge, especially in the music space.

How do you think Nepal can build a stronger production ecosystem to support original unscripted formats?

That is a very important question. During my time here, I noticed there is so much talent – hardworking crews, passionate creators – but there is a need for better access to technology. Right now, people are doing incredible things even with limited equipment, which shows how much potential there is.

I think investment in better camera systems, lighting setups and post-production facilities would make a big difference. Of course, it is a cycle: investment brings better quality, better quality attracts more sponsors, and more sponsors mean more content creation.

Also, it is not just about equipment. Systems and processes for large-scale productions could be strengthened too. You already have great vloggers and content creators – some of the bike videos I saw were shot so creatively. So, if they had access to higher-end tools, the results could be even more amazing.

Building this ecosystem will take time but the passion is already here. The key is making sure the infrastructure grows alongside the creative spirit.

Many Nepali creators look to India for inspiration. What advice would you give to an aspiring Nepali director who wants to enter the unscripted or live content space?

Firstly, I think the technical skills here are already at a very good level. Shows like The Voice of Nepal are fantastic, I have watched them and I do not think the problem lies in the talent or the skills.

What I would encourage is more independent creation. Thanks to platforms like YouTube, anyone can shoot, upload and even monetise their work. You do not always have to wait for a big network or production house to give you a break. Sometimes, starting small can lead to something big.

I also feel production houses could explore hiring creators with diverse skill sets – people who are experimenting with new technologies like artificial intelligence (AI), for example. AI is not just about automation; it can open creative doors, especially for visuals and post-production.

And beyond looking just to India, I think it would be great to have international knowledge exchanges – learn from the best in the world. Attend workshops, collaborate with global talent, and bring those insights back to Nepal.

The more we encourage younger creators to sharpen their craft and think globally, the stronger the industry will become, not just to match India, but to stand proudly on the world stage.

What kinds of reality or unscripted formats do you think Nepal could explore more?

That is a really interesting thought. You already have singing competitions and dance shows but maybe there is room for new genres – adventure reality, docu-series about local heroes, regional talent showcases, or even innovative travel-based music shows.

There is such a rich cultural and natural diversity here. It would be incredible to see formats that celebrate local stories in new, fresh ways. Maybe something that is rooted in Nepal’s unique identity but appeals globally too.

And like I said earlier, maybe it is time to dream big and think of cross-border reality shows too. The sky’s the limit.

Your choice of work has mostly been in the unscripted space. Could you explain what that really means and why it is important to you?

I think I naturally took to reality TV because it involved working with real people. When I first started in this space, way back in 2007, it felt exciting to meet regular people like myself – people who did not have any media exposure but had small skill sets or talents they wanted to showcase.

The very first reality show I worked on was actually a cricket-based reality show in 2007. Back then, people did not really know how to behave in front of a camera. They were raw, natural and unfiltered. It was such a fascinating experience to observe them, ask them questions, and see how they responded honestly, without thinking about ‘performing’ for the camera.
Of course, today things have changed a lot. Over the years, with so much exposure to reality shows, people have become quite savvy. Now, if you ask them a question in a video diary, they already know how to answer in a way that fits the format. They have learned how to work with the camera.

But in the early days, it was truly about capturing natural human reactions. I still love that part. Even now, after all these years, I find myself drawn to that untouched, genuine side of people. That is why I want to transition more into documentaries. In documentaries, you cannot really manipulate things. It is raw. It is real.

I have some interests I want to explore, like working on stories around food and music, and telling the stories of personalities involved in these areas. And yes, I also have a few scripted film projects that are in the pipeline. But I will always be grateful to reality TV for shaping me, teaching me and helping me grow.

And honestly, I think the beauty of this field is that it constantly welcomes fresh ideas. Today’s assistants and interns, the young generation, they have amazing ideas. We just need to find a way to guide them, mentor them and help them bring those ideas to life in the right way. That is how the industry will keep growing.

What would you say drives your creative energy?

On most days, I would say my biggest driver is curiosity. I am very grateful that being a freelancer allows me to choose when and how I want to work. I am happiest when I am on set rather than stuck behind a desk in an office.
I love being on the floor, surrounded by lights being rigged above my head, and seeing a set come to life. I love working closely with crews. I think every project teaches you something new.

I have had the privilege to work with crews from different parts of the world and no matter where you are, there is always a lesson to learn. The key is to stay curious and stay humble. I believe that the moment you think you know everything, you stop growing.

So, for me, it is about staying open. It is about telling myself that there is always something new to discover. And that excitement is what keeps my creative engine running. I do know that there might come a time when the physical demands of this job start to catch up with me. But even then, I believe my mind will find something else to stay engaged with. I always need something to challenge and stimulate me.

Shark Tank India has been called an unusual success story. From your point of view, what made it click with audiences?

I think the timing had a lot to do with it. Shark Tank India came right after the Covid pandemic, a time when people had gone through so much loss – loss of loved ones, loss of jobs, loss of businesses. There was a heavy sense of sadness and uncertainty in the country.

And then comes a show like Shark Tank, where you see homegrown brands, passionate entrepreneurs, and fresh ideas being given a platform. You see investors, the sharks, believing in these businesses and willing to put their money behind them.

It was a very emotional time for everyone, and seeing people find hope again resonated with audiences. There were stories of mothers-in-law and daughters-in-law starting businesses together, young college graduates trying to make a difference – it was real, it was relatable, and it was inspiring. And very importantly, the show was authentic. Nothing about it was fake or scripted. You could see real lives changing in front of your eyes through just one conversation. That authenticity really touched people.

Plus, while Shark Tank US and Dragon’s Den in the UK were already famous, seeing an Indian version, with our own culture, our own businesses, and our own personalities, made a huge difference.

And you know, when we started, the sharks themselves were not big TV personalities. They were famous in their industries but not on television. Watching them grow into relatable, loved personalities on screen has been amazing. I would also say that a lot of the credit goes to our showrunner. He gave us the freedom to pour our hearts into the show. We did not worry about success or failure. We focused on doing our best and letting the audience decide.

When you see memes, podcasts, and social media chatter happening around your show, you know you have made an impact. And that is exactly what happened.

What can viewers expect from Shark Tank Nepal?

As someone who is not from Nepal, I have some hopes for Shark Tank Nepal that go beyond just making a good TV show. First and foremost, I hope that when the show wraps up, all of those who are part of it – from the crew to the editors to the production team – feel that it was a special experience. Every show has stress and challenges but I hope that despite the tough days, they come away feeling proud of the work they have done.

Second, I hope a good percentage of the businesses that pitch on the show actually get investments. That is very important because it shows that there is real potential in the local business community and that the sharks are willing to take real risks to support them. It gives credibility to the show and builds a positive impact in the community.

And third, if creators and audiences in India start talking about Shark Tank Nepal, if clips go viral, if people start discussing particular pitches or entrepreneurs; that will be a huge sign of success. Today, with YouTube and social media, good content crosses borders easily. If Shark Tank Nepal sparks conversation outside Nepal too, you will know you have created something truly special.

At the end of the day, I just hope the show touches people. I hope it inspires future entrepreneurs. And I hope everyone involved feels proud to have been part of something that matters.