Category: Viewership

  • UK’s TV & online habits revealed, 40 mn watch episodes back-to-back

    MUMBAI: The UK has become a nation of binge-viewers, Ofcom research has revealed, with eight in 10 adults now watching multiple episodes of their favourite shows in a single sitting.

    The findings are part of Ofcom’s annual Communications Market Report 2017, which reveals stark differences in how older and younger people watch television.

    Eight in ten adults in the UK (79 per cent) – or 40 million people – use catch-up technology such as BBC iPlayer, or subscription services such as Netflix, to watch multiple episodes of a series in one sitting, wiping out the wait for next week’s instalment. One third (35 per cent) do so every week, and more than half (55 per cent) do it monthly.

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    Most binge viewers (70 per cent) find this type of viewing relaxing and enjoyable, and for others it’s an opportunity to discuss with friends (24 per cent). But around a third (32 per cent) of adults admit the temptation to watch another episode has cost them sleep and left them feeling tired.

    Perhaps as a result, more than a third (35 per cent) of binge viewers, and almost half (47 per cent) of young adults aged 16-24 are trying to cut down their viewing in some way. This includes rationing their viewing (19 per cent), finding an alternative hobby (10 per cent), or even cancelling a TV subscription (4 per cent).

    Binge viewing has such a strong allure that many viewers say they don’t intend to do it, but the pull of the next episode keeps them tuned in. More than seven in ten (74 per cent) say they sometimes watch more than they intend to, while 18 per cent say this always happens.

    Bingeing is most popular among young people: more than half (53 per cent) of those aged 12-15 enjoy weekly watch-a-thons, compared to just 16 per cent of over-65s. For that older age group, more than half (59 per cent) prefer a traditional release of one episode per week.

    The trend has been driven, in part, by the availability of faster home internet speeds, a rise in the number of connected TVs, and increased take-up of smartphones and tablets.

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    11 per cent of people aged 16-24 watch TV every day, compared to 0 per cent of people aged 65 per cent

    Spoiler alert!

    For many binge viewers, the desire to keep up with programmes is driven by fear of someone spoiling a programme’s ending (25 per cent). This can result in some (16 per cent) feeling under pressure to keep up with the viewing habits of family or friends.

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    And for some, the days of being tied to the TV schedule are fading, as UK viewers take advantage of being able to watch whenever, wherever they like. More than a third of people watch TV on the move – while on holiday (24 per cent), while commuting (16 per cent) or even in the pub (7 per cent).

    Just over a half of people (51 per cent) watch TV in their bedroom, while others watch in the kitchen (16 per cent), the garden (9 per cent) or the bathroom (9 per cent).

    Adults in the UK watch programmes/films on any service or device in the bedroom 51 per cent of the time

    For many, watching TV is now a solo activity. Two in five adults say they watch TV alone every day, and almost nine in ten watch programmes alone at least once a week. One third of people say members of their household sit together, in the same room, watching different programmes on separate screens.

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    Despite this, nine in ten people watch live TV every week, and family viewing is still an integral part of family life. Three in ten (30 per cent) adults say their family still watches the same programmes or films together every day, while 70 per cent do so at least once a week. Nearly seven in ten (68 per cent) say watching TV can bring the whole family together for a shared viewing experience.

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    Ofcom’s research also reveals differences between the viewing habits of older and younger people, with the latter far more likely to take advantage of streaming services such as Amazon Prime.

    More than seven in ten (76 per cent) young people aged 16-24 use a subscription streaming service, compared to less than two in ten (19 per cent) older people aged 65 and over.

    68 per cent of adults in the UK agree that watching TV programmes/films brings the family together

    However, BBC iPlayer is the most popular on-demand service with 63 per cent of adults saying they use it, followed by ITV Hub at 40 per cent and then YouTube at 38 per cent and Netflix at 31 per cent.

    The public service broadcasters’ on-demand services, such as All 4 and ITV Hub, are popular with all age groups – 75 per cent of young adults aged 16-24s, and 59 per cent of over-65s, use these services.

    63 per cent of adults in the UK use BBC iPlayer for watching TV programmes/films

    Meanwhile, nearly six in ten (59 per cent) over-65s prefer a TV series to be released in the traditional manner, week by week, compared to 40 per cent and 36 per cent of young people aged 12-15 and 16-24 respectively.

    Lindsey Fussell, Consumer Group Director at Ofcom, said: “Technology has revolutionised the way we watch TV. The days of waiting a week for the next episode are largely gone, with people finding it hard to resist watching multiple episodes around the house or on the move.

    “But live television still has a special draw, and the power to bring the whole family together in a common experience.”

    Sharenting – a modern dilemma

    This year’s Communications Market Report also examines our online habits – looking particularly at the sharing of images, and wide differences in people’s approach to online privacy.

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    It reveals that more than half (56 per cent) of parents don’t indulge in ‘sharenting’, the common practice of sharing pictures of children on social media. Among those who do not share, the main reason (87 per cent) is a wish to keep their children’s lives private.

    In contrast, 42 per cent of parents do share photos of their children, and half of these share photos at least once a month.

    Of those parents who do share photos, just over half (52 per cent) say their children are happy for them to do so, and eight in ten (84 per cent) say they only share photos or videos their children would be happy with. A large majority (85 per cent) of these parents say they are careful about who can access the material.

    Privacy know-how

    Understanding the privacy implications of sharing images is a critical media literacy skill, and some people are aware that, once they post an image, they no longer have control over it.

    Half of people understand that an uploaded photo is difficult to delete because it may have been shared or saved by someone else, but 17 per cent think it is easy to delete, and a further 16 per cent didn’t know.

    Older people are far less confident about using privacy settings than younger internet users. The large majority (81 per cent) of 18-24s feel comfortable changing settings, but this falls to 37 per cent of over-55s.

    70 per cent of people do not think that it is OK to share a photograph or video of other people without their permission. 36 per cent strongly agree that personal photographs should only be shared with friends and followers

    Most people are aware of other people’s privacy, with seven in ten (70 per cent) saying they wouldn’t share photos of other people without their permission, and three-quarters saying that personal images should only be shared with friends or followers.

    And six in ten (62 per cent) people who post photos of themselves (‘selfies’) say they have ‘untagged’ themselves from someone else’s photos or videos of them.

    Younger people are more relaxed about sharing photos. Almost two in ten (18 per cent) people aged 18-24 don’t mind sharing with everyone, compared to just 5 per cent of people over 35.

    The power of self-image

    More than a third (34 per cent) of those aged 18-24 say the pictures they post and share most often are selfies – more so than landscapes/buildings (32 per cent) and holidays (31 per cent).

    But among the wider population, holidays are still the most popular online snaps (24 per cent).

    People who post/share photos online like to post/share holiday images the most (24 per cent)

    Most selfie-takers (71 per cent) say it’s important to look their best in photos, and nearly half (47 per cent) feel pressure to look good online. This is more common among young people aged 18-24 (77 per cent), and significantly more so among women (82 per cent) than men (58 per cent).

    Almost three-quarters (74 per cent) are cynical about the photos that other people post. Seven in ten say other people’s photos offer a ‘rose-tinted’ view of that person, or make their life appear more exciting than it is. This view is strikingly high among younger people – 85 per cent of 18-24s, and 88 per cent of 25-34s, agree with it, compared to only 65 per cent of over-55s.

    Unfortunately, despite knowing that these photos might not be realistic, viewing these photos can have a negative impact. One third (32 per cent) say looking at other people’s photos makes them feel that their life doesn’t match up, rising to more than half (53 per cent) of 18-24s.

  • Ashok Venkatramani joins Chrome Data Analytics & Media

    MUMBAI: Ashok Venkatramani, the former CEO of ABP news Network, has joined Chrome Data Analytics & Media Private Limited as a director in a consulting capacity. He brings with him an experience of over 25 years in sales, marketing and general management roles in the FMCG and broadcasting sectors.

    Chrome DM has been a pioneer for over eight years in broadcast distribution audits and primary media research in India. Over the years, the company has built strengths across big data and primary consumer research & analytics. In his role, he will be working closely with the group’s leadership team.

    Chrome DM has recently launched a new “Consumer & Market Research Services” vertical.

    This business vertical leverages Chrome’s nationwide field force and proprietary technology tools for primary consumer research. Within a short span of six months, it has already bagged accounts of leading brands & a wide spectrum of clients. Venkatramani’s engagement would further strengthen this initiative. While he would be based out of Mumbai, he would be equally involved with the Delhi team.

    “Chrome has witnessed unprecedented growth over the years, and is today an accepted currency for over 600+ TV channels,” said Venkatramani.

    Commenting, Chrome Data Analytics & Media founder & managing director Pankaj Krishna said, “As a young company, Ashok’s years of experience make for the perfect fit for us. He has been the driving force in his previous roles at Unilever and ABP, and we’re looking forward to the value he will add with his inputs.”

  • BARC India now a case study on TV audience data at IIM Calcutta

    MUMBAI: India’s one of the premier management institute IIM Calcutta has developed a a case study on the TV viewership system in India. The case study traces the history of Television Viewership Measurement, leading up to the setting up of Broadcast Audience Research Council (BARC) India.

    The case study is based on an in-depth research done by IIM Calcutta faculty team of professors — Prashant Mishra and Chandradeep (CD) Mitra, which included interviews with former BARC India chairman and ZEEL MD and CEO Punit Goenka, BARC India board member and GroupM CEO South Asia CVL Srinivas, Lodestar UM CEO Shashi Sinha, Marico MD & CEO Saugata Gupta, FCB Ulka Advertising Former ED & CEO Ambi Parameswaran, BARC India CEO Partho Dasgupta, and BARC India CBO Romil Ramgarhia, among other.

    The case study on BARC India is aimed at helping participants of various IIM Calcutta academic programmes, as well as students of other institutes, to hone their concepts learnt in marketing, media, organisational strategy & finance courses based on recent real–life developments in the Indian media industry.

    As a prelude to launch of the case study, BARC India CEO Partho Dasgupta (who is also an IIM Calcutta alumnus), participated in an open house session at the institute to analyse the case study. The discussion was attended by Prof Mishra, professor of marketing at IIM Calcutta; Prof. Chandradeep (CD) Mitra, visiting professor of marketing at IIM Calcutta and the 161 students who have enrolled for the course “Sports, Entertainment & Media Marketing” designed by Prof. Mitra.

    The case study will delve into the unique structure, financing model, state-of-the-art technologies and the multi-vendor construct of BARC India’s TV viewership measurement system, enabling it to become one of the most sophisticated and reliable TV measurement systems in the world.

    “Piloting a case study before its final publication is a format where the protagonist himself meets the students, and the interaction allows the case to be further refined before its final publication. This is an acceptable methodology globally and we are pleased to introduce the same in India,” said Prof. Mitra.

    Prof Mishra added, “BARC India’s success in designing and developing the meters is one of the finest examples of the ‘Make in India’ initiative and we’re extremely pleased to introduce a case on the company in our curriculum.”

    “I had a great time sharing BARC India’s journey with students of IIM Calcutta. Giving them insights about our genesis, our greatest challenges, how we overcame it and what the future holds for us was exciting,” said Partho Dasgupta.

  • Lifestyle genre: Travel XP HD enters & NDTV Good Times exits Top 5 list in Wk 29

    MUMBAI: Zee Café continues to lead the English entertainment genre in BARC India week 29. Travel XP HD has entered Top 5 list and NDTV Good Times exited from the list of Lifestyle genre whereas Food Food and FYI TV18 interchanged their positions at third and fourth positions, respectively.

    English Entertainment

    Zee Cafe has retained its number one position followed by Comedy Central on the second position with 378 Impressions (000s) sum and 318 Impressions (000s) sum, respectively. Star World and Colors Infinity SD with 227 and 224 Impressions (000s) sum sits at third and fourth positions, respectively.

    AXN is at the fifth position with 104 Impressions (000s) sum.

    English movies

    MNX (with its new name) retained the numero uno position in the English movies genre with 3172 Impressions (000s) sum. Movies Now and Star Movies with 2327 and 2119 Impressions (000s) sum at second and third positions, respectively. Sony PIX with 2084 Impressions (000s) sum sits at the fourth position.

    HBO sits at fifth position with 1405 Impressions (000s) sum.

    Infotainment

    History TV 18 has retained it first position with 4383 Impressions (000s) sum. Discovery Channel and Nat Geo Wild with 4107 and 2784 Impressions (000s) sum at second and third positions, respectively. National Geographic and Nat Geo Wild with 2364 and 2194 Impressions (000s) sum sits at the fourth and fifth positions, respectively.

    Lifestyle

    Living Foodz witnessing a slight fall in the rating still leads the genre with a great margin. Fox Life and Food Food took second and third positions, with 1074 and 944 Impressions (000s) sum, respectively. FYI TV18 slipped a slot to the fourth position with 555 Impressions (000s) sum. Travel XP HD made an entry into Top 5 list with 378 Impressions (000s) sum.

  • GEC: SET enters & Sab exits Top 10 as Star & Zee Anmol retain leadership

    MUMBAI: Sony Entertainment Television (SET) entered and Sony Sab dropped out of the Top 10 channels’ list in the Hindi general entertainment genre (rural) space, according to BARC India week 29’s all-India data. Star India retained its reign over Hindi GEC (Urban + Rural) as well as Urban segment whereas Zee Anmol retained its sway over the Hindi GEC (rural) segment.

    In the GEC (Urban) segment, Sony Sab jumped a slot this week from last week’s fourth position whereas Sony Entertainment slipped a slot to the fourth position. In the GEC (urban + rural), Rishtey slipped from last week’s third position to the fourth position this week whereas Zee Anmol climbed from the fourth level to the third position.

    Among the programmes in the Urban+Rural segment, Amul Sa Re Ga Ma Pa Little on Zee TV and Naagin 2 on Rishtey respectively emerged as the first and second top programmes with 11462 and 10508 Impressions sum.

    HINDI GEC

    Star Plus, with a hike in ratings, lead the Hindi GEC genre with 632153 Impressions (000s) sum as compared to 629109 Impressions (000s) sum followed by Zee TV on second spot and recorded 632048 Impressions (000s) sum against 623641 Impressions (000s) sum. Zee Anmol climbed a spot to the third place with a hike in ratings from 544669 Impressions (000s) sum to 612945 Impressions (000s) sum.

    Rishtey slipped a slot to the fourth position with 589493 Impressions (000s) sum and Sony Pal is on the fifth position with 573002 Impressions (000s) sum as compared to 528789 Impressions (000s) sum.

    Colors is on sixth position with 504216 Impressions (000s) sum followed by Sony Entertainment Television, Sony SAB, and Life Ok at seventh, eighth and ninth spots with 399377 Impressions (000s) sum, 389089 Impressions (000s) sum and 366170 Impressions (000s) sum respectively.
    Star Utsav sits on the tenth position with 281863 Impressions (000s) sum.

    Hindi GEC Rural

    Zee Anmol continued to remain at the top position with 480526 Impressions (000s) sum followed by Rishtey with 444059 Impressions (000s) sum at the second position. Sony Pal and Zee TV stood at the third and forth positions with 412847 Impressions (000s) sum and 251876 Impressions (000s) sum, respectively.

    Star Utsav is on the fifth position with 212020 Impressions (000s) sum. Star Plus, Big Magic and Colors grabbed the sixth, seventh and eighth spot with 197047 Impressions (000s) sum, 171172 Impressions (000s) sum and 158368 Impressions (000s) sum, respectively.

    Life OK and Sony Entertainment Television are at the ninth and tenth positions with 130848 Impressions (000s) sum and 110911 Impressions (000s) sum, respectively.

     

    Hindi GEC Urban

    Star Plus led the chart with 429222 Impressions (000s) sum followed by Zee TV with 369689 Impressions (000s) sum.

    Colors sits on the third slot with 345848 Impressions (000s) sum and Sony Entertainment Television bagged the fourth spot with 288465 Impressions (000s) sum. Sony Sab slipped a slot to the fifth position with 284646 Impressions (000s) sum.

    Life Ok and &TV stood on the sixth and the seventh spots with 235322 Impressions (000) sum and 161702 Impressions (000) sum, respectively.

    Sony Pal, Rishtey and Zee Anmol are on the eighth, ninth and tenth positions, respectively, with 160155 Impressions (000s) sum, 145434 Impressions (000s) sum and 132419 Impressions (000s) sum.

  • BARC to host digital measurement roadshows in Delhi, Mumbai & Bengaluru

    MUMBAI: After setting up a robust TV viewership measurement system, BARC India is gearing for a successful launch of EKAM, its digital viewership measurement venture. In keeping with its policy of transparency and inclusivity, BARC India, is hosting a series of multi-city roadshows for members of the digital ecosystem. This is part of the planned rollout of its digital measurement products under the EKAM brand.

    BARC India in the past had conducted four roadshows at several stages before launching its TV viewership measurement service. The aim behind these roadshows is to constantly engage with the stakeholders and understand their needs.

    Themed “EKAM: Unifying Measurement”, this is the first digital roadshow which has been planned to familiarize the industry with EKAM digital measurement products. These roadshows will also provide a platform for exchange of views on industry expectations and how the EKAM suite of products will meet those goals.

    The EKAM roadshows will be held in Delhi, Mumbai and Bengaluru between 31 July and 2 August.

    “We are aware that industry has expectations as well as several questions with regard to digital measurement. Through our direct engagement programs, we will hear them and also use the opportunity to familiarise them with our plans,” said Romil Ramgarhia, CBO, BARC India.

    “Currently, different platforms use different metrics to measure digital viewership. BARC India, being a third-party digital measurement body will bring in uniformity. The roadshows reinforce BARC India’s philosophy of transparency and inclusivity,” added Jamie Kenney, Business Head- Digital, BARC India.

  • Zee TV makes it to second place across genres

    BENGALURU: For the second time in 2017, the Zee Entertainment Enterprises Limited (Zeel) network flagship Hindi GEC Zee TV found itself as the second most watched channel across genres, pushing down Star India’s flagship Hindi GEC Star Plus to third place. The first place across genres, of course, is the sole domain of The Sun TV Network’s flagship Tamil GEC Sun TV, except during the IPL that is. Over the past few weeks, the Hindi GEC and the Hindi GEC (Urban or U) markets have promoted two Zee TV programmes – a reality talent show – Sa Re Ga Ma Pa Little Champs and a Balaji Telefilms family soap Kumkum Bhagya to the top of the weekly top five Hindi GEC programmes list. – NCCS All : Prime Time (1800 – 2330 hrs) : 2+ Individuals.

    One Tamil GEC channel and One Hindi Movies channel, two Telugu GEC channels and six Hindi GEC channels made it to the weekly top 10 channels list across genres of Broadcast Audience Research Council of India (BARC) for week 27 of 2017 (Saturday, 1 July 2017 to Friday, 7 July 2017). Or, putting it across differently, two channels each from the Sun TV, Zeel, Star India, Network 18 and Sony Pictures Network India (SPN) networks made up the weekly top 10 channels across genres list for week 27 of 2017.

    Sun TV occupied its usual unassailable position as leader of the Top 10 channels across genre pack with 1,112.035 million weekly impressions in week 27 – the channel improved its impressions by 2.87 percent over week 26. Zee TV gained a rank to second place with a massive 15.65 percent gain in weekly impressions over week 26 with 686.643 million weekly impressions, followed by Star Plus at third place with 650.601 million weekly impressions (a gain of 0.91 percent over the previous week).

    Network 18’s FTA Hindi GEC Rishtey gained 4.20 percent in ratings and a rank to fourth place with 611.891 million weekly impressions in week 27 as compared to week 26. Zeel’s FTA Hindi GEC lost a rank and 4.79 percent in ratings to come fifth in week 2017 with 564.640 million weekly impressions as compared to the previous week.

    Network 18’s flagship Hindi GEC Colors retained its sixth place in week 27, but lost 4.53 percent ratings as compared to the previous week. The channel garnered 557.186 million weekly impressions. SPN’s Hindi GEC Sony Pal gained a rank to seventh place and 2.81 percent in ratings in week 27 as compared to week 26. Sony Pal scored 549.929 million impressions. SPN’s Hindi Movies channels lost a rank to eighth place and 1.04 percent in ratings with 544.322 million weekly impressions.

    The Sun TV Network’s flagship Telugu GEC Gemini came ninth in week 27, the same rank as week 26, but lost 2.03 percent in ratings with a score of 495.036 million weekly impressions. Star India’s Telugu GEC Star Maa entered the list with 477.390 million weekly impressions to tenth place, while Network 18’s Telugu GEC ETV Telugu exited the top 10 across genres list in week 27 of 2017.

  • Movies continue to dominate TV viewership, ads skewed towards male audience, observes BARC

    NEW DELHI / MUMBAI: Although the saas-bahu trend appeared to be taking over the Indian television about two decades ago, viewers have ultimately come back to the medium they love the most – cinema with song, dance and thrills.

    It is therefore no surprise that feature films aired on television contribute over 28 per cent to the total television viewership. The appeal of Movies is amplified by the fact that the varying content within films ensure that there is something for everyone – right from animations for kids to youth stories and mythological.

    Interestingly, though the movie channels have the largest viewership, general entertainment channels hold 17 per cent of feature film content. However, content availability on GEC channels is mainly driven by regional channels, according to a newsletter by the Broadcast Audience Research Council on ‘Decoding movies on television’.

    Feature films

    Feature Films are aired on nine channel genres. The genre which contributes the maximum content for Feature films is, as expected, Movie channels.  This is followed by GEC channels.

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    The content availability on GEC channels is mainly driven by regional channels. The scenario is similar in the case of Music genre, where the content availability is driven by regional channels.

    On the other hand, regional channels do not have any feature films content on youth and Infotainment. Conversely, HSM channels do not air any feature films on Kids and devotional channels.

    GEC channels dominated by movies

    After movie the channel genre, GEC channels have the maximum share of feature film content, as a composition on terms of channel language shows.

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    If one examines the language split within GEC channels, it is clear that the southern region channels drive the content availability. Even within these, Tamil and Telugu language channels have a substantial lead over the others.

    Interestingly, the south market is less fragmented that HSM. Over 90 per cent of the viewership is concentrated in only three genres – Movies, GEC and Kids.

    The differing viewership in HSM and South can also be explained by content availability.

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    Regional channels have higher content available on GEC and music channels. Additionally, unlike HSM which has no content in the kids genre, regional channels havefeature film content on kids genre.

    This also reflects in the viewership data, where the South has a higher share for GEC, Kids and music genre as compared to HSM. On a zonal level, eastern and western states see a higher preference for viewership of dubbed content.

    Audiences for movies in southern market are spread across movies, GEC and kids genre channels. However, in HSM it is heavily skewed towards movies.

    Feature films aimed at the young

    As compared to total TV viewership, audience for the feature films is skewed towards young (15 to 30 years) male audiences, especially from lower social grades(NCCS CDE), the BARC study shows.

    At an All India level, movie audiences are skewed towards males, the age group of 15 to 30 years and for NCCS C, D/E, as compared to Total TV viewership.

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    Viewership of feature films is skewed to female only in case of two genres – GEC and devotional.

    Thus movie channels have the maximum contribution to viewership of feature films, followed by GEC channels. It is interesting to note that the pattern across genres is in linewith the content availability shown previously, the study says.

    The only exceptions are kids genre and youth genre, where the performance is better vis-à-vis the content availability. This could be the result of these being targeted atspecific age-groups among which they have extremely high viewership.

    Feature films on kids channels have substantial co-viewership driven by parents (22 to 40 years). Movie themed content is more effective on youth genre channels thanany other genre in attracting audiences from all social grades.

    Viewership across genres is in line with content availability across genres.

    Holidays lead to greater viewership of movies

    Extended weekends with public holidays/festivals generate better viewership than mid-week holidays.

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    All the spikes (high viewership points) in 2016 have occurred due to some public holiday.

    The biggest peak in the year occurred on Independence Day (15-August) followed by Dussehra (11-October), Ganesh Chaturthi (5-September) and Pongal/Sankranti (15-January).

    With the exception of Dussehra, all the other top holidays were either on a Monday or a Friday. This shows that while public holidays lead to a spike in viewership, the ones that fall on a long weekend show a bigger spike.

    These spikes are further compounded due to special programming – the airing of a world television premiere or popular movies.

    Advertising skewed towards male audience

    Though Movies are skew towards male audience, advertising categories such as Food & Beverages, Personal care/Hygiene perform much better than Durables, Telecom products, etc.

    This indicates the perception of male consumers increasing for female oriented advertising categories, the study shows.

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  • BARC India releases policy governing intentional watermark switch-off

    MUMBAI: BARC India has updated its policy governing intentional watermark switch-off by a subscriber. This policy, it stated, supersedes all other policies pertaining to intentional watermark switch-off by a subscriber.

    Any missing watermark for a duration greater than 12 hours, which cannot be resolved by the subscriber, would be treated as a case of intentional switch-off. In such cases, BARC India’s Technical Team would establish the same and report such cases to the Management.

    The Management would certify the incidence to be a case of intentional switch-off, and report the same to the chairman and the CEO of BARC India.

    The chairman and the CEO would then jointly decide to proceed with a response from BARC India. The response to such incidence is outlined below:

    • BMW data of the channel(s) for which the watermark has been switched off will not be released at any point for the period when the watermark is missing.

    • Subscriber login for the network would be deactivated from the moment intentional switch-off has been established

    • Once the watermark is switched on, both BMW data for the channel and subscriber login for the network would not be available for a further period of six months.

  • Mastiii retains lead, MTV Beats HD enters chart

    MUMBAI: In week 26 of Broadcast Audience Research Council (BARC), all India (U+R) did not see significant changes in the chart. Mastiii being the champ, witnessed increase in numbers from 158171 Impressions (‘000s) to 161622 Impressions (‘000s) and stayed in the lead.

    Last week’s second place holder 9XM maintained its position with increase in numbers from 110258 Impressions (‘000s) to 115710 Impressions (‘000s) in week 26.

    B4U Music got pushed back to the fourth position with 85383 Impressions (‘000s), whereas, Sony MIX climbed up the chart with 94798 Impressions (‘000s), positioned at the third position in week 26.

    For detailed report, read here:

    BARC Week 26: Mastiii continues to be at the top; MTV Beats HD enters chart