Category: Viewership

  • Barc Wk 10′ 23: Sun TV retains top in all India market

    Mumbai : Broadcast Audience Research Council (Barc) India has released currency data for the tenth week, i.e. 4 March to 10 March 2023. As per data for the all India 2+ target group, Sun TV is the most watched channel in India with an average minute audience (AMA) of 2459.34(000). It was followed by Star Plus at 2453.22 (000) AMA, Star Maa at 2382.97(000) AMA, Dangal at 2200.14(000) AMA, and Goldmines at 1845.77 (000) AMA.

    The average minute audience (AMA) is defined as the number of individuals within a target audience who viewed a televised “event,” averaged across minutes. In the Hindi speaking market (HSM), Star Plus emerged as the most watched channel at 2366.45(000) AMA, followed by Dangal at 2193.03(000) AMA, Goldmines at 1819.52(000) AMA,  Sony Sab at 1616.5(000) AMA and Star Pravah at 1583.58(000) AMA.

    In the South market, Sun TV was the most watched channel at 2435.39(000) AMA, followed by Star Maa at 2314.62(000) AMA,  Zee Telugu at 1627.66(000) AMA, Zee Kannada at 1369.14 (000) AMA and 

    Star Vijay at 1359.85(000) AMA 

    In the Maharashtra/Goa market, Star Pravah was the most watched channel at 1569.31(000) AMA , followed by Colors Marathi at 428.73 (000) AMA, Zee Marathi at 414.34(000) AMA,  Sony Sab at 412.73(000) AMA and Star Plus at 339.21(000) AMA.

    In the West Bengal market, Star Jalsha was the most watched channel with 908.29(000) AMA, followed by Zee Bangla at 864.21(000) AMA, Jalsha Movies at 193.94(000) AMA, Colors Bangla at146.78(000) AMA and Sony Aath at124.91(000)  AMA,

    In the megacities market, including Mumbai, New Delhi, Kolkata, Bengaluru and Chennai, Sun TV was the most watched channel at 411.79(000) AMA followed by Star Plus at 399.1(000) AMA, Colors at 315.34(000) AMA, Sony Sab at303.9(000) AMA and Star Pravah at284.31(000) AMA 

  • 21 per cent ad volume growth for FMCG on TV : TAM AdEx report

    Mumbai : TAM India has released its report on  Advertising in FMCG Sector in 2022. According to report, 21 per cent ad volume growth for FMCG on television in 2022 over 2020 compared to the first quarter of 2022, Q3 and Q4 witnessed five per cent and nine per cent increase in ad volumes.

    Five out of the top ten categories constitutes food & beverages brands. GEC (36 per cent) was the most popular channel genre in 2022, followed by movies (24 per cent).

    Television ad volumes had the highest share during October 22, whereas February 2022 saw the lowest advertising in  2022.

    Top ten advertisers accounted for 59 per cent share of ad volumes in  2022 with Reckitt Benckiser leading the list.  Top ten brands accounted for 14 per cent share of ad volumes in  2022 with Dettol Antiseptic Liquid topping the list.

    Top two channel genres on TV together accounted 60 per cent of ad volumes share for FMCG sector during 2022.  

    Prime Time  highest advertising on TV followed by the afternoon and morning time-bands.  Prime Time, Afternoon & Morning time bands together accounted for 72 per cent share of ad volumes

    Advertisers in the FMCG industry preferred 30- to 40-second TV commercials.  20-40 seconds and  less than  20 seconds ads together covered 98 per cent of shares in 2022.

    Print

    As compared to 2020, both 2021 & 2022 witnessed a hike of 20 per cent and 14 per cent in ad volumes respectively.  As compared to  first Quarter of  2022, Q3 and Q4 witnessed 28 per cent and 16 per cent ad space decline.Out of the top ten Categories,Top ten Brands accounted for 17 per cent share of ad space in 2022 with Patanjali Range of Products leading the list

    Top ten brands accounted for 17 per cent share of ad space in  2022 with Patanjali range of products leading the list. Out of the Top ten Categories, seven of them belonged to food & beverages

    Radio

    In 2022, FMCG ad volumes increases by 51 per cent on Radio over 2020  Compare to first quarter of 2022, Q4 witnessed decline of 2 per cent ad volume growth.

    The lowest ad Volume was observed in third quarter. Top ten brands accounted for 32 per cent share of ad volumes in  2022 with Vicco Vajradanti Paste leading the list.

    Digital

    81 per cent ad insertions’ gain for FMCG ads on Radio in  2021 over 2020 Compared to 2020,  2021 saw 2.8 times rise in ad volumes.  Compared to Q1, Q4 witnessed the lowest share of ad volumes.

    On digital, the share of FMCG ad insertions was the lowest in November 2022.  The initial five months of 2022 witnessed double-digit share of ad insertions on digital with April 2022 observing the highest share of ad volumes.

    The top ten categories mainly constitutes Personal Healthcare, Hygiene, Food, and Beverages brands in 2022 on Digital.  

    Top ten advertisers accounted for 37 per cent share of ad insertions in 2022 with L’ Oreal India retaining its first position.

    Top ten brands accounted for 20 per cent share of ad insertions in 2022 with Hear.Com leading the list.

    Programmatic (59 per cent) was the top transaction method for digital advertising of FMCG sector in 2022.  Programmatic and ad network transaction methods together captured 87 per cent share of FMCG ad insertions on digital.

  • ‘Innovation is our central pivot, a culture, and a mindset,’ Goutham Vinjamuri

    ‘Innovation is our central pivot, a culture, and a mindset,’ Goutham Vinjamuri

    Mumbai: Quickplay Media has delivered next-generation OTT solutions for 25+ Tier 1 services, across 50+ markets, for MVPDs, Telcos, and Direct-to-Consumer services. Its cloud-native platform and open architecture deliver performance, extensibility, and scale to meet the needs of customers and their audience. 

    Indiantelevision.com caught up with COO Goutham Vinjamuri. “We sit at the intersection of technology, data, and experiences – continually enabling our clients to deliver against their greatest ambitions” he explains. 

    He is responsible for customer success, platform engineering, service operations, and professional services at Quickplay Media. He most recently was AVP Software Engineering with AT&T Entertainment, where he led OTT & video solution engineering teams in the U.S., Canada, and India.

    Vinjamuri headed professional services for Quickplay, until it was acquired by AT&T. He was Polaris Financial Technologies senior VP of engineering and a Practice Head in North America with Tata Consultancy Services, where he worked across industry verticals. He has an MSc in Computer Science from the National Institute of Technology and BS in Electronics from ANU, India.

    On how the idea of Quickplay came about, and the response to the recent innovations with aha in India

    In the field of premium video streaming services, Quickplay has been at the top of the mind recall in terms of name and brand for two decades. In the Thor movie “Asgard is where Asgardian are.” In OTT, Quickplay is where Quickplayers are. Even after multiple M&A initiatives, by ATT & Firstlight Media, the same core team continues to hold the mantle 

    Innovation is our central pivot, culture, and mindset. As we’ve deployed cutting-edge new capabilities – especially with aha – the market has embraced the power of 4K, Dolby, our unique dynamic storefront, independent personalized containers for users, and more. These and resource-light concepts like Skip Intro, Skip Song, and Free Preview to non-subscribers on premium content have been widely accepted & cloned versions are now mimicked by other OTT providers.

    Take our dynamic storefront, for example it hosts Tamil and Telugu content in a single app, yet makes it appear as two different apps. That’s generated tremendous interest in what aha is doing, especially their ability to use our cloud-native platform to support their “glocal” ambitions. What has been called “aha 2.0” launched in Telugu in November of 2021 in record time – seven months from agreement to launch – and turned up a Tamil service just three months later.  

    We recently introduced a bunch of free games and we will continue to surprise our users with innovations around engagement & features to come in this quarter.

    When aha and Disney+ Hotstar simultaneously aired the Indian blockbuster “Bheemla Nayak” last year, aha 2.0 earned rave reviews for its performance. Viewers tweeted lavish praise for aha’s Dolby 5.1 audio and 4K HD video quality and in an informal online poll more than 62 per cent of viewers selected aha’s telecast as the superior experience. That speaks volumes about out encoding quality.

    Currently, more than 50 million unique users have visited and upwards of 18 million mobile app downloads have been installed. International subscribership has risen by 60 per cent since the launch of aha 2.0, and paid subscribership has increased to nearly two million. We recently worked with aha to introduce a bunch of free games and we will continue to surprise aha viewers with innovations around engagement and features to come. 

    aha 2.0 was a finalist in the CSI Innovation Awards presented annually during IBC, one of the industry’s largestand most important conferences, and its success has enabled Quickplay to generate additional customer launches and interest in the APAC/India market

    On the growth and challenges faced in a cluttered market

    Streaming services have been on a rollercoaster over the past few years. They rode the rocket of consumer adoption during the pandemic, and now are more focused on keeping those subscribers. As subscribers signed up en masse during quarantines, OTT providers’ systems were stressed by years of growth compressed into just a few months. Job One for streaming providers is keeping their services relevant in a market with hundreds of streaming options. Providers need to leverage rich data and analytics to understand how best to meet subscribers’ expectations, and to rapidly deploy new features and capabilities that can enable them to capitalize on emerging opportunities.

    What providers have learned is that their original platforms are not flexible or scalable enough to adapt quickly to the market; they see the value of cloud-native platforms to attract viewers and enable personalization that drives loyalty and monetisation.

    Quickplay’s USP of helping new and existing services launch and scale globally quickly.

    Quickplay uniquely has harnessed the power of cloud-native technologies – including containers, microservices, a service mesh, APIs, and immutable infrastructure – to cut the time to market and effort required to launch new services by up to 50%.  The technology stack provides significantly better performance, a modular approach for feature expansion, continuous delivery for rapid iteration, and built-in scalability, observability and security. 

    Using Quickplay’s cloud-native platform, OTT providers can cut the time needed to launch services to just a few months and can enable new services and features to come to market in days and weeks rather than months and years. That faster time to market means a more agile response to new opportunities that will retain or monetize subscribers. It also enables rapid and cost-effective testing of new features, spurring innovation by reducing the cost of failure and shortening the time to success.

    On what OTT services need to keep in mind to achieve long-term consumer loyalty and value.

    First, we should note that success isn’t a result merely of having great content; emphasis also needs to be placed on the subscriber experience and the overall performance of the streaming service. The ability to stream services to recommend and ease the discovery of content is essential to making the service part of the subscriber’s daily habit. The reality is that many consumers subscribe to a service because of a single show or series; recommendations and data analytics are key to helping them stay engaged once they have exhausted that initial viewing interest. Additionally, having a platform that is able to support the rapid creation and testing of new features can keep the service fresh and maintain engagement.

    On how Quickplay helps OTT platforms boost their content on the cloud and how cloud-based platforms help in lowering the cost for OTT players

    Quickplay’s cloud-native platform is cloud agnostic, so OTT providers can work with their cloud of choice – public cloud, in-country cloud or telco cloud ­– rather than being forced to make a platform decision based on a specific cloud provider. Quickplay is expert at helping customers who were locked into premise-based or hybrid solutions to escape those confines and build fast, flexible services that reduce upfront costs and enable scaling in alignment with subscriber growth. An added benefit is that providers can use their existing cloud spending commitments on the Quickplay platform, enabling greater business efficiency. Quickplay has a superb and recognised track record of working with cloud providers: Google Cloud Industry Solutions Partner of the Year and Microsoft Cloud Partner of the Year finalist.

    On how the acquisition by AT&T in 2016 helped Quickplay Media grow

    AT&T resources enabled Quickplay to further build out its capabilities and helped it establish a reputation for being the go-to platform provider for solving difficult use cases, especially in markets lacking optimal broadband infrastructure. AT&T’s marquee brands also increased Quickplay’s expertise in supporting high-concurrency events. Finally, AT&T resources helped the company conceptualise and implement what would become the streaming industry’s first cloud-centric platform.

    AT&T’s system contributed to taking the platform to new heights with many of the specialty features such as personalized, rich broadcast quality video experiences – a natural fit for many of the TIer 1 service providers  Quickplay’s prowess was fully scaled onto a multitude of platforms and leveraged the full potential of Quickplay’s IP thus developed across the services. Our platform capabilities, coupled with clients’ content, now are advancing the user experience and creating new monetisation opportunities for Quickplay clients.

    On how ML, AI enhance the content performance of an OTT platform

    Studies say that 57 per cent of the Indian market has access to at least one streaming service and it is important to understand the viewer’s interest and recommend the right content at the right time with personalized suggestions. Quickplay’s AI/ML based solution helps the customer to increase the content reach & subscribers engagement through:

    • AI-powered content metadata – In the SVOD (Subscription Video On-Demand) business, ~20 per cent of the content catalog contributes to 80% of total watch time. Quickplay’s AI-powered content metadata discovers the micro genres and plot keywords by analyzing the video scenes and the closed-captions available within the content. This helps us to engage the subscriber with granular content discovery experience.
    • Hyper-Personalized Recommendation Engine – 80 per cent of the playback comes from the top 4 carousels of the home screen. We consider the subscriber’s behavioral data, watch pattern along with AI powered content metadata to generate hyper-personalized content recommendations like  “You May Like This,” “Because You Watched,” and “Recommended For You” suggestions to help improve the viewer experience and content discoverability
    • Beyond content recommendations, the Quickplay platform adopts and develops multiple algorithms and models for measuring subscriber engagement, propensity to subscribe/winback, churn predictions, and personalised ads to model customer behaviour and create cohorts for targeted marketing and acquisitions.  

    Quickplay’s Advanced Analytics Dashboard provides a 360-degree view on business insights covering engagement, campaign performance, regions to target, subscription trend, survival curve and much more.

    On how OTT allows for a more immersive experience when it comes to sports content

    Sports television has been locked in a one-to-many television paradigm for decades. But the reality is the sports audience itself is changing, and sports content needs to change with it. Instead of an audience that overwhelmingly watches games from end to end, we’ve seen the emergence of new groups, including those fans who simply want to watch highlights of games and others who are more interested in the personalities involved. OTT’s ability to offer a one-to-one experience – particularly when cloud-native platforms are used – enables telecasts to be tailored to each viewer.

    Full games, highlights, features, different camera angles, different commentary, interactive overlays, and more are all possible, enabling fans to be engaged on their terms. Data analytics can sharpen the fan experience by alerting viewers to statistics, overlays, highlights and other features as they become available. Social viewing allows cohorts of fans in diverse locations to share their viewing experiences with one another. Gamification takes interactivity to new levels and sets the stage for sports betting on the TV by allowing fans to predict what will happen on the next throw, the next swing, or the next shot on goal, and to compare their prognostication with others viewing the same event.

    On insights into some of the recent work by Quickplay

    One of the most remarkable things about the Quickplay platform has been its ability to be the foundation for an incredibly diverse set of applications. Here are a few: The “glocal” approach adopted with aha 2.0 Telugu and Tamil services in India is just one way the platform’s versatility is being leveraged. In the Philippines, PLDT’s wireless subsidiary Smart Communications Inc. has used the platform to create differentiated video experiences and new cutting-edge capabilities without the cost and complexity of maintaining separate, distinct systems. Cignal TV, a subsidiary of PLDT Group’s MediaQuest Holdings media partner, has leveraged the flexibility, agility, and scalability advantages of the Quickplay platform to significantly improve streaming quality, navigation and discovery, and control for viewers of the service’s rich library of on-demand and linear programming. Rogers Sports & Media’s Sportsnet in Canada has used the platform to transform its SN NOW direct to consumer service, combining the flexibility and scalability of the cloud with the quality and high performance of broadcast. And Allen Media Group in the United States has teamed with Quickplay to launch a wave of FAST – ad-supported virtual linear – channels that can be personalized to the interests of each subscriber.

    On why cloud-native architecture will be the key to the future success of OTT players

    As we said earlier, the rapid boom in subscriber growth taught the OTT industry the limitations of premise-based or cloud-adapted platforms. The flexibility to add new features – and to do so quickly and at scale – is essential to OTT’s ability to stay ahead of subscriber growth and behavior. Rather than waiting months to implement a new feature or to implement a monetization strategy or needing to make a costly investment in new resources to address customer growth, streaming providers need to be able to react nimbly and cost-effectively to the market. That can only happen in a cloud-native environment.

    On how 5G will give OTT a boost in India

    Over-the-top (OTT) video streaming, online gaming, augmented reality, and digital commerce are expected to drive data usage, and this would also push the growth and expansion of OTT services. 

    High bandwidth such as that provided by 5G leads to enhanced and engaging user experiences offering personalization at scale through recommendation engines with data and analytics insights to drive content and business intelligence. Engagement features would be a new normal in the OTT apps and include specialty features such as:  multi-video views in which multiple live streams can be displayed in a tile view; timeline markers; picture-in-picture; interactive graphical overlays for polls, trivias, and social chats; social viewing; and real-time video-synchronization including gaming and augmented reality. The possibilities are immense for OTT platforms to reinvent themselves for delivering hyper-personalized content, morphing the user experience to accommodate taste and consumption patterns of different cohorts.

    On trends being seen when it comes to FAST penetration and consumption and monetisation potential

    FAST – or Free, Ad-Supported Television – is the “front porch” of OTT.  In the U.S. market alone, nScreen Media estimates that FAST will grow to 216 million monthly active users and $4.1 billion in revenue in 2023. For subscribers who are intimidated by the myriad of OTT programming choices, FAST provides a stress free way to view content that otherwise might not be viewed. For providers of SVOD – Subscription Video On Demand – services, FAST can be used to expand the value of content libraries by promoting discovery of longtail content that may be less obvious to viewers.

    On the work being done with Google to boost CTV monetization

    As Google Cloud’s Media and Entertainment Industry Partner of the Year, Quickplay has worked closely with Google on streaming innovation. Following up on an announcement at the huge NAB industry conference last year, Quickplay announced collaboration in three areas:

    • Personalised FAST channels running on Google Cloud and ready for scalable CTV monetization via pre-integration with Google Ad Manager across client, and server side environments.
    • Analytics dashboards built on a proprietary, unified data model, bringing together user engagement, content performance, and quality of experience metrics to help drive the business. Leveraging the Quickplay analytics platform, built on top of Google BigQuery and Looker, media companies can identify and target users at risk of churn to improve retention and identify new revenue opportunities.
    • Linear streaming through HLS and DASH on Google Cloud Media CDN, with an early version of low latency streaming using the LL-DASH protocol.

    Quickplay also has pre-integrated Google Ad Manager’s digital ad management capabilities into our next-generation OTT streaming platform to expedite monetization by bringing together the diverse ecosystems of streaming providers, CTV platform owners and advertisers. The integration covers both client-side and server-side ad insertion use cases for HLS and DASH delivery protocols. This means that Quickplay can power providers’ AVOD, linear and FAST services, using the same backend platform, across all CTV platforms, thereby improving efficiency; that Quickplay’s personalization capabilities can enable better, more intelligent experiences that engage audiences with relevant content and advertising, including personalise FAST channels; and that current and prospective CTV partners can utilize Google Ad Manager to power monetization by tapping into diverse content sources supported on Quickplay’s platform with our pre-integrated solution

    On how a holistic approach helps in speedy delivery and management

    To better understand the diverse consumers aha was targeting, Quickplay embarked on creating a customer focus group. By gathering direct feedback from various diverse users and cohort groups, Quickplay gathered valuable insights, quantitative and qualitative data about the desired content options, user experience, motivations for using the service, monetization, and pricing tiers, and the features and capabilities valued most. 

    This exercise served as the initial foundation to develop and design a unique and highly personalised 100 per cent local streaming service. As with other customer engagements, Quickplay’s OTT platform was selected as the end-to-end solution of Quickplay’s video orchestration, content management, dynamic broadcast ad replacement, data and analytics, and publishing platform, together with billing and subscriber management services provided by Evergent, and front end app development by using reference framework of Quickplay . 

  • Disney star network launches Star Gold Thrills and Star Gold Romance

    Under the Star Gold Network, Disney Star Network has announced the launch of two new Hindi movie channels, Star Gold Thrills and Star Gold Romance. The new channels will cater to a wide range of audiences and provide high-quality content across genres. 

    Star Gold Thrills and Star Gold Romance will be available for subscription on cable networks, HITS, IPTV, and DTH platforms beginning 15 March 15.

    Disney star network entertainment channels head Kevin Vaz said ,”With the launch of Star Gold Thrills and Star Gold Romance, we now have a bouquet of five Hindi movie channels under the Star Gold brand umbrella, elevating Star Gold from a movie channel to a unified network of movie channels. Audiences today have a high interest in blockbuster movies from around the world, but language remains a barrier for many. Research highlights that 68% of TV-Movie audience expressed their preference for watching Hollywood movies in Hindi and we are happy to break the language barrier and present movies that our audiences want to watch with Star Gold Thrills,” 

    “Female viewers consistently show a higher affinity for Hindi movies led by romance & drama, however there is not a single movies destination that caters to female audiences on TV. In fact, 98% of female TV-movie viewers would prefer a new Hindi movie channel dedicated to love and romance, and this makes Star Gold Romance a strong proposition,” he added.

    Star Gold Thrills will be India’s only 24×7 Hindi movie channel dedicated to high-octane action and will be an ultimate adrenaline driver with a diverse range of movie genres, including action, adventure-fantasy, thrillers, sci-fi movies, and the biggest franchises, including the best of Marvel and DC, Mission Impossible, Godzilla, X-Men, Transformers, Die Hard, and Pirates of the Caribbean. For the first time in Hindi, movie titles will be curated from some of the world’s largest studios, including Disney, Twentieth Century Studios, Warner Bros, Sony, and Paramount. Star Gold Thrills will now have the most extensive library of international content of any TV channel. With the legendary brand Thums Up as a Channel Partner, the Star Gold Thrills launch promotions are sure to get people excited.

    Star Gold Romance will be the TV destination for fans of love and romance in films, showcasing iconic titles as well as modern hits from Bollywood, South cinema, and Hollywood. From Luka Chuppi to Sita Ramam to Titanic, the channel will also feature some of India’s most iconic and revered film studio – Yash Raj Films – and its most coveted Romantic films.

    Speaking on the launch of Star Gold Romance, Yash Raj Films CEO Akshaye Widhani said, “In India, the idea of love & romance is formed through the magical lens of cinema! And, for more than five decades, YRF movies have captivated India and Indians who have discovered various shades of love & also expressed and celebrated it in their relationships. Our iconic characters from timeless hits like Chandni, Dilwale Dulhania Le Jayenge, Mohabbatein, Dil To Pagal Hai, Rab Ne Bana Di Jodi, Kabhi Kabhie, etc. continue to spread joy among generations of fans. We are delighted that some of our cult blockbusters will now have a new home in – Star Gold Romance – India’s New destination on TV for Love, Warmth & Romance.”

    Television is still the most popular form of entertainment for 900 million people in India. The ability of television to deliver quality content to homes, bringing friends and families together, has always been its greatest strength. Disney Star continues to provide high-quality content for families to sit back and enjoy togetherness with newer channels such as Star Gold Thrills and Star Gold Romance.

  • PM Modi to address India Today Conclave 2023

    Mumbai: The 20 edition of the India Today Conclave is scheduled to be held in New Delhi on the 17 and18 March.

    Prime minister Narendra Modi will address the Conclave.

    The Conclave will also see an eclectic mix of luminaries participating in the two day Conclave.

  • Barc Wk 9′ 23: Sun TV tops in all India market

    Mumbai : Broadcast Audience Research Council (Barc) India has released currency data for the ninth week, i.e. 25 February to 3 March 2023. As per data for the all India 2+ target group, Sun TV is the most watched channel in India with an average minute audience (AMA) of 2460.03(000). It was followed by Star Plus at 2428.06 (000) AMA, Dangal at 2345.78(000) AMA, Star Maa at 2250.27(000) AMA and Goldmines at 1975.83 (000) AMA

     

    The average minute audience (AMA) is defined as the number of individuals within a target audience who viewed a televised “event,” averaged across minutes. In the Hindi speaking market (HSM), Star Plus emerged as the most watched channel at 2347.71(000) AMA, followed by Dangal at 2340.23(000) AMA, Goldmines at 1951.65(000) AMA and Star Pravah at 1617.14(000) AMA and Sony Sab at 1528.13(000) AMA,

    In the South market, Sun TV was the most watched channel at 2441.22(000) AMA, followed by Star Maa at 2185.2(000) AMA,  Zee Telugu at 1619.72(000) AMA,  Star Vijay at 1327.54(000) AMA and Zee Kannada at 1324.08(000) AMA

     

    In the Maharashtra/Goa market, Star Pravah was the most watched channel at 1603.44(000) AMA , followed by Colors Marathi at 497.7(000) AMA, Zee Marathi at 449.03(000) AMA,  Sony Sab at 402.2(000) AMA and Goldmines at 340.65(000) AMA.

    In the West Bengal market, Star Jalsha was the most watched channel with 983.94(000) AMA, followed by Zee Bangla at 900.39(000) AMA, Jalsha Movies at 189.86(000) AMA, Colors Bangla at 139.68(000) AMA and Sony Aath at 132.73(000)  AMA,

    In the megacities market, including Mumbai, New Delhi, Kolkata, Bengaluru and Chennai, Sun TV was the most watched channel at 414.45(000) AMA followed by Star Plus at 395.11(000) AMA, Colors at 330.76(000) AMA, Star Pravah at 290.3(000) AMA and Sony Sab at 287.29(000) AMA.

  • In urban India young fans appreciate both cricket and football, so it’s never football or cricket, its cricket and football: Jose Antonio Cachaza

    Mumbai: LaLiga has begun 2023 by reaching a milestone with LaLiga Grassroots, the initiative under which it brings together the know-how, experience and projects to promote grassroots football all over the world. The project has developed more than 640 permanent and temporary projects in 48 countries including India.

    In India, The LaLiga Football Schools (LLFS) project that was initiated in 2018 in partnership with ‘India On Track’’ has grown its impact to 10,000+ students in the country. The program is developed and administered by UEFA pro-licensed coaches from Spain and continues to provide local talent an access to global football methodology and technical training for students aged between 9 to 15 years. Furthermore, the program also develops football coaches and administrators, through international exchange of knowledge. This in turn helps in the holistic development of the players in line with LaLiga methodology encompassing 4 key areas: Tactical-cognitive, technical-coordinative, physical-conditional, and psycho-socio-affective.

    Recently announcing the new LLFS ‘Development Program’, LLFS will continue to broaden the scope of its operation in India providing elite under 13 & under 15 players with advance training and competitive game time in the MDFA 2nd Division League and other official competitions. Along with the setting up of a ‘Goalkeeper School’, the commencement of the ‘West India Cup’ & a roadmap to set up India’s first ‘Development Centre’ the vision continues to be facilitators for growth of Indian talent. The project started as a pro bono cooperation with national associations and has become a self-sustained business unit providing top-quality coaching in 48 countries. In India, LaLiga has opened schools and is working independently from sports authorities but maintains good relationships with them. The sports scenario in India is changing, and while cricket remains dominant, younger fans in urban areas are appreciating football more. LaLiga sees the growth of Indian football as beneficial for the entire ecosystem and hopes to convince brands to invest more in other sports besides cricket.

    Indiantelevision.com caught up with Jose Antonio Cachaza, LaLiga India Managing Director on the grass root initiative, the growth of football in India and much more…….

    On the grass root project globally

    Well, it’s a project that comes directly from our international strategy. It started like six years back with a kind of loose idea of bringing to the rest of the world our way of understanding football, our way of coaching way football. So that’s the origin and in the beginning, it started pro bono with national associations here and there. Little by little it started becoming a business unit, that doesn’t look for profits but has become self-sustained, giving good top-quality coaching at different levels in 48 countries. It’s directed by UEFA pro coaches with a lot of experience and it’s been quite a successful project because it also helped us to connect with the funds and improve our brand qualities in the countries where we do these projects. 

    And also the way give you opportunities for training. In Spain they’re both paid and also there are some scholarships. 

    On the grassroots initiatives India. 

    Presently we don’t have any ties up. This is a private approach. We have a very good relationship with everybody from ISL to AIFF. I am blessed to meet the new president, Kalyan Chaubey, who has great ideas to develop the sport and Shaji Prabakaran and I know him almost from the first day I came to India. We have a very good relationship with everybody, but our line of work is pretty much independent of them. And with the government of India, we don’t have that much of a relationship. 

    Yes, with football authorities with whom we have a great relationship and be ready to help them, as we do know, with small things like helping them solve problems when they want to be in Spain. So, a great relationship, but this line of work is independent in the organizational part. Another different story is as we said before; we are trying to contribute by not just training players but also participating in the federation competitions. 

    On the LaLiga schools in Maharashtra, going forward in 2023 are you planning to open such schools across India? 

    I think we have on line seven new schools to be opened in the next two months. Just need to understand that in 2020, because of the covid, it slowed down, we are now doing it slowly, and the growth will happen gradually that’s the idea. We are working on it and opening a school in Tamil Nadu and that is a new market. 

    We are in conversations with other states. It is impossible to do it alone and in India, you need to rely on local talent and local partners. 

    On partnering with brands

    No. Usually, big brands have their ventures. If you’re thinking of sponsorships, what they look for is big ROI. So they can team with LaLiga as a whole, but not with these initiatives, which in the end is a small project. We are in conversations with one of the top Indian sponsors for sponsoring these best student trips to Spain. We were close and then COVID came. So this is one of the issues that we need to re-look into. 

    On your Vision for 2023 and how has the sports picture changed India in the past few years

    It has been quite a huge pressure in the market. What with the IPL rights and huge monies riding on it? Then you have this creation of cricket leagues in other countries, but, quite a lot in terms of business, depending on the Indian market. There is a big question mark. Are the broadcasters putting all the eggs in the cricket basket? Is there room for anybody else? It’s a huge question mark. 

    So I know that from the other perspective the good thing for us and we are not in a rush. You have to be patient in India to keep growing. I think on the one hand we are with the right partner right now, which is Viacom 18 team. We have good partners with the agencies that we are working with from Indian Track, MSL and Rise worldwide. Of course, the big picture is clear Cricket gets 85% of the brand spends. We are doing some research which shows that at least in urban India young fans appreciate both cricket and football. 

    Urban India in terms of numbers is just a part of the whole market, but in terms of business future, it’s a quite relevant one. So I think football will keep gaining space in the Indian sports landscape and there is a strong loyalty. ISL, gets consolidated and fans start looking at it and it is necessary for the health of the football ecosystem. I always say this we are very interested in ISL consolidating because the growth of ISL implies the growth of football funding in India and that’s good for us. We’ll be always foreigners. It doesn’t matter if we are the number two or the number one. Depends on how you look at it, in terms of money, we’re number two. 

    In terms of football, we say we are number one in the world. We need the football fan base to grow in India and not to fight against crickets. That’s also why we have this relationship with Rohit Sharma; this is to tell cricket fans, you can love football as well. So it’s never football or cricket, its cricket and football. That’s our approach, I mean sports lobbying is not monogamous, it’s quite polygamous but the money is what we need to fight and convince brands to invest a lot in other sports too. 

  • TV9 Network ropes in Panini Anand and Ajith Vijay Kumar in its digital team

    Mumbai : TV9 Network has expanded its editorial capabilities in the digital space. With two senior-level hires, TV9 Digital’s digital proposition is set to gain a competitive advantage as it embarks on a massive expansion plan.

    Panini Anand from India Today joined TV9 Network’s digital editorial leadership team. Times Now Digital’s Ajith Vijay Kumar also joined the team.

    As the new Group Editor of Digital, HSM Properties, Panini will direct expanded TV9 digital products in other languages like Marathi, Gujarati, Bengali, and Punjabi in addition to concentrating on www.tv9hindi.com. As senior Executive Editor, Ajith will be in charge of the English version of www.news9live.com.

    Ajith Vijay Kumar will be in charge of the English text digital platform, while Panini Anand will lead the Hindi offering together with other regional digital text assets, including proposed launches in this area. Ajith Vijay Kumar was a senior News Editor at Times Now Digital, while Panini Anand was previously the Executive Editor of Aaj Tak Digital.

    Panini brings a plethora of editing expertise to his new position thanks to his 20 years of experience covering social and political movements. He has held positions with respected media companies like Rajya Sabha TV, Outlook Magazine, the BBC, and Rajasthan Patrika.

    In just about three years of operation, the Hindi news site for TV9 Network, tv9hindi.com, has quickly made a name for itself in the extremely competitive market. The website currently intends to assume the top position with a wide range of material including politics, business, education, careers, science, technology, farming, agriculture, entertainment, and viral news.

    The network’s leadership position has been further strengthened by the recent introduction of TV9 Chhattisgarh and Uttar Pradesh Uttarakhand digital channel, which is quickly gaining popularity among the most affluent people throughout the Hindi heartland.

    The English digital service news9live.com focuses on thought-provoking stories from across the world on subjects like the most recent news, politics, defence, money, entertainment, and sports, as well as the newest social media trends, wellness trends, and technological advancements. The platform is currently being redesigned to provide readers with an integrated news experience that has never been available before.

    Ajith Vijay Kumar, a seasoned journalist with around 20 years of expertise in managing digital newsrooms, will serve as the executive producer of News9 Live. Some of India’s largest newsrooms’ digital news ecosystems have been effectively altered by him.

    Commenting on the appointment of the two digital leaders, TV9 Network’s MD & CEO Barun Das said, “TV9 Network has scripted a historical growth in the broadcast space leading to the Network achieving national leadership position. We aim to replicate the success in the digital space as well. We have lined up some out-of-box propositions including News9 Plus and Money9 as part of an aggressive digital growth strategy. We are now ready to embark on our journey for the next big leap.”

    “The current year boasts of a very busy news calendar leading up to the mega news event of 2024 when general elections are due in India. Panini’s valuable editorial experience will further elevate our editorial content. Ajith too is a seasoned induction. There will be further beefing up of our digital firepower,” Barun added. 

    Commenting on his appointment, Panini said, “TV9 Network has disrupted the news television genre beating legacy players. It’s phenomenal broadcast success is also mirrored in its ever-growing digital presence. I am happy to be part of this acclaimed turnaround story driven by the mission to create a new compelling digital experience for the ever demanding and politically alive HSM news aficionado.”  

    “I am elated to join TV9 Network, among the most successful news media companies that has not only bucked the trend but also set a new benchmark. I look forward to some learning and unlearning as News9 Live aims to be a truly distinct English news offering,” said Ajith Vijay Kumar.

  • COLORS and Imperial Blue partners with Wavemaker to launch a campaign for Holi

    Mumbai: COLORS and Imperial Blue, in partnership with Wavemaker India, were back with another campaign for Holi this year. Kicking off the campaign was a light-hearted video which showcased popular stars of the Hindi GEC market along with a host of Marathi stars. 

    The campaign effectively captured the revelry around Holi and built on Imperial Blue’s classic brand tonality. The team reprised their on-going association with Hindi television actors Rubina Dilaik, Karan Kundra, Prateek Sehajpal, Nishant Bhat and Marathi celebrities Jay Dhudhane, Meenal Shah, Vikas Patil and Vishal Nikam. Further amplifying the glam quotient were special cameos from Reem Shaikh, along with Amruta Dhongade, a former finalist of Bigg Boss Marathi. The dazzling duo of divas joined the gang and played integral parts in subtly integrating the brand ethos of “Men will be Men”. 

    Commenting on the second year of the campaign, Viacom18 head brand content Vivek Mohan Sharma said, “Our aim when collaborating with a brand is to create incremental value not only throughout the year but year on year as well. We focus on the intent and build brand image and visibility most relevant to the ethos of the brand. For Imperial Blue we have tapped into the festival landscape and positioned the brand where it owns the space with the narrative of youthful, wholesome fun. This is the second consecutive year we’re partnering with them for Holi and continue to build the brand story with a content-backed, targeted strategy which maximises the impact and engagement with consumers.”

    Talking about the association, Pernod Ricard India Ishwinder Singh said, “Imperial Blue celebrates the lighter side of a man’s life. Holi, the festival of colours, brings alive the free spirited fun while being a great occasion for conviviality. This festival lends us an opportunity to bring forth a light hearted take inspired by our unique and consistent focus on encouraging our consumers to embrace life with a smile. Our partnership with Viacom has helped us create interesting ways of engaging around the key festivals and occasions.” 

    Wavemaker India cheif client officer & office head North & East Mansi Datta said, “As Holi is synonymous with fun and mischief, collaborating with both powerful brands is a sure-fire way to spread the brand’s message. At Wavemaker, we are proud of this successful collaboration running for the fourth association in a row. We believe the campaign will reach people on a broad range of platforms and resonate with them.”

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  • ZEE Ganga brings regions popular folktale on screen – Tikuli : Suhagin Ya Abhagin

    Mumbai:  Redefining Bhojpuri content in India, Zee Ganga, a GEC channel by Zee Entertainment Enterprises Limited, is all set to roll out its latest original family entertainment series- “Tikuli-Suhagin Ya Abhagin”. As the only channel in the Bhojpuri category to cater original Bhojpuri shows, Zee Ganga brings a first of its kind curated storyline that promises to captivate audiences from the pilot episode. The show will premiere on 14 March at 8:30 PM primetime.

    Following the phenomenal success of the Bhojpuri show ‘Acharva Chhathi Maayi Ke,’ the channel brings another curated offering inspired by one of the most popular folktales from Bihar’s Darbhanga region. The show is centred around the village of Nehra (Madhubani, Bihar), the only place in India with people’s kitchens facing the South direction, purposefully defying Vastu Shastra as they were blessed by a Chudail as per the popular folktale which is still revered in the region. The story revolves around a family who discovers their bahu (daughter-in-law) to be a Chudail (witch) and her special boons which benefit not only the family but the entire village as well. Tikuli, inspired this popular folktale, creates a journey where The conflict arises as to how she will survive in society, within her own family, and with her husband where labelling is done easily, and the real positive character is not given a chance to thrive.  The show captures the journey of how a bahu (daughter-in-law) becomes a beti (daughter) and depicts every woman’s struggle with stereotyped gender-biased tagging in her daily life. The core values and takeaways of the story will be emotions, love, uniqueness, and curiosity, making it an engaging watch for viewers.

    ZEEL chief cluster officer east Samrat Ghosh said, “We are excited to bring ‘Tikuli’ to our audience, and with the launch of ‘Tikuli’, Zee Ganga is yet again taking a step forward in bringing the best of Bhojpuri entertainment to our viewers. This unique and refreshing family drama is not just a show, but a journey of emotions that promises to intrigue audiences from the very first episode. Meenakshi is a character that will stay with you long after the show ends, and we can’t wait for viewers to embark on this unforgettable journey with us.”

    ZEEL Ganga chief channel officer Amarpreet Singh Saini said, “Inspired by one of the most popular folktales from Bihar’s Darbhanga region, ‘Tikuli’ is a perfect blend of tradition and modernity. Through this show, we aim to break stereotypes and depict every woman’s struggle with gender-biased tagging in her daily life, making it an engaging watch for viewers across all age groups and we would want to bring in positivity, determination, hope, and resilience to our audiences. The show has a clutter-breaking storyline, and we are confident that given its high familiarity and relevance in the region, audiences across all demographics will enjoy our narrative through the perspective of our protagonist.”