ITV

Category: Viewership

  • Connected TV is the #1 preference for content especially sports

    Connected TV is the #1 preference for content especially sports

    Mumbai: Anil Wanvari in conversation with Atit Mehta on Connected TV and the preference of brands and consumers.

    On Connected TVs, so what comes to your mind when you when we talk about connected TV 

    It’s good to have this conversation because connected TV and everything this is the hot topic of discussion wherever you go whenever all of us meet this is the topic which we all talk about. The first thing which comes to my mind. When we say connected TV is that something is getting connected so if I have to go and speak to my mom  I’ll tell her that please attach this device, they are all confused that why are you doing that as content is being shown on TV, every content which you want is coming on TV, while the industry at large and all of us understand the meaning this connected TV is something which has become a sort of a parlance a nomenclature in our world but from a consumer perspective there is nothing like a connected TV. 

    It is where how and how much should I pay to get content, whether it’s on connected whether it’s on linear whether it’s on a mobile app or something else it’s more of an availability conversation rather than the technicality of the availability.

    On content which is available to the consumer

    It’s more to view content, a mode of getting more accessibility. When we started it there was zero accessibility, today there are multiple options to access content so this is one of the channels through which one can access content view content. 

    Now people and see once while when you are in a particular market outside of your home market and you tell them what you are doing and then people understand that this person knows something about entertainment, media and there are really inquisitive a set of people and they’re very curious to understand that what is happening should I buy this because somebody told me you pay Rs 2000 for a USB drive which will come attached to your TV. So yes people are now trying to understand and they are asking a question, the right set of questions and then the retail is also pushing it. I don’t see any other see if you’re looking at a four-five ten thousand rupee type of TV probably it might be a non-connected TV but anything about that whether you’re looking at a 24 to 30-inch and upwards everything is connected, so there is a huge amount of retail push happening and they’re also bundling in all the Fire Sticks and the Chromecast when I say it’s coming attached its part of the full package which you get and it’s now getting easily understood it’s also getting adopted and not only in the Metros outside the Metros too.

    On impact properties 

    No, we haven’t seen that level of interactivity and two-way traffic with consumers and it’s also very difficult to measure where it is coming from but from a larger marketing perspective and not only from a lead gen perspective. From a marketing perspective yes there is a set of audiences which have converted there are set of audiences who are experimenting there are set of audiences who want to do it but don’t know how to do it so  it’s a matter of time where at least the understanding is there if the content is getting streamed  seamlessly without any interruption without any buffering or whatever we face on and off and if my data cost irrespective of the household at the end of the day if I know for a fact that if I’m spending a couple of thousand rupees a month on data but by doing all this connectivity  through a mobile device to a television or that and my cost is within acceptable limits it is not like growing 2X and 3X  there will be a very  exponential  growth on this phenomena

    It’s already there it’s already achieved more than the threshold advertisers are interested in reaching out to these consumers our broadcasters are talking about it there is a separate or deal structuring which is becoming possible so it it is working for the ecosystem and over the next year 12-15 months this will see more and more numbers and more and more Brands coming onto it 

    On the explosion 

    At the end of the day there is a hardware cost and there is a software cost hardware is a one-time cost and one Wouldn’t Mind Investing in the hardware which I’m talking about like a fire stick for example then the software cost is going to be a game changer over here and what I mean software over here is your data cost see at the end of the day somebody has to pay for the data and if my data bill monthly data bill is not becoming too much and it is showing me some saving or it is a parity what I pay for my cable connection, the shift would be faster.

    There would be a set of cohort a small set of cohorts which will hold on to the data and will also hold on to the linear connectivity or linear cable  so but if the cost I’m already incurring cost A, now with all this connectivity if my other cost is becoming 2x or 3x then probably will have to do some subsidies I will have to do some optimisation but if it’s within range it will get adopted so that I see might be a the single largest  factor in terms of how quickly connected TVs will become the norm of  entertainment or Norm of consumption

    On Wi-Fi Connectivity

    Too early for that level of connectivity but see it’s already happening now you go to the airport  you can access free Wi-Fi at most of the airports in India  you go to a hotel you’re not staying there but if you’re in that restaurant you can access  so it’s happening in the private environment  where a private establishment is providing that service it’s matter of time that it would start getting available for public at large might be at parks might be at Railway stations might be wherever there is Congregation of  people so  it should happen but that’s something which will take some time because there are a lot of other things which needs to be resolved the the big problem is also about managing those many routers. it’s also the question about how people are not going to   take away those routers how do we prevent theft there’s a lot of other things which will be there but  we are moving in the right direction  from private establishment already providing that  the public  setup will also take place but it’s not something one should  start making plans about it it’s some time away slowly and gradually it will happen

    On Connected TV appealing to all

    This is a natural progression and we have progressed well over if you look at the last two-three decades from where we were and where we have landed ourselves as an industry it’s a phenomenal ride, and we should be all proud of ourselves. As I said new and new things are happening this is a small phenomenon right now and a lot of experimentation will happen.  We’ll have to get into the measurement and I’m not talking about monitoring. Measurement and monitoring are two different aspects, if the measurement Ps start coming in, if the numbers are stacking up and if I’m able to see some amount of returns it is going to grow. 

    It’s also about the price it’s about the price because somebody will be paying for the data, the hardware cost is actually nothing it will all get bundled in, there is the software cost, then the reach, then the brands and the measurement of all these three or four things happen then it’s a repeat cycle. Then it will become a norm, five – seven years ago we always said print, radio, TV and digital five-seven years ago now we say print, radio, TV digital performance, digital YouTube digital etc. but a time will come when we will say linear TV, connected TV, HD and something else so each medium is now having a sub-segment and if that sub-segment is giving you returns.

  • Women power which has redefined Indian entertainment

    The film industry in India has seen a monumental change with women coming in to the industry not only as pretty faces but as thinking women. The industry is seeing an increasing number of women wielding the megaphone, helming production houses, making inroads into male domains, and getting equal representation in board-rooms, story-telling and mass entertainment has undergone a huge shift. On this International Women’s Day, we are profiling  five such powerful clutter-breakers who have imprinted Indian entertainment with courageous originality and freshness.

    Shailja Kejriwal, Alankrita Shrivastava, Gauri Shinde, Zoya Akhtar, and Guneet Monga Alankrita Shrivastava:

    Alankrita Shrivastava’s work demonstrates that women’s stories when narrated by a female auteur have a stunning resonance and power. Her 2017 feature ‘Lipstick Under My Burkha’ gave voice to a diverse cross-section of female protagonists from different age groups and social and economic backgrounds to show that the oppression of women is universal and takes many forms. The film, which is now recognised as one of the most important feminist stories ever told, travelled to over 80 international film festivals and won 18 international awards. Her third film ‘Dolly Kitty Aur Woh Chamakte Sitare’, web-show ‘Bombay Begums’ and her work in 2019’s ‘Made In Heaven’ explored themes of desire, guilt, shame, ambition, and fulfilment through the lens of female characters who have never been seen before on the big or the small screen.  

    Shailja Kejriwal:

    Zee Entertainment Enterprises Ltd CCO special projects Shailja Kejriwal is a pioneering visionary who continues to harness the power of storytelling to celebrate not just diverse streams of culture but the #RiseofWomeninTheatre.  Be it Zindagi, a treasure trove of cross-border entertainment, or Zee Theatre, India’s first major curation and digital archival initiative, Shailja has tirelessly demonstrated that mass entertainment can be meaningful and enriching. Zee Theatre not only preserves the riches of Indian and global theatre for future generations but has also aired international musical blockbusters like ‘The Sound of Music Live!’, ‘Hairspray Live!’, ‘Peter Pan Live!’ and ‘Billy Elliot: The Musical’ in India for the first time. From curating award-winning documentaries like ‘Shut Up Sona’ to producing original teleplays like Gunehgaar, Shadyantra, Yeh Shaadi Nahi Ho Sakti and original shows like Churails, Qatil Haseenaon Ke Naam, Barzakh, Shailja’s focus on women and their stories remains unwavering.

    Gauri Shinde:

    Gauri Shinde’s sensitive, empathetic gaze depicts the vulnerabilities and unexpressed emotions of women in her delicately nuanced films like ‘English Vinglish’ and ‘Dear Zindagi’. While the former depicted Sridevi, the biggest superstar of her generation as a self-effacing, under-confident homemaker, the latter explored the angst of a young girl who has been labelled as the proverbial ‘black-sheep’ of her family and finally gets therapy to deal with her pain. The film made much-needed observations on self-love and mental health. Gauri engaged with gender questions even as an ad filmmaker and in 2004, made Y Not?, a short which was about the nation’s preoccupation with a boy-child. She also created the ‘ShareTheLoad’ campaign with Ariel India and ‘It’s Between You’ for WhatsApp India.

    Zoya Akhtar:

    From her very first film ‘Luck By Chance’ (2009), Zoya Akhtar established herself as a unique and refreshing story-teller with a distinct style of her own. With ‘Zindagi Na Milegi Dobara'(2011) and Dil Dhadakne Do (2015), she joined the category of makers who are critically acclaimed and also capable of delivering blockbusters. In 2015, she along with Reema Kagti founded Tiger Baby Films, and the success of the web series, ‘Made in Heaven’ and the raw and gritty ‘Gully Boy’ underscored her versatility and demonstrated that she was a creative force to reckon with.  As a prominent director and producer, she is willing to take risks and break free from commercial tropes entrenched in a male-dominated business. She is not only creating a space for unusual stories but also powerful female characters with agency, dignity, and defiance who take on the patriarchy and win. 

    Guneet Monga:

    As the founder of Sikhya Entertainment, Guneet Monga has gone where no producer has gone before. This winner of the Chevalier dans l’Ordre des Arts et des Lettres award is known for ‘Period- End of Sentence’, an Academy Award-winning documentary short film, ‘The Elephant Whisperers’, another Academy Award-nominated documentary short film, BAFTA nominee, ‘The Lunchbox’ and also path-breaking films like ‘Gangs of Wasseypur’ – Part 1, ‘Gangs of Wasseypur’ – Part 2, ‘Masaan’, ‘Zubaan’ and ‘Pagglait’. In 2018, she was inducted into the Academy of Motion Picture Arts and Sciences and has also been voted as one of the top 12 women achievers in the global entertainment industry by The Hollywood Reporter.

  • As a woman, I believe that the challenges we face are largely determined by our own mindset: Vaishali Sharma

    Mumbai: Today, women are breaking the glass ceiling in every sector. Beyond all this, there still exists a patriarchal mindset. Not many women are in the C-suite taking important decisions. And, of course, there still exists pay parity. 

    This Women’s Day, we, at Indiantelevision.com, are acknowledging some women leaders of the media, marketing, and advertising fraternity and also from other professions, who have given more than expected.

    On the Journey 

    My experience as a woman in the media industry has been fulfilling. I have never allowed my gender to affect how I approach my work and I have been fortunate to deal with people and my work professionally. In fact, being a woman has been a strength, especially in this industry and in the profession, I belong to. It has helped me understand human insights around different audiences, which are not just based on learnings but also in a very intuitive sense as you begin to understand thing better. Also given the pressures and high stress of the industry, being a woman leader has helped with softer skills like motivating and inspiring your teams. Moreso, in the last two years of the pandemic being able to understand what people are going through and helping them work around the challenges of the work-from-home phase or the nervousness of the pandemic, I believe as a woman I have been able to bring that to fore in this phase.

    As a woman, I believe that the challenges we face are largely determined by our own mindset. It all begins in our heads, and there is no difference in my head. In today’s fast-paced world, it is essential for the industry to look beyond gender-based narratives and create a professional atmosphere where we keep aside any forms of discriminative thinking and actually recognise individuals as individuals, free from biases and prejudices.

    Inspiration & inspiring the team

    In my team, everyone has a role to play, based on their key strengths and regardless of their gender. We strive to create an inclusive environment where everyone’s contributions are valued and where there is a willingness to listen and learn from one another. I also believe that having a diverse range of perspectives and experiences is crucial when developing content that resonates with broad perspectives Womelifeve unique perspectives and live experiences can bring new dimensions to storytelling, especially when it comes to themes that specifically relate to women. Having women on a team can help ensure that these stories are authentic, nuanced, and grounded in real-life experiences. This, in turn, can help create more relatable and engaging content that speaks to a wider range of people.

    Empowerment of Women

    I strongly believe that it is time to set new narratives for women’s empowerment in the media. In this post-pandemic world, we have much more opportunities to set new themes and not look at stereotypical ways of representing women in society. We need to celebrate the diversity of women and showcase their strengths, abilities, and achievements in a positive light. At Sony SAB, we are committed to creating content that empowers women, and we will continue to strive towards this goal in all our future endeavours.

    Media plays a significant role in shaping people’s perceptions and attitudes towards women. It is crucial that we encourage the media to portray women as complex, multifaceted individuals with diverse talents, interests, and aspirations. 

  • Viacom18 Partners With Gujarat Titans

    Mumbai : Gujarat Titans has announced their partnership with Viacom18, TATA Indian Premier League’s digital rights holder, offering their campaign access to the fans as they prepare for their title defence. The Hardik Pandya-led side will begin their 2023 campaign at their iconic home venue – the Narendra Modi Stadium – on 31 March with the eagerly-anticipated season-opener against the Chennai Super Kings.

    For the first time, cricket fans will be able to watch a wide variety of exciting content as Gujarat Titans will provide JioCinema access to backstage events such as training sessions and team bonding activities and marquee players such as Hardik Pandya, Rashid Khan, and Shubman Gill, among others. Viacom18 will leverage the power of digital and present Titans’ unique philosophy and inclusive culture to a broader audience across platforms.

    Since making a successful debut in the TATA IPL, Gujarat Titans have been the first movers across multiple avenues of fan engagement. Not just being the headline makers with their debut trophy, they have also been trend-setters off the field. The franchise was the first Indian sports team to introduce a dedicated virtual space for its fans and players as well as the first to launch an exclusive streetwear collection. The Titans continue to engage with their fans in innovative ways, such as their recent campaign which encourages them in becoming healthier and fitter and, in turn, be rewarded for their efforts.

    “We endeavour to keep fans engaged with Gujarat Titans not just during the season but well beyond that. Our partnership with JioCinema will be a conduit for enhanced fan engagement and build meaningful bonds through exclusive content. This partnership will provide the fans a closer look at the unique Gujarat Titans culture – which formed the bedrock of a successful campaign in 2022,” said Gujarat Titans COO Arvinder Singh. 

  • Barc Wk 8′ 23: Dangal tops in all India market

    Mumbai : Broadcast Audience Research Council (Barc) India has released currency data for the eighth week, i.e. 18 February  to 24 February 2023. As per data for the all India 2+ target group, Dangal is the most watched channel in India with an average minute audience (AMA) of 2390.63 (000) AMA. It was followed by Sun TV at 2361.91 (000) AMA, Goldmines at 2312.84(000) AMA, Star Maa at 1932.26 (000) AMA and Dangal at 1709.01 (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), Dangal emerged as the most watched channel at 2383.48(000) AMA, followed by Goldmines at 2287.34 (000) AMA, Colors at 1680.65 (000) AMA and Star Plus at 1505.97 (000) AMA and Star Pravah at 1222.15(000) AMA,

    In the South market, Sun TV was the most watched channel at 2348.46 (000) AMA, followed by Star Maa at 1868.51(000) AMA,  Zee Telugu at 1337.22 (000) AMA,  Star Vijay at 1185.14 (000) AMA and Zee Kannada at 1100.64(000) AMA

    In the Maharashtra/Goa market, Star Pravah was the most watched channel at 1212.51 (000) AMA , followed by Colors Marathi at 585.59 (000) AMA, Goldmines at 425.96 (000) AMA,  Zee Marathi at 288.93 (000) AMA and Sony Sab at 260.7(000) AMA.

    In the West Bengal market, Star Jalsha was the most watched channel with 759.45(000) AMA, followed by Zee Bangla at 685.34 (000) AMA, Colors Bangla at 208.44 (000) AMA, Colors Bangla Cinema at 165.47 (000) AMA and Jalsha Movies at 138.56 (000)  AMA,

    In the megacities market, including Mumbai, New Delhi, Kolkata, Bengaluru and Chennai, Sun TV was the most watched channel at 401.85 (000) AMA followed by Colors at 384.34 (000) AMA, Star Plus at 258.25 (000) AMA, Star Vijay at 253.71 (000) AMA and Sony Sab at 189.08 (000) AMA.

  • Disney’s Dana Walden rejigs senior team

    Mumbai: At the onset of February, Dana Walden was upped to co-chairman of Disney Entertainment, thus making her in charge of the company’s TV networks, with the return of Bob Iger as Disney’s CEO. In her first big decision, Walden has now reshuffled the team – John Landgraf and Simran Sethi have been handed over additional responsibilities.

    Landgraf, who has a long association with FX, has added brands such as Nat Geo and Onyx Collective to his purview. Onyx remains a major Disney priority and will continue to be run by Tara Duncan with her sole focus being on the same. Keeping that in mind, Duncan’s Freeform programming responsibilities will shift to Sethi, who will uphold her role at ABC Entertainment as well. 

    For Sethi, an Indian American, who is now executive vice president programming and content strategy for ABC and Freeform, the additional responsibility serves to be a homecoming to a younger-skewing brand that she helped to launch. She guides all of ABC’s comedy, drama and long-form series development, and is responsible for developing new content strategies for the network. Prior to joining ABC, Sethi held executive positions at Netflix, Freeform and NBC.

    Sethi most recently served as director of International Originals – India and the Middle East at Netflix where she helped shape the launch strategy and steered the growth in the roster of Indian originals for the global streaming company. She will continue to report to Disney Television Group president Craig Erwich, who also counts Disney Branded TV president Ayo Davis as one of his direct reports.

    Both Duncan and Courteney Monroe, who oversee Nat Geo, will report to Landgraf.

    After Iger returned to Disney in a surprise move, additionally film veteran Alan Bergman who previously served as chairman of Disney Studios Content, was given joint oversight, along with Walden, of the company’s global film and TV content production operations which include Marvel Studios, Pixar, Disney+, Hulu, ABC, Disney Channel and other entertainment-related assets.

    Debra O’Connell will continue to oversee networks and ABC owned television stations, and will add research, labour relations and TV business operations to her purview. Disney Television Studios will remain under Eric Schrier, who will expand his responsibilities to include global original television strategy.

  • Colors Bangla’s launches new show ‘Nayika No.1’

    Mumbai:  The film and television industry may seem like a bed of roses from the outside but very few get to know the struggles of a junior artist because most of the time they’re the ones who’re standing among the shots of crowds. But they dream of making it big and a name in this industry. Presenting such a story of a junior artist is Colors Bangla’s latest show “Nayika No.1”. The hardships and struggles fail to break the indomitable spirit of Sheetala Sikdar aka Sheela because she is confident that one day, she will fulfil her dream of becoming a heroine. Produced by Snehasis Chakraborty, Colors Bangla’s new show “Nayika No.1 ” narrates the story of junior artist Sheetala’s dream of becoming a successful heroine Sheela and will air from 6 March every day at 8.30 pm. Through Sheetala’s eyes, we will get to see the world of entertainment – the perils, the hazards, the humorous elements to it. The starry-eyed Sheetala faces obstacles in every step but that doesn’t deter her spirit of becoming a heroine. 

    Sheetala aka Sheela, though a junior artist, dreams of becoming a heroine. A confident girl, she never gives up on chasing her dreams even during critical situations in life. She prefers being called Sheela instead of Sheetala as it sounds filmy to her. People love her for her innocence, jovial nature, and her positive attitude towards life. Sheetala’s antics, the light moments bring smiles to our faces. On the other hand, Suddho Sen hails from a well-educated and disciplined family. Life takes an interesting turn when he takes Sheela’s help to fake his marriage to stop his real marriage arranged by his family. Sheela finally bags a role, but it is of Suddho’s real-life girlfriend. Will Sheela accept this role? What will happen to her dreams of becoming a heroine? 

    Speaking on the launch of Nayika No.1, business head Sagnik Ghosh said, “We have committed ourselves to introduce spunky and interesting characters in the Bengali Television. Nayika No.1 showcases the heart-warming story of Sheetala as a junior artist and her invincible spirit of not giving up in the face of adversities. Sheetala is a self-made, confident, and spirited girl. Like spunky Tumpa, righteous Tulsi, overweight Sohag, age difference love story in Indrani, Sheetala’s inspirational journey to Sheela will hit the right chord and fascinate our viewers.” 

    Ritobrota Dey essays the role of Sheela while Indranil Chatterjee plays the role of Suddho Sen in this story of self belief and struggle. Some other prominent starcast includes Soma Dey, Supriyo Dutta, Sutapa Talukdar, Judhajit and Somasree Chaki.

    The channel has devised a robust marketing campaign for the launch of the show. To meet the objective all the nodal points including TV, Print and Digital have been explored. A social media calendar has been built to establish Sheela’s unique character and her dreams of becoming a leading actress. A unique #Nayikagiri has been used to establish the quirky character and her antics. 

  • Governance now roundtable on current advertising trends

    Mumbai : It is time for digital media to convert impressions to GRP’s (gross rating points) to get measurement numbers. An advertiser is entitled to know the content where their ad is placed.

    Discussions were held at Governance Now Roundtable on Current Trends in Advertising with advertising industry titans ,IPG Mediabrands India CEO Shashi Sinha,  Madison Media &OOH group CEO Vikram Sakhuja and ABP Network CEO Avinash Pandey.  The session was moderated by Governance Now MD Kailashnath Adhikari.

    Should digital media go for geo-targeted advertising? 

    IPG Mediabrands India CEO Shashi Sinha said  that unlike TV, Print and outdoor mediums, digital is opaque and based on search, discovery and performance-based marketing.

    ABP Network CEO Avinash Pandey said the problem is in entire eco system. In digital you are not choosing a medium and only choosing a targeted age group, geography etc. ‘‘This is dangerous for businesses and democracy.” Sinha concurred with this view.

    Madison Media & OOH group CEO Vikram Sakhuja said that building blocks of media learnt through media planning should be extended to digital. In digital we are only talking of impressions which is another form of GRP’s . They are not converting that into GRP’s which is two minutes job. Reach is given only in terms of percentage and not numbers which will help reach out to both digital and video audience.   

    “The big problem on digital video is that you have a much longer tail than TV so to build reach on high frequency is very difficult on digital.  As an advertiser I should be completely entitled to know in which content my ad is placed’ he said.

    While discussing the topic on majority digital adex happening in Google and Meta and if this will continue , Sinha said in future market will open up. “As MSME’s grow, growth will happen and automatically monopoly will break.”

    Sakhuja felt that currently digital emphasis has been on performance at the cost of branding. “With focus on branding, digital will continue to grow’’ he said.  He called for integrated marketing between TV and digital.

    Adding, he said, “Out of the total video, we projected about 30,000Cr of TV advertising and 10,000 Cr of video advertising. Today 25% of total video is on digital. Going further, integrated set up will  be a roll for both and very interesting to watch.” Sakhuja for having industry led cross media studies to study entire digital eco- system and an industry body driving audience measurement to make it more democratic.

    On if viewers still prefer to watch news on TV screens, Pandey said digital platforms like Twitter, Facebook are enablers of news, getting more people to come on TV to watch news . “More and more TV sets being sold in country. Signal delivery medium of news consumption is changing and people are watching live news including GEC.”  

    Pandey said that media owners should invent engaging content in a way that recognizes search media as enablers  for people to come to TV. “More and more people are watching TV and news on TV which is not reflecting in data” he observed. As a case in point he said there is no state government or political party  that is not investing heavily in television. They are in touch with their voters on a daily basis and know their consumption habits.

    Here Sakhuja added that credibility and role of  news anchors holds the attention of news audience and said that it is time newspapers made heroes out of their editors.

    With huge layoffs taking place in e- commerce companies and if e -commerce and e- tech companies will sail out of red and continue to contribute to advertising, Sinha felt that  global headwinds impact can last slightly  longer and slow down inflow of funds whereas Sakhuja said they expected  funds to keep coming.

    Pandey said that many media companies that witnessed spreadsheet based business (alluding to e- commerce companies) either no longer exist or forced to sell their companies at far cheaper prices than what they could have for otherwise. “We have seen such windfalls every once  in 2-3 years. Thankfully with IBF we have a robust system of getting money on time.” He added that as media owners if they feel business is not very sound they should collect money in advance.. “They spike our adex .”

    With India a bright spot amidst global scenario and if discretionary spends by consumers will rise, the experts said that barring a few product lines there is double digit growth in CPG (consumer packaged goods)in both volume and value across categories specially food.

    Pandey said that this year they expect  growth in FMCG’s, telecom, media companies, advertising , and subdued growth so far in automobile, two wheeler and small cars  all of which will need advertising.  More foreign investment in real manufacturing sector will lead to growth in advertising, he said.  

    Sinha also said that that connected TV will grow and potentially deliver content to a large no. of people as he added that brands are very bullish on TV and print as trusted mediums that add immense value to advertising.

  • Nickelodeon Kids’ Choice Awards 2022 is back in a digitally power-packed avatar that inspires kids with #AllAboutYou

    Mumbai: Nickelodeon is all set to bring back the most special time of the year with an all-new edition of Nickelodeon Kids’ Choice Awards 2022. The 2022 edition of the awards will don a digitally powered avatar, reaching out to our young viewers with entertaining and relatable formats, and lots of slime! With ‘Kids Ki Choice, Kids Ki Voice’, the Nickelodeon Kids’ Choice Awards 2022, will reiterate its focus on empowering kids with #It’sAllAboutYou.

    In a unique avatar, KCA 2022 will engage kids through short and snacky content across platforms and screens. Like every year, the winners will be bestowed with the coveted Nickelodeon Blimp and get slimed as a badge of honour! In addition to the existing categories such as Favorite Movie Actor, Favorite Video Game, Favorite Movie, Favourite Sportsperson, Favourite Food amongst others, this season will witness the introduction of exciting and socially trending categories to recognize short content influencers and platforms. From Favourite Audio on Reels to Favourite Influencer and Favourite Shorts, the young fans also stand a chance to vote for their Favourite Song, Favourite TV show, Favourite Dancing Star, to name a few. The categories and nominations were gathered from an exhaustive research study conducted to determine who and what were the kids’ favourites. While the previous editions witnessed Subway Surfers, Shahrukh Khan, Alia Bhatt, P.V. Sindhu, MS Dhoni and several others win big in their respective categories, it will be exciting to see who takes the blimp home this time!

    The only awards that is of the kids, by the kids, and for the kids open the voting gateways through www.nickindia.com and MyJio App| Jio Engage.

    Speaking on KCA 2022, Viacom18 head Hindi mass entertainment & kids TV network Nina Elavia Jaipuria said, “Over the years Nickelodeon Kids’ Choice Awards has not just carved a space for itself with kids but also with the A-listers of Bollywood, TV, Sports and several other spaces as they aspire to be the kid’s favourites. The nominees look forward to winning the coveted Nickelodeon Blimp and the heart of their young fans. It is truly a precious award for many, just like it is truly a special initiative for us. We are confident of presenting yet another power-packed edition of KCA that truly collaborates, creates, and celebrates with our young viewers.”

    Viacom18 head marketing kids TV network Sonali Bhattacharya further added, “Nickelodeon Kids’ Choice Awards has always been about putting the power in the hands of kids. With the proposition of #It’sAllAboutYou, we have remained true to that promise and reimagined KCA to meaningfully connect with this generation of screenagers. This year’s edition is completely platform and format agnostic and will reach out to kids with innovative experience across screens. We are looking forward to this year’s edition and are certain that it will strike the right chord with our young audience.”

  • ‘Jungle represents something raw, undiscovered, and wild’: Jungle co-founder Gaurav Banerjee

    ‘Jungle represents something raw, undiscovered, and wild’: Jungle co-founder Gaurav Banerjee

    Mumbai : Founded in 2019, Mumbai based production house Jungle has craved its own identity for its enthusiastic storytelling and a cracker visual aesthetic.

    Jungle co-founder Gaurav Banerjee spoke to Indiantelevision.com and talked about helping brands with spreading social messages through videos 

    Banerjee has worked in advertising, event management, and government consultancies, before focusing on his twin passions – brands and story-telling.
    Banerjee brings a wealth of knowledge about youth passion points, a keen ear for music, an eye for untold tales, and the ability to blend them all into compelling brand stories, having helmed the branded content vertical for the Viacom18 Youth and Music roster, which includes channels such as MTV, Vh1, Comedy Central, and Colors Infinity, and over ten years of experience in the field of brand solutions.

    Edited Exceprts 

    On the  journey

    Jungle was formally registered in late 2019. This obviously means that the first thing we did together was to try and survive the lockdown. We actually hit the floor around October 2020, with the KKR Anthem at the time. Over the past two years though, we’ve had a great run as a pedigree advertising production house, covering a plethora of brands as well as narrative genres.

    The main reason for establishing Jungle was to try and make something different in the field of visual content – for ads, films, web series. Not just visually fresh and different, but also thematically disruptive. 

    On the name Jungle

    The name ‘Jungle’ itself was chosen as it represents something raw, undiscovered, and wild. Which is what our efforts have been the past two years – to inject a degree of excitement and freshness into our visuals and narratives, help our brand partners push the edge so to speak.

    Simply put, in the short format world, we’re in the business of providing a unique visual identity to each brand we work with. In the long format world, we aim to help our channel partners tell interesting Indian stories. We’ve been described as ‘unexpectedly Indian’ by some of our partners, and that’s basically the point of difference we’d like to maintain. All of the co-founders here at Jungle have a brand/channel background, which helps us understand the creative needs of our partners, and craft a creative vision which is ultimately rewarding both for us and our partners. 

    On the noteworthy work

    We’ve made films for brands across a plethora of categories. Auto, fashion, alcobev, technology, beauty, jewellery, lifestyle– we’ve shot for reputed brands such as VW, Tata, NBA, HP, Budweiser, Vivo, Tanishq, Bhima. Overall, we have shot films for more than 20 brands over the last couple of years. Most recently, we’ve just released a film for Vivo featuring Sara Ali Khan. 

    On the balance between entertainment and social message 

    The reason people skip ads they haven’t seen previously is because they already know the message, and they also know what’s coming up next in the story. There’s just so much content out there that everything has started looking like everything else. The heart of the idea will always be the social message – the innermost layer of the onion. Entertainment is the medium to express this message, and our endeavor is to make the medium as appealing, disruptive, new, and engaging as possible. 

    On MTV experience leverage

    While I’d always been interested in music as well as off-kilter content, MTV taught me how to best bring these interests into the world of film. Never afraid of experimentation, MTV gave me the freedom to find my own style as a director. Also, given MTV’s general brand of irreverent humour, my years there taught me that there’s always a new, unexpected way of looking at any subject. MTV was my film school in many ways, and everything that I learnt there helped me prepare for the world outside the channel. 

    On 2023 content slate 

    For the last two years, our efforts have primarily been focused on advertising. Now that we’ve thankfully built a solid reputation as an advertising production house, we’ve started working on other, more adventurous projects. Our priority for 2023 is to amp up our short format division – where we collaborate with brands and create short films as well as music videos around various super interesting topics. Additionally, we’ve already invested in creating a wealth of film and series ideas, which are in various stages of discussions with channels. 2023 should be the year where we can successfully branch out into non-advertising spheres and build Jungle as a comprehensive studio, not just an advertising production house.