Mumbai: FreeWheel, a Comcast company and the global technology platform for the television advertising industry, has solidified a strategic partnership with CereOne, one of India’s leading digital media companies, as it seeks to accelerate its presence on the Indian market. As part of this collaboration, FreeWheel will provide CereOne with access to its digital full stack, facilitating seamless onboarding of online video and Connected TV inventory across India’s burgeoning premium video media landscape.
CereOne has, in the last few years, extended its offerings from native-only ads to content marketing, digital out-of-home and premium video. FreeWheel’s digital full stack will offer CereOne unified and holistic decisioning on how to monetize content, curate audiences and ensure brand safety.
“We’re excited to continue to grow into the complex but opportunity-rich Indian premium video market. Adoption of connected devices has grown significantly in the last couple of years in the region. This rapid growth coupled with the rise of international sport events on streaming is bringing exciting new opportunities for media owners to tap into global ad spend,” said Alvin Tan, commercial director, APAC at FreeWheel. “CereOne has a robust regional supply and demand network and we look forward to working with them as they launch their CTV ad offering and augment brand interactions.”
Welcoming the new partnership with FreeWheel, CereOne Media director Deepak Karnani commented, “Aligned with our ambitious expansion strategies, our collaboration with FreeWheel empowers us to meet the growing demand for video ads and CTV in India. This partnership not only bolsters our offerings but also grants our clientele access to the cutting-edge technology that FreeWheel is renowned for worldwide.”
CereOne Media co-founder Harish Patil, highlighted the significance of the partnership with FreeWheel. “Our partnership with FreeWheel and the support of its digital full stack will optimize and consolidate our bouquet of services as we strengthen our CTV offerings in the region,” said Patil.
Mumbai: In a recent restructuring move, Kiran Mani, CEO of Viacom18’s digital arm, is poised to spearhead the brand’s digital and sports ventures, while Kevin Vaz, CEO-Broadcast, will take charge of content clusters across TV and digital platforms, as reported by various media outlets.
This organisational shift follows the merger of Viacom18 and Star India through a joint venture announced on 28 February, which was initiated by Reliance Industries in collaboration with Disney. According to internal communications, Mani will extend his leadership to include Viacom18’s linear sports channels alongside his role as CEO of the digital division. With a background of 13 years at Google before joining Viacom18 last year, Mani will now oversee Viacom18 Sports CEO Anil Jayraj, within this new organisational structure.
Kevin Vaz, who joined Viacom18 in July last year following his departure from Disney Star in April, is also a key figure in this leadership transition. He will take on responsibility for the entire content business. Both Mani and Vaz will function as Co-CEOs within the media company.
In tandem with these changes, Reliance and its affiliates will hold a 63.16 per cent stake in the joint venture, while Disney will maintain a 36.84 per cent stake, as per the terms of the deal. This consolidation will position the nation’s leading media company to operate two streaming services and approximately 120 television channels.
Mumbai: Get ready to witness the glitz and glam of Hollywood’s biggest night as Star Movies and Disney+ Hotstar bring to you Live the 96 Oscars ceremony straight from the Dolby Theatre at Ovation Hollywood. Set your alarms for March 11 at 4 AM IST as we bring the magic of the Oscars® directly to your screens. Star Movies will also have a repeat telecast at 8:30 PM IST.
Last year, Indian cinema made history at the Oscars as ‘Naatu Naatu’ from the movie RRR won an award for Music (Original Song) and the documentary, ‘The Elephant Whisperers’ clinched an award under the category Documentary Short Film. This time around, the excitement continues as ‘To Kill A Tiger’ earns an Oscar nomination for the ‘Documentary Feature Film’ category, keeping Indian fans on the edge of their seats.
“Bringing the Oscars to Disney Star isn’t just about celebrating cinematic excellence; it’s about honouring the power of storytelling that transcends borders, cultures, and languages,” shares Gaurav Banerjee, Head – Content, Disney+ Hotstar & HSM Entertainment Network, Disney Star. “At both Star Movies and Disney+ Hotstar, we are dedicated to providing the best of global content for our viewers with access to the most prestigious events in the film industry. Live streaming the Oscars on March 11 represents the epitome of cinematic excellence, and we are excited to bring this iconic event to audiences across India.”
Mumbai: Sony SAB and Sony Entertainment Television have built a strong reputation within the Indian television industry with storytelling that empowers their female protagonists driven by an inherent belief in the dignity and potential of the Indian woman. The channels have also created an environment demonstrating the kind of respect women deserve, as each character from their shows acknowledge their own needs and wants while working for a larger purpose in society or their family. For example, Mauli from Mehndi Wala Ghar’s goal is to bring her family together despite their differences, to Nandini from Kuch Reet Jagat Ki Aisi Hai who is strongly entrenched in traditions yet stands up against the disease of dowry. Similarly, there are other characters such as Yuvika from Vanshaj who has the courage to fight for justice, and Pushpa from Pushpa Impossible, who despite having been deprived of education in her childhood completes it as an adult and goes on to become a mahila adhyaksh.
This Women’s Day the channels are coming together to encourage women to follow their heart and not keep their needs and dream aside, stemming from an insight that most Indian women are very involved with their family’s need and desires and feel guilty addressing their own. Launching an impactful film titled ‘Khud Ki Suno Khud Ko Chuno’ that shatters the mould, the channels are empowering women to prioritise their own well-being.
The promo spotlights inspiring female leads from renowned shows across Sony SAB and Sony Entertainment Television and its creative expression uses the fact that women are so alert at listening to the noises around them keeping them alert to the needs of their home and families. Through the narrative pointing out to this fact and encouraging them to listen to their own heart is the powerhouse line-up of women from fiction and non-fiction shows across both channels. Comments:
Sony Entertainment Television and Sony SAB business head, Neeraj Vyas
“At Sony, we believe entertainment can be empowering. Our stories mirror real-life challenges, celebrating the strength and resilience women encounter in their daily lives. Our powerful female leads ignite a fire, inspiring women to embrace their agency and pursue happiness. This Women’s Day, through ‘KhudKiSunoKhudKoChuno,’ we want to encourage women to prioritize themselves as television, with its vast reach and mass appeal stands as the one of the most potent and impactful mediums of communication and our characters serve as effective catalysts for highlighting the importance of self-care among women. So, on this Women’s Day, we’re going all out to remind women that their happiness really matters!”
Mumbai: The fourth edition of the prestigious India Fashion Awards (IFA) is set to grace the stage on 7 and 8 March at the esteemed St. Regis Hotel, Mumbai. As the leading fashion award in the nation, IFA stands as a beacon, honoring the ingenuity and brilliance of fashion industry stalwarts. This year, in collaboration with WION, the event embraces the theme ‘Fashion for Good’, delving deep into the realms of sustainability that echos the progressive spirit of the fashion world.
‘Fashion for Good’ brings together a diverse range of stakeholders, including fashion designers, textile experts, policymakers, artisans, industry leaders, and sustainability advocates. The campaign aims to facilitate meaningful conversations and solutions on the future of sustainable fashion in India.
IFA and WION come together for an enthralling two-day conclave, enhanced by an array of exciting additions. It’s not just about shining the spotlight on designers and models; IFA acknowledges the unsung heroes and artisans who form the backbone of the fashion ecosystem. From show directors to stylists, makeup artists to backstage managers, every stakeholder contributes to the vibrant tapestry of the fashion industry.
WION chief business officer Madhu Soman emphasized on the key purpose, stating, “As we embark on this transformative journey with the India Fashion Awards, themed ‘Fashion for Good’, I am reminded of the power of style to catalyze change. We firmly believe that fashion is not just about what we wear, but also about the impact we make. Through our collective efforts, let’s stitch together a narrative of sustainability and grace, where every design, every strut, becomes a testament to our commitment to a better, brighter future.”
Expressing his excitement about the upcoming edition, India Fashion Awards founder Sanjay Nigam said: “India Fashion Awards is a movement that aims to change the dynamics of the fashion industry. We plan to bring together every individual from the fashion fraternity transcending their distinct roles in the entire ecosystem, along with the ‘farm to fashion’ approach which talks about adding value in each step of the process– reflecting the true essence of sustainability.”
This edition features over 30 award categories, such as Designer of the Year, Fashion Stylist of the Year, Model of the Year, Makeup Artist of the Year, Fashion Influencer of the Year and Fashion Photographer of the Year. The distinguished jury includes Lubna Adam, Candice Pinto, Leena Singh, Rochelle Pinto, Anaita Shroff Adajania, Raghavendra Rathore, Tarun Khiwal, and Aditi Srivastava. In addition to the jury, Daman Chaudhary will serve on the advisory panel.
Mumbai: The record-breaking growth of premium audiences on HD during cricket events drew a massive assembly of advertisers in 2023.
The measurable growth of HD households and the viewership amassed by HD during major cricket events has given brands a clear choice this IPL. As per BARC, in just three years HD TV households have doubled from 36 million to a massive 71 million, accumulating over 215 million premium audiences. On the back of this growth, IPL 2023 on HD crossed the 100 million mark for the first time ever. HD drove a viewership of 113 million viewers, a spectacular 4X growth compared to IPL 2022. The towering growth was enjoyed by a plethora of brands targeting premium audiences. Both IPL and Cricket World Cup witnessed a massive turnout of brands like Mahindra Auto, Emirates, Visa, Blackberrys, Happilo, Renault, Skoda, Kent, and Spinny among others.
IPL on HD witnessed a massive growth in veritably young affluent cohorts:
IPL 2023 on TV led by HD witnessed a massive influx of young and affluent cohorts as BARC reported a 37 per cent reach growth in Male A Urban viewers, 40 per cent in 15-30 AB Urban and 36 per cent in 15-30 AB 10 Lakh+ Cities. Additionally, the reach growth in English feed audience was an incredible 127 per cent on TV last year. The unmatched and seamless high-definition viewing experience that HD has dominated viewer preference. The scale of collective viewing that HD is a critical factor for premium advertisers and the improvement in key business goals of brands leveraging IPL on HD backs the choice.
Brands leveraging IPL and World Cup on HD in 2023 witnessed 4X uplift in business KPIs: Research Studies
Digital BFSI brand: This brand was promoting a new premium offering and through its HD association with IPL on TV it witnessed a 35 per cent increase in top-of-mind awareness. To put that into perspective, it generated a 4.5X higher uplift compared to other mediums which claim to reach premium audiences. (Source: Hansa Research)
Premium international brand: During the Cricket World Cup, the brand had launched a new campaign to solidify its position in the Indian market. A YouGov research showcased that the brand witnessed major uplifts across KPIs: ~2X uplift in awareness metrics, 3X uplift in daily active users on it’s app and a massive 4X growth in overall brand metrics compared to other mediums that claim to reach premium audiences. (Source: YouGov)
Brands custodians on how they leveraged the power of cricket on HD
Amit Doshi (Britannia) – “The good thing about live sports broadcasts is the multiple feeds that have been created, which are language feeds, HD feeds, and what it allows, brands to do today is to be far more intelligent, far more precise about how we’re using media. We’ve always seen good results.”
Krishnarao Buddha (Parle Products) – In a recently concluded panel discussion, Buddha stated, “Last year during our association with Star Sports on IPL, while SD feed allowed us to instantly reach a large aggregation of masses, HD feed allowed us to reach a large sum of premium audiences. It became a great vehicle for us to reach the right audience for our premium offering Parle Platina.”
IPL on HD has showcased it can amass the largest gathering of affluent audiences in the shortest span, delivering scale with incredible efficiency. With cricket viewership on TV at an all-time high, IPL 2024 presents an unmissable opportunity for brands to drive high consumption among affluent audiences.
Mumbai: The power of movies on television often referred to as the ‘big picture’ has impacted how we consume entertainment, making it an essential part of our lives. Not only that, the synergy of movies and TV has also grown to be lucrative for brands who want to reach India at large and impact the general consumers’ daily lives. In a series of chats with marketers and media veterans, Indiantelevision.com founder, CEO & editor-in-chief Anil NM Wanvari discusses all things related to marketing, media and especially movies with ITC Ltd head of media & PR Jaikishin Chhaproo.
Edited excerpts
On early life and experiences
I was born and brought up in Mumbai and did my schooling, and college here as well. I am also an engineering graduate. Then I realised that I can’t do this for the rest of my life. My friends were preparing for MBA and in the office during lunch hours they used to grab their food in 10-15 mins from the window and then they used to appear for the prep test for CAT. Once I was alone and one of my colleagues was doing this test, I picked up a book from the table and gave one aptitude test. When the test got over and this guy started rating me and he was like you have got beginner’s luck and you have scored better than me; also you did one level more advanced whereas I haven’t reached there. So I just took his notes and photocopied them like it used to happen in those days. I then appeared for my entrance exam, got admission and got into my MBA. I cleared from Somaya in ‘97. Somewhere during my MBA course, I decided that I have to make a career in advertising and choose media as a field. Out of 27 years that I have been working almost 17-18 years I’ve been at FMCG. Sometimes in broadcast and sometimes in e-com and telecom.
The experience is good so far, nothing to complain about. Even today it’s said that if you enjoy your work it doesn’t look like work. For me every day is like a fun time even if I’m sitting at my home and opening up my laptop, the moment I get into my work it’s like I am a different person and for most of my friends, the worst person to call during working hours is me because most of the time my answer is I will call you back later.
On engineering background helping your media career
Somewhere education helps you everywhere and aids you in whatever you do. Having a background in engineering helps you be more analytical in numbers. From that perspective, it has been a comfort to be in the media. The newer experience helps you, being the best teacher.
On your milestones so far
In the last 27-odd years, I have been lucky enough to work in very good organisations and the bosses that I was put under. So I started with a company called Star Plus Channel which falls into the production of TV serials. I was into backend research and acquisition for new serials that the company would air. It was fun to work on the movies which were aired on Friday nights on DD. Then I moved to Wipro where it was undergoing a change of corporate identity to the new sunflower logo. Then I moved to Godrej, Unilever and then continued with Star in the middle east and continued to work there, moved back to India with Star and then Snapdeal and ITC.
I remember one statement where one of my ex-bosses used to say that if you are really good at your work then you should work for Unilever. And the day I joined Unilever, I dropped a message to him saying I joined Unilever today.
On being part of some memorable campaigns
We did a first-of-a-kind advertiser-funded feature for one of the brands. At that time Surf had a tagline called “Each child has a right”. There was this concept that came from a renowned filmmaker and we just tweaked it around and released a movie around it. That was a satellite release.
On being a movie buff and watching Hindi cinema
I’m a hardcore movie buff. There are plenty of times I would pick up references from Hindi cinema, probably people would have watched it but when you kind of narrate that example and you are like “oh ya ya I remember this” stuff like that and I will remember songs on contextual incidents or some situations or stuff like that. Right now the definitions from movies has changed. Long there was a scenario where movies were used to showcase the reflection of the society. So you kind of have a situation where you are kind of taking inspiration from movies, at the same time learning from them. I think it works both ways.
On leveraging movies in marketing by brands due to record-breaking box office title films
There are two or three approaches. One is that some of the titles will not let themselves to allow you to do films in time, because some of the stories are cut in some manner that you wouldn’t want the brand to be seen in that space. The other thing is to do an association within the promotional level of the movie wherein you have co-branded promo with your brand, you end up promoting that and you have access to the stars and other things for getting a customized brand message. Then you support it in the cinema screens when the movie is being released.
On TV being important for creating brand awareness
Television continues to be an important medium for us. While digital is picking up and gaining traction, television still continues to kind of hold the roof for us. Another thing is, while digital is growing leaps and bounds it is also having its own set of challenges for marketers whether it’s for FMCG or non-FMCG. Everything needs proper syndicated data and ROI calculation to come in. Today on digital one of the key challenges continues to be that the maker, checker, and executor is the same person. If I have a plan to deliver 10 million impressions, I start an activity and I am still dependent on the platform to execute the campaign when it gets over. Also, the moment you start getting into a bit of sharp targeting, the challenges come in terms of frequency because you operate a frequency of 6 say for example, and you end up seeing the frequency reach is going to two or three digits. So those are the challenges that the media keeps facing. However, television over a period of time has evolved and you know that the data is not too wrong.
On dividing market spends between all of these as prices are not that high
There is no winning formula or a template for breaking down your spirit because depending on the category you’re operating in, If you’re in a mass category, your mix is most likely to be around 60 to 65 per cent television and the balance would be driven by digital today, you can kind of shave off two – three to five per cent, for some other activities, whether it’s print, whether it’s out of home or whatever. Within television, you can follow basic breakdown, again, depending on your category or breakdown could be parked 10 to 15 per cent for tactical buys, 5 to 10 per cent for your impact buys, and balances for your GRPs if I will put it that way. But as I said there’s no rule for anything. So if your TV spend is 100 rupees in total, ideally about 10 to 12 per cent is parked for an impact. 5 to 10 per cent is parked for tactical buys or something that you want to kind of consume as things happen. So, I would say about 75 to 80 per cent is your regular buys is that your regular plan.
Mumbai: Sony AATH, a Bengali entertainment channel, brings in an element of surprise for all Gopal Bhar fans. The channel is premiering yet another Gopal Bhar movie titled ‘Goyenda Gopal – Antim Pratshod’. With several twists and turns coupled with intense drama and suspense, the movie will take viewers on a rollercoaster of emotions.
Set against the backdrop of the pre-independence era with East India Company trying to set foot in the country, ‘Goyenda Gopal – Antim Pratshod’ depicts a series of events that occur due to the fight for power. Will Gopal Bhar with his wit and wisdom be able to uncover the conspirator rather than becoming a victim of it? Tune in to Sony AATH on 28 January 2024, 11:00 AM, and watch the witty and wise court jester, as he embarks on a whimsical adventure filled with laughter, clever anecdotes, and heartwarming moments.
To promote the movie, the channel has launched an extensive print and digital campaign. Along with this, people can access the innovative AR filter that will give them a chance to pose with their favourite comical character – Gopal Bhar on Instagram and Facebook.
‘Goyenda Gopal – Antim Pratishod’ is set for the World TV Premiere on Sony AATH on January 28, 2024, at 11:00 AM. Be prepared to immerse yourself in the world of Gopal Bhar, where laughter knows no bounds.
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Sony Pictures Networks India’s chief marketing officer & business head – English cluster & Tushar Shah
‘Gopal Bhar – Antim Pratishod’ is not just a movie; it is a celebration of storytelling, humour, and the enduring spirit of a beloved character. Gopal Bhar’s timeless charm and wisdom have been an integral part of our cultural tapestry, and we are excited to introduce him to a new generation through this enchanting, animated adventure.
Mumbai: COLORS crossed the vaunted 200 GRP mark as it clocked 207 GRPs in the latest BARC ratings. This feat comes as a culmination of an upsurge that the channel has been seeing all through the second half of 2023, growing from 117 GRPs in wk22 to 207 at the close of the year. At the heart of COLORS’ success lies its differentiated strategy in programming a varied content offering, an approach that has been pivotal in driving the viewership to the channel, firmly establishing its position as a beloved entertainment destination for the entire family.
“The past 6 months have seen our viewership share surge by ~80%, helping us open the new year by crossing a significant milestone with 207 GRPs. At the heart of this exponential surge lies our strategic content approach, meticulously designed to cater to the entire family through a harmonious blend of fiction and non-fiction programming. Today, we are the only complete family entertainment GEC in the HSM market. From mythos to social dramas to non-fiction content, COLORS is a microcosm of the diversity of our viewers. Our content strategy reflects this belief and our rapid climb through the ratings charts reflects India’s faith in our content.”
Viacom18 president – general entertainment Alok Jain observed, adding, “I’d also like to take a moment to acknowledge the team effort that goes into this – from understanding viewer preferences, to creating content that resonates, to amplifying, analysing and iterating it – our institutional adoption of the viewer-first approach is a truly differentiating factor.”
COLORS has consistently taken the lead in creating societal and behavioural impact while offering a diverse range of content, staying true to its philosophy. The shows on the channel cater a myriad of emotions and stories, from mythological narratives such as Shiv Shakti– Tap Tyag Tandav to inspiring tales like Doree and Neerja to blockbuster shows including BIGG BOSS and Khatron Ke Khiladi. The channel’s fiction and non-fiction flagship properties have successfully transcended age and gender boundaries, appealing to a broad spectrum of viewers. Notable shows such as Shiv Shakti – Tap Tyag Tandav and Parineeti have consistently dominated the rating charts, showcasing their widespread popularity. The longest-running show on COLORS, Udaariyaan, has emerged as a fan favourite, further affirming the channel’s ability to create content with enduring appeal. Suhaagan, airing in the early prime-time slot, has also significantly contributed to the channel’s success. Social dramas that are rooted in COLORS’ ethos such as Doree and Neerja Ek Nayi Pehchaan continue to maintain a firm grip on the audience, highlighting COLORS’ dedication to providing compelling and thought-provoking storytelling. Marquee shows such as Khatron Ke Khiladi and BIGG BOSS have also been the highest rated non-fiction shows in the category during their run. A testament to the success of the content variety that COLORS offers, it ended the year with 6 of the Top15 most viewed shows.
Following the trailblazing success of 2023, COLORS now has plans to scale up its content play – both in variety and scale. With a strong line-up featuring eagerly awaited fiction and non-fiction shows including Mera Balam Thaanedar, Dance Deewane, the magnum opus Prachanda Ashoka, and many more exciting shows COLORS is poised to further strengthen its position as the leading powerhouse of entertainment with engaging and compelling narratives that resonate across demographics.a
Mumbai: An enthralling finale of ‘History Hunter’ awaits viewers as Maniesh Paul takes on his final quest of the current season, focusing on Nana Saheb Peshwa II, the forgotten hero of 1857. Having started as an ally of the British government, Nana Saheb soon developed remorse when he was refused pension and jagir (Inheritance of land) after the passing of his father Peshwa Bajirao II. The scenarios led him to act against the British in what would be known as the Kanpur massacre.
Viewers will witness how Nana Saheb strategically lured the British into striking a deal, leading them to Satti Chaura ghat where he unleashed an attack upon them, killing more than 400 citizens. Theories suggest that Nana Saheb claimed that his initial plan was to help the British army but he was threatened with his life being taken by the rebels.
The episode will also showcase the escape planned by Nana Saheb Peshwa II while highlighting the importance of the Naulakha Haar of the Mughal dynasty and how it helped him enter Nepal. The British army never managed to capture Nana Saheb though they did discover treasures hidden by him that amounted to more than Rs 1400 crore in today’s day and age.
Nana Saheb Peshwa II’s final days remain a mystery to date. Some experts claim that he died of malaria fever while others continued to report spotting him in regions including Mecca, the Middle East, and Russia, among other territories. The British eventually closed his file in 1896 due to a lack of evidence of him being alive.
Witness the life story of Nana Saheb Peshwa II in the final episode of ‘History Hunter, on 8 January 2024 at 9 PM on Discovery+ and Discovery Channel.
