Category: Viewership

  • Sun TV maintains lead in week 41: Barc

    Sun TV maintains lead in week 41: Barc

    Mumbai: Maintaining last week’s lead at the top position, Sun TV bagged 2844.7 AMA in week 41 (between 9-15 October) according to Broadcast Audience Research Council (Barc) data. Star Plus stood second with 2506.37 (‘000s) AMA, while Star Maa finished third at 2348.62 (‘000s).

    Star Sports 1 Hindi, Star Vijay, Star Utsav, Colors, Sony SAB, Zee Kannada, and Zee Telugu grabbed the remaining slots.

    With weekly AMAs of 512.65, Sun TV led the mega cities. Star Vijay, Star Plus, Colors, and Star Sports 1 Hindi followed.

    The south market was also dominated by the Tamil major at 2837.61 AMA. Star Maa, Star Vijay, Zee Kannada, Zee Telugu were at number two to five, respectively.

    Among the regional markets, Star Pravah was the most viewed channel in Maharashtra/Goa with 1347.61 (‘000s), Star Jalsha (1004.82) in West Bengal, Tarang in Odisha (446.41), Zee Kannada (1540.89) in Karnataka, and Star Utsav in Rajasthan ((224.04) and UP/Uttarakhand (338.4).

  • July-Sept TV ad volumes show highest spurt in 2021: Barc

    July-Sept TV ad volumes show highest spurt in 2021: Barc

    Mumbai: Ad volumes on television continue to post healthy growth, with the July-September quarter registering 461 million seconds of advertising – which is the highest this year, as per Broadcast Audience Research Council (Barc) India’s July-September 2021 Ad Volumes – Special Festival Edition Think Report. 

    The growth registered in the quarter is broad-based, with channels across all languages reporting higher ad volumes over the corresponding period in previous years.

    With the festive season well and truly underway, the September Think Report also takes a closer look at advertising on TV during the Ganesh Chaturthi week. Ad volumes on TV in the week grew four per cent compared to the previous four-week average and posted a healthy 28 per cent growth over 2019.

    “The momentum of more and more brands banking on television advertising continues to be visible with 3397 new brands entering the medium in the July-Sept quarter of 2021, and that too with a 51 per cent share of total brands advertising. The number of advertisers on TV is also the highest for the quarter at 4226,” stated Barc India head of client partnership & revenue Aaditya Pathak. “As we have seen in earlier years, marketers are clearly leveraging the reach and power of TV to raise the visibility of their brands this festive season. The strong growth of ad volumes in Q3 – which is 40 million seconds higher than in Q2 – also points to the positive sentiment regarding the improving economic and business environment.”

    Ad volumes on TV for September 2021 is the highest since 2019, registering a 15 per cent growth over the same period in the previous year. While FMCG continued to maintain its leadership position with a 29 per cent growth in ad volumes against the same period in 2019, the e-commerce industry has also shown a healthy 26 per cent jump over 2020.

    While the strong upward trend in TV advertising is seen at the overall level as well as across all languages, the highest spurt was observed for Bhojpuri language channels, where ad volumes were more than double that of 2019, and 38 per cent higher than in 2020. Hindi language channels account for the largest share of TV advertising. Tamil and Telugu language channels witnessed robust growth over 2020.

  • ‘India’s Space Odyssey’ is the story of ordinary people doing extraordinary work: director Pria Somiah

    ‘India’s Space Odyssey’ is the story of ordinary people doing extraordinary work: director Pria Somiah

    Mumbai: ‘India’s Space Odyssey’, the all-new discovery+ Original currently steaming exclusively on the platform celebrates the 60-year-long successful journey of India’s space programme pioneered by the Indian Space Research Organisation (Isro).

    Produced by Miditech Studios and narrated in Hindi by actor and space enthusiast R Madhavan, the documentary depicts how this mission started by Dr Homi Bhabha and Dr Vikram Sarabhai was taken forward by their able successors including the former president of India Dr APJ Abdul Kalam, Prof Satish Dhawan, and Dr G Madhavan Nair.

    The documentary captures landmark achievements of India’s Space Programme which help in understanding the tough circumstances under which Isro scripted its success story beginning with SLV3, and more recently the ‘Chandraayan’ and ‘Mangalyaan’ missions as well as the Organisation’s most ambitious ‘Gaganyaan’ programme which will be India’s first manned mission to space.  

    However, beyond the triumph and celebration is a story of sheer grit and determination that kept the mission going in the face of tribulations, limitations as well as condescension from certain quarters, and this is what director Pria Somiah intended to capture in the 48-minute-long documentary.  

    Somiah is an award-winning film-maker, having won a Green Oscar and several accolades at New York Festivals World’s Best Television & Film Award, UNICEF Asia Pacific Child Rights Award – Hanoi, International Gold Panda Award, Sichuan TV Festival, Cine Golden Eagle Awards, USA and World Media Festival for documentaries such as ‘Mangalyaan: India’s Mission to Mars’, ‘Megafloods: Kerala’, ‘Mumbai Attack’, ‘IC 814 Hijack’, ‘Silent Screams: India’s fight against rape’, ‘Megastructures: Mumbai’s Chattrapati International Airport’, ‘Skeleton Lake’, ‘Inside: Asia’s Largest Prison’, ‘India’s Game Changers’, ‘Undercover Asia: Girls for Sale’, and ‘Freedom to Love (Honour Killings)’.

    As the executive director at Miditech Studios, the television production company with which she has been associated for over 28 years, Somiah is responsible for content strategy and business development for a variety of content formats for internet platforms and international broadcasters such NatGeo, Discovery Channel, BBC World, Disney, Turner, UN Organisations, as well Indian Government Ministries, to name a few.

    In this candid interview, Somiah takes us through the making of ‘India’s Space Odyssey’ as well as the thrill and challenges of documenting monumental events that strengthened India’s resolution of becoming a leader in space exploration.

    Edited Excepts

    On the idea behind India’s Space Odyssey

    With new and ambitious missions like Gaganyaan being planned, and the encouragement of the private sector to enter Space Tech, India’s Space program is a highly topical issue. We felt the story of how we got here is an important one to tell.

    While documenting the Mars Mission for NatGeo a few years ago, I was involved with a lot of research during which I learnt that 1962 was when India’s space programme actually started and it’s going to be 60 years in 2022. Because this coincided roughly with 75 years of the country’s independence, it was also the perfect timing I thought. And that’s when we pitched the idea of doing a commemorative film to Discovery.

    On building the narrative

    With India’s Space Odyssey we wanted to put out not just facts, but a holistic understanding of how events unfolded at Isro through national and global events that impacted our space programme, and other significant factors such as India’s policy of non-alignment. So we built the narrative around three themes – scientific milestones, the impact of global events, and then visualising all of this through archive material, biographies, photographs etc.

    EMBED: ISO Poster

    On the process and elements involved

    We waded through archive material from different sources in India as well as Nasa and Roscosmos and interviewed experts from Isro, Nasa, and Glavkosmos to get an Indian and international perspective of how different events unfolded; a sort of anecdotal telling in parts.

    Asif Siddiqi, the space historian, and professor at Fordham University, New York, helped context the impact of global politics on India’s space program.

    As a storytelling device, hand-drawn animation was used to bring alive a moment in history. These were created by well-known animation director Prakash Moorthy. Especially composed music by Shantanu Sudame set the mood of events as they unfolded. 3D animation done by Purple Monkey was used to visualise the big missions to Moon and Mars. The script was written by Joshua Whitehead.

    On the biggest challenge of telling this story

    It’s a challenge to tell the story of 60 years in a one-hour documentary so we chose turning points in the history of India’s Space program, e.g., the choice of Thumba, Kerala, as a Rocket launch site and how it was officially designated a UN International Scientific Facility in 1968. This got the world’s space scientists to Kerala and Indian scientists greatly benefited from those interactions as one saw these relationships grow over the decades to come.

    Another turning point came with the ability to launch our own satellites. The SLV 3 story, with its initial problems and subsequent success, exemplifies the dedication and innovative, never-say-die spirit of Isro’s scientists.

    On the most elating experience while making the documentary

    Through this documentary, we have tried to capture the spirit of Isro and the culture of critical analysis it has nurtured over the years where even a junior scientist can question the project director.

    These are people without fancy degrees; they come from provincial engineering colleges and have really worked their way up. They have grown within the Isro system working with indigenous technology. The most well-known example is that of one of Isro’s most senior scientists and directors – SATCOM, TK Anuradha who began as a graduate. ‘India’s Space Odyssey’ is thus the story of ordinary people doing extraordinary work.

    On the role of media in India’s Space Diplomacy

    Whether it’s putting up a fleet of satellites or sending a mission to Mars, these are huge scientific endeavours involving mindboggling complexity. India’s space story is pretty unique in that, unlike certain other organisations we did not have large resources at our disposal. Despite these challenges we are among the top six space agencies in the world today – a victory considered impossible by some around the world.

    So, yes, these stories need to be told. After IT, space tech is one of our strengths, and now with the Prime Minister encouraging private players, it will definitely emerge as a big growth area for India. The media has a very big role to play in documenting successes like these. 

  • Sony BBC Earth to premiere ‘Serengeti II’ on 18 October

    Sony BBC Earth to premiere ‘Serengeti II’ on 18 October

    Mumbai: Sony BBC Earth is set to air “Serengeti II” on 18 October at 9 p.m, from Monday to Friday.

    Narrated by Academy Award-winning actress of “Star Wars” and “Black Panther” fame Lupita Nyong’o and Produced by John Downer and Simon Fuller, the show captures the dramatic and emotionally interconnected stories of the iconic savannah animals, from the unspoiled corner of Africa.

    The second part of the series continues to highlight heartwarming stories of the African wildlife from Bakari the baboon, Kali the lioness, a family of leopards with their adorable cubs, and many new animal characters. The six-episode series touches upon different phases of these animal characters, revealing their unique relationship dynamics, behavior, strengths, and weaknesses.

    “It has been our constant endeavor to instill a positive impact within our audience through the power of visual storytelling,” said Sony Pictures Network chief marketing officer and business head for English cluster and Sony AATH Tushar Shah. “With Serengeti II, we are happy to bring alive yet another pioneering series and go deeper into the heart of the action to bring viewers unprecedented animal behavior.”

    The channel is running a month-long social media campaign called ‘witness the bond between the land and the living.’ According to a statement, it will create branded content with popular social media influencers and stand-up comedians such as Jose Covaco and Sorabh Pant.

  • Sun TV regains top spot in week 40: Barc

    Sun TV regains top spot in week 40: Barc

    Mumbai: Garnering weekly AMAs of 2844.59 (‘000s), Sun TV emerged as the most viewed channel in Broadcast Audience Research Council (Barc) week 40 (2 to 8 October 2021). The Tamil GEC replaced Star Plus which had been ruling the position for the past two weeks. Star Plus slipped to the second spot with 2788.88 AMA.

    Star Sports 1 Hindi maintained its hold on the third spot with 2609.43 (‘000s) AMA. Star Maa, Star Vijay, Star Utsav, Colors, Sony SAB, Zee Telugu, and Zee TV followed in that order.

    The mega cities were also led by Sun TV at 493.9 AMA. Star Plus, Colors, Star Vijay, and Star Sports 1 Hindi grabbed the remaining four positions.

    With 2838.2 (‘000s), Sun TV was the leader in the South market as well. Star Maa, Star Vijay, Zee Telugu, and Zee Kannada were at the second to fifth spots.

    Among the regional markets, Maharashtra/Goa was dominated by Star Pravah with 1263.24 AMA. Zee Bangla was the top performer (1085.45) in West Bengal, Tarang (415.14) in Odisha, Zee Kannada (1401.55) in Karnataka, and Star Utsav (206.81) in Rajasthan.

    Clocking 291.14 (‘000s) AMA, Dangal made a surprise entry at the top position in UP/Uttarakhand, replacing long-time leader Zee Anmol which slipped to the third spot making way for Star Utsav as the second most viewed channel.

  • Audiences have replaced slots as the new language of transaction: Kantar’s Puneet Avasthi

    Audiences have replaced slots as the new language of transaction: Kantar’s Puneet Avasthi

    Mumbai: Following the ratings controversy in the US that led to the revocation of Nielsen’s MRC accreditation, the TV measurement Company late last month announced an “Impressions First Initiative” to support an industry-wide move to impression-based buying and selling in local markets across the US. This shift to an impression-based currency will lay the groundwork for implementing Nielsen ONE – Nielsen’s single cross-media product – across local, national, and digital measurement.

    The alacrity with which the Company has acted indicates the growing importance of CTV measurement for advertisers and how it has been at the core of the entire unrest. Closer home, similar voices are being heard, though at a much lower intensity. One may recall that at the height of the Barc TRP controversy last year, a section of the industry had expressed dissatisfaction with the ratings agency’s efforts and even intentions to bring forth a unified, cross-platform measurement system.

    According to Ormax Media’s recent research, the Indian OTT audience universe is now 353.2 million people, translating into a penetration of 25.3 per cent. This means that one in four Indians watched online videos at least once in the last one month. CTV viewing in India increased by 31 per cent as per mediasmart’s India CTV Report 2021. Amazon streaming services that were once considered niche in India are today being accessed by 99 per cent of the pin codes in the country. Now that Amazon has turned into a super app with the launch of Prime Video Channels, further massification is expected. Add to all this, the availability of linear TV on OTT platforms, and the medium becomes a staple in media plans for brands across categories.  

    Needless to say, advertisers are clamouring for a third party measurement system for OTT and a unified metric across linear and connected TV that serves all their data needs. While there is no industry body that has been recognised as the standard, individual players both global and independent, are working to meet marketers’ demands, with each contributing its own unique technology, methodology as well insights to evolve a robust and competitive OTT measurement ecosystem in the country.

    Taking the discussion forward, Indiantelevision.com’s Ashee Sharma connected with Kantar director (specialist businesses) –South Asia Insights Division, Puneet Avasthi to understand the work being done by the data and insights Company in the field of OTT measurement in India, and the shift in TV measurement over the years.

    Edited Excerpts:

    On the big shift in TV measurement

    The advertising market has seen a significant shift in recent years with the old order of having TV commercials placed on (time) slots changing. Instead of slots, audiences are being sold today, and that has become the new language of transaction. In the old linear TV viewing world where there used to be a fixed time for a content piece, we were measuring the viewership for a particular time spot. But now as viewership and programming become non-linear we have to offer audiences in terms of size and profile, at a particular point in time, and on the content of choice. This effectively means that what used to be a time-centric measurement system is today viewer-centric.

    On the challenges of measuring OTT

    OTT Measurement is challenging because, one has to not just measure the time when the audiences are available online but, also what content are they watching on the OTT platforms. In the earlier world, the task was principally to estimate how many people are going to be watching TV and which channel, and that could be used to ascertain the particular programme being watched and therefore you had the rating. Now you are estimating not just the viewership at a particular time slot, but also looking at the content that has been specifically beamed into a device. So, media measurement is going to be about both time as well as the content.

    On the problem of duplication

    In a world of multi-screeners, it is possible that a million impressions that have been counted might actually be fewer because the same individual who is toggling screens may have been served the ad multiple times. Therefore, when it comes to OTT viewership we should ideally be capturing the frequency i.e. how many times someone has watched a particular ad, and not how many times it was served. The latter is what the OTT platforms are able to tell anyway. 

    On how Kantar is addressing these issues

    Kantar, along with its partner VTION, measures OTT viewership through a consent-based app that can be installed on android devices of people who have been recruited into a 16000-strong panel online. We focus on all on-mobile viewership in towns that have a population of over one lakh. Since it is a recruited panel we have a fairly good understanding of the audience profile. The system allows us to tell the time of viewing and the content that is being watched. It is also possible to extend this service to measure ‘what ads have been served on various devices’, and therefore, theoretically speaking, it is possible to assess the reach of advertising, online.

    Another level at which we measure OTT is through the annual baseline or internet usage study called ICUBE. It is conducted on a sample size of 75000 to determine the reach of the internet across urban and rural India. Within that we track the usage of different internet services which includes video entertainment as well; OTT specifically. This gives us an idea of the reach and how it has evolved over a period of time for different OTT platforms.

    On Convergence

    Eventually, there has to be a convergence where one is able to integrate the viewership of programmes across different modes of content delivery, whether linear on OTT. That is something everybody is working towards. There are technologies that are available. 

  • Hollywood averts massive strike by film and TV workers

    Hollywood averts massive strike by film and TV workers

    Mumbai: The International Alliance of Theatrical Stage Employees (IATSE), the union which represents film and television crew members throughout North America, and the Alliance of Motion Picture and Television Producers (AMPTP), have reached an agreement on a new three-year contract averting a major strike less than a day before the walk-out deadline.

    “This is a Hollywood ending,” IATSE International President Matthew Loeb said in a statement. “Our members stood firm. They’re tough and united. We went toe to toe with some of the richest and most powerful entertainment and tech companies in the world and we have reached an agreement with the AMPTP that meets our members’ needs.”

    This strike would have been the first in the union’s 128-year history and the first major crew strike since World War II. The 11th-hour deal avoids a potentially crippling shutdown which would have impacted film and TV productions nationwide, with worldwide ripple effects, just as studios struggle to recover from heavy losses caused by production shutdowns and theatre closures due to the Covid-19 pandemic.

    The agreement, which still must be ratified by the union’s membership, includes improved wages and working conditions for streaming productions, a retroactive wage increase of three per cent annually, increased funding for health and pension plans, a minimum 10-hour turnaround time between shoots with a 54-hour break after a five-day week and also includes still unspecified diversity, equity and inclusion initiatives.

    The deal was met with a sigh of relief across Hollywood after talks stalled over the summer leading the IATSE to vote in early October on a strike authorisation with the overwhelming support of 98 per cent of union voters. The 60,000-member union represents a wide range of production crew members including cinematographers, camera operators, set designers, carpenters, hair and make-up artists, and many others.

    The strong support of the union membership gave leaders considerable leverage to press their demands. The IATSE has traditionally preferred to quietly negotiate earlier agreements avoiding confrontations with the studios. However, members’ frustrations have grown to a breaking point with working 14+ hour workdays with few breaks and no weekends off.

    In addition, as studio executives realised how devastating this strike could be, just as they were beginning to crawl out from beneath the effects of the Covid-19 pandemic, the IATSE felt further emboldened to take a tougher stand.

    The union’s focused goals were: livable wages for the lowest-paid workers; more turnaround time between workdays; genuine meal breaks; rescue of the union’s ailing pension and health plan; and a bigger cut of the revenue from streaming shows. Studio executives acknowledged that they could no longer defend previous deal points allowing for such incessant work hours, as reported by the Los Angeles Times.

    The strike has been officially called off with this tentative agreement as union members will be heading to the ballot box in the next few days to give or refuse their stamp of approval, with both sides remaining hopeful.

  • Prasar Bharati to monetise its premium and archival content

    Prasar Bharati to monetise its premium and archival content

    Mumbai: Prasar Bharati has approved a policy on monetisation of archival and premium content of All India Radio, Doordarshan and new units of the public broadcaster.

    “This policy will ensure that archival and premium contents of Prasar Bharati are syndicated to third parties through an open and transparent mechanism of e-auction, in order to fetch maximum market value of content on-demand basis,” it said in a statement.

    The broadcaster observed that TV channels as well as new channels on OTT are looking for good saleable content. This has created a demand for programme content of Prasar Bharati in India and overseas for the purpose of broadcast as well as streaming. The possibility for monetising this content requires a well-defined content syndication policy, it noted.

    As per the policy, the public broadcaster will monetise its available content through e-auction to third parties for linear broadcasting (TV/Radio) and on-demand viewing/listening through internet platforms. The available content will be curated into compelling catalogues for the purpose of syndication at the catalogue level.

    An online portal will be created for the management of the entire life cycle of the syndication from registration to grant of rights, payment and content sharing. The e-auction may be held for global linear broadcast rights, global on-demand rights, India linear broadcast rights and India on-demand rights, it said on Thursday.

  • The Zoom Studios announces launch of ‘The Reunion – Chal Ghar Chalein’

    The Zoom Studios announces launch of ‘The Reunion – Chal Ghar Chalein’

    Mumbai: The Zoom Studios has announced a new season of their original show “The Reunion”. The latest season titled “The Reunion – Chal Ghar Chalein” will launch on 16 October at 12:30 p.m on The Zoom Studios YouTube channel and at 8:00 p.m on Zoom.

    Helmed by acclaimed director Danish Aslam, the show features Lillette Dubey, Veer Rajwant Singh, Devika Vatsa, Prabal Panjabi, Kashmira Irani, and KK Raina. The trailer for the show has already recorded a reach of 2.5 million and garnered 1.5 million views across Zoom Studios’ social media platforms.

    Not just fans, popular actors, and renowned Bollywood personalities including Karishma Kohli, Mithila Palkar, Dhruv Sehgal, Shreya Dhanwanthary, Ayush Mehra, Adah Sharma, Shreya Gupto, and Diksha Juneja took to their social media to express their excitement for the new season and appreciation for the trailer.

    The 9 part-series is shot in the mesmerising picturesque locations of Odisha.

  • Zeel responds to Invesco’s Open letter, dismisses allegations regarding Sony-Zeel merger

    Zeel responds to Invesco’s Open letter, dismisses allegations regarding Sony-Zeel merger

    New Delhi: Zee Entertainment Enterprises Ltd (Zeel) has responded to Invesco’s Open letter, clearing the air regarding certain accusations made by the investors regarding the Zeel-Sony merger.

    In its biting Open letter issued on 11 October, Invesco Developing Markets Fund and OFI Global China Fund LLC who combined own 18 per cent stake in Zeel had compared the Zeel-Sony merger to nothing more than a ‘camouflage’ to distract from the main issue. The investors had also accused the Company of “repeated governance failure” and “underperformance”, and said the deal “favours certain shareholders”.

    On Wednesday, Zeel responded saying Invesco’s statements were “half-truths” and urged the investors to let the Board of directors of the Company and the management work towards finalising this deal, which according to it is “clearly for the benefit of all stakeholders.”

    Referring to Invesco’s statement that it “will firmly oppose any strategic deal structure that unfairly rewards select shareholders, such as the promoter family, at the expense of ordinary shareholders,” Zeel said, that their (Invesco’s) stance runs contrary to the very deal Invesco was itself proposing only a few months ago (referring to the deal with Reliance whose details were shared by MD Punit Goenka in a letter to the Board.)

    “By way of comparison, the quantum of shareholding proposed to be transferred to the promoter group in the Sony Deal is substantially less (by as much as approx. 4 per cent) than what was being proposed by Invesco in the deal brought by them,” said the Company. Furthermore, the transfer of approx. 2.11 per cent shares by the promoters of Sony is a secondary transaction that will not be dilutive to any shareholder of the Company, unlike the proposal deal with Reliance.

    The Company also emphasised that as per the terms of the deal with Sony, the promoter family is free to increase its shareholding from the current – 4 per cent to up to 20 per cent, but in a manner that is strictly in “accordance with applicable law.”

    Zeel also dismissed the allegations made regarding the Sebi advisory letter to Zeel in June 2021, which according to Invesco raised “lack of governance oversight by Zeel’s current board.” The Company stated that Sebi had also suggested some corrective measures and Invesco has been working alongside the Company in taking and recommending corrective measures all along.

    “All these facts and Invesco’s silence as regards these issues in its own requisition notice, gives us a reason to believe that Invesco ‘s recent actions are inconsistent with their past behaviour, and have been undertaken as an afterthought after various investors and analysts have sought to understand the rationale behind Invesco’s actions of these past few weeks,” said the Company.

    Zeel also pointed out the apparent ‘lack of transparency’ from Invesco’s side, as it did not disclose the fact that they were negotiating a deal on behalf of the Company without any authority, even while criticising the Sony deal by way of the Open Letter disclosure made by the Company to the stock exchanges on 12 October. It was only Zeel made a disclosure, that Invesco came out with the details.

    The Company also dismissed the ‘unsubstantiated aspersions on the management of the Company and has made comments in relation to the “permissive culture” of the Board, and said that five out of the six existing independent directors on the Board of the Company were appointed after Invesco’s investment in 2019 and that Invesco was consulted and their views were positively considered at the time of making such appointments.

    “Accordingly, Invesco’s actions of the past few weeks, open letters against the Company and the Board and their general lack of transparency, have given the Board reason to believe that their actions are motivated by concerns entirely extraneous to any corporate governance issue,” said the Company.