Category: Viewership

  • Investors seek removal of Zee TV board directors

    Investors seek removal of Zee TV board directors

    Mumbai: Invesco Developing Markets Fund and OFI Global China Fund LLC, shareholders of Zee Entertainment Enterprises Ltd (ZEEL) have sought the removal of long-standing directors and close associates of the Chandra family from the Board.

    Both Invesco Developing Markets Fund (formerly Invesco Oppenheimer Developing Markets Fund) and OFI Global China Fund LLC hold equity shares, which represent an aggregate of 17.8 per cent of the paid-up share capital of the Company. The change of guard comes two years after Oppenheimer bought the mortgaged shares of banks when Chandra defaulted on loans from banks.

    In a special notice sent under Section 169(21 read with Section 115 of the Companies Act, 2013, the investors have sought the organisation of an Extraordinary General Meeting (EGM) of shareholders to remove Punit Goenka, Manish Chokhani, and Ashok Kurien as directors.

    Both Chokhani and Kurien have held the positions since Zee TV’s inception, and have resigned with immediate effect. While Kurein was a member of the CSR committee and Stakeholders committee of the Board, Chokhani was a member of the nomination and remuneration committee and risk management committee.

    The investors have also sought the appointment of Surendra Singh Sirohi, Naina Krishna Murthy, Rohan Dhamija, Aruna Sharma, Srinivasa Rao Addepalli, Gaurav Mehta as independent directors on the board for a term of up to five consecutive years.

    “The board of directors of the Company is requested to take all necessary action to call for and conduct the extraordinary general meeting, as requisitioned by us, in accordance with applicable law, including Sections 100, 101, and 102 of the Companies Act, 2013 and Rule 23(3) of the Companies (Management and Administration) Rules, 2014,” the notice read.

    However, all the appointments are subject to the approval of the ministry of information and broadcasting (I&B).

  • Retail Jewellers ad volumes grew by 52 per cent in Jan-Aug

    Retail Jewellers ad volumes grew by 52 per cent in Jan-Aug

    Mumbai: TV advertising volumes for retail outlets – jewellers grew by 52 per cent in January-August 2021 over the same period in the previous year, according to data shared by TAM Media Research. More than 150 advertisers and 170 brands were visible on TV.

    The news genre with 63 per cent share of ad volumes was the most preferred genre by jewellers followed by GEC (16 per cent). The primetime, afternoon and morning time bands combined accounted for more than 70 per cent of category ad volumes.

    The top ten advertisers included Lalithaa Jewellery Mart, Kalyan Jewellers, Malabar Group of Companies, Thangamayil Jewellery, The Chennai Silks Group, G R Thanga Maligai Jewellery, SDJ Gold Company, Akshaya Gold Company, K D & Sons and Bhima Group. Altogether, they contributed to 75 per cent share of category ad volumes on TV. There were more than 80 new brands that advertised during this period over last year.

    The news bulletin programme genre was most preferred by jewellers to showcase their ads. Film songs and feature films were also popular programme genres with 11 per cent and 10 per cent share of category ad volumes, respectively. 20-40 seconder ads and <20-seconder ads were the most preferred lengths with 58 per cent and 30 per cent share of the category ad volumes, respectively.  

  • FTA market rides growth wave amid pandemic

    FTA market rides growth wave amid pandemic

    Mumbai: Riding high on the launch of new channels, the advertising volumes and values of free-to-air (FTA) has grown by 25 to 30 per cent and is estimated to have a share of 25 to 30 per cent of the Rs 30,000 crore of total TV AdEx. This growth coupled with changes in viewership post the pandemic has charted the growth story of the FTA market during the pandemic.

    Out of the 901 licensed private satellite TV channels, 574 are free to air, according to the Telecom Regulatory Authority of India (TRAI). The launch of new channels including Shemaroo MarathiBana, ShemarooTV, Dangal Kannada, Ishara TV, Sun Marathi, Filamchi, Azaad, Dhinchaak, Colors Cineplex Bollywood, Asianet Movies, Filamchi Bhojpuri have grown the advertising share of free TV.

    “The first half of the year has been really good for FTA. The viewership had been very consistent in the early stages of 2021, with the demand peaking in the period before the second wave,” said MediaCom national director Srinivas Rao.

    According to Enterr10 Media Network chief business officer Shrutish Maharaj the FTA genre has grown by 25-30 per cent both in terms of volumes and value. “Had the pandemic and some policy changes not hit the industry, the organic growth had the potential to be much better,” Maharaj added. FTA space has also seen a lot of action with multiple launches in Uttar Pradesh, Bihar, Maharashtra, West Bengal, Punjab etc.

    Earlier only the big broadcasters were able to invest in original programming. However, that has changed over recent time, with a host of original programmes creating a vibrancy on FTA channels. “This is changing because FTA channels are no longer catering only to rural markets where viewers were playing catch-up. They now have significant penetration in urban markets as well,” said Maharaj. Some channels even look at a ratio of 40:60 of original programming to acquired content to be an ideal mix. 

    Traditionally, FTA channels tend to perform well in rural markets and have been mainly supported by FMCG advertisers who may contribute up to 70 per cent of the ad volumes. The reliance on FMCG spends is also believed to have constrained the growth of the FTA channels, as the category is mature.

    Though the FMCG is still the largest spending category on FTA, the dependence of FTA on FMCG has reduced considerably with categories like services, healthcare, education, manufacturing and construction, telecom, media contributing significantly. There has been the advent of new categories and a few others have recorded phenomenal growth.

    Some of these advertisers who came onboard include Amazon, Myntra, Flipkart, BYJU’S, Google, Facebook, indicating a shift towards the FTA audience which is discerning and dependable to drive the next phase of growth for them.

    Since the core audience of FTA channels is mainly from the heartland, most broadcasters try to place their channels on DD Free Dish, the free DTH platform by Prasar Bharati. At a one-time cost of Rs 2,000, any viewer may watch up to 160 channels distributed on the platform at no recurring cost. It is estimated that there are 50 million DD Free Dish set-top-boxes in the country.

    The advantage of being available on DD Free Dish is significant. Hindi general entertainment channel (GEC) The Q grew its client list by six times after launching on the free DTH platform, according to The Q chief executive officer Simran Hoon. “The Q has also not faced any problem of discounted ad rates like other FTA players post launching on DD Free Dish,” she added.

    Depending on the market that FTA channel caters to, viewership may increase up to 50 gross rating points (GRPs) by solely being distributed on the platform.

    “This is because DD Free Dish audience accounts for 30 per cent of the Hindi-speaking market,” pointed out Shemaroo TV, chief operating officer – broadcast business, Sandeep Gupta. “A channel can definitely survive just by being on DD Free Dish and not any other individual platform. It has a significant share of the audience in the core heartland markets such as Uttar Pradesh, Uttarakhand, Madhya Pradesh, Chhattisgarh, Bihar, and Jharkhand.”

    The availability of channels on DD Free Dish also improves the performance of the channel in rural markets drastically, highlight media experts. However, the biggest issue is that the base size of DD Free Dish is low, leading to scale still being low. Hence, the advertiser interest in FTA channels available on DD Free Dish would depend on the markets the brand is targeting,” said MediaCom’s Rao.

    At the end of the third annual e-auction that concluded in February, broadcasters bid as high as Rs 16.5 crore to be on DD Free Dish and Prasar Bharati made Rs 731.34 crore from the sale of 57 MPEG-2 slots.

  • Sun TV tops the charts in week 35: BARC

    Sun TV tops the charts in week 35: BARC

    Mumbai: Tamil GEC Sun TV continues to dominat the list of top ten most viewed channels in week 35 with 2785.23 AMA, according to the Broadcast Audience Research Council (BARC) India. Gaining hold on the second and third positions were Star Plus and Star Maa (Telugu) with weekly AMAs of 2708.94 and 2494.98 respectively, between 28 August and 3 September.

    Sony SAB, Colors, Star Vijay (Tamil), Star Utsav, Zee Telugu, Zee TV, and Zee Kannada followed in that order.

    In the mega cities, Sun TV dominated the charts again, recording a weekly AMA of 472.08 (000s). Star Plus, Colors, Star Vijay, and Sony SAB grabbed the remaining four spots.

    The South market too was led by Sun TV at 2779.3 AMA. It was followed by Star Maa, Star Vijay, Zee Telugu, and Zee Kannada.

    Star Pravah led the Maharashtra/Goa market with 1457.01AMA. At 1156.05, Star Jalsha was the most viewed channel in West Bengal, Tarang in Odisha (452.8), Zee Kannada in Karnataka (1495.16), Star Utsav in Rajasthan (231.84), and Zee Anmol (330.45) in Uttar Pradesh/Uttarakhand.

  • Azaad launches first two Originals designed for the rural mindset

    Azaad launches first two Originals designed for the rural mindset

    Mumbai: Beginnen Media’s first consumer-specific entertainment channel, Azaad has announced its Originals content offering exclusively designed for the ‘Rural Mindset’.  The premium Hindi rural entertainment channel will be launching two new shows titled ‘Meri Doli Mere Angana’ and ‘Pavitraa Bharose Ka Safar’, both of which have been created after deeply understanding the rural person through years of periodic syndicated research, said the channel on Tuesday.

    Staying true to the brand proposition of ‘Hamari Mitti Hamara Aasman’, themes have been specially created to attract, engage and connect with this super mass. Starting 14 September, ‘Meri Doli Mere Angana’ will air at 9:00 p.m and ‘Pavitraa Bharose Ka Safar’, at 9: 30 p.m on Azaad as well as on MX Player (digital partner).

    Produced by Jitendra Gupta and Mahesh Tagde from Tell-A-Tale Media, ‘Meri Doli Mere Angana’ portrays the beauty and complexities of relationships in the Bithoor-based Singh family, especially the loving bond between Janki and her father. The show captures Janki’s journey from being an innocent daughter to becoming an experienced daughter-in-law who learns to manage complex situations and relationships in a society that differentiates between the two roles. Astha Abhay plays the lead protagonist Janki. Surendra Pal, Rudrakshi Gupta and Ankit Raizada will be seen in key roles.

    ‘Pavitraa Bharose Ka Safar’ is a family drama set in Meerut. While it is based on the main themes of encouraging women empowerment and battling societal issues, the show also depicts the passionate love story of two diverse personalities. Produced by Santosh Singh, Rochelle Singh, and Pearl Grey from Parth Production, ‘Pavitraa Bharose Ka Safar’ is the story of Pavitraa, the daughter of an underprivileged taxi driver who aspires to complete her education and become self-reliant. She fights against all odds to become a successful entrepreneur who strived to make other women capable of taking care of their families and themselves in all respects. The role of Pavitraa is played by Shaily Priya. The cast also includes Neelu Vaghela, Kumaar Raajput and Sheezan Mohammed.

    Commenting on the Originals launch, Beginnen Media Pvt Ltd (BMPL) managing director, Bharat Kumar Ranga, said, “It’s an industry-first with Azaad making the shift from a creative to a consumer-focused business model. Gaining the trust of our viewers is at the heart of our model as our customer experience is based on deep insights. Our Originals have a rural consumer-centric proposition which places the viewer, rather than the creative at its core.”

    Welcoming the viewers who had joined the launch event live from different villages in North India, he added, “By its sheer size, the rural super mass is clearly emerging as a segment with huge untapped opportunities. Azaad’s philosophy of ‘People Centricity’ reflects the rural DNA that is the Unapologetically Real Indian (U-R-I). We are delighted to present the ‘UnionShip’ with our content creators, Jitendra Gupta, Mahesh Tagde, Santosh Singh, Rochelle Singh, and Pearl Grey who have created our first two originals. The shows are relatable and would inspire the U-R-I mindset to reconcile with rural traditions and values while ushering in a sense of dynamism and growth to meet their aspirations.”

    “Azaad is a first on many levels. There has always been a clear-cut divide between urban and rural India, where rural in spite of being a majority, unfortunately, has always got a hand-me-down treatment in every sphere of life. And that’s what we want to change with our’ rural first’ approach,” commented Beginnen Media, general manager – product, Doris Dey. “At Azaad we truly believe in democratising the entertainment industry by creating content for much-ignored Rural India, as well as creating an ecosystem where equal opportunities are provided to existing and new makers. We are a ‘challenger brand’ determined to create a unique parallel ecosystem within the industry. I am sure that we will set new benchmarks with the unwavering support and participation of all our stakeholders.”

    Azaad’s brand proposition, Hamari Mitti Hamara Aasman, was developed in partnership with Scarecrow M&C Saatchi Ltd. The idea was arrived at through an extensive consumer study of the rural person by Future Brands. The unique proposition spells out rural dreams and aspirations and wears the rural pride. Both the brand film and the brand anthem are devised and created by Azaad’s internal on-air promotions team. The brand film takes a closer look at the U-R-I’s mindset to reveal the pride they take in their roots, culture, and belief systems. Music director Santosh Nair and singer, Divya Kumar rendered the brand anthem.

  • CTV behind the growing dissatisfaction with Nielsen’s audience measurement system

    CTV behind the growing dissatisfaction with Nielsen’s audience measurement system

    Mumbai: Nielsen is in the eye of the storm once again following the suspension of accreditation for National and Local TV Ratings service in the US by the Media Ratings Council, effective mid-September. The TV measurement company had long been facing criticism from the Video Advertising Bureau (the trade organisation representing the advertising sales departments of networks and distributors) over the accuracy of its ratings. The months-long feud culminated in the VAB formally petitioning MRC to strip Nielsen’s accreditation citing undercounting TV viewing during the pandemic, and the exclusion to-date of broadband-only homes as primary reasons.

    Submitting an in-depth 10-page document to the MRC, the VAB detailed the five specific violations of minimum standards committed by Nielsen starting March 2020. “Although Nielsen has taken steps to rectify the issues with its sample, our current analysis proves the issue persists.  With nearly 18 per cent of respondents still missing, the sample still does not accurately represent the TV viewing population, particularly diverse and younger homes,” it stated.

    While Nielsen cited Covid-related disruptions as an explanation for undercounting during the pandemic, the growing dissatisfaction with its panel-based measurement system stems from the more fundamental problem around both the underrepresentation as well as the misrepresentation of the large universe of the audience that has either completely cut the cord or is consuming both linear and CTV across devices and platforms. The numbers which were already on the rise witnessed unprecedented growth in the past 18-20 months in the US.

    According to database company, Statista’s research titled ‘Connected TV advertising in the US – statistics & facts’ published this June, the number of CTV users in the US reached an impressive 203 million in 2020. CTV ad spend at $13.41bn amounted to 4.7 per cent share in total ad spend, with the most common share of ad budget dedicated to CTV being 10-20 per cent. CTV ad household reach stood at 78 per cent. Stating targeting and efficiency as the top reasons, 42 per cent of advertisers were planning to increase spend on OTT/CTV.

    On 1 September, Nielsen CEO David Kenny had also, in a letter addressed to clients, said, “Broadband-only homes are an important audience now representing nearly 30 per cent of TV households in some local markets. We believe it is critical to include them in local measurement as soon as possible, but we agree that we need to move to an explicit universe estimate. Their exclusion to-date means a gap and bias in measurement and we have been and continue to commit to integrating them in a responsible way.”

    Last month, the firm had announced its intention to add Broadband-Only (BBO) homes to its panels in October, but that did not deter MRC from revoking Nielsen’s accreditation. The Council had expressed reservation about the effectiveness of the plan, given the need for fundamental changes in the current measurement system which oversimplifies viewing across CTV by extending linear TV measurement standards to it and/or combining two viewing data sets that do not have common metrics.

    For this very reason, the clamour for evolving a unified identifier has only grown since the groundbreaking innovation began redefining broadcast in the US close to a decade ago; however, the complexity and fragmentation of the ecosystem have kept the industry from arriving at it so far.

    The pandemic and other recent developments seem to have put the exercise on fast forward.

    Matters were further compounded by NBCUniversal launching a measurement RFP in August, calling for “measurement independence”.

    Hopes are now pinned on Nielsen ONE, the single cross-media product which will provide reach and frequency metrics by delivering a holistic, de-duplicated view of both content and ad performance regardless of screen, device or platform. The new flagship currency expected to launch in 2022 aims to address the pressing concern of duplication in CTV measurement, at the same time bringing linear TV measurement on par with digital viewing.

    Noteworthy here is the fact that Nielsen has been on an extended hiatus for its digital ad ratings (DAR) service since October last year. In January, it entered another six-month hiatus for its local TV ratings service, which was also extended through the end of 2021. On August 11, Nielsen had further initiated the accreditation hiatus process for its National TV ratings service with the MRC; all in an attempt to concentrate its audit-related efforts on continuing to address panel concerns alongside the transformation of the National TV product and development of Nielsen ONE.

    In fact, going beyond the unifier currency, Nielsen has been heading in his direction for quite some time now.  The big highlights were its decision to measure CTV campaigns on YouTube and YouTube TV for the first time (announced October 2020) and the Roku-Nielsen strategic alliance in March 2021.

    YouTube, vice-president – global solutions, Debbie Weinstein had said, “Over 100 million people in the US watch YouTube and YouTube TV on their connected TVs every month. Advertisers are asking for third-party measurement partners like Nielsen to provide a complete view of YouTube and YouTube TV audiences, so they can understand the scale of the audience they’re able to reach through CTV campaigns.”

    In March, Roku entered into an agreement to acquire Nielsen’s Advanced Video Advertising (AVA) business which includes Nielsen’s video automatic content recognition (ACR) and dynamic ad insertion (DAI) technologies. The objective of the acquisition was to accelerate Roku’s launch of an end-to-end DAI solution with TV programmers. Additionally, Nielsen and Roku forged a strategic partnership to integrate complementary Nielsen ad and content measurement products into the Roku platform and further advance Nielsen ONE. Roku is a leading American manufacturer of digital media players. The Company also operates the No. 1 TV streaming platform in the US as measured by hours streamed (Kantar 2020).

    Given that tech-led innovation has a history of effecting the worldwide industry overhauls in a not-so-organic manner, these developments, though specific to the US, are being carefully studied in India. While the connected TV/OTT ecosystem in the country is not as well developed and deeply entrenched yet, it is relevant here to recall Barc India’s intent to initiate ‘one video view’ measurement, announced last September by former CEO Sunil Lulla. The much-awaited and much-touted Nielsen ONE may well serve as a template or the indicator of the nearness of an inevitable change, if not a universal go-ahead for players globally.

  • Nielsen loses accreditation for TV measurement service

    Nielsen loses accreditation for TV measurement service

    New Delhi: Nielsen has lost the industry approval for its national TV rating service after the board of the US-based Media Rating Council (MRC) suspended its accreditation. The decision was taken during a regular audit of audience measurement agencies done by MRC to ensure they comply with the industry standards.

    Nielsen had in fact, requested for a hiatus from the current accreditation process so that it could “focus on innovating its core products, and deliver data that industry can rely on”, amid the latest complaints from TV networks. The request was however turned down by the media industry’s measurement watchdog, which holds the measurement organisations to standards on behalf of the media sector.

    The suspension of the decades-old track record of measuring the TV business comes after a long standoff between Nielsen and the networks over the former’s services. Some TV executives had highlighted certain discrepancies in the data shared by the company during the pandemic, resulting in an undercounting of the audiences. In July, the Video Advertising Bureau (VAB) which represented TV networks had also requested MRC to suspended its accreditation, citing these discrepancies. Nielsen, on the other hand, had requested for a hiatus from the accreditation process to concentrate on its audit-related efforts on continuing to address panel concerns.

    While Nielsen’s measurement will still be released, it will operate without a sort of “seal of approval” by the industry that uses it, for the first time since the 1960s. This could encourage advertisers and TV networks to seek alternate means of counting their audiences. 

    “While we are disappointed with the outcome, the suspension will not impact the usability of our data. Nielsen remains the currency of choice for media companies, advertisers, and agencies. We are committed to the audit process and during this pause in the accreditation we will work with the MRC on resolving this suspension,” Nielsen said in a statement, adding that it will also take the opportunity to focus on innovating its core products and creating a better media future for the entire industry.

    Meanwhile, the fast-paced changes in the TV industry have also led major organisations to look for new yardsticks as their audiences venture into new digital territories amid the OTT boom. “We have become increasingly concerned with inaccuracies and irregularities in the data reported by Nielsen, and urged them to more quickly pivot their processes and practices to fix known issues,” Disney’s ad-sales unit said in a statement, Variety reported.

    As more consumers migrate from linear TV to OTTs, the demand has been growing for TV measurement agencies to innovate and upgrade to fulfill the new demands of the TV industry and capture audiences as they move from screen to screen.

  • We showcased our content to more audiences during pandemic: Ajay Bhalwankar

    We showcased our content to more audiences during pandemic: Ajay Bhalwankar

    Mumbai: Ajay Bhalwankar has been associated with Sony Pictures Networks since 2014. He headed the network’s flagship general entertainment channel Sony Entertainment Television (SET) as chief creative director. In 2018, he was appointed as the business head for Sony Marathi, the network’s newly launched Marathi general entertainment channel.

    Prior to joining SPN, he has worked in various capacities with broadcasters and channels like Zee TV and Music Asia. At Zee Network, he was the content head – Hindi GECs and had been instrumental in delivering quality content with exceptionally popular shows and remarkable characters across a bouquet of genres. He has also worked as a journalist with Mumbai’s leading Marathi newspaper ‘Aapla Mahanagar’ and fortnightly sports magazine ‘Ekach Shatkar’.

    During his career, he has launched Marathi and Hindi channels besides producing Marathi films and setting up a film production studio.

    Bhalwankar has a M.A in French literature from the University of Mumbai and a management degree from MICA, Ahmedabad. He is an ardent movie buff and avid reader with a preference for books on history, poetry and philosophy. During weekends, you may catch him spending quality time with his family and going on road trips.

    Indiantelevision.com’s Varun Markande spoke to Sony Marathi, business head and Sony Pictures Networks India, executive vice president, Ajay Bhalwankar on how the channel fared during the pandemic, and its growth from 30 GRPs to 100 GRPs in four years, and more. 

    Edited Excerpts

    On the growth of Sony Marathi over the last four years

    We launched the channel four years ago on 19 August. At that time there were many general entertainment channels (GECs) that already existed but have since faded or have been unable to make a mark.

    We started off with a healthy reach of 21 per cent and 30 gross rating points (GRPs) at the beginning. Since then, we’ve crossed 100 GRPs in four years and acquired a lot more audiences. These were tough years when the Maharashtra market faced issues such as Covid-19, floods, and extended elections but we’ve kept growing on the back of consistently good content coming on the channel.

    At the time of launch, there were already four established channels in the Marathi GEC space and we’ve been able to reach No. 3 in terms of reach. We’re ahead of channels like Zee Youva and Colors Marathi with a reach of 25 per cent which shows that people are consuming Sony Marathi content.

    On the growth of Marathi viewing audience

    When we launched, the entire Marathi genre was hovering around 700 GRPs. Today, this genre is clocking more than 1000 GRPs looking at the data from the last two to three weeks. The market has grown thanks to the competition between channels and great content that is being produced. The growth of the Marathi viewing audience has been consistently strong in the last four years because of the efforts of GECs in terms of content.

    The uniqueness of Marathi content is that it is viewed by the entire family together. Our research showed that Hindi GECs are watched mostly by women whereas Marathi soaps are consumed by men, women , and kids. That helps the advertiser, as well as the channel, attract more audiences. I know a lot of people who don’t speak Marathi but view Marathi content because it is progressive and brings people together. That’s what’s unique about the genre.

    On the top shows for the channel

    In non-fiction programming, our top shows include Kon Honnar Crorepati and Maharashtra Chi Hasya Jatra Navya Korya Vinodacha Punha Nava. The latter especially has become a big rage with Marathi audiences for its humour and content.

    In fiction programming, shows like Gatha Navnathanchi, Saubhagyavati Ho, Swarajya Janani Jijamata have done very well for us. All these shows have a progressive element in them.

    From July onwards, we have launched new shows starting with Ajunahi Barsaat Aahe which has an outstanding cast of actors like Mukta Barve and Umesh Kamat. We launched Vaidehi on 16 August which is produced by Purnendu Shekhar of Balika Vadhu fame.

    We have planned more shows for the festive season which will be produced by Balaji Telefilms and some non-fiction properties that are the strength of Sony.  

    On the impact of the pandemic on ratings

    The first wave of Covid forced channels to air their archive content as original content programming had stopped. That worked in the favour of a young channel like Sony Marathi. Fewer people had sampled our content to an extent.

    The pandemic was an opportunity for us to showcase our content that was differentiated, progressive, and not the done-to-death drama that appeared on other TV channels.

    During that period, Sony Marathi’s GRPs climbed quickly from 50 GRPs to 80 GRPs and today has crossed 100 GRPs. The channel has grown rapidly in the last one and a half years.

    On marketing the channel to new audiences.

    We have an almost continuous engagement with our audience. We take a 360-degree approach and leverage digital marketing, print media, ground-level activations, and OOH to create awareness for our shows. From April onwards, we launched an aggressive marketing campaign with the support of Sony Pictures Networks India channels to acquire more audiences.

    On the growth of advertising on the channel

    Advertising is growing year-on-year with sponsors coming on board for our fiction as well as nonfiction properties. There are national as well as local clients who want to advertise on Sony Marathi because of the way the channel is growing.

    On the vision for the next three years.

    For any channel reaching No. 1 in the market is critical. Our effort is to get to that level. Of course, that doesn’t happen overnight and we have a strategy in place that should raise the channel to a commendable position in an organic manner.

    Sony Marathi has always been a challenger brand. We’ve offered new, differentiated, and innovative content. We’re looking at big formats like Kaun Banega Crorepati and Super Dancer and a mix of strong fiction shows to add to our programming.

    Maharashtra has a highly urbanised market and for us the urban audience is critical. In markets like Mumbai, in the 10-75 age bracket, our ratings are as high as 165 GRPs. These markets are critical to our growth and we’ve seen our numbers increase consistently. 

  • Global TV advertising market reached $278 billion in 2020

    Global TV advertising market reached $278 billion in 2020

    Mumbai: The global television advertising market reached a value of $278 billion in 2020, according to ResearchAndMarkets.com’s latest report titled ‘Television Advertising Market: Global Size, Share, Revenue Statistics, Research Report & Forecast 2021-2026’. Looking forward, the publisher expects it to exhibit moderate growth during the next five years.

    Television represents one of the most popular and widespread forms of media worldwide with around 1.6 billion households having one or more television sets. The prevalence of television makes it a preferred choice for advertisements for both large and small businesses. It also offers advertisers the ability to use motion, colour and audio to send a strong and persuasive message to the audience. The audio-visual effects also help in creating a long-lasting and emotional impact depending on the services and audience of the advertisement.

    In spite of the competition from new media platforms, television is expected to remain as the largest advertisement segment. Moreover, the increasing penetration of television in emerging markets such as Latin America, Eastern Europe, Africa, Middle-East, China and India is also expected to drive the television advertisement market in these regions, thereby facilitating the overall growth globally, according to the report.

    It has segmented the market on the basis of service type. Currently, terrestrial TV networks dominate the market accounting for the majority of the total global share. Terrestrial networks are followed by multi-channel and online television segments. Online television currently represents the fastest growing segment. The report has also segmented the market on the basis of industry, listing the key industries which are actively using television advertising.

    The study has further analysed the market on the basis of key regions. North America currently represents the largest region for television advertising. Other key regions include Asia-Pacific, Western Europe, Latin America, Eastern Europe and Middle-East and Africa. The report has also analysed the competitive landscape of the market. Some of the key global players operating in this market are CBS, Comcast, News Corporation, Viacom and Cox Communications.

    The report provides a deep insight into the global television advertising industry covering all its essential aspects ranging from macro overview of the market to micro details of the industry performance, key market drivers and challenges, recent trends, Porter’s five forces analysis, television advertising pricing models, margins in television advertising and more.

  • KBC 13’s first crorepati Himani Bundela to take the plunge for Rs 7cr

    KBC 13’s first crorepati Himani Bundela to take the plunge for Rs 7cr

    Mumbai: Kaun Banega Crorepati -13 has got its first crorepati Himani Bundela who will be risking it all for Rs 7 crore on 30-31 August. In a promo released by SET, the visually challenged Bundela is seen fielding the last (16th) question from the ‘hot seat’.

    The Agra-based contestant appears to be confident and enjoying the game in the video, even as she leaves the outcome to God.

    Bundela is a Mathematics teacher at Kendriya Vidyalaya. Having lost her eyesight in a road accident in 2011, and not able to regain it even after multiple operations, she wants to raise awareness for the cause of inclusive education. “My life after the accident hasn’t been easy. A lot of us had to put in an immense amount of work to get back to our daily livelihood, especially my parents and my brothers and sisters. Being a woman who’s visually impaired, I hope my stint on KBC brings a lot of hope to people who are just like me,” says Bundela.

    If she wins big on Monday, 31 August, she will work towards giving a bigger platform to the ‘Divyang Awareness Programme’ pioneered by her at KV. While pursuing her passion for teaching mental math to blind students, she intends to open inclusive coaching for competitive exam prep and revive her father’s pandemic-hit business with the prize money.

    “A lot of students with special abilities do get admissions in schools & colleges but there are no coaching academies for government competitive exams that admit students with any sort of disabilities. With the money I won, I would want to open a coaching academy that trains the ‘divyang’ kids for the government competitive exams,” she says.

     

     

    Bundela has nurtured the dream of appearing on a television reality show since childhood. Realising that knowledge was her biggest strength, she finally zeroed in on KBC. The thrill of meeting Amitabh Bachchan was also a motivating factor for her. The spirited 25-year-old has been practicing being on the ‘hot seat’ for over a decade now. Inspired by the show and its host, she even launched the online initiative ‘Kaun Banega KV Champion for her students last year.

    Talking about her experience on the show, she says, it was a dream come true. “To be on Kaun Banega Crorepati and to meet Amitabh Bachchan has always been a dream and I’m glad I could fulfil it. He made me feel so comfortable on the sets of the show that I didn’t feel nervous at all,” she adds.

    KBC 13 premiered on SET and Sony LIV app on 23 August with the first contestant Gyaan Raj from Ranchi (Jharkhand) who ended up winning Rs 3.2 lakh after failing to answer the 12th question for Rs 12.5 lakh. If Bundela gets the last question wrong, she will have to walk away with ____ (would you know how much she will lose in that case!!?)