Category: Viewership

  • India’s tour of England on Sony Sports sets viewership record

    India’s tour of England on Sony Sports sets viewership record

    Mumbai: Sony Sports has revealed that the final day (17 August) of the second Test match between India and England played at Lords garnered close to eight million impressions. The final session of the match which had team England bundled out for 120 runs achieved an average viewership of 10.7 million impressions, said the channel.

    The average rating for the series to date is almost 30 per cent higher than the 2018 series featuring the same teams. The average ratings grew by almost 70 per cent on the final day of the test.

    “The viewership for ongoing England vs India test match series has been the highest for an away bilateral test match series featuring Indian cricket team in the past three years,” the channel said in a statement. “The ratings for the final day are the highest ever on a pay sports channel for a test match day featuring the Indian team playing away from home. The final session of the match was one of the most-watched test match sessions in recent years,” it added.

    After a draw in the first test match at Trent Bridge due to rain, team India played the England team at Lords. KL Rahul and Rohit Sharma gave a strong start followed by an 89-run partnership between Mohammed Shami and Jasprit Bumrah. Mohammed Siraj took home four wickets on the last day securing India’s first victory in the test series.

    “The India tour of England series has always been a high–profile test series and has lived up to both advertiser and viewer expectations. And after India’s thrilling win at Lords, more brands have come on board Sony Sports channels and look forward to reaching out to their target audiences and leverage on the huge buzz the series is generating,” said the channel.

    Sony Sports roped in 12 sponsors including Mahindra & Mahindra, Byju’s, Pan Bahar, PharmEasy, Fogg, WhatsApp, Samsung, MRF, Cars 24, Ultratech, Airtel, and Kent for India’s tour of England.

    (Source: BARC, All India, U+R, CS 2+, Day-wise impressions on pay sports channels)

  • BARC India revenues at Rs 251 crore in FY21: Crisil

    BARC India revenues at Rs 251 crore in FY21: Crisil

    Mumbai: The Broadcast Audience Research Council (BARC) India revenues stand at Rs 251 crore for FY 2021, according to a Crisil report. Its profit after tax stands at Rs 44 crore. 

    The TV rating agency’s financials for FY 2020 stood at Rs 317 crore in revenues and net loss of Rs five crore. The agency also has a debt obligation of around Rs 38 crore for FY 2022. Crisil reaffirmed its rating of ‘Crisil A/Stable’ for the agency.

    “TV advertisements, the major factor driving revenue for the company, have a high correlation with economic activity. The lockdown imposed to contain the Covid-19 pandemic and weak economic activity in the first half of fiscal 2021 led to a significant drop in ad revenue for television broadcasters, which led to decline in revenue for BARC. However, with an uptick in economic activity in the latter half of the fiscal, revenues have been gradually recovering. Furthermore, the cost-rationalisation measures undertaken by the company ensured better operating profit in fiscal 2021,” said the report.

    Crisil’s report indicates that downward factors such as weakening support from member entities of promoter bodies, change in status as the sole provider of TV viewership measurement in India, and larger than expected debt may impact ratings for the company in the future.  

    80 per cent of BARC India’s revenue comes from broadcasters. It levies a fixed percentage of the ad revenue of broadcasters (0.8 per cent for fiscals 2017 to 2021). As the sole provider of independent TV viewership estimates, BARC India is highly strategic to broadcasters which ensures stickiness and good visibility.

    The agency is promoted by three industry associations, the Indian Broadcasting Foundation (IBF), the Indian Society of Advertisers (ISA), and the Advertising Agencies Association of India (AAAI) with a shareholding of 60:20:20. BARC uses audio watermarking technology and deploys around 46,000 BAR-O-meters. “The company is venturing into viewership estimation for digital platforms, and is increasing the number of BAR-O-meters deployed,” said the report.

  • Prasar Bharati gains over 15 Mn digital subs since 2017

    Prasar Bharati gains over 15 Mn digital subs since 2017

    New Delhi: Public broadcaster Prasar Bharati has added more than 15 million digital subscribers on YouTube between 2017 and 2021. The total digital subs for both its services – Doordarshan and All India Radio (AIR) across News and general infotainment has now reached a current digital subscriber base of 17.3 million (1.73 cr), according to the latest data.

    In keeping with the changing broadcasting landscape, technology and viewers’ demand, Prasar Bharati’s digital platforms across Doordarshan and AIR have evolved over the past few years. DD News too, has crossed four million subscribers on its YouTube channel, a month after DD National achieved the same feat.

    EMBED : Prasar Bharti subs

    While the YouTube channels of DD News and DD National are leading the pack with multi-million subscribers, Prasar Bharati Sports, and DD Kisan YouTube channels will soon join the million+ Subscribers league, said the public broadcaster in a media statement.

    All India Radio’s National News YouTube channel, News On Air Official, is at the top among the YouTube channels of the AIR Network.

    Among the regional channels, DD Chandana (Kannada), DD Sahyadri (Marathi), DD Saptagiri (Telugu), DD Bangla, DD Girnar (Gujarati), AIR Imphal and North East service of All India Radio has registered a significant presence on YouTube with subscribers in lakhs.   

  • BARC Week 33 : Regional GECs Sun TV and Star Maa topple Star Plus

    BARC Week 33 : Regional GECs Sun TV and Star Maa topple Star Plus

    Mumbai: Regional GECs Sun TV (Tamil) and Star Maa (Telugu) have toppled long-time leader Star Plus to lead the tally for Barc Week 33 (14 August to 20 August) at the first and second positions. While Sun TV bagged 2651.23 AMA (2710.62 in Week 32), Star Maa’s weekly AMA stood at 2625.34 (2701.4 in Week 32) according to Broadcast Audience Research Council (Barc).

    With 2595.11 (000s) AMA, Star Plus was at the third spot. It was the most viewed channel registering 2747.77 (000s) AMA last week. Clearly, the overall average minute audience saw a sharp dip in week 33.

    Colors, Star Utsav, Sony SAB, Star Vijay, ZEE Kannada, and ZEE Telugu followed in that order. Colors Rishtey replaced ZEE Anmol at the tenth position.

    Colors dominated the Mega Cities with 442.37 (000s) AMA. Sun TV, Star Plus, Sony SAB and Star Vijay grabbed the remaining four spots.

    Sun TV (2644.04 AMA), Star Maa, and Star Vijay were the top three players in the South market, followed by ZEE Kannada and ZEE Telugu.

    Star Pravah led the Maharashtra/Goa market with 1478.59 AMA. At 1068.4, Star Jalsha was the most viewed channel in West Bengal, Tarang in Odisha (422.6), ZEE Kannada in Karnataka (1595.46), Star Utsav in Rajasthan (255.75) and ZEE Anmol (348.98) in UP/Uttarakhand.

  • TV ad volumes for auto industry grew by 34% in H1’21

    TV ad volumes for auto industry grew by 34% in H1’21

    Mumbai: Television ad volumes for the auto industry grew by 34 per cent in the first half of 2021 (January-June) over the same period last year. The ad volumes for the auto sector had plunged by 42 per cent in H1’20 over the same period in 2019, according to data shared by TAM Media Research.

    The auto industry maintained its ninth position in the overall share of TV ad volumes vis-a-vis other sectors. Its share of ad volumes was 4.8 per cent in H1 ’19, 3.2 per cent in H1’20 and 3.1 per cent in H1 ’21. 

    The number of auto advertisers and brands grew by 13 per cent over last year but has yet to recover completely compared to 2019. The number of auto advertisers and brands in H1’19 stood at 110 and 240, respectively. The number of auto advertisers and brands in H1’21 stood at 103 and 193, respectively.

    The auto sector saw consistent growth in ad volumes for the January-February-March quarter growing by 19 per cent, 22 per cent and 23 per cent over the same months last year. The growth rates slowed down during the April-May-June quarter at 11 per cent, 7 per cent, and 16 per cent but still grew compared to the same months in 2020.

    The top auto categories were cars and two-wheelers which had 34 per cent and 43 per cent share of ad volumes, respectively. The top 10 auto advertisers accounted for 72 per cent share of auto industry advertising volumes on TV. These advertisers included TVS Motor, Yamaha Motor India, Tata Motors, Hero Motocorp, Maruti Suzuki India, PCA Automobiles India, Renault India, Nissan Motor, Kia Motors Corporation, and Suzuki Motorcycle India. TVS Motor was the top advertiser with 18 per cent share, whereas it was in a seventh position last year.

    The top genres for auto advertisers were news, movies and GEC which accounted for 75 per cent share of ad volumes. Out of this news alone had 50 per cent share of ad volumes. The most popular programmes for auto advertisers were news bulletins and feature films which accounted for 35 per cent and 17 per cent share of ad volumes, respectively. Auto advertisers were most prominent during the evening primetime, afternoon and morning time bands that accounted for 39 per cent, 18 per cent and 16 per cent share of ad volumes, respectively.

    Auto advertisers most preferred 20-40 second ads followed by <20-second ads. These two ad formats account for 94 per cent of ads visible on TV.  

    (Figures are based on Secondages for TV; commercial ads only; excluding promos and social ads)

  • BARC ex-CEO Sunil Lulla announces new venture ‘The Linus Adventures’

    BARC ex-CEO Sunil Lulla announces new venture ‘The Linus Adventures’

    Mumbai: Sunil Lulla, the ex-CEO of Broadcast Audience Research Council (BARC) who recently stepped down from his position at the TV measurement company to pursue entrepreneurial ambitions, has announced his new venture ‘The Linus Adverntures’, along with a gamut of other career and personal interests that he will be undertaking.  

    The Linus Adventures will assist promoters and CXOs scale their business and become leader brands. Additionally, Lulla will be starting a new chapter as a co-founder of a UAE-based edtech start-up focussed on India and MENA region, the purpose of which will be to nurture the next generations by providing them holistic development opportunities from an early stage in life.

    Besides, Lulla will continue to remain an active angel investor in early-stage start-ups across multiple domains. 

    On a more personal front, going forward, he will vigorously support Children’s Movement for Civic Awareness (CMCA) which transforms the attitudes and behaviour of children to ensure a sustainable future. Also interested in learning a new way of running known as Maximum Aerobic Function/Low Heart Rate which helps to breathe smarter, Lulla hopes to ‘Run-Jog-Sprint-Recover’ to successfully complete many marathons and stay more refreshed. 

    “After four decades of a fulfilling and an exciting ‘employee life’, I now embark on a ‘portfolio career’; an entrepreneurial journey which not only brings to the fore my diverse experiences but also creates meaningful opportunities to make a difference to those around me,” said Sunil Lulla. “I am grateful for the privilege of working with some of the finest people and professionals without whom none of the successes would have been possible. My roller-coaster ride will continue with the good wishes and affection of my family, friends, and well-wishers. I celebrate my new beginning on a new stage with a new play.”

    A media industry veteran, Lulla began his career with HMV/Sa Re Ga Ma and worked with leading brands including Grey Group, Times Television Network, SET, MTV, J Walter Thompson, and most recently BARC, India. 

    Lulla had taken over the reins as the CEO of BARC, India from Partho Dasgupta in 2019. He is succeeded by Nakul Chopra.

  • The Q’s client list has grown 6 times since its launch on DD Free Dish: CEO Simran Hoon

    The Q’s client list has grown 6 times since its launch on DD Free Dish: CEO Simran Hoon

    Mumbai: Since its launch in December 2017, growing the channel’s distribution has been a top priority for The Q. Realising the potential of small-town India for which television is still either the only or main source of entertainment, the media start-up hopped on to DD Free Dish in March-April and the numbers thereafter are a testimony to the plan’s success.

    Earlier this year, the Company issued a statement declaring that it has “reached its 2021 goal of distribution to 100 Million TV Households as a result of launching on both DD Free Dish and Dish TV in April. The Q India has gone live to 50 million additional TV homes in the month of April.”

    As regards GRPs – the vital metric used to project revenue growth – The Q recorded the highest-ever GRP of 53 in Barc Week 21 (June) in addition to an eight-week average of 46.23, indicating it’s heading into the big league of channels. Buoyed by the growth the ‘start-up’ is gradually expanding into a full-fledged network. It has also ventured into content production with the first TV original ‘Jurm Ka Chehra’ launching in September.  

    While the figures speak for themselves, Indiantelevision.com decided to decode the recent developments on the creative, business, and organisational front in a candid interaction with The Q CEO- Simran Hoon who joined the Company in April. With over two decades of experience in the industry having worked for leading brands including Viacom18, ZEEL, STAR, and SET, Hoon is responsible for driving The Q’s overall growth and vision. The marathoner and animal lover CEO charts the brand’s trajectory post coming on to DD Free Dish.

    Programming for a Changing Audience

    From VOD to DTH and now DD Free Dish, the path trodden by The Q has been quite unlike any other in the Hindi GEC space. Yet, says Hoon the “journey became more interesting April onwards, since launching on DD Free Dish.” Previously, the channel’s programming was targeted at an urban audience, but with the footprint expanding into the hinterland, the content evolved into a more massy and family-inclusive tone. “The moment we came on to DD Free Dish we had to address the big households in Tier 1 and 2 towns without antagonising the urban viewer who obviously has a lot in common with the smaller towns; the differentiation is more pronounced in the minds of the marketers.”

    The change has translated into a preponderance of shows such as ‘Yo-Yo Yogesh’ and ‘Baklol’ over the likes of ‘Tantra by Vikram Bhatt’ and ‘Living in Trends’ (LIT) in the content mix.

    Through all the experimenting with family-oriented shows and now with content production, the channel has been able to successfully uphold its brand ethos of ‘Zara Hat Ke’ and having a ‘social element’ in all its programming. While other players in the FTA space are running repeat content consisting mostly of family dramas that are over a year old, The Q has no plans of going the ‘saas-bahu way’ which according to Hoon is suited for an older audience. “Though finally family-inclusive, we have stuck to our core TG of 15 to 35-year-olds and the promise of offering them more fun, differentiated and easy kind of programming. Our content is carefully curated to suit all age groups,” she shares adding that comedy is a big genre on the channel now.

    Since its launch as an independent advertiser and influencer-marketing-supported Hindi youth entertainment channel, The Q has been redefining TV to mean ‘social’ by delivering digital programming to the medium. For the unorthodox FTA player, the description of ‘Connected TV’ entails not just a connection to the internet, but to the network of people as well. Going forward, even as the Company steps up original production, it will ensure a social connect for all its content. Sharing an example, Hoon reveals, “The casting for our upcoming crime show ‘Jurm Ka Chehra’ was done on ‘Chingari’ (the short video app). In the future, the audience will see a lot of stuff where we bring social to TV.”

    The Advertising Windfall

    Hoon shares that as a brand offering fresh (on TV) content, The Q has not faced the problem of discounted ad rates like other FTA players, and now, with the steady growth in viewership post launching on DD Free Dish, there has been an increase in advertiser onboarding, awareness and acceptance of the channel.

    From around five clients in the first quarter of CY 2021, the numbers have grown six times to include 30 advertisers in the current list. “The mainstay of the FTA channels is FMCG, but we have a lot more e-commerce, pharma, and digital payment companies coming in, even as our client list continues to grow further,” shares Hoon.

    In order to service the increasing demand, the Company hired Ashish Kotekar as head of ad sales for South & West regions in May, and Pankaj Rai for North & East in August. The channel also has plans to go regional, but for now, the focus will be on the HSM.

    Recently, The Q and Chtrbox (an influencer marketing platform acquired by The Q in June) announced the launch of an integrated marketing platform BharatBox which will deliver integrated advertising solutions across linear and digital platforms to marketers, thus maintaining the channel’s ‘social DNA’ even on the business front. “It’s a unique proposition where we will be offering to brands integrated advertising solutions that synergise the reach of social media influencers with The Q’s TV reach.  BharatBox will reach out to tier 2 and 3 towns,” Hoon elaborates.

    Future-ready

    Moving ahead from content and business, The Q has a lot of action happening on the organisational front as well. In addition to Krishna Menon’s elevation as the COO in May, and the new hires for ad sales, the Company appointed Sujata Samant as head of marketing this month. It is pertinent to note here that The Q has not launched any extensive marketing campaigns till now. Further, a distribution consultant and HR head were brought on board recently.

    Hoon credits Tanya Shukla, the programming head, for bringing the brand to where it stands today in that context. Shukla has been in the role for a year now. Giving an understanding of the Company’s overall vision, Hoon remarks, “We are in the process of maturing from a small operating company, a start-up that we still are, to a full-fledged organisation. More people are starting off in different roles and departments even as we speak right now. The recognition that The Q has got has been a little overwhelming for us, but with the right elements in place, we are ready to be seen as a ‘network for the future.”

  • Tele-Wise Marathi: Why TV still remains the best medium for advertising

    Tele-Wise Marathi: Why TV still remains the best medium for advertising

    Mumbai: The Marathi TV language landscape presents a stark contrast to the regional TV landscape in the southern states where the regional language is almost a necessity to communicate and connect with the viewers. Over 70 per cent of Maharashtra’s TV viewership overlaps with Hindi TV channels, while only 30 per cent of viewers opt for purely Marathi entertainment and news.

    Amid all this, is the vernacular language still the most important medium to communicate with the Marathi speaking, urban populace of television viewers in Maharashtra? This was one of the key questions debated at the recently concluded Tele-Wise Marathi, a virtual summit organised by Indiantelevision.com and presented by COLORS Marathi.

    “Most people in Maharashtra, not just Mumbai are multi-linguistic and comfortable watching Hindi entertainment also,” said Godrej Tyson Food Ltd CEO Prashant Vatkar. “So, there is not so much of a need to create Marathi-exclusive advertising content, as long as the consumer is comfortable.”

    Edelweiss Asset Management Ltd head -product, marketing & digital business- Edelweiss AMC, Niranjan Avasthi concurred. However, he added that one can definitely have a higher impact and reach if one customises the content in the local language. “The authenticity of the message being conveyed will also increase. So while it is not a necessity as far as Maharashtra is concerned, it definitely is an add-on, which can be an advantage for the marketers,” he added.

    Over 45 per cent of the Maharashtra population lives in urban areas, as against the national average of 31 per cent, observed Maruti Suzuki India Ltd, executive director – marketing & sales Shashank Srivastava, adding that the state also has several independent urban centres apart from Mumbai, such as Pune, Nashik, Kolhapur, Nagpur, Solapur.

     

    Recent data from Broadcast Audience Research Council (Barc) however, suggests that the ‘spillover’ viewership in Maharashtra has really reduced with regional channels seeing an uptick in numbers, especially in the last few months, as was pointed out by Madison Media Sigma- Madison World CEO Vanita Keswani, who was moderating the panel.

    “Even in the urban centers, the viewers’ market share for Marathi content is actually higher than the non-urban areas of Maharashtra. So, there is no way a marketer can afford to ignore it, especially when it comes to the auto sector TG, the affinity for local content is pretty high,” said Srivastava indicating the continued need for specific investments in regional content.

    Maruti continues to invest in regional markets along with Hindi and English content. The auto-maker uses digital for the lower end of the funnel, but television reigns supreme when it comes to brand building, reach and awareness and in TV it is the GEC and news genres, even in the vernacular belt, shared Srivastava.

    According to RamBandhu (ESFL) director, Anand Rathi, when it comes to genres within the Marathi content, more regional news was consumed, especially during the pandemic when people were more curious and anxious to know local news. “The pickle and papad brand has targeted audiences across all classes. Pre-Covid there was a leaning towards GEC content, but all that changed with the onset of the pandemic and regional news channels took precedence over regional GECs for hyper-local reach,” he added.

    Being more of an urban-centric brand selling to higher socio-economic class consumers, Godrej’s Vatkar shared that the brand uses more of digital and OTT to reach out to their specific and well-defined target audience. For this, they used experiential content by roping in celebrity chefs along with micro-influencers. The flexibility offered by digital platforms worked well for the brand, while regional language content did not play a big role since food is not so much language-oriented as much as it is an experiential concept, he pointed out.

    While agreeing to food being more experiential in nature, Rambandhu’s Rathi had a different point of view when it came to the importance of regional language in Maharashtra’s food segment. “Language plays a crucial role in Maharashtra, for me to have a strong connect with my consumer. If I’m able to talk in the language that my consumer wants to hear, he would probably give preference to my product,” Rathi said.

    The brand has recently launched a TVC campaign with celebrity brand ambassador Madhuri Dixit-Nene for its papad and pickle category, who’s the new face for the brand.

    Rathi said that the actor, for the first time, has done a commercial in the Marathi language, while stressing on the importance of the local language’s connect with the consumers.

    Srivastava agreed that if the integration with the local content is strong, the brand connect can be good. “Our internal research has found that consumers actually look at brands differently if they find that connect- and the connect need not be based on just the product characteristics or the message- it is also the language in which it is being conveyed,” he said.

    Marathi language channels have the highest viewership share in the HSM (Hindi Speaking Market) after Hindi language channels. Talking about the KPIs (Key Performance Indicators) when it comes to television as a brand vehicle, Srivastava shared that the reason the brand continues to spend heavily on the medium is that TV has performed convincingly on all its KPIs – both on the brand salience as well as the consumer conversion parts.

    Keswani noted that, interestingly, the bulk of Marathi TV advertising is occupied by national advertisers, and not regional players, as would be expected. One of the reasons for this, RamBandhu’s Rathi shared, could be the high costs of regional GECs today from an advertiser’s point of view. Talking about the brand’s advertising journey from scratch, he said that since their product targets households across categories, they felt TV was the way to go, right from the starting point. So, while other mediums like hoardings and OOH helped, the kind of reach that TV gives would be difficult to emulate on any other medium, said Rathi.

    With 115 million TV viewers, the Marathi TV language landscape is certainly not losing ground to newer kids on the advertising block, like digital. As per a Nielson study, television gives a whopping 83 per cent reach in Maharashtra, as against 51 per cent with digital. Television as a medium cannot be ignored when it comes to mass reach to a wider audience, regardless of the product category, it was roundly agreed by the panelists.

  • Tele-wise Marathi: Discussing Media Planning and Buying for the Marathi viewer

    Tele-wise Marathi: Discussing Media Planning and Buying for the Marathi viewer

    Mumbai: With 12 per cent of total TV homes, Maharashtra is the biggest market in India in terms of the market share. Even though the number of marketers and brands as well as the exclusive viewership and advertising have registered the healthiest growth since 2019, the Marathi AdEx doesn’t seem to be adding up, pointed out experts at the recently concluded ‘Tele-wise Marathi: The Power of Television’, a virtual summit organised by Indiantelevision.com to demystify the Marathi television landscape. The event was presented by COLORS Marathi.

    During the session on ‘Media Planning and Buying for the Marathi Viewer,’ Mindshare COO – Amin Lakhani, Zenith CEO – Jai Lala, and Dentsu X India, managing partner (trading) – Vaibhav Jadon, tried to the address the fundamental question as to why despite its massive potential, the Marathi television market is still valued between Rs 1200 and 1400 cr as opposed to the over Rs 2000 cr South markets, and what needs to be done to accelerate growth in this direction.

    The discussion outlining the challenges of communicating to the affluent yet discerning Marathi viewer who is not limited to any one media or language was moderated by Indiantelevsion.com founder, CEO and editor-in-chief, Anil Wanvari.

    Beginning with the contention that the comparison between Marathi and South markets is untenable, Zenith’s Jai Lala said, “Unlike the South markets which were already regionalised probably two decades ago, Maharashtra is still growing, and the biggest challenge with it is that the audience speaks and understands Hindi in addition to the local language. This leads to a huge spill over. From a strictly numbers standpoint, brands can reach Maharashtra with national GECs and other channels. However, Marathi channels start making a lot more sense when the aim is to establish an authentic connect with the Marathi audience.”

    Lakhani and Jadon joined Lala in defining the Marathi viewer as being “spoiled for choice” and “exposed to a lot more distractions than an average TV audience elsewhere.”

    To put things in perspective, with 12 per cent of total TV homes, Maharashtra is the biggest market in India in terms of market share. It also has the highest share among the HSM. The state’s contribution to the overall TV viewership is 13 per cent, of which 5 per cent comes from the 25 local Marathi channels. There has been a 44 per cent swell in ad volumes over 2019 in Marathi channels alone, as compared to the total TV ad volume increase of 14 per cent. Even though the number of marketers and brands as well as the exclusive viewership and advertising have registered the healthiest growth since 2019, the Marathi AdEx doesn’t seem to be adding up.

    Expressing confidence in the positive trends witnessed over the last 18 months, Lakhani said, “While Marathi AdEx, GRPs and other metrics are on the rise, and it will continue to be so, the money spent on Hindi channels within Maharashtra needs to be factored in because eventually it is also on the back of Marathi audiences.”

    Defending the advertisers and planners on whether they are doing enough to catch up with the trends, he stressed upon the fact that the onus of growing a particular market/genre lies more with the broadcasters and content creators.

    “The flow of advertising monies into any genre has always been commensurate with the eyeballs it generates, and not the other way around. Even though the Marathi market will always be faced with the challenge of national brands wanting to deliver at an overall level, with clients going increasingly granular in approach, regional is surely assuming greater relevance but only when backed by numbers. Maharashtra is an important market; not a choice anymore. All we need is great stickiness, great viewership, great time spent and great brand solutions.”

    Lala agreed with Lakhani on the sequence of AdEx following GRPs being inviolable. “Content owners need to invest in getting eyeballs. Maharashtra did not exist as a media market ten years ago. It’s because of the networks investing in it that today we are in this space,” he remarked.

    The five new Marathi channel launches last year notwithstanding, Jadon also believes that there’s huge scope for more channels, and hence more content which specifically communicates with the Marathi audience in their own language.

    Discussing the role of media planning in furthering growth in Maharashtra, Lala shared that while planners have traditionally been taught to use a national first approach, Zenith has recently been experimenting with reverse planning which builds on a regional base instead. Elaborating on the complexities of the methodology, he noted, “Depending on the priority markets and budgets we have initiated this plan for select clients, one of them being Nestle. The approach is better suited if the priority markets are leaning towards Maharashtra and West Bengal, and not as much for a market like Delhi. It is also a little expensive, though the returns need to be evaluated in relation to the objective. If an advertiser wants numbers in terms of reach, frequency, GRPs etc. then this is not the solution he is looking for, but when it comes to building a connect with the audience, this could be the best approach.”

    However, both Lala and Lakahni cautioned that these are simply two different schools of thought, and there’s as yet no data to ascertain or establish which one works better. Jadon too shared his experience of having used the regional first approach successfully for a big FMCG client. “Gone are the days when you would just need Marathi as a top up; it is an integral part of the media plan, but in what way, that is something we as planners, buyers and marketers must decide. Buying GRPs in Maharashtra alone is not economical. Due to the basic consolidation that has happened there are no quality reach drivers or GRPs that we can buy at lower values,” he pointed out.

    On the buying side of the equation, Lala suggested having a different pricing strategy for the top-down and bottoms-up approaches in a manner which incentivises advertisers opting for the latter, as one of the ways of attracting more AdEx. Ruing the complacency that has already set in on the broadcaster front despite Maharashtra being a young and growing market, Lakhani opined, “even if a broadcaster is the market leader, it will have to be mindful of how its property is priced in relation to someone who can deliver the same kind of numbers through a national channel, failing which, it will never be able to catch the buyers’ attention.”

    Jadon emphasised on the need for augmenting supply to encourage healthy competition among players, which will eventually lead to market expansion. Summarising the discussion, he said, “Maharashtra which used to be a single-channel market until a few years back, has now become a two-horse race with both of them charging similar prices because of which the advertiser ends up paying twice or thrice the price for the same GRPs. If I were to optimise my plan, I would instead buy more Hindi GRPs to reach the exact same viewer who is watching me on Marathi as well as Hindi channels. So, while there is enough demand from clients, my belief is that the market needs to expand, there needs to be a lot more channels and a lot more GRPs to be bought. That’s the only way Marathi AdEx can grow.”

  • TV viewership for Marathi channels see a 10% rise over 2019 : BARC

    TV viewership for Marathi channels see a 10% rise over 2019 : BARC

    Mumbai: Marathi language channels have the highest viewership share in the Hindi Speaking Market (HSM) after Hindi language channels. In Maharashtra/Goa, Marathi language channels constitute 34 per cent of the viewership share whereas Hindi language channels have 54 per cent viewership share. This is lower compared to other language markets such as West Bengal where Bengali language channels have 53 per cent viewership share and Tamil Nadu where Tamil language channels have 90 per cent viewership share.

    These data and insights were shared by Broadcast Audience Research Council (BARC) India, head client partnerships and revenue, Aaditya Pathak at Indiantelevision.com’s Tele-wise Marathi: The Power of Television, a virtual summit presented by COLORS Marathi and media partners AnimationXpress.com, TellyChakkar, and radioandmusic.com.

    Overview of the market

    There are 210 million TV-owning households in India out of which 26 million are in Maharashtra. The state has a 12 per cent share of the total TV homes. The 109 million audiences living in these homes contribute 13 per cent to the overall TV viewership and five per cent of that viewership goes to Marathi language channels. The average time spent watching TV in Maharashtra is much higher compared to all India or the HSM and stands at an average of four hours and six minutes every week.

    BARC TV Universe monitors ~580 channels. There are 25 Marathi language channels comprising GECs (nine), news (six), movies (five), music (four), and a kids channel.

    TV viewership for Marathi language channels has increased by 10 per cent over 2019, whereas Hindi channels have seen a decline and other language channels remain relatively flat.

    Within the sub-genres, Marathi GECs have grown by 22 per cent over 2019, while Marathi movies and news viewership remained the same. The growth of Marathi GECs also beat Hindi GECs.

    “The viewership of Marathi channels remained relatively unchanged post-Covid, even as viewership of non-Marathi channels peaked in the first wave of the lockdown. The peak was a complete India and HSM phenomenon which could be attributed to initiatives taken up by channels such as Doordarshan to rerun their old shows like ‘Ramayan‘ and ‘Mahabharat‘ which were lapped up across different town classes and geographies,” said BARC India’s Pathak.

    “Among the Marathi genre channels, Marathi GECs used to constitute 20 per cent of the average weekly viewing minutes. In the first lockdown due to the absence of original programming that share dropped to eight per cent but has returned to 23 per cent,” he said, adding that, “Viewership share for Marathi movies and Marathi news is higher than what it used to be before the lockdown.”

    Battle for eyeballs: Marathi vs Hindi

    Most Marathi audiences are bi-lingual and hence consume content in both Hindi and Marathi. Marathi language channels have grown their market share in Maharashtra/Goa market from 30 per cent in 2019 to 34 per cent in 2021. In the same period, Hindi channels share has decreased from 57 per cent to 53 per cent.

    “We have observed that the rural markets skew towards local languages and similarly there’s a greater skew towards Marathi language channels in such markets. When you move to a town class, Marathi language channels increase their share to 40 per cent and when you move to an urban landscape their share moves down to 25 per cent while Hindi channels increase to 62 per cent,” said Pathak.

    He also dissented with the view that there is a big overlap in Hindi and Marathi TV viewing audiences. “If we were to look at pure Marathi audience, there were 4.8 million in 2019 which has grown by 21 per cent to 5.8 million in 2021. This clearly goes to show that there are more people lapping up local content available on the 25 Marathi channels,” he said.

    The viewership of Marathi GECs is almost on par with Hindi GECs on weekdays. However, on weekends there is a significant movement of audiences from Marathi channels towards Hindi movie channels. “It should also be noted that a lot of Marathi original programming is scheduled on the Fixed Time Chart (FTC) from Monday to Saturday,” Pathak said.

    Advertising opportunity on Marathi channels

    The positive sign is that Marathi channels are seeing a return in the number of advertisers and brands, although it is yet to reach 2019 levels. “Total TV ad volumes grew by 14 per cent in 2021 over 2019. If you look only at Marathi language channels, the growth has been 44 per cent. Even though the base is different, we know that this is a very healthy growth,” said Pathak.

    The growth in ad volumes has been highest for the news and movie genres while GEC saw only a marginal increase. Exclusive advertisers on Marathi channels have also grown by 18 per cent.

    Ad volumes from the top five categories barring auto have increased significantly. FMCG ad volumes have grown by 77 per cent, e-commerce by 38 per cent, infrastructure (building, industrial, land materials/equipment) by 29 per cent, and BFSI by 60 per cent.

    The affluence of consumers in Maharashtra has also increased. “32 per cent of audiences that watch Marathi channels are from the NCCS A classification. This augurs well for advertisers who are targeting affluent Marathi households. The cluster of NCCS A and B constitutes almost 67 per cent of the TV viewership in this market. The ratio of male to female TV viewers is almost aligned at 41:59,” Pathak said.

    According to Pathak, while the market is not under-indexed, there is room to grow in terms of ad volumes. He said, “We need to be cognisant that there are 25 Marathi channels compared to Bangla language market where there are 35 channels. As the affluence of the market increases, we expect the number of TV connections going up.”

    Sources: BARC data (TV UEs 2020, All India 2+, Maha/Goa 2+, HSM 2+, Average Weekly VM’Bn, 2019 and 2020 entire year, Wk 14-30’2021)