Tag: Ashish Pherwani

  • Kiran Mani-speak about  Indian OTT at the India Digital Summit

    Kiran Mani-speak about Indian OTT at the India Digital Summit

    MUMBAI: During the India Digital Summit, Kiran Mani, CEO – Digital at Jio Star, spoke compellingly about the urgent need for the over-the-top (OTT) industry to embrace multiple economic models beyond the traditional revenue streams of advertising and subscription. Engaging in a lively fireside chat with Ashish Pherwani of EY India, Mani underlined that sustainable storytelling in the digital age hinges on innovative business strategies.     

    “If you want to justify the economics of storytelling, it has to follow more economic models,” Mani stated, emphasising that a reliance solely on advertising is inadequate. He expressed optimism about the growth potential of both advertising and subscription revenues in India due to robust economic tailwinds. However, he also noted that the true potential of the subscription market has yet to be realised. 

    To illustrate this point, Mani provided striking statistics indicating that while India boasts a massive 700-million OTT viewership base, the actual number of subscriptions currently stands at around 60 to 70 million. He attributed part of this gap to challenges in the payment gateways available in India, stating, “Payment gateways are built for transactions, not for mandates,” which hinders the ability for consumers to engage in subscription models effectively.

     Mani highlighted the extraordinary success of Jio Cinema Premium, which gained an impressive 20 million subscribers in record time. This achievement was largely driven by the platform’s disruptive pricing strategy of just Rs 29, which strategically bypassed middlemen to reach consumers directly. He commented on existing subscription models, saying, “A one-size-fits-all subscription, saying that you can eat all the menu items in a buffet for a fixed price, has its limitations.”

     Drawing on his previous role at Google, Mani criticised the outdated methods commonly used in the advertising sector, which he argued are overly reliant on gut feelings rather than data. “We’re still at the early stages of adopting a data-driven approach to consumer targeting,” he acknowledged. “Once we fully embrace it, we’ll realize we’ve been overspending money in cities while neglecting smaller towns.” Mani assured attendees that the future of advertising will be marked by continued growth and the need for more informed marketing decisions.

    He further pointed out the ineffectiveness of a one-size-fits-all advertising model, stating that platforms which focus solely on brand advertising have specific limitations. “What we offer our advertisers is a dual approach. We say, yes, we are a mass-reach platform, and we will always get you the reach, but we also offer a premium reach platform,” he said.

    As Jio Star—formed from the merger of Star India and Viacom18—continues navigating the rapidly expanding digital ecosystem, Mani noted an exhilarating convergence of connectivity and creativity. “India today is a billion-screen connected audience,” he emphasized, highlighting how various content segments—sports, entertainment, short-form content, and gaming—are flourishing. He credited the influx of venture capitalists into nearly every area of this ecosystem as a testament to the ongoing growth.
     

    Mani Kiran

    Mani also pointed out the seismic shift in the media landscape, noting that digital has recently overtaken television to become the largest segment of the Indian media sector. “There are 325 million households in India, yet the number of households actually paying for digital content remains below 15 million,” he stated, raising important questions about whether digital will ever become a mass product or if subscription models will be left behind compared to traditional TV.

     The CEO was particularly encouraged by the emergence of audiences from Tier 2 and Tier 3 towns, many of whom are gaining access to content for the first time through affordable devices costing less than Rs 5,000. He remarked on the impact of live-streaming events like the IPL on JioCinema, stating, “We saw six million viewers who were previously content-dark join our platform.” This underscores how OTT platforms are unlocking a broader content segment in terms of both depth and reach.

     Mani elaborated on the necessity for subscriptions to adopt sustainable economic models, stressing that “advertising alone cannot support premium content or great storytelling.” He urged industry stakeholders to unlock better economic models while ensuring sustainability for everyone involved. He asserted, “The digital ad market in India is now valued at $9 billion.”

    He elaborated further on the complexities of advertising, stating, “Advertising is about reaching consumers and delivering value. Our role is to ensure advertisers see impactful returns.” With an expanding middle-class consumer base, Mani believes India’s advertising market will surely grow. Nonetheless, he cautioned that the market still operates with outdated practices, such as generic solution models that fail to meet diverse audience needs.

    A noteworthy point in Mani’s discussion was the evolving nature of storytelling in Indian entertainment. He mentioned that narratives are transitioning from “Shiksha” (education) and “Sushil” (docile) to “Saksham” (empowerment) and “Swabhiman” (self-respect), reflecting broader societal progress in India.
         
     Multi-lingual content also emerged as a focal point, especially in sporting and international contexts. Mani proudly remarked on JioStar’s multilingual broadcast of the Olympics, which garnered a seven-fold increase in viewership, adding, “Hindi is now the number one language for Hollywood viewership in India.”      

     When prompted about his investment priorities, Mani chose to invest in platforms over content production or e-commerce, stating, “Platforms scale creativity and monetization like nothing else.” He underlined the transformative power of connectivity in driving the next wave of growth.

     In concluding his remarks, Mani addressed the collective responsibility of the media and tech industries. “As content creators, we must prioritize sustainability in storytelling,” he urged. “For me, I owe it to you all to build a platform where monetization models extend beyond just advertising or subscriptions.”

    Key Points:
    * The OTT industry needs to diversify its economic models beyond traditional revenue streams of advertising and subscription.
    * Relying solely on advertising is insufficient for building a sustainable OTT ecosystem.
    * The true potential of the subscription market is yet to be unlocked.
    * Payment gateways in India are built for transactions, not for mandates.
    * A data-driven approach to consumer targeting is necessary for effective advertising.
    * A one-size-fits-all approach is ineffective in advertising.
    * The digital ad market in India is valued at $9 billion.
    * Advertising is about reaching consumers and delivering value to advertisers.
    * Sustainable economic models are necessary for the OTT industry.

  • Streaming is seeing phenomenal growth in India: Prime Video India’s Sushant Sreeram

    Streaming is seeing phenomenal growth in India: Prime Video India’s Sushant Sreeram

    Mumbai: In a highly engaging panel curated on the opening day of FICCI FRAMES 2024 titled ‘Reinvent: Navigating the Future of the Media and Entertainment Industry’, Prime Video India country director Sushant Sreeram delved into the dynamic landscape of the streaming industry in India, exploring growth trends while highlighting Prime Video’s business and content commissioning strategy.

    Moderated by Ernst and Young partner Ashish Pherwani the panel began with a keynote from Ministry of Information and Broadcasting secretary Sanjay Jaju.  In addition to Sushant Sreeram, the panel saw the participation of industry leaders from multiple M&E sectors, including Prasar Bharti CEO Gaurav Dwivedi, FICCI Media and Entertainment Committee chair and Viacom18 CEO – broadcast entertainment Kevin Vaz; FICCI Media and Entertainment Committee co-chair and Meta India VP and head Sandhya Devanathan; FICCI Media and Entertainment Committee co-chair and Warner Bros Discovery general manager – India & South Asia Arjun Nohwar, and Signpost India chairman & managing director Shripad Ashtekar.

    Responding to a question on key trends across SVOD, TVOD and AVOD business models, Sushant said, “Streaming is seeing phenomenal growth in India. It has, in fact, become a dominant use-case for internet in the country, and a large part of that growth is coming from outside the metros.  We have about as many people streaming content in India, as those watching linear TV. This is a very significant inflection point for the video streaming industry in India.”

    He went on to share, “Another key point to note is that there is no one single customer for streaming, our customers sit across the spectrum of accessibility, affordability, and the languages in which they prefer to consume entertainment. Therefore, our strategy for building solutions for India has always been to focus on “AND” solutions, rather than making choices between “this” or “that”. That is exactly why Prime Video’s entertainment hub – where all the different VODs come into play, continues to do incredibly well. In fact, India is one of the frontrunners on new customer adoption for Prime Video globally. Also, our Channels proposition, where consumers get access to content from popular streaming services with add-on subscriptions, has grown well, with more than 20 partners on the service. Further, our Movie Rentals service where consumers – both Prime members and those who aren’t yet Prime Members, can rent movies ala carte, is seeing great consumer uptake across the country. Mini TV, Amazon’s free ad-supported service, also posted steady great growth in 2023. When we think about how to serve India, we prioritize what is important for customers – great value, great selection, and convenience. It is true for what we do at Amazon overall and the same holds true for Prime Video as well.”

    Responding to a question on the cost of content, Sushant spoke about the fact Amazon and Prime Video is invested for the long-term in India. Elaborating on the same, he said, “It is important to place this in context – our investment thesis is built on developing this category over a fairly long period of time. That’s the time horizon that we operate with for all our investments at Amazon, and the same holds true for Prime Video. The second is that we want to create a category of great cinematic storytelling and we know that consumers value that. We realized that creating an ecosystem across the board, not just the service, but creators and the technical ecosystem is an investment that is well made.”

    He went on to add, “The other thing about our investment thesis is that we look at it through the lens of how we bring in customers to enjoy this multi-benefit proposition for Prime, which is a unique proposition for customers and Prime Video is a part of that. That changes how customers evaluate what is value for money, and that gives us the impetus to continue to make investments. And finally, we want to make all the great stories that we can, but we realize that we can’t make all of them. We’re therefore always excited about the collaborations that we can forge, with creators, Channel partners and studios to build out a true video entertainment marketplace. The fact that Prime Video has close to 100 projects right now in various stages of production and development is a clear indication that there is appetite for great stories in the country!”

    To wrap up the highly engaging session, each participant was asked their Mantra for 2024, to which Sushant replied, “For us, it’s still Day one!” Day one is both a culture and an operating model that puts the customer at the center of everything Amazon does. Day one is about being constantly curious, nimble, and experimental.

  • FICCI FRAMES 2024: #Reinvent: Navigating the future of media and entertainment industry

    FICCI FRAMES 2024: #Reinvent: Navigating the future of media and entertainment industry

    Mumbai: The Indian media and entertainment industry is witnessing significant changes, with shifting consumer preferences for high-quality content, new broadcasting technologies, pressures on advertising spend, and the advent of AI. The #Reinvent session at FICCI Frames 2024 examined the dynamics driving this transformation and explored a range of enabling policies designed to support an industry navigating through a period of significant upheaval.

    The keynote of this session was given by Ministry of I&B secretary Sanjay Jaju, who said, “As we move forward, the Government of India’s focus is on creating a conducive environment for the Media and Entertainment industry to thrive.”

    The session was moderated by Ernst and Young partner Ashish Pherwani.

    “In the last one year, the skilling ecosystem of Maharashtra has supported 48,000 youths from Maharashtra to be trained only in media and entertainment. This was something of a record under M&E skill council. A big thank you to Mangal Prabhat ji and his government for their proactive efforts to train rural and urban youths,” FICCI India AVGC-XR Forum chair Ashish Kulkarni.

    “Globally, the media and entertainment industry is witnessing remarkable shifts with digital innovation reshaping consumption patterns and content creation dynamics,” FICCI Media and Entertainment Committee chair and Viacom18 CEO – broadcast entertainment Kevin Vaz.

    “India is a significant priority market for Meta globally. We have invested considerable time in developing products tailored to the diverse needs of the hundreds of millions of people using our platforms. We are dedicated to serving both users and businesses by continually enhancing our offerings,” FICCI Media and Entertainment committee co-chair and Meta India VP and head Sandhya Devanathan.

    “There is no one single customer. Customers sit across a spectrum of accessibility, affordability, of languages in which they want to watch their entertainment and what their entertainment needs are. For us, building solutions for India has always been about what we need to build as an end solution and not making piecemeal choices,” Amazon Prime Video country head Sushant Sreeram.

    “Free dish has been growing continuously and consistently. In 2003, when it started, the industry was at a very nascent stage and it set the context for the rest of the industry to grow and develop,” Prasar Bharati chief executive officer Gaurav Dwivedi.

    “We usually focus on the who, what and where. Who is consuming us, what kind of content they are consuming and where do they prefer to consume. I think the new dynamic that is now emerging is for us to focus on when and traditionally linear TV networks didn’t focus on that. By when, I mean consumption patterns that are arising from the situation that you are in – like in an elevator, waiting for a bus or picking your child from school. And in that 30-second to five-minute moment, do you have content form that they find engaging,” FICCI media and entertainment committee co-chair and Warner Bros Discovery Sr VP and general manager  – India & South Asia Arjun Nohwar.

    “Out-of-home advertising is playing a great role in sustenance of smart cities because when we see any social spaces – roadside shelters, libraries or any basic first mile or last mile connectivity solutions, it is the responsibility and obligation of out-of-home player where they invest in basic infrastructure. It is beyond billboards and includes investing in smarter solutions like charging points too,” Signpost India chairman & MD Shripad Ashtekar.

  • The Indian M&E sector anticipated to achieve Rs 3.1 trillion by 2026: FICCI-EY report

    The Indian M&E sector anticipated to achieve Rs 3.1 trillion by 2026: FICCI-EY report

    Mumbai: The latest FICCI-EY report titled ‘#Reinvent: India’s media & entertainment sector is innovating for the future’, launched at the FICCI FRAMES 2024 in Mumbai, revealed that the Indian M&E sector grew by eight per cent in 2023, reaching Rs 2.3 trillion (US$27.9 billion), 21 per cent above its pre-pandemic levels in 2019.

    New media, comprising digital and online gaming, emerged as the frontrunner in growth, contributing Rs 122 billion of the overall increase of Rs 173 billion, and consequently, increased its contribution to the M&E sector from 20 per cent in 2019 to 38 per cent in 2023.

    Experiential (outside the home and interactive) segments continued their strong growth in 2023, and consequently, online gaming, filmed entertainment, live events, and OOH media segments grew at a combined 18 per cent, contributing 48 per cent of the total growth. With the exception of television, which experienced a marginal decline of 2 per cent, all other segments experienced positive growth in 2023.

    FICCI Media and Entertainment committee chairman and Viacom 18 chief executive officer – broadcast entertainment Kevin Vaz said, “India is a unique market where the M&E sector distinguishes itself through a harmonious fusion of tradition and innovation. Here, technology-enhanced entertainment channels, OTT platforms, AI-powered newsreaders, traditional print media, flagship films, and short-form content not only coexist but thrive together, showcasing the vibrant diversity and dynamic growth of our industry. The Government of India’s thrust on improving digital infrastructure in the country combined with our ambition to be at the forefront of the next big technological thrust in media and entertainment, our sector is primed for a massive transformation.”

    EY India partner and media & entertainment leader Ashish Pherwani said, “I believe the M&E sector is at the “inflection point” we foresaw in 2018, with the dominance of digital channels over traditional media. In 2023, new media comprised 52 per cent of total advertising revenues, yet, unlike in many other countries, Indian traditional media also grew. This underscores the unique Indian market where while we are witnessing a seismic shift towards digital consumption, there is still adequate headroom for traditional media to grow.”

    Key highlights:

    Indian advertising reached Rs1.1 trillion:

    Digital advertising grew 15 per cent in 2023 and surpassed traditional advertising for the first time. Social, sports, e-commerce and SME advertisers will continue to drive growth in the sector moving forward.

    A billion screens by 2030:

    India is expected to have almost a billion active screens by 2030. Of these, around 240 million will be large (TV, laptop, PC), while the remaining will be small (mobile phones, phablets). pay TV, free TV, and connected TV are expected to emerge as significant markets, each comprising between 60 to 80 million homes. The 3:1 ratio in favour of mobile phones will sustain the demand for short videos and social commerce.

    Online gaming is expected to reach Rs 388 billion by 2026:

    The segment will see growth across all its verticals, including esports, fantasy sports, casual gaming, and other games of skill to reach an estimated 150 million daily users. Revenue growth will be led by mobile-based real-money gaming and casual gaming.

    Segmental performance in 2023

      . Television: Linear viewership increased by two per cent over 2022, the number of smart TVs connected to the internet each week rose to 19 to 20 million, up from around 10 million in 2022. Television advertising declined by 6.5 per cent due to a slowdown in spending by gaming and D2C brands, impacting revenues for premium properties. The Hindi-speaking market (HSM) experienced softness, resulting in a three per cent overall ad volume de-growth. However, subscription revenue saw growth after three years of decline, driven by price increases, despite a decrease of two million pay TV homes.

     .  Digital advertising: Digital advertising grew 15 per cent to reach Rs 576 billion, constituting 51 per cent of total advertising revenues. This figure includes advertising by SME and long-tail advertisers totalling over Rs 200 billion, and advertising earned by e-commerce platforms amounting to Rs 86 billion.

     .  Digital subscription: Digital subscription grew 9 per cent to reach Rs 78 billion accounting for a third of 2022’s 27 per cent growth, as premium cricket properties were moved in front of paywalls. Paid video subscriptions decreased by two million in 2023 to 97 million, across 43 million households in India. However, paid music subscriptions grew from five million to eight million, generating Rs 3 billion, while online news subscriptions generated Rs 2 billion.

     .  Print: Contrary to the global trend, print media continued to thrive in India, with advertising revenues growing by four per cent in 2023. Notably, there was significant growth in premium ad formats, as print remained a preferred medium for affluent metro and non-metro audiences. Subscription revenues also grew by three per cent due to rising cover prices.

     .  Online gaming: The segment’s growth slowed to 22 per cent in 2023, reaching Rs 220 billion. It surpassed filmed entertainment to become the fourth largest segment. India saw over 450 million online gamers, with approximately 100 million playing daily. Over 90 million gamers paid to play, with real money gaming comprising 83 per cent of segment revenues. Larger players absorbed the impact of a higher GST levy, hurting their margins but safeguarding growth.

     .  Film: The segment grew 14 per cent to reach Rs 197 billion in 2023. Over 1,796 films were released in 2023, and theatrical revenues reached an all-time high of Rs 120 billion. The number of screens grew four per cent. 339 Indian films were released overseas.

     .  Animation and VFX: The Hollywood writers’ strike impacted global supply chains, and consequently, the segment grew just six per cent in 2023. Potential mergers and falling ad revenues also reduced the slate of animated content produced for broadcast in India. A revival in demand in the second half of the year led to growth, boosted by the trend of using more VFX in Indian content.

     .  Live events: The organized segment grew 20 per cent exceeding pre-pandemic levels. Growth was driven by government events, personal events, weddings, and ticketed events, including several international formats and acts that came to India.

     .  OOH: OOH media grew by 13 per cent in 2023, surpassing its 2019 levels. Growth was led by premium properties and locations. Active digital OOH screens crossed 1,00,000 contributing nine per cent of total segment revenues.

      . Music: The Indian music segment grew by 10 per cent to reach Rs 24 billion in 2023, slower than previous years as certain music OTT platforms went pay and stopped or reduced their free services. 87 per cent of revenues were earned through digital means, though most of it was advertising led on YouTube, there being around only eight million paying subscribers despite music streaming’s reach of 185 million.

     .  Radio: Radio segment revenues grew by 10 per cent in 2023 reaching Rs 23 billion. This growth was driven by increased retail and local advertising, as well as alternate revenue streams. Ad volumes increased by 19 per cent in 2023 as compared to the previous year, although ad rates remained below their 2019 levels.

  • EY survey: Only 60 per cent of music creators pursue full-time careers

    EY survey: Only 60 per cent of music creators pursue full-time careers

    Mumbai: EY, the leading professional services firm, launched the first-ever comprehensive report on the state of the music publishing industry in India titled ‘The music creator economy: The rise of music publishing in India.’ The report aims to provide valuable insights into the current state, market potential, and perspectives surrounding music publishing in the country.

    The report estimates that India generates over 20,000 original songs annually, contributed by 40,000 music creators. Music directly or indirectly generates over Rs 12,000 crore in revenues each year.

    Commenting on the survey findings, EY India media & entertainment leader Ashish Pherwani said, “Music is an important part of India’s media and entertainment sector and is an important contributor to India’s Soft Power. Both local and international labels have driven the music segment’s sound recording revenues for a long time. However, music publishing revenues remain much smaller, given the differing views on its applicability and litigation.”

    Björn Ulvaeus of ABBA fame, now president of the International Confederation of Societies of Authors and Composers (CISAC) stated, “The works of songwriters and composers inspire our lives and enrich our cultures. With the support of publishers and authors societies, they are also a driver of economies that fuel other businesses and employ millions of people. This study can help improve many readers’ knowledge of our sector.”

    The first-of-its-kind survey conducted by EY, in which 500 music creators participated, indicated that their financial income is unpredictable and often limited:

    1.    87 per cent of respondents would have liked to make a living off their music alone, but only 60 per cent were able to do so

    2.    Working outside of the traditional employer-employee relationship, one-time payments (upfront fees), live performances and royalties were the primary sources of income for most creators

    3.    A majority strongly believed that they needed to learn more about music production and monetization

    4.    Only 56 per cent of respondents had access to the equipment and infrastructure required to produce music

    5.    35 per cent of respondents reinvested more than 50 per cent of their earnings from music on equipment, gear, software, and other infrastructure required to create music

    While India consumes more music per capita than the world average, it ranks 14th in recorded music revenues. In contrast, publishing revenues are ranked 23rd due to various issues like lack of legal clarity and consequently, low compliance.

    However, despite these challenges, India’s music publishing industry has grown, reaching Rs 884 crore (approx. US$100 million) in the fiscal year 2022-23. The Indian Performing Right Society (IPRS), with over 13,500 authors as its members, continues to expand its revenue, thanks to the support it has received from GOI, as more music users comply with publishing requirements.

  • Digital radio technology can double broadcast sector’s revenue in five years: ICEA-EY report

    Digital radio technology can double broadcast sector’s revenue in five years: ICEA-EY report

    Mumbai: The adoption of digital radio technology will help the broadcast sector double its revenues within five years to Rs. 12,300 crore, according to a report prepared by the India Cellular and Electronics Association (ICEA) and EY.

    The report shows that digital radio broadcasting can be extremely beneficial for all the stakeholders in the sector—broadcasters, listeners, advertisers, and regulators—and can help the FM radio segment boost revenues. This comes at a time when the FM radio segment has been struggling to generate robust revenues over the past few years.

    It would lead to more advertising inventory to sell with the ability to charge higher rates based on segmented audiences. Given that the digital radio system can provide listenership data, broadcasters can build trust and eventually grow revenues.

    Another significant benefit of these technologies for broadcasters is that their transmitters use significantly less power than analogue radio transmitters.

    India has also tested two technologies – HD radio and digital radio mondiale (DRM), for digital broadcasting in the FM band.

    ICEA chairman Pankaj Mohindroo stated, “India is a heterogeneous market and provides audience segments with differing tastes as well as payment capabilities. Digital broadcast radio has the ability to cater to segments of entry-level smartphones and several hundred million feature phone users to receive enhanced services in the areas of health, education, emergency, and weather, which by complementing data networks, decongests them. Communication usage with IOT devices is next envisaged in the pipeline too.”

    Citing the report, Mohindroo said, “Digital technologies would go a long way in widening the network of broadcast infrastructure in the country and the number of radio stations would grow multifold from the current numbers of less than 300 to over 1,100 without any additional spectrum.”

    EY India partner Ashish Pherwani said, “Digital radio can provide a much-needed boost to the Indian radio segment. As a free-to-air medium, radio plays a very vital role in India’s informing and educating its people. Systemic issues around measurement, reach, operating models, competing products, and COVID-19 impacted the segment with failing revenues and shrinking opportunities. Digital radio can help grow the radio segment in India by 3x over 5 years, if implemented keeping in mind the requirements of various stakeholders and with the correct policy support.”

    According to the report, the number of channels will increase significantly from the perspective of listeners. Around 4x more channels are possible within the same frequency, which can provide more options to listeners. Furthermore, the technology is broadcast-centric, and consumers would not have to pay any data charges. Analogue transmission would also be enhanced as it provides a better listening experience than digital transmission across both audio quality and user interface.

    Digital technologies would also bring about major reforms for the regulators as it would result in optimum use of scarce spectrum in the middle and long term and lead to increased taxes from increased revenues. It would also allow the authorities to use digital radio infrastructure for emergency warnings and traffic information.

    The report prepared by ICEA and EY noted that a complete transition from analogue to digital radio infrastructure would take three to five years. Radio broadcasters cannot enable a switch-on-switch-off transition to digital radio as they are dependent on linear FM reach for their revenues. This would mean that analogue and digital broadcasting will need to exist in parallel till adequate reach is achieved.

    Consequently, for some years, there would be no spectrum saving, said the report. The report has recommended innovation around cost-effective chipsets, antennas, and software to drive quicker adoption of digital radio. It has also been said that competing products using low bandwidth data and consensus on music royalties are issues that need to be addressed.

  • TV segment grows by five per cent to reach Rs 720 billion in 2021: Report

    TV segment grows by five per cent to reach Rs 720 billion in 2021: Report

    Mumbai: The television segment grew by five per cent in 2021 to reach Rs 720 billion, according to FICCI-EY media and entertainment report 2022 unveiled at the Dubai Expo on Monday. TV advertising revenues stood at Rs 313 billion and distribution revenues at Rs 407 billion at the end of 2021, the report further stated.

    According to the report, television advertising grew by 25 per cent in 2021 after recovering from a 21.5 per cent drop in 2020, and two per cent short of 2019 levels. The recovery was mainly volume-driven, though certain pockets like regional entertainment, news and sports did witness rate growth towards the end of 2021.

    Hindi language pay TV viewership declined resulting into increased cost-per-rating-point (CPRPs) for advertisers while CPRPs for regional channels remained constant in 2021. Due to this, many advertisers increased their share of spends on regional TV products and regional channels received 26 per cent more ad volumes than national channels in 2021.

    TV subscription revenue continued to decline for the second year in a row showing degrowth of 6.2 per cent. This was mainly driven by the reduction in six million pay TV homes and a fall in consumer end average revenue per user (ARPUs). The connected TV base in India increased to 10 million sets. The time spent on TV fell by eight per cent from 2020 levels and was slightly lower than 2019 levels for Hindi speaking markets (HSM).

    The number of pay channels increased by 21 whereas the number of free-to-air channels decreased by 26 in September 2021, which “reflects a move by broadcasters to build stronger subscription revenue products through bouquets,” according to the report. The total number of TV channels declined marginally to 906 from 911.

    “While television households will continue to grow at one per cent till 2025, we expect growth to be driven by connected TVs which could cross 40 million by 2025 and free television which could cross 50 million, thereby stressing the core pay television market,” said the report.

    E&Y estimates television revenues to grow to Rs 826 billion by 2024. The estimates are subject to the implementation of ad caps and regulatory restrictions on pricing, it noted. Going forward, E&Y predicts that local cable operators (LCO) would operate a hybrid business model i.e., provide a linear TV wire plus a broadband connection to offer efficient content services, broadband connectivity, smart home services, and locality/community services.

    “India has always been a different kind of media and entertainment market. High on volume and low on ARPU, yet up top with the rest on technology and ahead of the pack when it comes to digital adoption,” commented E&Y media and entertainment sector leader Ashish Pherwani. “We love quantity and bundles; but we pay for value. We are amongst the top smartphone markets; and have a large feature phone base. We subscribe to global OTT platforms; yet binge on Youtube and watch free satellite TV. And we are thirsting for curated knowledge and escapism while creating millions of pieces of content each day ourselves.”

  • VBS 2022: Over-regulation could impede pay-TV industry’s growth in near-term

    VBS 2022: Over-regulation could impede pay-TV industry’s growth in near-term

    Mumbai: Over-regulation could impede the pay-TV industry’s growth in the near term, especially amid rising competition from the OTT platforms, and DD Free Dish’s expanding territories, highlighted industry stakeholders at the Video and Broadband Summit (VBS) 2022 on Wednesday.

    The day-long virtual event organised by Indiantelevision.com and co-powered by broadpeak concluded its 18th edition. Disney Star came on board as the presenting partner, while NxtDigital was the summit partner.

    The event witnessed an engaging panel discussion among experts from the broadcast and DTH industry as well as other stakeholders as they examined the challenges faced by the pay-TV industry and deliberated on the opportunities that lay ahead. The session was moderated by Indiantelevision.com founder CEO and editor-in-chief Anil Wanvari.

    Overview of pay-TV industry

    TV penetration in India is currently estimated at 60 per cent which means that a third of the households are yet to own a TV set. There are around 210 million TV households, growing at seven per cent year-on-year and adding six-to-seven million new homes. The data also suggests that about 12-14 million TV sets are sold every year.

    While markets like Tamil Nadu and Kerala have a strong TV presence with 98 per cent and 92 per cent penetration, respectively, other markets like Bihar, Jharkhand, Orissa have a huge headroom for growth. In some markets such as Uttar Pradesh, Uttarakhand, Madhya Pradesh, and Chhattisgarh TV penetration is as low as ~40 per cent.

    The Telecom Regulatory Authority of India (Trai) and Federation of Indian Chambers of Commerce and Industry (FICCI) estimated that there are 130 million pay-TV homes in the country. Linear pay-TV business average revenue per user is ~Rs 240 which is less than $3.5.

    “The data shows that there are 300 million homes with 4.5 people on average. While the population may remain the same going forward, the number of households will increase owing to nuclearisation of families,” observed Tata Sky chief financial officer Sambasivan G highlighting the headroom for growth in the coming years. “More households will mean more opportunity for pay-TV to grow.”

    Migration to DD Free Dish

    According to the panellists, free DTH platforms like DD Free Dish are also invading the pay-TV territories and expanding their share. According to the latest data, DD Free Dish run by public broadcaster Prasar Bharati has doubled its base from 20 million to 40 million in the last five years.

    “In the last two years, we have seen the migration to Free Dish gaining momentum,” said Star and Disney India head – distribution and international (India) Gurjeev Singh Kapoor. Drawing attention to the impact of the pandemic, Kapoor said, pay-TV homes had tumbled down by two to three million as consumers moved to free TV because they did not have disposable incomes.

    Ernst and Young media and entertainment advisory services partner Ashish Pherwani noted that the upcoming FICCI report in March will show a further decline of six million households in the pay-TV universe. The report will also indicate a big growth in the number of connected TV (CTV) households. “If you look at pay-TV plus CTV then there’s a growth that will continue in the future,” he said.

    Den Networks CEO SN Sharma maintained that while Free Dish was a noble service that provided entertainment to lakhs of viewers, the challenge emerged when broadcasters charged distributed platform operators (DPOs) money for offering pay channels but gave it free of cost on Free Dish. “There must be a level playing field in terms of regulation,” he said.

    Serving the FTA audience

    Broadcasters and distributors agreed that the TV consumer in India exists on a spectrum where at the top of the pyramid there’s a customer who watches linear TV, broadband video, and OTT whereas at the bottom of the pyramid there’s a customer who prefers to watch only free TV. “For any product and not just TV, you’ll have a market where there will be a free, a pay, and a premium offering,” said Pherwani.  

    “Free TV exists even in mature markets such as the US, Europe, Australia, and the Indian consumer always wants more for less,” commented Indiacast president- affiliate sales- India, South Asia, and APAC Amit Arora. “The bulk of DAS 3 and DAS 4 markets are going to remain connected to the TV, however, growth remains a bigger challenge.”

    According to the panellists, broadcasters have discovered that being available on Free Dish and serving the FTA audience makes more business sense than moving away from the platform. “Somewhere in 2019, when broadcasters went off Free Dish it was estimated to have a base of 30 million. That audience segment remained there,” observed Amit Arora. “We should look at a different solution and attack the market where free TV is present, rather than wishing this problem will go away if we knock off our channels from Free Dish.”

    Star and Disney India’s Gurjeev Singh Kapoor also agreed. “When we vacated that platform (Free Dish) we saw other channels emerging as number one, therefore not being present on Free Dish is not a sensible proposition. You need to have content to entertain people who have less disposable income,” he contended.

    According to Nxtdigital CEO Vynsley Fernandes, free TV audiences can be wooed back to pay-TV by offering them a better product. “A Free Dish customer watches 100 channels for free by paying a one-time nominal fee for the set-top-box (STB),” he said. “We created a lifetime-free product that bundled 300 free channels where the customer had to pay a one-time fee for a digital STB. This allowed them to watch any free channel and upgrade their service to access pay channels if they wanted.”

    He added, “broadcasters and DPOs need to work together to develop products that cater to different socio-economic classes. Today, we’re struggling to figure out what those step-up products can be because you can’t create a thousand different products.”

    NTO 2.0 regulation

    After the first tariff order was implemented in February 2019, it took six months for TV viewership to stabilise and consumers to successfully migrate to the new tariff regime. Pay-TV subscribers declined by 12-15 million according to industry estimates which were compounded by the pandemic which struck in March 2020. Experts on the panel believe that the implementation of the new tariff order (NTO) 2.0 during this period of economic recovery would only disturb the whole ecosystem.

    “This black swan event has changed the consumption patterns on TV, meanwhile, 20-30 million subscribers have dropped from linear TV due to transitioning from one tariff regime to another,” said Amit Arora. “A lot of economies have shown that restrictive policies do not lead to fundamental growth of the sector. What we need right now is a broad paradigm and notover-regulation”

    Highlighting that India has immense competition in the broadcasting sector with 900+ channels and pressure from OTT and Free Dish platforms as well, Gurjeev Singh Kapoor said, in such a market, “the regulator should treat broadcasters with forbearance and let market forces prevail.”

    Adding further, he said, “The average ARPUs for satellite and cable TV and DTH providers is Rs 240. But if you look at what broadcasters walk away with, it is not even one dollar. Is that kind of business model sustainable? We have to look at what the consumer can pay best.”

    Tata Sky chief financial officer Sambasivan G said, said, there was no to flinch from any price increase as a result of NTO 2.0. “We are charging the customer 50 per cent of what we were charging them 20 years ago for double the content. That means the customer is getting four times the value. Even with a price increase we will still be the cheapest pay TV market in the world,” he asserted.

    “The status quo should be maintained for some time,” believed SN Sharma. “Broadcasters have hiked their channel prices by as much as 80 per cent but DPOs are not in a position to handle these kind of price hikes. This kind of disruption will disturb the whole pay TV ecosystem.”

    Parity in regulation of OTT and pay TV platforms

    SN Sharma observed that all major broadcasters are operating their own OTT platforms and offering their pay channels for relatively low cost compared to pay TV. “There must be parity in pricing on cable TV and on OTT,” he stated.

    Commenting on the issue, Gurjeev Singh Kapoor said, “OTT in India is still a second screen phenomenon where a large portion of OTT content is consumed on mobile. It is still not a living room experience. So, I don’t think it is fair to compare linear TV and OTT pricing.”

    He added, “In a market like India with 300 million homes, there are 10 million homes that watch TV content on OTT which is not a big number. So, we’re missing the forest for the trees.”

    “All our linear TV channels are behind the paywall on OTT and not on AVOD. I believe we should be talking about deregulation of linear TV rather than regulating OTT,” remarked Amit Arora.

  • Trai must focus on regulating process, not prices : Broadcasters at CII Big Picture Summit

    Trai must focus on regulating process, not prices : Broadcasters at CII Big Picture Summit

    Mumbai: As a regulator, the Telecom Regulatory Authority of India (Trai) must focus on regulating the process and not the prices, argued broadcast industry stakeholders at the CII Big Picture Summit held on Wednesday. The discussion was around the impact of new tariff order (NTO) 1.0 and 2.0 on linear TV broadcasting and the need for light touch regulation.

    The session was joined by Tata Sky managing director and CEO Harit Nagpal, Disney and Star India chief regional counsel Mihir Rale, House of Cheer Networks founder and managing director Raj Nayak, Ernst and Young Indian media and entertainment practice leader Ashish Pherwani and was moderated by Media Partners Asia co-founder and director Vivek Couto.

    The pay TV industry in India is the cheapest in the world and not by a small margin. Broadcasting is the largest contributor to India’s media and entertainment industry. India’s M&E industry accounts for 1.1 per cent of total GDP whereas in mature markets the contribution is usually 3-4 per cent. Panellists argued that excessive regulation by Trai is holding back the growth of the industry.

    “We belong to the service industry,” said Harit Nagpal. “A product like Tata Sky is aimed at customers who are willing to pay five to ten per cent extra to watch premium quality content. But when Trai regulates the prices, even if the customer is willing to pay extra, we can’t increase the prices. There is no incentive to invest in quality.”

    Trai’s intent seems noble on paper. The NTO regulations want to create parity in prices in linear TV broadcasting. However, there is a wide spectrum of customers in India that watch content. The players in the TV broadcast ecosystem understand the consumer’s needs and try to meet them with attractive prices. Trai’s regulation is akin to saying that a three BHK apartment must be priced the same whether you live in Cuffe Parade or the suburbs of Pune, remarked Raj Nayak.

    “When the regulator framed and implemented NTO 1.0 the stated objective was a-la-carte needs to be pushed in the interest of the consumer. Today, we know that if the consumer picks a-la-carte then his/her content costs will go up,” said Mihir Rale.

    Trai most contentious provisions in the NTO 2.0 were its twin conditions which mandated that average MRP prices of channels in a bouquet must not be more than 1.5 times the bouquet price. The second condition, which was struck down by a Bombay high court judgment, states that MRP of an individual channel in a bouquet should not exceed three times the average MRP of a channel in that bouquet.

    Rale said, “Linking a-la-carte pricing to bouquet pricing is a fundamentally flawed approach. The ability of the broadcaster to subsidise the cost to the consumer is important. Bouquets have an intrinsic value from an advertiser standpoint. We can customise and tailor our prices to everyone’s ability to pay. Why should that be taken away?”

    Stakeholders were of the view that Trai must step back and take a long hard look at the impact of NTO 1.0 regulation before implementing the amendment order. They said that consumer costs have gone up by 25-30 per cent and broadcasters have had to shut down a few of their channels. It was also noted that Trai must not assume every consumer is digitally savvy and will make the transition into the new regulatory mechanism easily. It is estimated that NTO 1.0 implementation resulted in the drop off of 12-15 million pay TV subscribers. 

    “We are in a free economy and the regulatory has come and put a price cap saying it is in the interest of the consumer. In fact, since there is a lot of competition in the linear broadcasting industry the fact is that broadcasters can’t raise prices indiscriminately without losing market share,” observed Raj Nayak.

    Trai has acknowledged that NTO implementation has yielded different results than what they expected. The need of the hour is for the industry to come together with the regulator and introspect on what’s best for the consumer.

    “The M&E industry is a creative industry. What we call different parts of the industry is just distribution. There are 130,000 digital influencers in India. How did this happen? Not by a regulated creative industry,” said Ashish Pherwnai. “The Indian media sector is $ 17 billion in size. How can regulation help us meet our targets in terms of percentage of GDP? Global companies like Disney and Lionsgate Universal get 50 per cent or more revenues from exports. In India that number is less than eight per cent.”

    Pherwani also talked about how the top studios in the US spend $20 billion on content, and in Europe, the top studios spend $40-45 billion. If 10 per cent of that market comes to us, then it is a $4 billion opportunity on a base of $17 billion, he said.

    The panellists hoped that the trust deficit between the regulator and broadcasting ecosystem can be dramatically reduced in the coming years and TV growth returns to 2017 levels.

  • Non-metro markets to propel India’s recovery: EY

    Non-metro markets to propel India’s recovery: EY

    NEW DELHI: In the face of unprecedented economic disruption caused by the COVID2019 pandemic, non-metro markets are likely to recover faster than metro markets, an EY survey found. 

    The EY report ‘Will non-metro markets propel India's recovery’, revealed a higher percentage of respondents from non-metro markets expect to spend more than before on several categories compared to metro markets indicating that when the lockdown ends, green shoots of recovery would probably sprout faster from the non-metro markets.

    The survey covered a varied demographic mix of more than 4,000 respondents (2,000 each from metro and non-metro markets) to understand the potential impact of the pandemic from the consumer sentiment perspective. It covered key aspects linked to the current and expected attitudes, behaviors and spending trends of consumers as they adapt to the new reality. 

    EY India partner and media & entertainment leader Ashish Pherwani said, “The COVID2019 pandemic has radically shifted our way of life. However, despite uncertain and challenging conditions, our research shows that non-metros express a higher degree of resiliency and a resolve to bounce back quicker compared to metros. We may see long-term and even permanent changes in consumption patterns”. 

    The survey results reveal that the pandemic and the ensuing social distancing measures put in place have led to fundamental changes in how Indians are consuming media, necessities, luxury products education and travel. 

    Some of the key insights from the survey are:

    Health, hygiene and online services will continue to grow

    While COVID2019 has impacted overall consumption, categories like heath products, household products, hygiene products, vitamins and supplements and online services (gaming, home entertainment, online education, online banking) are expected to benefit.

    Non-metro market recovery is excepted to be faster than metro recovery

    Categories like consumer goods, travel, entertainment, automobiles and white goods are all expected to see increased and faster recovery of demand from non-metro markets post the lockdowns. 

    Increase in digital adoption

    Digital trials increased significantly during the lockdown period.  However adoption was higher for metros vis-à-vis non-metros.  Some of the obstacles stated by non-metro respondents included lack of technological knowledge, absence of smart phones and fewer language interfaces.

    Newspapers remain the most trusted medium

    The impact of the SarsCoV2 has unfolded at a dynamic rate, causing a sense of urgency to absorb information, increasing the consumption of news coverage at unprecedented levels. Newspapers continue to remain the most trusted news source. 42 per cent respondents in non-metro markets spend more than 20 mins in reading a newspaper compared to 36 per cent in metros.

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