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Tag: Ashwin Kotian

  • “Coda will become the single, most powerful national association of cable operators in the country” : Anil Parab Cable Operators and Distributors Association president

    “Coda will become the single, most powerful national association of cable operators in the country” : Anil Parab Cable Operators and Distributors Association president

    Shiv Sena Vibhag Pramukh and Coda (Cable Operators and Distributors Association) president Anil Parab is the man of the hour – at least for many cable operators and distributors in Mumbai. With the backing of his mentor Sena supremo Balasaheb Thackeray, Parab has managed to stall the conditional access system (CAS) that came into force (in south Mumbai) from 1 September 2003.

    Parab is an advocate by profession and the only person representing the cable operators in the Central government appointed 18-member CAS task implementation committee.

    By virtue of being the proprietor of Dattatray Cable (operations in Mumbai's suburban areas), Parab had a good understanding of the issues pertaining to the cable consumers and the operators. Little wonder, Thackeray gave him charge of the movement against CAS.

    Under the auspices of Coda, Parab organised three meetings of the cable operators in Mumbai with the most recent one at Rang Sharda auditorium, Bandra Reclamation, Mumbai on 7 September 2003. The meeting was attended by top Sena leaders like Uddhav Thackeray, Subhash Desai, Sena member of Parliament Sanjay Nirupam, amongst others.

    Parab spoke to indiantelevision.com's Ashwin Kotian about various issues.

    Excerpts:

    Tell us about yourself?
    I was born and brought up in Mumbai, Bandra (east) and my office is located just next to Chetana College in Kalanagar, Bandra (East) in suburban Mumbai. Since my childhood days, I have been associated with senior Sena leaders due to the fact that I stayed in an area very close to Balasaheb's residence Maatoshree. I obtained a law degree from New Law College, Mumbai. During my college days, I used to get actively involved in the affairs of the Bharatiya Vidyarthi Sena. I worked with the trade unions like Maharashtra Shramik Sena for 15 years before getting into the cable TV business in the mid-1990s. Initially, I worked on piracy related issues related to the cable and satellite industry. I was also associated with Cable Sena.

    So how did you get entangled in the CAS issue?
    When Balasaheb Thackeray gave a clarion call opposing CAS, like any other saccha (true) Shiv Sainik, I decided that I wouldn't rest till our leader's orders were followed. In the Sena, we don't question, we just follow instructions.

    In fact, I was present when the information and broadcasting minister RS Prasad visited Balasaheb's residence with members of parliament Sanjay Nirupam and Pritish Nandy. Even then, Prasad had no answers when I posed him questions. He mentioned that the Delhi officials weren't aware of these ground level intricacies. Finally, Balasaheb asked Prasad to nominate me on the CAS task force.

    Cable operators were fragmented in the first half of this year. You are the only person who managed to get them to rally around you. What was your strategy to bring them under a single umbrella?
    I knew that the primary handicap was the lack of unity amongst the cable operators. The operators were disorganised and used to fight for trivial issues such as number of points and areas.

    The key was to get the cable operators to trust us. I also used the experience gathered during my stint in trade unions. The methodology remains the same whether in mill unions or in the cable trade.

    It was easy for me to inspire confidence because the cable operators knew that I had the backing of Balasaheb. I united the highly fragmented cable operators under Coda and took up cudgels against the unscrupulous multi-system operators who were dictating terms to the last mile operators.

    The very first meeting of Coda received an overwhelming response from the cable operators. This encouraged me and gave me confidence. I realised that the issue was linked to bread and butter – therefore of primary importance.
    "Why couldn't the highest body in one of the largest democratic countries of the world force these foreign broadcasters to toe the line?"

    Do you feel that the I&B ministry has goofed up? Why?
    The Sena is a part of the BJP-led alliance but the nature of our relationship still gives us the liberty to express our views when we feel that something is not quite right.

    Basically, Prasad and other I&B ministry officials have been victims of incorrect information. Also, the ministry officials gave too much significance to those members of the CAS task force who used to merely say what the broadcasters or the multi-system operators (MSOs) wanted them to.

    The CAS implementation fiasco has also exposed the lack of adequate homework done by the ministry – and the government's alienation of ground realities on the cable industry.

    We still don't know why the minister is adamant about going ahead with CAS – wonder what are the obligations that are at play. Pay TV broadcasters treated the Central government ministry officials with disdain – one example is the fact that the minister had to literally beg the pay TV broadcasters to disclose their rates despite repeated reminders.

    Why couldn't the highest body in one of the largest democratic countries of the world force these foreign broadcasters to toe the line? The government and ministry officials haven't been able to assert their strength and power.

    The MSOs said that they were ready and the government believed them. Importing set top boxes and storing them in the godown is not a sign of readiness. How can the MSOs say they are ready when it is the cable operators who will have to sell it to the consumers?

    The ministry officials knew the exact quantity needed to implement CAS in the four metros but they were content with the fact that the MSOs had imported just above a lakh (100,000) set top boxes. Was the government aware of the fact that a majority of consumers will stay away from STBs? In that case, why implement CAS at all? Again, how can this low number of STBs (107,000) indicate readiness?

    Has the issue of commissions between the cable operators and MSOs and broadcasters been sorted out?
    The MSOs have offered us certain commission structures and packages but haven't put anything in writing. Yes, we have given them a counter offer but they haven't reverted on this counter offer. The point remains that the last mile operator (LMO) should get a bulk of the commissions if you consider the average – I understand that the LMO will get more in the case of weaker channels and vice versa. But the point is we are supposed to be living in CAS that started as of 1 September; how can the government continue to ignore these happenings? The ministry seems to be content with the fact that CAS exists only on paper.

    There is talk that the Sena is targeting one particular MSO. Is this true?
    We are not targeting any MSO in particular – all of them are in the same bracket as far as we are concerned. If they don't look after our interests, Coda will react. Coda might have its own infrastructure in place. Financers are ready to fund us – some have already approached us but we are yet to take a decision.

    Even if it happens, a separate Coda division will be formed and will comprise professionals from the industry. The point is that the Mumbai cable operator fraternity is united under the single Coda banner. Other associations in Delhi, Kolkata and Chennai are also in talks with us. Coda will become the single-most powerful national association of cable operators in the country.
    "But, we shall not allow this to happen because such rate hikes affect cable operator-consumer relationships; lead to quarrels. Rate hikes will have to be routed through Coda in the near future"

    Will Coda raise other issues too?
    One hears rumours that pay TV broadcasters are planning to increase rates of bouquets irrespective of whether CAS happens or not. There is talk that the cable rates will touch Rs 600-700 per month soon. The government won't have the will or the inclination to stop these hikes. Consumers will suffer.

    But, we shall not allow this to happen because such rate hikes affect cable operator-consumer relationships; lead to quarrels. Rate hikes will have to be routed through Coda in the near future.

    I have spoken to the officials of the Prime Minister's office and the finance ministry officials about according industry status to the cable and satellite industry. This will be a part of the new initiatives that Coda will plan.

    Will Coda support the Indian Media Group – association of Indian broadcasters?
    We are always in favour anything that is Indian. We don't want the money to go outside the country. We will back the Indian Media Group but they must come with a concrete proposal that will benefit the LMOs.

    What is Coda's next step on CAS?
    The ball is in the government's court. All we have seen are half-hearted attempts by the ministry. The government has to forcefully make its stand clear. But, it shouldn't discriminate between the local cable operators and the foreign channels by having two separate rules/yardsticks for both.

    "There is this eternal debate about the political control of propaganda vehicles"

    Isn't there an ulterior motive in the Sena's attempt to control the cable distribution network – especially since elections are coming?
    There is this eternal debate about the 'political' control of propaganda vehicles. The opposition parties claim that the ruling government misuses media; but face the same allegations when they come into power.

    Yes, with elections around the corner and the proliferation of news channels, political parties need to make their presence felt through the medium of television. The cable distribution system is an important cog in this wheel. Also, the I&B ministry officials seem to lack the will-power to discipline erring broadcasters.

    There has to be stricter controls over unwanted and unnecessary propagation – for instance Coda has opposed airing Pakistan's PTV. Similarly, we shall strive to retain the power (amongst the cable operators) to blank out harmful foreign propaganda that could be aired on news channels promoted by foreigners. Also, there is a need to reiterate and re-emphasise Indianness and Indian values.

    Does the state BJP unit support the Sena's line as far as CAS is concerned? What about Kirit Somaiya?
    BJP is our alliance partner in the state and at the centre. BJP member of parliament Kirit Somaiya raised the CAS issue to obtain political mileage but he did it in a haphazard way. He wasn't even aware of the ground-level issues. He put up banners praising CAS and misguided consumers. He hasn't even responded to my challenge of having an open debate with him on "whether CAS favours the consumer". I suppose he has got what he wanted because one doesn't hear much about him on the issue.
  • “Our systems are extremely sensitive to changes in the environment” : L V Krishnan TAM India CEO

    “Our systems are extremely sensitive to changes in the environment” : L V Krishnan TAM India CEO

    “Measuring the pulse of Indian TV audiences” – one sees these words almost everywhere in the Mumbai headquarters of TAM India. With services in more than 20 countries spanning Asia, Europe and Americas, TAM has come a long way in India (since its inception in 1998) to be regarded not only as the universal television currency but also as a complete television solution provider.

    TAM India – or rather Television Audience Measurement Media Research, a 50:50 joint venture between Nielsen Media Research(NMR) / AC Nielsen and Kantar Media Research(KMR) / IMRB, is the only TV measurement system in India. Post-expansion plans by January 2003, TAM has staked its claim to become the biggest measurement system in Asia Pacific with a panel strength of 4,800 meters covering nearly 30,000 individuals in 14 states. TAM India has offices in Mumbai, Delhi, Chennai, Bangalore and Vadodara (TAM Adex team).

    In the hot seat is TAM India CEO LV Krishnan who has successfully donned the mantle of guiding the firm through uncharted territories and a turbulent phase. His ad agency background and previous experience that involved working with some of the best brains in the country have helped him shoulder the multitudinous responsibilities with great panache. In October 2003, the soft-spoken but highly assertive Krishnan will be completing three years at the helm. A ‘team man’ to the core, Krishnan says that he wouldn’t have been able to do justice to the ‘extremely challenging assignment’ without the support of his team.

    In this interview Krishnan talks to indiantelevision.com’s Ashwin Kotian about the ratings scenario, recent initiatives taken by TAM India and the post conditional access environment.

    Excerpts:

    There is an impression that the monopoly situation in the country actually helps TAM India get away with a lot of things?
    Monopoly is the wrong term and a single rating system doesn’t mean being monopolistic. In several countries around the world, a single system still prevails and caters to the diverse needs of the broadcasters, ad agencies and advertisers. We (at TAM India) feel that we have more responsibilities and the emphasis is on delivering optimum value.

    We have a very good subscriber base; and the idea is to share their concerns, shoulder their burdens and partner them. We understand that the industry is going through a tough time. Having said that we ardently believe that the support (from broadcasters, agencies and advertisers) to research should have been much more than what it is at present. We empathise with concerns expressed by industry luminaries who have voiced their views in this context. We urge them to raise the cudgels on our behalf and commit more revenues to research.

    Several people have expressed a viewpoint that distribution data should be used in conjunction with TV ratings. What do you have to say?
    Recently, we have read a lot of reports that distribution data has to be treated separately. But, distribution is already factored in when we work out the ratings. In fact, the data provided by us is a cumulative of distribution data, viewership ratings along with time spent.

    One doesn’t have to look out for distribution data separately or in isolation. If channels don’t have proper distribution systems, then they won’t feature in the ratings. Viewers can sample channel offerings only if broadcasters ensure proper distribution; and only then does the reach get rated.

    Our systems are extremely sensitive to the changes in the environment. Even the minor fluctuations – changes in content or viewing behaviour or shifts in distribution are reported.

    Can you give us an example of how sensitive the TAM system is?

    A prime example of our efficacy is the way in which our meters gave accurate insights into the situation prevailing in Mumbai earlier this year when there were cable blackouts.

    These were turbulent times for the industry wherein a majority of channels switched off their transmission to MSO INCableNet. Once, the transmission was stopped, the majority of the MSO’s local franchise operators started stealing signals from other MSOs; others switched loyalties. Our data (and S-Group research reports) proved that the viewership of the larger mass entertainment channels remained largely unaffected.

    However, there were some interesting fallouts of this signal stealing that have been brought to the forefront. Here are some excerpts:

    * As far as distribution was concerned, the connectivity of Hathway owned channels actually went up and channels such as Ten Sports were upgraded to the prime band (in place of ESPN Star Sports). TAM data shows that in the week beginning 4 May 2003, both INCableNet’s CVO as well as INMumbai channels had around 35 per cent connectivity in the prime band – a figure that tallies with the approximate 40 per cent cable connections of Mumbai covered by the MSO.

    In the subsequent week, there was a clear decline in the distribution for INCableNet owned CVO and INMumbai channels. But Hathway’s Cine Cable Channel (CCC) went up from 30 per cent connectivity (prime and colour band cumulatively) to 45 per cent. Hathway’s ITV also went up in the top two bands as well as in the UHF band.

    * As far as reach was concerned (people who saw the channel for at least one minute that week), the increase in connectivity resulted in huge reach gains for CCC/ITV whereas CVO and INMumbai fell. The reach for ITV increased by 24 per cent for the week ended 17 May 2002 from 17 per cent in the earlier week. CCC increased from 21 per cent to 33 per cent. The reach for CVO fell from 27 per cent to a mere 7 per cent and that for INMumbai fell to a meagre 4 per cent. However, Ten Sports remained stable in reach as the cumulative total of the prime and the colour bands didn’t change much.

    * As far as time spent viewing channels is concerned, the time spent on ITV increased by 84 per cent; that for CCC went up by 108 per cent whereas INMumbai and CVO decreased.

    It is important to note that everything returned to normal as soon as order was restored. Our data provides invaluable insights on information related to placements of programmes in the various time bands; behaviour related to viewing channels placed in any particular band or time slots amongst others. Decision makers need to refer to this data while deciding their strategy.
    “Our system has 30,000 individuals logging in every day. I would say that this is the world’s largest television rating panel. It’s quite a task – very tough – to collate data from so many individuals and report it within a week”

    How many meters are currently installed in the country?
    We have nearly 4,800 peoplemeters installed in the entire country – urban markets and Class I towns (100,000 population). Currently, we are represented in 14 Indian states (Maharashtra/Goa, Gujarat, Madhya Pradesh, Uttar Pradesh, Punjab, Haryana, Delhi, West Bengal, Orissa, Karnataka, Tamil Nadu, Kerala, Andhra Pradesh and Rajasthan). The only ones left are Bihar, Jammu and Kashmir and the North Eastern states. We are in talks with several constituents and decision makers in these states and we are hopeful of breakthroughs.

    At present, our system has 30,000 individuals logging in every day. I would say that this is the world’s largest television rating panel. It’s quite a task – very tough – to collate data from so many individuals and report it within a week. In addition to reporting, we decipher the data and also provide insights in a market place that is almost impossible to crack otherwise.

    On top it all, we have to constantly strive to ensure that the panel is extremely sensitive to the environmental changes. For instance, even minor details such as the fact that viewership during World Cup cricket matches dropped by a minimum of 20 per cent whenever Sachin Tendulkar got out; or a Rajnikanth (south Indian superstar) movie weans away viewers from other channels in south India.

    What kind of checks and counter-checks do you have to enhance efficiency?
    TAM India has a full-fledged Joint Industry Body (JIB) technical committee key overseeing operations almost every day because most of these JIB members – comprising of industry luminaries – use the data day in day out.

    The chairman of the JIB committee is Unilever research director BV Pradeep. The other members include Puneet Arora (Starcom’s P&G Research head), Manjunath (heading consumer research in Colgate Palmolive), Sashi Mandapathy (P&G), Srinivas Prabhu (Universal McCann), Jasmin Sohrabji (MediaCom VP), Amit Ray (Mudra Optimum Media Solutions senior VP), Divya Gupta (The Media Edge CEO), CR Mallikarjunadas (Asian Paints, now moving back to Starcom) amongst others.

    The JIB committee members advise us on corrections and also guide us about the placement of samples in newer areas. In fact, they were “the guiding force” during our recent expansion exercise. As I stated earlier, the members also check the data on a constant basis.

    Apex association bodies such as the ISA (Indian Society of Advertisers) and the AAAI (Advertising Agencies Association of India) amongst others have reiterated the current peoplemeter-based TRP system “is essential for professional media buying”. These esteemed organisations have instructed their technical committee and research partners to build in measures to ensure that the process is “as foolproof as possible” and also devise mechanisms “to identify and correct contamination at any level”.

    We wholeheartedly welcome feedback, suggestions and support from all the industry constituents. Even the software provided today is more sophisticated and robust than what was used an year back. The system is constantly evolving and becoming better and better with time.
    “Nearly 16 per cent of the homes in Mumbai belong to SEC A and 25 per cent of the total samples are from SEC A”

    There is a view that SEC A is not properly represented. What do you have to say on this?
    As far as SEC A (socio economic class) is concerned, I feel that the segment is over represented. Nearly 16 per cent of the homes in Mumbai belong to SEC A; and 25 per cent of the total samples are from SEC A. I believe that we have adequate representation – qualitatively and quantitatively.

    What are the specialised services that have been launched for broadcasters?
    We encourage an interactive process of consultation with the broadcasting fraternity. TAM India has also launched specialised services for broadcasters. For instance, “Track TAM – The Promo Monitor” is one of the most advanced tools in the TAM’s offering for broadcasters. It consists of a series of tools and techniques to evaluate the performance of on-air programme promotions.

    The process involves fusion of raw level viewership data with the TAM ADEX data on programme promotions. The Track TAM – Promo Monitor can provide ‘actionable’ information into areas of promo planning that have so far been “black holes” for broadcaster namely:
    * Optimised promo plan, which minimises opportunity costs for the channel network.
    * Effect of cross media promotions.
    * Effective frequency of promotion exposures.
    * Effect of changes in creative on conversions.

    Certain major groups such as Zee don’t support TAM ratings. Your comment.
    We are constantly talking to broadcasters such as Zee TV and making efforts to allay their fears and concerns. We are hopeful that they will become our valued customers some day in the near future.

    After all, we merely collate data; we don’t offer insights into why they behave in a particular way. However, broadcasters can analyse our data to make course corrections – by observing the existing trends and using this data to better their strategy. Several broadcasters do conduct in-depth studies (qualitative and quantitative) on their own accord to understand viewer psychology and probe behaviours.

    Several strides have been taken but everyone agrees that more needs to be done. There is no magic formula as such to create successful entertainment brands every time or every day. Producers use various ways and means to come up with a winning combination – factors such as novelty, imagination, research that allows one to feel the pulse of the consumer, perseverance and even ‘trial and error’ play an important role.

    Certain Multi System Operators (MSOs) are talking about set top boxes (STBs) that will act as peoplemeters in the post conditional access system (CAS) scenario?
    It is difficult to imagine a post-CAS scenario wherein the industry constituents would depend on set top boxes (STBs). STBs are restricted in the ability to capture data as they are not designed to do so. Not all STBs come equipped with the smart card credited for capturing TV viewership information the chip has to be purchased and installed separately.

    Also, such STBs can only record certain variables within a restricted universe. For instance, they don’t track FTA (free to air) channels or terrestrial channels. They don’t have an ability to study consumer behaviour on a minute-by-minute basis. They can’t offer insights into the profiles of the person who is watching a programme or a channel at any given point of time – they can’t even say whether someone is watching or not.

    In the post CAS scenario, each MSO in India will offer different technologies and set top boxes of different makes. MSOs such as Hinduja’s INCablenet that use sophisticated systems will be able to offer quality data. However, audience measurement also involves activities such as research design, research methodology, representation of diverse viewing clusters, validation techniques, data processing and fusion among others – it may not be feasible for cable companies to carry out such complex and intricate details. After all, research is a very specialised function.

    But, again the CAS phenomenon will be restricted to the metros in the initial stages. Research shows that a substantial chunk of FMCG sales come from outside the four major metros. In fact, only 11 per cent of toothpaste sales come from Mumbai and Delhi.

    To nail this debate, I would say that you can’t do two things at the same time. MSOs cannot be content suppliers as well as data suppliers. Research has to be free of bias and third party entities are the best judges.
    Will life really change for TAM post CAS?
    With CAS, India is moving ahead in the direction that several developed countries are heading towards. However, it is important “to take life as it is and just live with it” in the post CAS scenario.

    In the post CAS scenario, rating agencies will incorporate some minor changes in the universe of C&S households to provide information on those households that invest in set top boxes to watch pay channels.

    Tracking of the CAS homes will start from day one. However, the readings will not alter dramatically till an optimum level of adoption of set top boxes is reached. The representation will not change much unless penetration reaches a certain level.

    You should read the various papers that we have put up on our website and also circulated amongst the fraternity.
    “We have received a phenomenal response and nearly 1,100 people have attended the TAM MATE sessions till date”

    What kind of a response have you got for the TAM MATE sessions?
    Since 2002, we have been conducting a novel programme for the new ‘walk-ins’ into the media sector christened as “Day in the life of a TAM-MATE”. The idea is to expose the younger generation to the various aspects of the Television Audience Measurement functions during the course of the day.

    Lots of people from colleges move to the industry and take responsible positions almost overnight. It is difficult to expect them to be hands-on right from Day 1. We decided to undertake familiarisation sessions involving the ‘uninitiated’; exposing them to all aspects of television research; adapting media concepts; and interpreting data; telling them what to look for in databases amongst other things.

    The day long session seek to stimulate learning and knowledge sharing. The programme addresses the following areas:
    · Background of TV audience measurement research
    · Sampling, methodology and research design of the TAM panel
    · Visit to a dummy PeopleMeter installation setup for data collection
    · Understanding some of the media planing and buying terminologies
    · Exposure to the user-end TAM software and its various use
    · Understanding the implications of factors governing audience viewing behaviour
    · Sampling the use of TAM databases available for analysis
    (Xpert – Optimiser, ConnecTAM, AdEx).
    · CAS and its implications on future of television media.

    We have received a phenomenal response and nearly 1,100 people have attended the TAM MATE sessions till date. We never expected this kind of a response wherein nearly 25 people would attend every session.

    The best part being that even the top advertisers sent their representatives. The point to note is the fact that advertisers, ad agencies and broadcasters look at data very differently. We provided a common forum wherein all the constituents would freely exchange ideas/views and fuse their contrasting approaches. We believe that this will go a long way in helping industry to realign thinking; charting a common approach towards attaining common goals and objectives.
    “PIM is India’s largest pool of print innovation. It has been a great asset to agency planners and buyers who work on the annual client plans under tremendous pressure and stringent deadlines”

    Can you tell us about some value added service that will be launched by TAM India and offered to media planners and buyers?
    We are considering launching a Television Innovation Monitor (TIM). TAM India has compiled exhaustive information on the various options available for ‘creating innovations on print’ on a single CD. The CD provides information (annual basis) on ‘innovations’ in nearly 700 Indian publications; and is a one-stop shop available to media planners and buyers.

    PIM is India’s largest pool of print innovation. It has been a great asset to agency planners and buyers who work on the annual client plans under tremendous pressure and stringent deadlines. By using this value-added service provided by TAM India, the fraternity has been able to obtain information at the click of a button. Now, we are planning to extend the concept to track ‘innovation on television’.

    You will soon be completing three years in the organisation. Tell us about your experiences at TAM India?
    My stint with TAM has been an extremely challenging exercise. We have made a lot of progress but a lot of work still needs to be done. However, I must admit I wouldn’t have achieved anything without the support and cooperation of the entire team. We have struck together during the crisis situations as well as celebrated the good times together. The credit goes to the entire team of 39 people; and the TAM ADEX team of 24 people based in Baroda (Vadodara).

     

  • “Metropolitan bred media planners and buyers seem to think that all Indian youth think and act like them” : Vijaya Laxmi Chhabra Prasar Bharati director marketing

    “Metropolitan bred media planners and buyers seem to think that all Indian youth think and act like them” : Vijaya Laxmi Chhabra Prasar Bharati director marketing

    Her gentle demeanour masks her grit, determination and risk taking abilities. Meet Prasar Bharati director marketing Vijaya Laxmi Chhabra. Originally from Orissa, Chhabra spent the formative years of her life in the steel township of Bhilai in MP. She completed her higher education from Delhi University and did her Masters in International Relations.

     

    While in college (Indraprastha College in Delhi), Chhabra was actively involved in student politics. “While politics fascinated me, the studios of All India Radio beckoned me. I had to choose between broadcasting and politics,” says the multi-faceted lady who has varied interests and hobbies. Seen in Chhabra’s office are issues of Time magazine, sketches and Kapka Kassabova’s Love in the Land of Midas as well as pneumatic tapes.

     

    Chhabra went on to clear her UPSC exams in Delhi and was roped in to the programming cadre of the Indian Broadcasting Service. She has been with All India Radio (AIR) in various capacities for 20 years. She claims to have immensely enjoyed creating radio features and documentaries on burning issues. Chhabra was awarded the Commonwealth Fellowship in 1995 and went to London to study commercial broadcasting and its impact on society. After she returned, Chhabra was put in charge of AIR’s commercial service and took over Mumbai FM’s radio channel.

     

    Chhabra was chosen by the former CEO of Prasar Bharati Rajiv Ratan Shah to set up Prasar Bharati’s Marketing Division in Mumbai. She claims that this was a major turning point in her professional life.

     

    The change is already visible – the sixth floor of DD Mumbai Kendra office is comparable to the offices of an ad agency or private institution. There is a buzz and there are no signs of the laid-back attitude or mentality of a normal public sector unit. In this interview, Chhabra speaks to indiantelevision.com’s Ashwin Kotian about her plans and vision.

     

    Excerpts:

    Why did Prasar Bharati decide to create a separate marketing division? A lot of people have misconceptions about the role and responsibilities of this division. Can you clarify the rationale?

    Doordarshan (DD) has traditionally been into slot marketing and has also seen glorious days (in terms of popularity of programmes) due to the efforts of a select group of top producers.

     

    But, somewhere down the line, we felt that DD was not getting its rightful share due to the slot marketing policy. The yield per 10-second spot hasn’t increased since years despite inflation whereas that of the cable and satellite (C&S) channels has been increasing by leaps and bounds. Various factors such as aggressive media buying (by ad agencies) and distress selling (by marketers) contributed to this dip (or flat) in realisations.

     

    Moreover, there was no single window control over the huge inventory. The fact remains that DD (and its affiliate channels) has the largest inventory amongst TV channels in India. Even amongst the regional Kendras there are some strong kendras with some great programming properties. The key was to ensure that we package all these strong entertainment brands and properties together; sell them through a single window so as to leverage our unique selling propositions. The emphasis was on getting the best deal and earning the maximum possible revenues that can be channelised in various DD projects.

     

    Also, DD didn’t have a face (as most of the marketing was done by a third party) that could regularly interact with advertising clients and ad agencies. The point is that we needed to build bridges in order to increase revenues.

     

    These objectives compelled former CEO Rajiv Ratan Shah to conceptualise the formation of the Prasar Bharati Marketing Division in September 2000. The initiative was carried forward and strengthened by former Prasar Bharati CEO Anil Baijal, current CEO KS Sarma and DD director general Dr SY Quraishi.

    Tell us about the initial days? What were the nature of the assignments taken up by Prasar Bharati Marketing Division?

    A full fledged division was set up in Mumbai. Initially, we started off by marketing in-house programmes or properties that were available – news, re-run programmes such as Malgudi Days, Bharat Ek Khoj, Shrikant, amongst others.

     

    My team didn’t have any reference guides or existing benchmarks; we had to learn everything on the job and start from scratch. We had to learn the mechanics of packaging, negotiating and delivering value to advertisers.

     

    One of the first successes that we had was the successful marketing of the Union Budget. We managed to get up to Rs 10 million for a property that had yielded us much less when third party marketing concessionaires were used.

     

    Another opportunity came our way when the Channel Nine and DD-Metro deal fell through. Again, through innovative packaging, we managed to realise up to Rs 100 million for old popular programmes such as Buniyaad, Yeh Jo Hai Zindagi and Udaan amongst others. These were small steps, but they gave us confidence. We realised that we were definitely moving in the right direction.

    What are the key learnings from the experience of working with Mumbai DD Kendra?

    The key lessons are ‘concept selling’ and maximising value by ensuring that programming and marketing are clubbed together; and the separate departments work hand in hand.

     

    Our experience with Mumbai Doordarshan has shown us that the public broadcaster can reap rich dividends if this kind of a synergistic approach is adopted. After all, DD and AIR have some brilliant individuals – committed and dedicated professionals such as Mumbai DD station director Mukesh Sharma who has taken Sahyadri channel to pole position among all Marathi satellite channels.

     

    Along with his team, Sharma came up with some innovative and brilliant programmes and ensured their marketability. Jointly, we tried out several experiments and came up with customised programmes that appealed to advertisers. DD Sahyadri is a tremendous success story and all credit should go to Sharma’s untiring efforts. We took the channel from zero to the No 1 position.

     

    In fact, all the DD Kendras must try and replicate DD Sahyadri’s success in their respective centres.
    “I have 15 young and dynamic officers working with me; they share my enthusiasm, passion and vision to ensure that DD gets its rightful share from the market“

    Is your team geared up to accept the challenges?

    I can proudly claim that my team is fully equipped to handle challenging assignments. I have 15 young and dynamic officers working with me; they share my enthusiasm, passion and vision to ensure that DD gets its rightful share from the market.

     

    We function like any corporate set up. Most of these young boys and girls have been taken from the programming cadre of AIR and DD; but in a short span, they have adapted well to the job requirements and demands. Their knowledge of programming concepts helps them in their marketing efforts.

     

    Earlier, packages were worked out mostly by the trial and error, but now packages are created scientifically to suit clients requirements and offer value for money.

     

    We interact constantly with industry professionals; and this helps us fine tune our policies and align them with the industry needs. The best part is that we are transparent and clients are comfortable dealing with us.

     

    We have focused on providing a one-stop shop for planning and client servicing on the DD and AIR network. We have built up core competencies in every step of the sales chain right from pitching to negotiating to closing deals to executing to realising the monies.

    What are the additional opportunities that your division has looked at?

     

    Our mandate is to go beyond the routine of airtime selling and developing new revenue streams such as marketing of events.

     

    I must add that Mukesh Sharma’s progressive outlook has helped us create quality in-house events in Mumbai which have now become brands in their own right. Take for instance – the Godrej Sahyadri Navratan Puraskar; the event earned us Rs 20 lakhs (Rs 2 million); if we had taken an outside agency, we would have earned hardly one third of this amount. Through this exercise, we managed to build the Sahyadri brand too. More importantly, the software remained with us.

     

    Similarly, we have created other event properties such as DD Awards and New Year programmes. The earnings are in the region of Rs 80 lakhs (Rs 8 million) each for DD awards (held twice already) and New Year’s Programmes (2003-4 will be the second time we shall market it).

     

    Soon, we would be marketing newly acquired and quality programmes such as India’s No 1 (produced by Siddharth Basu) and Ji Mantriji on DD1.

    Are there some Kendras where you see a lot of potential?

    DD’s Mumbai Kendra is definitely a success story. I see a lot of potential in DD Kolkata and DD Trivandrum and we have already made substantial progress in these Kendras. There is renewed interest even in centres such as DD Ahmedabad.

    Tell us about cricket marketing? You surprised many people with the revenues earned from the India-West Indies series in 2002.

    When we decided to market the India-West Indies cricket series late last year, we didn’t have any benchmark. As always, DD had called for bids with a benchmark for Rs 25 crores (Rs 250 million) but no acceptable bids were received. The ‘corridor gossip’ was that we would be lucky if we made Rs 15 crores (Rs 150 million).

     

    My team and I took up the gauntlet and promised the top management that we can deliver revenues of Rs 35 crores (Rs 350 million). Of course, we went much beyond and earned Rs 52 crores (Rs 520 million). The point is that unless you take risks, you cannot expect better valuations. Despite the disruptions/truncations in three matches, we collected money for every airtime second sold. There were no disputes with any advertisers. It was a rewarding experience.
    “Our effort signifies the great results that can be obtained by clubbing the two Prasar Bharati arms together and marketing them jointly.“

    Tell us about the recent success story of the India-New Zealand- Australia series?

    With this series, we created a record of sorts! The sale of ad inventory (for the triangular one day series between India-Australia-New Zealand – 10 matches during October – and two test matches between India and New Zealand) by Prasar Bharati Marketing Division amounted to Rs 906 million. DD managed to get Rs 880 million and AIR netted Rs 26 million. All in three days flat; that is from 4 July to 7 July 2003 (with a weekend in between).

    In fact, this was the first time that we created a combined package whereby DD and AIR were marketed jointly. The scientifically devised package ensured that AIR bagged nearly five times what it got for the India-West Indies series last year.

     

    Our effort signifies the great results that can be obtained by clubbing the two Prasar Bharati arms together and marketing them jointly. My division will work towards this goal in the near future.

     

    This is also the first time that we devised a package where spot buyers had to invest on the entire package comprising of both Test matches and one day internationals, both on DD National as well as DD Sports. They could not pick and choose. The rate card was transparent and no negotiations were encouraged. Having said that, we feel that the rates offered were affordable and clients will get optimum mileage by spending Rs 30 million for 150 seconds FCT.

     

    The packages had been devised through a broad based process based on probable spends of clients and inputs from the advertising industry. While choosing the sponsors, weightage was given to advertisers who continuously invested on Doordarshan Network and other regional channels.

     

    We also considered the payment track record of the advertisers and their ad agencies, especially during the India-WI cricket series. The goal was to rope in clients who would help us realise monies without any hassles and as early as possible.

     

    As far as the spot buys are concerned, we adopted a first come first serve basis – but the prospective spot buyers had to take the entire package as I mentioned earlier. We shall be working in close coordination with the DD programming team and production company Nimbus.

     

    Sufficient care will be taken to ensure that viewers are able to enjoy a high quality cricket telecast. The entire effort will be closely monitored to ensure that there are no hiccups about the placement of ads during the live telecast.

     

    We shall soon start a promotional campaign on all the affiliate DD channels. You must be aware that we have tied up with several publications for barter deals. We shall leverage such tie-ups and associations during this cricket series.

    After having tasted this kind of success, would you turn your attention to underperforming channels – say for example DD Bharati?

    As far as DD Bharati is concerned, I feel that there is a lot of potential. However, not much data is available on the reach and viewership profiles. It is a niche channel and there are advertisers that will support it. It has a very loyal viewership base.
    “Earlier, DD didn’t have a direct interface with the market and there is no point complaining about it. Now, we have taken a few steps forward and the industry is backing us wholeheartedly.“

    Do you feel that ad agencies don’t support DD as much as they should or could?

    Earlier, DD didn’t have a direct interface with the market and there is no point complaining about it. But now, we are in regular touch with the entire industry; in constant touch with the market for various in-house properties. The details of DD channels and their programmes are made readily available. Now, we have taken a few steps forward and the industry is backing us wholeheartedly.

     

    I feel that we have made substantial progress within a short span of time. Ad agencies have also started supporting Doordarshan in a big way with their clients by projecting DD’s reach, TRPs in various target groups. We have also been making presentations with viewership data and highlighting packages to ad agencies and direct clients.

     

    The Prasar Bharati Marketing Division has been bolstered with branch offices in Delhi, Bangalore, Hyderabad and Chennai. The team is working in close coordination with the station directors and major advertisers in all these four regions.

    What is the general direction in which DD’s marketing outfit is moving?

    You must realise that 90 per cent of our revenues still come from private producers. Eventually, the key will be to lower the proportion of the third party contribution – that is only if they don’t give us more value or the revenues are not in sync with market conditions. We expect all the third party outfits to support us in our intent to increase DD’s share of revenues.

     

    I admit that it is a challenging task to change the old order. Also, we are still in the process of making a framework for procuring new properties and owning them too. The top management is looking at the various issues and is in talks with the ministry authorities about the related policy issues.

     

    However, the general direction is very clear and the aim is to ensure that DD gets its rightful share from the market.
    “90 per cent of our revenues still come from private producers. Eventually, the key will be to lower the proportion of the third party contribution.”

    What is your message/advice to media planners and buyers?

    I would request media planners and buyers to unlearn the past and dispel the false notions, perceptions and myths that have been created about DD channels.

     

    Most of these myths have been created by C&S channels who have benefited at the cost of DD. If media planners go by statistics, we have numbers on our side and eyeballs. The myth about DD homes not having propensity or the mindset to purchase goods and services is nothing but a figment of imagination.

     

    I would urge the younger lot of media planners and buyers to study the ground realities. They must also learn to distance themselves from inherent biases – for instance most of the metropolitan bred media planners and buyers seem to think that all Indian youth think and act like them. But, the reality is different as India is a diverse country with several cultural, psychographic and demographic differences.

     

    I must say that the younger generation born and bred in metros,including my children, have a different perception of the India they live in as compared to those who live in smaller towns and villages. But the point remains that consumerism is a constant factor across several markets – big or small – in India.

    Tell us about your hobbies?

    I read a lot. I love history. I am also a serious theatre and movie buff. I loved listening to radio so much that it had become an obsession. In fact, way back in the mid-60’s my father, who is an engineer, used to joke that he would create a small radio for me so that I could take it with me to my examination hall.

     

    I love to paint. As a mother and a homemaker, I love to cook. In fact, cooking is a passion. It’s a stressbuster. Inspite of my busy schedule, I made it a point to always find time to teach my children. My children (one daughter and a son) still appreciate the time I have spent with them. I consider my family, specially my husband as my source of strength.

     

    Travel has now become a compulsion. I still love London as the city is associated with some nostalgic and fond memories of my Commonwealth days.

     

    I also manage to take time out and conduct internal training sessions on media, marketing and advertising.
  • “Advertising and media planning business will become creatively integrated post CAS” : Jagjit Singh Kohli ETC Networks executive director and Broadband Pacenet India chairman

    “Advertising and media planning business will become creatively integrated post CAS” : Jagjit Singh Kohli ETC Networks executive director and Broadband Pacenet India chairman

    ETC Networks director and Broadband Pacenet India chairman Jagjit Singh Kohli is a man doing a tight-rope balancing act as far as the conditional access system (CAS) is concerned. Donning multiple hats – in his capacity as a broadcaster; as a MSO; a friend philosopher and guide to last mile operators who seek his counsel – Kohli is making every move cautiously as he has to consider every aspect and dimension.

    Kohli is one person whose counsel is sought not just by the cable trade but also by government officials. Even today, Kohli is looking at the next frontier in cable television revolution (or should we say evolution) as he refuses to accept that the ideal equilibrium situation in cable television has arrived as yet.

    ETC Networks recently organised a CAS seminar for the advertising fraternity at Mumbai’s Mayfair Rooms. Kohli (and Broadband Pacenet India CEO S Ravindran) answered posers thrown at them by media planners and buyers

    The following are excerpts of comments Kohli made during that seminar as well as viewpoints on various issues related to the current CAS chaos, impact of CAS on advertising and Broadband Pacenet India plans, as recounted to indiantelevision.com’s Ashwin Kotian:

    You have mentioned that the media has been highlighted issues of lesser significance? What are the real issues about the conditional access system (CAS) implementation that have been ignored?
    First of all, I must say that the term “CAS” itself is wrongly used in India and not understood in entirety – cable is one of the ways to deliver content to the consumer in addition to others such as DTH or broadband. Also, it is important to mention that India’s late adoption ensures that it ends up getting the best technology – consider examples such as telecom or colour TV technology. In India, CAS roll out will definitely be sophisticated and 90 per cent of it will be digital.

    Media has carried a lot of rubbish and has blown irrelevant issues because the journalists have been speaking to the same group of people over and over again. Real issues pertaining to the technology and business aspects of CAS have been totally ignored.

    The implementation of the conditional access system (CAS) rollout could have created several opportunities for the cable trade and made life easier for the consumers.

    Certain fallouts of the current policies could have been avoided and these issues affecting the Indian consumer and entrepreneur has been totally ignored by the decision makers.

    Consider two examples: As per current CAS guidelines, consumers who shift their houses have to surrender their set top boxes (STBs) if they move to an area that is serviced by another multi system operator (MSO). Secondly, the government has wasted a wonderful opportunity to give a stimulus to local manufacturers who could indigenously manufacture set top boxes (STBs) and sell them in the global markets.

    These problems could have been averted and newer opportunities could have been created by adopting remedial measures.

    The government should have allowed open source or open standards rather than permitting MSOs to have proprietary technology in the set top boxes. Rather than treating it merely as a box, the government should have treated it as an appliance. Due to this fallacy, it is possible that CAS might not spread as fast as the Internet did!

    Experts say that governments have some reservations about open architecture. Consider the recent example wherein it was alleged that broadcaster Al Jazeera was sending hidden cryptic messages to terrorist networks. Agreed that the government had some issues about open end architecture. But If you allow free import of hardware, you should also allow open source and open standards. Linux has become so popular due to its open-ended nature. When China adopted CAS some years back, it asked the CAS solution providers and encryption companies to open up. This was the origin of China Crypt.

    There was a great opportunity for local manufacturers to indigenously manufacture STBs with open source or open standards and sell them in the world markets. If the government is not careful, what could happen is that most of the boxes that come in will be containing technology that has become outdated in many developed countries. India could become a dumping ground for boxes that have been discarded by those countries.

    Several Indian MSOs have fallen prey to the nexus of the major CAS companies who support the major headend providers and the five-six major subscriber management system (SMS) providers. Indian MSOs have partnered foreign companies that are hand in glove and the boxes that will enter India will be plain vanilla entry level low-end boxes.

    The Indian consumer shouldn’t be made to pay for outdated technology. None of these above mentioned companies offer guarantees against hacking. If the MSO wants any changes or replacements, this nexus will ensure that the MSO will have to pay each link in the CAS chain. The MSOs will eventually have to pass on the brunt to the consumers.

    The government should also have allowed last mile operators (LMOs) to obtain feeds from different MSOs at the same time. The need of the hour is open connectivity agreements between the LMOs with the MSOs; and open content distribution deals between the MSOs and the broadcasters.

    Will there be fragmentation or consolidation in the MSO space post 14 July?
    Contrary to the initial perceptions that the conditional access system regime (CAS) will benefit multi-system operators (MSOs), the ground reality seems to indicate something totally different.

    Yes, the MSOs will certainly become more powerful in the broadcasting and advertising stakes – but the MSO space will no longer be dominated by a select few. Several cable operators are grouping together and exploring possibilities of forming cooperatives with independent headends not affiliated to any of the current dominant players. Some of these groups will be keen on making the necessary investments. A free-to-air headend requires an investment of anything between Rs 1 million to Rs 1.5 million whereas the investment in a digital headend varies between Rs 200 million to Rs 300 million. If the digital headend is really state-of-the-art the price tag can even go up to Rs 100 million.

    The local cable operators (LCOs) and last mile operators (LMOs) are harbouring feelings of antipathy against the existing MSOs and the incumbency level is high right now. The impending implementation of CAS has given them an opportunity. Earlier they couldn’t protest due to various reasons: peace and tacit understanding between MSOs; rigidly defined territories; broadcasters’ rigid stance of not dealing directly with cable operators. All these issues are a thing of the past. But yes, those broadcasters who have quality content will wield some influence.
    “Post CAS, MSOs will hold the key to provide data that will supplement the statistics provided by the rating agencies as well as the broadcaster sales teams“

    Do you feel that MSOs will become more powerful post CAS?
    The post-CAS MSOs will definitely become more powerful from the advertising point of view; eventually LCOs will bargain from multiple feeds from several MSOs at any point of time; MSOs will provide multiple revenue streams to LCOs; agreements with MSOs and LCOs will keep broadcasters on their toes.

    Advertising stakes point of view:
    Ad media planning business will become creatively integrated post CAS. Advertisers will get a chance to blend interactivity with content. Ad agencies will have to develop creative content that is more focussed.

    Ad agencies and media planners will have to keep in touch with the MSOs as distribution-related knowledge will play a large role in media planning and buying. This is an aspect that has been totally ignored by media planners and buyers who have been depending on ratings. Post CAS, MSOs will hold the key to provide data that will supplement the statistics provided by the rating agencies as well as the broadcaster sales teams.

    This, in turn, will bring privacy related issues to the fore. Privacy is a tricky situation and it is somewhat similar to the situation wherein mobile telephony operators can pinpoint the location of an individual. The MSOs and LMOs will have to weigh the pros and cons of sharing consumer information with those that seek this information. However, in the long run the advantages of sharing this data will far outweigh the negatives – the consumer will get lots of benefits.

    Further complications will occur due to the impending arrival of MPEG 4 – that provides object level rather than frame level (MPEG 2) that is currently available. MPEG 2 involves merely compression techniques whereas MPEG 4 is more advanced. Even the US government has mandated the use of advanced versions of MPEG by the year 2006.

    The ability to develop and deliver messages in a certain context gives an advantage to advertisers and offers challenges to ad agencies. For instance, it would be possible to change the on-screen hoardings in different households based on the profiles of these households – irrespective of the actual hoardings in the stadium. Broadcasters as well as advertisers will need the help of MSOs and LCOs to make this a reality.

    The cost of the backend support for activating such services will be humungous. There are few instances of broadcasters adopting and implementing MPEG 4 at present. It is being used primarily by the broadband operators.

    Eventually LCOs could take feed from multiple MSOs and HITS operators:
    LMOs must be eventually given a chance to have open connectivity agreements with MSOs and open content distribution deals with broadcasters. However, for this to happen, the LMOs should be given permission to connect to two or three MSOs (and HITS operators) who will have to be flexible from the frequency point of view. To deliver a digital package of 36 pay channels, only three cable frequencies are required (S-21, S-22, S-23). If the MSOs implementing CAS through Headend in the ground (HITG) model have different frequencies, the LCOs and smaller MSOs can take feed from two or more MSOs or HITS operators. In the case of HITS, it is easier to implement as the transmodulators in HITS are agile. Beyond S-21, there is greater flexibility due to bandwidths more than 7Mhz and 8 Mhz.

    Pressure on pay broadcasters to continue status quo:
    Another way in which the post-CAS MSOs and LMOs will become powerful is due to the pressure they can apply on broadcasters. Pay channel broadcasters have an agreement or understanding with MSOs that their channels will compulsorily remain pay for a fixed duration of time. If they retrace their path and convert some of the channels into free to air, there is a chance that MSOs or LCOs might initiate legal proceedings against the broadcasters.

    MSOs will provide immediate earning avenues to LCOs irrespective of how many people adopt STBs:
    Consider the fact the LMO will earn Rs 72 post CAS from the FTA channels. In order to earn an equivalent amount through commissions from pay broadcasters, the LMO will have to ensure that the consumer buys Rs 300 worth of pay channels (considering a 25 per cent margin). Value added services such as Internet Access, subscriber databases, fulfillment services will be the primary revenue earners for LMOs from day one.

    Tell us about piracy related issues post CAS?
    In the post CAS scenario, wooing the MSOs and cable operators will be very important for the broadcasters. The piracy can occur at various levels – STBs, MSO level or at the LMO level.

    In the latest version of STBs (128-bit), it would take hackers decades to crack the system. The 1024-bit STBs are virtually impossible to crack. The 64-bit STBs are comparatively easier to hack as compared to 128-bit or the 1024-bit ones, even though the keys change in a matter of seconds. Ideally, the chosen STBs should have a public key, a private key and other complex identification elements. Companies need to constantly update these identification elements.

    But, foolproof methods have to chosen. For instance, in several countries that have adopted CAS, one notices that piracy is an issue – for instance, LMOs can place a pirated box obtained without the knowledge of the MSO and continue to charge the consumer who wouldn’t know the difference; or MSOs can continue to under declare by using pirated boxes or illegally obtaining codes from the HITS or HITG. Therefore, it is important to note that MSOs and LMOs are the key to successful implementation of CAS.

    There are chances that several households will woo cable operators encourage piracy of signals – at least for their secondary TV sets. It would be virtually impossible to steal signals for the primary TV set. As CAS progresses throughout the country, cable operators from smaller towns and cities will definitely consult the metro cable operators for piracy related tips. Abroad, the codes for the popular conditional access systems are easily available on the web or Internet sites. This could be a scenario at a later stage even in India.

    The post-CAS MSO and LCOs/LMOs cannot be ignored after 14 July. Broadcasters, consumers and advertisers can ignore them at their own risk.
    “Even if consumers take time to adopt STBs, services such as Zero will empower cable operators to earn more during the interim period”

    What are the ways in which MSOs can offer opportunities to LMOs to earn revenues from day one?
    The implementation of the conditional access system (CAS) has definitely ushered in an era of new business opportunities for the trade constituents.

    Broadband Pacenet India (BPI) is forging an alliance with a consortium of 12 international promoters who are in the process of launching a smart card based payment mode for cable consumers and others who wish to avail of the service.

    The promoters have decided to brand India’s first domestic indigenous payment gateway as “Zero”. Zero will be available to all those cable subscribers who invest in a set top box (STB). The launch of Zero will coincide with the launch of CAS services and its implementation across metros.

    The service will be offered and publicised through a network of cable operators who will earn monies for the same. They can also get incentives as the consumer (who has been sold the card by any particular LMO) spends more – just like the commissions in an insurance business.

    We have obtained the requisite Reserve Bank of India (RBI) clearances and The State Bank of India will be the participating bank. Zero will be positioned as India’s first multi-application card that will provide consumers with access to a wide array of financial options.

    Zero will have the potential to threaten global players such as Visa, MasterCard and AMEX. Zero will offer much more than the traditional companies such as VISA, Mastercard and Amex at no extra costs. The services include financial applications, loyalty programmes, debit card services, credit card services, e-purse facilities, access card facilities and entitlement card facilities. More importantly, merchant establishments won’t be charged extra transactions costs. At present, global players such as Visa and Amex charge anything between 2.5 to four per cent.

    Zero is also slated to be an interoperable card and users won’t have to pay anything extra if they conduct transactions in banks who have an agreement with member banks. The promoters plan to increase the network to 63 cities in the country.

    Zero will offer an added revenue stream to cable operators in the post-CAS scenario. Even if consumers take time to adopt STBs, services such as Zero will empower cable operators to earn more during the interim period.

    Tell us about Broadband Pacenet India set-top boxes?
    Broadband Pacenet India set-top boxes are highly sophisticated indigenous “home genies” that include features such as a peoplemeter and ethernet output (to enable Internet surfing).

    Our advanced STBs (rather ‘home genies’) will be economically priced around the same level of Rs 3,500. I expect penetration to touch 50-60 per cent levels if the current “pay channels” remain “pay”.

    The primary issue will relate to the smart-card user identification elements such as the public and private keys. “Pacenet’s STBs have RSA data security for enhanced security. Pacenet has gone for the 1024-bit configuration that is almost impossible to crack.

    Pacenet is the only company to produce and supply Indian made STBs. Our ‘home genies’ will have elements such as RSA 1024-bit; DES (Digital Encryption System) and AES (advanced encryption systems); with peoplemeter facilities. We have plans to get these STBs certified by companies such as Business Proton and Tata Consultancy Services and then sell them in the global markets.

    The Pacenet boxes will have the ability to provide value added services and can be upgraded at low costs and will also offer exchange facilities that several other MSOs have promised.

    What do you feel about the recent move by the finance ministry has, along with abolishing excise duty on set-top boxes (STBs), notified a reduction in customs duty from 25 per cent to 5 per cent on key components of a set-top box — tuners, remote control units and RF-modulators?
    It is definitely a welcome move – especially in the case of the tuner that costs around $12 (comparatively RF modulators and remote control units are cheaper). Earlier, if you had to pay Rs 100, one paid Rs 16 (basic customs duty, CVD and 4 per cent); now with the provision for value additions of say Rs 10, one would end up paying Rs 17.10 (not much). The point to remember is that one can claim this through MODVAT. The benefit should have been given to manufacturers.

    The only way the government can effectively boost Indian industry’s demand for the 40 million boxes, only if the IPR for the design of the box and CAS is held in India. Otherwise, if import is cheaper, the government will only play into the hands of foreign manufacturers – please note the box and CAS are integral units. That is why STBs can be rented (avoiding sales tax) because the box is part of the plant controlled by CAS. In China, the government has made Chinacrypt as standard–so consumer gets flexibility and the government gets security.

    Royalty on CAS can be calculated at $10/box and smart cards are replaced every year (cost $4)—these will be continuous outflows and the subscriber will have to bear this cost. Certainly, the government has to endeavour to make it consumer friendly as other countries have done.
    “Several broadcasters will have to take a decision about converting pay channels into FTA and vice versa. It entirely depends on the business model that the broadcaster adopts”

    Will ETC Networks channels remain free to air or go pay at a later stage?
    Although ETC Networks had earlier announced that its channels etc and etc Punjabi would become free-to-air after 14 July 2003, there is a possibility that etc Channel Punjabi will go pay.

    The decision would depend on the business/revenue model of the channel. Our research indicates that etc Punjabi has exclusive content that is not available with competitors – for instance, the Gurbani (live renditions from the Sikh holy book relayed from the Golden Temple, Amritsar). Moreover, our internal research indicates that large chunks of viewers in North India are hooked on to the channel and will definitely pay the monthly charges.

    The flagship Hindi music channel etc would remain FTA. etc music channel has substantial reach, penetration and distribution. In fact, it gets advertising revenues due to these strengths. Moreover, it also earns monies due to sponsored trailors and music videos amongst others. There is no question that etc Hindi would remain free.

    Several broadcasters will have to take a decision about converting pay channels into FTA and vice versa. It entirely depends on the business model that the broadcaster adopts.

    Currently, some of the MSOs are asking pay channels for commitments that they would remain pay for a certain specified duration. However, the government notifications don’t specify any such commitments. As far as the government is concerned, the more the number of FTA channels, the better it is. The government can then claim that CAS is a success.

    What do you feel about the broadcasters’ proposal to have differential regime?
    Some broadcasters have proposed to have different MRPs (market retail prices) for channels in different cities. In their meeting with MSOs on 18 June, broadcasters had given MSOs a chance to add their margins to the pay channel rates specified by the broadcasters. However, I feel that the differential pricing regime should not be allowed as the government wants standardised rates across the country. However, the fact remains that most of the LCOs are demanding 25 per cent of the 50:50 break of revenues between the MSOs and the broadcasters.
    “Rating agencies would still provide data on the non-CAS homes. Rating agencies and media agencies will have to eventually coordinate with MSOs for research findings and consumer insights.”

    How will the post CAS scenario make life for media planners and buyers?
    The implementation of the conditional access system (CAS) will definitely make life difficult for media planners and buyers. The opportunities available for advertisers will increase dramatically. In fact, media independents and ad agencies will have to create specialised teams that will deal with the post-CAS scenario. Moreover, they will have to analyse data from the rating agencies such as TAM as well as data compiled by the MSOs.

    CAS will provide ample opportunities for branding. The opportunities will include options such as EPG (electronic programme guide) and OSD (on screen display) that will become a part and parcel of every household that owns/invests in a set top box (STB).

    The plain vanilla STBs that are being offered to consumers in the initial stages of CAS implementation can provide opportunities such as:

    * On screen display while the STB is in the process of booting or starting

    * Messaging service including targetted OSD (on screen display) depending on the profile of the household or the subscriber.

    * EPG (electronic programme guide).

    OSD will be a great opportunity for media planners and even the cable trade constituents. Consider a scenario where a cigarette ad will be displayed on the TV screen of a subscriber who smokes. Pharma companies can target the households of doctors. Selective dissemination of messages is a distinct possibility as the MSOs/cable operators have the expertise to collect data about consumers.

    There will be a greater opportunity for education based shows or channels.

    Will rating agencies become redundant?
    The rating agencies would still provide data on the non-CAS homes (those households that don’t invest in an STB). Rating agencies and media agencies will have to eventually coordinate with MSOs for research findings and consumer insights. MSOs have started thinking seriously about data collation and mining.

    Abroad, there are STBs that are empowered to act as peoplemeters. In India, the basic boxes that are being currently offered by several MSOs don’t have this facility. But all Broadband Pacenet India manufactured STBs will have the peoplemeter facility as well as Ethernet output. BPI is the only MSO that won’t be importing STBs but will be indigenously manufacturing STBs and providing it to Indian consumers.

    Why would the consumer pay for a costlier STB that can act as peoplemeter?
    Eventually, broadcasters will lure consumers with loyalty programmes. For instance, Zee TV can coax consumers to buy STBs with peoplemeter facility; urge them to watch Zee TV for ‘X’ hours a week; offer them discounts on the Zee bouquet package rates for the subsequent months!

    Remember, CAS will empower several households that couldn’t afford to buy a computer earlier as the STB will give them a chance to surf the net through their TV sets.

    According to you, who should be blamed for the current state of confusion?
    The point remains that every constituent of the cable trade is in favour of CAS. All of them have taken some steps forward. The MSOs are caught in a trap – they have made quite a few investments and they are unsure of the future developments. Broadcasters are playing a cautious game. The LMOs are all in favour of CAS. The government is going ahead despite scares of “probable backlash” from voters.

    Yes, currently there seems to be some kind of a Catch 22 situation. One must realise that there can never be an ideal situation. I am confident that CAS will eventually be a great success in India.
  • “Compelling content will always be watched!” : Ronnie Screwvala UTV group CEO

    “Compelling content will always be watched!” : Ronnie Screwvala UTV group CEO

    His affable manner complements his shrewd business sense. UTV group CEO Ronnie Screwvala is literally one of the survivors who has seen many crests and troughs in his career.

     

    Screwvala was involved with the first organised cable venture in Mumbai. He started cable TV way back in June 1981 – Network was a three-hour video channel that showed movies. The cable channel started off by providing content to some homes in Maker Towers in the posh Cuffe Parade area of Mumbai. The young entrepreneurs charged Rs 200 per month and soon had thousands of households in the area subscribing to the services.

     

    Screwvala has recently recast his business operations with three major focus areas – the content services division, the creation division and (what they term) the pipelines. Under services, activities such as ad film making, selling airtime on DD or for the Sun group is included. TV production is being clubbed with the content creation division. Animation is an opportunity that the group is bullish about. The other activities include activities such as dubbing in multiple languages, airline in-flight films amongst others.

     

    Screwvala says that UTV has always believed in a multiple revenue diversified model. However, a balance has to be maintained in terms of ensuring rigid discipline in each of the diversified offerings, he says.

     

    Perhaps, this diverse portfolio has helped the production house to survive the test of time even when others such as ABCL, Multichannel and Plus Channel have not.

     

    In a freewheeling conversation with indiantelevision.com’s Ashwin Kotian, Screwvala touched upon various issues.

    Excerpts:

    Let us start with the hot topic of today – CAS. What are your views?

    Everybody knows that CAS is a good move but everyone has an issue with it’s implementation. From one or two channels in 1984 to 100 channels in the new millennium is a long journey.

     

    It is time for a lot of corrections in the old system that has prevailed till recently. For instance, the cable business should have been operating using economies of scale; the consumer should have been paying reasonable rates. Today, the consumer has no say. During the recent blackouts in different parts of the country, the consumer was powerless to demand. The amount of money the consumer was paying didn’t give him any bargaining clout. The consumer was at the mercy of the cable trade.

     

    But the process of implementation has raised questions. Most of these are perception problems – consumers feel that they will end up paying more. There is this debate between digital versus analogue. Insufficient attention has been paid to research on the process of transforming the unorganized cable networks into an organised business model. I feel that everything will be smoothened out in the next 18 months or so – to be very realistic.

     

    In a country like India, one can never have a 12-month plan because everyone goes to sleep the moment extensions are given. However, the preparations and clarifications should have come much earlier – in order to emphasise that the government is keen on implementation and at the same time was willing to grant time to the trade constituents. Significant changes such as CAS and VAT cannot happen overnight.

     

    DTH seems to be more realistic but will run into other sorts of problems. Also, DTH can never be an option to cable. As far as broadband operators and convergence companies are concerned, they are talking about revenue sharing models. They won’t be able to attract production houses with this kind of an arrangement.

    Do you feel that the implementation could have been done in some other way?

    I feel that a key link has been totally ignored. The cable operators should be forced to obtain a licence. At present, all cable operators need are permits from Posts & Telegraph department, not even the municipal authorities, because they operate through their cable control rooms located within the premises of a cooperative housing society.

     

    The society decides the destiny of the cable operator and this will remain unchanged even after CAS. If there is a licencing regime, two players will be operating in the same area. Market dynamics will come into force and prices will automatically undergo rationalization; value additions will become a norm.

     

    The monopoly issue has still not been sorted out by the current CAS model. In many ways, the consumer still doesn’t have choice or complete freedom. The intention of moving towards a structured conditional access system is a good one but the decision makers have missed an important link by not invoking the licencing regime.

     

    Another problem with the current system is that the MSO with the largest number of control rooms gains some kind of an advantage and clout. In the licence system, the MSO will have to apply for licences and there will be more accountability.

    Do you foresee any changes from the broadcasters point of view?

    At present, uncertainty is prevailing but one thing is certain. Broadcasters will have to ensure that each of the individual channels within a bouquet or cluster will have to rise up to the challenge of luring the consumer.

     

    Also, broadcasters can no longer afford to be rigid and will have to change their mindsets. I am confident that the present bouquet rates (for bundles or for individual channels) will no longer remain the same going forward. Reductions are bound to happen as more consumers decide to opt for set top boxes.

     

    The increasing number, though it may be a slow process, gives some kind of an assured revenue for broadcasters. Broadcasters can be flexible if they know that they are getting X amount of revenues. However, broadcasters have to realise that it is a long journey to reach the 35 million household mark. Mirror channels could be a temporary phenomenon but it won’t be a practical solution in the long term.

    Broadcasters have already starting talking about reducing remuneration. Are you being overpaid?

    We are definitely not being overpaid. The results are there to be seen on the screen. Over the last few years, the quality of content delivered by TV producers has improved dramatically, not just on the leading channels but across all channels.

     

    More power to programming will become of the order of the day. Broadcasters need to beef up content rather than talk about cutting costs. The fact remains that broadcasters aren’t overpaying for content. The demand and the accent will be on getting more programmes into Top 100 lists.

     

    Every broadcaster will realize that the more programmes they have on the Top 100 list – the better it is for them as consumers will opt for them. The Tentpole strategy (also read CAS: great mid-long term opportunities post short term challenges) will drive subscription revenues.
    “In a country like India, one can never have a 12-month plan because everyone goes to sleep the moment extensions are given.”

    Is your programming exposure higher in C&S than in the national broadcaster Doordarshan (DD)?

    Currently, our mix is tilted towards C&S channels with 80 per cent focus on C&S versus a 20 per cent exposure on Doordarshan. However, in the coming months, we are going to have more exposure to DD.

     

    This is not merely due to the CAS environment but because DD has opened up. We have seen lots of changes in the recent months and some of the new policies seem attractive. As far as airtime sales are concerned, we have a 50:50 mix on DD National channel and its regional offshoots.

    Do airtime sellers face a lot of problems due to non-receipt of payments from advertisers? How can this be sorted out?

    Collections are always a problem but one has to proactively tackle the same. The IBF has to take charge and protect airtime sales agents. I feel that a 75-day period is good enough and people who don’t pay till then should be declared defaulters. Of course, everyone does their homework and keeps a tab on the pathological defaulters.

    So, what is the next big idea in TV programming?

    A hit programme or a strong and successful entertainment brand is never a planned breakthrough. The winning combination has always managed to strike a chord in people – something that is relevant in that particular time or place or phase. One keeps trying till one strikes gold. As far as the viewers are concerned, whenever they experience fatigue, they try something else and make that particular formula popular.
    “A hit programme or a strong and successful entertainment brand is never a planned breakthrough.”

    Are viewers tired of soaps and saas-bahu dramas?

    Soaps will never go out of fashion. The question is “how much and how long can they be stretched”? Remember that a viewer cannot watch the same kind of programmes – say saas bahu soaps or reality TV or comedy – for four hours every day. There has to be a variety of offerings and things need to change in order to give the audience a new thrill every hour. Also, things in the offerings need to change – from four walls to outdoor locales to action to something else. The success of Des Mein Nikhla…. shows that viewers want to move away from the four-walls format.

    What about comedy?

    I feel that the comedy genre is looking up. TV producers have failed because they have always associated comedy with the Johnny Lever brand of comedy – which is a pretty successful formula in feature films. But it hasn’t worked in the TV domain. If you notice – a programme like Tu Tu Main Main had shades of saas-bahu formula.

     

    We undertook this experiment of running Khichdi without a laughter track – a first of it’s kind endeavour. Every day, we used to debate whether we should add the laughter track or not. For the first 12 weeks, we were mulling over the laughter track. The programme started picking up loyal viewers. Finally, we realised that there was an audience that was mature enough to accept our offering and enjoy it without being “forced to laugh”.
    “When Zee arrived on the television scene, it had specifically asked producers to come up with programmes for children. It wanted to create a young Zee – a channel brand that would differentiate it from the rest.”

    What about children’s programming?

    Since the advent of television, producers haven’t really given children’s programming its due. By children’s programming, I don’t mean cartoon programming. Perhaps, the producers and broadcasters didn’t have the right orientation because rating agencies never considered the below 12-year olds. In fact, the success of Zee Horror show can be attributed to children who used to watch the programme regularly.

     

    However, my experience says that whenever anyone came up with some good concept targeted at children it has always been received well – the Mathemagic show for instance.

     

    In fact, when Zee arrived on the television scene, it had specifically asked producers to come up with programmes for children. It wanted to create a young Zee – a channel brand that would differentiate it from the rest. In many ways, it was successful too and there were at least eight programmes catering to that genre. In fact, Junglee Toofan Tyre Puncture was a very successful programme. Shaka Laka Boom is representative what would work in modern times – also the genre of daily comedies is relatively new to India.

     

    We have been asked whether our recent offering Shararat is positioned at children… but I would maintain that it is targeted at the older audiences.

    What are the other opportunities in programming?

    I feel that studio based shows will make their comeback in India. Remember, they are popular all over Europe and other developed countries. Somehow, people love to talk and express themselves – be heard and hear others. Communication is an inherent part of human nature. A lot of channels seek non-fiction programming – documentaries as a genre still has to take off in India.

     

    We are well-positioned to offer content to different groups of channels – for instance a BBC or a CNN or a Star World or an NGC or Discovery. A lot of interesting work is being done in the international market and within a short time, the mature Indian audience will seek such shows. We are tapping the export market aggressively.

     

    We have been approached by a Canadian producer to work on the Asian Cuisine show. This is a feature that focuses on South East Asian countries. We shall be shooting eight episodes that will talk about Indian cuisine and then there will be capsules on Hong Kong Singapore and other countries. Most probably, the show will be shown on Star World.

    What is your view on reasons why telefilms haven’t made it big in the Indian context?

    Telefilms are a very difficult category. Even in the US, it took a long time to become popular. I feel that HBO played an important role by conceptualising a show like Sopranos. Remember, that HBO managed to break ground with the show – as a cable channel, it could take a lot of liberties. Things that were taboo for the satellite channels that were governed by the then existing laws of censorship, could be shown. In a way, the brashness and the crassness was a welcome change.

     

    Later on HBO went a step further with it’s original productions. Just imagine a telefilm like Band of Brothers shot on a large scale! Despite Tom Hanks and Steven Spielberg, it didn’t get the kind of success that it deserved.

     

    Yes, telefilms are a difficult nut to crack. A lot of right ingredients have to be mixed for the right brew. One needs a little bit of luck too.
    “I feel that Flash is the next big opportunity at least for India. Flash provides the same look and feel as the other animation genres but at one third the cost and one third the time.”

    What about the recent controversies wherein Indian TV producers have been accused of copying western concepts and ideas without paying for the copyright?

    I can’t remember having chosen any format wherein we have indulged in blatant copying. Remember that all programmes “inspired” by foreign content has to be adapted to suit the Indian psyche – otherwise it is bound to fail.

     

    At UTV, we make sure that we always take utmost care about copyright related issues – whether it is Snakes and Ladder (Saap Seedi) or C.A.T.S or the Wheels of Fortune. We have paid the licence fees and tried to do everything the right way. But remember, that one can find similarities in everything. For instance, LA Law, Practice and Ally McBeal (all of which follow one another) all have a common thread running through them. However, any person who blatantly copies sequences from the original work will definitely be noticed – whether in feature films or in the television arena.

    What about the animation business?

    Animation is a very expensive proposition. In fact, abroad, animation programming is given more importance than other shows.

     

    At present, we are doing five serials in 2D, 3D and Flash animation – Untalkative Bunny, Toad Patrol, Key Dark, Monsters amongst others.

     

    I feel that Flash is the next big opportunity at least for India. Flash provides the same look and feel as the other animation genres but at one third the cost and one third the time. It requires more detailing. Also, one needs to have a bank of at least 26 episodes before one goes on air. Therefore, it is an expensive proposition. Also, Korea and Taiwan have stolen the march over India and have a clear cut lead in 2D and 3D. Indian professionals are good but they are not trained for key elements of the animation business such as speed and delivery schedules.

     

    In the case of Flash, all the three countries are equally placed and have the same advantages and disadvantages. Everyone in this business is on the learning curve at this point of time.
    “We missed a golden opportunity in the 1980s when Gandhi won many honours. We should have opened up the industry then to the western world.”

    What is your take on the Indian film industry? Will UTV produce crossover films?

    I feel that crossover films is a much hyped up word. Monsoon Wedding and Bend it like Beckham were films made by foreign directors (who stayed abroad) using foreign stars. Agreed that they might have been shot in India, but they still cannot be branded as crossover films.

     

    A crossover film makes money in diverse markets across the globe – for instance even today the Greeks won’t agree that The Greek Wedding was a crossover film. It raked in revenues all over the world wherever it was released. There are 10 plus film festivals around the globe and Cannes is just one of them. It received a lot of attention due to Aishwarya Rai and the perception of India as an exotic place.

     

    But for most of the film world outside, India is still a black hole. There isn’t much demand or interest in Indian themes or content. Also, remember that India hasn’t produced a truly global star – Australia has a Nicole Kidman or a Russell Crowe who are popular across the globe. Of course, India has potential and it will take five or seven years for us to catch up with the rest and make it into the big league.

     

    I feel that we missed a golden opportunity in the 1980s when Gandhi won many honours. We should have opened up the industry then to the western world.

     

    As far as UTV is concerned, we are doing pretty well. We have projects such as Shah Rukh Khan’s Chalte Chalte, JP Dutta’s LOC and Farhan Akhtar’s Lakshya. The movie business will account for 15-20 per cent of our group turnover despite the fact that we have several big projects on hand.

    As a producer-distributor , aren’t you disturbed when new films are show on cable channels within days of release?

    There are several issues related to reporting the infringement and subsequent prosecution. First of all, one has to catch cable operators in the act; the producer has to take cognizance; and the third is the issue of abysmally low conviction rates. In India, things would improve tremendously even if we get 10 per cent conviction rate. There is a distinct lack of will to enforce. The music industry has done pretty well and we should adopt the same procedures. Also multiplexes have changed a lot of things. The ancient producer-distributor arrangements and MG models will have to be relooked at on a constant basis.

     

    However, in these days of 110 to 150 prints, the life of a film in the theatres is very short. Earlier, films used to run longer because there were lesser prints in circulation. I feel that current negotiations will definitely lead to a workable compromise between the producers and the distributors.

    What about the recent changes in UTV’s management structure? (Read Management restructure of core portfolios at UTV )

    As far as the recast is concerned, we have the right combination in place now. We shall constantly review and things will evolve.

    What are your future plans?

    I don’t rule out the possibility of the group starting our own niche (special content) channel. The post-CAS environment is conducive to starting a special interest channel. We are examining all the possibilities but haven’t drawn up a final business plan as yet. But the time is right.

     

    Compelling content will always be watched. A film like Gone with the Wind earned $40 million whereas Star Wars bagged $600 million. But the former was and will always be more popular and etched in memory.
  • “Content pull will determine the success of CAS” : K V Seshasayee HTMT group director and CTO

    “Content pull will determine the success of CAS” : K V Seshasayee HTMT group director and CTO

    HTMT group director and CTO (chief technology officer) KV Seshasayee is the man in the centre of action. He is the man who will spearhead the efforts to ensure that HTMT subsidiary company INCableNet’s conditional access system (CAS) becomes a success. During the last few months, he has utilised every bit of his 25 years plus experience in the automotive, IT and communication industries towards this end.

    Seshasayee is also the director-in charge for the new economy and telecom ventures within the Hinduja Group. He is also the chairman of Fascel Ltd.; the Gujarat cellular company that claims to be the most successful and profitable of cellular company in India; and having the largest subscriber base in any circle outside of Mumbai and Delhi. Seshasayee is an active member of CII’s National Telecom Committee, and is a present member of CII National Council. Also associated with various Industry associations like COAI.

    Since, the last few months, Seshasayee hasn’t found much time to indulge in his passions that include cooking and listening to music (right from jazz to Hindustani Carnatic). Indiantelevision.com’s Ashwin Kotian spoke to him on the same day when the government announced duty reductions on set top boxes and KVS (as he is popularly known) was all smiles.

    KVS started off his discussions by saying that they have received an internal memo that the entire CAS project team will have to work on Sundays too – well what’s new? he added, while dismissing it as one of the rigours of corporate life! Excerpts of the discussions:

    Is the Indian market ready for CAS?
    The streamlining of the hitherto disorganised nature of the cable business in India was an eventuality. We had realised it long back. It is worthwhile mentioning that we have been looking for set top boxes (STBs) since the past five years. At that point of time, we realised that it wasn’t feasible to get subsidised boxes without government backing. This backing was essential because the revenues were small and there is no way we (the multi-system operator – MSO) could subsidise them.

    Two years back, along with Intel, we developed the prototype of Interactive Internet Boxes for cable networks. At that point of time, we undertook studies to qualify the nature of our networks. The results were very encouraging and the networks could imbibe the new technology with minimal resistance or changes. We have successfully offered cable Internet services to our subscribers with minimal failure levels and this itself is proof of our capabilities to deliver.

    The Indian cable TV industry is poised for a quantum leap from an unstructured system to a modernistic one.

    Gives us the background information on how your team zeroed down on the final list of Incablenet’s CAS partners and systems integrators?
    As far as the group companies are concerned, we commenced the process of screening in June 2002 during the Communication Seminar in Singapore. Since we were initiating a major process of moving from an unstructured system up to an efficient kind of a structure, we wanted serious partners who would stick with us for a long time.

    We shortlisted 34 box companies; 12 vendors of SMS and billing systems; and six CAS companies. By August, formal requests were sent for information and by October, we had sent the request for proposals. In December 2002, we asked for quotations based on volumes. By February 2003, we narrowed down the list to two companies and finally chose Nagravision.

    We started negotiating with Nagravision for a long-term partnership. In fact, Nagravision agreed to become a vendor as well as took a stake of $20 million. Another reason why we chose Nagravision is due to the fact that their systems have been the least hacked ones in Europe and other countries.

    As far as the box companies were concerned, we shortlisted four of them. Again, the aim was to target those companies that would shift quickly into indigenisation and localisation (in terms of manufacturing). We also wanted partners who were committed and had a long-term interest in the Indian markets. We stayed away from those Asian or European companies that didn’t fulfil these criteria – despite the fact that some of them assured us of huge volumes.

    We chose Magnaquest as our SMS partner since they had already integrated with Nagravision. The company was an Indian company with international expertise and experience. They have undertaken a large number of installations in the Middle East and worked with Asianet and Spectranet in India.

    We also effected some internal changes in order to make our networks compatible to the new order. We already had a headend from BARCO and we roped in Tandberg for a digital headend.

    What kind of internal restructuring was undertaken?
    We already have an inhouse IT team (Hinduja TMT) including a qualified team of networking professionals. We created project management teams to handle this challenging task. At present, a team of 60 people is working on a 24/7 basis on the project.

    We were already utilising the services of SAP for ERP (Enterprise Resource Planning). Siemens Information Systems was implementing the same. The challenge was to create modern infrastructure and integrate it. Satyam Infoway is involved with the VPN (voice protocol network) and our in-house team provides additional inputs.

    We have already set up a call centre in Mumbai and another satellite centre will come up in Delhi soon. We have taken care of the logistics and have taken warehousing facilities in Mumbai and Delhi. The next step was to fill in the slots for the various links of the distribution chain.

    What about training the affiliates and testing the networks?
    We undertook multiple training sessions at every level – distributors, LMOs, headend and the line people. Our efforts also sent out the proper message that we are serious about CAS and also would include the operators as part of the new order.

    Internally, we educated our own people so that they were empowered to inform and educate the franchisees. We have completed one training video and are on the verge of completing another video. The training material will be shared with all the 1,000 operators in Mumbai – as well as those in other cities.

    As I have said earlier, a lot of tests have been successfully conducted on our networks. For simulation purposes, we have even taken the worst-case scenario – the worst possible networks too. It is pertinent to mention that we have completed fibre optic cable work in Bangalore and Mumbai; will be completing the same in Delhi soon. We have ensured that true fibre reaches till the nodes.
    “We shall develop something similar to a PDS (public distribution system) on the ground with field executives combing the length and breadth of the metros”

    What kind of efforts have been made to ensure that your franchisees are bullish about CAS and subscribers buy boxes?
    The last mile operators (LMOs) are a part and parcel of our distribution chain. We are not going to sever any relations with them. They will be our ambassadors. They will undertake customer service and will be our front end that will interface with the subscribers. We have adopted the same model as that of the cellular industry.

    The government’s decision to reduce duties has been a right move at the right time. As far as INCableNet is concerned, we have already announced the various schemes. There will be several types of schemes – rentals, deposits, credit card payments, outright payments, monthly subscriptions, ATMs, prepaid cards and payments through the Internet (web based payments).

    We shall also develop something similar to a PDS (Public Distribution System) on the ground with field executives combing the length and breadth of the metros. Some of them will report to the LMOs. You will witness a lot of action on the direct marketing front. After all, LMOs will strive for 100 per cent declaration, as their revenues will depend on it.

    This is an interesting analogy that you have drawn between the telecom industry and CAS roll out. Tell us more?
    Essentially, there are some similarities between the rollout of CAS and the cellular revolution which took place two three years back. There was a great amount of network upgradation even in the case of the cellular industry. In fact, the process is still continuing.

    The cellular industry placed a lot of emphasis on customer care. Building telecom brands became a norm and the order of the day. All these things will happen in the cable TV industry post-CAS. If you notice, there has been zero marketing in the cable TV industry. Now, concept marketing will come in. The LMOs will be needed to sell the concept; explain the various nuances to the customers; maximise revenues for the different links in the distribution chain.

    After all, the more the number of channels taken by the subscriber, the better the revenues. It is important to note that the cable trade won’t be able to thrust anything upon the subscribers – the intent will be to lure the subscriber. The same line of thinking prevails in the telecom industry.

    So, what kind of learnings or insights did you take from the telecom experience while preparing for CAS?
    Our experience at Fascel and Cellforce has given us a lot of insights. We have attained several milestones and created records of sorts in Gujarat. We have learnt a lot of lessons from the operations.

    Consider the fact that cellular services were perceived as high priced services targeted at the elite. At present, that particular perception has changed and the penetration of cellular services has really increased and cut through demographics and psychographics. A similar situation exists currently in the case of CAS and STBs.

    Going forward, our sole intent will be to sell the services to the common man by clarifying the value proposition. Just as in the case of the telecom sector, the value proposition will keep on increasing and the prices will continue to fall – but customer uptake will be higher. As volumes are ramped up, the prices will crash too.

    There is one more important aspect that people are missing – India will become a very lucrative destination in the global scenario. A figure of 40 million plus boxes is huge and international manufacturers of digital STBs will be forced to bring down the prices due to the demand. Within a year or so, the prices of digital STBs will be at par with those of the analogue STBs even in the global markets.
    “In several countries, STBs are offered free of cost. But, monthly subscriptions are as high as $40. India, there is resistance to go below $5 per month”

    Are there any perceptible differences in the way in which CAS rollout in India vis-a-vis developed countries?
    Our team has visited several countries and studied the cable TV systems. In a country like Germany, there is a lot of uniformity and a single dominant player Dutch Telecom is calling the shots. The virus of “hacking” is not prevalent.

    In other European countries such as Portugal, Italy and France the systems aren’t as orderly as Germany – perhaps more similar to India. There are a lot of problems including hacking. Another issue relates to the billing systems. The billing systems in the developed countries are impeccable because they set the tone for customer service.

    Also, in several countries, STBs are offered free of cost. However, the monthly cable subscriptions are very high – sometimes to the order of $40. In India, there is resistance to go below $5 (Rs 250) per month. However, Indian consumers must understand that there is a limit to what can be done with $5!

    Indian consumers think that they can get everything for free. This kind of a mentality has to change and is already changing. So, the developed markets cannot really be compared to India in the real sense of the term.

    What kind of value added services can we expect in the cable industry in the near future?
    Remember, in the case of the cellular industry, everything started with “voice” and progressed to other value additions (VoIP, SMS, VMS, data) with time. Similarly, in the case of the Indian cable industry, the process of moving up the ladder will be a gradual one.

    Most of the Indian cable TV networks aren’t two-way and only 10 per cent can be termed as two-way. Several new features such as Interactive TV depend on “return path”.

    InCableNet will soon launch STBs with Internet capabilities – subscribers can access TVs and PCs on the same. Another really highend application includes STBs with built in personal video recorder and a TiVO box.

    The key will be to ensure flexibility and scalability. Consumers have to be guided through the various stages and have to be given a chance to upgrade There are immense opportunities as long as the offerings are backed by proper service. However, value added services will depend on several aspects including the availability of the return path.

    There were several possibilities – the “interactivity” services (gaming, high profile events) will take some time to become a reality. Other services such as pay per view (PPV) or video on demand (VoD) might be launched sooner.

    In the near future, we shall provide boxes with telephone-related services such as return-calls, messages amongst others. Customers will also be able to interface with us through the Net through e-mails. The group already has several websites – portals and ISPs. We have the necessary expertise.
    “I would say that if broadband operators could become a future threat to the cable industry; the vice versa could also become true”

    So, will broadband operators be a threat to cable operators and MSOs?
    I would say that if broadband operators could become a future threat to the cable industry; the vice versa could also become true. Remember, broadband and telecom services can be delivered in multiple ways and channels.

    Some time back, Dishnet DSL was perceived to be a threat to cable modems. Current statistics indicate that Dishnet DSL is one tenth that of cable Internet. I feel that cable companies could become major players in the telecom arena subject to approvals and permissions.

    Six years back, we did “voice” experiment on our cable networks and VoIP on cable Internet has become a reality today. We launched cable Internet services during the monsoons. Everyone warned us against it. We had a failure rate of five per cent and by these monsoons we shall have a failure rate of 0.5 per cent.

    I firmly believe that telecom companies don’t have the services capabilities that cable companies have. For instance, there are so many complaints of blind spots and lack of proper signals even in metropolitan cities. Despite the advances in technology, these problems haven’t been sorted out as yet. The cable industry gets relatively fewer complaints and several of these problems have been sorted out too. The service standards are also better – one telephone call and the cable operator’s team will attend to the same within a day a two.

    As I said, we have the fibre-optic backbone and the capabilities. The last mile is co-axial but the overhead co-axial in our networks is solid. Unless someone deliberately tampers with it, it shouldn’t give us any problems. The group has invested billions in high quality cable. The customer will get quality reception. Post implementation of CAS, we shall conduct periodic checks on the quality of the networks. Through our call centre, we shall seek customer feedback and this will help us to pinpoint gaffes, if any.

    What kind of safeguards and disaster management systems have you adopted?
    We have extremely rugged disaster backed systems that will have safeguards against any eventuality. We have back up systems in Mumbai as well as in Delhi. Even if the whole system in Mumbai collapses, we can run the networks from Delhi or vice versa. This is the advantage of centralising our entire IT system.

    We have also obtained ancillary requisites such as 24/7 power, bandwidth, UPS, gensets – the entire gamut.

    We have placed systems wherein the LMO can access the system through the web or through our internal V-SATs. We shall provide access through the fingertips. We have impeccable data collection systems – we can provide the data that government requires at any given time.

    In our control rooms, we have round the clock surveillance systems and biometric systems. Hi-tech security systems are already in place.
    “If chosen as an ASP tool, the HITS model raises several questions”

    What is your view on the HITS model which has been proposed by the Zee Group’s cable arm SitiCable?
    Every model has its own pros and cons. Everything has to be decided within the purview of the legal and administrative framework.

    HITS for one’s own internal needs is an acceptable solution; but if chosen as an ASP (Application Service Provider) tool, the model raises several questions:

    For instance, if the MSO can download, re-upload signals – what is the MSO’s legal status? Doesn’t the MSO become a broadcaster and shouldn’t the laws applicable to the MSO be applicable in this case? What happens if the MSO is not running it internally but giving it to independent smaller MSOs? What happens to the customer confidentiality-related issues in the case of the smaller MSOs?

    HITS also requires a high level of IT at the main headend and the control rooms. It becomes imperative to build security or rather I would term it as Chinese walls at these ground levels. Consider an example wherein LMOs in Mumbai and Chennai have different permutations and combinations of FTA and pay TV channels. Sophisticated IT systems are required to unravel the complex multiple permutations and combinations for billings and SMS systems. Not many LMOs in the country are equipped to tackle these issues.

    The positives for HITS include the fact that broadcasters save a lot of money on interconnectivity and at the headend level. HITS is also a good proposition for DTH (direct to home) services.
    “I firmly believe that DTH doesn’t directly compete with CAS. DTH is definitely costlier…”

    What about DTH?
    A lot of research has to be conducted on DTH. The group companies had explored the feasibility of DTH services by entering into an alliance with GE.

    I firmly believe that DTH doesn’t directly compete with CAS for the following reasons:
    * DTH is definitely costlier as consumers have to invest in a STB as well as a dish.
    *In cities such as Mumbai and Delhi, DTH will get hit by space constraints.

    How will the consumer locate free space for physically mounting the dish? Also, in areas that receive ample rainfall, bigger dishes will be required. If a society chooses to install a single dish, then all the participants will be bound by the same permutation or combination – there is no question of choice. In this case, they will have to invest in a headend and the costs will go up.

    Also, expensive cable is required to connect the dish to the box. DTH operators will have to find solutions for these problems. Having said that, DTH will definitely be a boon in semi-urban or rural areas where cable TV signals are weaker.

    What does the future hold for all of us?
    In the near future, quality content will be the pivot that will drive the business. Our internal research conducted on a sample size of thousands of people in the city of Mumbai shows that viewers are willing to pay for being able to watch programmes of their choice. They didn’t mind paying much more than $5. The best part is that this trend cuts across demographics and psychographics (right from Malabar Hill to Dharavi).

    The onus is on content producers to deliver quality content that will induce or stimulate desirability. The cricket and soccer world cups will no longer be free. There will be a demand for premium content. There will be consumers who won’t mind paying Rs 100 for watching the premiere of a blockbuster film like Devdas on the night of the release. Content pull will determine the success of CAS.

    Choice will be the name of the game. The LMOs in Chennai will have different permutations and combinations even in the FTA tier. Every city has a non-native population of around 30 per cent and these people would exercise the right of their preferences. Consumers will demand and LMOs will have to listen.
  • “We are targeting internationally minded people with an interest in world politics, news and business” : Seema Kotecha BBC World head of marketing

    “We are targeting internationally minded people with an interest in world politics, news and business” : Seema Kotecha BBC World head of marketing

    BBC World has appointed Seema Kotecha as the new head of marketing based in London. Kotecha will work closely with BBC’s director of marketing Jane Gorard and will be responsible for developing marketing strategy for the channel’s international teams in London, Singapore and Delhi

    Kotecha worked as marketing controller at BSkyB in London, where she was responsible for developing, implementing the annual marketing plan and focusing on increasing subscribers. She had also worked for the airline industry prior to this stint with BSkyB.

    Kotecha is a linguist – fluent in French, Spanish and Gujarati. She has a degree in European Studies and Languages from Manchester Metropolitan University and the University of Granada. She has also worked as an intern in the European Commission in Brussels.

     

    Kotecha responded to indiantelevision.com’s Ashwin Kotian‘s queries and outlined her plans.

     

    Excerpts -.

    What are the challenges in developing marketing strategies for a channel such as BBC which means so many different things to different people in markets such as India, the UK, Singapore?

    Well, you have identified one of the challenges already, which is marketing the BBC World brand and product consistently to some very diverse markets.

     

    It is important to understand the cultural, linguistic and political differences in these markets, as well as the television market place and competition.

     

    Other challenges include reaching our target audience efficiently and cost effectively. BBC World’s audiences are very internationally minded people who often travel overseas, so we have to look for new and innovative ways in which to reach them whilst keeping our budgets in check.

     

    Furthermore, they are an audience that is frequently targeted by advertisers – it’s a constant challenge to reach them with a message that stands out enough to grab their attention and interest.

    How do you ensure that the brand retains its common values and relevance across markets?

    In terms of the product, BBC World is a global channel providing global news and programming for a genuinely global audience.

     

    It is only in South Asia that we create customised programming specifically tailored for a country so there is commonality between all markets.

     

    With the branding however, this can be a challenge. We ensure the brand retains consistency across all markets through maintaining very strong communication links between our overseas marketing colleagues and the central marketing team in the UK.

     

    We have a clear centralised brand strategy for BBC World, which we ensure, is cascaded to all marketing staff worldwide. We speak with our international colleagues on a daily basis, share creative and best practice and meet as often as practical.

     

    The trick is balancing strong communication with locally based marketing colleagues whilst allowing them the autonomy to ensure relevance to their market place. We also have fantastic support in our advertising and media agencies worldwide.

    What kind of differences are there in BBC ad spends in these different markets – Delhi, UK, Singapore? What were the ad budgets in each markets last year? How much increase will the ad spends witness in this year?

    I am afraid that I can’t divulge our marketing budgets, but I can tell you that India, East Asia and Europe are our key markets so we do invest considerably in these markets. There is little difference between the regional budgets.
    “An example of a successful ground promotion we have organized is the HARDtalk tour of India last year where we turned the tables on Tim Sebastian and invited senior media to interview him”

    What kind of differences are there in BBC spends in below the line activities (ground promotions, direct mail, events) in these different markets? What kind of events has BBC World organised?

    We invest in a variety of below the line activities and there is no significant bias in our spend between direct mail, promotions and events. It just depends on which activity we feel is the best solution to meet the brief.

     

    An example of a successful ground promotion we have organized is the HARDtalk tour of India last year where we turned the tables on Tim Sebastian and invited senior media figures to interview him. The tour visited the cities of Delhi, Mumbai and Bangalore.

    What are the other ways in which you target the core audience? How do you expand the audience base? Which are these new audiences which BBC is targeting?

    We use advertising – largely press and outdoor, events, direct marketing, PR and promotions. We expand the audience base by using a combination of brand marketing to increase an overall awareness of the channel with programme specific promotion to create an appointment to view. We are targeting internationally minded people with an interest in world politics, news and business.
    “Fortunately, BBC World has developed reputation for providing impartial coverage of the news and received many compliments on our recent coverage of the Iraq war”

    How do you manage to fight perceptions “that BBC also could be endorsing the political point of view” – a recent example is the US-Iraq conflict?

    Fortunately BBC World has developed a reputation for providing impartial coverage of the news and received many compliments on our recent coverage of the Iraq war. We give our audiences every side of the argument and allow them to make up their own minds about the situation and form their own point of view. These values of balance, accuracy and integrity are absolutely key to BBC World’s editorial output and are the very essence of the BBC brand.

    What kind of efforts are being made to popularise the BBC brand on the Internet and target “surfers”?

    The BBC News and BBC World websites are very well known around the world and receive millions of visits every day. However, we understand the importance of maintaining the loyalty of our online users as well as attracting new users, so will be placing greater emphasis on Internet marketing in 2003-4 than in the past. We will be looking at online advertising, sponsorship, e-marketing and partnerships.

    How does BBC World use public relations to supplement the other marketing efforts?

    PR is an integral part of BBC World’s international marcom (marketing and communications) strategy, complementing and supporting key communications objectives at every level. BBC World has a full time PR team based in capital cities such as Delhi, which are responsible for generating consistently major amounts of coverage, through profile raising events and media relations.

    What is your take on 360 degrees marketing – backing programming content with on ground events with the help of sponsor-partners?

    This is obviously the ideal way we would look to promote any programming on BBC World. With a relevant sponsor/partner, we would look to create an event to build awareness of the programme and create some hype. We would look to support this with other promotion such as advertising, direct mail and Internet marketing as appropriate.
    “We will be placing greater emphasis on Internet marketing in 2003-4 than in the past. We will be looking at online advertising, sponsorship, e-marketing and partnerships”

    What kind of plans do you have to connect with the trade? Especially in the case of countries such as India where the unorganised cable distribution network has paucity of place (to accommodate channels on the prime band)? How often do you conduct seminars and workshops?

    BBC World has strong advertising and network development teams who continuously reach out to the trade and keep them updated of new initiatives and developments. Our network development teams seek to maximise our distribution currently reaching 15 million homes.

     

    We hope to build on these existing relationships and reach not only our broad audiences but niche groups such as university or management students, corporates, British councils and like minded associations by below the line initiatives and on ground events.

    How often do you travel to the different markets in order to get a feel of the consumer behaviour?

    Well, as I have only been here five weeks I haven’t made any travel plans as yet! I have visited and worked with many of our markets in the past with my role at Virgin so am quite familiar with the consumer behaviour already.

     

    However, it is important to meet with my marketing colleagues overseas and understand the television marketplace in each region so I will be visiting them in the near future.
    “BBC World conducts regular surveys of its viewers – the Horizon survey profiles India’s professionally qualified executives and was conducted by the NFO”

    What kind of research is conducted to understand consumer/viewer/trade/psyche? What kind of investment does BBC make in this kind of research?

    Like other broadcasters, BBC World subscribes to syndicated audience measurement from TAM, and other studies such as the IRS and TGI.

     

    In addition, BBC World conducts regular surveys of its viewers – the Horizon survey profiles India’s professionally qualified executives and was conducted by the NFO. Other recent surveys include the ‘Ad Avoidance’ study with Initiative Media which explored viewers’ receptivity to commercials. We also looked at attitudes towards the recent war in Iraq, as well as a regular tracking survey and qualitative research exploring attitudes towards the channel.

     

    We are planning a survey to understand attitudes towards the current boom in news channels.

    Are there any plans to change the look/feel/format of the various shows? What about signature tunes? How do you make them relevant to different markets – or is it common and part of the BBC package?

    There are no set plans to change the look or format of any existing shows at present. However, the shows are constantly under review and we will make changes as and when we feel they are necessary. We do ensure all shows are made relevant to the different markets.

     

    A good example is Mastermind. In the UK, questions on the programme will be more Western or European in nature whereas Mastermind India will obviously need to contain questions more specifically linked to India.

    What learnings (from the airline industry) will you bring and apply to the TV/broadcast sector?

    The target audience for an international airline such as Virgin is actually very similar to that of BBC World, so I will definitely bring with me a very good understanding of our audiences and how to reach them.

     

    Furthermore, working in the airline industry meant working across very similar markets as BBC World – India, East Asia, South Africa etc. This gave me the experience of not only promoting an international brand abroad (whilst competing with strong local and often longer established carriers), but also the experience of marketing in such culturally diverse markets, each in a different stage of maturity.

     

    Finally, similar to global news, the airline industry is unpredictable and fiercely competitive. Consequently, I am very accustomed to working through nights and weekends to respond to a competitor marketing campaign or to adapt our strategy in response to an event like 9/11.

     

    In a similar way, at BBC World, no two days will be the same and I have already started to familiarise myself with our global and local competitors and develop ways to differentiate BBC World to increase our audiences and market share.

    Tell us your hobbies? Do you watch TV? What are your favourite programmes?

    My hobbies include sport, yoga, theatre, travel and film. I do watch TV and needless to say I am a big fan of news! Other current affairs programmes I enjoy are Question Time and Panorama. To unwind, I love watching travel shows like Holiday.
  • “[V] will constitute youth panels in various cities in the country” : Keertan Adyanthaya Channel [V] VP, content and communications

    “[V] will constitute youth panels in various cities in the country” : Keertan Adyanthaya Channel [V] VP, content and communications

    Keertan Adyanthaya, Star India’s vice president content & communication for Channel [V], will soon complete his first anniversary with the organisation. It’s been quite a journey for this chemical engineer, who detoured into advertising before landing up as content head of a music channel.

    A chance meeting with a media director of an ad agency led Adyanthaya to take a well calculated plunge from engineering into the world of advertising. For the next five years, Adyanthaya worked with ad agencies such as Maa Bozell, Euro RSCG and Ogilvy and Mather. During the dotcom boom, he caught the Internet advertising bug and joined MediaTurf, India’s first professional new media consultancy firm floated by an ad agency.

    Another ‘chance’ meeting with Star India’s programming ‘guru’ Sameer Nair inspired Adyanthaya to plunge into music television.

    Adyanthaya spoke to indiantelevision.com’s Ashwin Kotian about his stint at Channel [V] and Popstars 2, which he is all geared up for.

    How has the positioning of Channel [V] changed in the last year?
    Channel [V] represents the youth of today and our programming encompasses their dreams, aspirations and attitude. Our positioning as a youth-centric channel has been clearly entrenched in the minds of the ad agencies, advertisers and viewers.

    We believe that “18-24 years” is a state of mind and audiences of all age groups can think like those who belong to this age group. We have been perceived as the first avenue and an ideal route to bond with the youth. Recent studies by ORG-MARG and Nielsen have proved that we are seen as the preferred channel – especially in the 15-24 SEC ABC category in metros.

    We pay a lot of attention to feedback received from viewers – whether it is through surveys or verbally or in writing. We are in the process of constituting a youth panel in various cities in the country. This youth brigade will scour the college campuses and give us feedback of what’s new, hip and happening. These inputs will be studied and gradually incorporated into content and promotions.

    Our trendy and “youthful” – literally speaking – VJs have been scaling peaks of popularity. A lot of effort goes into packaging and presenting them. Our inhouse team of stylists conducts research and develops a look of the season for our VJs. Our strategy has paid dividends. This is reflected in the fact that several advertisers who wish to communicate to the young-at-hearts have been using our VJs to endorse their brands.
    “We have proved that language is not a barrier as far as music is concerned. We have played Tamil songs and other vernacular songs when they started gaining popularity…”

    What efforts have been made to mould audience tastes?
    Channel [V] has always striven to mould the taste of Indian audiences and align it to international levels. Our promise is to play the best music on the planet – not necessarily in India. We played the Ketchup song three weeks before anyone else played it. We also played the Arabic version of the Kisskiss song six months before the Australian cover version by Holly Valence became popular.

    We have also proved that language is not a barrier as far as music is concerned. We have played Tamil songs and other vernacular songs when they started gaining popularity on the national scene; brought them into the mainstream.

    Shows such as Crush constantly get tweaked and see a lot of innovations. Very soon, you will see an R&B international countdown show called Juice with internationally renowned VJ Cindy Barbridge. If you notice, the Indian programming format is as good as and pretty similar to those in the developed markets.

    Tell us about Popstars 2?
    Essentially, it will follow the same format as last year. The nationwide hunt will start in April-May 2003. The jury will meet thousands of aspirants and come up with a list of 24 candidates some time in June. This will be followed by the “transformation” process wherein top music industry professionals, designers, stylists and grooming experts will create the band’s musical and image identity.

    However, the image will depend on the personality of the finally selected foursome. In August, the debut of the band will happen at a national level where it will be introduced to the country. Later on, a concert will formally showcase the musical launch of the band some time in October. The entire process will be captured for television in 13 episodes.
    “Eventually, their talent will ensure that Viva doesn’t remain a band merely to be “looked at, but one to be heard!”

    What happens to Viva now?
    Viva’s second album will be launched soon and we shall continue to extend support to them. We have a three-year contract with the band members.

    Viva didn’t have to struggle the way other aspiring bands have to do. However, I must say that the band members have been making rapid progress. They are capitalising on the wonderful inputs provided by the stalwarts in the music industry to deliver results. Prominent music directors such as Anu Malik and AR Rahman have approached Viva with film offers. Eventually, their talent will ensure that Viva doesn’t remain a band merely to be “looked at, but one to be heard”.

    Is interactivity a must for music channels?
    For us, it is all about audience interactivity. Interactivity has gained prominence with the advent of the Internet and mobile telephony. We have organised contests wherein winners were sent to Los Angeles for the Aerosmith contest. As part of the Oscar award winning Chicago film contest, we shall be sending people to London. Our shows such as Control [V] and Video Watch, which is SMS-based, have received tremendous response. Our sales team has started taking detailed briefs from advertisers and we examine the possibility of coming up with innovations revolving around the same.

    Earlier, broadcasters (including music channels) weren’t very amenable to providing advertising friendly content. We have managed to strike the right balance as we still don’t compromise beyond a certain point. We have partnered with advertisers and developed content which has been appreciated by the viewers.

    Give us some examples of innovations which succeeded?
    Consider the example of our Cheese It Cheese off show. The Swiss brand was looking at wacky ways to reach out to the audiences. We developed a theme-based music show wherein viewers were asked to include the words Cheese it Cheese off in popular songs which they sang. The winners got a chance to visit Switzerland which is popular for its cheese. Similarly, we did Bada Bisleri contest where we used the look-alikes of Big B and other Bollywood stars. The winners got a chance to fly to Malaysia. During the (cricket) World Cup, we did Panga and our VJs went to different parts of the country. Similarly, we did Jumpstart with Nescafe and the SMS Man show with Samsung mobile phones. Very soon, we shall be partnering Hindustan Lever’s Kwality Walls for a major youth related multimedia promotion.

    Channel [V] won the silver in the corporate communication category at Ad Club Bombay’s Abby Awards 2003 for the Gabbar ID. Our creative team developed a series of ideas based on popular Bollywood film characters such as Gabbar Singh (Sholay) or Mugambo (Mr India).

    Does the music change during different day parts? I notice a lot of English music is being played late at night and popular Hindi music during the day?
    We cater to distinct audiences during different parts of the day. From 9 am onwards, we target the young housewives. In the afternoons (2-3 pm), we address the school/college kids who are just switching on. By the evenings 7-8 pm, we target the mass audiences and post 11 pm, we address those who prefer to listen to western music. There is a huge chunk of young adults who are watching TV (especially music videos) at night. As far as weekends are concerned, we have been presenting concerts of global music stars and the audiences love them. India hasn’t seen too many international acts recently. We have been supporting local artistes and are planning to increase our support. Popstars is just another way of encouraging talent. Our shares have increased in first three months of the new year which is a rub-off from the successful Popstars show.
    “We feel that radio has helped music channels. As people start listening to more music, they would want to view it on the music TV channels.”

    How do you react to competition?
    Competition is healthy and we welcome it as it will grow the market. We feel that radio has helped music channels. As people start listening to more music, they would want to view it on the music TV channels. Using this rationale, we have conducted cross-promotions with RadioCity (Star’s FM radio venture) including ones like Goddess, Bollywood Sirens. Having positioned ourselves as the winners, we shall definitely benefit from the same. Recently, we have developed some competition bashing promotional spots – such as the one in which families are encouraged to use the “V soap” for best results. The year 2002 was a good one for the channel and this trend is continuing even now.

    What are your hobbies?
    I am a TV addict and love to watch movies, motor sport racing F1, other sports and music. I travel a lot and am into adventure sports. I have done white water rafting and trekking in places such as the Aravali range, Rajasthan and Himachal Pradesh in India.
  • “On TV, pace is everything” : Shobhaa De

    “On TV, pace is everything” : Shobhaa De

    Shobhaa De has perfected the art of reinventing herself – as a model, journalist, advertising copy writer, celebrity columnist, novelist and now as a television script writer. She has several novels to her credit and has taken the favourable reviews as well as criticism in her stride.

    For Zee’s Kittie Party, De’s incisive pen has created eight women who are catty, full of gossip, often hypocritical and crafty. What sets these well-heeled women apart from their counterparts in competing serials is their closer association with reality. De has sensitively brought out their honesty even as she brutally exposes their frailties, their obsession with class and their weakness for the rich life.

    De spoke to indiantelevision.com’s Ashwin Kotian on the occasion of the Siddhant Cinevision bash to celebrate the completion of 100 episodes of Kittie Party. Excerpts-

    What kind of adjustments does a writer have to make in order to write for TV serials?
    On TV, pace is everything. If you don’t understand pace, you don’t have any business to be on television. A writer’s work cannot be compartmentalised. Whether it is an ad copy or a script or a novel, it is inspired creativity at its best. It is all about thoughts, words and ideas.

    Writing for TV serials was an exciting experience for me. Unlike a novel, which is purely a one-on-one experience; writing for a TV serial took me to another dimension. I felt as if my characters were coming alive on the small screen. My characters have faces (of the actors who played the characters) and I associate these faces with my creations.

    How have people reacted to Kittie Party?
    Kittie Party was a gut reaction to the ‘retrograde’ serials currently on air. I grabbed the opportunity to use Kittie Party as a device to project contemporary women and narrate a true to life story. The serial wouldn’t have been accepted a decade back as it would have been considered to be an elitist past time.

    I have been surprised by the response from people in different walks of life. This proves that the premise of female bonding and women meeting one another to discuss their lives is being accepted in several places in the country. In fact, even within Mumbai, there are suburban kitty parties, multi-millionaire kitty parties and middle-class kitty parties.

    People have reacted in a favourable manner and this response has come from metros as well as smaller towns such as Indore, Nagpur and Coimbatore. These people who reside in small towns didn’t know me as an author of English novels. Now they have started reading my work. Writing for Kittie Party and the promotional media blitz around the serial has succeeded in getting me instant recognition beyond the metros. There has been a rub-off effect on the sales of my novels but the extent cannot be quantified.

    Even at airports, I have had women walking up to me and congratulating me and thanking me for giving them Kittie Party.

    “People have reacted in a favourable manner and this response has come from metros as well as smaller towns such as Indore, Nagpur and Coimbatore“

    How has Kittie Party broken the ‘saas-bahu’ mould on Indian television?
    It is all about the attitude projected by the women protagonists. Kittie Party has definitely broken the mould and presented Indian women of the 21st century. It has brought these women to the fore and given them confidence to behave freely – as their global counterparts do.

    The story is about issues relevant to today’s women and not the ‘saas-bahu’ sagas where the protagonists’ mindsets were 50 years behind the times. I personally feel that the ‘saas-bahu’ themes are extremely insulting and degrading. It is wrong to project women as submissive on the small screen. On the other hand, one must give the younger generation enough confidence to be what they are and what they want to do.

    Why are the ‘saas-bahu’ sagas on TV still watched by millions of women?
    Indian women love to cling on to the existing stratosphere as they find a certain comfort zone. Most Indian women have spent their entire lifetime living and believing in the values projected on screen. Several of them haven’t had the courage to break away from the groove. Also, the elder generation of women don’t allow the younger ones to break the mould.

    Kittie Party has given them a new insight. Viewers may or may not pick these insights and imbibe them. But the fact remains that we have shown them a new path. The female characters speak today’s language and many Indian women will definitely connect to them.
    “Indian women love to cling on to the existing stratosphere as they find a certain comfort zone”
     

    Are your male characters sidelined amidst the numerous female characters?
    Some male characters in Kittie Party are extremely progressive modern males. Consider the character of Manoviraj (played by actor Kiran Kumar) – he is a contemporary man who doesn’t fall into the trap of stifling his women. He gives them freedom. Basically, all my characters are neither black nor white; they all have their failings and their strengths; they are good at times and equally bad. None of them can be permanently slotted or typecast in a permanent mould.
  • “”Earlier, acting in serials had a certain charm and exclusivity”

    “”Earlier, acting in serials had a certain charm and exclusivity”

     

    Krutika Desai – a Cancerian-Gemini cusp, whose linguistic skills and liberalised outlook complement her dusky sensuous look.

    Liberalised because on-screen as well as off it, she has strayed from the routine to plunge into unknown terrain. Still, she is conservative at heart and more of a family person. Krutika gives a lot of importance to family values but she admits that her near ones too sometimes don’t understand her; perhaps shades of eccentriciity often associated with her star-sign!

    Desai was one of the early birds who jumped into the TV bandwagon during what she calls was boom time in the 1980s. Some of the serials she has worked on are Buniyaad, Chandrakanta, Zameen Aasmaan, Kismet, Hungama, Superhit Muqabla, A Mouthful of Sky and Mansi. Desai has done two feature films – one in Hindi and another in Bengali. She will be traveling to Israel for an English cross-over film in February 2003. She admits that she would love to do more feature films but wants to restrict her appearance on theatre and TV shows.

    However, Desai has been appreciated in the role of Roopali Roopchand (Zee’s Lipstick) and Devanshi (Sony’s Kkusum) and her fan mail seems to be increasing day by day. Desai spoke to indiantelevision.com’s Ashwin Kotian. Excerpts:
     
     

    Tell us about ‘Lipstick’? How did you bag the role?
    Lipstick, the name itself is daringly different. It is a never-before show on Indian television. It was conceived with the intent of shocking the middle class sensibilities and presenting an unadulterated view of the upper class.

    It was a bold theme and telecast appropriately in the 11 pm time slot. It is a departure from the run-of-the-mill fare and examined various issues like homosexuality and extramarital relationships.

    Zee is very particular about the actors who are chosen for roles in the serials telecast on the channel. For the role of Roopali in Lipstick, Shrishti Arya (the producer) had already shot some scenes with two different actors.

    Zee’s programming team wasn’t happy with the results and they urged Shrishti to look for someone else. The character Rupali is a pretty complex one – never played on TV before. It is the role of a fading actress who is on her way down. But she never accepts defeat and tries her best to rise to the top. It was then that the producers approached me.
     

    “Roopali is a vain and hysterical woman. Unwilling to accept middle age and maturity gracefully. Roopali is known for her promiscuity and drinking problem”

    Krutika Desai on her role in ‘Lipstick’
     

    Can you tell us about your character Roopali in ‘Lipstick’?
    Roopali Roopchand is a star – in the true sense of the word. She comes from a traditional middle class family and has paid dearly for her success. But it was a price she did not mind paying.

    Till recently the most sought after heroined in the industry, today she finds newcomers like Kanchan Kumari have taken over her mantle.But Roopali is not prepared to let go. She thinks she can pull her career for another 10 years at least.

    Roopali is a vain and hysterical woman, who is unwilling to accept middle age and maturity gracefully. Roopali is known for her promiscuity and drinking problem. She uses her connections in gossip columns to make headlines for herself, and to spread malice for others.

    She thinks gossip will make her look younger in the eyes of the public. She is on the verge of schizophrenia and is paranoid about grey hair and wrinkling skin. Mention of younger actresses can send her into a flying temper. Her tantrums are growing by the day and she is losing her grip on her career.
     

    What kind of effort went into the creating the persona for Roopali?
    Zee’s programming team, the producer, the fashion designer Fabiya and I experimented a lot with the look and feel of the character. In the beginning, we decided to adopt a western look. Later, we decided to try out the Indian look with a saree.

    We decided to use a lot of jewellery and different wigs. When the programming team saw the rushes, they liked me in a saree as it depicted someone who is modern as well as traditional in the same vein.

    Finally, we crystallized on a mix in which I wore sarees, sleeveless blouses and several additional props. It is indeed how a modern Indian woman looks, talks and behaves.

    The efforts that we made have been successful and the audience identifies with my depiction of the role. I have received feedback that the audience actually waits for my scenes. Even today, there are so many twists and turns as the character is evolving. Rupali has become more involved with the new man in her life.
     

    “By TV standards, it was a bold thing to do..”

    Krutika on the scene in ‘Lipstick’ where she is accosted by an intruder while taking a shower
     

    Can you recount any memorable incident that happened during the shooting of ‘Lipstick’?
    I still remember the second day of shooting in the first schedule. The scene involved my character Roopali being accosted by an intruder while she is taking a shower.

    By TV standards, it was a bold thing to do and my producers made it clear that they would go ahead with the scene only with my permission. I was apprehensive initially but changed my mind later. I felt that there is a need to try out new and different things. Someone would do it for television eventually, so why couldn’t I don the mantle of ushering in something offbeat?

    The shoot happened in a small AC studio and the water had become too cold for comfort. When the scene started rolling, I realized that the water was actually freezing. Within minutes, my teeth were chattering and my director Bhushan rushed to me with a towel. He was afraid that I would get pneumonia and wanted to complete the sequence as soon as possible.

    Two cameras were used and mercifully my co-actor also cooperated. Later on, I got a congratulatory call from Bhushan who was seeing the rushes at the editing table. He told me that it was fabulous scene and I had delivered exactly what he had in mind.
     
    Tell us about your recent entry into the ‘Kkusum’ storyline, which has been hyped up in the promos?
    In Kkusum, my character Devanshi keeps everyone guessing. Devanshi took viewers by surprise when she arrived on the scene almost suddenly. Even now, my fans and people I meet ask me whether I am linked to Siddarth or Vikas Bhalla or someone else. There is a certain amount of intrigue and mystique around Devanshi. Sometimes, she appears so very nice and good; at other times, she seems to be conniving and manipulating. At any point of time, she seems to have something up her sleeve. Balaji’s creative team and the producer Ekta Bahri have really worked hard on the character, her portrayal, her look and the hype around her entry. Here again, the look is very traditional but glamourous – and I use a lot of heavy jewellery.
     

    “My life doesn’t revolve around acting as I feel that there are different dimensions to my persona”

    Krutika on herself
     

    Are you different from the characters you portray?
    I am passionate about my home and my privacy. My life doesn’t revolve around acting as I feel that there are different dimensions to my persona.

    There is a broader spectrum which includes my hobbies like reading, cooking and traveling. I see myself as a housewife, as a mother as much as I see myself as an actress.

    I have become very selective in choosing my roles. I love wearing western clothes – preferably jeans, T-shirts and tracks. I don’t like frills. I love traveling and getting glimpses into the diverse cultures of places I visit. For instance, I would love to go to Egypt as against New York. I would love to go to Northern Thailand; basically I am a mountain person and not a beach person. I enjoy taking long walks in the forests and spending my time amidst nature.I also love river rafting as I find it to be a stimulating experience.

    As far as food is concerned, I am vegetarian and stay away from fried food. I love cooking and try out different recipes; but I prefer to eat simple plain food.
     

    Have things changed since you started your TV stint?
    Seven years ago, things were very different. It was peak time in terms of money and job satisfaction. There were fewer channels – primarily DD1 and DD metro channels; lesser serials and everyone used to watch the serials on air. Acting in serials had a certain charm and exclusivity.

    Due to all these reasons, there was a greater amount of fame and star value – as we used to call it. People who acted in those serials were major stars and became famous almost overnight. In those days, I used to work on as many as seven shows on DD and later Zee – Buniyaad, Chandrakanta, Zameen Aasmaan, Kismet, Hungama, Superhit Muqabla, A Mouthful of Sky and Mansi.

    These days, everyone is doing TV and serials are dime a dozen. Everybody doesn’t watch all the serials – some people don’t watch anything at all and have shifted loyalties to other types of shows.

    The working conditions have deteriorated. Earlier, we used to have our own make-up man, attendant and room. Currently, TV actors don’t get even the basic amenities; unless they demand and bargain for a better deal from the producers.

    Earlier we used to do three to four scenes and in the present scenario, eight or even nine scenes are the order of the day. There is so much more stress that one can actually feel it. The difference in attitude is so clearly visible in terms of the hectic pace of work – everything and everyone seems to suggest “Do it fast and then take on more work”!
     

    “The working conditions have deteriorated. Earlier we used to have our own make-up man, attendant and room. Currently, TV actors and actresses don’t get even the basic amenities; unless they demand and bargain a better deal from the producers”

    Krutika on how things have changed in the TV industry
     

    What are the current projects you are working on?
    Last year, I did a Gujarati play Shodh Pratishodh which won rave reviews and accolades from the masses as well as the classes. We did 125 shows in four months – a record by itself. I plan to do one play every year but I shall be very selective about my roles and characters.

    I have done two films Insaaf (mainstream commercial film) and a Bengali film Dastak (very different and offbeat). I shall be going off to Israel to shoot for an English feature film. It’s about an Indian couple settling down in an alien country and coping with the differences in culture. On TV, I am currently working with Zee and Sony. There are some offers and I am exploring the opportunities.