Tag: audiences

  • 9X Media’s Bhupendra Makhi starts his new innings as CEO

    9X Media’s Bhupendra Makhi starts his new innings as CEO

    Mumbai: The largest music broadcaster, 9X Media has elevated Bhupendra Makhi to the position of chief executive officer (CEO). The new role allows him to spearhead strategic business developments for the company. His vivid experience will facilitate strengthening the company’s objectives and focus on areas to build business for the long term. Having a proven track record of producing excellent results, he will focus to embark on a new journey and take 9X Media to a higher level of growth by engaging audiences through its disruptive content.

    Bhupendra brings extensive knowledge of the financial sector as well as an impressive track record in the media & entertainment industry.

    During his long tenure with 9X, Bhupendra was also the company’s chief financial officer (CFO), having risen through the ranks from vice-president of finance. He has been with the company since 2007.

    Commenting on his elevation as CEO, Bhupendra Makhi said, “I am grateful to our investors and the board for entrusting me with this role. 9X Media has reached an important stage, having met significant milestones, and achieving positive performance. We remain highly encouraged and I look forward to continuing to work closely with all the teams for the benefit of the company and creating value for our stakeholders.”

  • Ad volumes on music genre see steep rise in Q4: TAM

    Ad volumes on music genre see steep rise in Q4: TAM

    NEW DELHI: Covid2019 impacted nearly every genre on television. People were forced to stay indoors and as a result they spent a lot of time watching news, movies, music and shows on TV, resulting in a massive viewership spike.

    Films / shows, news and music were the key source of entertainment for the audiences. The music genre platforms created curated lists to offer respite to audiences from news of the pandemic. However, the genre was hit in terms of advertising, like many others.  

    TAM recently released data that showed ad volumes per day fell sharply in Q2 but witnessed a sharp rise in Q4. In Q2 it fell to just 56 hours per day, whereas it surged to 157 hours per day in Q4. This is in line with the fact that 90 per cent advertisers paused advertising in the early days of the pandemic and only started resuming their spends during the early Unlock phase.

    The monthly share of ad volumes for the genre is as follows. It depicts the growth in the genre barring December 2020, when it registered a slight decline.

    The data clearly reflects that the genre clocked the lowest ad volumes in the last five years.

    The top five sub genres in 2019 were – Hindi, Tamil, Telugu, Kannada and Punjabi, while in 2020 the top sub genres were Hindi, Tamil, Punjabi, Telugu, and Kannada.

    Personal care and food & beverages sectors were the leading advertisers in this genre, however, toilet soaps, toilet/floor cleaners and e-comm/entertainment/social media were the leading advertising categories in the genre in 2020.

    HUL and Reckitt Benckiser India were the leading advertisers, while Dettol Antiseptic, Dettol Toilet Soaps and Lizol were the leading brands in the genre.

    The report also highlighted that ad volumes had a split of 63:37 between national and regional. In 2019, this split was nearly the same.

    During the Unlock phase, the movie genre saw nearly 120 hours of average ad volumes per day, which was 93 per cent more than the lockdown period.

    Ad volumes were maximum on primetime band and the 20-40 seconder ad format still ruled the segment.

  • Personal care brands dominate movies genre in 2020: TAM

    Personal care brands dominate movies genre in 2020: TAM

    NEW DELHI: Covid2019 impacted nearly every genre on television. People were forced to stay indoors and as a result they spent a lot of time watching news, movies, music and shows on TV, resulting in a massive viewership spike.

    The movie channels leveraged this period and showcased the best titles from their library to ensure that they are able to attract audiences. A BARC report stated that there was a 14 per cent increase in impressions and 10 per cent spike in daily average reach.  

    However, during several webinars, meetings and discussions, industry observers clearly mentioned that the surge in viewership did not translate into advertising.

    TAM recently released data that showed ad volumes on movie genre grew by 60 per cent in 2020, compared to ad volumes in 2016. Interestingly, the quarter ended 31 December saw the highest number of hours in ad volumes per day.

    If we look closely at the data, we will notice an obvious trend where the average ad volumes per day steeply fell in the initial stages of lockdown, and then started picking up early May-June onwards. The trend was obvious because marketing teams at brands were still unable to gauge the depth of the crisis and not ready to bet money on advertising in that quarter.

    Movies have consistently maintained a 20 per cent average in overall television advertising across the years. (since 2016). In 2020, it was at 23 per cent.

    The top five sub genres in 2019 were – Hindi, English, Telugu, Tamil, and Bengali, while in 2020 the top sub genres were Hindi, Bhojpuri, Bengali, Telugu, and Kannada.

    Personal care and food & beverages sectors were the leading advertisers on this genre, however, toilet soaps, shampoos and washing powders continued their dominance in terms of ad volumes in this category.

    HUL and Reckitt Benckiser India were the leading advertisers, while Dettol Toilet Soaps and Clinic Plus Shampoo were the leading brands in the genre.

    The report also highlighted that ad volumes had a split of 51:49 between national and regional. In 2019, this split was at 56:44.  

    During the Unlock phase, the movie genre saw nearly 280 hours of average ad volumes per day, which was 93 per cent more than the lockdown period.

    Ad volumes were maximum on primetime band and the 20-40 seconder ad format still ruled the segment.

  • 50% cap on seating to continue for cinema halls till November 30

    50% cap on seating to continue for cinema halls till November 30

    KOLKATA: As the number of Covid2019 cases is inching towards the 80 lakh mark, preventive measures continue to remain in force. While the ministry of home affairs (MHA) allowed the reopening of cinema halls with limited capacity from 15 October, the 50 per cent cap will be applicable till 30 November.

    At the time of announcing unlock 5.0 guidelines, the ministry stated that the movie theatres outside containment zones can open with 50 per cent of their seating capacity. The announcement brought smiles to the faces of stakeholders across the film exhibition industry, who welcomed the decision despite persisting challenges.

    Later, the ministry of information and broadcasting (MIB) shared an extensive list of SOPs for the exhibition industry to abide by to check the spread of Covid2019. The ministry has clearly stated that no exhibition of films shall be allowed in containment zones; film exhibition activities through cinemas/theatres/multiplexes shall be governed as per the prevalent guidelines of ministry of home affairs and ministry of health & family welfare, and further states/UTs may consider proposing additional measures as per their field assessment.

    However, not all states have permitted the functioning of theatres and multiplexes. Cinema halls remain closed in states like Maharashtra, Telangana, Tamil Nadu, Kerala and Chhattisgarh. On the other hand, Delhi, Haryana, Uttar Pradesh, West Bengal, Madhya Pradesh are some of the states where theatres have reopened.

  • #StageBadlega – For Arts, Artists and the Audiences

    #StageBadlega – For Arts, Artists and the Audiences

    It was in the early days of the lockdown when a few arts and media organisations came together to face the COVID-19 crisis and its impact of the live arts space. 50 days later, this group has ideated, debated and created stayIN aLIVE – an artist support platform – which will launch its first event on 16th May 2020. Over 60 artists, 24 hours of non-stop content, across multiple platforms!

    #StageBadlega has never been truer than today. The ‘stage’ is no longer the wood panelled, sprawling space with clear entry/ exit points and synchronised lighting. It is now a soothing cosy corner of the library or a neatly organised living room dotted with personal photos. New trends are currently being witnessed but what happens once this lockdown is lifted? What is the long-term solution for freelancing artists and the live events industry to become self-sufficient and holistically support itself?

    ‘StayIN aLIVE’ aims to build this long-term, sustainable platform for artists to nurture, support and strengthen each other in the coming years. Fuelled with a deep love and admiration for the live arts and performance industry, this is a collective of organisations and individuals, hoping to create a movement of awareness and self-sufficiency for the live industry. The aim is to educate, inspire and support artists and at the forefront of that aim and vision is a commitment to cultivate best practices, encourage thought leadership and become a compassionate, yet impactful and sustained, voice of advocacy for government policies related to the live arts industry.

    The stayIN aLIVE foundation, a collective between Kommune, Big Bang Music, Tabhrasa, Priyanka Khimani, KWAN, OML, The ArtX Company, Alok Parande, Paytm Insider, Shark & Ink, Tape A Tale, Artist Aadmi, Unmute, Women of India, Gully Gang and Tarsame Mittal Talent Management – promises that 16th May is only the beginning of a long and solid journey of the foundation.

    On 16th May, performing artists from various fields will  cover a range of topics, such as, ‘How does one deal with a creator’s block’; or ‘Know your digital rights as an artist’; or even jam with fellow artists on your screen! We are talking of artists including Uday Benegal, Naezy, Kubbra Sait, Tanmay Bhat, Shilpa Rao, Nakash Aziz, Dualist Inquiry, Nikhita Gandhi, Suhani Singh, Nikhil D’souza, Tejas Menon who will be sharing their stories, learnings and art, all through the day.

    You can connect with stayIN aLIVE on any of these social media platforms:
    Facebook – www.facebook.com/stayinaliveorg
    Instagram – www.instagram.com/stayinaliveorg
    Twitter –  www.twitter.com/stayinaliveorg

  • Colors bets big with 24 premier on 4 Oct

    Colors bets big with 24 premier on 4 Oct

    MUMBAI: It’s raining shows on Colors. The channel has ambitions to retain its audiences and lure new ones with its slew of new show launches which it hopes will send its TVTs on an expansion mode. Just as Jhalak Dikhhla Jaa ended, in came Bigg Boss and, on 4 October, the international thriller 24 is set to premier on the Viacom18 general entertainment channel.

    The weekend slot of Friday and Saturday at 10 pm is what it has been given. This means that Uttaran and Bani will now have just 4 episodes a week and Comedy Nights with Kapil will be cut down to just once a week, that is Sunday, which could be disappointing for comedy lovers who have made it a hit. But Colors’ management says they don’t have a choice. “We have a problem of plenty. So shows need to be dropped to accommodate them,” says Colors CEO Raj Nayak.

    Safari Storme is said to have paid around Rs 16-18 crore to be the presenting sponsor. Next – part of the Videocon group – has been signed on as one of the associate sponsors. As per sources, the show has been created at 20 times the cost of a normal fiction show making it Colors’ biggest fiction property.

    Nayak says that the channel has mastered the art of monetizing big properties. That the show may run into losses is also expected but hopes are that it may just click with the audience. They believe it should get TVTs equivalent to TRPs totting between 2.8 to 3.

    The show has big plans on the digital front. Keeping the peg as ‘Race against time’ which is what 24 is all about, all activities undertaken revolve around it ranging from contests which play on the word ’24’. “The concepts will be time-bound,” says Colors digital head Vivek Srivastava.

    On social media, special behind-the-scenes, exclusive pictures, chats and possibly a hangout with Anil Kapoor are all in the line up to build the buzz around the show. Special emphasis is being given to build characters on social media and digital platforms to get fans to continue to stay connected with them. “We don’t have the luxury of 100 episodes to establish a character here,” says Srivastava.

    Although the views that a show gets through digital is much less compared to television, online activity helps generate conversations. The Colors Facebook page annually gets about 150 million views. However, it is very important since it helps them create brand bearers through normal people. An announcement on the application is expected soon, which Srivastava says is going to be very unusual. On the day of launch, a 15-minute preview is expected to be played before the actual telecast of the first episode.

    Made like a movie and treated like one as well. That’s the channel’s mantra to market this big property. The first phase includes visits to HSM (Hindi Speaking Markets) where Kapoor will interact with lay viewers, media and opinion leaders. Visits to Jaipur, Delhi and Patna have already been wrapped up successfully while more are in the pipeline. Integrations on Bigg Boss and Kapil and a few other fiction shows such as Madhubala are also to be expected in the coming days.

    Someone switching on the radio will soon hear something about 24 every 24 minutes on almost all FM channels including the big boys 98.3FM Mirchi and Red FM 93.5. Trailers have been planned to air on over 60 channels including news, regional and music. Print advertisements are planned to appear near the launch date in all leading editions of newspapers such as Times of India, Dainik Jagran.

    Theatres have already started playing promos during Madras Cafe and Grand Masti and the soon-to-premier Besharam is next in line. “We have something innovative planned in the outdoor space,” says Colors marketing director Rajesh Iyer.

    Speaking about the unusual timing for the show weekend programming (nonfiction) head Manisha Sharma says that it cuts out pressure from Comedy Nights with Kapil since comedy writing is not an easy task. 24 will take one episode’s place for three months after which Kapil will be back to two episodes per week. “The time slot is perfect because people who go to office can come home and watch it,” says Nayak.

    Plans are already afoot for the second season, even though the first season is yet to go on air. Now that’s what we call advance booking!

  • 15th Mumbai Festival to host ‘Music Composers Lab’

    15th Mumbai Festival to host ‘Music Composers Lab’

    MUMBAI:The 15th Mumbai Film Festival is doing all that it can to woo its audiences. The festival will be a host to the launch of India’s first ‘music composer’s lab’ and will be held at the Yash Raj Film Studios located in Andheri, Mumbai.

    The lab will be presented by UK’s Bohemia Junction and Abbey Road Studios in association with PRS for music, UK and will take place from 21- 23 October.

    The lab will offer a unique opportunity to emerging Indian composers to interact with successful professionals in the field of music and to get a better understanding of what lies at the heart of a music score in the arena of moving image.

    Over two days, six composers will attend the Mumbai ‘composers lab’ to meet and interact with professional composers and a team of music and film industry specialists, from the UK and India, who will share their knowledge and expertise with them. The composers will also be advised about many aspects of music and the industry. The lab is an initiative to provide a hub for like-minded emerging film composers to network with each other, as well as with industry professionals, to learn new skills in the realms of film scoring.

    The two-day film scoring sessions will be followed with an interview and audience Q & A with award-winning British composer Ilan Eshkeri and a with the lab’s creative advisors on 23 October at 1pm at metro cinema.

    Special guest Ilan Eshkeri, best-known for his film scores of 47 Ronin, Coriolanus, Stardust, The Young Victoria and Kick-Ass, as well as his collaborations with Coldplay, Annie Lennox and Take That, will lead the creative team of composers that will be announced shortly.

    Applications for young composers to take part in the workshop open today (17 September) and will close on Monday, 7 October.

  • MPAA unveils site to help audiences find movies, TV shows online legally

    MPAA unveils site to help audiences find movies, TV shows online legally

    MUMBAI: The Motion Picture Association of America (MPAA) has announced the launch of www.WheretoWatch.org, a new site that will serve as a resource for audiences to access movies and TV shows seamlessly and legally. Today‘s media landscape offers audiences the opportunity to watch movies and television shows in more ways than ever before, an environment created in part through a copyright system that empowers creativity and promotes innovation.

    MPAA chairman, CEO Senator Chris Dodd emphasised the importance of delivering content in new, creative ways saying, "Audiences want seamless access to film and TV shows. Our industry has listened, and we are now delivering more choices than ever before.

    "There have never been more ways to access movies and television legitimately online, and those platforms continue to grow and develop thanks in large part to a copyright system that encourages innovation, risk and growth. The companies I represent are committed to continuing to create and develop the best ways for audiences to enjoy the entertainment they love."

    The website, at www.WheretoWatch.org aims to makes it easy for audiences to watch content online by breaking the various services into relevant categories and summarising what each platform provides, including what content is available, how it is supported, and what devices are compatible. The list is an aggregate based on services available in the US, and although the set of services offering movies and TV shows differ by country, several services are available in multiple countries.

  • How to build and engage TV audiences through Twitter

    How to build and engage TV audiences through Twitter

    CANNES: How do broadcasters mine into the social treasure trove that is Twitter? Twitter’s head of broadcast partnerships UK Dan Biddle attempted to answer this during one of the MipCube’s sessions in MipTV in Cannes.

    He pointed out that Twitter has 200 million users the world over who post about a billion tweets every two and a half days. 60 per cent of these users access twitter using their mobile phones.

    He disclosed that TV works like glue for Twitter citing UK’s example where 40 per cent of tweets are made during prime time and are about TV. “Twitter is the room we watch TV in,” he said with a confident smile. “While hash tag is the campfire around which people tell stories.”

    He cited examples like Dogging Tales – a documentary which covered people who wanted to have anonymous sex. Thanks to the right push, it got some 120 million tweets. The twitter buzz drew viewers to the show like bees to a honey pot who switched on their TV sets almost immediately. Others who could not watch it tuned into it with catch up TV.

    He then narrated the case of Saturday Night Takeaway one of the teams used to post a frozen pose before the kick off. They decided to get viewers to interact with their team and send in what their pose of the week should be. Audiences and followers on Twitter deluged them with poses before the show started.

    He also gave the example of a show Fishfight wherein viewers were given two minutes during a commercial break to send in tweets relating to “what are your prawns eating?” with the hash tag #fishfight to supermarkets. The exercise was to raise awareness of unsustainably fed prawns. Around 16,000 tweets poured in the 120 second window.

    “The effort worked well in making the show engaging,” said Biddle.

    Broadcasters and producers can also take a cue from what ESPN Sports Centre does with instant replays, he said.

    “They clip out key moments of the game and send it out as instant replays. They know users could do it; they decided to beat them to it,” he revealed.

    “It is very engaging for followers. ESPN has also got Ford to put in some money behind it through pre-roll ads and further promote to its own community.”

    Biddle’s believes that broadcasters and producers would do well to programme Twitter as they would programme their channels. “Bear in mind Twitter is the ultimate teaser, not spoiler,” he emphasized.

    “Also take advantage of feedback and amplify it further even if it something you did not expect. There’s opportunity even there if you look at it different.”

    His step by step bible for doing it right is as follows:

    Before the show: Preview clipspredictions and start the talent talking on twitter.

    During the show: Amplify the tweet spot by encouraging polling/voting and playing of games around it. And continue to get the talent tweeting.

    After the show: Have recaps, sneak peeks, reviews and feedback. Reward loyalty and keep the conversation going. Finally, drive audiences to VOD or other pay platforms which can help you monetize your content.

  • Audiences want BBC to be more innovative

    MUMBAI: The BBC Trust has published the BBC’s Annual Report and Accounts for 2006/2007 and highlighted demands from the UK public for more innovation as a priority for the BBC to address.

    In line with the new Charter requirements, this year’s Annual Report is in two parts with the Trust’s commentary on the BBC’s performance separate from the detailed analysis and financial accounts prepared by the BBC Executive Board.

    In advance of implementing in full the new governance frameworks of Purpose Remits and Service Licences, the Trust limits its assessment this year to provisional conclusions, but these are based on evidence gathered during the Trust’s first six months.

    This evidence includes the findings of its first major audience research project on BBC priorities and performance, and responses from the public and the commercial sector to consultations about the draft Purpose Remits and the new Service Licences. All of these are published by the Trust today. The public ranks education and news as its top two BBC priorities and awards its highest performance scores to both genres. Entertaining programmes are the public’s third priority and there is clear recognition for the wide range of programmes provided.

    But both audience research and the majority of respondents to the Trust’s Purpose Remit consultation highlighted the provision of innovative and distinctive content as the area they wished to see the greatest improvement from the BBC: 72 per cent of audiences rated innovation as important, but only 51 per cent agreed that the BBC is performing well in this area.

    BBC chairman Sir Michael Lyons said, “The Trust works for the public which owns and pays for the BBC. We listen to a wide range of voices, seeking to understand all opinions and expectations to inform our judgements.

    “The Trust’s assessment of the BBC this year is necessarily provisional and incomplete, but some messages are already coming through strongly: the public trusts the BBC and values much of what it produces, but audiences want the BBC to be more innovative. Whilst public approval of the BBC remains stable, audiences have also told us that fresh and new programme ideas must be a high priority and more effort is needed.

    “This message, alongside a desire for high quality – which need not necessarily mean high cost – is consistent across all groups who have participated in our consultations and it is one of the key factors we will consider when deciding the BBC’s strategic priorities in the autumn.

    “The BBC’s unique system of funding provides the necessary security for creative risk-taking that few other broadcasters can afford. Essential to the BBC’s success are the desire to be distinctive, bold ambition for trying new things, respect always for the public’s money, and confidence amongst the creative teams. As Trustees we prize the professionalism and creativity of BBC staff and fully recognise that, in truly seeking to meet these aims, occasional failures will inevitably feature alongside great successes.

    “One of our early priorities has been to focus on impartiality and we have published a number of studies. Accuracy and independence are essential to public confidence in the BBC and we will continue to promote active debate both within and without the corporation.

    “Our objective as the BBC’s sovereign body is to ensure that the BBC adds significantly to the creative and economic vigour of the UK. This requires a robust system of governance, a clear strategic framework with a focus on quality and value for money for all UK communities, and recognition that the BBC must be careful not to use its considerable economic power in ways that might stifle enterprise or innovation from elsewhere. The Trust looks forward to meeting this objective in the years ahead.”

    In the Annual Report, the Trust notes that the BBC is becoming more efficient and highlights the £228 million in savings achieved in the last two years as part of the three year plan. The efficiency drive continues, with a further target of £127 million for the current financial year (2007/2008) and a commitment by the Trust to set future efficiency targets for the BBC in discussion with the National Audit Office.

    There is greater transparency of spend by BBC service in this year’s document, with each service’s proportion of spend on items such as rights and news gathering costs identified. Information on distribution and infrastructure costs such as marketing, on-air trails and market research is also allocated to each service. The report includes a new metric which helps inform assessments of value-for-money – Cost per User Hour (CPUH) which combines service spend and consumption of a service. BBC Parliament has the highest CPUH at 24 pence per user hour, and Radio 2 the lowest at 0.4 pence per user hour, and BBC One is 7 pence.

    The Trust has also published its forward workplan for the remainder of 2007/2008. In addition to deciding the BBC’s six year strategic plan and completing implementation of the new governance framework which will ensure the Trust is equipped to hold management to account for meeting the public’s priorities, the workplan includes an external study into the BBC’s major role in the talent market, and the Trust’s first full service review, which will be on bbc.co.uk.

    BBC DG Mark Thompson said, “This has been a momentous year. We secured a strong 10-year Charter and Agreement, a secure, but challenging, licence fee settlement, created a new Executive Board with five non-executive directors, and began working with the new BBC Trust. It has also been a year of continuing change to ensure the BBC is in strong creative shape to provide real value to audiences over the next 10 years.

    “We launched Creative Future outlining our editorial blueprint for the on-demand world and continued to try and make the BBC a simpler, and more open organisation. Saturday nights on BBC One were completely revitalised thanks to Dr Who, Strictly Come Dancing and How Do You Solve A Problem Like Maria. Drama had a real injection of energy, Planet Earth continued to inspire awe, and factual content captured broad new audiences through programmes like Springwatch, The Apprentice and Dragon’s Den. News 24 was put at the heart of our journalism and Panorama moved back to primetime on Monday nights. BBC Radio continued to grow while strengthening its reputation for excellence through initiatives like the Electric Proms and our online and interactive sites broke one record after another.

    “There were bumps along the way. Editorial mistakes around phone lines, while unintentional, went to the heart of our contract of trust with audiences and we are taking steps to minimise the chance of it happening again.”