Tag: Discovery Kids

  • “Kids’ is the number 3 priority genre in Indian television today”

    “Kids’ is the number 3 priority genre in Indian television today”

    How big is the market for Kids and how Discovery Kids is matching the pace with its competitors? / What is the competitive landscape like? Who are the main viewers (age, urban, non-urban, etc.)?

    Kids’ genre is a mature genre. Over 370 million kids under the age of 14-years are discerning viewers They demand variety, new concepts and characters. It, therefore, becomes our duty to react and respond to the need of kids with exciting and engaging content 24 hours a day in the language they relate to and understand. Discovery Kids offers programming that appeals to different age groups from pre-school, tweens to teens.

    The emphasis is on stimulating learning and imagination, and providing a safe environment that parents can trust is what
    Discovery Kids‘ Rahul Johri believes in

    After championing non-fiction and lifestyle genres, Discovery Networks Asia-Pacific introduced Indian kids with its razor strong and endearing programming in 2012. Discovery Kids lets children explore their amazing world and ignite their natural curiosity by providing content that is enjoyable and enriching. The channel stimulates learning and imagination, and provides a safe environment that parents can trust.

    Viewership and target audience
    Kids today are very sharp, focused and skilled as compared to kids of last decade and they are interested in learning a lot of new things. Be it rural or urban, there is curiosity amongst kids to know more. Schools cover a particular aspect of learning. Discovery Kids offers learning embedded with entertainment; it does not impart classroom training but offers the right environment. Discovery Kids is the only network of its kind targeting elementary/primary school children and kids in the age group of 4-14 years.

    Differentiation from other channels in kids’ television space
    In India almost all the leading channels in the kids’ genre have similar programming with very little variation and learning. We analysed that there was a gap within the kids’ genre for a channel that has appeal for both kids and parents. Discovery Kids offers a robust combination of entertainment embedded with learning thereby making an exciting and one of its kind network for children.

    What is the local strategy adapted by the channel to attract viewers and more so encourage co-viewing (kids & parents together)?

    Discovery Kids offers an eclectic mix of programming across concepts, topics, stories, mythologies and much more. We have series that explore adventure, nature, science, wildlife, history and technology. The content is a mix of India acquisitions and international series. The programming comprises of fun, enriching and entertaining shows such as TintinMaya The Bee, popular franchises like Transformers Prime, animated series like Adiboo AdventuresThe Amazing SpiezSally BollywoodTales of TatonkaDex HamiltonPapyrus and many more.

    The channel has a balance of both India and international shows. Discovery Kids bring in the best of formats and shows from across the world along with showcasing some home-grown productions like Mystery Hunters India.

    We are currently airing various India themed productions such as Sally Bollywood and HowzzattSally Bollywood takes you through the adventures of a bright girl – Sally, who runs a detective agency and solves cases with a distinct Bollywood flair.Howzzatt brings cricket in its classic avatar – gully cricket.

    What will be the content strategy of Discovery Kids for the next one year?

    Discovery Network presents content that is high quality and credible. We will continue to maintain the similar standard for Discovery Kids and focus on encouraging learning based on fun, amongst kids of India.

    Discovery Kids will continue to bring programmes that explore adventure, nature, science, wildlife, history and technology. We have an exciting and entertaining line-up of shows coming up which includes Mister Maker – an arts & craft show, Dinofroz – an animated series set in pre-historic world of dinosaurs and dragons. We also have new editions of Transformers Primeseries and a bagful of Tintin KIM movies in Sunday Movie Dhamaka.

    Discovery Kids is currently available 24 hours in English, Hindi and Tamil and we will aim to increase its popularity and reach amongst kids.

    How are you faring as far as advertising is concerned?

    Kids’ is number three priority genre in Indian television and has high viewership not only amongst kids but parents as well. Though it is a highly populated television genre with a few major players, there is demand for differentiated content offering a balanced mix of learning and entertainment.

    Discovery Kids has gained traction of advertisers due to its differentiated content and unique value offering. The channel has attracted both national advertisers and kids’ consumer brands like Glaxo, Hamdard, HUL, ITC Foods, Nestle, Piramal, Kellogs to name a few.

    Which categories spend the most on advertising on your channel? Which companies spend the most money? Are there any new emerging spenders? What does advertising on such channels offer to these advertisers? Any trends and insights you can share for the same? 

    In today’s fast changing scenario, especially in nuclear families, children exhibit major influencing power. Kids channels not only offer dedicated viewership, but a strong brand recall amongst young viewers. Majority of advertising campaigns in categories as diverse as automobiles to FMCG, beverages to stationery and gadgets such as cellphones and laptops have been adverting on kids’ television to reach parents through their kids.

    Discovery Kids has all major brands (stated above) advertising on the channel.

    How is Discovery Kids making its presence felt in social media?

    Discovery Kids has its dedicated website dkids.co.in. The website offers interactivity, gaming and programme information to children.

  • Recapping 2012

    Recapping 2012

    The year 2012 was an action-packed one for the television broadcasting industry. India began its historic journey with digitisation and the first phase kicked off in November. NDTV filed a landmark case in New York against TAM Media Research and its holding companies Nielsen, Kantar Media and Cavendish Square Holding BV. Broadcasters united to put pressure for creation of a new Broadcasters Audience Research Council (Barc).

    The year also witnessed a slew of deals and marked the entry of two big industrial houses into television broadcasting — Reliance Industries Ltd (RIL) by helping Raghav Bahl‘s Network18 group to snap up ETV and the Aditya Birla Group by acquiring a 27.5 per cent stake in Aroon Purie‘s Living Media, which runs TV Today Network.

    Sahara made an entry into cable TV distribution and acquired Digicable. Network18 Group formed a distribution company, IndiaCast, which will also house the syndication business and exploit content across all media platforms.

    It was the year in which Zee Network completed 20 years, after having pioneered private television broadcasting in India. The year saw a Hindi general entertainment channel Imagine, which was acquired by Turner from NDTV, being zapped, when it slipped below the second-rung Hindi general entertainment channels (GECs).

    The sports genre saw the exit of The Walt Disney Company with News Corp acquiring its 50 per cent interest in their joint venture ESPN Star Sports for $335 million. Sony, which has the rights for the Indian Premier League, launched its first sports television channel. After having agreed to buy Walt Disney‘s interest in ESPN Star Sports, Star India pipped Multi Screen Media (MSM) to bag BCCI media rights till 2008 for a whopping Rs 38.51 billion.

    There was a lot of action during the year in the kids TV genre. Though BBC‘s advertisement free Cbeebies channel exited India citing prohibitive carriage fees, a few kids‘ channels got added to the bouquet. Discovery Kids, Disney Junior, ZeeQ and Nick Jr were launched during the year, which coincided with the beginning of the compulsory shift to digital delivery of television channels in the country.

    Channel launches:

    • Star launches its second Hindi movie channel Movies OK under ‘Ok‘ brand
    • Star launches Bengali movie channel Star Jalsha Movies
    • Star-owned Asianet Communications launches Asianet Movies, the first satellite movie channel in Malayalam
    • Zeel launches Bengali movie channel Zee Bangla Cinema
    • After a football and cricket dedicated channel, Zeel launches its third specialised offering Ten Golf
    • Zeel enters kids genre with ZeeQ, an edutainment channel targeted at 4-14 kids
    • Viacom18 launches its third kids channel with preschool channel Nick Jr
    • Disney launches a full-fledged pre-school offering with Disney Junior
    • Discovery enters kids segment in India with Discovery Kids
    • MSM‘s much awaited sports channel Sony Six makes a debut during IPL
    • HBO partners Eros to announce launch of two ad free channels HBO Defined and HBO Hits
    • Reliance Broadcast Network (RBNL) and European entertainment network RTL Group joint-venture launch their first channel Big RTL Thrill
    • Big CBS, the joint venture between RBNL and CBS Corp, forays into regional TV space with the launch of its fourth channel, Spark Punjabi
    • Leading Gujarati dailies Sandesh and Gujarat Samachar enter television market with the launch of their news channels, GS TV News and Sandesh TV
    • 9X Media launches its international music channel 9XO
    • Softline Creations enters TV broadcasting with Cinema TV
    • Delhi-based production house AAP Media launches Bhojpuri entertainment channel Anjan TV

    Deals:

    • Mukesh Ambani-led Reliance Industries (RIL) marks his entry into media and entertainment space by investing in Network18
    • Media & Investments and TV18 Broadcast through an Independent Media Trust
    • News Corp and The Walt Disney Company end their Asian sports JV ESPN Star Sports with the former taking complete ownership of the sports broadcasting company for $335 million
    • Aditya Birla Group acquires 27.5 per cent stake in Aroon Purie-controlled Living Media, which runs TV Today Network
    • Sahara acquires 90 per cent stake in Digicable for $52 million
    • Sony Pictures Television, the parent company of Multi Screen Media (MSM), makes its regional foray as it agrees to acquire 30 per cent stake in Maa Network
    • Ajay Bijli-promoted PVR buys out promoter stake in Cinemax for Rs 3.95 billion to become biggest multiplex operator in the country
    • Karthikeya Sharma-promoted ITV Media snaps up News X from Indi Media, a joint venture between NaiDunia promoter and CEO
    • Vinay Chhajlani and former Business World editor Jehangir S Pocha
    • After a decade long rocky relationship, the Indian shareholders of MSM exit the television company with Sony Pictures Television (SPT) acquiring 32 per cent stake in MSM for $271 million
    • The Walt Disney Company buys out Ronnie Srewvala‘s stake in UTV Group for Rs 8.05 billion
    • CA Media picks up 49 per cent stake in Endemol India
    • Cisco becomes largest video and content security solutions provider in India with its $5 billion global acquisition of NDS

    Exits:

    • News Corp exits cable business in India as it divests 17.3 per cent stake in Hathway Cable for Rs 3.58 bn
    • Walt Disney‘s ESPN exits sports broadcasting in Asia following stake sale in ESS
    • News Corp exits news business in India and is in process of selling its 26 per cent stake in Media Content and Communications
    • Services (MCCS), the company that runs Star News (ABP News), Star Majha (ABP Majha) and Star Jalsha (ABP Majha), to JV partner ABP Group
    • Turner ends its expensive date with Hindi GEC space, shutters Imagine TV citing unviability
    • ABP Group exits Bengali GEC space by shutting Sananda TV more than a year after its launch
    • NDTV ends ad sales partnership with News Corp‘s Star India; to handle ad sales on its own

    Government

    • Information and Broadcasting ministry extends the digitisation deadline for the first phase of digitisation in four metros to 31 October
    • Ahead of digitisation, government raises foreign direct investment (FDI) ceiling to 74 per cent from 49 per cent in DTH and MSO biz; FDI limit in teleports and hubs set up for uplinking of television channels also raised to 74 per cent
    • Congress spokesperson Manish Tewari takes charge as the new Information and Broadcasting minister replacing Ambika Soni
    • Arasu fails to get DAS licence for Chennai despite repeated pleas to the government
    • MIB kicks-off the second phase of digitisation covering 38 cities and towns across 14 states
    • Rahul Khullar appointed as the new chairman of the Telecom Regulatory Authority of India (Trai) for a three-year term
    • Former Supreme Court judge Justice Cyriac Joseph appointed as the new chairperson of the Telecom Disputes Settlement and Appellate Tribunal (Tdsat)

    Some other milestones:

    • Star India bids a whopping Rs 38.51 billion to bag the BCCI media rights till 2018
    • Sun TV bags Hyderabad franchise for Rs 4.25 billion, bidding higher than PVP Ventures‘ Rs 3.45 billion
    • BCCI terminates Deccan Chargers franchise agreement followed by a protracted legal battle which ends with Supreme Court finally upholding Chargers termination
    • The Indian Broadcasting Foundation (IBF), the Indian Society of Advertisers (ISA) and Advertising Agencies Association of India (AAAI) form audience research joint body Broadcast Audience Research Council (Barc)
    • New Delhi Television (NDTV) files a lawsuit against TAM and its holding companies in New York Supreme Court for manipulation of viewership data
    • Channel [V] stops airing Bollywood music from 1 July becomes a Youth GEC
    • TV18 and Viacom18 form distribution joint venture IndiaCast to distribute all channels and content of the two companies in India and abroad
    • Congress MP Naveen Jindal files FIR against Zee News for allegedly demanding Rs 1 billion in extortion to go slow on its coverage of Coal scam which leads to the arrest of Zee News and Zee Business editors Sudhir Chaudhary and Samir Ahluwalia
    • Aamir Khan makes his TV debut with Satyamev Jayate, which creates massive buzz in the social media
    • After yearlong negotiations, Sun TV strikes a distribution deal with Tamil Nadu government-owned Arasu Cable TV Corporation
    • Pepsi replaces DLF as the title sponsor of IPL, forks out Rs 3.95 billion to take the rights
    • Youth focussed channel Big CBS Spark transitions into a music channel
    • UTV bindass undergoes makeover, sheds UTV in its name and takes the positioning ‘Rest Less‘
    • MSM CEO Man Jit Singh is elected IBF president
    • History TV18 launches Urdu feed
    • Discovery Science goes regional with Hindi fee
  • Kids broadcasters gear up to play in India’s digital era

    Kids broadcasters gear up to play in India’s digital era

    Grappling with an under-indexed ad market and audience fragmentation due to entry of new players, kids TV broadcasters found hope in cable TV digitisation towards the end of 2012. Particularly encouraging was the launch of preschool channels, a segment that existed only as programming blocks and was looked upon as commercially unviable in India.

    Out of the four channel launches, two were in the preschool segment. The launch of Disney Junior and Nick Jr, in fact, marked the beginning of segmentation in the hyper-competitive kids TV genre.

    The other two launches were equally significant as it marked the entry of both Discovery and Zee. Zee Entertainment Enterprises Ltd (Zeel) plans to invest Rs 1 billion in the edutainment channel, ZeeQ, over a period of five years.

    For Discovery Kids, ZeeQ and the other two new channels, subscription is going to be the main business model. The existing kids channels, in contrast, are heavily dependent on ad sales where subscription revenue is still very small and licensing and merchandising negligible.

    Of the four, three excluding Discovery Kids have been launched only for digital platforms. The launch of ZeeQ, which has been positioned as an edutainment channel, has completed Zeel’s bouquet that virtually covers every genre.

    Digitisation is expected to bring down carriage fees that has been a bane for a lot of broadcasters and bring in the much needed transparency of the subscriber base declared by the cable TV operators. Broadcasters expect their affiliate revenues to jump in the medium-to-long term.

    “Digitisation will allow us to try focussed segmentation which we could not have done in analogue cable TV environment. Today in digital, we can segment as much as we can. Carriage payouts will no longer be a deterrent and pay revenues can only grow. So we are all riding the wave of digital right now and hoping that while we cater to need gaps, we also make business sense,” Viacom18 EVP & business head – Kids Cluster Nina Elavia Jaipuria had told Indiantelevision.com in an earlier interview.

    Agrees Disney UTV executive director and Disney kid’s network business head Vijay Subramaniam, “The timing (of Disney Junior’s launch) was an important consideration as digitisation is a very effective way to bring such a high-quality channel to be made available in market to the consumers.”

    Subramaniam feels that with digitisation segmentation will only become clearer as it already existed in different forms. “If you look at the landscape segmentation already exists with digitisation it will become clearer and quality of reception will become a constant,” he explains.

    Despite the right noises made about digitisation and the possible benefits that it would bring for the industry, British pubcaster BBC surprisingly shut its kids channel Cbeebies.

    In an interview to Indiantelevision.com, BBC Worldwide Channels, Asia senior VP, GM, Mark Whitehead had cited “the uniquely challenging pay TV market in India and the delays to digitisation” as the prime reasons for shutting Cbeebies along with BBC Entertainment.

    Whitehead had also confessed that running an ad free channel like Cbeebies is unviable as advertising is currently a major source of revenue for pay TV channels in India.

    The difficulty faced by BBC in running an ad-free channel is not lost on Indian kids broadcasters. Though ad-free in the initial stage, both Disney Junior and Nick Jr. will have ads going forward. They will, however, be selective about the ads that they carry on their respective channels.

    “We may consider hybrid sponsorship model in stage two from 12-24 months from now,” avers Subramaniam.

    Even ZeeQ, which is a bi-lingual channel targeted at 4-14 kids, has a strict ad policy to avoid ads that promote unhealthy lifestyle.

    This will mean that broadcasters will not be at the mercy of ad revenue, which is currently the mainstay for most children channels. With the kind of pester power that these channels enjoy, the broadcasters sense an opportunity to exploit in a digital era when brand loyalty will come into play.

    Apart from the business model correction that is expected to happen with digitisation, the kids channels will also get enough headroom to experiment with content by trying their hands at new genres. Developing locally relevant content will be foremost on the minds of most broadcasters.

    Viewership and ad scenario

    While the genre grew at 4 per cent to reach 616 GRPs till week 40 of 2012, it still bettered the previous year’s performance of two per cent growth. In 2010, the genre grew at a whopping 13 per cent which remains the best year for kids broadcasters over a five-year period since 2008.

    The ad market for the genre is Rs 2.5 billion and has room for fast growth as the market is under-indexed. It is expected to grow at 10 per cent year-on-year as new advertisers make efforts to reach out to kids.

    “While the kids genre contributes 8 per cent viewership share of the CS4+, it accounts for a mere 2 per cent ad revenue share. Hence there is a huge potential for growth and this has to get corrected over a period of time through rate revisions and non FCT partnerships,” avers Jaipuria.

    Localisation push and movie airings

    Kids broadcasters continued their push towards localisation with Nick taking the rights of Reliance Animation’s animated show Shaktimaan while Pogo continued to build its favourite property Chhota Bheem.

    In continuation of its strategy to push local live action series, Disney aired new seasons of Best of Luck Nikki and The Suite Life of Karan and Kabir. The channel is betting big on live action notwithstanding the skepticism surrounding it.

    Discovery Kids launched its first local production, Mystery Hunters India, as part of its localisation strategy for the channel.

    ZeeQ, whose content is being looked after by Zee Learn, has several local shows under its belt including Teenovation, Wordmatch, and Brain Café. Additionally, it had also acquired the rights for 26 episodes of Amar Chitra Katha (ACK) from Ideas Box Entertainment.

    The year saw the theatrical debut of Nick India’s local character Keymon with Keymon Ache & Nani in Space Adventure movie.

    Disney Channel premiered its first made-for-television live action film Luck Luck Ki Baat and is planning to air more such made-for-tv films in future.

    Pogo continued to treat its viewers with Chhota Bheem movies like Chhota Bheem aur Hanuman, Chhota Bheem: Dholakpur to Kathmandu, Chhota Bheem & the Curse of Damyaan, Chhota Bheem: Master of Shaolin and Chhota Bheem: Mayanagri.

    The channel also premiered its first live action movie Bhootraja Aur Ronnie followed by another one called ‘Chatpat Jhatpat’.

    “Earlier, kids used to consume five or six shows. Kids viewing habit has changed now as they are consuming one, two or three shows on a channel. Across channels you will find that two-three shows are driving viewership,” says Turner International India South Asia Director-Content Krishna Desai.

    According to Desai, kids also prefer humour content as opposed to action and adventure. “The thing with live action is that you are competing with 100 other channels which may not be targeted at kids but they still get watched. So if it’s a good live action show, they will watch it for a few times. But since they are kids channels, they thrive on repeats also,” Desai says.

  • Discovery Kids unveils interactive contest on Mystery Hunters India

    MUMBAI: Discovery Kids has announced the launch of an interactive contest based on its first India production – Mystery Hunters India.

    The contest aims to ignite the imagination of millions of kids in India as it gives them a chance to explore the intriguing mysteries of the country featured in the new series – Mystery Hunters India.

    The contest starts with immediate effect and will be valid till 31 December.

    Kids can participate in Mystery Hunters India contest by tuning in to Discovery Kids and sending their answers via sms or by logging on to the official website.

    Kids have to answer a simple question which will have multiple choice options. The shortlisted entries will get a chance to win exclusive prizes from Discovery Kids.

    Demystifying intriguing myths, Mystery Hunters India will unearth the answers to the hidden and unexplained mysteries from Maharashtra, Uttar Pradesh, Madhya Pradesh, Tamil Nadu, Kerala, Rajasthan and Delhi amongst other states.

    Pairing a bright young boy and a girl – Himanshu and Apoorva, Mystery Hunters India will travel the length and breadth of the country to explore and delve into the tales which have bewildered people for ages.

    The inquisitive duo will uncover the truth behind the strange paintings in Madhya Pradesh, to get to the root of the existence of Pygmy elephants in Kerala considered extinct for over 200 years and many more such captivating mysteries.

  • Rahul Johri honoured at World Brand Congress

    MUMBAI: Discovery South Asia senior VP, GM Rahul Johri has been awarded the ‘Media Professional of the Year‘ award at the Global Awards for Brand Excellence 2012.

    This accolade is a reflection of Discovery‘s performance and growth in South Asia region under Rahul Johri‘s leadership and his contribution in building a robust and varied portfolio of eight unique channels, led by the leading non-fiction network Discovery Channel.

    Having joined the broadcaster in 2001, he currently leads its South Asia operations. He is responsible for the overall growth strategy of India‘s highest quality factual and lifestyle portfolio including Discovery Channel, Animal Planet, TLC, Discovery Science, Discovery Turbo, Discovery HD World, Discovery Tamil and Discovery Kids. He has also been the driving force behind networks‘ pioneering localisation strategy and the launch of multiple language feeds across brands and expanding their nationwide penetration. His recent initiative, the launch of the game changing channel in the kids genre Discovery Kids, has received industry wide applaud, according to the World Brand Congress.

    He is also credited with commissioning a range of acclaimed series including – ‘Living with a Superstar: Shah Rukh Khan‘, ‘What Not to Wear: India‘, ‘Oh My Gold!‘ and ‘Be Blunt with Adhuna Akhtar‘. He also spearheaded Discovery‘s association with Yash Raj Films for the latest release ‘Jab Tak Hai Jaan‘ and with the Indian Army for its women officers‘ expedition to Mount Everest in 2012.

    Johri said, “I am grateful to the jury of the World Brand Congress for honouring me with this prestigious distinction. This award is a recognition of the excellence of my team who have contributed significantly in my journey to build Discovery as one of the most respected networks in South Asia.”

    World Brand Congress project director Dr. R.L.Bhatia said, “World Brand Congress is pleased to confer to Rahul Johri ‘Media Professional of the Year‘ award for his outstanding contribution to the industry. Rahul‘s strategic thinking to translate the vision into action has contributed to the jury decision. Rahul has the positive spirit and tenacity to make change in a hyperactive business environment”

    Johri is a board member and Indian Broadcasting Foundation (IBF) treasurer. He is also a member of the media and entertainment committee of CII and member of the Media & Entertainment Division of Ficci.

  • ‘India is among our top 10 markets’ : Discovery Networks International president, CEO Mark Hollinger

    ‘India is among our top 10 markets’ : Discovery Networks International president, CEO Mark Hollinger

    India is one of Discovery‘s key priority markets along with Latin America where there is tremendous scope for pay-TV growth.

     

    Bullish about digitisation in India, Discovery has plans to expand its portfolio of channels. The latest addition in the menu: Discovery Kids from the second quarter of this calendar year.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Discovery Networks International president, CEO Mark Hollinger talks about the company‘s growth markets and its expansion plans in India.

     

    Excerpts:

    How important is India as a growth market for Discovery?
    India is the biggest growth market for us. It is among the top 10 markets globally for us. The combination of the government being very open to international channels, the digitisation process and the great fit between the Discovery brand and the culture of India makes this country a high priority market for us.

    Discovery has launched in many genres. When are you launching the children’s channel?
    We will launch Discovery Kids in the second quarter of this calendar year. The content will be global. We are also looking at local content. As networks grow, we have tended to have locally produced content in the mix. Discovery Kids in Latin America produces some of its own content. In India too time there will be global as well as local content as we go along.

    Is the timing right given that the kids genre is struggling?
    We tend to be long term investors. When we launched a new channel in Spain, people thought that we were crazy as unemployment rate is as as 22 per cent in that country. But we saw that there was an opportunity for us and we went ahead and launched.

     

    So whether a market is up or down at any point of time doesn‘t matter; there is space for a more education-focussed network like ours. And India, moreover, highly values education. The digitisation process is beginning and is a good opportunity for us. We are not worried about the kids genre business at all.

    Will the education component be your differentiating element?
    Yes! The other kids channels are similar. We are not Scooby Doo. We are about how you do things, when do you do, why you do. It is inquisitive in nature. Education is an important part of society. But at the same time we are not naive to think that it is just going to be education that people will tune into; it has to be entertaining as well. This was the very genesis of Discovery when John Hendricks first started it.

     

    The channel will have a healthy dose of entertainment and also satisfy the curiosity of viewers in an entertaining way. The good news is that India is a young country. There are millions of kids below the age of 14 and so the market is big.

    ‘Flagship brands have a strong place in the market. We are in a better position to survive audience fragmentation than our rivals‘

    The challenge here is that niche channels have to rely excessively on ad revenue. By when do you see subscription starting to contribute in a serious manner?
    That is a big question in terms of the impact of digitisation on the affiliate revenue stream. If you look at the international portfolio, our channels are weighted towards affiliate. 70 per cent of revenue outside the US is affiliate.

     

    When we start in a market, there is a 100 per cent affiliate revenue and then we move towards advertising. India obviously is an ad sales market. But it is hard to sit here and say what the affiliate revenue stream is going to be. We can hope that digitisation will affect carriage fees and other things.

    For the digitisation process to succeed in terms of cut off dates being achieved, what needs to happen?
    For the cable operators, it is going to be a giant challenge. If you think just about the logistics it is going to be a huge task – acquiring enough set top boxes, distributing them, getting people to understand what is going on and creating the customer service capability.

     

    Forget about fancy things like DVRs. Just to get the infrastructure in place is an enormous challenge. Luckily for us, we can watch it from afar. But once it is in place, then there is an opportunity and sort of a challenge for programmers to take advantage of digitisation. We have done it successfully in other markets.

    Do you think that the 30 June deadline will be met for the metros?
    We met some MSOs recently and they are pretty much prepared for it. Moreover, a set top box is not such a novel thing now. There are 25-30 million STBs already in DTH homes. I don’t think that the deadline is a challenge. It will be managed.

    How will digitisation change OneAlliance’s relationship with MSOs?
    This relationship will become stronger. When change happens, there is bound to be some chaos. There will be disturbance and that is the time when if you are part of a strong bouquet, you can navigate through things.

     

    We have a great team on the ground and great brands. When The OneAlliance was started, there was no digitalisation in India, no DTH. Now that there is DTH, the OneAlliance has only become stronger.

    Will you now make a concerted effort at marketing yourself to Indian consumers so that they choose you?
    This is already happening. On DTH more and more people choose us and the digital ratings of our channels are high. We offer quality content that people globally pay for. In India there is sensational television on other channels that target eyeballs at any cost. But as we move towards a digital environment, we are better prepared with quality content.

    Discovery is in several languages in India. Could you talk about the importance of localisation?
    It is important from a content point of view, from a feed structure point of view and from a language point of view. Discovery is in five languages. We are evaluating other language launch possibilities. Some of the other players have possibly gone a little bit overboard, but we have found that local language results in higher viewership in that region.

    More players are entering the infotainment and lifestyle space in India. Will this cause fragmentation?
    There is fragmentation of viewership happening. We are, however, in a better position to survive audience fragmentation than the other companies.

    Discovery spends $1 billion towards programming. Are content investments going to be affected by the global downturn?
    No! The content that we invest in is evergreen. Moreover, we can ammortise investments across 210 markets due to the nature of our products. A show will have at least a four-year life. This allows for a longer timeline in terms of investing in shows.

    Which are the main focus areas for Discovery?
    India clearly is one focus market. Latin America is also a big priority market for us; there is pay television growth to be had from there. In Brazil pay television was hampered, but now ownership has changed and pay-TV penetration is growing substantially. Poland and Russia are also big growth markets for us.

    What is the big challenge you face this year?
    It differs from market to market. In the US pay TV has a 90 per cent penetration rate. The pay TV growth there will not happen in terms of penetration. So you will see the impact of OTT and if there is enough of an upside to counterbalance any cord cutting, that may happen. Again it is hard to know if Netflix and Amazon will continue to be successful the way they have been. This is not an issue in other markets.

     

    I would say that the big challenges are the impact generally of broadband or free platforms like DTT on pay television. Can pay TV penetration continue to grow? In some countries, there are regulatory issues. Some markets like Brazil have become more protectionist as of late in terms of local Brazilian content and local channels being required on packages. The availability of alternative platforms is both a big challenge and a big opportunity.

    There has been a certain amount of operational restructuring within Discovery like the removal of the COO position. Is the basic aim to be more cost effective?
    I would say that the changes were more on the US side of the business rather than on the international scene. The international business has remained largely intact in terms of its structure. The changes were made not due to cost reasons. We have an active CEO in David Zaslav. He likes to have as few layers as possible between people who run the US business and himself. The aim is to have a better handle on the business as opposed to saving money.

    Last year you split Europe into two business units. What prompted this move?
    We used to have what I think was a bit of an odd structure. The UK is an entirely separate business. Then all of Europe, Middle East and Africa are another kind of business. UK has a lot in common with the other western European markets – slow pay TV penetration and DTT kind of opportunities.

     

    Then you have Central, Eastern Europe and the Middle East and Africa which are much more growth markets. There is still expansion to be done. These are more entrepreneurial markets. So we split along the lines of Western Europe as one unit and then Central, Eastern Europe, Middle East and Africa as another unit. We did not add a region. The international business still has four regions. We just restructured Europe to grow Western Europe and put common markets together.

    Could you talk about Discovery‘s strategy to penetrate new markets like Colombia?
    What we tend to do with new markets is to go in first and establish distribution. So we opened new offices in Central and Eastern Europe. We opened a sizeable office in Moscow. We opened other offices in places like Kiev, Almaty and Sofia.

     

    There is an opportunity in Colombia and it is our fourth biggest market in Latin America. We earlier only used a local representative for ad sales. We opened an office there for the primary purpose of ad sales while offices in Europe were opened for affiliate purposes.

    In Spain you are free to air. Are you expanding your free to air portfolio?
    This expansion has been a Western European phenomenon. In Spain pay TV has been at 30 per cent penetration for the last decade. It hasn’t grown.

     

    So now in Germany, Spain and in the UK, we have launched free to air channels. They complement the pay business and are not intended to replace it. They have allowed us to grow at a time when the overall Western Europe pay TV business is not growing. This is harder to do in other markets as there is not a big enough digital terrestrial platform or there are ownership restrictions.

    In Korea you did a partnership with CMB. Why?
    Korea is a difficult market to get into and almost impossible without a local partner. Tom (Discovery Asia Pacific MD) did an enormous amount of legwork. He spent a lot of time in Korea. It is a strong economy and very well penetrated from a pay television point of view and from a broadband point of view. So it has always been an important market for us to get into. We had to pick the right partner and have the right kind of structure in place.

    How did the JV with Oprah Winfrey for a channel come about?
    Everybody knew that Oprah would be ending her show and moving to a new business. People in the media industry wondered what that business would be. David Zaslav sold her the idea that her brand and the Discovery brand’s missions were very well suited for each other.

     

    That is how it happened. We have ambitions for the channel in terms of finding markets internationally for it. Tom is a proponent for markets in the Asia Pacific where he feels that the channel will fare well. Oprah created a lot of buzz when she came down to India. This has also been the case in Australia and in other markets around the region. But we first want it to be well established in the US.

    Discovery bought Betty in the UK, its first such acquisition of a production company. Are you looking at more such acquisitions?
    It is not yet part of Discovery‘s grand strategy to get into production. But we will see whether owning production is a strong addition to our business model or not. But I will not say that we are actively looking at other companies. We will wait and see how the Betty acquisition plays out.