Tag: Doordarshan

  • DD Freedish confirms MPEG-4 next month, NDTV says no decision on going FTA on any of its channels

    DD Freedish confirms MPEG-4 next month, NDTV says no decision on going FTA on any of its channels

    New Delhi: Even as two pay channels – Aajtak and Big Magic – have come on Doordarshan Freedish as free-to-air channel, possibilities have opened up for more channels coming on the platform even as it prepares to complete its migratiom to MPEG-4 next month. A Prasar Bharati source confirmed that the switch-over to MPEG-4 will be in two phases and the aim was to take the total capacity to 112.

    Claiming that the Broadcast Audience Ratings Council (BARC) ratings had shown the importance of Freedish in reaching out to rural India, the source said that Aajtak and Big Magic which are pay channels are being run as FTA and have been accommodated in the current MPEG-2.

    Meanwhile, NDTV denied any decision on turning FTA and coming on Freedish next month. An NDTV source said that any such decision, if taken, would be communicated through the media. A senior official who did not want to be named also confirmed that no decision had been taken yet on any of the NDTV bouquet channels going free to air, since this kind of decision could only be taken at the management and board levels.

    Doordarshan sources also said that as all the 64 slots under MPEG-2 had been filled, there was no question of any other channel coming on. In any case, he said any channel which decided to come on the platform had to bid in the auctions that are held from time to time. All the slots under MPEG-2 were filled, the next auction date had not been finalized, the sources confirmed.

    Freedish is adopting the conditional access system designed by the Bangalore-based ByDesign India Pvt Ltd.

    The ByDesign model is totally indigenous and built for DVB-C setup. This CAS solution will enable broadcasters and network operators to control access to their services by viewers, and thereby enabling them to extend their business models to subscription based schemes.

    This will mean that the Freedish will become encrypted but will remain free to air. In addition to helping increase the number of channels on the platform, this will enable Freedish to gauge the exact number of households relying on Freedish as encrypted set top boxes will only be available with authorized dealers.

    The ByDesign CAS is provided by making access possible to content, depending on subscriber credentials, which are generated by this CAS and sent through the broadcast system to receivers in the field. 

  • DD Freedish confirms MPEG-4 next month, NDTV says no decision on going FTA on any of its channels

    DD Freedish confirms MPEG-4 next month, NDTV says no decision on going FTA on any of its channels

    New Delhi: Even as two pay channels – Aajtak and Big Magic – have come on Doordarshan Freedish as free-to-air channel, possibilities have opened up for more channels coming on the platform even as it prepares to complete its migratiom to MPEG-4 next month. A Prasar Bharati source confirmed that the switch-over to MPEG-4 will be in two phases and the aim was to take the total capacity to 112.

    Claiming that the Broadcast Audience Ratings Council (BARC) ratings had shown the importance of Freedish in reaching out to rural India, the source said that Aajtak and Big Magic which are pay channels are being run as FTA and have been accommodated in the current MPEG-2.

    Meanwhile, NDTV denied any decision on turning FTA and coming on Freedish next month. An NDTV source said that any such decision, if taken, would be communicated through the media. A senior official who did not want to be named also confirmed that no decision had been taken yet on any of the NDTV bouquet channels going free to air, since this kind of decision could only be taken at the management and board levels.

    Doordarshan sources also said that as all the 64 slots under MPEG-2 had been filled, there was no question of any other channel coming on. In any case, he said any channel which decided to come on the platform had to bid in the auctions that are held from time to time. All the slots under MPEG-2 were filled, the next auction date had not been finalized, the sources confirmed.

    Freedish is adopting the conditional access system designed by the Bangalore-based ByDesign India Pvt Ltd.

    The ByDesign model is totally indigenous and built for DVB-C setup. This CAS solution will enable broadcasters and network operators to control access to their services by viewers, and thereby enabling them to extend their business models to subscription based schemes.

    This will mean that the Freedish will become encrypted but will remain free to air. In addition to helping increase the number of channels on the platform, this will enable Freedish to gauge the exact number of households relying on Freedish as encrypted set top boxes will only be available with authorized dealers.

    The ByDesign CAS is provided by making access possible to content, depending on subscriber credentials, which are generated by this CAS and sent through the broadcast system to receivers in the field. 

  • Rathore: Time gap of live matches between Star Sports and DD is three to four secs

    Rathore: Time gap of live matches between Star Sports and DD is three to four secs

    New Delhi: The Government says it has no information about any time delay in telecast by Star Sports of cricket matches or bookies taking advantage in any manner.

    Quoting Prasar Bharati, Minister of State for Information and Broadcasting Rajyavardhavn Rathore told the Rajya Sabha that there was a time gap of just three to four seconds on Doordarshan terrestrial transmission compared to that on Star Sports due to down-linking of signals and re-telecasting for terrestrial network and final telecast by Doordarshan terrestrial transmitters. The delay was due to time taken by the signal to travel back and forth to the satellite and processing by terrestrial transmitters, he said.

    Prasar Bharati had told the ministry that it had no information about time delay in telecast by Star Sports or bookies taking advantage in any manner. The pubcaster also said it had not received any complaints in this regard.

     

  • Rathore: Time gap of live matches between Star Sports and DD is three to four secs

    Rathore: Time gap of live matches between Star Sports and DD is three to four secs

    New Delhi: The Government says it has no information about any time delay in telecast by Star Sports of cricket matches or bookies taking advantage in any manner.

    Quoting Prasar Bharati, Minister of State for Information and Broadcasting Rajyavardhavn Rathore told the Rajya Sabha that there was a time gap of just three to four seconds on Doordarshan terrestrial transmission compared to that on Star Sports due to down-linking of signals and re-telecasting for terrestrial network and final telecast by Doordarshan terrestrial transmitters. The delay was due to time taken by the signal to travel back and forth to the satellite and processing by terrestrial transmitters, he said.

    Prasar Bharati had told the ministry that it had no information about time delay in telecast by Star Sports or bookies taking advantage in any manner. The pubcaster also said it had not received any complaints in this regard.

     

  • What content marketers should keep in mind in 2016

    What content marketers should keep in mind in 2016

    GroupM’s This Year Next Year report 2016 has projected that Digital Ad Ex will grow by 47.5 per cent in 2016. It has also strongly hinted at an upcoming trend where brands will get into movie and content production.

    With disruption being the name of the game, traditional avenues of content marketing, yes, this breed of marketing did exist before the digital era, has gone through a major overhaul and marketers are already seeing some new trends emerging.

    With a billion mobile phone connections and counting, bandwidth for internet consumption is soon to grow manifold, thanks to improved telecom infrastructure and 4G hitting urban and semi-urban markets. Advertisers well aware of this rapidly changing ecosystem must evolve, must adapt or perish. Hence, content marketing keeping the digital world in mind is advisable.

    Industry experts share their inputs with www.indiantelevision.com about some factors that content marketers should keep in mind for 2016.

    Know thy social media:

    Stay ahead of the curve, it’s important to understand the digital eco-system well, including devices that make way for content marketing and the social media. “I feel a whole new generation is coming on to the mobile internet for the first time in India. Not just Delhi-Mumbai-Hyderabad-Bangalore, but also in the tier II cities like Jaipur, Kanpur and Allahabad,” says popular travel itinerary website Ixigo.com’s content marketing head Ashish Chopra.

    “The moms and dads are coming online. They aren’t necessarily tech savvy on desktops but they are pretty active on mobile social media like WhatsApp and Facebook. The fact that more and more people are spending longer hours on the internet is important for a content marketer like me. It has become necessary that we keep mobile sensitivity when we create videos,” he adds.

    To further substantiate his argument, Chopra proposes to make the content native to the user’s experience. “For example, if you copy and paste a YouTube video link on Facebook, it doesn’t get enough views. Two years ago, we launched a video and posted its YouTube link on Facebook.  It got around 300 views,” Chopra recalls from his personal experience. “The next day we uploaded it on Facebook as a native video and got 50,000 views on day one. So Facebook is killing the game right now. It wants good content, wants people to stick around longer on the platform. Content marketers must understand and capitalise on this, and see if it can be turned into a win-win for both the stakeholders,” he adds further.

    Know thy consumer better:

    With the nationwide penetration of internet in the rural and semi-urban markets, and advertisers taking increased interest in them to grow their markets, marketers are often heard asking if the strategy they have in place for their urban consumers will also work in these newer markets.

    The looming question is whether content popular in metros and other urban market will resonate in the newer markets or ifmarketers need to have a different strategy for these.

    “I look at content in a different light,” Chopra shares. “For every brand that invests in content marketing it’s the consumer who decides what the flavour of the content will be. ixigo has many users who travel by train. So we focus on those people.”

    What is important is that content marketers ask themselves if what they are creating is useful for their target audience, irrespective of the sensibility of urban, rural, tier I or tier II cities. “If it’s useful he or she is most likely to share it. One should keep an eye on topical content and inspirational stories that might relate to the audience. Then, with an insight into the lives of the consumers, come up with little things that touch their daily lives,” Chopra adds.

    Be a storyteller, not advertiser:

    Recognising the power of digital media and content to move  consumers, several brands are powering their marketing arms to become storytellers as well — either through brand integration or through partnerships with content creators (branded content).

    United Beverages’ alcohol-beverage brand Kingfisher is a fine example of a forward-looking brand that has done exceptionally well in tapping this potential.

    “At the end of the day YouTube has a viewership of 75 million of our target group and is the fifth largest video channel so to speak. Only a few television channels are larger than it. One has to start looking at YouTube as mainstream media as well,” says United Beverages Limited, marketing SVP Samar Singh Sheikhawat, talking about content marketing and digital marketing in general.

    With branded content being the buzzword, one mustn’t confuse it with ads. “People have little patience for advertisements.”

    “Earlier, say when there was only Doordarshan, people didn’t have a choice but to sit through them. After multiple channels came in, people had a remote control in their hands, and would mostly switch channels to avoid ads,” says Chopra.

    “For the current, digital generation, when an ad comes on YouTube or Facebook, viewers have 10 tabs open. So we can’t make ‘ads’ for this generation. It has to be authentic content of real value to them, solves a problem, fascinates or is topical. And there has to be entertainment of some sort. Period,” Chopra firmly asserts.

    And that is exactly what Kingfisher has done with the web-series Pitchers in partnership with The Viral Fever. “Kingfisher has already heavily and successfully invested in content marketing on the digital platform, their single most outstanding success being TVF’s Pitchers.

    It was produced by TVF and funded by us, and after the success of its season one, we have decided to be part of season 2 this year. Kingfisher has been woven into the story and the views you see are organic. We are not claiming credits or marketing it,” shares Sheikhawat, admitting that the brand is looking to invest in several similar initiatives. “We have received feelers from the likes of Ronnie Screwvala’s Arre, YRf’s new digital arm. So we are currently evaluating creating more content like pitchers,” Sheikhawat adds.

    Be patient, it works:

    The 120 Media Collective founder-CEO Roopak Saluja defines content marketing simply: “If advertising is telling the world you are a rock star, content marketing is showing you are one.”

    In the current eco-system, Saluja observes that advertisers lack patience with content marketing and aim for an immediate result. According to his market observations, “Though wisdom remains in investing in a sustainable content property, for the most part, brands and advertisers investing in content marketing are not looking into larger properties.”

    “From what the market looks like in early 2016, there will be brands that will be dipping their toes into content market to try it out. Rather than making a big investment, they might want to experiment at a small scale as an entry point into the field,” he elaborates. In other words, the adoption of the medium might be low intensity and not immediate.

    In agreement with his peers, Saluja reiterates that the current trend of content marketing is based on the rapid growth of video content digital available. ”Whether its small video content or a large property, the way ahead is definitely video-driven.”

    In content marketing, advertisers really see results in sustained strategy over getting content as a standalone initiative. Therefore advertisers making one-time small investments might not see the promised result from the medium and might go back to the traditional medium. This could be counterproductive for the medium. “It’s hard to say how it will affect the medium currently. Whether it’s five or 16 years later, traditional media will be deemed inefficient and all advertisers must be on board the content and digital bandwagon,” Saluja speculates.

    When it comes to effectiveness, Sheikhawat, a pioneer in content marketing, agrees that it is too soon to talk of efficacy as more often than not brands are aiming at credibility and loyalty than at direct effect on sales.

    Keeping Pitchers in mind Sheikhawat shares his experience on accountability of content marketing. “It is hard to tell in only one season, but it did get listed at position 21 on IMDB, rated next to shows like Game Of Thrones. It got over 10 million views for the five-episode web series. The target is to take it to 4 to 5 million unique viewers. That’s a significant number, larger than many television channels in this country. Apart from viewership, it comes with credibility, which is organically built with this digital-savvy generation, the future consumer base for us. We will continue this for a couple of more seasons. Then we will be in a better position to evaluate.”

    While the budget for content market is comparatively small for Kingfisher at the moment, it will only increase, says Sheikhawat. “Typically, digital advertising is 20 per cent of our marketing budget, out of which content creation will be close to half.”

    The industry is also discussing if an episodic way of introducing a marketing campaign to viewers and consumers can also be a way to keep them loyal to and interested in the brand. While many are concerned that episodic branded content requires longer commitment, they are willing to place their bets on it.

  • What content marketers should keep in mind in 2016

    What content marketers should keep in mind in 2016

    GroupM’s This Year Next Year report 2016 has projected that Digital Ad Ex will grow by 47.5 per cent in 2016. It has also strongly hinted at an upcoming trend where brands will get into movie and content production.

    With disruption being the name of the game, traditional avenues of content marketing, yes, this breed of marketing did exist before the digital era, has gone through a major overhaul and marketers are already seeing some new trends emerging.

    With a billion mobile phone connections and counting, bandwidth for internet consumption is soon to grow manifold, thanks to improved telecom infrastructure and 4G hitting urban and semi-urban markets. Advertisers well aware of this rapidly changing ecosystem must evolve, must adapt or perish. Hence, content marketing keeping the digital world in mind is advisable.

    Industry experts share their inputs with www.indiantelevision.com about some factors that content marketers should keep in mind for 2016.

    Know thy social media:

    Stay ahead of the curve, it’s important to understand the digital eco-system well, including devices that make way for content marketing and the social media. “I feel a whole new generation is coming on to the mobile internet for the first time in India. Not just Delhi-Mumbai-Hyderabad-Bangalore, but also in the tier II cities like Jaipur, Kanpur and Allahabad,” says popular travel itinerary website Ixigo.com’s content marketing head Ashish Chopra.

    “The moms and dads are coming online. They aren’t necessarily tech savvy on desktops but they are pretty active on mobile social media like WhatsApp and Facebook. The fact that more and more people are spending longer hours on the internet is important for a content marketer like me. It has become necessary that we keep mobile sensitivity when we create videos,” he adds.

    To further substantiate his argument, Chopra proposes to make the content native to the user’s experience. “For example, if you copy and paste a YouTube video link on Facebook, it doesn’t get enough views. Two years ago, we launched a video and posted its YouTube link on Facebook.  It got around 300 views,” Chopra recalls from his personal experience. “The next day we uploaded it on Facebook as a native video and got 50,000 views on day one. So Facebook is killing the game right now. It wants good content, wants people to stick around longer on the platform. Content marketers must understand and capitalise on this, and see if it can be turned into a win-win for both the stakeholders,” he adds further.

    Know thy consumer better:

    With the nationwide penetration of internet in the rural and semi-urban markets, and advertisers taking increased interest in them to grow their markets, marketers are often heard asking if the strategy they have in place for their urban consumers will also work in these newer markets.

    The looming question is whether content popular in metros and other urban market will resonate in the newer markets or ifmarketers need to have a different strategy for these.

    “I look at content in a different light,” Chopra shares. “For every brand that invests in content marketing it’s the consumer who decides what the flavour of the content will be. ixigo has many users who travel by train. So we focus on those people.”

    What is important is that content marketers ask themselves if what they are creating is useful for their target audience, irrespective of the sensibility of urban, rural, tier I or tier II cities. “If it’s useful he or she is most likely to share it. One should keep an eye on topical content and inspirational stories that might relate to the audience. Then, with an insight into the lives of the consumers, come up with little things that touch their daily lives,” Chopra adds.

    Be a storyteller, not advertiser:

    Recognising the power of digital media and content to move  consumers, several brands are powering their marketing arms to become storytellers as well — either through brand integration or through partnerships with content creators (branded content).

    United Beverages’ alcohol-beverage brand Kingfisher is a fine example of a forward-looking brand that has done exceptionally well in tapping this potential.

    “At the end of the day YouTube has a viewership of 75 million of our target group and is the fifth largest video channel so to speak. Only a few television channels are larger than it. One has to start looking at YouTube as mainstream media as well,” says United Beverages Limited, marketing SVP Samar Singh Sheikhawat, talking about content marketing and digital marketing in general.

    With branded content being the buzzword, one mustn’t confuse it with ads. “People have little patience for advertisements.”

    “Earlier, say when there was only Doordarshan, people didn’t have a choice but to sit through them. After multiple channels came in, people had a remote control in their hands, and would mostly switch channels to avoid ads,” says Chopra.

    “For the current, digital generation, when an ad comes on YouTube or Facebook, viewers have 10 tabs open. So we can’t make ‘ads’ for this generation. It has to be authentic content of real value to them, solves a problem, fascinates or is topical. And there has to be entertainment of some sort. Period,” Chopra firmly asserts.

    And that is exactly what Kingfisher has done with the web-series Pitchers in partnership with The Viral Fever. “Kingfisher has already heavily and successfully invested in content marketing on the digital platform, their single most outstanding success being TVF’s Pitchers.

    It was produced by TVF and funded by us, and after the success of its season one, we have decided to be part of season 2 this year. Kingfisher has been woven into the story and the views you see are organic. We are not claiming credits or marketing it,” shares Sheikhawat, admitting that the brand is looking to invest in several similar initiatives. “We have received feelers from the likes of Ronnie Screwvala’s Arre, YRf’s new digital arm. So we are currently evaluating creating more content like pitchers,” Sheikhawat adds.

    Be patient, it works:

    The 120 Media Collective founder-CEO Roopak Saluja defines content marketing simply: “If advertising is telling the world you are a rock star, content marketing is showing you are one.”

    In the current eco-system, Saluja observes that advertisers lack patience with content marketing and aim for an immediate result. According to his market observations, “Though wisdom remains in investing in a sustainable content property, for the most part, brands and advertisers investing in content marketing are not looking into larger properties.”

    “From what the market looks like in early 2016, there will be brands that will be dipping their toes into content market to try it out. Rather than making a big investment, they might want to experiment at a small scale as an entry point into the field,” he elaborates. In other words, the adoption of the medium might be low intensity and not immediate.

    In agreement with his peers, Saluja reiterates that the current trend of content marketing is based on the rapid growth of video content digital available. ”Whether its small video content or a large property, the way ahead is definitely video-driven.”

    In content marketing, advertisers really see results in sustained strategy over getting content as a standalone initiative. Therefore advertisers making one-time small investments might not see the promised result from the medium and might go back to the traditional medium. This could be counterproductive for the medium. “It’s hard to say how it will affect the medium currently. Whether it’s five or 16 years later, traditional media will be deemed inefficient and all advertisers must be on board the content and digital bandwagon,” Saluja speculates.

    When it comes to effectiveness, Sheikhawat, a pioneer in content marketing, agrees that it is too soon to talk of efficacy as more often than not brands are aiming at credibility and loyalty than at direct effect on sales.

    Keeping Pitchers in mind Sheikhawat shares his experience on accountability of content marketing. “It is hard to tell in only one season, but it did get listed at position 21 on IMDB, rated next to shows like Game Of Thrones. It got over 10 million views for the five-episode web series. The target is to take it to 4 to 5 million unique viewers. That’s a significant number, larger than many television channels in this country. Apart from viewership, it comes with credibility, which is organically built with this digital-savvy generation, the future consumer base for us. We will continue this for a couple of more seasons. Then we will be in a better position to evaluate.”

    While the budget for content market is comparatively small for Kingfisher at the moment, it will only increase, says Sheikhawat. “Typically, digital advertising is 20 per cent of our marketing budget, out of which content creation will be close to half.”

    The industry is also discussing if an episodic way of introducing a marketing campaign to viewers and consumers can also be a way to keep them loyal to and interested in the brand. While many are concerned that episodic branded content requires longer commitment, they are willing to place their bets on it.

  • Prasar Bharati’s grants-in-aid gets substantial increase, first-time separate allocation for strengthening broadcast services

    Prasar Bharati’s grants-in-aid gets substantial increase, first-time separate allocation for strengthening broadcast services

    NEW DELHI: The grants-in-aid for Prasar Bharati have gone up again for the third time over the last few years from the revised estimates of Rs 2708.29 crore in 2015-16 to Rs 3056.86 for 2016-17.

    In addition, there is a grant-in-aid of Rs 52 crore to Doordarshan’s Kisan Channel, which is double that of aid last year.

    In addition, there is an investment of Rs 200 crore in the pubcaster, which is the same as last year. Though the previous government had stopped investments in the pubcaster, Finance Minister Arun Jaitley had re-introduced this in 2015-16 after a gap of two years. 

    An explanatory note says the grants-in-aid is being provided to cover the gap in resources of Prasar Bharati in meeting its revenue expenditure.

    The grant in aid for Prasar Bharati in 2015-16 was Rs 2824.55 crore for 2015-16, apart from the grant-in-aid of Rs 26.26 crore in the revised estimates (as against the budgetary allocation of Rs 45 crore) on Kisan Channel.

    Expenditure on salaries of Prasar Bharati has fallen on the shoulders of the Government since all Prasar Bharati employees who were in employment as on 5 October, 2007 have been given deemed deputation status.

    The total budget of the Information and Broadcasting Ministry has been raised to Rs 4083.63 crore, which is a small raise in comparison to Rs 3711.11 crore for 2015-16, though the revised estimates for the year show an expenditure of Rs 3588.58 crore. 

    A major effort this year was to reduce the number of heads under which allocations have been made over the years. For example, there are no separate allocation for film certification or Press Information Services as in previous years.

    Interestingly, there is a separate allocation of Rs 30.83 crore for strengthening of broadcasting services, which includes Rs 28.83 on information and publicity and the balance on building and machinery. This provides for Electronic Media Monitoring Centre, contribution to the Asian Institute of Broadcasting Development, Community Radio movement in India, Digitalisation, Building and Machinery and private FM Radio Stations.

    The allocation under ‘Secretariat – Social services’ has been cut down to Rs 70.32 crore as against the budgetary allocation of Rs 235.23 crore in 2015-16 as the revised estimates show an expenditure of just Rs 91.44 crore. The explanatory note says that from 2016-17, this covers the expenditure under Non-Plan activities only which includes provision for Main Secretariat and Principal Accounts office.

    The allocation for the film sector has been raised to Rs 268.53 crore and covers art and culture, information and publicity, which takes the maximum share of Rs 213.64 crore. Subjects under this head include the National Film Heritage Mission, anti-piracy measures, promotion of Indian cinema overseas, production of films and documentaries, and setting up a centre of excellence for animation, gaming and visual effects. The explanatory note adds that Secretariat – Social services also covers expenses on development of community radio, and development support to the north-east as well as Jammu and Kashmir and ‘other identified areas.’

    Thus, there is an allocation of Rs 33.31 crore for Mass Communications, which covers (a) Indian Institute of Mass Communication, an autonomous body, which imparts training in mass media and conducts courses in journalism, and (b) New Media Wing, which collects basic information on subjects of media interest for providing assistance to the Ministry and to its Media Units, Indian Missions abroad and newspapers and media agencies.

    There is another provision of Rs 491.78 crore, which includes expenditure (a) Directorate of Advertising and Visual Publicity – for planning and executing publicity campaigns through advertising and other printed materials, as well as through Radio and Televisions, exhibitions and other outdoor publicity media; (b) Press Information Bureau – which serves as a link between the Government and the Press and attends to the publicity and public relations requirements of various Ministries/Departments, including grants to Press Council of India, a statutory organisations seeking to preserve press; (c) Field Publicity – covering expenditure of Directorate of Field Publicity and its district level field units engaged in inter-personal developmental communications through films shows, live media programmes, photo displays and seminars; (d) Song and Drama Division – for creating awareness amongst the masses, particularly in rural areas, about various activities of national developments of units spread all over the country; (e) Publications – for publishing priced books, journals and other printed material in English, Hindi and regional languages on a wide variety of subjects and ‘Employment News/Rozgar Samachar;’ (f) Information Wing Plan Schemes – for training, international media programme, Policy related studies etc.; and (g) Photo Division.

    For the seventh year in a row, the government has not announced any investment in the National Film Development Corporation (NFDC).

    There is a marginal increase in the lump sum provision for projects/schemes for development of North-eastern areas including Sikkim to Rs 80 crore against Rs 75 crore last year.

  • Prasar Bharati’s grants-in-aid gets substantial increase, first-time separate allocation for strengthening broadcast services

    Prasar Bharati’s grants-in-aid gets substantial increase, first-time separate allocation for strengthening broadcast services

    NEW DELHI: The grants-in-aid for Prasar Bharati have gone up again for the third time over the last few years from the revised estimates of Rs 2708.29 crore in 2015-16 to Rs 3056.86 for 2016-17.

    In addition, there is a grant-in-aid of Rs 52 crore to Doordarshan’s Kisan Channel, which is double that of aid last year.

    In addition, there is an investment of Rs 200 crore in the pubcaster, which is the same as last year. Though the previous government had stopped investments in the pubcaster, Finance Minister Arun Jaitley had re-introduced this in 2015-16 after a gap of two years. 

    An explanatory note says the grants-in-aid is being provided to cover the gap in resources of Prasar Bharati in meeting its revenue expenditure.

    The grant in aid for Prasar Bharati in 2015-16 was Rs 2824.55 crore for 2015-16, apart from the grant-in-aid of Rs 26.26 crore in the revised estimates (as against the budgetary allocation of Rs 45 crore) on Kisan Channel.

    Expenditure on salaries of Prasar Bharati has fallen on the shoulders of the Government since all Prasar Bharati employees who were in employment as on 5 October, 2007 have been given deemed deputation status.

    The total budget of the Information and Broadcasting Ministry has been raised to Rs 4083.63 crore, which is a small raise in comparison to Rs 3711.11 crore for 2015-16, though the revised estimates for the year show an expenditure of Rs 3588.58 crore. 

    A major effort this year was to reduce the number of heads under which allocations have been made over the years. For example, there are no separate allocation for film certification or Press Information Services as in previous years.

    Interestingly, there is a separate allocation of Rs 30.83 crore for strengthening of broadcasting services, which includes Rs 28.83 on information and publicity and the balance on building and machinery. This provides for Electronic Media Monitoring Centre, contribution to the Asian Institute of Broadcasting Development, Community Radio movement in India, Digitalisation, Building and Machinery and private FM Radio Stations.

    The allocation under ‘Secretariat – Social services’ has been cut down to Rs 70.32 crore as against the budgetary allocation of Rs 235.23 crore in 2015-16 as the revised estimates show an expenditure of just Rs 91.44 crore. The explanatory note says that from 2016-17, this covers the expenditure under Non-Plan activities only which includes provision for Main Secretariat and Principal Accounts office.

    The allocation for the film sector has been raised to Rs 268.53 crore and covers art and culture, information and publicity, which takes the maximum share of Rs 213.64 crore. Subjects under this head include the National Film Heritage Mission, anti-piracy measures, promotion of Indian cinema overseas, production of films and documentaries, and setting up a centre of excellence for animation, gaming and visual effects. The explanatory note adds that Secretariat – Social services also covers expenses on development of community radio, and development support to the north-east as well as Jammu and Kashmir and ‘other identified areas.’

    Thus, there is an allocation of Rs 33.31 crore for Mass Communications, which covers (a) Indian Institute of Mass Communication, an autonomous body, which imparts training in mass media and conducts courses in journalism, and (b) New Media Wing, which collects basic information on subjects of media interest for providing assistance to the Ministry and to its Media Units, Indian Missions abroad and newspapers and media agencies.

    There is another provision of Rs 491.78 crore, which includes expenditure (a) Directorate of Advertising and Visual Publicity – for planning and executing publicity campaigns through advertising and other printed materials, as well as through Radio and Televisions, exhibitions and other outdoor publicity media; (b) Press Information Bureau – which serves as a link between the Government and the Press and attends to the publicity and public relations requirements of various Ministries/Departments, including grants to Press Council of India, a statutory organisations seeking to preserve press; (c) Field Publicity – covering expenditure of Directorate of Field Publicity and its district level field units engaged in inter-personal developmental communications through films shows, live media programmes, photo displays and seminars; (d) Song and Drama Division – for creating awareness amongst the masses, particularly in rural areas, about various activities of national developments of units spread all over the country; (e) Publications – for publishing priced books, journals and other printed material in English, Hindi and regional languages on a wide variety of subjects and ‘Employment News/Rozgar Samachar;’ (f) Information Wing Plan Schemes – for training, international media programme, Policy related studies etc.; and (g) Photo Division.

    For the seventh year in a row, the government has not announced any investment in the National Film Development Corporation (NFDC).

    There is a marginal increase in the lump sum provision for projects/schemes for development of North-eastern areas including Sikkim to Rs 80 crore against Rs 75 crore last year.

  • DD mulls auctioning of slots on DD National to increase revenue

    DD mulls auctioning of slots on DD National to increase revenue

    NEW DELHI: In a bid to increase its revenues, Doordarshan is considering auctioning of slots on DD National.

    Sources in the pubcaster told Indiantelevision.com that it was DD’s constant endeavour to improve upon its programmes by reviewing the content and quality from time to time with the view to sustain the interest of the viewers.

    Doordarshan, which procures content through various notified schemes, is now considering re-prioritising its current approach with a new policy on slot sales that may include auction of slots on the national channel, the sources said.

    Doordarshan earned Rs 497.59 crore net including Rs 493.29 crore from commercials till December during 2015-16.

    In the previous year (2014-15), DD earned Rs 995.66 crore from commercial and miscellaneous sources. This included Rs 993.68 crore from commercials.

    The revenue was Rs 1145.44 crore in 2013-14, of which Rs 1140.5 crore was from commercial sources.

    In 2012-13, DD earned revenue of Rs 1138.23 crore, which included Rs 1134.16 from commercial sources.

  • DD mulls auctioning of slots on DD National to increase revenue

    DD mulls auctioning of slots on DD National to increase revenue

    NEW DELHI: In a bid to increase its revenues, Doordarshan is considering auctioning of slots on DD National.

    Sources in the pubcaster told Indiantelevision.com that it was DD’s constant endeavour to improve upon its programmes by reviewing the content and quality from time to time with the view to sustain the interest of the viewers.

    Doordarshan, which procures content through various notified schemes, is now considering re-prioritising its current approach with a new policy on slot sales that may include auction of slots on the national channel, the sources said.

    Doordarshan earned Rs 497.59 crore net including Rs 493.29 crore from commercials till December during 2015-16.

    In the previous year (2014-15), DD earned Rs 995.66 crore from commercial and miscellaneous sources. This included Rs 993.68 crore from commercials.

    The revenue was Rs 1145.44 crore in 2013-14, of which Rs 1140.5 crore was from commercial sources.

    In 2012-13, DD earned revenue of Rs 1138.23 crore, which included Rs 1134.16 from commercial sources.