Tag: GEC

  • South Indian channels brace for production resumption

    South Indian channels brace for production resumption

    MUMBAI: After an extraordinary lull of two months, during which the entire TV production activity came to an abrupt standstill ravaging advertising revenues in its wake, general entertainment channels (GECs) in some south states soon can air fresh content. While the Karnataka government has given approval for resuming indoor shooting of serials to begin from 25 May, the Kerala government has responded favourably to the TV producers’ request.

    The lockdown caused by the Covid2019 pandemic has affected the television industry adversely. While news channels, having been put under the essential service category, continued to function, most of the GECs found the going tough. It has been even tougher for those entertainment channels which aren’t lucky enough to have a vast movie library to boot.

    In fact, those with a huge movie depository sustained, and even flourished. In Kerala, for instance, Surya TV got lucky with its huge movie bank as it made up for the lack of fresh programmes by banking on its movie library. The GEC, part of the Sun Network, edged out Asianet from its top position in week 15 of BARC just by airing movies back-to-back from its bank. However, between week 16 and 18, it has slipped to the second spot.

    But, not all are lucky. And the unlucky ones are now seeing a glimmer of light at the end of this lockdown tunnel with the prospect of resuming shooting.

    “You will need to give a plot recap before you start airing the fresh sequences to soaps,” a programming head with a Kannada TV channel quipped wryly. That pretty much sums up the desperation on the ground. After all, how long would you bank on the library to keep a home-bound, entertainment-hungry audience hooked?

    Cost constraints

    Regional channels, faced with the twin challenges of cash crunch and limited resources in the changed scenario, will have to adjust to the new normal.  “GECs, especially regional ones, have to deal with the problem of costs and cannot cough up more. They cannot afford to have the kind of strict parameters and protocols that have now been put in place in production activities by studios in Hollywood,” said a senior hand working with an entertainment channel in Bangalore, who prefers not to be named because he is not authorised to speak to the media.  

    Viacom18 regional TV head Ravish Kumar said: “We are currently awaiting approvals from the relevant authorities and will adhere to all norms, formalities and SOPs. We will resume shoots only once we have a formal go-ahead from the concerned authorities and will continue to follow best practices and guidelines laid down by them to ensure safety and well-being of all involved.”

    Viacom18’s Colors has two entertainment channels in Tamil and Kannada.

    Programme producers say that things will not be the same as they were before. “No liberal shooting will be allowed. There will be a lot of restrictions like the number of people allowed in a shooting set, etc. So many things cannot be visualized unlike in the past. We need to plan because of these reasons,” said a programme executive in Karnataka.

    With outdoor shooting still a distant dream, serial plots will go for a lot of changes. Scenes where outdoor shooting are required will have to be rewritten or tweaked.  

    As of now, entertainment channels have an oversupply of scripts for serials and other programmes. “We are ready with scripts for 40 to 50 serials. Writers, with plenty of free times, have been churning out serial plots prolifically since the start of the lockdown. But we are not yet sure as to how we can work it out with all the restrictions,’’ he said.

    SOP for shooting

    The Karnataka government has given tentative approval for TV serials to resume indoor shooting from 25 May, with a lot of restrictions. Shootings in the state came to an end on 22 March following the lockdown.

    Karnataka Television Association (KTVA) has put in place operational procedures for shooting from 25 May. As per the SOP, only indoor shoots are permitted. The social distance should be maintained at the location. Only required actors for the shot and main technicians should be at the spot and others have to wait outside. The number of crew members should not exceed more than 18 people. The director and production manager should decide on crew and casting on a daily basis so as to maintain the minimum crew at any point of time. The artist support staff/ personal assistant should not stay at the shooting spot. They have to drop off and leave.

    The body temperature of each member needs to be checked before entering the shooting spot and if it is high, they should not be allowed. The producer has to provide a thermal scanner at the location. The name and address of all the cast and crew members should be recorded on a daily basis and the same to be provided to visiting government/medical officers at any time. The production manager needs to record this every morning without fail and ask the cast and crew to write it in the ledger.

    Producers have to provide transport for all the actors, technicians and crew members and follow the government instructions on transport facilities. People travelling in generator vehicles too should follow general Covid2019 instructions. No vehicle should be overloaded than the prescribed number of passengers. If not followed, authorities will have all the rights to cancel the shooting.

    The producer has to provide hand sanitizer, liquid soap and other materials to maintain cleanliness at the shooting spot. Everyone at the location should follow instructions provided by the government on covid-19 situation.

    Refillable sanitizers have to be provided along with hand wash dispensers at the wash basins. Covid2019 precautionary instructions have to be printed in bold letters and pasted at shooting spots (both in English and Kannada)

    Except for actors acting before the camera, everyone at the shooting spot should be wearing masks and hand gloves all the time. All the actors and crew should carry their own mask and wear in all the time

    Makeup crew should get sanitized before putting makeup on each artist. No back-to-back makeup without sanitizing. Usage of wet cloth is banned and the same has to be replaced by wet tissues and needs to be disposed of carefully.

    Makeup crew need to report early and artists have to go for makeup according to the shooting plan. Wet tissues have to be provided to actors and they have use it themselves and put the used ones in dedicated waste bin

    The microphones, both lapel and boom rods used in the set, need to be cleaned with sanitizer before putting it on the actors and bringing it into the set.

    Disinfectant spray should be sprayed before and in between the shots at the location. Phenyl mixed with Dettol should be applied on shooting floors, doors, windows, sofas, tables, chairs and other properties before use.

    One set assistant should be kept only for this and he/she should be wearing washable hand gloves and masks all the time.

    Follow the standard travel plan for cast and crew members and make sure no vehicles should carry more than the prescribed number of passengers. All the vehicles needs to be disinfected before using for shooting purpose

    Pressing of costumes should be avoided at the location and all the actors should get ready to wear costumes from their home. The direction and production team need to inform the artist well in advance about the respective costumes with continuity details.

    Only packed food, sealed in aluminium foil, to be provided at the shooting location. Actors and main technicians ideally should carry their own food if possible and avoid sitting next to each other and eating.

    Those travelling from outside for shooting have to follow the self-quarantine rules as per the government order. Actors, associates and assistants need to be informed 15 days in advance to reach Bangalore and be in home quarantine before coming to the shooting spot.

    In other states

    Elsewhere, in Tamil Nadu, the channels are keeping their fingers crossed as they have yet to receive a go-ahead signal from the government. The television fraternity in the state has made representations with the government, hoping for a resumption of production activities. The government allowed post-production works from 11 May.  

    "As of now, we have not got any approvals from the government. We will follow the same SOP proposed by the IBF to the government,” said the business head of an entertainment channel.  

    In Kerala, broadcasters are hoping for a favourable decision from the government to resume the shooting activities. Malayalam television fraternity, an association of television directors and producers, the other day met the chief minister in this regard. The CM has assured the fraternity members that he will consider their request favourably.

    The GECs are hoping that a favourable government decision will come very soon. ZEE Keralam’s business head Santosh J Nair said that the industry is going through very tough times. “There is no new content and advertising revenue is also at the lowest. We are eagerly waiting to start shooting soon keeping in mind protocols. Based on government approvals we will start our work. All this while, we relied on our content bank. But after our original banked episodes were exhausted and shooting stopped, we did not have fresh content. We have survived with a mix of reruns of fictions and films.”

    “The fraternity members got an assurance from the CM. A quick decision will come soon. But it is uncertain about the kind of controls that will be put in place for shooting. But it will be done in a controlled environment. It is unlikely that outdoor shoots will happen,” said Kairali TV programme head Unni Cherian.

  • IPL viewers shift to GEC, movies & news

    IPL viewers shift to GEC, movies & news

    MUMBAI: The April and May season is generally peak time for sports and the Indian Premier League (IPL). In 2019, sports took 20 per cent of total viewership, led by IPL viewers, which has dropped to two per cent this year during week 13 to 16, according to BARC-Nielsen report.

    These sports viewers have moved to GECs, movies and news genres. GEC saw a rise from 38 per cent in 2019 to 40 per cent in 2020. News saw a rise from nine per cent in 2019 to 19 per cent in 2020. Movies went from 21 per cent in 2019 to 28 per cent in 2020. 

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  • Zee TV & Sun TV: the Elara Capital view

    Zee TV & Sun TV: the Elara Capital view

    NEW DELHI: Television has seen a tremendous rise in its viewership during the ongoing lockdown induced by Covid2019 but it is not doing much for the ad revenues. As per Mumbai-based investment bank Elara Capital findings, ad growth may remain weak for broadcasters as several brands look to cut discretionary spend and new product launches get delayed.

    The report put a negative stance on broadcasters due to structural risks, such as disruptions over TV channel monetisation due to Jio pushing it TV offerings free-of-cost to Jio subscribers, implementation of NTO 2.0, and the threat from digital offerings.

    However, Elara added that subscription revenue can get an upswing in the time, balancing their cash registers. It stated, “On the other hand, if NTO 2.0 gets delayed and is not implemented this year, we may see healthy growth in subscription revenue, given activation of the second TV and viewers flocking to TV, which is a win-win situation as subscribers revenue contributes 35-40 per cent of revenue.”

    According to the findings, factors like expected longer-term consumer stickiness, a sharp increase in ad spends by e-commerce and hygiene brands, and subscription revenue growth due to the addition of new consumers and reactivation of the second TV will work in the favour of broadcasters in these times.

    However, there are certain impending threats too, including increased use of mobile phones, shooting not happening for premium properties like reality shows, cutting of ad spends by global advertisers in CY20, and money not being diverted to GEC and entertainment genres. Also, if the NTO2.0 is implemented this year, the expected increase in subscription revenue will be marred.

    The report also analysed the impact of the current situation on two big broadcasters Zee and Sun TV.

    “Zee and Sun TV together have a strong proposition in the movie segment, which has grown 66 per cent in terms of consumption as per recent BARC report, which too will support ad growth. Even after the lockdown ends, we expect TV consumption to rise sharply as consumers continue to adhere to social distancing norms and prefer to remain indoors.”

    It added, “Zee has corrected ~38 per cent since the lockdown and is trading at a historically low valuation of 8.2x FY22E P/E (vs a 10-year average low of 19.0x) after factoring in concerns over promoter holding. Sun TV has fallen nine per cent and is trading at 11.4x FY22E P/E (vs a 10-year average low of 16.5x).

    Elara also revised its rating to Buy from Accumulate on Zee with a lower TP of Rs 270 from Rs 350 based on 15x (from 17x) one-year forward P/E. It also upgraded its rating to Accumulate from Reduce on SUNTV with a lower target price of Rs 440 from Rs 510 based on 13.5x (unchanged) one-year forward P/E.

    The report added that these stocks can get to perform better in the near term until the lockdown is lifted if they are able to innovate by providing their own digital content on TV; doing an effective selection of old catalogue; and by enhancing their movie offerings.

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  • GEC non-primetime viewership gets 32% boost due to COVID-19 lockdown

    GEC non-primetime viewership gets 32% boost due to COVID-19 lockdown

    MUMBAI: In the second week of COVID-19 pandemic period, GECs witnessed 32 per cent growth in non-primetime viewership while it witnessed negative growth in the primetime slot. The overall growth of viewership in non-primetime slots surged by more than 70 per cent in India. The Hindi speaking market (HSM) witnessed 83 per cent growth in non-primetime slots whereas the south market witnessed 54 per cent growth.

    According to BARC India and  Nielsen’s second edition of ‘Crisis Consumption- An insights series into TV, smartphone and audiences’, Ramayan was all-time high among serials in Hindi GEC. The show was the highest-rated in urban and megacities which helped to garner the highest number in the evening slot on Sunday. Sunday’s evening slot garnered 51 million viewers with 6.6 per cent ratings

    In the non-primetime slot of morning 6 am to evening 6 pm, GECs witnessed 32 per cent growth. GECs in the HSM grew by 35 per cent in non-primetime slots and the south market grew by 29 per cent. Movies genre witnessed 108 per cent growth in the non-primetime slot. In HSM, movie genre grew by 129 per cent while in the south, it grew by 66 per cent.

    No doubt, news was the biggest gainer in the non-primetime slot as it grew by 344 per cent. In the HSM it grew by 385 per cent and in the south, it grew by 283 per cent. Kids witnessed 58 per cent growth in the non-primetime slot while HSM grew by 51 per cent and south by 70 per cent.

    Apart from GEC, movies, news and kids genres also witnessed growth in primetime. GEC viewership fell by 15 per cent in the primetime slot. In HSM, it witnessed negative growth of 23 per cent and in south negative growth of five per cent. In the primetime slot, news grew by 253 per cent, with HSM showing a growth of 260 per cent and south of 232 per cent. Kids grew by one per cent in the primetime slot and it grew by two per cent in the south market.

  • THE PASSION AND POWER OF THE IPL

    THE PASSION AND POWER OF THE IPL

    MUMBAI: No other sport generates as much excitement in India as does cricket. No other sport unites a nation of 1.3 billion more than cricket.

    The world’s most popular T20 cricket league – the IPL – also does the same trick, but it takes it to a different level. It splits the nation into several large tribes or cohorts who vociferously root for their individual teams in the hope their support will help their favourite lift the trophy and the prize money after two months of competition. 

    Stadiums wherever the matches are held fill up and an IPL ticket is a much sought after item as fans congregate wearing their team colours, waving pennants, donning wigs and sporting tattoos on their cheeks and foreheads. The roar that fills the air whenever the bowler runs up to deliver a ball is deafening. And it gets even louder when the batsman lofts it out of the ground. Or the leather hits the stumps. The stadium simply explodes.   

    They have a common cause. A common passion:  their love of cricket.

    When it comes to the IPL, age, gender, and time of day don’t matter. Men, women, the old and the young, children stay glued to their television sets. The IPL is the big glue. There were some interesting insights on how more youth are watching IPL during the IPL season than non-cricket content. Friends come together and raise a toast to their respective teams, shouting themselves hoarse either in pubs or restaurants or in the comfort of their homes. Much similarly, families come together and it becomes a part of their day where they huddle together and spend quality time.

    Last year, a leading publication also showcased an interesting infographic that clearly showed viewership of the league amongst women is on the rise, based on Broadcast Audience Research Council (BARC) data.  It reached 85 million women during prime time as compared to 48 million who watch GECs in the same time slot.  They also accounted for 47 per cent of the tournament’s audience, which is sizable though lower than males who make up 53 per cent. A recent study also showed that cricket is the biggest aggregator of women as audience and it has almost 300 million plus reach. This opens doors to various brands and companies who are looking for the right platform for their target groups. 

    The IPL draws in sponsors and advertisers year on year for obviously its large reach.  BARC data reveals that the IPL 2019 season attracted an audience of 462 million on TV with reach going up by 12 per cent. Total viewing was a mind-boggling 338 billion minutes and the OTT platform too attracted 300 million viewers with a peak concurrency of 18.6 million for the final. 

    It’s these reasons why the IPL with its fan craze and passion has proved to be one of the country’s largest marketing platforms. Heads of companies see it as an opportunity to showcase some out-of-the-box advertising, be creative in designing their brand associations and gain all the reach and eyeballs the league delivers. It’s this passion that marketers can capitalise on to make sports fans – and they number hundreds of millions – their brand fans. It makes eminent sense for savvy marketers to use the IPL to launch new brands or extensions, build product categories, as well as roll out salience and sustenance campaigns. 

    The league offers creative and innovative solutions that bring visibility to a brand. One of the better examples of the execution of this is what it did with the RP- Sanjiv Goenka group’s Too Yumm baked snacks campaign during IPL 2018 and IPL 2019. Says Too Yumm chief marketing officer Anupam Bokey : ”Unlike other media, IPL is a very well measured and researched event, which gives the brand great confidence to invest in it,” he reveals. “The league helps the brand to get an accurate ROI, as well as higher recall, compared to other genres”. (for more read: How Too Yumm Hit a Six with the IPL)

    Consider Byju’s. It generates 63 per cent of its ad GRPs from cricket, according to BARC data. The education app came on board as an associate sponsor of IPL 2019. 

    What sense does it make for an education app to partner with a sport? 

    You don’t have to dig too deep to look for the reasons. India and Indians have always had this romance and passion for education.  Both have only intensified recently. In a country that is undergoing drastic changes in terms of a shift towards a modern lifestyle with all the trappings thereof, families view education as a ticket to a high paying job that will help fulfill and achieve those aspirations. Ditto with cricket; it’s a game and a discipline that has captured India’s imagination. 

    Additionally, the blazing competitive nature of cricket requires cricketers to study opponents, improvise and learn new skills all the time, if they want to stay on top of their game. Byju’s aids families to educate their school-going children, helps them learn beyond school and even tool themselves with other skill sets. Hence, an association could only help Byju's. 

    The results showed:  its average daily downloads shot up 90 per cent plus after its IPL association. Research has shown that 95 per cent of those surveyed associate Byju’s with the IPL. 

    Auto industry newcomer MG Motor too successfully used IPL 2019 as a launchpad for the entry of its connected car into India in the competitive luxury sports utility segment. BARC data reveals that it banked heavily on news as a genre from February to the end of March 2019 to generate 50 per cent and 49 per cent of its 212 and 810 ad GRPs. Google Trends reveals that Its search index on the engine was hovering around 10-15 per cent during this period. 

    It shifted its spends almost entirely to sports from 30 March and continued doing so in April, May, June, and July 2019. And of course, a large part of it was on the IPL, followed by the cricket world cup.  It generated ad GRPs of 888, 417, 719 and 514 for those months respectively. But it's Google search index went up nine times over a 30-day average, peaking on 12 May at the time of the IPL final. 

    The impact was felt on MG Motor’s order books too, which jumped up to 20,000 bookings at a time when other brands were witnessing much less. Finally, awareness of the brand rose: it was 3.5 times higher amongst those who associate it with the IPL, leading to an overall improvement in its imagery parameters, according to Kantar Research. 

    Said MG Motor India president & managing director Rajeev Chaba at the time of the launch: “The MG Hector, as India's first internet car, has been built with a high level of localisation and comes power-packed with features, inside-out. As MG's first offering in India, the Hector demonstrates our commitment to provide the best cars to Indian customers, that they love and appreciate.”

    Even simple spot buy associations can work well. Online grocery delivery service Grofers took up this option during the last edition of the IPL.  The net result: it doubled its Google search activity; notched up a 4x increase in app downloads even as daily usage went up 22 per cent, according to data available with indiantelevision.com.  

    “We were normally advertising on Hindi GECs but then we thought that the response on Hindi GEC could have gone down during IPL. So we experimented with IPL with a small burst of advertising. We did get a bump up during that time,” Grofers co-founder AlbinderDhindsa had expressed to a publication sometime back. 

    Nuvoco Vistas Corp’s Duraguard (part of the Karsanbhai Patel-promoted Nirma Ltd) got onto the sponsorship bandwagon. However, it chose to associate as a features partner sponsoring spontaneous pushbacks and Super Sixes. The Super Sixes partnership was the more exciting one as it highlighted batsmen belting the ball out of the ground, no matter how well it was bowled to him. It is craftsmanship from the batsman at its best. The victory of bat over ball. And it’s a piece of content which is always something viewers want to watch. 

    The company has three principal cement brands—Duraguard, Duraguard Microfiber and Concrete. The objective of the IPL association was to raise awareness and recognition for the cement brands it acquired after its purchase of the erstwhile Lafarge India’s assets in 2016.

    And it worked extremely well. Search on Google for Duraguard went up by 30 per cent, and total awareness for it went up 3.4 times in research conducted in an exposed versus a controlled group. 

    The IPL is a big celebration because it demands the attention of this diverse nation. For its viewers, it's the perfect marketing platform and an opportunity for brands to connect with these audiences and convert them into brand fans. Various kinds of brands from FMCG to automobiles and fashion to electronics, everyone is a fan of this cricketing bonanza; and with the growing viewership in men, women, youth and the elderly – the league is only getting bigger. The passion for the sport and the brands, is what the power of IPL is all about!

    With the countdown to this year’s edition commencing, almost everyone is looking forward to another winning inning for the league once again

  • BARC week 42: Zee Telugu jumps to second position

    BARC week 42: Zee Telugu jumps to second position

    MUMBAI: In week 42 of BARC India ratings, Zee Telugu has jumped to second position in the Telugu space. Last week the channel was seen at fourth position. Apart from that regional space witnessed no major changes. The pecking order of channels in Bangla, Gujarati, Marathi, Tamil, Malayalam and Kannada remained unchanged. 

    ETV Telugu and Gemini TV moved one step down to third and fourth positions respectively. Star Maa, Zee Telugu, ETV Telugu, Gemini TV and Star Maa Movies were the top five Telugu channels.

    Telugu 

    Top five Bangla channels this week were Zee Bangla, Star Jalsha, Jalsha Movies, Zee Bangla Cinema and Sony Aath.

    Bangla 

    In Bhojpuri space Dabangg and Bhojpuri Dhamaka DISHUM exchanged their places at fourth and fifth positions.

    Bhojpuri 

    Colors Gujarati, Colors Gujarati Cinema, ABP Asmita TV9 Gujarati and VTV News were the top five Gujarati channels in week 42 of BARC India ratings.

    Gujarati

    No changes were observed in the pecking order of top five Kannada channels in week 42 of BARC India ratings.

    Kannada 

    In the Malayalam space, Zee Keralam and Surya TV exchanged their places at fourth and fifth positions; rest of the channels continued to hold their respective positions.

    Malayalam

    The pecking order of top five Marathi channels remained unchanged. Zee Marathi, COlors Marathi, Fakt Marathi, Star Pravah and Zee Talkies were the top five Marathi channels.

    Marathi

    In Tamil space, Sun TV, Star Vijay, Zee Tamil, KTV and Star Vijay Super were the top five Tamil channels in week 42 of BARC India ratings.

    Tamil 

  • Star Maa becomes no.3 GEC

    Star Maa becomes no.3 GEC

    MUMBAI: Star Maa’s recent launch of the 3rd edition of the show ‘Bigg Boss’ has propelled the growth of its viewership in the week 30 of BARC India’s Ratings. Bigg Boss Season 3 has opened with ratings of 17.9 TVR making it bigger than all previous seasons of the show. With the launch of Bigg Boss Season 3 in Telugu, Star Maa clocked 1108 GRPs, making it even stronger than before with a whopping ~75% lead over the next player in the market.

    Star Maa is way ahead of the other channels and the Star Maa network with its portfolio of channels is the biggest Telugu network with a humongous 30% market share. Star Maa today has 7 out of the top 10 shows of the market. At an all India level also Star Maa is among the top 3 channel brands of 2019. This lead has been consolidated on the back of a comprehensive lead across most dayparts and slots. This success is the result of multiple shows being deeply loved and appreciated by the Telugu viewers. Adopting to changing trends and tastes of audiences, every show has ensured audiences stay tuned to Star Maa.

    On the Bigg Boss Season 3 launch ratings host Actor Nagarjuna Said “Thank you all for the love shown to me and the show. Bigg Boss housemates undergo some life altering experiences and I am excited to be part of it. I have always tried new things and am enjoying this experience too. Looking forward to getting even closer to viewers and housemates in the coming weeks. "

    Star Maa Network Business Head Alok Jain said, “We are thankful to our viewers for all the love and affection they have showed us. We are also extremely thankful to Nagarjuna and all our partners who have worked over the last 6 months to make this mammoth project such a whopping success. We constantly push ourselves to bring unique storytelling that reflects contemporary lives of people. Our fiction characters are progressive and inspiring. Be it a girl who strives against color discrimination or an unwanted girl child who is born mute but communicates with passion and wins hearts. Each story and character are crafted differently hoping to touch a chord with our viewers. Star Maa is committed to focus on being the most loved and entertaining Telugu GEC channel.”

  • BARC week 26: Dangal TV retains leadership position in Hindi GEC

    BARC week 26: Dangal TV retains leadership position in Hindi GEC

    MUMBAI: There has been no major change in Broadcast Audience Research Council India (BARC) data for week 26 of 2019. While &TV emerged as the new player in the space of Hindi Urban GEC in week 25.

    Hindi GEC (U+R)

    Dangal TV retained its first position this week and Zee TV and Star Plus stood at second and third positions respectively. Sony Entertainment Television has moved up the ladder to fifth position replacing Sony Sab while Colors also came down to seventh position. Star Utsav has come back to the chart at 10th position replacing &TV.

    Hindi rural GEC

    In rural areas, Dangal TV, Big Magic, Zee TV and Star Plus continued to be in first, second, third and fourth positions respectively. Colors, Sony Sab, Sony Entertainment Television, Star Bharat, Sony Pal and Star Utsav also retained earlier positions.

    Hindi urban GEC

    In urban areas, Star Plus retained its leadership position and Zee TV its second position. Sony Entertainment Television emerged in the third position replacing SONY SAB. Colors, Star Bharat, Dangal, Big Magic, &TV and Sony Pal retained their fifth, sixth, seventh, eighth, ninth and tenth positions respectively as compared to the last week.

  • FTA channel adoption shoots up post TRAI tariff order implementation; pay channels dip

    FTA channel adoption shoots up post TRAI tariff order implementation; pay channels dip

    MUMBAI: Five weeks into the new TRAI tariff regime, there seems to be some shift in viewership patterns and consumer choices. According to Chrome LIVE data, pay channels witnessed a drop of 24 per cent from week 4 to week 9 in 2019. On the other hand, FTA channels saw a spike from 21 per cent to 26 per cent in the same time span.

    Prior to the implementation of the new tariff order (NTO), DPOs and broadcasters were mostly operating on a fixed fee model. However, the new regime is showing a significant impact on the channel reach, channel share, ratings of non-driver channels and the overall revenue.

    Major fluctuations were seen across national channels over the last couple of weeks including Hindi GECs which saw a drop ranging between 0.5 to 10 per cent for pay channels and 0.1 to 5 per cent for FTA channels.

    Some passable changes enumerated in week 7 by way of reversal of the impact on connectivity of channels – exponential loss on pay had somewhat reduced owing to multiple operators putting on channels as per the old package after having switched them off. The same has also had an effect on FTA which had seen a spike.

    The second week of NTO extension continued seizing changes at PAN India level which earlier was a 3 per cent gain for pay and 5 per cent gain for FTA channels in Chrome DM’s week 7 data which in week 8 changed to 5 per cent and 4 per cent gain respectively.

    Some more interesting changes as the NTO appendage concluded its third week on ground with pay channels registering a drop of 6 per cent owing to changes in channels’ connectivity across Free Dish and FTA gaining 2 per cent across the standard definition channels in Chrome DM week 9 data.

    The key to address these challenges for securing the correct revenue share amongst other things would entail consumer education, constant monitoring of consumer preferences and realignment of the bouquet packaging strategies taking into account consumer preferences.

    Under the new regime, consumers have the option of paying only for channels they want to watch and can drop other channels from their list and hence, the subscriber base will now solely depend on the communication between the DPOs and the end consumer, and in the event of any communication gap, the last mile consumer will not subscribe to the channels and these may result in significant erosion of subscriber base impacting the revenue of DPOs and the broadcasters.

  • Viacom18 continues period drama experimentation with ‘Jhansi ki Rani’

    Viacom18 continues period drama experimentation with ‘Jhansi ki Rani’

    MUMBAI: Viacom18 is not one to stay down after one fall. Recently, the network released a periodical historical drama Dastaan-E-Mohobbat on Colors but when it failed to grab eyeballs, it has swiftly decided to replace it with another in the same genre – Jhansi Ki Rani produced by Contiloe Pictures.

    Viacom18 Hindi mass entertainment and kids TV network head Nina Elavia Jaipuria said, “The show Dastaan-E-Mohobbat didn’t click very well. Since we are in the business of entertainment, there comes a time when viewers embrace us and sometimes they don’t. Therefore, we learnt from our past and moved on to new things because entertainment is all about finding the right viewers and finding the right content for them. So, unfortunately, it didn’t do really well for us and it’s off-air right now.”

    The new tariff regime was also likely to impact broadcasters. Jaipuria said that it puts the control of choice squarely in the hands of the viewer. She added that the second benefit of this regime is that it brings in the much-needed transparency into the system, with under-reporting promising to become a thing of the past. “As business becomes more streamlined and transparent, I feel the process of content creation, curation and distribution will significantly improve. Interestingly, the future for the broadcasters will now undergo a subtle yet tectonic shift – from networks bundling and pushing channels to consumers, it will become consumers pulling in channels that they want to watch. This, I believe, in the mid-long term will lead to content quality dialling up even further,” she added.

    Most broadcasters bundled their long-tail channels with their best ones to increase uptake. While it is likely that these channels will suffer, Jaipuria doesn’t think so. According to her, niche channels will not be affected. “While Nick is number one and Sonic is not, that doesn’t mean Sonic can’t make it. Sonic has Shiva. Kids who love Shiva will anyway watch it. I think it is not about the platform but it is about the loyalty and the shows you have today.”

    Meanwhile, two big national events are coming up – IPL and Elections, which may hamper viewership of Hindi GECs. Jaipuria said, “What happens in any country when there is large mass viewership, there is one television household and the viewership time gets divided. But like I told you that the power of content is so much that there is no viewer who is going to stay without television for 2 months and without their characters. It’s the eleventh IPL and Hindi GECs have always done well. It is not that people stop watching GECs. So to my mind, there will be a little division of time and little more time given to different genres of channels. But people will not stop watching their favourite shows and characters.” She is confident that Viacom18 has a very strong line up and there’s no reason that it will be losing viewership on the channels.