Tag: New Tariff Order

  • Colors’ streak as most-watched pay Hindi GEC across genres continues

    Colors’ streak as most-watched pay Hindi GEC across genres continues

    BENGALURU: Network18/Viacom18’s flagship Hindi GEC Colors became the most watched Hindi GEC on the pay platform across genres in week 2 of 2019. The channel continued its most watched pay Hindi GEC channel across genres streak in week 7 of 2020 (Saturday, 15 February 2020 to Friday, 21 February 2020, period or week under review) according to Broadcast Audience Research Council of India (BARC) weekly data for the top 10 channels across genres on all platforms and top 10 pay channels across genres. Hence week 7 of 2020 was the sixth consecutive week that the channel was the most watched pay Hindi GEC across genres. It must be noted that Enterr10 Television’s free-to-air (FTA) Hindi GEC Dangal continued its run as the most watched channel across genres on all platforms as well as on the FTA platform.

    All the 10 channels in BARC’s weekly list of top 10 pay channels across genres on all platforms in week 7 of 2020 were GECs. Six were Hindi, two were Telugu and there was one channel each from the Kannada and Tamil genres. There were three channels from Zee Entertainment Enterprises Ltd (Zeel), two channels each from Sony Pictures Network India (SPN) and Star India and one channel each from Enterr 10 Television, the Sun Tv Network Ltd and Network18/Viacom18. Nine of the most channels were on the pay platform, while one was FTA. 

    Please refer to the chart below:

    Top 10 Pay channels Across Genres

    As mentioned above, Colors was the most watched pay Hindi GEC across genres per BARC weekly data for top 10 pay channels across genres in week 7 of 2020. BARC commenced publishing data in the public domain of the top 10 pay channels across genres in week 35 of 2020. During the 19 weeks of 2019 for which data was publicly available, the first two ranks in BARC’s weekly pay TV across genres lists were generally held by Tamil and Telugu GECs. Colors has broken that trend in 2020 – the two most watched channels in the country were Tamil and Hindi GECs. The Sun Tv Network’s flagship Tamil GEC Sun TV was the most watched pay channel across genres in week 7 of 2020.

    Nine of the channels were GECs while one channel was from the kids’ genre in BARC weekly list of top 10 pay channels across genres in week 7 of 2020. There were five Hindi GECs, two Telugu GECs and one channel each from the Kannada GEC, kids and Tamil GEC genres in BARC’s weekly list of top 10 pay channels across genres in week 7 of 2020. From the networks’ perspective, there were three channels from Zeel, two channels each from SPN, Star India and Viacom18 and one channel from the Sun Tv Network  in BARC’s weekly list of Top 10 Pay channels Across genres in week 7 of 2020 were same as in the previous week with some shuffling of ranks. ETV Telugu, the Viacom18 associated Telugu GEC exited the list in week 7 of 2020 and was replaced by a kids channel from its own network – NICK. Please refer to the chart below:

    Top 10 Free channels Across Genres

    Dangal and Zeel’s Hindi GEC Big Magic continued to be the most watched free channels in BARC’s weekly list of top 10 free channels across genres in week 7 of 2020 at ranks one and two respectively. Nine of the channels in BARC’s FTA across genres list in week 7 of 2020 were the same as in the previous week. Zeel’s Zing exited the list while its recently launched Bhojpuri channel Zee Biskope entered. 

    There were four channels from Enterr10 Television and three channels each from B4U Network and Zeel. Four of the channels were Bhojpuri, three were Hindi movies, two were Hindi GECs and there was one channel from the Marathi genre in BARC’s weekly list in week 7 of 2020. Please refer to the chart below:


     

  • NTO 2.0 will not have much impact at consumer level: Shaji Mathews

    NTO 2.0 will not have much impact at consumer level: Shaji Mathews

    MUMBAI: Even as stakeholders have moved courts against Telecom Regulatory Authority of India’s (TRAI) amendment of the New Tariff Order (NTO), analyst and consultant Shaji Mathews feels that it will not have any significant effect on the existing system. “I don’t think NTO 2.0 will have much effect on the consumer either, because whatever changes and choices consumers were to make, happened during the NTO 1.0 implementation. Once the legal battle on NTO 2.0 is over, the MSOs will implement it at the consumer level with cautiousness. They won’t disrupt the system,” says Mathews, who previously held positions as the VP of Star TV, COO of GTPL and CEO of KCCL.   

    According to him, NTO 1.0 was expected to remove discriminatory agreements which were imposed by broadcasters and create a level-playing field for small MSOs as well. “For that TRAI brought in the MRP regime, which was uniform pricing across the country for the consumers and transparent margins for the distribution platforms, whether they are small or big,” he says. It was expected that the MRP system will push broadcasters to bring consumer-friendly pricing, enabling consumers to avail a multitude of channels of their liking within the rates they were paying.

    “In the process, what happened was that consumers who were expecting to go a-la-carte found themselves at the receiving end because broadcasters basically priced the channels in such a way that they can defeat the whole purpose of the NTO itself,” he points out. 

    Now, by bringing in MRP regime, TRAI is expected to make it easy for consumers to choose channels based on prices.

    It also brought in certain regulations, on bouquet pricing, that the discount in pricing should not be more than 15 per cent. But while implementing, that was removed from the regulation and was kept in abeyance because of the remark of the Madras High Court. However, in the legal battle at Supreme Court, the remark made by the SC prompted the regulator to go approach the Supreme Court for a decision on the 15 per cent. But the apex court threw it back to TRAI and asked it to take steps which were within TRAI’s powers.

    In that scenario, he says that TRAI had to come out with NTO 2.0 wherein some regulations related to a-la-carte rate and bouquet rate had to have interlinked logics. And TRAI stepped in to clear the anomalies which were there in NTO 1.0.

    According to him, the consumers are not bothered about all these things. They want convenience. “I don’t share the views of TRAI and many other stakeholders that the consumer is so bothered about his freedom to choose on an a-la-carte basis. There are 800 channels in this country. In the NTO 1.0 regime, when broadcasters brought out the bouquets, there was no limit on the number of bouquets you could make. There were about 500 packages to choose from, and the consumers were frustrated. There is no point in forcing a-la-carte on consumers; they don’t really bother about whether it is a-la-carte or bouquet. They are bothered only about convenience, getting to watch their favourite channels, and they don’t want to pay too much. All these three were disrupted by the NTO. The consumer was not in a position to choose from too many packages and too many a-la-carte options.”

    Broadcasters, on their part, jacked up the prices, he said. All these went against the consumer requirements, resulting in a lot of them reducing their stickiness to watching TV. According to him, the cable industry lost around 10 to 15 per cent subscribers because of NTO.

    “It is not necessary that these consumers migrated to DTH. They did not go to OTT or YouTube, either. In fact, a lot of consumers did not go anywhere. They may come back to the system over a period of time. They have other priorities in life. They were like, let it be. That was the effect of NTO,” says Mathews. 

    He is certain that there won’t be much of a change in the case of NTO 2.0.

    “What I expect is that broadcasters will come out with revised prices. Having learned lessons from the implementation of the NTO, MSOs will not disrupt the system this time. If broadcasters reduce the prices, I think MSOs will give more channels to the consumers for the same price.  I don’t see the possibility of broadcasters increasing the prices, except in one or two cases. Some of the broadcasters are very aggressive in their stand. As regulator has come up with the Rs 12 pricing cap, some aggressive broadcasters might remove their channels from the bouquet,” he explains.

    Asked about the broadcasters’ complaint that their freedom to price has been curtailed by the NTO, he said: “Their freedom to price is there; only their freedom to bundle has been restricted. Their charges with regard to the loss of control over the pricing won’t stand. Broadcasters are making a fuss on this because it is their strategy of ensuring that the outcomes are advantageous for them.”

    On the question of TRAI’s authority to fix price cap, Mathews answers that the cap is only on the bundled channels, not on any other channels.

    He is also sure that none of the distribution platforms will create any disruptions under the NTO 2.0 regime. According to him, during NTO 1.0 the platforms went a little overboard in implementation. “So this time they will definitely not do anything disruptive. They will proceed cautiously. There will not have the same kind of disruption as we witnessed during NTO 1.0,” he states.

  • IMCL’s Vynsley Fernandes on NTO changes, tech improvements and staying relevant

    IMCL’s Vynsley Fernandes on NTO changes, tech improvements and staying relevant

    MUMBAI: In the last couple of years, streaming services have emerged as a big challenge to traditional cable distributors while the business model has changed too owing to the new tariff order (NTO). Amid the flux, upgrading the existing structure, technology and strategy has become necessity to stay relevant. At the commemoration of the twenty fifth anniversary celebration, IndusInd Media and Communications Ltd (IMCL) unveiled a new mnemonic logo #IamNXT25. As a part of the celebration, the company is launching many new products and solutions to stay relevant in the game.

    As IMCL CEO Vynsley Fernandes summarises, “So everything we do from now is how do we stay relevant and how do we grow and how do we become a brand new generation for the next 25 years.” He adds that a better integration of IMCL’s four products – digital cable, Headend-In-The- Sky (HITS), broadband business and entertainment content will be noticeable. Citing an example, he says IMCL has launched a combination product of HITS and broadband in Hyderabad.

    IMCL’s intra and inter collaborative strategy going forward:

    Talking to Indiantelevision.com, Fernandes also speaks about how IMCL strikes the balance between HITS and digital cable. He says that while the former helps IMCL in remote areas, the latter keeps reigning in high density cities. He cites the example of Andaman and Nicobar Islands, where HITS is a great solution and IMCL has close to 20,000 customers there. Moreover, it is looking at offering customers cable or HITS in their individual terrains coupled with broadband services.

    In a unique model, IMCL has also collaborated with some very large MSOs in India including its competitors who are keen to leverage HITS technology. Under the ‘managed service model’, they will use the technology in the remote areas as a delivery mechanism. While IMCL currently has 5 million subscribers, it has signed managed services agreements for another 5 million customers.

    “We have crossed 50 cities already as we speak. And while broadband has continued to grow and has a significant growth, it will get a renewed thrust in this combo package. Because wherever we go, wherever we have HITS or digital cable, we are bundling our broadband service with it so that will carry more traction. So, while we may not necessarily look at radically growing beyond 50 cities or 50 towns, we are looking at increasing the penetration of our broadband within those 50 cities and towns by bundling it with either with digital cable or HITS,” Fernandes comments on broadband expansion.

    Talking on technological investments, he adds that IMCL has just completed satellite migration moving from Vikon 5 to Intelsat 39. He also adds that IMCL is now on a new technology, 32 APSK. He says that the focus is on ensuring not just investments in new technology, but investments in cutting edge future-proof technology.

    Did IMCL lose consumers during NTO 1.0?

    “I think it would be incorrect to say that our growth in revenues and ARPU is only to do with NTO. We have been building our capabilities and our model year-on-year to meet our promoter’s vision for the future. The group envisaged the need for another cutting-edge platform that could reach phase 3 and 4 markets, and HITS (headend-in-the-sky) was the only way to do this and we launched our HITS services in 2015,” he comments on NTO 1.0’s effect on financial stability.

    “We also were the first MSO to move to prepaid billing of both operators and subscribers. This was a huge challenge in a market used to postpaid transactions, yet we realised that this is where ultimately the industry would have to get to in order to survive. This transition caused us some churn but helped us towards improving our financial stability,” he adds.

    He mentions that IMCL was one of the first MSOs to launch mobile and web applications to help operators and subscribers activate and interact with its platforms more easily. It even migrated to 16APSK modulation on the HITS satellite in order to be able to add more channels within the existing satellite capacity without increasing costs.

    He accepts that IMCL lost subscribers in the new regime like other DPOs but he claims their churn rate was less than that experienced by others. Firstly, he mentions that IMCL engaged with partners, cable operators/distributors, early on, way before implementation of NTO 1.0, in November 2018 – to help them understand what NTO was all about and how it needed to be implemented. IMCL conducted around 150 workshops and training sessions all across India as it felt it was important for all stakeholders to understand and grasp the changes taking place.

    IMCL ensured that everyone was ready and knew how to create packages, bundles, what types of questions subscribers were likely to ask. He says they were, therefore, ready on the ground for handling the shift to the NTO regime.

    “Secondly, the technology we had implemented allowed us to be able to cater to subscribers’ requirements. One important thing about NTO was the whole concept of allowing the customer to choose what he wants to watch and paying only for that. Whilst we did create our own packages to help subscribers, these only have a penetration of around 18 per cent in HITS. The other 82 per cent of our subscribers opted to select their own choice of broadcaster bouquets and ALC. This capability to allow the consumer to effect their choice was one of the key reasons for customer satisfaction and therefore reduced churn,” he states.

    What does IMCL expect from NTO 2.0 and how are they preparing?

    From a DPO perspective, he does not think there'll be significant changes with the implementation of NTO 2.0. Overall, it is effectively tweaks to the NTO 1.0 framework including multi-home TV, right pricing etc, as he says. According to him, there is logic in putting in regulations for multi-homes as this was not included in original regulations. He hopes that it can now use this to help claw back some of the customers it had lost during NTO 1.0 who had relinquished their 2nd and 3rd TVs at home.

    He is also of the view that there will be no significant revenue changes if broadcasters reduce channel prices. He thinks that the more the prices of content drop, the more customers are likely to increase their viewing of content and add their 2nd/3rd TVs to their homes again, many of which were discontinued when transitioning to the NTO regime. He believes that revenues could possibly increase as customers expand their portfolio of channels.

    Fernandes notes that with respect to NTO 2.0, perhaps the key driver is technology-readiness and communications. “Our technology is completely ready if we have to provide new bundles, packaging and pricing. Our systems are effectively already delivering such requirements. We’ve deployed systems from global leaders in pay-TV technology and that are being used by some of the largest platforms in the world. So for us to be able to make a transition, however small or significant, we're ready for it,” he comments.

    “From a communications perspective, we work very closely with our business partners and our local cable operators. They have all played a significant and critical role in helping us to implement NTO 1.0.  Our success has not been because of us directly marketing to subscribers, but because our business partners and LCOs are able to reach and educate customers personally. We would use the same mechanism all over again because we've seen it to be very successful,” he signs off. 

  • TRAI directs broadcasters, DPOs to publish updated NTO 2.0 prices

    TRAI directs broadcasters, DPOs to publish updated NTO 2.0 prices

    MUMBAI: The Telecom Regulatory Authority of India (TRAI) has asked broadcasters and distribution platform operators (DPOs) to take necessary steps to ensure a smooth rollout of the amended new tariff order from 1 March. Both broadcasters and distribution platform operators (DPOs)  have also been directed to publish required information on their website to provide consumers sufficient time to exercise their choice of channels and bouquets before the implementation.

    After TRAI came out with the amendments to the new price regime, stakeholders across the industry raised voice against that. There are several petitions pending in the high courts challenging the order. However, the latest directive from TRAI reaffirms that it is firm on rolling out the order.

    The authority also stated that many broadcasters have neither reported nor published the requisite information regarding the changes. It also added that it has been observed from the information available on the websites of many broadcasters that most of the existing bouquets of pay channels are not in compliance with the provisions of the amendments.

    TRAI also pointed out that quite a few DPOs have also not published the required information on their website nor composition of new bouquets compliant to the changes.

    “Further, to ensure that consumers at large are kept fully appraised, all concerned are required to ensure that information about all such existing bouquets which do not conform to the provisions of Tariff Order 2020 and which shall not be available for the consumers on or after 1st March 2020 may be suitably indicated on their website,” TRAI stated.

  • Colors continues as most watched pay TV Hindi GEC across genres

    Colors continues as most watched pay TV Hindi GEC across genres

    BENGALURU: Network18/Viacom18’s flagship Hindi GEC Colors had climbed up to rank 3 in Broadcast Audience Research Council of India (BARC) weekly list of Top 10 Channels Across Genres on All Platforms in week 3 of 2020 (previous week or period). Colors is a pay TV channel. Enterr10 Television’s free-to-air (FTA) Hindi GEC Dangal had regained top spot after a short hiatus of one week from the Sun Tv Network’s flagship Tamil GEC Sun TV in the previous week.The same ranking status continued on in week 4 of 2020 (Saturday, 25 January 2020 to Friday, 31January 2020, week or period under review). Hence Colors was the most watched pay TV Hindi GEC in week 4 of 2020 for the second week in a row.

    As a matter of fact, the first seven ranks during the period under review in BARC’s top 10 channels across genres on all platforms weekly list were the same in rank and file as in the previous week. Sony Pictures Network India (SPN) pay TV flagship Hindi GEC Sony Entertainment Television (SET) pushed up one place to eighth rank in week 4 of 2020 from week 3, while Zee Entertainment Enterprises Limited (Zeel) flagship Kannada GEC Zee Kannada dropped a place to ninth rank. Viacom18’s kids channel Nick exited BARC’s weekly across genres on all platforms list in week 4 of 2020 and was replaced by Zeel’s Hindi Movies channel Zee cinema.

    Six Hindi GECs’ and one channel each from the Hindi Movies, Kannada, Tamil and Telugu genres made up BARC’s Top 10 Channels Across Genres on All Platforms in week 4 of 2020. There were three channels from Zeel, two channels each from SPN and Star India and one channel each from Enterr 10 Television, Sun Tv Network and Viacom18/Network18 in the list in week 4 of 2020. Nine of the channels were on the pay platform and one channel was FTA.
    The combined ratings of the Top 10 Channels Across Genres on All Platforms in week 4 of 2020 were lower than those of the previous week.

    Please refer to the figure below:

    Top 10 Pay Channels Across Genres in week 4 of 2020

    Sun TV continued its run as the most watched pay channel in week 4 of 2020. It topped BARC’s weekly list of Top 10 Pay Channels Across Genres in week 4 of 2020. The first six ranks in week 4 of 2020 were the same as in week 3. SET climbed to eighth rank, while Zee Kannada dropped to ninth rank in week 4 of 2020 as compared to the previous period. Viacom18’s Nick was replaced at tenth rank by Zee Cinema during the period under review.

    Five Hindi GECs’, two Telugu GECs’ and one channel each from the Hindi Movies, Kannada and Tamil genres comprised BARC’s weekly list of Top 10 Pay Channels Across Genres in week 4 of 2020. There were three channels from Zeel, two channels each from SPN, Star India and Network18/Viacom18 and one channel from the Sun Tv Network in BARC’s weeklylist of Top 10 Pay Channels Across Genres in week 4 of 2020. The combined ratings of the Top 10 Pay Channels Across Genres in week 4 of 2020 were lower than those of the previous week.

    Top 10 Free Channels Across Genres in week 4 of 2020

    The first 4 channels in BARC’s weekly list of Top 10 Free Channels Across Genres in week 4 of 2020 were the same as in the previous week. Enterr10 TV’s Bhojpuri channel Bhojpuri Cinema jumped up three places to fifth rank during the week under review from its previous week’s eighth position. Zeel’s Music channel Zing entered the list at ninth rank, while pubcasterDoordarshan’s Sports channel DD Sports exited BARC weekly list of Top 10 Free Channels Across Genres in week 4 of 2020. 

    Four Bhojpuri channels, two channels each from the Hindi GEC and Hindi Movies genres and one channel each from the Marathi and Music genres made up BARC’s weekly list of Top 10 Free Channels Across Genres in week 4 of 2020. From the network’s perspective, there were four channels each from Enterr10 Television and Zeel and two channels from B4U network in the list in week 4 of 2020. Top 10 Free Channels Across Genres in week 4 of 2020.

    Of note was Zeel’snew Bhojpuri channel Zee Biskope – the channel retained its place and rank in its second week since coming under BARC’s ambit.

    Please refer to the chart below:


     

  • Gujarat High Court accepts plea against TRAI NTO 2.0 amendments

    Gujarat High Court accepts plea against TRAI NTO 2.0 amendments

    MUMBAI: The empire strikes back even as TRAI has been rubbishing news that NTO 2.0  is detrimental to the industry and will put the brakes on it. Despite repeated representations from different bodies, TRAI is sticking to its guns on imposing pricing regulations. Now the industry is fighting back.

    A spate of cases has been filled in different courts in a bid to turn TRAI and the government to its point of view. Earlier broadcasters have appealed at the Bombay and Madras High Courts and now they have filed a petition in the Gujarat High Court. Sources say that a few more petitions will be filed in different courts.

    The Gujarat High Court accepted a petition filed by broadcasters challenging the new tariff order for the broadcast sector by TRAI. Hearing the petition, Justice AY Kogje of the Ahmedabad bench of the Gujarat High Court issued notices to the Union of India and TRAI, asking them to file replies by 3 February, failing which the high court would grant interim relief to the petitioners.

    Petitioners named Somabhai Makwana, Nidhi Jani, Bharat Thakore, and Falguni Shah in their petition have stated that the tariff order issued by the regulatory body is beyond the powers under Section 11(2) of the TRAI Act and is conflicting with the provisions of Cable Television Networks (Regulation) Act, 1995.

    On 1 January this year, TRAI had issued amendments to its tariff order for the broadcast sector, which received huge criticism from broadcasters and distribution operators alike.

    According to the petitioners, fixation of the network capacity fee (NCF) of Rs 130 per month per subscriber is not based on any intelligible material, and the criteria for determining the proposed amount lacks transparency.

    The case is ongoing in the Bombay High Court as well. In the previous hearing held on 14 January, the Bombay HC bench consisting of Justice SC Dharmadhikari and Justice RI Chagla had directed TRAI to file a reply in one week. They, in fact, had also refused to put a stay on the amendments pertaining to the new regulatory framework.

    Key amendments proposed by the broadcasters include the reduction of MRP cap to Rs 12, implementation of twin conditions on bouquet pricing, and other being the discount on channel bouquets to around 33 per cent.

    Earlier, Sun TV Network moved Madras High Court challenging the amendments to the new regulatory framework. The case  will be heard on 4 February. Hearing the matter, the division bench of Chief Justice Amreshwar Pratap Sahi and Justice Subramonium Prasad also issued notices to the Union of India and TRAI.

  • Sun TV regains most watched channel across genres top spot

    Sun TV regains most watched channel across genres top spot

    BENGALURU: The Sun TV Network’s flagship Tamil GEC Sun TV was ranked first in Broadcast Audience Research Council of India (BARC) weekly list of Top 10 Channels Across Genres on All Platforms in week 2 of 2020 (Saturday, 11 January 2020 to Friday, 17January 2020, week or period under consideration). This was the first time in 2020 and the first time since week 36 of 2019 that the channel regained what was its regular top spot during earlier periods before the implementation of Telephone Regulatory Authority of India (TRAI) New Tariff Order (NTO).

    Five Hindi GECs’, two Telugu GECs, and one channel each from the Kannada, Kids and Tamil genres made up BARCs’ weekly list of Top Channels Across Genres on All Platforms in week 2 of 2020. From the network’s perspective there were three channels from Star India, two channels each fromViacom18/Network18 and Zee Entertainment Enterprises Limited (Zeel) and one channel each from Enterr 10 Television, Sony Pictures Network India (SPN) and the Sun Tv Network. Nine of the channels were pay TV and one channel, ranked second – Dangal, was free to air (FTA).

    Dangal, which was ranked first since week 37 of 2019 and even earlier, dropped a place to second rank during the week under review.

    Please refer to the figure below: 

    Top 10 Pay Channels Across Genres in week 2 of 2020

    As has become a norm, the top two pay channels in week 2 of 2020 were not Hindi GECs, they were a Tamil GEC and a Telugu GEC at ranks one and two respectively. Star India’s flagship Telugu GEC Star Maa replaced its network sibling Hindi GEC Star Plus at rank 2 in BARC’s weekly list of Top 10 Pay Channels Across Genres in week 2 of 2020. 

    Five Hindi GECs’, two Telugu channels and one channel each from the Kannada, Kids and Tamil genres were present in BARC’s weekly list of Top 10 Pay Channels Across Genres in week 2 of 2020. There were three channels from Star India, two channels each from SPN, Viacom18 and Zeel and one channel from the Sun Tv Network in the top 10 list during the period under consideration.

    Please refer to the list below:

    Top 10 Free to Air Channels Across Genres in week 2 of 2020

    Three channels from the Hindi Movies genre, two channels each from the Bhojpuri and Hindi GEC genres and one channel each from the Marathi, Music and Sports genres made BARC’s weekly list of Top 10 Free to Air Channels Across Genres in week 2 of 2020.  The nail biting India-Australia T20 cricket series has helped increase viewership of DD Sports, bringinr it into the fold of top 10 FTA channels across genres list during the past few weeks. Four of the channels were  from Enterr 10 Television network, three channels from Zeel, two channels from B4U and channel from pubcaster network Doordarshan in BARC’s weekly list of Top 10 Free to Air Channels Across Genres in week 2 of 2020. Please refer to the figure below:


     

  • Hindi GEC & Southern channels evenly matched across genres as TV viewership drops

    Hindi GEC & Southern channels evenly matched across genres as TV viewership drops

    BENGALURU: Southern languages channels shared equal space in Broadcast Audience Research Council of India (BARC) weekly list of Top 10 Channels on All Platforms Across genres list with Hindi GECs in week 50 of 2019 (Saturday, 7 December 2019 to Friday, 13 December 2019, week or period under review). In the meantime, TV viewership dropped to 13.8 billion weekly impressions in week 50 of 2019 from 14.2 billion in the previous week. 

    Overall TV and OTT weekly viewership according to BARC data declined 2.8 percent to 14 billion weekly impressions during the period under review from 14.4 billion impressions reported in week 49 of 2019. The Top 10 Pay Channels Across genres incurred a higher loss than the Top 10 Free to Air (FTA) Channels Across Genres did in week 50 of 2019 as compared to week 49, as their respective chartswhich follow in this paper will demonstrate.

    Please refer to the chart for TV and OTT viewership for week 49 and 50 of 2019: 

    Top 10 Channels on All Platforms Across Genres

    There were five channels each from Hindi GEC and three South Indian languages in Broadcast Audience Research Council of India (BARC) weekly list of Top 10 Channels on All Platforms Across genre for week 50 of 2019 as mentioned above. There were two channels each from the Tamil and Telugu genres and one channel from the Kannada genre in the top 10 across genres on all platforms weekly list for week 50 of 2019.

    There were three channels from Zee Entertainment Enterprises Limited (Zeel), two channels each from Star India and Network18/Viacom18 and one channel each from Enterr 10 Television, Sony Pictures Network India (SPN) and the Sun Tv Network in BARC’s weekly list of Top 10 Channels on All Platforms Across genre for week 50 of 2019.

    Nine of the channels in the across genres on all platforms list in week 50 of 2019 were same as in the previous week with some shuffling of ranks. Star India’s Tamil GEC Star Vijay exited the list in week 50, while the Network18 associated Telugu GEC ETV Telegu reentered the weekly list. One channel, the most watched one – Dangal TV was free to air (FTA), while the other nine were on the pay TV platform.

    The Top 10 Channels on All Platforms Across Genres recorded weekly impressions of 6.655 billion in week 50 of 2019, 3.4 percent lower than the 6.887 million weekly impressions in week 49.

    Please refer to the figure below:

    Top 10 Pay TV channels Across Genres

    It was the three South Indian languages channels that dominated BARC’s weekly list of Top 10 Pay Channels Across Genres in week 50 of 2019 in terms of viewership. There were five channels – two each from the Tamil and the Telugu and one from Kannada genres in BARC’s weekly list of Top 10 Pay Channels Across Genres during the period under review. Besides the five South Indian channels, there were four Hindi GEC’s in BARC’s weekly list of Top 10 Pay Channels Across Genres in week 50 of 2019. The combined weekly impressions of the five South Indian channels was 3.099 billion weekly impressions, 9.7 percent more than the 2.826 billion weekly impressions of the Hindi GECs’ in week 50 of 2019. In week 49 of 2019 (previous week), there were six South Indian languages channels and four Hindi GECs’ in BARC’s weekly list of Top 10 Pay Channels Across Genres.  

    Further, as has been the case over the past few weeks, the most watched pay channels were not Hindi GEC – they were Tamil and Telugu GECs’ at ranks one and two respectively in the list. 

    Nine of the channels in the weekly pay TV across genres list in week 50 0f 2019 were same as in the previous week with a slight shuffling of ranks. SPN’s flagship Hindi GEC Sony Entertainment Television or SET reentered the list on the exit of Star India’s Tamil GEC Star Vijay. There were three channels fromZeel, two channels each from Network18/Viacom18, SPN and Star India and one channel from Sun Tv Network in BARC’s weekly list of Top 10 Pay Channels Across Genres in week 50 of 2019.

    As mentioned above, the Top 10 Pay Channels Across Genres lost viewership in week 50 of 2019 as compared to week 49. The combined viewership of the Top 10 channels in week 50 of 2019 was 5.925 billion weekly impressions, 4.1 percent lower than the 6.178 billion weekly impressions in week 49.

    Please refer to the chart below

    Top 10 Free channels Across Genres

    Nine channels in BARC’s weekly list of Top 10 Free to Air Channels Across Genres in week 50 of 2019 were the same as in the previous week with slight changes in the ranks. SkyStar’s Hindi Movies channel ABZY Movies exited the list in week 50 of 2019 to be replaced by Doordarshan’s sports channel DD Sports, now that the one day series between India and West Indies is being played. 

    There were three channels each from Enterr 10 Television, the B4U Network and Zeel and one channel from Doordarshan in BARC’s weekly list of Top 10 Free Channels Across Genres for week 50 of 2019. There were three channels from the Hindi Movies genre, two movies each from the Bhojpuri and the Hindi GEC genres, and there was one channel each from the Marathi, Music and Sports genres in week 50 of 2019 in the free channels across genres weekly list.

    The combined viewership of the Top 10 Free Channels Across genres in week 50 of 2019 dropped 1.7 percent to 2.348 billion weekly impressions as compared to 2.388 billion weekly impressions in the previous week.

    Please refer to the chart below:

  • BARC Week 49: Across genres list shared equally by Hindi and South Indian GECs

    BARC Week 49: Across genres list shared equally by Hindi and South Indian GECs

    BENGALURU: There were five channels each from Hindi GEC and three South Indian languages in Broadcast Audience Research Council of India (BARC) weekly list of Top 10 Channels on All Platforms Across genre for week 49 of 2019 (Saturday, 30 November 2019 to Friday, 6 December 2019, week or period under review). There were three channels from the Tamil genre and one channel each from the Kannada and Telugu genres in the top 10 across genres on all platforms weekly list for week 49 of 2019.

    There were three channels each from Star India and Zee Entertainment Enterprises Limited (Zeel) and one channel each from Enterr 10 Television, Sony Pictures Network India (SPN), Sun Tv Network and Viacom 18 in BARC’s weekly list of Top 10 Channels on All Platforms Across genre for week 49.

    Eight of the channels in the across genres on all platforms list in week 49 were same as in the previous week. Zee’s Tamil channel Zee Tamil Star India’s Tamil GEC Star Vijay reentered the weekly list at the cost of SPN’s flagship Hindi GEC Sony Entertainment Television  (SET) and the Network18/Viacom18 associated Telugu GEC ETV Telugu. The first seven channels in BARC’s weekly list of Top 10 Channels on All Platforms Across genre for week 49 of 2019 were same in rank and file. Zeel’s Zee Kannada climbed up a place in week 49 to eighth rank in week 49 from ninth place in the previous week. One channel, the most watched one – Dangal TV was free to air (FTA), while the other nine were on the pay TV platform.

    Please refer to the figure below:

    Top 10 Pay TV channels Across Genres

    It was the three South Indian languages channels that dominated BARC’s weekly list of Top 10 Pay Channels Across Genres in week 49 of 2019. There were six channels – three from Tamil, two from Telugu and one from Kannada genres in BARC’s weekly list of top 10 pay channels across genres during the period under review.Besides the six South Indian channels, there were four Hindi GEC’s in BARC’s weekly list of Top 10 Pay Channels Across Genres in week 49 of 2019.

    Nine of the channels in the weekly pay TV across genres list in week 49 0f 2019 were same as in the previous week with a slight shuffling of ranks. SET exited the list and was replaced by Star India’s Tamil GEC Star Vijay. There were three channels each from Star India and Zeel, two channels from Network18/Viacom18 and one channel each from SPN and Sun Tv Network in BARC’s weekly list of Top 10 Pay Channels Across Genres in week 49 of 2019.

    As has been the case over the past few weeks, the most watched pay channels were not Hindi GEC – they were Tamil and Telugu GECs’ at ranks one and two respectively in the list.

    Please refer to the chart below:

    Top 10 Free channels Across Genres

    Top 10 Free to Air Channels Across Genres

    The first nine channels in BARC’s weekly list of Top 10 Free to Air Channels Across Genres in week 49 of 2019 were the same as in the previous week with slight changes in the ranks. Enterr 10 Television’s Hindi Movies channel Enterr 10 exited the list in week 49 of 2019 to be replaced by Zeel’sMusic channel Zing.

    There were three channels each from Enterr 10 Television, the B4U Network andZeel and one channel from SkyStarin BARC’s weekly list of Top 10 Free Channels Across Genres for week 49 of 2019. There were three channels each from the Hindi Movies  and the Bhojpuri genres, two were Hindi GECs’ and there was one channel each from the Marathi and Music genres in week 49 of 2019.

    Please refer to the chart below:

    Television viewership went up by 0.2 million weekly impressions in. week 49 of 2019 as compared ton week 48 while OTT viewership remained the same at 0.2 billion weekly impressions as per BARC weekly data for TV+OTT for week 49 of 2019. Please refer to the chart below:


     

  • VBS 2019: Broadcast industry dwells on TRAI consultation paper, NTO impact and way forward

    VBS 2019: Broadcast industry dwells on TRAI consultation paper, NTO impact and way forward

    MUMBAI: The new consultation paper on broadcast tariffs is only seeking to address some infirmities in the earlier New Tariff Order (NTO) and will not bring any fundamental changes to the regulatory framework, said TRAI advisor Arvind Kumar at VBS 2019. His comment hinted that there might be some changes in the regulatory framework, which will bring NTO 2.0.

    The first panel discussion at VBS 2019 organised by Indiantelevision.com and its production division ITV2.0 focused on ‘NTO-The future roadmap.’

    The panel was moderated by Elara Capital VP- research analyst (media) Karan Taurani among the panelists IndiaCast Media Distribution president Amit Arora, Star India Distribution and international business president and head Gurjeev Singh Kapoor, Metro Cast Network India promoter Nagesh Narayandas Chhabria, The Remediation Company founder & partner Shyamala Venkatachalam, IndusInd Media & Communications chief executive officer Vynsley Fernandes and GTPL Hathway vice-president Yatin Gupta.

    The objective of the NTO was to bring transparency, freedom of choice, level playing field in the industry and rationalising the consumers’ cost. The panelists agreed that the dust of the new tariff order has settled down but the NTO 2.0 period might impact pricing again. With the new consultation paper Gupta expected that there would be price capping on bouquets and a la carte.

    Said Kapoor: “Very fairly the NTO has allowed consumers to exercise the power of choice. For DPOs the level playing field has come out very clearly. For the first time broadcasters were allowed to go with their understanding on pricing and packaging. We collaborated with all the stakeholders and ensured that smooth transition of the NTO happens. It wouldn't have been possible without the entire ecosystem coming together. I appreciate that MSOs and LCOs came together and were able to manage this really well. Post NTO has been good learning and deep understanding from Star’s perspective.

    Whereas Arora said, “NTO has brought us closures as partners. There have been cases where platforms had designed packages and shown them to us for feedback. We don’t have the expertise of forming packages but we understand consumers as well as the retail price, which is feasible for my market. I don't understand the concept that the consumer has to pay less. I believe the consumers pay for value and content. As we move forward the challenge is going to be how do we make consumers pay more revenue for the content he/she watches. It’s between me and the platform to work together on how do we get him to buy."

    National MSO GTPL Hathway’s Gupta said, “Any industry is always resistant to changes especially if it's technology based. One important thing is how do regulators ensure that it benefits the consumers but not at the cost of industry. There has been a lot of effort that went into building the new regulatory framework. As we see in the past few months, industry has begun to settle down and it's about to grow again. Looking at the tectonic shift, the cable industry is not just here to stay but to grow.”

    “Most of the LCOs have settled down and they have adopted the new structure. They have been able to maintain and grow their business. Over the period of time various MSOs and various platforms have taken different views,” said Fernandes.

    Taurani opined that 60 to 70 per cent of subscribers who cut the cord on cable TV have moved to DTH. It was an important change that has been observed. This was due to various reasons: MSOs not being able to implement the NTO in effective ways, delays on the MSOs’ front in coordination, etc.

    On the same Venkatachalam commented, “On the DTH side, they already had established backend systems, the NTO just gave them a jump to make the transition process even easier. For the MSOs, it took them some time to put all the things in place.”

    The panelists also shared their perspective on norms of 15 per cent capping on bouquet and FTA channels moving behind a pay wall and their expectations from the consultation paper released by TRAI to review NTO.

    Gupta said, “With NTO 2.0 we are expecting the price capping of a la carte. The discounts being offered today range from 10 per cent to 70 per cent, so there should be some capping on that which can help consumers to make intelligent choices."

    Agreeing with Gupta’s comment, Venkatachalam said that NTO 2.0 will impact the pricing.