Tag: Regional channels

GEC ad volumes saw 33% rise in 2020: TAM AdEx

MUMBAI: 2020 was a difficult year for the television broadcast space, courtesy Covid2019 pandemic. Every genre struggled hard to ensure saliency in terms of content generation and maintaining ad volumes. In the early days of the lockdown, GECs were hit the hardest because the production schedules were canned and there was no fresh content. They were forced to rerun the old episodes of popular shows and were unable to create fresh content until the Unlock phase started and that too under strict guidelines. The situation forced the advertisers to rethink their strategy.

Television Audience Measurement (TAM) released an analysis on ad volumes and active brands on GECs in 2020. Ad volumes on general entertainment channels (GECs) last year has grown by more than one fourth over that of 2016, according to the TAM AdEx-Mirroring Y 2020 for advertising in GEC genre. It witnessed 33 per cent rise in 2020 compared to base year 2016. After ad volumes on GECs troughed in the second quarter of 2020 due to the imposition of a nationwide lockdown, they witnessed resurgence during the third and fourth quarter on the back of a gradual Unlock.

It also pointed that the month of October and November had the highest ad volume share (10 per cent each) due to the festive period. True Shield Hand Sanitizer was the top brand during the period of April, May, June and August in GEC genre.

In 2020, top three channel genres retained their positions compared to 2019, among which the Hindi GEC genre topped during both the periods. The Hindi GEC witnessed a growth of one per cent since 2019. Tamil GEC has continued to take 15 per cent of the pie in both the years. Malayalam and Kannada GEC observed positive rank shift. Top five channels genres accounted for more than 65 per cent share of ad volumes during both the periods.

The report stated that the count of advertisers and brands dropped by 38 per cent in quarter two of 2020 which recovered by 48 per cent and 58 per cent respectively in quarter four over quarter two. Personal care/personal hygiene sector topped with 25 percent share of ad volumes followed by F&B with 22 per cent share. Top sectors which included personal care/personal hygiene, F&B and services together added 57 per cent share of ad volumes which were also on top during 2019. The top four sectors also including hair care has dominated the GEC genre in year 2020.

While the toilet soaps category maintained leading position during 2020, with seven per cent share of ad volumes, ecom-media/entertainment/social media climbed by five spots to achieve the second rank, replacing toilet/floor cleaners. The report highlighted that the top ten categories belonged to food and beverages sector. Biscuits category was the only new entrant in the top ten, replacing hair oils. Positive rank shift was observed in milk beverages and ecom-media/entertainment/social media categories. In terms of growth, hand sanitisers category witnessed highest growth of 10X, followed by range of toiletries with six times growth.

Among the top advertisers of the year 2020, HUL topped the list followed by Reckitt Benckiser India. Top ten advertisers contributed 58 per cent share of GEC ad volumes. Marico was the only new entrant in the top ten advertisers’ list. P&G, ITC, Cadburys India, Wipro, Godrej Consumer Products, Colgate Palmolive India, Nestle India and Marico were in the list of top ten advertisers with a positive rank shift compared to the year 2019. Clinic Plus Shampoo was the top brand during 2020, followed by Lux Toilet Soap. The top ten brands together added 10 per cent share of ad volumes during 2020. Also, six out of the top ten brands were from HUL while three belonged to Reckitt Benckiser.

2020 was a difficult year for the television broadcast space, courtesy Covid2019 pandemic, but regional channels have managed to hold their market. According to the report, regional channels had 3X ad volumes compared to national channels. Regional and national channels had 77 per cent and 23 per cent share of ad volumes respectively during both the years (2019-20). HUL and Reckitt Benckiser India were the top two advertisers present in both regional and national channels during 2020. In GEC genre, regional channels had three times more ad volumes compared to national channels. Apart from this, Docubay Media and Attica Gold Company were the top exclusive advertisers in national and regional GECs respectively.

One of the most affected genres on television in terms of ads during the Covid2019 lockdown was the GEC genre. The broadcasters were dependent on reruns of famous and old shows as shooting and production stopped due to restrictions. This led to a steep decline in adverts on GECs. From July onwards, when fresh content arrived, it propelled the advertising in the GEC genre, logging 330+ hours of average ad volumes per day. It saw a spike of 74 per cent more compared to lockdown period from April to June 2020. Tally of categories grew by 24 per cent whereas advertisers grew by 95 per cent and brands rose by more than 2X during Unlock.

The report further highlighted that prime time was the most preferred timeband on GEC genre, followed by afternoon and morning time-bands. Prime time, afternoon and morning time bands together added 72 per cent share of ad volumes.

Ad commercials of 20-40 seconds were most preferred for advertising on GECs during both the years. Commercial advertising added 55 per cent share of ad volumes whereas promos had 45 per cent share in 2020.

January 4, 2021
Kevin Vaz appointed Star & Disney India infotainment & kids CEO

KOLKATA: Star & Disney India has appointed Kevin Vaz as CEO of infotainment & kids genre. However, he will continue to lead the regional entertainment channels as well. He has been given the responsibility following the stepping down of Anuradha Aggarwal who was head of English, infotainment & Kids cluster at the company.

Vaz has been associated with the broadcaster for a long period. He joined as a sales executive in 1996 and went on to become the sales manager in 2000. By 2009, he was promoted to president – ad sales, where he built the monetisation engine that allowed Star to invest more aggressively in content and remain profitable at the same time.

Read more news on Kevin Vaz

Back in 2018, he was elevated to CEO of regional entertainment and was given the charge of heading Star India regional channels portfolio across Maharashtra, Bengal, Tamil Nadu, Andhra & Telangana, Kerala and Karnataka.

December 11, 2020

BARC week 32: Colors Bangla enters top five

MUMBAI: In week 32 of BARC India ratings, Colors Bangla has entered the top five Bangla channels table at fifth position. The channel has replaced Zee Bangla Cinema which was at fourth position last week. B4U Bhojpuri also grabbed first position in the top five Bhojpuri channels list whereas Bhojpuri Cinema, which was leading last week, has slipped down to second position.

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	Zee Bangla	336642
2	STAR Jalsha	247462
3	Jalsha Movies	82134
4	Sony Aath	59903
5	Colors Bangla	56357
WB (U+R): NCCS All : 2+ Individuals

B4U Bhojpuri, Bhojpuri Cinema, Big Ganga, Bhojpuri Dhamaka DISHUM and Dabangg were seen at first, second, third, fourth and fifth positions respectively.

Bhojpuri

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	B4U Bhojpuri	62740
2	Bhojpuri Cinema	58362
3	Big Ganga	46042
4	Bhojpuri Dhamaka DISHUM	12849
5	Dabangg	11892
Bihar/Jharkhand (U+R) : NCCS All : 2+ Individuals

Colors Gujarati Cinema, ABP Asmita, TV9 Gujarati, Colors Gujarati and Sandesh News were the top five Gujarati channels in week 32 of BARC India ratings.

Gujarati

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	Colors Gujarati Cinema	38710
2	ABP Asmita	31559
3	TV9 Gujarati	25654
4	Colors Gujarati	24047
5	Sandesh News	18437
Guj / D&D / DNH (U+R): NCCS All: 2+ Individuals, To get this data on your Twitter timeline, tweet with #BarcTweet Top 5 Gujarati Channels

No changes were observed in the pecking order of Kannada channels. Zee Kannada, Colors Kannada, Udaya TV, Star Survarna and Udaya Movies continued to hold first, second, third, fourth and fifth positions respectively.

Kannada

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	Zee Kannada	426815
2	Colors Kannada	248319
3	Udaya TV	201129
4	Star Suvarna	145627
5	Udaya Movies	137966
Karnataka (U+R) : NCCS All : 2+ Individuals

In Malayalam segment, Asianet continued to lead. The channel was followed by Flowers TV, Mazhavil Manorama, Surya TV and Asianet Movies.

Malayalam

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	Asianet	232810
2	Flowers TV	86374
3	Mazhavil Manorama	79929
4	Surya TV	56718
5	Asianet Movies	41848
Kerala (U+R) : NCCS All : 2+ Individuals

Zee Marathi, Fakt Marathi, Colors Marathi, Zee Talkies and Star Pravah were the top five Marathi channels in week 32 of BARC India ratings.

Marathi

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	Zee Marathi	349956
2	Fakt Marathi	221820
3	Colors Marathi	173343
4	Zee Talkies	143691
5	STAR Pravah	99778
Mah/ Goa (U+R) : NCCS All : 2+ Individuals

No changes were observed in the pecking order of Tamil channels. Sun TV, Star Vijay, Zee Tamil, KTV and Star Vijay Super were the top five Tamil channels.

Tamil

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	Sun TV	805917
2	STAR Vijay	494928
3	Zee Tamil	376273
4	KTV	239018
5	STAR Vijay Super	106952
Tamil Nadu/ Puducherry (U+R) : NCCS All : 2+ Individuals

Star Maa, ETV Telugu, Gemini TV, Zee Telugu and Gemini Movies were seen at first, second, third, fourth and fifth positions respectively.

Telugu

Rank	Channel Name	Weekly Impressions (000s) sum
		Week 32
1	STAR Maa	727892
2	ETV Telugu	433473
3	Gemini TV	392858
4	Zee Telugu	392611
5	Gemini Movies	191857
AP/ Telangana (U+R) : NCCS All : 2+ Individuals

August 19, 2019

Inside India’s dubbing and subtitling industry

MUMBAI: The dubbing and subtitling industry in India was founded due to the television business’ need to leverage a variety of content from within different markets in the country. Indian viewers first tasted dubbed content thanks to Discovery World. In the early 90’s, dubbing was predominantly restricted to kids’ animation content by Disney. This was then picked up by private broadcasters as a fixed slot for kids that later evolved into a dedicated kids channel available in multiple languages. The first dub theatrical hit was Jurassic Park, which opened the Pandora’s box for cult South Indian films like Roja. Thus, a degree of variety and freshness was injected into Indian programming.

Demand for localised content has grown

Today, dubbing and subtitling is a flourishing business in India with Hollywood films, animation films and regional content at the heart of it. This wasn’t the case few years ago when only international content was dubbed for the Indian market. In India dubbing mostly happens in three Indian languages- Hindi, Tamil and Telugu. Spider-Man 3 was dubbed in Bhojpuri in addition to Hindi, Tamil and Telugu. A Good Day to Die Hard, the most recent instalment in the Die Hard franchise, was the first ever Hollywood film to receive a Punjabi language dub as well.

In 1983, PA Krishnan founded the Dubbing Artistes Union of South India, an association for dubbing artistes. The union, which is now called South Indian Cine and Television Artistes and Dubbing Artistes Union, has over 2,000 artistes and more than 30 voice co-ordinators or dubbing agents (people who choose dubbing artistes) as its members. It is also affiliated to the Film Employees Federation of South India (FEFSI).

The surge and infusion of international content entering India and demand to watch it in native language has witnessed a steady rise. Serials and small-format shows from Tamil and Bengali are now being dubbed and subtitled in many Indian and foreign languages.

Major dubbing companies have now given way to smaller players like BOL Media, Native Ninja, VSI Group, etc. UTV shut down five years back, while Crest Animation pulled the plug on its operations almost 10 years ago. In terms of corporate players only Prime Focus still exists.

Amazon Prime and Netflix are spending big on content localisation. They are also producing original Indian content that is being dubbed for international markets. Among the global OTT players, a major growth driver is Netflix, which launched its global video on demand (SVOD) service in January 2016. It has now 104 million paid subscribers in 190 countries and the service supports 24 languages.

“ZEEL has a Bollywood movie pay television channel in Spanish language called ZEE Mundo. So, a lot of Indian content is travelling overseas now. Recently Aamir Khan’s movie also got dubbed in China and people over there loved it,” says BOL Media Founder and CEO Rahul Bhatia highlighting the evolution of India’s dubbing and subtitling industry.

Economics of dubbing and subtitling industry

The dubbing industry in India is valued anywhere between Rs 100-120 crore. Interestingly, the bigger companies are now giving way to smaller ones. The key reason behind this development has been the exodus of influential executives from major players setting up their own dubbing businesses.

The mushrooming of smaller companies has greatly benefited broadcasters and production houses that now have access to more technical resources at pocket-friendly prices. For instance, it now costs Rs 15,000 to dub a television episode as compared to Rs 80,000 in the past. Today, a three-hour movie costs Rs. three lakh when dubbed for a television audience and around Rs. 15 lakh for the theatres.

In the general entertainment space, dubbing and executing one episode takes four days while subtitling of one hour content takes two days. However, a movie for the television audience is dubbed in approximately 15 day while that for a theatre could need up to 30. While dubbing has become cheaper, content translation charges have witnessed a spike.

Translators charge Rs. 1 per word for an Indian movie and Rs. 10 for a foreign film, while dubbing costs vary between Rs. 80 to Rs. 130 per minute for one movie.

“There are very few corporate structures having an entire team of dubbing directors, sound engineers, quality controllers in house with defined SLA and workflows. Rest of the dubbing companies are owned and operated by studio owners, voice actors or dubbing producers with a niche clientele. Majority of the companies assemble the team and work on a project-to-project basis,” says Native Ninja founder Sanjeev Das.

The road ahead

Dubbing companies acquire customers organically. The major chunk of the business is comes from the television industry. But going forward, OTT platform could be the biggest source of business. Around 60 percent of the business comes from the television industry, 30 per cent from movies and remaining 10 per cent from OTT. In the future, OTT is likely to contribute 60 percent of the dubbing business.

The business will be on a steady growth path due to the increased volume of content being created with a focus on localisation. Dubbing, subtitling, and closed captioning for English and major international languages could be taken over by technology such as artificial Intelligence, machine learning, automated captioning and auto-translation. However, precise and accurate translation, adaptation, interpretation and translation will always require a human touch. That’s where localisation companies need to be at the top of their game. With such advancements, the industry is bound to witness a shake up in the next five years, with only those prepared to adapt to the challenges likely to survive and thrive.

June 12, 2018
IPL 2018 gets a makeover with Star India

MUMBAI: IPL 2018 not only has a new destination channel but has changes that have been requested and accepted for the first time.

It all started in September 2017 when Star India won the global IPL media rights for Rs 16,347 crore for the span of five years (2018-22). This is the first time when both the TV and digital rights are with a single broadcaster, which will result in the simulcast of the game without the groaning five-minute delay.

For the first time, IPL will be live on 10 channels and Hotstar. On the digital platform, VR will be a key differentiator and will possibly help Hotstar to keep the fans glued on to it.

For the previous seasons, Sony Pictures Network was airing IPL in two languages Hindi and English on Sony Six, Sony Max and their HD feeds. But Star is planning to telecast it in six different languages English, Hindi, Tamil, Telugu, Bengali and Kannada. The Kannada channel was still in the works some weeks ago.

Star India recently managed to convince the IPL governing council (GC) to change the timings for the games of the league being held from 7 April to 27 May 2018. The 8 pm game will now begin at 7 pm while the 4 pm game has been pushed forward to 5:30 pm.

Mumbai Indians co-owner Akash Ambani said that the time change will impact the team. “For us it is tough. Because people of Bombay work till 6:30-7 pm. It’s going to be impossible making it to a game at 7 pm. You are impacting the revenue. You are impacting the audience coming there. So we are objecting to that,” he said to Cricbuzz.com.

IPL chairman Rajeev Shukla told Indiantelevision.com, “We have received the letter from Mumbai Indians. We haven’t taken any decision yet and it will be confirmed shortly.” But a week ago he confirmed to Indiantelevision.com that the timings have been changed.

IPL 2018 will see mid-season transfer after seven games. The players who were not included in the playing 11 can opt for their mid-season transfer to other franchisees.

The IPL GC announced that each IPL franchise can retain a maximum of five players from their respective current squads. Of the five players, a franchise can retain a maximum of three players through retention in lead up to the auction, and a maximum of three players through the right-to-match card during the auction. The other restrictions on player retention are: a maximum of three capped Indian players can be retained, and only two overseas players and two uncapped Indian players can be retained. For the first time, the player retention event was aired on TV and digital. The event was watched by 8.1 million people across the country.

The salary cap for each team for the 2018 season has been increased from Rs 66 crore to Rs 80 crore (approximately $12.4 million). A franchise will be allowed to spend only Rs 33 crore on retentions ahead of the 2018 IPL auction, leaving it with just Rs 47 crore to spend at the auction.

The Information and Broadcasting (I&B) Ministry is working on a proposal to make IPL available on Doordarshan and has asked the Sports Ministry to weigh in on the matter.

The move will mean that Star India will have to share the live feed of the tournament with public broadcaster Prasar Bharati under the Sports Broadcasting Signals (Mandatory Sharing with Prasar Bharati) Act, 2007. Prasar Bharati runs Doordarshan and All India Radio. For this IPL will have to be categorised as a tournament of national importance at par with events like Olympics, Commonwealth Games and Wimbledon.

Star India, for the first time, has also thought of starting international fan parks for the IPL and cricket lovers around the globe. Fan Parks were launched in 2015, initially in 16 cities. The 2017 edition of the Fan Park was held in 36 cities in 21 states, bringing fans across the length and breadth of India closer to their beloved sport. These included 14 new cities, like Bhubaneswar, Bareilly, Kochi, Ludhiana, Tumkur and Nagercoil which hosted the Fan Park for the first time.

For the first time, fans were given a chance to vote for their favourite players on vivoiplelection.hotstar.com as a part of the ‘Election se Selection’ campaign on the network. The campaign, according to Star India MD Sanjay Gupta, received more than one lakh votes in less than 12 hours of its launch. Ajinkya Rahane and Krunal Pandya emerged as fan favourites after the final voting count before the auctions.

Also read:

Star ushers in IPL’s new era with a bang

IPL auction: Gayle to play for KXIP, Unadkat most expensive Indian player

Star India gets IPL to change match timings for 11th edition

February 5, 2018
DD prime time slot winners to telecast from Feb ’17

NEW DELHI: Successful bidders in the third attempt by Doordarshan to attract producers to bid for prime time slots will have to commence telecast of their programmes in February 2017.

The last date for bids for the new content acquisition scheme by Doordarshan for its prime time is 25 November 2016, and the bids will be opened the same day. The final list of qualified bidders was announced on 9 December 2016.

Financial bids will be opened on 12 December, and the letter of award will be issued on 20 December 2016. Procedural formalities and agreement and PBG Submission will be completed on 7 February 2017.

Bidders will have to submit non-refundable tender document fee of Rs 5000 and processing fee of Rs 25000.

Earnest money deposit will be Rs 300,000 for each weekday slot. Bidders may apply for one or more slots (if applying for say three slots, the EMD will be Rs 900,000). For the weekend slots, the EMD will be Rs 6,00,000. Bidders may apply for one or more slots. However, the maximum EMD in either case will be Rs 1.5 million irrespective of any number of slots applied for.

The bidders will be responsible for the costs associated with the preparation of their bids and their participation in the bidding process.

While slotting programmes of successful bidders, DD will give due regard to ensuring a balanced content composition on the channel in respect of variety in formats, genres, themes etc.

There will be no increase in the telecast fee for a period of 12 months from the start of contract. However telecast fee will be increased by 5% of the then existing telecast fee after 12 months and in the event of any further extension after 24 months the telecast fee will be increased by 10% of the then existing telecast fee.

The production house should be an Indian entity (individual proprietorship, partnership, company, society, trust etc.) Incorporated/registered/recognised, as the case may be, under the respective applicable laws and in existence for the last 3 financial years.

The production house must have produced, for any broadcaster(s), at least 200 hours of general entertainment programming (including Feature Films) in any Indian language that has been telecast in the last three calendar years. Applicants for weekend slots in the genres of reality, game, quiz should have produced 100 hours of such content that has been telecast in the last three calendar years.

It should have in regard to TV and Film production a turnover of at least Rs. 30 million per annum in each of the last three financial years. d. The Production House should not be a defaulter in payment of dues to DD at the time of submission of the bid.

Consortium will not be allowed in any form.

A blacklisting order passed by the Central or State Governments/any PSU should not be in operation against a bidder at the time of the submission of the qualification bid.

Details of the sequence of slots On Prime Time of DD National Channel available For Bidding:

Slot Timings Sequence of slots available for Days of the week
1. 7.30 pm to 8.00 pm Monday to Friday
2. 8.00 pm to 8.30 pm Monday to Friday
3. 8.30 pm to 9.00 pm Monday to Friday
4. 9.00 pm to 9.30 pm Monday to Thursday
5. 9.30 pm to 10.00 pm Monday to Thursday
6. 10.00 pm to 10.30 pm Monday to Thursday
7. 10.30 pm to 11.00 pm Monday to Thursday
8. 7.00 pm to 8.00 pm Sunday
9. 8.00 pm to 9.00 pm Saturday & Sunday

Bids can be offered for any number of slots, but once a bidder is declared the winner of three slots from Slot 1 to 7, their bids for any other weekday slots further will not be considered. Similarly if a bidder is declared the winner of two slots (from Slot No 8 to 9), their bids for other weekend slots will not be considered.

Successful bidder(s) will produce fresh programmes under category of general entertainment programmes, adhering to the programming code and all applicable laws.

The duration of each slot is 30 minutes including free commercial time (FCT) of six minutes as per following details::

Up to 24 Minutes: Programme (produced by the successful bidder)
240 Seconds: FCT (to be marketed by successful Bidder)
120 Seconds: FCT to be retained by DD for promotion of programme or channels, for advertisements of government departments and PSUs and for public service messages.

Banking of FCT:
a) Banking will be given to producers @ 60 seconds per slot in the first six months of the contract.
b) Redemption of banking will be allowed @ 30 seconds per half hour in the same slot within a period of 12 months beyond the first 6 months.
c) Banked FCT will lapse after the expiry of 18 months counting from the first telecast.

Successful Bidders may also purchase additional spots or commercial time from DD, depending on availability, on prevailing terms and conditions. Successful Bidders would be free to procure advertisements from all sources within their entitlement of FCT with the exception of Central and State Government clients. Thus bidders will not be allowed to solicit Central and State government advertisements in their allotted commercial time or in the extra time purchased by them. Both Successful Bidders and DD shall have the right to solicit business from PSU clients.

The marketing and promotion of the programme on all platforms will be done by the bidders at their own cost.

Successful Bidders will be offered cross channel promos of defined number and duration free of cost on DD Channels as decided by the Director General.

Successful Bidders will have to ensure the delivery of telecast material without commercials at least one week in advance for preview and technical clearance by Doordarshan. Doordarshan shall intimate the observations /clearance within 2 (two) working days of the submission of the telecast material in advance for preview and technical clearance. The delivery of final telecast copy in Blu Ray disk with commercials along with one copy without commercials must be made at least three days prior to the date of telecast of programme. The telecast copy must be provided with dope sheet containing all details and duration of programmes and commercials.

Successful bidders will be required to adhere to the look and feel of the channel and DD will provide necessary inputs for graphic designs and colour schemes and packaging wherever necessary. The successful bidders will be required to obtain all necessary packaging inputs before submitting its programme to avoid delay and inconvenience. DD may also ask the production House to carry graphics of upcoming programmes and super text including ‘coming up’, time check, etc.

Successful bidders will submit storyline/storyboard and all such information pertaining to the programme to be aired. Submission of pilot episodes may be sought if so required.

All programmes will be previewed by DD before telecast.

Telecast and repeat of programmes on DD Successful bidder will offer fresh programmes for telecast on assigned slot of DD National network. The programmes already telecast on any Doordarshan channel or any private channel will not be accepted.

DD shall have the right to make a repeat telecast of the programme within 24 hours of the original telecast in a non-prime time slot to be assigned by Doordarshan. The successful bidder shall be entitled to 150 seconds of FCT out of the total Commercial Time available with the repeat telecast, that it shall be entitled to market. The remaining commercial time shall be marketed by DD.

In case of emergency/extraordinary happenings including National mourning etc. if the repeat telecast is not made, the successful bidder will not be entitled to make any claim/seek compensation.

As value addition, successful bidders will be additionally allowed two slots on Regional Satellite Channel(s) for telecast of dubbed version of the programmes in respective Regional languages. Such dubbing will be done at the successful bidder’s own cost. The commercial time admissible to the successful bidder along with such slots will be the same as allowed for the first telecast on DD National.

The slots offered on DD National Network under Terrestrial Service would primarily cover the Hindi belt Markets. DD reserves the right to delink terrestrial transmitters of non-Hindi regions from DD National Network at its sole discretion.

Only the DD logo will be carried during the telecast of the programme.

Also read : DD relaxes norms for prime time slot bidders as incentive

November 23, 2016
DD prime time slot winners to telecast from Feb ’17

NEW DELHI: Successful bidders in the third attempt by Doordarshan to attract producers to bid for prime time slots will have to commence telecast of their programmes in February 2017.

The last date for bids for the new content acquisition scheme by Doordarshan for its prime time is 25 November 2016, and the bids will be opened the same day. The final list of qualified bidders was announced on 9 December 2016.

Financial bids will be opened on 12 December, and the letter of award will be issued on 20 December 2016. Procedural formalities and agreement and PBG Submission will be completed on 7 February 2017.

Bidders will have to submit non-refundable tender document fee of Rs 5000 and processing fee of Rs 25000.

Earnest money deposit will be Rs 300,000 for each weekday slot. Bidders may apply for one or more slots (if applying for say three slots, the EMD will be Rs 900,000). For the weekend slots, the EMD will be Rs 6,00,000. Bidders may apply for one or more slots. However, the maximum EMD in either case will be Rs 1.5 million irrespective of any number of slots applied for.

The bidders will be responsible for the costs associated with the preparation of their bids and their participation in the bidding process.

While slotting programmes of successful bidders, DD will give due regard to ensuring a balanced content composition on the channel in respect of variety in formats, genres, themes etc.

There will be no increase in the telecast fee for a period of 12 months from the start of contract. However telecast fee will be increased by 5% of the then existing telecast fee after 12 months and in the event of any further extension after 24 months the telecast fee will be increased by 10% of the then existing telecast fee.

The production house should be an Indian entity (individual proprietorship, partnership, company, society, trust etc.) Incorporated/registered/recognised, as the case may be, under the respective applicable laws and in existence for the last 3 financial years.

The production house must have produced, for any broadcaster(s), at least 200 hours of general entertainment programming (including Feature Films) in any Indian language that has been telecast in the last three calendar years. Applicants for weekend slots in the genres of reality, game, quiz should have produced 100 hours of such content that has been telecast in the last three calendar years.

It should have in regard to TV and Film production a turnover of at least Rs. 30 million per annum in each of the last three financial years. d. The Production House should not be a defaulter in payment of dues to DD at the time of submission of the bid.

Consortium will not be allowed in any form.

A blacklisting order passed by the Central or State Governments/any PSU should not be in operation against a bidder at the time of the submission of the qualification bid.

Details of the sequence of slots On Prime Time of DD National Channel available For Bidding:

Slot Timings Sequence of slots available for Days of the week
1. 7.30 pm to 8.00 pm Monday to Friday
2. 8.00 pm to 8.30 pm Monday to Friday
3. 8.30 pm to 9.00 pm Monday to Friday
4. 9.00 pm to 9.30 pm Monday to Thursday
5. 9.30 pm to 10.00 pm Monday to Thursday
6. 10.00 pm to 10.30 pm Monday to Thursday
7. 10.30 pm to 11.00 pm Monday to Thursday
8. 7.00 pm to 8.00 pm Sunday
9. 8.00 pm to 9.00 pm Saturday & Sunday

Bids can be offered for any number of slots, but once a bidder is declared the winner of three slots from Slot 1 to 7, their bids for any other weekday slots further will not be considered. Similarly if a bidder is declared the winner of two slots (from Slot No 8 to 9), their bids for other weekend slots will not be considered.

Successful bidder(s) will produce fresh programmes under category of general entertainment programmes, adhering to the programming code and all applicable laws.

The duration of each slot is 30 minutes including free commercial time (FCT) of six minutes as per following details::

Up to 24 Minutes: Programme (produced by the successful bidder)
240 Seconds: FCT (to be marketed by successful Bidder)
120 Seconds: FCT to be retained by DD for promotion of programme or channels, for advertisements of government departments and PSUs and for public service messages.

Banking of FCT:
a) Banking will be given to producers @ 60 seconds per slot in the first six months of the contract.
b) Redemption of banking will be allowed @ 30 seconds per half hour in the same slot within a period of 12 months beyond the first 6 months.
c) Banked FCT will lapse after the expiry of 18 months counting from the first telecast.

Successful Bidders may also purchase additional spots or commercial time from DD, depending on availability, on prevailing terms and conditions. Successful Bidders would be free to procure advertisements from all sources within their entitlement of FCT with the exception of Central and State Government clients. Thus bidders will not be allowed to solicit Central and State government advertisements in their allotted commercial time or in the extra time purchased by them. Both Successful Bidders and DD shall have the right to solicit business from PSU clients.

The marketing and promotion of the programme on all platforms will be done by the bidders at their own cost.

Successful Bidders will be offered cross channel promos of defined number and duration free of cost on DD Channels as decided by the Director General.

Successful Bidders will have to ensure the delivery of telecast material without commercials at least one week in advance for preview and technical clearance by Doordarshan. Doordarshan shall intimate the observations /clearance within 2 (two) working days of the submission of the telecast material in advance for preview and technical clearance. The delivery of final telecast copy in Blu Ray disk with commercials along with one copy without commercials must be made at least three days prior to the date of telecast of programme. The telecast copy must be provided with dope sheet containing all details and duration of programmes and commercials.

Successful bidders will be required to adhere to the look and feel of the channel and DD will provide necessary inputs for graphic designs and colour schemes and packaging wherever necessary. The successful bidders will be required to obtain all necessary packaging inputs before submitting its programme to avoid delay and inconvenience. DD may also ask the production House to carry graphics of upcoming programmes and super text including ‘coming up’, time check, etc.

Successful bidders will submit storyline/storyboard and all such information pertaining to the programme to be aired. Submission of pilot episodes may be sought if so required.

All programmes will be previewed by DD before telecast.

Telecast and repeat of programmes on DD Successful bidder will offer fresh programmes for telecast on assigned slot of DD National network. The programmes already telecast on any Doordarshan channel or any private channel will not be accepted.

DD shall have the right to make a repeat telecast of the programme within 24 hours of the original telecast in a non-prime time slot to be assigned by Doordarshan. The successful bidder shall be entitled to 150 seconds of FCT out of the total Commercial Time available with the repeat telecast, that it shall be entitled to market. The remaining commercial time shall be marketed by DD.

In case of emergency/extraordinary happenings including National mourning etc. if the repeat telecast is not made, the successful bidder will not be entitled to make any claim/seek compensation.

As value addition, successful bidders will be additionally allowed two slots on Regional Satellite Channel(s) for telecast of dubbed version of the programmes in respective Regional languages. Such dubbing will be done at the successful bidder’s own cost. The commercial time admissible to the successful bidder along with such slots will be the same as allowed for the first telecast on DD National.

The slots offered on DD National Network under Terrestrial Service would primarily cover the Hindi belt Markets. DD reserves the right to delink terrestrial transmitters of non-Hindi regions from DD National Network at its sole discretion.

Only the DD logo will be carried during the telecast of the programme.

Also read : DD relaxes norms for prime time slot bidders as incentive

November 23, 2016
BARC week 9: Regional channel leaders maintain status quo; ETV Bihar Jharkhand & Polimer TV exit their genres

MUMBAI: There were no major shifts in week 9 of BARC ratings as far as the regional television channels were concerned. The leaders of the respective genres continued to dominate their position, whereas ETV Bihar Jharkhand exited the top five in the Bhojpuri genre and Polimer TV exited the Tamil genre .Oscar Movies entered Bhojpuri genre and J Movies entered in Tamil genre

Bangla GECs

Star Jalsha continued to be the numero uno channel in the Bangla general entertainment channel with 244740 (‘000s) as against 223650 (‘000s) in week eight. Zee Bangla retained the second berth with 131428(‘000s) followed by Jalsha Movies in the third position with 62471 (‘000s).Zee Bangla Cinema was in fourth slot with 38636 (‘000s).Though Colors Bangla saw a fall in its rating , it maintained the fifth position with 29842 (‘000s) as against 30744 (‘000s) in previous week .

Bhojpuri GECs

Though Big Magic Ganga saw fall in its rating, it continued to maintain first position with 19226 (‘000s) as against 20196 (‘000s) in the previous week. Bhojpuri Cinema retained second berth with 15793 (‘000s) followed by Dabangg at third position with 8222 (‘000s). Dangal TV with 7730 (‘000s) retained fourth slot. Oscar Movies Bhojpuri bagged fifth position with 3142 (‘000s) whereas ETV Bihar Jharkhand exited the top five in the Bhojpuri genre.

Kannada GECs

Colors Kannada retained numero uno position with 24060 (‘000s) followed by Suvarna at number two position with 175718 (‘000s) as against 182363 (‘000s) in the previous week. Zee Kannada retained third spot with 157397 (‘000s), while Udaya Movies at fourth berth with 135803 (‘000s) followed by Udaya TV at fifth spot with 134133 (‘000s).

Malayalam GECs

Though Asianet saw a fall in its rating , it continued to dominate first position with 324464 (‘000s) as against 410813 (‘000s) in previous week. Mazhavil Manorama retained second position with 91653 (‘000s) . Surya TV bagged third position with 83271 (‘000s) pushing down Flowers TV at fourth position with 81607 (‘000s) as against 72372 (‘000s) in previous week. Asianet Movies came down to fifth position from fourth position with 57168 (‘000s) as against 60124 (‘000s) in week eight.

Marathi GECs

Zee Marathi also remained at the top with 131479 (‘000s) followed by Colors Marathi in second position with 99583 (‘000s) as against 103425(‘000s) in the previous week. Zee Talkies retained third position with 67297 (‘000s), while Star Pravah climbed up to fourth position with 39096 (‘000s) pushing down Fakt Marathi to fifth position with 34458(‘000s)

Oriya GECs

Sarthak TV retained position on the top with a sharp rise in its rating to 105387 (‘000s) as against 88626 (‘000s) in week eight. Tarang TV retained second berth with 50819(‘000s). Odisha TV climbed up to third position from fourth position with 14667 (‘000s) pushing down Colors Oriya in fourth position with 14629 (‘000s) as against 20625(‘000s)in week eight, followed by Alankar at fifth position with 8740 (‘000s) .

Tamil GECs

Sun TV continued to be in the top most position in the Tamil general entertainment space with 976616 (‘000s) followed by KTV at second position with 273723 (‘000s). Whereas Star Vijay continued to hold its third position with 171870 (‘000s). Zee Tamil climbed up to fourth position from fifth position with 82998 (‘000s) as against 79165(‘000s) in the previous week. J Movies bagged the fifth position with 76673 (‘000s) while Polimer TV exited from the top five in Tamil general entertainment space.

Telugu GECs

ETV Telugu continued to be the leader in the Telugu general entertainment space with 387663 (‘000s) followed by Zee Telugu at second position with 358683 (‘000s), while Maa TV retained the third berth with 355552 (‘000s) as against 365602 (‘000s) and Gemini TV continued to hold fourth position with 290460 (‘000s). Though there was slight dip in rating for Gemini Movies, it retained fifth position with 174603 (‘000s) as againt 189472 (‘000s) in week eight.

March 10, 2016
BARC week 9: Regional channel leaders maintain status quo; ETV Bihar Jharkhand & Polimer TV exit their genres

MUMBAI: There were no major shifts in week 9 of BARC ratings as far as the regional television channels were concerned. The leaders of the respective genres continued to dominate their position, whereas ETV Bihar Jharkhand exited the top five in the Bhojpuri genre and Polimer TV exited the Tamil genre .Oscar Movies entered Bhojpuri genre and J Movies entered in Tamil genre

Bangla GECs

Star Jalsha continued to be the numero uno channel in the Bangla general entertainment channel with 244740 (‘000s) as against 223650 (‘000s) in week eight. Zee Bangla retained the second berth with 131428(‘000s) followed by Jalsha Movies in the third position with 62471 (‘000s).Zee Bangla Cinema was in fourth slot with 38636 (‘000s).Though Colors Bangla saw a fall in its rating , it maintained the fifth position with 29842 (‘000s) as against 30744 (‘000s) in previous week .

Bhojpuri GECs

Though Big Magic Ganga saw fall in its rating, it continued to maintain first position with 19226 (‘000s) as against 20196 (‘000s) in the previous week. Bhojpuri Cinema retained second berth with 15793 (‘000s) followed by Dabangg at third position with 8222 (‘000s). Dangal TV with 7730 (‘000s) retained fourth slot. Oscar Movies Bhojpuri bagged fifth position with 3142 (‘000s) whereas ETV Bihar Jharkhand exited the top five in the Bhojpuri genre.

Kannada GECs

Colors Kannada retained numero uno position with 24060 (‘000s) followed by Suvarna at number two position with 175718 (‘000s) as against 182363 (‘000s) in the previous week. Zee Kannada retained third spot with 157397 (‘000s), while Udaya Movies at fourth berth with 135803 (‘000s) followed by Udaya TV at fifth spot with 134133 (‘000s).

Malayalam GECs

Though Asianet saw a fall in its rating , it continued to dominate first position with 324464 (‘000s) as against 410813 (‘000s) in previous week. Mazhavil Manorama retained second position with 91653 (‘000s) . Surya TV bagged third position with 83271 (‘000s) pushing down Flowers TV at fourth position with 81607 (‘000s) as against 72372 (‘000s) in previous week. Asianet Movies came down to fifth position from fourth position with 57168 (‘000s) as against 60124 (‘000s) in week eight.

Marathi GECs

Zee Marathi also remained at the top with 131479 (‘000s) followed by Colors Marathi in second position with 99583 (‘000s) as against 103425(‘000s) in the previous week. Zee Talkies retained third position with 67297 (‘000s), while Star Pravah climbed up to fourth position with 39096 (‘000s) pushing down Fakt Marathi to fifth position with 34458(‘000s)

Oriya GECs

Sarthak TV retained position on the top with a sharp rise in its rating to 105387 (‘000s) as against 88626 (‘000s) in week eight. Tarang TV retained second berth with 50819(‘000s). Odisha TV climbed up to third position from fourth position with 14667 (‘000s) pushing down Colors Oriya in fourth position with 14629 (‘000s) as against 20625(‘000s)in week eight, followed by Alankar at fifth position with 8740 (‘000s) .

Tamil GECs

Sun TV continued to be in the top most position in the Tamil general entertainment space with 976616 (‘000s) followed by KTV at second position with 273723 (‘000s). Whereas Star Vijay continued to hold its third position with 171870 (‘000s). Zee Tamil climbed up to fourth position from fifth position with 82998 (‘000s) as against 79165(‘000s) in the previous week. J Movies bagged the fifth position with 76673 (‘000s) while Polimer TV exited from the top five in Tamil general entertainment space.

Telugu GECs

ETV Telugu continued to be the leader in the Telugu general entertainment space with 387663 (‘000s) followed by Zee Telugu at second position with 358683 (‘000s), while Maa TV retained the third berth with 355552 (‘000s) as against 365602 (‘000s) and Gemini TV continued to hold fourth position with 290460 (‘000s). Though there was slight dip in rating for Gemini Movies, it retained fifth position with 174603 (‘000s) as againt 189472 (‘000s) in week eight.

March 10, 2016
BARC week 8: Most regional channels successfully continue to retain their positions

MUMBAI: Fakt Marathi climbed fourth position from fifth position pushing down Star Pravah in fifth position, even as the leaders of all regional channel continued dominate their respective positions with slight increase and fall in ratings, according to the Broadcast Audience Research Council (BARC).

Bangla GEC

Star Jalsha was in the numero uno position among Bangla general entertainment channels with 223650 (‘000s) as against 220355 (‘000s) in week Seven. Zee Bangla bagged the second berth with 142368 (‘000s) followed by Jalsha Movies in the third position with 69316 (‘000s).

Though Zee Bangla Cinema saw a fall in ratings, it maintained the fourth position with 30816 (‘000s) as against 37709 (‘000s) in the previous week followed by Colors Bangla at the fifth slot with 30744 (‘000s).

Bhojpuri GEC

Big Magic Ganga saw a sharp rise and continued to maintain the top position with 20196 (‘000s) against 16346 (‘000s) in week Seven, followed by Bhojpuri Cinema at second position with 15728 (‘000s).

In comparison, Dabangg climbed up to third slot with 7489 (‘000s) and pushed Dangal TV to the fourth position with 7485 (‘000s) in week 8 while ETV Bihar Jharkhand with 3993 (‘000s) maintained its number five position.

Kannada GECs

Colors Kannada retained its top position with 239925 (‘000s) followed by Suvarna at number two position with 182363 (‘000s), while Zee Kannada retained third spot with 144678 (‘000s) followed by Udaya Movies at fourth berth with 135757 (‘000s) as against 130904 (‘000s) in the preceding week. Udaya TV stood at fifth spot with 132177 (‘000s) as against 119542 (‘000s) in the previous week .

Malayalam GECs

Asianet continued to hold the top slot with rise in ratings at 410813 (‘000s) showing a further rise compared to its figures of 340204 (‘000s) in the previous week. This was followed by Mazhavil Manorama with 91947 (‘000s) in the second berth. Flowers TV saw a dip in its rating but managed to retain the third spot with 72372 (‘000s) as against 88537 (‘000s) in week 7 .Asianet Movies with 60124(‘000s) stood at number four position followed by Surya TV at fifth berth with 53843(‘000s)

Marathi GECs

Zee Marathi also remained at the top with 133880 (‘000s) followed by Colors Marathi in second position with 103425 (‘000s) as against 95409 (‘000s) in previous week. While Zee Talkies retained third position with 65090 (‘000s) as against 89848 (‘000s) in week 7, Fakt Marathi climbed one step to fourth position with 51755 (‘000s) as against 24396 (‘000s) in the previous week, pushing down Star Pravah in fifth position with 42576 (‘000s) as against 46968 (‘000s) in week 7.

Oriya GECs

Though Sarthak TV witnessed a slight fall in its ratings, it maintained its position on top with 88626 (‘000s) as against 92440 (‘000s) in week 7, followed by Tarang TV in second spot with 56638 (‘000s). Colors Oriya retained third berth with 20625 (‘000s) whereas Odisha TV was in fourth position with 17571 (‘000s) showing a slight increase in its ratings followed by Alankar with 9815 (‘000s) in fifth place as against 7187 (‘000s) in previous week.

Tamil GECs

Sun TV remained the leader in the Tamil space with a minor fall in ratings at 938256 (‘000s) as against 953616 (‘000s) in week 7.KTV was at number two with fall in ratings at 234971 (‘000s) as against 264009 (‘000s) in the previous week whereas Star Vijay continued to hold its third position with 167514 (‘000s) followed by Polimer in fourth slot with 81404 (‘000s) and Zee Tamil on fifth slot with 79165 (‘000s) in week 8.

Telugu GECs

Though ETV Telugu saw a fall in ratings, it continued to lead the Telugu genre with 398781 (‘000s) as against 417220 (‘000s) the week, before followed by Zee Telugu on second position with 367722 (‘000s) and Maa TV on third spot with 365602 (‘000s). Gemini TV retained its place in the fourth rung with 281682 (‘000s) while Gemini Movies with 189472 (‘000s) stood in the fifth position.

March 3, 2016