Tag: Renelle Snelleksz

  • ‘For the Zee Network, regional channels will be strong pillars’ : Nitin Vaidya – Zee Entertainment Enterprises Ltd. director regional channels

    ‘For the Zee Network, regional channels will be strong pillars’ : Nitin Vaidya – Zee Entertainment Enterprises Ltd. director regional channels

    As localized channels are gaining momentum on television, the Zee Network has been quick to grab untapped genres in regional markets. Spearheading four regional channels from the Zee bouquet, including Zee Marathi, Zee Bangla, Zee Gujarati and now Zee Talkies, is Zee Entertainment Enterprises Ltd director regional channels Nitin Vaidya.

     

    In a free flowing conversation with Indiantelevision.com’s Renelle Snelleksz, the Zee veteran outlines the growth trajectory of each region and the targets set for “regional channels to become the pillars of the Zee Network.”

     

    Excerpts:

    Zee has strengthened its position in Maharashtra with three channels – general entertainment, news and now movies. How has this market evolved and what is the growth story for Zee?
    In 1999 when we entered Maharasthra, there was a widespread belief that though Marathi audiences were bilingual, the market was largely Hindi skewed. It was expected that few viewers would be attracted to a Marathi channel.

     

    Till 2003, it was a real struggle but we were determined to provide value for the investors, for advertisers and for consumers.

     

    In 2003, the share of the Marathi television market was 8.3 per cent. Currently, the share of the market stands at 16.8 per cent (Tam data; January till Week 35, C&S 4+). Though Maharastra was believed to be Hindi dominated, the share of Hindi general entertainment channels dropped from 34.9 per cent in 2003 to 24.4 in 2007.

     

    Over the last four years, Zee Marathi has driven viewers to the genre through a very aggressive programming and marketing push.

     

    Evidence of that is seen in the channel share of Zee Marathi. In 2003, it stood at 40 per cent while ETV Marathi was at 35 and DD Sahyadri at 25. Although there was a decline in 2005, Zee Marathi has regained its leadership position in 2007 with a channel share of 45 per cent while ETV Marathi is at 36 and DD Sahyadri at 11.

    Can you identify the factors that contributed to Zee Marathi’s growth?
    We achieved two things in this market. Firstly, we were able to divert viewers from Hindi entertainment channels. In doing this we also changed the existing perception of the Marathi market being Hindi skewed. Secondly, the television universe as a whole has also grown considerably.

     

    This picture tells a story of how audiences are embracing local channels which they first try and then stick to. This gave us encouragement to invest monies behind this proposition.

    What is the growth that the Bengali market has witnessed?
    Bengal is far ahead of Maharasthra in terms of what has been accomplished as it consistently stayed ahead of Hindi GECs. In 2003, the Bangla market occupied a share of 28.6 as opposed to Hindi GEC which was at 22.9. The average for this year is 33.6 per cent share and Hindi GEC is 20.

    What were the differentiators used to combat competition and pull audiences from Hindi channels to Zee Marathi and Zee Bangla?
    We did not follow the set formula that is commonly used on Hindi GECs and replicate it for our regional audiences. We decided to take a different route and deliberately resisted the ‘saas-bahu’ dramas. Instead, we chose to focus on the interpersonal relationships that reflect the ethos of that particular region.

     

    These family dramas along with our popular musical format Sa Re Ga Ma Pa have been the major drivers of audiences for both these channels.

     

    Besides, we have not compromised on the production values for these channels and have attempted to extensively involve our viewers in daily programming through a host of interactive shows.

     

    This strategy even attracted urban viewers from Mumbai and Kolkata, areas considered too cosmopolitan for a regional channel. Both channels have surpassed Star Plus in C&S 15+ female SEC-A,B&C and while in C&S 4+ market Zee Bangla is far ahead of Star in Bengal, Zee Marathi is just 20 GRPs away from Star Plus in Maharashtra.

    But the growth witnessed by Marathi and Bengali has not been seen with Zee Gujarati – Why so? What was the setbacks that the channel encountered in this market?
    With Zee Gujarati we did have a problem. This too is a market strongly dominated by Hindi. With only three players in the game ETV, Zee and DD, the market has seen marginal growth over the last couple of years.

     

    Zee Gujarati requires the push that was given to Marathi and Bengali and going forward this is our plan. We will pump in more investments into the Gujarati market as well as rope in good talent and push our content more aggressively. One can expect to see a turnaround of Zee Gujarati.

    Zee Gujarati will see a turnaround in the next two years

    What is the time line that Zee has set for revamping Zee Gujarati?
    Within the next two years, Zee Gujarati will witness a complete turn around. In fact, the potential of this market is more than that of Marathi and Bangla due to the mere consumption of the State. Therefore, we are putting serious monies behind the channel.

    How much will you pumping into Zee Gujarati?
    I would not like on that at the moment.

    What is the current ad pie for each of the three markets and what growth is expected in these regions?
    The ad revenue of the Bangla language channels in the Bengali TV market is expected to touch Rs 280 crore (Rs 2.8 billion) in 2007 and grow to a category share of 35 per cent. Meanwhile, Marathi language channels will cross Rs 225 crores to occupy 25 per cent share of the Maharashtra TV market this year. However, the Gujarati market is presently a mere Rs 50 crores.

    The network recently made its foray into the Marathi movie segment with the launch of Zee Talkies in August, what has been the response thus far?
    Although, we were aware of the untapped Marathi movie genre, the response to Zee Talkies has been phenomenal as it touched 70 GRPs in its first week of launch. The was far beyond our expectations.

     

    This was supported by an extensive marketing push of Rs 80 million dedicated to the launch campaign. We consciously decided that for the first 20 days the channel will not have a single advertiser. We wanted them to first see the response before they put money on the table. The numbers speak for themselves!

    As part of the network’s attempt to boost Marathi cinema, you tied up with three production houses for a slate of 15 films across two years. When will these movies be released and what is the investment outlay for these films?
    The first film will be released by the end of this year in theatres, following which it will be telecast on Zee Talkies. Close to Rs 10 million will be spent on each film.

    Do you have plans to enter Bengali film production as well?
    We are currently in talks with a few production companies for Bengali movies. We plan to get into Bengali film production very soon.

    Which production companies are you in talks with and what is the budget allocation for Bengali films?
    We have not yet zeroed in on the production houses yet, so it would be premature to talk about it now. But we will definitely be spending more than Rs 10 million on each film.

    So, are you looking to launch a Bengali movie channel as well?
    (Laughs) No! Not at the moment.

    Going forward what are the growth opportunities that you foresee in the three regions?
    The addressable television environment will definitely provide a huge thrust in pushing these channels ahead. For the Zee Network, the regional channels will be strong pillars. This will help grow both subscription and ad revenues for the network.
  • ‘Strategic investor will take stake in the broadcasting entity’ : Shantanu Aditya – UTV Global Broadcasting executive director and V&S Boardcasting CEO

    ‘Strategic investor will take stake in the broadcasting entity’ : Shantanu Aditya – UTV Global Broadcasting executive director and V&S Boardcasting CEO

    UTV is lining up nine channels and is planning to bet Rs 6 billion in it. The company is in talks with strategic investors to support its broadcasting venture which will be under the umbrella of UTV Global Broadcasting.

    The aim is to try and carve out a place in the youth and niche segments. The three TV verticals UTV wants to operate on are Genx Entertainment which will roll out the four youth-centric Bindass channels, UTV News for the business news channel, and V&S Broadcasting for movie and Hindi speciality channels.

    The company expects the Hindi movie channel to drive this bouquet of pay channels along with Bindass.

    In an interview with Indiantelevision.com's Sibabrata Das and Renelle Snelleksz, UTV Global Broadcasting executive director and V&S Broadcasting CEO Shantonu Aditya chalks out the road ahead for UTV's plans in the broadcast space.

    Excerpts:

    How is UTV arranging funds for the slew of nine channels it plans to launch?
    The total investment requirement for these nine channels is Rs 6 billion. While UTV will be investing Rs 1.5 billion as part of its contribution, the balance will be raised by a combination of equity at a premium and any other suitable instrument.

    Is UTV in talks to rope in strategic or financial investors?
    We are in advanced talks to get a strategic investor who will hold minority stake and come in at a premium.

    Will the strategic investor take stake in UTV Software Communications, which is the listed entity, or in the broadcasting arm?
    It will be in the broadcasting entity and not in UTV Software Communications. The broadcasting initiatives are under UTV Global Broadcasting. It has three wholly owned subsidiary companies – Genx Entertainment, V&S Broadcasting and UTV News Ltd. I wouldn't be in a position to comment on exactly where the investor is going to take a stake.

    Does UTV Software Communications have a stake in UTV Global Broadcasting?
    UTV Global Broadcasting is privately held. But this equity ownership arrangement could change after the investor is roped in.

    UTV had earlier announced that Genx, which would launch the Bindass channels, would be a joint venture with Astro as an equal partner. So is it that the three subsidiaries would be having different partners and still you would have an investor in the parent company?
    It is premature to discuss this at this stage.

    Is there a possibility of Astro picking up stake in UTV Global Broadcasting?
    As I said earlier, we can't comment on this at all.

    Will UTV News Ltd. have a separate structure as news channels uplinking from India come under a 26 per cent cap on foreign investment?
    We will abide by the current guidelines on investment in news channels.

    Speculation is that a group of Indian investors are going to invest in the news channel?
    We are speaking to a number of interested investors. It will be premature to mention any specific names at this stage.

    Will you be launching Bindass it in the first week of September?
    We will be progressively rolling out all the nine channels by mid-2008. Bindass, the youth Hindi general entertainment channel, will be up soon. This will be followed by Bindass Movies.

    Will they be pay channels?
    All our channels will be pay from the first day of launch. The first two channels are priced together at Rs 20 in non-Cas (conditional access system) and Rs 10 in Cas markets.

    'If you have a good acquisition and syndication strategy, you can build a successful Hindi movie channel'

    What are the other two channels to be launched by Genx under the Bindass brand?
    They will be in the regional space. Most probably they will be Tamil and Telugu language channels. But we are currently conducting research to support this.

    What are the four channels being launched by V&S Broadcasting?
    We will be launching a Hindi movie channel which will drive our distribution bouquet along with Bindass. We will have a world movie channel and there will be two Hindi speciality channels. We are also launching an English business news channel as we feel there is a considerable gap between viewer expectations and what they get right now.

    What are the scheduled dates for these channel launches?
    We are launching the World movie channel in November. The two Hindi speciality channels should be up in January and February. The business channel is targetted for a January launch and we should be ready with the Hindi movie channel in February.

    UTV had tied up with Palador Pictures for the world cinema venture with Olive as the brand. But with the split and Palador getting back all the titles, isn't it a setback for UTV?
    We have already acquired 150 titles and are looking at 300 at the time of launch. We will be screening the best of contemporary cinema and see a big opportunity in this. There are award winning titles and there are also good films from Bosnia, Iran and Argentina.

    Will high-priced DVDs be an important source of revenue and support system for this kind of cinema which will in any case attract niche audiences?
    We will have DVDs and theatrical release. We haven't decided whether we should go in for a high pricing or a volume strategy. But the channel has to drive by itself.

    How will you make a mark in the Hindi movie channel space when the existing players are entrenched, many more are on eve of launch, and acquisition costs are high?
    We are looking to launch with a bank of 300 titles, of which 50 films have already been acquired. The dynamics of the business is also changing. I see a syndication model coming into place and a lot of sharing of titles across channels. You may not see clean straight exclusive deals over a longer period as in the past. There will be a variety in the way you purchase movie rights.

    If you have a good acquisition and syndication strategy, you can build a successful model. Movie channels are platform agnostic and audiences are loyal to titles.

    While several broadcasters are eyeing the GEC space, why is it that UTV decided to foray into the niche genres of special interest channels?
    We have consciously decided to stay away from launching a general entertainment channel primarily because there has been a drop in viewership of 30 per cent in the Hindi GEC space in the age bracket of 15 – 35 years. The market needs segment-dedicated channels – and that is the domain we are entering into.

    Distribution of the new channels is a critical area. Have you set aside huge carriage costs?
    Carriage charges are a challenge. However, we have signed contracts with almost all the multi-system operators (MSOs) for our first set of channels.

    Have you stitched deals also with the direct-to-home (DTH) operators?
    I can't comment at this stage.

    Given the current media boom that the industry is witnessing, how are going to attract and retain talent?
    We have already recruited around 170 people for our broadcasting business. We are drawing in talent through a combination of compensation and stock options. Retention is a big part of our strategy.

  • ‘We want to become the GEC for young India’ : Zarina Metha – Bindass CEO

    ‘We want to become the GEC for young India’ : Zarina Metha – Bindass CEO

     She waits with baited breath, jittery to unlock her next treasure. Bindass CEO Zarina Mehta is bubbling with energy as she talks about her second baby Bindass. This time round, Mehta is casting her magic wand over the Indian youth segment, but with a mammoth approach as she navigates across multiple media platforms to capture her target audience. Some question whether she will rewrite the Hungama TV story and the impact it had on the Indian kid’s space. However, in this case she looking to unveil a quartette of four Bindass television channels by April 2008.

    With the backing of Malaysia based media company Astro, she seems geared up to take on competition with other broadcasters also foraying into the youth general entertainment segment. As this television space is heating up, Mehta is leaving no stone unturned to capture what she calls the “sweet spot.” In an exclusive t?te-?-t?te with Indiantelevision.com’s Renelle Snelleksz, Zarina Mehta exudes the excitement and the anxiety before she breathes life into her next creation.

    Excerpts:

    Why have you decided to change your TG positioning by extending the demographic beyond the 15-24 year olds even before launching Bindass?
    When we initally conceived the channnel, we were looking at the 15 – 24 year olds, but further research urged us to redefine our target audience as 15-34 year olds. The median age for India has dropped by two years to 24 years since the 2001 census.

    But how do you manage to make one brand appeal to this wide audience? It is all about targeting what we call our “sweet spot” or the 17 -21 year olds. We realized that if we target our sweet spot, then we will automatically attract the larger segment of 15 – 34. This is because the 15 year olds long to belong, while the 34 year olds just do not want to grow up. This ‘down aging’ phenomena is a sensational find because if I get my 17 – 21 year olds correct (which I pray I do, she laughs), then I will capture this larger segment as well.

    What opportunities does this segment offer?
    Between the 15 – 34 age group we have got 379 million Indians (All India) and in the C&S homes 95 million Indians. But who is currently engaging this audience? Star One did it in its old avatar, Sab is making a good attempt, there are also one off shows from GECs and some niche channels. But there is definitely a gap.

    The 15 -34 year olds comprise 42 per cent of all TV viewing. This is a fantastic opportunity for us. The viewership patterns from 2005 till now are also changing, which shows the decline of the GECs as viewers are moving away from their traditional consumption and trying new things. There is thus a gap in the general entertainment space on television and we want to cater to this segment. We want to become the GEC for young India.

    The concept behind Bindass has largely been supported by research. Are there any significant findings that have helped give shape to your upcoming channel?
    We did three and a half months of solid research, we have a proprietary name test which we had done for Hungama TV, Ceria and for Bindass. Secondly, we did an ethnographic qualitative study, followed by a quantitative study based on attitudes conducted by Synovate across six Indian cities and 2500 samples. Our research is invaluable and the key finding stated that our sweet spot (core TG 17- 21 year olds) have a ‘duality’ but are very comfortable with having a traditional heart with a cool exterior. This forms the core brand value of Bindass.

    The ‘Bindass’ name is imbued with certain brand properties that resonate with factors like chilled out, edgy, sexy and young. But as the creators of brand Bindass these values were not sufficient to create a 360 degree long term brand. So we added values that will further energize the brand and came up with the following propositions. If you are not “yo dude” and you are not “saas bahu” then you are Bindass. We are the reality of young India that consists of the four F’s – Fun, Frank, Fearless and Freedom.

    Our logo has been designed by BDA and is exactly what we represent, completely Indian with a cool exterior, that is what we believe will work.

    On the programming front, what’s your strategy?
    The channel will have no music, no soaps, no gadget shows, no lifestyle shows and no VJ’s. So what are we left with? It is going to have a lot of comedy. We will have action thrillers, Hollywood blockbusters and the best of local and International shows, accompanied by late night horror, International movies and extreme sports.

    Our daily driver primetime shows include a stand up comedy Lagegi that is shot 24 to 48 hours prior to telecast from Monday to Thursday. We will have seven BIA’s – Bindass Intellegent Agents from the top cities giving us reports on what is happening across India. Then there is Shakira, a dark angel fighting for justice, every man’s fantasy, while another daily comedy is Sun Yaar Chill Maar. We also have a street magician show by Ugesh Sarcar.

    Our programming is tailored to fit our research findings which show that the 15 -24 age group watches two and half hours of TV a week and movie channels are consumed for six hours a week by this TG.

    In the highly cluttered TV environment, have you identified what your primetime is going to be?
    Our primetime is definitely going to be the normal primetime 7.30 – 11.30 pm. But what is interesting is that this audience will be consuming TV across the day, so we will be discovering new primetimes. There will probably be the regular primetime and two other primetimes, which we have also identified and we are pushing your programmes at that time as well. This will be a learning curve for us.

    But won’t this interfere with GEC primetime, especially in the reality of a single TV household?
    Yes, we will, thus, be discovering our own primetime. Is our TG going to be able to snatch the remote or not? We believe that within this primetime they will snatch the remote. But basically there are two time slots within primetime that we are gunning for. Apart from that, we do believe there will emerge other primetimes which will be a morning and afternoon one. We are looking to garner ratings right through the day.

    We will be discovering our own primetime, but there are two slots within 7.30 – 11.30 pm that we are gunning for

    You are also looking to have a strong movie line up on Bindass?
    We have top of the line Hollywood blockbusters that we will dub, along with Japanese and Chinese films as well. It is important that the movie is ‘bindass.’ Even if I know a movie will rate well but if it does not qualify as a bindass film, then I won’t put it on the channel.

    We are not going to have Hindi movies on our channel, for the same reason that we are not having music, because it is ‘undifferentiated viewing.’ The way Hindi movies are bought in bulk, you are not allowed to pick and choose, thus you cannot build your brand, but in case of international films you can do this.

    Will this mean that you will not have any films from the UTV stable?
    We may have them eventually, but only if it’s a Bindass movie. It also depends on whether we can afford it. At the moment, I am only looking at international movies from Asia and the West.

    What is your movie strategy for the channel?
    Primetime movies will be for the weekends, but we will also showcase two movies a day largely off primetime.

    What about animated content on the channel?
    I personally love animation but unfortunately in India animation is perceived as being for kids. I can’t afford to have that on Bindass when we launch. Maybe after the brand has settled and people have realized that it’s a 15+ brand, then I can put it on. But this will definitely not happen in the first year.

    Are all the Bindass shows produced in-house?
    Two have been produced in house i.e. Shakira and Sun Yaar Chill Maar but Lagegi has been done by the production house Encompass. However, all the concept ideas have come from us.

    How many locally produced shows will be on the channel?
    At the moment we have three shows. But we will have six original hours of content per day which includes a mix of locally produced shows, dubbed acquired content and movies.

    Will the mix be largely skewed towards local content? What is the proportion of local versus acquired content?
    We will just have to wait and watch although I believe local content is very vital. Our primetime will be completely local. But we have also learnt from our experience with the kid’s channel Hungama TV that acquired content can also do very well.

    Local programming will consist of 45 per cent and acquired 55 per cent. But we have to first see what works and then decide eventually.

    What are the plans to introduce other Bindass channels in India?
    By April 2008 we will have four channels which will be variations of Bindass. We are currently exploring what those will be and are even exploring whether it will be a regional channel or maybe even another genre within this youth audience space. We have, however, decided to launch a movie channel called Bindass Movies by early October. We have acquired a huge library consisting of about 150 movies to start with.

    By April 2008 we will have 4 channels which will be variations of Bindass

    Will this new channel also have only international movies dubbed in Hindi or are you also looking to infuse some Bollywood content?
    Not when we launch, but eventually we may consider infusing some Hindi movies into the channel. What was an eye opener for us was that our analysis of over a year’s ratings indicated that a dubbed Hollywood movie gets three times the ratings of the non-dubbed version of the same movie, while a Bollywood film gets only double of that. So as a cost benefit analysis, this is the way to go.

    Will this also be a pay channel like Bindass?
    Yes, I only believe in the pay channel model. All our channels will be pay from day one.

    What will Bindass across the mobile and online platform be like?
    For our mobile platform we have tied up with all the telecom operators in India and our own short code is 5995 to showcase both Bindass and acquired content. There are two kinds of content we are working on. One is popular content which accounts for 95 per cent of revenues. The other five per cent is high-end content which people rarely use but is the future. Popular content consists of wallpapers, ring tones, gaming and contests. We are going to prepare ourselves for what we believe is going to come on mobile, the high technology stuff which includes mobisodes, television clippings, online chat and blogs for which we are talking to people.

    All this is an opportunity to get the content of my brand across all touch points. We don’t see it as competition to TV, we see online and mobile as fantastic opportunities to communicate with our audience. So by taking our content across platforms we will kick off with Lagegi.com an online comedy portal having Lagegi content and other content including user generated content and clips not aired on the show. We will also have Bindass.com which will showcase the brand and the shows.

    Are the retail and merchandising plans for Bindass already underway?
    I am going to start focusing on our retail ventures post the launch of the channel. I have given myself 12 months before I launch two cafés in Mumbai and Delhi. These will be brand extensions of Bindass to create a touch and feel of our brand. We are still in the process of conducting research to arrive at the right representations of the brand. But we have zeroed in on gaming consoles, web zones and merchandising counters that will be a part of the ambience along with some other big ideas. These café’s will be unique to an entertainment brand.

    With the first two café’s, I would like to see how these concepts click with our TG and then we will roll out completely. I don’t want to push it.

    Are you considering roping in a partner for this initiative? The investments for this are outside the Rs two billion that was declared earlier. So what are the investments for this?
    No, not at the moment I am not considering a partner. Maybe I will kick off on my own and get a partner later.

    Yes, the investments are outside the JV and are very high. The investments from the JV alone are Rs 2.7 billion which will be largely dedicated to the four channels.

    What is the marketing push that you have planned to get Bindass off the ground?
    For the media plan, we will start with a big push for Lagegi on TV and with the website in August. This will be followed by Space Yatra which is a contest that will kick off in September giving seven Bindass people across the country the opportunity to go into space.

    With several players now eyeing the youth demographic, how do you see the television space shaping up this year?
    We love competition, without competition we are dead. I am so happy that many people have announced their plans to enter this space. You don’t want to be alone, you want competition to grow the space, to come up with better ideas, you keep going one up and the space grows. I know this sector is going to hot up, in fact it already has. In the Rs 65 billion market there is Rs 18 billion targeting our “sweet spot” – the college going kids. The opportunity is huge as 72 per cent of India is below the age of 34 years.

    What about your plans to take a prototype of the channel overseas (Southeast Asia) like you did with Hungama TV in Malaysia?
    Absolutely, but first it is important to make the mother brand successful at home and then duplicate it. We are looking to extend the brand not only to Southeast Asia but also to take it to the Middle East and East Asia by late 2008 or early 2009.

  • “The adoption of multiple frequencies will mark the next inflation point in radio” : Naveen Chandra- Radio Mirchi SVP & National sales head Naveen Chandra

    “The adoption of multiple frequencies will mark the next inflation point in radio” : Naveen Chandra- Radio Mirchi SVP & National sales head Naveen Chandra

    The media industry has recently been eyeing the advantages that radio is promising to offer, but when it comes to the monies, advertisers are still apprehensive to bet big on the medium. As the radio industry in India evolves progressively from mass to niche, the industry is setting its targets to rake in the moolah. However, obstacles are inevitable and the biggest threat is of under valuation in proportion to its reach and accessibility.

    In a free flowing conversation, Radio Mirchi SVP and National sales head Naveen Chandra shares his views on the scope of the medium in India, which he believes will be fuelled following the Government’s sanction of a multiple frequency approach adopted by a single radio operator. He tells Indiantelevision.com’s Renelle Snelleksz that this will mark “the next inflection point in radio.” Geared to take on the big guns of print and television, this radio player has set high standards for itself and demands a premium as it moves into the radio era.

    Excerpts:

    Could you shed some light on Radio Mirchi’s sales and media strategy?
    As a market leader we have been pioneering efforts to look at things very differently. As a medium, radio is very unique because it can be both National and local at the same time. There is no parallel to this, for instance television is national by nature, and although regional television does come close, it is still very fragmented and exits in certain pockets. In terms of a National network, even print does not have editions across the country and is more regionalized. Thus we are a medium that’s does not have limitations of geography, which places us very uniquely to conduct a national or local campaign.

    The second thing about radio is that if you look at Tam data radio lures advertisers from across different product categories. While there are some categories that will use print or niche channels like FMCG, the auto, telecom and banking sectors will not advertise on GEC’s. Radio in this respect is an all encompassing medium as it offers a solution to a wide spectrum of categories that advertise on different genres of print and TV.

    Which are the biggest categories as revenue drivers on Radio Mirchi? How do they stack up percentage wise?
    Banking and finance contribute to 11 -12 per cent, media and entertainment 10 – 11 per cent, telecom 9 per cent, retail and real estate 8 – 10 per cent, automobiles 7 – 8 per cent and durables (which on an annual basis is cyclical).

    Which are the new entrants that are flocking to radio?
    We recently conducted an IPO marketing seminar with merchant bankers to get them to look at the medium positively as it can provide returns due its large reach, which exceeds a Star Plus or Times Of India. Besides radio can also provide a lot of on-ground and BTL brand building activities that attract audiences to consumer the product.

    How do you justify the fact that radio exceeds the reach of Star Plus or TOI?
    If you look at five minutes of continuous viewing on any television channel, you will notice that it is lower than the reach of radio. Using one simple metric – to consume television you need cable connectivity, to consume print you need literacy but to consume radio you nothing but to enjoy good music. Therefore radio by definition, reaches 99 per cent of the population and the reach will always be larger than any other medium.

    What is the current reach for the station nationally?
    Currently, 1.7 crore people tune into Radio Mirchi daily across 10 stations that include the four key metros Mumbai, Delhi, Kolkata, Chennai, as well as Bangalore, Hyderabad, Ahmedabad, Indore, Jaipur. Stations in Patna, Jalandhar and Goa have recently been added.

    What are your plans to increase your network across the country?
    We are looking to launch another 20 stations across the country within the next six months.

    What’s the revenue growth that Radio Mirchi has seen over this fiscal?
    We have seen good growth over this year, however I will not be able to share exact numbers until our annual report is out.

    But we have marked about 50 – 60 per cent revenue growth on radio.

    What is the current revenue generating model that radio operates on and how does it compare with television and print advertising rates?
    For radio we follow ILT research that helps us to operate on a cost per reach (in thousands) model, so while our rates are high, our cost per thousand is very low. Typically print and TV operate on the on cost per thousand (CPT) approach but at about Rs 1300 – 1400 depending on the channel.

    Our rate is Rs 70 per thousand people, which is very low in comparison to television and print. But as a means of comparison, one ad in print is equivalent to about 30 ads on radio, so in that sense it is much lower.

    The reach of radio exceeds a Star Plus or Times Of India

    What’s the ad growth curve that the station has seen over this year?
    With our focus towards a lot more on corporate driven advertising, if you look at the ad growth we have seen good growth over the last four to five years. Additionally, the ad durations have come down significantly from about 45 seconds to about 15 seconds on an average because the advertising environment has become more promotional led than as branding activities.

    In terms of spot rates, what is the margin between Radio Mirchi rates and your closest competitor?
    In Mumbai, our rate would be Rs 1,800 for 10 seconds, while other stations would range between Rs 400 – 1000 for the same.

    What is the current market size for radio in India?
    It presently stands at about Rs 500 – 600 crores.

    Could you highlight key benefits of radio as a medium?
    Radio is very linear medium, for instance in New York there are 89 radio stations but the average number of stations a person listens to is 1.7, which is under two. Essentially, this indicates a high loyalty towards radio stations as programs are seamless and it’s not like every hour there is different show. The characteristic of radio is such that it is very personal and intense and therefore is consumed as a medium of ‘one,’ it’s a mass as well as a personal medium. While for television, every half hour there is differentiated content which forces the viewer to keep shifting in and out of channels. Similarly, a Friends fan will watch the show on which ever channel it beams, so even if cricket had to shift to something like B4U, then everyone would flock there even if they have never seen the channel before.

    Therefore, for radio the research we conduct points to many unduplicated audiences that are loyal to one station alone. Thus, many unduplicated audiences will continue to be present but will not be reached even if one operator were to buy out a set five to seven stations.

    However, acquisitions will increase your presence across the country, so are you looking to buy out other stations?
    Well, we don’t know that yet. But in a sense the next inflection point in radio will be multiple frequencies.

    With India experiencing a boom in radio, what are the key differentiators for Radio Mirchi in this cluttered environment?
    Our key differentiator would be our programming and jocks which are very contemporary. Through a lot of analysis and research we cater to the needs of listeners. We often tie up with Bollywood to premiere music on our station.

    Radio has a lot of elements that a listener can identify with like for instance a radio jock. Also, every radio station has a particular ‘stationality.’

    In more mature markets, often clients only advertise on stations that are a natural extension of their brand and its values? How far away is India on that evolutionary scale?
    Let me give an example – There was a time when Warner Brothers would advertise on Go 92.5FM because it was English and niche, but today advertisers such as these are seeing the benefits of a mass radio stations as well.

    With television further fragmenting into ‘niche’ specific channel offerings, how long before radio also branches out into the realm of niche stations? Given that Go 92.5 FM grew quickly extinct and resorted to mass appeal, what barriers would radio encounter before it adopts a niche approach?
    Once the Government approves of a multiple frequency model, where a single radio operator will have different frequencies, it is then that radio will experiment and take the route of niche stations. But this will not take shape unless all the radio stations that are scheduled to launch this year roll out there plans.

    What do you see as the way forward for the radio industry in India?
    Currently, radio only occupies two per cent of an advertiser’s ad pie expenditure and that is dispensable. As a medium I feel our rate structure is under priced, the average cost for a radio campaign is about Rs 60, 00,000 across eight to nine markets. The challenge is to increase this by three times.

  • ‘The challenge in a high growth economy is shortage of talented, trained manpower’ : Arvind Sharma – Goafest Committee chairman and Leo Burnett chairman India sub-continent

    ‘The challenge in a high growth economy is shortage of talented, trained manpower’ : Arvind Sharma – Goafest Committee chairman and Leo Burnett chairman India sub-continent

    As the sun and sands of Goa beckon the Indian advertising, media and marketing community for the AAAI organized ad festival Goafest from 19 – 21 April, apart from the celebration that lies in its wake, the event seeks to address more critical issues faced by the industry. Amidst all the hectic last minute schedules, Goafest Committee chairman and Leo Burnett chairman India subcontinent Arvind Sharma very co-operatively took time out to share his perspective on the current standing of the Indian advertising community, the progression towards growth and expansion and the pitfalls that need to be resolved.

    In an exclusive tete-a-tete with Indiantelevision.com’s Renelle Snelleksz, Sharma highlights the point that the fundamental objective for the festival is “to provide a platform for conversations, debates, ideas and celebrations between the rock stars and the aspirants.”

    Excerpts:

    What are the key proponents that necessitate AAAI’s endeavor to capture an untapped area of the Indian advertising fraternity through Goafest?
    As a member of the executive committee of AAAI, it was early last year that we decided to host a National Ad Festival. National because we recognized that epicenters have a way of moving and so different advertising capitals keep springing up across the country. At one point Kolkata was at the helm but today Delhi is huge, only 20 per cent smaller than Mumbai. Therefore AAAI endeavors to promote advertising work from across the country.

    Secondly, there is a fundamental difference between a one off award function and a festival. The former is largely focused on the work of the individual but we chose to go with a festival because it allows an opportunity to display the work and think of ways in which it can be bettered. Unlike award shows, the festival has been designed to not focus on the ‘agency of the year’ concept which selects one winner and a dozen losers. As an industry that is growing at 20 per cent we would rather have 1,000 winners and our attempt is to encourage and nurture those winners.

    By design, there will be no agency of the year but instead a Grand Prix award to recognize work that represents excellence. This will help develop the industry more rapidly. The fundamental objective for the festival is that it aims to provide a platform for conversations, debate, ideas and celebration.

    What are the key differentiators for Goafest as a festival, as compared to existing one off award functions?
    This takes shape in four ways – Firstly, the work that has been entered is displayed so that delegates have the opportunity to make their own judgment on the entries that have won and those that have not. The festival also brings successful International speakers and local jury members as well as aspiring youngsters to exchange their thoughts and ideas.

    Secondly, there are a host of formal seminars and thirdly, apart from the exchange between the aspirants and the rocks stars, the festival brings 2,000 people from various locations, specialist fields intermingling and sharing their experiences.

    Lastly, it brings the rising stars from across India to Goa. As is known, all industry functions like these are expensive and only the senior executives get to go, which ultimately makes development of the industry slower because the exposure is less. Thus we have provided a special package for 800 under 30 year-olds.

    While Goafest is an event of celebration, what are the larger underlying industry issues that the event is looking to address? How can these be remedied?
    The challenge for the advertising industry in a high growth economy is the shortage of talented trained manpower and this will be the primary focus at the event.

    The Ad Conclave that precedes the festival will get 150 leaders of the industry and much like town hall sessions, will get them thinking together. On an every day basis, the nature of competition exists, but this is a platform where we can all put our heads together to finds ways to cope with the existing issues.

    At an individual level, there will be competition but we need to work collectively on this front. The gurus of today spent their first 10 years in a pre-television environment with DD as the only means of TV. Youngsters on the other hand, are acquainted with the growing multimedia environment, though they may not know the craft. It is fundamental for us to listen and learn from them just as much as they learn from us.

    The industry faces a shortage of talent. It is believed that AAAI plans to unveil an ad campaign that would lure youngsters towards the profession. Is that still on the cards?
    Yes, it is still very much on the cards and will follow closely after Goafest.

    What is the growth that the industry has seen over 2006?
    Various sectors have grown differently – The creative agencies have grown at 15-20 per cent, the marketing services at about 30 per cent and the specialist’s media agencies at 25 – 30 per cent. So overall, the industry has grown by 20 -25 per cent and from a global point of view India features in the top five advertising industries. Although our base may be small, our growth rate is impressive.

    Creative agencies
    have grown
    15-20%, marketing services at about
    30% and the specialist’s media agencies
    at 25-30%

    In order to leap ahead in the next three to five years, as the Ad Conclave theme suggests, it would require the combined effort of the industry at large however; two mammoth agencies O&M and Lowe seem to stay aloof? What would be your advice to them?
    In any industry, one hopes for 100 per cent participation. But we have received enthusiastic support across centres and agencies. Sometimes people choose to wait and watch, but as and when they decide to join in we will welcome them. We will go forward with what we believe in, we will just have to give the others time.

    What is your opinion on a having a common Indian advertising body and a single credible award function, a proposition that many professionals have vouched for?
    Our belief is in an advertising festival and not just an award show that will include seminars and interactions. However, there will always be a second and third viewpoint.

    You mentioned earlier that an investment of Rs 50 million was being pumped into the event. You also have a big kitty of sponsors, what will be their contribution to making the event a success?
    Goafest is a non profit event and while no association has complete funding of its own, the whole industry has supported us directly through sponsorship money. We are extremely excited and grateful for their contribution.

    What are the logistics that have to be taken care of when planning an event on such a lavish scale? When did the planning commence and how long has it taken you to set up the agenda?
    The logistics are extensive as one has to get International speakers and coordinate dates that are convenient, to book hotel rooms and check availability. To accommodate and make arrangements for the 800 under 30 delegates as well as senior executives has been a real challenge. We started planning and preparation six month ago.

    With the inclusion of media awards and with a host of International experts and commentators – what are your expectations of the event this year?
    We are hoping to prove to ourselves and to the world that we are capable of hosting an advertising festival comparable to any in the world.

    What advice would you give to the 2,000 media, advertising and marketing professionals that are gearing up to come to Goafest this year?
    (Laughs) My only advice is to come and freely share your thoughts and ideas, as I believe this will finally help to catalyze the growth of the industry as a whole.

  • ”Absolute number watching TV has increased 50%, we should be paid for that’ : Joy Chakraborthy – Zee Entertainment Enterprises Ltd. executive vice president, head network

    ”Absolute number watching TV has increased 50%, we should be paid for that’ : Joy Chakraborthy – Zee Entertainment Enterprises Ltd. executive vice president, head network

    The biggest bouquet of channels on Indian television and the second largest player in the GEC space, the Zee Network has been in the limelight recently, whether it be on the receiving end of HLL’s ad spends or with big ticket events like the Zee Cine Awards.

    Joy Chakraborthy, the man spearheading ad sales for the broadcaster, agreed to offer his opinions on the current television scenario, highlighting its drawbacks of under pricing, ad revenues that exceed distribution monies and the constant debate over cricket. At the same time he lends a word of caution to new players pacing ahead to enter the broadcast space. All this and more in a free-wheeling conversation with Indiantelevision.com’s Renelle Snelleksz.

    Excerpts:

    The big news currently seems to be around how Hindustan Lever is significantly increasing spends on your network. You have even been on record as saying you are looking at a growth of at least 100% on Lever spend in FY08 over FY07? How do you justify that optimism?
    Levers is the biggest client in the television space and we have channels across all genres, Levers is a good client for consumption also because they are perennial clients. There has been rate correction but we have also given them big properties. At the same time, Levers buying process over the last two years has changed, initially they used to buy slots that appeared at a particular time band but now they have started buying quality as well so they would necessarily have to pay for that. Therefore, there has been a jump in ad sales rates this year over the previous year.

    When you say ‘rate correction’ – what do you mean?
    The Zee network itself is very under-priced, so we are continuously correcting our rates. I have over my tenure here (which is two years) revised my rates three times, but no rate correction is very drastic, it’s really a gradual correction.

    After all we are still in a World Cup year and although India is out of the tournament, we will see loads of other cricket action as well?
    As a network, we haven’t suffered at the hands of cricket. However a lot of money is diverted there. But thanks to cricket and sport, I believe that the overall PUT (people utilizing television) will also increase, because of World Cup TV sales will also increase, so the whole space is only going to expand.

    It will eventually benefit us also, but my only concern and what I see as a challenge this year is that the unofficial currency is cost per rating point (CPRP), which has to move cost per thousand (CPT). CPT is more important and with Tam’s expanded panel the absolute number of people watching has increased by 50 per cent and we as an industry should be paid for that. Even more, if you are a listed body you also should subscribe to the CPT model, which will happen sooner or later.

    But how soon do you think the transition from a CPRP model to CPT model will take to materialize?
    The IBF and AAAI have already met on two occasions, the next one is in April. But at the end of the day this shift will benefit all of us. It’s not that it is unfortunate for the client alone, as the television medium continues to grow the cost of programming, distribution, marketing and manpower is increasing every day. With the CPT model the ad rates will go up, infact most agencies buy on CPRP and give it to the client on CPT, but after expansion the minimum rate has increased. The recommendations of these two industry body’s should materialize within a month’s time.

    It has been previously stated that Cas impact only accounts for a 1- 1.5% drop in C&S 4+ level across TV. However, with moves to extend Cas to cover the full metros and then possibly go into other cities and towns this argument cannot be sustained for much longer. How does Zee view this situation and how do you plan to use it to your advantage?
    Cas is here to stay but the thing is that Cas growth was marginal, across the Zee network the drop accounted for 2.5 per cent, which is very less in comparison to the kind of growth that we are experiencing.

    With Cas rolling out further, the pressure from media buyers on rates is only going to go up? Do you see the possibility of many channels, including entertainment channels, going FTA to protect advertising revenues? For instance, Peter Mukerjea’s Hindi entertainment channels will be FTA when it launches…?
    Sometime we really wonder whom the media buyers really work for, the channel or the client. They will always pressurize us. Do you think they deal with rate hikes easily? They will fight for each rupee just as we fight for the same. But that is what makes our relationship so lasting.

    India is the only market where ad revenues are more than distribution revenues, ideally it should be the other way round. It will be better for the industry if distribution revenue picks up. Worldwide the distribution versus ad revenue model is 70:30, but in India it’s about 35:65.

    What’s the viewership growth that Zee network has seen in 2006 over 2005?
    It’s not only about Zee TV, but all our channels across the network have done well. In Marathi and Bangla we are number one, even Zee TV from Monday to Friday is delivering for us, as it is not just about one show alone. We have such a spread across our network and as a sales head I would rather have a couple of shows delivering 4 – 5 per cent ratings rather than one show delivering 10 per cent, as it helps my inventory giving us a properly defined FPC (fix point chart), because all our shows deliver within numbers in this region providing a complete media plan.

    Sa Re Ga Ma Pa has been the mantra for the network, not only did Zee TV come back with the show but also Marathi and Bangla. I believe Zee Café is number one right now and with Zee Studio we are getting back to where we belong, which means we are getting close to HBO and Star Movies. Etc and Zee Music combined gives us better numbers than even MTV and Channel [V]. Therefore, we are trying to find ways of selling together.

    In Zee TV you now have a strong number two position sewn up? Which are the channels that you have achieved a clear leadership position with?
    Percentage wise all the channels have seen growth, but in the cinema genre there has been a significant correction in GRP’s with the number of people watching cinema drastically increasing. Today 155 -160 GRP’s is equivalent to 210 GRP’s in the past, which is an absolute number of people. Movies generally give an average of 0.8 – 1.3 ratings, which points to the number of people sampling the channel.

    What’s the current order of importance of channels on the Zee network in terms of ad sales and how does it stack up percentage wise?
    Zee TV is operating on GEC where the maximum revenue lies, it will always remain the top most from an ad sales point, followed by Cinema, Marathi, Bangla, then Café, Studio, Music and Etc will stack up accordingly. But value-wise and outlay-wise these four are the ones that deliver the maximum.

    For example percentage wise Zee TV would range between 50 – 60 per cent, Cinema would be roughly around 25 per cent, while the others will corner the remaining share of the pie.

    Our differentiator is that we don’t compromise on the big channels just to accommodate weaker ones

    How is the selling done across the network? Is it broken up into Hindi entertainment, news, cinema, English entertainment and regional channels? Or is there some other formula you apply?
    We work on a matrix, for which we have all India heads and branch heads. The obvious thing is to present one face of the network to the media buyer without losing the immediate focus. The differentiation in the way we work is that we don’t compromise on the big channels just to accommodate weaker channels. As part of our strategy we also do network deals with clients like HLL, Pepsi, Coke, Nestle, L’Oreal for which we provide a bouquet offer. In fact, we can replace a lot of other networks because we have a range of channel genres to offer from GEC, music, cinema, regional etc. Each of the channels within the bouquet has its own respective teams which go out and meet the market and keep updating media agencies and through SMS we inform the trade of current GRP’s.

    From a programming perspective, Zee TV has gained a strong foothold between the 8 and 10:30 prime time, and even with the arrival of KBC you have managed to hold your ground to an extent. Are there any strategies in place to really get into programming overdrive once KBC completes its run?
    If you see, we did not panic at all when KBC was launching and didn’t resort to doing anything drastically different. We have a very close knit team for programming and marketing that evaluates the market and competition. Infact our primetime is not just 8-10.30 pm, we start at 7 pm and 7 – 11.30 pm is what we like to call primetime. All our properties are Monday – Friday that gives us a weekday skew of scheduling spots, which has been consistent in delivering an average rating between 2.5 – 8 per cent. Besides we also do plug repeats of Sa Re Ga Ma Pa, Shabash India and Johhny Aala Re.

    But what about the afternoon prime time? That is a band that Sony is actively looking at as well we’re told?
    This is a place we are not currently at, but would like to be in the future depending on the decisions taken by the programming team. With KBC and cricket we noticed that suddenly the afternoon was doing well for us, causing the time band to grow big time across all out channels. We have plans that will be unveiled once budgets are approved by the management for the financial year April – March.

    As for Sony, there seems to be confusion as to whether to go with reality or not. I strongly feel that soaps are the most important thing for a GEC because it gives you consistent viewers. I enter the fiscal in April with 60 per cent of my deals done in advance, on an assumption of X, that only soaps can deliver. As reality picks up only towards the end, you should have an ideal mix of soaps and reality, which as a network we currently have. This ultimately helps me sell well as I have more properties to offer to a client.

    Any significant weaknesses? And how do you propose to get it sorted out?
    As a network the year has been very good but we still have miles to go. For Zee TV alone, its just been a year since we started doing well, besides there is so much to be done within this genre.
    Also, the type of selling methodology is changing and we have to understand the move from CPRP to CPT. Going forward we would also like to focus on training people with skill sets because until now it was just fire fighting to grab the money that was lying in the market.

    What has been the growth like over FY06 and has it been in line with the targets you set? What are the revenues you are expecting to close this fiscal at?
    I can’t reveal growth figures but the growth has exceeded my predictions.

    We have infact exceed our revenue target by 30 per cent. However, we keep revising our targets depending upon demand and supply, channel performance which are fixed standards for us. But usually these floating targets usually go up.

    And what about Zee Next? There was talk that it would launch by mid-year. Is that plan still on track or is the current view that another channel might be a distraction as far as Zee TV’s focus on getting further ahead is concerned?
    It is still in the planning stage as there are various factors to be considered before launching a channel and we want to be fully prepared. But it is on our radar for this year. To say we are ‘on track’ largely depends on the market conditions and with KBC and so many channels actually coming in, it depends on how and when to launch.

    Yes, currently the focus is on Zee TV because our FPC has changed slightly. We also have programme launches, Sa Re Ga Ma Pa will return at the end of April and a few more strategies that will help sales.

    The Zee Cine Awards in Malaysia are obviously a headline event for you. Could you offer a picture as to the big properties Zee will have in the coming months?
    We are probably the only broadcasters that can say we own an award. In fact, the client gets lots of exposure by tying up with it across the network, that’s why there is a demand for it. It was within four days from the day we started selling, that we were sold out.

    How do you view the coming onslaught of channel launches? Wouldn’t the increased clutter only lead to further pressure on price points?
    It will affect the TV space causing further fragmentation but with so many channels coming in the number of people watching TV will increase. The only bad side to this is that new entrants will spoil the market, causing marketing and distribution costs to go up. Additionally, discounting rates will also get affected. But please note, it’s not easy to launch a channel as after launch it is difficult to maintain, because how long can you bleed? You’re basically into business and not into charity, so lets see how many will last?

    Yes, there will be pressure on price points. A situation will arise where there will be a lot of buying out of people as well as offering different credit periods to suppliers and this will ultimately spoil the market.

    If you were asked to offer a view on how the broadcast landscape will look over the coming year, what would that be?
    My only request would be that people should be very careful and do their homework before launching a channel. We have a big bouquet of channels and we know what it’s like.

    Just because somebody says GEC has got so much money and if I launch I will eat some of that pie, but at the end of the day it must make business sense.

    Competition will always keep you on your toes, you can’t be complacent and you can’t take people for granted. Even if the channel is performing, you have to be there out in the market.

  • ‘TV will continue to be important, but its importance will decline’ : Rahul Welde – HLL general manager – media services

    ‘TV will continue to be important, but its importance will decline’ : Rahul Welde – HLL general manager – media services

    For over 50 years FMCG major Hindustan Lever has dominated the Indian market with brands that have become a household name for many. Now it is about to turn over a new leaf to welcome its mother company Unilever. After having hogged the media space, especially television and now opening its doors to new media like internet and radio, the time seems right to question its experts on their outlook to the fast developing media landscape.

     

    In conversation with Sujatha Shreedharan and Renelle Snelleksz, HLL general manager – media services Rahul Welde, who is most uncomfortable in front of a camera, puts aside all his inhibitions once he begins speaking on his area of proficiency – media and advertising.

     

    Excerpts:

    With the HLL name change announced, the next question is how would this pan out in terms of a branding and marketing strategy?

    Since it’s just been announced, we haven’t really planned that out as yet. It will be put to vote in the AGM in May, after which it will get adopted and implemented.

    One of the biggest advertisers on television, HLL is now looking beyond the medium. What kind of media mix does HLL now look at? You have also maintained that TV is bound to decline?

    Television will continue to be important. However it will also continue to decline in importance. The reason for this primarily has to do with the way consumers are reacting to television messages. Studies indicate that there is a greater degree of ad avoidance, greater degree of clutter on television and that has resulted in lesser interest in television by consumers.

     

    Simultaneously people are spending more time outdoors, doing other things than just watching television. As a result television is facing a lot of competition from the other media.

     

    There was a time when there was no television and print had all the advertising – but that lasted only until television made an appearance. It ate big time into print advertising. Something similar will happen to television with the advent of radio, internet, mobile communication and other types of new media. Eventually they will fight for the same share of the rupee.

     

    I don’t think anything as drastic as the death of television is bound to happen anytime soon but it is staring into the face of a huge challenge even while other media grow at an exceptionally fast pace. The same applies to our understanding of media buying as well. Our focus has shifted to alternate media and is much higher than what it used to be two years ago.

     

    Also, I must say that there is also nothing like an HLL mix, as it depends on our brands. Some will focus on TV and spend nothing on print and vice versa, so the strategic thinking as to what to use comes from the brand and consumer lens. We are thus excited about the internet when it comes to youth brands, while outdoor and DD are key for brands like Wheel. From an industry perspective, I think radio will experience growth.

    With HLL always known to be television heavy, what happens in the case of mass channels and niche channels, what strategy would you follow in that case?

    Well, we do spend on niche and mass channels, but with the whole area of fragmentation of audiences with multiple channels emerging, where stickiness is a challenge and competition is high. Now what it really means for us is that segmentation and multiplication of channels provides the opportunity to peg note and talk to the consumer.

     

    Unfortunately, the costs have increased and given that the overall advertising pie is fixed. The ad pie doesn’t grow because there are more channels, but what is happening is money is shifting from the big to the small or from the leaders to the challengers.

     

    The growth of channels, we will see an increase in the number seconds, but what is often interpreted is that spends are also increasing in the same proportion. It is of course a big challenge as fragmentation makes the task of planning even more difficult, where agencies will produce software and optimizers making the process more sophisticated. This scenario is good for segmentation, bad for costs. Thus I don’t know whether to call it a ‘happy situation’ because after a point of time your returns become sub-optimal when costs are high. Then that becomes a worry.

    Given that you are the biggest advertiser on kid’s channels, what is the potential that you see in this space and how do you (as an advertiser) think it will shape up in the coming years?

    For us it is important, but the degree of importance it would be very low because you have to look at it from the brand and consumer fitment perspective. There are a few of our brands that actually talk directly to kids while a larger percentage of our brands look at the older demographic.

     

    Even then we are the largest advertisers. So you can imagine if kid’s were to become important then we would really have to up our spends. But the interesting part is that kid’s involvement in influencing the purchase decision is growing. Now does that mean that they participate in the decision to buy a laundry powder? My guess is that they don’t.

     

    Thus, it’s not really a major part of our media thinking but it’s interesting because there is a lot of stuff happening in the kid’s space.

    You’ve shown a lot of enthusiasm about radio. But it seems HLL mostly uses AIR and not private station. How do you view private FM?

    I see private FM as a very exciting space for us because suddenly with the addition of newer towns, viewers will have more choice in media. This viewer engagement will attract more advertising, so from our perspective which brand will resort to using radio will depend on the brand and consumer fit. Right now we are in the process of taking stock of radio advertising and as we see it increasing to about 300 stations, but more importantly the excitement is about the increase in towns.

     

    Now whom we are in partnership with has to be strategically thought out, but we are in talks with several partners. The good part is that there are new and established players coming into the fray. Even now we are the largest advertisers on AIR and FM, this will only mean that our footprint will become broader within the radio space.

    Media planners are hesitant about radio due to the lack of key differentiators, what are your views on that?

    Somewhere a woman/man is being wooed and while people begin to analyze this space I think we will get on to the bus much faster. We have in the past invested in the medium and will continue to do so. We will not wait to see who emerges as different, as differentiators are what you create. You don’t view TV the way you used to therefore, radio will also be consumed differently. I don’t know what media agencies generally view this space, for us what is important is what we can do to it. Currently, we are holding our excitement.

    Following Wheel Smart Shreemati and Rin Mera Star Super Star will AFP’s be given greater importance going forward?

    All our AFP’s played out very well for us, Wheel was the top rated show on Doordarshan. Although, it may appear like something we mounted and happened to do well for us, but the truth is we were working on it for three years. In 2004, the germ of the idea began, 2005 we tested it on a smaller channel and 2006 we took it to DD. Our planning and research helped us get to where it is as the top rated show.

     

    The challenge is that you have to combine the arithmetic of the brand, communication and commercial and get the trio to work. However, the effort required for AFP’s is disproportionate. It calls for a genuine collaborated effort with the channel, the clients and the production house. It gives a new lens to the planning effort and it’s the next practice.

     

    We have been cautious with in-films as we don’t really know how it pays back. It is one step higher than AFP in terms of collaborative effort, in fact it ends up being more of a ‘punt’ than TV.

    Talking about the online space could you highlight what is currently being done with online marketing after Sunsilk Gang of Girls and Axe land?

    We have got stuff in progress but not in the development stage yet. The Gang of Girls gave us better results that what we expected both from the returns and consumer engagement we got. The sheer numbers were amazing, we tracked all the measures and it appears the time spent by these girls was almost 11 to 14 minutes. We did it to get engagement rather than exposure and it was a collaborated effort with partners like Monster.com, Elle and Cosmopolitan. It went beyond just talking about hair to discussing everyday issues among friends, to have an extended conversation with the consumer. So both thematically and in terms of engagement it played out very well.

     

    Also with Axe we did Axe Unlimited Academy and will roll out something along the lines shortly. So will we have all brands participate aggressively on the net? Probably no. But definitely our youth brands will, because it’s really about redefining the role of engagement. Therefore for us the whole space of internet is going to grow very fast and it will grow through a combination of such websites and simultaneously through traditional web based advertising. The net allows a huge amount of interaction but it depends on how you exploit it.

    How does this translate into sales?

    This was a brand building effort, but of course everything that goes towards building a brand must translate into sales. But it is about driving brand preference and an alternate way of communication.

     

    A big change is likely to be seen which is currently under the surface, but the in the coming years the numbers in terms of advertising will show that.

     

    The only thing that we consider is the brand and the consumer, the media needs to fit into that, so if online would largely be urban, but this is also applied to the rural I-Shakti programme, however, net penetration is still restricted to urban India, but progressively it will spread.

     

    Even the outdoor space is very interesting, however it’s not being exploited sufficiently. Every time people travel, it’s an opportunity for advertisers. In fact, among different forms of media there are definitely some that are really likely to rock!

    Could you name three different media that you think will rock in 2007?

    I think for the next two-three years radio will rock, maybe not in 2007 because lets not forget that print is some 1,000 crores (Rs 10 billion) and radio only some 100 crores. If I were to have a prognosis I believe that radio will really double, because it’s just the sheer scale that cannot be ignored. But within this space there are also so many players, coupled with the lack of measurement at the moment will make it even more difficult, so who do you back, how do you know it works? Thus a half baked science gets applied. But the minute you put measurement, predictability and science behind it that will cause inflection, otherwise people will be cautious.

     

    What will also make a big shift, whether it will rock financially I cannot say, but the whole business of in-store on-screen advertising, suddenly you will find them all over the place and therefore it will peel off mainstream advertising and then get evaluated analytically by agencies.

     

    Even in the TV space, the whole area of Cas and DTH will keep the excitement alive. DTH is getting into rural space so that will be interesting. There is great action happening there as well, KBC 3 and others.

     

    Another thing is that regional media is also getting more and more important across all genres, whether it has been Marathi, Bengali, Oriya and traditionally Telugu, Tamil and Kannada have been strong anyways.

    We’ve talked conventional media and new media but HLL has always been a strong advocate of rural marketing? But the focus keeps shifting and after some time all talks of rural marketing die out. Can you give us an update on what has been happening on this front?

    The biggest challenge for us is that a large part of India is still media dark. What that means is that television or print does not really reach there. Then there is the problem of infrastructure and literacy. Therefore from our perspective we’ve really tried to concentrate on on ground activation- demonstration, sampling and events.

     

    While the problem of infrastructure, non motorable roads, etc. remains there is also a challenge of scalability. We’ve been active in the rural areas for a long time and progressively have increased our thrust in this area. The big change is of course in the scale. We have upped the scale in these initiatives.

     

    We’ve got two-three programmes which we have been looking at for the last few years. One of them is Lifebuoy Swasthya Chetana- a rural communication programme around Lifebuoy that has touched over 130 million consumers across Bihar, UP and Rajasthan. Similarly, there is Project Shakti. The Shakti Vani is a programme that we started keeping in mind communication with rural consumers.

     

    While Lifebuoy Swasthya Chetana is a brand specific programme, Shakti Vani cuts across all the brands to speak to the consumer. The action in rural India is all about being ‘their type.’

    Is there also a challenge of making these initiatives profitable? You have talked to us about scaling it up? Since you do talk about the challenges, how do you go about building your capabilities and expanding it?

    The issue is not so much about profit although there is a worry of cost effectiveness. So when you know that there is a cost involved in physically being there which cannot always be done. When I say scalability, the challenge is to do with two things – one is to do with researches on ground.

     

    If you want Western class communication to reach rural India, you need a full stream of resources which works down the line, is well trained and which understands what is being spoken about. The fact remains that the scope of the country is so vast and immense that no matter how much you do, it’s never going to be enough. Despite this, I don’t know any other company which does as much in rural marketing as we do.

     

    We work with one agency on our rural initiatives – Ogilvy Outreach and have built a strong network through our vendors. I think over time we have built our capabilities in this segment. As for expanding this further, yes we would look into that as well. We are expanding in almost every sphere and rural marketing will come under that focus too.

    Big monies are being pumped into cricket on TV, but I don’t see the same quantum of returns

    If we could just talk about HLL brand and brand categories. You have largely spoken about brands in the health and personal care segment, in this respect has the push in the food division been milder?

    We do have firm positions in beverages. In fact, we just re-launched Taj across a multimedia campaign. There is excitement in foods but the scale and salience is very different. It is largely to do with the category and not so much to with the brand itself. Our tea brands are the largest in the category but if you look at these brands in advertising terms they are not as active as the personal care. Inevitably you would see Lux, Lifebouy, Sunsilk, Surf, Rin as large media and advertising brands.

    As opposed to the parent company, which has a strong presence in the food category, therefore would the recent global alignment following the inclusion of Unilever into the companies name, mean that there expertise in foods would be brought to India?

    It’s outside my remit to comment on that because that’s a matter of corporate strategy and how the food units would grow and I can only comment on advertising. But in totality the investments in this space are as hot as personal care and it’s growing as much. It is smaller in scale but as active.

    Finally, with the World Cup Cricket right around the corner, any new initiatives or plans for the season?

    (Laughs) You know every year there is great excitement over World Cup Cricket among advertisers and also channels. We share that excitement too, but we don’t want to be carried away by it. We will have certain things in place for cricket, some of our brands will have World Cup Cricket branding. But the fact of the matter is that a lot of money is pumped into cricket on television. The question to ask is where does this extra resource come from? It is but obvious that it is either pulled out from some other kitty or companies start following a cost cutting plan. So while I may be excited about it, I don’t see the same quantum of returns in World Cup, so I am cautious.

     

    So it is great that the advertisers are looking at World Cup. For us the larger worry is the movement of eyeballs from the general entertainment channels to the sports and news channels. Finally it’s a question of checks and balances. Is this rupee spent worth it? Any advertiser would ask himself that before putting up his money. Otherwise it becomes like a punter’s game.

  • ‘The focus for Nick in 2007 is to drive reach’ : Nina Elavia Jaipuria – Nick India vice president & general manager

    ‘The focus for Nick in 2007 is to drive reach’ : Nina Elavia Jaipuria – Nick India vice president & general manager

    While Viacom’s smallest wonder, Nick India wants to be synonymous with fun and laughter, the network seems to have found the perfect fit in Nina Jaipura as a head for the channel. With ‘all smiles’ Jaipuria epitomizes the values that the channel stands for and bursts into sudden bouts of laughter as she describes her favourite shows on the channel like Bakkom, the funny bear, which she gladly advices her team to watch (even at work) to de-stress. Although, the channel entered the Indian terrain in 2000, there has been a singular lack of activity, but better late than never, the Nick team seems to have finally got their act together. In a free flowing conversation with Indiantelevsion.com’s Renelle Snelleksz, Jaipuria outlines the game plan for Nick in India, and the efforts to sprint ahead in 2007.

    Excerpts:

    On recently assuming the position to spearhead operations at Nick, what strategy have you outlined to up its presence in India this year?
    During the latter half of 2006, we made several programming and grid changes as well as modified content strategy to get our content right. We also made inroads into distribution and we are now No. 2 in distribution with about 42 per cent C&S connectivity in the country today. Following this we doubled our time spent by 110 minutes, similarly the market share of Nick also doubled from 6 to 12 per cent over 2006. Once all this fell into place we got a ‘sticky’ audience.

    Having said that, the focus for 2007 is to drive reach for the channel because just having a sticky audience is not good enough, you need to increase the ratings. We will use this year to establish our brand and characters. Basically, it is a year for consolidation since we now have the content right and with distribution and promotion in place, now it’s about driving reach.

    How does the channel plan to implement awareness building initiatives?
    The way we want to do this is through a 360 degree marketing approach and while we have our on-air presence and promotion we are also going to step outside the channel as well.

    In fact, we started our marketing activities last year with the ‘Masti Dosti’ contest and the marketing campaign we did around it. It was about consolidating all the pieces and putting it together for the kids, so while we did school contact programmes, we also did cross channel promotions and even painted school buses with Nick themes. In addition, we did a lot of meet and greet sessions for kids, because it involves getting kids to learn about the characters. We are planning to continue to extensively use school contact programmes with our brand ambassadors SpongeBob and Patrick. In fact, we are also looking at bring Dora from Dora The Explora to India this year for our pre-schoolers.

    By taking these characters into malls, multiplexes and getting them to run alongside kids during the Mumbai Marathon we wanted to give them a touch and feel experience as well as sample shows on the channel. That’s how we intend to look at Nick in the way forward.

    You will also see us across many other channels where kids are viewing other shows. We will have syndicated blocks and Nick advertising on Sony, Max, Zee and Zee Cinema. In addition, we are also into regional channels like an ETV Marathi or Zee Bangla. We are reaching out to kids through various means, as you have to touch them at their touch points.

    In the kid’s television space how will Nick differentiate itself from growing competition?
    As a channel we stand apart from the rest and what differentiates us is that everything on our channel today is something that is going to make you laugh. We are a comedy destination and this is the stand we want to take forward.

    The laughter quotient actually operates as a brand filter for all content that goes on our channel. The second aspect of our content is that it has to be appropriate in terms of being absolutely safe and completely non-violent. Therefore it goes through the gatekeeper, which is the mother and we have her trust as well. The content is also universal in terms of gender and is age appropriate catering to kids in the entire 4-14 age group.

    Apart from this, we do have a message for younger kids as well, with the Nick Jr. block which is a mix of education and entertainment. It’s about edutainment where you learn while you play and in which every story has a moral.

    Nick has been a leader in international markets especially US and UK. However, it hasn’t been able to deliver the same results in India despite its launch in 2000. Why so?
    Well it’s all about timing. The focus of the network is now on Nick which was not there earlier. We now have a core structure which is aligned to the business objectives of the channel. In fact we already saw it happening in the last quarter of 2006 and we will see more activity this year.

    We will continue to create a loyal audience and keep delivering on content that has been adopted globally, which has placed us in the first and second position in most countries.

    Why are Indian kids not yet hooked onto Nick, despite its seven year existence in India? Is it that they cannot relate to the content?
    It’s not about kids not liking the content on Nick, but more about kids not sampling the content on the channel because it’s not been out there for them. Once we spread awareness, we will get kids hooked as the content will speak for itself.

    It’s about how much we can do and how fast we can do it.

    Nickelodeon recently unveiled a virtual community playground ‘Nicktropolis’ – What about an interactive website for the channel in India?
    We are also looking at launching a grand website for ourselves as what you see today is a very small portion of it. It will be very comprehensive, telling kids about the initiatives at Nick, it will have all the shows and characters and of course it will host several contests and games. It will give kids a chance to interact and play around with these characters.

    In today’s digital environment, is there effectiveness in reaching out to kids via the mobile phone?
    I think this is a metro specific phenomena, as most kids have access to their parents’ phones, so its still too early to say now, but it will definitely grow. Therefore, all our websites have a mobile SMS function for contests and activities. Once we believe that kids have direct access to this medium we will get onto downloads, ring tones and wall papers. We have already started with digital based products with the SpongeBob PC game.

    Can we expect to see an expansion on the merchandise front?
    We tied up with Bombay Dyeing for bed linen, a SpongeBob PC game has been developed and is available at Planet M, Dora the Explora apparel range has been unveiled and can be found in Landmark and Pyramid and a whole collection of party products in Big Bazaar and Hypercity.

    We have also kicked off what is called a ‘Nicksters Club’ using a database, to send out monthly flyers via snail mail or email. Along with giving kids activities to do, it also announces their birthdays and sends out a little gift to them, which is nice gesture from the channel.

    Apart from International acquisitions, do you think it’s time to strengthen localized programming, a strategy that several other kids’ channels have also adopted?
    The strength of Nick lies in its pedigree and the of kind that has been produced for over 27 years in various countries. That content has proven itself across the world therefore we need to first optimize on the content that we already have. There is a lot of scope to bring that content to India, package it and give it an Indian flavour and then roll it out to kids.

    While we may look at local productions sometime in the future, currently there is a great opportunity to cash in on the pedigree that exists with us. Kids are not really very culture specific, they are so universal in nature that everything works for them, and it’s really how you deliver it.

    Will the channel introduce any new shows?
    Yes, in fact we will launch two acquired shows Tumoya Island and Meteor and The Mighty Monster Trucks on the pre- school block Nick Jr. this month.

    Any plans to bring to Indian initiatives like ‘Kids Lets Just Play’ that encourage children to go outdoors and play or the ‘Kids Choice Awards’?
    It is just a matter of time, as the focus currently is to create a presence that will connect with kid’s, activities such as these will then be a follow up. These are our own International properties and there is no reason why we will not bring them here. But there is still time for that, first we need to establish a larger viewer base.

    What is the time line that has been set to achieve this?
    My clock is already ticking! (She laughs) There is really no time line, it’s about how much we can do and how fast we can do it. Like I said, the intent is there we just have make it happen.

    Could you elaborate on the NDTV Media’s role and some of their activities? Which new advertisers have been roped in and by how much has ad sales increased?
    The last quarter has been good for us even in terms of ad sales, we put the infrastructure in place by outsourcing this to specialists like NDTV Media. They have helped us rope in four main new sponsors for SpongeBob Pakdra Pakdri contest including LIC as the main sponsors, co-presenting sponsors Maggi rice noodles Mania and associate sponsors Perfitti’s Big Babool and Tata Sky. Britannia, Liberty Shoes and Zapak.com are a few more advertisers that joined in, so we look forward to a happy year on that front with a lot more brands joining us.

    As for the ad sales increase, it would be an abnormal percentage to mention, as you could almost say we started from scratch, however we look forward to many more initiatives and NDTV is surely going to have its hands full.

    Currently, what’s the management structure like in terms of a marketing, content and creative team?
    Under my stewardship I have a programming director – Anu Sikka, a marketing director – Shalu Wadhwa, on air promotions – Shuchita and a research director – Shatrupa Thakar and a team of about 18 youngsters.

    What do you perceive as the way forward for a kid’s broadcaster in the highly competitive scenario in India? What is the biggest challenge in catering to kids?
    There is long way to go, we need to get to the top of the chain and that’s the intent right now. The kid’s category has always been dynamic and competition will continue to be there but there is definitely space for more players, giving more choice to the viewer.

    The challenge lies in the fact that kids have a short attention span so if you don’t capture them in the wink of an eye you might as well not at all. At any point of time if the child is surfing channels, you should be able to grab his attention, therefore everything that you put on your grid of the channel makes a huge difference.

  • ‘We will get into local movie production early next year.’ : Ian Diamond – Turner Entertainment Networks Asia, Inc. Sr VP & GM

    ‘We will get into local movie production early next year.’ : Ian Diamond – Turner Entertainment Networks Asia, Inc. Sr VP & GM

    Turner Entertainment Networks Asia, Inc. senior vice president and general manager Ian Diamond is gearing up for the challenge. He realises Walt Disney is in aggressive mode and has gained market share in kids television space by snapping up Hungama TV. But, as he says, “it is demanding on the content providers to keep up the speed.”

     

    Turner’s aim in 2007 would be churn out more original content in series. The leader in the kids’ genre would also be getting into local movie production, he says.

     

    In an interview with Indiantelevision.com’s RENELLE SNELLEKSZ, Diamond reveals the opportunities that the rapidly emerging new delivery mechanisms and retail infrastructure throw open in India.

     

    Excerpts:

    Looking back on 2006, could you provide an overview of how the year has panned out for both Cartoon Network and Pogo?

    Galli Galli Sim Sim which was launched on Independence Day in the Indian market , balances the line between entertainment and education and is more than a television show, it’s actually a ‘culture of education’.

     

    We also launched SnapToons, promoting the idea of developing animation in India.

     

    The Pogo Amazing Kids Awards (PAKA) though in its third year, we keep trying to re-invent it and this year we decided to change the format by rolling it thorugh 19 half hour episodes, a series that celebrates child heroes.

     

    By breaking beyond the folds of television, Cartoon Network Enterprises (CNE) has launched 18 different categories across 4,000 retailers and 1,000 different product variants in the market across 20 cities. Being a licensing business, we have not only licensed our successful brands like Tom & Jerry but have also licensed third party brands like Beyblade. All in all, CNE has seen a 50 per cent increase in its overall business.

    What has been the biggest achievement for both the Turner channels this year?

    Our achievements have been that original productions like MAD (Music, Art and Dance) continue to top the charts. If you look across the year, Cartoon Network and Pogo are still the No. 1 and 2 channels. In a fragmented market it’s great that people continue to see us as a strong brand.

     

    I wouldn’t diminish any of the achievements by saying that one is superior to the other. Galli Galli Sim Sim and PAKA mean something to me but that doesn’t imply that the other activities were any worse. What I’m happy about is that 2006 has been a good year all round. It is important that we do a lot of things well, rather than a couple of things that stand out so that there is continuity in the activities undertaken.

    How much of the pie does Cartoon Network and Pogo separately corner in kid’s television market?

    Pogo is about 22 per cent a share while Cartoon Network is 28 per cent. Also in terms of distribution Cartoon Network is viewed 26 million and Pogo 17 million.

     

    We not only continue to rule the roost in the television space but its important that whether it be in publishing, licensing, marketing events we try to provide ‘choice’ to our consumers. It’s a sum of parts kind of business where you do many things that all come together to give the flavour of the brand. It is demanding on the content providers like ourselves to keep up the speed on what people want as their tastes and needs change.

    Do you think there is space for more players to enter the kid’s television arena?

    I do. What’s interesting about India is that the retail environment is still nascent, when more organized retail structures come in, the kids business is going to radically open up in terms of new clients, new advertising partners and new products that Cartoon Network and Pogo can provide a platform for. It’s going to get really exciting, it’s only just started.

     

    It’s also something I am looking forward to, as we are working to be well equipped as it happens.

     

    When we launched 11 years ago people thought we were mad to take the kids business seriously and I’m heartened to see that there are others players coming into the market, seeing the values, merits and potential that we saw so many years ago.

    What strategy will you adopt to counter the consolidation of three players under one brand, Disney?
    We pride ourselves in the fact that we have studied the market for 11 years, you can’t just come into the market and expect to know it overnight. You must learn about the people you are talking to.

    We have studied the market for 11 years, you can’t just come into the market and expect to know it overnight

    Currently, at what stage does the theme park rollout stand?

    By mid next year Planet Pogo will be ready, while Cartoon Network Townsville will open a little later as it is on a much larger scale spanning 6.8 acres in comparison to Planet Pogo which is 3.5 acres. These will have state-of the-art rides and safety measures. It will be India’s first branded theme park environment.

    Have there been any trends that have emerged from recent research?

    The biggest trend is gaming and is something that has also been highlighted in the recent Next generation findings that show that about 40 per cent of kids are computer users and 1 in 6 of these also surf the internet. Their favourite internet activity is playing games (32 per cent) and that led us to roll out an Xbox video gaming championship Toonami Game On.

    The spurt in growth of kid’s channels has lured both conventional and non-conventional advertisers to come on board. Which new advertisers have joined in and by how much has the ad sales increased over the year?

    Several new categories have joined in like PCM software (Apply, Sify, Lenovo), Amusement Parks (Black Thunder, Prakash Amusement park, Ocean Park Multitech) and consumer durables (LG, Whirlpool) have been added to our client base.

     

    It’s interesting to know that kids have a strong influence in the purchase decision which non-conventional advertisers like Maruti and Bajaj are recognizing. Like for instance, ICICI introduced that young star account for which we licensed Tom & Jerry. Research also supports that 71 per cent of parents agreed that their child influences which brand is chosen while buying television sets, 70 per cent for computers, 67 per cent while buying mobile phones and 66 per cent on the purchase of a car. Other non traditional clients include BPCL, ING-Vyasa, All-Out, Citibank, Bombay Dyeing and Red Label, among others.

     

    On a business level, we have seen a 21 per cent ad sales growth year on year.

    We have seen a 21 per cent ad sales growth year on year

    What advice would you give parents who think television viewing is harmful as it decreases outdoor activities and habituates kids to become ‘couch potatoes’?

    Watch Galli Galli Sim Sim! Kids like to watch TV. The important thing for a broadcaster is to provide choice, something that falls back on an educational element having strong positive values. Also our preschool block like Tiny TV with shows like Oswald, Make Way for Noddy are created to enhance development. Even MAD helps to reinforce what is often lost out in school, creativity.

     

    But at the end of the day the parent has the responsibility to monitor and regulate the content that the child is consuming.

    What can we expect from the Turner twins next year?

    At the moment we are in the process of moving into the movies space. I will be back in India early next year to announce our line up of a lot more original content in terms of movies and series in India. In addition, we will also provide a platform for materials that other people make through acquisitions. There must be a balance between international and locally produced content hence we have to juggle around to give the right mix so that the menu is good, making people come back.

     

    In addition, the radical evolution of retail infrastructure and new delivery mechanisms like new media, especially the mobile will drive change in this space. Although, I still get excited about old mediums used in a new way, you need to reinvent yourself and reinvent the medium you play with to speak to people in new way.

    What do you see as the biggest challenge for Turner in 2007?
    To build on the events of 2006 and continue to raise the bar to provide quality entertainment for kids via multiple mediums. Our mission for next year is to extend beyond television to build kids super brands and push the envelope.

  • ‘80% of activity where brands are engaging themselves with films is in associative marketing’ : CEO Navin Shah

    ‘80% of activity where brands are engaging themselves with films is in associative marketing’ : CEO Navin Shah

    This year the Indian film industry has entered the spotlight with release after release that has caused a stir in the media. Amidst all this, there have also been several others contributing to the noise and much like ‘parasites’ seem to be clinging on to the fame! In short, brands are increasingly riding the tide of Bollywood, transforming this activity into a more organised format by investing ‘big monies’ towards it. This trend seems to be gaining ground in the Indian sub-continent with a whole host of advertisers jumping in the ‘brand-wagon’ of blockbusters including Krrish, Lage Raho Munnabhai, Don and the latest addition Dhoom 2.

    Highlighting the potential of this relatively new yet burgeoning industry, P9 Integrated CEO Navin Shah took some time out to speak with Indiantelevision.com’s Renelle Snelleksz.

    Excerpts:

    What are the various options available to advertisers when associating with a film?
    A product placement is only one aspect of what a brand can do with a film. In fact, product placement only forms 10 per cent of all the activity. Actually a lot happens outside the film, in what is popularly called associative marketing or co-promotion, where the film rides on the brand to get promoted and in turn the brand rides on the euphoria of the film.

    Firstly, there is no lag in the time period, like for Salaam-e-Ishq, which is releasing on 24 January, the planning can be done now. Secondly, even if there is a high integration of the creative of the brand footage and the film, it is only outside and is short lived. It is irrespective of the fate of the film, because you are doing an outside association you are assured of your ROI as it is media linked. The association can be amplified via other mediums like television, print, cinema hoardings.

    Therefore, 80 to 90 per cent of activity in which brands are engaging themselves with films is in associative marketing.

    Is it not a big risk that brands are taking with in film associations, especially if the movie doesn’t do well?
    If you look at it from purely a visibility perspective, while it is a risk, when you have product placement x amount of viewership is guaranteed. However, today there are a couple of more avenues where the brand is going to be seen, most importantly is satellite television because sooner or later the movie will be released on TV, not just once but at multiple times so in that case visibility is assured. In addition, in the Indian context, the home video segment is really growing so even the shelf life of the film is largely increased with the sale of DVDs. To that extent, the risk gets slightly amortized but in-film per se is a ‘high risk high return model’ because if it works then the returns can go as high as Rs 20 to 30 crores. Therefore, the marketer is always aware of the fact that he is pumping in on something that can give him a disproportionate return.

    Brand associations are then a viable option and filmmakers stand to gain as it not only provides additional revenue but also helps to market his film?
    In fact this is what most of the advertisers think. But if you look at it from a filmmaker’s perspective he makes a mutli-million rupee film, the brand monies are inconsequential in terms of its overall PNI. In this scheme of things. the brand actually rides on a Rs 15-40 crore project. It’s not only the producer that benefits from this activity. If done right it’s a win-win situation. In fact, for a client it’s a huge opportunity because in India films are such a big passion that if something works, the magic can help reap benefits for years to come.

    A classic example is ICICI and Baghban, that’s a four year old story while the shelf life of that can grow to be about 20 years as satellite TV keeps replaying it over and over again. Thus, it is a disproportionately skewed equation for the brand and if brands realise this they can use it to their advantage.

    How much are brands willing to spend on the medium?
    Worldwide there are brands, including automobile companies, glass manufactures, mobile phone companies that spend almost 20-30 per cent of their marketing budget on product placement, like for instance new versions of the Audi have been launched via films. In India, there are at least 40 brands that spend more than Rs 100 crores in a year.

    This year’s blockbuster Krrish is often sighted as a popular case study, but what happens when there are more than 10 brands incorporated in a film, in that case how does it prove to be a ‘clutter breaking’ approach?
    It’s not about whether there are four brands or 500 brands in a film. If the brand is shown in the right context, then I think there is place for even 100 brands where every brand will stand out in three hours. If you take the example of a Bond film, there are about 20 brands placements and each one gets its own glory so there is no question of ‘clutter’, it’s the context and the way you portray the brand.

    Among several brands in film, will a particular brand have to pay a greater premium for more visibility?
    It’s more about the idea and not about the show time measured in seconds that a brand came in. An example is a product placement I had done for Kodak in Hum Tum where it was as small as 10 seconds in which Saif remembers Rani getting married to Abhishek and the thought freezes as a photograph on which he scribbles “Maybe a perfect Kodak moment?” That in my mind is more than a brand trying to tout his product for 10 minutes in a film. So it’s not about one trying to outdo the other, everybody can be equally good as long as the idea behind the placement is imaginative.

    The biggest role to my mind is that of expectation management

    Who implements the placement in this set up? How does it work?
    It is the director’s prerogative, he is the final decision maker. One can however give inputs and suggestions.

    For an organization like P9 Integrated, what is their hand in the whole process?
    Firstly, we are match makers and secondly the biggest role to my mind is that of ‘expectation management’. The client may often think that by putting a certain amount of money he owns the film, while the filmmaker is any which way making a film on his terms, so P9 would ideally bring the two parties to a common platform and manage their expectations to start with, help the brand in ideating and help the producer in execution as expectation managers.

    Do several media agencies come to the table with different brands to be integrated in a film, or does one agency handle all the placements for a film?
    There have been instances where we have taken up the exclusive rights for the film and so we become a ‘toll gate’ so anybody in the market ranging from a media agency to a client will have to come to us. A case in point is the recently acquired exclusive rights for Salaam-e-Ishq for any co-promotional activity.

    Internationally, what is the scope of the market? What is being done in that space?
    Globally the industry is a three decade old business making it a mature market, today it is growing at a pace of 6-8 per cent, which would be almost 5 per cent of the overall advertising pie used on this medium. Growth will continue until it reaches a critical mass which it has not yet achieved.

    We have done several co-promotional marketing tie-ups in India for Hollywood movies including the work on Superman and Mother Dairy cheese, we had also done MI3 and Gabanna and likewise we are in talks with many films, one of the big films which is slated for December is Happy Feet on which we will be doing something interesting.

    What can we expect in the coming months?
    We have just finished working on an association for Kinetic for Apna Sapna Money Money. We also did Mentos and Jaaneman.

    There are three key films in the pipeline with a huge amount of stuff being done – for Guru, some mind blowing activity on our home production Traffic Signal which Madhur Bhandarkar is directing and of course Salaam-e-Ishq. In addition, we are also working in the regional market with Telegu films.

    What do you identify as being the way head for the industry in India?
    The future for this industry is that brands for a particular target audience and particular style and stature will require experts like us to be their entertainment AOR experts, not only for implementation but to play a complete advisory and consultancy role and give them a blue print of the strategy for the whole year of how entertainment will play a role in their brand.

    Secondly, there is some amount of measurement emerging in terms of effectiveness and impact. Companies like Media e2e are attempting to put in those measures into place.

    Measurement should become an integral part of the any project exercise so we should actually have a directional tool of getting a report card at the end of every activity to determine what worked and what didn’t work.

    Thirdly, we need to bring a lot more discipline into the whole business of branded entertainment. The biggest drawback is the lack of trained talent in this business. Additionally, there is a need to train even the professionals and the practitioners of marketing to talk of a common currency in terms of best practices, category knowledge, trends, ROI, economics and legal aspects of branded entertainment as it is an option that probably allows one to marry their passion with their career.