ITV

Tag: Richa Dubey

  • ‘Music channels are under pressure to increase revenues’ : Prashant Chothani – Media Worldwide director

    ‘Music channels are under pressure to increase revenues’ : Prashant Chothani – Media Worldwide director

    With an already cluttered and competitive music channel market, acquiring a good chunk of market share was not easy for Music India. Having achieved that, Media Worldwide, the company that operates the channel, has plans afoot to launch two regional music channels.

     

    In an exclusive chat with Indiantelevision.com’s Richa Dubey, Media Worldwide director Prashant Chothani attributes the success of Music India to a complete Bollywood masala content and a strong focus on distribution.

     

    Excerpts:

    Music India had initiated talks with Sahara for diluting stake. What is the status now?
    We are still in talks with a few broadcasters. We have nothing to announce at this stage.

    Isn’t it tough to exist as a standalone music channel broadcaster while others are part of networks?
    We are actually planning to expand our bouquet. We are launching two regional music channels. The first one to come up this year will be a Bhojpuri music channel. The Marathi music channel will follow soon. Besides Music India, we have a Bengali music channel called Sangeet Bangla.

    How will you manage to raise funds for the two channels?
    We can fund it ourselves – and we can always raise debt.

    Isn’t this the wrong time with a host of new broadcasters preparing to enter the market while analogue cable bandwidth is already choked?
    Distribution is definitely getting more expensive as there are a lot of channels and there is not enough space available on cable networks. One has to deal with carriage fee. But I have old relationships in the cable industry. And we run a popularly watched Hindi music channel.

    But aren’t revenues difficult to come by for music channels?
    Music channels are under pressure to increase revenues. GECs are dishing out a lot of music content; they are also airing music talent hunt shows. Even news channels run music promotions. But we are doing well, as is reflected in our ratings.
    ‘Our content is primarily Bollywood based. We prefer showing Shah Rukh Khan rather than the VJs‘

    Why are MTV and Channel [V] infusing a lot of non music programming?
    MTV has put a lot of non music content. They identify themselves as a youth channel -and want to stay connected with the youth. Although Channel [V] does not have non music content as much as MTV, both of them are trying to tap into the semi-GEC space.

     

    As a result, they have diverted from the concept of music television. I believe a music channel should primarily play music.

    So how do you define your channel profile?
    When we started a year back, our tagline was ‘Simply Music’ and we have stuck to that. Unlike the other music channels, we don’t have VJs. Everything on the channel is fresh and we have all that a music lover wants. We provide latest ring tone codes, availability of CDs, etc. We have not diverted from music. Our audiences want to consume entertainment which is film and lyrics based. Anything related to Bollywood music is available on Music India.

    Is ‘Simply Music’ enough to drive a music channel?
    Only music works. As our ratings demonstrate, we are strong competitors to Channel [V] and MTV. Sometimes we are even ahead of Channel [V].

    How do you compare in terms of reach?
    In cable TV homes, we are No. 2 after MTV. On the direct-to-home (DTH) platform, we are on DD Direct Plus and Dishtv. Both MTV and Channel V are not on DD Direct. Our core focus is to make the channel available to as many people as we can because all viewers want to see music.

    What is special about your content?
    Our content is primarily Bollywood based. Our programming and scheduling is also distinctively different. We believe that we can’t do anything better than the song that is playing on the channel. We prefer showing Shah Rukh Khan rather than the VJs. We have a programme called Lagey Raho which runs across the day and has songs playing a particular theme – dance numbers, romantic and sad songs among others.. We keep refreshing this every 15 minutes. These are then followed by movie trailors in Just Trailors.

    But one hardly comes across ads on Music India?
    That is how we schedule it. We don’t want consumers to get bored of an overdose of ads. We, therefore, do not place more than one or two ads every break; we have a perfect balance. Ultimately, viewers are here to see songs and trailors. Even if the ads come, viewers do not shift the channel because they know that we will be back with music. That is the credibility we have built. We deliver good RoI to the advertisers.

    What is the major source of revenue for Music India?
    Our business model is ad driven. About 50 per cent of our revenue comes from ads. Movie trailers account for the balance 50 per cent. Our core TG is 15-34. We have brands like Coke, Pepsi, LG, Sony Ericson, Motorola, Nokia, Vodafone, Idea, Tata Indicom, Bajaj, Hero Honda, Margo, HUL, Cadbury, Asian Paints and Perfettis.
    How about your other channel Sangeet Bangla?
    A lot of content on Sangeet Bangla is exclusive. Besides music, we also show a movie every day at the prime time slot.
  • ‘The Merrill Lynch deal has given us a Rs 5 billion valuation’ : MK Anand – Zoom business head

    ‘The Merrill Lynch deal has given us a Rs 5 billion valuation’ : MK Anand – Zoom business head

    After selling 25 per cent stake to Merrril Lynch for Rs 1.25 billion, Zoom is gearing up for more programme launches to race ahead of competition that has arrived in the form Showbiz and E24.

     

    Targeting upscale audiences, the channel from the Bennett, Coleman & Co Ltd (BCCL) Group has increased its dosage of Bollywood-centric prime time content with a slate of new shows. Aided by a rise in ratings, Zoom is eyeing a revenue of Rs 1 billion this fiscal.

     

    In an interview with Indiantelevision.com’s Richa Dubey, Zoom business head MK Anand discusses the growth track of the channel and the need to push the Bollywood genre of content across different markets through the syndication route.

     

    Excerpts:

    Has Zoom Entertainment Network (ZEN) diluted 25 per cent stake to Merrill Lynch for Rs 1.25 billion?
    We got a valuation of Rs 5 billion when Merrill Lynch bought this stake in around May-June. We are utilising this amount to develop stronger content for the channel. Some of the new shows are already launched and we will gradually unveil a few more.

    Will you also not spend more on distribution as channels are finding it difficult to find space on choked analogue cable networks?
    We are content with our present distribution. We will be utilising the money only for new programmes.

    Why has Zoom shifted gear to Bollywood-centric shows?
    Getting viewers closer to celebrity life was the whole idea on which Zoom was launched. The metamorphosis happened when we realised that ‘celebrity’ as a word in India is congruent with Bollywood.

     

    Originally when we started, we were showing programmes based on popular influential people from all walks of life (corporate, sports, page 3). As we went along, we had to change and make it a Bollywood-centric channel because that is what people whom we target want to see. We tried to make the channel more holistic from the Bollywood point of view by showing many related things.

     

    Even our lifestyle shows are centred arround Bollywood. We will, for instance, not have a cookery show. But if a Bollywood actor likes some particular food, then we will show him cooking something. So we will always look for a Bollywood element in whatever we show.

    Was this metamorphosis dictated by the generic revenue limitations of a lifestyle channel?
    The lifestyle content on Zoom was always negligible compared to the glamour factor.

     

    Our programming budgets have definitely doubled over last year as our offerings have increased. Other than short form of content, we are now getting into longer formats which cost more.

     

    But it is also important to note that we operationally broken even last year. This has happened in just three years of our existence!

    Have advertisers been more supportive after Zoom shifted to a Bollywood-centric channel?
    When we launched, an advertiser could not classify us in any category because we were the first ones in the space. But now we have been substantially increasing our rates even while other channels were dropping theirs. This has been possible because we have an ad sales team which is bigger than what a channel of this size would normally have. As a group we are very ad-focussed.

     

    Our inventory is sold out. Some 300 clients must be active every year. We would be having 15-20 exclusive deals.
    ‘When we started, we were showing programmes based on popular people from all walks of life. As we went along, we made it a Bollywood-centric channel because that is what people whom we target want to see‘

    What is your revenue target this year?
    We are targeting Rs 1 billion this fiscal (August-July period). This is after taking into account revenues through ads, video ads and content syndication that we do with other broadcasters.

    Whom does Zoom compare with when you pitch to clients?
    We normally compare ourselves with Star Movies, MTV, HBO and 9XM.

     

    These are the players focussed on this TG (target group) – SEC AB 1 million+ in the age group 15-34.

    What are the positioning changes Zoom has undergone ever since its launch?
    The Times of India Group as a whole has affinity with the urban upscale English speaking audiences. That has always been the Group’s focus. Similarly when it came to TV, we decided not to go for a mass channel and invest heavily in it. Instead, we thought of launching something for the particular audience we have affinity with.

     

    So we launched a channel catering to 1 million+ cities of India. Our weekly reach has gone up from 15-20 per cent in mid-2006 to 36 per cent this year.

     

    As a brand we promised to deliver glamour and we have done that successfully. In terms of brand proposition, we have evolved in terms of our offerings.

    How do you see Bollywoood evolving as a genre?
    Bollywood shows are still evolving as a genre. It is the most popular content, after fiction shows and movies. Even news channels have special shows centred arround Bollywood.

     

    We position ourselves as a generic channel for Bollywood.

    How does Zoom source content?
    We have a reporting team of about 40 people. They continuously shoot and get stories on Bollywood related stuff which is archived. That is the main store for us and we take footage from there and develop shows.

     

    Our in house team uses them to produce shows like Zabar 10, Planet Bollywood. Besides, we also have external production houses which make shows for us. Bollywood Club is done by Optimystix, Bollywood Case Files is done by Moving Pictures Company. We give our archived stuff to them as well.

    What is the movie acquisition strategy?
    For the movies that we telecast, we acquire them from other channels or producers for limited airings.

    What is the prime time on Zoom?
    Advertisers identify prime time from 5 pm in the evening till 1 am. But from the viewers point of view, it lasts from 7 pm – 9:30 pm, the time band where we have launched our new shows. Our core prime time would be 8-9 pm where we will launch stronger shows.

    Zoom also provides shows to other channels. How strong is this business?
    Yes, we do shows for other channels. We have realised that the bank that we have is more than what we can use. So why not commercially exploit our content further?

     

    We have not approached any Hindi channel, but we have some channels in the regional space who use our content. We have given our shows to ETV and Sun Network.

     

    We also have two deals in Pakistan. We are doing a one-hour show for Safron TV in South Africa.
    Will this not kill the exclusivity element on your channel?
    Zoom enjoys more channel loyality as far as Bollywood content is concerned. We have a first mover advantage in the genre. We also have exclusive coverage. Besides, we can leverage exclusive tie ups which Bombay Times has with others.

    What are the digital initiatives Zoom has undertaken?
    We are looking at opportunities in the digital space. Our channel is made up of short form of content. Say three stories of four minutes each are clubbed in a half-hour episode. If we unstring these episodes and put these videos on internet, they become easy to download.

     

    These small videos are more popular than the longer format due to lower streaming capacity in India. We unbundle the entire episode and put these videos on our site.

     

    For further promoting them, we have started putting these videos on other websites. We realised that there was an opportunity in syndicating Bollywood content. This has, in fact, increased traffic on our video online content.

     

    Realising the importance of this, we are looking at synergies now. We have an ad sales deal with these websites. We also promote our other shows through these videos. This makes the marketing of our shows easier and consumption increases.

    Which are these websites?
    Rediff iShare, Yahoo, Youtube and Nautanki TV. They have good traffic and for us they become a platform to share our shows.

     

    We have an ad sales contract with all of them.
    How big a challenge is distribution?
    Distribution is key to the business. But since we also have the consumer pull factor, cable operators will find it difficult to dislodge us from their networks. The Bollywood genre is also expanding with other channel launches. In another 18 months, we can expect the genre to develop and be widely accepted.
  • ‘The branded slots, big movies have fetched revenues and viewership for the channel’ : Mohan Gopinath – Zee Cinema business head

    ‘The branded slots, big movies have fetched revenues and viewership for the channel’ : Mohan Gopinath – Zee Cinema business head

     Being the oldest player in the Hindi movie genre, Zee Cinema enjoys a good brand loyalty. The movie channel’s strength has been its huge library of movies. Regular festivals and branded slots have also helped the channel to maintain its audience base.

    In an interview with Indiantelevision.com’s Richa Dubey, Zee Cinema business head Mohan Gopinath discusses about the dynamics of the Hindi movie channel market and the plans ahead for the channel he heads.

    Excerpts:

    How has Zee Cinema evolved as a brand?
    Over the years, Zee Cinema has grown a consistent base of viewers. And we have continuously taken care of our brand.

    In 2007, we created many branded slots like ‘Showman Show’ which was a Raj Kapoor and Subhash Ghai film festival. It ran for 22 weeks wherein we showed almost all the RK Films like Bobby, Prem Rog, Sri 420, Ram Teri Ganga Maili.

    We created ‘Bhakti Ki Shakti’ for mythological movies on every Sunday morning at 8:30 am.

    This year we had a kids’ film festival called ‘Dopahar Zee Cinema Par’ for which we roped in Darsheel Safary as brand ambassador for the slot. We showed children films like Life Ho to Aisi, Tarzan the Wonder Car daily at 12:30 pm for almost a month.

    There are other slots like ‘Shaniwaar Ki Raat Amitabh Ke Saath’ and ‘Cinema Hall’ that have been worked as differentiating factor for us.

    Besides the branded slots, big movies have fetched revenues and viewership for the channel. All these factors have taken the channel to a grander scale.

    With movie acquisition taking the syndication route, how do you see the industry shaping up?
    For all the Hindi movie channels, there has always been a good supply of films over the years. However channels only prefer the ones that have worked in the box-office and are popular. As these films are only limited to 25 to 30 titles, the cost of satellite rights of these films have increased. Because of which the channels have formulated the syndication route. We have to still wait and watch as to where it goes.

    Have you syndicated any titles to other channels?
    Lately we have not done any such deal.

    All the Hindi movie channels are adopting this new business model. Why have you kept yourself away?
    We dont want to plunge into things. We would like to go with our own bank of movies.

    The newer films have shorter life span compared to the older ones. We are not discounting the newer set of movies but in older films there are some memories which you would want to recollect. Everything has its own patent time. Older movies have also done well. We have a different strategy and we would like to go ahead with that. We have done this since last so many years and established the brand.

    You can’t get better than a Big B. Ultimately the movies have to blend into good ratings and then monetize.
    ‘The strength of Zee Cinema has been its huge bank of library films‘

    What is your strategy to combat the increasing prize of a movie?
    We are very title driven. We are careful what we want to show with very limited purchase. We believe that equilibrium has to be maintained. Our purchase has been very careful.

    In that case you have not been very aggressive towards purchases?
    The strength of Zee Cinema has been a mixture of old movies. We have a huge bank of library films. Our viewers have constantly enjoyed watching them.

    And in terms of big ticket purchase, for this year we have Dhol, Dhamaal and Taare Zameen Par. So we have a happy mix of both.

    What other innovations have you done in the channel?
    We have tied up with Jaane Tu Ya Jaane Na to promote our branded slot ‘Shaniwaar Ki Raat Sitaaron Ke Saath’ (Saturday 8 pm).

    We are running a contest wherein we will ask a question during the Saturday film. We have invited answers from colleges across India. The college which sends maximum right answers will meet Imraan Khan, the lead actor of Jaane Tu Ya Jaane Na.

    Shaniwaar Ki Raat Amitabh Ke Saath developed its own set of loyalty. Why then did you think of revamping the slot?
    After four years we have revamped the slot ‘Shaniwaar Ki Raat…’. Now we will be showcasing all the big titles in it.

    We wanted to take things forward to a much larger canvas. Along with Amitabh films we will also premiere other big films with big stars.

    We have titles like Phir Hera Pheri, Dhol, Dhamaal, Vivah, Taare Zameen Par lined up for this slot.

    But conventionally big ticket film’s premieres are on Sunday in early prime time. Don’t you think a Saturday night premiere is too late for your viewers?
    If I want to explore my library to the fullest and want every movie to do well, then this is the best slot. And the kinds of movies that we have kept for this particular slot come with that kind of brand value and image.

    The premiere time depends from channel to channel. There is no hard and fast rule on Zee Cinema. Vivah can also come on Sunday 12:30 pm or on a Saturday night. It is a family oriented film.
    Is the market ready to accommodate new players?
    Every market goes through a correction. At the end of the day every channel has a good strategy. What is required is a good three to four months of consistent viewership. I acknowledge the presence of every player. The competition will make us healthy.
  • ‘Star One is repositioned to become suitable for youth audiences’ : Ravi Menon – Star One EVP and GM

    ‘Star One is repositioned to become suitable for youth audiences’ : Ravi Menon – Star One EVP and GM

    Star One was launched as an upmarket Hindi general entertainment channel, second to Star Plus. Pioneer of big ticket shows like Nach Baliye and The Great Indian Laughter Challenge (TGILC), the channel is now on the path of repositioning.

     

    In an interview with Indiantelevision.com’s Richa Dubey, Star One executive vice president and general manager Ravi Menon talks about Star One’s road ahead as the channel takes up a new positioning to address the youth while tapping family audiences.

     

    Excerpts:

    Star One has deviated a lot from its earlier positioning of an upmarket channel. What made you to shift from your earlier positioning?
    You can’t target the urban market with less money. And when you put in huge amounts, there has to be good returns. So we wanted to expand the market – for viewers as well as revenues.

     

    Upmarket audiences are also not very sticky in nature. We found this in some of our popular shows like Sarabhai vs Sarabhai.

    Is Star One on its way of getting revamped?
    I would not call it a revamp. But from the time it was launched, Star One’s positioning and programming has changed.

     

    Our programming has now become suitable for youth. Our fictions are focussed towards youth, though families can still watch. In reality shows like Zara Nach Ke Dikha, we have roped in young participants and included family elements in it.

     

    Our channel is primarily for youngsters. But we also respect family viewing.

    What would you identify as your target group (TG)?
    Star One targets the 10-30-year-olds. The core TG, though, is 18 to 22 years. But we are definitely not addressing the kind of TG that channels like Bindass or Channel [V] have. Our content is for the homogeneous market. We produce shows for youngsters wherein the entire family can sit and watch. We get family audiences, but on the back of these youngsters. People from all age groups can connect with all our shows like Annu Ki Ho Gayi Wah bhai Wah, Dil Mil Gayi, Pari Hoon Main and Choona Hai Aasmaan.

    How have the advertisers responded to your current repositioning?
    We have become a platform for the brands that want to address the youth. We foresee more brands that will come in. Advertisers are ready to pay money for new kind of shows.

    Don’t you think that the youth positioning is risky as we have seen in the case of Zee Next which has a mere 1-2 per cent of market share in the GEC space?
    When you are addressing such a TG, there has to be a habit formation. We have been very successful in keeping consistency in viewership.

     

    As I said earlier, we get the entire family to watch our channel on the back of youngsters. This strategy will lift Star One above the rest of the other new comers.
    ‘We have been a trend setter in the stand up comedy front. Other channels have started cloning us soon after the success of The Great Indian Laughter Challenge‘

    Though Star One became the number three GEC for a week in January, since then there has been a constant dip and presently it ranks number 6. How do you explain this?
    The important thing is that we are continuously reaching out to our TG. We are a GEC focussing on youth. But the new entrants in the market are targeting to compete with Star and Zee. So though we have become number 6 from number 3, in our target audience we are still the leader.

    Overall, the GEC market share has got segmented because of new entrants. Do you see that affecting Star One?
    The GEC market is segmented but brands are still willing to pay money. Presently if Kyunki Saas Bhi Bahu Thi gives a rating of 4 TVR, that is good enough in a fragmented market for media buyers and advertisers to put money behind them.

    What kind of money is being pumped in for programming?
    The programming budget depends on the requirements of the channel. We rework on it every quarter.

     

    But GECs today roughly spend around Rs 7-8 billion. That is because the reality shows are very costly, – jury, studio, star costs have surged.

    With such high money being pumped in, does it become to protect profitability of channels?
    A good thing about reality shows are that they come with 10 to 12 sponsors and become popular – and they are for a short period. Although fictions do not come with so many sponsors, they are for long term and become popular gradually. So every show has a break even. Although the market is cluttered, that does not affect the bottomline because there are many brands ready to advertise.

    Your weekday prime time fresh programming is of two hours. In the other day parts you show repeats of your present as well as older shows like India Calling and The Special Squad. Are you going to expand original content on the channel?
    We sell advertisers our original programmes. Putting fresh shows on every time slot is expensive; we, thus, run repeats of the older shows. We have bulk deals with advertisers.

    For Star One, reality shows like Bol baby Bol and Funjaabi did not become as popular as Laughter Challenge?
    Bol Baby Bol did fairly well, delivering a rating of 1+ TVR in some weeks. We experimented with Funjaabi and Kisko Milega Cash. While announcing the launch, we had said that the show will run for a month and if it does well, then we would continue it further.

     

    Doling out prize money daily was a mistake that we did. Probably if we were to bring another series of the show, we would give money only once a week.

     

    But we have been a trend setter in the stand up comedy front. We hunt the talents and raise the stars. Other channels have started cloning us soon after the success of The Great Indian Laughter Challenge.

    How will you create an equally big property like Nach Baliye?
    Now our aim is to create equally clutter breaking shows like Zara Nach ke Dikha.
    What big shows are coming up?
    We have Zara Nach Ke Dikha which is a celebrity dance competition between boys and girls. It will go on air somewhere in mid July. The slot and day has not been decided yet. There are a few more shows which will be unveiled soon.
    Can we expect this show to be slotted for weekend prime time while other shows will fill up the weekday primetime band?
    Currently the slotting of shows has become very crucial, especially for the prime time. After IPL, many channels have launched shows at the prime time; they were all waiting for IPL to get over. Colors will launch in July and we will monitor everything closely before we fix the timing of our shows.
  • ‘We are the second stickiest channel in the category today’ : Nina Elavia Jaipuria – Nick India VP and GM

    ‘We are the second stickiest channel in the category today’ : Nina Elavia Jaipuria – Nick India VP and GM

    Driving Nick India from a market share of a mere 9 per cent to 18 per cent has been a phenomenal journey for Nick India VP and GM Nina Elavia Jaipuria. The eight-year old kids’ channel got its act together last year and since then there has been no looking back. After years of relative reticence, popular characters Spongebob, Ninja and Perman are lifting the channel up.

     

    In an interview with Indiantelevision.com’s Richa Dubey, Jaipuria reveals what strategy worked for Nick and how she plans to grow the kids’ channel in a fiercely competitive marketplace.

     

    Excerpts:

    Nick has taken its channel share from 9 per cent in January 2007 to 18 per cent by the year-end. What has led to this fast growth?
    There was no fixed mantra but just a few insights which helped us get to the position where we are now. To feel the pulse of the kids, we built a connect with them, Indianised the channel and went beyond traditional TV.

     

    Everything done on the channel was done in a fashion to connect with kids – right from the way we packaged our shows, to dubbing and selecting the content, and scripting them.

     

    We have been very innovative in marketing our channel. We add an Indian flavour to whatever we do. For example, we celebrated festivals like Janmashtami by putting slime in the handi. We did Holi with Holi flash.

    While every channel in the genre is trying to do the same, how did you ensure to look different?
    Our first effort was to Indianise the channel and that worked wonders for us. It helped us in building affinity with kids.

     

    We interacted with kids more and more. We were no more a passive channel that they used to watch. We became a regular destination for them. We built a bond with the child and at every point of time the kid could have a dialogue with us through IVRS, SMS or through our website. There were initiatives like “Bhoot Aya,” “Chaddhi Buddy,” etc. which kept the kids engaged.

     

    In 12 months, we did some 19 initiatives. This means that at any given point of time, a kid could actually interact with us.

    Nick was perceived to be a very western channel. Wasn’t that a hindrance in getting the kids’ eyeballs?
    Yes, for a while, Nick was thought of as a very western channel with shows that were international. We acquired shows from the Asian territory and Indianised them. Shows like Perman, Munnabhai, Ninja Hatori. were Asian and brought a lot of Indianness on the channel.

    How interactive was Nick with kids?
    Interactivity is not just about interacting but about having a lot of fun. A lot of ideas were out of the box. Through initiatives like “Chaddhi Buddy,” where we ran a contest, we took best friends Spongebob and Patrick to the winner. Several other initiatives like Lot Pot, Pakda Pakdi, Masti Dosti, Chak De Ninja wih Ajay Jadeja or Gift Mangta, etc. helped us build the connect. Fundoo Star was another very innovative initiative whereby we got the kids on the TV.

     

    Engagement is very important as it keeps kids away from the remote. Our programming was such that it made them not to surf in and out of the channel, and made it very sticky for the kids. Following this, channel stickiness grew by 40 per cent. We are the second stickiest channel in the category today.

    What was the 360-degree approach you adopted?
    The other thing was enhancing the connection with a 360-degree approach. We went to places where kids were present. If they were watching general entertainment channels (GEC), then we had our ads on the GECs so that we got noticed by our TG and their parents. We promoted ourselves on the channel which families and kids together watched. We had promotions running across shows like Sa Re Ga Ma Pa Lil Champs, Voice of India and Boogie Woogie, which are popular among kids and families.

     

    We also did a lot of activities in shopping malls and schools. Nick went beyond TV and made it tangible. Kids could touch and feel their favourite characters, and that is the ultimate thing for them.

     

    Today it is all about viral and word of mouth. We also went on to retail our properties across various categories – apparels, story boards, PC games, water bottles, etc. Nick characters also appeared in Diamond Comics.
    ‘We would utilise our foreign library first and only then would we get into local content‘

    In terms of programming, how have you distinguished yourself from the other channels?
    As a kids’ broadcaster, it is important to realise that kids come to TV for relief. They want to be away from teachers and parents through Nick. We are a clean and responsible broadcaster. Within the genre, we offer a variety of programming. Our shows have slapstick comedy and silent humour, and even if there is a little action, it only adds to the humour.

     

    We realised that movies are a big source of entertainment for kids. So we launched “Nick Home Cinema” which has so far done very well.

    Could you please elaborate on your summer line-up?
    A new show Niender will kick off on 21 April. We also have a couple of new movies like Dinotopia and Under the Black Flag.

     

    We will show an entirely new series of Ninja Hatori and Perman which will be aired back to back. We are also planning interactive stuff around Mother’s Day which falls on 11 May.

    Like others in the genre, do you also have plans to foray into local content production?
    Kids’ content knows no boundaries. We have such a huge library worldwide and it has been popular. We would utilise it first and only then would we get into local content. It is just a matter of time. There is a lot of content still to be exploited. Until we have utilised all of that, I don’t think we will go ahead and manufacture it.

    Do you think that frequent channel launches are affecting the kids’ genre?
    No, not at all. In fact, the genre has grown and it’s all due to the offerings of the other channels. A kid does not want to watch a GEC. S/he needs to be given something different.

     

    There has been an increase in kids viewership. Kids are continuously getting enticed by the channel offerings. GECs do not focus on kids at all. The more focused and customised the offerings, the better is the growth of the category.

     

    Moreover, pester power is also influencing parents to let kids spend more time in front of TV.

    How much has passive viewership helped the channel?
    The trend is slowly changing. It’s now parents spending more time with kids on the kids’ channels. Kids’ programmes are very inclusive so the parents can also watch along with their kids. A lot of co-viewing is happening.

    Advertisers are taking advantage of that?
    Pester power and passive viewership have helped the channels in terms of advertisements. A lot of FMCGs, insurance and telecom brands have started advertising on kids’ channels. None of these directly target kids, but they obviously understand that co-viewing is happening.

     

    We ourselves started with 17 brands and now we have around 80 on board.

    Even GECs show kids’ programmes during weekends. Do you see that spoiling your Sunday line-up of shows?
    I would not deny that anything that is catering to a kid is a threat to us. Kids are not channel loyal; they are programme loyal. A kid watches a particular channel because of the show. The fact is that there is a lot of scope in kids, and so GECs are catering to them. Kids will watch a good film on any channel. But as a core kids’ broadcaster, we provide a complete 360-degree experience to the kids. We have our own set of marketing initiatives which make us stand apart.

    How do you ensure that Nick reaches to kids beyond TV in tier-2 cities?
    We normally try and reach cities in the Hindi speaking markets (HSM). We select key cities in UP, MP, Rajshthan and other parts in north India such as cities like Badodara, Surat, Ajmer, Jaipur, Allahabad, Varanasi and few others.

     

    We are available to around 24 million C&S homes.

    Do you have any plans to expand in the southern market?
    Our audio feed is available in English. We will consolidate our presence in HSM and only then explore the southern market. In Chennai, we are available in Cas (conditional accesss system) homes.

     

    We have syndicated some of our shows like Dora-the Explorer and Avtaar to Sun Network’s Chutti TV. We also have a tie-up with Jet Airways, who play our shows on the flights.
    Is there an increase in ad sales during vacations?
    Yes, there is but not much as it is seasonal. As far as viewership is concerned, vacation-watching contributes 20 per cent of the channel’s total audiences.
  • ‘Blogumentary is our USP’ : Amar K Deb- Channel [V] India head honcho

    ‘Blogumentary is our USP’ : Amar K Deb- Channel [V] India head honcho

    Thirteen years on, Star India’s music channel is experimenting with ‘blogumentary’ content and has adopted the tagline Channel [V] made by you.

    The recipe for getting more eyeballs in a genre which is seen to be stagnating also includes the reality format.

    In an interview with Indiantelevision.com’s Richa Dubey, Channel [V] India head honcho Amar Deb speaks about his plans to incorporate user generated content as a key value of the channel in its new avatar while hanging on to the central positioning of being a “music channel.”

    Excerpts:

    Is there pressure for music channels to reinvent as their revenues are stagnating?
    We have revenues going up by 25 per cent every year. Advertisements and trailers are a major source of our income.

    MTV has recently repositioned itself as a youth channel. Is Channel [V] also looking to target youth with alternative content outside music?
    Channel [V] is a music channel. We love and believe in promoting music. On Channel [V] music is flanked by other stuff like glamour, humour, and fun which are also youth centric.

    So you advocate the benefits of non-music properties?
    Get Gorgeous is one of the highest rated shows on the channel. It’s great because we found some really beautiful looking girls who are not models and they went on to become Miss India and Miss Universe.

    We also discover new faces and talent with shows like Launch Pad. Our promos are popular and have got terrific responses. We won 17 awards at Promax, New York. Our average is of getting around 40 awards every year. That is a good sign.

    How do you split up the music and non music shows?
    We are a music channel and our programmes are all music centric. We largely have music based shows except for a couple of shows like Get Gorgeous. We stick to music while some or other fun things keep happening like Simpoo, Channel [V] IQ etc.
    What about the interactive elements that MTV has introduced?
    Channel [V] has come up with that by introducing blogs in our content mix. This happened in January and we have got a good response.

    How did you go about selecting bloggers?
    We had around 2000 people applying for it. We reviewed 200 and finally choose ten of them. Those ten were given hand held cameras and they shot the concert in there own creative ways.

    Following this, we did Launch Pad and Get Gorgeous which was also shot by bloggers. With this trend, we have got more and more viewers and people participating in the contests run by us. Thus reinforcing our stand as – Channel [V] made by you.
    How else have you extended Blogumentary on Channel [V]?
    After the Channel [V] concert, entire eight sessions at Hard Rock Café for Launch Pad was shot by bloggers. Get Gorgeous was shot by Bloggers and that is the speed in which we will take the entire concept forward. Blogumentary is our USP and we see others following us.

    What happens to the production team if bloggers play such an important role?
    Our production team is always there to help our bloggers. It is just a kind of innovation that we are doing. They are the ones who direct the bloggers. The post production team works really hard to make the entire program look interesting. They make sure that bloggers create things that get viewers hooked on to our content.
    ‘On Channel [V] music is flanked by glamour, humour & fun which are also youth centric’

    Is this reflecting the new face of Channel [V] which has turned 13?
    For the first time on Indian television, we did a ‘blogumentary’ in Channel [V] concert. Fans and young people had cameras and were shooting the eventwhich saw performances from Atif Aslam, Akon and many more.This resulted in an eight week, spectacular television series of half hours.

    With reality shows gaining importance even among music channels, what is your take on the inclusion of this format into programming?
    We did reality with Popstars 1 and 2 and Super Singers. These were not talent hunts. They provided platforms for people to perform. However, we are not doing traditional reality shows where judges throw tantrums and walk out. On Channel [V] nothing is scripted. Everything is spontaneous and real.

    But isn’t controversy a necessary ingredient for a successful reality series?
    Unfortunately, today’s channels have lost the sense of reality and they are not able to do justice to it. If you do something just for the heck of it to create sensation, it does not prove to be reality.

    What are the upcoming properties in the pipeline?
    We will unveil My India Report, which is also based on the blogging format. There is a recruitment procedure going on right now which is also online. We want to know whether the new generation really lives with the values that our forefathers lived with. We want to know the views of today’s generation on various issues. It’s like a docudrama wherein five young people go out, speak to people, and capture it. They will together document what it is to be an Indian today.

    The show is still in the pre-production stage. Currently, we are looking for the kids who will travel across the country. The recruitment is happening online. We expect to launch it in three month’s time.

    Unlike Freedom Express which was promoted by our VJs, My India Report will be done by the freshers and bloggers.
    Channel [V] has been very active in the internet space. What are the plans on that front?
    We have a strong online presence. Lot of our stuff is lined up in YouTube. Lola videos are amongst the most watched videos on YouTube and she has a large fan following on Orkut.

    Channel [V]’s Bai promotion was highly appreciated. All our properties have a vast community on the web. We are very ‘new media friendly’ – and a lot of the new media generation is aware of what we do. In fact, the band that we found for Launch Pad was through Orkut.

    Channel [V] made by you is a huge user generated content phenomena.
    What has the channel lined up on the promo front?
    So far Simpoo, the animated character, has been by far the best promo that we did. People really liked and enjoyed watching it. So we have a new Simpoo KBC promo coming up.

    Our promos always reflect the trends of society. For example, we have a promotion for Get Gorgeous saying Moral Police sue us. It got us eyeballs.

    We will be unveiling many more promos including one based on an upcoming Go Green Campaign on Global Warming.

    Does Channel [V] bank a lot on movie marketing?
    Channel [V] is a popular chosen platform for movie marketing. Rang de Basanti, Bluff Master and Don were some of the exclusive movies that we promoted on Channel [V]. Ram Gopal Verma’s Aag is the next movie we are going to promote. We are still working on it.
  • ‘We don’t need to change anything drastically. All we have to do is perfect our existing properties’ : Shailesh Kapoor – Filmy business head

    ‘We don’t need to change anything drastically. All we have to do is perfect our existing properties’ : Shailesh Kapoor – Filmy business head

    Filmy, the one and a half year old Hindi movie channel from the Sahara Group, has experimented with a varied mix of movies and shows to make a mark against established channels like Zee Cinema, Max and Star Gold. From spoofs to chat shows, Filmy is now set to foray into the reality genre with Bathroom Singer. To extend the Filmy brand even further, the channel has taken the acquisition route to bring the ‘Rajnikanth’ fever onto the channel.

     

    Shailesh Kapoor who was recently promoted to the position of business head, speaks to Indiantelevision.com’s Richa Dubey in an exclusive chat revealing the channel’s growth chart and its plans for the future.

     

    Excerpts:

    After the initial impact, is Filmy’s growth slowing down?
    The channel has done pretty well since we launched in February 2006. Our foundation has been built in a short span of time and the perception of our brand has become strong with our constant growth. We have been noticed by viewers as well advertisers and have been taken seriously. I think most of the channels which were launched in last three to four years have not been able to do that.
    But haven’t your GRPs dropped sharply?
    Though we had a slump in the period between April-June, our GRPs for the last three weeks have seen a rise. Tam expanded its coverage areas in January and older, popular channels have gained.

    Is there pressure to modify your strategy?
    We don’t need to change anything drastically. All we have to do is perfect our existing properties. We have already started taking a few giant steps like acquiring bigger films and latest hits. In fact, the acquisition of a few more big films are in pipeline. We also have old films which means there is more variety in our library.

     

    Additionally, we have also acquired hits from the Southern region including a few Raknikanth starrer films. We have planned a special Rajnikanth Festival in August.

    You also have shown Ganga. Are we going to see more Bhojpuri films?
    Our key focus is not Bhojpuri films. But being a movie channel we did find it right to explore the Bhojpuri segment because of its popularity. But we are not restricted to it.

     

    Secondly, Kaun Banega Champu was taken off the channel for a seasonal break and there was nothing big at the time as we were planning our present and future shows. In this context, this gave us good visibility as Ganga was a good success.

     

    If a film as big as Ganga comes, then we will acquire it. In fact post September we are planning to introduce a fortnightly slot for Bhojpuri films. But we are essentially a Bollywood channel and even in acquiring Bhojpuri films we have to be careful.

    Will this help in improving your channel share?
    Last week we had a relative share of 11. But most of our bigger properties are unfolding now. We have a slew of new films which will be telecast. We will have one premiere every month. And this, in turn, will help our distribution.

    Has Filmy sorted out its distribution problems?
    Our distribution has increased in the small towns and now it has gone up 70 to 75 per cent across SEC B and C. We are being viewed in a lot more towns where we were not previously available. So our relative share should rise further in the next few months. And we are going to promote our properties in a bigger way.

    How are you planning to push your upcoming properties?
    Previously all our activities were channel specific. As we were new, we promoted the channel as a whole. But now we are established enough to promote individual properties. Each of our properties have a specific audience base and keeping that in mind, we promote our properties. We use research, whether it be for movies or shows.

     

    Our marketing efforts also depend on the property we are promoting. Guru was promoted at face value. All we did was highlight the fact that it is one of the biggest films of the year and the Aishwarya-Abhishek duo are in the movie.

    Isn’t it more difficult when you are promoting a show like say Bathroom Singer which you are launching on 26 August?
    We have planned promotional activities across the various stages and have, in fact, kicked off the campaign as auditions are currently going on. The launch campaign of the show will start in August. Anything that is ordinary will obviously not be noticed. So our promotions will be completely fresh. However, they will all be property centric. Compared to other movie channels we have the advantage of airing shows. These are a lot easier to promote than films.
    ‘In the first year, the key parameter was how the property worked for the Filmy brand. But from Bathroom Singer onwards, ratings will be the parameter‘

    With channels already cluttered by music talent hunt shows, why bring in the concept of Bathroom Singer?
    The tone and treatment of Bathroom Singer has a different angle. As the name suggests, it is completely Filmy and not glamorous. Though it is coupled with a lot of emotions and drama, it is not stressful like other music talent hunt shows. One thing that worked for us is that it has no age barriers and it has opened up the flood gates to participation.

     

    In the first round of auditions, we received five times the crowd we expected. There was even an 80-year-old man who was selected for the second round. We got to see amazing talent from people who could sing in reverse, in multiple languages and in various voices. All this is possible because we are not looking for a trained voice. It is like a packaged deal. The originality of the content will come from its treatment. We have our fingers crossed and wish to get good results.

    How do you slot programmes on the channel?
    We showcase three movies a day and rest of our programming consists of shows like Meri Bhains ko anda kyun Mara, Rokky’s 99, Aaj ke Filmy Khabar. Bathroom Singer has been positioned as a weekly on Sunday primetime. We have also introduced a Sunday 10 am to 2 pm slot for kids where we are airing animated TV series like The Jungle Book. Based on the responses, we will show more properties that are unexposed in the Indian market. Our focus, though, is on Sunday primetime which is important for us.

    Can you identify the properties that have stood out for the channel and which were the underperformers?
    In the first year, the key parameter was based on how the property worked for the Filmy brand. But from Bathroom Singer onwards, ratings will be the parameter.

     

    As for shows that have done well for us, Kaun Banega Champu got us ratings. Lallan has been a successful character. Though Rokky was not popular initially, we gave it the right platform and this was supported by good creative content.

     

    There were some things that didn’t work for us. Our short film festival didn’t do well because it was very niche. Lal Gulab and Ruchi Reporter also did not go down well, so we discontinued it.

    What about Filmy Stock Exchange?
    Filmy stock exchange is an online property and was very successful. TV viewers are not familiar with it, so we are still evaluating whether to get it on TV or not. We might get somebody from the internet business to partner with us for this.

    Have advertisers been difficult to get with low GRPs?
    Advertisers come for three reasons. First they come for TRPs, secondly for good properties and thirdly for the brand image that the channel carries. Tam data reveals that our audience profile is different and advertisers targeting them will come to us. We have been doing well in metros. Although Filmy has a mass appeal as a Hindi movie channel, it has the attitude of being a youth channel. The youth are our loyal viewers.
    How would you evaluate the last year in terms of return on investments?
    Our revenues have been increasing month after month. We have kept our costs under control. We, in fact, have reached a break even status and and hope to do even better in the second year.