Tag: Sony

  • Zee Anmol retains leadership in GEC (U+R) in week 20

    Zee Anmol retains leadership in GEC (U+R) in week 20

    MUMBAI: Star Plus and Star Utsav swapped their sixth and seventh positions in Broadcast Audience Research Council (BARC) data of week 20 of 2018 in the Hindi GEC (U+R) market, whereas in rural markets no changes were observed as compared to the previous week. Sony Sab and Star Bharat exchanged their fourth and fifth positions in GEC urban market this week. 

    Hindi GEC (U+R)

    Zee Anmol, Rishtey, Sony Pal, Star Bharat and Zee TV retained their first, second, third, fourth and fifth positions respectively with 912883 impressions (000s), 679799 impressions (000s), 571922 impressions (000s), 554893 impressions (000s) and 515794 impressions (000s).

    Star Plus and Star Utsav swapped their sixth and seventh positions with 432679 impressions (000s) and 432391 impressions (000s) respectively.

    Colors, Sony Sab and Sony Entertainment Television retained their eighth, ninth and tenth positions with 398342 impressions (000s), 371668 impressions (000s) and 327285 impressions respectively.

    Hindi Rural GEC

    Zee Anmol, Rishtey, Sony Pal, Star Utsav and Star Bharat retained their first, second, third, fourth and fifth positions with 706441 impressions (000s), 496544 impressions (000s), 390330 impressions (000s), 303090 impressions (000s) and 286803 impressions (000s) respectively.

    Zee TV, Big Magic, Dangal TV, Star Plus and Colors also retained their sixth, seventh, eighth, ninth and tenth positions with 199154 impressions (000s), 195541 impressions (000s), 191617 impressions (000s), 129006 impressions (000s) and116609 impressions (000s) respectively.

    Hindi Urban GEC

    In urban GEC, Zee TV, Star Plus and Colors retained their first, second and third positions with 316640 impressions (000s), 303672 impressions (000s) and 281733 impressions (000s) respectively.

    Sony Sab and Star Bharat exchanged their fourth and fifth positions with 277227 impressions (000s) and 268089 impressions (000s) respectively.  

    Sony Entertainment Television, Zee Anmol, Rishtey, Sony Pal, and Star Utsav stood at sixth, seventh, eighth, ninth and tenth positions with 251169 impressions (000s), 206441 impressions (000s), 183254 impressions (000s), 181592 impressions (000s) and 129301 impressions (000s) respectively.

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  • Sony takes audiences to the crossroads with new show

    Sony takes audiences to the crossroads with new show

    MUMBAI: After being a leader in introducing mythological shows, Sony Entertainment Television (SET) is taking a different route. The channel’s latest offering is Zindagi ke Crossroads, a 39-episodic interactive show where the studio audiences will put forward their opinions on the challenges faced by the protagonists of the show.

    Produced by Shabina Khan, it will premiere on 6 June 2018, every Wednesday, Thursday and Friday at 8.30 pm. Television actor Ram Kapoor will be the host who will not just encourage the audience to share their views but will also delve into the ‘whys’ of their decision making to bring alive the melting pot of opinions in the audience for the narratives showcased. The question thrown open to the audience will be “what would you have done if you were at this crossroad?” The idea is to get families to sit tight on the couch.

    Mahadev, who is the concept and screenplay writer of the show, narrated the concept to Khan after which she realised it is an appropriate show for the times. It has been in planning mode for two years.

    The investment for the show is close to Rs 75-80 lakh. Sony head of non-fiction Ashish Golwalkar said, “There is no amortisation. Generally, you have one set and you’ll shoot everything in that, but that is not possible. This story demands different locations and places and that is why the cost goes up as far as fiction shows are concerned.”

    Commenting on the promotional and marketing strategy, Sony EVP and business head Danish Khan said that SET will be using digital and multimedia platforms to promote the show. “The important thing is to convey to the people what the format is and it is very difficult to convey the format unless we sample it, so what we are communicating is, this is the story, this is the protagonist and this is the crossroad, what would you do if you are in the protagonist’s place?”

    Golwalkar said that the format of the show is very tough to explain and since it is a chat show, people will typecast it very soon. “Our focus will obviously be on airing it on our channels, also Dus ka Dum will air on Monday and Tuesday, so we will run promos there as well.”

    Given the other fast-paced and action-oriented shows on air today, it will be worthwhile to see how the audience will react to such a programme.

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  • Zee TV leads GEC urban in week 19

    Zee TV leads GEC urban in week 19

    MUMBAI: Sony Pal and Star Bharat swapped their third and fourth position in Broadcast Audience Research Council (BARC) data of week 19 of 2018 in the Hindi GEC (U+R) market, whereas in rural markets Zee Anmol retained its leadership. Zee TV retained its leadership GEC urban market this week. 

    Hindi GEC (U+R)

    Zee Anmol and Rishtey retained their first and second positions respectively with 857264 impressions (000s) and 658382 impressions (000s). Sony Pal and Star Bharat swapped their third and fourth positions respectively with 654053 impressions (000s) and 577588 impressions (000s).

    Zee TV, Star Utsav, Star Plus, Colors, Sony Sab and Sony Entertainment Television retained their fifth, sixth, seventh, eighth, ninth and tenth positions with 519606 impressions (000s), 473228 impressions (000s), 429027 impressions (000s), 421333 impressions (000s), 376296 impressions (000s) and 344876 impressions (000s) respectively.

    Hindi Rural GEC

    Zee Anmol, Rishtey, Sony Pal, Star Utsav and Star Bharat retained their first, second, third, fourth and fifth positions with 664876 impressions (000s), 478831 impressions (000s), 451893 impressions (000s), 332139 impressions (000s) and 289332 impressions (000s) respectively.

    Zee TV and Big Magic exchanged their sixth and seventh positions with 205196 impressions (000s) and 204957 impressions (000s). Dangal TV, Star Plus and Colors also retained their eighth, ninth and tenth positions with 185245 impressions (000s), 120998 impressions (000s) and 117336 impressions (000s) respectively.

    Hindi Urban GEC

    In urban GEC, Zee TV and Star Plus retained their first and second positions with 314648 impressions (000s) and 308029 impressions (000s) respectively.

    Colors, Star Bharat, Sony Sab, Sony Entertainment Television, Sony Pal, Zee Anmol, Rishtey and Star Utsav stood at third, fourth, fifth, sixth, seventh, eighth, ninth and tenth positions with 303997 impressions (000s), 288255 impressions (000s), 279628 impressions (000s), 263894 impressions (000s), 202159 impressions (000s), 192387 impressions (000s),179551 impressions (000s) and 141088 impressions (000s) respectively.

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  • Zee TV leads GEC urban by dethroning Colors in week 18

    Zee TV leads GEC urban by dethroning Colors in week 18

    MUMBAI: No changes were observed this week in the Hindi GEC (U+R) and rural markets region according to Broadcast Audience Research Council (BARC) all India data for week 18 of 2018. Zee TV retained its leadership GEC urban market this week. 

    Hindi GEC (U+R)

    Zee Anmol, Rishtey, Star Bharat, Sony Pal and Zee TV retained their first, second, third, fourth and fifth positions respectively with 769222 impressions (000s), 642114 impressions (000s), 603720 impressions (000s), 594997impressions (000s) and 548150 impressions (000s)

    Star Utsav, Star Plus, Colors, Sony Sab and Sony Entertainment Television also retained their sixth, seventh, eighth, ninth and tenth positions with 460921 impressions (000s), 422988 impressions (000s), 395016 impressions (000s), 356192impressions (000s) and 330934 impressions (000s) respectively.   

    Hindi Rural GEC

    Zee Anmol, Rishtey, Sony Pal, Star Utsav, Star Bharat and Zee TV retained their first, second, third, fourth, fifth and sixth positions with 593662 impressions (000s), 458940 impressions (000s), 401210 impressions (000s), 323195 impressions (000s), 304376 impressions (000s) and 223931 impressions (000s) respectively.

    Big Magic, Dangal TV, Star Plus and Colors also retained their seventh, eighth, ninth and tenth positions with 211493 impressions (000s), 175654 impressions (000s), 121077 impressions (000s) and 120327 impressions (000s) respectively.

    Hindi Urban GEC

    In urban GEC, Zee TV retained its first position with 324219 impressions (000s). Star Plus and Star Bharat stood at second and third positions respectively with 301911 impressions (000s) and 299344 impressions (000s).

    Colors, Sony Sab, Sony Entertainment Television,Sony Pal, Rishtey, Zee Anmol and Star Utsav retained their fourth, fifth, sixth, seventh, eighth, ninth and tenth positions with 274688 impressions (000s), 255501 impressions (000s), 246399 impressions (000s), 193786 impressions (000s), 183174 impressions (000s), 175559 impressions (000s) and 137726 impressions (000s).

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  • SPN India appoints Ajay Bhalwankar to spearhead its upcoming Marathi GEC

    SPN India appoints Ajay Bhalwankar to spearhead its upcoming Marathi GEC

    MUMBAI: Sony Pictures Networks India (SPN) has appointed Ajay Bhalwankar as the Business Head for its upcoming Marathi general entertainment channel (GEC).

    Byspending more than two decades in the media and entertainment industry, Ajay has a well-rounded understanding of all facets that define this sector. He has been associated with SPN since 2014. Prior to taking charge of the Marathi GEC, he was the Chief Creative Director at Sony Entertainment Television (SET) where his role was to provide creative leadership and direction to propel the channel amongst the top players across genres. Ajay has also served as content head for Hindi GECs at ZEE.

    Sony Pictures Networks India (SPN) N.P. Singh MD & CEO said, “The Marathi content viewers have a growing appetite for local content which resonates with their cultural fabric. By catering to this audience, SPN will expand its regional footprint. Ajay will play a vital role in delivering a channel experience that is relatable yet compelling. With extensive experience and in-depth understanding of the industry, I am confident that under Ajay’s leadership, SPN will make an impressive debut in the Marathi entertainment space.”

  • Zee TV leads GEC urban in BARC week 17

    Zee TV leads GEC urban in BARC week 17

     

    MUMBAI: Zee Anmol emerged as the leader whereas Rishtey and Star Bharat swapped their second and third positions in the Hindi GEC (U+R) region according to Broadcast Audience Research Council (BARC) all India data for week 17 of 2018.

    Zee TV emerged as the leader dethroning Colors to fourth position in GEC urban market this week. Moreover, Zee Anmol also retained its top position in GEC rural markets.

    Hindi GEC (U+R)

    Zee Anmol retained its top slot this week with 771888 impressions (000s). Rishtey stood at second position dethroning Star Bharat which came to the third position this week with 672774 impressions (000s) and 638431 impressions (000s) respectively.

    Sony Pal, Zee TV and Star Utsav stood at fourth, fifth and sixth positions respectively with 605469 impressions (000s),579082 impressions (000s) and 513800 impressions (000s).

    Star Plus, Colors, Sony Sab and Sony Entertainment Television stood at seventh, eighth, ninth and tenth positions with 456054 impressions (000s), 430238 impressions (000s), 348831 impressions (000s) and 340856 impressions (000s) respectively. 

    Hindi Rural GEC

    Zee Anmol, Rishtey, Sony Pal, Star Utsav, Star Bharat and Zee TV retained their first, second, third, fourth, fifth and sixth positions with 598026 impressions (000s), 487676 impressions (000s), 406644 impressions (000s), 361995 impressions (000s), 325054 impressions (000s) and 222838 impressions (000s) respectively.

    Big Magic, Dangal TV, Star Plus and Colors stood at seventh, eighth, ninth and tenth positions with 222838 impressions (000s), 194528 impressions (000s), 193226 impressions (000s), 133164 impressions (000s) and 124609 impressions (000s) respectively.

    Hindi Urban GEC

    In urban GEC, Zee TV emerged as the leader dethroning Colors with 356243 impressions (000s). Star Plus and Star Bharat retained their second and third positions with 322890 impressions (000s) and 313377 impressions (000s) respectively.

    Colors jumped to fourth position from first position as compared to the previous week with 305628 impressions (000s). Sab, Sony Entertainment Television and Sony Pal stood at fifth, sixth and seventh positions respectively with 269382 impressions (000s), 253465 impressions (000s) and 198824 impressions (000s).

    Rishtey, Zee Anmol and Star Utsav retained their eighth, ninth and tenth positions with 185097 impressions (000s),173862 impressions (000s) and 151805 impressions (000s) respectively.

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  • The era of dance reality shows

    The era of dance reality shows

    MUMBAI: Broadcasters today know how to sway their audiences and they’ve realised that nothing works better than dance reality shows on television. Every general entertainment channel (GEC) has at least one such affiliation either with an international format or a local production. A show ends on one channel and a new one begins on another.

    The format of dance reality shows plays a vital role in keeping audiences engaged. Adding the clippings of the auditions process, rehearsal scenes and fun behind the cameras are strategies to attract viewers. Other elements, such as the voting system, involving commoners in the show and an anchor who banters, makes the show worthwhile.

    A media professional said that dance reality shows are just the phase and they won’t stay. “The numbers might change in terms of ratings as its universe is growing. As the ratings universe is growing, the percentage in terms of viewers is also sizeable. You’ll have a certain number of audiences for these shows, because there are sponsors who may want to get that much and it makes sense to stay around.”

    He also stated that over time there could be different genres that come up as popular ones for a period of time.

    An African proverb says, ‘When the music changes, so does the dance.’ Though the proverb hints at how it is important to adapt to change in life, the proverb aptly suits the evolution of dance shows in recent times.

    It was Sony Entertainment Television that showed Indians how to Boogie Woogie in 1996. The show tuned out within a year and took five years to resurface. After seven more seasons, the show synonymous with the face of comedian Javed Jaffrey, it was last seen in 2014. In the earlier seasons, the judges assigned various themes to episodes, including Bollywood, horror, and friendship among others. These different themes helped the show to retain their audiences and garner great traction.

    Though a show like Big Boss is a rage with the people, broadcasters keep coming back to dance shows. The participants for even the least-popular dance show are never ending. People await that one lucky break wherever they can find it.

    Nach Baliye was another show launched by Star One in 2006 as an original format which shifted to Star Plus after the second season. 2017 was its eighth season. It was a couple dance reality television show. Contestants danced to a different tune, theme and style every week and scores were given by the judges. Each week one couple was eliminated based on public voting and their scores.

    Couch potatoes may want reality shows to last throughout the day. While some may watch and get inspired from the commoners showing off their moves, others tend to watch because of their favourite celebrity dancing or to gather some gossip from the show about the couples dating in the dance reality show.

    Dance India Dance (DID) was another dance show in the Zee cluster that had six seasons. It also had spinoffs like DID Li’l Masters, DID Doubles and DID Supermoms. The show had a variety of Indian cultural and international contemporary dance like Bollywood, hip-hop, jazz, Kalaripayattu, salsa, samba and musical theatre styles to win the prize worth Rs 50 lakh.

    According to the professional, these dance shows only work because of the existing audience that they have. Earlier the shows were just restricted to the older dancing formats, but now these shows have also added the flavour of hip-hop, electronic dance styles among others. The variety is what keeps audience engaged and gets advertising traction.

    Colors introduced the Indian version of two BBC shows Strictly Come Dancing and Dancing with the Stars Jhalak Dikhhla Jaa – and it has seen nine seasons. In this show, celebrities perform various dances together with professional dance partners.

    Reality shows are a high-cost proposition for GECs and few of them make money, if at all. As per reports, non-celebrity shows like DID cost around Rs 40 lakh per episode.

    Another show was Sony’s Super Dancer, where 12 dancers are selected to be competing for the title of ‘dance ka kal’ (future of dance). They are each paired with one choreographer (super guru) who has a unique style similar to theirs. These gurus train them, choreograph acts for them and also perform with them. The performances are voted by the audience every week on the website or the SonyLiv app. On the basis of the number of votes, one kid is eliminated every week.

    Zara Nachke Dikha, Just Dance and Dance Champions on Star Plus, Dancing Queens on Colors have made a mark in the Indian industry. New show formats are being launched every year. Colors intends to launch another show named Dance Deewane.  

    Commenting on dance shows becoming trends now-a-days, another media expert said, “Dance shows have been trending for a very long. The first dance show was launched some 13-14 years ago. I think dance shows had a really very good run. I don’t think they will ever go out of fashion but they definitely need to keep reinventing themselves.”

    Due to their short nature and thrill, reality shows grab more eyeballs than the saas bahu sagas. At first, shows were just about showing off your dancing skills but over time they have evolved into concepts, moulding yourself into different forms and even with various types of partners. The creativity level has skyrocketed but the best is yet to come.

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    No reason for GECs to panic as IPL grabs eyeballs

     

  • No reason for GECs to panic as IPL grabs eyeballs

    No reason for GECs to panic as IPL grabs eyeballs

    MUMBAI: It is that time of the year when general entertainment channels (GECs), across languages, face the jitters over viewership numbers with the Indian Premier League (IPL) beginning its customary summer stint. Moreover, as the league begins a new innings with Star Sports, the host broadcaster has been in marketing overdrive to accrue eyeballs over the length and breadth of the country.

    During the IPL season, GECs usually witness a dip in viewership thanks to the league’s appeal cutting across demographics. It will be worthwhile to review the viewership ratings since this is Star’s first year of airing the league, which is being telecast in English, Hindi as well as Kannada, Tamil, Telugu and Bengali. When the broadcast rights lay with Sony Pictures Networks, the coverage was restricted to English and Hindi commentary on Sony Max for a decade.

    Considering the coverage is in six languages this season, the affinity for the league is set to soar with audiences in West Bengal, Tamil Nadu, Telangana, Andhra Pradesh and Karnataka that, hitherto, were compelled to watch the English coverage.

    Commentary in regional language not only multiplies the excitement among the viewers but also increases the entertainment quotient of the game, according to research conducted by Chrome Data Analytics & Media recently.

    There are, however, always two sides to a coin. Historically, GEC viewership ebbs and flows as the tournament progresses. While it may appear all glowing for the viewership of the IPL, as the common consensus is that GECs to lose considerable viewership during this two-month window, it is not all a doom and gloom scenario for the drama makers. Moreover, though the IPL has been geared mainly for the male audience, a huge number of female followers lap it up.

    Contrary to the popular notion, even as the viewership for the IPL rises exponentially during the first week of the tournament and the play-offs, the interest in the proceedings unmistakably tapers off during the middle stages of the league. Apart from the enthusiasts, regular fans are keen to just watch the games involving their favourite teams on the allotted days. GECs, therefore, can breathe a sigh of relief as some of the viewers are bound to return to catch up on their beloved TV shows after the initial euphoria of the tournament decreases. Despite commentary in more languages, a similar scenario is likely to pan out this season as well.  

    The IPL still remains a big cause for worry for GECs and broadcasters sounded the alarm in March by strategically launching new shows on their channels and giving them enough lead time to catch the attention of its audience. As a result, eight new shows were launched before the IPL started in a bid to avoid the exodus of viewers to the popular cricketing tournament.

    Star has a big legacy to carry forward from Sony and even create one of its own for the coming years and set the tone for the tenure of its rights. This season, it remains to be seen whether GECs effectively regain their viewership during the inevitable period of lull for the IPL.

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  • Hotstar packs a punch with IPL 11 opening week user numbers

    Hotstar packs a punch with IPL 11 opening week user numbers

    MUMBAI: No longer do people have to stand outside shops on the streets to catch the cricketing action when they’re not at home. Technology has brought all the action to people’s palms. In 2015, Star India won the digital and media rights for the Indian Premier League (IPL) making viewers stick to matches through its over-the-top (OTT) platform Hotstar.

    Late last year, Star won the broadcast bid for the tournament in a mega auction worth $2.55 billion for five years, beating Sony Entertainment Television by a huge margin. The ratings are keenly awaited since it is being broadcast in Hindi, English, Kannada, Tamil, Telugu and Bengali; the coverage was restricted to English and Hindi on Sony Max for a decade.

    Hotstar saw 42 million users during the opening of the tournament, which was held on 7 April 2018, with 4 million users in peak concurrency. The OTT is leveraging Akamai Technologies, a cloud delivery platform, for the IPL. For the match between the Chennai Super Kings (CSK) and the Kolkata Knight Riders (KKR) on 10 April 2018, Hotstar garnered 5.5 million concurrent viewers.

    This is the largest on the Akamai platform for any live sporting event in the world and the largest for any single event online by a broadcaster. This is ahead of the previous high on the Akamai platform of 4.8 million peak concurrent users, established by Hotstar during the India and Pakistan ICC Champions Trophy Final in June 2017.

    Hotstar CEO Ajit Mohan said, “Crossing five million on a live sporting event is like breaking the 10-second barrier in the 100-metre dash. We are proud that we are the first to get here. But, of even more importance, we are excited that fans have embraced the immersive sports experience on Hotstar that has brought together live streaming, the expression of fan emotions and an interactive always-on game.”

    The IPL has been streaming on Hotstar since 2015 but this year it witnessed a sudden spike in viewers. One of the reasons for the increasing number of viewers is the innovations that Star added this year. Among these is Watch’NPlay, a skill-based game wherein a user gets to test his/her cricket knowledge and expertise with millions of other users tuned into the match. The feature takes the Indian cricket enthusiast’s innate behaviour of providing running commentary on player performance and strategy.

    Watching sports is a lean-back consumption method. Unless you’re playing a sport or a game on electronic devices, one is not leaning forward. One might be leaning back and having a glass of your preferred beverage, relaxing and watching sport. Whereas, OTT is a lean-forward and individual consumption method, where one has a phone or tablet and the viewer is watching it.

    In 2016, Hotstar had more than double its reach (unique viewers) for IPL. For all the games played until the playoffs (between 9 April and 22 May), 80 million people used the service, compared with 35 million a year ago. Whereas, in 2015, the app had recorded more than 110 million views for the IPL 8 till date. In comparison, the entire 2014 edition of the tournament registered 62 million views on starsports.com, last year. With 13 million views for Pepsi IPL 2014 at a similar point in the tournament last year, Hotstar has registered an 8.5X growth in viewership.

    The inaugural match of the 11th season played between the Mumbai Indians and the Chennai Super Kings registered viewership on television of 6,355,000 impressions (India urban, males 15+ AB, according to Broadcast Audience Research Council data). This equals to growth of 37 per cent over last year’s opening game. These are simulcast ratings of the original telecast aired on Saturday April 7th at 8 pm across 10 Star channels—Star Sports 1; Star Sports 1 HD; Star Sports Select 1 SD; Star Sports Select 1 HD (English); Star Sports 1 (Hindi); Star Sports 1 HD (Hindi); Star Sports 1 Tamil along with Suvarna Plus (Kannada); Jalsha Movies (Bengali) and Maa Movies (Telegu).

    BCCI CEO Rahul Johri said, “The Indian Premier League has once again proven that it is the largest media property in this country. This is IPL’s first year of partnership with Star India and I am delighted to see with the innovations that we have introduced, viewership has set new records and the tournament is set to reach a wider audience globally than ever before. It’s setting up to be a great tournament with some fantastic cricketing action for the fans who can enjoy the games in 6 languages, live across TV and Digital for the first time.”

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  • BCCI rights: Day 2 top bid ends at Rs 6032.50 crore

    BCCI rights: Day 2 top bid ends at Rs 6032.50 crore

    MUMBAI: The bid for the Board of Control for Cricket in India’s (BCCI) home matches has reached a whopping Rs 6,032.50 crore at the end of the e-auction process on day two according to India Sports TV’s twitter handle.

    The e-auction process will resume at 11 am on Thursday.

    The last bid on day two stood at Rs 6,032.50 crore for the consolidated rights–amounting to a per match value of Rs 59.14 crore. The figure has already bettered the Indian Premier League’s per match record value of Rs 55 crore.

    On Wednesday, the bids that were made public stood at Rs 4517.25 crore, Rs 4565.20 crore, Rs 5488.30 crore, Rs 5748 crore, Rs 6001 crore, Rs 6003.09 crore and Rs 6032.50 crore.

    And so the bidding for the 102-game BCCI FTP for five years (2018-2023) continues. There is a feeling within the BCCI that the final bid may touch the magic number of Rs 6,500 crore for the consolidated rights. 

    Bids for BCCI’s home rights close in on Rs 6000 crore

    As the bidding for the media rights for the Board of Control for Cricket in India’s (BCCI) home matches intensifies, the bid price has breached the Rs 5000 crore mark. According to Insidesport.co, the latest bid (in the round that concluded at 3:40 pm) was at Rs 5748 crore, translating into an astronomical Rs 56.3 crore per match. For the 2012-18 cycle, Star India paid the BCCI Rs 3851 crore or Rs 43 crore per match.

    Three companies – Star India, Sony Pictures Network India (SPN) and Reliance Jio—are currently in the middle of an intense bidding war for the rights, which include 102 international matches across 190 days in the 2018-23 cycle. The bidding started on April 3 and was carried forward to the next day when no successful outcome was reached on the first day of the e-auction.

    Three categories of rights have been put on sale by the BCCI–global television rights and rest of the world digital rights (GTVRD), digital rights for the Indian subcontinent alone (ID), and the global consolidated rights comprising worldwide TV and digital rights (GCR). As was the case with the Indian Premier League, if the global consolidated bid exceeds the sum of the GTVRD and ID, then that bid wins. If not, the individual bids–India television, global digital and India digital rights—will be deemed winners.

    The base price for the 2018-19 season for the GTVRD is Rs 35 crore, Rs 8 crore for ID and Rs 43 crore for the global consolidated rights. For the 2019-2023 tenure, the base price for GTVRD is Rs 33 crore, for ID is Rs 7 crore and Rs 40 crore for GCR.

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