Tag: Sony

GEC 2011 – Facts beyond Fiction-Ormax Media co-founder and CEO Shailesh Kapoor

Over the last two years, since the launch of Colors in 2008, we have come to expect a very dynamic and unpredictable Hindi GEC environment. The year 2010 was no different. Star Plus showed a resurgence in the first half of the year, backed by two successful new launches – Pratigya and Sasural Genda Phool. In the last quarter, Sony‘s rise to the no. 3 position was the big story. KBC, followed by Jhalak Dikhhla Jaa, helped Sony inch ahead of Zee TV in what continues to be a see-saw battle. Also helping Sony‘s cause have been its new fiction properties – Saas Bina Sasural and Krishnaben Khakhrawala – and the fact that most of Zee TV‘s fiction launches in 2010 were non-starters, given the expectations set by the channel‘s strong pedigree in fiction content over the last few years.

But for me, the big story of 2010 was the rise of non-fiction. Amidst scepticism, KBC returned on the small screen, with a revamped format, the original host, and a new channel. The program‘s consistent deliveries in a tough weekdays 9pm slot surprised many cynics who thought Sony was flogging a dead horse. Bigg Boss too reached its best-ever performance, across four seasons. But what caught most by surprise was the incredible opening ratings of Jhalak Dikhhla Jaa on Sony. Truly, the fiction vs. non-fiction divide is not the way we have known it till 2009. It is far more balanced today. The table below illustrates this point using data from our product Characters India Loves (CIL). The percentage of respondents choosing non-fiction characters over fiction characters has improved consistently in the last year and a half.

Month	Fiction Share %	Non-Fiction Share %
Sep 2009	80	20
Dec 2009	74	26
March 2010	75	25
June 2010	64	36
Sep 2010	64	36
Dec 2010	62	38
Each CIL study covers 2400+ respondents across six cities in 15-44 yrs. SEC ABC (70% females, 30% males)

In a highly cluttered environment characterized by ever-decreasing loyalty levels, the role of marketing became ever so important. If a new non-fiction show did not generate enough buzz when it launched, it stood very little chance of resurgence. However, for fiction, the resurgence could come over weeks, as content evolved. Many fiction shows opened to good numbers but struggled to hold on, while many others showed consistent growth on the back of powerful content.

The table below lists the top 10 non-fiction and fiction launch marketing performances in 2010, as measured by Showbuzz, which tracks the UA (Unaided Awareness) and TA (Total Awareness) of new shows on television.

Top 10 Non-fiction and Fiction Launches in 2010 (Showbuzz)
Non-Fiction			Fiction
Show	UA	TA	Show	UA	TA
Bigg Boss 4	63	96	Gulaal	38	76
KBC	50	98	Tere Liye	35	87
Khatron Ke Khiladi 3	42	98	Ganga	34	89
DID Li‘l Masters	33	90	Kaali	30	75
Jhalak Dikhhla Jaa	31	92	Behenein	27	92
Indian Idol	30	94	Kaashi	24	71
Rahul Dulhania Le Jayega	25	92	Jamuniya	24	61
Masterchef India	19	75	Rishton Se Badi Pratha	21	79
National Bingo Night	18	78	Sasural Genda Phool	21	74
Zara Nachke Dikha	17	78	Chaand Chhupa Badal Mein	21	73

A lot rides on the first month and a half of 2011. Before the ICC World Cup and the IPL kicks in, Colors will look at making an impact within fiction in 9-10pm. If the channel has to give Star Plus a close fight for the top spot, Phulwa and Mukti Bandhan will have to necessarily deliver good numbers.

Sony has managed a steadily growing year, especially in the last four months. The channel seems set to become a consistent no. 3 in 2011, if its fiction content continues to get stronger, like it has in recent times.

But in all this, don‘t rule out the biggest story of 2010-11 – SAB TV. Breaking every notion of the GEC viewing, the family-inclusive de-stress channel has reached never-before numbers, within striking distance of Sony and Zee TV at times. The way the mood of the country is moving, it will be no surprise if SAB manages to grow further. Comedy, along with reality television, is where the next level of growth lies.

(Shailesh Kapoor is the Co-founder and CEO of Ormax Media, a company specializing in consumer research in the media and entertainment industry.)

December 31, 2010

Sony’s waltz continues as Jhalak Dikhhla Jaa performs

MUMBAI: Occupying the centre stage after the exit of Amitabh Bachchan’s Kaun Banega Crorepati, noted Bollywood actress Madhuri Dixit has waltzed Sony Entertainment Television into the third spot in the Hindi general entertainment space for the second straight week with record openings for the dance-reality show in which she takes part.

Jhalak Dikhhla Jaa has opened with 5.5 TVR, bettering its earlier three opening performances which had posted ratings of 2.86, 3.09 and 2.05.

Sony with 215 GRPs (prior week 200 GRPs) is still away from Colors‘ tally of 265 GRPs (273 GRPs) for the week ended 18 December, according to Tam data for the Hindi speaking market (HSM). Star Plus maintained its leadership position with 346 GRPs, despite a 16-GRP drop from the previous week.

Jhalak Dikhhla Jaa’s premiere on Sunday, which ran for two hours and 45 minutes, scored a TVR of 4.1. The show averaged 5.4 TVR from its two-day run (Monday 5.5 TVR and Tuesday 5.3 TVR) and contributed 52 GRPs for the three days.

Jhalak Dikhhla Jaa will have competition from Zee TV’s Dance India Dance which debuts on 31 December.

December 23, 2010
ESS unveils plans for cricket World Cup

NEW DELHI/MUMBAI: ESPN Star Sports (ESS) shared plans to make its first marquee property for next year the cricket World Cup 2011 entertaining and engaging.

The tournament will see first of its kind initiatives such as live match coverage by 3G mobile streaming in India. The event will be shot in High-Definition (HD) format. Matches will be covered by 27 cameras including features like movable slips cameras and a new low 45 degree field cameras. The production will also have a mid-wicket camera position for live running between wickets.

Six OB Vans will be used – four in India where a majority of the matches are being held and one each in Sri Lanka and Bangladesh – and a team of 350 crew members would be working to bring the match to the viewers‘ homes.

ESS‘ bouquet of networks – ESPN, Star Sports and Star Cricket – will telecast all the 49 matches of the ICC World Cup, starting on 19 February, 2011. In addition, 37 matches will be simultaneously telecast in Hindi on Star Sports.

The pre and post-match shows will be hosted by ex-players and legends of the game, while live broadcast will feature 30 commentators and studio experts.

On the marketing front, ESS is working closely with ICC for the creative execution and media implementation of the communication campaign – ‘The Cup That Counts‘.

“The 360 degree campaign involves key players from the three host nations and will be breaking in Indian media very soon,” ESS MD Manu Sawhney said.

He also claimed that the response from sponsors had been good and corporates like Sony, Pepsi Cola, Maruti, Fiat, and Nokia had been finalised and others were in the process of joining in. The marketing is being done in coordination with ICC and hoardings and TV advertisements had already begun appearing.

ICC Cricket World Cup 2011 tournament director Professor Ratnakar Shetty said, “It is a big challenge to organise an event of the magnitude of the ICC Cricket World Cup 2011 spread across thirteen venues in the three host countries, but we will ensure delivery of a world class event. It is great to have the World Cup return to the sub continent after 15 years and we would like to make it an unforgettable experience on ground and for television viewers. With 72 days to go, we are all looking forward to The Cup That Counts.”

On the programming front, ESS has already started initiatives. There are 2,500 hours of lead up programming under various titles including ‘Versus’, ‘World Cup Upsets’, ‘Epic Encounters’, ‘Advantage Australia’, ‘Gameplan’ & ‘Road to the Final’. ESS is also showcasing highlights of all the previous editions of the World Cup.

The production task will involve taking more than 2000 domestic flights along with 350 international ones. More than 13,000 room nights will be consumed by the sports broadcasters’ crew while covering the mega event.

Lorgat said though the Ashes were important, everyone looked out for the World Cup. He said it had been ensured that tickets were affordable and school and college children were also given concessions to come and watch the matches. He said that publicity had also begun by way of hoardings at all venues where test or one-dayers were being held prior to the Cup. For example, the India-South Africa series will be used for this, and the function to mark 150 years of Indian immigration to South African will be observed during this tour.

Shetty said India had hosted the Cup last in 1987 and 1996 under the tutelage of the Board of Control for Cricket, but the ICC would be directly taking charge this time. Three stadiums – Chennai, Wankhede in Mumbai, and Eden Gardens in Kolkata had been renovated with greater facilities for the viewers, media and broadcasters, though he said the stress had not been to increase seating capacity. He expressed his gratitude to the Indian Government for not only relaxing the multi-entry visas for those coming for the Cup but also helping in the initial bid.

Sir Vivian Richards, Kapil Dev, Imran Khan and Arjuna Ranatunga all of whom captained their countries to World Cup wins attended the media briefing.

December 9, 2010
Sony launches slew of festive offers to up sales by 50%

MUMBAI: Consumer electronics company Sony India is celebrating the festive season with a bouquet of offers and has targetted sales growth of 50 per cent over the same period last year.

Sony has introduced a 3D festival offer which is a Lucky Draw Coupon Scheme. On the purchase of any Sony product, the customers stand a chance to win several Sony 3D products. 100 first prize winners would get 3D Bravia package which is inclusive of 3D TV, 3D Blu-ray player, nine software titles with 3D content and two pairs of 3D glasses. 500 second prize winners would receive 3D PlayStation3 while 1000 third prize winners would receive 3D Cyber-shot cameras.

Sony has also introduced bundle promotion offers on 3D Bravia TVs which it says provide the customer with a complete set of hardware and software requirements to ensure an uninterrupted 3D viewing experience. Sony‘s entry level model of 40 inch Bravia 3D TV will be available at a price of Rs 1, 23,900 and will be bundled with 3D Blu-ray player, nine software titles with 3D content and two units of 3D glasses.

Sony has also introduced the Home Theatre Combo offer which extends discounts up to Rs 4000 on combined purchase of any Bravia LCD TV with select Home Theatre systems. The scheme also offers Free HDMI cable and Installation service along with purchase of Home Theatre System. On the purchase of Sony Blu-ray Disc Player, consumers get two Blu-ray titles of Michael Jackson‘s This is It and The Last Legion free.

The Cyber-shot category has also extended its promotion offers wherein the consumers can chose any camera from the Cyber-shot range starting at a special Diwali price of Rs 5,990 and avail the bundle offer of 4GB Memory Card and Carrying Case free of cost during the festive season. Sony has also introduced new Handycam models starting at Rs 14,990 along with a Free Carry Case.

The company adds that to ensure that all these offers are even lighter on the customer‘s pocket, the payment procedure is made convenient and affordable by Zero Percent Finance Offer and Zero Processing Fee. Sony is offering EMI offers on Select Credit Cards as well.

Sony India GM marketing Tadato Kimura said that given the bouoyant consumer sentiment the company is expecting at least 50 per cent growth in sales vis-?-vis last festive season. “We are getting lot more queries on our festive offers as compared to last year and we expect this curiosity to convert into purchase in the coming days. We have already recorded increase in customer footfalls vis-?-vis last year and it is increasing steadily as Diwali is approaching.

“The prime focus of our activities this festive season would be the recently launched range of 3D products which include 3D Bravia, Cyber-shot, Home Theatre System, Blu-ray Player and PlayStation. Additionally, we have an equally exciting line-up in our other categories which include Bravia TVs, Vaio laptops, Cyber-shot digital still cameras and Walkman MP3 players.”

He adds that the company has allocated a budget of Rs 450 million towards marketing and communication activities during the festive season. “We have launched a 360 degree communication campaign which includes television commercial, print advertisements, online promotion, out-of-home and shop- front activities”.

October 28, 2010

GECs vow on Bolly-busters to up viewership

From time immemorial movies have served as an extra value pack to general entertainment channels. While fiction remained the staple diet for the lot, movies dished up the programming lineup, especially on weekends, as an eagerly awaited dessert.

The design was to attract additional viewership that went beyond the traditional eyeballs (target group), evidently flocking onto the respective channels to prey on their regular dose of fiction.

While the trend continues even today, freshness and contribution from movies as a genre towards the Hindi GEC is significantly scaling up more effectively. Channels are pursuing hard to pocket big ticket movies and persistently locking in air-time for them within the smallest time-gap from their theatrical release. This means, for some, accessibility on TV could be just four weeks after the theatrical release while for a few the availability would be six-seven months post hitting the plexes.

Take for instance the Ranbir Kapoor-Katrina Kaif starrer Ajab Prem Ki Ghazab Kahani. Colors premiered the movie in December 2009, just a month after its theatrical release. The movie garnered a 7.45 TVR (C&S 4+, HSM), contributing 50.2 GRPs to the channel. On the other hand, Aamir Khan’s 3 Idiots was on Sony seven months after its release and was a table turner for the channel as it earned 91.8 GRPs (10.88 TVR) to make Sony the third Hindi GEC for that week.

Says Viacom 18 CCO and head international business Gaurav Gandhi, “Big ticket movies always act as a differentiator to boost channel viewership while helping audiences at that point in time to sample other properties. Thus, it broad bases the typical GEC audience and draws in an entire family viewing.”

Elaborating further, Star India EVP marketing and communications Anupam Vasudev says, “TV channels now-a-days aim to show movies earlier, shortening the window gap, because of the recency effect on the viewer‘s mind. And because it adds to the content variety, it plays a strategic role in fulfilling consumer requirements.”

A complete change in the cost recovery model for movies has also accelerated the eagerness of channels to showcase such products within a shorter window span. Besides quoting huge satellite right prices for their movies, producers have found other avenues like home video and DTH to exploit and monetise their products; and the modes are available even if the movies have crashed or performed average at the box-office.

“Since piracy is always at an all-time high, broadcasters think ‘why wait’ and ‘why not’ make the movies available to the audience as soon as they can!”, Gandhi adds.

Consider this: average box office office performers such as All The Best, De Dana Dan and Atithi Tum Kab Jaoge along with the box office disaster Veer managed to do favourably well on television with each grabbing an above 3 TVR.

All The Best on Zee TV earned a 4.23 TVR during its premiere, fetching 25.2 GRPs for the channel; De Dana Dan on Star Plus got 3.97 TVR and 26.9 GRPs; Atithi Tum Kab Jaoge on Star Plus did 3.32 TVR and fetched 16.6 GRPs while Veer got a 3.55 TVR to earn 23.1 GRPs for the same.

Top Bollywood Movies aired in GEC during 2010 in HSM Mkt

Rank	Channel	Programme	TVR%	GRPs
1.	Sony Entertainment TV	3 Idiots	10.88	91.8
2.	Colors	Ajab Prem ki Ghazab kKahani	7.45	50.5
3.	Zee TV	All the Best	4.23	25.2
4.	Star Plus	De Dana Dan	3.97	26.9
5.	Star Plus	Wanted	3.95	27.5
6.	Star Plus	Veer	3.55	23.1
7.	Star Plus	Atithi Tum Kab Jaoge	3.32	16.6
8.	Star Plus	Paa	2.85	19.4
9.	Colors	Do Knot Disturb	2.45	13.1
10.	Zee TV	Kambakkht Ishq	2.22	11.6
11.	Colors	Toh Baat Pakki	2.2	9.4
12.	Sony Entertainment TV	Dil Bole Hadippa	2.14	15.5
13.	Star Plus	My Name is Khan	2.14	15.5
14.	Colors	Kites	2.14	12.4
15.	Colors	Whats your Raashee	1.37	10.5

Source: TAM | TG: CS 4+ yrs | Period: Jan to July 2010

“TV provides free viewing even to flop films. So people who chose not to pay high ticket prices at multiplexes for such movies will anyway watch the film on TV thereby upping the viewership base,” says a top media planner on conditions of anonymity.

But does this mean that movie premieres, especially the big tickets, always pull in mass eyeballs? Not really. Industry players believe that the TV viewership success of a movie is the functionality of its content and the rigorous promotion that the channel performs. And therefore, a low marketing push for box office hits like My Name Is Khan (Star Plus) and Wanted (Star Plus) on TV did just average as they drew in 2.14 TVR and 3.95 TVR respectively.

Top Bollywood Movies aired in GEC during 2010 in All India Market

Rank	Channel	Programme	TVR%	GRPs
1.	Sony Entertainment TV	3 Idiots	8.55	72.1
2.	Colors	Ajab Prem ki Ghazab kKahani	5.59	37.6
3.	Zee TV	All the Best	3.16	18.9
4.	Star Plus	De Dana Dan	2.96	20.0
5.	Star Plus	Wanted	3.04	21.2
6.	Star Plus	Veer	2.75	17.9
7.	Star Plus	Atithi Tum Kab Jaoge	2.5	12.5
8.	Star Plus	Paa	2.24	15.2
9.	Colors	Do Knot Disturb	1.8	9.6
10.	Zee TV	Kambakkht Ishq	1.65	8.6
11.	Colors	Toh Baat Pakki	1.63	7.0
12.	Sony Entertainment TV	Dil Bole Hadippa	1.68	12.2
13.	Star Plus	My Name is Khan	1.74	12.6
14.	Colors	Kites	1.61	9.3
15.	Colors	Whats your Raashee	1.05	8.0

Source: TAM | TG: CS 4+ yrs | Period: Jan to July 2010

3 Idiots, on the other hand, went through an aggressive marketing process. The movie certainly grabbed a historical share of the viewership in the Hindi GEC space but the push also came in from meticulous promotional initiatives. Sony devised strategic promotional activity with the cast of the film and infused it into the programming of the channel which helped in further driving up the viewership.

Also, interestingly, as part of the promos, Sony offered viewers the chance to enter a competition to win one of the iconic chairs from the movie and the response received was the highest ever from any movie competition on the channel.

Broadcasters affirm that, even though exorbitantly priced, movies can recover the prices paid by them if the products are promoted rightly so as to grab advertiser’s attention. This is because such premieres not only summon a spike for the channel, but is surely a boon for the advertisers too who associate with them. “When advertisers walk on board as sponsors, the deals include multi-week promotional campaigns on the channel’s other properties – fiction, non-fiction, events – exhibiting a visible sponsor label. Also, due to expanded viewership from such premieres, the advertisers get more exposure,” says Gandhi.

Adds Filmy business head Rajeev Chakrabarti , ”Big ticket movies premiered on GEC channels are strategic programming spikes around which channels attempt to garner viewer and advertiser’s attention. The networks pay a very heavy price towards acquiring these titles and ultimately, the frequency and viability of such big-ticket ‘premieres’ need to justify the cost-to-reward ratio in line with the business objective.”

The window-gap between a movie’s theatrical release and TV broadcast has also shortened because the maximum collection that it garners is within the first two-three weeks at the plexes.

Says a media planner, “Eight years back, about 200-300 prints of a movie were circulated and it took about six months to complete full national coverage. But today with the advent of multiplexes, 500-1000 prints of movies are released and it takes just two-three weeks for theatrical recovery.”

Talking about placements, Mediaedge:cia India MD T Gangadhar informs that movies are strategically placed for weekend viewing because GECs are frail on fiction during this part of the week.

Zee TV marketing head Akash Chawla, however, believes that movies must be chosen on novelty factor and should only act as new-audience-attracters rather than GRP boosters.

“The primary challenge for a Hindi GEC is to maintain consistency and not become dependable on movies. Putting up movies in the programming schedule to just get numbers without encashing them to generate maximum revenues is not part of our strategy,” he says.

August 14, 2010

‘Our goal is to increase our audience share to 25 per cent’ : Pix business head Sunder Aaron

When Pix launched four years back, it had to be content with library movies. Now the English movie channel has evolved into a stage where it can air current titles to draw in younger audiences and nurture ambitions of competing successfully with Star Movies and HBO.

A focus area for Pix will be to aggressively get into the action genre.

An important mix on the channel is also non-film content including football.

In an interview with Indiantelevision.com‘s Ashwin Pinto, Pix business head Sunder Aaron talks about the channel‘s progress over four years.

Excerpts:

What factors prompted Pix to change its positioning to a blockbuster channel?

Our positioning as a premium Hollywood movie channel has not changed. We are still about telling good stories. It is just that our programming strategy has evolved. Our game plan in 2006 was to transform Pix into a current film channel. We are following the path that we had laid out for ourselves when we launched the channel.

What was the plan in 2006?

When we launched the channel, we mainly had library movies from Sony and MGM. We also had all time favourites like Jerry Maguire. We still have those but they do not dominate our primetime as much as they used to. We knew that four years down the line we would add current movies and be as current as HBO and Star Movies.

So new films have to be part of the recipe for a successful English movie channel?

We have learnt that brand new current films are the prized assets in this genre. At the end of the day, that drives spikes in viewership. As long as there are enough spikes, the overall welfare of the channel and its profile will rise. You will see the movie channels that have current films – HBO and Star Movies – excel.

You can have other kinds of films but it is these big, current films that will drive the channel. Within these current films, it is the action genre that is the most valuable and the most attractive. This is what our focus will rest on.

Any other lessons that you learnt from the last four years of Pix‘s operations?

Yes, subtitling. To widen the reach, this is an important tool. We avoided it for a while but our viewers asked us for it. This led to an increase in reach. Shadows of Time, for instance, did well in the six metros. It is a Bengali film with subtitles. Subtitles make it easier for viewers to understand the film.

Is it fair to say that older movies do not have much traction due to the niche nature of this genre?

You have raised two points. The English film genre is not niche anymore. If you look at it from a cable operator‘s point of view, they must have English movie channels. It is as essential as a sports channel.

One reason why older films do not as work as well is that the audience likes films that are current and sexy. The newer films appeal to the younger generation. Library films have less action and special effects. The style of cutting and editing is different from the way it is now.

‘We will have more current films. Our audience will also be more youthful and we will have a wider reach across the country‘

There are already two channels that showcase blockbusters and aim at becoming bigger and better. How will Pix differentiate itself?

We operate from India. Star Movies is operated out of Hong Kong, while HBO is based out of Singapore. The fact that we operate out of Mumbai allows us to be more hands on.

We actually do local programming like Chicks on Flicks. We also have sports properties like the FA Cup. Thanks to the World Cup, the soccer fans have grown.

What goals have been set for the year?

Our ultimate goal is to increase our share to 25 per cent and be on the same level as Star Movies and HBO. Right now our share is around 20 per cent. We want more youth tuning in. The current films are aimed at broad basing our reach.

Pix went for a design and look makeover. What was the aim of this?

We want to draw in younger audiences. It is not that older audiences are not useful but the fact is that the youth are the demographic that advertisers target.

The channel looks slicker and is more attractive visually. Earlier the look we had was too static and flat, colour-wise. Now there is more dynamism.

Is Pix going to create time slots that appeal to different TGs?

We already have slots like Super Movie of the Month and programming tailored for the afternoon. Our share and time spent has grown though the category as a whole has fallen.

Does the English film genre face fresh challenges this year?

Scarcity of product is a natural issue. The increase in prices and fragmentation are other issues. We are clever about how we deal with suppliers and where we find our movies. We track viewer feedback regularly. If somebody sends us an email, we read it and even respond sometimes.

Attention spans are changing. People are flipping channels a lot more. Luckily at Pix the time spent has been increasing. This shows that our films and promotions are better.

How much library content is on the channel and what are the big properties coming up?

Our ratio is the same as our competition. We are airing The Hurt Locker which is a big one. So for two years in a row, we will be airing the Oscar winner for best picture. The other movies include Hot Tub Time Machine, District 9 (science fiction) and New York I love You.

The aim is to have at least one blockbuster each month. Then we have films that are not big blockbusters but are also premiers. If it is really good, it goes into the handpicked movie slot.

Have you changed how the weekend is programmed?

No! We still promote the 9 pm movie. We had the properties Cheap Thrills and Damn Good Drama, but we got rid of those.

How tough will it be to get current films given the fact that major studios already have output deals?

It is a challenge. We have to be resourceful in terms of finding films that make the channel look good and elevate our level of programming.

Do Sony‘s films come to Pix first now?

No! Their films go to HBO first. That output deal is still on.

Is local content like shows going to be more important going forward?

It is a distinguishing factor. We have Chicks on Flicks. And we are looking at a couple of other concepts. Gateway (the show done with Ashok Amritraj) will return eventually. It is a complex series that takes planning and it will come back with a new judge. The celebrities on the show have to commit to four to six weeks of shooting.
We are looking at Hollywood-based film shows. They are useful as interstitial programming.

Are you looking at expanding your base into smaller towns?

It is costly to do marketing there. The focus has to be on the primary target market – which is metros. Beyond that, we do tie ups to reduce costs in secondary and tertiary towns.
This Is It was an interesting experiment. Since it is a musical and it transcends language barriers and has Michael Jackson, we did promotions in regional languages.

What marketing activities will Pix do this year?

We will do a brand campaign when we air The Hurt Locker. This will reinforce the new content on our channel. The Hurt Locker is the kind of film that will pull in a wider, more mass audience.

Are out of home activities important?

Yes! It is important for a channel that is local to behave in a local manner. The Pix Movie club was launched a couple of months back and the response has been strong in places like Mumbai. PVR is our partner and they are also happy with the outcome. You need events to connect with viewers directly on a regular basis.
We had Hollywood Pix Your Brain last year. This was a trivia quiz. It will return. With This Is It, we did activities in malls like flash mobs. We also did a four-city legendary Michael Jackson tribute. Music groups paid tribute to the late pop star.

What role does digital play?

It is important given that this is where the youth spend a lot of time. On our site, you can get mobile reminders. We do online promotions. Certain films lend themselves to online promotions like This Is It and Slumdog Millionaire. The budgets are not big and so online is a better way to go about as it is a targeted promotional activity.

Is Pix planning to launch more channels?

Eventually, we will. We will start with digital platforms, but you will not see another Pix channel for a year. There are channels that launched but fell by the wayside. We do not want that to happen.

Where do you see Pix a year from now?

We will have more new, current films. Our audience will also be more youthful and we will have a wider reach across the country. The aim is to also have better viewership in secondary and tertiary towns.

August 9, 2010

’80 to 180 in 2009. And miles to go…’ -Sony Entertainment Television business head Ajit Thakur

MUMBAI: I still distinctly remember the year 2007 when over a coffee table conversation in London, my friend started talking about Indian Idol 3 and CID and that if we are not watching it, we are missing out on good television. I immediately made it a point to watch Idol and was hooked from the word go.

I remember writing to the producer of the series then on what a great show it was, thanking everyone involved in making the show (I didn’t know anyone at Sony then, for that matter hardly knew anyone in the industry). And an immediate strong bond with Sony Entertainment Television was formed – there is something about the brand that over the years has maintained strong affinity with viewers despite the usual ups and downs… a sentiment many peers echo in the industry.

And when I was asked to write the yearender on Sony Entertainment Television, I felt both excited and nervous. Nervous because I have been around for just six months at Sony (and broadcasting) and the other contributors are industry stalwarts. Excited because it’s been such an eventful year for us and there is so much to share. So here it goes…

We started the year at about 80 GRPs and had slipped to No. 5 amongst the GECs (general entertainment channels). We ended the year at about 180 GRPs and much closer to the top GECs than we had been in the last 12 months. We beat everyone’s expectations including some of our own. And this, when we have unleashed only a part of our strategic plans. So that holds a lot more promises for the year ahead (will come to that in a bit). Through the year we launched a number of shows and every time the audience gave us a fair chance. With some we succeeded, with others we faltered but the overriding Sony Entertainment Television brand equity ensured that we kept gaining from strength to strength.

Through the year we continued to raise the bar on content innovation bringing in fresh, sometimes bold and brave ideas into the rather undifferentiated menu that’s dished out daily. Iss Jungle Se Mujhe Bachao and Dance Premier League were clutter breaking reality shows mounted on a scale never seen before and both created tremendous buzz.

Entertainment Ke Liye Kuch Bhi karega started a new genre of talent shows and popular demand drove us to a second edition within months of the first edition. Ladies Special was one of the most appreciated daily soaps getting rave reviews from almost everyone we know. Baytaab Dil Ki Tamanna hai and Jeet Jayenge Hum dealt with bold social themes.

And we started 2010 with the most differentiated slate of shows from YRF. Whether it’s the coming of age Sci fi thriller Seven or the modern look at matrimonial agencies in Rishta.com or the ultimate cops vs. crime thriller, Powder, or the refreshingly “that could be my story” world of Mahi or the super stars show with a purpose , Lift kara De – each one has set new benchmarks in Hindi entertainment content. Not all of these shows lived upto our ratings expectations but every single one stood out amongst the mass menu pushing the envelope every time.

This was also the year when we revisited our history and brought back shows that have enjoyed tremendous popularity over the years. Aahat season 4 was a runaway success creating a new original programming slot at 11 pm. Comedy Circus 3 ka Tadka definitely had viewers asking for more. Dus Ka Dum continued to be popular in its second season. And yes, the much talked about CID was a key pillar of our plan.

We put together a plan to further strengthen the footprints of the brand which included bringing back the best cases from CID archives as CID Classic Cases as well as announced the CID Gallantry Awards amongst other ideas that we continue to work on. We got an overwhelming response from audience and CID is today amongst the most popular shows on Hindi GEC. After all, how many shows have enjoyed an uninterrupted run for 12 years!

Last but not the least has been our focus on people and sharper audience understanding. In this continuously evolving market and changing audience preferences, we have spent a lot more time understanding whats happening out there. And we are building a team of only the best professionals. In total, 2009 was a year of accelerated growth based on a robust mix of innovative content, focus back on existing properties, fixing basics and building foundations for the future.

The next three years starting 2010 will be about sustainable and profitable growth. We will look to consolidate our position on the back of a formidable content pipeline that we are already building and with a sharper understanding of the ever evolving audience.

There are plenty of opportunities for Sony as we embark upon this journey. The big one is the tremendous opportunity we have on weekdays and with the daily soap launches lined up in the next six months, we are more confident than ever before.

Equally important is the fast growing DTH homes. Early data already indicates that Sony enjoys a proportionately larger following within DTH homes which will be a competitive advantage for us. We also have a growth opportunity by extending our hours of original programming vis a vis the competitive set.

In an extremely competitive scenario, the challenges are no fewer. There are the usual threats from existing competition who are all very formidable as well as newer threats from the emerging entertainment channels like Sab and Bindass. And the biggest challenge will continue to be to never underestimate what the audience demands and deserves.

So is there a GRP or position we have in mind? We do. However, at this stage its suffice to say that we have a plan and a team that is committed to deliver this growth taking Sony Entertainment Television to a leadership position again.

January 13, 2010

‘We are targeting 20 per cent revenue growth this fiscal’ : Anooj Kapoor- Sab senior vice president & business head

From launching new shows to experimenting with new genres and time slots, Sab has been running from pillar to post to get the ratings right.

Post Sony acquisition, Sab has been dabbling with an ‘identity crisis’. From being a comedy channel to a youth-centric channel and now returing to its original positioning, Sony Entertainment Channel’s sibling channel has seen it all. It has experimented with various genres – youth-centric patriotic shows, stand-up comedies, reality-based acting shows and detective stories.

In conversation with Indiantelevision.com’s Nasrin Sultana, Sab SVP and business head Anooj Kapoor shares the channel’s programming strategies.

Excerpts:

Sab has been accused of experimenting too often with its positioning. How long will this new positioning last?
We have repositioned ourselves as a complete comedy channel. It is the only channel in the country which does linear family comedy shows. All comedy shows in India are episodic. After the repositioning, we are doing light-hearted soaps like other Hindi general entertainment channels (GEC), but in the positive manner.

We have recreated the concept of soaps. The shows can be watched by the entire family. All the other soaps till date have upheld the joint-family system as a negative institution with so much added conflict in it. In our shows, we are upholding the virtues of a joint family.

Unlike other soaps on Hindi GECs, new shows (Lo Ho Gayi Pooja Is Ghar Ki, Mein Kab Saans Banoogi? and Jugni Jali Jallandhar ) on Sab have a woman protagonist; but she does not indulge in kitchen politics.

Our content is fresh and differentiated. We have decided not to go by the Amar-Akbar-Anthony route which every GEC is treading upon. Wherein Amar is reality show, Akbar is mythology and Anthony is fiction.

What kind of new shows and segments of comedy will you be introducing?
We will get into various kinds of comedy. Gradually, we will be introducing horror comedy, courtroom comedy, hospital comedy and the likes. We have many surprises to unveil.

With so much of comic content being thrown in by different channels including news channels, do you think there is still enough space for a complete comedy channel?
Viewers are ready to digest a complete comedy channel. As far as comedy on news channels is concerned, they feed on GECs. GECs are not showing comedy content in the truest sense but only have stand-up comedy shows. We have amalgamation of all, which is working well for the channel.

Earlier all comedy shows were targeted at male audiences while GECs were meant for the females. There was no channel to fill up this gap. We are providing content for happy family viewing.

How have viewers taken to Sab’s new positioning?
The new positioning has really worked well for us. Our GRPs also have seen a boost after the change in positioning.

Our driver show Taarak Mehta Ka Ooltah Chashmah has been garnering 0.8 TRPs and is currently the most watched family comedy show on Indian television. After Wagli Ki Duniya, Taarak Mehta … is one of the most successful comedy shows adapted from a book (column in this case). It is compared to cult shows like Office Office.

Are new advertisers hopping on?
Definitely we are attracting more and new advertisers. New brands are coming on.

‘For a channel, youth positioning is not a feasible biz model in India‘

Will Sab see revenue growth as a result or are you dealing with falling rates to fill up your inventory at a time when the whole industry is set for a slowdown?
With the new positioning, we are targeting 20 per cent ad revenue growth this fiscal.

How are you pushing forward your new shows? Which cities are your touch points?
We have rolled out our new marketing campaign Asli Mazaa Sab ke Saath Aata Hai. Sab (meaning everybody in Hindi) is a key word in the entire campaign. Very logically, we derived this theme and our attempt is to convey the message that it is complete entertaining when you are together with your family.

We are targeting all the Hindi speaking markets in India like Delhi, Mumbai, Gujarat, Maharashtra, UP, MP, Punjab and Rajasthan.

We will be indulging in various forms of on-ground activations like wall painting etc. India has laughter clubs in many towns and cities, we are trying to get associated with all the laughter clubs. We are going to malls, beauty parlours, grocery shops and ladies coampartment in local trains for a Sab experience by distributing gifts.

With so many show launches and changes in positioning of the channel, isn’t it natural that your marketing costs have to be pushed up?
Yes, in marketing our new shows we are investing a considerable amount. But we are able to convert it into profits.

What are the difficulties to sustain as a youth channel?
India still has single-TV homes wherein the remote is still with the women of the house. So what pleases her is watched by the entire family. And as far as a youth viewer is concerned, he has many more modes of entertainment – irrespective of he coming from a small town or a metro. Youth positioning of a channel is not a feasible business model in India because of the consumer behaviour that this segment is exposed to.

As per our internal research, people still associate Sab brand as a comedy rather than a youth channel. So we decided to go back to our original positioning.

What all innovations you are introducing after the establishment of the new positioning?
For the first time in India, we are introducing jokes in the mobile platform. These jokes will be edited clippings from our comedy shows which can be downloaded from the mobile operator. We are in talks with various telecom operators.

November 11, 2008

‘2008 has been HBO’s best year in terms of quality and quantity of programming’ : Shruti Bajpai – HBO South Asia Country Manager

As the television landscape gets more crowded with new entrants, the challenge for existing players is to keep innovating. HBO, which has bought out the stakes of its partners in the Asia venture except Paramount, still has exclusive licensing arrangements with Sony, Universal, Warner Bros and Paramount/DreamWorks.

Late last year, the English movie channel launched an anchor slot HBO Wicked Hour. The focus in this slot is on action, thrillers, suspense, sci-Fi and critically acclaimed movies for the late night male viewers. This is part of the channel’s strategy to create new programming blocks to cater to specific TGs.

In an interview with Indiantelevision.com’s Ashwin Pinto, HBO South Asia country manager Shruti Bajpai talks about the challenges that confront English movie channels and the pressure to focus on content and branding.

Excerpts:

Why did HBO buy out its partners in the Asia venture except for Paramount?
This was a management decision in keeping with HBO’s expansion plans across the world. HBO wanted to further build on its strong position in the US. The majority equity stake in HBO Asia is a further testament to this expansion.

Does the channel now have to bid for new titles coming from its former partners?
We have exclusive licensing arrangements with Sony, Universal, Warner Bros and Paramount/ DreamWorks. This arrangement continues uninterrupted. This is the reason why we have such a strong inventory.

What are the challenges that are going to confront the English movie genre over the next few years?
The last few months have seen a spate of launches in the Hollywood/International cinema and there are some more expected this year. There is an intense amount of clutter in the overall TV channel space and the viewer is spoilt for choice.

I am of the firm opinion that channels with compelling and consistently ‘winning’ content will continue to flourish while the others will just about manage to survive at the periphery. Hollywood movies are beginning to grab a bigger chunk of India’s huge movie market, traditionally dominated by Bollywood.

A larger Indian audience than ever before is viewing the Hollywood movies and the appetite for such content seems to be increasing. Breaking through the clutter and being able to hold on to the attention of the audience, which is usually short due to the ample choices available, will be a rising phenomena in this category.

How has HBO fine tuned its programming strategy?
HBO has been following the mantra of ‘Big, New, Most’ for Indian viewers. We have always devised innovative and topical themes around our movies, instead of fitting it in a “genre for each day” bracket. We do not believe in doing automatic repeats the morning after, like other channels.

Has HBO spruced up the content this year because of new competition?
It will not be wrong for me to state that 2008 has been HBO’s best year in terms of the quality and quantity of programming. We have a supply of blockbuster hits that take center stage every month like Superman Returns, Ghost Rider, Happy Feet and Mr. Bean’s Holiday.

In addition, we also air critically acclaimed movies and blockbusters that anchor the Saturday primetime slot at 9 pm. These have included Munich, World Trade Centre, Memoirs Of a Geisha, Blood Diamond. Upcoming titles include Spiderman 3, Surf’s Up and The Pursuit Of Happyness.

What is also important is our focus on entertaining themes. These are conceptualised for the channel every month. They target different TGs and advertisers. Some examples of these are HBO Animation Fest, Mad About Diamonds, Fast Cars and Gorgeous Babes, HBO Earth Day.

Also playing a role are tentpole events. We did a Hollywood’s Best initiative which featured Oscar nominated/winning movies, HBO is Summer during May and June, which featured Summer of 60 Nights. Here, a blockbuster movie was shown every night. Moreover there were also mini-stunts under the HBO is summer umbrella like Entrapment, Martial Arts Specialists ‘Codename: SuperKids etc. All these have resounded with our target audience.

To add to this, we have looked to raise the bar when it comes to quality programming with original series like Entourage, the third season of which has just begun on the channel and themes like HBO- Movies with a difference that showcases movies that make us sit and think.

Have new programming blocks been created to cater to different TGs?
Our most current anchor slot HBO Wicked Hour was launched late last year. It focuses on action, thrillers, suspense, sci-Fi and critically acclaimed movies for our late night male viewers.

Right now, we are focussed on building this slot and also other key slots like It’s a Guy Thing, Midday Matinee, Family Sunday etc. We are always on the lookout for creating new programming blocks to cater to specific TGs.

As the audience gets more fragmented in the metros, the challenge for English movie channels is to reach out to the smaller cities as well. How is HBO targeting these viewers who are aspirational?
Television is one of the biggest sources of entertainment for people across categories in India. Where the audiences have evolved, programming has also seen a huge turn around on the small screen. With the choice and variety on offer for the Indian audiences, the television industry today is booming. It is not only in the metros but also the smaller towns where there are potential viewers. What matters ultimately is the content that is shown – if the content is different and unique, it is well appreciated by the viewers.

The increase in multiplexes in smaller towns and the increase in global travel by Indians from all across the country have added to the familiarity with Hollywood movies and shows. HBO is a global brand and this helps in the affinity towards the channel.

How has the channel fared on the ad sales front?
The ad revenues are growing year-on-year. Turner, our ad sales partner, has done an excellent job to maximise revenues and also retain a number of advertisers exclusively on HBO.

‘DTH is growing, but the format is still the classic ‘one price for all channels’ rather than specialised packages. This is expected to change as the market matures‘

Has perception among clients about this genre improved?
HBO is perhaps one of the few channels that is more than just a channel; the brand gives a big boost to the channel’s perception.

Also, English movies is a genre that our ad clients consume on a regular basis.

What are the kind of packages you offer clients that go beyond the 30-second spot?
We have different packages that are tailor made for different clients. One of our packages is the brand integration package where we seamlessly integrate the positioning of the brand that is being advertised into the theme for the month. We also have a lot of contests that we do for the advertisers that go beyond the 30-second spot.

Channels have started advertising on rival bouquets. Does HBO accept ads from other channels that are not part of Zee Turner or is there a conflict of interest?
We do accept advertising from other channels, but are careful in picking those that have the right fit. Some of the channels that have recently advertised on HBO are BBC Entertainment and English business channel UTVi.

Is HBO looking to boost its content around news shows to add variety to filmed content?
HBO has always believed in giving its Indian audiences the best of international programming and content across genres. We already have a diverse mix of blockbusters, all time favourites and original productions. In fact HBO is the only channel to have both the raters and the differentiators.

The third season of the show Entourage just premiered in late June and we have Big Love coming soon. Also, the recently-aired two part mini-series in the US, The Andromeda Strain, which is based on the best-selling novel by Michael Crichton, is going to be on our channel soon.

Does HBO do a lot of marketing and promotional activities to create awareness?
HBO’s marketing and promotional activities have always looked to be innovative and clutter breaking. This year we have had many multimedia campaigns to announce our Summer line-up, our mega blockbusters and our shows.

We have a well planned strategy for the rest of the year, especially during the festive season of October-December. As we speak, we are running a multimedia campaign that includes a contest, to promote Spiderman 3.

The hope is that addressability will get a push this year with DTH (direct-tohome) seeing new launches this year. How do you see the distribution scenario evolving?
As new launches increase, distribution becomes critical. We are also hoping that addressability gets implemented in the right manner.

DTH is also growing, but the format is still the classic ‘one price for all channels’ rather than specialised packages and introduction of new tiers. This is expected to change as the market matures.

July 14, 2008

Sony reaps benefits of innovation concerted effort

Sony reaps IPL rewards for innovation, concerted effort

The Indian Premier League‘s success has exceeded everybody‘s expectations, including that of broadcast rights holder MSM India‘s Max channel.

While no one will argue against the fact that the kind of success IPL‘s inaugural edition has enjoyed could never have been anticipated, even by the most die-hard optimist, due credit must be given to the broadcaster on two fronts – innovation and a concerted marketing effort.

Logistical challenges: Max business head Sneha Rajani notes the IPL was an innovative format to begin with. So everything done was innovative by default. “At the same time, though we needed to do a lot of things in two months, we sat together with the team owners to put it all together.

“It was a day and night task. It was logistically more difficult that the World Cup. Mind you for the 2007 World Cup we had two years to plan things. The IPL had more crowds, more flight movements and more equipment – all of which had to be dealt with. I feel that it is a miracle that everything went off so smoothly.”

Innovation: After five years of success with its wrap around show Extraaa Innings, Max decided to completely revamp it. “We wanted to refresh it and turn it on its head. We did not want to continue with the same format. It became a one hour show. We went from a remote central studio to a studio that was based on the ground closer to the action.”

It also introduced young faces as anchors. 600 people were auditioned. Rajani explains that the aim was to have faces that the youth could relate with. “Mandira Bedi is an icon, a superstar. It is difficult for the youth to relate to her. So while the auditions made life more difficult for us we were determined to do it. We went with fresh young male faces.

“We needed multiple anchors to be the main presenters in the studio and the roving reporters on the ground. We found the six anchors and the format was tweaked to make it crisper. We even conceived a song for Extraaa Innings Karo Ya Maro.”

She asserts that after the channel introduced Mandira Bedi five years back, many channels started to copy the formula. “The best form of flattery is imitation. As we are leaders, we then decided to turn it on its head for the IPL. Nobody anticipated that we would go with youthful guys.”

Astute marketing: Sony president network sales, licensing and telephony Rohit Gupta says that one of the main reasons for the IPL‘s success was the marketing effort that was done by all the parties involved. “The activities began well before the event kicked off. Different people marketed different properties. This generated huge interest among the media. As a result people sampled it. They stayed on thereafter as great cricket was on offer.”

Rajani adds that at the start the broadcaster sat down with the franchisees to set up a blueprint in terms of who would be doing which activities and at what period of time. At the start the IPL did its campaign. This was followed by campaigns by the different team owners. Finally Max did its own marketing in the four-week lead up to the event.

“A chart was drawn out as to who would be doing what and at what stage. The timelines were met. The IPL‘s campaign Cricket ka Karamyud was distinct. The owners had concepts reflecting their personalities. Preiti‘s for instance, had a North Indian Punjabi feel.”

Max‘s IPL campaign slogan was Manoranjan kA Baap. Rajani explains that last year, when Max had made a presentation to the BCCI, they wanted to position the event as the greatest spectacle there is as far as cricket is concerned. The channel‘s team stuck to that positioning throughout. “We knew that the campaign had to stand out. We gave the campaign a 70‘s movie feel with a lot of melodrama. This was key as we were competing with the soaps and serials bang on. Our message was that the IPL was something that would break the shackles of the soaps and movies, which have been ruling the roost.

“The feedback to our campaign stunned us. People understood what we were trying to say. Our message was that IPL is a quick fix reality show. It takes the same time as a film to complete.”

Less is more: What is interesting is that Max did just one major interactive initiative for the IPL. This was in association with Godrej and through SMS one could win a fully furnished flat worth Rs 10 million. The aim was not to have a cluttered environment. Also the three-hour duration of a match does not give one too much time to do things.

The Ad Scene: There was scepticism prior to the event that the cricket would not be serious. The fear was that huge money would dilute the game. All that though was hogwash and high quality cricket won in the end. “The T20 format is powerful. Ratings were above 7 among males 15+. This is what cricket advertisers target,” explains Gupta.

On the revenue front, Gupta notes that Sony expects to at least be on the break-even point once final calculations are done. Earlier, the expectation was that there would be a shortfall of around $ 4 million in the first year. However, since the response was huge, the channel was able to scale up rates for the 200 seconds that it had in the bank for each match. “For the semi finals and final we sold at Rs 8-10 lakhs per 10 seconds. We have set a benchmark pricing for the second season,” asserts Gupta.

The pricing for season two will be aggressive. In fact Sony is looking to do deals by mid-July. This would give the sponsors eight to nine months to plan activities. “Our existing clients are keen to return. We want to give brands enough time to get their act together so that they get full value from it,” says Gupta.

Plans going forward: In terms of the rub off effect, Gupta notes that the IPL has given the broadcaster a good platform to launch Dus kA Dum. “We were able to promote our big shows well. Something similar happened in 2003 post the World Cup.”

And what is life like for Max, now that it has returned to being a movie channel? Rajani explains that on 2 July, the day after the IPL finished, the channel started a film initiative Great Pictures Lagaataar (GPL). This is a festival of blockbusters that air from Monday to Friday at 8 pm. Max will also premier films this month like No Smoking and Gandhi My Father.

In terms of the IPL the plan is to do activities with the franchises to keep the brand alive. In a few weeks time Max will sit down with the franchises and discuss initiatives that could be done. This could include specials on the teams, focus on key players etc. There would also be a retrospective on the first season. “People will not sit and wait for the next event that happens next year,” notes Rajani.

June 6, 2008