Tag: Star India

  • ICC World Cup 2019, India vs Afghanistan: TV listing, live streaming, date, time

    ICC World Cup 2019, India vs Afghanistan: TV listing, live streaming, date, time

    MUMBAI: India take on the 2019 ICC World Cup’s favourite whipping boys Afghanistan in Match 28. The Men in Blue are flying in the tournament with three wins and a draw in their four matches. The Asian minnows are bottom of the points table having lost all their five games so far. India are overwhelming favourites to win the contest. Afghanistan will aim to put up a solid show against what many call is the best team in the tournament.

    Where will the 2019 ICC World Cup match between India vs Afghanistan take place?

    The India vs Afghanistan 2019 ICC World Cup match will be played at Rose Bowl, Southampton

    What time will the ICC World Cup 2019 match between India vs Afghanistan commence?

    The ICC World Cup 2019 match between India and Afghanistan starts at 3 pm IST on 22 June (Saturday).

    Which TV channels will broadcast the India vs Afghanistan match?

    You can watch the India vs Afghanistan contest live on the Star Sports network

    How can I live stream the India vs Afghanistan match?

    You can live stream the India vs Afghanistan match on Star India’s streaming service Hotstar.

  • ICC World Cup 2019: Star India network registers 315 mn viewers during first 2 weeks

    ICC World Cup 2019: Star India network registers 315 mn viewers during first 2 weeks

    MUMBAI: Continuing the momentum from week 1, the action in the ongoing ICC Cricket World Cup 2019 is getting hotter with every passing week. The first 2 weeks of the tournament has seen 315 million* viewers tuning into Star Network from across the country. Television viewership delivered a phenomenal 182.7 million* average impressions for the first two weeks.

    Quest for #CricketKaCrown gets intense

    ICC Cricket World Cup 2019 is off to a flying start with some scintillating player performances – Shikhar Dhawan’s confident knock of 117 against Australia, Shakib Al Hasan’s striking form with 121 against England, Aaron Finch’s massive 153 against Sri Lanka and James Neesham’s maiden ODI fifer against Afghanistan, to name a few. India and New Zealand’s 100%-win percentage and Australia’s steady yet cautious rise to TOP 4 are a testament to the #CricketKaCrown battle getting intense as the tournament progresses.

    #DeshKiMitti travels to UK

    To bring alive the emotion that is, ‘Cricket for all Indians’ and to support the players representing team India at the ICC Cricket World Cup 2019, Star Sports sent the Indian team #BlessingsFromHomeGround. These blessings were given in the form of a deep-rooted symbolic item – a jar of soil collected from across the schools and maidans where the players first started their journey in cricket.  This #DeshKiMitti travelled to the United Kingdom and was handed over by Star Sports anchor Jatin Sapru to Captain Virat Kohli prior to the India vs Australia game.

    Enriching fan experience with content

    Giving fans a day full of exciting content to celebrate cricket, Star Sports had it all, from special segment called ‘Dil Se India’ on all India match days to a 90 mins pre-show ‘Philips Hue Cricket Live’ on all match days to a unique show ‘Follow the Blues’ which captures Team India’s journey off and on field in a never seen avatar from the UK.

    The game of cricket was further augmented on #SelectDugout for fans by experts such as Brian Lara, Matthew Hayden, Kevin Pietersen, Dean Jones, Scott Styris, Gautam Gambhir, Irfan Pathan calling the game and analysing all aspects of it. Fans also enjoyed an age-old camaraderie between Master Blaster, Sachin Tendulkar who made his commentary debut on the network and joined his former teammates Sourav Ganguly, Virender Sehwag, Harbhajan Singh, as part of a special segment #SachinOpensAgain.

  • How Doordarshan aims to fill void of GECs’ exit from Free Dish, FTA space

    How Doordarshan aims to fill void of GECs’ exit from Free Dish, FTA space

    MUMBAI: Public broadcaster Prasar Bharati, during its 154th board meeting, gave Doordarshan a major shot in the arm as it approved, in principle, significant investment in new and quality content during the year 2019-2020. The meeting was chaired by Prasar Bharati chairman A. Surya Prakash in the presence of the CEO Shashi Shekhar Vempati and member Rajeev Singh.

    According to Vempati, the plan for new content on Doordarshan will be finalized in the next few days. This infusion of fresh content by Doordarshan should fill the vacuum from the exit of several GEC channels from the free-to-air (FTA) space in general and from DD Free Dish in particular, Vempati hopes.

    While BARC India has not been making its viewership data public in recent weeks, the importance of DD Free Dish as a platform has become abundantly clear going by the measurement since 1 March. This underscores the opportunity for Doordarshan to regain its space in GEC genre, Vempati added.

    Post the implementation of TRAI tariff order, several major broadcasters like ZEE and Star India have converted their FTA channels into pay and taken off popular channels from Doordarshan's FTA DTH platform Free Dish.

    The planned investment in new content on Doordarshan will be targeted towards capturing this opportunity, Vempati stated.

  • IPL 2019: Star India clocks 283 mn viewers in opening week, up 15% from last season

    IPL 2019: Star India clocks 283 mn viewers in opening week, up 15% from last season

    MUMBAI: Star’s strategy of widening appeal of VIVO IPL across regions, languages, with focus on families and youth has resulted in a historical opening week in the tournaments 12th edition both in terms of reach and viewership. The high decibel marketing campaign ‘Game Banayega Name’, curated programming and a multi-city VIVO IPL Trophy Tour, contributed to making the opening week a grand success. 

    The inaugural week of the VIVO IPL 2019, recorded a historic opening with 283 million viewers tuning in across the country, which is 15 % higher than last year. Television viewership reached a phenomenal 33.1* million average impressions registering a growth of 28%* setting a viewership record in the history of the tournament. 

    Taking IPL to India

    Regionalization fuels growth – HSM grew 32% and South grew 19% versus last year. This growth can be attributed to the massive regionalization efforts, as the tournament is being broadcast in 8 languages – English, Hindi, Tamil, Telugu, Kannada, Bengali including Marathi and Malayalam on Sundays. Star has expanded the appeal for the tournament further inviting kids and family with a curated feedcalled Super Funday, telecast every Sunday on Star Gold. This contributed a massive growth of 41% in viewership amongst kids versus last year.  

    VIVO IPL 2019 on Star continues to have the best in class and largest congregation of commentators and experts for all kinds of fans including the core cricket aficionado who enjoyed the action on Star Sports Select with #SelectDugout.  The opening week is a historic first in many ways and the world’s toughest T20 tournament was enjoyed by all members of the family including children and women. 

    The opening week of IPL sure has set the tone for an exciting summer of cricket coming up on Star.

    * Source: BARC (TV + OOH), Only Match Telecast Hours considered
    ** For the growth vs last year, comparison has been done with Star Channels excluding DD on TV versus TV+OOH of this year IPL Channel Bouquet in 2019 – Asianet Plus, Star Suvarna, STAR Suvarna HD, Jalsha Movies, Jalsha Movies HD, Star Maa Movies, STAR Maa Movies HD, STAR Gold HD,STAR Gold, STAR Pravah, STAR Sports 1,STAR Sports 1 Tamil, STAR Sports 1 Kannada, STAR Sports 1 Telugu, STAR Sports 1 Bangla, STAR Sports 2(v), STAR Sports 1 Hindi, STAR Sports 1 HD,STAR Sports 2 HD(v), STAR Sports 1 HD Hindi, STAR Sports Select 1 HD, STAR Sports Select 1 SD, STAR Vijay Super, Hungama. 

  • Star, Sony lead India’s 62% share in regional APAC pay channel revenue in 2018

    Star, Sony lead India’s 62% share in regional APAC pay channel revenue in 2018

    MUMBAI: Media Partners Asia (MPA) has found that India accounted for 62 per cent of regional Asia Pacific pay channel revenues in 2018, led by Star India (now owned by Disney) and Sony. If revenues from Star and Sony India are excluded, Southeast Asia leads, contributing 32 per cent of revenue in 2018, driven by Disney (including Fox), WarnerMedia and BeIN. India would then contribute 18 per cent, led by Disney, Discovery and WarnerMedia, followed by Japan with 16 per cent, led by Disney, Discovery, WarnerMedia and Viacom. Hong Kong & Taiwan and Australia & New Zealand contribute 10 per cent each in this scenario.

    The pay-TV market in Asia Pacific is entering a phase of accelerated consolidation as subscriber growth and spends deteriorates across key territories, according to MPA. The latest edition of MPA’s Pay-TV Networks Channel Database shows that aggregate revenues across 13 major pay-TV networks in Asia Pacific grew by just 1 per cent in 2018 to reach $4.9 billion (after 5 per cent growth in 2017), while combined EBITDA fell by 5 per cent in 2018 to $0.9 billion, approximately the same rate of decline as 2018, ramping up industry pressure. India stands alone as the last major buffer against secular weakness in pay-TV in Asia, although new regulations threaten pay-TV subscription and advertising growth in India too, at least in the near term. The 2018 fall in EBITDA steepens to an 8 per cent drop to $0.5 billion for the measured companies when Star India and Sony India are excluded.

    Commenting on the key findings from MPA’s Pay-TV Networks Channel Database, executive director Vivek Couto said, “Consumer demand for traditional pay-TV has been impacted forever by high-speed broadband, which is driving rapid increases in online video consumption as well as piracy. These trends have intensified downward pressure across Asia’s pay-TV ecosystem, especially in Southeast Asia, led by Singapore and Malaysia, alongside secular shifts in Australia and New Zealand. This will accelerate consolidation as well as major shifts in how channels and content are marketed and sold. Pay-TV’s first big wave of consolidation, led by Disney buying Fox and AT&T buying branded networks from Turner and HBO, will play out with momentum across Asia Pacific over the next year. Future consolidation and rationalization will be defined by global moves and M&A possibilities involving large assets in India. Major players such as Discovery, CBS, Viacom, A+E, Sony and Universal are now competing for the consumer wallet with an increasingly scalable Disney and a newly integrated WarnerMedia within AT&T.”

    Meanwhile, factual & lifestyle channels had the biggest share of revenue by genre, excluding large local networks in India, with 21 per cent in 2018, closely followed by kids channels (21 per cent), then English GE (17 per cent, a material decline from 19 per cent in 2017), sports (15 per cent, up from 14 per cent in 2017), English movies (12 per cent, up from 11 per cent); Asian entertainment (9 per cent, up from 8 per cent), news (3 per cent), and music (2 per cent).

    At the same time, Asia’s relatively young online video market continues to expand rapidly, fueled by advertising scale in particular. Excluding China, where internet video is a highly regulated domestic phenomenon, online video revenues in Asia Pacific grew 40 per cent in 2018 to total $8 billion, according to MPA. As part of this, online video advertising grew 36 per cent to reach more than $5 billion while subscription revenue grew 50 per cent to surpass $2.8 billion. Outside China, Google (YouTube), Facebook, Netflix and Amazon still dominate advertiser and wallet share, although local players are starting to emerge with scale, including Stan in Australia, Hotstar (now owned by Disney) in India, Hulu in Japan and Viu in Hong Kong and Southeast Asia. Pay-TV and telecom operators are also increasingly investing in platforms and technology to aggregate OTT services and provide more choice to their customers along with simpler packages of pay channels with digital rights.

    MPA’s Pay-TV Networks Channel Database includes the following businesses: (1) Star India & Fox Networks, both now part of Disney, as well as Disney’s own branded channels; (2) WarnerMedia networks owned & operated by HBO and Turner; (3) Sony India (including Ten Sports) plus Sony’s ex-India branded networks business; (4) Discovery, including Scripps; (5) BeIN Media; (6) Viacom (excluding an unconsolidated 49 per cent interest in Viacom18 India in 2018); (6) Universal; (7) A+E.

  • Sanjay Gupta is India country manager in The Walt Disney APAC rejig

    Sanjay Gupta is India country manager in The Walt Disney APAC rejig

    MUMBAI: The Walt Disney Co announced a major reshuffle of its leadership team for the APAC (Asia Pacific) and Middle East region on Monday. Sanjay Gupta will be country manager of India and will also have direct responsibility for the studio business in the country while K Madhavan will lead Star India’s regional language media networks.

    Star India chairman and CEO and 21st Century Fox Asia president Uday Shankar said, “It is a momentous opportunity to be able to chart the course of The Walt Disney Co. in Asia Pacific and Middle East. While our region is experiencing tremendous change, the common thread that binds it together is the exciting opportunity it presents to build on the great businesses that we have today and create transformational businesses of tomorrow. My endeavour is to build an organisation that enables us to take full advantage of this unique opportunity and capitalise on the potential of the great leadership talent that we have in the region.”

    Sanjay Jain and Amita Maheshwari will lead finance and human resource respectively. Anju Jain Kumar will be the chief regional counsel for North Asia and ANZ while Deepak Jacob will be the chief regional counsel for India, South East Asia and Middle East. Amit Malhotra will lead emerging markets and content sales for APAC (except North Asia).

    “We recognise the need for a sharp focus on building deeply local businesses. To achieve this, we are making some changes to the current market structure. This will allow us to serve the strategic agenda in each market and enable our exceptional leaders to build even greater and more successful businesses. Above all, this will facilitate our transformation into a direct-to-consumer company that rests on deep local foundations,” Shankar added.  

    North Asia will be led by Luke Kang who will look after business including direct country management of Mainland China and Japan. Chafic Najia will be country manager of Middle East media cluster while Kylie Watson-Wheeler will continue to serve as country manager of Australian and New Zealand (ANZ) business with direct responsibility for media networks and direct-to-consumer. Kurt Rieder will lead the studio business for APAC (except India).

  • MIB grants Viacom18 nine TV channel licenses; Star Gold 2 HD gets nod

    MIB grants Viacom18 nine TV channel licenses; Star Gold 2 HD gets nod

    MUMBAI: The Ministry of Information and Broadcasting (MIB) has issued eleven new TV licenses in the non-news category.

    While Viacom18 received nine of those, the other two licenses were bagged by Star India and Hare Krsna Content Broadcast.

    BDM, Connected, Eco-lution, Hawa Mahal, IMIX, My Tube, Pick-a-trick, Story City and Treble are the names of the Viacom18 channels, which in all likelihood are bound to be renamed when they are launched.

    From the Star India stable, Star Gold HD 2 was the beneficiary of the MIB license while Hare Krsna from Hare Krsna Content Broadcast too got the ministry’s nod.

    Earlier this month, the MIB had approved two Star India and two Sun TV Network name change applications.

    While Star India got the ministry approval to rename its licenses Star Movies Kids and Star Movies Kids HD to Star Sports 1 Bangla and Star Sports 1 Marathi, the Sun TV Network was allowed to rename Udaya News and Gemini News to Sun Marathi and Sun Bangla respectively. 

  • Uday Shankar, citing TRAI tariff order, suggests govt should unshackle instruments of monetisation

    Uday Shankar, citing TRAI tariff order, suggests govt should unshackle instruments of monetisation

    MUMBAI: Uday Shankar believes one of the most ‘powerful’ means of fuelling the next decade of growth for India’s media and entertainment industry is for the government to ‘unshackle the instruments of monetisation’. Driving home his point, the veteran executive cited the Telecom Regulatory Authority of India’s (TRAI) as an example.

    “Distribution regulation of television content, where what you can charge from the consumer regardless of how much you invest in the content, is determined by the regulator and not the market,” Shankar said on the opening day of FICCI FRAMES 2019, where he moderated a session titled ‘Global Goes Indian’ featuring MIB secretary Amit Khare and Prime Minister Narendra Modi’s Economic Advisory Council chairman Bibek Debroy as panellists.

    Shankar wondered whether there was a need for India to revise its ecosystem in order to compete in the global content market place.

    “When a Hollywood film is made, or when Netflix or Amazon produce a series, they are able to monetise it across the world and hence their ability to invest in that content is a great deal more. In India, especially for TV, because of restrictions on how and how much can you monetise, there is a cap on investment. There are regulations on the affiliate monetisation front. So, your ability to monetise is limited,” he argued.

    Shankar channelled his inner newsman as he highlighted some of the most pressing issues facing India’s media and entertainment industry. The recently appointed Disney APAC boss referred to a series of stumbling blocks across film, TV and digital content creation that could delay the sector from realising its true and full potential.

    The 56-year-old focused on three key areas that needed addressing for the Indian M&E to grow at a faster pace. The FICCI vice president drew the attention of the panellists and the audience to issues plaguing content creation, monetisation and the need for government policies and regulations to be consistent.

    Shankar rued the fact that India wasn’t adding more theatres in tune with the times. He pointed out that the increase in number of screens was a result of single screen theatres being converted to multiplexes.

    “New theatres are not coming and while more films are being released in Hindi and regional languages, it becomes a challenge for them to get exhibited because there are not enough screens. While the big budget films are still accepted by theatres, the smaller and regional films are struggling. This problem looks like it’s going to get more and more complex,” he said.

    Shankar then shifted his focus to the lack of adequate infrastructure, adding how this was preventing creators from scaling up their focus on local and city-specific content across the country. To further build on his perspective, Shankar offered the example of Mumbai’s film city.

    “We had one film city which used to cater to the needs of the film industry and a few TV channels. Now, we still have the same film city which has to cater to the needs of the much diversified industry,” he stated.

    Shankar asked whether policy development by the government, given that M&E is a major employer, would be a potential problem solver. However, he made it clear that the industry isn’t seeking any special favours from the government.

    “The entire content for whole Hindi heartland from Bihar all the way to MP, Rajasthan, Gujarat and Haryana is created out of Mumbai because it is the only city where basic infrastructure still exists. A decade ago, there were initiatives to launch Bhojpuri channels designed to cater only to the population of Bihar and some parts of UP. But all those channels turned out to be unviable because there was no facility to create content locally and all of them had to come and rent expensive facilities in Mumbai and create content here. There are no facilities available outside Mumbai. Is this a subject needs that needs to be addressed via policy intervention?” he asked the panel.

    Shankar then drew a parallel to how a complex process at every level had been a hindrance to investment in theatre infrastructure.

    “For instance, the reason malls are coming up everywhere and no theatre is being made is simply because the entire policy around building a new theatre, in terms of all requirements, is too complicated,” he said.

    Shankar made another critical point as he highlighted the need for government policies to be consistent.

    “There has to be certainty of regulation. You should know what is expected of you and what you need to deliver. There should be no surprises, because surprises create a shock in the system and everyone takes time to recover from that,” he stated.

    Earlier in the day, during his opening remarks, Shankar described India as one of the major media markets in the world. According to him, Indian M&E is at an inflexion point.

    “We are already seeing the innovations that are taking place in this country in the domain of sports or in digital, where Indian creativity is being talked about globally and attracting the interest of one and all. However, we need to make sure that our policies are aligned to accelerate creativity and growth,” he said.

  • Hotstar’s Varun Narang on driving consumer engagement for IPL 2019

    Hotstar’s Varun Narang on driving consumer engagement for IPL 2019

    MUMBAI: The nature of sports broadcasting has witnessed a dramatic shift over the years with fan engagement now playing a pivotal role in the strategy matrix of major channels. Technology has enhanced the core product on TV by enabling broadcasters to provide more statistically-driven insights.  

    Star India has been at the forefront of this change, offering technology-driven content on both TV and digital for some of its marquee sporting properties like the Indian Premier League. The Select Dugout feed for fanatics on TV and Watch’N play on its OTT platform Hotstar are prime examples.

    India has more than 790 million sports viewers, with 740 million of those being cricket watchers. IPL 2018 drew a humongous 700 million plus viewers to the Star Sports Network, with 22 per cent of those being contributed by Hotstar.

    The super streamer saw a concurrent viewership of 10.7 million for the finals between CSK and SRH, a record of sorts in the world of live sports streaming.

    The company has set its sights on shattering more such records this season as it looks to up the fan engagement levels through innovation. Those running the streaming service believe that two aspects in particular hold the key to keeping fans hooked for longer durations during sessions.

    “It’s been quite a phenomenal journey over the last few years for the platform. We are super excited for the upcoming IPL season starting 23 March. We want to make IPL even more compelling and addictive. We think that gamification as well as social are two big areas that will make the enjoyment of sports even more than it already is,” highlighted Hotstar chief product officer Varun Narang.

    Star India has not just been quick off the blocks in adapting to the digital environment but also managed to gallop ahead of competition by benefiting from the Jio-led telecom revolution.

    India is one of the fastest growing 4G markets in world today. The number of 4G users was five times the number of 3G users at the end of December 2018, according to Amazon Web Service (AWS).

    Improvement in internet connectivity, gradually declining data costs and increasing penetration of smartphones has led to rapid growth in online and on-the-go consumption of live sports content in India.

    “We thought that how can we make it more fun from a gamification perspective as hundreds of millions of fans are not in the stadium. We built a game (Watch‘N play) that was based on some principles and tens of millions of users played and enjoyed it. We are super thrilled to take the next step and are looking for really cool filters that are built around IPL games. We looked at the entire spectrum including fantasy leagues, percentage of engagement in fantasy leagues with NFL which is the largest fantasy league in the world,” Narang stated.

    Fantasy sports has emerged as a big winner in recent times due to the growth of digital infrastructure and the emergence of new sports leagues. Fantasy sports is increasingly gaining more traction in India, with the number of fantasy sports operators having risen from 10 in 2016 to 70 in 2018. That number of users on fantasy sports platforms is expected to cross 100 million by 2020.

    Star has demonstrated its success from cricket broadcasting in the Pro Kabaddi League (PKL) as well.

    “It’s a sport which is well known in India and is played by almost everyone in their childhood. So the challenge was how to make it exciting to watch and then over time finding the right partners for the league to ensure that you have momentum in growing the sport. So one of the trusts is the franchises, until two years ago we had eight franchises and now we have 12. When we brought the next set of franchises, we wanted them to know how to build a brand which will engage the fan and broaden the sport,” pointed out Star India president – new strategy and head of PKL Ipshita Dasgupta

    According to her, the fact that 65 per cent of the Indian population is under the age of 35 and 50 per cent is under the age of 25 is extremely crucial.

    “I think going from zero to 300 million viewers in the space of four years, there are so many things that can be attributed to this. The thing that we added to that is involving kids and schools into Kabaddi, that was a big difference. Having kids play and making Kabaddi aspirational for children is important. We are one of the longer leagues which is substantial compared to others. To build a sport you need to have coaches, players making money, teams which can build brands – all of these things play a huge role,” she further added.

    With the 12th edition of IPL just around the corner, Star Sports and BCCI unveiled the campaign #GameBanayegaName which focuses on IPL as a platform where one’s ‘Talent’ (Game) precedes one’s name.

    The TVC opens with a split screen battle between young players in a maidan on one side and established IPL stars on the other to grab screen space. After an entertaining tussle, the film ends with IPL stars acknowledging the maidan players talent and inviting them to show their game. The TVC is a reflection of the core spirit that IPL resonates, a platform for young talent to showcase their game and an opportunity to make a name.

    The film is being released simultaneously in 7 languages – Hindi, Tamil, Kannada, Malayalam, Telugu, Bengali and Marathi across all platforms, TV, radio, and digital.

  • IPL 11 saw 61% growth in ad volume from season 1

    IPL 11 saw 61% growth in ad volume from season 1

    MUMBAI: The cash-rich Indian Premier League has witnessed tremendous growth over the years from its inception in 2008. The growth is in terms of different aspects like advertising revenue, sponsorship revenue, number of eyeballs and brands attraction etc.

    According to TAM data, commercial ad volumes grew by 61 per cent in IPL 11 compared to IPL 1 i.e. from 31 hours in season 1 to 50 hours in season 11. Total of 151 brands advertised across 64 different categories during the last season.

    To make the data comparable, one channel each of the respective broadcasters is taken into consideration for both the seasons. Sony Max is for IPL 2008 and Star Sports 1 Hindi for 2018 season.

    Recently, the Board of Control for Cricket in India (BCCI) announced that the 12th season of the cash-rich league will commence from 23 March 2019. Franchises, brands, broadcaster and most importantly the fans were left delighted when the board announced that the 2019 edition will be played entirely in India.

    The 11th season of the cash-rich league enjoyed humungous reach both on TV and OTT platform of Star India. Brands have long recognised the power and popularity of cricket in India and IPL with its undisputed reach and combination of cricket and entertainment is a zero risk property for brands.

    On-screen advertising, the digitally embedded elements fed by broadcaster during the live telecast of match saw a good spike in the number of brands and categories. Total 51 brands advertised in IPL 11, which is 38 per cent more than IPL season one’s 37 brands. There was a 67 per cent rise in categories from 18 in IPL 1 to 30 in IPL 11.

    Top three categories which dominated the top 10 list across the last three years in cricket genre are perfumes/deodorant, cellular phones-smart phones and cellular services. Experts believe that the event by itself is both a massive opportunity for brands and equally a challenge of sorts to stand out in the storm of brands advertising in it. The shorter format further pushes the challenge.

    Some of new brands that associated with the IPL last season were AMFI, Asian Paints, Berger Paints, Blue Star, Ceat Tyres, Crompton, Dollar, Ford, Haier, Luminous, Pedilite, Sleep Well, Vanessa, Vimal Pan Masala and Voltas joined the existing ones like Vivo, Colgate, Amul, Dream11, Elica, Kent, Parle Agro, Polycab to name a few.

    The season witnessed 21 hours of on-screen advertising with action replay, pull-through and push back the top three on-screen branding units during the play.

    Talking about in-stadia advertising, 441 hours of in-stadia advertising was registered during IPL season 11. Top three on-screen branding units during the season were t-shirt, backdrop and perimeter board. Compared to the first season, in-stadia ad volumes increased almost by twofold from 224 hours to 441 hours in IPL 11.

    Instadia advertising saw a growth of 8 per cent in the number of brands i.e., 106 brands in IPL 1 to 114 brands in IPL 11.

    To appreciate the spike in brands and advertisers for IPL, Star India in its first year introduced the Re.imagine Awards to recognise and encourage the creativity and innovation in the use of integrated media in advertising campaigns aired during Vivo IPL on Star Sports and its OTT platform Hotstar.

    Not just cricketers on the pitch but brands, marketers and advertisers have gradually upped their game to keep the viewers engaged during the sporting extravaganza.

    In the upcoming season of IPL, a lot of diversified brands will be seen participating. The important thing is how they weave the story into a much more deeply integrated marketing plan. Now, it is about integrating the storyline through both ATL and BTL campaigns.