Tag: Tata Sky

  • Sur-kshetra:Colors takes DTH roadblock route

    MUMBAI: A roadblock strategy on two DTH platforms, heavy usage of radio and a marketing spend of Rs 60 million. That is how Colors will promote its new singing reality show, ‘Sur-Kshetra‘, which it will simulcast with Sahara One.

    The half-hour block will be on Dish TV and Tata Sky from 6-8 September at 7 pm. Colors is also creating a two-day roadblock on the music streaming website, Gaana.com.

    A singing battle between the Indian and Pakistani singers, the show will be promoted on Yahoo and other social media websites.

    Starting 8 August, ‘Sur-Kshetra‘ will run every Saturday and Sunday at 7.30 pm for 90 minutes.

    Says Colors marketing head Rajesh Iyer, “It is a co-branded show with Sahara One but the marketing effort is done through us. Wherever there is an opportunity to reach out to consumers, we have utilised that. We have a contextual advertising plan for the digital space as well. Since this show is targeted at masses, we are majorly relying on the traditional mediums and will not use on-ground activities to promote it.”

    Colors, according to a source, will be spending Rs 60 million to market the property.

    ‘Sur-Kshetra‘ is being promoted on leading radio stations with 6000+ spots. Big FM, Radio Mirchi and Radio City will also be connected with three FM stations in Pakistan – BBC Radio, Karachi FM and City FM. The RJs from India will be talking to the RJs of Pakistani radio stations about music with the main focus on ‘Sur-kshetra‘. “The promotion will be broadcast in 35 cities of India,” says Iyer.

    With the main focus on Hindi Speaking Market (HSM), Colors is rolling out print ads in leading newspapers across 40 cities.

    The promos of the show started airing during the screening of ‘Ek Tha Tiger‘. “They were aired in 250+ screens with 6750 shows of the movie,” says Iyer.

    There will be 500 OOH sites across 10 cities.

    “We are running a four-week campaign amounting to 2000 spots. We have also roped in cyber cafes in HSM, which will have ‘Sur-kshetra‘ theme on the homepages. For a week, selected mobile customers of Airtel, Idea and Tata Docomo will get the ‘Sur-kshetra‘ caller tune activated free,” says Iyer.

    Sur-Kshetra is produced by Sahara One in association with Gajendra Singh‘s Saaibaba Telefilms.

    In 2010, Star Plus had launched a singing reality show with India and Pakistan pitted against each other. Titled ‘Chhote Ustaad – Do Deshon Ki Ek Awaaz‘, the show was directed by Gajendra Singh. It also aired on Geo Entertainment Television in Pakistan.

    Ad sales drive

    Colors has roped in Philips as the presenting sponsor while the show will be powered by Dabur. The channel is looking at getting six associate sponsors to back the early prime time property.

    Philips has shelled out around Rs 80 million while Dabur has paid around Rs 66-70 million, according to industry estimates. The title sponsor is common to Colors and Sahara.

    Says Havas Media CEO- India Anita Nayyar, “Any musical show in India has a loyal viewership. ‘Sur-kshetra‘ is also bringing elements of sensitivity (India-Pakistan contest) which will give it an added advantage. The success of the show will depend on the quality of singers and the format.”

    Colors has sold around 70 per cent of its ad inventory while keeping the other 30 per cent to sell later so that it can earn premium rates. While the sponsors are consuming 60 per cent of the inventory, the remaining 40 per cent will be consumed by spot buys.

  • Media2win to handle Bharat Benz’s digital biz

    Media2win to handle Bharat Benz’s digital biz

    MUMBAI: Media2win has won the digital business of Bharat Benz (Daimler India Commercial Vehicles) based in Chennai.

    The digital agency will be responsible for the digital marketing initiatives encompassing website development, creative ideas, social media, digital media planning/ buying and search.

    The business will be handled out of the agency‘s Bengaluru office.

    Media2win COO Namrata Balwani said, “We are delighted to work with the prestigious Daimler brand. They have exciting plans for the Indian market. The level of investment that they have lined up in India will surely see positive results in the coming months. This is an interesting category & we hope to create some great digital work with the Daimler team.”

    Media2win also works with clients like Tata Sky, Max Life Insurance, Bajaj Auto, Karnataka Tourism and Ericsson.

  • Tata Sky and Lokmat among 9 ads in May that ASCI indicts

    MUMBAI: India‘s advertising watchdog, ASCI, has upheld complaints made against nine advertisements in May, including that of Tata Sky‘s tirade against cable TV and Marathi newspaper Lokmat‘s tall circulation claims in Pune.

    The Advertising Standard Council of India (ASCI) found Tata Sky‘s print ad stating ‘Cable is just a Dabba‘ as unfairly denigrating other products. The direct-to-home (DTH) operator was referring to the cable set-top boxes (STBs) as ‘dabba‘ implying that it was of non standard or poor quality box, which is not the fact.

    The ad, which appeared in The Hindu‘s Chennai edition (dated 30 March 2012), contravened Chapter IV.1 (e) of the Code, ASCI pointed out.

    In the wake of digitisation mandated by the government, DTH operators have launched aggressive ad campaigns to take away share from cable TV networks. Airtel digital TV, for instance, launched an ad stating “Sirf Cable Nahi Life Badlo”, urging consumers to make the shift away from cable to DTH.

    The government has fixed 31 October as the deadline for digitisation in the four metros of Delhi, Mumbai, Kolkata and Chennai, pushing back the sunset date of analogue cable by four months.

    The Consumer Complaints Council (CCC) of ASCI also upheld the complaint against Lokmat‘s ‘No. 1 Newspaper‘ ad in which the Marathi daily claimed to have added 65,000 readers in SEC A segment in Pune. The watchdog pointed out that Lokmat did not mention the period over which this growth has been attained, which in itself is misleading.

    As per IRS 2011 Q4, in the last quarter Lokmat has added only 5000 SEC A readers in Pune city. The CCC concluded that Lokmat‘s claim in Pune was misleading as the advertisement did not mention the reference period pertaining to the source data. The advertisement contravened Chapter I.4. of the ASCI Code.

    Brooke Bond‘s ad to promote its Red Label Natural Care Tea brand was indicted for not adequately substantiating the claims made for enhancing immunity by consuming the tea product. In the ad, Broke Bond had said that the product has a “scientifically proven combination of five ayurvedic ingredients (tulsi, ashwagandha, mulethi, ginger and cardamom) to strengthen “your body‘s defence” and, thus, helps in protecting “you and your family from cold, cough and flu”. It further stated that it “is clinically shown that drinking three cups of Brooke Bond Red Label Natural Care daily helps enhance one‘s immunity”. The advertisement contravened Chapter I.1 of the Code.

    Another complaint upheld was IMS – Score more at BBA / BBS. The ad that appeared on its website claimed that ‘143 IMS students got selected into SSCBS in the year 2011‘. The ad shows a bar chart showing selection of IMS students into SSCBS over the years 2008 to 2011. The CCC concluded that, in the absence of validation by an independent agency / Chartered Accountant, the claims mentioned in the advertisement and cited in the complaint, were not substantiated.

    Glenmorangie‘s print advertisement which appeared in Conde Nast India in the February 2012 issue was complained against and upheld. The ad states: “Why is it so important that we only use our casks twice? Taste Glenmorangie and the question becomes rhetorical”. The visual depiction of the brand name is suggestive of a well-known brand of liquor- Glenmorangie. In the absence of specific information, the ad appears to be a surrogate advertisement for Glenmorangie. The CCC concluded that it was surrogate ad for a brand of alcohol- Glenmorangie. The advertisement contravened Chapter III.6 of the Code.

    Alchemist‘s claim of ‘India‘s most successful MBA prep‘ was pulled up too. It has not been backed up and substantiated and there is no validation / check by any independent agency that confirms this claim. In the absence of any proof, supporting information, from the Advertiser, the CCC concluded that the claim, ‘India‘s Most Successful MBA Prep‘ was not substantiated. The advertisement contravened Chapter I.1 of the Code.

    Shree Maruti Herbal‘s print advertisement on ‘Maruti Stay -On Capsules & Oil‘ was complained against and upheld for claiming it ‘helps improve vitality, stamina and energy‘. The website also claims ‘Stay-On guarantees – Sexual performance of adults in all age groups‘. The CCC concluded that the claim, ‘helps improve vitality, stamina and energy‘, was not substantiated. The advertisement contravened The Drugs & Magic Remedies Act. Also, the advertisement tends to create, by implication, a perceived inadequacy of physical attributes, in this case the impotence and infertility, which could be objectionable to both men and women. The advertisement contravened Chapters I.1, III.4 and I.5 (d) of the ASCI Code.

    Jake‘s Beauty-Spa-Salon & Academy received a complaint related to its design and copy. It is similar to the Complainant‘s ad of ‘Schnell Hans Salon Spa & Academy‘. The CCC concluded that the headline, ‘Your Passport to Success‘, was similar to the complainant‘s advertisement and, thus, suggested plagiarism. The ad contravened Chapter IV.3 of the Code.

    The ad of Nikon camera was also upheld. According to the complainant, the TV commercial required permission from the Animal Welfare Board of India (AWBI) for the use of birds in advertisement or films. In the application by Nikon, permission was asked for four sparrows to be shown in their natural habitat with a girl playing and passing through. In reality, the birds turned out to be cockatiels which are being used as toys by the girl and perch on her shoulders among other things. The CCC concluded that as the requisite permission was not received from the AWBI to shoot cockatiels in the TVC, it was in violation of The Performing Animals Registration Rules 2001. The advertisement contravened Chapter III.4 of the Code.

    During the month of May, the CCC also received complaints against five television commercials. The complaints were received against the ads of Midas Care‘s Clean & Dry cream, Sprite Cold drink, Emami‘s Fair & Handsome for Men, Gillette Mach 3 and Extra Strong Axe. However, as these ads did not contravene ASCI‘s codes or guidelines, the complaints were not upheld.

  • Zee TV rolls out marketing campaign for paranormal show Fear Files

    MUMBAI: Zee TV has launched a 360 degree marketing campaign to promote its new paranormal show Fear Files that will premiere on 30 June.

    The channel is promoting the show through print ads, ambient branding, DTH, viral marketing, cinema hall promotion, digital and social media. Also, differentiated augmented reality has been designed to maximise engagement while following an integrated marketing approach.

    As a part of the BTL activity, Zee TV will capture the audiences across malls and create an experience with augmented reality that uses computer graphics and sensors. There will be huge LED screens placed in these areas and people who come near the marked zone will experience something that is intended to surprise them and create a huge sense of intrigue.

    The online promotions will be centred on giving viewers a paranormal experience rather than just telling a scary tale. Internet users will be captured across various sites with captivating messages. The channel has planned a social network activity that will allow users to share their own experiences by writing in stories and upload videos. Paranormal expert Mehra Shrikhande will share daily tips and feedback to online users.

    The DTH promotional plan has ads and promos that will be played on Dish TV, Airtel DTH and Tata Sky.

    Cinema hall promotions have begun with the launch of movie ‘The Amazing Spiderman’ to tap kids and male audiences. Apart from the promos running inside the movie screen, the washrooms will carry ambient branding. The channel claims that print medium will also see “innovative and attention grabbing” advertising.

    The Facebook page of the show will also let viewers share their views and thoughts on various aspects. Micro-blogging sites like Twitter will keep the community of Fear Files viewers up-to-date on all on the shows.

    Zeel marketing head- national channels Akash Chawla said, “The biggest challenge that the marketing team had to surmount was to evoke the emotion of ‘thrill’ from its target audience. The show has intrigue and mystery as its core and these are the two factors taken forward in its marketing campaign also. Hence, keeping in mind the primary target audience of the show, promotions are centred around online and new media along with traditional media mix. The communication across every medium will aim to tease people with the fear of the unknown and give
    them a thrilling experience.”

    The 26 episode series is based on paranormal experiences in one’s life and will air every Saturday and Sunday at 10.30 pm.

  • Maxus appoints Mangesh Korgaonkar as GM – Mumbai

    Maxus appoints Mangesh Korgaonkar as GM – Mumbai

    MUMBAI: Maxus India has roped in Mangesh Korgaonkar as general manager-Mumbai.

    Korgaonkar will be heading one of the strategic business units (SBUs) of the agency in Mumbai. The other unit is being headed by Vidyadhar Kale.

    Korgaonkar will be reporting to Maxus India managing partner Kartik Sharma and will play a key role in product development and business development.

    Sharma will be handling agency‘s key clients like Tata Sky, Fiat and Colors.

    Korgaonkar comes in with over 15 years of experience. Prior to Maxus, he was with Madison as general manager.

  • Tata Sky launches new TVC focusing on services

    Tata Sky launches new TVC focusing on services

    MUMBAI: Creative agency Ogilvy and Mather‘s Mumbai team has created the latest TVC for DTH provider Tata Sky. The commercial is based on the insight that the value of quality service has been lost and that consumers have the right to get prompt and proper services on purchase.

    The campaign showcases how the customer is pleasantly surprised, thanks to the “efficient service offerings” brought to them by Tata Sky. The campaign aims to highlight two features by the digital service provider – all India relocation service and 24 X7 helpline service.

    These ads of the ongoing campaign build on one particular service in each story. And signs off with a charming apology: “Sorry Sir, Tata Sky ki service, kuch hai hi aisi!”

  • ‘TV is the only medium that does not have geographic targeting’ : Amagi Media Labs co-founder Srinivasan K A

    ‘TV is the only medium that does not have geographic targeting’ : Amagi Media Labs co-founder Srinivasan K A

    Geographic targeting of television advertising is a business that is still in a nascent stage in India. Once adopted by various players in the television advertising chain, it has the potential to be a game-changer in the way brands and products are promoted and aired in India. 

    Bangalore headquartered Amagi Media Labs (Amagi) has the advantage of being one of the first players in this space in India. Amongst the Amagi team are investor and board member N S Raghavan, who was one of the co-founders and joint managing director at Infosys, former ZeeEntertainment Enterprises Ltd CEO Pradeep Guha and ex-CEO of Tata Sky Vikram Kaushik as advisors.

    Amongst the three founders at Amagi who run the show are Baskar S who works on strategy, investments and R&D, and Srividhya S who works on engineering and technology deployment.

    In an interview with Indiantelevision.com‘s Tarachand Wanvari, Amagi‘s third co-founder Srinivasan K A. (Srini as he is called by his friends) talks about the company‘s strategy and growth plans.

    Excerpts:

    How does Amagi tap into advertisers who look at geographic targeting?

    We at Amagi make TV advertising smarter. If you look at all the media options available to an advertiser now, except at a language level, TV is the only medium that does not have geographic targeting. We look to strike out that disadvantage for TV by bringing targeted advertising on this medium.

    By rolling out our patent-pending technology infrastructure across the country, we enable different ads to be run in different regions on the exact same ad spot. So a single 30-sec ad spot can have different creatives running in different cities across the country.

     

    So you have a business model that can assist local as well as national advertisers?

    We have two business models. The first is local ads. Purchasing power across the top 100 cities in India is growing dramatically. This has been good for a variety of regional businesses in FMCG, retail, real-estate and education catering to the local population.

    These businesses have the capacity to spend significantly in advertising to build their brand, but are limited by the absence of a viable TV advertising option.

    Advertising on satellite TV is expensive and there is a significant spillage beyond their target geography for these businesses. So a lot of them have stayed away from satellite TV, except in pockets like Chennai, where a viable local option was available.

    Amagi for the first time in the country has brought the option of advertising on satellite TV channels for a specific region at a fraction of the national price. This enables local businesses to build brands that emotionally connect with the local audience and unleashes the power of TV advertising for these businesses in the most cost-effective manner. 

    The second model is Ad Versioning. This business option is specifically targeted at large national advertisers. Ad versioning allows able to play different creatives in different parts of the country on the ad spots that they have already bought from the channel.

    One example could be an advertiser can have different creatives for the same brand in different parts of the country – one with Aamir Khan in the north and Vijay in the south, say during an ad spot in a cricket match.

    Another example could be to have different local promotions and offers on products in different regions which today are entirely done in print as TV is not isolatable by market.

    This is the Holy Grail for advertisers who want to target Internet, but want the reach of TV. Amagi‘s platform enables this for advertisers. 

    Amagi also works with TV channels and operators to enable this option for advertisers.

     

    How have the various players in the equation taken your offering – advertisers, agencies, television channels, MSOs and the cable operators?

    This is a change in the way TV advertising is currently done. Amagi is working with multiple partners in the TV ecosystem to speed up adoption – obviously, anything as dramatic as this option requires time and patience and we are seeing adoption rate accelerating now.

    We believe that this is good for advertisers and the broadcasters – as this brings more advertising monies to TV and improves productivity and effectiveness for the advertiser.

    In the US, local advertising on TV is a $5 billion business, and has been working great for the whole TV ecosystem, and we believe that we can replicate the same success here in India. Like the US, India has a vibrant local economy that has largely been underserved from media availability perspective. We are filling that gap.

    Amagi is bringing in a new set of advertisers at the local level, and a new set of product advertising from larger advertisers which never looked at TV as a viable option. We believe that this a great boon for TV channels as more advertisers and product categories would advertise on their channels, leading to higher yield and revenues. 

    Amagi partners with MSOs who for the first time have the opportunity to participate in sharing advertising revenue.

     

    What is the size of the market for your services? 

    The size of the market comes from two parts: Regional businesses which contribute 40 per cent of print advertising in the country today; and large businesses that see that Amagi platform enables their ad spends to work better and provide 20 per cent-30 per cent effective over their current ad spends. 

    With these two market opportunities combined, the potential for this capability is above Rs 50 billion by 2015. 

     

    ‘Amagi for the first time in the country has brought the option of advertising on satellite TV channels for a specific region at a fraction of the national price‘
    What is driving your growth?

    We are an ad marketplace. We connect right content with right advertisers at the local level. Our growth comes from expansion across geographies, and bringing in a portfolio of TV channels that cater to the needs of local businesses.

    We are currently in 15 cities across the country, including Mumbai and Delhi. We will be in 22 cities in the next 6 months. We believe that will give us the critical mass to bring a compelling bouquet of TV channels to local businesses; we will have established a local TV marketplace across the country.

     

    Could you tell us how your system works and the safeguards from failure and intrusion or misuse or piracy that you have in your system?

    Amagi places ad insertion systems in different cable MSO headends across the country. These systems uniquely and predictably identify the ad spot that is allocated for Amagi, and replaces them with different content in different regions.

    Amagi is a completely automated technology platform and are securely controlled and monitored from a centralised location. So essentially these ad insertion systems cannot be programmed, tampered or intruded at these headends. The only way to programme them to do their activities is from a secure Amagi control server located in Bangalore. So, essentially these boxes have no way to be tampered at the local level. 

    Amagi has been running this technology for the past two years and has done close to half a million seconds of local advertisements across multiple advertisers across the country. 

    Amagi‘s technology is one of the most advanced, robust and comprehensive technologies in the world, where this is the only system that can handle dynamic requirements of sports, news TV channels with their dynamic scheduling needs and abrupt end of ad spots during sports events. We are in discussions with broadcasters outside the country as well, as this need is universal. 

    So this is a mature system with a built-in secure work-flow that guarantees no possibility of any misuse whatsoever.

     

    How strong is competition in the space that you are in?

    Rediff is one company that started earlier than us in trying to address a similar opportunity. I cannot comment on where they are in their lifecycle.

     

    How scalable is Amagi?

    We have a scalable technology platform, large sales force across 15 cities and hundreds of installations across the country, and are exponentially increasing the number of deployments as we speak. More than 230 advertisers have advertised on our platform with close to half a million seconds of advertising. 

    We believe this the future of TV, and would be happy to see more people exploring this opportunity as it will help build a vibrant marketplace.

  • ‘India and China are our key markets in Asia’ : Dolby Laboratories senior director, broadcast Jason Power

    ‘India and China are our key markets in Asia’ : Dolby Laboratories senior director, broadcast Jason Power

     

    Driven by the rapid development in digital and mobile technologies, sound company Dolby is expanding its market base from cinema to the broadcasting sector.

     

    Dolby is pushing Dolby Digital Plus, an enhanced version of the Dolby Digital system, which allows broadcast operators to deliver surround sound. But Dolby also works with the entire value chain to ensure a better consumer experience.

     

    As the Indian broadcasting sector digitises, Dolby sees a big opportunity. It has stitched deals with three DTH operators and is in talks with the cable TV operators. It wants to work with content providers to boost the quality of their sound.

     

     

    In an interview with Indiantelevision.com’s Ashwin Pinto, Dolby Laboratories senior director, broadcast Jason Power talks about the company’s growth across all media platforms and its India plans.

     

    Excerpts:

    What strategy has Dolby followed in the past few years to enhance the consumer’s entertainment experience?
    Our focus lies in all those things which are going digital and High Definition (HD). This is where we see a big opportunity as we create technologies that enable entertainment to be replayed at its best. While people know us for doing this best for cinema over the past 10 years, we have also been focusing on the broadcast sector and other areas where digital entertainment has been happening.

    Dolby has been closely linked to the transition to high definition around the world. Dolby has been there to make sure that the audio complements the HD picture.

     

    Now HD content is moving to digital devices such as the mobile phone. We ensure that content is replayed at its pristine best, regardless of the platform which includes online delivery.

    What new products have you added to your portfolio recently?
    The most exciting product for broadcasting is Dolby Digital Plus. Dolby Digital has been synonymous with HDTV. Dolby Digital Plus is the new generation of that technology and an ideal combination for new HD television services. It is being used in Europe and the US.

     

    In India, it is currently being used by three direct-to-home (DTH) operators – Airtel digital TV, Tata Sky and Sun Direct. Using our technology, they can now offer 7.1 channels of surround sound.

    How is Dolby Digital Plus an improvement?
    It allows surround sound to be added at attractive data rates. It minimises the data rate that broadcasters need to use for transmitting audio. There is a 40 per cent saving over the previous technology. Most importantly, it allows for future innovation. The Blu Ray disc, for example, has features for 7.1 channel audio, for interactivity in the audio. We can offer these same benefits to broadcasters. It can keep DTH competitive.

    What kind of product research does Dolby do to make sure that clients and consumers are satisfied?
    Satisfying consumers is what we are about. We believe that to be successful, we have to make a difference to the entertainment experience.

     

    To make the technology a difference, we want to help the industry create a surround sound. We work with content makers to help produce in surround sound. We work with broadcasters to help them handle that surround sound in their station. We also work with operators to help them transmit that surround sound.

     

    We work with set-top box (STB) vendors to help them input our technology. We also work with home cinema manufacturers. We do educational drives and training to help operators understand our technology better and see how people hook up systems better. We are present across the value chain.

    What have the learnings been from working with so many parties?
    In the broadcast business where we have over 1000 channels using our technology, we find the eco system complex. Many parties are involved in the chain. There is production, broadcasters, equipment vendors, STBs, chip suppliers and middleware. There are all these layers. You have to support all these players if you want to give the consumer at home a better experience.

     

    A key part of our success is our engagement with all the parties all the way through the value chain. We have not just tried to flog the technology in one small piece. We have engaged with the whole industry to help make surround sound a reality for them. We have nurtured and catalysed the process happening in the industry. This has been essential to our success in the broadcast business.

    For us, the Indian market will be content driven. China, on the other hand, will be more manufacturing centric

    Which are your top three markets in Asia?
    You have to split it between the consumer audience and manufacturing. Clearly, there are TV manufacturers in Korea. But in terms of consumption and getting content on the air in our technology, India and China are key. They have large populations going through an exciting digital transition. DTH is exploding in India. The HD transition is just happening. Digital cable transition will happen in the coming years. This is why we are excited about India.

    Earlier Dolby was known for its work in cinema. When did you shift the focus to broadcast and mobile entertainment and how has it benefited you?
    We remain focussed and invest heavily on cinema. We innovate in terms of audio formats for cinema. We are involved in 3D for cinema.

    But we have steadily grown other businesses as digitisation has spread globally. Broadcast and PC is our second largest biggest segment.

    How important will the role of sound be in a digital Indian television landscape?
    What is interesting is that India has a passion for entertainment. Consumers are hungry for changing the quality of their entertainment experience; we can provide that change.

     

     

    HD is about video and audio. Both are equally important – or it is incomplete. We think that for HD to make a difference and a valuable proposition, it needs to be more than just a pretty picture on the wall. We can turn it into an immersive experience where the consumers feel that they are in there.

     

     

    We want to put your right in the middle of a cricket match, right in the middle of a rainforest or in the middle of your favourite drama, for instance. Picture gives you detail and something to watch for, but it is the sound that makes it real for you.

    What other products do you offer for the broadcast sector?
    The other product is Dolby Volume. It is a different challenge. It deals with the issue of volume inconsistencies across TV services. It can even be used in TV sets to level out sound differences.

    How big a challenge is it to market your products to television platforms and services in India and abroad?
    Our technology is used in over 50 per cent of TV sets shipped around the world. It is a challenge to market but we have invested in this area; we have improved the relevance of our technology. Our USP is about providing a richer, more immersive experience through surround sound for digital entertainment.

    What is the value add that the DTH players will get by partnering with Dolby?
    We are helping the three Indian DTH companies adopt our technology. They have included our technology in their STBs so that they can transmit on surround sound. We work upstream with broadcasters to help them provide a selection of surround sound content to feed on HD services. NGC, Discovery, ESPN are some channels that are making use of our surround sound technology. Our focus now is to work with local channels to help produce content in surround sound.

    Have you set any targets in terms of the amount of business you expect to see from India?
    We want our technology to be adopted by all the six DTH operators. We are also excited about digitisation of cable. We can help incentivise consumers to switch over to digital cable.

    To what extent did the economic downturn affect business?
    We have seen growth globally in the broadcast business. Our touch rate to digital television has doubled in the past two years. We have met our forecasts.

     

     

    We have benefited from the macro effect of HDTV rolling around the world. This insulated us from the downturn.

    Could you give me an example of how Dolby worked with a broadcaster to make the HD transition?
    We have worked with the DTH operators here. With Airtel we have worked not just in terms of enabling our technology in their transmission through STBs, but also to help them publicise this to the consumer and explain the difference.

     

    In the UK Sky was the first significant sized HDTV operator in Europe; so we worked with them on content. Cricket production was the first place we got involved in; we helped them work on mixing surround sound to their cricket coverage with minimal additional effort.

    In terms of sound, don’t movies and sport benefit the most?
    They do. However there are other genres like audience shows, live entertainment shows and talent shows that can also get a boost. They can be really immersive. I have seen people bend our format to all kinds of content.
    How big is your R&D effort?
    Our investment is sizeable. We have state of the art research going on in audio and imaging. We contributed some of the fundamental IP into MPEG 4 video encoding; we have some technology around high dynamic range imaging. We recently announced a product targeted at very high end post production facilities.
    Are you looking at setting up an R&D hub in India?
    That is something we would be open to. We have decentralised our research to use local talent. Five years back, we used to do most of our search in the west coast of the US. Now we have eight research locations dotted around the world. We are familiar with talent coming from here.
    How are you tackling China?
    We have been present there for a long time; our technology is a standard part of HD television there. We have 11 channels using our technology. As the digital TV transition is taking place, it is also an exciting market for us. We license our technology for STB manufactures. We partner with government agencies like Cesi. We help their members have access to our technology for the Chinese and global market.

    How are India and China different as markets?
    In India, it will be content driven for us; it is about making sure that there is local content using our technology.

     

    China, on the other hand, will be more manufacturing centric. It will be about enabling their manufacturers compete on a worldwide stage; we will give them audio features that the global market demands.

    On the cinema front, you have done work in stereoscopic 3D. Have exhibitors in India and overseas supported you in this, given the added investments they have had to make?
    Exhibitors are happy that they are able to command a premium price for 3D exhibition. It has helped them fund the investment in digital cinema exhibition.

     

    Some chains in India use us. According to our feedback, we provide the sharpest and clearest picture. Our glasses are reusable. It is not a wear once and throw away model. Theatres that are very quality conscious tend to like us more.

    How do you see 3D TV progressing?
    We are excited about the potential for 3D in broadcast. We see moves by major TV manufacturers to promote 3D TV sets. The interesting thing is that making a flat panel TV to a 3D one requires little cost. They can offer this additional benefit without there being a big impact on their cost.

     

    We see big forecasts of 3D TV shipments coming from broadcasters to transmit in 3D. We have published an open specification that broadcasters can use. We have exciting ideas about what we can offer in the future.

    In developing solutions for new media like mobile, you work with several partners like Nokia and LG. How has this experience been?
    We work with LG across different fields. With Nokia it is with the mobile phone and is a newer relationship. We work with them not just as an entertainment device but as an entertainment library device. You can have movie content on the phone and enjoy it with your headphones; you could also connect the phone to a home cinema system and enjoy the content in HD, Dolby surround System. We help these companies establish a completely new value proposition.

     

     

    We also work with companies like Netflix and AT&T to help their content get decoded in our formats. Then they can deliver this content through whatever pipes they choose in the best possible audio.

     

    What are the challenges in developing solutions for new media?
    We have partnered closely with the industry to make sure that technology is there in the form that they need it in. There are specific chips that are used in mobile phones. We also work with the chosen chip set vendors of handset manufacturers to make it easier for them to have our technologies available on a chip.
     
    The other part is creating technology to improve the headphone listening experience. When a consumer hits the Dolby button on the mobile phone, the whole experience should come alive. That is our goal. The challenge was creating a complex technology which you then make available in a form that works so that it is practical to implement on the mobile phone.
    What work does Dolby do in gaming?
    Our technology is included in Xbox, Playstation and Nintendo among other manufacturers. We work with game developers to see how best to include our technology. We also have a new technology called Dolby Axon. It is a voice communications application that helps interactive gamplay.
    What are the challenges in developing solutions for new media?
    We have partnered closely with the industry to make sure that technology is there in the form that they need it in. There are specific chips that are used in mobile phones. We also work with the chosen chip set vendors of handset manufacturers to make it easier for them to have our technologies available on a chip.

    The other part is creating technology to improve the headphone listening experience. When a consumer hits the Dolby button on the mobile phone, the whole experience should come alive. That is our goal. The challenge was creating a complex technology which you then make available in a form that works so that it is practical to implement on the mobile phone.

    What work does Dolby do in gaming?
    Our technology is included in Xbox, Playstation and Nintendo among other manufacturers. We work with game developers to see how best to include our technology. We also have a new technology called Dolby Axon. It is a voice communications application that helps interactive gamplay.
  • Zee News Ltd Q3 net profit up as ad revenue surges

    Zee News Ltd Q3 net profit up as ad revenue surges

    MUMBAI: Zee News Ltd (ZNL) has posted a fiscal third-quarter consolidated net profit of Rs 61.84 million (after minority interest), gaining from the festive season and a better all-round performance coming from its old and new channels.

    Advertising revenue has seen a healthy growth while subscription has seen a slower pace in the quarter as it has moved into a fixed fee regime with DTH operator Tata Sky. The company posted a revenue of Rs 744.44 million for the three-months ended December.

    On a more positive note, ZNL has a 18 per cent margin, including the losses from the newly launched channels. The margins stand at 33 per cent for the existing businesses.

    ZNL had posted a net profit of 191.48 million for the third-quarter of FY‘10 on a revenue of Rs 1.71 billion.

    However, the company, which operates the news channels of the Zee brand, said that the corresponding quarter financials are not comparable as there were six regional general entertainment channels at that time under ZNL, which were demerged from the company with effect from 1 January 2010.

    ZNL has posted a strong sequential growth. For the fiscal second-quarter, the company reported a net profit of Rs 2.24 million on a revenue of Rs 615.87 million.

    ZNL chairman Subhash Chandra said, “The news genre on television is marked by intense competition in India, unlike any other country in the world. Most news channels in India are incurring losses. Our objective is to create a focused news organization which can create value for the shareholders in the long term. I am happy that Zee News Limited, not only differentiates itself by delivering unbiased, serious and credible news to its viewers, but does it profitably.”

    He added, “Our company continues to outperform competition due to its quality of manpower, which is kept motivated with several training schemes to build leadership in the organisation. We aim to create a news powerhouse which is close to the action and can reach out to every viewer in his/her preferred language and I am happy to say that we are progressing very well toward the goal.”

    ZNL MD Punit Goenka added, “Zee News Limited has shown significant growth in profitability in this quarter. Evidently, the editorial and business decisions taken by the company in the recent past are reaping rich dividends. The consistent emphasis on serious news has made Zee News Limited not just the largest, but also the No. 1 news network of India. The leadership position of the network has in turn helped augment the company’s financial position thus creating a win-win situation. Business performance during the slowdown and beyond shows great potential of growth from here. I am hopeful of continued improvement in business performance as we start are planning for the next fiscal.”

    Ebitda for the quarter under review stood at Rs 134.5 million and profit before tax at Rs 103.6 million In the previous quarter, Ebitda was Rs 70.2 million and PBT Rs 32.1 million.

    ZNL‘s advertising revenue grew stood at Rs 541.7 million, as compared to Rs 407.2 million in in trailing quarter (for year ago period figures see table). Subscription revenue for the quarter was Rs 185.9 million, which constituted 25 per cent of the total revenue.
      
           
      Though, the company has seen a surge in ad revenue (sequentially), the subscription revenue has fallen as compared to Rs 194.1 million in previous quarter (31.5 per cent of the total revenue).

    The expenses of the company stood at Rs 609.9 million, slightly higher on a sequential basis (Rs 545.7 million). In the year ago period, the expenses were Rs 1.34 billion.

    ZNL posted Ebitda profit of Rs 225.2 million (186.8 million in previous quarter) from its existing business (Zee News, Zee Business, Zee 24 Taas, Zee Punjabi and 24 Ghanta). The company, however, suffered Ebitda loss of Rs 90.7 million (from loss of Rs 116.5 million) from its new business (Zee Tamizh, Zee 24 Ghantalu and Zee News UP).

    ZNL CEO Barun Das said, “ZNL has shown that pragmatic and creative approach works best in the news market – national and vernacular. EBITDA margin of 18 per cent is quite healthy considering that there are three new channels which are still on way to break even; whereas the EBITDA of Rs 225.2 million and margin of 32.6 per cent for the group of existing channels demonstrates the quality of operational efficiency. In the context, the all-round performance of our bouquet of channels would continue to be our critical success factor. Our focus on “news that matters” has established our credentials as a network.”
     

  • ‘Collecting subscriber numbers is not enough’ : Tata Sky MD & CEO Vikram Kaushik

    ‘Collecting subscriber numbers is not enough’ : Tata Sky MD & CEO Vikram Kaushik

    When Star floated a company for DTH, there were several issues raised on shareholding and other related matters. Was that a ghost that initially haunted you when you joined Tata Sky?

    When on its own, Star made no progress and the DTH venture couldn‘t kick off due to reasons outside their control. Then they floated a joint venture company with the Tatas and I joined to head that. The past never bothered the venture. We developed a blueprint from the first day itself, but the project was delayed as we chased for licence approval.

    The delays were not entirely due to the government; competitors wanted to delay the project. The bad thing that happened is that several retrograde steps were introduced which should have never been there in the first place. Interoperability, no exclusive content and foreign direct investment (FDI) cap of 49 per cent, for instance. There is still a lot of nervousness regarding foreign ownership.

    But isn‘t the government more comfortable with DTH now?

    The government has started understanding that without digitalisation, the media and entertainment industry can‘t grow; you won‘t get transparency and addressability in the distribution chain.

     

    Has the government then become supportive?

    The government needs to do much more. Across the world, the government has provided subsidies for digitalisation. In India, the private sector has entirely taken up this responsibility – and this investment is coming at a very high cost.

    The DTH sector is heavily taxed. There is also a distortion because of the under-declaration of subscribers by the cable operators. This leads to the inevitable need of regulatory intervention to correct these anomalies.

     

    Despite these anomalies, the DTH sector is on a fast growth track. When you first outlined the business plan, did you foresee such an exponential growth in DTH subscribers? 

    We are somewhat surprised by the volume growth. But nobody expected that India would have six players and with deep pockets. The marketing activity stimulated the sector‘s growth. Also, the digital cable initiatives could not match up to the DTH challenge; cable has not been able to upgrade.

     

    How did you strike a balance between volume chase and maintaining a premium brand positioning?

    When we started out, we decided that we won‘t go to small towns and villages and chase low lying fruits. Our strategy was to first capture the top 50 towns and then spread out. Dish TV, on the other hand, tapped the cable dry areas and expanded outside.

    We feel ours has been the right approach. We have a better quality subscriber base. And while Dish TV has more subscribers, we are the biggest Indian DTH company when it comes to revenues.

    The dilemma continues even today: Should we go largely for value or look at volumes. It is easy to chase volumes. In the longer run, the correct strategy is not to lose sight of volumes but focus on value. We never panicked when our competitors mopped up more subscribers in a month. What matters in the long term is higher ARPUs and sticky customers.

    ‘Given the cable ARPUs and lack of exclusive content, it is difficult to independently drive them up beyond a point. The content cost is also high, while the hardware prices are not low enough. It is a tough game to play‘

    What other hard decisions did you have to take at the start?

    We had to decide whether the STBs should be given free or sold. We believed the free model, in vogue in matured ARPU markets, wouldn‘t work in India. That turned out to be the right decision.

     

    Why did you soon have to revise your investment plan from Rs 30 billion to Rs 40 billion?

    We were initially looking at an investment of Rs 12 billion and then came up with a realistic estimate of Rs 30 billion. Subsequently, we revisited that plan and estimated our funding requirement to be Rs 40 billion. There are too many DTH operators and the price war came at an early stage of the game.

     

    Has that business projection gone through further changes?

    Our fund requirement will be over Rs 40 billion. We have already spent more than Rs 35 billion and have mopped up over six million customers. We are on course for operational break even. Broadly, this takes 5-7 years.

     

    Aren‘t you disappointed that Tata Sky still lags behind Dish TV in subscriber numbers?

    They may have more subscribers because of their first mover advantage, but we have beaten them in revenues. Though ARPUs (average revenue per user) for the sector are still pretty bad (Rs 135-150), ours is the highest in the industry (Rs 195).

    What we have learnt in this business is that collecting subscriber numbers is not enough. This is a sector where subscriber acquisition costs are high and ARPUs low. If you have a faster churn, then you have a real problem. Sun Direct and Videocon d2h run a danger in that.

     

    Can ARPUs rise to a comfortable level?

    Given the cable ARPUs and lack of exclusive content, it is difficult to independently drive them up beyond a point. The content cost is also high, while the hardware prices are not low enough. It is a tough game to play.

    The hyper competition among the DTH players has not been healthy. Everybody has bled heavily on account of the price war.

     

    And still in this clutter, Tata Sky has stood out as a brand. How did you manage that?

    Building a brand in this sector is a unique challenge. We build a pedigree brand with our high quality and performance focus. When you have the ‘Tata‘ and ‘Sky‘ names behind the product, the challenge is to weave a double-barrelled branding. The fact is that we have stood up against Airtel and the others.

    We have also extended the brand to franchises like Tata Sky Plus. The satisfying part is that in a highly cluttered environment, we have spent less for many years than our competitors, but used the medium much more effectively. We have also used celebrity advertising in a manner that was never done before.

     

    How has Sky been an advantage?

    We could have the best and world class knowhow from them. There were 30 expatriates working in Tata Sky before we even started our service. That resource is continually available to us.

    The Tata brand, in turn, brought in credibility with the government, trade, consumers and potential employees.

     

    Q. Star has upped its effective stake in Tata Sky to 29.8 per cent. The additional 9.8 per cent stake for Rs 3.24 billion pegs the valuation of Tata Sky at Rs 33.06 billion. The market cap of dish TV is Rs 74.73 billion. Are you happy with this valuation?

    Star will hold close to 30 per cent in Tata Sky. The Tatas will have around 60 per cent and Temasek 10 per cent.

    As for Tata Sky‘s valuation, this won‘t be the right way to look at it. The stake acquisition is done by one of the promoter partners. This is an internal and not an external valuation.

     

    Q. What are the technological advantages that Tata Sky has brought to the sector?

    We continue to lead the way in terms of technology, customer service or innovations relating to packaging. We are the leading platform to promote education – be it to small children or to housewives learning English. We pioneered the concept of pre-paid customers in DTH. We are clearly at the forefront when it comes to PVR, VOD and other interactive services.

    We have played a significant role in bringing the hardware costs down. Interestingly, the set-top box (STB) cost is cheaper from China to India than in China itself. We have also set some global benchmarks in productivity, growth and value creation.

    We have used consumer research very effectively. TruChoice, for instance, recognises viewership habits and makes that content available. People tend to buy genres and that is related to the nature of the family. For those families having children, it is important to have kids programming and knowledge in the menu. Families with older people will tend to look at movie packs.

     

    Q. How do you approach the South India market?

    We don‘t compete on price. The market is too unremunerative.

     

    Q. On the content cost front, do you see the Trai tariff order (channels to give to DTH at rates 35 per cent of analogue cable) as the right formula for DTH companies?

    This is a step in the right direction, though we feel it should have been closer to 20 per cent. Broadcasters shouldn‘t have moved the court. Addressability is in the interest of the broadcasters; and yet they are resisting any kind of tariff regulation. I see short term perspectives prevailing in the entire media industry.

    Q. Do you see the telecom companies having an advantage in the DTH space?

    The telecom players feel that there will ultimately be convergence and they will stand to gain. They are, perhaps, driven by some fancy strategists. The truth is that there is need for domain expertise in each of these businesses. And each of these businesses are unique.

     

    Q. Why is private equity reluctant to invest in the DTH companies?

    I do not see too much private equity coming into the DTH sector. There will be a selective and long term approach. Fundamentally, the business model is saddled with high taxation, low ARPUs, and too many players. Profitability is an issue. In many cases, by piling up customers, you are not building assets but liabilities.

    We could, perhaps, see consolidation in the next few years. There will be space for three players and maybe a regional operator.

     

    Q. How much of capital will be required by the time the DTH sector reaches 50 million subscribers?

    The industry will need Rs 200-250 billion for 45-50 million subscribers. There is already an investment of Rs 120-150 billion. But there won‘t be shortage of capital to fund the sector‘s growth.