Tag: TV content

  • DD’s news content to be available in Australia under MoU with SBS

    DD’s news content to be available in Australia under MoU with SBS

    Mumbai: In a significant move, Indian pubcaster Prasar Bharati on Monday signed a memorandum of understanding (MoU) with Australia’s public service broadcaster Special Broadcasting Service (SBS) to boost co-operation in the field of broadcasting. This alliance will expand the reach of DD News, DD India, and multiple language services of DD News amongst the Indian diaspora in Australia. 

    “Through this MoU, the two broadcasters will explore opportunities in co-production and joint broadcasting of programmes spanning across multiple genres. They will also exchange programmes (radio and television content) in the fields of culture, education, science, entertainment, sports, news, travel, music and arts,” said the media statement issued by the ministry.

    “It would allow for the exchange of programmes, expertise in this sector and would facilitate daily slots on TV channels in Australia for DD India, DD News and DD Sahyadri,” commented India’s foreign secretary Harsh Vardhan Shringla.

    Both public broadcasters will also exchange professionals and organise their training to share knowledge on technical know-how and programme production, etc. They will provide facilities and general assistance, including supply of information and other organisational and technical assistance, to each other, said the statement.

  • Sri Lanka’s higher TV content import levy to hurt Indian TV channels

    Sri Lanka’s higher TV content import levy to hurt Indian TV channels

    MUMBAI: Ouch! India's content syndication executives are yelping in pain. Sri Lanka’s (SL) finance & mass media minister Mangala Samaraweera, earlier this month,  issued a set of regulations which increases the levy that the government will be imposing on imported dubbed teledramas, films and commercial programmes to SLRs 150,000 from SLRs 90,000 earlier.

    The idea behind the move: push local creativity and production and ensure the propagation of the emerald isle’s culture and values.

    The country’s creative community – including film and TV producers, actors –  has for long been lobbying the government to levy a higher import tax on content.  

    Says a media observer: “The Sri Lankan market accounts for around six to seven per cent of Indian broadcasters and distributors global exports of TV and audiovisual content. With this 60 per cent tax imposition, broadcasters there are definitely going to take a hard look at their expense sheets and probably halve their imports. And this will impact exports from India which are likely also to fall.”

    Over the past few years, Sri Lanka’s broadcasters have been increasing the import of popular shows from India and dubbing them in Tamil and Sinhalese. “In the case of some of them, Indian shows have made up to 20-50 per cent of their prime time programming,” says a private satellite TV executive.

    Adds another Sri Lankan media observer: “People in Sri Lanka love quality programmes and when the content buyer is buying content from India or any other players the quality is guaranteed. All the imported programmes are always on top of the charts and  local programmes are not doing that great.”

    Sources reveal that Star Plus’ library show Yeh Hain Mohabbatein was amongst the most popular shows on one of the Sri Lankan channels.

    Adds the observer: “With duties being imposed at the rate of SL Rs150,000  for  a maximum of a four part programme slot of two hours, with each show being of 30 minutes duration, SL broadcasters will have to perforce give a boost to the sagging SL production sector.  (The second four part slot will attract a penalty of SL Rs 250,000 and SL Rs 350,000 for anything beyond that.”

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    India’s syndication executives are, however, hoping this is a temporary phenomenon. Last year, Pakistan’s government had put up a full stop to TV shows and film imports from  India, which had left audiences there annoyed and the ecosystem reeling.  It however, backtracked this year and allowed Pakistani’s TV channels to import TV shows and film, with some restrictions.

    Indian executives had heaved a sigh of relief then. Hopefully, that will be repeated in the case of Sri Lanka too.

  • Govt may invite bids for railway TV content this month, market pegged at Rs 2.3k cr

    MUMBAI: Content on demand on trains and at stations is a sizeable market, says a report by the Boston Consulting Group (BCG) and, the Indian Railways estimates the infotainment market to be around Rs 2,277 crore in three years’ time.

    The Railway Ministry, in a bid to revamp railways, may invite bids for Content on Demand (CoD) and rail radio services in April. Services that would be included under the CoD initiative are — movies, TV serials, short videos, kids’ shows and devotional content. The CoD would also include streaming audio such as regional songs, movie songs, and devotional music; and providing electronic newspapers, gaming and educational content.

    Railways’ bids for app-based cab services will also be invited by May.

    The video, radio, digital music and digital gaming contracts will be for a period of 10 years. The railways is, through these initiatives, expecting revenue of Rs 16,000-20,000 crore in the next 10 years.

    As per the BCG report, to provide offline content, railways may have to shell out Rs 38,000 per coach. But, the online content will be expensive — for Rs 25 lakh each. Coaches are required to be well equipped to offer content streamed via the internet.

    The non-fare revenue plan is to roll out rail radio and CoD on one-third of the trains in the first year and most of the remainder in the second year. Ideas such as allowing weddings at stations or giving branding rights of trains and stations to FMCG companies.

    Content companies such as Balaji Productions, Eros Entertainment and Shemaroo Entertainment, and aggregators such as Fever FM, Radio Mirchi, Hungama and Bindass may be interested in bidding. Internet players and service-providers in the offline streaming market include Moving Talkies, Dwingloo, PressPlay TV, Fropcorn, TouringTalkies, Zonk, CloudPlay and MyFreeTV.

    Telecom companies such as Vodafone, Idea, Airtel, are also expected to be interested. The content providers will offer to the passengers both, paid and free content. The service provider shall provide only ‘U’, ‘U/A’ and ‘PG’ rated video content. ‘A’ rated content shall not be allowed.

    This government policy includes providing video and radio content through WiFi in stations and on trains, leasing spaces on platforms to automated teller machines, giving outdoor spaces for installing advertising hoardings and billboards.

    According to the railways, the entertainment CoD will be provided on the personal devices of passengers at stations and in trains and in a phased manner, which will be listed out in the Tender Document. The licensee/service provider will be permitted to provide streaming video and audio content services. Radio, however, will not be allowed at stations.

  • Which TV content grabs south India’s eyeballs?

    Which TV content grabs south India’s eyeballs?

    MUMBAI: When we talk about the television industry, everyone is aware that the Hindi-speaking market is vast. However, a significant part of the industry is concentrated in another part of India — the southern market. Its a highly influential market for advertisers.

    A recent newsletter released by the television ratings body Broadcast Audience Research Council (BARC) India ‘South Special Edition’ seeks to answer all the questions as to how the southern India is different from HSM w.r.t. important audience metrics? How southern states differ from each other in terms of programme theme preferences.

    Avg. Time Spent (ATS) vs Opportunity to See (OTS) and performance of product categories? How does the popular Hindi content dubbed in southern languages perform? And, most importantly, what the southern market watches on its television sets?

    As per the BARC study, south India has a lower share in the movies genre as compared to GEC. On the other hand, its share in GEC and news channels is higher than HSM. Also, within the regions, the relative ranking for most genres remains constant across HSM and South.

    public://barc3.jpg

    Surprisingly, programme themes and channel genres do not show the same trends across HSM and South. Serials, which are the staple of GEC channels (which saw the highest share in terms of channel genre), sees a drop in share for South as compared to the share for channel genre.

    Similarly, while movie channels are viewed lesser than HSM, in South, the trend is reversed when it comes to film-based programs i.e. South has a higher share compared to HSM.

    public://barc4.jpg

    The study also shows that South Indian viewership seems to begin earlier in the day than HSM and also end up earlier. South has a higher viewership than HSM only during  early morning hours (05:00-08:00).

    public://barc1.jpg

    Tile the gap between HSM and South reduces marginally during 18:00-21:00  hrs. South seems to have an earlier prime¬ time than HSM. It is clear that South and HSM do not have the same viewership trends.

    public://barc2.jpg

    BARC studies showed that the Southern Market shows the highest inclination towards film-based content followed by serials driven by AP/Telangana and Kerala, respectively. Kerala watches less movies as compared to other markets.

    public://barc5.jpg

    On the other hand, AP/Telangana watches less serials and more of news than other southern markets. In most of the markets, the most watched TV content is film-based followed by serials. Content based on music and tourism is the least popular in southern markets.

    How different are southern states in terms of rural and urban?

    The urban and rural viewership is comparable throughout the day with both seeing a peak during the prime-time. However, as opposed to the rest of the day, during prime-time hours, it is mainly the rural markets which seem to be driving the viewership and not urban markets.

    public://barc8.jpg

    When we look at states within urban and rural markets,  while rural markets have similar viewership trends across states, it is not the same case with urban markets. In urban markets, the viewership among markets differs between prime time hours and non-prime time hours. During non-prime time hours, AP/Telangana has a maximum viewership. After AP/Telangana, the maximum viewership alternates between TN/Pondicherry and Karnataka markets with Kerala having the lowest viewership for most day parts.

    public://barc9.jpg

    However, during prime time hours, this order is completely changed. Urban Karnataka has the maximum viewership post 21:00 hrs and this lead continues into late night  hours as well.

    What is interesting is that even among the rural markets, Karnataka displays similar behaviour with respect to prime time viewership. During late night  hours, Kerala, which is a relatively smaller market, sees the highest viewership.

    public://barc10.jpg

    Conversely, TN/Pondicherry, which is one of the bigger markets during non-primetime hours, shows the least viewership during prime time hours in both rural and urban markets.

    How is Hindi content dubbed in south languages performing?

    Popular content from Hindi GECs is now being dubbed and shown on southern GECs. This phenomenon is seen across all southern states with the exception of Karnataka. Shows from leading channels such as Star Plus (Diya Aur Baati Hum. Siya Ke Ram. etc.), Colors (Naagin. Sasural Simar Ka, Balika Vadhu, etc.), Zee TV (Gangaa, Kumkum Bhagya, Ek Mutthi Aasman, etc.) and Sony (CID, Bade Achhe Lagte Hai, etc.), have been dubbed.

    Interestingly, in AP/Telangana market, none of the channels sees an increase in viewership for Hindi dubbed content. In the other two markets, viz. Kerala and TN/Pondicherry, Hindi dubbed content sees a mixed response with some channels seeing a higher viewership than the original content in regional language.

    In the Kerala market, the highest spike is seen by Asianet Plus. Similarly, in TN/Pondicherry market, maximum growth is seen by Polimer, where the viewership for Hindi dubbed content is more than double that of the original content. This is on the back of several popular shows.

    public://barc11.jpg

     

  • Which TV content grabs south India’s eyeballs?

    Which TV content grabs south India’s eyeballs?

    MUMBAI: When we talk about the television industry, everyone is aware that the Hindi-speaking market is vast. However, a significant part of the industry is concentrated in another part of India — the southern market. Its a highly influential market for advertisers.

    A recent newsletter released by the television ratings body Broadcast Audience Research Council (BARC) India ‘South Special Edition’ seeks to answer all the questions as to how the southern India is different from HSM w.r.t. important audience metrics? How southern states differ from each other in terms of programme theme preferences.

    Avg. Time Spent (ATS) vs Opportunity to See (OTS) and performance of product categories? How does the popular Hindi content dubbed in southern languages perform? And, most importantly, what the southern market watches on its television sets?

    As per the BARC study, south India has a lower share in the movies genre as compared to GEC. On the other hand, its share in GEC and news channels is higher than HSM. Also, within the regions, the relative ranking for most genres remains constant across HSM and South.

    public://barc3.jpg

    Surprisingly, programme themes and channel genres do not show the same trends across HSM and South. Serials, which are the staple of GEC channels (which saw the highest share in terms of channel genre), sees a drop in share for South as compared to the share for channel genre.

    Similarly, while movie channels are viewed lesser than HSM, in South, the trend is reversed when it comes to film-based programs i.e. South has a higher share compared to HSM.

    public://barc4.jpg

    The study also shows that South Indian viewership seems to begin earlier in the day than HSM and also end up earlier. South has a higher viewership than HSM only during  early morning hours (05:00-08:00).

    public://barc1.jpg

    Tile the gap between HSM and South reduces marginally during 18:00-21:00  hrs. South seems to have an earlier prime¬ time than HSM. It is clear that South and HSM do not have the same viewership trends.

    public://barc2.jpg

    BARC studies showed that the Southern Market shows the highest inclination towards film-based content followed by serials driven by AP/Telangana and Kerala, respectively. Kerala watches less movies as compared to other markets.

    public://barc5.jpg

    On the other hand, AP/Telangana watches less serials and more of news than other southern markets. In most of the markets, the most watched TV content is film-based followed by serials. Content based on music and tourism is the least popular in southern markets.

    How different are southern states in terms of rural and urban?

    The urban and rural viewership is comparable throughout the day with both seeing a peak during the prime-time. However, as opposed to the rest of the day, during prime-time hours, it is mainly the rural markets which seem to be driving the viewership and not urban markets.

    public://barc8.jpg

    When we look at states within urban and rural markets,  while rural markets have similar viewership trends across states, it is not the same case with urban markets. In urban markets, the viewership among markets differs between prime time hours and non-prime time hours. During non-prime time hours, AP/Telangana has a maximum viewership. After AP/Telangana, the maximum viewership alternates between TN/Pondicherry and Karnataka markets with Kerala having the lowest viewership for most day parts.

    public://barc9.jpg

    However, during prime time hours, this order is completely changed. Urban Karnataka has the maximum viewership post 21:00 hrs and this lead continues into late night  hours as well.

    What is interesting is that even among the rural markets, Karnataka displays similar behaviour with respect to prime time viewership. During late night  hours, Kerala, which is a relatively smaller market, sees the highest viewership.

    public://barc10.jpg

    Conversely, TN/Pondicherry, which is one of the bigger markets during non-primetime hours, shows the least viewership during prime time hours in both rural and urban markets.

    How is Hindi content dubbed in south languages performing?

    Popular content from Hindi GECs is now being dubbed and shown on southern GECs. This phenomenon is seen across all southern states with the exception of Karnataka. Shows from leading channels such as Star Plus (Diya Aur Baati Hum. Siya Ke Ram. etc.), Colors (Naagin. Sasural Simar Ka, Balika Vadhu, etc.), Zee TV (Gangaa, Kumkum Bhagya, Ek Mutthi Aasman, etc.) and Sony (CID, Bade Achhe Lagte Hai, etc.), have been dubbed.

    Interestingly, in AP/Telangana market, none of the channels sees an increase in viewership for Hindi dubbed content. In the other two markets, viz. Kerala and TN/Pondicherry, Hindi dubbed content sees a mixed response with some channels seeing a higher viewership than the original content in regional language.

    In the Kerala market, the highest spike is seen by Asianet Plus. Similarly, in TN/Pondicherry market, maximum growth is seen by Polimer, where the viewership for Hindi dubbed content is more than double that of the original content. This is on the back of several popular shows.

    public://barc11.jpg