ITV

Tag: TV Pulse

  • Reel Pointer – predict TVRs for blockbusters on TV

    Reel Pointer – predict TVRs for blockbusters on TV

    TV Pulse 2005, the annual research initiative put together by the Joint Industry Body (JIB) and Tam Media, series continues with the paper – Reel Pointer – A Tool to predict ratings for Blockbuster movies on TV.

     

    This paper was contributed by Lodestar Media – Winner of the Best Paper award at Emmies – 2004.

     

    • Devdas acquired for Rs 12 crores, delivers only 3.7 TRPs
    • Humraaz delivers 12.0 TRPs, surpassing Kabhi Khushi Kabhie Gham‘s 8.1 TRPs
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    The challenge was to bridge the information gap in the current TV programming scenario where blockbuster movies are among the biggest viewership/revenue genres but data to evaluate and price them does not exist. The aim was to predict TRPs of blockbuster films on TV and set buying benchmarks.

     

    METHODOLOGY: REGRESSION MODELING

     

    TRPs of past blockbuster movies modelled against factors that would help predict future performance.

     

    Arriving at the factors:

     

    • Box-office Collections – a quantifiable measure of viewer appeal and a sum of all the qualitative factors like star cast, music score, storyline and director that affect a film.
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    • Recency – the interval between the time the movie was released to the time it was shown on TV. It was calculated as the number of days from release to telecast date.
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    • Repeats – A movie that had been repeated too often was likely to lose its appeal hence assumed inversely related to TV rating.
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    • Promos – Directly responsive to viewership, the number of promos had to be taken into account.
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    • Channel of telecast – The cable operator plays a role in deciding whether a C&S home can receive a TV channel or not. Connectivity, in turn, affects a film‘s viewership.
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    • Daypart – TRP was affected by the daypart or time of telecast (early prime, prime, late prime…)
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    • Day – Weekends were associated with blockbusters. A film telecast on a Saturday night was likely to get more viewer interest than one shown on a Tuesday afternoon. However Zee scheduled its blockbusters on Thursdays to capitalise on weaker competitive programming.
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    • Opposite viewing – The impact of competitive programming also had to be taken into account. A blockbuster movie scheduled on a channel at prime time may lose more viewers to programmes on other channels than a non prime-time film.
  • Deriving further insights from TAM data after a psychographic definition

    Deriving further insights from TAM data after a psychographic definition

    TV Pulse 2005, the annual research initiative put together by the Joint Industry Body (JIB) and Tam Media, series continues with the paper – Deriving further insights from TAM data after a psychographic definition.

     

    The paper by Paper contributed by ATG, Group-M attempts to describe one such exercise undertaken by MCI in conjunction with TAM.

     

    One common issue with marketers of high-end products is defining their target audience through a combination of demographics and psychographics. In-depths, pen-portraits etc yield particular psychographic traits that possibly are unique to this particular category’s consumers. However, media planning and buying requires quantification. Therefore, key questions addressed in this paper are:

     

    • How does one size up a psychographic target?
    • What are ways in which one can then derive some broad media consumption learning?
    • How can one then, use some kind of ‘bridge’ definition of a TA that would help one analyze dynamic media information through viewership databases like TAM?
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    Preamble viewership of channels with international news and entertainment could comprise of broadly two kinds of audiences. One is that segment which is genuinely interested in such programming as against other viewers who just dabble with such channels. Marketers who advertise in such channels are more interested in reaching the former. The latter would either not be part of their source of business volumes or could be reached through other cost efficient methods.

     

    The objective, therefore of the analysis were:

     

    1. To determine the various audience clusters of Category X and size up those who are skewed to English programming (International Entertainment and News)
       
    2. RLD analysis of heavy viewers of English entertainment and the skewness of various channels on this definition of the TA.

    This detailed paper clearly showed that combining a psychographic definition along with a special analysis using TV data helped make a smarter channel selection for this brand.

     

    The primary objective is to substantiate the hyphothesis that Category X consumption is skewed to a particular cluster which is characterised by heavy viewing of English programming. Also, it is to determine the overall size of this cluster in the broad demographic. This is important, as a marketing manager should avoid over/under-estimating the size of this up-market audience. A realistic idea of the size would help fix some kind of budget allocation across various audience clusters.

     

    The second objective would help answer which of the programming driven channels have a greater composition of hard-core international programming viewers‘ vs the ‘dabblers‘, as has been elaborated in the preamble. An extensive battery of over 290 statements allows the analyst to do various combinations before finalising on clusters that are internally homogenous and yet differentiated across.

     

    The paper points out that combining a psychographic definition along with a special analysis using TV data helps make a smarter channel selection for this brand.

  • Have you taken my appointment yet? – A study on programme promos

    Have you taken my appointment yet? – A study on programme promos

    TV Pulse 2005, the annual research initiative put together by the Joint Industry Body (JIB) and Tam Media, series continues with the paper – Have you taken my appointment yet? – A study on programme promos.

     

    The paper has been put together by Rashmi Wadhwa, MICA with inputs and guidance from Tam Media Research VP Atul Phadnis and MICA Tara Nair.

     

    Among the various marketing activities undertaken by TV channels, On-air promos are the most prevalent form of marketing used, but at the same time they are also the most debated ones. Considerable work has been done to enhance the returns on these promotions by studying factors like TRPs, reach, frequency, etc. But an area that continues to hold latent potential is the effectiveness of elements intrinsic to the production of promo itself, that is, the constituents of the creative that can act as perpetuators for watching the program.

     

    This paper by Rashmi Wadhwa, MICA (with inputs & guidance from Mr. Atul Phadnis, VP – TAM Media Research & Director, S-Group Dr. Tara Nair, Faculty – MICA) studied the relationship between creative elements of a promo and audience intention to walk-in to the program. Apart from identifying the effective creative elements, this study also understands the influence they can command on the conversion of promo viewers to program watchers. The first stage of the study involved identifying various elements that can constitute an ‘on –air promo’. Eleven factors were identified on the basis of secondary and primary research. The primary study was conducted on three families (SEC A: SEC B:: 2:1) in the form of Focus Group Discussions. Some of the many promo creative elements identified at the end of the study were:

     

    1. Understanding theme 2. Liking the theme 3. Familiarity with cast 4. Liking of cast 5. Interactivity 6. Novelty
    7. Age appeal 8. Duration of the promo 9 Background/sets
    10 Curiosity generated 11 Background music

     

    The above eleven elements were then tested in the second stage of the study to evaluate the effect they can command on promo viewers in converting them to program viewers.

     

    The study was conducted on a sample of 120 individuals with 60 respondents each in the age group 15-24 and 25-45. The sample was also equally divided across gender. In this stage, each viewer was exposed to a promo (pilots obtained from Adex India) and scores were obtained on each of the eleven creative elements and ‘intention to watch the program’ for the promo shown.

     

    The scores were obtained on a 7-point Likert scale and a correlation drawn between each of the creative elements and ‘intention to watch’ to understand their strength of association.

     

    Findings of the Study

    The study analyzed the data obtained across different parameters like genres, type of promotions, gender and age and established the importance of these parameters varies across these elements.

     

    The following chart gives the correlation coeffeicients between the various elements of the promo and the intention to walk in to a programme from the drama genre.

    The liking of cast emerged to be the strongest factor for a promo to pull in audiences into a drama genre programme.

     

    The study manifests that a well crafted message of a promo stands an excellent chance of creating addiyional listening. It indicates that certain elements of the promo creative can play a significant role in attracting the promo viewers to the program and thereby, influencing viewership.

     

    Limitations

    This study is specific to Delhi and hence should not be taken as being indicative of the preference for TV programme promos across India

     

    The results for the study are applicable to the point in time when the study was actually conducted, since viewership behaviour is liable to change with time