Tag: TV

Asian Paints ‘Baarish’, proves O&M point

MUMBAI: Asian Paints has roped in Ogilvy & Mather as the creative agency to conceptualise ‘Baarish Ko Aane Do’ campaign for UltimaProtek. The brief given to the agency was to establish UltimaProtek as the best waterproofing paint.

There is a clear opportunity within the exterior category to own a differentiated, stable, strong and consistent positioning that is rooted in highlighting water as the main cause of all exterior problems. With UltimaProtek and its superior water protection properties, Asian Paints can confidently tap into this category opportunity. This will also enable AP to elevate the brand stature for UltimaProtek as a technologically-superior and innovative painting system in the exteriors category.

With this objective in mind, the team came up with the core thought, “Since the product can really withstand the pressure of heavy rains, why don’t we dare the rains to see if they can overcome us.”

A truly refreshing and interesting take on the brief, this dare allows for various extensions across media. To launch the campaign we have a film with our brand ambassador, Ranbir Kapoor, in a never ever seen role before, an acclaimed classical singer, exponent of Raag Malhar. He is in love with his neighbour but her parents want to marry her off to someone else. So what does he do? Every time the girl’s parents fix a match, he ruins it by calling upon the rain to create havoc in their life and their non-Asian Paints house. Finally the girl’s parents give in. And our classical singer gets the girl thanks to his Raag that calls upon the rain and Asian Paints UltimaProtek that has kept his house always protected in spite of the heavy rain called upon by the classical singer.

Ogilvy Mumbai executive creative director said, “We had a lot of fun working on this brief. The fun and the madness is quite evident in the work. I must thank Prasoon Pandey for making this commercial come alive. My team and I are looking forward to execute the other surround ideas on the same platform.”

In addition to the TVC there are various ideas in the pipeline stemming from the core idea of Baarish Ko Aane Do. The campaign will be live across TV, POS, OOH, press and digital.

January 10, 2017
Asian Paints ‘Baarish’, proves O&M point

MUMBAI: Asian Paints has roped in Ogilvy & Mather as the creative agency to conceptualise ‘Baarish Ko Aane Do’ campaign for UltimaProtek. The brief given to the agency was to establish UltimaProtek as the best waterproofing paint.

There is a clear opportunity within the exterior category to own a differentiated, stable, strong and consistent positioning that is rooted in highlighting water as the main cause of all exterior problems. With UltimaProtek and its superior water protection properties, Asian Paints can confidently tap into this category opportunity. This will also enable AP to elevate the brand stature for UltimaProtek as a technologically-superior and innovative painting system in the exteriors category.

With this objective in mind, the team came up with the core thought, “Since the product can really withstand the pressure of heavy rains, why don’t we dare the rains to see if they can overcome us.”

A truly refreshing and interesting take on the brief, this dare allows for various extensions across media. To launch the campaign we have a film with our brand ambassador, Ranbir Kapoor, in a never ever seen role before, an acclaimed classical singer, exponent of Raag Malhar. He is in love with his neighbour but her parents want to marry her off to someone else. So what does he do? Every time the girl’s parents fix a match, he ruins it by calling upon the rain to create havoc in their life and their non-Asian Paints house. Finally the girl’s parents give in. And our classical singer gets the girl thanks to his Raag that calls upon the rain and Asian Paints UltimaProtek that has kept his house always protected in spite of the heavy rain called upon by the classical singer.

Ogilvy Mumbai executive creative director said, “We had a lot of fun working on this brief. The fun and the madness is quite evident in the work. I must thank Prasoon Pandey for making this commercial come alive. My team and I are looking forward to execute the other surround ideas on the same platform.”

In addition to the TVC there are various ideas in the pipeline stemming from the core idea of Baarish Ko Aane Do. The campaign will be live across TV, POS, OOH, press and digital.

January 10, 2017
Advertisers target rural north & south zone on serials & film-based content: BARC

MUMBAI: None realised the importance of rural market until BARC India started monitoring viewing habits in the countryside. After the TV audience measurement system gave its ratings, the industry woke up to the potential of this market.

A recent newsletter released by BARC India emphasises on the viewing habits of the viewers on different fronts.

From one front, this research explores the advertisers and marketers targeting north and south zone on serials and film-based content to reach their respective audience.

On an overall level for rural India, serial-based programmes secure the highest share, followed by film-based programmes. This pattern is consistent across zones with the exception of south India. Viewership for serials is driven majorly by the north zone while film-based programmes have maximum viewership in the south zone, which does not come as a surprise.

Most of the programme themes are driven by south zone. The only exception is music which is driven almost entirely by the north zone. For broadcasters in the serials and music genre, north rural market is the key.

For advertisers and marketers targeting north and south zone, serials and film-based content will be the ‘Holy Grail’ to reach their audience respectively as over 30 per cent of the viewership is attributed to each of these content types across zones.

For marketers targeting west or east zone, frequency-based plans yield results easily. On the other hand, for those targeting north, reach-based plans may be more achievable.

On an overall level, the south zone registers the highest reach and ATS ( Average Time Spent) among the four zones in rural market. Looking at the west zone, ATS is the second highest after south zone. However, it has relatively lower reach. This shows that audience in the western rural market has lower reach but they spend a high amount of time consuming television content. Conversely, the north zone has the lowest ATS but has a comparatively better reach. One can infer that audience in the north zone does not stick to television viewing for as long as those in other zones.

The rural viewership pattern

Urban and rural India follow distinctly different viewing patterns across the day. Rural India starts its day much earlier than urban India around 5am, and continues to have higher viewership until 9am.

Post 9am, urban India’s viewership catches up and has higher viewership than the rural India throughout the afternoon and evening. Both, urban and rural India see a marginal peak during 2-230pm. However, rural India sees an early spike for prime time as compared to urban India. The highest viewership in rural India is generated during the time-band 830-9pm followed by the time-band 8-830pm.

Viewership starts declining around 1030pm hinting at an early wrap-up for the day for the rural audience.

If one compares all the four zones in the rural market, it seems like the viewership is driven by southern rural market followed by the west zone. The lowest viewership in rural market can be observed in the north zone which has the lowest average rating percentage for the entire day.

If one looks at the zone-wise viewership, both weekdays and weekends are driven by the south zone followed by west zone. Overall viewership for weekends is marginally higher than weekdays for rural India. At the zone level, this increase for weekend viewership is the maximum for the west zone and the least for the east zone.

Viewership differs during prime time

Millennials in rural India could be the next big target for broadcasters and advertisers to hold on to.

Viewership in India during prime time is equally divided among both the genders. However, if compared by the four zones, north and west zone have a higher percentage of male viewers (51 per cent and 52 per cent, respectively) and Millennials (age-group 15-30) form the largest percentage of audience in rural India. The pattern is the same among all the four zones with the exception of south where Gen X (age group 31-50) forms the largest percentage of the audience.

NCCS C (New Consumer Classification System) has the highest share of viewership among all zones in rural India. While the west zone and the east zone display a composition similar to rural India, the north zone and south zone have some variations. The north zone has a substantially higher composition of NCCS A & NCCS B, while the contribution of NCCS C is lower than the rural India average. Conversely, in the south zone, the contribution of NCCS A is low.

Surprisingly, film-based programmes, which have the maximum reach during prime time, have one of the lowest stickiness across rural India for all the four zones. Game/talk/quiz and lifestyle-based programmes can hold the audience for long as they have a healthy ratio for reach to fidelity. In rural India, stickiness for serial-based programs is the highest across programme themes.

Surprisingly, it is driven mostly by south zone, which had the lowest reach among all zones for this content. Interestingly, if one compares this to the audience composition analysed above, north zone and west zone, which have a higher percentage of male audience, also see higher stickiness for sports programmes. Lifestyle-based content in terms of stickiness has much better ratio of reach to fidelity across zones.

Ad sector popularity

The top ad sectors by viewership during prime time in rural India are personal care/hygiene, food & beverages, hair care and services etc.

Personal care/hygiene and hair care sector have a higher share in the north zone. This can also be seen while comparing all the zones for the ‘personal healthcare’ category, where again the north zone takes the lead.

On the other hand, the south zone is more inclined towards categories such as food and beverages, auto, durables and personal accessories.

Switching pattern for GEC & movie genre

Since most of the TV viewership is generated by GEC and the movie genre, it would be interesting to understand the switching pattern of rural India on a day-part level.

As observed in the paragraphs above, throughout the day, most of the switching to or from a channel genre happens due to audience switching the TV on or not. However, it declines during the later time-bands. The only exception is 6pm to 12 midnight where switching between movies and GEC is higher than viewers switching TV on during that time-band (with movies as reference). On comparing switching from movies to GEC genre, switching percentage remains almost comparable throughout the day.

On the other hand, switching from GEC to movies declines during later time-bands. On an overall level, switching from GEC to movies is seen more often that the switching from movies to GEC.

January 6, 2017
Advertisers target rural north & south zone on serials & film-based content: BARC

MUMBAI: None realised the importance of rural market until BARC India started monitoring viewing habits in the countryside. After the TV audience measurement system gave its ratings, the industry woke up to the potential of this market.

A recent newsletter released by BARC India emphasises on the viewing habits of the viewers on different fronts.

From one front, this research explores the advertisers and marketers targeting north and south zone on serials and film-based content to reach their respective audience.

On an overall level for rural India, serial-based programmes secure the highest share, followed by film-based programmes. This pattern is consistent across zones with the exception of south India. Viewership for serials is driven majorly by the north zone while film-based programmes have maximum viewership in the south zone, which does not come as a surprise.

Most of the programme themes are driven by south zone. The only exception is music which is driven almost entirely by the north zone. For broadcasters in the serials and music genre, north rural market is the key.

For advertisers and marketers targeting north and south zone, serials and film-based content will be the ‘Holy Grail’ to reach their audience respectively as over 30 per cent of the viewership is attributed to each of these content types across zones.

For marketers targeting west or east zone, frequency-based plans yield results easily. On the other hand, for those targeting north, reach-based plans may be more achievable.

On an overall level, the south zone registers the highest reach and ATS ( Average Time Spent) among the four zones in rural market. Looking at the west zone, ATS is the second highest after south zone. However, it has relatively lower reach. This shows that audience in the western rural market has lower reach but they spend a high amount of time consuming television content. Conversely, the north zone has the lowest ATS but has a comparatively better reach. One can infer that audience in the north zone does not stick to television viewing for as long as those in other zones.

The rural viewership pattern

Urban and rural India follow distinctly different viewing patterns across the day. Rural India starts its day much earlier than urban India around 5am, and continues to have higher viewership until 9am.

Post 9am, urban India’s viewership catches up and has higher viewership than the rural India throughout the afternoon and evening. Both, urban and rural India see a marginal peak during 2-230pm. However, rural India sees an early spike for prime time as compared to urban India. The highest viewership in rural India is generated during the time-band 830-9pm followed by the time-band 8-830pm.

Viewership starts declining around 1030pm hinting at an early wrap-up for the day for the rural audience.

If one compares all the four zones in the rural market, it seems like the viewership is driven by southern rural market followed by the west zone. The lowest viewership in rural market can be observed in the north zone which has the lowest average rating percentage for the entire day.

If one looks at the zone-wise viewership, both weekdays and weekends are driven by the south zone followed by west zone. Overall viewership for weekends is marginally higher than weekdays for rural India. At the zone level, this increase for weekend viewership is the maximum for the west zone and the least for the east zone.

Viewership differs during prime time

Millennials in rural India could be the next big target for broadcasters and advertisers to hold on to.

Viewership in India during prime time is equally divided among both the genders. However, if compared by the four zones, north and west zone have a higher percentage of male viewers (51 per cent and 52 per cent, respectively) and Millennials (age-group 15-30) form the largest percentage of audience in rural India. The pattern is the same among all the four zones with the exception of south where Gen X (age group 31-50) forms the largest percentage of the audience.

NCCS C (New Consumer Classification System) has the highest share of viewership among all zones in rural India. While the west zone and the east zone display a composition similar to rural India, the north zone and south zone have some variations. The north zone has a substantially higher composition of NCCS A & NCCS B, while the contribution of NCCS C is lower than the rural India average. Conversely, in the south zone, the contribution of NCCS A is low.

Surprisingly, film-based programmes, which have the maximum reach during prime time, have one of the lowest stickiness across rural India for all the four zones. Game/talk/quiz and lifestyle-based programmes can hold the audience for long as they have a healthy ratio for reach to fidelity. In rural India, stickiness for serial-based programs is the highest across programme themes.

Surprisingly, it is driven mostly by south zone, which had the lowest reach among all zones for this content. Interestingly, if one compares this to the audience composition analysed above, north zone and west zone, which have a higher percentage of male audience, also see higher stickiness for sports programmes. Lifestyle-based content in terms of stickiness has much better ratio of reach to fidelity across zones.

Ad sector popularity

The top ad sectors by viewership during prime time in rural India are personal care/hygiene, food & beverages, hair care and services etc.

Personal care/hygiene and hair care sector have a higher share in the north zone. This can also be seen while comparing all the zones for the ‘personal healthcare’ category, where again the north zone takes the lead.

On the other hand, the south zone is more inclined towards categories such as food and beverages, auto, durables and personal accessories.

Switching pattern for GEC & movie genre

Since most of the TV viewership is generated by GEC and the movie genre, it would be interesting to understand the switching pattern of rural India on a day-part level.

As observed in the paragraphs above, throughout the day, most of the switching to or from a channel genre happens due to audience switching the TV on or not. However, it declines during the later time-bands. The only exception is 6pm to 12 midnight where switching between movies and GEC is higher than viewers switching TV on during that time-band (with movies as reference). On comparing switching from movies to GEC genre, switching percentage remains almost comparable throughout the day.

On the other hand, switching from GEC to movies declines during later time-bands. On an overall level, switching from GEC to movies is seen more often that the switching from movies to GEC.

January 6, 2017
TCL reveals new TVs with top tech featuring Dolby vision

TCL reveals newLAS VEGAS: TCL®, one of the world’s largest and America’s fastest-growing television brand, today announced an innovative portfolio of new products at the 2017 International Consumer Electronics Show (CES). The latest additions feature Dolby Vision™ high-dynamic range (HDR) technology for powerful imaging, advanced LED phosphors to experience vivid colors closer to reality, and Contrast Control technologies to yield deeper blacks and brighter whites. A total of 25 new TCL Roku TVs are coming to the North American market this year across three series – C, P, and S – touting even better picture, sound, design and content than before. TCL’s C and P series meet the highest standards for content with stunning picture quality via Dolby Vision. Using Dolby’s universal HDR solution, these sets will support both Dolby Vision and generic HDR (HDR10), providing consumers maximum choice when it comes to content.

“We’re excited to partner with TCL to deliver Dolby Vision to more consumers than ever
before,” said Dolby Laboratories senior vice president – consumer entertainment group Giles Baker. “With Dolby Vision, you are able to enjoy a premium entertainment experience that is more life-like. Preserving the artistic intent of the content creator, watching Dolby Vision is more like looking through a window than at a screen.”

TCL continues to build on its partnership with Roku which began in 2014. The 2017 4K HDR TCL Roku TV models combine premium picture quality and industrial design with the latest version available of Roku OS and its extensive line-up of streaming channels – more than 4,500 channels and 450,000+ movies and TV episodes. With Roku OS 7.5, TCL Roku TVs can pause live over-the-air programming as well as stay current with automatic software updates providing new channels and features to offer an exceptional smart TV experience.

TCL Roku TV C-Series: Contemporary Design

The high-end C-Series marries stunning 4K high-dynamic range and super slim, elegant design for an upscale TV experience. The set supports Dolby Vision, which delivers the ultimate HDR imaging experience. Dolby Vision delivers images that are brighter than those that can be seen on today’s standard TV sets, deep darks that provide a new level of richness and precision, as well as expanded contrast while still maintaining lifelike color and detail.

Additionally, HDR Dynamic Contrast allows the contrast to be optimized for each HDR scene, delivering brighter whites and deeper blacks. They also feature wide color gamut with advanced LED phosphor for more realistic colors, brighter highlights and increased light-to-dark contrast. The C-Series smart TVs are equipped with TCL 4K Creative Pro up-scaling so viewers can enjoy their existing HD content with increased detail and realistic clarity, an enhanced Roku TV remote with headphone jack for private listening and voice search, high-speed 802.11ac wireless and Ethernet networking for faster streaming, and three HDMI® 2.0a ports with HDCP 2.2 so users can enjoy optimal functionality. The C-Series will be available this Spring with sizes ranging from 49 to 75 inches.

TCL Roku TV P-Series: Powerful Picture PerformanceTCL combines superior 4K UHD picture quality with Dolby Vision, which delivers the ultimate HDR imaging experience, in the P-Series. With HDR Contrast Control Zones, contrast is individually optimized across 72 zones to achieve deeper blacks and brighter whites. A wide color gamut with advanced LED phosphor steps up playback performance with exceptional colors, brighter highlights and increased light-to-dark contrast. Furthermore, P-Series TVs come packed with TCL 4K Creative Pro up-scaling, an advanced remote offering voice search and a headphone jack for private listening, high-speed 802.11ac wireless and Ethernet networking, and three HDMI 2.0a ports with HDCP 2.2.

Delivering premium Dolby Vision HDR picture quality at a great value, the 50 inch model will launch at $499.99 as part of a lineup that ranges from 50 to 65 inches.

TCL Roku TV S-Series: Smart Value

TCL brings together crisp 4K UHD picture performance, HDR and Creative Pro 4K upscaling for precise clarity and detail in the S-Series TCL Roku TVs. The television sets integrate a variety of innovative technologies and features to provide consumers with an exceptional viewing experience, including endless streaming entertainment, fast dual-band wireless connections and three HDMI ports for flexibility. Plus, the simple and intuitive user interface makes switching from streaming to cable and other devices a breeze. The S-Series will be available beginning this Spring with sizes ranging from 43 to 65 inches. TVs with top tech featuring Dolby vision

January 5, 2017
TCL reveals new TVs with top tech featuring Dolby vision

TCL reveals newLAS VEGAS: TCL®, one of the world’s largest and America’s fastest-growing television brand, today announced an innovative portfolio of new products at the 2017 International Consumer Electronics Show (CES). The latest additions feature Dolby Vision™ high-dynamic range (HDR) technology for powerful imaging, advanced LED phosphors to experience vivid colors closer to reality, and Contrast Control technologies to yield deeper blacks and brighter whites. A total of 25 new TCL Roku TVs are coming to the North American market this year across three series – C, P, and S – touting even better picture, sound, design and content than before. TCL’s C and P series meet the highest standards for content with stunning picture quality via Dolby Vision. Using Dolby’s universal HDR solution, these sets will support both Dolby Vision and generic HDR (HDR10), providing consumers maximum choice when it comes to content.

“We’re excited to partner with TCL to deliver Dolby Vision to more consumers than ever
before,” said Dolby Laboratories senior vice president – consumer entertainment group Giles Baker. “With Dolby Vision, you are able to enjoy a premium entertainment experience that is more life-like. Preserving the artistic intent of the content creator, watching Dolby Vision is more like looking through a window than at a screen.”

TCL continues to build on its partnership with Roku which began in 2014. The 2017 4K HDR TCL Roku TV models combine premium picture quality and industrial design with the latest version available of Roku OS and its extensive line-up of streaming channels – more than 4,500 channels and 450,000+ movies and TV episodes. With Roku OS 7.5, TCL Roku TVs can pause live over-the-air programming as well as stay current with automatic software updates providing new channels and features to offer an exceptional smart TV experience.

TCL Roku TV C-Series: Contemporary Design

The high-end C-Series marries stunning 4K high-dynamic range and super slim, elegant design for an upscale TV experience. The set supports Dolby Vision, which delivers the ultimate HDR imaging experience. Dolby Vision delivers images that are brighter than those that can be seen on today’s standard TV sets, deep darks that provide a new level of richness and precision, as well as expanded contrast while still maintaining lifelike color and detail.

Additionally, HDR Dynamic Contrast allows the contrast to be optimized for each HDR scene, delivering brighter whites and deeper blacks. They also feature wide color gamut with advanced LED phosphor for more realistic colors, brighter highlights and increased light-to-dark contrast. The C-Series smart TVs are equipped with TCL 4K Creative Pro up-scaling so viewers can enjoy their existing HD content with increased detail and realistic clarity, an enhanced Roku TV remote with headphone jack for private listening and voice search, high-speed 802.11ac wireless and Ethernet networking for faster streaming, and three HDMI® 2.0a ports with HDCP 2.2 so users can enjoy optimal functionality. The C-Series will be available this Spring with sizes ranging from 49 to 75 inches.

TCL Roku TV P-Series: Powerful Picture PerformanceTCL combines superior 4K UHD picture quality with Dolby Vision, which delivers the ultimate HDR imaging experience, in the P-Series. With HDR Contrast Control Zones, contrast is individually optimized across 72 zones to achieve deeper blacks and brighter whites. A wide color gamut with advanced LED phosphor steps up playback performance with exceptional colors, brighter highlights and increased light-to-dark contrast. Furthermore, P-Series TVs come packed with TCL 4K Creative Pro up-scaling, an advanced remote offering voice search and a headphone jack for private listening, high-speed 802.11ac wireless and Ethernet networking, and three HDMI 2.0a ports with HDCP 2.2.

Delivering premium Dolby Vision HDR picture quality at a great value, the 50 inch model will launch at $499.99 as part of a lineup that ranges from 50 to 65 inches.

TCL Roku TV S-Series: Smart Value

TCL brings together crisp 4K UHD picture performance, HDR and Creative Pro 4K upscaling for precise clarity and detail in the S-Series TCL Roku TVs. The television sets integrate a variety of innovative technologies and features to provide consumers with an exceptional viewing experience, including endless streaming entertainment, fast dual-band wireless connections and three HDMI ports for flexibility. Plus, the simple and intuitive user interface makes switching from streaming to cable and other devices a breeze. The S-Series will be available beginning this Spring with sizes ranging from 43 to 65 inches. TVs with top tech featuring Dolby vision

January 5, 2017
Hindi GECs to be bigger and better in 2017

MUMBAI: As the new year 2017 begins, broadcasters across Hindi general entertainment channels, are all set to come up with their big bang shows. Be it Star Plus, Colors, Sony Entertainment Television, Zee TV, Life OK, &TV or Sab TV. Each channel has pulled up its sleeves to offer a wide range of entertainment. On the one hand where Star Plus is launching its grand singing reality show ‘Dil Hai Hindustani’ from 7 January, Colors is bringing up an international format to India Rising Star.

After strengthening the weekend time slot and rising higher and higher in the GEC space, courtesy its reality show Super Dancer, Sony is betting big on its weekday programming with some big budget shows. Zee TV too is not leaving any stone unturned when it comes to content experimentation. Life OK changed its programming strategy altogether. Focusing more on the male audience, the channel is now experimenting with content to attract male TG for Life OK.

&TV and Sab TV too have geared up for the race.

With DD’s third auction bidding in December for the prime time slot, Doordarshan too girded up its loins to launch television shows. Gajendra Singh’s Saaibaba Telefilms and Ekta Kapoor-promoted Balaji Telefilms are putting together programming ranging from family dramas to youth-oriented shows to music reality shows which may lead to the revival of viewership of the network. Indiantelevision had reported that Balaji bid successfully for four slots, and Saaibaba bagged two slots on Doordarshan’s prime time slot auctions.

Lets see what the Hindi GECs have for their viewers in 2017:

Colors

Rising Star: Originally created and produced by Tedy Productions and Keshet Broadcasting, it has since inception in 2013, enthralled global audiences with the most vivid talent. With more than 250 episodes globally to its credit, the format has been aired across more than 16 countries including Israel, the U, Brazil, Portugal, Argentina, China, Cambodia and Indonesia.

The show is slated to launch in January-end. It will be a weekend programme which will replace Bigg Boss 10. Rising Star’s Indian adaptation will be produced by Optimystix Entertainment.

Another offering from Colors is ‘Dil Se Dil Tak’, produced by Shashi Sumeet Mittal Production which will probably replace Bigg Boss 10 on weekdays at 9pm.

‘Chhote Miyan’ featuring the most talented kids from India is back with Season 4. After a gap of four years, the show is bringing a new format and much more laughter and entertainment.

Star Plus

Starting 7 January, Star Plus will launch its first show of 2017. Produced by Frame Production, ‘Dil Hai Hindustani’ will celebrate the popularity of Bollywood music through talent from across the globe, from different cultures and nationalities, bound by their love for Bollywood. The talent will be judged by an expert panel who put India on the world map of music. The panel would consist of director Karan Johar who travelled the globe to handpick singers while Bollywood’s favourite rapper Badshah will be seen making a debut as a judge on television. Music sensation – Shekhar Ravjiani and Shalmali Kholgade will be seen monitoring the contestants and judging the show.

Another show, ‘Meri Durga’ directed by Ravindra Gautam and produced by Paperback Films is slated to launch by January-end. Set in the backdrop of Haryana, this show is a drama serial which will dramatise the relationship of a man and his daughter. Star Plus will also be offering ‘Nastik’ slated to launch by February.

Zee TV

Produced by Sidharth Malhotra’s Alchemy Films, ‘Wo Apna Sa’ is slated to launch on 23 January in the 10pm time-band from Monday to Friday. The show will have Disha Parmar. And it will be Ridhi Dogra Vashisth is come back to television after a long hiatus. Zee TV is back with one of its most popular shows ‘Saregamapa Little Champs’..

Sony Entertainment Television

Sony will soon launch one of its most-awaited shows ‘Peshwa Bajirao.’ Produced by Sphere Origins and creatively produced by Nilanjana Purkayasstha’s company Invictus T Mediaworks, the show is based on Bajirao Mastani. It is slated to launch in January and will replace ‘Ek Rishta Sanjhedari ka’.

Written by Saba Mumtaz and produced by Rahul Tewary, ‘Yeh Moh Moh ke Dhaage’ is a series about a family which is set in Gujarat. The story of the new show revolves around three lovers.

Life OK

Produced by Saurabh Tewari in association with Life OK, Ghulaam promises to focus on life in Berahampur, especially the atrocities meted out against women and focus on the men who rule the land. The men here will go to any length to terrify all to rule this town where the law of the land has no jurisdiction. The show will be aired from 16 January from Monday to Friday at 9pm. Another show, ‘Har Dard Ka Mard,’ is the new offering from Life OK this month. It has been produced by DJ’s Creative and is directed by Parmeet Sethi.

January 4, 2017
Hindi GECs to be bigger and better in 2017

MUMBAI: As the new year 2017 begins, broadcasters across Hindi general entertainment channels, are all set to come up with their big bang shows. Be it Star Plus, Colors, Sony Entertainment Television, Zee TV, Life OK, &TV or Sab TV. Each channel has pulled up its sleeves to offer a wide range of entertainment. On the one hand where Star Plus is launching its grand singing reality show ‘Dil Hai Hindustani’ from 7 January, Colors is bringing up an international format to India Rising Star.

After strengthening the weekend time slot and rising higher and higher in the GEC space, courtesy its reality show Super Dancer, Sony is betting big on its weekday programming with some big budget shows. Zee TV too is not leaving any stone unturned when it comes to content experimentation. Life OK changed its programming strategy altogether. Focusing more on the male audience, the channel is now experimenting with content to attract male TG for Life OK.

&TV and Sab TV too have geared up for the race.

With DD’s third auction bidding in December for the prime time slot, Doordarshan too girded up its loins to launch television shows. Gajendra Singh’s Saaibaba Telefilms and Ekta Kapoor-promoted Balaji Telefilms are putting together programming ranging from family dramas to youth-oriented shows to music reality shows which may lead to the revival of viewership of the network. Indiantelevision had reported that Balaji bid successfully for four slots, and Saaibaba bagged two slots on Doordarshan’s prime time slot auctions.

Lets see what the Hindi GECs have for their viewers in 2017:

Colors

Rising Star: Originally created and produced by Tedy Productions and Keshet Broadcasting, it has since inception in 2013, enthralled global audiences with the most vivid talent. With more than 250 episodes globally to its credit, the format has been aired across more than 16 countries including Israel, the U, Brazil, Portugal, Argentina, China, Cambodia and Indonesia.

The show is slated to launch in January-end. It will be a weekend programme which will replace Bigg Boss 10. Rising Star’s Indian adaptation will be produced by Optimystix Entertainment.

Another offering from Colors is ‘Dil Se Dil Tak’, produced by Shashi Sumeet Mittal Production which will probably replace Bigg Boss 10 on weekdays at 9pm.

‘Chhote Miyan’ featuring the most talented kids from India is back with Season 4. After a gap of four years, the show is bringing a new format and much more laughter and entertainment.

Star Plus

Starting 7 January, Star Plus will launch its first show of 2017. Produced by Frame Production, ‘Dil Hai Hindustani’ will celebrate the popularity of Bollywood music through talent from across the globe, from different cultures and nationalities, bound by their love for Bollywood. The talent will be judged by an expert panel who put India on the world map of music. The panel would consist of director Karan Johar who travelled the globe to handpick singers while Bollywood’s favourite rapper Badshah will be seen making a debut as a judge on television. Music sensation – Shekhar Ravjiani and Shalmali Kholgade will be seen monitoring the contestants and judging the show.

Another show, ‘Meri Durga’ directed by Ravindra Gautam and produced by Paperback Films is slated to launch by January-end. Set in the backdrop of Haryana, this show is a drama serial which will dramatise the relationship of a man and his daughter. Star Plus will also be offering ‘Nastik’ slated to launch by February.

Zee TV

Produced by Sidharth Malhotra’s Alchemy Films, ‘Wo Apna Sa’ is slated to launch on 23 January in the 10pm time-band from Monday to Friday. The show will have Disha Parmar. And it will be Ridhi Dogra Vashisth is come back to television after a long hiatus. Zee TV is back with one of its most popular shows ‘Saregamapa Little Champs’..

Sony Entertainment Television

Sony will soon launch one of its most-awaited shows ‘Peshwa Bajirao.’ Produced by Sphere Origins and creatively produced by Nilanjana Purkayasstha’s company Invictus T Mediaworks, the show is based on Bajirao Mastani. It is slated to launch in January and will replace ‘Ek Rishta Sanjhedari ka’.

Written by Saba Mumtaz and produced by Rahul Tewary, ‘Yeh Moh Moh ke Dhaage’ is a series about a family which is set in Gujarat. The story of the new show revolves around three lovers.

Life OK

Produced by Saurabh Tewari in association with Life OK, Ghulaam promises to focus on life in Berahampur, especially the atrocities meted out against women and focus on the men who rule the land. The men here will go to any length to terrify all to rule this town where the law of the land has no jurisdiction. The show will be aired from 16 January from Monday to Friday at 9pm. Another show, ‘Har Dard Ka Mard,’ is the new offering from Life OK this month. It has been produced by DJ’s Creative and is directed by Parmeet Sethi.

January 4, 2017
Mittal wants self-regulation for new media, Rathore says IT Act adequate

NEW DELHI: Even as Minister of State for Information and Broadcasting Rajyavardhan Rathore categorically told Parliament earlier this month that his Ministry was not contemplating any regulatory framework for censorship of content appearing on the internet, Secretary Ajay Mittal has said the Centre is concerned about new media in the absence of a regulatory framework.

Speaking in Kolkata at the Merchants’ Chamber of Commerce and Industries (MCCI), Mittal said

“An important area of challenge in the new media is that there is unfortunately no regulatory framework. What you cannot see on TV or hear on your radio, it is all possibly up there in open access.”

Mittal said much more was needed to be done to prepare the government and its officers to deal with the “completely new paradigm of digital media”.

He said the Ministry was discussing with the state governments and “we are now going to train their people in the information sector so that they can deal with the challenges created by new media that is causing a whole lot of concern.”

Mittal said questions have also been raised in Parliament on “this issue of digital media without any boundaries. We are very clear that in the media space the best form of regulation is self regulation and the government would like to keep away as far as possible.”

Rathore had said in reply to a question about censoring new platforms for publication and broadcasting of media content like social networks and online video services that Section 69A of the Information Technology Act 2000 provides for blocking access to information under specific conditions. He said the Act has provisions for removal of objectionable online content.

The Information Technology (Intermediary Guidelines) rules 2011 require that the Intermediaries shall observe due diligence while discharging their duties and shall inform the users of computer resources not to host, display, upload, modify, publish, transmit, update or share any information that is harmful, objectionable, affects minors and is unlawful in any way.

As far as OTT was concerned, sources in the ministry told indiantelevision.com that this was still a new subject, and the government would take action in the event of any complaints from viewers and subscribers.

The Ministry, sources said, has no control over films appearing online as this falls in the ambit of the IT Act which is administered by IT Ministry.

December 30, 2016
Mittal wants self-regulation for new media, Rathore says IT Act adequate

NEW DELHI: Even as Minister of State for Information and Broadcasting Rajyavardhan Rathore categorically told Parliament earlier this month that his Ministry was not contemplating any regulatory framework for censorship of content appearing on the internet, Secretary Ajay Mittal has said the Centre is concerned about new media in the absence of a regulatory framework.

Speaking in Kolkata at the Merchants’ Chamber of Commerce and Industries (MCCI), Mittal said

“An important area of challenge in the new media is that there is unfortunately no regulatory framework. What you cannot see on TV or hear on your radio, it is all possibly up there in open access.”

Mittal said much more was needed to be done to prepare the government and its officers to deal with the “completely new paradigm of digital media”.

He said the Ministry was discussing with the state governments and “we are now going to train their people in the information sector so that they can deal with the challenges created by new media that is causing a whole lot of concern.”

Mittal said questions have also been raised in Parliament on “this issue of digital media without any boundaries. We are very clear that in the media space the best form of regulation is self regulation and the government would like to keep away as far as possible.”

Rathore had said in reply to a question about censoring new platforms for publication and broadcasting of media content like social networks and online video services that Section 69A of the Information Technology Act 2000 provides for blocking access to information under specific conditions. He said the Act has provisions for removal of objectionable online content.

The Information Technology (Intermediary Guidelines) rules 2011 require that the Intermediaries shall observe due diligence while discharging their duties and shall inform the users of computer resources not to host, display, upload, modify, publish, transmit, update or share any information that is harmful, objectionable, affects minors and is unlawful in any way.

As far as OTT was concerned, sources in the ministry told indiantelevision.com that this was still a new subject, and the government would take action in the event of any complaints from viewers and subscribers.

The Ministry, sources said, has no control over films appearing online as this falls in the ambit of the IT Act which is administered by IT Ministry.

December 30, 2016