ITV

Tag: TV

  • Streaming accounted for over one-third of US’s TV consumption in June: Nielsen

    Streaming accounted for over one-third of US’s TV consumption in June: Nielsen

    Mumbai: In June, streaming captured 33.7 per cent of total television consumption in the US, according to The Gauge, which is Nielsen’s monthly total TV and streaming snapshot. This is streaming’s largest share of TV usage to be measured by The Gauge since its inception in May 2021. Conversely, while viewership for broadcast and cable is traditionally lower during the summer months, June represented the smallest share yet for the formats, which totaled 22.4 per cent for broadcast and 35.1 per cent for cable.

    Total time spent watching TV in June increased slightly (+two per cent) from May, bolstered by 8 per cent uptick in streaming volume over the same interval. Time spent streaming jumped by 23.5 per cent on a year-over-year basis, allowing the digital format to add six  percentage points to its share of TV in 12 months.

    This considerable increase in streaming had a similar effect on streaming platforms, four of which saw record-high viewing shares in June: Netflix, Amazon Prime Video, Disney+, and YouTube (including YouTubeTV). Viewers spent 16 per cent more time watching Netflix than the previous month, allowing Netflix to gain a full share point from May and capture 7.7 per cent of total TV viewing—the largest month-to-month growth for a streaming platform. Compared to June 2021, all reported streaming platforms in The Gauge have seen significant growth in viewing, led by Amazon Prime Video (+31.9 per cent), Disney+ (+22 per cent), and Netflix (+18.1 per cent).

    While cable viewing in June fell two per cent from the previous month, the category lost 1.4 share points in TV usage over the same period. Cable continues to show some of the largest year-over-year shifts of any viewing category, dropping five percentage points and -11.9 per cent in viewing compared to June 2021.

    Due to the conclusion of the traditional broadcast TV season, time spent watching broadcast was down 6.7 per cent in June compared to May, and the share of viewing declined 2.1 percentage points. While these declines are fairly typical for this time of year, broadcast viewing this month was down 3.9 per cent compared to June 2021, and a full share point lower.

  • TV Ad volumes of real estate sector rose by 68% in January-May’22: TAM AdEx report

    TV Ad volumes of real estate sector rose by 68% in January-May’22: TAM AdEx report

    Mumbai: Ad volumes of real estate category on television rose by 68 per cent during January-May’22 over January-May’20, while the growth was 42 per cent more than the corresponding period last year. According to a TAM AdEx cross media report on the real estates sector, advertising volumes for the category saw an increase of 2.8 times on radio during the period as compared to the same period in 2020, even as advertising space in print medium grew by two times during the same period. Ad insertions of the category on digital medium during the January-May’22 saw a rise of 5.5 times.  

    On television the top 10 advertisers accounted for over 40 per cent share of ad volumes during the half-yearly period in 2022 with the advertiser Subha Gruha Projects (India) having the greatest ad volumes in the category, with 9 per cent, as per the report. 300 exclusive brands advertised under the category as compared to 2021. 20-40 seconds and greater than 20 seconds ads together added 83 per cent share of the category’s ad volumes, the data indicated.

    News genre was the most preferred for the sector in the TV medium, with the genre alone hogging 82 per cent of the category’s ad volumes share followed by general entertainment category (GEC) in the second position. The best three channels got 97 per cent of advertisement volumes’ share for category in January-May ’22.

    News Bulletin was the foremost well-known program to advanced properties-real estate category brands on TV, with the top two program genres i.e. news bulletin and interviews/portraits/discussion together adding 66 per cent of the category’s ad volumes.

    In the print medium, Kedia Real Estate was the best promoter within the categories with two per cent share of ad space during January-May ’22. The top ten advertisers accounted for 15 per cent share of ad space. Over 6,000 brands were present in print during January-May’22 among which the top 10 brands had 9 per cent share of ad space. During the period, over 4,500 exclusive brands appeared under the properties-real estates category compared to Jan-May’ 21. English dialect was on top with 37 per cent share of ad space with Hindi following close behind with a 31 per cent share.

    Meanwhile, Kedia Real Estate was the top advertiser in radio too. The top ten promoters added 25 per cent share of ad volumes amid Jan-May ’22. The top ten brands added 18 per cent to the overall advertising space of the category on radio. Over 590 brands advertised exclusively during January-May’22 over January-May’21.

    In digital, the top ten advertisers had 42 per cent share of ad insertions during January-May’22 with Skandhanshi Infra Projects India being on top of the list adding 19 per cent share. Display Ads had more than 98 per cent share of category ad insertions during January-May’22.  Also, among the digital platforms, desktop display topped with 57 per cent share of ad insertions followed by mobile display with 39 per cent share, as per the report.

  • Kantar Creative Effectiveness Awards: HUL dominates the digital category

    Kantar Creative Effectiveness Awards: HUL dominates the digital category

    Mumbai: Marketing data and analytics company, Kantar unveiled on Thursday the ads that were most effective and creative in 2021 across India. The firm tested more than 13,000 creatives for clients around the world throughout 2021. 10 percent (1300+) of those creatives were tested in India alone.The India report shortlisted over 350 ads, tested across categories, markets, target groups and media channels.

    Some of the findings from Kantar’s Strategic Sparks for effective and creative digital advertising are:

    • Customized and integrated content yields significantly higher ROI: Carrying forward creative stories and elements from other media amplifies the impact of digital assets.
    • Shoot for instant meaning: Given the attention poor consumers and short window available, it pays to ensure that the consumers are not called to do any additional work for decoding what they are supposed to think and feel about the brand
    • Ride the moment: Embrace the topical issues and trends, to engage and be relevant
    • Strike an emotive chord: Well told stories open up consumers for longer format videos
    • Hook them early:  Promise of a fulfilling story arc, emotive journey and humour help in ensuring that consumers stay invested beyond 6 seconds.

    Commenting on this year’s winners, Kantar Insights Division managing director & chief client officer Soumya Mohanty said, “The spread of ads that consumers have perceived to be both creative and effective is an affirmation of the fact that the space for creativity even in context of marketing ROI is infinite. While there is no magic formula for creating such ads, we can start with the right ingredients and refine them by testing them out with consumers. Kantar is pleased to share the learnings that we have had in the area while working with the leading marketeers in India.”

    Key highlights from this year’s report identified for effective and creative TV advertising:

    • Indians love to ride fulfilling story arcs: Stories create room for empathy, engagement, and vivid memories through which one could influence the way in which consumers think & feel about the brands.
    • Touch of drama helps: Just the right kind and quantity of spice delivered through creative storytelling and filmmaking, elevates even the repetitive themes, to make them more personal, relevant and aspirational.
    • License to be extravagant in visualization: Indians are open to suspending their disbelief for the well visualised film.
    • Layer in emotional meaningfulness: Emotive contexts have the potential to make the consumers warm up to even the dry functional categories.
    • Show, not tell: Integrating brand payoffs as an organic plot event in the script is a timeless approach toward creating vivid and persuasive memories.

    Kantar’s collaboration with the Unstereotype Alliance has led to the development of the Unstereotype metric (UM) which Kantar now includes as a measure of gender portrayal in advertising as an integral part of its Link™ communication pretesting solution. Thus, setting a foundation for marketers to review the potential of their creative executions on this dimension to monitor progress over time.

    Unstereotype metric* (UM) in the long term provides learning and context for gender progressive advertisements. UM is now measured for 14,000+ ads across 70 countries, 3,300+ brands and 251 categories.

    ⎯       Unstereotyping in advertisements is predicted to unlock higher marketing ROI. It signifies strong brand equity and is likely to impact short term sales as well. This impact is not only true for women, but progressive male role models also impact business outcomes across categories.

    ⎯       Progressive ads are more effective and trigger positive engagement. They are in general seen to be more enjoyable, relevant, different and even pleasantly surprising.

    ⎯       Unstereotyping affects various aspects of the brand- power, meaningfulness, difference and saliency especially seen in food & beverage, household and personal care categories.

    ⎯       There are clear and present rewards for brands that seek to be at the forefront of embedding progressive gender roles

  • Global entertainment & media revenues surge to $2.3 trillion; OTT growth to moderate: PwC

    Global entertainment & media revenues surge to $2.3 trillion; OTT growth to moderate: PwC

    Mumbai: Last year, the global entertainment and media (E&M) industry grew significantly faster than the world economy as a whole. Following a 2.3 per cent dip in 2020 due to the pandemic, E&M sales increased by a solid 10.4 per cent in 2021, from $2.12 trillion to $2.34 trillion.

    Virtual reality (VR) and gaming are significant growth drivers for the industry as it becomes more digital, mobile, and youth-focused, and digital advertising permeates every aspect of the industry. These conclusions are drawn from PwC’s Global Entertainment & Media Outlook 2022–2026, which represents the 23rd annual research and forecast of E&M spending by consumers and advertisers across 52 countries & territories.

    Findings in this year’s Outlook include:

    – After growing by 35.4 per cent in 2020, OTT (over-the-top) video revenues increased by 22.8 per cent in 2021, to $79.1 billion. The rate of OTT revenue growth is anticipated to slow slightly; it will increase at a 7.6 per cent CAGR (compound annual growth rate) through 2026, pushing revenues to $114.1 billion.

    – Traditional TV still brings in a sizable amount of money, but it is facing intense competition from OTT streaming services. Global sales are expected to shrink at a CAGR of -0.8 per cent, from $231 billion in 2021 to $222.1 billion in 2026.

    – Revenue from video games and esports worldwide was $215.6 billion in 2021, and it is anticipated to increase by 8.5 per cent CAGR to $323.5 billion in 2026. With $109.4 billion, Asia Pacific produced the majority of the world’s revenues in 2021, more than double the second-highest region, North America. Gaming has overtaken video and communications as the third-largest data-consuming E&M content category.

    – Despite starting from a small base, VR continues to be the fastest-growing E&M segment. Following a strong 39 per cent growth in 2020, global VR spending increased by 36 per cent y-o-y to $2.6 billion in 2021. The segment is anticipated to grow at a CAGR of 24 per cent between 2021 and 2026, reaching $7.6 billion. With $1.9 billion in revenue in 2021, gaming content is the main source of VR revenue. By 2026, this should rise to $6.5 billion, or 85 per cent of all VR revenue.

    – Due to its widespread use in the digital sphere, advertising now dominates its own industry sector. After falling by almost seven per cent in 2020, advertising increased by an astonishing 22.6 per cent in 2021, reaching $747.2 billion. Advertising is expected to expand at a 6.6 per cent CAGR through 2026, driven nearly entirely by digital. The revenue from internet advertising is expected to increase even more quickly, increasing at a CAGR of 9.1 per cent. Advertising is anticipated to exceed consumer spending and internet access in 2026 to become a one trillion dollar business and the largest E&M revenue stream.

    – In 2023, global cinema revenue is anticipated to hit a new high of $46.4 billion after experiencing losses due to the pandemic. Box office revenue is anticipated to grow by 18.9 per cent CAGR from $20.8 billion in 2021 to $49.4 billion in 2026. In 2020, China surpassed the US to become the world’s biggest cinema market, and it is predicted that it will continue to hold this position through 2026.

    – In 2024, live music revenue is anticipated to surpass pre-pandemic levels. Recorded music sales are expected to increase from $36.1 billion in 2021 to $45.8 billion in 2026, driven by the development of digital music streaming subscriptions.

    – Massive data consumption is being fueled by the expansion of content. Data consumption was 2.6 million petabytes (PB) in 2021, and it is projected to increase by 26 per cent CAGR to 8.1 million PB by 2026. With a predicted CAGR of 29.6 per cent, gaming will consume data at the quickest rate during the projection period. The fastest-growing device category between 2021 and 2026 will be mobile handsets, growing at a CAGR of 28.8 per cent and predicted to increase mobile data usage from 1.1 PB to 3.8 PB.

    PwC Germany Global Entertainment And Media Industry Leader Werner Ballhaus said, “Industry press tends to focus on the companies that have dominated the E&M industry. But it is the choices that billions of consumers make about where they will invest their time, attention and money that are fueling the industry’s transformation and driving the trends.  We are seeing the emergence of a global E&M consumer base for the coming years that is younger, more digital and more into streaming and gaming than the current consumer population. This is shaping the future of the industry.”

    North America dominates per capita E&M, but faster growth resides elsewhere: Regionally, North America has by far the biggest E&M expenditures per capita at $2,229, nearly double that of Western Europe’s $1,158. In contrast, Asia Pacific, which had E&M sales of $844.7 billion in 2021, had a per-capita expenditure of $224. Of all regions in the world, the Middle East and Africa spend $82 less per capita on E&M.

    While OTT video and gaming account for the majority of revenue growth, esports and the cinema industry are also experiencing rapid expansion. Latin America, the Middle East, Africa, and Asia make up the top ten growth markets by CAGR. The countries with the best prospects for E&M consumer spend growth over the five-year forecast period are Turkey (estimated 14.2 per cent CAGR), Argentina (10.4 per cent), India (9.1 per cent), and Nigeria (8.8 per cent).

    The metaverse awaits: The metaverse may soon develop into a wonderfully realistic environment where people may access immersive virtual experiences using a VR headset or other connecting device. The potential financial and commercial worth of the metaverse extends far beyond VR because it is an evolution that might fundamentally alter how companies and customers engage with goods, services, and one another. Over time, a significant portion of the profits from video games, musical performances, advertisements, and even online shopping may move into the metaverse.

    How big is the E&M opportunity in the metaverse?  

    One place to start is the rapidly expanding VR sector. Although it is now one of the less significant areas studied, the 36 per cent increase in global spending over the previous year gives an indication of its long-term potential. The number of stand-alone and tethered VR headsets installed worldwide is expected to increase from 21.6 million in 2021 to 65.9 million in 2026.

    Ballhaus added, “With the impressive growth and potential of the E&M industry comes tremendous volatility and what we describe as fault lines and fractures opening up between companies, within sectors and across geographies and generations. For businesses, intense competition and continual disruption will remain the order of the day. Our data shows the mix of revenues and spending is changing rapidly. As fault lines proliferate and widen, every business in E&M stands to be disrupted. The challenge and goal must be to understand your consumer and end up on the right side of disruption.”

  • IPL: Multiple media rights is an advantage for the bidders

    IPL: Multiple media rights is an advantage for the bidders

    MUMBAI: The three-day e-auction of IPL media rights 2023-2027 has concluded on Tuesday, with Disney-Star bagging TV rights for the Indian subcontinent and Viacom18/ Reliance sweeping the digital segment. 

    The total value of digital broadcast rights for IPL has reached Rs 23,757.52 crore. This means that the value of digital media rights to the IPL has surpassed the TV broadcast rights valued at Rs 23,575 crore. The total valuation of IPL media rights for the next five years has reached Rs 47,332.52 crore. 

    We have asked experts about why IPL media rights being distributed among broadcasters is a positive approach. Do experts think one can get leverage against the other players and there would be a fair deal in place?

    Speaking on the IPL media rights being distributed, Madison Media & OOH Group CEO Vikram Sakhuja noted that rights being split up is a good thing for media buyers. “My point of view is that from a media buying standpoint it is probably an advantage. This is because if you deal with two or three partners your ability to leverage one against the other is better compared to all the cards being held by one person.” He noted that while the fall in IPL ratings on TV was disappointing, hardly anybody comes on to it just for cost per rating point (CPRP). They look to create an impact in a short time. That is why, he explains why many startups in categories like ed-tech are advertising.

    Broadcasters, he explains, are generally good for making up the shortfall in ratings by giving things like bonus spots. Benchmarks are there and everyone is here to provide value. “Ratings alone is not why people take the IPL. It is about the passion behind the property and the impact that you get. This is huge. Clients get the reach, conduct a relatively clutter-free campaign and also get strong visibility. It is the clients who wanted to grow their business quickly who came onto the IPL.”

    For him, the bigger challenge facing the rights holders for the IPL in the next season is the funding for startups, which is facing a winter. If the funding dries up and that situation stays, bad startups will have to cut back on marketing spending. Their outlays for the IPL will get affected. “Outlays rather than ratings will be the deciding factor for the next season. Will clients who like the IPL have enough outlay for next season? How many of them will have the appetite to return next year is the bigger question. If the startup money is there, things will be fine. But if not then will anybody else come in their place? For FMCG CPRP is very important. For that reason, they do not come to the IPL.”

    Meanwhile, D & P India Advisory managing partner N Santosh feels that IPL will be a loss leader for both the TV rights holder and the digital rights. It would be a bit of a stretch to expect a profit. The amount of ad revenue in a season on television is around Rs 3000 crore in a best-case scenario. Of course, with more matches, this amount will rise. Then there are production costs. “It is good to have content but the TV rights holder may start making money only in the fourth or fifth year if viewership has risen significantly and ad rates have risen significantly. Then for those years, they might make a profit. But this content is important to have. It will grow its general entertainment business as subscription bundles can be offered. GEC can be sold with sports and that could add subscription revenue. For advertisers, bundles can be offered and revenues can be maximised. The GEC business is always profitable and IPL will only add profits to the GEC business.”

    On the digital front, he thinks that Reliance due to Jio as a Super App will be able to monetise it slightly better compared to if another OTT platform had got the rights to Package B. The IPL can help add subscribers to Reliance’s telecom business. The IPL will be a bigger loss leader in digital. Ad revenue on digital is not that significant based on research that his company has done. “Ad revenue, the way it has been monetised so far on OTT platforms is not that material. But the IPL can be used to improve the subscription monetisation of the platform including the GEC, and movie library business. So digital ad revenue will not be that important. It will mostly be about the subscription. I have not seen OTT platforms monetise advertising that well.”

    He also does not think that the rights being split up will affect monetisation ability. “I don’t see a major difference compared to one party having both TV and digital rights. The advertisers and subscribers are anyway different. Star and Hotstar from a subscription point of view were not bundled together. The packages were different.”

    When asked about the per match value of the IPL from a broadcast rights point of view being the second in the world ahead of the premier league he noted that cricket is advertiser-friendly. Meanwhile, soccer relies more on subscriptions. Also, in the premier league often more than one match is played at the same time. So the viewership gets spread out. The IPL matches only take place one at a time, which is an advantage. In soccer, a Manchester United fan will only watch matches featuring that club. Whereas with the IPL even if you are a RCB fan you will still watch an IPL match not featuring that team as there are no other IPL matches going on at the same time.

    In the context of ratings, IPG Mediabrands CEO Shashi Sinha said as far as TV is concerned, the ratings are an indicator, it is a question of advertiser’s supply and demand. If there is a huge demand then the property will do well next year. He noted that one will have to see how the economy is faring when the next edition of the IPL happens.

    “Ratings are one part of it but finally it is about supply and demand. Ratings are just an indicator. We will have to see what big product launches are happening around the IPL. What are the new categories coming up? If the economy grows then the advertiser response will be good. If the Indian economy does not grow then it will be a problem. It is also not a question of just one year,” Sinha added.

    He said that the winner must have taken a call of the economy doing well in the next five years. Sinha also noted that competitor’s pressure will play a role in IPL sponsorship. He gave the example of Byjus doing a deal with FIFA for the World Cup later in the year. For him the ability of Disney-Star to take the sponsorship and spot rates up will depend on the economy. It will also be upto Disney-Star on whether they go for an increase in rates at one go or raise rates gradually over the years.

    He further noted the digital rights holder, in this case, Viacom18 will depend a lot on subscription. “All sports properties including EPL rely on subscription to an extent. Sometimes the dependence on subscription is higher. I am sure that Reliance will focus on subscription being a major telecom player,” he concluded.

  • Zee Cinema unveils fresh content lineup with ‘Taaza Hai Toh Mazza Hai’ campaign

    Zee Cinema unveils fresh content lineup with ‘Taaza Hai Toh Mazza Hai’ campaign

    Mumbai: Zee Cinema is all set to bring a fully-Taaza movie line-up of the recent superhits with their ‘Taaza Hai Toh Mazza Hai’ campaign for cinephiles jinke seene me hai cinema.

    As a part of this campaign, the best of entertainment and big hits at the box office with performances from Akshay Kumar, Alia Bhatt, and NTR Jr will make TV premieres on Zee Cinema.

    With this, the audience will experience the game-changer film that touched an emotional chord of an entire nation and received tremendous response from the audience with the brilliant “The Kashmir Files” and the high-octane raw action film – “Attack”, starring John Abraham and Rakul Preet Singh.

    Elevating the entertainment quotient is the first-ever collaboration between Alia Bhatt and the visionary craftsman of cinema, Sanjay Leela Bhansali, with “Gangubai Kathiawadi”. One of the biggest female-led films of today’s time, the delicate emotions, immaculate performances, and a great story is what makes the film a must-watch.

    The hits keep on coming! The plethora of fresh top-rated forthcoming titles on Zee Cinema also includes the world television premiere of the glory of Indian cinema and India’s highest-grossing blockbuster SS Rajamouli’s “RRR”. Superstar Akshay Kumar’s “Bachchan Pandey” much-loved action star Tiger Shroff’s “Heropanti 2”, “Jersey” starring Shahid Kapoor, Bollywood’s fearless queen Kangana Ranuat’s “Dhaakad” and many more.

  • HITS launches on Airtel Digital TV

    HITS launches on Airtel Digital TV

    Mumbai: Airtel Digital TV is ready to enthrall its subscribers yet again with the launch of its new service – Airtel HITS HD.

    HITS brings the iconic series all set to launch on Airtel Digital TV on 20 May 2022.

    Featuring a selection of some of the most popular, iconic, and award-winning Hollywood television content from the 60s to the early 2000’s, the channel is sure to take you on a lovely trip down memory lane. Airtel digital TV subscribers can now enjoy a window to the best content ever produced for television in HD like Diff’rent Strokes, Bewitched, Charmed, Bonanza, The Lucy Show, Baywatch, The Bionic Woman, Sherlock Holmes, among many others. These award-winning titles are sure to appeal to both those who remember the Golden Age of Hollywood and modern audiences.

    Airtel Digital TV CEO Manu Sood said, “At Airtel we are always looking at serving the discerning content needs of our subscribers. With Airtel HITS HD we are giving our subscribers a platform to indulge in their favourite Hollywood shows from the 60s to the early 2000’s. The diverse assortment of English shows from the good old days fulfills a need gap for our evolving viewers who are constantly looking for unique entertainment destinations that are not available elsewhere be it TV or OTT.”

    Rewind Networks CEO Avi Himatsinghani said, “We are thrilled to associate with Airtel Digital TV to bring Airtel HITS HD to their subscribers in India. Airtel viewers can now tune in to enjoy the finest curation of the most popular, iconic, and award-winning Hollywood television content from the past in high definition! I am certain our hand-picked selection will make the viewers reminisce over their favourite TV shows, making Airtel HITS HD a perfect destination for family viewing and entertainment. We look forward to the partnership!”

    HITS features a carefully curated collection of top TV dramas and sitcoms from Hollywood and UK majors such as The Walt Disney Company, ITV Studios, Paramount, NBCUniversal, Fremantle and Sony Pictures, and will progressively introduce more titles from other studios.

    The channel shall be available free for the first 10 days followed by Rs 75 per month. Airtel HITS HD will be available on Channel 167 on Airtel Digital TV and will be aired in high definition (HD) with English subtitles.

  • Kids prefer consuming content on television rather than OTT, says a study conducted by Sony YAY!

    Kids prefer consuming content on television rather than OTT, says a study conducted by Sony YAY!

    MUMBAI: Currently, 57 percent of kids prefer television while only 10 per cent receive their entertainment via OTT. 33 percent of kids prefer to watch both television and OTT. Younger kids prefer television while older kids with more access to OTT platforms lean towards it. There exists a clear geographical divide in kids’ preference for OTT entertainment where only 81 percent of kids surveyed in southern India preferred OTT as opposed to 56 percent of kids surveyed in eastern India.

    Kids entertainment channel Sony YAY! has released its latest survey titled, SearchLight’22. This decodes the lives and habits of Indian Kids, in collaboration with Kantar Research. The psychometric profiling by the survey presents findings that highlight various trends across eight cities in the country.

    The research derives its findings between educational and personal development and also entertainment preferences. It offers a deep dive into India’s young audiences aged between 7-14 years. It also undertakes region-wise bifurcation of the data, considering India’s geographical and cultural diversities, to highlight the preferred activities of kids from region specific markets.

    On OTT platforms kids consume cartoons and animation content the most followed by music, educational/informational shows, hindi and regional movies and stand up comedy shows.

    The journey from blackboards to keyboards is what kids witnessed through the pandemic, thus, to understand their learning preferences, SearchLight’22 sheds a few insights-

    – Kids favoured online classes over offline classes due to rewatch option of online classes (29 percent), the comfort of home (28 percent), followed by the ability to attend classes they usually can’t physical (16 percent) and save time (15 percent)

    – The top five activities participated by kids during the pandemic were tuition classes (76 percent), art & craft (24 percent), followed by sports (19 percent), dancing (18 percent) and singing (19 percent)

    – The majority of respondents wishes for lessons to be held online (63 percent) while the rest wanted to go back to the pre-pandemic style of offline teaching (37 percent)

    – Edutech platforms which rose to prominence during the lockdown saw that only 6percent of respondents had Edutech subscriptions while 7 percent respondents had not subscribed but attended Edutech classes. However, 39 percent had opted to use YouTube videos to learn concepts while 48 percent were not aware of the existence of Edutech platforms

    With kids being limited to their homes owing to movement restrictions due to the pandemic, gaming became an essential part of kids’ entertainment. The following insights were inferred from the survey:

    – One out of two kids enjoyed gaming on their phone

    – Free games were core to their consumption

    – 53 percent preferred to play solo while 44 percent were included in multiplayer games with friends and only 4 percent played multiplayer games with strangers

    With the SearchLight’22 Decoding Lives and Habits of Indian Kids, Sony YAY! said that it takes a step closer to understanding the dynamic and evolving preferences and habits of Kids. The study also provides a comprehensive look at how multiple verticals of education, entertainment, gaming and merchandising affects kids and shape their opinions or preferences. This foundational study explores newer avenues to get to know kids better.

    The survey was carried out in association with Kantar IMRB from October – November’ 2021 to understand consumption habits of kids across the country. The survey was further conducted across eight cities with 982 kids and 316 parents.

    Sony Pictures Networks India business head-kids genre Leena Lele Dutta said, “As a brand practice, we constantly aim to follow an approach to “Explore” and understand our young audiences and their dynamic choices to deliver a wholesome experience across the platforms. With the release of Searchlight’2022, we are happy to present our learnings to the industry at large and assist in understanding this dynamic Target Group better”.

  • India’s Avod spend to reach $2.4 billion by 2026: Research

    India’s Avod spend to reach $2.4 billion by 2026: Research

    MUMBAI: The revenues for ad-supported video-on-demand (Avod) in India for TV series and movies are expected to reach $2.4 billion by 2026. In 2022, the revenue will surge to $1 billion, up from $0.8 billion last year, according to a report from Digital TV Research released recently. 

    It is predicted by the research that Avod revenues for TV series and movies will reach $70 billion by 2027 globally, which will surge from $33 billion in 2021. 

    The report also highlights that out Of the 138 countries covered in the survey, a total of 13 will generate revenue of over $1 billion by 2027.

    The survey has revealed the data of five top countries in Avod’s revenue growth in future. It includes countries such as the US, China, UK, Japan, and India. 

    Pointing out his views, Digital TV Research principal analyst Simon Murray said, “US AVOD will grow by $19 billion to $31 billion by 2027 – remaining the largest country by far. The US has the world’s most sophisticated advertising industry by some distance, plus AVOD choice is greater in the US than anywhere else. The US will account for 46 per cent of the global total by 2027, up from 39 percent in 2021.”

    After the US, China’s revenue growth for Avod will increase by 2027. It will reach $8.3 billion from the current over $6 billion. 

  • Sports media rights investments in India to grow by 10.1% over 2021-26: MPA report

    Sports media rights investments in India to grow by 10.1% over 2021-26: MPA report

    Mumbai: Sports media rights investments in India will grow at 10.1 per cent CAGR (compound annual growth rate) over 2021-26, bolstered by demand for cricket properties, led by the Indian Premier League (IPL), according to a report by Media Partners Asia (MPA) released on Friday.

    The report, which tracks the growth of sports rights and TV and online video sports revenues and subscribers across 14 markets in Asia Pacific (APAC), found that the market for sports rights and sports media revenues across APAC have recovered in 2021 after the damaging impact of the Covid-19 pandemic in 2020 and is expected to grow at a sustainable rate over 2021-2026.

    Overview

    As per MPA, sports rights for APAC contracted by $1.2 billion in 2020 while sports media revenues fell by ~$0.9 billion in the same year. The rights values crashed in China in 2020 while revenue contraction was marked in Australia and Japan. The year 2021 saw significant recovery in rights values and revenue, which MPA expects will continue in 2022, ensuring that rights values return to pre-pandemic levels, surpassing the absolute value of rights registered in 2018.

    Sports media revenues

    Asia Pacific sports revenues in TV and online video will grow at a combined six per cent CAGR between 2021 to 2026. Sports revenues will grow from $6.7 billion in 2021 to $8.9 billion by 2026.

    Sports media revenues contracted by 15 per cent i.e., $0.9 billion in 2020, during the pandemic, and recovered by more than 30 per cent in 2021. They are projected to grow by 11 per cent in 2022.

    In 2021, sports media revenue growth was especially significant in Australia, China, India, Japan, Korea and Southeast Asia, led by Indonesia and Thailand.

    Australia, China, India and Japan will contribute more than 82 per cent to sports media revenues in 2022 that will increase to 83 per cent by 2026, stated the report.

    The contribution of online video in overall sports media revenues will increase from 28 per cent in 2021 to 33 per cent in 2022 further growing to 42 per cent by 2026. The major market drivers of sports media revenues via online video are Australia and New Zealand, China, India, Indonesia, Singapore and Taiwan.

    TV will remain critical in India, Japan, Korea and Malaysia but its overall share of APAC sports revenues will fall from 72 per cent in 2021 to 58 per cent in 2026.

    Sports rights

    By 2022, sports rights across APAC markets will grow by 5.6 per cent to reach $6.5 billion. It will further grow at a CAGR of four per cent to reach $7.4 billion by 2026.

    Australia, China, India and Japan dominate when it comes to sports rights investment with 77 per cent share of total sports investments in 2022 that will grow to 79 per cent share of investments by 2026.

    Football leads the sports rights market in APAC with the Premier League topping the list of individual properties. Rights for the 2022-2025 Premier League have fallen by ~25 per cent to $1.4 billion because of substantial deterioration of the sports media rights in China. Excluding China, Premier League rights values for APAC grew by 10 per cent to $1.2 billion driven by healthy increases in Australia and New Zealand, Indonesia, Japan, Korea and Thailand.

    The main driver for recovery in sports media revenues and sports rights across APAC will be consumer and advertiser demand for live sports across integrated streaming entertainment and sports platforms along with TV networks in key geographies, stated the report.

    “Sports remains vital in Asia Pacific as a tactical weapon to build brand and market share and in certain instances, pricing power,” said MPA executive director Vivek Couto. “However premium tier-1 rights generally remain loss leaders or break even bets, especially in the case of marquee football and cricket properties. TV platforms remain important for the value of sports rights and monetisation but the growth of online video as well as tighter consumer and advertising wallets have squeezed growth in key Asia Pacific markets with many players impacted by cord cutting as customers continue to churn to: (1) Integrated entertainment and sports streaming platforms; (2) Pure play sports streaming platforms; and (3) Piracy. TV reach and revenues will however grow at a robust rate in large scale markets such as India, which emerged as the second-largest TV sports market through the pandemic, after Japan.”

    Adding further, he said, “Meanwhile, the rapid growth of online video distribution has boosted sports rights and revenues through SVOD and ‘freemium’ windows, especially in markets such as Australia, India, Indonesia and Korea. The economics of pure play sports streaming remains challenging; integrated entertainment and sports platforms remain on a stronger path while TV and streaming bundles will continue to play an important part in unlocking the value of sports.”