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If everyone demanded peace instead of another television set, then there'd be peace.
- John Lennon
Digital
42 mn
C&S Homes:
126 mn
TV Households: 148 mn
Total Households:
231 mn
64%
85%
33%64
65% of Indian Homes have a TV
vis a vis 90% of homes in Brazil and 98% of homes in China
Over 600 reported channels
Source: FICCI KPMG 2012
Star Plus; 6.3 Z Zee TV; 5.3
Colors Viacom18; 5.3
SONY ENTERTAINMENT TV; 4.9
Others; 4.6
Sun TV; 3.8
Star Cricket; 3.7
Life OK; 3.0
SONY SAB; 2.9
Star Gold; 2.8SONY MAX; 2.6
Z Cinema; 2.5GEMINI; 1.6Star Pravah; 1.6POGO; 1.6Movies OK; 1.3Star Jalsha; 1.2Disney Channel; 1.2
Z Bangla; 1.0
NICK; 1.0MAA; 1.0
CN Cartoon Network; 1.0
KTV; 1.0
Z Marathi; 0.9
UDAYA; 0.9
ETV Marathi; 0.8UTV Movies; 0.8
ETV; 0.8Z Telugu; 0.8
HUNGAMA; 0.8
Sahara One; 0.7DD National; 0.7
Star Utsav; 0.7VIJAY; 0.7
Asianet; 0.7
Gemini Movies; 0.6
Suvarna; 0.6
UTV Action; 0.6Aaj Tak; 0.6
Disney XD; 0.6ABP News; 0.5
DISCOVERY CHANNEL; 0.5
V; 0.5
India TV; 0.5
Z Kannada; 0.4
ETV Kannada; 0.4
Kalaignar TV; 0.4
SURYA; 0.4
FILMY; 0.4
Z Talkies; 0.4
Udaya Movies; 0.3
Mastiii; 0.3
Z News; 0.3
ADITHYA; 0.3
Ten Sports; 0.3
Star Movies; 0.3
9X M; 0.3
ETV Bangla; 0.3TV9 KARNATAKA; 0.3
NATIONAL GE-OGRAPHIC; 0.3
MTV; 0.3
Maa Movies; 0.3
Sun Music; 0.3
News 24; 0.3
BINDASS; 0.3
Movies Now; 0.3
SONY MIX; 0.2Z Tamil; 0.2B4U Music; 0.2
ABP Majha; 0.2NDTV India; 0.2
ESPN; 0.2
TV9; 0.2
Zoom; 0.2
Z Classic; 0.2
Jaya TV; 0.2
IBN 7; 0.2
PTC Punjabi; 0.29X Jalwa; 0.2
Aastha; 0.2
Z 24 Taas; 0.2
UTV Stars; 0.2
Z Action; 0.2
CINEMA TV; 0.2M Tunes HD; 0.2Mahuaa; 0.2
Sanskar; 0.2
RAJ TV; 0.2POLIMER; 0.2
E 24; 0.2
History TV18; 0.2
IBN Lokmat; 0.2
HBO; 0.2
Mazhavil Manorama; 0.2
KIRAN TV; 0.2
Chutti TV; 0.2
SUN LIFE; 0.2
SONY AATH; 0.2
SAAM; 0.2
NTV; 0.2
Sananda TV; 0.2Gemini Comedy; 0.2 Kasturi; 0.2ETV Gujarati; 0.2Z Bangla Cinema; 0.124 GHANTA; 0.1Gemini Music; 0.1Animal Planet; 0.1SONY PIX; 0.1 TEZ; 0.1ABP Ananda; 0.1ASIANET MOVIES; 0.1ISAIYARUVI; 0.1Enterr10; 0.1P7 news; 0.1 Siripoli; 0.1Udaya Music; 0.1 Ten Cricket; 0.1 J MOVIE; 0.1 Z Premiere; 0.1 MURASU; 0.1Samay; 0.1 Suvarna News 24x7; 0.1 Sonic Nickelodeon; 0.1Jaya Max; 0.1FoodFood; 0.1ETV2; 0.1 TV5 NEWS; 0.1Sakshi TV; 0.1Udaya Comedy; 0.1S BANGLA; 0.1Z Smile; 0.1TV9 MAHARASHTRA; 0.1Tarang; 0.1Dangal; 0.1Maa Music; 0.1DD Sahyadri; 0.1RUPASHI BANGLA; 0.1DD News; 0.1Mega TV; 0.1Kolkata TV; 0.1Asianet Plus; 0.1TV9 GUJRAT; 0.1PUBLiC TV; 0.1Music India; 0.1Manoranjan TV; 0.1Discovery Channel Tamil; 0.1Dabangg; 0.1Divya; 0.1OTV; 0.1News Time Bangla; 0.1 SUN News; 0.1 Fox Traveller; 0.1Kochu TV; 0.1 CAPTAIN TV; 0.1Janasri Kannada; 0.1CNBC AWAAZ; 0.1BIG MAGIC; 0.1Kasthuri Newz 24; 0.1MH1; 0.1 Mi Marathi; 0.1Vasanth TV; 0.1News Express; 0.1RAJ MUSIC KARNATAKA; 0.1Bhakti TV; 0.1Asianet News; 0.1B4U Movies; 0.19X Jhakaas; 0.19X Tashan; 0.1Raj Digital Plus; 0.1WB; 0.1 Seithigal; 0.1Sarthak TV; 0.1Z Business; 0.1SVBC TTD; 0.1Z Studio; 0.1NDTV Good Times; 0.1AXN; 0.1 DD Delhi; 0.1Maa GOLD; 0.1Kairali; 0.1 Home Shop 18; 0.1Aakaash; 0.1DD Bangla; 0.1DD Sports; 0.1AMRITA; 0.1SHRADDHA MH ONE; 0.0SUN ACTION; 0.0RPLUS; 0.0 Star Sports; 0.0Sahara Samay Maharashtra GUjarat; 0.0Times Now; 0.0Studio N; 0.0TLC; 0.0 NDTV 24x7; 0.0We; 0.0 Z 24 Ghantalu; 0.0Samaya 24x7; 0.0PUTHIYA THALAIMURAI; 0.0
ShareLeading to an explosion of choice
Channel Shares Sep 2012
Source: TAM, All India, CS4+
Hindi Content is consumed the most
TV Consumption
Hindi GEC ; 29.3
South Regional; 20.7
Hindi Movies; 11.8
HSM Regional; 9.9
Kids; 6.2
Others; 5.2
Sports; 4.5
Hindi News; 4.0
Youth + Music; 3.6 Infotainment; 1.3 English Movies; 1.0Spiritual; 0.9 DD1; 0.7 Lifestyle; 0.3English News; 0.2
English Entertainment; 0.2
Cable Regional; 0.0
The average Indian viewer
spends 150 min watching TV everyday
Size of the industry: 380 billion
Growing at 17% CAGR
2008 2012 Estd 2016
241380
735
514
823
1457
Size of TV and M&E in India (in INR Bn)TV Media Industry
TV: Bigger than Print + Radio + Film + Digital combined
Source: KPMG FICCI Report 2012
Still heavily dependent on advertising revenues
Source: KPMG FICCI Report 2012
FMCG dominates TV
Advertising
Source: TAM Adex
Formulate a
Business Planfor a new television channel
Assignment:
But it’s actually pretty simple. You need some shows.You need to reach an audience.You need to hold that audience.And you need advertisers.
These are the basic and ONLY elements of any television
business
Whether it is Newscorp or Nathulal Cable Vision.
The rest of today will be spent understanding each of these four elements in detail.
The 3Cs that determine a show’s success:
Consumers, Characters, Content
MIL -DIL
Restrictive and authoritative to accommodative
from “chulha chouka to ghar sambhalnaa”
What has changed• Education will create a
good life for grand children
• salwar kameez• Collective participation • Kitchen is a place for
both MIL & DIL• Joint control of salary
FIL - DIL
Distant and no communication to less formal & approachable
from “Sasurji to Papaji”
What has changed• Preference for
educated DIL• Does not mind
adjusting with the family’s eating habits
• No ghunghat means lower communication barrier
Husband - Wife
Moving towards equality
from pati parmeshwar to humsafar”
What has changed• Education seen as
insurance• Saree + Salwar• Aap to tum• Joint control of
salary
Mother – Teenage Daughter
From Bandhan to thodi choot
from creating “sushil bahu” to “suyogya patni”
What has changed• Daughter - can be self
reliant if need be• jeans/ long skirts/ kurtis• Completion of education
more imp than age• daughter’s approval for
matches• Freedom to stay
connected with friends through phone
ProgressiveRegressive
FOODCUSTOMS
SOCIETAL NORMS
MARRIAGE
EDUCATION
ATTIRE
FINANCE
Motivational
Gradual change
An exercise for STAR Plus
Building iconic characters that resonate with the consumer and form a strong bond
An exercise for STAR Plus
VERSUS
Did you know?Akshara will be twice as old as Phoebe??
Akshara is 435 episodes old (as of Aug 10) vs. Phoebe who is 236 episodes old
An exercise for STAR Plus
Let’s look at how well the two characters are etched out which can open up opportunities for building the story arc as one moves forward
Phoebe BuffayWhat made her what she is?
Herdistressed childhood
She & her twin sister were taken care of by their father’s second wife - Lily
Phoebe occasionally mentions Lily's strange behavior and methods of raising her children
Lily committed suicide when Phoebe was 13
Phoebe was living on the streets of New York
She did not attend high school or college, but claimed that she met behind a dumpster with a small group to learn French, in which she is fluent
Phoebe BuffayHer distressed childhood made her IMPULSIVE
At 14, she has mugged Ross of a comic book. She has lived in Prague , Czech – with an albino man and a guy who talked to his hand. Returned to YMCA
Moved in with Monica as a result of answering a roommate ad
Phoebe agreed to be a
surrogate mother for her brother
While pregnant, she enjoyed seeing people's reactions after
telling them, "I'm having my brother's children".
She married Duncan, a gay Canadian ice dancer, in order
to help him obtain a green card.
He later revealed that he is straight, and was just being gay "to fit in", resulting in a
divorce, although Phoebe still has feelings for him
Phoebe BuffayHer key traits have emerged from her upbringing
Easily instills her faith in someone – open to
opinions and ready to listen
Runs away from her past but hasn’t forgotten it –
chooses to ignore
She has a heart that cares for abandoned, not-cared-for animals,
nature (She was treated like that in her childhood)
She believes Santa Claus exists, until Joey says
otherwise
Phoebe is the most promiscuous of the three
women and is the one most often referred to as having
casual sex
"That wasn’t a date! That was, that was just friends getting together…having sex."
Phoebe believes in reincarnation and refers to
multiple gods
She is very open to the existence of paranormal
phenomena and willing to consider the most bizarre
scientific theories
At one point, Phoebe is possessed by the spirit of an 82-year-old woman, who had
unfinished business
Phoebe has dubious musical skills – she sings rhyming
songs "Smelly Cat”, "Sticky Shoes", "Sue, Sue, Suicide”=
Phoebe meets her estranged father, who reveals he sang a lullaby to her when she was a
baby, called "Sleepy Girl", which has the same melody
as "Smelly Cat“
She is a vegetarian and does not eat "food with a face"
She succumbs to her cravings for meat during her pregnancy, though only after Joey agrees to abstain from meat so that no extra
animals would be killed.
She makes a woman apologize to a tree after putting out a cigarette on it
Phoebe names the rat and mouse in her apartment (Bob and Susie, respectively)
For Phoebe, this is her family and her comfort zone. She wants all of them to be together all the time.
(This could be emerging from her nomadic childhood)
Her relationship
with ROSSOpposite beliefs - Emotional
Phoebe and Ross are good friends, but their relationship sometimes leads to conflict between Phoebe's "New Age" beliefs and Ross's scientific ones.
Ross and Phoebe sometimes turn to one another when they need emotional or sexual advice
When Ross realizes that he is in love with Rachel, Phoebe pushes him to tell Rachel how he feels
Her relationship with RACHELFun friends - Possessive
When Ross realizes that he is in love with Rachel, Phoebe pushes him to tell Rachel how he feels
Phoebe admits that, if she had to choose which of her two female friends to have a lesbian relationship with, she would pick Rachel because she is not as high-maintenance as Monica
Phoebe thinks Rachel would rather live with Joey. She tries to make life miserable for Rachel in Joey's apartment so that Rachel will move back in with her
Her relationship with MONICAClose – Clash of personalities
Although Phoebe and Monica are close, Phoebe often finds her competitive and compulsive behavior bothersome
When Monica takes control of Phoebe's wedding, Phoebe tells Monica that she is tired of her bossiness and fires her
Her relationship with CHANDLERGreat friends – Mischievous
Chandler views Phoebe as strange, making references to her being an alien from outer space
They share a distaste for Monica's aggressive side, and instead of being angry at Phoebe for firing Monica as her wedding planner in the middle of the rehearsal dinner, he chuckles and raises his glass
Her relationship with JOEYBest Pal – Soft corner
Joey and Phoebe are the only members of the group who lack a college education
Phoebe's best male friend - Joey; Both characters show a softness for each other, even when joking or when they are upset with the others.
Her thoughts on MARRIAGEPhoebe never married for commitment (That is something she never received from her parents as well)Mike believed in her in her own way (From name change and kind of marriage)
She married Duncan, a gay Canadian ice dancer, in order to help him obtain a green card.
He later revealed that he is straight, and was just being gay "to fit in", resulting in a divorce, although Phoebe still has feelings for him
She indicates her belief that people married in Las Vegas are only married within the city limits, and is surprised when Monica informs her such a union is legal all over the world.
Phoebe and Mike begin a long relationship, which temporarily ends after Phoebe learns that Mike never wants to remarry
Mike then learns that Phoebe's first boyfriend, David, is planning to propose to her; he changes his mind about marriage and proposes to Phoebe before David can
Phoebe rejects the proposal because she only wanted to know that marriage was a possibility; she and Mike become a couple again.
They are married in the street outside Central Perk, with Monica as maid of honor, Rachel as a bridesmaid, Joey officiating, Chandler giving Phoebe away, and Ross holding Mike's childhood dog as a groomsman
Post marriage, when Phoebe learns she can change it to anything. She briefly becomes "Princess Consuela Bananahammock"
To show her how ridiculous it sounds, Mike suggests changing his name to "Crap Bag". Phoebe relents but wants to keep the name "Bananahammock" until learning that it is slang for a Speedo
She changes her name to Phoebe Buffay-Hannigan.
How well do we know: Akshara MaheshwariWhat made her what she is?
She is a simple educated girl (had to leave it in the middle) from a traditional family
She is fairly shy and reserved
Her mother is hyper
Her best friend is Varsha, who is her confidante and
shoulder to fall back on
Do we know how she was in her childhood?
Her father adores her
Her grandmother has been her support
system
She is a simple educated girl (had to leave it in the middle) from a traditional family
She is fairly shy and reserved
Her mother tends to be hyper anxious
Her father adores her
Her grandmother has been her support system
She is a simple educated girl (had to leave it in the middle) from a traditional family
She is fairly shy and reserved
Her mother is hyper
Her father adores her
She shares a very open relationship with her dadi
Her best friend is Varsha, who is her confidante and a shoulder to fall back upon
She craves for attention from her husband – and sometimes get irritable
She had liked Rituraj, who rejected her and she went into a depression
She left the house, when Naitik asked her to, for supporting Mohit Nandini
She decorates her bedroom as per her
taste
She returned the house that Naitik had bought
for her as a gift to ensure harmony
She gets jealous when Naitik gives extra importance to his
designer Sneha However does not have layers to her character that define her
Her understanding nature emerges from her family
Which brings us to the third C: Content
What determines great Content?
Usually, a simple, almost obvious human truth
Insight
Ideas
Brief writers & production houses
Bringing alive the idea
Defining the universe
Peppering with emotional hooks
Insights
Ideas
Characters
Story
Storytelling
A simple, almost obvious human truth
The story universe
WHERE
WHAT
WHY
Appeal for broad audience What’s the novelty value What’s at stake for achieving goals? Is it infinite? Fit with channel philosophy?
What are the opposing goals of the central conflict? Conflicts of how many people? What’s the larger journey?
Where do the characters live/ where is the central drama going to take place? Does it have an impact on the authenticity of characters/ deepening of the drama?
WHO
Whose story should the viewer empathize with?
WHEN What is the time period or temporal setting? How will it affect the characters and conflicts
An exerciseStory Universe – Finding Nemo
WHERE WHEN
WHY
For parents, children always remain children…no matter how old they become
GBR along the east Australian coast off Sydney
Contemporary times which have compounded the problem
WHO
A father hoping to find his son, journeys
through the life threatening ocean
WHAT
Marlin trying to find his son Vs. The vastness of the ocean taking them apart
Premise of Finding Nemo
Marlin will go to any extent for the sake of his family
Possible Highpoints of Finding Nemo
Caring & threatened
Nurturing & hurt
Sensitive & misery
Happiness & sorrow
Joy & ungrateful
Commitment & dejection
Selfless & hurt
Aspiration & fear
Dreams & helplessness
Overprotective & loss
Unexpected help & despair
Near death & hope
Hope & heart-broken
Near death, courage and joy
Creating a character diamond
Skewed opposites: Helps to create layers in a character that unfolds
interestingly in the story plot
Character Diamond: Marlin
Responsible
Protective
AnxiousFearful of the
ocean
Protective x Fearful of the ocean = skewed opposites
Character Diamond: Dory
Helpful
Talkative
Optimistic
Carefree
Forgetful
Talkative x forgetful = skewed opposites
An exerciseStory Universe: Yeh rishta kya kehlata hai
WHEREUdaipur
Small town India, traditional/ conservative
families
WHENContemporary India, where extended nuclear families conduct their lives as per
norms and convention.
WHOA traditional young girl, who
hopes to find love after marriage
WHYIt’s the married girl who
learns to adjust in her new home and not the other members of the home
WHATHer constant struggle to
gain acceptance from each family member by playing
multiple roles of appeasement
Overcoming each obstacle (adjustment) makes the marital bond even stronger
Friendship Happiness
Infatuation
Sorrow
Responsibility
Togetherness
Love
Tends to panic in crisis situations
Innocent
Loving
Lack of maturity, childish
Romantic
Dutiful
Character Diamonds: Yeh Rishta Kya Kehlata hai
Responsible
AksharaNaitik
The content creation checklist
3 Months to launch
3 MONTHS TO LAUNCH
Shortlist Concepts
Audio tape of the concepts for concept testing
Concept Testing
Finalize concepts
Intimation to marketing and sales
Shortlist of production houses
Finalizing the creative team from the production house; including writers and technical team
Commercial negotiations
Discussions with channel head and creative team on cost estimates and potential cost reduction measures
The content creation checklist
3 Months to launch
2 MONTHS TO LAUNCH
Sign agreements with the production house = Show commissioned!
Audition and shortlist key cast
Sign contracts with the cast
Actor Workshop
Lock story, screenplay and dialog for Ep 1-Ep 30
Name the show
Register the title and the concept
Shoot the pilot. Test the pilot with the audience.
The content creation checklist
3 Months to launch
1 MONTH TO LAUNCH
Last mile changes to cast, storytelling, screenplay dialog
Design show logo, title track, packaging
Shoot, shoot, shoot till you have a bank of 10 episodes
The content creation checklist
3 Months to launch
LAUNCH WEEK
Launch Party!
The agonizing wait for week 1 ratings.
On-air is nothing but the combined whole of every single thing that the consumer sees on screen. It includes the shows, the ads, the graphic elements and the promos.
The strategic approach to how these elements are combined can make the difference between a strong and a weak channel. And often does.
Three key elements of On-Air
1. Slot Analysis
2. Promo Planning
3. Broadcast Design
Three key elements of On-Air
1. Slot Analysis
2. Promo Planning
3. Broadcast Design
Three key elements of On-Air
1. Slot Analysis
2. Promo Planning
3. Broadcast Design
Apart from Slot Analysis, the most critical element of on-air is Promo Planning
On-air promos are what ensure that audiences tune into a show and they are the single biggest
piece of real estate the channel owns
Three key elements of On-Air
1. Slot Analysis
2. Promo Planning
3. Broadcast Design
Generate a look for the channel: Broadcast design
Guide the decision making
process by representing the consumer
Whet the product
concept with the
consumers
Develop a consumer lens for product creation
Inject the consumer feedback
into the final product
Build a single-minded
communication thought
for all promotions
Create the marketing campaign
keeping the end
objectives in mind
Evaluate the launch
opening numbers to gauge the
performance
Research post launch consumer
response to tweak the product if necessary
Feed regular consumer insights for
weekly promotion and create
new product plots
Launching your show
Product Customer USP MeasurementProductProduct Customer USP Measurement
Show Target Audience
What about the show makes it
relevant for the TG
The ratings and reach that the
show needs to achieve
The Marketing Campaign
Suvreen Guggal Topper
of the Year
TAM Definition: CS 15-24 ABC
A counter-intuitive role model who
believes that there’s more to life than mindlessly
topping exams
Double the slot rating
The Marketing Campaign Case Study
So Step 2: Ideas!
OBJECTIVE:
What are the innovative ways to get this message across?
Where would the potential audience of this show aggregate?
How can we create the desire to sample the show that actually converts to viewership?
Suvreen Guggal Exam Helpline
Be friends with Suvreen
Ms Guggal: Google for teen trouble
Tell Suvreen your dream: She will convince your parents to let you follow it
Suvreen ke funde: Daily webcomic
Suvreen appears on popular shows to share her funde with
young characters
Marksheet hai par marks nahi – Music
Video
Suvreen’s blog of alternate careers
For every show there are two TGs
Regular viewers of your channel
Irregular or New Viewers
Home Channel PromosCountdown innovations
Integrating on other showsBranded menus and bumpers
Promos on other channels – the best medium of conversion
Outdoor for impactRadio for frequency
Online & mobile for frequency and engagement
Print as a launch day reminderActivations
Step 3: Media Selection
Occasionally a third TG
Trade
Targeting advertisers and media planners to advertise on
your show
Direct marketing, trade website, press conferences,
launch events
Step 4: The Big B
BUDGETS
OPTIMIZE THE TV PLANHow much do you need at 3+ to achieve desired conversion
ADD OTHER MEDIAFor frequency, impact and engagement
NEGOTIATEFor spots, for rates, for premium sites – all to fit into one budget
Step 5: Execute
Liaison with agenciesBlock social media URLsDevelop CreativesDevelop AppsGet mock prints of outdoor creativesTest communicationTrack Awareness build-upMaximize impact in the days leading up to launchPlan for sustenance campaign
• How many people did my campaign reach?• How many did I engage with?• How many tuned into the show?• Target vs Actual
D3 (April '11) Humse Hai Life (Sep '11)
Suvreen (March '12)
0.21 0.31 0.500.65 0.751.40
2
3
4
Channel V’s Best Launch at that time
TVR ReachCume Reach on Prime
Step 6: Post Eval
Over 100k likes on FB
A sample TV plan
Campaign objectives• Objective:
– To increase slot reach from 1.0% to 2.5%
• Priority Market:– Mumbai, Delhi, Cal, Mah 1mn+, UP 1mn+, Guj 1mn+,
PHCHP
• TG:– CS 15-24 ABC P1, CS 10-14 ABC P2
TV Profiling – to select best genre, channel and shows
GENRE CS 4+ YRS CS 15-24 YRS INDEXMUSIC 4.3 6.4 148%
YOUTH 4.3 5.9 137%
ENG GEC+ENT 1.0 1.3 132%
SPORTS 0.6 0.8 130%
HINDI MOVIES 20.0 22.5 112%
HINDI GEC 35.5 36.9 104%
INFOTAINMENT 1.1 1.2 104%
Others 26.01 24.34 94%
HINDI NEWS 2.4 2.3 92%
ENGLISH NEWS 0.2 0.2 90%
Hindi GEC is watched more albeit at comparatively lower skews
Setting plan reach levels
Budget optimization – leveraging the Star network
GRPs and Reach build-up
Right product. Right communication. But does it reach the consumer?
TV Value ChainDistributors End Users
Role in the Value Chain
Key Players
Challenges & Concerns
The distributioncompanies, usingvarious technologies,make the contentavailable to audience
End users get access to the content after paying a subscriptionfee to the distributor
• Digicable• Hathway• DEN• Tata Sky• Airtel digital TV
Consumer
• Almost 75% of therevenue is garnered by LCO due to domination of non-addressableanalogue subscriptions
• Consumers are experimenting and open to new technologies, content and offers
Broadcasters
Content isdistributed throughaudio and video signalsto transmit programsto an audience
• Star Plus• NDTV• Sony• Colors• Zee TV
• High carriage fee todistributors
Aggregators
They aggregate content across broadcasters and offer as a bundle to the distributors.
• MediaPro.• Indiacast
• Managing business relationships, collection and agreements across 6000 odd operators.
Broadcaster Channel Uplink
Broadcaster Satellite
DTH/Cable MSO Headend downlink/uplink center
DTH Operator Satellite How the channel
reaches households
DTH Route
Cable Route
Local Cable Operator
Optic fibre Cable
Coaxial Cable TV Viewer
Distribution Value ChainBr
oadc
aste
rs
Multi-System Operators (MSO’s)
About 6000 players in the Market
Local Cable Operators (LCO’s)
About 60,000 players in the Market
Direct-to-Home (DTH) satellite TV providers
6 Major players in the Market including Airtel Digital TV, Reliance Big TV and Tata SKy
Subscribers 84 Mn (2011)
Analogue 80 Mn
“ Team Distribution at Star ensures subscription revenue flow and reach with a preferential placement in the most viewed TV frequency band”
Digital4 Mn
DTH30 Mn
Flow of Subscription Revenue
Cable Value Chain
DTH Value Chain
Flow of Content
Distribution Department
1. Connectivity & Placement
2.Subscription Revenue
Distribution Team – Key Responsibility
• We ensure that each of our channels is available in the preferred frequency band
• Availability of channels across various analog & digital platforms.
• Distribution team ensures preferred Placement or the right LCN (Logical Channel Number), in a layman’s term this translates into an early channel number in each programming genre and across platforms.
• We ensure that our paid channels bring in subscription revenues
• We drive this through our partner Media Pro who does the collection on our behalf.
Digitalization set to change Industry dynamics
A boon for all Stakeholders Enhanced consumer choice & higher quality
experience Govt. to recover tax leakages of >US$1 bil. pa
& improve tax receipts Incentive to MSOs & broadcasters to invest in
infrastructure & content Ability to offer broadband, increasing BB
penetration & boosting economic growth
Digitization Timelines
Allow fair revenue sharing across all partners of the value chain
Source: FICCI KPMG Indian Media & Entertainment Industry Report 2012
Phase I 4 Metros 1st November, 2012
Phase II 1 Mn+ Towns
31st March, 2013
Phase III All Urban Towns
30th September, 2014
Phase IV All Rural 31st December, 2014
All this is cool, but no honey without money!
Indian television market: Fast-growing TV market with 22% CAGR over the next 4 years
Source: FICCI PricewaterhouseCoopers Research
22% CAGR
19% CAGR
23% CAGR
75
Ad Sales Revenue contributes to 70% of the total revenue
Revenues are largely Ad Sales driven
STAR Plus is the dominant channel. Contribution of English, South, & Regional are expanding and widening the channel base to create equivalent leaders in all spaces.
Channel wise Revenue MIX
Pay TV Subscription Market: Great growth potential with increase in DTH subscribers
109 112 115119
128123
130 132
Internal estimates. does not include Terrestrial
Let there be LIGHT…But first, a primer on some basic terms
ReachAverage No. of People who have viewed a particular TV Content for atleast 1 minute.
Total No. of Available People – 10
People that watch TV for atleast a Min - 6
Therefore, Reach = 6/10 = 60%
- Doesn’t Watch TV
Cumulative ReachTotal Unduplicated Reach for a given Period / Programme
Gross Reach = Sum of Reach of All Episode = 221
Total Duplicated Reach = 70
Therefore, Cumulative Reach = 221-70 = 151
Episode No. Episode Reach Duplicated Reach
1 30 0
2 47 15
3 62 30
4 82 25
- Doesn’t Watch TV
TVRA Time Weighted Figure which also accounts for Time Spent by a Viewer along
with the Reach
2 3 1
5 2 1
Total Programme Time
= 5 Mins.
Reach = 6/10 = 60%
TVR = 2/5 + 0/5 + 3/5 + 0/5 + 1/5 + 0/5 + 5/5 + 2/5 + 0/5 + 1/5
10
Therefore, TVR = 0.28 or 28 %
How can TVR be Read?
• If TVR = 44%
• It Means,
– 44% of the Universe saw 100% of the Programme
Or
– 100% of the Population saw 44% of the Programme
Average TVR
• It’s the Mean TVR achieved within a specified period provided it is for the same Market & for the same TG.
Episode No. TVR (%)
1 5.6
2 8.2
3 6.25
4 8.9
Average TVR = 5.6 + 8.2 + 6.25 + 8.9
4
= 7.24
Average TVR
• It’s the Mean TVR (Duration Adjusted) achieved within a specified period provided it is for the same Market & for the same TG. The Duration is adjusted for as follows…
Average TVR = 112 + 287 + 250 + 222.5
20 + 35 + 40 + 25 (Total Duration)
= 7.26
Episode No. TVR (%) Duration (mins.) TVR x Duration
1 5.6 20 112
2 8.2 35 287
3 6.25 40 250
4 8.9 25 222.5
GRPs• GRPs is the Summation of all the TVRs achieved within a
period.
• It can be for a Genre, Channel, DayPart, Market, TG, Programme or combinations of them.
Episode No. TVR (%)
1 5.6
2 8.2
3 6.25
4 8.9
GRPs 28.95
GRPs Continued
• A Normal Practice is to use a summation of 30 min TVRs (Xpress Trend Modules) to ascertain GRPs.
• Thus, nullifying the duration factor…
Channel Share
• There are 2 types of Channel Shares :– Absolute Share– Relative Share
• Absolute Share = Channel Share with ALL channels as a Base
• Relative Share = Channel Share with all channels from the same Genre as a Base
Channel Share Calculation
Absolute Share =
TVR of a Daypart or ProgrammeAny Channel TVR within the same Daypart
Relative Share =
TVR of a Daypart or ProgrammeGenre TVR within the same Daypart
Channel Share Calculation
• TVR in ‘000 as well as GRPs can also be used for calculation of Share…
• For a longer period, say a week or a month, the above two tend to be much more effective than TVR…
• GRPs tend to be more effective method of Channel Share Calculation incase of Niche Channels.
CPRP
• CPRP (Cost per Rating Point) is the amount an advertiser invests to achieve a TVR of 1 for a commercial.
• It is a effectiveness score which evaluates the value of Spots.
CPRP Calculation
Channel Prime Time TVR (%)
30 Sec Slot Cost CPRP
ZEE TV 4.8 200000 200000/4.8 = 41666
Star Plus 8.2 500000 500000/8.2= 60975
Sony 3.25 150000 150000/3.25 = 46153
Sahara 1.2 30000 30000 / 1.2 = 25000
CPRP calculation is undertaken to get all available options on a single base for Evaluation…
In the above example the most efficient spot is Sahara followed by Sony…
Time Spent
• 2 Types :– Time Spent by Universe (TSU)– Time Spent by Viewer (TSV)
• TSU is the average time spent by an audience including the non-viewers
• TSU = Total Time Spent Universe
Time Spent
• TSV is the average Time Spent by Viewers only (not including the Non-Viewers).
• TSV = Total Time Spent Reach ‘000
Time Spent Calculation
Total Programme Time = 5 Mins
Therefore, Reach = 60 %TVR = 28%
TSU = 2+3+1+5+2+1 = 1.4
10
TSV = 2+3+1+5+2+1 = 2.33
6
- Doesn’t Watch TV
2 3 1
5 2 1
The usage of the currency
The CPRP / CPT game
CPRP: Cost per rating point
CPT: Cost per thousand
CPRP
The cost of buying one rating point.
Usually measured per 10 sec
Used as a planning / buying benchmark
Formula : Cost ÷ TVR = Cost per TVR
In Practice : Rs. 220,000 ÷ 20 TVR = Rs. 11,000 cost / TVR
CPT
Formula : Cost ÷ TVR in’000 = Cost/thousand
In Practice: Rs 220,000 ÷ 40,000 = Rs 50 CPT
The cost of reaching a thousand viewers.
CPT – The Way Ahead
• C&S universe is growing at 10% Y-O-Y• CPRP is based on GRP/TVR which is a percentage• CPRP does not account for growth in C&S homes• Need to move to CPT to get real value for broadcasters
CPT then and now…
Programme TVR TVR (000s) Reach (Mn) Rate/10 sec CPRP CPT
KSBKBT 16.3 9209 12.1 200000 12270 21.7
KGGK 14.1 7986 11.7 150000 10638 18.8
Bidaai 6.7 7639 13.4 100000 14925 13.1
YRKKH 5.8 6632 12.2 85000 14655 12.8
We ensure a CPT is calculated for every deal to establish benchmarks
Even though CPRP is higher for Bidaai/YRKKH, Reach is higher and CPT much lower than KSBKBT/KGGK
How does a MEDIA PLAN* go
on to become a DEAL?
INITIAL PLAN(Channel mix Vehicle mix)
BUYING BRIEF(Comm. dur., FCT
# spots, programs etc)
INITIAL DEAL(FCT by Programs, ERCPRP, Sponsorships)
FINAL DEAL(FCT by Programs, ERCPRP, Sponsorships)
Agency checks thedeal against Media
Objectives
(‘n’ iterations)(If YES)
(If NO)
Buying Brief contains details on . . .
• Markets• Target Audience Definition
– Demographics– Psychographics
• Period of Activity• Creatives to be used
– captions/sizes/languages etc• Media Weights
– GRP, Reach & Frequency Objectives• Working Media Budgets (by medium)• Back-end Analysis
– Day-parts/Channel/Publication Mix Selection
Quantitative Detailing
And covers
• Background of the media activity– Promotion/Tactical/Launch etc– Rationale for Media Selection– Role of each medium/vehicle– Scheduling strategy recommended– Campaign Objectives by markets/medium
Qualitative Detailing
The Buying Process
• Evaluation• Selection• Negotiation/Deals• Implementation• Post Buy Evaluations
Evaluation
• Television– Channel Shares– Daypart Analysis– Top Programme by markets– CPRPs
Selection - Television
• Quantitative Inputs
- Programme profile/Clutter levels
- Past trends/stability
• Qualitative Inputs
- Channel/Programme perception
- Packaging qualities of channel
- Receptivity to new ideas/innovations
- Synergy with brand profile
Implementation
• Work out detailed deals with media owners– Campaign Specific deals OR– Year long deals
• Work out Optimised Plans with negotiated rates
• Approvals by client• Execution
Garner a higher share of Ad Sales pie of Media market
Increasing Ad Sales by better monetizing our properties
Innovation and identifying new revenue streams – Rating based billing, Regional Ad insertions etc.
To take lead to drive CPT as a measure of audience delivery
Expand Subscriber base, reach low lying areasManage Digital Cable rolloutIncrease declarationsMonetize the DTH boomWork with the regulators to take a price hike Explore media
opportunities in new and emerging businesses like:- Mobile Apps (Apple, Android) - Internet Live streaming
IPTV
Desired revenue objectives for a TV brand
Ad Sales
Distribution
New business
Case Study: Building India’s first real Youth Entertainment Brand
Case StudySTAR Jalsha
Flow
• Consumer learning• Defining the brand positioning• Launch campaign• Success story
Understanding the Bengali consumer
Defining the macrocosm • Understanding the cultural & social codes of his life
• Key implications
defining the microcosm•understanding the individual & his mindset
•understanding the effect of the socio-cultural codes
on the microcosm
113
concept evaluation•evaluation of the concepts
•way forward
Understanding the Bengali consumer
Defining the macrocosm • Understanding the cultural & social codes of his life
• Key implications
defining the microcosm•understanding the individual & his mindset
•understanding the effect of the socio-cultural codes
on the microcosm
114
concept evaluation•evaluation of the concepts
•way forward
Macrocosm learning
A culture that helps me blend with the rest of the world while keeping my identity intact
Bengalis are in a transition attempt to put their efforts in reinventing themselves, balance the reality and move ahead with the global order
Traditional bengali culture New world ideas
Conventional morality Contemporary integrity &
commitment
Dictates of customDemands of modern day
pressures
Unquestioning respectQuestioning ideals & adapting of
the old order, re-adapting them to present times
The state of constant…
• pride in the bengali legacy• trying their best to hold on to it
despite the desperate bid to be a cosmopolitan
• compromise but not sacrifice the bangali code
heritage
• despite the contradictions, they seek balance between • harmony within competition• progress within tradition• spirituality within
materialism
harmony & balance seeking
• duty• respect• tolerance• responsibility
role fulfillment
116
implications• need for a redefinition of bangali; make it more amenable and relevant to current
reality
• need to sift and sieve through the concept o amend and rectify values that have become archaic and datedo highlight or bring to the forefront values that can build a stronger bangalio reaffirm and reinforce values that are acknowledged as contributing to their
glorious history but not really adopted in real life
• bangalis have always believed
that culturally they are the
forerunners
• highlight their culture and
also the way its progressing
and not the ultimate
destination
• bangalis as an intellectual and
enlightened race, the best brains
in the world possibly
• convert wisdom and knowledge into
quick wittedness & mental agility
• gifted with the thinking power to
convert every event into an
opportunity
117
Understanding the Bengali consumer
Defining the macrocosm • Understanding the cultural & social codes of his life
• Key implications
defining the microcosm•understanding the individual & his mindset
•understanding the effect of the socio-cultural codes
on the microcosm
118
concept evaluation•evaluation of the concepts
•way forward
rooted
progressive
coping
open to change
resistant to change
individualistic collectivevi
talit
y equilibrium
pseudo
modernism rig
idity
Study reveals the emergence of three kinds of bangalis: rooted, coping & the fusionist
Tussle & the Bangali
120
copingrooted progressive
zone of reconciliation
zone of reconciliation
zone of flux
While the rooted is already reconciled with his tradition, the progressive has established himself as the ideal bangali, the coping is still caught up the flux. both the forces of tradition & modernity act on him confusing him further.the progressive thus emerges as the brand ambassador while the coping are the brand audience. hence any communication intended towards the progressive would also appeal to the coping.
Understanding the Bengali consumer
Defining the macrocosm • Understanding the cultural & social codes of his life
• Key implications
defining the microcosm•understanding the individual & his mindset
•understanding the effect of the socio-cultural codes
on the microcosm
121
concept evaluation•evaluation of the concepts
•way forward
construct of evaluation
122
context
proposition
key benefits
end pay-off
123
Euphoria
comprehension context
past:
20 years: time span of 20 years found highly relevant and strikes a deeper chord with
them
business, talent, job: found highly realistic as it highlights the struggles the bangali has
gone through
delhi-mumbai: kolkata always thought to be the most backward amongst all the metros.
the sentence captures the comparison.
current:
last 5 years: highlights the beginning of the bangali’s progress.
shopping mall, it, bpo, modeling, air hostess: shift to non-traditional occupation
which have so longer been considered a taboo.
barista: reflects the new age consumerism where the consumer finds the barista as the
only proper place
bong connection & bangla rock: highlights changing tastes & preferenceskey takeout: reflection of shifts & trends. comparison with other developed metros. changing mentality &
attitude. quality of lifestyle
comprehension context
comprehension proposition
ray of hope: promises of optimism & hope after the years of struggle & stagnation. the
tone of confidence is apparent
change: the change is described in details in the context and vividly captured.
but some contradictions emerge:
how can kolkata represent the bengal?
aren’t they supposed to be the same/synonymous?
key takeout: promises. progress. confidence booster
comprehension benefits
• highly relevant as it captures the essence of the evolving bangali.
• promises of a channel which lives up to the expectations of a new
key takeout: progressive bangali, channel to meet their needs
comprehension pay-off
•heralds the arrival of the right time to denounce the old & usher in the new. the
authoritarian tone is liked by majority as unlike other channels it gives them a sense of
direction and security.
•highlights the need to think, listen & watch promises of a complete sensorial experience
& also a complete sensorial makeover
•specifies the target audience, i.e., the evolved & progressive bangali.
•provides a detailed account of the variety of programmes the channel would showcase.
•guarantees quality & glamour in equal proportions an opportunity to make bangali
channels at par with other channels
• greater prestige & pride
• superiority complex
• quality channel
Key takeout: authority, credibility, trust & security, guarantee
relevance
128
high
low
detailed portrayal of the changed spectrum
depicts reality
promises of optimism & hope
tonality
promises of a complete expereince
assurance of quality
competitiveness of channel
difference between kolkata & bengal
too rigid a definition of target audience
context
Proposition
Key benefits
End pay-off
high
high
high
high
high relevance
Concept found highly relevant in every stage of the concept. highlights the changing kolkata & the progressive bangali, thus establishing the right connect.
star bangali emerges as the key hook
star bangali
129
Resurgence
concept-fit with consumer segments
euphoria is a perfect fit with the progressive as it celebrates modernity
and hence upholds his views. but
resurgence harping more on traditionalism is a misfit with him
the coping who are yet to discover their identity find a true saviour in euphoria. it’s authoritarian tone provides them security,
confidence and optimism. hence an ideal fit with them. the specific mention of the target
audience might prove to be intimidating to the coping. hence a subtle hint and not an overt
mention. but resurgence which only promises to take
them back on the traditional route is a misfit.
The Brand thought
Let’s change the way we think
Mass Media
• Outdoor, Radio, TV (both network and outside)
• Full page ad on the day of launch on ABP as well as all the other major publications plus a 100 cc ad announcing the mall festival
• Tie-up with TOI (half page editorial on the front page of Calcutta Times on the day of launch)
Mass Media
• Outdoor for 2 key shows: – Bandhan and Durga
• Countdown and launch date hoardings will be followed to serve as a reminder
Ground Activation
• Ground activation received a tremendous response (3000+ people at first)
• Totally 50 locations and 20 paras activated
Ground Activation
• Launch day a mega building projection to play a specially created AV – projection on the Peerless Inn building next to the Oberoi
Ground Activation• Mall festival events for
5 days– 360 degree activation including events, performances, discounts, branding and contests
• Musical event on D-day at City Center with 3 big bands performing – 12-15,000 crowd expected
On ground communication scale
• Over 12 lakh mailers are being distributed on-ground as well as door to door – plugs the 4 shows as well as the mall festival
• 6 metro stations have been activated along with 42 theatres playing the promos
• 25,000 audio CDs with all our tracks will have been distributed
• 30 retail outlets activated with branding and discounts as part of the Jalsha festival
• Music store activation across Planet M, Music World and Pantaloons for the CD and the 7th event
• Mobile push message across 3 lakh subscribers• State Electricity board leaflet distribution across 3.5 lakh
bills• The mayor activity will happen – but not before the launch.
We will use it as a sustained and ongoing activity for the channel
Success story
• Star Jalsha launched with almost 100 GRPs in a market where the leader was around 400 GRPs
• Within 9 months of launch, the Jalsha became the No.1 channel in Bengal dislodging a 15 year old leader
• It has been No.1 ever since and currently delivers in excess of 500 GRPs and has an over 30% lead over its nearest competitor
SESSION I
Industry OverviewThe Assignment
SESSION II
The Content Creation ProcessElements of On Air and managing them
SESSION III
How Media Marketing worksThe importance and impact of DistributionMonetization and Selling Metrics
SESSION IVCase StudiesUnderstanding and Managing a Channel P<he kind of Jobs in television and what to expect
A look at the P&L statement
REVENUE MIX
• Advertisement Revenue
• Distribution Revenue (thru MediaPro)
– Analog/digital Cable– DTH
• Others – Wireless– Internet / New Media– Syndication
• All streams – Both Domestic and International
COST CONSTITUENTS
• Programming / Content– Developed Content– In House Content– Movies– Events etc.
• Technical – Broadcasting / Satellite– Post Production– Up-linking / down-
linking– Distribution
• Overheads– Manpower– Advertising – Legal and professional– Premise related – Travel
_ =
P
R
O
F
I
T
Star India Private Limited
Profit & Loss (Incl Events)
Particulars - Rs. Crs FY13 BAverage GRPs (CS4+, Hindi GE) 38.2 Mkt Share 2.9%Gross Ad Revenue - HD Gross Ad Revenue - SD 105.7 Ad Revenue 89.9
Ad sales 89.9 Subs Revenue 37.8
Subs Revenue 65.3 Carriage Fees (27.6)
Other Revenues 2.0 Total Revenues 129.6 Channel Cost 87.9
Content 75.4Staff Cost 10.4Discretionary 2.1
Marketing Costs 7.0
A&P 7.0Internet
Bad Debts 0.4 Technical Cost 6.9
Playout, GO Digital & Others 5.9Outsourced Promo Costs 0.0Inhouse Post production cost 0.1Transponder 1.0
Total Cost 102.2 Contribution 27.4 Contribution % 21%
Contribution w/o Subs -38Contribution w/o Subs % -41%
SESSION I
Industry OverviewThe Assignment
SESSION II
The Content Creation ProcessElements of On Air and managing them
SESSION III
How Media Marketing worksThe importance and impact of DistributionMonetization and Selling Metrics
SESSION IVCase StudiesUnderstanding and Managing a Channel P<he kind of Jobs in television and what to expect
Key questions to answer for your assignment
Which genre do you want to operate in and why?1
Why do you believe there is an opportunity for such a channel?
2
3What is your content strategy? What kind of programming do you want to create and why?
4Where will you source this kind of content from? What unique advantage does your sourcing strategy offer you?
5What is your FPC strategy? How many hours of programming will you have? How does this compare with the rest of the category?
6How will you approach Marketing? What will be unique about your Marketing Strategy?
7What is your cost structure? How much do you want to spend on each component of your business?
8How does your P&L stack up? When do you expect to break even? How do your projections look going forward?
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