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If everyone demanded peace instead of another television set, then there'd be peace. - John Lennon

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Page 1: Presentation3 Lite

If everyone demanded peace instead of another television set, then there'd be peace.

- John Lennon

Page 2: Presentation3 Lite

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

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Over 600 reported channels

Source: FICCI KPMG 2012

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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+

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Hindi Content is consumed the most

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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

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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

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Still heavily dependent on advertising revenues

Source: KPMG FICCI Report 2012

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FMCG dominates TV

Advertising

Source: TAM Adex

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Formulate a

Business Planfor a new television channel

Assignment:

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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.

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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.

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The 3Cs that determine a show’s success:

Consumers, Characters, Content

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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

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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

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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

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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

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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

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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)

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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)

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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

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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

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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

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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

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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.

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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.

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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

Page 28: Presentation3 Lite

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

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Which brings us to the third C: Content

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What determines great Content?

Usually, a simple, almost obvious human truth

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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

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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

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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

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Premise of Finding Nemo

Marlin will go to any extent for the sake of his family

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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

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Creating a character diamond

Skewed opposites: Helps to create layers in a character that unfolds

interestingly in the story plot

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Character Diamond: Marlin

Responsible

Protective

AnxiousFearful of the

ocean

Protective x Fearful of the ocean = skewed opposites

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Character Diamond: Dory

Helpful

Talkative

Optimistic

Carefree

Forgetful

Talkative x forgetful = skewed opposites

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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

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Overcoming each obstacle (adjustment) makes the marital bond even stronger

Friendship Happiness

Infatuation

Sorrow

Responsibility

Togetherness

Love

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Tends to panic in crisis situations

Innocent

Loving

Lack of maturity, childish

Romantic

Dutiful

Character Diamonds: Yeh Rishta Kya Kehlata hai

Responsible

AksharaNaitik

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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

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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.

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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

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The content creation checklist

3 Months to launch

LAUNCH WEEK

Launch Party!

The agonizing wait for week 1 ratings.

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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.

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Three key elements of On-Air

1. Slot Analysis

2. Promo Planning

3. Broadcast Design

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Three key elements of On-Air

1. Slot Analysis

2. Promo Planning

3. Broadcast Design

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Three key elements of On-Air

1. Slot Analysis

2. Promo Planning

3. Broadcast Design

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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

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Three key elements of On-Air

1. Slot Analysis

2. Promo Planning

3. Broadcast Design

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Generate a look for the channel: Broadcast design

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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

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Launching your show

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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

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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?

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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

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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

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Occasionally a third TG

Trade

Targeting advertisers and media planners to advertise on

your show

Direct marketing, trade website, press conferences,

launch events

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Step 4: The Big B

BUDGETS

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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

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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

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• 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

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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

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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

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Setting plan reach levels

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Budget optimization – leveraging the Star network

GRPs and Reach build-up

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Right product. Right communication. But does it reach the consumer?

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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.

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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

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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

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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.

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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

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All this is cool, but no honey without money!

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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

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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

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Pay TV Subscription Market: Great growth potential with increase in DTH subscribers

109 112 115119

128123

130 132

Internal estimates. does not include Terrestrial

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Let there be LIGHT…But first, a primer on some basic terms

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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

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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

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- 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 %

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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

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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

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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

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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

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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…

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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

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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

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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.

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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.

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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…

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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

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Time Spent

• TSV is the average Time Spent by Viewers only (not including the Non-Viewers).

• TSV = Total Time Spent Reach ‘000

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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

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The usage of the currency

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The CPRP / CPT game

CPRP: Cost per rating point

CPT: Cost per thousand

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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

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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.

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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

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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

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How does a MEDIA PLAN* go

on to become a DEAL?

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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)

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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

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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

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The Buying Process

• Evaluation• Selection• Negotiation/Deals• Implementation• Post Buy Evaluations

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Evaluation

• Television– Channel Shares– Daypart Analysis– Top Programme by markets– CPRPs

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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

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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

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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

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Case Study: Building India’s first real Youth Entertainment Brand

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Case StudySTAR Jalsha

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Flow

• Consumer learning• Defining the brand positioning• Launch campaign• Success story

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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

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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

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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

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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

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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

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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

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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

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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.

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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

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construct of evaluation

122

context

proposition

key benefits

end pay-off

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123

Euphoria

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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

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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

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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

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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

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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

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129

Resurgence

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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.

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The Brand thought

Let’s change the way we think

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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)

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Mass Media

• Outdoor for 2 key shows: – Bandhan and Durga

• Countdown and launch date hoardings will be followed to serve as a reminder

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Ground Activation

• Ground activation received a tremendous response (3000+ people at first)

• Totally 50 locations and 20 paras activated

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Ground Activation

• Launch day a mega building projection to play a specially created AV – projection on the Peerless Inn building next to the Oberoi

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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

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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

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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

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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&LThe kind of Jobs in television and what to expect

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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

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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%

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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&LThe kind of Jobs in television and what to expect

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Key questions to answer for your assignment

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Which genre do you want to operate in and why?1

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Why do you believe there is an opportunity for such a channel?

2

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3What is your content strategy? What kind of programming do you want to create and why?

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4Where will you source this kind of content from? What unique advantage does your sourcing strategy offer you?

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5What is your FPC strategy? How many hours of programming will you have? How does this compare with the rest of the category?

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6How will you approach Marketing? What will be unique about your Marketing Strategy?

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7What is your cost structure? How much do you want to spend on each component of your business?

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8How does your P&L stack up? When do you expect to break even? How do your projections look going forward?