MxMIndia

Category: MEDIA

  • The announcements are part of ZenithOptimedia Group's management succession moves for Performics and Resultrix in India

    Tanmay Mohanty to take charge of Resultrix and Perfomics in India as Gulrez Alam moves to Singapore as Chief Devpt Officer for ZO APAC

    By A Correspondent

     

    Gulrez Alam

    After founding, growing and leading Resultrix as Global COO for close to five years and making it a name to reckon with in the digital marketing industry, Gulrez Alam moves to Singapore as Chief  Development Officer, APAC at Zenith Optimedia. In this role he will be working with Gerry  Boyle to lead New Business and develop as well as evangelize Digital in the APAC region for ZO.

     

     

    Tanmay Mohanty

    Tanmay Mohanty, who has played a pivotal role in shaping up  Resultrix under Mr Alam for more than a year now, will be taking on the mandate of MD, Performics India and in this role will be incharge of leading both Performics and Resultrix operations in India. He will also  help the ZO Group to further develop and grow its digital capabilities.

     

    In this new role, he will directly report into Anupriya Acharya.

     

    Comments Mr Alam, “I totally believe in ZenithOptimedia’s Live ROI philosophy. I am excited about offering data-led solutions to clients  across mainline and digital media. And also looking forward to working with a very passionate, performance and excellence driven team at ZO APAC office. As I move, I am totally confident in Tanmay taking  over the India responsibilities from me and am sure he will take the organization to greater heights”

     

    Said Mr Mohanty: “At ZenithOptimedia Group, we all have thoroughly imbibed the Live ROI philosophy and all our digital and mobile offerings across Content, Creative, Communication have Performance culture at the core”.

     

    Confirming the development, Ms Acharya noted that Resultrix has been a spectacular success story and will continue to be a competitive advantage for the ZenithOptimedia Group in India. As the client requirements becomes more sophisticated and move from vanilla to more expertise-based solutions, the competitive advantage will get  even more sharply defined. She said “Our revenues from digital as ZO Group in India, are already upwards of 40% and we will focus to grow this further in the coming years.”

     

  • The Jaipur Literature Festival has announced Zee Entertainment as the new title sponsor for the 2014 edition that takes place next week – January 17-21. Over 20,000 people are expected to attend each day of the five-day fest

    Zee is title sponsor of Jaipur Lit Fest

    By A Correspondent

     

    The Jaipur Literature Festival has announced Zee Entertainment as the new title sponsor for the 2014 edition of the fest which takes place next week – January 17-21, 2014.

     

    The festival, which is now in its seventh edition, will host a cross-section of top literary talent including Jonathan Franzen, Jumpha Lahiri, Amartya Sen, Harold Varmus, Tash Aw, Samantha Shannon and Reza Aslan.

     

    Subhash Chandra

    Said Subhash Chandra, Chairman, Zee Entertainment Enterprises Limited, in a communiqué: “Literature, as they rightly say, preserves our cultural ideals, customs and morals. ZEE has been the cultural ambassador of our nation to the rest of the world for over two decades. Our traditions and rich culture, weaved into our content, reaches over 700+ million viewers across the globe. Our brand positioning – Vasudhaiva Kutumbakam, resonates this effort of ours, to unify the diverse cultures and traditions across the world into one Family. Celebrating this legacy further, we are extremely proud to associate with Jaipur Literature Festival.”

     

    Punit Goenka

    Punit Goenka, MD & CEO, Zee Entertainment Enterprises Limited, added: “The Zee Jaipur Literature Festival association further strengthens our endeavour in creating compelling and engaging story telling for our viewers.”

     

    Sanjoy K. Roy, Producer of the ZEE Jaipur Literature Festival, said: “We are thrilled to welcome Zee Entertainment as title sponsor to the Jaipur Literature Festival. Their support will allow us to keep the Festival open to all, whilst bringing a wealth of world class talent to Jaipur each year.”

     

    The directors of the Jaipur Literature Festivals are William Dalrymple and Namita Gokhale and the festival is produced by Sanjoy K Roy (seen often on television news around the time of the Tarun Tejpal episode) and Sheuli Sethi of Teamwork Productions.

     

    The title sponsor of the festival last year was infrastructure company DSC and Tata Steel, Airtel and a host of others backed the event. In fact DSC has had a long association with festival as is with other literary initiatives. While the literature festival attracts a galaxy of writers and thinkers, the 2013 edition saw a controversy initially over the participation of Salman Rushdie in the proceedings and later over the remarks of sociologist Ashis Nandy on OBCs and SC/STs.

     

    Over 20,000 people are expected to attend on each day of the five-day festival. Decidedly, the biggest in the business. While there have been figures quoted of the sponsorship amount being in the region of Rs 5 crore, according to the grapevine, the actual amount could be even less than half that, with Zee putting its weight behind the promotion of the festival across media.

     

  • The deal will see titles made available through the on-demand service from February 2014, as well as future new releases. Users will have access to more than 200 films and TV series from the Warner Bros. library.

    Lukup Media & Warner Bros partner for India’s first on-demand TV channel

    By A Correspondent

     

    Bengaluru-based Lukup Media announced a partnership with Warner Bros Digital Distribution, through which the Studio’s newly released movies such as Gravity and The Hobbit: The Desolation of Smaug and a selection of new releases, catalogue titles and popular TV series will be offered to viewers via an on-demand TV channel. The Lukup Player will deliver a combination of live and on-demand content on Televisions and other devices people use to consume content.

     

    The deal will see titles made available through the on-demand service from February 2014, as well as future new releases. Users will have access to more than 200 films and TV series from the Warner Bros. library.

     

    Said Kallol Borah, Chief Executive Officer, Lukup Media: “We are very happy to partner Warner Bros. and bring a wide selection of popular and new movies and TV shows which will be available through India’s first on-demand TV channel. The channel will allow people to choose titles from their TV programme guide, pay for them and view them at a time of their choice.”

     

    Chris Dyde, Senior Vice President, International Licensee Markets, Warner Bros. Home Entertainment Group said: “Providing consumers with more choices and improving the movie experience at home is at the heart of Warner Bros.’ Digital strategy and we’re delighted to be working with Lukup Media, which will see a fantastic selection of both new and library movies offered to viewers in India”.

     

  • IBN7 Managing Editor Ashutosh is moving on and will be succeeded by Vinay Tewari, Managing Editor, CNN-IBN

    Ashutosh quits IBN7, Vinay Tewari to take additional charge of news channel

    By A Correspondent

     

    It’s a move that not’s entirely unexpected in the capital’s news circles. IBN7 Managing Editor Ashutosh has decided to move on. He will be succeeded by Vinay Tewari, Managing Editor, CNN-IBN who will now also lead IBN7 editorial operations in the same capacity. In this expanded role, Tewari will also drive network synergies across CNN-IBN and IBN7.

     

    Speaking on the development, B.Sai Kumar, Group CEO, Network18 said: “Ashutosh has played a key role in IBN7’s emergence as one of the most credible brands in Hindi news. We thank him for his immense contribution and commitment to the Network. Vinay has led CNN-IBN admirably and in this expanded mandate, we’re confident that he will not only take IBN7 to new heights editorially but also strengthen our general news network further”

     

    Commenting on this, Rajdeep Sardesai, Editor-In-Chief, IBN News Network added “Ashu has been a driving force behind IBN7 and his passion and leadership has been instrumental in making it into a fearless and independent voice in Hindi journalism. We thank him for his stellar effort and wish him the very best. Vinay has been an integral part of the general news network from the very beginning and I’m confident that he will bring his unique perspective and rich news experience to bear at IBN7 and the network ”

     

    Said Ashutosh: “Building IBN7 into what it is today has been one of the most satisfying experiences of my professional journey. I would like to thank all my colleagues for their support and look forward to newer challenges”

     

    And this is what Mr Tewari said: “IBN7 today stands for the best in hard-hitting and inclusive journalism and it’s a privilege for me to lead it further. I look forward to working closely with the talented and passionate team to ensure we honor the trust of our viewers in IBN7 and ensure that both CNN-IBN and IBN7 benefit and capitalize from the general news network in equal measure.”

     

    Although the communiqué received from the channel doesn’t mention where Ashutosh is moving to, there are rumours that he may join the Aam Aadmi Party. “These are again historic moments, societal churning is on, everybody has to contribute to make the change robust and beautiful,” Ashutosh tweeted earlier today.

     

  • The headline is self-explanatory, but here’s it again: Star Plus started 2014 with 647 mn viewers. Colors and Zee are No 2 and 3 respectively

    Star Plus starts year with 647 mn viewers. Colors, Zee at #2 and #3

    The figures in the table below tell the story. These are for Week 1 of 2014 and Week 52 of 2013 as per measurement agency TAM. However, the information we have received is not from TAM, but from a friendly subscriber. So, please do verify these numbers before making all-important decisions.

     

     

    Viewership in million  
    Channel Week 1 Week 52
    Star Plus

    647

    606
    Colors

    522

    527
    Zee TV

    449

    431
    Sab

    361

    330
    Life OK

    323

    324
    Sony (SET)

    266

    272

     

     

     

  • ETV Marathi's Kon Hoeel Marathi Crorepati makes a quick comeback on the back of viewer demand and channel resurgence + Interview with Anuj Poddar, EVP & Business Head.

    Marathi KBC’s double gambit

     

    By A Correspondent

     

    In less than a year since the inaugural series of “Kon Hoeel Marathi Crorepati”, Marathi general entertainment channel ETV Marathi has announced the second season of the gameshow.

     

    Season 2 of KHMC, as the show is called, will double the prize money to Rs 2 crore and have two contestants as again one, participating as a team. The show starts on Monday, January 13 at 9pm and will see well-known actor and theatreperson Sachin Khedekar continue as the host. In a first across all television adaptations globally, there will be two participants instead of one, participating as a ‘jodi’ or a duo in every team.The show is being produced by Siddhartha Basu’s Big Synergy.

     

     

    Season 2 is already witnessing 50-70% higher rates from advertisers over Season 1: Anuj Poddar

     

    Excerpts from an interview with the EVP Viacom18 and Business Head, ETV Marathi, on the show, how it is doing in terms of revenues and the reasons for bringing it back so soon after the end of Season 1.

     

    01. It’s been less than a year since KHMC concluded – in fact the inaugural season last year started around May, so how did you look at starting the second season so early?

    The first season successfully established KHMC and also led to the resurgence of ETV Marathi. Ever since its completion, we’ve been getting a lot of demand from across Maharashtra, from viewers and interested participants asking about the next season. That prompted us to bring it back quickly. And the high response (150% of Season 1) to the call-for-participation has proven to us the eagerness amongst people for this season.

     

    Does it worry you that the format is not a ‘sureshot’ reason for ratings and popularity as we’ve seen in the case of KBC?

    The ratings of the show are a function of the show itself, its innovations and creative treatment, the platform it is on, the competitive scenario and the audience situation in each language market. Thus the factors for each language-market are unique and not comparable. While in Season 1 we spent a lot of time imbibing learnings from other versions and markets, for Season 2 our focus has been to imbibe learnings from our KHMC Season 1 and our own market. I am confident that Season 2 will be even more popular and talked about!

     

    02. The promos have been on air for a while. Getting ‘jodis’ to come on the show must’ve been quite a challenging task? Or was it easy to get them?

    ‘Jodis’ will prove to be a winner concept and I am proud that ETV Marathi is the first channel to introduce this concept for a full season of this format anywhere in the world. KHMC is not a game show. It is a show about people’s lives, the aspirations of the participants and their families, and what the winnings mean to them. We want to see them participate jointly, win jointly and transform their lives jointly. Of course, it has been a much greater logistical exercise to make it happen, but having now seen the mix of participants we have been able to get and the viewing experience it translates into for the audiences, it has really been worth it.

     

    03. You’ve retained Sachin Khedekar as host… any other changes in the format?

    This season brings double the prize money (Rs 2 crore instead of 1 crore), double the participation (2 hot seats), double the opportunity (2 minds working together) and promises to be double the fun! Guaranteed. And we will also be introducing certain other creative innovations. For example, we are introducing “Tension Gul”, a stress buster option for the participants. Again, this is an innovation being brought to the format for the first time by the Marathi version.

     

    Will the computer be called ‘Raje’ or has that been changed?

    The computer will be called Guruji.

     

    Was the change effected due to the controversy around Raje?

    As described above, this is one of the many variations we are bringing to Season 2. Viewer feedback, our own creative reviews and ideations, the need for freshness are all factors that drive changes.

     

    04. How did the first season do in terms of monies? Are you making enough money on it? Also, in terms of ratings, what are your targets for the KHMC 2?

    The first season did decently; it helped establish much higher rates than ETV Marathi had been commanding at that point and also brought on newer advertisers to the channel. And as Season 2 commences, we are already witnessing 50-70% higher rates from advertisers over Season 1. In terms of ratings, I expect Season 2 to start off from the peak at which Season 1 ended, and build even further from there to set new peaks.

     

    Could you throw some light on your promotional strategy?

    It is an aggressive 360-degree strategy across all media – home channel, cross-channel, radio, OOH, print, digital – just like in KHMC Season 1. However, the objective and messaging is very different this time. The objective in Season 1 was to establish that the biggest format was coming to Marathi television and also to re-awaken and create buzz around ETV Marathi. This time around the focus is on bringing out the innovations in KHMC Season 2 and build anticipation and excitement around it.

     

    Do we see an online version of KHMC 2 to target the growing Marathi online community?

    We will be rolling out an interesting social media app for KHMC to engage the online Marathi community and ETV Marathi’s fan base.

     

    05. While you have doubled the jackpot to Rs 2 crore, do you think we could see parity between KBC Hindi and KHMC?

    Both the versions operate in very different contexts and are at different stages of their respective lifecycle. So I don’t think there is any comparison.

     

    Said Mr Basu: “Team Synergy is delighted to bring back the show within a year of a successful first season, and can assure Marathi viewers that they can look forward to an even more engaging series this time around, with interesting and entertaining family jodis playing for a fortune, and Sachin Khedekar in great form as the host .”

     

    The veteran actor is looking forward to the show. On being asked what the show means to him, he said: “The Marathi Manoos has always valued the power of knowledge and Kon Hoeel Marathi Crorepati epitomises this thought. Season 1 was an engaging and gratifying experience that saw people from all walks of life across Maharashtra witness their destinies being redefined. With Season 2 now asserting that two hearts and two minds are better than one, the show is all set to showcase the power of togetherness.”

     

    What should lower the heat for Mr Khedekar and the programmers is that the ‘Computer’ is going to be called ‘Guruji’ in the second season and not ‘Raje’. In the last season, there were protests against the usage of the name as Maratha ruler Shivaji is reverentially referred to as ‘Raje’. The channel though did not change the reference through the season and the protests also died down (see link: http://www.mxmindia.com/2013/07/marathi-kbc-in-spot-over-computer-being-called-raje/). KHMC Season 2 will air every Monday and Tuesday at 9pm starting Monday, January 13.

     

    Speaking on the show’s promise, Anuj Poddar, EVP Viacom18 & Business Head, ETV Marathi said “Kon Hoeel Marathi Crorepati Season 1 successfully achieved our objective of redefining the television viewing experience on Marathi Television by providing a show that celebrated culture and knowledge. In Season 2 our focus has been to imbibe learnings from our KHMC Season 1 and our own market. I am confident that Season 2 will be even more popular and talked about,” he told MxMIndia in an interview (see accompanying story).

     

    A senior executive at a Marathi television broadcaster welcomed the Second Season saying the only way regional television will grow is when money is pumped into programming. “International formats are expensive and only those with deep pockets like ETV Marathi can afford such initiatives.” A media buyer, who requested anonymity said that formats like KHMC help in bring attention to a channel and the genre from people who are clueless about genre. Game shows and reality shows are excellent for product placements and smaller brands cannot always afford the Hindi GECs.”

     

  • The insurance company uses viral internet marketing with true-to-life videos centred around critical illnesses

    Bharti AXA General Insurance takes streets to spread health insurance awareness

    By A Correspondent

     

    Bharti AXA General Insurance has launched a viral communication campaign on the internet around the theme of Lifestyle Protection which underlines the need for a critical illness insurance cover.

     

    Seven videos have been developed that narrate the predicaments of ordinary people who suffer from critical illnesses and are forced to work while they are ill, owing to the financial commitments.

     

    Commenting on the campaign, Dr Amarnath Ananthanarayanan, MD and CEO, Bharti AXA General Insurance said, “Innovation is one of the core values on which our company is built and we are constantly looking at new perspectives, methods and approaches when it comes to any aspect of business, service, product development, delivery etc.  With this viral communication campaign, we aim to increase awareness about health insurance and help the aam aadmi choose the right health insurance policy.” The company also launched a television commercial centred around the working patient last month.

     

    The digital campaign was created by Publicis iStrat while the TVCs are by Publicis Ambience.

     

  • Pardon the headline. But we were trying to innovate to draw you into a report on Sony Six bagging exclusive rights to the New Zealand – India 5ODI+2Tests series

    Dhoni’s Helicopter Shot in Kiwi series only on Sony Six

    By A Correspondent

     

    Sony Six has acquired the broadcast rights to the New Zealand (NZ) vs India cricket series. The series will be held in NZ from January 19 to February 18, 2014. The 30-day tour starts with five ODIs followed by two Test Matches. Given the time difference, the coverage start timings are 6.30am for ODIs and 3.30am for Tests.

     

    Commenting on this acquisition, N P Singh, CEO, MSM said, “We are delighted to partner New Zealand Cricket as the official broadcaster to this series. With this acquisition, we are staying true to our objective of delivering high octane sporting events.”

     

    Prasana Krishnan, Business Head, Sony Six, said‎, “Both New Zealand and India play exciting brand of cricket and we are thrilled to be the exclusive partner to this promising series.”

     

    The ODIs are scheduled on Jan 19, 22, 25, 28 and 31 and the Test start dates are Feb 6 and 14. While the coverage for all the ODIs starts at 6.30am, each day of the two Tests starts at 3.30am.

     

  • Mosaic 2014 will champion print advertising by publishing top creative work from India

    Dainik Bhaskar starts work on 3rd edition of ‘Mosaic’

    By A Correspondent

     

    The Dainik Bhaskar group has been taking a lead on publishing the top creative work in advertising over the last few years. The third edition of the book called ‘Mosaic 2014′ is set to be published as the group is now commencing entry processes for the volume.

     

    The second edition of Mosaic showcased the best of print ads of 105 brands created by over 31 leading creative agencies in India, while the first edition featured over 70 brands of print campaigns by 25 leading agencies.

     

    Commenting on Mosaic’ third edition, Girish Agarwaal, Director, Dainik Bhaskar Group said: “This endeavor was launched by Dainik Bhaskar with the aim to showcase in a single collection, the great work being done in India in print advertising, while we have mostly referred to global compilations.”

     

    Added Sanjeev Kotnala, Vice President and National Head, Marcom, Dainik Bhaskar who is leading the effort: “It has been a real pleasure to see Mosaic establishing itself and growing to become a reference point for some of India’s best print creatives, and evolve from being more than just a celebration of the best print work. For us at Dainik Bhaskar, it is our significant endeavor to highlight the Indian talent within agencies and inspire them to do even better”.

     

  • The TRAI guidelines on TV ratings, while well-intended, have a "meddling" feel to them, which fear may slow down BARC’s progress, fears Shailesh Kapoor

    Shailesh Kapoor | TV Ratings: Take It Easy, TRAI. Come Soon, BARC

    By Shailesh Kapoor

     

    The words that best describe the TV ratings scenario in India over the last year are confusion and uncertainty. TAM has been under constant attack, for mostly right and some wrong reasons, for the last two years in particular. BARC has been moving ahead at good pace to bring in a neutral, more robust ratings measurement system in India, which we hope sees the light of the day before 2014 ends.

     

    With BARC round the corner, TAM is virtually on a time bomb, in the last leg of what has been a rollercoaster ride of almost two decades. Trust TRAI to add to the confusion. The regulatory body has come out with guidelines for ratings agencies in India, to ensure fair and accurate measurement.

     

    You can’t fault the intent behind most of the TRAI guidelines. They seem designed to address the concerns of broadcasters and advertisers in all earnestness. But wasn’t BARC created towards exactly the same purpose? Surely, TRAI should be aware of what BARC is hoping to achieve and how the progress is going. The guidelines, while well-intended, have a “meddling” feel to them, which I fear may slow down BARC’s progress.

     

    Take the point on sample size for instance. TRAI guidelines say that the minimum panel size should 20,000, and should be increased by 10,000 every year till it reaches a figure of 50,000. Correct as this may sound, this guideline challenges the idea of a free market, where the panel size would be an outcome of what the stakeholders are willing to pay for the service. Will TRAI subsidize the balance panel if the industry is willing to pay only for 30,000-40,000?

     

    Then there are some micro-level points that TRAI could have easily stayed away from, such as defining the panel rotation rate at 25% per annum. If they were indeed stepping into the domain of research design, they would much rather have put down the most glaring gap that exists as of now, whereby error margins are not reported or published.

     

    There is a guideline that suggests that I&B ministry and TRAI can audit the systems of a ratings agency at any point of time. I don’t need to spell out how this can fast turn into a bureaucratic tangle, and encourage corruption.

     

    Another vaguely-worded guideline says ratings should be “technology neutral”, in that they should be able to address delivery platforms like cable, DTH, terrestrial etc. Never before has an “etc” interested me so much. Does it include Internet, mobiles and DVRs? If yes, we are in for a challenge for another degree altogether.

     

    The “toll free number for complaint redressal” is the comic relief in the guidelines. Imagine a Thursday morning when your show opens below your expectations and you get a research executive to call the toll free number to “complain”. That’s a phone call I’d love to hear!

     

    Dear TRAI, take it easy. TV Ratings is a private affair after all, and the market will find its answers.

     

    Dear BARC, come soon now. And till you come, keep the announcements going. There is a whole industry waiting with bated breath.

     

    Shailesh Kapoor is founder and CEO of media insights firm Ormax Media. He spent nine years in the television industry before turning entrepreneur. The views expressed here are his own. He can be reached at his Twitter handle @shaileshkapoor


     

  • Based on a survey of 1500 app developers, a VServ infographic showcases statistics and trends about app development while highlighting preferred platforms and development tools

    VServ infographic on mobile app development

    By A Correspondent

     

    VServ, a popular mobile advertising facilitator, has come up with an interesting infographic on in its ‘Developer Survey 2013’ where 1500 app developers were surveyed.

     

    According to VServ, the global mobile ecosystem has grown “immensely” in the last few years. Adds a communiqué: “Mobile App development is a thriving industry with huge scope for aspiring developers. Every single day brings news that reflects interesting mobile technology breakthroughs that propels app development opportunities to the next level. Smartphones have brought with them smarter consumers, who have adopted apps to become integral part of their lifestyle. Considering that many developers have been able to innovate across mobile devices and operating systems to create entrepreneurial avenues which has scaled their business faster. This opens up great opportunities for developers to build great products that can reshape the way people use technology. However, developing such apps is a herculean task for the developers, where they have to figure out ways to integrate crucial app developed lifecycle services such as ad monetization, analytics, bug tracking and in-app purchases.”

     

     

  • Does the cabinet approval for the TRAI guidelines mean the end of the way TAM is owned or run currently? Perhaps. An analysis + TRAI guidelines

    What next for TAM?

     

    By Pradyuman Maheshwari [updated]

     

    Is it a cul de sac for TAM? Was the cabinet approval for the TRAI guidelines the final nail on TAM’s 15-year-plus existence?

     

    Created by a decision of the Joint Industry Body way back in 1998 with stakeholders Indian Society of Advertisers (ISA), Indian Broadcasting Foundation (IBF) and the Advertising Agencies Association of India (AAAI) agreeing to back the body. For a while, there was an alternative in the form of aMap, but that fizzled out thanks to a lack of patronage.

     

    Had aMap existed today, one wouldn’t be sure of its future because it always quoted a consortium of unnamed investors as its primary owner.

     

     

    Policy Guidelines for Television Rating Agencies in India

     

    The Union Cabinet today approved the proposal of the Ministry of Information and Broadcasting for bringing out a comprehensive regulatory framework in the form of guidelines for Television Rating Agencies in India. These guidelines cover detailed procedures for registration of rating agencies, eligibility norms, terms and conditions of registration, cross-holdings, methodology for audience measurement, a complaint redressal mechanism, sale and use of ratings, audit, disclosure, reporting requirements and action on non-compliance of guidelines etc. The proposal is based on recommendations made by the Telecom Regulatory Authority of India (TRAI) on “Guidelines for Television Rating Agencies” dated 11th September, 2013.

     

    Based on the recommendations of TRAI, comprehensive policy guidelines for television rating agencies have been formulated.

     

    Salient features of these guidelines are as follows:

    • All rating agencies including the existing rating agencies shall obtain registration from the Ministry of Information and Broadcasting.

     

    • Detailed registration procedure, eligibility norms, terms and conditions, cross-holding norms, period of registration, security conditions and other obligations have been delineated.

     

    • No single company / legal entity either directly or through its associates or interconnect undertakings shall have substantial equity holding that is, 10 percent or more of paid up equity in both rating agencies and broadcasters/advertisers/advertising agencies.

     

    • Ratings ought to be technology neutral and shall capture data across multiple viewing platforms viz. cable TV, Direct-to- Home (DTH), Terrestrial TV etc.

     

    • Panel homes for audience measurement shall be drawn from the pool of households selected through an establishment survey. A minimum panel size of 20,000 to be implemented within six months of the guidelines coming into force. Thereafter the panel size shall be increased by 10,000 every year until it reaches the figure of 50,000.

     

    • Secrecy and privacy of the panel homes must be maintained. 25 percent of panel homes shall be rotated every year.

     

    • The rating agency shall submit the detailed methodology to the Government and also publish it on its website.

     

    • The rating agency shall set up an effective complaint redressal system with a toll free number.

     

    • The rating agency shall set up an internal audit mechanism to get its entire methodology/processes audited internally on quarterly basis and through an independent auditor annually. All audit reports to be put on the website of the rating agency. Government and TRAI reserve the right to audit the systems /procedures/mechanisms of the rating agency.

     

    • Non-compliance of guidelines on cross-holding, methodology, secrecy, privacy, audit, public disclosure and reporting requirements shall lead to forfeiture of two bank guarantees worth Rs. one crore furnished by the company in the first instance, and, in the second instance shall lead to cancellation of registration. For violation of other provisions of the guidelines, the action shall be forfeiture of bank guarantee of Rs. 25 lakh for the first instance of non-compliance, forfeiture of bank guarantee of Rs.75 lakh for the second instance of non compliance and for the third instance, cancellation of registration.

     

    • 30 days time would be given to the existing rating agency to comply with the guidelines.

     

    • The guidelines would come into effect immediately from the date of notification.

     

    The Guidelines for Television Rating Agencies in India are designed to address aberrations in the existing television rating system. These guidelines are aimed at making television ratings transparent, credible and accountable. The agencies operating in this field have to comply with directions relating to public disclosure, third party audit of their mechanisms and transparency in the methodologies adopted. This would help make rating agencies accountable to stakeholders such as the Government, broadcasters, advertisers, advertising agencies and above all the people.

     

    Background:

    Television Rating Points (TRPs) have been a much debated issue in India since the present system of TRPs is riddled with several maladies such as small sample size which is not representative, lack of transparency, lack of reliability and credibility of data etc. Shortcomings in the present rating system have been highlighted by key stakeholders that include individuals, consumer groups, government, broadcasters, advertisers, and advertising agencies etc. Members of Standing Committee on Information Technology had also expressed concern over the shortcomings.

     

    In 2008, the Ministry of Information & Broadcasting (MIB) had sought recommendations of TRAI on various issues relating to TRPs and policy guidelines to be adopted for rating agencies. TRAI, in its recommendations in August 2008, had amongst other things recommended the approach of self-regulation through the establishment of an industry-led body, that is the Broadcast Audience Research Council (BARC).

     

    The Ministry had constituted a Committee under the Chairmanship of Dr. Amit Mitra, the then Secretary General FICCI, in 2010 to review the existing TRP system In India. The committee also recommended that self-regulation of TRPs by the industry was the best way forward.

     

    Since, the BARC could not operationalise the TRP generating mechanism, the Ministry of Information & Broadcasting sought recommendations of TRAI in September 2013 on comprehensive guidelines/accreditation mechanism for television rating agencies in India to ensure fair competition, better standards and quality of services by television rating agencies. TRAI recommendations on Guideline for Television Rating Agencies were received in September 2013. While supporting self-regulation of television ratings through an industry-led body like BARC, TRAI recommended that television rating agencies shall be regulated through a framework in the form of guidelines to be notified by MIB. It also recommended that all rating agencies, including the existing rating agency, shall require registration with MIB in accordance with the terms and conditions prescribed under the guidelines.

     

    Source: Press Information Bureau website – pib.nic.in

     

    The problem with the TRAI guidelines for TAM is its ownership – TAM is a 50-50 jv between Nielsen and Kantar Media Research. The third point on the cabinet approved TRAI guidelines is very clear on the ownership issue. “No single company / legal entity either directly or through its associates or interconnect undertakings shall have substantial equity holding that is, 10 percent or more of paid up equity in both rating agencies and broadcasters/advertisers/advertising agencies,” it says.

     

    With Kantar being owned by WPP which in turns owns Group M, Ogilvy, JWT and a host of advertising and marketing services firms in India, there’s little that TAM can do.

     

    Perhaps not. For, as they say in India, for every law, there’s a mother-in-law, brother-in-law, and son-in-law. So Kantar can retain a 9.9 percent stake and the rest of the 40.1% can be bought by one or multiple entities, who can then have some longwinded alliance or consulting arrangement with one of the many WPP group entities.

     

    For instance, MxMIndia could own the 40.1 percent stake and then MxM can retain Ogilvy, or JWT or whatever for creative services. Or the 40.1 percent stake could be owned by a Trust… TAM could seek inspiration from the ownership of other similar moves made in the past.

     

    What’s happened though is unfortunate. By giving the government a handle to police it, the broadcast ecosystem has had it. The development also shows that the broadcasters may seem more powerful but can’t keep off the government from interfering in its affairs. It may be remembered that until last year, the print readership study was undertaken by Hansa, which is owned by the RK Swamy BBDO and Hansa group. This group also has interests in advertising and runs a media agency, but no one raised a question on the issue of ownership. Or even if people did, it wasn’t public and certainly didn’t call for a government intervention.

     

    Logically, the government ought to have no business to police the TV measurement business. An intervention should be necessary only if there’s a fraud and then the law enforcers – the courts and the cops can get into the picture.

     

    It will be interesting to see if an agency like Group M – which is owned by WPP – decides to say that it will have its own system of measuring TV audiences. It’s unlikely that it will do it as Hindustan Unilever, one of its main clients, is a key member of the ISA and a senior HUL executive is a member of the BARC technical committee for the new audience measurement system. Also, an HUL may not want to take on the government for its own business reasons.

     

    The clock may be ticking for TAM, but the next step in this drama is the notification of the guidelines. TAM could of course take the government to Court. In the event that the notification happens and TAM doesn’t take the government to court, it will need to do something about its ownership. And increase boxes from 9450 to 20,000 etc etc.

     

    There’s of course another all-important factor. From the reports we receive at MxMIndia, BARC has kind-of decided on awarding the critical tech contract to Mediametrie, the French industry body and a couple of other vendors. The deal may not have been signed, but it’s just a matter of tam, er, time. Nielsen had also made a fresh pitch at a lower cost, but the informal industry view was to think long-term and give the contract to Mediametrie.

     

    In that event, it may well be a cul de sac for the way TAM is today. Perhaps, like in the Hindi movies, it will need to be reborn as something else. Or wait for divine intervention.

    In the meantime, we hear of a pressure building within the industry of how the notification could impact broadcasting. The earliest the BARC-approved measurement system will come up is the second quarter of 2014. It will take a quarter or two for it to find stability and earn the confidence of the fraternity. Advertisers and broadcasters (and media agencies) can ill-afford a period of no measurement.

    That perhaps would do more harm to the industry than any other move to shore up the media ecosystem.