In a challenging year for India and the world, it was reassuring to see an increase in ad volumes on TV in the second half of 2020. Hindustan Unilever was the biggest advertiser in 2020 with a 30% growth in ad volumes over 2019, followed by the Reckitt Benckiser Group, with their ad volumes growing by 37% in 2020 over 2019.

“Television continues to be the screen of the household and the most important medium for all the major advertisers to reach their audience pre-pandemic and post lockdown too. Return of originals along with the festive season and live sporting events boosted the ad volumes, taking the overall growth in ad volumes to 34% as compared to H1, 2020 and eventually minimising the reduction in volumes to a marginal -3% for the overall year, as compared to 2019” said, Aaditya Pathak, Head – Client Partnership & Revenue Function, BARC India.

Mumbai: In a challenging year for India and the world, it was reassuring to see an increase in ad volumes on TV in the second half of 2020. Hindustan Unilever was the biggest advertiser in 2020 with a 30% growth in ad volumes over 2019, followed by the Reckitt Benckiser Group, with their ad volumes growing by 37% in 2020 over 2019.

 

Indian over the top (OTT) has seen phenomenal growth in the last five years due to the growing penetration of smartphones and affordable data prices. There are over 60 SVOD and AVOD platforms in the country vying for a share of the growing OTT pie.

Globally, OTT has led to cord-cutting in matured markets, however, in India, OTT and TV will continue to co-exist. The emergence of OTT platforms has proved to be a boon for content creators even as OTT platforms are struggling to devise a profitable business model.
These and some other key points were raised during a panel discussion at Elara Capital’s recently hosted VIBES 3.0, the Everywhere Content virtual event on 6th January.
The session titled ‘Content: Rise of On-Demand Models’ had four speakers namely SonyLIV Content Head Amogh Dusad, Kavithalaya Productions CEO Bharathan Kandaswamy, ALTBalaji SVP (Revenue and Marketing) Divya Dixit, and Friday Filmworks Head Devendra Deshpande.  

In a challenging year for India and the world, it was reassuring to see an increase in ad volumes on TV in the second half of 2020. Hindustan Unilever was the biggest advertiser in 2020 with a 30% growth in ad over 2019, followed by the Reckitt Benckiser Group, with their ad volumes growing by 37% in 2020 over 2019. 

“Television continues to be the screen of the household and the most important medium for all the major advertisers to reach their audience pre-pandemic and post lockdown too. Return of originals along with the festive season and live sporting events boosted the ad volumes, taking the overall growth in ad volumes to 34% as compared to H1, 2020 and eventually minimising the reduction in volumes to a marginal -3% for the overall year, as compared to 2019,” said Aaditya Pathak, Head – Client Partnership & Revenue Function, BARC India. 

NEW DELHI: Following appeals by NDTV founders and promoters Prannoy Roy and Radhika Roy against the Securities and Exchange Board of India (SEBI) order of Rs 27 crore fine for alleged non-disclosure of loan agreements, the Securities Appellate Tribunal (“SAT”)  has held that the pleas require consideration. The matter has been listed for final disposal on 10 February 2021.

Meanwhile, SAT has directed NDTV to “deposit 50 per cent of the disgorged amount before the respondent within four weeks from today. If the said amount is deposited the balance amount shall not be recovered during the pendency of the appeal.”

NEW DELHI: Balaji Telefilms has granted 14 lakh stock options under ESOP to its eligible employees. Each stock option is convertible into an equivalent number of shares of face value of Rs 2 each with an exercise price of Rs 52.01 per option per share.

Employees will be able to exercise this option within three years from the vesting date.

Amid such uncertain times, Balaji Telefilms has taken a step forward to reward its employees.

Ekta Kapoor-led Balaji Telefilms is one of the largest content production houses across India, South Asia, southeast Asia and the Middle East, delivering Hindi and regional content. It has created several iconic serials such as Mano Ya Na Mano, Hum Paanch, Itihaas, Koshish... Ek Aasha, Koi AaneKoHai , Kkusum ... EkAamLadki Ki Kahani, Kyunkii... SaasBhiKabhiBahuThi, KahaaniGharGharKii and KasautiiZindagii Kay, to name a few.

Makar Sakranti, the festival that rejoices harvest, holds immense significance to those belonging to the Bhojpuri heartland too. The festival depicts togetherness and love. Bhojpuri movie channel Zee Biskope kick started the new year on an entertaining note by presenting a festive movie marathon titled ‘Pyaar Ke Patang’.

Each of these movies, with romance as its core theme, shall make the viewers fly high, like a kite among the clouds as they enjoy the emotions that the strings of love bring with it. This week-long movie festival, with every film being telecasted on prime time at 6pm, will invite viewers to indulge in the warmth, blossoming romance between two hearts in this playful festival. The film festival will start from January 11 and will culminate with the exclusive Zee Biskope Premiere of Khesari Lal Yadav’s ‘Main Sehra Baandh ke Aayunga’ on January 15.

Mumbai: The ongoing TRP Scam that was largely implicating News genre until recent times, seems to have spilled over to other high revenue genres that are known for their exorbitant advertising spot rates as OpIndia claims that parts of the Forensic Report that was conducted by BARC in July 2020, potentially implicates several other channels.

It may be noted that Mumbai Police in its recent press conference, alleged that they had ample evidence against Republic TV and Arnab Goswami in the fake TRP caseciting above mentioned ‘forensic report’. Moreover, the Joint Commissioner of Mumbai Police reportedly said that the Forensic auditors appointed by BARC analysed the data of 44 weeks in their audit.

However, OPIndia’s report uncovers the existence of rigging practices even before the launch of Republic TV. The online platform cited the Digital Forensic analysis reportthat revealed an email exchange between the top management of BARC and the BARC researcheras evidence, where the latter was refusing to include the name of Sony Six and the top management was insisting him to ensure thatSony Sixfeatures in the list of top channels.

ZEE Biskope kick starts the new year on an entertaining note by presenting them a festive movie marathon titled, Pyaar Ke Patang. This week-long movie festival, with every film, being telecasted on prime time at 6:00 PM. The film festival will start from January 11 and will culminate with the exclusive ZEE Biskope Premiere of Khesari Lal Yadav’s ‘Main Sehra Baandh ke Aayunga’ on January 15.

The fete begins as audience soak in the fathoms of love with the romantic blockbuster ‘Mohabbat’ featuring Chintu Pandey and Kajal Yadav on January 11. Next in the line will be ‘Nirahua Chalal London’ on January 12 starring Nirahua and Amrapali Dubey followed by ‘Mehendi Laga Ke Rakhna’ featuring the superhit Jodi Khesari Lal Yadav and Kajal Raghwani on January 13. ‘Laagal Raha Bathasha’ starring Manoj Tiger and Amrapali Dubey will make its way to the screens on January 14. Wrapping up the film festival on a high note, the channel will premiere ‘Main Sehra Baandh ke Aayunga’, that stars superstar Khesari Lal Yadav and Kajal Raghwani, on January 15 for the very first time on the channel.

On 1st January 2020, the Telecom Regulatory Authority of India (TRAI), under its then-chairman RS Sharma, had sent shockwaves through the broadcasting sector by going ahead with the amendments to the new tariff regime despite requests from the industry to defer any further regulatory interventions and allow the new tariff order (NTO) to settle down.

By notifying the amended tariff order (popularly known as NTO 2.0) and interconnection regulations on 1st January, the authority made it clear that there is no going back on the NTO 2.0 implementation. The NTO 2.0 was notified at a time when the broadcasting sector had barely recovered from the twin shocks of NTO 1.0, which came into effect from February 2019, and the ad slowdown.