UNIT III

OVERVIEW I: PRINT, RADIO, TELEVISION AND ADVERTISING

SYLLABUS:

Advent of television in the world, and in India Early days of Doordarshan, major
channels and media houses. Industry size and growth rate for satellite broadcasting:
Major channels and their programming genres viz; GEC, Sports, Kids, Music, news, etc.
Understanding concepts of reach, viewership and TRPs, their effect on advertising rates,
current ad spot rates of various channels, prime time rates v/s ROS rates, etc., Content
acquisition and production models of various channels, including licensing of
international reality show formats. BARC rating system
INTRODUCTION:

Electronic television was first successfully demonstrated in San Francisco on Sept. 7, 1927.
The system was designed by Philo Taylor Farnsworth, a 21-year-old inventor who had lived in
a house without electricity until he was 14. The first image ever transmitted by television was a
simple line. Later, Farnsworth would famously transmit a dollar sign using his television after a
prospective investor asked “When are we going to see some dollars in this thing, Farnsworth?”
Between 1926 and 1931, mechanical television inventors continued to tweak and test their
creations. However, they were all doomed to be obsolete in comparison to modern electrical
televisions: by 1934, all TVs had been converted into the electronic system.

The First Television Stations in America

The world’s first television stations first started appearing in America in the late 1920s and
early 1930s. The first mechanical TV station was called W3XK and was created by Charles
Francis Jenkins (one of the inventors of the mechanical television). That TV station aired its
first broadcast on July 2, 1928. One of the world’s first television stations, WRGB, has the
honor of being the world’s only continuously operating station since 1926 to the modern day.

The First Television Sets in America

America’s first commercially produced television sets were based on the mechanical television
system – made by John Baird’s television designs. These sets were shown off to the public in
September, 1928. It would take until 1938, however, before American electronic television sets
were produced and released commercially. They were an instant hit after release.

The First Television Program in America

Today, American networks play thousands of different programs every day. Every single one
of these programs, however, owes its existence to America’s first television program, which
was called The Queen’s Messenger. That program was first shown in 1928 by WRGB station.
We’re not 100% sure that The Queen’s Messenger was the first TV program shown in
America. In 1928, the program was thought to be broadcast only to four television sets. Not
400. Not 4,000. Four. Thus, we have some ambiguity and debate over whether this was
actually the first television program.

The first television station in America started broadcasting in 1928. For the first 13 years of its
existence, television remained blissfully commercial-free. The first commercial broadcast in
America did not take place until July 1, 1941, which is when the first American advertisement
aired. The ad was for a Bulova watch and lasted for 10 seconds. It aired on NBC.

Timeline of TV History Between the 1950s and 2000s

• Two key technological developments in the late 1800s played a vital role in the evolution
of television: the cathode ray tube and the scanning disk. The cathode ray tube, invented by
German physicist Karl Ferdinand Braun in 1897, was the forerunner of the television
picture tube. It had a florescent screen that emitted a visible light (in the form of images)
 when struck by a beam of electrons. The scanning disk, invented by German inventor Paul
Nipkow, was a large, flat metal disk that could be used as a rotating camera. It served as the
foundation for experiments on the transmission of visual images for several decades.
• Out of the cathode ray tube and the scanning disk, two types of primitive television systems
evolved: mechanical systems and electronic systems. Mechanical television systems had
several technical disadvantages: low resolution caused fuzzy images, and the use of a
spinning disk limited the number of new pictures that could be seen per second, resulting in
excessive flickering. By 1939, all mechanical television broadcasts in the United States had
been replaced by electronic broadcasts.
• Early televisions were expensive, and the technology was slow to catch on because
development was delayed during World War II. Color technology was delayed even further
because early color systems were incompatible with black-and-white television sets.
Following the war, television rapidly replaced radio as the new mass medium. During the
“golden age” of television in the 1950s, television moved away from radio formats and
developed new types of shows, including the magazine-style variety show and the
television spectacular.
• Since 1960, several key technological developments have taken place in the television
industry. Color television gained popularity in the late 1960s and began to replace
black-and-white television in the 1970s. Cable television, initially developed in the 1940s
to cater to viewers in rural areas, switched its focus from local to national television,
offering an extensive number of channels. In 2009, the traditional analog system, which
had been in place for 60 years, was replaced with digital television, giving viewers a
higher-quality picture and freeing up frequency space. As of 2010, nearly half of American
viewers have high-definition television, which offers a crystal- clear picture in wide-screen
to provide a cinematic experience at home.

TELEVISION IN INDIA

Terrestrial television in India started with the experimental telecast starting in Delhi on 15
September 1959 with a small transmitter and a makeshift studio. Daily transmission began in
1965 as a part of All India Radio (AIR). Television service was later extended to Bombay
(Now Mumbai) and Amritsar in 1972.

• It all began with the assistance of UNESCO. The shows, which aired twice a week for an
hour each, covered community health, citizens’ responsibilities and rights, and traffic and
road safety. In 1961, the programs were broadened to include an educational television
initiative for schools.
• The first rapid expansion of television in India came in 1972, establishing a second tv
station in Bombay. After Bombay stations in Srinagar and Amritsar in 1973, and Calcutta,
Madras, and Lucknow in 1975.
• During the first 17 years, television broadcasting was irregular, and broadcasting was in
black and white. However, by 1976, the system had grown to include eight television
stations serving 45 million people distributed across 75,000 sq. km. Faced with the
dilemma of managing such an extensive television system as part of All India Radio (AIR),
 the government established Doordarshan, the national tv channel, as a new Department
inside the Ministry of Information and Broadcasting.
• On August 15, 1982, Doordarshan began broadcasting in colour. Satellite Instructional
Television Experiment SITE) was a significant step further during India’s use of tv for
evolution. The majority of the shows were created by Doordarshan, which was then a
branch of AIR. The telecasts took place in the morning and evening. Other key themes
covered in these broadcasts, in addition to agricultural knowledge, were healthcare and
family welfare. These telecasts also contained entertainment in dance, music, theatre, folk,
and rural art forms.
• The broadcast of the Ninth Asian Games in 1982 was a turning point in Indian television
history. For the first time, Doordarshan delivered a nationwide broadcast in colour via the
satellite INSAT 1A. In terms of domestic broadcasting, Doordarshan provided
programming to broadcasters in many other nations. By 1982, there was significant growth
in Doordarshan’s live sports coverage.
• Tv facilities have been developing rapidly, with the nation receiving a new transmitter
every day. Over the months, the number of transmitters and programs production facilities
has grown dramatically. A second channel was inaugurated in New Delhi on November 19,
1984.
• On April 1, 1993, the Metro entertainment channel debuted. Doordarshan currently
broadcasts programs on 35 channels. The first channel, DD-1, is the most outstanding
achievement of Doordarshan.
• Prasar Bharati, an independent statutory organization, was formed in 1997. Doordarshan
and AIR were both transformed into government agencies under the Prasar Bharati
umbrella. The Prasar Bharati Corporation was established to act as its broadcasting service,
achieving its goals through All India Radio (AIR) and Doordarshan (DD). This was a giant
step towards Doordarshan and All India Radio in terms of autonomy. But, Prasar Bharati
has been unable to protect Doordarshan from government involvement.

GROWTH OF PRIVATE INTERNATIONAL, NATIONAL AND REGIONAL TV

NETWORKS AND FIERCE COMPETITION FOR RATINGS:

Private Channels are available on Cable TV, DIH, HDTV reaching to as many people in India
in different languages. Indian Private Channels cater to the multiplying demand for
entertainment of the Indian audience. Indian television is on an uproar with private television
channels. Sun TV_ (India) was launched in 1992 as the first private channel in South India.
Today it has around 20 television channels in the four South Indian languages, namely
Malayalam, Kannada, Tamil and Telugu, Channels of the Sun TV network are also available
outside India. It is available on DTH service.
Major TV Channels and Production houses in India:

1. ZEE ENTERTAINMENT ENTERPRISES LIMITED

It was incorporated in the year 1982 and was previously known as Zee Telefilms Ltd. It is
among the largest producers and aggregators of Hindi programs in the world. It also owns
rights to more than 3000 movie titles and it has a presence worldwide with over 500 million
viewers across 167 countries. It is known for brands such as Zee TV, Zee Cinema, Zee
Premier, Zee Action, Zee Classic, Ten Sports, Ten Cricket, Ten Action+, Zee Cafe, Zee Studio,
Zee Trendz, Zee Khana Khazana, Zee Salaam, Zee Jagran, Zing, ETC Music and ETC Punjab.
They also launched Zee Cine Awards in the year 1998.

2. STAR TV NETWORK
Star TV, one of the satellite television of India was launched in the year 1991 to bring every
family TV that is true to their lives, celebrates their values, and raises the quality of
entertainment. Today, Star TV is one of India’s favourite TV network, with 35 channels in
seven languages, touching the lives of the rural and urban, young and old, in every region of
India. It reach nearly 400 million people every week through our network. That’s one in three
Indians. No other business serves as many people in India, winning new viewers all the time.

3. SUN TV NETWORK
Launched on 13th April, 1993 by Kalanidhi Maran. It is part of Sun Group and is Asia's largest
TV network. It is based in Chennai, Tamil Nadu. It is a mass media company which owns
various television channels and radio stations in multiple languages. It owns 34 TV channels in
Tamil Telugu Malayalam and Kannada

INDUSTRY SIZE AND GROWTH RATE FOR SATELLITE BROADCASTING :

MAJOR CHANNELS AND THEIR PROGRAMMING GENRES VIZ; GEC, SPORTS,
KIDS, MUSIC, NEWS, ETC.

Satellite broadcasting is the distribution of multimedia content or broadcast signals over or

through a satellite network. The broadcast signals usually originate from a station such as a TV
or radio station and then are sent via a satellite uplink (uploaded) to a geo-stationary artificial
satellite for redistribution or retransmission to other predetermined geographic locations
through an open or a secure channel. Downlinks are then received by base stations such as
small home satellite dishes or by base stations owned by the local cable network for
redistribution to their customers.
The video broadcasting industry’s rapid adaptation to new technologies has created a new arena
of opportunities for broadcasting companies. Satellite broadcasting is one of those industries
which is reshuffling its technology to meet the demands of video customers. While past decade
gave a vibe that satellite technology needs to upgrade its downstream utilities, satellite TV
remains a popular video consumption mode for some of the biggest broadcasting markets such
as Asia, the Middle East, Africa and Europe. Though other regions of the world experienced a
slight fluctuation in the overall business, the satellite industry’s action plan to integrate both
terrestrial and satellite solutions will amplify the opportunities in the Over-the-top (OTT) and
Internet Protocol Television (IPTV) verticals. Simultaneously, as the upstream satellite market
is investing in some of the key satellite technologies such as small satellites, Very-high
Throughput Satellite (VHTS) and low earth orbit (LEO) business models, both satellite
broadcasting and broadband will see the rise of hybrid era in this new decade. Therefore, as the
satellite industry is progressing to unlock its full potential in the broadcasting segments, we
are briefly presenting some of the important points that will boost the presence of satellite
technology in 2020 and beyond.

DTH is Still the Driving Force of the Commercial Satellite Market

A lot has been said about the declining revenues of the satellite TV companies, but DTH still
wins the race some of the most populates regions like Asia. Companies like Dish Network,
which experienced a loss of thousands of subscribers in the first and second

quarter of 2019, recorded overall growth in the subscribers in the fourth quarter of 2019.
Similarly, Sky UK also registered a growth of more than 70,000 subscribers through its
parent company, Comcast. Due to the cord-cutting phase, both cable and DTH operators are
losing subscribers. But this also presents an opportunity for the companies to navigate
through emerging technologies and revamp the satellite TV market. For example, the entry of
cloud platforms like Amazon Web Service (AWS) and Microsoft Azure in the broadcasting
segment will help the satellite operators to keep a hold on to both DTH and DTT markets.

New Technologies and Partnerships will Fuel the New Market Demands
For years, space technology was considered one of the most expensive technologies, but now
the scenario is changing the satellite market is adapting to the multidisciplinary technological
ecosystem. This comes in the form of small satellites, VHTS, a drop in the satellite launch
cost as well as capacity leasing, etc. Considering the high demand for bandwidth in the
current market, Viasat and Eutelsat are set to launch their respective VHTS; Eutelsat Konnect
VHTS and ViaSat-3, both with a K-band payload offering a capacity of more than 500 Gbps.
VHTS is the need of the hour as the satellite market is evolving with a high-end video
distribution format such as 8K and 4K.

The satellite services market size was valued at $126.5 billion in 2018 and is expected to
reach
$144.5 billion by 2026, registering a CAGR of 2.2% from 2019 to 2026. Satellite service
providers offer satellite capacity to endusers such as DTH operators, telecommunication
companies, and others.

MAJOR CHANNELS ARE THEIR PROGRAMMING GENRES

The television network market consists of revenue generated by establishments primarily
engaged in programming material which is usually delivered to a third party, such as cable
systems or direct-to-home satellite systems, for transmission to viewers.
1. Zee TV & Other Zee Channels
Zee TV was amongst the first Indian satellite channels that aired various Hindi serials and
soaps, with high production value. Zee TV is a 24 hours Hindi entertainment channel that
telecast a range of programmes from popular serials to reality shows. The Zee networks
owns many other channels under its banner Zee Cinema, Zee smile, Zee Trendz, Zee Cafe,
Zee Studio, Zee Bangla and many more channels.
2. Zee Cinema
Zee Cinema broadcasts six movies a day and other film-based programming. Zee Cinema
garners strong viewer ship in the morning, afternoon and evening time bands as well as the
night slot, making it a complete movie channel for all sections of the audience.
3. STAR Plus
STAR Plus is another Hindi entertainment channel that broadcasts numerous Hindi serials
and dramas and many popular reality-based programmes. STAR Plus has been one of the
leading Indian Entertainment Channels since its beginning. Features daily soaps, reality
shows and talent-based shows too. The channel celebrates a huge followership by Indian
audience.

4. Sony Entertainment Television

Sony is amongst the most viewed general entertainment channel in Hindi. Sony has a few
sister channels like SET Max, Pix, AXN, Animax and SET Sab TV. The programmes of
Sony are generally targeted at the family audiences and it telecasts shows on various genres
like reality, soaps and drama, comedy shows, horror, film award events etc. some of the
most noteworthy shows are C.I.D., Indian Idol.

5. Colors
Colors, launched in 2008, has become one of the leading Indian Entertainment Channels in
a short period of time. Owned by Viacom 18, the channel telecast a range of hit shows like
Bigg Boss featuring Salman Khan, Khatron Ke Khiladi, featuring Akshay Kumar, Laagi
Tujhse Lagan, Uttaran, Na Aana Is Des Laado and Balika Vadhu.

6. SET Max
SET Max is part of the bouquet of channels distributed by the 'The One Alliance', which is
a joint venture between SET India Pvt. Ltd. and Discovery Communications India. SET
Max brings to its viewers, the biggest and the best of Bollywood movies in their weekly
specials. Max provides its viewers with the biggest and best of Hindi Movies and sporting
events including - ICC Cricket tournaments and the Indian Premier League. Cartoon
Network India is the leading animation and kids channel in India. The most popular shows
consist of Ben 10, The Secret Saturdays, Amar Chitra Katha, Generator Rex, Tom and
Jerry, Richie Rich, Roll no.21 etc. various animated and live action movies are also
premiered on Cartoon Network India in the weekends to increase the viewership. Cartoon
Network India has also started Hindi animated shows like, Samsher Sikandar Chuddie
Buddie!, Billy Mandy Aur Life Mein Haddi, Chowder, Krish, Trish Aur Balti Boy, and the
recent Roll no.21, based on the modern version of Lord Krishna. But lately the real draw
for Cartoon Network has been the launch of the highly successful series Ben

UNDERSTANDING CONCEPT OF REACH, VIEWERSHIP AND TRPS, THEIR

EFFECT ON ADVERTISING RATES, ETC. CURRENT AD SPOT RATES OF
VARIOUS CHANNELS, PRIME TIME RATES VS ROS RATES, ETC.
Reach and frequency are the basic concepts involved in the process of media planning. The
series of actions taken to deliver a promotional message to the target consumer is known as
media planning. It does not take repetition into account. An individual or household is only
counted once if they have viewed at least one minute of the event or time band. Reach is the
number of households that will be exposed to a particular promotional message through a given
medium at a particular time. The medium could be anything like TV, internet, newspapers etc.
It is the number of people exposed to a set of advertisement through any medium at least once.
It is the percentage of total households exposed to the advertisement in a particular area.

High reach of a product is of great importance when:

1. When introducing a new brand or product in a given market.
2. When introducing a product by updating or revising it.
3. When the company’s brand image needs to be improved.
4. When the market share of a given product needs to be increased.

Reach of TV channels is expressed in the units of ‘x minutes per week’. It is no. of viewers
who watched the channel for at least x minutes per week.
Frequency is the number of times the viewer is exposed to the same promotional message by
the same promotional tool. The frequency for different households could be different and
therefore, the average frequency is taken into account. The average frequency is given as total
exposure for all households divided by the reach. It denotes the number of times the household
is exposed to the same message
Gross rating points (GRPs) is another factor defined using the reach and frequency values. It is
given as:
GRPs= Reach X Frequency. GRPs are then used to determine TRPs and other important
parameters. TRPs, GRPs, Reach and frequency are all the factors that determine the marketing
effectiveness of an advertisement.
Understanding Concept of Viewership
An audience of viewers, especially of television, either generally or of a particular kind or
program. Television viewership may be defined as the number of persons viewing the
programmes of a given TV station at a particular point in time. From a marketing standing
point, viewership is important because it has implications for advertising reach which refers to
the number of persons that are exposed to an advertisement at least once during a specified
period.
How is TV Viewership Measured?
One of the best ways to calculate TV viewership is through population sampling. Through this
method, researchers can record what a few people are watching at a given point in time, and they
apply that information on a large population. This is also what Nielsen does; they choose a
subset of people from a large population and filter out the people depending on their needs. This
gives them an estimate of the demographics of the viewership. With this method, they can learn
about viewing habits of people coming from a specific age group, ethnicity, or even gender.
There are currently 298 million homes in India, out of which 197 million have TV sets,
providing an opportunity for penetration in an additional 100 million homes.
Barc India is the TV viewership monitoring agency. The Broadcast India 2018 Survey offers
data and insights on TV ownership, viewing habits, consumer profiles and behaviour. It is based
on a sample study of 300,000 homes. According to the findings, the average time spent by an
individual in watching TV per day has gone up by 3% to touch 3 hours 44 minutes.

Understanding the Concept of TRPs

Television Rating Point (TRP) is the overall estimate of the number of people watching a
particular channel for how much time across various socio-economic categories, regions, and
geographies. It is basically a tool to judge which tv show is watched the most. It shows how
many people are watching a particular tv show or channel, how many times, and which tv show
or channel is the most popular.

Concept of TRPs
Target Rating Point (TRP) is an index which gives us an idea about reach and frequency of
advertising messages towards a target audience. In simpler terms, TRP basically denotes how
many people or audience is watching a particular advertisement. TRP is a method to determine
the effectiveness of an advertisement. TRP, also known as Television Rating Point, is a tool that
measures the viewership and popularity of a channel or a programme. TRP helps in determining
which shows are viewed the most by the people and the mood of the people regarding
viewership of the channels and the programmes.
Measuring TRP
TRP is calculated by Indian agency the Broadcast Audience Research Council using “BAR-O-
meters.” The BARC releases weekly TRP results every Thursday ranking all TV channels and
TV programmes.
To measure the TRP, a device is used which is called People’s meter. The device is connected
to Televisions in a few thousand households spread across different geographical and
demographic regions. People’s Meter notes down the time, channel, and the programme that a
viewer watches in a day. The data for a 7-day period or 30-day period is collected and analysed
from all these households which then gives the viewership status of the channels and the
programmes. These devices then help in recording the information about the channels or
programmes that family members or selected individuals watch daily. The Indian Television
Audience Measurement (INTAM) team uses this metre to gather data about a Television
channel or show for one minute. It is only after careful analysis that the team can determine
what a channel or program’s TRP is. The agency then analyses this information to determine
national TRP figures for various Television channels and Television shows.
Another method is known as picture matching where the people meter records a small portion
of the picture that is being watched on the TV. This data is collected from a set of homes in the
form of pictures and later is analysed to calculate the TRPs.
The third process Is the audio watermarking process. This incorporates audio watermarks into
streaming video just before uploading and broadcasting it on television. They cannot be heard
by the human ear, but they can be identified and decoded when the video is aired to determine
the number of viewers who have viewed it.
The TRP in India is measured by BARC (Broadcast Audience Research Council). BARC
publishes weekly TRP results of all channels and programmes on its official website.
It collects the data of about 197 million households in India which have a TV set. The
collection of such huge amounts of data makes BARC the largest TV viewership measurement
body in the world. BARC uses a sample of 40000 households with TV sets to project the data
of the whole country. BARC makes sure that its sample is representative of the whole
population. A Rigorous scientific and statistical approach is used to collect and process the
data.
Example of TRP
To explain an example of TRP, we use an example of any TV Channel. If an advertiser wants
to telecast an advertisement on the channel, he needs to pick a time slot in which he wants his
advertisement to be displayed. The prices are different for different time slots which depend on
the viewership of the channel at different times of the day. For example, a TV show by the
name “Game of Thrones” telecasted on this TV channel is one of the most popular TV shows
and enjoys a great TRP. An advertiser needs to pay a hefty amount for his Advertisement to
display during this show as compared to other shows which have much lower TRP.
Agencies that Calculate TRP in India
There are various other television rating agencies in India that determine TRPs, including
TAM, INTAM, BARC, and Doordarshan Audience Research Team (DART), which relies
entirely on rural areas. TAM is possessed by IMRB, the research organization of HTA, while
INTAM is acquired by ORG-MARG. India’s BARC was founded by Broadcasters (IBF),
Advertisers (ISA), and Advertising & Media Agencies (AMA) (AAAI). It is also the world’s
biggest and renowned television measuring industry association.

Current Ad Spot Rates of Various Channels, Prime Time Rates vs ROS Rates
A Spot is a single broadcast of an advertisement. Typically, an advertising placement includes
multiple spots. The spot refers to the exact time of day the commercial airs and whether that’s
before, during or after a specific program. Choosing a spot means you can target the precise
type of customers you want to reach based on the TV shows they watch. For example, if you’re
selling a baby product to new moms, you might book a slot during a popular parenting show.
Gross Rating Points (GRPs)
Gross Rating Point (GRP) is a measure of the size of an advertising campaign by a specific
medium or schedule. GRP is calculated by multiplying the number of Spots by Rating.
Cost per Point (CPP)

Cost per Point (CPP) is a measure of cost efficiency which enables you to compare the cost of
this advertisement to other advertisements. CPP is calculated as Media Cost divided by Gross
Rating Points (GRPs).
Impressions
Impressions are the total number of exposures to your advertisement. One person can receive
multiple exposures over time. If one person was exposed to an advertisement five times, this
would count as five impressions. Impressions are calculated by multiplying the number of
Spots by Average Persons.
Cost per Thousand Impressions (CPM)
Cost per Thousand Impressions (CPM) is another measure of cost efficiency which enables
you to compare the cost of this ad to other advertisements. CPM is calculated as the Media
Cost divided by Impressions divided by 1,000.

Ad Spot Rates
Telecom Regulatory Authority of India (TRAI) has imposed many restrictions on Indian
television advertising space and a broadcaster can only use 12 minutes in every hour for
commercial promotions. That is the reason why some of the top Indian TV Channels demand a
price tag of Rs. 3,50,000 for a 10-second spot during primetime. An average 10 seconds cost
for advertising on some channels across Maharashtra costs around INR 500/- for every 10-
second commercial whereas the same ad on popular channels would cost over Rs 6600/- for a
10-second ad. These rates become 1.5 times for 15 seconds, 3 times for 30 seconds and so on.
Last-Minute deals are the most expensive ones and one should buy the ad spaces that are
unsold.
Prime Time Ad Rates
Prime time or the peak time is the block of broadcast programming taking place during the
middle of the evening for a television show. It is mostly targeted towards adults (and
sometimes families). It is used by the major television networks to broadcast their season’s
nightly programming. The term prime time is often defined in terms of a fixed time period—
for example (in the United States), from 8:00 p.m. to 11:00 p.m. (Eastern and Pacific Time) or
7:00 p.m. to 10:00 p.m. (Central and Mountain Time). In India and some Middle Eastern
countries, prime time consists of the programmes that are aired on TV between 8:00 p.m. and
10:00 p.m. local time.
ROS Rates
A “Run of Schedule” media buy (aka ROS) is one where a network/publisher places a brand’s
advertisement across a variety of dayparts, demographics, and programs. This buy reaches a
wide range of audiences, but an advertiser has limited say in where (or when) their ads are run.

CONTENT ACQUISITION AND PRODUCTION MODELS OF VARIOUS CHANNELS,

INCLUDING LICENSING OF INTERNATIONAL REALITY SHOW FORMATS.

Content Sourcing Policy defines the processes, guidelines and framework that is required to be
followed for the sourcing of the content through various models. All the processes, guidelines
and framework defined in the procurement policy “PP 1/101/Procu_Manual/2022”, must be
adhered to by all the departments in the purview of Prasar Bharti The content shall be procured
in line with the “Programme Code of Prasar Bharati”, notification No. 01/2022-Ops dated
18.05.2022 1.1 Sourcing Requisition and Approval The Head of Content Operations/Head of
Programme shall prepare and submit a sourcing requisition to the central sourcing division in a
standard format (to be prepared). The sourcing requisition format should include the following
details:
Process :
The process shall be initiated after approval of sourcing requisition by the designated
authority(ies). The process shall vary based on sourcing through licencing or direct sourcing
though assignment. Central Sourcing Division, a central entity, will be responsible for sourcing
of any content. Central Sourcing division will include the members from the content
operations, programme team and sales team. Central Sourcing division will shortlist the
proposal based on the relevant criteria mentioned in this policy and submit the shortlisted
proposal to Management team for final approval.

Delivery of Content :
Rights owner/ Production house shall submit the content, finished in all respects to Prasar
Bharati within the timeline provided in the agreement.  The content shall be submitted by the
rights owner/ production house as per technical specifications at its own expense. No such
expense shall be reimbursable by Prasar Bharati.  Authorized officer of content sourcing shall
preview/ pre-screen the content in terms of requirement, quality, specifications etc. External
subject matter experts may also be involved, if required.  Preview/ pre-screening shall be
done within the defined timelines, including the time required to carry out any changes or
incorporation of recommendations by the rights owner/ production house  Rights owner/
Production house shall carry out such changes and resubmit the content after carrying out
desired changes. If the revised content submitted is not containing the necessary changes as
mentioned in above clause, and requires further changes, a processing fee of Rs XXX/- shall be
charged for each preview.

Licensing the tv show formats:

A TV format is the overall concept and branding of a copyrighted television show. The most
common type of formats are those in the television genres of game shows and reality shows,
many of which are remade in multiple markets with local contestants. Recent examples include
Survivor, Who Wants to Be a Millionaire?, Pop Idol and Big Brother that have all proved
successful worldwide. Such types of formats are also known as franchises, since rights to the
format are usually handled with licenses. Particular models in the genre of sitcoms are often
sold as formats, enabling broadcasters to adapt them to the perceived tastes of their own
audience. An example is The Office, a BBC sitcom which got adapted as The Office US,
Kontoret in Sweden, Le Bureau in France, Stromberg in Germany, La Job in Quebec and La
Ofis in Chile.
A format is licensed by TV networks, so that they may produce a version of the show tailored
to their nationality and audience. Formats are a major part of the international television
market. Format purchasing is popular with broadcasters, due principally to the lower risk
associated with an already-proven idea and the preference of audiences to watch programming
tailored to their locality. Leading companies that handle the creation and sales of programming
formats include Warner Bros. International Television Production, ITV Studios, Talpa,
Endemol Shine and Fremantle
Legal issue:
TV formats are viewed as a form of intellectual property (IP), and are regularly bought and
sold by TV producers, distribution company and broadcasters. For example, Who Wants to Be
a Millionaire? has been recreated in 108 territories, while local versions of Idol have aired
(over 129 series) in 42 territories receiving about three billion votes, most notable being
American Idol. However, TV formats are not generally protected under copyright law.[1][2] As
a result, copycat formats are sometimes created, which seek to duplicate the success of an
original format without paying the person who came up with it. Format developers seek to
prevent this by various means, including the use of trademarks or withholding distribution of
other shows.[1] Establishing "Proof of Review" and exposure to companies reviewing new TV
formats is one important aspect of protection by the industry at the Television Writers Vault.
The Format Recognition and Protection Association (FRAPA) aims to protect rights to formats
and lobbies for legal protection
There is a thin line between inspiration and infringement. Copying a script in a unique way is
inspiration, but "in an original way" it is an absolute infringement of that right.
Copyright cannot protect "ideas" but only the mere expression of the same. There are so many
reality TV shows in the present day, it is not easy to get protection for your concept and
distinctiveness. No reality show with a generic script can fight for infringement in the Court. It
is essential to show the copying of the "formats" of the concept and how unique they are.

Production of the content

Television channels

The rise of digital platforms has transformative implications for strategies of financing media
production and for exploitation of the economic value in creative content. In the television
industry, changes in technologies for distribution and the emergence of SVOD services such
as Netflix are gradually shifting audiences and financial power away from broadcasters while
at the same time creating unprecedented opportunities for programme-makers. Drawing on
findings from recent RCUK-funded research, this article examines how these shifts are
affecting production financing and the economics of supplying television content. In particular,
it focuses on how changes in the dynamics of rights markets and in strategic approaches
towards the financing of television production might mean for markets, industries and for
policies intended to support the economic sustainability of independent television content
production businesses.

Television production funding models

Commissioning terms vary from one individual production to the next and can be very complex
but, broadly speaking, the sort of deal on offer to television producers who are commissioned
to make original content will frequently conform with one or other of two basic sorts of
models. The first of these called deficit financing and is common practice in the US (Litman,
1998) and now followed in the UK too. What it means is that, in return for the right to transmit
a finished programme, the commissioner of that content – typically, a major broadcaster - will
systematically offer the producer a fee which is less than the production budget for that
programme, say by one-third. The ensuing difference or ‘deficit’ has to be made up by
programme-maker. But in return, it is the programme-maker – as opposed to the
commissioning television service provider – who retains the potentially lucrative secondary
rights, i.e. the ability, following initial transmissions, to sell that content property onwards
again to additional domestic broadcasters, video on demand services, online retailers such as
iTunes, DVD distributors, overseas broadcasters, etc. Deficit financing promotes risksharing
between the broadcaster and the producer with potential benefits for each party in that ‘the
broadcaster pays less than it would otherwise have done, while the producer can gain the upside
from selling secondary rights’ (Ofcom, 2015b: 17). The main alternative model – one which is
prevalent across Europe and which was dominant in the UK prior to 2003 - is called cost plus.
Under this approach, broadcasters or other television services services who commission new
programmes from producers will generally pay the full production costs plus a small
production fee or ‘profit’ up-front to the producer (Doyle and Paterson 2008). In return, the
broadcaster generally acquires not only the first window transmission rights but also, by and
large, all additional secondary rights (e.g. DVD, overseas sales, digital catch-up, online etc).
For independent production companies, many of which are small and under-capitalised, the
absence of any requirement for financial input or risk sharing may be welcome. However, there
is a residual value in many or most programmes beyond their first transmission; the right to sell
a programme to an additional audience is a potential additional source of revenue which could
stretch out over several years (Chalaby, 2012; Owen and Wildman, 1992). So the differing
cultures and models of financing - the differing terms on which original productions are
commissioned - can have very significant implications for the business performance and
economic viability of firms engaged in production and supply of television content.

BARC Rating System

Broadcast Audience Reserch Council (BARC) formed in 2014, is the world’s largest television
audience measurement service. After its joint venture with TAM, it is now the only ratings
body for the broadcasting sector in the country. BARC India currently has 22,000 Bar-o-meters
installed across the country, and is mandated to scale that up by 10,000 annually to reach
50,000 metered homes by year four of operations. BARC India began reporting Urban (1L+
towns) TV viewership data from April 2015 and then scaled that up to include Rural TV homes
w.e.f October 2015, a first of its kind initiative. This has helped the broadcast industry
understand what 153.5 million TV households, of which 76 million are in rural India are
watching.

BARC India is also currently working on split beam monitoring and digital measurement
project which are currently underway. The Broadcast Audience Research Council (BARC)
India is a joint industry body founded by organisations that represent Indian broadcasters
(IBF), advertisers (ISA), and advertising and media agencies (AAAI). It is the world's largest
television measurement science industry boby. It uses audio watermarks technology to measure
viewership of TV channels, and it also measures time-shifted viewing and simulcasts. The
company was incorporated in 2010. It is based in Mumbai, India.

It analyses the viewership habits of over 210 million TV households (892 million TV viewers),
which makes it the world's largest television audience measurement service. Its measurement
system is based on a sample of 44,000 "panel homes", which will increase to 50,000 by 2021.
It launched its TV viewership measurement service in April 2015 with coverage of C&S TV
homes in towns with a population of 1 lakh (100,000) and above. In October 2015, it started
measuring all India TV homes (TV viewers in urban and rural India)

BARC India was planned and implemented as an alternative to TAM MEDIA RESEARCH,
the audience measurement system put in place by the information and insights firm Nielsen and
Kantar Media. It was set up according to guidelines of the Indian Ministry of Infromation and
Broadcasti
Punit Goenka, MD & CEO of Zee Entertainment Enterprises Ltd, has been elected as the
chairman of BARC India. Punit succeeds Nakul Chopra, who completed his one-year tenure as
chairman. In August 2021, Nakul Chopra, the former chairman of the joint-industry body,
returned as the CEO. He took over from Sunil Lulla who had joined the organisation in 2019
following the exit of the founding CEO Partho Dasgupta.

ABOUT BARC INDIA

BARC (Broadcast Audience Research Council) India is an industry body set up to design,
commission, supervise and own an accurate, reliable and timely television audience
measurement system for India. It currently measures TV Viewing habits of 210 million TV
households in the country, using 44,000 sample panel homes. This will go up to 50,000 in the
2021 calendar year, as mandated by the Ministry of Information & Broadcasting. Guided by
the recommendations of the TRAI (Telecom Regulatory Authority of India) and MIB
notifications of January 2014, BARC India brings together the three key stakeholders in
television audience measurement - broadcasters, advertisers, and advertising and media
agencies, via their apex bodies. Standardisation Certificates obtained by BARC India are CESP
France Certification in April 2017 which validates representativeness of BARC India's TV
Measurement Panel and by ISI, Kolkata in May 2018 certifying the representativeness of
BARC India's Panel Design & Household Selection

BARC India Products.

1. BIO News: It is a visualisation tool for News broadcasters that gives the performance of
News channel, News Stories, News Anchors and Other Personalities at a click of a
button.
2. BIO Advision: It is a visualisation tool for Advertisers and Media Agencies which helps
 brands understand their performance vis-à-vis other brands.
3. PreView:It is a service wherein BARC India subscribers can access the data of a specific
event or show, three days after it is telecast. Preview data is also released through YUMI
software, which is available on subscription.
4. TV + OOH: BARC India now measures and reports TV viewership that happens in social
hot- spots like restaurants, pubs, and bars across 120+ Urban towns and cities.

5. Spot Trek: Provides reports on advertising monitored spots to the agency.

BARC: TV Audience Measurement Methodology
The entire BARC India process can be broadly bucketed as follows:
1. Establishment Survey - A research study used to gather specific details of households and
individuals to be used together with Census data in the preparation of universe estimates
for
2. TV audience characteristics – geographic, demographic, socio-economic status, etc. The
Establishment Survey also serves as a randomly selected pool of TV owning households
for use in the ongoing selection and recruitment of panel households.

3. Panel Locations & Identification - Identification of a specific sample location.

4. Selection and Training- Selection, recruitment, meter installation & training of household
members.

5. Panel Management- Supervision of panel operations with strict adherence to established

standards.

6. Measurement and Viewing Data Capture- Watermarking and BAR-O-Meter Technology

used to identify & capture TV viewing events.

7. Processing, Audience Estimation and Reporting- Process of error checking, editing,

validating, weighting, projecting to universe and delivering audience estimates to BARC
India clients in a form suitable for reporting, analysis and commercial use.

8. YUMI- BARC's desktop software application used to report and analyse audience data in
the format required by individual customer segments.

(BARC) Rating System

A body called BARC (Broadcast Audience Research Council) runs a panel that helps measure
viewership. Weekly data is produced every Thursday. Subscribing to BARC data, will give you
access to program ratings, along with other rich audience data. The average is calculated from
the information collected in 30 days. It gives the viewership status of a specific channel. The
data collected in form of pictures is then used by the Broadcast Audience Research Council
(BARC) to analyze the Television Rating Point.

In India, the agency named Broadcast Audience Research Council (BARC) is the only one who
works to estimate the TRP of TV channels. This agency checks different time of frequencies to
find out which TV channel is most watched at which, The overall rating of Broadcast Audience
Research Council is 3.7, with Company culture being rated at the top and a rating of 3.7.
However, Salary & Benefits is rated the lowest at 3.3.
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