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LC1 – A Market Understanding Research Multi Screen Media Pvt. Ltd.

Aug-Oct 2012

Research Objectives

1. To understand various aspects of the LC1 consumer‟s life in

detail

2. To understand the television viewing behaviour in the LC1

markets

3. To measure the current television viewership in the LC1

markets

4. To recommend content & communication inputs for the LC1

markets

Research Design

We used five different techniques for this study:

1. Focus Group Discussions

2. Depth Interviews

3. Intrusive Ethnography

4. Structured Questionnaires

5. Diary Panel

Target Audience

Gender: Males & Females – 50% each

Age: 15-44 yrs. – Equally divided across 15-24, 25-34 & 35-44 yrs.

SEC: Equally divided across A2B1, B2C & D

Single TV households

Should be watching at least one hour of television everyday (to avoid

researching light viewers)

Markets

20 towns were studied, as listed below:

State Town (District) Nos.

UP Shahabad (Hardoi), Sumerpur (Hamirpur), Dhampur

(Bijnor), Suryawan (Bhadoi) 4

Maharashtra Gadhinglaj (Kolhapur), Gangapur (Aurangabad),

Anjangaon (Amravati), Dapoli (Ratnagiri) 4

PHCHP Bagha Purana (Mogha), Kartarpur (jalandhar), Narnaul

(Mahendragarh) 3

MP Bagh (Dhar), Sausar (Chhinwada), Ajaygarh (Panna) 3

Gujarat Mandavi (Kachchh), Himmatnagar (Sabarkantha),

Bagasara (Amreli), Kosamba (Surat) 4

Rajasthan Bilara (Jodhpur), Malpura (Tonk) 2

All 20

Sample Design

Research Type No. of Towns Per Town Total

Focus Group Discussions 20 3 60

Depth Interviews 14 3 42

Intrusive Ethnography 6 3 18

Structured Questionnaires 20 150 3,000

Diary Panel (Wk 37-38) 20 20 400

Town Overview

Town Classification

Based on their size, socio-economic indicators and mindset,

the 20 towns have been divided into three distinct sets,

labeled:

1. Type A

2. Type B

3. Type C

While this classification may not be directly actionable, it is

useful in giving us a good understanding of these markets,

especially their lifestyle

Town Classification

Type A

• Dapoli (Maha.)

• Himmatnagar (Guj.)

• Kosamaba (Guj.)

• Bilara (Raj.)

• Narnaul (Har.)

• Kartarpur (Pun.)

Type B

• Gadhinglaj (Maha.)

• Anjangaon (Maha.)

• Mandavi (Guj.)

• Bagasara (Guj.)

• Bagh (MP)

• Sausar (MP)

• Shahabad (UP)

• Dhampur (UP)

• Sumerpur (UP)

• Bagha Purana (Pun.)

Type C

• Suryawan (UP)

• Gangapur (Maha.)

• Ajaygarh (MP)

• Malpura (Raj.)

Type C Towns Characteristics

Main occupation: Shopkeepers (where farmers from nearby

villages would come and shop for their supplies)

These towns had limited job opportunities

There was a strong desire to leave the town and move to the

nearby bigger city (otherwise, education was seen as waste in

these towns)

Not well connected to other towns – bad roads, no trains

Heavily dependent on nearby cities, e.g. shopkeepers would

make weekly visits, some men had taken up jobs in the city,

colleges for boys, etc.

Type C Towns Characteristics

TV was the only source of entertainment as women will not step out at

all

Women didn‟t have much freedom, with parda still being practiced

(albeit reduced to covering eyes or part of the face)

There was no focus on their higher education or empowerment

The local temple was the only opportunity to socialize

Religion was a way of socializing, meeting people, gossiping, etc.

Religion gave a sense of “community” in their life

These towns had very basic health care services, with 1-2 doctors and

one basic hospital with about 3-4 beds

Gangapur (Maharashtra)

Ajaygarh (MP)

Malpura (Rajasthan)

Type B Towns Characteristics

These towns had one major industry, e.g. block printing,

cement, sugarcane, tourism, stitching, etc.

Hence, actual production took place in these towns

They were well-connected to the big city nearby

Hence, exposed to „big‟ city life

Ample opportunities to work: local industry, shopkeeper,

skilled worker (e.g. tailor), commute to the nearby town for a

job


These towns had Mahila mandals, women‟s clubs or co-operatives,

e.g. Mahila Bachat Banks or Mahila Udyog

The women helped their husbands in their work, e.g. sitting at the

shop for a while, sewing buttons on shirts stitched by the husband,

etc.

The empowerment levels were far higher than Type C

They felt they didn‟t have too much „rok tok‟, as long as they respect

and maintain their family‟s name

In real terms, this meant being allowed to leave home, but not

unaccompanied


Some of these towns had a single screen theater

But these were visited mainly by men and the youth, not by

the families

“Ladaai hoti hai, isliye hum wahan nahin jaate”

Parks, gardens and some historical moments were the other

meeting places in these towns

Gadhinglaj (Maharashtra)

Anjangaon (Maharashtra)

Mandavi (Gujarat)

Bagasara (Gujarat)

Bagh (MP)

Sausar (MP)

Shahabad (UP)

Dhampur (UP)

Bagha Purana (Punjab)

Type A Towns Characteristics

These towns had population in excess of 60-70,000

There were a lot of employment opportunities, because of

factories set up in the district

Hence, there was money flowing into these towns

Most of these towns had the backing of a politician, who was

seen as playing a key role in bringing prosperity to the town

Which meant: Electricity, water, roads and connectivity

Some of these towns had bus depots and train stations too


Signs of progress:

Himmatnagar had a mall and a multiplex

Some other centers had supermarkets or malls

Narnaul had dance classes

Kartarpur & Kosamaba had a lot of people going abroad for

work

There were hotels and restaurants in most Type A towns

Healthcare was not a major concern in these centers


However, these towns cannot be called „modern‟

They had outskirts which had immigrant population from

villages, bringing with them their own beliefs and thoughts

The town center is where modernity existed:

People here were exposed to big cities

Their mindset was like a 1lac+ town‟s

Property rates were high

Dapoli (Maharashtra)

Himmatnagar (Gujarat)

Kosamaba (Gujarat)

Bilara (Rajasthan)

Narnaul (Haryana)

Kartarpur (Punjab)

Key TV Viewing Metrics

TV Viewing Metrics

Let‟s look at the following macro TV viewing metrics across

the LC1 markets:

1. Platform (DTH/ Digital Cable/ Analog)

2. Number of channels available

3. Time spent on television

4. Total GRPs

5. Prime vs. non-prime viewing

6. Weekday vs. weekend viewing

26

12 21 18

33 42

35

7

2

4 18

12 1

5

67

86 76

64 55 56 60

0%

20%

40%

60%

80%

100%

Overall Gujarat MP Maharashtra Punjab UP Rajasthan

DTH Digital Cable Analog Cable

Platform

Interestingly, DTH penetration is higher in less progressive markets like UP & Rajasthan.

DTH Platform Share (%)

Dish TV Airtel Tata Sky Videocon Reliance Sun

All 43 20 16 12 7 2

Maha. 52 5 20 16 6 1

UP 39 21 16 13 7 4

Gujarat 16 55 5 16 3 5

PHCHP 61 15 10 9 5 0

MP 39 21 16 13 7 4

Rajasthan 44 25 11 14 6 0

Dish TV is the leading DTH platform in all markets except Gujarat.

Number of Channels Available

2%

11%

9% 10%

15%

18%

13%

5% 6%

5% 3% 4%

0%

2%

4%

6%

8%

10%

12%

14%

16%

18%

20%

Number of channels received on TV

Rajasthan had the lowest number of channels available (median: 35) while Punjab was the highest (median: 60). Overall median number of channels

available = 50.

1.9

2.8

2.1

2.8

1.8

2.4

2.4

0.0 0.5 1.0 1.5 2.0 2.5 3.0

Rajasthan

MP

PHCHP

Gujarat

UP

Maharashtra

Overall

Time Spent on Television (Avg. Hours per day)

Electricity had a major impact on the TV viewing levels, as we will see in a later section.

2,613

3,950

2,898

3,939

2,515

3,420

3,293

- 500 1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500

Rajasthan

MP

PHCHP

Gujarat

UP

Maharashtra

Overall

Total Weekly GRPs (All Channels)

No significant difference between gender and age wise GRPs. Females watched only 7% more TV than males, i.e., 3356 GRPs vs. 3142.

Half-Hour GRPs (Overall)

0

10

20

30

40

2:00AM

3:00AM

4:00AM

5:00AM

6:00AM

7:00AM

8:00AM

9:00AM

10:00AM

11:00AM

12:00PM

1:00PM

2:00PM

3:00PM

4:00PM

5:00PM

6:00PM

7:00PM

8:00PM

9:00PM

10:00PM

11:00PM

12:00AM

1:00AM

Weekday Weekend

Weekday highlights: 1. No clear pattern in non-prime viewing,

possibly because of power cuts.

2. Prime time ends early, with 60% drop from 10.30pm slot to 11pm slot.

59

55

55

59

47

43

52

0 10 20 30 40 50 60 70

Rajasthan

MP

PHCHP

Gujarat

UP

Maharashtra

Overall

Proportion of Prime Time Viewership (7-11pm) %

Prime-time viewership at 52%, vis-à-vis 57% in HSM.

68

71

71

67

70

69

70

50 55 60 65 70 75

Rajasthan

MP

PHCHP

Gujarat

UP

Maharashtra

Overall

Proportion of Weekday Viewership (Mon-Fri) %

Consistent weekday vs. weekend viewing across LC1 markets; also similar to HSM.

Channel Distribution

All the leading GECs and the top three movie channels were

available across centers

However, picture quality was grainy at times

Sony Mix was largely unavailable, barring 2-3 towns

While connectivity is not a concern, Star Plus seemed to enjoy

a better placement and clarity in some centers

In Dhampur, the cable operator mentioned that Star was

paying carriage fee, unlike other channels

Viewing Behaviour

Viewing Behaviour

There were three key influencers of viewing behaviour:

1. Viewing companion (whom are they watching TV with?)

2. Control over the remote

3. Power cuts

Viewing Companion

The average number of rooms in these markets (excluding

kitchen, bathroom & toilet) were 2.6

There were two kind of houses:

1. Big houses with many rooms and more than one floor

2. Semi-pucca houses or small apartments, with about two

rooms

Being single TV households, television was never watched

alone, even in the bigger houses

However, in the smaller ones, the role of the companion

became even more important

Viewing Companion

A strong family filter was applied in content selection, e.g.

Parivaarik movies were watched more than romantic films

Majority‟s decision prevailed in terms of which shows to watch – it

was almost like a „family poll‟ at times

Elders were given a lot of respect and given the choice of content,

e.g. if the grandfather wanted to watch news, everyone else will

watch along

This was seen particularly in joint families, where religious channels

& news were watched more as a result

In nuclear families, it was easier to enjoy movies and comedies

without any rok-tok, e.g. laughing loud while watching TV was

acceptable

Viewing Companion

In some homes, the bahu couldn‟t sit with the sasur in the

same room

Hence, if he entered the TV room, she would stop watching

television

Interestingly, this was seen in the early years after marriage,

but was relaxed later

“Sasur humein kehte hain, kaam baad mein kar lo, pehle yeh

naatak hamare saath dekh lo”

Overall, the viewing atmosphere can be described as family-

driven

Control Over The Remote

There was a key difference in how the remote was controlled

in these markets, vis-à-vis 1lac+ towns

This difference was in terms of the gender profile of the

person who controlled the remote in the prime time in these

markets

Prime Time Remote Ownership by Gender

Significant shift in favor of men on weekdays prime time. Maharashtra (62%) had the highest female proportion, while Rajasthan (45%)

had the lowest.

76

53 45 45

24

47 55 55

0%

20%

40%

60%

80%

100%

Weekdays - 1lac+ Weekdays - LC1 Weekends - 1lac+ Weekends - LC1

Females Males

Source for 1lac+: Syndicated research conducted in Jan 2012

Control Over The Remote

Interestingly, a lot of control over the remote was exercised

through the kids, who physically held the remote in their

hands

The difference in the gender profile has a direct bearing on the

content preferences in these markets

Movie channels and SAB TV would be direct beneficiaries of

the same

Also, male-inclusive serials are likely to score higher in such a

scenario

Power Cuts

Power cuts were rampant in most LC1 towns, having a direct

bearing on the viewing

Especially in the Type C towns, long power cuts meant that

viewing was without any sense of appointment or consistency

It was erratic, and they only knew the broad story, not the

details

69

0

95

54

96 97

85

2

0

1

2

3 12

13

27

1

36

1 2 3

16

72

3 8

0%

20%

40%

60%

80%

100%

Overall Gujarat MP Maharashtra PHCHP UP Rajasthan

Daily 4-5 days a week 1-3 days a week Less than once a week

Frequency of Power Cuts

Daily power cuts in all markets except Gujarat and Maharashtra.

4

43

0 1 0 0 4 6

36

3 3 0

17 16

7

20 11 16

8

40 20

4

16 30

41

9

19 54

10

64 55

40

83

20

0%

20%

40%

60%

80%

100%

Overall Gujarat MP Maharashtra PHCHP UP Rajasthan

< 30 mins 30-60 min 1-2 hrs 2-4 hrs 4+ hrs

Daily Power Cut Duration

UP by far most affected by power cuts.

Inverters

While many had inverters, they were used only for lights, fans

and one plug point

Inverters were not used to play television because:

1. The cable signal too went with the power cut. Hence, DTH

connection was required to watch TV during a power cut

2. TV would drain the inverter‟s battery

Six Roles Of Television

Six Roles of Television

Across the LC1 markets, television‟s role and influence in the

viewers‟ life can be divided into six types:

The Knowledge

Source The Companion

The Empowerment

Source

The Rejuvenator The Escape Agent The Change Agent

Television: The Knowledge Source

With limited opportunities available in these markets, knowledge

and awareness were key take-outs from television

However, this didn‟t happen through news or infotainment, as much

as it happened through GEC shows, e.g.

Diya Aur Baati Hum: “Education ka mehatav pata chalta hai”

KBC: “Bachchon ki knowledge badhti hai”

Crime Patrol, Savdhaan India: “Aas-paas kya ho raha hai, savdhaan

rehna chahiye”

The „knowledge‟ provided by television went beyond pure

information

It was perceived to have the power to influence their lives

This benefit was similar to the “seekh” factor in the bigger towns

Television: The Companion

The housewife was not allowed to move out of her house in most

towns

Communication within the family was also restricted and limited

As a result, television came across as a companion for her

It gave her a feeling that “she is not alone”

It gave her food for thought, and tips to use in her life, e.g.

adjustment within her family

This companionship extended to characters, especially on Star Plus,

e.g. Akshara, Sandhya, Gopi, etc.

Television: The Empowerment Source

Women empowerment had a similar impact in these towns as it does

in the bigger cities

Across age groups, empowerment themes created a strong connect

with serials, especially:

Diya Aur Baati Hum – Women education

Pratigya – Fighting oppression

Afsar Bitiya – Parents supporting the girl child

Balika Vadhu – Anandi‟s struggle and Dadi sa‟s support

Hitler Didi – A girl taking the responsibility of her family

Punar Vivah – No need to live a widow‟s life

Importantly, none of the Sony shows were delivering these benefits,

creating an offering void on our channel

Television: The Rejuvenator

This benefit featured prominently for both males and females, but in

different ways

For males, it was about relaxation and entertainment, at the end of a

long day

Movies, comedy, action & thrillers were chief providers of this, along

with cricket

This made programs like Taarak Mehta, CID & Comedy Circus very

popular for them

For females, it was about “time pass”

They didn‟t have much to do through the day, and TV was a good

way to keep themselves occupied, reducing boredom considerably

Television: The Rejuvenator

For youth, there was an element of „masti‟ that television

provided

They didn‟t have too many worries in their lives

Reality shows, movies and songs worked were seen as being

high on entertainment value in this segment

Almost all the film viewing belonged to this category

Only some family films delivered the knowledge (seekh), e.g.

films with family traditions like HAHK or K3G

Overall, the rejuvenation benefit was delivered the best by the

MSM Network

Television: The Escape Agent Television allowed them to escape into worlds that were more

glamorous, interesting and vibrant than their own mundane lives

Movies and serials played this role, in Type A & B centers

Some of the women originally belonged to bigger towns, and could

escape to a world they would never get to see in their married lives

A world that had less restrictions and more modernity

Also, good sets, costumes, jewelry, etc. were liked, even with the deep

realization that they would never be able to own any of that

In Type A towns, love stories provided escapism

Iss Pyaar Ko Kya Naam Doon was seen as the perfect love story by the

younger girls in these towns

In Type C, love stories came across as not relatable

Television: The Change Agent

Television led to real change in their lives, which they had experienced

and could verbalize

Some examples:

“Meri saas ne mujhe kaha ki main bhi padhaai kar sakti hoon” (DABH)

“Pehle saara kaam main karti thi, ab saas help karti hai” (Saathiya)

“Husband ne mujhe support kiya aur job dilvaaya” (DABH, Yeh Rishta)

“Pehle dance ko achha nahin maante thhe, ab yahan pe dance classes hoti

hain” (DID, Jhalak)

While knowledge and empowerment brought about mental change, these

were real-life changes, that improved their actual quality of life!

Television: The Change Agent

A powerful pre-cursor thought to „change‟ was „hope‟

In Type B & C towns, this came across strongly, where television gave

them a sense that “hamare saath bhi aisa ho sakta hai”

When „change‟ eventually happened, it was a gratification for the hope

that existed

„Change‟ was a slow process, on which the women had no control,

while „hope‟ could exist all the time

Also, one person‟s change became another person‟s hope, e.g. when a

woman spoke about her saas allowing her to study, other women saw

it as hope for themselves

Emotional Hierarchy Of Roles

Based on the degree of emotional connect, the six roles can be

arranged as follows:

Rejuvenator Escape Agent Knowledge

Source

Companion Empowerment

Source Change Agent

Emotional Hierarchy Of Roles

This emotional hierarchy has direct impact on the emotional connect

with the programs

While a lot of viewing met the rejuvenation need, its emotional

connect was limited, and hence, the content will engage with the

audience only for the period of viewing

This is particularly true with Sony‟s shows, as our programs are

operating at low emotional levels, being watched for rejuvenation,

escapism and knowledge

As a result, while they were being watched (as we will see in the diary

data), they were not spoken about much in the groups

Six Roles Of Television

While television played an equally important role in these markets vis-à-vis the bigger towns, the roles acquired new dimensions

Some aspects that were mentioned less prominently than bigger towns*:

1. Opportunity – Platform to the common man

2. Professional guidance – Career & work

3. Political awakening & activism

The heightened aspects were:

1. Companionship

2. Rejuvenation

3. Change & Hope

Source: Posi-TV-ity – An IBF Research Report released in March 2012

Role of Language

Role of Language

Importantly, the mother tongue did not reflect in the

television viewing proportionately in the regional markets,

e.g. Punjab, Gujarat & Maharashtra

Let‟s look at the difference between the mother tongue and

viewing language

Language Profile

If we look at only the GECs, Hindi controls 65% viewership in Maharashtra. Dangal TV (earlier Enter10 Movies), a movie channel showing Hindi & South

movies dubbed in Bhojpuri, featured as the only prominent non-Hindi channel in UP.

90 98

10 2

0%

20%

40%

60%

80%

100%

Mother Tongue TV Viewing

UP

Hindi Urdu Others

13

76

72

24 8

0 7 0

0%

20%

40%

60%

80%

100%


Maha.

Hindi Marathi Konkani Urdu

Language Profile

Gujarati cookery shows such as Rasoi Show were somewhat popular. Most of the Punjabi viewing came from two channels – MH1 and PTC Punjabi –

watched for Punjabi music, Gurbani and movies.

37

90

62

9 1 1

0%

20%

40%

60%

80%

100%


PHCHP

Hindi Punjabi Others

3

98 97

2

0%

20%

40%

60%

80%

100%


Gujarat

Hindi Gujarati

Language Profile

Marathi channels were largely not available in MP. Rajasthan had no regional programming. They saw Diya Aur Baati Hum and

Balika Vadhu as their own “regional” programs.

95 100

5 0

0%

20%

40%

60%

80%

100%


Rajasthan

Hindi Others

82 99

18 1

0%

20%

40%

60%

80%

100%


MP

Hindi Marathi

English Language Familiarity (Claimed) - %

Understand Read Write

All 40 38 33

Maha. 56 55 54

UP 39 35 32

Gujarat 32 29 25

PHCHP 34 33 31

MP 30 29 23

Rajasthan 37 35 33

Even at a claimed level, only 1 out of 3 were comfortable with English.

Role of Language

The LC1 markets came across as satisfied with Hindi programming

Except Maharashtra, there were no regional GECs that were considered worth viewing

Hence, regional viewing was limited to movies or music at best

Punjab seemed the market most receptive to regional serials, if they were offered with the right quality

However, using English, both in dialogue and in promo supers, comes under question even further, with the inclusion of LC1 markets in the measurement system

Genre & Channel Performance


Let‟s look at the performance of key genres in the LC1

markets

As well as the performance of top channels and programs

Caveat:

The viewership data in this section is based on a sample in the

15-44 yrs. age segment, calibrated to 4+, using Maharashtra

LC1 TAM data as a benchmark

Hence, the ranks becomes more reliable than the absolute

scores

Genre Share by Markets

GEC Movies News Music &

Youth Kids Religion Others

All 60 18 5 4 4 5 4

Maha. 51 20 6 5 3 7 8

UP 65 20 3 3 4 4 2

Gujarat 62 17 5 3 5 4 5

PHCHP 62 14 6 7 3 4 4

MP 62 17 5 4 4 5 3

Rajasthan 63 26 3 4 1 2 2

Despite the stronger male control over the remote, GEC is still the dominant genre in these markets. However, program choices reflect the male influence,

as we will see soon. Religious channels are good marketing opportunities for these markets.

Genre Share by Segments

GEC Movies News Music &

Youth Kids Religion Others

All 60 18 5 4 4 5 4

Females 67 18 2 3 3 4 3

Males 52 19 7 5 4 5 7

< 24 yrs. 58 18 4 5 7 3 6

25-34 yrs. 59 18 7 4 1 5 5

35+ yrs. 65 19 4 3 1 5 3

LC1 viewing lacks experimentation, with only 3-4 channels out of the 50 available channels being watched regularly. This results in lower viewership

for niche channels.

Top 10 Channels – GRPs (All LC1)

101

111

121

124

147

166

200

339

365

541

0 100 200 300 400 500 600

Star Gold

Zee Cinema

Star Utsav

Life OK

Max

SAB

Colors

Zee TV

Sony

Star Plus

GRPs calibrated to CS 4+

Top 11-20 Channels – GRPs (All LC1)

24

26

26

27

33

33

40

44

57

68

0 25 50 75 100

ABP News

Zee Talkies

Movies OK

Sanskaar

Pogo

Aastha

CN

Star Pravah

9XM

Aaj Tak

Sony Mix scored 6 GRPs, coming only from Maharashtra & Rajasthan.


Top 10 Channels by Market

Maha. UP Gujarat PHCHP MP Rajasthan

Zee TV Star Plus Sony Star Plus Star Plus Star Plus

Star Plus Zee TV Star Plus Zee TV Zee TV SAB TV

Sony Sony Colors Sony Sony Sony

Star Pravah Star Utsav SAB TV Star Utsav Colors Max

Max Zee Cinema Zee TV MH1 SAB TV Zee TV

Life OK Life OK Max Colors Life OK Colors

Star Gold Colors Life OK Max Max Star Utsav

Colors Max Aaj Tak PTC Punjabi Zee Cinema Zee Cinema

Zee Marathi Star Gold Star Gold Star Gold Star Gold Life OK

Zee Cinema Dangal Zee Cinema SAB TV Star Utsav IG Cable

Star Plus dominates in Rajasthan, with 574 GRPs, vis-à-vis 247 for SAB TV.

Top 10 Channels by Gender & Age

Females Males < 24 yrs. 25-34 yrs. 35+ yrs.

Star Plus Star Plus Star Plus Star Plus Star Plus

Sony Sony Sony Sony Zee TV

Zee TV Zee TV Zee TV Zee TV Sony

Colors SAB TV Colors Colors Colors

SAB TV Colors SAB TV SAB TV SAB TV

Max Max Max Life OK Max

Life OK Life OK Life OK Star Utsav Zee Cinema

Star Utsav Zee Cinema Star Utsav Max Life OK

Zee Cinema Star Gold Star Gold Zee Cinema Star Gold

Star Gold Aaj Tak Zee Cinema Aaj Tak Star Pravah

While Star Plus is no. 1 for both females and males, its GRPs drop from 636 (females) to 416 (males).

Top 10 Channels by SEC

SEC A2B1 SEC B2C SEC D

Star Plus Star Plus Star Plus

Sony Sony Zee TV

Zee TV Zee TV Sony

Colors Colors Colors

SAB TV SAB TV Max

Max Life OK SAB TV

Star Utsav Max Zee Cinema

Life OK Star Utsav Star Gold

Aaj Tak Zee Cinema Life OK

Star Gold Star Gold Star Utsav

The gap between Star Plus and Sony increases from 102 GRPs in A2B1 to 168 GRPs in B2C to a stagerring 313 GRPs in D.

Top 10 Shows – TVR (All LC1)

6.7

6.8

6.9

7.3

7.6

7.7

8.0

8.9

11.2

13.9

0.0 5.0 10.0 15.0

Ek Hazaaron Mein..

Pavitra Rishta

Taarak Mehta

BALH

Iss Pyaar…

Yeh Rishta..

CID

KBC

Saathiya

DABH

TVRs for original telecast only

Top 11-20 Shows – TVR (All LC1)

4.2

4.2

4.3

4.8

5.1

5.6

5.7

5.8

6.0

6.5

0.0 5.0 10.0

Adaalat

Mahadev

Punar Vivah

Sapne Suhaane..

Comedy Circus

Ek Doosre Se..

DID Super Kids

Pratigya

Pyar Ka Dard…

Balika Vadhu

Crime Patrol features at no. 21 with 4.1 TVR, because its late 11pm slot limited its reach.

TVRs for original telecast only

Top 10 Programs by Market


Pavitra Rishta DABH Taarak Mehta DABH DABH DABH

DID Super Kids Pratigya Comedy Circus Saathiya Saathiya Saathiya

Pudcha Paul Saathiya CID Ek Hazaron... Pavitra Rishta Yeh Rishta..

BALH Yeh Rishta.. Balika Vadhu Yeh Rishta.. Iss Pyaar.. Balika Vadhu

Phir Subah Hogi Punar Vivah BALH KBC KBC Taarak Mehta

CID KBC Crime Patrol Iss Pyaar.. Pyar Ka Dard KBC

Comedy Circus Pyar Ka Dard Saathiya Ek Doosre.. Yeh Rishta.. Iss Pyaar..

Devyani Mrs. Kaushik Chidiya Ghar BALH Sapne Suhane Ek Hazaron...

Punar Vivah Fear Files DABH Pavitra Rishta Ek Doosre.. Arjun

KBC Iss Pyaar… Uttaran Sapne Suhane Ek Hazaron... CID

DABH rules in Rajasthan (29 TVR) and MP (23 TVR).

Top 10 Films by TVR (All LC1)

Film Channel Day Slot LC1 TVR HSM TVR

Ferrari Ki Sawaari Star Gold Sun 12pm 2.8 1.6

The Dirty Picture Max Sun 1pm 2.2 1.4

Hum Aapke Hain Koun Zee Cinema Sun 1pm 2.0 1.1

Pratighat - A Revenge Max Sun 4pm 2.0 0.9

Ferrari Ki Sawaari Star Gold Sat 9pm 2.0 2.5

Ram Teri Ganga Maili Zee Cinema Sun 2pm 1.9 0.8

3 Idiots Max Sun 5.30pm 1.8 1.6

Singham Star Plus Sun 5pm 1.7 0.9

Coolie No.1 Star Gold Sun 6.30pm 1.3 0.8

Housefull 2 Star Gold Sun 12pm 1.2 1.1

Kung Fu Hustle Max Sun 3.30pm 1.2 0.8

Top 11-20 Films by TVR (All LC1)

Film Channel Day Slot LC1 TVR HSM TVR

Aitraaz Zee TV Sat 5.30pm 1.0 0.8

K3G Star Plus Sun 1pm 1.0 0.7

Sooryavansham Max Thu 9pm 0.9 0.9

Singham Star Gold Sat 6pm 0.8 1.2

Ishq Zee TV Sun 12pm 0.8 0.8

Ready Life OK Sun 5pm 0.8 0.9

Dharam Kanta SAB TV Sun 8pm 0.8 1.1

The Dirty Picture Max Sun 9pm 0.7 1.1

Taqdeerwala Star Gold Sun 6pm 0.7 0.9

Nayak Zee Cinema Tue 9pm 0.7 0.9

DDLJ Max Mon 9pm 0.6 0.8

Top 10 Movies by Market


Ferrari… Ram Teri… Ferrari… Coolie No. 1 Ferrari… Ferrari…

Ferrari… Housefull 2 TDP Aitraaz TDP Pratighat

Ram Teri… 3 Idiots Ram Teri… Ferrari… Pratighat 3 Idiots

HAHK HAHK Housefull 2 Singham Singham Coolie No. 1

Sooryavansham Singham Ferrari… Kung Fu… 3 Idiots TDP

Pratighat Dharam Kanta TDP TDP Coolie No. 1 TDP (Sony)

Ishq TDP Singham 3 Idiots HAHK Journey BTG

Ready K3G Singham HAHK Nayak K3G

DDLJ Kung Fu… Kung Fu… Taqdeerwala Ishq Aitraaz

Singham Pratighat Taqdeerwala K3G Kung Fu… Ram Teri…

Movie preferences very similar to HSM markets.

Music & Youth Channel GRPs (All LC1)

5

6

6

6

8

9

10

15

20

57

0 20 40 60

PTC Chakde

Sony Mix

9XM Jalwa

Bindass

B4U Music

MTV

Mastii

Channel V

MH1

9XM

LC1 emerge as weak markets for this genre.


Local Cable

Movies were also watched on the local cable channels in

several towns

However, advertising on these channels is not recommended

We have conducted extensive cable channel advertising audit

and effectiveness studies for leading FMCG brands, and the

ability of the medium to deliver recall or sampling leaves a lot

to be desired


Unlike the bigger cities, there is very little “fragmentation”

that exists in the LC1 towns currently

Also, the viewing behaviour seems driven strongly by

channel loyalty than program loyalty or a variety seeking

mindset

As a result of measurement, more channels will be distributed

and marketed to these consumer over the next few months

This is likely to create more awareness and understanding

about genres, channels and programs

Leading to a slow changes in the sampling and loyalty

patterns over time

Channel Imagery

Channel Imagery Channel (brand) preference was characterized by two aspects in

most LC1 markets:

Inertia

Heritage brands that being watched over time continued to enjoy

high equity in these markets

Zee TV was a big beneficiary of this inertia, while Colors has an

evident disadvantage, being a newer brand

Less Variety Seeking Behaviour

Except younger males, most viewers were satisfied with the channels

and the programs they were watching

There was no evident need to explore what else is on television

Hence, while about 50 channels were available, the daily routine

included only 4-5 channels at best

Star Plus Star Plus was by far the favorite channel for women, especially in

UP, MP, Rajasthan and PHCHP

Its quality and variety of programs was spoken about with fondness

Simple relationships, empowerment, education, love stories, etc.

“Star Plus pe hamare se judey naatak hote hain”

Star Plus had a program mix which delivered almost all the benefits

of watching televisions

There was very high satisfaction levels and hence even more inertia

when it came to Star Plus

“Hamare ghar pe sirf Star Plus hi chalta hai” (often said)

Sony While our channel was heavily watched, the imagery was driven

primarily by alternative programming

Crime shows – CID + Crime Patrol + Adaalat

KBC

Comedy Circus

The channel was not being watched for daily serials

BALH was the only daily fiction show mentioned prominently

The absence of higher emotional states in its content makes Sony

vulnerable as a channel

It also makes the channel more male-dependent

Sony This concern is not very different from what emerged in the

Brandtrack conducted in the 1lac+ towns in Jan-Feb 2012

Where Sony was seen as having „light‟ serials, that were easy to

watch, but also easy to forget the next morning

This can be both a differentiator as well as a limitation, depending on

how the brand uses this aspect

Overall, our current programming holds us in good stead in this

gender-neutral market, but based on low-emotion roles

Absence of empowerment and change leaves a void in the context

mix, which can impact the channel‟s performance over time

Zee TV Zee TV too had strong empowerment and seekh factors, through shows like

Afsar Bitiya, Hitler Didi and Punar Vivah

But unlike Star Plus‟ subtle and entertaining portrayal of the messages, Zee

TV‟s delivery was seen as in-the-face and hard-hitting (e.g. Afsar Bitiya, Phir

Subah Hogi, Hitler Didi, etc.)

This reduced the appeal of the channel to some extent, as it took the

entertainment or rejuvenation factor away from these serials

However, Zee TV‟s heritage advantage gave it a clear edge over Colors

Additionally, Dance India Dance was a popular program in Type A centers,

and also a change agent

Colors Besides Balika Vadhu, Colors was devoid of any real perceptions

It was not being watched as much as Star Plus, Zee TV or Sony

The only image descriptor about the channel was its social channel

positioning

“Badlaav laana chaahta hai”

“Puraane reeti-riwaaz ke khilaaf”

While there was empowerment and hope in this thought, it was

purely driven by one show

Uttaran was spoken with little interest, and a few were watching it

purely out of inertia

SAB TV SAB TV‟s imagery was consistent with the bigger centers

The channel stood for:

Comedy serials

Taarak Mehta (often the only program watched)

Channel for the entire family

Chidiya Ghar was the other program being watched prominently on

the channel

Given the male influence in TV viewing in these markets, SAB

manages to develop a clear advantage over Life OK

Life OK Life OK was seen as a new channel whose imagery was entirely

limited to one program – Mahadev

However, Mahadev got extremely positive reactions, wherever it

was being watched

“Bahut samay ke baad koi achha dhaarmik serial aaya hai”

“Pehli baar Shiv ji ke baare mein ek program aaya hai”

“Poore parivaar ke liye hai”

“Bachchon ko bhi pasand hai”

Given the importance of religion in their lives, Mahadev cut across

segments and markets, making it a truly universal program

Hindi Movie Channels The imagery of Hindi movie channels was not sharply defined in

these markets

The top three channels were seen as having good films, and were

watched basis the titles

There were some mentions of IPL being on Max

As a few had subscribed to the channel by paying an extra fee at the

time of IPL (Gadhinglaj & Gangapur)

Like most non-GEC categories, sharp imagery has not formed for

HMCs in these markets yet

Channel Imagery

Importantly, these centers did not understand the concept of

channel positioning and imagery too well

Besides Star Plus and SAB, most other channels were seen as

an aggregation of programs or movies, rather than standing

for something in particular

This creates an opportunity for us, if we can be the first ones

to create brand-led communication in these markets

More on this in the recommendations section

Media Habits & Lifestyle

Newspaper Readership (%)

68

55

53

41

55

45

52

0 20 40 60 80

Rajasthan

MP

PHCHP

Gujarat

UP

Maharashtra

Overall

Market-wise (4+ times a week)

41

62

52

0 20 40 60 80

Females

Males

Overall

Gender-wise (4+ times a week)

Print emerges as a strong medium, especially given the gender-neutral nature of the markets.

Newspaper Readership (%)

53

51

51

52

0 10 20 30 40 50 60 70

35-44yrs

25-34yrs

15-24yrs

Overall

Age-wise (4+ times a week)

38

51

65

52

0 20 40 60 80

SEC D

SEC B2C

SEC A2B1

Overall

SEC-wise (4+ times a week)

Top 5 Newspapers by Market


Sakal Amar Ujala Sandesh Dainik Bhaskar Dainik Bhaskar Dainik Bhaskar

Lokmat Dainik Jagran Gujarat

Samachar Punjab Kesari Nai Duniya

Rajasthan Patrika

Pudhari Hindustan Divya Bhaskar Jagbani Star Samachar

Ratnagiri Times Sahara Kutchmitra Dainik Jagran Lokmat

Punya Nagri Ajit Raj Express

Radio Listenership (%)

17

9

2

1

3

10

6

0 5 10 15 20 25 30

Rajasthan

MP

PHCHP

Gujarat

UP

Maharashtra

Overall


Most LC1 towns did not get a clear FM signal, leading to poor radio consumption.

Internet Usage (%)

7

10

10

5

6

6

7

0 5 10 15 20 25

Rajasthan

MP

PHCHP

Gujarat

UP

Maharas…

Overall


Negligible Internet usage, coming almost entirely from males (12%) and the 15-24 yrs. age segment (14%). Facebook was the most popular website

amongst this small base of Internet users.

2 1 1 3 3 3 8

19

2 6 8 5 8

90 80

98 93 88 93 88

0%

20%

40%

60%

80%

100%

Overall Gujarat MP Maharashtra Punjab UP Rajasthan

2+ movies per month One movie per month Less than one film per month

Theatre Visits

Poor access to theatres meant there were no theatre visits across LC1 markets except Gujarat.

Vehicle & Mobile Ownership (%)


Car 5 8 11 9 3 6

Bike 45 48 63 53 58 62

Scooter 2 4 10 29 8 11

Mobile 96 99 96 99 97 99

The Mobile Phone

The mobile phone was their companion during power cuts

Many (especially younger males) heard mp3s on their mobiles

at this time; some even watched videos

Many younger girls had their own mobiles, though parents

didn‟t necessarily like it

“Bhaag ke shaadi karna mobile phone se shuru hua hai”

For older men, especially the shopkeepers/ traders, the

mobile was critical to their work

For older women, it was a means of being in touch with their

neighbors, given the several restrictions on going out

Media Habits & Lifestyle

Besides television, only three other touch points emerge

for these markets:

Print (primary off-air medium)

Mobiles

Local grocery shops (visited regularly by 60%+)

Evidently, a combination of print advertising and

below-the-line activations at key hubs is the best way to

reach out to these audiences

Let‟s look at some examples

Key Touch Points

1. Tea stalls (Rajasthan)

2. Jagarans (Dhampur)

3. Mahila Bachat Sangh, Mahila Udyog, Sakhi Sang

(Maharashtra & Gujarat)

4. Festivals, e.g. Khojagiri Purnima in Gangapur, Ganpati

& kite flying in Mandavi

5. Pan shops (Bagasara)

6. Local bazaars (Shahabad, Sumerpur, Sausar, Narnaul)

Research Recommendations

Research Recommendations

Research recommendations have been listed in this section at

two levels:

Network level

Channel level – Sony, SAB, Max & Mix

Network Level Recommendation

The LC1 markets are clearly more channel loyal than variety

seeking

Hence, brand communication is highly recommended,

instead of program communication

The task through print and BTL activities should be to create

preference for our channels

And then inertia do the rest over time

This is particularly critical for Max, as the imagery of movie

channels has not been formed well as of now, given us an

opportunity

Network Level Recommendation

Ability to understand, read or write English is very limited in

these markets

While many wanted their children to go to English medium

schools, the language did not exist otherwise in their scheme

of things

Given the high weightage these markets will carry, it is

prudent to shift the language of all on-air and off-air

communication to Hindi

Sony Recommendation Our viewership is coming from our alternative content, i.e., reality

shows and thrillers

Two key roles television plays in the lives of these viewers is missing

from our offering – Empowerment & Change

Star Plus and Zee TV are very strong on these counts

Over a period of time, rejuvenation may not be enough to keep us at

no. 2

To target a stronger and more enduring position, we need to satisfy

the high-emotion needs too

This is also an HSM-wide need, and hence, involves no compromise

SAB Recommendation

SAB‟s imagery is completely consistent with the other, bigger

markets

With LC1 markets being even more family-driven, it works in

favor of the channel

Also, the „white collar‟ challenge that emerged in the recent

brand research will not exist in these markets

Besides reaching out to these consumers through brand

communication, SAB‟s task is more „national‟ in nature, than

market-specific

Max Recommendation

The negative perceptions of the Max brand (e.g. adult films)

have not formed in the LC1 markets yet

However, we need to guard against this perceptions being

formed as the market matures

LC1 towns will be most sensitive to such content

Our brand communication message needs to be chosen

carefully

Premieres may not be the best message for these markets

Ideally, family should be woven into the brand message to

create a strong resonance

Mix Recommendation Currently, distribution is our all-important challenge

While 9XM‟s stronger LC1 markets are Maharashtra, MP &

Rajasthan, this could be purely a function of their availability in

these markets, vis-à-vis UP, Gujarat & PHCHP

Market data on 9XM‟s distribution in LC1 markets will help us

correlate their viewership levels with their connectivity

In turn, helping us in identify the target markets for Mix for

distribution focus

Our brand proposition – mix of new and old songs – has a strong

connect with these towns, once the distribution is in place

Finally…

Our channels have a strong advantage – our gender skews

vis-à-vis competition are aligned to the viewing dynamics of

the LC1 towns

However, as these markets mature, they may tend to become

similar to .1-1mn towns over the next 1-2 years

Hence, we must capitalize on our advantage now, with an eye

on our primary competitor in LC1 markets – the Zee Network

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