A PROJECT REPORT ON

War of channel.

Submitted in partial fulfillment of the requirements

For

BACHELOR OF MANAGEMENT STUDIES

(2012-2013)

By

Abhinandan .v. Gaikwad

Under the guidance of

Prof. NIVEDITA

University of Mumbai

Sheth T.J Education Society’s,

CERTIFICATE

OF

PROJECT WORK

This is certify that

Mr. ABHINANDAN .V. GAIKWAD of B.M.S Semester V, Roll No.55 has undertaken & complete the project work titled on WAR OF CHAANEL during the academic year 2012-2013 under the guidance of Mss. Nivedita submitted on 1ST SEPTEMBER, 2012 to this college in fulfillment of the curriculum of BACHELOR OF MANAGEMENT STUDIES, UNIVERSITY OF MUMBAI.

This is bonafide project work & the information presented is true & original to the best prf. our knowledge & belief…..

PROJECT COURSE EXTERNAL PRINCIPAL

GUIDE COORDINATOR EXAMINAR

Declaration

I, Mr. ABHINANDAN.V.GAIKWAD hereby declare that the project report entitled WAR OF CHANNEL Under guidance of Prof. Nivedita submitted in partial fulfillment of the requirements for the award of the degree of BACHELOR OF MANAGEMENT STUDIES (B.M.S) TO MUMBAI UNIVERSITY is my original work.

Signature:

Date:

Place: THANE

ACKNOWLWDEGEMENT

I take this Company to express and record my thanks and gratitude to Sheth N.K.T.T College of Commerce Thane, and the entire Faculty of Semester V of B.M.S Course, in the College. Further, I also acknowledge my sincere and special thanks and gratitude to my Project Guide Prof. Nivedita , and Project Co-coordinator, Voice Principal & Professor Anil Khadse without whose continuous guidance and encouragement it would not have been possible for me to complete this project Work.

I express my thanks to all my colleagues with whom I have debates and discussions on the subject, which also helped to have better understanding and clarity on the subject.

Course name:-B.M.S (Semester-V)

College name: - Sheth N.K.T.T College of Commerce & arts

University:- Mumbai University

1.) Introduction:

In today’s time we people are been affecting to the channel in different ways, in different times, in different situation and in different comparison.

T.v. channels are been entertained to people. Public demand for today’s time is for a satisfied channel in different

concepts. (War of channel) this line indicates that there is a comparison of

channel towards the public demand.

Rural area and urban area:

70% of people in urban area they have a great attraction of TV. and 30% people in rural area they are been affectionate with their own rational concepts.

For rural people TV. is like a movie of a film which release once in a year and have a look with rural local people in their villages.

The launch of ET Now, the English business news channel by Bennett, Coleman and Co. Ltd, or BCCL, the largest media company in the country, is causing more than a stir in a genre that has had a minuscule share in the total television viewership, as well as the advertising pie.

English business news channels currently account for 0.2% of the total viewership and have a 2% share in the total television advertising revenue.

ET Now entered a space that was already a bit crowded with three players—CNBC TV18, NDTV Profit and UTV.

CNBC TV18 belongs to Television Eighteen India Ltd, or TV18, one of the most aggressive news broadcast companies in the country, while NDTV Profit is run by New Delhi Television Ltd, one of the oldest television news operators.

Launched in 2008, UTVi, promoted by Ronnie Screwvala, managing director and founder CEO, UTV Software Communications Ltd, was the last entrant into the space before ET Now made its debut on 22 June.

Besides these, there are two Hindi business news channels—Zee Business, owned by Essel Group-promoted Zee News Ltd, and CNBC Awaaz, run by TV18.

Six business news channels in a country where a very small percentage of the population reads financial dailies or dabbles in financial markets is, indeed, surprising.

Ltd, a Gurgaon-based independent financial policy think tank, only 0.75% of the country’s total population trades in stocks of any kind.

According to the latest Indian Readership Survey, readership of business publications in the country ionly 0.85% of the total readership of all dailies.

In the US, the world’s largest economy, there are three 24-hour business news channels—CNBC (which has a content partnership with TV18 in India), owned and managed by NBC Universal Inc., the broadcasting arm of General Electric Co.; Fox Business Network, owned by Rupert Murdoch’sNews Corp.; and Bloomberg TV, owned by Bloomberg Lp.

Hidden opportunity:

“Yes, business channels have a small share. But we think there is an opportunity here,” says Chintamani Rao,

chief executive officer, Times Global Broadcasting Corp. Ltd, the BCCL arm that oversees its television business.

“There is only one channel that is having the major share. And there lies the opportunity.” (BCCL, the publisher of the largest read English daily in the country.

The Times of India, and the business daily, The Economic Times, compete with HT Media Ltd, which publishes Hindustan Times and Mint.)

To be sure, the English business news space on television has been led by CNBC TV18 for around a decade. Launched in 1999, the channel had a monopoly in the space till NDTV Profit was launched in 2005.

Even after the entry of a rival, the channel has enjoyed at least a 60% share in English business news viewership.

According to television audience measurement and rating agency TAM Media Research Pvt. Ltd, the channel had a viewership share of 69% for May. The channel declined to comment for this story.

NDTV Profit, despite a strong parentage in NDTV, one of the earliest and successful news operators in the country, has not been able to dent CNBC TV18’s position.

In May, the channel’s viewership share was 27%, while UTVi was a distant third at 4%.

Screwvala had argued in the same vein as Rao while launching UTVi a year ago.

In a space where the market leader accounts for at least 50% share, there is definitely a need for a serious contender, he had said.

So far, though, UTVi’s story has not been too inspiring. ET Now’s confidence stems partly from the leadership position and

brand strength of The Economic Times. The business daily, according to the first round of the Indian

Readership Survey 2009, had an average issue readership, or AIR, of 783,000. Mint, which was launched in 2007, is at No. 2, with an AIR of 175,000, followed by others such as Business Standard.

The Financial Express and the Hindu Business Line. Rao says ET Now will leverage the strength of  The Economic Times to compete with CNBC TV18. The news channel and the newspaper are already said to be

operating at an integrated level, sharing their staff and other resources (CNBC-TV18 has a content partnership with Mint).

More of the same:

Despite a strong partner in The Economic Times, most media experts say the channel will have to churn out differentiated content to take away viewership from other channels.

Even its rivals will have to do the same to make sure their viewers don’t jump fences. “More choice is better for the viewer.

But each network will have to find its own differentiator. If all four do more of the same, they will be crowding out the

space,” says Shivnath Thukral, managing editor, NDTV Profit. The entry of new channels has expanded the market. In 2004,

when there were only two business news channels—CNBC TV18 and Zee Business—the genre accounted for only 0.1% of the total television viewership. This expanded to 0.5% by 2008.

Lynn de Souza, chairman and group CEO of media agency Lintas Media Group, points to the entry of Colors in the general entertainment channel, or GEC, category that not only ate into the share of competitors but also helped expand the overall pie.

According to viewership data analyzed by Mumbai-based audience measurement firm Audience Measurement Analytics Ltd, ET Now was running neck and neck with UTVi in the first two weeks after its launch.

The two channels had a 14.3% share each in the total business channel viewership pie, while NDTV Profit had 28.6%. By the third week, that is the week ended 9 July, the viewership share of ET Now had declined marginally to 12.5%.

What is interesting to note is that in the week preceding ET Now’s launch, CNBC TV18 had a 50% share, which dropped to 42.8% in the subsequent two weeks.

In the week ended 9 July, CNBC TV18 regained its 50% share. Data suggests that the impact is being felt more by NDTV Profit

and UTVi. “If the new channel is able to tap into the latent needs of the

viewer, offer something additional, something different than other channels, then the overall pie grows.

It all depends on how the channel is packaged and marketed,” says de Souza. Punitha Arumugam, group head of communications company Madison Media Inc., an arm of Mumbai-based marketing communications group Madison Communications Pvt. Ltd, agrees with de Souza.

“This is likely to be the case, unless the market gets overly cluttered. But I am not sure whether this would translate into a bigger advertising pie,” she says.

Money matters:

The total advertisement spending on business news channels, according to Madison Media’s estimates, is about Rs150-175 crore.

The bulk of this goes to CNBC TV18. This is what ET Now seems to be eyeing. “There is one dominant market leader and no one has challenged it effectively,” says Rao.

The television news business has been quite challenging for most operators so far.

The situation got compounded recently because of the slowdown in the economy.

In the year ended March, TV18 reported a net loss of Rs177.82 crore compared with a net profit of Rs6.02 crore a year before.

NDTV Ltd recorded a net profit of Rs119.83 crore compared with a net loss of Rs185.65 crore, but this was mainly on account of a stake sale in one of its subsidiaries for Rs642.54 crore that helped in countering the loss of Rs520.02 crore.

Due to intense competition and limited viewership in comparison with other bigger genres such as general entertainment, films or sports, news channels are not able to command high advertising rates.

A 10-second ad spot on a GEC could cost anywhere between Rs20,000 and Rs60,000 compared with English news channels that command between Rs3,000 and Rs3,200 for the same duration.

Though ad rates on business channels hover more or less around the same level as general news channels, the former are able to attract premium brands more easily, say media buyers.

Along with corporate ads, business news channels have their own dedicated set of advertisers such as banks and financial institutions, insurance companies and brokerage firms.

ET Now, point out some media buyers, has an added advantage. The channel can tap into the extensive and robust advertiser base

of The Economic Times. “It will be logical I guess at some point of time or other for them to bring (that) in.

There are synergies and today this concept of integration is working,” says Anita Nayyar, CEO, Media Planning Group, India and South Asia, a media buying firm.

To be sure, a similar effort by The Times of India and Times Now, the news channel from BCCL, did not work too well.

A strong distribution network is another issue that ET Now will have to ensure before it attempts to shake the market leader’s position.

“Distribution is difficult because a large portion of it is analog cable which is semi-disorganized. So you have to negotiate market by market, city by city and player by player.

And obviously, the question of carriage fee that tends to eat up a lot of resources,” says Jehil Thakkar, head, media and entertainment practice, KPMG, a consultancy firm.

Among the DTH operators, ET Now has been able to tie up with only Airtel DTH Service as of now.

Although most media experts see CNBC TV18 and ET Now as the two main contenders in the fight for eyeballs in the English business news space, smaller channels are not ready to give up the fight as yet.

“Success in TV business is dependent on what you do onscreen. You may be backed by the biggest brand, but the battle has to be fought with content on the small screen,” says Govindraj Ethiraj, editor-in-chief, UTVi.

“It’s a long-term game. We don’t believe in reaction. We have a proper strategy to go by

the viewers’ expectations and not by the competition,” adds Thukral.

2.) Television rating point

Television Rating Point (TRP) is a tool provided to judge which programmes are viewed the most.

This gives us an index of the choice of the people and also the popularity of a particular channel.

For calculation purpose, a device is attached to the TV set in a few thousand viewers' houses for judging purpose.

These numbers are treated as sample from the overall TV owners in different geographical and demographic sectors.

The device is called as People's Meter. It records the time and the programme that a viewer watches on a particular day.

Then, the average is taken for a 30-day period which gives the viewership status for a particular channel.

Television Rating Points - TRP is the criterion that indicates the popularity of a channel or programme and this data is very useful for the advertisers

Presently, INTAM (Indian Television Audience Measurement) is the only electronic rating agency functioning in India. INTAM uses two methodologies for calculating TRP.

First is frequency monitoring, in which 'people meters' are installed in sample homes and these electronic gadgets continuously record data about the channel watched by the family members.

'People meter' is a costly equipment, which is imported from abroad.

It reads the frequencies of channels, which are later, decoded into the name of the channels and the agency prepares a national data on the basis of its sample homes readings.

But there is a drawback in the technique, as cable operators frequently change the frequencies of the different channels before sending signals to the homes.

It may be very misleading to read a channel according to a particular frequency even if the down linking frequency is same all over India.

3.) Television ratings in Indian Television Rating

Point TRP is used by television advertisers to monitor the most widely watched TV programs in India based on which AD rates for a program is decided basically

Based on the ranking list of the last several years, programs of SUN TV and Star Plus are in the top rank at all India levels. [1...]http://www.answers.com/to pic/ratings-point...Television Rating Point TRP is a tool

Now let see the t.r.p of Indian television serials chanels.

Channel Date Rank Start Time

Programme TVR

Star Plus 23/05/11 1 6:59 PM SAATHIYA SAATH NIBHANA

4.02

Colors 27/05/11 2 8:17 PM BALIKA VADHU 3.69

Zee TV 26/05/11 3 9:00 PM PAVITRA RISHTA 3.62

Colors 23/05/11 4 10:11 PM

UTTARAN 3.39

Star Plus 24/05/11 5 9:30 PM YEH RISHTA KYA KEHLATA HAI

3.1

Colors 23/05/11 6 8:34 PM LAAGI TUJHSE LAGAN 2.69

Star Plus 23/05/11 7 7:45 PM SASURAL GENDA PHOOL

2.65

Star Plus 27/05/11 8 10:30 PM

PRATIGYA 2.52

Star Plus 23/05/11 9 10:00 PM

NAVYA 2.36

Zee TV 23/05/11 10 8:29 PM YAHAN MEIN GHAR GHAR KHELI

2.35

Sony SAB

26/05/11 11 8:30 PM TAARAK MEHTA KA OOLTAH CHASHMA

2.35

Colors 23/05/11 12 10:32 PM

NA AANA IS DES LAADO

2.35

Zee TV 26/05/11 13 9:31 PM RAM MILAYI JODI 2.31

Colors 23/05/11 14 9:09 PM PHULWA 2.15

Zee TV 26/05/11 15 8:01 PM JHANSI KI RANI TRP Top 15 - Serials Only - Wk 21, 2011 Phulwa is @ 14..!!

4.) How T.R.P is calculated:

A Television Rating Point (TRP) is a measure of the purchased television rating points representing an estimate of the component of the target audience within the gross audience.

Similar to GRP (short for Gross Rating Point) it is measured as the sum of ratings achieved by a specific

media vehicle of the target audience reached by an advertisement.

For example, if an advertisement appears more than once, reaching the entire gross audience, the TRP figure represents the sum of each individual GRP multiplied by the estimated target audience in the gross audience.

In the case of a TV advertisement that is aired 5 times reaching 50% of the gross audience with only 60% in the target audience, it would have 250 GRPs (= 5 x 50) -- ie, GRPs = reach x frequency - TRP in is this case should be 60% out of 250 GRPs = 150 TRPs - this is the rating point in the target, 60% of the gross rating.

INTAM (Indian Television Audience Measurement) is the only electronic rating agency functioning in India.

INTAM uses two methodologies for calculating TRP. 

First is frequency monitoring, in which 'people meters' are installed in sample homes and these electronic gadgets continuously record data about the channel watched by the family membersSecond technique is more reliable and relatively new to India.

In picture matching technique people meter continuously records a small portion of the picture that is being watched on that particular television set.

Along with this agency also records all the channels' data in the form of small picture portion.

Data collected from the sample homes is later on matched with the main data bank to interpret the channel name.

for calculating TRP. First is frequency monitoring, in which people meters are installed in sample homes and these electronic gadgets continuously record data about the channel watched by the family members

A Television Rating Point TRP is a measure of the purchased television rating points representing an estimate of the component of the target audience within the gross audience. Similar to GRP short

5.) Media partners ratings in India of 2012:-

Channels : rateings:

Tv9 1.13 Aaj tak 1.01 Ib7 o.24 India tv 1.38 Nd tv 0.27 News 24 0.35 ABP news 0.86 Zee news 0.4 Tez 0.26 Abp majha 1.09 Lok 0.45 24 tass 1.04 M1m 0.29 M.1 0.26

P 0.22 Mt 0.65

6.) Tvr Ratings for Week 22 (27/05/2012- 02/06/2012)

ChannelsNo of Programmes Star   Plus Sun TV Z Zee   TV Colors Viacom18 SONY ENTERTAINMENT  

TV SONY MAX Life OK Star Gold SONY SAB Star Pravah Star Jalsha GEMINI ETV Marathi Disney XD Z Marathi

16  15  12  12  12  6  6  5  4  3  3  2  2  1  1 

Marathi t.v serials ranks:

Z's Marathi channelSerial No.

Rank Date DayStart Time

Programme TVR

1 94 28/05/2012 Mon 21:30MAHARASHTRACHI LOKDHARA

0.65

Target Group : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Source: TAM peoplemeter system

This channel is the in which marthi news, Marathi serials, Marathi movies carries..

Maharashtrachi lokhadhara is the srial which carry rank of no.1 and tvr rates are 0.65

Other channels in this Z Marathi its not carrying more t.v.r but locality people of Marathi tradition watch this chaanel daily..

Star Pravah's Brightest StarsSerial No.

Rank Date DayStart Time

Programme TVR

1 41 28/05/2012 Mon 20:30 DEVYANI 1.222 48 30/05/2012 Wed 19:30 PUDHCHA PAUL 1.07

3 60 29/05/2012 Tue 20:01SWAPNANCHYA PALIKADLE

0.85

Target   Group  : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

ETV`s Marathi ChannelSerial No.

Rank Date DayStart Time

Programme TVR

1 88 28/05/2012 Mon 19:32LEK LAADKI TYA GHARACHI

0.67

2 95 30/05/2012 Wed21:34GAURAV MAHARASHTRACHA

0.65

Target Group : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Stare plus serial ranks n timing:

Star   Plus's  Show StoppersSerial No.

Rank Date Day Start Time Programme TVR

1 3 31/05/2012 Thu 21:00 DIYA AUR BAATI HUM 4.19

2 5 01/06/2012 Fri 19:00 SAATHIYA SAATH NIBHANA

3.31

3 6 31/05/2012 Thu 20:30 EK HAZARON MEIN MERI BEHNA HAI

3.02

4 7 30/05/2012 Wed 21:30 YEH RISHTA KYA KEHLATA HAI

3

5 9 01/06/2012 Fri 20:00 IS PYAAR KO KYA NAAM DOON

2.75

6 17 27/05/2012 Sun 11:00 SATYAMEV JAYATE 2.24

7 21 28/05/2012 Mon 22:29 PRATIGYA 2.12

8 34 29/05/2012 Tue 19:29 EK DOOSRE SE KARTE HAIN PYAR HUM

1.36

9 38 02/06/2012 Sat 20:00 GUMRAH 1.25

10 43 30/05/2012 Wed 21:59 SAJDA TERE PYAAR MEIN 1.18

11 55 27/05/2012 Sun 18:02 HFF SINGHAM 0.87

12 63 27/05/2012 Sun 13:29 HFF BODYGUARD 0.83

13 67 01/06/2012 Fri 18:30 RUK JAANA NAHI 0.8

14 86 02/06/2012 Sat 21:00 JO JEETA WOHI SUPER STAR-2

0.67

15 99 29/05/2012 Tue 18:00 NAVYA 0.63

16 100 30/05/2012 Wed 15:01 STAR PARIVAAR KA TYOHAAR

0.61

Target   Group  : CS 4 + Yrs (All India)

Star   Gold  climbs into top 100Serial No.

Rank Date DayStart Time

Programme TVR

1 74 30/05/2012 Wed 21:00 HFF DABANGG 0.74

2 83 27/05/2012 Sun 11:58HFF KABHI KHUSHI KABHIE GHAM

0.68

3 84 02/06/2012 Sat 20:59 HFF JIGAR KALEJA0.684 89 01/06/2012 Fri 20:59 HFF WANTED 0.67

5 93 31/05/2012 Thu 12:36HFF DEEWAAR-MAN OF POWER

0.66

Target   Group  : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Source: TAM peoplemeter system

Etv madras rates n timing:

Sun TV's Brightest StarsSerial No.

Rank Date Day Start Time Programme TVR

1 35 31/05/2012 Thu 19:59 THIRUMATHI SELVAM 1.33

2 37 28/05/2012 Mon 21:11 THENDRAL 1.28

3 40 28/05/2012 Mon 20:35 THANGAM 1.22

4 44 02/06/2012 Sat 19:26 TMF VAAGAI SOODA VAA 1.15

5 47 29/05/2012 Tue 19:31 NADASWARAM 1.08

6 53 28/05/2012 Mon 21:44 CHELLAME 0.93

7 57 31/05/2012 Thu 13:54 ATHIPOOKKAL 0.85

8 65 29/05/2012 Tue 18:27 UTHIRIPOOKKAL 0.82

9 68 27/05/2012 Sun 20:34 VIVEL KAYIL ORU KODI ARE YOU READY

0.8

10 70 27/05/2012 Sun 19:23 TMF VAANAM 0.77

11 75 27/05/2012 Sun 14:37 TMF KUNGFU HUSTLE 0.73

12 76 02/06/2012 Sat 21:45 SIVA SANKARI 0.73

13 78 30/05/2012 Wed 17:55 MUNTHANAI MUDITCHU 0.72

14 80 31/05/2012 Thu 13:27 ILAVARASI 0.69

15 82 29/05/2012 Tue 19:00 SUN SAITHEGAL 0.68Target Group : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Star bangali ratings and timings:

Top in Star JalshaSerial No.

Rank Date DayStart Time

Programme TVR

1 59 01/06/2012 Fri 20:29 TAPUR TUPUR 0.852 90 28/05/2012 Mon 20:00 MAA 0.673 91 30/05/2012 Wed 18:30 ISHTI KUTUM 0.67Target   Group  : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Sab tv channel ratings:

SONY SAB-show_winnerSerial No.

Rank Date DayStart Time

Programme TVR

1 19 28/05/2012 Mon 20:29TAARAK MEHTA KA OOLTAH CHASHMA

2.2

2 45 30/05/2012 Wed21:00 CHIDIYA GHAR 1.143 61 28/05/2012 Mon 22:01 LAPATAGANJ 0.84

4 73 28/05/2012 Mon 21:31R K LAXMAN KI DUNIYA

0.75

Target   Group  : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Sahara Gemini channel rates:

Gemini TV Go GettersSerial No.

Rank Date DayStart Time

Programme TVR

1 71 01/06/2012 Fri 20:31 MOGALIREKULU 0.76

2 87 02/06/2012 Sat 17:59TGF BRINDAAVANAM

0.67

Target Group : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

Disney channel ratings:

Disney_XD_ChannelSerial No.

Rank Date DayStart Time

Programme TVR

1 64 02/06/2012 Sat 09:57 HFF RA-ONE 0.83Target Group : CS 4 + Yrs (All India)

For the 22 week of 27/05/2012 to 02/06/2012

7.) Reality television

Reality television is a genre of television programming that presents purportedly unscripted melodramatic or "humorous" situations, documents actual events, and usually features ordinary people instead of professional actors, sometimes in a contest or other situation where a prize is awarded.

Reality television began in 1948 with Alan Funt's TV series Candid Camera.

The genre exploded as a phenomenon around 1999–2000 with the success of such television series as Big Brother and Survivor.

Programs in the reality television genre are commonly called reality shows and often are produced in a television series.

Documentaries, television news and sports television are usually not classified as reality shows.

The genre covers a wide range of television programming formats, from game show or quiz shows which resemble the frantic, Japanese variety shows produced in Japan in the 1980s and 1990s (such as Gaki no tsukai), to surveillance- or voyeurism-focused productions such as Big Brother.

The most popular reality TV show for 2010-11 was American Idol, and the least popular was Shedding for the Wedding.

Reality television frequently portrays a modified and highly influenced form of day-to-day life, at times utilizing sensationalism to attract audience viewers and increase advertising revenue .

Participants are often placed in exotic locations or abnormal situations, and are often persuaded to act in specific scripted ways by off-screen "story editors" or "segment television producers", with the portrayal of events and speech manipulated and contrived to create an illusion of reality through direction and post-production editing techniques.

Contents:

 1 Hstoryo 1.1 1940s–1960so 1.2 1960s–1970so 1.3 1980s–1990so 1.4 2000so 1.5 2010s

2 Subgenreso 2.1 Documentary-styleo 2.2 Competition/game showso 2.3 Self-improvement/makeovero 2.4 Renovationo 2.5 Social experimento 2.6 Hidden cameraso 2.7 Supernatural and paranormalo 2.8 Hoaxes

3 Analysiso 3.1 Political impact

4 Criticism

o 4.1 Union Critique of Reality Televisiono 4.2 Product placement

8.) History 1940s–1960s Precedents for television that portrayed people in unscripted

situations began in the 1940s. The 1946 television game show Cash and Carry sometimes

featured contestants performing stunts. Debuting in 1948, Allen Funt's hidden camera Candid

Camera show (based on his previous 1947 radio show, Candid Microphone) broadcast unsuspecting ordinary people reacting to pranks.

]In 1948, talent search shows Ted Mack's Original Amateur Hour and Arthur Godfrey's Talent Scouts featured amateur competitors and audience voting.

The Miss America Pageant, first broadcast in 1954, was a competition where the winner achieved status as a national celebrity.

In the 1950s, game shows Beat the Clock and Truth or Consequences involved contestants in wacky competitions, stunts, and practical jokes.

The Groucho Marx-hosted game show, You Bet Your Life, was primarily composed of Marx' pre scripted comebacks to what was most often can did interviews of the contestants, although some contestants were well-known actors (usually playing for charity).

The radio series night watch (1951–1955), which tape-recorded the daily activities of Culver City, California police officers, also helped pave the way for reality television.

The series You Asked For It (1950–1959), in which viewer requests dictated content, was an antecedent of today's audience-participation reality TV elements, in which viewers cast votes to help determine the course of events.

1960s–1970s First broadcast in the United Kingdom in 1964, the Granada

Television series Seven Up!, broadcast interviews with a dozen ordinary seven-year-olds from a broad cross section of society and inquired about their reactions to everyday life.

Every seven years, a film documented the life of the same individuals during the intervening period, titled 7 Plus Seven, 21 Up etc.

The series was structured as a series of interviews with no element of plot. However, it did have the then-new effect of turning ordinary people into celebrities.

In the 1966 Direct Cinema film Chelsea Girls, Andy Warhol filmed various acquaintances with no direction given; the Radio Times Guide to Film 2007 stated that the film was "to blame for reality television.

The first reality show in the modern sense may have been the 12-part 1973 PBS series An American Family,

which showed a nuclear family (filmed in 1971) going through a divorce; unlike many later reality shows, it was more or less documentary in purpose and style.

In 1974 a counterpart program, The Family, was made in the UK, following the working class Wilkins family of Reading.

Other forerunners of modern reality television were the 1970s productions of Chuck Barris: The Dating Game, The Newlywed Game, and The Gong Show, all of which featured participants who were eager to sacrifice some of their privacy and dignity in a televised competition.

In 1978, Living in the Past recreated life in an Iron AgeEnglish village.

1980s–1990s Reality television as it is currently understood can be directly linked

to several television shows that began in the late 1980s and early 1990s.

Canadian  TV ran Thrill of a Lifetime, a fantasies-fulfilled reality show from 1982-88 which was revived in 2001-03.

In 1985, underwater cinematographer Al Giddings teamed with former Miss America, Shawn Weatherly, on the "Ocean quest" television series. "Ocean quest" chronicled Shawn Weatherly's adventures in learning to scuba dive, scuba diving in various exotic locales, and diving with sharks.

The series aired on NBC and Shawn Weatherly was nominated for an Emmy Award for Outstanding Achievement in informational programming.

COPS , which first aired in the spring of 1989 and came about partly due to the need for new programming during the 1988 Writers Guild

of America strike, showed police officers on duty apprehending criminals; it introduced the camcorder look and cinema verité feel of much of later reality television.

The series Number 28, which aired on Dutch television in 1991, originated the concept of putting strangers together in the same environment for an extended period of time and recording the drama that ensued.

Number 28 also pioneered many of the stylistic conventions that have since become standard in reality television shows, including a heavy use of soundtrack music and the interspersing of events on screen with after-the-fact "confessionals" recorded by cast members, that serve as narration.

One year later, the same concept was used by MTV in their new series The Real World and Number 28 creator Erik Latour has long claimed that The Real World was directly inspired by his show.

However, the producers of The Real World have stated that their direct inspiration was An American Family.

According to television commentator Charlie Brooker, this type of reality television was enabled by the advent of computer-based non-linear editing systems for video (such as those produced by Avid Technology) in 1989.

These systems made it easy to quickly edit hours of video footage into a usable form, something that had been very difficult to do before.

(Film, which was easy to edit, was too expensive to shoot enough hours of footage with on a regular basis).

The TV show Expedition Robinson, created by TV producer Charlie Parsons, which first aired in 1997 in Sweden (and was later produced in a large number of other countries as Survivor), added to the Number 28/Real World template the idea of competition and elimination, in which cast members/contestants battled against each other and were removed from the show until only one winner remained.

(These shows are now sometimes called elimination shows).

Changing Rooms , a TV show that began in 1996, showed couples redecorating each others' houses, and was the first reality show with a self-improvement or makeover theme.

The 1980s and 1990s were also a time when tabloid talk shows came to rise, many of which featured the same types of unusual or dysfunctional guests that would later become popular as cast members of reality shows.

2000s Reality television saw an explosion of global popularity starting in

the summer of 2000, with the successes of Big Brother and Survivor (in the US).

In particular, Survivor and American Idol have both topped the US season-average television ratings since 2000. 

Survivor led the ratings in 2001–02, and Idol topped the ratings six consecutive years, from 2004–05 to 2009–10). The shows Survivor, the Idol series, the America's Next Top Model series, the Dancing With The Stars series, The Apprentice, Fear Factor and Big Brother have all had a global effect, having each been successfully syndicated in dozens of countries.

Reality television had a decline in viewership in 2001. Reality shows with low ratings included.

 The Amazing Race, Lost (unrelated to the better-known serial drama of the same name) and The Mole, leading some to speculate that reality television was a temporary fad that had run its course.

Kim Kardashian in hoolywood reality TV star. There have been at least three television channels devoted

exclusively to reality television: Fox Reality in the United States, launched in 2005,Global Reality Channel in Canada in 2010, and Zone Reality in the United Kingdom, launched in 2002.

(The Canadian and British channels still exist; Fox Reality ended in mid-2010). In addition, several other cable channels, such as Bravo, A&E, E!, VH1 and MTV, devote large portions of their programming to reality programs.

Mike Darnell, head of reality TV for the US Fox network, was quoted as saying that the broadcast networks (NBC, CBS, ABC and Fox) "might as well plan three or four [reality shows] each season because we're going to have them, anyway

During the early part of the 2000s, network executives expressed concern that reality-television programming was limited in its appeal for DVD reissue and syndication.

Despite these concerns, DVDs for reality shows have sold briskly; Laguna Beach: The Real Orange County.

The Amazing Race , Project Runway and America's Next Top Model have all ranked in the top DVDs sold on Amazon.com, and in the mid-2000s, DVDs of The Simple Life outranked scripted shows like .

The O.C.  and Desperate Housewives. Syndication, however, has indeed proven problematic; shows such as Fear Factor, COPS and Wife Swap in which each episode is self-contained can indeed be rerun fairly easily, but usually only on cable television and/or during the daytime (COPS and America's Funniest Home Videos.

 The Amazing Race, Survivor, and America's Next Top Model generally perform more poorly and usually must be rerun in marathons to draw the necessary viewers to make it worthwhile. (Even in these cases, it is not always successful, Dancing with the Stars was picked up for a ten-season run on GSN.

In 2012, has run in marathon format, but has nonetheless experienced very poor ratings.)

Another option is to create documentaries around series including extended interviews with the participants and outtakes not seen in the original airings; the syndicated series American Idol Rewind  is an example of this strategy.

Cheaters Learning and Skills Council In 2001, the Academy of Television Arts and Sciences added the

reality genre to the Emmy Awards with the category of Outstanding Reality Program.

In 2003, to better differentiate between competition and informational reality programs, a second category Outstanding Reality-Competition Program was added

. In 2008, a third category, Outstanding Host for a Reality or Reality-Competition Program was added.

In 2010, the Tester became the first reality television show ever aired over a videogame console.

The show entered its second season in the same year.

2010s By 2012, many of the long-running reality television show

franchises had begun to age, setting up declines in ratings across the format.

This, along with increasing audience fracture from competing programs on broadcast and cable television, has raised questions about the long-term viability of reality television on the broadcast networks.

Subgenres

9.) The genre of reality television consists of various subgenres .

Documentary-style

In many reality TV programs, camera shooting and footage editing give the viewer the impression that they are passive observers following people going about their daily personal and professional activities; this style of filming is often referred to as fly on the wall or factual television.

Story "plots" are often constructed via editing or planned situations, with the results resembling soap operas—hence the terms docusoap and docudrama. In other shows, a cinema verity style is adopted, where the filmmaker is more than a passive observer—their presence and influence is greatly manifest.

o Within documentary-style reality television are several subcategories or variants:

Special living environment

Some documentary-style programs place cast members, who in most cases previously did not know each other, in artificial living of environment.

The Real World  is the originator of this style. In almost every other such show, cast members are given a

specific challenge or obstacle to overcome. 

Road Rules , which started in 1995 as a spin-off of The Real World, started this pattern: the cast traveled across the country guided by clues and performing tasks.

Big Brother  is probably the best known program of this type in the world with different versions produced in many countries around the globe.

o Another example of a show in this category:

The 1900 House , involves historical re-enactment with cast members hired to live and work as people of a specific time and place.

2001's Temptation Island achieved some notoriety by placing several couples on an island surrounded by single people in order to test the couples' commitment to each other.

 U8TV: The Lofters combined the "special living environment" format with the "professional activity" format noted below.

In addition to living together in a loft, each member of the show's cast was hired to host a television program for a Canadian cable channel.

Another subset of fly-on-the-wall-style shows involves celebrities.

Often these show a celebrity going about their everyday life: notable examples include The Anna Nicole Show,The Osbournes, Gene Simmons Family Jewels, Newlyweds: Nick and Jessica, and Hogan Knows Best.

In other shows, celebrities are put on location and given a specific task or tasks; these include Celebrity Big Brother, The Simple Life, Tommy Lee Goes to College, The Surreal Life, and I'm a Celebrity... Get Me out of Here!. 

VH1  has created an entire block of shows dedicated to celebrity reality, known as Celebrity Professional activities.

Some documentary-style shows portray professionals either going about day-to-day business or performing an entire project over the course of a series.

No outside experts are brought in (at least, none appear on screen) to either provide help or to judge results.

The earliest example (and the longest running reality show of any genre) is COPS .

which has been airing since 1989, preceding by many years the current reality show phenomenon.

Other examples of this type of reality show include the American shows Miami Ink, The First 48, Dog the Bounty Hunter, Dog Whisperer, American Chopper and Deadliest Catch; the British shows Airport, Police Stop! and Traffic Cops the Australian shows Border Security and Bond, and the New Zealand show Motorway Patrol.

The US cable networks TLC and A&E in particular show a number of this type of reality show.

VH1 's 2001 show Bands on the Run was a notable early hybrid, in that the show featured four unsigned bands touring and making music as a professional activity, but also pitted the bands against one another in game show fashion to see which band could make the most money.

10.) Competition/game shows

o Main article: game show Another sub-genre of reality TV is "reality

competition" or so-called "reality game shows," which follow the format of non-tournament elimination contests.

Typically, participants are filmed competing to win a prize, often while living together in a confined environment.

In many cases, participants are removed until only one person or team remains, who/which is then declared the winner.

Usually this is done by eliminating participants one at a time, in balloon debate style, through either disapproval voting or by voting for the most popular choice to win.

Voting is done by the viewing audience, the show's own participants, a panel of judges, or some combination of the three.

A well-known example of a reality-competition show is the globally syndicated Big Brother, in which cast members live together in the same house, with participants removed at regular intervals by either the viewing audience or, in the case of the American version, by the participants themselves.

There remains some disagreement over whether talent-search shows such as the Idol series, America's Got Talent, Dancing with the Stars, and Celebrity Duets are truly reality television, or just newer incarnations of shows such as Star Search.

Although the shows involve a traditional talent search, the shows follow the reality-competition conventions of removing one or more contestants per episode and allowing the public to vote on who is removed.

The Idol series also require the contestants to live together during the run of the show (though their daily life is never shown onscreen).

Additionally, there is a good deal of interaction shown between contestants and judges.

As a result, such shows are often considered reality television, and the American Primetime Emmy Awards have nominated both American Idol and Dancing with the Stars for the Outstanding Reality-Competition Program Emmy.

Modern game shows like Weakest Link, Greed, Who Wants to Be a Millionaire?, American Gladiators, Dog Eat Dog and Deal or No Deal 

o Traditional game shows: (e.g., The Price Is Right, Jeopardy!), the action

takes place in an enclosed TV studio over a short period of time; however, they have higher production values, more dramatic background music, and higher stakes than traditional shows (done either through putting contestants into physical danger or offering large cash prizes).

In addition, there is more interaction between contestants and hosts, and in some cases they feature reality-style contestant competition and/or elimination as well.

These factors, as well as these shows' rise in global popularity at the same time as the arrival of the reality craze, lead many people to group them under the reality TV umbrella as well as the traditional game show one.

There are various hybrid reality-competition shows, like the worldwide-syndicated Star Academy, which combines the Big Brother and Idol formats, The Biggest Loser and The Pick-up Artist which combine competition with the self-improvement format, and American Inventor, which uses the Idol format for products instead of people. Some shows, such as Making the Band and Project Greenlight, devote the first part of the season to selecting a winner, and the second part to showing that person or group of people working on a project.

o Popular variants of the competition-based format include the following:

Dating-based competition Dating-based competition shows follow a contestant

choosing one out of a group of suitors. Over the course of either a single episode or an entire

season, suitors are eliminated until only the contestant and the final suitor remains.

For a time, in 2001–2003, this type of reality show dominated the other genres on the major US networks. Shows that aired included The Bachelor, its spin-off.

 The Bachelorette, as well as For Love or Money, Paradise Hotel, Temptation Island, Average Joe and Farmer Wants a Wife, among others. More recent such shows include Flavor of Love and its spin-offs I Love New York, Rock of Love, and The Cougar.

This is one of the older variants of the format; shows such as The Dating Game that date to the 1960s had similar premises (though each episode was self-contained, and not the serial format of more modern shows).

11.)Job search

In this category, the competition revolves around a skill that contestants were pre-screened for.

Competitors perform a variety of tasks based on that skill, are judged, and are then kept or removed by a single expert or a panel of experts.

The show is usually presented as a job search of some kind, in which the prize for the winner includes a contract to perform that kind of work.

The show also features judges who act as counselors, mediators and sometimes mentors to help contestants develop their skills further or perhaps decide their future position in the competition.

Most judges have a range of different personalities and are often hired by producers for their work experiences, achievements, popularity, charisma and entertainment purposes.

Popstars which debuted in 1999, may have been the first such show while Idol series has been longest and most popular franchise today with American Idol being the highest rating show in American history. It is also being showed around the world.

The first job-search show which showed dramatic, unscripted situations may have been America's Next Top Model, which premiered in May 2003.

Other examples include The Apprentice (which judges business skills), Hell's Kitchen and Top Chef (for chefs), Shear Genius (for hair styling), Project Runway (for clothing design).

Top Design  (for interior design), Style star (for fashion editors),Last Comic Standing (for comedians), The Starlet and Scream Queens (for actresses)

I Know My Kid's a Star  (for child performers), On the Lot (for filmmakers).

Some shows use the same format with celebrities: in this case, there is no expectation that the winner will continue this line of work, and prize winnings often go to charity.

Examples of celebrity competition programs include Deadline, Celebracadabra and The Celebrity Apprentice.

12.) Political impact:

Reality television's global success has been, in the eyes of some analysts, an important political phenomenon.

In some authoritarian countries, reality television voting has been the first time many citizens have voted in any free and fair wide-scale elections.

In addition, the frankness of the settings on some reality shows present situations that are often taboo in certain orthodox cultures, like Star Academy Arab World, which began airing in 2003, and which shows male and female contestants living together.

In 2004, journalist Matt Labash, noting both of these issues, wrote that "the best hope of little Americas developing in the Middle East could be Arab-produced reality TV.

In China, after the finale of the 2005 season of Super Girl (the local version of Pop Idol) drew an audience of around 400 million people,

and 8 million text message votes, the state-run English-language newspaper Beijing Today ran the front-page headline "Is Super Girl a Force for Democracy?

The Chinese government criticized the show, citing both its democratic nature and its excessive vulgarity, or "worldliness",and in 2006 banned it outright.

Other attempts at introducing reality television have proved to be similarly controversial.

A Pan-Arab version of Big Brother was cancelled in 2004 after less than two weeks on the air after a public outcry and street protests.

In 2007, Abu Dhabi TV begain airing Million's Poet, a show featuring Pop Idol-style voting and elimination, but for the writing and oration of Arabic poetry.

The show became popular in Arab countries, with around 18 million viewers partly because, according to analysts such as University of Pennsylvania professor Marwan Kraidy, it was able to combine the excitement of reality television with a

traditional, culturally relevant topic.

In April 2010, however, the show also become a subject of political controversy, when Hissa Hilal, a 43-year-old female Saudi competitor, read out a poem criticizing her country's Muslim clerics.

Hilal received the highest scores from the judges throughout the competition, and came in third place overall.

As a substitute for scripted drama

VH1 executive vice president Michael Hirschorn wrote that the plots and subject matters on reality television are more authentic and more engaging than in scripted dramas, writing that scripted network television "remains dominated by variants on the police procedural.

in which a stock group of characters (ethnically, sexually, and generationally diverse) grapples with endless versions of the same dilemma. The episodes have all the ritual predictability of Japanese Noh theater," while reality TV is "the liveliest genre on the set right now.

It has engaged hot-button cultural issues—class, sex,

race—that respectable television... rarely touches.

Television critic  James Poniewozik wrote that reality shows like Deadliest Catch and Ice Road Truckers showcase working-class people of the kind that "used to be routine" on scripted network television, but that became a rarity in the 2000s.

The better to woo upscale viewers, TV has evicted its mechanics and dockworkers to collect higher rents from yuppies in coffeehouses.

Criticism

Lighting crews are typically present in the background of

reality television shows.

Sound crews are typically present in the background of

reality television shows.

13.)Union Critique of Reality Television

Writers for reality television do not receive union pay-scale compensation and union representation, which significantly decreases expenditures for producers and broadcasters.[4] Many of the actors in reality television are compensated for their appearances.

o Product placement:

Product placement , whereby companies and corporations pay to have their products included in television programming for marketing purposes is highly prevalent in reality television.

14.) Reality" as misnomer

Reality television shows like The Real World have received criticism for being staged.[45]

[46] Television writers such as DanielPetrie Jr., president of the Writers Guild of America-West, complain that reality shows,

which are described as unscripted, are in fact scripted.

Irene McGee , a cast member on the 1998.

The Real World: Seattle , has done public speaking tours about the negative and misleading aspects of reality TV.

15.) Ethics & reality

o Should We Really Watch?

Media both in America and around the world seem to have "discovered" that so-called "reality" shows are very profitable, resulting in a growing string of such shows in recent years. Although not all are successful, many do achieve significant popularity and cultural prominence. That does not mean, however, that they are good for society or that they should be aired.

The first thing to keep in mind is that "Reality TV" is nothing new - one of the most popular examples of this sort of entertainment is also one of the oldest, "Candid Camera." Originally created by Allen Funt, it showcased hidden video of people in all manner of unusual and strange situations and was popular for many years. Even game shows, long a standard on television, are a sort of "Reality TV.”

Today's programming, including a new version of "Candid Camera" produced by Funt's son, goes quite a bit further. The primary basis for many of these shows (but not all) seems to be to put people in painful, embarrassing, and humiliating situations for the rest of us to watch - and, presumably, laugh at and be entertained by.

These reality TV shows wouldn't be made if we didn't watch them, so why do we watch them? Either we find them entertaining or we find them so shocking that we are simply unable to turn away.

I'm not sure that the latter is an entirely defensible reason for supporting such programming; turning away is as easy as hitting a button on the remote control. The former, however, is a bit more interesting.

16.) Case Study: MTV Roadies – The most Explosive Youth Brand in the Country

August 18, 2011 | 9:16 Am IST By   Editorial

India Social Case Challenge – edition 2

Category: Best Strategic ProgramWinner of Position #2Title – MTV Roadies – The most Explosive Youth Brand in the Country

SHARE A LITTLE ABOUT YOUR ORGANISATIONRoadies started in 2003, first hosted by Cyrus Shukar. Season 2 – Season 8 has been hosted by Rannvijay. “Roadies has travel, adventure, drama, touch of voyeurism…” – Raghu It is based on MTV reality show Road Rules which started in the year 1995 It is India’s most popular reality show with 8 successful seasons.

EXECUTIVE SUMMARYA 9 month trans-media campaign which resulted in establishing MTV Roadies   as the most talked about brand in India. A campaign which made MTV Roadies the envy of the brand manager of every youth brand in the country. Not only did Roadies establish itself as a giant in the social media space in India but its also got India noticed in the International space (Its in the Top 10 most engaged Facebook pages of the whole world). It busted myths of TV content not being consumed online and also myths which assumed Roadies to be too niche for an evolved audience platform such as Twitter. A campaign which was completely for the users at every step and which helped tailor on-air content based on how the audience in the digital space was responding to previous content. A campaign which integrated TV, Outdoor, Mobile and Digital Media. A perfect example of how a campaign should use its website, WAP site and social presence.

NATURE OF THE PROGRAMME/ ACTIVITY/ CAMPAIGNBusiness to consumer

DURATION OF THE SAID PROGRAMME/ ACTIVITY/

CAMPAIGN. START DATE-END DATEOnline Campaign started with a Call for Entries for Season 8 back in September 2010. Campaign went through the audition phase in Jan – Feb and the journey phase 5th March – 18th May. We’ll now continue with Roadies Battle Ground on the website and Facebook fanpage and lead up to Season 9!

BACKGROUNDIn the past 7 seasons of the popularity of Roadies has surged on TV & online.

AIM: was to give the loyal fanbase quick and easy access to Roadies related content, attract new consumers and engage with them right through the season. Fans thronged Youtube to get the latest Roadies content. Hundreds of unofficial pages and websites catered to this audience. We wanted to draw all these fans FIRST to our digital platforms.

OBJECTIVESTo make Roadies the most talked about brand in the social space in India. To be India’s MOST engaged Facebook page. 2 Million Fans on Facebook, 10 Million visits to our Website, 5 Million video views onMTVIndia.com/roadies,1 Million + views on Roadies Channel on Youtube and be one of the top Channels.(We ended up achieving all that we set out to do.)

STRATEGY AND PLANNINGSTRATEGY: Reach out to our viewers and enable them to influence their social circle about Roadies.

CONTENT STRATEGY: Sneak peaks, full episodes, behind the scene pictures, gossip & leaks. Quick contests & gratification Simulcast on TV, Web & Mobile Long & short form Roadies content available on microsite, Facebook, YouTube and on mobile. Uncensored clips & full episodes! Live Chat with hosts & contestants. To ensure we reached out to our consumer multiple times on a daily basis.

LISTENING STRATEGY: We were all ears on our MTV Roadies Facebook page On-Air Programming Content was edited according to the fan’s demands. FB-Meetups/Tweetups before airing of episodes. Regular polls & tweets to find out who is trending on the show

INTERACTIVE STRATEGY: Live chat with Raghu, Rajiv, Rannvijay & contestants! Raghu’s blog on the website. Contests on Facebook & Twitter. We wanted to keep the consumer involved 24/7 right from the beginning of the show to the very end.

STAKEHOLDERSOur primary stakeholders were our consumers and we did everything possible to engage with them on every platform possible. This included almost every digital platform where our users could possibly be found. We wanted to ensure that a one-time viewer would be digitally touched at one platform or the other and convert to an addicted week-on-week viewer. Raghu and Rannvijay were also integral to all our digital activation.

CHOICE OF CHANNEL/SWebsite – http://mtvindia.com/roadiesBlogs – Raghu’s exclusive blog giving fans insights into each episode.

Youtube Roadies full episodes and uncut ones are massively popular on- Youtube.Facebook Eh…cos the world is on Facebook!

Twitter (@mtvindia handle) Live tweets during the show – Fans tweeted during airing of the show Tweetups –Inviting influential junta to screenings.

IMPLEMENTATIONFacebook We knew audition videos are hugely popular. And some of them had massive viral quotient. These are the videos shared on FB. Our conversations were around these. City comparison kept the heat alive. Youtube At the time when auditions went on air, Viacom and Youtube were in a legal tiff. So we used Youtube as a Roadies fan   Someaudition videos have nearly 1M views each!Website Content is king – all previous seasons of Roadies were uploaded. Official Tweet-up for the first journey episode at the MTV Parel office. Roadies was trending by the end of the tweet-up.Similarly one day before every journey episode aired on TV (i.e. on Friday) we would have a tweet-up in a major city and would air the episode to the fans! Facebook – Regular posts with updates, sneak peeks & polls Full episodes, uncensored clips on the website, youtube, facebook & mobile wap site. Knowing what works… Rannvijay posts on MTV Roadies have garnered record breaking numbers. The most favored Roadies also make the best posts We’ve seen numbers on the Facebook fan page which haven’t been even heard of for an Indian brand! Screenshots in the PPT. Contests: Contests carried out on MTV Roadies hugely popular with more than 1000 entries for each contest.

Contests / Quizzes also on the site for Dell, Snapdeal, Lava, Crusoe & Wildcraft Cross-Promotion: On-Air -> On-Line Astons to promote the website, youtube and facebook fanpage. On-ground -> On-Line All outdoor and on-ground creative carried the URL to the website. On-Line -> On-Air Episode alerts and reminders on the Facebook fanpage. Show timing / promos on the website / youtube.

IMPACT AND OUTCOMEMTV Roadies is 2 Million strong on Facebook It is the 5th largest in India in terms of sheer volumeIt is also the  6th most engaging pages on Facebook  in the world& #1 Most Engaging in India   .On Facebook: Monthly active users on MTV Roadies facebook is 1,574,139 (78% of total fan base) Total post views per day is 152,788,912 making it one of the most viewed posts among Indian brands Interactions 2-3x higher than the top brand pages in India get. (Graphs in the PPT) Analysing: We track all the posts which are made based on videos, photos, etc & based on what works, we schedule content. Benchmarks – We are the most engaged page in India and #6 in the world. We aim at doing better every week. We’ve got people in the team who’ve handled Axe Angels Club, Pepsi India pages. So that helped us benchmark against what numbers are achieved by other 1M pages in India. And our aims were to double each metric they’ve achieved.

Twitter: Live tweeting during the airing of show has helped us get Roadies to trend often. Its been surprising to see an apparently niche and evolved audience like Twitter to be home to die-hard fans of Roadies! On the day of the Finale Episode…#roadies, MTV Roadies, Anchal, Aanchal, Suchit and Mohit all trended! We had 4 topics trending at the same time!

Metrics and Tools: There was a simple metric which we had in place. Out perform the previous weeks reach, impressions and feedback rate. Some tools which we’ve used to help us with measurement: Buzzref, Pagelever, socialbrands.media2win.com compare tool etc. We use the Facebook Search API to track how many people share our posts. This in turn helps us to figure out what sort of content is shared by people on their walls.

Website: 10 Million Visits, 16 Million Pageviews+ (Other website stats included in the ppt) Youtube: Total Upload views on the MTV Roadies

channel are 1,567,195. The channel went live on April 18th. We’ve consistently been in the Top 5 channels viewed in India.

LEARNINGSStuff which works: Rannvijay, Raw uncensored videos, behind the scene pics.

Stuff which doesn’t: Contests. Surprisingly contests don’t work in getting you new fans. They just help in keeping a minority group happy and engaged. Establishing the Facebook page as a platform where Roadies fans could meet other people similar to them. We wanted to build this as a platform where other Roadies fans could consume, share and broadcast content. Which helped us reach out to their friends and increase the popularity of the show.

Insights gained:

Always think 360 degrees when it comes to a campaign. And think integration.Make everything as social and as easily accessible as possible. Integrate one media platform with the other. Short status updates work. (An internal study showed us that FB updates lesser than 120 characters get more likes than the ones longer than 120. Study done after studying 100 posts made by us)

WHAT NEXTRoadies Season 8 ended on 18th June. Now we’ll have: RBG – Roadies Battle Ground. An online task based program to select the first Roadie for Season 9 of Roadies. Roadies specific content – Over the next few months we are going to have content specific to the Roadies audience and work on improving the aspirational quotient of Roadies. And then we’ll wait for Season 9! And the fun will start again! Call for entries, Auditions, Journey etc!

TESTIMONIALS6th most engaged page in the world. Higher TRP’s and Record breaking GRP’s as compared to last year. And the love of 2 Million Fans!

EXTERNAL AGENCIES: ANY PARTNERS WHO HELPED

YOU WITH IMPLEMENTATION.Website Execution – Web18 Partner for short promos, vignettes etc. – Colosceum Handling logistics Youtube Channel – iStream

SUITABLE TITTLEMTV Roadies – The most Explosive Youth Brand in the Country

FACT SHEETName of the Company: Viacom 18 Media Pvt Ltd / MTV RoadiesCategory: Media, Publicity and Entertainment, Business to consumer

Case Submitted By: Ekalavya Bhattacharya