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
Type B Towns Characteristics
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
Type B Towns Characteristics
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
Type A Towns Characteristics
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
Type A Towns Characteristics
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%
Mother Tongue TV Viewing
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%
Mother Tongue TV Viewing
PHCHP
Hindi Punjabi Others
3
98 97
2
0%
20%
40%
60%
80%
100%
Mother Tongue TV Viewing
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%
Mother Tongue TV Viewing
Rajasthan
Hindi Others
82 99
18 1
0%
20%
40%
60%
80%
100%
Mother Tongue TV Viewing
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
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.
GRPs calibrated to CS 4+
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
Maha. UP Gujarat PHCHP MP Rajasthan
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
Maha. UP Gujarat PHCHP MP Rajasthan
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.
GRPs calibrated to CS 4+
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
Genre & Channel Performance
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
Maha. UP Gujarat PHCHP MP Rajasthan
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
Market-wise (4+ times a week)
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
Market-wise (4+ times a week)
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 (%)
Maha. UP Gujarat PHCHP MP Rajasthan
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
Top Related