


The Broadcast Audience Research Council (BARC), has taken significant strides in enhancing its meter count for measuring TV audiences. According to reports, BARC has increased its meter count to 59,000 and is actively working towards achieving a target of 65,000 in the near future.

Utilizing Bar-O-meters to collect crucial TV viewership data, BARC is consistently adding new meters on a monthly basis to meet its goal. This expansion reflects BARC's commitment to providing comprehensive and accurate insights into the television viewership landscape in India.

In a previous interview with Storyboard18, Shashi Sinha, chairman of BARC India had said, “The government has clear guidelines that say that panel size shall be increased by 10,000 every year.We are in sync with that.”

Talking on how increasing panel homes help he had said, “BARC is a very robust currency but there are certain smaller segments like the news genre where the sample is very small so the chances of variations are very high and increasing the panel homes reduces that.This kind of sample size reduces infiltrations of any sort.”

A lot of people do not know about another rule that the guidelines from the ministry highlights. The rule says 25 percent of the panel homes shall be rotated every year. 

“The rotation is to be done in such a manner that older panel homes are removed first while maintaining the representativeness of the panel. This rotation is expected to be achieved in a staggered manner by rotating panel homes every month. All of this helps in better and fairer measurement of data,” he said. 

BARC boosts TV meter count to 59,000

Utilizing Bar-O-meters to collect crucial TV viewership data, BARC is consistently adding new meters on a monthly basis to meet its goal

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Representational image via Unsplash

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Virat Kohli is a name that resonates with cricket fans worldwide. From his audacious stroke play to his fiery on-field demeanor, Kohli has redefined the game with his sheer passion and commitment. However, Kohli’s is a story of controversy and confrontation, a narrative that has shaped his journey to greatness. Whether it's his heated exchanges with fellow cricketers or his outspoken nature off the field, controversies are no stranger to him. 

Clash with Gautam Gambhir: One of the most memorable incidents involving Virat Kohli occurred during the 2013 IPL match between Kolkata Knight Riders and Royal Challengers Bangalore. As the captain of RCB, Kohli engaged in a heated argument with Kolkata's skipper Gautam Gambhir, resulting in a tense standoff that was eventually diffused by umpires and players.

Middle Finger Incident: During his early days in international cricket, Kohli courted controversy during a tour to Australia when he was seen showing the middle finger to the Sydney crowd. Kohli later explained that his actions were in response to abusive language directed at his family, highlighting his fiercely protective nature off the field.


Outburst at Journalist: The 2015 Cricket World Cup saw Kohli embroiled in another controversy when he lashed out at a journalist whom he believed had written an unfavourable article about him and his then-girlfriend, now wife, Anushka Sharma. 

Umpiring Controversy: In a Test match against Australia in 2017, Kohli accused Australian captain Steve Smith of seeking illegal assistance from the dressing room for a review.


Sunil Gavaskar Controversy: During the 2020 IPL, Sunil Gavaskar made a comment about Kohli’s performance, suggesting that he only practiced batting during the lockdown with Anushka Sharma bowling to him. Sharma’s public response underscored the challenges of being a public figure in the age of social media scrutiny.


As Virat Kohli continues to etch his name in the annals of cricketing history, his journey serves as a reminder of the complexities of success. While controversies may have punctuated his career, they have also been a testament to his unwavering spirit and fierce determination. Kohli's story is not just about cricket; it's about resilience, passion, and the relentless pursuit of excellence. As he continues to push the boundaries of the game, Kohli remains a symbol of inspiration for aspiring cricketers and sports enthusiasts around the world. His legacy is not just in the runs he scores or the matches he wins, but in the indelible mark he leaves on the hearts of fans everywhere.


Virat Kohli: A brief history of controversies and confrontations

Microsoft owned LinkedIn was down for a brief period, impacting thousands of users on Wednesday after a brief outage.


According to outage tracking website Downdetector.com, there were 48,000 reports of outages related to LinkedIn in the US.


March 5 saw the global outage of social media platforms Facebook and Instagram. Following the outage, as per multiple reports, parent company Meta’s chief executive officer Mark Zuckerberg net worth declined by $ 2.79 billion, in a day, to hit $ 176 billion on the Bloomberg Billionaires Index.


However, he continued to maintain his position as the world’s fourth richest person.


The global outage of Meta-owned apps Facebook and Instagram sent users rushing to Twitter now known as X to check about the outage. The apps were not working for users across the globe who experienced problems with Meta's popular apps. #InstagramDown started trending.


Elon Musk, the owner of X (formerly known as Twitter) and Meta boss Mark Zuckerberg’s rival, shared a series of tweets about the outage stating, “we know why you’re all here now”.


Read More: <a href="https://www.storyboard18.com/digital/metas-facebook-instagram-down-for-thousands-of-users-worldwide-25534.htm">Elon Musk reacts to Instagram and Facebook outage</a>

After Facebook and Instagram, LinkedIn sees brief outage

Note to readers: Our latest column Marketing Mocktail breaks down and explains the big ideas, new disruptions and old concepts and marketing practices that matter in the modern age.


The creative brief is one of the most integral parts of advertising.


Yet, of late, briefs have become griefs - sterile and unimaginative.


We keep indulging in the over optimism of giving a bland brief and hoping for exciting creative work in return. Garbage-in, garbage-out.


Putting together a good brief is a dying art which needs to be revived.


From logic to magic


A brief is the inflection point in creating advertising and communication.


It’s the point where logic (the strategy) starts turning into magic (the idea).


It’s where planning ends and creativity begins.


Re-energising the brief


Definition of the brief should read, ‘The most insightful, inspiring, and igniting point in the creation of advertising’.


Insightful - Packed with gems and nuggets that bring the strategy to life.


Inspiring - Makes the creative team go ‘Wow!’ and take ownership of the brief.


Igniting - Triggers the creative to buzz with ideas that they can’t wait to get cracking on.


In fact, a good brief is like ‘an ad for creative people’.


What makes a great brief


While most agencies have their own briefing formats, based on their conceptual frameworks and creative philosophies, the basics of a great brief remain the same.


Here are a few key ideas that can help re-energise creative briefs.


Keep it simple and sharp


Don’t try to impress with mumbo-jumbo or jargon. Make it simple.


Rather than saying, ‘Increase TOM (Top-of-mind awareness) and brand salience’, it’s much better to say, ‘Make the brand famous.’


Instead of ‘Enhance width and depth of consumption’, why not ‘Get more people to use more’.


Also, never overload - stay focused, sharp and crisp. A brief should not be more than a page or two (that’s why it is called a brief).


Pull out little nuggets


Don’t dwell on information, instead dive for gems that bring your strategy to life and tell a story. Embed your brief with evocative and powerful nuggets.


When Taj Mahal tea bags were being launched, the nugget in the brief was to position them as ‘The Walkman of Teas’ to encapsulate the mobility, convenience and modernity of the format.


When Dabur honey was being repositioned as a health food from a home remedy, the brief summed up the challenge as moving the brand from ‘the medicine chest to the dining table’.


Bring your target person to life


One of the biggest sacrileges in briefs is the vague and rather generic definition of the target audience. You really can’t get a handle of who you are talking to until you bring that person alive.


This is how a bland brief will define the target audience for Axe deo:

Young men aged 16-25, who are concerned about their appearance and how they attract the opposite sex. They buy deodorants to smell fresh and feel confident. Axe with its masculine fragrance is the perfect choice to be attractive to girls.


Here’s an inspiring definition of the Axe target person:
Imagine Benjamin… he thinks about women a lot. A lot, a lot. But he’s not dreaming of romance, he’s a dirty boy who can’t stop thinking about sex with extraordinarily welcoming women. Yet in the real world, women are a completely different country - it’s somewhere he’s never been, it may be a while before he gets to go there, and you’re guaranteed he won’t be able to speak the language when he does. 
Deep down he wishes he could just be himself around girls and that it wasn’t so complicated, that he didn’t have to try so hard. What he wants isn’t deodorant at all, but a secret babe-magnet.


Which one do you think created the ‘Axe Effect’?


Dramatise it


A brief is more than just a piece of paper. It’s a piece of theatre.


Once, a bunch of creative people were packed like sardines into a cramped car and were told they were being taken to the client’s office for a briefing. Midway, they were intercepted by the account supervisor, driving a Maruti van (a move that was engineered). 


They were immediately transferred into the more spacious confines of the van and as they sprawled themselves, someone exclaimed, “Guys, this is the brief - travel in space.” How’s that for a powerful demonstration?


Here’s what a leading creative director told me, “I once had an account executive give me a brief with a hole burnt into it. That got me curious. Then I noticed it was for a fiery hot pizza. Right there, she got me.”


It’s time we changed the way we look at briefs, because great advertising is born out of great briefs. It may be a good idea for the industry to introduce an annual award for the best briefs as an incentive to encourage and reward great briefs. 


Can we bring the glory back into briefs? Can we have more briefs than griefs?


Yes, we can!


Anand Narasimha is a corporate turned academician with over three decades of experience spanning Brand Marketing, Advertising, Consulting, and Teaching. He writes the column Marketing Mocktail for Storyboard18. Views expressed are personal.

Marketing Mocktail: Brief or Grief - the creative brief explained

Most brands divide their advertising budget between creative development and media buying in a ratio of 1:10. However, when recalling famous advertising campaigns, it's likely that people remember the creative teams behind the ads, rather than the media planners and buyers who ensure that the ads reach the right audience with the right frequency.

In the past, when advertising was limited to one or two mediums such as TV and print, media planning and buying were relatively straightforward. However, with media becoming increasingly segmented, this is no longer the case. The role of media in the success of any campaign has therefore increased significantly. Without proper alignment between the creative campaign and media plan, the chances of failure are high.

Traditionally, advertising campaigns were conceptualised by establishing business objectives, which were translated into marketing objectives, and then communication objectives. Based on these, a brief was created, and the creative agency would uncover consumer/category insights and develop a core campaign idea. This idea would be presented alongside the TV commercial script, which formed the centrepiece of the campaign. The campaign idea would also be extended to other media such as print, digital, and OOH.

Although media objectives and planning would also be carried out concurrently, they were often not considered inputs or constraints for the creative agency.

Now, there are three problems that happen with this approach:

1. This leads to some campaign ideas/scripts which are not native to the primary platform as per the media plan. Because of a digital native TG, you might have a media plan which is heavily skewed towards Youtube to build awareness. And the best way to build awareness on Youtube is by using the 15-second non-skippable ad. Now if your hero creative is a 30 sec one and impossible to tell a coherent story in the 15-second cut, the campaign will fail.

2. Sometimes you have a wonderful clutter-breaking script, but it is not going to be registered by consumers when they watch it only once/twice. You might have a budget constraint which will limit the input GRPs in your markets. That would mean that at best you can optimize your plan to maximize reach at a three-plus frequency instead of 5/6. Now if your hero creative is witty/difficult to understand easily, your campaign will fail because of lack of enough number of exposure.

3. You might have a media plan which is skewed towards a certain region, but the core insight/communication might not resonate with that region. For Example, 50 percent of your sales might come from the five Southern States, but your campaign idea/core insight resonates more with the Hindi belt. If the TVC is also conceptualized in Hindi and only translated later to regional languages, the chances of the campaign failing will be higher.

All of these problems could be solved by making only a single change in the approach to rolling out a campaign. Include a tentative media strategy/plan, and the constraints that come with it as part of the brief that goes to the Planning team of the creative agency. This will ensure ideas and creative outputs which fit like a dream with our media strategy and plans.

If you want to use Meta in your media plan, your creative agency will ensure that vertical videos that seem native to the platform( Reels) are part of the creative output. If you have a reach plan to maximize reach at three plus frequencies, your creative agency will ensure that the communication is simple enough to understand in one go. If Kerala is a major market for you, your creative agency might recommend creating a separate campaign altogether conceptualized and taught in Malayalam using insights from the Kerala market.

The real magic happens when creative and media teams work together on a brief right from day one. This used to happen few decades back. Maybe it's time to go back to the same practice to ensure that brands get the highest RoI from their marketing spends.

The writer is the founding member and chief business officer of Atomberg. Views expressed are personal.

The power of collaboration: How including media planning in briefs can improve RoI

MAST

Brand: Oakley

Campaign: Be Who You Are

Agency: Brandmovers India

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Growing up, we were constantly asked to fit into the mould of societal expectations. Somewhere, amongst the increasing noise, doubts, aspirations and constant chatter, ‘being ourselves’ took a backseat. We forgot to focus on ourselves, be comfortable with making mistakes, and taking risks.

The latest commercial by Oakley stays true to its value of “Be Who You Are.” As the ad film rolls on, right from the hopes of 1.3bn people being shouldered by cricketer Rohit Sharma, to the doubts and noise surrounding him, the commercial shows how Sharma does not let the people’s uncertainties stop him from always giving his best. The ad film conveys the message of being your authentic self, and the importance of knowing “Who you are", where every frame of the film radiates courage and confidence. Overall, the ad film gets a thumbs up for its realism on a crucial subject.

MEH

Brand: NutriGlow

Campaign: NutriGlow

Agency: In-house

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For years, most of the ads that touched upon the subject of beauty have either been explanatory in nature, or had a pair of girls dancing to stress upon the brand, and convey positive effects. NutriGlow’s latest campaign follows the same unsatisfactory pattern. Actor Genelia Deshmukh along with a bunch of girls are portrayed as ‘GlowGirls’ who are moving to a beat to highlight NutriGlow’s varied range of products. However, Deshmukh, who serves as the brand ambassador for the brand and is known for her bubbly and fun loving nature could not save the commercial from being a dull and disappointing one to watch. An engaging and different storyline could have prevented a Meh.

Mast 

Brand - Thums Up

Agency - Ogilvy India

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From sitting on tree-tops, listening to radio commentary to gathering around paan shops, Indians have found many unique ways to tune in to their favourite cricket matches. Cola brand Thums Up, plans to provide cricket fans in India with a never seen before, innovative experience through in its feature. The ad featuring Jasprit Bumrah, Umran Malik and Brett Lee, showcases an option that allows you to experience watching an ICC T20 World Cup match through a camera fitted in a wicket. Fans will have to scan a QR code on the Thums Up bottle to get access to the camera feed and become part of this immersive experience. That is as close as one can get to being present at the actual game. If this works, it is bound to leave all cricket fans stumped!

Meh

Brand - Casio India

Agency - In-house

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Are you an over-thinker? Yes? Then Casio’s latest ad is definitely one for you. The film opens with a student, who asks his father to buy him a Casio calculator. When his father asks if he can get any other calculator if he doesn’t find one by Casio, the son starts to overthink a series of probable events and scenarios that might impact his life, all due to the repercussions of using an ordinary non-Casio calculator. While the concept works well on paper, the execution doesn’t translate well onto screens. A great concept, poorly planned and executed resulted in us providing this spot, a meh. 

Mast

Brand: Tata Motors

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Festive ads can seem too filmy and over the top with all the songs, dances and unnecessary drama around festivities. However, sometimes there are ads that truly have a feel good factor to it. The Durga Puja TVC from Tata Motors is a perfect example. The ad features the most celebrated actor of Bengali cinema, Prosenjit Chatterjee for the spot but not in a way you’d normally expect. His presence is subtle. His role is of the narrator who acts like a catalyst, adding a slight hint of glamour to the ad without being completely involved in it. The narrative is clean and well packaged with the integration of car features that seamlessly blend in. In true festive fashion, there is a sweet story, a great song and a product that is being rightfully celebrated. All the fun elements work perfectly in unison which makes this new TVC from Tata Motors a good one to watch. A definite Mast in our books. 

Meh

Brand: Hindware

Agency: In-house

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Hindware has a new TV campaign – ‘Go Larger Than Life’ starring actor Tamanna Bhatia and The Great Khali. This is the first ever TVC from Hindware Italian Collection since the company forayed into the tiles segment. The tiles shown in the spot look beautiful and appealing for sure but unfortunately, the same cannot be said for the spot itself. With an inane narrative and an unnecessary objectification of a tall man being compared to huge tiles is unimpressive and doesn’t leave a good lasting impression. A very poor concept and even poorer execution awards this spot a MEH 

MAST

Brand: Cadbury Dairy Milk

Campaign: Cadbury Dairy Milk Bodyguard – Kissi aur ki Khushi mein shaamil hokar dekhiye

Agency: Ogilvy India

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Tigmanshu Dhulia never fails to impress viewers with his performances. In this spot, his appearance as a politician paints him as a ‘larger than life’ character. Dhulia, who is seen making his way towards the dais along with his bodyguards amidst the cheering crowd, to celebrate the success of one of his guard’s daughters who cleared the medical entrance exam is warm and comforting to watch. He is seen feeding the daughter a piece of Cadbury Dairy Milk as a token of appreciation and celebration. The ad film stays true to its message “Kissi aur ki Khushi mein shaamil hokar dekhiye.” A ‘Mast’ watch in our opinion. 

MEH

Brand: Myntra

Campaign: Myntra Big Fashion Festival

Agency: In-house

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The absence of any fun factor for an ad that aims to be comical is very evident right from the start. The campaign, which aims to promote Myntra’s Big Fashion Festival does not really generate any curiosity to check out how interesting the fashion festival might be. Even the presence of celebrity couple Virat Kohli and Anushka Sharma, does not seem to add any drama to the dulness. Ironically, Myntra’s idea of using ignorance to draw attention not only tanked on screen but also failed to attract audiences in real life. An interesting build up to the story along with some festive cheer to promote the fashion festival could have prevented a Meh.

Mast

Brand: Coca Cola

Agency: In house

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Durga Puja for Bengalis is like a five-day long party. Like any party, food and soft drinks are an important part of this celebration. So if you are telling a Durga Puja story and you add food and soft drinks to it, you definitely make for a good storyteller. This new puja anthem from Coca Cola is a perfect spot for the pre-festive weeks. Casting the OG cool guys of Bengal (read members of Bengali band Chandrabindoo) and the catchy song add to the festive mood and cheer. The ad comes with its share of glam factor too, with Bengali superstar Dev adding spark and being a part of the 39 second screenplay. Overall, Coca Cola has done a great job with capturing the mood of the Bengal market right now with everyone preparing for the upcoming celebrations. 

Meh

Brand: Pantaloons

Agency: Production: KITCHEN, Concept: Ogilvy

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Rap songs and hip/hop as a genre are very popular with millennials and Gen Z. However, when used in an ad, it resonates only if executed and performed well. Unfortunately, this new Durga Puja spot from Pantaloons banks on a below average rap jingle that pulls down the overall vibe of the piece. Moreover, the Bengali voice overs are heavily accented. It could’ve been done on purpose to go with the background score but doesn’t help the tune in any way. It stands out as a noticeable blunder. The song, the script and overall performance of the cast makes this a wannabe number desperate for attention. We’re still on the look out for an ad that captures Gen Z mentality correctly and executes it well. 

MAST

Brand - The Body Shop

Agency - In house

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Breaking the popular notion that young citizens are becoming increasingly apathetic towards societal issues, The Body Shop launches a campaign calling upon policy makers to evaluate lowering the age of candidacy in the Lok Sabha from 25 to 21 years of age. The goal is to get greater youth representation in the Lok Sabha. To spread the message, the brands video campaign features young leaders from across the country including Sudhanshu Kaushik, founder, Young India Foundation (27), Jalandhar High Court lawyer Inderpreet Kaur (24) and Sachin Rathod, independent panch ingalangi (29) talking about their efforts in bringing change in society thereby inspiring others. The ‘Be Seen Be Heard’ initiative is being rolled out through a partnership with Young India Foundation. The WHY25 drive has been launched across India at all The Body Shop stores in September 2022 and will run till end 2024 in over 25 states with offline and online petitions to support the cause. Now, that's what you call a brand with a purpose. A mast ad, definitely a great watch. 

MEH

Brand - Levi’s India

Agency - Spring Marketing Capital

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Levi's India’s series of ads with Deepika Padukone follow a pattern that has become repetitive and boring. In the new ad Padukone is seen in a space that needs to be set up and decorated. The camera follows her doing various chores like pushing a sofa into place, sticking a poster on a wall while ambling around with her friends, etc dressed in a new baggy Levi’s jeans of course. The spot ends abruptly leaving viewers confused. While Levi's baggy collection might be in vogue, its advertising seems really last season! It’s time for a refresh. 


MAST

Brand – Bombae Fuzz Off Trimmer | Painless hair removal for women

Agency/Production House – Talented, StudioFry

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This 30 seconder is an edgy one. It’s probably the only hair removal brand that has shown body hair before women shave/wax/trim it off. Bombae says #FuzzOff to societal expectations. It shows the pain women go through to go hairless and attempts to normalise never-seen-before body hair imageries. An empowering ad that breaks boundaries. It’s a mast watch because it is changing the narrative of the category.


MEH

Brand – Manyavar | Taiyaar Hokar Aaiye

Agency - Shreyansh Innovations

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The hyperactive actor Ranveer Singh for the new commercial of Manyavar is featured as a spunky wedding photographer. For a change, he is dressed perfectly fine. However, he singles out a suit-clad ‘mausaji’ by saying he is ruining the perfect family photo in his western outfit. Okay, we get it, this was all supposed to be in good fun and maybe for the sake of advertising. However, we think the brand could have picked a better line of thought to stitch the script. After all, isn’t fashion a personal choice? Shouldn’t Singh know that better than anyone else?

Mast & Meh: Oakley, Thums Up, Tata Motors, Myntra, Levi's India

The biggest test Indian girls face in their school years is the "beauty test", says Unilever-owned beauty brand Dove in its latest campaign released on International Daughters Day 2022 (25 September). The ad has been viewed by millions of netizens, garnering over 12 million YouTube views in four days. 

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While the campaign gained appreciation for starting a conversation about deeply ingrained beauty biases, a section of audiences also criticised the company for double standards. Unilever sells Glow & Lovely (earlier called Fair & Lovely) which largely hinged its communication equating fair/light skin with success. However, in 2019 Unilever changed the product name and also its advertising strategy to be more inclusive and conscious. 

This is reflected in the new Dove ad as well. 

Made by advertising agency Ogilvy India, the ad shows how young girls are subjected to socially accepted standards of beauty which drastically impact their confidence and self-esteem. The Stop The Beauty Test 2.0 is an extension of its previous campaign that was focused on beauty judgements faced by women during marriage. 

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To be sure, Unilever said that Dove launched a study which stated that 80 percent of Indian school girls have faced unjust beauty tests as a teenager. Hence, this year the conversation has shifted focus from prospective brides to the stage where it all begins – adolescence.

 In an exclusive conversation with Storyboard18, Harman Dhillon, vice president, hair care, Unilever talks about the backlash on its new campaign, changing ideas of beauty and how Dove is striving to stay relevant among Gen Z consumers.

Edited excerpts:

There is a certain set of audience that have criticised the new campaign. How does the brand deal with the negative feedback?

Our intent with #StopTheBeautyTest campaign was clear - to make society aware of a prevailing issue faced by young girls on a daily basis. To bring about a tangible impact with the Dove Self-Esteem Project, we are training teachers to deliver educational modules around body confidence and self-esteem to young minds. Our purpose of the campaign is to create awareness regarding when these beauty biases start, and the impact it has on women. We respect everyone's point of view and hope they see that our objective is to redefine the scope of beauty - celebrating it in its authentic and diverse form.

What kind of research went behind picking the theme for this edition of the campaign?

At Dove, we’re constantly working towards making beauty a source of confidence and not anxiety. Last year, we brought to light beauty-based judgements women especially faced during marriage and the impact it had on their confidence. However, during our research we uncovered a key moment of truth wherein societal standards of beauty are imposed on women much earlier on - as young as adolescence. Capturing this sentiment, we shifted our focus on the root of the problem - moving our communication from prospective brides to teenage girls. At a time when these girls should be concentrating on education, they are being unknowingly subjected to beauty biases by society. We felt that this was a crucial stage of intervention and wanted to bring about a tangible change. Thus, with #StopTheBeautyTest 2.0, we aim to raise the self-esteem of these young girls and break through beauty led stereotypes. 

Where did the inspiration for the execution of the campaign come from?

As always, we wanted to share real stories enacted by real girls and feature the real-life implication beauty judgements have on their self-esteem. So, the brand film is a portrayal of exactly that. We want to highlight how family and peers, in the guise of guidance, are pressuring young girls to fit prescribed beauty standards and how this can lead to body image issues in their young minds - eventually stunting their confidence. The #StopTheBeautyTest movement is an attempt to bring awareness about this issue so we can stop subjecting young girls with beauty-based report cards and grading them on external appearances. The focus instead should be on building their self-esteem so that they can be comfortable in their own skin and realise their potential to the fullest. 



<blockquote>While Dove’s global markets may be slightly more evolved, we’re not far behind where customers are demanding equal representation and opportunity. Brands no longer can superficially support progressive social movement but need to be actively engaged and be true drivers of change.</blockquote>



What is Dove doing to stay relevant among the Gen Z? How do they define beauty and is it different from older consumers?

The Dove Self-Esteem Project is aimed at the Gen Z with a vision to empower 8 million young minds by 2025. As part of the initiative, we partnered with experts in the fields of psychology, health and body image to create educational modules around body confidence and self-esteem which will be delivered by teachers under the life skills curriculum. Through this we will be reaching girls and boys in grades 6, 7 and 8 in selected schools across 8 states.

The ultimate goal is to change ‘beauty’ from its conventional lens and redefine and realign what it means to be beautiful. In comparison to the older generation, the younger audience is demanding an ethical, inclusive and diverse representation of beauty in media and Dove’s Real Beauty motto stands tall to deliver on the ask - ensuring beauty is not defined by shape, size or colour but being beautiful is to be the best version of yourself.

Any unique trends in terms of advertising or consumption you are witnessing among your TG in India? How's it different from Dove's global markets?

The Indian woman has gone through a complete metamorphosis in the recent time, especially when it comes to her portrayal in advertising and media. We’ve come a long way from women being conditioned to believing their self-worth is dictated by the perception of others, to now where they are seen taking charge and having a voice of their own. At Dove, we’re proud to have been one of the leading contributors to this change and are glad that brands across categories are following suit.

Today, our TG makes their own choice and has the spending power. Beyond expecting brands to deliver high-quality products, they also demand the brand drive a thought-provoking dialogue. While Dove’s global markets may be slightly more evolved, we’re not far behind where customers are demanding equal representation and opportunity. Brands no longer can superficially support progressive social movement but need to be actively engaged and be true drivers of change.

How do you measure the success of a campaign now? Has the benchmark changed over the years?

Today, the success of a campaign, especially when it comes to the type of campaigns Dove has been leading, is very different from the benchmarks traditionally set in place. The impact is no longer purely number driven. The campaigns of the current era are heavily driven by the impact they have on people and the type of change we can drive through the efforts of the campaign. 

Are the days of big splash TV campaigns long gone? What works for new gen consumers?

Television is a relevant medium even now, in my opinion. There is still a large set audience in the deeper pockets of our nation who yet rely on television for entertainment as well as information. Thus, given that our target isn’t just the metro markets but pan India, TVC’s are a prime medium for us to bring our narrative alive. On the other hand, speaking about the new generation of consumers, social media has emerged as a stronger medium of communication than most others since it allows a two-way communication unlike TV. Thus, it is essential for us to keep the balance while strategising our media plan.

Exclusive: Unilever’s Harman Dhillon responds to feedback on viral Dove ad

Two years ago, YouTube introduced Shorts in India. Today, Shorts are generating 30 billion views per day, which is four times more than one year ago. Ajay Vidyasagar, Regional Director, APAC, YouTube Partnerships, says the language platter and the content genre is only growing in the market and Shorts is fueling the growth. He also talks about monetization on the platform and more. 

Edited excerpts.

Shorts completed two years in India. How has it been? And what has the growth story been like from where you started to where you are now? 

YouTube as a platform is over 14 years old in India. When we got started, our primary mission was to democratize video creation. Until that point, the world really saw storytelling as being the forte of a few. Our goal was to really, truly, truly democratize this in a manner that anyone who is interested in sharing a story should be able to share it. Our role in that was to use technology to take out all the friction in the operationalization of it and help good stories to be discovered, consumed and engaged with. That is really what we’ve been able to do in scale over these many years.

YouTube Shorts was announced two years ago; we flagged that off in India. The YouTube Partner Program (YPP) program was only available and enabled for long form and mid form content. So, we launched a YouTube Shorts fund, in which we worked closely with content creators to help them see a line of revenue for their work.

While we see a lot of entertaining content on the platform, what is the kind of interest you have seen brands? Are brands using Shorts like they are using other UGC platforms for integrations? Help us understand with some examples.

YouTube has enabled so many different formats to co-exist and speak to one another: long form videos, snappy Shorts, livestreams and deep dive podcasts. Advertisers can, therefore, choose to talk to their target audiences- in as many forms of stories, across as many devices, as many languages and as many times a day - effectively and at scale. 

YouTube Shorts are generating 30 billion views per day globally. India was the first country where we launched Shorts and we’re proud of how quickly YouTube Shorts have become popular in India. Brands are starting to see results too. For instance, Oreo, which started its very first Shorts Challenge in Tamil Nadu with 10 of our top creators in the market to launch Oreo Double Stuf during Pongal last year. With 8 million views on their content, the brand was able to build salience in the market, improving branded searches and household penetration in a key market for them. 

How important is India as a market for YouTube when it comes to Shorts? How does it compare to other markers?

We saw the great potential and engagement short form content has for today’s increasingly mobile viewer. That’s why two years ago, we introduced YouTube Shorts, first in India, to make it easier to watch and create short-form content on YouTube. It was where our journey began, and it’s encouraging to see the adoption and excitement the product brings to both creators and viewers. 

We truly believe that what moves India, has the potential to shape the world. Digital video has become a gateway to the world for millions of Indians. In particular, short form video, which is easy to consume and create, represents opportunity like no other - to be entertained and inspired, to learn and earn, to connect and grow. 

When we introduced Shorts, we knew that we were bringing an important new format for creators and that our creators are leveraging Shorts to help breathe new life into their existing channels or inform a new content and engagement strategy is testament to their creativity.

We’re constantly impressed that creators are getting really innovative with how they use the full breadth of video formats that YouTube offers to meet their personal and business goals: from growing views and subscribers, reaching out to new audiences and growing their earning potential. 

Shorts has helped capture the interest and imagination of mobile-first creators and viewers who from whom a smartphone is a window to a world of opportunity. In India, Shorts is lowering the barriers for under-represented voices to come to the fore and pursue their passions; many of whom may otherwise have not had a platform to do so. We’re seeing creators across languages, socio-economic backgrounds and even India’s hinterlands turn to Shorts to share their passions, grow their channels and build successful careers.

Shorts has introduced a new monetization format. Please help us understand how it will benefit the platform and the creators?

We recently unveiled the next chapter in rewarding creativity on the platform by expanding the platform’s monetization system, YPP, to allow more creators to join the program, introducing new ways for creators to earn revenue through Shorts, and re-imagining the music industry and creator dynamic by opening up ads monetization for those who feature music in their videos. 

Starting in early 2023, Shorts-focused creators can apply to YPP by meeting a threshold of 1000 subscribers and 10 million Shorts views over 90 days. These new partners will enjoy all the benefits YPP offers, including ads monetization across Shorts and long-form YouTube videos. This is another option to the existing criteria where long-form creators can still apply to YPP when they reach 1,000 subscribers and 4,000 watch hours. Creators can choose the one option that best fits their channel while YouTube maintains the same level of brand safety for advertisers. To support creators who are early in their YouTube journey, YouTube will also introduce a new level of YPP with lower requirements that will offer earlier access to Fan Funding features like Super Thanks, Super Chat, Super Stickers and Channel Memberships. 

To reward the new creative class, beginning in early 2023, we’ll be moving away from a fixed fund and doubling down on a unique revenue sharing model for Shorts for both current and future YPP creators. Because ads run between videos in the Shorts Feed, every month, revenue from these ads will be added together and used to reward Shorts creators and help cover costs of music licensing. From the overall amount allocated to creators, they will keep 45 percent of the revenue, distributed based on their share of total Shorts views. The revenue share remains the same, no matter if they use music or not. 

YouTube Shorts came to India at a very opportune time. It came right when UGC was becoming very popular and the market was expanding beyond metros. Throw some light on how you managed to gain footing in the Bharat market?

When you look at all of the digital platforms in the country, YouTube is fueled by voice, video and vernacular. So, because of that, the innate ability for the platform to go to every nook and corner of the country, and be understood, be loved, and be engaged, is very natural. It actually is the easiest form of communication that somebody can get on the digital connected platform.

We started off with a predominantly English language journey and then Hindi language content started to take off from India’s metro cities. If you remember, back in the day a lot of our creators were comedy centric and from urban centers.

Now in the last five to seven years, two very big things have happened with YouTube. The content creation has gone into the heartland of Hindi speaking markets. Hindi has become far more reflective of the evolving user base that has happened. Now it’s no longer a metro phenomenon.

We’re also seeing a host of other languages also doing very well on YouTube. Telugu and Tamil continue to be heavy-use cohorts for us. The richness of the language space has been unbelievable for us. From Punjabi, Haryanvi, Bhojpuri, Bengali, to Marathi, Gujarati, there is just an extraordinary breadth of languages. Shorts has helped these markets as well. We have seen extraordinary volume from these language markets.

Ours is a journey that is really about going wider and deeper and Shorts is helping us fuel that in even more in a significant manner.

Platforms that offer both long form and short format content often see the latter stealing all the limelight. Have you noticed any such pattern?

No creator says that I want to be a short-form creator or a long-form creator. They want to be storytellers and they want to express themselves and tell their stories in different forms. We might think about telling a story today that may need 10 or 20 minutes but tomorrow, we may have a story that may shine in 30 seconds.

Our role as a platform is to give a very versatile toolkit that can help a creator succeed in every format. That’s the core of what we do. When you think about video creation, our job is to give a toolkit that helps any video creator, do what they want to do, and express themselves with the least amount of friction. We do believe that both creators and users do not ever say that I’ll only consume a story, if it is, of this size or this form. They actually want a powerful story. The ability to have that sort of freedom with scale and the best technology is really what we do. That’s what we’re focused on. That’s what we’ll always be focused on.

What are your future plans for the offering? What are the top priorities when it comes to new plans for Shorts in India in FY-23?

Shorts is a natural evolution for us: YouTube Shorts is a new way to create and watch short, mobile videos. If you think about YouTube’s earliest days, we launched with a short 18-second video, ‘Me at the Zoo’. What changed since then is how easy it’s become to create and watch short-form videos. We wanted to make it even easier for people to create short videos on YouTube using their phones, so Shorts is a natural evolution for us. 

We’re building features that are unique to YouTube. We’re bringing all short-form video to YouTube, and all of YouTube to short-form video in a really significant way. There are billions of videos on YouTube - by unlocking those videos for features like remixing so people can sample from those in their own Shorts, we’re creating a real playground of creativity like never before. We have the ability to connect multiple ecosystems - YouTube as we know it today, YouTube Music, and now YouTube Shorts. You can imagine what this might look like in the future - it will allow people to connect more deeply with the content, creators, and artists they’re most interested in. This truly is just the beginning.

EXCLUSIVE: What moves India has the potential to shape the world, says YouTube's Ajay Vidyasagar

Leo Burnett and Jim Beam

Publicis Groupe-owned Leo Burnett has been appointed as the global agency-of-record (AOR) for Beam Suntory’s Jim Beam, an American brand of bourbon whiskey. The account, which was won following a multi-agency pitch, will see the agency develop a new global positioning and creative platform. This is the second time Leo Burnett has been appointed as the AOR for Jim Beam. 2016 marked the year when the agency was first selected as the AOR for the American brand. Recently, Beam Suntory announced that it would invest $400 million in renewable energy systems while boosting bourbon production. 

Hashtag Orange and Signify India

Digital marketing company Hashtag Orange has won the creative mandate for Signify Innovations India, erstwhile lighting division of Philips Eindhoven of Netherlands. Their responsibility would include ideation, development, and execution of the company’s creative campaigns for both online and offline channels. As per a media report published in June, Signify was looking to grow by 18-20 percent during 2022 in India. Last month, Hashtag Orange appointed Shraddha Iyer as the branch head of its Hyderabad office. Further, the agency bagged mandates across several key accounts. They include GMR Hyderabad International Airport, Monte Carlo, Rock-It, Hype Ryno, EDGE by Pearl Academy, HOUSR co-living and Tulips Hygiene.

Carat India and TimesPro

Marketing agency Carat India has won the integrated media mandate of TimesPro, an edtech initiative of Times Group. The responsibility of the agency would include managing TimesPro's omnichannel media services, and this will be handled by the agency’s Mumbai office. The account was won following a multi-agency pitch.

Bharat Media Group and Newell Brands

Newell Brands has appointed Bharat Media Group, a 360 degree marketing agency to handle its brands - Reynolds and Sharpie's strategic and creative duties. The mandate includes co-creating the growth roadmap for both businesses in the Indian market. Three weeks ago, Bharat Media Group was appointed as the Agency-Of-Record (AOR) for Super4, Indian fantasy sports platform. The role of the agency will include overseeing the integrated strategy and media mandate which includes creative, performance and experiential marketing, media planning and buying (across medium, traditional and digital), OOH, and cinema. Bharat Media Group has recently made key hirings including Unilever’s former head of Trading and Partnerships, Rohin Desai, who joined as national buying head in August. Desai will head the group’s entire media buying activities across India. He will be based out of the Mumbai office and will report to Anand Charles, CEO, Bharat Media Group. In May, Debarghya Mitra joined as national head of planning. Mitra was VP of client services and head of South at WPP-owned Essence.

Option Designs and CFS Vision

Creative and digital marketing agency Option Designs won the creative and digital mandate of CFS Vision, an optical retail chain of Center for Sight Group of Eye Hospitals, which is backed by Mahindra Partners. Their responsibility would include developing creative digital branding strategies for the company. By 2027, CFS Vision aims to create 500 retail locations. In the coming years, the brand will also begin manufacturing frames and lenses under the Make in India initiative.

Compiled by Kashmeera Sambamurthy

Biz Moves: Bharat Media Group gets cracking; Carat India, Hashtag Orange and Option Designs win accounts

Dating app Tinder, in a recent survey, reveals that most young adults in India have little or no confidence in navigating consent and find it hard to have conversations on the subject. Amongst those surveyed in Mumbai, more than 64% of young adults are hesitant to give consent, ask for it, and to withdraw consent when dating someone.

When asked about situations when their consent was violated, 65% of young Mumbaikars chose not to speak to their date/partner about it and turned to a friend and looked for resources online, illustrating the need for continuous dialogue on this subject. In fact, 83% of these young adults in Mumbai believe that consent should be discussed more openly with partners.

The findings are based on research conducted by YouGov which surveyed  1,018  young adults (18-30 years) across  Delhi, Mumbai, Bengaluru, Pune, Kolkata, Chennai and Hyderabad.

Young Indians want to learn and discuss consent with 1 in 2 recognizing themselves as the biggest channel for normalizing conversations around consent.

Around 8 in 10 young adults in Mumbai believe that consent should be discussed more openly with partners, 76% want it to be even taught formally in schools and colleges, and 72% have taken steps to personally understand the concept of consent.

More than 7 in 10 young adults in Mumbai seek more resources and safe spaces (both physical and online) on consent to be more educated and aware in their personal settings. Amongst a broad group of stakeholders potentially responsible for normalizing conversations on consent, young people identified parents (55%), themselves (44%), and schools and colleges (39%) as the top three influencers responsible for that conversation.

Across various aspects of consent education, most of the young Mumbaikars are most interested in learning about how to give consent (44%), understanding their own boundaries and limitations (41%),  followed by how to ask for consent (40%), emphasizing the need for consent education in the city.

The survey highlights that there are a myriad of factors that prevent young adults from communicating consent or the lack thereof to their dates or partners. The most frequent reasons include: afraid of hurting the date/partner’s feelings (41%), themselves are awkward having such conversations (36%), not knowing how to say no (33%) and anxious about not being liked (30%).

Young adults in Mumbai also have clear categorisation of widely understood metaphors for warning signs.They listed top three red flags include making fun about your interests/beliefs, asking for personal/intimate pictures, and not being empathetic towards others.

Yet putting them into practice proves harder than imagined: 3 in 5 young Mumbaikars say that they would hesitate to say no to a kiss and an almost equal number say they would hesitate to dismiss intimate advances even though it might make them uncomfortable.

Young adults in Mumbai believe that consent extends beyond intimacy and includes a larger concern for privacy and emotional boundaries.
 
The survey was a part of Tinder’s effort to create awareness around the importance of consent.  The platform is bringing back ‘Let’s Talk Consent’, its initiative to encourage conversations around consent and safe dating. This year, the campaign launches with “We Need To Talk”, a short film that explores the nuances of consent in interpersonal relationships amongst young Indian adults.

This will be followed by a Consent and Safe Dating curriculum, developed by experts and available online and in person in select universities, to give young adults access to appropriate information and a safe space to have a healthy discourse on the subject.
 
''Our Let’s Talk Consent initiative aims to give young adults the tools and resources to understand how consent equates freedom in making choices, mutual agreement and normalizes open discussions on tough topics. Coupled with safety products in the app and initiatives such as these, we are committed to working towards creating a healthy dating ecosystem in the country,” says Taru Kapoor, GM, Tinder & match group, India.

Young adults don’t know how to give, ask or withdraw consent while dating, Tinder study

Sleeping disorders are so common and yet there is not enough awareness about them in India. Obstructive sleep apnea (OSA), for instance, is a disorder caused by the repetitive collapse of the upper airway during sleep which leads to difficulty in breathing while sleeping. While it's one of the most common sleeping disorders, not many people know about it.

To tap this massive gap in the market, medical equipment company ResMed India has launched a campaign featuring singer and rapper Baba Sehgal.

Created by advertising agency Bang in the Middle, ResMed’s #AwakenYourBest campaign is aimed at creating awareness on sleeping disorders like sleep apnea and emphasis on sleeping well.

In the video, Sehgal, in his quintessential rap style, is seen crooning a rap or sleep anthem that talks about taking a simple at-home test to diagnose sleep related disorders. The purpose of the campaign is to create awareness about the importance of good sleep in a full-filled manner.

“There’s a great gap when it comes to talking about sleep disorders and we wish to start the conversation and create awareness,” says Seema Arora, business head - consumer and digital, South Asia, ResMed.

Acute sleep deficit

ResMed conducted a study, speaking to over 5000 people digitally to understand the impact on sleep post-pandemic. The findings show that Indians take a long amount of time (close to 90 minutes) to fall asleep which is far higher than Japan (25 minutes), China (42 minutes) and Korea (30 minutes). The longer duration is equated with extended screen time on devices.

“Data also confirmed a severe pandemic impact on sleeping habits in India. The survey also stated that 62 percent Indians agreed that stress has impacted their sleep during the pandemic as well as post pandemic. Erratic work schedules, excessive digital exposure and unhealthy lifestyle is contributing to poor sleep quality,” shares Arora.

Although ResMed is targeting consumers aged 30-69 years residing in the top 20-25 cities, it is also looking to connect with young Indians (under 25 years) who could be potential influencers in their household.

“We do wish to speak to audiences above the age of 25 years to have the information and encourage their loved ones to take the test and check about the quality of their sleep,” says Arora.

Social media and digital platforms are the likely places where ResMed is hoping to engage with potential customers.

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Market potential

India is a huge market for ResMed. Arora quotes a Lancet Respiratory Medicine 2019 study, which states that an estimated 5.4 percent of all Indians ages 30-69 years (28.8 million) have moderate to severe sleep apnea. The level of sleep awareness continues to remain low in a country like India, with only a handful of sleep labs for a population of over 1.3 billion.

The study states that people are often unaware about sleep issues and even if diagnosed with sleep disorders, they tend to hide them. Hence, there is a need to create awareness about the importance of sleep and sleep related disorders.

“The potential in the India market is huge. 28.8 million people could be dealing with sleep apnea. Diet and workout can have a positive impact but it is not the gold treatment for a sleeping disorder. It requires a proper sleep check-up followed by a CPAP (Continuous positive airway pressure) machine to treat sleep apnea. As we start creating awareness we foresee a demand for these products,” says Arora.  

Currently, there are barely 30,000 to 35,000 odd CPAP devices which are being sold in a year. Compared to the population the penetration of these devices is still less. ResMed is looking to change that.

Agency speak 

Naresh Gupta, co-founder and CSO, Bang In The Middle says that Obstructive Sleep Apnea is a life-threatening condition and it's easy for the brands to be in the zone that is a bit scary.

“All our consumer chats pointed towards the fact that instilling fear doesn't work as well as creating a happier curative story. Baba Sehgal has a unique style of telling the story, we merged it with an interesting way of taking the consumer on a journey with us," says Gupta.  

"The way the music flows and the way the scenes change in the commercial brought the audience into the brand fold,'' he says, adding, "The simple call to action of asking for a Home Sleep Test was made possible with the magic that was weaved through earworm quality of the music." 

ResMed has kicked off its campaign with a song and dance and the hope that its rap track can help Indians sleep well.

ResMed hopes its rap track can help Indians sleep well

The Telecom Regulatory Authority of India (TRAI) has thrown a potential curveball at the broadcasting ecosystem in their latest consultation paper on the National Broadcasting Policy 2024. The paper, released on April 2nd, 2024, raises concerns about the current system's reliance on a single provider, the Broadcast Audience Research Council (BARC).


“BARC being the sole provider of rating services in India, raises concerns about market behaviour, service quality, and cost inefficiencies, highlighting the need for additional players to encourage healthy competition. Introducing more agencies not only fosters competition but also has the potential to improve service quality and reduce costs, as dependency on a single agency often lack the drive to innovate and adapt to industry demands. Competition acts as a catalyst for innovation, prompting BARC and other entities to adopt new technologies and methodologies, ensuring continuous evolution in line with media landscape changes,” read an excerpt from the consultation paper.


According to TRAI, a competitive environment will as a natural deterrent against rating manipulation, as multiple agencies vie for accuracy and credibility. 


The consultation paper also suggests that independence from industry stakeholders is crucial for ensuring a neutral and unbiased approach to audience measurement.




“When measurement agencies are free from industry affiliations or influences, the process remains objective, transparent, and untainted by external pressures, enhancing credibility and trustworthiness,” the paper said. 


It is important to note here, BARC India is a joint industry body founded by stakeholder bodies that represent broadcasters, advertisers, and advertising and media agencies. 


TRAI mentions that in its recommendations on ‘Review of Television Audience Measurement and Rating System in India’ dated 28.04.2020 they had said that the rating agency should be mandated to increase the sample size from the existing 44,000 to 60,000 by the end of 2020, and 1,00,000 by the end of 2022 using the existing technology. However, according to them, the BARC India is operating with a panel size of only 55,000 households. 


“This sample size falls short of accurately representing the vast landscape of 182 million TV
households in the country with diverse viewing preferences. Moreover, with an anticipated growth in TV households expected to reach 202 million by 2026, the existing panel size is poised to become even more inadequate. Therefore, there's a need to establish a roadmap for incrementally expanding the sample size to meet the evolving landscape
of television viewership,” the paper said. 


A rating agency ideally according to TRAI should also include measurement beyond linear TV. 


“In the dynamic realm of modern media consumption, integrating data from non-linear sources is essential for a comprehensive television audience measurement system. Viewers also turning to on- demand content via OTT services and streaming platforms, in addition to traditional linear TV metrics. However, BARC’s present audience measurement mechanism incorporates data from linear television only,” the paper said.


“Cross-platform content consumption, enabled by seamless transitions between linear TV and OTT, adds complexity, necessitating a system that adeptly captures cross-device viewing habits. Advertisers seek unified data to optimize campaigns across platforms, leveraging insights to tailor
strategies effectively,” it added. 



TRAI proposes multiple broadcast ratings agencies in draft National Broadcasting Policy for fairer competition and transparency




The Broadcast Audience Research Council (BARC), has taken significant strides in enhancing its meter count for measuring TV audiences. According to reports, BARC has increased its meter count to 59,000 and is actively working towards achieving a target of 65,000 in the near future.

Utilizing Bar-O-meters to collect crucial TV viewership data, BARC is consistently adding new meters on a monthly basis to meet its goal. This expansion reflects BARC's commitment to providing comprehensive and accurate insights into the television viewership landscape in India.

In a previous interview with Storyboard18, Shashi Sinha, chairman of BARC India had said, “The government has clear guidelines that say that panel size shall be increased by 10,000 every year.We are in sync with that.”

Talking on how increasing panel homes help he had said, “BARC is a very robust currency but there are certain smaller segments like the news genre where the sample is very small so the chances of variations are very high and increasing the panel homes reduces that.This kind of sample size reduces infiltrations of any sort.”

A lot of people do not know about another rule that the guidelines from the ministry highlights. The rule says 25 percent of the panel homes shall be rotated every year. 

“The rotation is to be done in such a manner that older panel homes are removed first while maintaining the representativeness of the panel. This rotation is expected to be achieved in a staggered manner by rotating panel homes every month. All of this helps in better and fairer measurement of data,” he said. 

The longstanding debate on the rolling and unrolling of data for news channel viewership may be nearing resolution as the Broadcast Audience Research Council (BARC) board gears up for a crucial meeting with officials from the Ministry of Information and Broadcasting (MIB) on December 19.

People close to the development said there are two focal points for the upcoming discussion. First on the agenda is the unrolling of data, a move that would grant broadcasters access to weekly viewership data for the news genre. The second item slated for deliberation is the potential expansion of panel homes.

Towards the end of November, the MIB allowed BARC to discard the four-week rolling average data system for news ratings. Initially implemented after a 17-month hiatus due to the alleged TRP scam the move was opposed by some broadcasters. Soon after, MIB urged BARC to maintain the status quo, promptly splitting the stakeholders in the broadcasting industry into.

This split stakeholders in the broadcasting industry into two camps, those favouring weekly data and those supporting the four-week rolling data.

The upcoming meeting is anticipated to see a resolution from the MIB.

As for increasing panel homes, BARC recently increased the sample size by about 25,000 and presently has a 55000 homes panel. They are also committed to add more as per government guidelines.

In an earlier interview with Storyboard18, Shashi Sinha, chairman of BARC India had explained how it works.


“To start with, BARC is a very robust currency but there are certain smaller segments like the news genre where the sample is very small so the chances of variations are very high and increasing the panel homes reduces that. This kind of sample size reduces infiltrations of any sort,” he had said.

There is another rule in the guidelines issued by the ministry that says 25 percent of the panel homes should be rotated every year. The rotation is to be done such that older panel homes are removed first while maintaining the representativeness of the panel. This rotation is expected to be achieved in a staggered manner by rotating panel homes every month. All of this helps in better and fairer measurement of data.

Debate on news data may soon conclude as BARC meets MIB on Dec 19

In the ongoing debate over weekly data versus four-week rolling averages from BARC (Broadcast Audience Research Council) for the news genre, stakeholder opinion leans towards weekly data. Experts argue that the four-week rolling average is unfair, potentially undermining the recognition of channels that excel in a specific week compared to their performance four weeks back.


The debate on data metrics for the news genre has resurfaced after the Ministry of Information and Broadcasting (MIB) gave a go ahead last week to unroll BARC data. Cut to the following week, the ministry has again deferred the plan for giving broadcasters in the niche genres access to weekly data. 


This dispute reflects broader challenges in the broadcasting industry, where the reliance on ad revenue faces scrutiny, especially for niche channels amid the increasing influence of Big Tech. 

But how?

“The healthy way to grow in the broadcasting industry is to combine subscription and ad revenue. However, in India, the reluctance to pay for content limits this model, leaving ad revenue as the primary driving force. With the entry of Big Tech companies, this model faces a huge roadblock for niche channels, particularly in the news genre. Linear channels are now competing for a shrinking ad pie. Now those benefiting from the four-week rolling average data system resist the introduction of new metrics, causing protests against the unrolling of BARC data,” said a domain expert on conditions of anonymity. 


Why the push for weekly data?


Barring the broadcasters who are pushing the ministry to rethink their decision of bringing back unrolled data, the news fraternity is united in their stance on the issue.


"The prevailing norm is weekly data, a standard model across industries and genres. Applying a rolling average to news is questionable. For instance, when analysing events like India not winning the World Cup, ratings and popularity in a specific week would be very high. However, when this week's popularity is averaged with weeks-old viewership data from matches against New Zealand or other countries, the significance of the current week diminishes,” another domain expert explained.


While the industry grapples with finding a balanced measurement system and addressing  concerns of bias and anomalies prompting resistance to changes in BARC data protocols, the problem of under-representation of niche genres remains.

 
Another subject matter expert emphasised the importance of maintaining proportionally representative sampling, clarifying that merely increasing the sample size won't address the issue. 


“Interestingly, in many Western markets, ratings for niche genres are reported monthly or even once in six months to mitigate fluctuations stemming from small sample sizes. The introduction of rolling averages in this context eliminated such fluctuations,” they said.


Even with the four week rolling average broadcasters had access to unrolled data of their own channels. “Broadcasters always had the option of using these private data for performance analysis and ad rate negotiations,” the expert said. 


The four-week rolling average was initially implemented upon the resumption of news genre ratings after a 17-month hiatus prompted by the alleged BARC TRP scam.
Ratings for the news genre recommenced on March 17 of the previous year, as per the directive of MIB secretary Apurva Chandra.




Debating BARC data for news: Why are stakeholders leaning towards weekly metrics

News18 India has done it again. With a 14.3% market share, the channel is again in the number one position in the HSM market in the Week 34-Week 37 period. The market share has also shown growth between Week 33 and Week 37. Between Week 33 and 36, News18 India had a market share of 14.1%.

Competition numbers are still way behind that of News18 India. TV9 Bharatvarsh, Aaj Tak, India TV and Republic Bharat clocked a market share of 11.7%, 11.4%, 11.1% and 10.5% respectively in Week 34-37. In fact, Aaj Tak and Republic Bharat also showed a drop in market share between Week 33-Week 37. 

<img src="https://images.storyboard18.com/storyboard18/WhatsApp-Image-2022-09-22-at-12.12.19-PM.jpeg" alt="" width="412" height="341" class="alignnone size-full wp-image-2198" />

 In the 1800-2400hrs, TG 15+ HSM (Week 37, All days) market, News18 had a 14.8% market share. The others in the top five in order of rankings were TV Bharatvarsh, Republic Bharat, India TV and Aaj Tak. The channels had market shares of 12.1%, 11.7%, 11.7% and 11.5% respectively. 

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 In terms of cumulative reach too, News18 India topped the charts. In the HSM- Urban + Rural, the channel’s reach touched 88447000, way above the second ranking channel TV9 Bharatvarsh that stood at 67914000.Aaj Tak, India TV and Republic Bharat were the other channels in the top five list.

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The return of ratings has been a big relief for the industry, experts said.

“It always helps to have the measurement mechanism for decision making. Ratings form the basis on which decisions on channel selection and spends are made,” said Amol Dighe, CEO, Investments and Business Development, Madison Media, in a separate interview with Storyboard18 as part of our Media Mavens series.

Dighe says they saw a change in the pecking order of news channels with the return of the ratings in the genre. “ Some channels dropped in ratings while some channels saw an increase in their ratings. We are still seeing a fluctuation. As buyers, this needs to be keenly watched and deals will be dynamic till this settles down,” he adds.

News18 India leads the show yet again

News18 India is at an all-time high when it comes to market share. As per the latest BARC data, News18’s average market share in the HSM-Urban + Rural Market stands at 14.1% between week 33 and week 36. Others in the top five list in the same category are far behind. Aaj Tak, TV9 Bharatvarsh, India TV and Republic Bharat clocked a market share of 11.8%, 11.5%, 11% and 10.6% respectively in the same period.

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The network’s English offering, CNN News18, has also been on a growth trajectory ever since BARC ratings in the news genre resumed in March this year. In the All India (Urban + Rural), AB15+ category, CNN News18 saw a 2.2% jump in their average market share between the periods of week 33-35 and week 33- 36. The channel holds a 33.4% market share, leaving behind Republic TV at 25.9%, Times Now at 22.5% and India Today Television at 10.0%.

<img src="https://images.storyboard18.com/storyboard18/h2.png" alt="" width="439" height="260" class="alignnone size-full wp-image-2061" />

While ratings have brought more perspective for marketers interested in the genre, investments in news never stopped, said Jai Lala, Chief Executive Officer, Zenith in a separate interview with Storyboard18 as part of our Media Mavens series. Lala says there is a school of marketer that believes in perception planning but there is another group that swear by GRPs and TRPs. 

“It's a complete scientific way of planning. These channels go completely by the BARC data. So basically it is data-driven planning. Either way the good part is investments in news never went off the charts and it continues to be an important genre for advertisers,” Lala said.

Lala also highlights the fact that shuffling of rankings have led to change in ad rates too. “Channels that fell from the top ratings had a hard time holding on to the rates they sold inventory for before the blackout period and channels that climbed the chart obviously had new rates,” he said.

News18 widens lead over competition between Week 33-36

Note to readers: Media Mavens is a new Storyboard18 series featuring media investment firms and power players - the X-Women and X-Men who make the big calls on how and where to spend advertisers' money. This is a peek into their minds - how they work in a dynamic landscape, the next big trends they’re watching for, insights into what advertisers need today, the disruptions driving change and the factors driving their decisions. Watch this space for all that and more.

Media planning has a pre-pandemic and post-pandemic phase. The rules of planning and buying that were a hit two years back are redundant now. Brands are no longer following a yearbook with scheduled spends for particular seasons and planners are motivating them to be proactive and ready all year long.  

“Marketers have realized that there is no particular season for advertising,” says Jai Lala, chief executive officer, Zenith. According to Lala a lot has changed after the pandemic when it comes to advertising. And it's not just ad rates.

Read on

Festive season is round the corner and we can already see fresh campaigns from a lot of brands. What are your observations in terms of spending patterns?

It is safe to say that things are all getting back to normal in terms of the pandemic but there are certain other concerns that impact the overall business ecosystem globally. The Ukraine-Russia war and the existing condition of the global markets, which I wouldn’t call a recession, but the impact of the market movement is having repercussions in India.

While people say things like how the next decade belongs to India, there are certain pullbacks that are happening. The pull backs are happening on two points. There are certain inflationary trends which are happening with commodity prices going up and that is impacting the FMCG players who are seeing a ripple effect of that. This is holding them from spending the kind of money we expected they’d spend around the season. 

Secondly, a lot of VC funding has been restricted. Unlike the beginning of the year or the last year where we saw a lot of new companies putting in a lot of money on advertising and celebrities, we are seeing a little pullback. 

So, coming back to the festive season, there will definitely be growth in spending if we compare it to the previous months but my personal prediction is that we won't see a boom like last year. It will be a little restricted.

However, there is no denying that brands especially in some categories like automobiles who have launches lined up during the season will be spending on impact.



<blockquote>In pre-pandemic times, we were going as per a January to December plan where we’d advertise in the first quarter, go slow in the second and make a comeback and so on and so forth. This pattern in planning went for a complete toss.</blockquote>



There is a lot of cricket coinciding with the festive season. Is it a favorable situation to have the festive period and cricket which is, in a way, a festival in itself, overlapping?

It is definitely a plus. There are more brands that are ready to spend and our observation in the last seven to nine years is that this is a period where there is some sort of cricket going on. Be it a bilateral series or the World Cup or any other series. Mentally we'll have to be prepared that there will be cricket around the festive period and also the fact that there is an opportunity in that and it can be cashed on. So, brands have also started thinking on that line.

The last two years have changed a lot of rules in the marketing and advertising playbook. What are the changes that you think the industry will stick to?

From a marketing standpoint what has happened during the pandemic was that there was a period where everything was shut down followed by a time when things opened up suddenly. So marketers also went from sitting quietly in the lockdown to getting ready to advertise when things started opening. 
What we were doing in the pre-pandemic time was that we were going as per a January to December plan where we’d advertise in the first quarter then go slow in the second and then make a comeback and so on and so forth. 

This pattern in planning went for a complete toss. 

Last year, when the pandemic went low during June-July, a lot of categories came back because they saw an open window which was an opportunity for them. They thought they should be reaching out to their consumers in that period. The June-July period is otherwise a slow period especially for categories like auto. So what the pandemic has done is that it has all of us on our toes. 

We have to be ready all the time. Marketers have realized that there is no particular season for advertising and you can plan your campaigns at any given point of time. The ecosystem has now built itself up in a way that you can plan campaigns in a shorter span of time. Being ready and being proactive is something that has happened for marketers and the trend will stay on.

From a consumer standpoint a lot of viewership has shifted to digital viewership and that continues to remain because it's created a habit. So, there has been a shift from TV. There has been co-viewing which has gone up a lot and connected TV has become very popular. Next is the growth of e-commerce. The pandemic has amplified the expected growth. So all these three changes are here to stay and our planning is now based on these three facets.   



<blockquote>We have to be ready all the time. Marketers have realized that there is no particular season for advertising and you can plan your campaigns at any given point of time. The ecosystem has now built itself up in a way that you can plan campaigns in a shorter span of time.</blockquote>



Digital is growing at a fast pace and everything in the marketing ecosystem is changing around it. How have traditional marketers coped? And how has the role of the planner changed with the addition of digital on every brand’s marketing mandate over the years?

The attitude towards digital has changed dramatically. I would confidently say that there isn’t any advertiser who's looking at digital marketing spends as a complimentary spend. TV has its reach and is not dying but the investment on digital is on an upswing across all categories. A lot of TV heavy brands have now made digital as a key component of their plan.

Coming to the role of a planner, Indian is a complex market with so many different regions, languages, cultures. Planning in India is like planning for Europe. There is no 'one plan that fits all' kinds of shortcuts here. So we are constantly learning and we are trying because the knowledge that was relevant three years back might be completely redundant now. It is an ever evolving job that requires a lot of training. If you are living in a cocoon that you are a TV planner or a digital planner, you must come out of it. Everything is integrated. The planners who are on top of it are the best planners. 

Speaking about the News genre, it’s been six months since BARC ratings have returned. Do you see a change in investments in the genre with the return of ratings?

Investments in news never stopped. There are two schools of thought when it comes to clients. The first set are the ones who believe in GRPs and TRPs. It's a complete scientific way of planning. These channels go completely by the BARC data. So basically it is data-driven planning. The other school of thought believes in something we call perception planning where they also believe in the live data they collect on ground, from trade partners and others and that influences their decision and not just ratings. So we have a very frank discussion with our clients and we plan accordingly. Either way the good part is investments in news never went off the charts and it continues to be an important genre.

When the ratings returned we saw a lot of shuffling in rankings. How did that impact ad rates?

Just because ratings were not there doesn’t mean consumers were not watching. It’s just that there was no measurement. As for shuffling of rankings, obviously there have been changes in ad rates too. Channels that fell from the top ratings had a hard time holding on to the rates they sold inventory for before the blackout period and channels that climbed the chart obviously had new rates.

What would you say are the big trends to watch out for?

We keep pushing clients to spend money on connected TV because it’s definitely going to grow. There is so much good content on digital, people would want to watch it on a large screen. So that is one big change.

The other change is moving away from a planned calendar. Digital is the space to watch out for. The last two years have been very difficult for the industry and now is the time of stabilization. Overall as a medium digital is on a growth trajectory but we will not see any drastic changes in the next two years where digital will become 70 percent of an ad plan. It will hover around the existing 35-40 percent for the next couple of years till we see the next bout of growth.

Media Mavens: ‘No season for advertising, have to be ready all-year,’ says Zenith’s Jai Lala

News18 India is leading the charts in the Hindi TV News space once again. As per the latest BARC data, with a clear majority of 14 percent market share (24 hrs, TG:15+HSM, Week 35’ 2022, All days), the channel has left behind its competitors Aaj Tak that is at 11.8 percent, TV9 Bharatvarsh at 11.4 percent, India TV at 11.1 percent and Republic Bharat at 10.8 percent.

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The channel’s market share has risen from 13.7 percent in week 34 to 14 percent in week 35, as per BARC data.

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During a part of the prime time slot between 21:00 hrs and 22:00 hrs the channel had an even higher market share of 15.8 percent in week 35. The others in the race after News18 India in the top five channels included Republic Bharat at 15.5 percent, India TV at 14.5 percent, Aaj Tak at 13.1 percent and TV 9 Bharatvarsh at 9.9 percent.

<img src="https://images.storyboard18.com/storyboard18/u1.png" alt="" width="956" height="477" class="alignnone size-full wp-image-1917" />

In the English General News category too, the network’s English offering CNN News18 has seen steady growth. As per BARC data, between week 31 and 34, in the all India(U+R), AB15+ market, CNN News18 was at a market share of 29.7 percent followed by a 31.2 percent market share in the following period between week 32 and week 35.

The return of BARC ratings in the news genre after a period of close to two years led to a change in pecking order when it comes to the channels fighting for the top five spots. News18 India has been consistently leading the charts ever since.

In separate interviews with Storyboard18 as part of our Media Mavens series, media investments firms' chiefs spoke about the return of BARC ratings and the importance of ratings in decision-making. 

Amol Dighe, CEO, Investments and Business Development, Madison Media, said, "This (BARC ratings' return) has been a big relief. It always helps to have the measurement mechanism for decision making... performance of the channel in terms of ratings forms the basis on which decisions on channel selection and spends are made. Then there is reach and affinity which is also critical."

He added that other factors like "what is the kind of value the channel offers to the brands in terms of special deals, integrations, activation etc, also determine the share of investment the channel gets."

BARC ratings are "the singular source of TV measurement right now," said Niti Kumar, COO, Starcom India, in an interview last week. "There is no other way to get the kind of data that BARC gives you and it’s not just for news."  

Kumar shared, "When media planners are evaluating options they need to evaluate a holistic level of growth, across channels, across audiences, markets and so on. Those kinds of cuts don't come from any other source. It's a choice between having no ratings and no data source to help drive your investment versus what BARC gives you. I would always pick sides where you at least have the data available."

News18 India leads 15+HSM market with 14 percent market share in week 35

Note to readers: Media Mavens is a new Storyboard18 series featuring media investment firms and power players - the X-Women and X-Men who make the big calls on how and where to spend advertisers' money. This is a peek into their minds - how they work in a dynamic landscape, the next big trends they’re watching for, insights into what advertisers need today, the disruptions driving change and the factors driving their decisions. Watch this space for all that and more.

It’s been two quarters since ratings are back, which has spelt good news for media planners and buyers especially as we get into the great Indian festive season or the Golden Quarter, as it is known in the marketing world. Overall there is a lot of media buying happening in the television ecosystem where planners are looking at a long list of factors such as reach, affinity, engagements and integrations before spending any ad money. But that’s not all. The media landscape is fast-changing and through our new series - Media Mavens, we decode the shifts that matter. 

Amol Dighe is CEO, Investments and Business Development at one homegrown media investments company Madison Media. In an interaction with Storyboard18, Dighe talks about how planning and buying is quickly becoming media neutral and tells us how the return of ratings has helped in decision-making. 

Read on

Are you happy with the return of BARC ratings?

This has been a big relief. It always helps to have the measurement mechanism for decision making. Ratings form the basis on which decisions on channel selection and spends are made. However, factors like affinity and reach cannot be ignored. 

BARC ratings are back but there has been a change in measurement methodology. Do you think that has impacted ratings?

When the ratings were back, we saw a change in the pecking order of News channels. Some channels dropped in ratings while some channels saw an increase in their ratings. We are still seeing a fluctuation where the final pecking order does not seem to be settled as of now. We will have to continuously monitor the trends and performance of the category. So yes, managing the flux will be challenging.

We understand ratings are important but what are the other factors that help you choose one channel over the other? 

As I said, performance of the channel in terms of ratings forms the basis on which decisions on channel selection and spends are made. Then there is reach and affinity which is also critical. Other factors like what is the kind of value the channel offers to the brands in terms of special deals, integrations, activation etc, which also determine the share of investment the channel gets. For example, if the brand associates with the channel for an Impact property with content integration etc, then naturally the share of spend on that particular channel will be higher. So, spending on a channel will depend on what role the channel plays for the Brand, in addition to the ratings it garners.

Secondly, trade feedback also becomes important for channel selection. Feedback from various market or consumer surveys in a particular geography are also considered while selecting a channel.

After the ratings returned there was a lot of shuffling in terms of rankings. What about rates? 

When the ratings were back, we saw a change in the pecking order of news channels. Some channels dropped in ratings while some channels saw an increase in their ratings. We are still seeing a fluctuation. As buyers, this needs to be keenly watched and deals will be dynamic till this settles down.

Everyone is always talking about reach but are ad rates and reach directly proportional?

As we have seen, News Channels are not major reach builders. They add some reach in some brand TG’s but the role is largely for building frequency. Combination of factors like frequency, trade pull, affinity, network strength etc., determine the final rates for the news category.

With the festive season round the corner what are the factors you are considering while doing business with a broadcaster? Any genre that is leading the charts?

News Channels should focus more on reach and increasing share of ‘organic content’ and reduce the share of sensational content. They should make the environment more conducive to get more brands on board. They should also try to make News genre attractive for the female by marketing news as an all adult category

News channels could well focus on reach by increasing share of organic content and focusing on monetizing their marquee anchor shows and non FCT elements especially during festivals.

Demand and supply estimation especially during the festive season is critical. Many of the channels have impact properties to leverage the festive demand and the demand for regular inventory is also high. As smart buyers, we have to navigate these challenges to ensure visibility for brands. 

What are the big trends in GEC, especially with the festive season just around the corner? Between GEC and Sports, who has an upper hand during the festive season and why?

There is a lot of action happening in the festive season especially in the GEC and the sports genre. Marquee shows like KBC, Jhalak have already started with Big Boss etc, slated to launch shortly. These shows are big opportunities for brands to build saliency, awareness and launch new communication etc., during the festive season. Also, there are big blockbusters planned during the festivals which help. Brands can ride on the heavy promotion and leverage these properties by product integration, etc.

Ditto with Sports. A packed cricket calendar during the festive season is good news for brands which are heavy on sports. The Asia Cup, Bilateral Series followed by the World Cup is ample enough opportunity for brands.

Are there any big pandemic trends that have continued? With the stay-at-home crowd now out of home, what are the differences in spending patterns that you’ve seen?

Largely, things have settled down. Things are back to pre-pandemic levels in terms of planning. However, dip ratings across genres is a worrisome trend as that’s impacting deliveries.

With digital and an ever-evolving ecosystem how has the role of the media planner and buyer evolved over the years? 

We have seen how digital has evolved so quickly and has become a strong medium for advertisers according to all the media reports. It’s no longer a support medium and has become one of the leading mediums. It’s challenging and at the same time exciting for planners and buyers to build plans now. A lot of creativity and out of box thinking is put in when plans are made now. Bundled deals, integrated deals are in the offering and Networks also have realized that integrated deals are the need of the hour now. Planning and buying is becoming media neutral, which is the right direction.

What are the big trends to watch out for?

With more and more cricket being telecast, it will be critical to monitor the impact on viewership on other genres. Also, it will be interesting to see how the digital medium leverages sport in tandem with TV.

Media Mavens: The return of ratings has been a big relief, says Madison Media’s Amol Dighe

Note to readers: Media Mavens is a new Storyboard18 series featuring media investment firms and power players - the X-Women and X-Men who make the big calls on how and where to spend advertisers' money. This is a peek into their minds - how they work in a dynamic landscape, the next big trends they’re watching for, insights into what advertisers need today, the disruptions driving change and the factors driving their decisions. Watch this space for all that and more.

The fact that BARC ratings are the only currency that the TV ecosystem has, is not up for any debate anymore. The absence of ratings in the news genre made it clear how difficult it is for the advertisers, the media agencies and the broadcasters to do business.

Why exactly?

“News is probably the best frequency builder for advertisers today, given the coverage it can provide in a country like India with so many regional languages and nuances and ratings just helps in validating the decisions that we as planners take and the choice of channels,” says Sanchita Roy, Havas Media Group India.

Read on

It’s been close to six months that BARC ratings are back for the news genre. How has it helped in decision making, especially since the last two years had no rating system in place for the genre?

We have seen an exponential growth in News as a genre on the back of the pandemic and other global crises. There will always be a demand for News, the platform for consumption however may change. 
Intuitively, all of us would agree that the genre works/delivers even with no ratings. Ratings just help in validating the decisions that we as planners take and the choice of channels. Not only that, ratings also allow one to rationalize the cost, thereby bringing in more efficiencies for advertisers/clients.

How important are ratings when it comes to media investments and spending ad money? What are the other factors you consider?

What drives ratings today is engagement, the quality of audience and the audience experience with content on the platform. Today audiences are exposed to a plethora of content that is easily accessible across multiple platforms. Therefore, it becomes so much more important to ensure that you not only have the right reach and distribution but also the right content, which in turn would lead to higher time spent/engagement on the platforms. That determines the ratings. So, the more time audiences spend watching a channel/program, the higher its ratings will be. This is true for all genres, including news. 

Currently, BARC is the only currency that is there in the industry basis which millions are being spent. Any consumer connect will obviously throw some light on what is working on-ground in terms of channels/programs but to arrive at efficiencies you need a proper metric on which to base your decisions. The reality is BARC throws light only on TV viewership data. However, there is a lot of news consumption that is also happening on digital platforms today which unfortunately is not getting captured anywhere. This, I think, is the biggest challenge facing our industry today but in the absence of any other data source, the only option is to look at BARC. 

How critical is reach for a news broadcaster? Are ad rates and reach directly proportional?

Reach is the number of people who watch a particular channel within a specified period of time. The first requirement for any channel is to ensure sufficient distribution/coverage so as to ensure maximum exposure to the potential audience base. News is probably the best frequency builder for advertisers today, given the coverage it can provide in a country like India with so many regional languages and nuances.

Talking of reach, how do you think having a strong digital presence helps in amplification? Do you give more preference to networks that offer bundled deals?

Today, there is a lot of media consumption that is happening across multiple digital channels through the smartphone. Therefore, having a strong digital presence not only helps in amplification but also ensures that one is reaching out to the potential audience set no matter where the consumption is happening.

Secondly, campaign objectives determine the deals that we buy on behalf of our clients. So if a client brief demands that we look at offline plus online presence on news as a genre we will go ahead and do it. Finally, it’s about understanding the consumer decision journey that will form the base of all recommendations.

With the festive season around the corner, what are the factors you are considering while doing business with a broadcaster? Any genre that is leading the charts?

Again, it’s a very fragmented media ecosystem today, you need to be present across genres to ensure maximum visibility, especially during the festive season which is otherwise very cluttered. Hence, depending on what the end goals are we would be looking at options with broadcasters to better deliver on our client’s business objectives.

BARC boosts TV meter count to 59,000

Utilizing Bar-O-meters to collect crucial TV viewership data, BARC is consistently adding new meters on a monthly basis to meet its goal

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