Hindi
Reel Pointer – predict TVRs for blockbusters on TV
TV Pulse 2005, the annual research initiative put together by the Joint Industry Body (JIB) and Tam Media, series continues with the paper – Reel Pointer – A Tool to predict ratings for Blockbuster movies on TV.
This paper was contributed by Lodestar Media – Winner of the Best Paper award at Emmies – 2004.
- Devdas acquired for Rs 12 crores, delivers only 3.7 TRPs
- Humraaz delivers 12.0 TRPs, surpassing Kabhi Khushi Kabhie Gham‘s 8.1 TRPs
The challenge was to bridge the information gap in the current TV programming scenario where blockbuster movies are among the biggest viewership/revenue genres but data to evaluate and price them does not exist. The aim was to predict TRPs of blockbuster films on TV and set buying benchmarks.
METHODOLOGY: REGRESSION MODELING
TRPs of past blockbuster movies modelled against factors that would help predict future performance.
Arriving at the factors:
- Box-office Collections – a quantifiable measure of viewer appeal and a sum of all the qualitative factors like star cast, music score, storyline and director that affect a film.
- Recency – the interval between the time the movie was released to the time it was shown on TV. It was calculated as the number of days from release to telecast date.
- Repeats – A movie that had been repeated too often was likely to lose its appeal hence assumed inversely related to TV rating.
- Promos – Directly responsive to viewership, the number of promos had to be taken into account.
- Channel of telecast – The cable operator plays a role in deciding whether a C&S home can receive a TV channel or not. Connectivity, in turn, affects a film‘s viewership.
- Daypart – TRP was affected by the daypart or time of telecast (early prime, prime, late prime…)
- Day – Weekends were associated with blockbusters. A film telecast on a Saturday night was likely to get more viewer interest than one shown on a Tuesday afternoon. However Zee scheduled its blockbusters on Thursdays to capitalise on weaker competitive programming.
- Opposite viewing – The impact of competitive programming also had to be taken into account. A blockbuster movie scheduled on a channel at prime time may lose more viewers to programmes on other channels than a non prime-time film.
Hindi
Hansa Entertainment launched to produce across OTT, TV and film
New venture from R K Swamy Hansa Group eyes multi-language stories for digital-first audiences.
MUMBAI: Hansa Entertainment has just stepped into the spotlight because when a legacy media house decides to script its next act, even the credits get excited. Hansa Entertainment Private Limited has been incorporated to develop and produce original programming across digital, television, OTT platforms and theatrical features. The company will create short-running series, long-running series and original films for OTT, alongside standout theatrical ventures. It will also launch a podcast platform called Hansa Spotlight and produce content for the fast-growing vertical drama format. Stories are initially planned in Hindi, Tamil, Telugu, Malayalam, Bengali and Kannada.
The venture is founded by Sruti Swamy and Siddharth Swamy, drawing on the rich legacy of Hansa Vision and the broader R K Swamy Hansa Group. Sruti brings creative expertise with a master’s in architecture, interiors and design from Milan and a postgraduate degree in business management from the Indian School of Business. Siddharth contributes a data-driven perspective, having studied data science at Imperial College London.
Sujatha Narayanan has been appointed CEO of Hansa Entertainment. With over two decades of experience in creative content curation and production across film and OTT, she is also a well-known film columnist and media entrepreneur.
R K Swamy Hansa Group executive chairman Srinivasan Swamy said, “The launch of Hansa Entertainment marks an exciting new chapter. The new entity is the brainchild of the next generation and will be independently managed by Sruti Swamy, who is the Director and the newly appointed CEO.”
Hansa Entertainment director Sruti Swamy added, “I am very optimistic about the future of Hansa Entertainment, given the content explosion and the opportunities offered by new technologies for production.”
Hansa Entertainment director Siddharth Swamy noted, “The idea is to grow a contemporary production house that creates compelling stories for today’s multi-platform audiences while drawing inspiration from the rich storytelling traditions that audiences have appreciated over the years.”
Hansa Entertainment CEO Sujatha Narayanan said, “Hansa Entertainment will evolve as a story-first, IP-driven entity. We have already put together a smart team of interesting and dynamic creators who will helm our vertical dramas, shows and films.”
In the ever-evolving world of Indian entertainment, where stories now travel faster than the scripts that birth them, Hansa Entertainment is stepping onto the stage with fresh ink and big ambitions proving that even the best legacies know when it’s time for a compelling sequel.
