"When Class gets going, the Classiest survive"


The idiot box as it is called, is after all an inevitable part of our lives, and its essence is not in its being but all that goes on in it- the content. The content that we see, the content that takes us to another world, a world of make believe, a world that takes us away from the banal boring daily routine.

This content is all-important and all encompassing. But ever thought what goes into this manufacturing of lives, stories and mirroring them on the screen? A lot. There is a whole business of content. And it is Darwinian to the core; only one rule dominates this business-' the survival of the fittest'.


"The onus of capturing his attention and grip from the beginning to the end of a programme rests with the content aggregators"     


The first step in the business of content is to fully understand the medium. Its meaning, its very essence. Television reaches as many as 79 million homes across the country. Consequently, it has a substantial influence on the day-to-day lives of the people, their perception and their thinking. A large number of channels are aired throughout the nation, telecasting programmes ranging from current affairs, sports and business news to soaps, films etc. To stand as a fore-running competitor in this business is an exciting challenge to be undertaken by all persons who've indulged themselves in this eventful line.

In today's world, the fundamental underlying the television business is that content dissemination has moved from push to pull. It effectively means that till now television producers were broadcasting and people were receiving the content. Today, people have so much choice with respect to the fact that there are over 90 channels on air at this moment of time, that they decide what to accept. So power has shifted from the giver to the recipient.

Considering the fact that the consumer is the viewer who will eventually decide what he wants to view, the onus of capturing his attention and grip from the beginning to the end of a programme rests with the content aggregators.

Giving due weight to the fact that it is the viewer who will decide what he wants to view, any programme must ensure that it constitutes the following.

# Value and substance in the content. Value in the form of meaning to the viewer or reason to the viewer to view the programme. Substance and interesting matter to draw the viewers towards the programme.

# Research the subject thoroughly to get a grip on the matter on which the programme is to be made

# Identification. To know and identify appropriately the target audience and accordingly position the program and build its concept and treatment plan

# Concept. Based on the research and information gathered in the preliminary stage, conceptualize the entire programme to get a holistic view as to what the final product is going to be like

# Treatment. The next step is to decide on the treatment plan of the programme. How will the programme appear on the screen? The treatment must be of a kind so that the attention of the audience can be gripped and interest can be created in the audience to actually 'pull' him/her towards the programme.

# Psychoanalysis. It is essential to understand what appeals to the viewer, along with the concept and treatment, packaging and marketing plays an important role in creating recall value in the audience mind. TRP, the proof of popularity, can be consistent only with this recall value and an element of hype. After all, in the contemporary state of affairs- the icing on the cake is as necessary as the cake itself.

# Demand. Fickle mindedness, though difficult to assign, is after all a reality of the audience's mind. Boredom sinks in too easily, too soon. Hence, what is supplied to the audience has to be always fresh and never prolonged. Essentially in sync with changing tastes and preferences of the viewer.

# Too much media. A variety of channels that offer a plethora of choice to the audience. To catch the fancy of the viewer requires the content to be distinct and different from the mundane content offered by other channels otherwise. Uniqueness ('unique' has been revealed as the most popular genre in an Economic Times survey) can be offered to a viewer, the entire procedure of inception, conceptualization, treatment, packaging, polishing and marketing has to be undertaken. Offering a 'unique' content to the audience does not necessarily mean going in for something unexplored, but a re-exploration of the ordinary to make it extraordinary.

# Viewer interaction and viewer participation must be invited to further the interest of the audience and attract them towards the programme. Feedback and suggestions at times provide valuable inputs that help improve the content, and consequently, the audiences' interests can be served better. Improvising the programme to help in serving the interest of the audience better, attracts the viewer towards the programme.

# Technical Competence. State of the Art equipment and technically superior production capabilities ensure better transmission and viewing quality and are thus mandatory.

# And finally, all of the above factors must be undertaken and synergy must be brought about in all the above activities to create a sustainable business model that generates revenue for itself to carry on its activities.

With the pull of the viewer towards the programme established, the market standing of the content aggregator improves. As credibility rises, a brand is created. Branding helps in bringing goodwill to the producer and ensures stability and market worth to him. Quite often the name sells-though this is by no means an excuse for compromise. Important to remember that the person on the other side is smart, educated and choosy. So, it all boils down to sincerity, a sincerity toward the viewer, a genuine moral responsibility, a sincerity toward all that is earlier mentioned and an adherence to all that one feels is correct and true. Of course, to remember-when the class gets going, the classiest survive.

(The author is CMD of BAG Films, a TV software production house. The views expressed here are personal and indiantelevision.com need not necessarily endorse them. Her email: anurradha@bagfilmsonline.com)

Latest Reads

Sun continues to shine on its namesake broadcaster

Television penetration is high in South India about 95 per cent as compared to the national average of about 65 per cent. A little less than forty per cent of television viewership in India is from South India. According to a Sun TV Network investor presentation, the addressable television...

Specials Year Enders
Star India awaits cricket bonanza in 2019 after solid sports growth in 2018

Uday Shankar, who was recently promoted to president of The Walt Disney Company Asia Pacific and chairman of Star and Disney India after the Fox-Disney units combined, has disrupted the Indian sports broadcasting business in the last couple of years.

Specials Year Enders
Modern brand marketing methods not just digital-exclusive

The use of the internet and other digital media and technology to support 'modern marketing’ has given rise to the concept of digital marketing, and we at Tanishq believe that the focus has always been on building a 360-degree marketing plan, with seamless integration of products, services and...

Specials Year Enders
Expectations from the brand and marketing industry in 2019

The world of marketing is perpetually changing with constant innovative practices in the field of social media and automated ad tech. As broad-brush marketing techniques have dwindled, brands are battling to maintain their originality and meet customer expectations in an ever-evolving...

Specials Year Enders
2019 OTT TV trends in Asia and India

2018 wrapped up as a fascinating year for OTT TV in Asia, with global content owners, Pay TV operators, and OTT players all ramping up their direct-to-consumer OTT offerings. With falling smartphone prices, OTT content market saw a boom in India as players across the spectrum set up shop. Original...

Specials Year Enders
TRAI tariff order, disruption posed challenges to DPOs in 2018

Distribution platform operators (DPOs) in India trod a tricky terrain throughout 2018. Both DTH and cable operators continued to face the heat of Jio FTTH, the rapid growth of over-the-top (OTT) platforms and the uncertainties posed by the implementation of the new tariff regime towards the end of...

Specials Year Enders
Infotainment went the local way in 2018

In 2018, the one common phenomenon that the whole television industry witnessed was the hijack and capture of part of its territory by OTT platforms wooing audiences with original content. That was the time when TV space woke up to secure its presence and fill in the gaps with localised content...

Specials Year Enders
Indian M&E saw mix of regulations change the game in 2018

If TRAI’s tariff regime for the Indian broadcast and cable sectors --- in suspended animation from sometime end 2016 --- did not occupy top mind space of the industry in 2018, the year just gone by could also boast of some other major regulatory exploratory moves that could have deep impact on the...

Specials Year Enders
What were the merger trends for marketing in 2018?

The year 2018 will be known for a lot of things. It has been one of the most imperative years for the advertising and media industry. This year broke shackles and ideologies of how people traditionally perceived the industry. I think it is safe to say that the marketing books hereon will have a...

Specials Year Enders

Latest News

Load More

Sign up for our Newsletter

subscribe for latest stories