MediAvataar's News Desk
ZEE Biskope has started a specially curated movies line-up to kick-start the Diwali festive week. Please find below and attached the press release on the same. Do see if it can be carried.
ZEE Biskope lights up Diwali with curated movie festival & World TV Premiere
‘Baaji Sach Ke Danka’ festive line-up will kick start from 8th November till 12thNovember followed by the world television premiere of ‘Aandhi Toofan’ on 13thNovember at 6 pm
Diwali - the festival of lights, brings in happiness and symbolises new beginnings as Lord Rama returns home winning over Ravana. Rejoicing the essence of Diwali, ZEE Biskope curates a special movie festival, ‘Nestle Munch co-presents Baaji Sach Ke Danka co-powered by Cadbury Bournvita, Special Partner Kings Soyabean Oil’. Beginning 8th November till 12th November 2020, viewers can watch some of the most popular blockbusters everyday at 6:00 PM on ZEE Biskope. Taking the excitement a notch higher, the channel will also host a special world television premiere ‘Nestle Munch co-presents Aandhi Toofan’ on the eve of Diwali - 13thNovember 2020 at 6:00 PM.
Serving the audience’s festive sentiment, the movie offerings feature an exciting line-up of handpicked films featuring popular actors from the region. The festival kick-starts with the film ‘Border’ on 8th November featuring Nirahua and Amrapali followed by ‘Challenge’ on 9th November starring Pawan Singh and Madhu Sharma, ‘Siphai’ on 10thNovemberwith the superhit Jodi Nirahua and Amrapali Dubey,‘Dabang Sarkar’ on 11thNovemberwill entertain the viewers with its impressive star cast of Khesari Lal Yadav and Smriti Sinha, and concludes with chartbuster film ‘Jigar’ on 12thNovemberwhere audience will get to see their favourite superstar Nirahua in action once again.
The celebration doesn't end here as the world television premiere of ‘Nestle Munch co-presents Aandhi Toofan’ awaits viewers on November 13 at 6:00 PM, marking an entertaining Diwali eve. Featuring a story of two brothers played by Power Star Pawan Singh and Viraj Bhatt, the story symbolically resonates the essence of brotherhood between Rama & Lakshmana who revenged the evil Ravana to return to their family at home. Pawan & Viraj unite to avenge their father’s murder and return victorious to their widowed mother. Packed with heavy doses of fight sequences, romantic songs, an engaging storyline and a perfect balance of emotions, Aandhi Toofan is a wholesome family entertainer at its very best.
Amarpreet Singh Saini,Business Head, ZEE Biskope& BIG Ganga said, “Diwali is an auspicious occasion when families unite to celebrate. Our curated offerings are an endeavour to provide family entertainment at a time when outdoor celebrations are not a safe reality. The movie line-up through the pre-Diwali week followed by a WTP on the eve of Diwali would set in the celebratory mood through the lens of hyperbolic Bhojpuri entertainment. The brand will accentuate family viewing experience for viewers to rejoice festivities together.”
With the festive line-up, ZEE Biskope aims to provide viewers with an added reason to look forward to the festivities. The channel is available on Airtel (channel no 663), Tata Sky (channel no 1120), DEN Bihar(channel no 840), DEN Jharkhand (channel no 839), DD Free Dish (channel no 31), d2h (channel no 859), Dish TV (channel no 1555), Siti Cable (channel no 214) and Darsh Digital (channel no 189). It’ll soon be available on all other major cable platforms.
Increased viewing, content and competition mean adspend by video entertainment brands will fall just 0.2% in 2020
Video brands will spend 57% of their budgets on digital advertising in 2020
Recovery in 2021 and 2022 will be hindered by falling revenues from free and pay-TV
India and Spain to lead adspend growth through 2022
Zenith forecasts video entertainment advertising will shrink by just 0.2% in 2020 across ten key markets this year*, according to its Business Intelligence – Video Entertainment report, published . Video entertainment adspend will far outperform the ad market as a whole, which will drop by 8.7% across these same markets.
The remarkable resilience of video entertainment adspend in this year of a global pandemic and subsequent recession is the result of increased demand from consumers, increased supply of content, and intense competition among video brands for viewers.
Faced with spending much more time at home, consumers turned to video content to keep themselves informed and entertained. In France, for example, TV viewing time was 30% higher year-on-year in April, and was still 11% higher in August. Meanwhile online video platforms have invested huge sums in creating content to attract new viewers, forcing traditional broadcasters to up their game.
Adspend by online video brands has far outpaced traditional television recently. In the US, online video brands increased their ad budgets by 142% in 2019, while television brands increased their spending by 15%. In the UK, adspend by online video platforms increased by 79%, while adspend by traditional television grew 34%. In both markets, television broadcasters and pay-TV platforms pushed up spending temporarily in response to their new competition, but this will prove unsustainable in the face of ongoing decline in their revenues, both COVID-19-related and structural. Meanwhile online video platforms have continued to raise their budgets as they seek to exploit the current window of opportunity to build a loyal customer base. Each platform is spending heavily to ensure that they are top of mind while consumers consider which ones to commit to for the long term.
“Consumers are now faced with a vast and confusing array of programmes and films vying for their attention,” said Christian Lee, Global Managing Director, Zenith. “Video brands need to cut through this complexity and give consumers entertainment that matches their personal preferences with minimum fuss. Brands that provide compelling experiences and act as more than just repositories of content will be best positioned for growth in the long term.”
Lockdown has made digital even more vital to video brands
Video entertainment brands spend more on digital advertising, out-of-home and cinema than the average brand. Their reliance on out-of-home and cinema has posed a particular challenge this year, as they have been forced to compensate for lost audiences from empty cities and closed cinemas. This means even more digital spending, which is forecast to rise from 53% of total video entertainment spend in 2019 to 57% in 2020.
Video entertainment adspend to exceed 2019 peak by 1.2% in 2022
While video entertainment is expected to substantially outperform the market in 2020, Zenith forecasts it to underperform over the next two years, with no growth in 2021 and 1.3% growth in 2022. Online video platforms will have less capacity to raise budgets after spending heavily in 2020, and traditional TV broadcasters will be weighed down by shrinking revenues from TV advertising and pay-TV subscriptions. Nevertheless, Zenith expects video entertainment adspend to be 1.2% higher in 2022 than it was in 2019, while overall advertising will still be 0.6% below its 2019 peak.
Spain and India to lead growth in video entertainment adspend
The stable headline figures for growth hide considerable variation between the 10 markets. In 2022, video entertainment brands are forecast to spend 27% more than in 2019 in Spain, and 19% more in India. Meanwhile, spending is expected to decline by 5% in the US and 7% in Australia over the same period.
Spain and India both have fast-growing appetites for video-on-demand, especially on smartphones in India. India’s television ad market also enjoys rapid long-term growth – unlike in most Western countries – and should bounce back quickly in 2021.
The US is the only market where video entertainment adspend is expected to continue to decline after 2020, as rising online revenues fail to compensate for the ongoing declines in TV advertising and pay-TV subscriptions, reducing available ad budgets. The video industry is healthier in Australia, but here the ad market as a whole is retrenching after the sudden halt to Australia’s 29 years of unbroken economic growth, so video brands can maintain share of voice without raising budgets.
“Consumers are currently benefiting from a generous supply of video content from brands vying for their loyalty,” said Jonathan Barnard, Zenith’s Head of Forecasting. “This competition is providing a large boost to video entertainment adspend this year. But this level of investment in both content and advertising will prove difficult to sustain for the long-term, and we forecast very little growth in 2021 and 2022.”
* Video entertainment refers to long-form video content, supplied either by conventional television or online, including free TV, pay-TV and online video-on-demand platforms. The markets included in this survey are Australia, Canada, Germany, India, Italy, Russia, Spain, Switzerland, the UK and US, which collectively account for 57% of all global adspend.
WPP announces the appointment of Dr. Ya-Qin Zhang to its Board as a Non-Executive Director with effect from 1 January 2021.
A world-renowned technologist, scientist and entrepreneur, Dr. Zhang served as President of Baidu Inc, the global internet services and AI company headquartered in Beijing, between 2014 and 2019. As President, he oversaw the company’s overall technologies, emerging businesses and global operations. Prior to joining Baidu, he held several key positions during his 16-year tenure with Microsoft, both in the US and in China, including Corporate Vice President, Chairman of Microsoft China, Managing Director of Microsoft Research Asia, and Chairman of Microsoft Asia R&D group.
He has made outstanding contributions to the internet and software industry including, at Microsoft, building one of the world’s premier R&D centres with over 3,000 scientists and engineers in multimedia, computer vision, AI/machine learning, speech recognition and machine translation. At Baidu, he played a pivotal role in moving the company to new frontiers including cloud computing, autonomous driving, quantum computing, and AI/machine learning systems.
He was recently appointed Chair Professor of AI Science at Tsinghua University, China and is the founding Dean of the Institute for AI Industry Research at the same university. Dr. Zhang became a Fellow of the Institute of Electrical and Electronics Engineers at the age of 31, making him the youngest scientist to win this honour in the 100-year history of the organisation. He is also a Fellow of American Academy of Arts and Sciences, and a Foreign Fellow of Australia National Academy of Technology and Engineering.
Dr. Zhang currently serves as a Non-Executive Director of Fortescue Metals Group, an Australian global leader in the iron ore industry, and is a Non-Executive Director of AsiaInfo Technologies Limited, a Hong Kong-listed 5G technology and telecommunications software product and solutions provider, and a Non-Executive Director of ChinaSoft International limited, a Hong Kong-listed global software and IT services company.
Commenting on the appointment, Roberto Quarta, Chairman of WPP, said: “Dr. Zhang is one of the world’s most celebrated technologists and business leaders. With his diverse career experience which includes leadership roles at both US and Chinese companies, and his particular understanding of the changing consumer technology landscape within China, he will make an extremely valuable contribution to the WPP Board.”
Dr. Zhang said: “I am very excited to be joining WPP, which is a truly global organisation and a leader in its field. I look forward to working with the team as the company embraces future technologies and continues to develop its business in markets around the world.”
L’Oréal has decided to change the geographical scope of some of its Zones following the departure of Jochen ZAUMSEIL, President of the APAC Zone, who has expressed the wish to retire on 1st January 2021.
In order to give greater coherence to each Zone, particularly in terms of consumer behaviour and market maturity, to create the conditions for the transversal transformation of the organisation, and to maximise growth, the following decisions have been taken:
The North Asia Zone will regroup Mainland China, Hong Kong, Taiwan, Japan and South Korea. The Zone will be led by Fabrice MEGARBANE, in addition to his current duties as CEO of L’Oréal China and member of the Executive Committee.
South Asia and the Middle East/North Africa Zone will be joined to create the SAPMENA Zone (South Asia Pacific – Middle East – North Africa). This important new Zone will be entrusted to Vismay SHARMA, who will join L’Oréal’s Executive Committee. An Indian national, Vismay joined the Group in India in 1994, where he has led both the Consumer Products and Professional Products Divisions. In 2012 he was appointed CEO for L’Oréal Indonesia. Since 2016 he has been CEO for L’Oréal in the UK and Ireland.
A new Sub-Saharan Africa Zone will be entrusted to Burkhard PIEROTH. Of German nationality, Burkhard joined L’Oréal in 2017 after a previous experience with Procter & Gamble. His first mission was the transformation of the haircare business for the Consumer Products Division. Since 2018 he has been General Manager for Emerging Markets, also for the Consumer Products Division.
In addition, in order to animate this new organization, enable transversal synergies and strategise global growth, the Group has decided to create the role of Chief Global Growth Officer, to which all Zone Presidents as well as the Travel Retail business will report. This position will be entrusted to Frédéric ROZE, currently President of the Americas Zone and member of the Executive Committee.
Nicolas Hieronimus noted: “This new organization will give us more agility and the leverage to accelerate our growth, particularly in new areas of high potential.”
Commenting on these changes, Jean-Paul Agon said: "First of all, I would like to pay tribute to Jochen Zaumseil's remarkable record during his 37-year career at L'Oréal. In particular, he has done tremendous work leading the APAC Zone, which has grown by 70% over the last 4 years. I would like to thank him warmly and wish him the best for this new step of his life.
This new organization will allow us to respond even better to the diversity of our consumers and their expectations, by providing them with products and services adapted to their local realities, wherever they are. More than ever, the Group is pursuing its goal of Creating Beauty that moves the world.”
These appointments will take effect progressively from 1st January 2021.
It is a well-understood dynamic that younger consumers are more frequently earlier adopters of new products and services.
The subscription online video world is certainly no exception, and the most rapid uptake of the category of products including Netflix, Disney+, Amazon Prime Video and Apple TV+, has—to date—been among the 18-24 and 25-34 year old age brackets.
In the UK and US, the typical 18-24 year old now believes they spend an average of over 1 hour 40 minutes each day watching videos via subscription video-on-demand services. And the 25-34 year old group shows similar behaviour. By contrast, the older age brackets consume much less content via video-on-demand. 55-64 year olds in the USA believe they spend roughly 40 minutes each day watching subscription online video, while their UK counterparts spend just 20 minutes.
Given the extensive period of time over which online video products have been available in each market, one might conclude that older consumers will remain loyal broadcast viewers (and subscription online video products will stay a minority contributor to their viewing patterns) for some time. However, the pace of change of viewing behaviours has been rapid over the last year. The average UK and US 55-64 year old's subscription OTT viewing increased by over 50% between Q3 2019 and Q3 2020.
Perhaps most importantly, the data indicates that each age group now lags the next by just one year. The average 55-64 year old's daily subscription video-on-demand viewing now matches that of the average 45-54 year old's viewing in the prior year—roughly 20 minutes in the UK and 40 minutes in the USA. Similarly, the average 45-54 year old is currently watching the same volume of subscription video-on-demand as their 35-44 year-old counterparts watched on a typical day in Q3 2019.
At face value, this trend would imply that by 2025, 55-64 year olds will be watching as much subscription video-on-demand as 18-24 year olds do now. But to assume this would likely be premature. 2020 has been a unique year, and demand for entertainment content during lockdown has temporarily accelerated some of the underlying sectoral and behavioural changes. Nonetheless, the speed of the viewing shifts which have occurred during the last 12 months indicates that under the right conditions and with the right incentives, video consumption behaviours can change very rapidly indeed.
Source: Ampere Analysis