A Study of Television Viewership Pattern of Cricket Genre

A STUDY OF TELEVISION VIEWERSHIP PATTERN OF CRICKET GENRE

Summer Project

Submitted by

KARANDEEP SINGH

For the award of the

POSTGRADUATE DIPLOMA IN MANAGEMENT

LOYOLA INSTITUTE OF BUSINESS ADMINISTRATION

LOYOLA COLLEGE, CHENNAI

ACKNOWLEDGEMENT

I would like to gratefully acknowledge the support of Mr. Premjit Sodhi, President, Lintas

Media Group, Gurgaon for giving me this opportunity to undergo the project work in the

organization and guiding me through this project.

I would also like to thank all the employees, who are a part of the Planning Sciences team of

Lintas Media Group, Gurgaon for rendering their support during the course of the project.

I would also like to acknowledge the support of Prof. Jayaram K Iyer, Faculty LIBA.

Without his timely and continuous support the project would not have seen the light of the

day.

A special thanks to my colleagues from LIBA for their continuous support and many

suggestions that helped me make this project a success.

I would also like to thank Rev. Fr. Christie, The Director, LIBA and Dean

Dr. Gowrishankar for their support towards my project work.

I would be failing in my duties if did not thank my family members. I am grateful to them

for their constant support and encouragement during the course of the project.

Last but not the least I would like conclude by thanking the God Almighty for extending His

blessings over me and to help me complete the project successfully.

ii

EXECUTIVE SUMMARY

The Indian Entertainment and Media industry is one of the fastest growing industries in the

Service sector. The Entertainment and Media industry generally tends to grow faster when

the economy is expanding. The Indian economy has been growing at a fast clip over the last

few years, and the income levels too have been experiencing a high growth rate.

Being a dynamic sector, this industry is always changing and evolving itself. Due to its fast

changing nature and even faster changing environment around it, it not only become a

interesting sector to carry out organised study but rather is a challenge in itself.

The sector chosen i.e. The Television Sector which is a subset of the media industry for the

given study is dynamic and unpredictable as its parent. The Indian television has always

attracted the eye of marketers as a perfect platform for showcasing their products and

interacting with the audience. This was possible with the advance of technologies that lead to

the penetration of cable and satellite network in India. Today, one notices an array of

products being showcased with the help of creative advertisements which help the consumers

today to be aware of the various facilities and products available in the market for the user.

The study is carried out specifically keeping in mind the Cricket Genre. Cricket as everyone

knows is like religion in India. People are emotionally attached to the game of cricket and the

cricket players are treated like gods. This made the study a challenge.

The objective of the study is to understand the television viewership of Cricket matches and

identify the key findings which would help a Planner analyse the media properties and

understand the factors influencing the choice of the same.

The recommendations of the study with whatever knowledge I have acquired about the

subject were welcomed and appreciated. The findings of the study were not ground breaking

facts but subtle observations which resulted into an organised approach towards the cricket

genre and media properties of the same.

iii

TABLE OF CONTENTS

CERTIFICATE i

ACKNOWELDGEMENT ii

EXECUTIVE SUMMARY iii

TABLE OF FIGURES v

CHAPTER 1 INTRODUCTION

1.1 MEDIA INDUSTRY IN INDIA

1.2 LINTAS MEDIA GROUP

1.3 CRICKET IN INDIA

1.4 CRICKET AND ROLE OF MEDIA

1.5 TELEVISION IN INDIA

CHAPTER 2 STRATEGIC MEDIA PLANNING

2.1 STRATEGIC MEDIA PLANNING

2.2 PROCESS OF MEDIA PLANNING

CHAPTER 3 INITIAL ANALYSIS

3.1 INTRODUCTION

3.2 NEED

3.3 OBJECTIVES

3.4 METHODOLOGY

3.4.1 SOURCE OF DATA COLLECTION

CHAPTER 4 RESULTS AND ANALYSIS

4.1 DATABASE OF CRICKET MATCHES FROM THE YEAR 2006

4.2 ANALYSIS OF THE IMPORTANT DATA POINTS

4.3 TOURNAMENT ANALYSIS: INDIAN PREMIER LEAGUE SEASON 3

CHAPTER 5 CONCLUSION

5.1 CONCLUSION

5.2 RECOMENDATIONS/ SUGGESTTION

GLOSSARY

BIBLIOGRAPHY

CURRICULUM VITAE.....................................................................................................

CHAPTER 1 INTRODUCTION

1.1 MEDIA INDUSTRY IN INDIA

The Indian entertainment and media (E&M) industry has out-performed the Indian economy

and is one of the fastest growing sectors in India. The E&M industry generally tends to grow

faster when the economy is expanding. The Indian economy has been growing at a fast clip

over the last few years, and the income levels too have been experiencing a high growth rate.

Above that, consumer spending is also on the rise, due to a sustained increase in disposable

incomes, brought about by reduction in personal income tax over the last decade. All these

factors have given an impetus to the E&M industry and are likely to contribute to the growth of

this industry in the future. Besides these economic and personal income-linked factors, there

are a host of other factors that are contributing to this high growth rate.

Performance

The industry has suffered a great deal during the economic recession, with U.S. top media

companies managing flat revenues in 2008 and a 5% contraction in 2009 according to Ad Age

reports. Many players, dominated by those in the print industry, have plunged into bankruptcy,

primarily due to the shrinking revenues coupled with massive debt loads taken on in the market

boom. Though certain digital media firms such as Google fared well (revenues up 23%), others

such as Microsoft witnessed a flat top line.

Ad spending in the U.S. was also severely depressed, falling 4% in 2008 a further 14% in the

H1 2009, according to WPP's TNS Media Intelligence. Despite this sorry state, newspapers,

magazines and cable systems continue to operate and media companies have been trying to

slash their crippling debt. Analysts believe the worst is over, and globally, the industry is

poised to emerge with less debt and stronger balance sheets in the coming 6 months.

Growth Potential

The Indian entertainment and media sector is one of the fastest growing sectors in the

economy, and its segments have all witnessed tremendous double digit growth in the last few

years. The past 2 years were tumultuous, especially due to poor liquidity in the system for

financing big projects for the big and small screen. However, with global indicators realigning

themselves once again, the Indian media and advertising industry too looks poised to resume

where it left off pre 1H 2008.

According to a 2009 report jointly published by the Federation of Indian Chambers of

Commerce and Industry (FICCI) and KPMG, the media and entertainment industry in India is

likely to grow at ~13 % CAGR over 2009-13, touching US$ 20 billion by 2013.

The key reasons favouring the rapid growth of the Indian entertainment and media sector are

the demographic and economic factors buoying India’s development; with a majority of the

population below the age of 35, and increasing disposable income in Indian households, the

average spend on media and entertainment is likely to grow, according to the 2009 edition of

PricewaterhouseCoopers report. In addition, advances in technology, increasing penetration of

communication mediums, policy initiatives of the Indian government to increase FDI and the

increased participation of private media companies have been the other key drivers of the

industry.

As per current estimates the television industry is projected to grow by 22%, filmed

entertainment by 16%, radio by 18% and the Indian advertising industry 61% over the next 3

years. Given the lucrative prospects of this segment, international media giants are all vying

for a stake in the segment. In addition to domestic growth, the growing popularity of Indian

content in the world market and South Asia in particular, has encouraged Indian entertainment

industry players to also venture abroad to tap this booming segment; according to a report by

CII-AT Kearney, the share of international markets in total box office collections is estimated

to increase from 8% in 2006 to 15% in 2010.

Future Prospects

The greatest opportunities naturally lie in those sub-areas that are expected to grow the fastest

over the next few years, namely, in the development of digital distribution platforms for TV

such as DTH, digital music platforms, digital media advertising (internet, mobile and digital

signage) and global cinema content.

For new graduates, the industry poses great prospects for achievement given its growth

trajectory. On the flip side, it is extremely fast-paced and stressful as well. Additionally, being

creative on a tight schedule can be emotionally draining, especially because most of the work

includes long hours and meeting stringent deadlines.

With the increased media choices, fragmented audiences, technological advancements, rising

costs and growing demands of accountability from clients, media business has grown in both

complexity and importance. In this rapidly changing media landscape of a culturally diverse

country like India, busy marketers and media practitioners need to understand the science and

theory behind media planning and buying as well as the art of media--creativity, big ideas and

360 degree or total communication.

1.2 LINTAS MEDIA GROUP

“We are a media management company; planning, buying and evaluating strategic media

solutions for our clients. Our expertise lies in customised and contemporary media solutions

based on our thorough understanding of the consumer, the media and the interaction between

the two”

LYNN DE SOUZAChairman & CEO Lintas Media Group

Lintas Media Group is one of the leading media Agencies in India. It has a lot to offer its

clients in a way of innovative and integrated 360 degree approach to deliver effective media

solutions.

Lintas Media group is a part of an extended family. It is 100 % owned by the Interpublic

Group of Companies, which is one of the world’s leading providers of advertising and

marketing services, it’s also one of the most innovative holding companies, constantly

scanning and opening the doors to the most relevant new capabilities that will make a

difference in today’s marketing world. This open collaboration between companies results in

customised solutions to fit each client’s needs.

Our philosophy at Lintas Media Group

This is what we live by

Reach & Touch: Our efforts are not limited to merely reaching consumers. We work along

with our clients to touch the consumers by engaging him/her with the brand in a memorable

yet cost effective way. We’re not afraid to take risks, challenge conventions and break new

ground. Yet we are firmly rooted in the realities of our clients’ businesses. We offer the

power o macro level planning combined by detailed and flawless execution

Collaboration, growth by enabling our partners to grow: We work together towards a

common creative goal, by sharing knowledge, learning and building consensus.

Integrity and Transparency: We strive to maintain the highest level of ethics, fairness and

openness in all our actions. As a result, we value directness and personal accountability. This

reflects in our belief that a constant set of core values is a vital compass, required to ensure

success in a dynamic and highly competitive industry.

Our Approach

We are in the business of creating consumer experience.

Consumers today don’t like to be ‘strait-jacketed’ into ‘stereotypes’. They have a plethora of

‘me-too’ products to choose from resulting to ‘quick-shift’ in product preferences with

minimal risk. Consumers are now constantly looking for value beyond price and demand

better products and services. What they take home is the ‘product experience’ not the just the

product or the brand.

Media too is redefining itself faster than ever. On one hand media content fragmentation is

resulting in unlimited choices; on the other hand technology is propelling media convergence.

With the growth in the number of consumer touch points, media is becoming highly

interactive and individualistic. There is a growing need to provide a greater degree of

customization and personalization. The challenge is to carry forward the brand DNA into new

streams.

At Lintas Media Group it’s the experience that we make available to the consumer –

“Experiential Planning”.

Understanding the dynamics of consumer experience

Determining the approach to influence

the experience

Arrive at experential

touch pointsCrafting the

experential solutiion

Analyzing monetary efficieny

Evaluating the

experience

1.3 CRICKET IN INDIA

Cricket has ruled the hearts of people all over the world. Where there is cricket, Presidents,

Prime minister and tycoons, all turn into fans. Even the newspapers and news channels can

no longer remain aloof from this fact and have accepted cricket as an integral part of their

process.

Early realization of this is already paying dividends. If in the coming days the sports page is

seen in the form of cricket columns then it will not be a surprise package because currently as

3/4th of the sports page is more or less occupied by the tit bits of cricket.

Special time is allocated to the cricket news with different set of sponsors and all other games

are grouped together, separately. This game has so much to talk about, so much to think

about that even the news channel cannot escape its magic. Craze courage, fear, fantasy,

win..... And the list goes and on, of words that have found entry in the cricket lexicon.

What do these words signify in their association with the world of cricket? Craze to grab the

accessories of the favourite cricketers, courage to defer the important activities when one

knows the load of work pending can prove fatal if not done in time, fear of losing the match

when six runs are required on the lost ball, fantasy of imagining oneself among the names in

the world of cricket is in nerves.

Cricket is watched for six months in a year and talk about it for the next six months. Have we

ever bothered so much of any other sport? Have we ever given a thought to the fact that

compels a person to take interest in every bit of information on the day of match from

reporting pitch conditions to the presentation? Some answered and some unanswered.

Keeping aside intellectual reasons for the time being, we will realize that so much cricket has

surpassed all possibilities for reasons. It is mania! Craze.

For some people is an obsession, it's a way of life, it's a passion. Others enjoy themselves

watching cricket and the real fanatic ones have a passion to know cricket. Playing and

watching do not seem to satisfy their quest for cricket. Knowing about players both

professionally and personally charm the fans. It is the hot topic of discussion in the crowd of

those of those aspiring to ornate the career with the achievements in cricket. Should we take

liberty to call it 'mania' or is it only an interest that has captured the prime importance in the

life of individuals? Whatever it may be, the fact is that cricket entertains its fans, rejuvenates

them and unites them on one platform. Cricket has grabbed the attention of its fans all over

the world. Those who are really mad for cricket spare time from the busy schedule to play,

watch, collect information, discuss, understand and appreciate cricket. In their words,

"Cricket is a wonderfully civilized act of warfare, the greatest thing that God ever created".

The craze, excitement and fun in cricket are the result of personal interests of the people. But

somewhere, media has also come to play a vital role in the publicity of the game.

1.4 CRICKET AND ROLE OF MEDIA

"Media is the second most powerful thing in the world after God". by Anonymous

This statement has hidden truth that can be understood and appreciated in the field of cricket.

Media has taken crickets to masses. Whether it is advertisement on television, sports columns

in newspapers, movies on this subjects or sports-time in the news, everywhere cricket tops

the priority list. The reason is clear: 'Cricket is in demand.' Apart from watching the players

professionally, the fan club appreciates the players on television screen doing something not

related to cricket. Today, the shining names in this game are in contract with one or the other

company. Looking from the company' perspective, return on investment on cricket is in the

form of huge profits. Why not? The ones who adore Mahendra Singh Dhoni using Reebok

accessories, feel that using these accessories can make them strong and look like the man

himself. If it is Reebok for Dhoni, it is Boost for Sachin Tendulkar. Talking Boost day and

night is necessary for the fans not because the product has something to do with health

benefits--it is secondary--but because Sachin Tendulkar is the man behind the promotion of

the product, because at 5ft 4inch, he continues to stand tall in cricket with the largest fan

club; because after 16 years in the business, he is still the highest earning celebrity brand,

over Amitabh Bachchan and Shah Rukh Khan. This fact was reconfirmed on May, 3, 2006,

when the management firm ICONIX signed 'Tendulkar for a whopping Rs. 180 crores for a

three-year extendable contract. Earlier, he had a contract with WorldTel for Rs. 100 crores.

The landmark contract with ICONIX has come despite Tendulkar's dry run with bat, injuries

and age. Thus, it proves once again that he is a role model for millions for young and old

Indians, and the value he commands comes from the love and respect people have for him.

It is quite easy for the corporate world to increase the customer base and face the heat of

competition in this way. Actually they know the art of blending this pervasive mania in a

direction that can suit their interests. Samsun India, during its falling months of business,

endorsed the seven names of Indian cricket team that were in limelight. If the electronic

goods brand can feel the presence of mania then where should we expect the MNC brands

like Pepsi and Coca-Cola? In the year 2005, the hit advertisement 'Oye Bubbly' took Pepsi to

new heights. Crazy ones appreciated not only the players but also did not mind Amitabh

Bachchan wearing the Indian Cricket Team dress.

It may appear strange but it is a fact that, after the big release of Aamir Khan's Lagaan, the

considerable part of audience was interested in spending money and time in the cinema halls

so as to get the taste of cinematic cricket. The beauty, was that in more than hour of the film,

the characters entertained the audience playing cricket. May be this venture, the film Lagaan,

the brainchild of Aashutosh Gowarikar was not written keeping in mind the craze and

excitement behind cricket but it cannot be gainsaid that the part of success could be attributed

to the story line-up that revolves around the game.

Cricket has ruled the hears of people all over the world. Where there is cricket, Presidents,

Prime minister and tycoons, all turn into fans. Even the newspapers and news channels can

no longer remain aloof from this fact and have accepted cricket as an integral part of there

process. Early realization of this is already paying dividends. if in the coming days the sports

page is seen in the form of cricket columns then it will not be a surprise package because

currently as 3/4th of the sports page is more or less occupied by the tit bits of cricket. Special

time is allocated to the cricket news with different set of sponsors and all other games are

grouped together, separately. This game has so much to talk about, so much to think about

that even the news channel cannot escape its magic.

1.5 TELEVISION IN INDIATelevision, today, a medium of mass entertainment, has become an integral part ofalmost

every household. Though it was considered a luxury in the early times,

television in present times has become a necessity. Television or TV has emerged to be an

important source of knowledge and entertainment.

History of Television in India

Television first came to India (named as Doordarshan or DD) as the National Television Network of India.

The first telecast started on September 15, 1959 in New Delhi. After a gap of about 13 years, second television station was established in Mumbai (Maharashtra) in 1972 and by 1975 there were five more television stations at Srinagar (Kashmir), Amritsar (Punjab), Calcutta (West Bengal), Madras (Tamil Nadu) and Lucknow (Uttar Pradesh).For many years the transmission was mainly in black & white. Television industry got the necessary boost in the eighties when Doordarshan introduced color TV during the 1982 Asian Games.

1980s: Indian small screen programming started off in the early 1980s. At that time there was only one national channel Doordarshan, which was government owned. The Ramayana and Mahabharat was the first major television series produced. This serial notched up the world record in viewer ship numbers for a single program.

By the late 1980s more and more people started to own television sets. Though there was a single channel, television programming had reached saturation. Hence the government opened up another channel which had part national programming and part regional. This channel was known as DD 2 later DD Metro. Both channels were broadcast terrestrially.

Television Scenario Post Liberalization

The central government launched a series of economic and social reforms in 1991 under Prime Minister Narasimha Rao. Under the new policies the government allowed private and foreign broadcasters to engage in limited operations in India.

This process has been pursued consistently by all subsequent federal administrations. Foreign channels like CNN, Star TV and domestic channels such as Zee TV and Sun TV started satellite broadcasts. Starting with 41 sets in 1962 and one channel (Audience Research unit, 1991) at present TV in India covers more than 70 million homes giving a viewing population more than 400 million individuals through more than 100 channels.

A large relatively untapped market, easy accessibility of relevant technology[citation needed] and a variety of programmes are the main reasons for rapid expansion of Television in India. It must be stressed that Television Entertainment in India is one of the cheapest in the world.

Cable television

In 1992, the government liberated its markets, opening them up to cable television. Five new channels belonging to the Hong Kong based STAR TV gave Indians a fresh breath of life. MTV, STAR Plus, BBC, Prime Sports and STAR Chinese Channel were the 5 channels.

Zee TV was the first private owned Indian channel to broadcast over cable. A few years later CNN, Discovery Channel, National Geographic Channel made its foray into India. Star expanded its bouquet introducing STAR World, STAR Sports, ESPN and STAR Gold.

Regional channels flourished along with a multitude of Hindi channels and a few English channels. By 2001 HBO and History Channel were the other international channels to enter India. By 2001-2003, other international channels such as Nickelodeon, Cartoon Network, VH1, Disney and Toon Disney came into foray. In 2003 news channels started to boom.

Today, Television Industry has become multifold and has a host of functions, roles and responsibilities to manage. The main functions of a broadcast agency are as follows:

To buy and produce creative content for audiences as well as to attract Patronage

Promote the content in such a way that it is a cut above the competition

Sell the air time to advertisers to generate revenues for the organization

CHAPTER 2 STRATEGIC MEDIA PLANNING

2.1 STRATEGIC MEDIA PLANNING

Strategic Media Planning concerns strategically outlining the extent to which an organization

and/or an individual can get the greatest reach and the maximum response for services,

products or programs offered.

Strategic Media Planning can involve chalking out some short-term objectives or long-term

campaigns, or even a combination of the two. Generally, the market segments most

appropriate for delivering the message of the organization/individual is first identified.

Subsequently, a detailed analysis is done to determine specifically who the target groups are,

where these focused groups are located, and the opportune moment when they should be

approached with the message.

The most important analysis concerns identifying which media will be the most effective in

delivering the address. Also, it is to be determined which is the most cost-effective media in

reaching the targeted groups--television, radio, print or something else (say, cyber media).

This constitutes the base on which the rest of the Strategic Media Planning is worked out.

Strategic Media Planning agencies help out in this regard. First they get to know the target.

This knowledge is then utilized to bring focus on the target group via the appropriate media

vehicle from an extensive media range (which they frequently offer). The organization's

budget and other objectives are also taken into account, and finally the maximum mileage is

provided based on these constraints.

Points of vital importance in strategic media planning can be summed up as:

Detection of the target group or target audience,

Being able to judge correctly the extent of delivery of message to the target group

Approaching the group via the right media to deliver the message, in order to beget

maximum mileage for the organization

2.2 PROCESS OF MEDIA PLANNING

Advertisements are delivered to consumers via a media mix of newspapers, television, cable

TV, radio and magazines. Radio is just one of many mass media vehicles that are capable of

delivering a advertisement message. An important role for the media planner is to determine

when radio should be utilised based upon its entertainment or informational appeal to

consumers. Hence, decision made by media planners, ad agency and other marketing

executives determine the fate of the medium used in every practical way.

The process of media planning, however, does not begin with media buying. Determining the

role of a particular medium in a media mix is the outcome of a series of decision that begin

with an assessment of the marketing problem (e.g. company sales have been slipping due to

increased market penetration by a competitor). Next, a marketing strategy is devised followed

by the adoption of a creative strategy. Media planners have very little to do with the

development of these components of the media plan. Copywriters and art directors are

responsible for the creative strategy. Media planners begin their work once the marketing

plan is in place and focus upon developing the media objectives and overseeing media

buying.

Six Steps of Media Planning

The goal of media planning is to link media buying decisions with marketing objectives. If

advertisers and ad agencies neglect marketing objectives when buying commercial time,

money is spent ineffectively. Media buying should be an end result of a logical sequence of

steps that begins with an assessment of the advertisers marketing problems, a set of

marketing objectives that address the problems identified, a profile of consumer target, and a

media mix and creative theme that will deliver the targeted customer.

Following are the steps that should be involved with media planning:

a. Marketing objectives: A number of marketing goals for a given brand, presumably,

based on best opportunity for sales or solving other marketing problems

b. Marketing Strategies: A number of broadly conceived marketing decisions, organised

into a unified plan of action aimed at attaining marketing objectives

c. Media Objectives: A number of media goals, all related in some way to helping attain

market objectives or related to marketing strategy.

d. Media Strategies: A number of broadly conceived media decisions, organised into a

unified plan of action aimed at attaining media goals.

e. Decisions Implementing strategies: A number of very specific decisions that

implement the media strategy. In many instances, these decisions serve as a basis for

media buying.

f. Media Buying: Actual Purchasing decisions involving the selections and use of

media.

Table 1: Steps in Media planning

Marketing ObjectivesIncrease Brand Share of market by 5 percent over last year, nationally

Marketing StrategiesConcentrate on winning customers from competitiors by using ads that show in which our product is better than others

Media ObjectivesPlan media selctions to deliver at lest 80 percent of booth our and competitors target markets.

Media StrategiesFrequency goal: 4.5 use network TV, day and late fringe, spot TV in top 30 markets. Use : 30s creative By 600 GRP's in spot markets

Decision implementing strategies

Eliminate newspapers, spot radio, spot TV and billboards from consideration. Use network TV or magazines. Find which gives 80 percent net reach of target at lower cost per thousand.

Media Buying

Make purchase of best alternative media according to the specification's laid down in strategy and tactical plans and accordinh to any other specification (e.g. Creative requirment )

CHAPTER 3 INITIAL ANALYSIS

3.1 INTRODUCTION

The Indian Television industry and cricket has been closely related ever since the televisions

were introduced in India. People in its early days used to use it primarily for movies, news

and CRICKET Matches. Times have been changing fast in terms of technology and reach of

television. Earlier it was a luxury now it is a necessity. It is rare to find a household in India

which does not own a television set. Its a very important medium to reach consumers in

India.

Cricket on the other hand as described earlier is like religion in India, people are emotionally

attached to the game and it is a patriotic. You will find people watching cricket at local shops,

railway stations, bus stops etc everywhere. Every child in India knows who Sachin Tendulkar

is. The kind of affinity people have towards cricket is phenomenonal. Understanding the span

and power of cricket many businesses have been built around it.

3.2 NEED

Cricket because of the above mentioned reasons has become commercially very important.

There are bidding wars for telecast rights; Cricket has now become an investment for many

businesses. The below mentioned graph highlights the need of study of the cricket genre for

Television Viewership.

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Figure 1: Genre Comparison

To add to this following are the reasons for choosing Cricket as a genre of Study:

a. Quick Reach Build up

Cricket builds 500% more as compared to a mass channel

1 2 3 4 5 6 7 8 9 10 11 12 13 14 150

5

10

15

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1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10 +

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Figure 2 Cricket Reach Build up

b. Low Ad- avoidance: Since the matches are telecasted live the avoidance of

advertisements is a very low. The chance that a person would see an advertisement

during the live matches increase primarily for two reasons:

a. Duration: The duration of break between overs in cricket matches is less than

that of mass channels. But the frequency is more.

Cricket Matches General Entertaiment Channels0

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Figure 4 Duration and Frequency of Advertisement

Figure 3 Star plus Reach Build up

c. Pan India Appeal: This is evident from the fact the DD telecasts all the India matches

on its network, and DD is available free of cost to everyone. Also the nature of the

game is such that everybody watches it. It has been already compared in Figure 1:

Genre Comparison.

d. Amenable to content integration: The content integration can be easily carried out

by using various creative techniques. This may include on ground advertisements,

player endorsements, etc.

3.3 OBJECTIVES

The objective of the study is to understand the television viewership of Cricket matches and

identify the key findings which would help a Planner analyse the media properties and

understand the factors influencing the choice of the same.

Following were the intermediate goals set-up for the study:

1. To create a comprehensive database of all the cricket Matches from the year 2006

2. To understand the Data and reflect important data points

3. Tournament analysis for IPL – Season 3

3.4 METHODOLOGY

In order to achieve our objective the following steps were followed:

The Study of cricket matches could not have been carried out without a comprehensive

database. This database should be a comprehensive database which will be a one stop point

for all the details pertaining to a cricket match. A media planner’s perspective was chosen for

such a job. With the help of a few brainstorming sessions with the mentor and people related

to selling of media properties in Cricket Matches we came to a list of attributes that would be

recorded for every single cricket match. These were:

Telecast Date

Telecast Channel

Telecast Network

Telecast Time

Telecast Duration

Tournament Name

Team 1 Batting

Team 2 Batting

Tournament Stage

Match Type

Nations participating

Winning team

India or Non India Match

Venue

Day / Day & Night

No. Of Telecast Session

TVR and Reach on 18 Target Groups which classified according to:

o Male and Female

o Age Groups

o Socio-Economic Classification

o All network and Cable & Satellite

3.4.1 SOURCE OF DATA COLLECTION

TELEVISION AUDIENCE MEASUREMENT (TAM) India :It is a joint venture

company between AC Nielsen & Kantar Media Research/ IMRB, TAM Media Research is

the TV Viewership analysis firm of India. Besides measuring TV Viewership, TAM also

monitors Advertising Expenditure through its division AdEx India. It exists in the PR

Monitoring space through another division – Eikona PR Measurement.

The viewership cell runs what is one of the largest Peoplemeter TV Panels in the World with

Approx 30,000 sample individuals representing all the Class-I towns (towns with population

more than 100,000) polled every week for their Viewership habits! This division measures

television Viewership of audiences for the 300-plus TV stations operating in India.

TAM has won accolades at various International Research and Communications seminars,

some of the recent being ESOMAR – Asia Pacific Conference in Shanghai & WAM

Conference in Geneva in 2004. In March 2005, TAM India again hoisted the Indian Flag

when it won accolades for another research paper presented at the ESOMAR Conference in

Tokyo, Japan. This was followed with the Best Paper award at the WAM 2005 conference in

Montreal in June.

Lintas Media group is a licensed subscriber to the TAM Media Express Software and the

software has been addressing ever changing needs of complete spectrum of entities in the

media industry viz. Broadcasters, Media Specialist Agencies, Producers, and Advertisers.

This was the software which was predominantly used for the creation of the cricket database.

TAM Viewership Data has the following features:

Various options for measuring Programme and break Performance

Wide array of markets to choose and combine

A database of all Television activity

Measurement of Viewership in various media metrics including (TVR ‘000,

TVR %, Reach ‘000, Reach % etc.)

Time Band Selection for various day parts and days of the week

CRICINFO.com: It is a fully equipped cricket website which has archives storing details of

all Cricketing Tournaments ever registered under International Cricket Council.

CHAPTER 4 RESULTS AND ANALYSIS

4.1 DATABASE OF ALL THE CRICKET MATCHES FROM THE YEAR 2006

The data was collected for the period of January 2006 to March 2010. The data contains

information of over 1400 matches played by more than 20 nations across 18 countries

worldwide. The raw data we collected had all cricket matches telecasted on TV including

Live, Repeat and highlights. For the sake of avoiding discrepancies the analysis was

restricted only to Live Matches. As the timings and viewership of highlights and repeats were

of no good importance from a planner’s perspective, the thing with highlights is that it will

only happen once the live match has been telecasted; this would lead to redundant entries

hence the database was restricted to only to live matches on TV.

The various TG’s considered for the analysis are as follows:

1. [ALL 4+ FEM] All females of age 4 and above

2. [ALL 4+ MALE] All males of age 4 and above

3. [CS 4+ MALE] Cable and Satellite males of age 4 and above

4. [CS 4+ FEM] Cable and Satellite females of age 4 and above



7. [CS 15+ AA] Cable and Satellite Average Audience 15 and above



10. [ALL 25+AA] All Average audience of age 25 and above



13. [CS 25+AA] Cable and Satellite Average Audience 25 and above



16. [CS 4+ AA] Cable and Satellite Average Audience of age 25 & +



Database contains the three major kinds of Cricket formats namely:

Test Cricket

One day Internationals

Twenty 20 ( Latest Sensation )

The mix of the data is as follows:

Figure 5 Mix of different Formats of Cricket Matches

Almost 50 % of the matches played so far from 2006 have been One day internationals and

only 183 Test matches have been played which is around 12% of the total matches.

Interesting point to notice here is that the recently found T-20 Match Format though

introduced late into the cricketing world is catching up with the no. Of one day internationals

played. Almost 37% of the total matches played are Twenty 20 matches which is the shorter

from cricket and is being associated as the new entertainer in the sports industry.

4.2 ANALYSIS OF THE IMPORTANT DATA POINTS

After analysing the data for all the matches following observations were made:

1. The most favoured format of Cricket by an average viewer in India is TWENTY 20.

This can be illustrated form the graph below:

Source: TAM

Figure 6: Comparison of Cricket Formats

The comparison of average TVR for CS Males 4 + reflect that the avg. TVR (Television

Viewership Rating) is the greatest for Twenty 20 matches. This can be attributed to its

shorter duration and contribution by the Cricket Leagues like Indian Premier League or

Champions League.

2. The reach of ODI’s is maximum when it is compared to the other two formats.

The reach of one day internationals happens to be the maximum as it is the right trade off

between the duration and excitement where the other two formats fails. This can be

explained by comparing first the duration factor, Test matches have a too long duration

thereby not exciting many people and twenty 20 is too short increasing the probability of

the someone missing the match. Here one day internationals take the deal by giving

sufficient excitement and duration to its viewers

T-20 is the Most favored format of Cricket

Source : TAMTime Period: Jan’06 to March’10

Figure 7 Reach comparison of Cricket Formats

3. No. of matches in T 20 had been increasing whereas there is a fall in No. of Test

Matches and ODI’s over the years.

The no. of matches of particular format was an interesting trend to study. As the shift

is increasing towards faster and quicker entertainment sources, the game is also

changing for Cricket. It is observed that the most primitive form of cricket is losing on

numbers to the sensational and fast format of Twenty 20.

2006 2007 2008 2009 2010*

151

272

125143

4249 39 40 45105

83

262

142

36

ODI Test T 20 Source : TAMT20 includes ICL and IPL

Figure 8 Comparison of Matches Year wise

It can be noticed that T 20 has been picking up over the years with new tournaments

like IPL and ICL. In 2009 there is sharp drop which attributed to the discontinuation of ICL.

4. INDIA has played the highest no. of Matches over the past 4 years.

TG : CS MALE 4+ Males

Source : TAMTime Period: Jan’06 to March’10

India is the cricketing nations which has played most no. of cricket matches since

January ‘2006 to March ‘2010. This makes the investment in cricket properties in

India all the more a lucrative investment. The more the Indian Team plays the more

visibility is generated. This is one of the prime reason that Indian cricketers like

Mahendra Singh Dhoni and Sachin Tendulkar are such popular endorsers.

Australia

Bangladesh

EnglandIndia

Ireland

New Zealand

Pakistan

South Afri

ca

Sri La

nka

West

Indies

Zimbabwe

263

125

227

416

33

168 193 195232

183

62

No. Of Matches Includes : TEST , ODI & T20 Year : Jan’10 to March’10

Figure 9: Matches Played by various Nations

As illustrated from the above mentioned graph the Indian Team has played the highest

the number of matches i.e. 416 matches. The Australian team which plays the second

highest no. Of matches i.e. 263 matches is way behind the score. The above data includes

all the TEST, ODI and Twenty 20 Matches played by each nation.

This data is important from a planners perspective in a way that the opportunities to invest

in cricket matches in which India is playing will continue to be more than the other

nations. Cricket in India is next to religion, to benefit from this one should carefully select

a appropriate mix keeping in mind the tournaments in which India is playing and in which

India is not playing. Also teams like South Africa, Sri Lanka, England and Pakistan play

similar no. Of matches hence are good substitutes for each other, thereby opening more

alternatives.

5. Comparison of TVR and Number of matches of India vs. Non India Matches.

The television viewership of Cricket genre was studied for the Indian viewers, hence, a

comparison of how matches played by India and those matches which are not played by

India were carried out. The result is as shown below:

2006 2007 2008 2009 2010*0

50

100

150

200

250

0.00

1.00

2.00

3.00

4.00

5.00

6.00

7.00

71

159

77 89

20

134

215

95

169

39

4.08

2.07 1.86

3.43

4.68

0.80 0.760.23 0.58 0.28

India Non IndiaTVR ( INDIA ) TVR ( NON )

Year

No.

of m

atch

es

Avg.

TVR

Source: TAMALL Matches ( T20, ODI & Test)TG : CS 4+ Males

Figure 10: Comparison of India Vs Non India Matches

This graph tells us how many matches have been played by India and Non India and

their comparison over the years from 2006 onwards. The graph also indicates the Avg. TVR

for both India and Non India Matches.

What can be observed from this graph is that the performance in terms of avg. TVR of India

matches is expectedly better than that of Non India matches. But a lot of non India matches

happen each year

6. Avg. TVR’s for DD Network is decreasing over the years whereas for C & S it has

been increasing.

Television viewership of cricket matches largely depend on the network it is

telecasted. This is because of the availability and affordability of various cable and

satellite channels in certain parts of the country as compared to the DD Network.

Hence, there was a comparison carried out between the number of matches telecasted

on DD vs. C&S Network, also their avg. TVR’s were compared to witness a trend

over the years in their performance. The analysis results are:

2006 2007 2008 2009 2010*0

50

100

150

200

250

300

350

400

450

0.00

1.00

2.00

3.00

4.00

5.00

6.00

180

347

400

284

80

2547

2746

8

1.73

1.141.48

2.07

2.84

3.382.91

1.861.38

1.59

C & S DD TVR ( C & S) TVR ( DD )

Year

No.

Of M

atch

es

Avg.

TVR

*March ‘ 10

The graph clearly illustrates that initially the TVR were high for the DD network and

low for the Cable and Satellite Network, though the trend is changing fast and the

situations is now being reversed. In past year (2009), the avg. TVR for matches of

C&S have surpassed the avg. TVR for DD Network.

This shows that people are now preferring to watch their cricket matches on Cable

and Satellite Networks rather than DD Network.

7. Reach Comparison of DD vs C & S Network

Media properties are priced differently on different networks and channels. Therfore,

an important requirement was to do a comparative reach analysis after a TVR study in

previous section. The analysis is shown below with the help of a graph comparing

reach of the two networks over the years.

2006 2007 2008 2009 2010*

7,846

6,370 6,754

9,359

14,394

8,857

13,774

7,670

5,995

9,057

Reach Comparison of DD vs C & S Network

C & S DD

Figure 11: Comparison of Reach of DD vs. C&S

This graph clearly illustrates a similar trend as Figure 10: Comparison of India Vs

Non India Matches, where the TVR trends changed from 2009. DD was undoubtedly

was the leader in reaching maximum no. Of people, but with increasing penetration of

Cable & satellite the Reach for cricket matches was bettered by year 2009.

This is also a good sign for Media planners as with cable and satellite one gets a

variety of channels to plan investments. The media properties hence are competitively

priced; this can be used to maximum effective communication of brands.

8. The 2 nd quarter (April – June) showed the maximum TVR rating.

Cricket matches happen round the year, But was there a difference in their viewership

if they are telecasted during a different cricketing seasons? This question was raised

by one of the planners from our team; this led to an analysis which was interesting to

notice. The analysis is shown below:

January

Febru

ary

March April

May

JuneJuly

August

September

October

November

December

0

50

100

150

200

250

0.000.501.001.502.002.503.003.504.004.505.00

91

125

206

163

125 117

55 61

113

152 151

85

0.97

1.721.99 2.13

3.71

1.65

0.73 0.81

1.98

1.18 1.07 1.05

No. of Matches Avg. TVR

No.

of C

rick

et M

atch

es

Avg.

TVR

Source : TAMTG: CS 4+ MaleAll matches : T20, ODI & Test

Year : Jan’06 to March’10Month-wise Total of Matches

Figure 12: Month-wise Comparison of Matches

This graph illustrates the average no. Of matches played every month i.e. no. Of matches

played in Jan 06, Jan 07, Jan 08, Jan 09 and Jan 10 and their average TVR. This graph also

shows a TVR trend line throughout the year.

The result of this graph results that the 2nd quarter shows the highest viewership throughout

the year. If recalled, major series like IPL, Cricket World cup, etc. Happen during the same

calendar period of the year.

From a planners perspective, this data shows that investments during March, April, May and

June are really lucrative. It is also the holiday period in India for schools and college

attracting youth towards the viewership of Cricket Matches

4.3 TOURNAMENT ANALYSIS: INDIAN PREMIER LEAGUE SEASON 3

A particular tournament, in this case IPL- Season 3 was chosen to understand the cricket in a

closer way and understand its impact on viewership. An important and interesting analysis

was found while analysing the data of cricket matches, this was the impact on other genres

because of the cricket matches. The following table shows an interesting comparison.

This analysis was on the basis of channel share for pre match and during match weeks. The

North, West and East Markets were selected for analysis Hindi Viewership. For English

viewership the markets ALL INDIA 1 million plus was chosen as a market and Regional

viewership was based on their respective markets only. The selection of market was done on

a logical basis.

The Table clearly indicates that most of the genres witness a fall during the cricket matches

barring a few exceptions. Especially ICC T20 World Cup led to decline of all the other

genres indicating that cricket attracts most of the audience.

This definitely tells us not to invest heavily during the period when a major cricket series is

going on. Thus, it’s a precious little finding that help us plan our investments in such a

manner so as to not have our campaigns fail and be ineffective.

Figure 13: Genre Impact

WHAT IS THE EFFECT OF INDIAN PREMIER LEAGUE ON OTHER GENRES?

IPL in particular also causes a lot of damage to the channel shares of various other genres.

The following table illustrated that:

IPL has caused fall ranging from 20 – 70 % in other genres whereas on average 15- 30 % fall

in other genres is caused by every ODI Series. Hence, IPL majorly affects the other genres

than any other tournament in cricketing industry.

Hence, a detailed analysis was carried out about the IPL- Season 3, findings of which are

discussed further in the report.

Figure 14: IPL Impact

Indian Premier League has been performing consistently since the introduction of the format in 2008.

Indian Premier League's origin is quite interesting. It all started when Lalit Modi, the Vice President of the Board of Cricket Control in India (BCCI) envisioned the Indian Premier League. It is created along the lines of club football in Europe, specifically the English Premier League. IPL has been launched in response to the rebel Indian Cricket League (ICL) launched by Zee Group.

So far, IPL has completed three seasons successfully and looks good for even more. IPL has been tagged as one of the costliest events only after SUPERBOWL. One should give credit to all the sponsors and investors. The television viewership on a macro level for IPL has been great over the 3 seasons. Here is short comparison of viewership metrics of IPL seasons.

The avg. TVR for IPL has been around 4.5 each year which is much better than any other general entertainment programmes that we see on television. Also, the avg. Time spent is 4.6 minutes which is considerable large for an average audience of such a general TG. The reach has been good but has been limited because of the telecast rights issued to a private network and there affordability and availability becomes a huge factor.

From a planner’s perspective, IPL becomes a very lucrative property when it comes to its effectiveness and appeal. We would do further analysis on how to use IPL to our maximum benefit.

Figure 15: IPL Performance

The IPL era as it should be called dominated the period from March to April ‘2010.

IPL- Season 3 showed consistent performance during the tournament. The television viewership for IPL is consistent and has been influencing the viewership of other channel. This was also accompanied by no new movie releases and no new television soaps. All had put their weapons down in front of the mighty IPL.

Figure 16: Match by Match performance of IPL

IPL Viewership was noticed to be more skewed towards the Male Population

IPL viewership on affinity analysis was found to be more skewed towards the male population. This illustrated from the following table:

The highlighted cells indicate high affinity i.e. affinity more than 110 %. This is calculated by keeping ALL 4+ CS as the base.

Figure 17: Affinity comparison of Males Vs Females

3/16/2010 RCB/KXIP 16:00

3/16/2010 KKR/CSK 20:00

3/17/2010 MI/DD 20:00

3/18/2010 RCB/RR 20:00

Comparison of Male age groups revealed that the Children Below 14 years of age are not so much attracted by IPL

After finding out that the IPL viewership is skewed towards the Male population, further analysis was carried out on what age group it has the maximum impact. The comparison of affinity was divided on 4 basics age groups of males namely:

Males 4 – 14

Males 15 – 24

Males 25 – 54

Males 54 and Above

Figure 18: Male age group affinity analysis

125 96 74

115 100 77

110 96 88

113 100 81

Viewership Affinity on the basis of SOCIO ECONOMIC CLASSIFICATIONS showed skewness towards SEC A and SEC B.

This is the last but the most important factor in completing the demographic conclusion of the viewership of IPL. The Social Economic Classification helps us place the right kind of brands, according to the viewership. It is by this classification we can understand what kind of Products can be advertised during the IPL. The following table shows the affinity indexes for various SEC’s.

Figure 19: SEC affinity analysis

Brand Recall exercise for IPL

In order to understand the brand registration in the minds of the viewers in India, A brand recall for Indian Premier League (IPL) Season 3 was carried out. This was done using the help of AAREN INTIATIVE, the outdoor research partner for LINTAS MEDIA Group. The brand recall was done in a simple form which asked for the top 5 brands that came to the minds of respondents. A total of 143 brands were advertised during this edition of IPL. The results of the Brand recall are as follows:

Vodafone mobile was the Brand that had the highest brand 1st recall

Vod

afon

e

Mic

rom

ax M

obile

Idea

Nok

ia

DLF

Karb

onn

Mob

ile

Sam

sung

Peps

i

LG

Airt

el

King

fishe

r Airl

ines

Airc

el

Vid

eoco

n

Doc

omo

MRF

Her

o H

onda

CBZ

Reeb

ok

Tata

Pho

ton

Plus

Coca

Col

a

Ultr

atec

h Ce

men

t

19%

7% 6% 6%4% 4% 4% 3% 3% 3% 3% 2% 2% 2% 2% 2% 2% 1% 1% 1%

Top 20 recall brands in %

Figure 20: 1st Brand recall

Vodafone topped the list of 1st Brand Recall amongst 143 other brands that were advertised during this edition of IPL. Understandably Vodafone scored the maximum as they were the official communication partners and their superb creativity. Another innovation with the banners also improve the 1st brand recall for most of the Brands.

Total recall was topped by VODAFONE, IDEA and PEPSI

The top 25 brands that were recalled during the IPL – Season 3 are as follows:Vo

dafo

ne

Idea

Peps

i

Karb

onn

Mob

ile

Sam

sung LG

Tata

Pho

ton

Plus DLF

Airt

el

Micr

omax

Mob

ile

Noki

a

Vide

ocon

Airc

el

King

fishe

r Airl

ines

Doco

mo

Coca

Col

a

Reeb

ok

MRF

Hero

Hon

da C

BZ

Godr

ej

Slice

Citi

finan

cial

Acce

nt

Sony

Bra

via

Ultr

atec

h Ce

men

t

10%

6% 5% 5% 4% 4% 4% 4% 4% 4% 4% 3% 3% 3% 2% 2% 2% 2% 2% 1% 1% 1% 1% 1% 1%

Top 25 Brands Recalled

Figure 21: Total Recall of Top 25 Brands

The top 25 brands spanned over various categories from communication to Mobile phone makers to Consumer electronics. These brands are amongst the top total recall brands.

The Study was carried on total 4558 respondents during the IPL Season 3.

CHAPTER 5 CONCLUSION

5.1 CONCLUSION

The Study of television viewership of Cricket genre was unique in its nature as no

such study was carried out previously. The decision regarding media properties in cricket

matches were take on just the experience of media buyers, there was no analysis carried out

in an organised manner. The study highlighted the basic yet important points which can be

summarised as:

Twenty 20 is new sensation and a lucrative Investment

The reach of ODI matches continues to be the highest amongst the 3 formats

Matches played by India score comparatively high on TVR as compared to Non India

matches

The trend is shifting towards more and more Twenty 20 matched over the years and

Test matches are witnessing a decline

DD network is fading in terms of its avg. TVR and Reach and whereas Cable &

Satellite is performing better than the former.

Maximum Viewership was witnessed during the 2nd quarter of the year that is from

April – June

Cricket Tournaments leads to a decrease in channel share of almost every other genre

IPL impacts the other genres from 20 – 70% fall in channel share.

IPL has been a consistent performer over the years and dominates the period in which

it is telecasted

IPL viewership is Skewed towards Males 15 and above

IPL viewership is Skewed Towards the SEC A and SEC B

BRAND Recall exercise was carried out revealing the top brands during IPL.

These were the key take points which were found out during the Study of television

viewership of Cricket Genre.

5.2 RECOMENDATIONS/ SUGGESTTION

The study of television viewership clearly identifies the opportunities and also helps us in

comparing various media properties. The one stop cricket database should be used

effectively.

The study of a tournament helped us knowing its impact on the other genres and also the

segment of population which was dominant in viewership of that tournament was

determined.

Any forth coming tournament, for instance, if there is a tournament between India and

Pakistan. One can easily find out the details on how the matches which were played

earlier by the two nations and what were the avg. TVR and reach. This would give us

some idea on what would be the expected TVR.

Also the demographics of the audience can be predicted by running a simple affinity

calculation on the TVR as was done in the case of Tournament analysis of IPL- Season 3.

The more the decision is based on logic and data; it would be more helpful.

However, the study has a certain shortcomings. In my opinion, the choices of the people

are constantly changing and the audience perception is not static in nature. A lot about a

success of tournament depends on factor like what is being telecasted on other channels

during the same period.

Also, the TV rating do not accommodate for a correct measure of the impact of on

ground advertisements and banners that are displayed during the matches. Sponsoring of

catches, sixes, wickets etc. Also cannot be really measured by TVR and Reach. The

Brand recall exercise was done with the similar objective in mind. But due to overlap and

redundancy of the same brand name it was difficult to estimate the effectiveness

GLOSSARY

TVR: Television Viewership Rating (TVR): Audience Measurement Unit

Viewership is reported at a minute level Viewership changes form minute from minute Thus, for viewership for a program/daypart/commercial, an average

across time of the program/ daypart/ commercial is taken TVR is average % viewership in a given time band, across the minutes It is time weighted viewing

GRP: The sum of all ratings achieved in a given period

Frequency: The average no. Of times an audience unit is exposed to a vehicle in a given period

Reach: The number of different persons or homes exposed to a specific media vehicle or schedule at least once in a defined period e.g. four weeks. Also known as cumulative, unduplicated, net audience.

Program Affinity: Programme viewer ship skewed towards primary target audience.

Peoplemeter: An electronic device that measures viewership of a given program.

TAM: Television audience measurement is the organisation who administers peoplemetered homes.

BIBLIOGRAPHY

(2010, April-June). Retrieved from CRICINFO: http://www.cricinfo.com

IMRB. (n.d.). Retrieved April - June 2010, from TAM India: http://www.tamindia.com

Menon, A. (2010). Media Planning and Buying. Tata Mcgraw Hill.

CURRICULUM VITAE

1. NAME : Karandeep Singh

2. DATE OF BIRTH : 5th October, 1987

3. EDUCATIONAL QUALFICATIONS

2009 Bachelor of Engineering (B.E.)

Institution : SRKENEC, Nagpur

Specialization : Industrial Engineering

A Study of Television Viewership Pattern of Cricket Genre

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