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

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..........................................Error! Bookmark not defined.

1.1 MEDIA INDUSTRY IN INDIA.............................Error! Bookmark not defined.
1.2 LINTAS MEDIA GROUP..........................................Error! Bookmark not defined.
1.3 CRICKET IN INDIA..................................................Error! Bookmark not defined.
1.4 CRICKET AND ROLE OF MEDIA.........................Error! Bookmark not defined.
1.5 TELEVISION IN INDIA............................................Error! Bookmark not defined.
CHAPTER 2 STRATEGIC MEDIA PLANNING..................Error! Bookmark not defined.
2.1 STRATEGIC MEDIA PLANNING................................Error! Bookmark not defined.
2.2 PROCESS OF MEDIA PLANNING.........................Error! Bookmark not defined.
CHAPTER 3 INITIAL ANALYSIS.........................................Error! Bookmark not defined.
3.1 INTRODUCTION.......................................................Error! Bookmark not defined.
3.2 NEED............................................................................Error! Bookmark not defined.
3.3 OBJECTIVES..............................................................Error! Bookmark not defined.
3.4 METHODOLOGY......................................................Error! Bookmark not defined.
3.4.1 SOURCE OF DATA COLLECTION................Error! Bookmark not defined.
CHAPTER 4 RESULTS AND ANALYSIS.............................Error! Bookmark not defined.
4.1 DATABASE OF CRICKET MATCHES FROM THE YEAR 2006...........Error!
Bookmark not defined.
4.2 ANALYSIS OF THE IMPORTANT DATA POINTS...........Error! Bookmark not
defined.
4.3 TOURNAMENT ANALYSIS: INDIAN PREMIER LEAGUE SEASON 3 Error!
Bookmark not defined.
CHAPTER 5 CONCLUSION...................................................Error! Bookmark not defined.
5.1 CONCLUSION............................................................Error! Bookmark not defined.
5.2 RECOMENDATIONS/ SUGGESTTION................Error! Bookmark not defined.
GLOSSARY................................................................................Error! Bookmark not defined.
BIBLIOGRAPHY......................................................................Error! Bookmark not defined.
CURRICULUM VITAE.....................................................................................................
Error! Bookmark not defined.

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 SOUZA
Chairman & 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”.
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 INDIA
Television, 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

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.
 0%
10%
20%
30%
40%
50%
60%

News / News Based Programmes

Cricket Matches

Feature film :Hindi

Comedy Serials

Family drama & Serials

Current affairs

Music programmes

a. Quick Reach Build up

Figure 1: Genre Comparison
Talk Shows / Chat Shows

Interviews/Panel Discussions

Travel / Places

Other Sports

Reach
Environmental / Wild Life / Animal
programmes
Business shows

Game Shows / Quiz

Affinity
Arts / Life Style / Fashion / Health /
Fitness
Cartoons / Animation / Children's

Figure 2 Cricket Reach Build up

shows
Science / Education

Feature film :English

Youth / Career

Women's Programme

Events / Concerts / Awards Shows

Cricket builds 500% more as compared to a mass channel

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

Film based coutdown shows

0
20
40
60
80
100
120
140
160
 Figure 3 Star plus 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.

Figure 4 Duration and Frequency of Advertisement

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:
 ○ Male and Female
○ Age Groups
○ Socio-Economic Classification
○ 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
5. [ALL 15+ MALE] All males of age 15 and above
6. [ALL 15+ FEM] All females of age 15 and above
7. [CS 15+ AA] Cable and Satellite Average Audience 15 and above
8. [CS 15+ MALE] Cable and Satellite males of age 15 and above
9. [CS 15+ FEM] Cable and Satellite females of age 15 and above
10. [ALL 25+AA] All Average audience of age 25 and above
11. [ALL 25+ MALE] All males of age 25 and above
12. [ALL 25+ FEM] All females of age 25 and above
13. [CS 25+AA] Cable and Satellite Average Audience 25 and above
14. [CS 25+ MALE] Cable and Satellite males of age 25 and above
15. [CS 25+ FEM] Cable and Satellite females of age 25 and above
16. [CS 4+ AA] Cable and Satellite Average Audience of age 25 & +
17. [ALL 15+AA] All Average audience of age 15 and above
18. [ALL 4+AA] All Average audience of age 4 and above

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:

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

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.

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.

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.

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:

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:

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.

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 2nd 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:

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.

Hero Honda CupICC W orld Natw est ICC T20 IOC Cup- CommonW ealth
Genres Ind- SL Cup Ind- Eng W orld Cup Ind- Pak Bank Ind- A us- SL
A sia Cup

Hindi Mass Decrease Decrease Decrease Decrease Decrease Decrease Decrease

Hindi Movies - - Decrease Decrease Decrease Decrease Increase
Hindi New s - Decrease Decrease Decrease Decrease Decrease Decrease
OHGE Decrease Decrease Decrease Decrease Decrease Decrease Decrease
English Movies Decrease Decrease Decrease Decrease Decrease Decrease Decrease
English New s Decrease Decrease Decrease Decrease Decrease - Decrease
English Gen. Ent Decrease Decrease Decrease Decrease Decrease Decrease Increase
Infotainment Decrease Decrease Increase Decrease Decrease Increase -
Regionals
- Maharashtra Increase - Increase Decrease Decrease - Increase
- W est Bengal Decrease Decrease Decrease Decrease Decrease Decrease Decrease
- Karnataka - Decrease Increase Decrease Increase Decrease Decrease
- Andhra Pradesh Decrease Decrease Decrease Decrease Decrease - -
- T amil Nadu Decrease Decrease Decrease Decrease Decrease Decrease Decrease

Figure 13: Genre Impact

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.

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:

Genres IPL

Hindi Mass 30-35% Fall

Hindi News 50-55% Fall
OHGE 30-35% Fall
English Movies 20-25% Fall
English News 45-50% Fall
English Gen. Ent 10-15% Fall
Infotainment 35-40% Fall
Regionals
- Maharashtra 20-25% Fall
- West Bengal 65-70% Fall
- Karnataka 20-25% Fall
- Andhra Pradesh 45-50% Fall
- Tamil Nadu 20-25% Fall

Figure 14: IPL Impact

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.

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.

All Matches average rating All India 4+ CS

Avg Time Avg
Matches No of Matches Avg TVR
Spent Reach %
IPL Season 1 58 Matches 4.7 4.6 14.1
IPL Season 2 59 Matches 4.2 3.9 12.8
IPL Season 3 59 Matches 4.6 4.4 14.6

Figure 15: IPL Performance

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.
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:

Date Match Time Band Male 4+ CS Female 4+ CS

12-03-2010 DC/KKR 20:00 116 81
13-03-2010 M I/RR 16:00 125 71
13-03-2010 KP/DD 20:00 119 77
14-03-2010 KKR/RCB 16:00 105 59
14-03-2010 CSK/DC 20:00 145 90
15-03-2010 RR/DD 20:00 112 86
16-03-2010 RCB/KXIP 16:00 119 78
16-03-2010 KKR/CSK 20:00 116 82
17-03-2010 M I/DD 20:00 117 81
18-03-2010 RCB/RR 20:00 114 84
19-03-2010 DD/CSK 16:00 126 69
19-03-2010 DC/KXIP 20:00 117 81
20-03-2010 RR/KKR 16:00 125 68
20-03-2010 M I/RCB 20:00 120 76
21-03-2010 DC/DD 16:00 131 65
21-03-2010 CSK/KXIP 20:00 119 78
22-03-2010 M I/KKR 20:00 113 85
23-03-2010 RCB/CSK 20:00 111 87
24-03-2010 KXIP/RR 20:00 114 83
25-03-2010 RCB/DD 16:00 128 68
25-03-2010 M I/CSK 20:00 114 84
26-03-2010 RR/DC 20:00 112 86
27-03-2010 KXIP/KKR 16:00 116 82
28-03-2010 RR/CSK 16:00 123 74
28-03-2010 DC/M I 20:00 122 75
29-03-2010 DD/KKR 20:00 116 82
30-03-2010 M I/KXIP 20:00 116 81
31-03-2010 CSK/RCB 16:00 130 65
31-03-2010 DD/RR 20:00 117 81

Figure 17: Affinity comparison of Males Vs Females

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

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

Date Match Time Band 4-14 MALE CS 15-34 MALE CS 35-54 MALE CS 55+ MALE CS
12-03-2010 DC/KKR 20:00 71 137 114 135
13-03-2010 MI/RR 16:00 93 146 109 148
13-03-2010 KP/DD 20:00 75 145 120 117
14-03-2010 CSK/DC 20:00 86 134 132 125
14-03-2010 KKR/RCB 16:00 52 150 134 166
15-03-2010 RR/DD 20:00 74 124 116 136
16-03-2010 RCB/KP 16:00 54 139 122 168
16-03-2010 CSK/KKR 20:00 78 122 123 152
17-03-2010 MI/DD 20:00 96 130 111 132
18-03-2010 RCB/RR 20:00 81 127 114 141
19-03-2010 DD/CSK 16:00 83 157 106 151
19-03-2010 DC/KXIP 20:00 83 133 122 121
20-03-2010 RR/KKR 16:00 73 148 115 174
20-03-2010 MI/RCB 20:00 86 135 123 130
21-03-2010 DC/DD 16:00 78 153 132 158
21-03-2010 CSK/KXIP 20:00 77 129 135 140
22-03-2010 MI/KKR 20:00 83 120 117 139
23-03-2010 RCB/CSK 20:00 75 129 109 132
24-03-2010 KXIP/RR 20:00 76 127 123 133
25-03-2010 RCB/DD 16:00 79 160 107 162
25-03-2010 MI/CSK 20:00 79 124 123 129
26-03-2010 RR/DC 20:00 81 123 117 130
27-03-2010 KXIP/KKR 16:00 72 128 122 151
28-03-2010 RR/CSK 16:00 70 144 121 160
28-03-2010 DC/MI 20:00 76 137 127 154
29-03-2010 DD/KKR 20:00 82 131 112 141
30-03-2010 MI/KXIP 20:00 80 131 120 132
31-03-2010 CSK/RCB 16:00 86 158 109 171
31-03-2010 DD/RR 20:00 82 131 117 139

Figure 18: Male age group affinity analysis

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.

Date M atch Time Band SEC A CS4+ SEC B CS4+ SEC C CS4 SEC D CS 4+
12-03-2010 DC/KKR 20:00 113 124 86 81
13-03-2010 M I/RR 16:00 106 135 89 75
13-03-2010 KP/DD 20:00 111 110 92 89
14-03-2010 CSK/DC 20:00 103 107 104 89
14-03-2010 KKR/RCB 16:00 125 122 89 71
15-03-2010 RR/DD 20:00 109 111 96 88
16-03-2010 RCB/KP 16:00 93 122 95 90
16-03-2010 CSK/KKR 20:00 103 116 94 89
17-03-2010 M I/DD 20:00 116 111 99 84
18-03-2010 RCB/RR 20:00 124 105 93 88
19-03-2010 DD/CSK 16:00 111 104 92 95
19-03-2010 DC/KXIP 20:00 112 105 102 88
20-03-2010 RR/KKR 16:00 128 105 100 75
20-03-2010 M I/RCB 20:00 108 107 104 85
21-03-2010 DC/DD 16:00 115 125 92 78
21-03-2010 CSK/KXIP 20:00 114 122 97 77
22-03-2010 M I/KKR 20:00 110 106 95 93
23-03-2010 RCB/CSK 20:00 107 115 95 87
24-03-2010 KXIP/RR 20:00 108 118 99 82
25-03-2010 RCB/DD 16:00 109 125 87 85
25-03-2010 M I/CSK 20:00 107 108 97 92
26-03-2010 RR/DC 20:00 113 116 87 90
27-03-2010 KXIP/KKR 16:00 107 115 96 88
28-03-2010 RR/CSK 16:00 116 125 96 74
28-03-2010 DC/M I 20:00 119 115 100 77
29-03-2010 DD/KKR 20:00 112 110 96 88
30-03-2010 M I/KXIP 20:00 115 113 100 81
31-03-2010 CSK/RCB 16:00 121 112 97 81
31-03-2010 DD/RR 20:00 120 108 94 87

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

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:

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