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Let the Music Play!

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Decades ago people would tune into their large size radio transistors to listen to various radio programs. Varying AM frequencies would help people cross borders and access multi-cultural radio content. Urdu broadcasts from BBC or Indian Doordarshan were household names across all plains in Pakistan.

Elders of a house would turn on these large loud machines in the morning, on full volumes to shake the little ones off their beds and prepare for school. More news savvy members of a family would keep comparatively smaller hand held units which would travel with them like mobile phones of those eras. From hourly news bulletins to news features and entertainment based programs to radio dramas, there was plenty to be hooked onto.

With the advent of FM radio stations, all of a sudden, these keen ears were exposed to more localized programming. This sudden transition was not overnight, with FM 100 Pakistan and FM 101 operating almost a decade earlier before the influx of more competitive FM radio stations came forth, one may say that these market leaders rigorously prepared ground and exposed masses to a more urban format of radio broadcasting. With mushroom growth seen in the radio industry from 2004 onwards, several radio networks have setup their operations across Pakistan. They might have gone through some testing times, but as soon as radio’s power to penetrate masses was established, the influx of commercial radio has established several major brands among these nationwide broadcasting operators. Not only the rate of commercial airtime has been revised several times in the previous decade, the license fee to operate a radio station has gone up manifold. Although the cost to launch and operate a new FM station in major urban centers of Pakistan may seem high, radio stations which have already established their business and bandwidth may appear to cover these costs in a matter of months.

Over years, many new radio stations have tightened the frequency band, and major urban centers have more than a dozen FM stations to lure its listeners. One may ask how all these radio stations would survive the competition. A closer look into the spectrum of these various FM bands would explain. Over the years, FM 100 Pakistan has not ventured much into the unknown creative terrain and kept the traditional RJ based programs at the heart of its format. Result: Undeterred loyal ears. On the other hand, Apna Karachi FM 107 has rejuvenated their sound continuously and yet kept the crisp balance between content and music. Hum FM 106.2 seems to be at peace with its music only policy, catering to listeners who prefer uninterrupted melodies, round the clock. The occasional live cricket commentary and induction of news bulletins has added value to it its sound over the years.

Mast FM 103 initially outweighed its competition with heavy Indian music and distinct programming, including hourly news bulletins and current affairs shows, while Hot FM 105 spread its vast network of stations and made ripples with its mature sound from the first day and still managed to secure a large chunk of the pie. City FM 89 is consistent in catering to the English only niche, while Radioactive FM 96 is still claimant of the youth’s aspirations. Samaa FM 107.4 is a new induction in the FM spectrum with its more music and less talk format and still a long way to go, while new stations like Josh FM 99 are already catering to listeners with its sharp audio quality of music.

With atleast 60% of mobile phones sold across Pakistan have the built-in FM radio feature, this new influx of listeners are worth fighting for, thus competition is fierce. From traditional household radio boxes to smart car stereos to pocket size devices, orthodox radio drive time shows are undoubtedly catering more to other listeners, than just commuters on the go. Ever evolving radio listeners and maturing ears are the main reason why it is not enough to keep an eye on the competition only. Thus some have kept the emphasis on heavy supply of music to keep listeners from wandering away and even to lure them to tune in, while some operators have developed enriching content.

Yet, it is still debated within the radio industry whether the music only policy makes listeners any loyal to brands. If audio entertainment is kept to the minimum of melodies only, then memory cards and mp3 downloads is a cheaper and faster choice for music hungry listeners. There has to be more than music to radio. Interactivity with listeners through social media and mobile SMS is run of the mill answer to most of the radio shows. As one broadcaster puts it, “A playlist with good music can hook a listener for an hour, while a good content based show creates loyal listeners for years to follow”.

With the advent of smartphone sets and mobile applications, listeners now have an untapped resource of live global radio streams available, just a click away. This may have sounded extraordinary a few years ago, but now anyone with a good enough internet connection or a Wi-Fi cloud around them; can easily tune into a radio show being broadcast from San Francisco or Cape Town.

Similarly, radio stations have stepped out of their age old territorial programming boundaries and brought in features of international appeal. “Border Crossing” from USA, broadcast by Josh FM 99 is one such program receiving applause from listeners in Pakistan. Meanwhile, almost all radio networks which are running their operations across different cities of Pakistan have a national programming link. You may have woken up in the morning to an energetic voice of a radio presenter based in Islamabad and may have tucked yourself in bed with soothing melodies being played from a studio in Lahore. Competition is fierce to run round the clock radio streams, offering unique features to keep listeners glued to the dial.

This race to compete sometimes misses the vital point of all this exercise; what’s in it for the listener? Rush hours are by far the closest to a million march one witnesses in city districts, every day. Imagine a radio host based in Multan sharing his account of a local fruit mart not keeping in mind his listeners in Karachi or Islamabad, or a presenter based in Hyderabad talking about a local zoo in a manner as if everyone in Lahore or Quetta has already seen it. This detachment from one’s audience is where despite technological advancement some networks tend to fail their listeners.

When this question of broadcasting radio shows simultaneously across different cities with their distinct cultural and lingual diversity was put across to Yasir Qazi, National Program Manager for HOT FM 105, who looks after a 14 city station programming grid, he replied, “The answer to creating massive appeal for all lies in the rich content and traditional broadcasting principles. In the early years of radio, people would listen to international radio broadcasts that would sometimes be from a different continent and still loved them. Who would not like broad subjects and insightful features which are well planned? Everyone from Sanghar to Chitral knows what the moon is, right? A true broadcaster is the one who tactfully talks about what everyone can connect with, and a good radio show is the one that offers content everyone can relate to.” This is also the reason why the Hot FM Network broadcasts a show called ‘Today in History’. Explains Qazi, “We are moving into the future, yet we want to remember and value our past. From glories to tragedies, they all teach us lessons”.

A good radio broadcast is a result of crafting ideas in advance, visualizing and imagining through the ears of a listener. Enriching the quality of airwaves with subjects of interest and information has been the secret of this very medium to have survived more than half a century even though the visible display shows no colors. The very essence of radio is to tap into a listener’s imagination, the highest faculty of the brain. To be able to entertain, mesmerize and inform through the auditory sense is what the soul of radio is made of.

Thanks to advancement in technology it is now a rapidly shrinking planet with ever more listeners seeking out radio frequencies from beyond their time zones. With many radio stations offering good infotainment while stretching their creative limits, there is still a huge space for progressive and traditional broadcasting values to offer a nice fusion.

Shoaib is a radio broadcaster and blogger who adds his own flavor to current affairs on his blog thesunsetshow.blogspot.com and serves political satire with music on his daily radio show.

 

Going Beyond Headlines

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Haroon Rashid, Editor Pakistan of BBC World Service talks to Synergyzer about BBC Urdu Service; its history, the present and plans for the future.

“BBC was incorporated in 1922 and we are gearing up to celebrate its centenary in 2022. It started in the United Kingdom before World War II and afterwards its broadcast extended to areas where media was not free from government influences and restrictions.

The organization is funded in UK through a TV license fee which every household in the UK has to pay, while the UK Foreign and Commonwealth Office funds BBC World Service broadcast in regions outside of UK, including Pakistan. BBC works by the rule that it will not take commercial advertisements because it’s being run on taxpayer money.

Yet, there is a growing need for funding as the organization is spread across AM, MW and FM frequencies on radio, television broadcasts and online websites and broadcasts as well. To incorporate the growing amalgamation of media and continue with the organization’s international presence, the BBC International website is taking on advertisements to meet general expenses. However, the organization intends to keep the advertising for funding option limited to the website only.

Initially, BBC Urdu Service was broadcast from London, but as the media became free in the country, BBC Pakistan was created to get closure to the audiences. BBC Urdu meanwhile, is not only aimed at Pakistan, but it targets every Urdu speaker around the world whether they are in India, USA, Europe or anywhere else in the world.

Since we are still operating on the AM frequency in Pakistan, we have partnered with different FM stations.
At the moment, there are 40 FM stations which are broadcasting our morning and evening bulletins simultaneously with our AM transmission in the country.

The BBC Pakistan broadcasts are available on the internet as well. Yet, since broadband packages are not within easy economic reach and smartphones are limited to a select niche, our focus is on radio broadcasts. We also collaborated with Express News to broadcast our famous program, Sairbeen, in-sync with the strategy of creating a multi-platform access to the BBC Urdu news offer. This policy is being followed by BBC World Service for various other languages in different regions. After our successful stint with airing content on television, we will be expanding our TV output to five days a week from three days but on a different Pakistan TV channel from early next year.

In Pakistan, although print and television journalism has come of age even though there is still a gap for high quality content creation on TV and journalism is carried out for news coverage and documentary programs covering recent and hyped events only; radio journalism is completely in its infancy. Due to this, different FM stations air BBC Urdu’s news bulletins on their airwaves. As yet, there does not seem to be much formal planning by FM radio channels regarding programming content that will create their niche in a selected genre. Generally, entities acquire broadcasting licenses to air a mixture of content like songs, news and other programs. Moreover, investors and owners acquire licenses through hefty biddings and want to invest in programming that provides returns for their investment. Hence, the private sector has not yet been able to extract the full benefits of radio.

Also, there is not much information available on the factors and dynamics of radio listenership present in the country. Who listens to what and why? When do they listen to programs the most? Although this data has recently become available, its applicability in terms of the size of the Pakistani market and what potential it possesses for the growth of the medium is still not clear, with a lot of advertising and programming decisions being carried out on speculation and intuition.

Last year, BBC Pakistan did carry out a general survey to understand the listenership habits of the Karachi audience, which led to surprising findings.

It was discovered that most people listen to the radio during 10:00 pm to 11:00 pm, most probably as then they want to relax. Another belief that most listeners accessed radio in their cars was found to be a myth as it is mostly cellular phones that people use to listen to radio.

This research has paved way for more nationwide surveys on radio listenership to further determine the trends and behaviors exhibited by radio listeners across different age groups. Hopefully, programming in the future will be planned according to the results of such surveys.

Having said that, BBC Pakistan is committed to bringing the complete picture to our audience in the form and format they prefer the most. Our future strategy will certainly take into account the changing media consumption patterns. I believe in the next four to five years, we may divert our resources to other mediums. Following the trend internationally, we may finish off our AM networks, but it depends on the listenership popularity we may get for BBC Radio on FM, which will determine our strategy for expansion. If the numbers call for it then we will invest the money on television and online broadcast techniques. I was listening to BBC Radio One in the morning and they are increasingly adding video to their broadcast. If you go on to the website of Radio 5 online, you can see broadcasters through a video feed. Maybe this will be our future in Pakistan too. With the fast growing popularity of social media, the dynamics of media are changing so rapidly that you cannot predict what will happen in the near future.”

 

Pakistan Idol

The Most Awaited Show of Pakistan

After hitting the screen in more than 100 countries, the Idol show has now come to Pakistan. The 50th addition to the adaptation series called Idols format and based on the British series, Pop Idol, this popular series was first adapted by Poland and then by 50 other countries within the decade. The most successful adaptation has been American Idol, which has gone on to thirteen seasons, achieving many accolades.

Pakistan Idol “Jo Hai Dil Ki Awaaz”, is set to be the biggest song-performance driven TV show in the history of Pakistan; a Geo Television production in collaboration with Fremantle Media. Geo Television Network never fails to delight its viewers with entertaining and engaging programs and they are putting across their very best again with Pakistan Idol.

The Team Idol journey began from the capital city of Pakistan, receiving an ecstatic out-pour, followed by Peshawar, Faisalabad, Lahore, Multan, Sukkur and last but not the least, Karachi. Each contestant has an exciting story to share about their presence at the Idols; ranging from bunking classes, letting go of personal businesses and commitments only to participate in the biggest music competition the country has seen.

Unearthing hidden talent from a country like Pakistan may not be an easy feat; undoubtedly many have skyrocketing expectations with the singing competition of such a large stature. Nevertheless, Pakistan Idol can be one of the many few platforms that empower people to bring about change, hope and triumph by using their voices to connect and erase differences. All the major cities gave an astounding outcome with uncontained passion, while many came from smaller cities and travelled long distances to perform on Pakistan Idol as they regard the show as a gateway to their lifelong dreams, which will enable them to attain success.

Mohib Mirza, the celebrity host of the famed show has played an imminent role in driving and inspiring contestants to perform their very best. Mohib, a dynamic entertainer, motivated contestants, pumping them with his energetic feats, making sure there is no dull moment on-stage and each performer gives his very best. Defining Pakistan Idol, he says, “It is awe-inspiring. The contestants are full of energy and have remarkable voices. This journey that started from Islamabad has a great one so far. Pakistan Idol is Pakistan’s biggest reality show and I am proud to be its host. I gave up offers for many morning shows because I wanted to host something extraordinary, which I got through this show. I love how Pakistanis are displaying such great talent and I appreciate the work of Team Idol thus far.” The judge’s panel comprises of three Pakistani legends: Pop King, Ali Azmat; Melody Queen, Hadiqa Kiyani and the glamorous, Bushra Ansari. Pakistan Idol “Jo Hai Dil Ki Awaaz” is an overwhelming endeavor and it is impossible to guess who will be the first Pakistan Idol. There is a lot of exceptional talent in Pakistan, and given that our people have not been exposed to such a platform before it is bound to be a tough competition. We pray that may the best of the best win the first of this title”, said the judges.

All the three judges are experienced and well known in the music industry. In judging the show, they will be looking for an exceptional singer with an inspiring personality, critiquing all aspects essential for being the singing Idol the country has to see. The three judges are enjoying the show so far; excitedly evaluating the aspiring talent they are coming across. A great deal of confidence is needed to perform in front of Bushra Ansari, Hadiqa Kiyani and Ali Azmat; the stalwarts having been there done that; now have high expectations of the participants.

The styling and image consultancy of the judges and the host has been carried out by Catwalk Productions and hair and makeup has been done by Sabs Salon, Karachi.

Outstanding prizes are in line for the winners of Pakistan Idol; an album contract worth millions, a luxury SUV etc., which will be keepsakes the lucky contestants will receive.

Pakistan Idol “Jo Hai Dil Ki Awaaz” has been airing on Geo Entertainment from December 6, 2013, every Friday and Sunday at 9 pm.

 

Yeh Radio Pakistan Hai – Evolution of Radio In Pakistan

As originally published in Synergyzer Issue 5 – 2013

This was announced at 12 am August 14, 1947, for the first time by the late celebrated broadcaster Mustafa Ali Hamdani, who later became the Director General of the organization. This announcement continues to be the hallmark of Radio Pakistan, as the state-owned organization continues to broadcast throughout the country. From information that would cater to national as well as the regional audience to entertainment that appealed to a diverse age and socio-economic listenership, the medium has held audience attention through a wide range of content. Radio Pakistan has been broadcasting narrative; stories for children and dramas; interviews and interactive programs other than news and current affairs. It launched a number of artists including Muhammad Ali, Mustafa Qureshi, and Shafi Muhammad Shah, who later sought to gain popularity through TV and cinema. It was Radio Pakistan through which all our singers became the voice of the nation be it Malka-e-Tarannum Noor Jahan, the King of Ghazals Mehdi Hasan, Abida Parveen, Zubeida Khanum, Runa Laila etc. Besides this, the organization has broadcast minute-to-minute updates through disaster-stricken times and regions and set up interactive hotlines, playing the part of community radio to facilitate people. This was the scenario in urban centers before cable TV and satellites were not a popular feat, yet it continues to be like this in rural areas.

Since the past two decades, ever since “Assalam Alaikum Pakistan!” was broadcast over the airwaves, the listenership has shifted towards FM stations. While mostly playing music, this regional frequency has made its mark with the area-specific content that it broadcasts. Yet, there still remains a major gap when it comes to content for different target profiles. On the other hand, international organizations like BBC Urdu, Voice of America Pakistan and Duetche Welle Urdu are collaborating with local FM stations to promote reach of their programs to a wider audience. Maybe this can be a successful strategy for our local FM channels to follow to counter the dearth of content, where one channel can produce a genre that can be broadcast by a multitude of operators, much like Apna Karachi’s live Urdu Cricket commentary?

Radio is allocated 3% of the advertising budget, as Mehdi Raza, CEO/MD – Apna Karachi FM 107 affirmed in his interview in the later pages of this magazine. Media buying and planning authorities cite a lack of reliable listenership research data. Even though there have been efforts by BBC Pakistan and GroupM to gauge radio listenership and their preferences across urban Pakistan, there is still a lot of ambiguity on the actual number of listeners and the impact radio has on them.

Also, advertisers, as well as the advertising industry, does not seem to have an adequate understanding of the medium: Commercials which can be produced solely for radio are mostly adaptations of TV advertisements except for a few companies including Unilever and Colgate-Palmolive. Besides this, even though the FM frequency caters to the regional audience there are hardly any campaigns that address this audience at the core of where they are. While radio channels offer the facility of recording advertisements and any other content that the brand wants to be endorsed at a nominal price, this is a huge opportunity advertisers may be missing on.

Another vital role that radio licensees insist on having re-evaluated is that of PEMRA. The regulatory authority, they say, has a lot of room to play its role as a facilitator of the radio industry operators, introduce regulations to broaden the current content spectrum to specific and well-targeted genres in the FM radio operator pool and introduce policies that in turn make it feasible for radio channels to operate in the industry.

Futuristically speaking, where satellite and internet radio has become a booming option worldwide with websites like Spotify.com and Apple’s iRadio becoming listener favorites, it will be some time when these will gain significant listenership due to a lack of affordable and fast internet connections. Yet, can be targeted towards a relevant niche; especially for use in educational institutes for students, much like podcasts are used.

Crowd Sourcing

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Why should your company consider crowd sourcing as a strategy writes Sahlique Sultan

In order to encourage the inflow of ideas and creativity, IBM holds an “innovation jam” on a frequent basis. The ideas generated through this platform are then implemented and rewarded accordingly. It’s gratifying that the outcome has been quite incredible!

Strategy needs to be effectively executed, replete with an alignment plan, to make an impact on the bottom line, because simply relying on vision and opportunity is not sufficient. With social participation, crowd-sourcing serves as a better fit for operational drivers, who leverage strategy into success. Companies, who have leaders seeking this type of view and feedback, deserve to be applauded. To allow such a process to work that breaks customary traditions, CEOs and leadership teams must exhibit confidence and courage, traits generally lacking in these scenarios.

As difficult a person as Steve Jobs was, he realized that customers wanted a computer that was reliable, so that they wouldn’t have to feel anxious when it broke down; simple to use, so that they wouldn’t have to feel intimidated, stupid and inadequate; and beautiful to look at, instead of institutional grey and boxy. These three factors drove his strategy. In other words, he believed in finding out what people truly wanted and then giving it to them rather than telling them what they should want and shoving it down their throats. The same phenomenon can be applied to strategies – find out what people want and give it to them.

It is heart-warming to see the democratization of society unfolding in several ways. The concepts of open accessibility, rapid spread, channelization and consolidation of opinions and thoughts through various viral networks posit major challenges for leaders. The question arises, what qualities do leaders need in order to capitalize on a revolution, led by social networks and technology?

The foremost reason why employees remain silent is because they lack confidence in the required field of the proposed strategy. When they feel that the proposed idea is not good, they simply accept it, assuming that others know more than them. This explains why top managements underestimate the value of employee feedback because they presume that their employees do not see the big strategic picture. In order to execute this crowd-sourcing strategy effectively, it is crucial for the company to facilitate the internal infrastructure and culture. The latter can be achieved through open discussions between employees and the top management.

A major part of the problem lies with the definition of leadership and what different stakeholders expect from people at the top of organizations. Level of confidence and willingness to “share” the role of leader also constitute matters of concern. Leadership is the ability and nous to listen, accept and filter input and advice from others. It also entails communicating and sharing information, and delegating a certain degree of responsibility, but ultimately, it involves making decision based on experience.

Sahlique Sultan is presently Managing Partner at N’eco’s Natural Store and Cafe in Karachi and has held managerial positions with Carrefour, Gameloft and Dessault Aviation in Paris. He holds a masters degree in sustainable business management from the American University of Paris and an interest in green projects.

 

The Gold Project

Saad Sharif, General Manager Marketing & Operations – Cinegold Plex, talks about Bahria Town’s luxury cinema project and evolutionary concepts in cinema entertainment.

Synergyzer: Please give details about the Cinegold Plex project?

Saad Sharif: Cinegold Plex is a project of Bahria Town and Pakistan’s first Gold Class luxury cinema. It is a state of the art cinema equipped with the most modern 3D screens and sound systems. At the moment, we have one cinema with two screens and one gold class restaurant. The screens are classified into Red and Gold.

Our Red Screen has a capacity of 202 seats with 2 VIP boxes, with 7 seats per box, and an exclusive 14 seat gallery. The VIP boxes and the gallery are equipped with luxury sofa recliners and provide privacy for the families. The large screen size of the hall enhances the 3D quality and effects that have not been witnessed in any other cinema of Pakistan so far.

The Gold Lounge is Pakistan’s first Gold Class screen that is equipped with 96 sofa recliners. The Gold Lounge has 3 separate VIP Boxes on the first floor of the theatre hall that have a total seating capacity of 18 persons along with an in-house Gold Restaurant that serves delectable cuisines, deserts and drinks.
Our target market is the high-end segment of Islamabad and Rawalpindi.

Synergyzer: How will these cinemas be different from other modern cinema structures being installed?

Saad: We at Cinegold Plex literally believe in the word “grand”. From the construction to the interior and finishing, we have invested in the top designers and materials to ensure the movie experience for our customers is grand in every sense of the word. We are very particular about the selection of the equipment as the picture and sound quality is the essence of an amazing movie experience. We have installed the latest Digital 3D Barco Projectors along with 7.1 QSC Digital Surround System.

Our Gold Lounge Restaurant can accommodate 60 people along with a wide variety of snacks, desserts and mocktails. This makes us the first cinema in Pakistan to have a built-in restaurant different from the concession food stands to give our customers a truly gold class experience.

Synergyzer: What will be the pricing structure of these cinemas?

Saad: Our Red Screen seats are priced at Rs. 500 a seat. The VIP boxes are available for Rs. 7,000 per box. The seats at the VIP gallery are priced at Rs. 1,000 for each seat.

The recliners at the Gold Screen auditorium are available for Rs. 1,000 each, and the VIP boxes are available for Rs. 7000 per box.

Synergyzer: Why has Bahria Town undertaken the construction and installation of modern cinema structures?

Saad: Bahria Town works on the concept of creating a self-sufficient community and providing all amenities to its residents. Cinema construction was started as one of the amenities for the healthy entertainment to Bahria Town, Rawalpindi’s residents. The standard of our cinema resulted in an overwhelming response from the Bahria Town residents, as well as the neighboring city residents. This eventually led to the exploration of the huge potential the cinema business holds and ultimately more cinema projects in the pipeline.

Synergyzer: What is Bahria Town’s vision with the construction of these cinemas?

Saad: The vision for all projects of Bahria Town, including the cinema, is to provide world class amenities, while ensuring the highest international standards, timely delivery, and lifelong customer satisfaction.

This is the foundation of every project that Bahria Town undertakes and our mission and vision revolves around these core principles.

Synergyzer: There are already investments being made in the twin cities on modern cinemas, with Cinepax and Centaurus Cinemas already active. How will this affect your footfall?

Saad: We do not believe that the construction of more cinemas in the twin cities would affect our footfall. If we calculate the number of cinema visitors to screen ratio then we do need more quality cinemas in the city as the demand is still higher than the supply. Regardless of that, we believe the level of standard and service that we provide has already marked us as the cinema of choice for movie enthusiasts.

Synergyzer: Is there any investment in the film distribution network also by Bahria Town?

Saad: With the number of cinema projects Bahria Town is investing in, it makes sense to explore the film distribution network. We do have plans to invest in this business in future but at the moment our focus is on building world class cinemas across major cities of Pakistan.

 

Cinema Screen with a Bag of Popcorn

By Abdul Aleem Sheikh

In today’s age when consumers have everything literally at their fingertips, advertisers are busy devising new ways to interact to sell something they probably won’t need otherwise. Technological advances have changed everything from where consumers watch their favorite shows to how they buy gifts for their loved ones. This is the era of Facebook and Google, the era of wireless technology – where consumers can dictate the type of adverts they want to watch.

Internationally, agencies are now making campaigns for greater fragments of society than they previously did. They now try targeting adverts to the right person at the right time in the right place and think that is enough. In short, advertisers claim that customer segmentation is dead and it is okay to set up an automatically generated slew of ads based on digital input. In a country like Pakistan, it is far from the truth.

While internationally, huge amounts of money is being spent on marketing research, digital adverts, and various BTL activities like branded events and product placement – think James Bond and his Omega watch; Pakistan is still spending 60% of its ad revenue on television, while internet advertising only has a 1% share, according to Gallup Pakistan 2011-2012. The agencies in Pakistan are still stuck in the traditional form of advertising, but in terms of the market they target, it is the right approach. If Gallup Pakistan’s statistics are to be quoted, then the entire industry focuses primarily on TV, Print (23%), Outdoor (6%) and Brand Activation/Point-of-Purchase/Direct Marketing (6%). What is missing from the report is a figure for Cinema advertising, showing that the industry does not pay particular attention to this medium; a real shame.

“A moving-picture audience ought to be an inspiration to an advertising man. I have sat in a moving-picture theater full of kids and grown-ups and have thought, ‘If I only knew how to reach these people, I would know all about advertising’”, wrote Don Herold (1889-1966), acclaimed writer and cartoonist. True to the quote, cinema offers a unique opportunity to reach already segmented consumers according to the movies on show, and offer an environment where consumers are in a frame of mind to be entertained, thus are more receptive to advertising messages.

International researches carried out highlight how this once neglected media generates higher ad recall compared to other mediums. National CineMedia, a cinema advertising and theater marketing company, carried out a research using state-of-the-art technology that measured the unconscious responses of moviegoers to ads shown to them in movie theaters, and surprisingly they were considerably more engaged than the same type of ads shown on other media such as TV or the Internet .

Another extensive research program conducted by AMR Interactive on eleven Australian advertising campaigns has proved that cinema advertising has a significant impact on consumer’s propensity to buy and drives return on investment for advertisers. People impacted by Cinema and TV advertising for the brand demonstrated a three-fold increase in propensity to buy the brand, compared to the uplift measured amongst those recalling TV advertising only. The research proved that Cinema, when used in conjunction with TV, delivers a higher uplift in propensity to buy for advertisers than the same budget used exclusively on TV. The research’s key findings stated:

Compared to people impacted by TV ads only, those impacted by Cinema and TV advertising demonstrated:
• Higher brand liking
• Higher brand image
• Higher advocacy for the brand
• Perceived the brand as representing better value
• More favorable response to the brand’s advertising

Screenvision’s 2009 research regarding Cinema Advertising proves that the medium has a bigger emotional pull than any other for certain demographics. For example, it was found out that cinema advertising enjoyed a high degree of emotional attachment among Xbox owners, suggesting that cinema ads would be effective vehicles for new games, upgrades and an array of Xbox accessories .

In essence, the most important element of cinema advertising is to think big, because that is the beauty of cinema; you have the space to create something that no other platform could support, and you can integrate it into any other marketing activity. A successful integrated cinema advertising + TV campaign can have a huge and lasting impact on an audience and no idea is too big to play out. Integrated experiential activities are also becoming the norm, where brands interact with the consumers through one on one activities in cinema foyers. The emotional attachment that consumers have to the cinema environment further emphasizes the value that advertisers achieve by associating their brands with the movies. Advertisers who are looking to reach their high-value customers should include cinema advertising as part of the media mix.

If local ad agencies go through the 3 researches mentioned, they will realize that in terms of success ratio of an ad campaign, they are potentially sitting on a gold mine – one they haven’t given enough attention to. With new cineplexes popping up around the country, this is the right time to invest heavily in this medium. It offers advertisers a unique platform for advertising their products and services and allows the development of big creative ideas that wouldn’t work on any other platform. Cinema attendance is currently seeing resurgence, especially in metros & large cities globally in general and in Pakistan in particular. This medium does not just include commercials airing within the movie theater, but the venue brandings, ticket area, foyer, main lobby, pillars, entry/exit areas of the venue, floor, and ticket branding all form part of this medium. Initial foray into this area has proved successful for certain brands, and now more and more brands have started using the cinema as one of the advertising mediums. Brands have started associating themselves with specific movie launches, automobile brands associate with movies related to cars & adventure, phone and cellular handset brands with innovation & science fiction movies, and kids’ brands with cartoon movies. Cinema owners who already have seen more than 70% tickets sales growth in the last 2 years, have started packaging movie launches with brands, which makes it more exciting and eye catching for the audience, apart from creating an emotional attachment factor. As more consumers visit movie theaters, advertisers have an opportunity to get their message in front of a captive audience. People still love going to the movies and unlike television, cinema advertising gives advertisers access to a captive audience who are relaxed, and where in the dark their eyes are only glued to the giant screen, the advertisements leave a lasting impression. Like most of us know, things on a screen look way better with popcorn.

Abdul Aleem Sheikh is Operations Director, Digital & Broadcast Media – Orient McCann.

 

Q&A: Ayesha Khan talks about the Santa Fe Film Festival, Producing Films in Hollywood & The Need for Diversity in the Pakistani Film Industry

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As originally published in Synergyzer Issue 3 – 2013

Ayesha-Khan

Ayesha Khan

Please give your educational and professional background.

I did my high-school from United World Colleges in Victoria, British Columbia, Canada, and graduated with a Bachelor in Arts for Theater and Religion from Mount Holyoke College, USA. I trained in theater at the Eugene O’ Neill Theater and the Royal Academy of Dramatic Art in London.

Currently, I’m the CEO of Indus Valley Productions and I.KHAN.INC, a real estate company based in Manhattan, New York, USA.

You wrote, produced and directed a feature film Kashf – Lifting of the Veil, and executive produced a documentary recently, Made in Pakistan. What inspired you to explore these subjects?

The story of Kashf revolves around Sufism and the Sufi Shrines of Lahore. I decided to explore these Sufi Saints through the eyes of the main character, Armaghan, who, upon his return, to Pakistan finds himself caught in a web of mystical experiences. The experiences Armaghan’s character undergoes are based on true stories that have very generously been passed on to me by real people on the Sufi path. I also explored Lollywood’s raw cinema through one of the characters, who plays a film director in the movie. The film basically revolves around the inner and outer journeys of these two characters.

‘Made In Pakistan’, the documentary, emerged from the Newsweek article where Pakistan was labeled the ‘most dangerous country in the world’. The documentary followed four working professionals in Pakistan to debunk the notion of the ‘most dangerous’ label placed on us by the western media.

You have never been granted exhibition in Pakistan. Why is that? What are the problems with distribution and screening that you face? How can these be resolved?

Since Kashf was one of the first independent films to be made in Pakistan almost 4 years ago, the concept of d

Entering the OSCARS just got Controversial

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As Pakistan puts forward a movie to the Oscars after 50 years, Dr. Framji Minwalla, Assistant Professor & Chairperson Social Sciences & Liberal Arts – IBA Karachi,
talks about the mechanics involved and why documentaries and art films are not lucrative options at the moment.

Synergyzer: What is your education, experience and field of specialization.

Dr. Framji Minwalla: I went to the USA primarily for my education, where I started teaching and have been in this profession for the past twenty-four year. I hold a doctorate in Performance History, Dramatic Literature and Performance Theory.

My area of focus has been two-fold, consisting of global performance traditions, including oral traditions, leading up to the Renaissance — performance traditions in China, Japan, India, Greece, Rome, and Medieval Europe. The other part of my research focus has been Post-World War II European and US drama.

I came back to Pakistan after 30 years and was appointed at SZABIST to teach in the Department of Media Sciences and to help revise their curriculum. I served as the head of the department for 2 years. A year ago, Dr. Ishrat Husain, Dean & Director IBA asked me if I’d like to help the faculty there develop a Social Sciences curriculum. . Once the curriculum was approved by the academic committees and the Board of Governors, he asked me to chair the program.

Synergyzer: Tell us about the Oscar’s Foreign Film language category. What films are eligible for it?

Dr. Minwalla: The eligibility criteria are very simple for the Foreign Film Language Category. It should be a fictional film, produced in any country other than the USA, in the country’s native or official language, or any of the regional languages, but not English. The film must be commercially screened in the native country for 7 consecutive days and should be at least 40 minutes long.

A nominating committee formed in the film’s country of origin has to review all submitted films, strictly following the secret ballot procedure laid out by the Academy. All committee members vote for each film and those votes are later tallied by an impartial person. We do not confer with each other before or after casting our votes.

Synergyzer: What were the mechanics of choosing a Pakistani film for the Oscar’s Foreign Language film category?

Dr. Minwalla: All the committee members sent in their votes to SOC films — Sharmeen Obaid-Chinoy is the chair of the Pakistani Academy Selection Committee. She also cast her vote and after that the scores were tallied by an impartial person. The film that received the highest total score is then submitted to the Academy for consideration. The Academy has its own committee, which reviews films submitted from all countries—last year I think 80 films were submitted—and then nominates the five best. These are the nominations we see announced on television.

Synergyzer: How can art movies gain significance in Pakistan, as they are shown to a limited audience?

Dr. Minwalla: The larger audience watches Hollywood and Bollywood commercial films and these movies drown out the smaller art films, as marketing budgets for commercial films are quite huge.
Most major cities in the US have cinema houses that only screen art films. Anyone interested in watching art films then knows where they might find screenings of these. These theaters tend to be smaller, and seat between 60-100 people. The same approach can be applied to Pakistan sometime in the future.. But the industry as a whole has to become viable first and audiences need to be educated about films in smarter ways than they are now. Smaller, independent experimental films will only attract viewers if audiences learn how to watch them. The media can play a huge and important role here.

Synergyzer: We usually see documentary films highlighting issues from Pakistan. Any particular reason society’s achievements are not given as much attention by filmmakers?

Dr. Minwalla: This debate about the positive and negative aspect images of Pakistan being represented in films, and the idea that filmmakers need to create some kind of balance in their work is to me just silly. Filmmakers are free to choose any subject that interests them and the point of filmmaking is not to create simplistic arguments about good versus bad, or as one particularly bad filmmaker said, “…to show the thorns with the roses.” The assumption many people make is that there is this positive thing and then there is this negative thing and that they are somehow separate, not interconnected, and not complex. The focus should be on creating aesthetic work that actually makes the audience look again, think about and see the world and characters in a different way, tell stories about relationships in a different way so that we are able to see, think, feel and understand more complexly.

Synergyzer: Recently, commercial movies are being made and released one after the other like Josh, Mein Hoon Shahid Afridi and the upcoming Lamha etc. What, in your opinion, are the reasons for it?

Dr. Minwalla: Well, younger people have gone to school, have received an education, have learned something about films and have developed an interest in making films in order to tell particularly about Pakistan. Some of the restrictions placed on artistic production in the eighties have been lifted and the media have given younger people access to a world their parents didn’t really know. Younger directors now see what’s possible, and have started exploring visual forms of expression in truly exciting ways. This is true for all the arts. I wouldn’t say we have full scale revival, but I would say we are seeing the reemergence of film as a way to tell stories. We really do have a long way to go, I mean we have an entire generation of filmmakers who today have no access to earlier films that were made in Pakistan. The tradition has been broken, and it will take a long time for that tradition to build again. But I have faith that it will.

Synergyzer: Who do you think is funding these movies because a few years ago, funding was a major setback for our film industry?

Dr. Minwalla: I think a lot of it is private funding—friends, families. But films are very expensive to make.. Individual producers and directors also approach different organizations who actively participate in promoting Pakistani cinema like Mandviwalla Entertainment, television channels like GEO, and even the Pakistani government.

Synergyzer: What are the areas that Pakistani film ventures are lacking in at the moment?

Dr. Minwalla: We seriously need to develop our production infrastructure, technology, post production facilities and equipment, and increase film training programs for acting, screenwriting, directing, cinematography, editing, design etc. A major part of film making is post-production work. . Post-production for many advertisements that we see on television is mostly done in Thailand, Singapore, Malaysia, sometimes the Gulf, but rarely in Pakistan. Even if filmmakers buy the necessary equipment, we do not have trained professionals who know how to manipulate digital and film technologies to create a polished final product.

Synergyzer: How can we overcome the setbacks faced by Pakistan’s film industry?

Dr. Minwalla: One way to address this is to bring in trained professionals from abroad to teach in Pakistan and to establish academic conservatories where students are given the opportunity to learn fromsmart, passionate instructors. We need both private and public investment in the infrastructure necessary to make films and we need the government to stop creating hurdles.

JUST GOT CONTROVERSIAL?!

Having selected “Zinda Bhaag” for Oscar 2014 consideration for the Foreign Language Film category, the Pakistani Academy Selection Committee came under a lot of criticism for its timing, eligibility and promotion. Dr. Framji Minwalla passed along to us the press release the committee sent out to address the issues raised by the United Producers Association.

WHO NOMINATED IT?

Sharmeen Obaid-Chinoy is a documentary filmmaker and an Oscar winner, but this does not legitimize her credibility to select committee members for an international fiction genre film submission, since she is not a critically acclaimed commercial moviemaker. People should be well experienced in this genre to be able to screen and select fiction films for submission to the Oscar Academy.

Response from Pakistani Academy Selection Committee:

The process of forming a committee of this nature is a matter of the country choosing to apply for such a committee. Thus, the responsibility falls on the filmmakers of that country, and not the Academy of Motion Picture Arts and Sciences (AMPAS).

We had to submit a list of committee members to the Academy who then vetted and approved our nominations. We were advised to submit a diverse list of members, from directors and actors to academics and writers. We sent that list and received approval from the Academy, and only then we solicited submissions for consideration in the 2014 award cycle.

FILM ACCEPTANCE DEADLINE
The official date of submission globally is September 30, 2013, while the Pakistan committee announced that they will be accepting films only till August 25, 2013.

Response from Pakistani Academy Selection Committee:

This claim is incorrect and misleading. The physical copy and related material of the selected film must reach the Academy by October 1, 2013, thus the local submission and selection process must happen well before that. The committee set forth the deadline of August 25, 2013, in order to ensure that there was ample time for the committee to verify that all submissions were viable, circulate the films internally, cast their ballot, inform the winning party and dispatch the film to Los Angeles in time for the official Academy submission date. This however, did not impact the eligibility of any film as all films that were projected to be released until September 30, 2013, were entertained as viable candidates for selection, which is why Lamha and Zinda Bhaag were not disqualified.

The Academy’s official website states, “The official entry forms, together with a cast and credits list, a brief English-language synopsis of the film, a biography and photograph of the director, still photographs, a poster from the film’s original release, and an original newspaper or magazine clipping advertising the picture’s run, must be received in the Awards Office not later than 5 p.m. PT on Tuesday, October 1, 2013. Other fact sheets also may be sent to further document the submission.”

SELECTION PROCESS CONFIDENTIALITY…. WAS IT COMPROMISED?

The announcement for selecting Zinda Bhaag should not have been made before September, 30, 2013, since this comprised the confidentiality of the selection process. The film should have been sent to the Academy before the announcement was made.

Response from Pakistani Academy Selection Committee:

We preempted the announcement in order to ensure that the filmmakers had enough time to compile and dispatch the material to Los Angeles in order to meet their international deadline. Over 30 countries have also made their decisions public before September 30, 2013. Filmmakers in Pakistan will get used to it, once we continue to be a part of the film submission process.

HOW DID UNRELEASED FILMS MAKE THE CUT?

Lamha – Seedlings and Zinda Bhaag were unreleased films but were entertained by the committee. Zinda Bhaag was selected to be sent to the Academy even though it was not released in Pakistan yet.
Response from Pakistani Academy Selection Committee:

The rules set forth by the Academy state that the submitted film must be screened commercially for seven days in the country of release. Both ZindaBhaag and Lamha were released on September 20, 2013, thereby fulfilling this requirement, the Academy deadline being October 1, 2013. Such practices are commonplace globally; the Indian film, The Lunchbox, for instance, is a forerunner for submission for the Academy Awards and is also set to be released on September 20, 2013. Our Oscar committee in Pakistan had already received verification from the filmmakers of both Lamha and ZindaBhaag ensuring that the films would release before September 30, 2013. Also, announcements were made in national newspapers, by the said filmmakers, further validating the announced release dates.

WERE THE FILMS ELIGIBILE?

The film has not just a major actor, but director, writer, editor, cinematographer and sound designer from India in the form of Meenu Gaur, Shan Mohammad, Satya Rai Nagpaul and Vipin Bhatti, with just the producer and one director from Pakistan. How was this justified, since the rule for the foreign film category is to certify that creative control of the motion picture was largely in the hands of citizens or residents of that country?

Response from Pakistani Academy Selection Committee:

Meenu Gaur lives in Karachi, and has done so for many years. The two directors and the producer had complete artistic control over the film. It was shot in Lahore, acted in Punjabi and Urdu, funded by Pakistani donors and companies, and revolves around the lives of three Pakistani friends.

OSCARS NOMINEE ALREADY???

Zinda Bhaag has openly publicized that they are an Oscar nominee and is being promoted with the Academy statuette picture, which according to the Oscar rules cannot be done.

Response from Pakistani Academy Selection Committee:

Zinda Bhaag is permitted to publicly announce the fact that they are the official selection for Pakistan for 2013 – it was announced by our office through a press release precisely to inform the country of which film would be representing us.

The Zinda Bhaag team is however not permitted to use the official Academy logo or statue in posters, press releases and any other advertorial content on their own. Hence, their latest poster does not mention the selection in any way. Neither the committee nor the makers of Zinda Bhaag can be held liable if any third party uses the logo or related material of the Academy.

Response from Dr. Framji Minwalla:

I would like to assure you that the committee has followed the guidelines set forth by the Academy, and that Zinda Bhaag qualifies for submission. All protocol in terms of the announcement and dissemination of our press release is also in line with the practices of other foreign film submission committees.