The current EU audiovisual media services directive significantly modifies the legal limits for conventional advertising on commercial stations. Martin Procházka, research analysts from Knowlimits agency, outlines how the news will affect broadcasting.

The original limit was 12 minutes (20 %) for each broadcast hour separately. The new regulation is still based on the 20 % limit, but sets it cumulatively for all defined bands. This means that for the 06:00-18:00 period the limit is 144 minutes and for the 18:00-24:00 period it is 72 minutes. The 00:00-06:00 band is completely unregulated – there is no aggregate or sub-hourly limit at all. As a result of this change in the law, the values within individual hours and also in aggregate for the whole day 06:00-06:00 may be above 100% under the original regulation. Now it is legally obligatory not to exceed the limit in aggregate only in the 2 bands 06:00-18:00 and 18:00-24:00.

Initial analyses suggest that both commercial groups are so far cautiously expanding blocks in primetime, which generates the highest volume of advertising GRPs due to its highest viewership. Whereas the former usual practice involved two blocks of 6 minutes each per hour, stations are now trying to broadcast blocks of around 7 minutes each, particularly in the 20:00-23:00 time slot. In the 23:00-00:00 band, on the other hand, they are cutting back (especially Prima Group stations). Stations have to consider how much they can afford to extend the advertising block and at the same time not lose viewers who may leave the station during longer commercials, thus lowering the block’s rating. In effect, the station could even have fewer total GRPs.

The 00:00-06:00 nighttime band is unrestricted, so there may be more blocks than the previously usual two – up to three or four, for example. Currently, stations in this band prefer an extended ad block length of 7 minutes rather than increasing the number of blocks. It is likely that stations will make heavy use of the night band for make-up spots.

For the above reasons, it is no longer practically meaningful to monitor the sell-out of TV stations within individual hours and throughout the day. A direct comparison of individual stations in terms of sell-out can only be made for the two ‘legally limited’ bands – in aggregate, i.e. for 06:00-00:00 or for each band separately.



Europe’s population using illegal IPTV is increasing, costing the audiovisual sector billions of euros a year, a new report shows.

Television piracy is not only a problem in Central and Eastern Europe. As a recent report by the Audiovisual Anti-Piracy Alliance (AAPA) shows, pay-TV in Europe lost €3.21 billion to illegal IPTV last year alone. According to the AAPA, 17.1 million people (4.5%) commit piracy, which is roughly the population of the entire Netherlands.

The figures are alarming because these are users of all ages, i.e. between 16 and 74 years old. The largest group by far is the Netflix generation aged 16 to 24. They alone account for 5.9 million of the total. Just to give you an idea, that’s the population of Finland. They access content through illegal IPTV services. They have earned 1.06 billion euros.

What is perhaps most surprising is that, according to the report, most piracy is committed in the aforementioned Netherlands (8.2 percent of the population) and the least in Romania (0.8 percent). Overall, 4.5 percent of citizens in the EU-27 use illegal IPTV services. The report estimates that illegal IPTV brought losses of €22.4 million (or more than CZK 0.5 billion) to the Czech market in 2021 alone and quantified the monthly harm at €1.9 million. More than 350,000 Czechs, or 4.4% of the population aged 16-74, are expected to access content via illegal IPTV. The absolute highest losses are registered in the UK, German, French and Spanish markets.

The report also points out that websites providing illegal IPTV services are not the only way to access pirated content. For example, social media platforms and applications provide relatively easy unauthorised access to content. Unauthorised providers also profit from advertising and malware. This means that pirates’ revenues and potential losses
industry are greater than the estimates in the AAPA report, the alliance adds. It also notes that it will take much more effort and stricter laws, as well as more education across the market, to stem the growing trend of piracy.



Daniel Grunt will be CEO of TV Nova from January. Here is an interview he gave for the print edition of Lupa 3.0

Daniel Grunt is behind the development of Nova TV’s digital activities, including the Voyo app. The experienced media manager had already led the internet division at the Barrandov headquarters of the commercial station but then he left for the competitor Prima where he spent almost eight years. He returned to Nova in 2021 after it was taken over by PPF. This financial group required the management to wake up the somewhat sleepy, inertia-driven TV station. Grunt is not only responsible for Nova’s internet strategy but also manages the digital strategy of CME, Nova’s parent media group. He is therefore in regular contact with colleagues in other countries where CME owns TV stations. As of January 2023, he will move to a new position: he will be CEO of TV Nova.

What are the pillars of Nova TV’s digital activities?

There are three key ones. The first, which we pay the most attention and investment to, is the paid service Voyo. It is the backbone of CME’s digital transformation in all the countries where we operate. It is incorporated in the structure of TV stations and almost all teams. It automatically transforms the entire company. Another pillar is the ad-supported video archive, which was split between and in the past. This summer, we have merged them back together and now there is just And the third pillar is news on

What about other stations in the CME group?

Voyo is the biggest priority in the whole CME. The paid video service is complemented by a free ad-supported video archive. This is the case in all stations except Slovenia. In Slovenia and Romania, there are historically more magazine services. During the first period I was working in Nova, these services made sense from a business perspective. But nowadays such sites are dependent on display advertising the value of which is steadily going down, so it does not make sense anymore. We have only kept magazines that still generate significant sums of money. Plus online news. In all countries, we are starting to focus more on sports. With the sports rights acquisitions, we have a lot of content that we can use.

What will be on Nova’s website?

We will focus on content related to our shows, faces and topics we promote on TV. We are not going to make microsites for every show. Rather, it will be a section dedicated to that show, with an archive of full episodes, and accompanying bonus material that the team collects during the course of filming. Extensive content does very well for reality shows such as Survivor. You can work with it for a long time and it still works well. It is not disposable content that you post on the networks and nobody comes back to. It is good for search engines.

Will you direct people from there to Voyo to pay for watching more content?

We make TV content available to Voyo subscribers seven days in advance and without ads. Then it goes to TV from where it continues to the archive on There, people can watch shows for two weeks with ads. And finally, we put them back into the paid archive on Voyo. We play with and monetise value added. You pay to watch the show earlier, in higher quality and without ads. If you do not want to pay a monthly subscription, you watch it with a time-shift, but with ads.

But you also place bonus content of your shows to other platforms, such as How does this fit into the described strategy?

The short content has three main functions. The first one is monetisation: we want to use it for video advertising, which largely feeds digital services. But the second and third reason we have it is to support Voyo and linear TV. So it is important for us to have maximum reach so that as many people as possible can access the content and make some kind of attachment to it. Then they will watch it on Voyo or on linear TV.

Voyo is an international brand. Can your colleagues abroad use it at their discretion?

In Slovenia, for example, they are pretty much independent because they have been developing Voyo throughout its existence. They monetise all the shows through it. It may be a small market with two million inhabitants but they have developed the service. In all the other markets, Voyo’s curve has been flat for a long time, it has not moved for maybe ten years. When I joined Nova, we decided to focus on the Czech Republic and Slovakia rather than pursuing everything at once. We will find out what works and once we learn that we will start with the other countries. We have had a very successful start in the Czech Republic and Slovakia. We will focus more on Romania later this year. Then it is just Croatia and Bulgaria, which will be next year’s business.

What about promotion?

The definition of brand and product is central. Individual states have a free hand in soft brand extension and communication. Each nation has its own specifics, this is also seen in the content strategy. The more you are in the south-east, the more soap operas and sports you have. We seek to control the core, i.e. what Voyo is, what it looks like and how it is profiled, but the demographic targeting and content policy may differ slightly. In any market, Voyo logically has to fit somewhere where there is room for growth.

Where does it fit in the Czech Republic, especially compared to global platforms?

Voyo is the strongest source of local content. In every country where CME operates it is supposed to be the strongest first-choice service when you want to see quality local movies, TV series, reality shows, and anything else. We have no ambition to compete with Netflix or Disney+ because we will never have their budgets. We are the number one local service in every country, except Bulgaria, where we are number two.

You stress that the content should be of high quality. What do you mean by that?

We push for premium services. Voyo, as we now define it and as it has started to develop in the Czech Republic and Slovakia, has a high production value. The content we shoot for Voyo Originály is more expensive than the content we shoot for prime time TV Nova. It also has to do with the choice of topics. It is the premium product in the entire portfolio of the media house.

The world’s film studios are gradually launching their own services where they exclusively host their production. Does this make it more difficult to get content for Voyo?

This applies not only to VOD services but also to licensing films for local TV. Getting content from groups such as Disney is becoming increasingly difficult. They have decided to keep the content only with themselves. It only encourages us to emphasise the local aspect. I am not saying that we do not have high quality acquisitions but we have other sources than the American film studios. Scandinavian crime films, for example, work very well for us. We have quite a lot of interesting UK series from the BBC and ITV.

Who typically subscribes to Voyo?

Households and individuals from young people in their thirties to older 40-somethings. Most of the people watching Voyo are women, for example, women with children. A lot of users use the account to its full potential, all five devices, often watching simultaneously. That is why I say households rather than families because these can be childless households or multiple people watching together. On average, they watch over 12 hours of content per week. According to various research studies we have had done, Voyo has the highest proportion of people who watch daily or multiple times a week compared to other services in the market. And logically, because you have to pay for the service, Voyo also has a higher socio-economic category of viewers compared to TV. Their education is primarily high school and university.

What is the biggest success and how do you define it?

We track the number of views but it is not a key metric for me. The most important one is the number of paying accounts, and we set annual goals for each team based on that. Right after that, the time watched weekly is important to me. That tells me whether people are happy with the service or not. If it starts to drop, we start to address it and we get nervous. There is a proportion that the less you use the service, the more likely you are to leave it. All Voyo Originály work extremely well for us. And the series Ordinace v růžové zahradě. It helped us that we had the courage to move it from linear TV to Voyo in the autumn of 2021 where it still had from 900 thousand to a million viewers on a single broadcast day. It showed the market that we were serious. The quality, length or cast has not declined, the series is still the same. Rather, it has got a second wind. Another thing that works is the previews of the key shows that work well on the main Nova channel. Some viewers are more sophisticated, they pay extra to see the content earlier and without ads. And there is also the big mix of the library that works well, we have clearly the most Czech films on the market, about 750.

It has been repeatedly discussed whether domestic TV stations should join forces and create something like Czechflix. Is it passé now that each group has announced its own solution?

Theoretically, it is possible that in the medium term this can happen. But I am sceptical. There is the question of how to implement such a Czechflix. How do you do it practically? Whose platform will it be? Who will have what shares? How will the revenue be distributed? And how will the share that each TV station has to contribute be determined? How will you calculate the value of the content? These practical aspects are very important to get something like this off the ground. You must also not forget that on a single platform you are bringing together entities that are competitors and proudly compete in all other areas. And suddenly they have to come to an agreement in one place. Nowhere in the world, be it Britbox, Joyn or Salto, does this work properly. There is always a grand announcement and a budget, the plan looks great from the outside and from afar, but then each of the companies involved still have their own platform anyway. And none of them have the courage to discontinue theirs and fully focus on the common one.



The management of CME and TV Nova announce significant changes in the organisational structure of both companies. These changes are intended to further support not only the rapid growth of the group as a whole, but also its digital transformation.

The new CEO of TV Nova will be Daniel Grunt from 1 January, who will focus on further consolidating TV Nova’s position as a market leader, its innovative approach to programming and digital transformation, with an emphasis on continuing Voyo’s growth. Daniel will also remain Head of Digital within CME for the time being until his successor is appointed.

As of the same date, Dusan Švalek becomes Deputy CEO at CME and will develop his leadership competencies across the following CME markets: Slovakia, Slovenia, Croatia and Bulgaria.

Dušan Švalek; Source: TV Nova

CME management will be strengthened by the current CEOs of TV Nova, Klára Brachtlová and Jan Vlček. Klára Brachtlová will become CME Chief External Affairs and Jan Vlček CME Group Revenue Officer, both reporting directly to Dušan Švalek.

Klára Brachtlová, Jan Vlček; Source: TV Nova

Klára Brachtlová will cover activities related to strategic partnerships and the development of relationships within the industry, and together with Dušan will oversee CME’s operational agenda. Jan Vlček will continue to support TV Nova’s business growth and work on strategic initiatives such as targetable advertising, which will be gradually implemented across all CME markets.


The Czech Television is the strongest TV group in November in the universal audience over 15 years of age in terms of all-day viewership. The position of the commercial groups Prima and Nova is balanced in this audience category.

The Czech Television stations remained the strongest TV group in November in terms of all-day viewership in the over-15 age group. The aggregate share reached almost 30 % (29.96 %). The position of the Prima and Nova groups is balanced in this audience group, according to official ATO-Nielsen Admosphere data.

In the 15-54 and 15-69 audience groups, Nova remains the most watched group and has the highest share in prime-time.

Compared to last November, TV groups performed differently by airtime and target group. Czech Television managed to increase its share year-on-year, especially in prime time. The Nova group also fared better in evening than in all-day viewing, and slightly increased its share in the universal 15+ group in prime-time. Conversely, the Prima group fared better year-on-year in all-day than in prime-time, where its share fell by 1.5 percentage points year-on-year.

The representation of thematic stations Atmedia improved year-on-year on all parameters. The Barrandov group achieved comparable results to last year.

The start of the football World Cup in Qatar was reflected in the fact that compared to last November, CT Sport (up 4.54%, 15+) and Nova Action (up 1.71% in v1 5+ and 2.16% in 15-54), as well as Prima Krimi (up 3.63%, 15+) grew the most.

Of the other stations, Nova Gold, Nova Lady, CNN Prima News, Prima Star and Prima Show continue to grow. Conversely, all of the top three stations’ main channels were lower this November than in the same month last year.



ScreenVoice TALKS, the autumn conference organised by the Association of Commercial Television on the occasion of World Television Day, focused on the topic of attention in advertising. International speakers revealed why attention is such an important parameter and how to measure or maintain it. The programme also included the presentation of the exclusive Czech edition of the Track the Success research, which compares the effectiveness of advertising spots on television, BVOD and on the online platforms YouTube and Facebook.

The Track the Success study was originally conducted in German-speaking countries (DACH region – Germany, Austria, Switzerland) and the Czech Republic is the fourth country where the same conclusion was confirmed. Television in all the countries studied shows the best results in several key parameters – it generates the most interest, attention, memorability and understanding of the advertising message.

“Television benefits from a number of advantages at the same time. It offers the big screen as the most effective advertising space, a trusted environment and quality content as a transmission medium, and last but not least, the highest visual attention. Which formula holds true across all countries where we have conducted research,”

comments researcher Marvin Vogt from the German agency Eyesquare on the results. “The research in the Czech Republic showed that TV advertising works best here too, closely followed by BVOD. YouTube and, by an even greater distance, Facebook often have problems reaching comparable attention and therefore have less effect,” adds Marvin Vogt.

“What’s also significant about the Track the Success study is that it shows that TV in the Czech Republic holds an even more privileged position in a number of areas than it does in foreign households. The big screen is indispensable in capturing attention and conveying detail, which has a major impact on memorability and, of course, ultimately on buying behaviour,”

says Jan Vlček, President of AKTV and CEO of TV Nova.

The topic of attention was introduced at the conference by Matt Hill, director of research and planning at UK-based Thinkbox. His presentation “Giving attention a little attention” showed why attention in advertising is so important, how to attract it, how to keep it and last but not least how to measure it. The final speaker was economist, IPA and WARC Effectiveness Awards judge and WARC and Marketing Week columnist Dr Grace Kite. Her specialism is marketing effectiveness and her presentation showcased the benefits of TV advertising for online brands, whose presence on TV screens is increasing year on year.

Videos, presentations and photos from the event are available at

In addition to this year’s event, recordings of speakers from previous years are also available in the event archive, including Mark Ritson, Les Binet, Karen Nelson-Field, Wiemer Snijders and many other world-renowned names.