Category: Over The Top Services

  • Technology to play a big role in the direction of the podcast industry

    Technology to play a big role in the direction of the podcast industry

    Mumbai: In the coming three years, technology will play a big role in the direction of the podcast industry. Personalisation will come to the fore. A podcast could be created for just one person. Artificial intelligence (AI) will play a big role. The way we know podcasts now may not be the same in a couple of years. Right now, the surface has not even been scratched in terms of podcast formats. While podcast listenership is not what it was in 2020, when covid was released, the format is not going away. There are various formats available, such as audio books and audio videos.

    But money currently is a constraint when it comes to growing podcast formats. Travel now is the biggest driver of audio consumption. There are a lot of moments for audio consumption in the day when one is driving, cooking, cleaning, etc. Educating people about the podcast space is important and is also an opportunity. People should be given the tools to understand how to make better shows and how to write for audio. After all, the written work and the spoken word are not the same. Creators should also understand the variety of audio formats.

    In 2020, this was not the case as people were at home. For subscriptions to work, it is important to spend a lot of time listening to what consumers want and feeling their pulse. On the music front, independent music consumption is growing. Radio stations are playing more of this music than earlier. Independent musicians are also able to sell tickets to events. Moreover, music can play an integral role in podcasts and help move the narrative forward.

    These points were made at a panel discussion at the Indian Audio Summit & Awards event organised by radioandmusic.com. The speakers were 92.7 Big FM COO Sunil Kumaran; podcast creator, presenter, journalist, and writer Mae Mariyam Thomas; Song Dew founder Sunil Khanna; Aawaz co-founder & CEO Sreeraman Thiagarajan; MnM Talkies Podcast founder Mantra Mugdh; and Audstory Podcast Production founder Neeti Sansare. The session was moderated by Indiantelevision.com founder & editor-in-chief Anil Wanvari.

    Thomas said that 2020 saw a huge podcast explosion. But from 2020 to 2022, there has been a massive drop in the number of new podcasts launched. This, she said, is a given, but the trends around what that means are that there is a slowdown in listenership compared to 2020. There are questions about whether people will listen to shows that are released daily or seasonally. “I cannot predict the future.”

    Khanna noted that the number of videos uploaded on Spotify is rising well and the cost of production is going down. In technology, new tools are coming. So it is growing at a mind boggling pace the kind of content being created. It is not about what the masses want because it is a non-linear broadcast. There is a long tail of content creation happening. It is just that the revolution happening is on the side of the younger generation and not on the part of the decision-makers. It is obvious what is happening, and he feels optimistic.

    Sansare shared his optimism. Earlier, people were trying podcasting and listening to a few episodes. “Now, serious people are stepping into this space, and when they create content, it is long-term. I work with a lot of creators and influencers. When they think about stepping into this space it will make the space more massy and others will also enter.”

    Kumaran said that a legacy business has been built over the years with solid strengths in the radio industry. Now 2023–2024 will mark an opportunity to pivot on trends. For him, the challenge is measurability. Then pivoting quickly is another challenge. The opportunities are galore. For most radio, businesses will come from technology. The intersection of content within technology will provide a lot of opportunity. “That is where a lot of our focus is.”

    Thiagarajan noted that traditional players in news and radio are getting bigger on digital. All these players have a digital app and the challenge for Aawaz.com is that the head start that the company had will run out. But this is good news for the category, as the boundaries are being pushed further. “We need to up our game at this point. We need to create fresh content. There is both good news and bad news for us.” 

    Mugdh noted that the podcast industry is following other industries in hitting a vertical high and then stagnating. This is when the strength of the industry is about first maintaining and then growing. Listeners are diversifying their interests. They are going to newer forums.

    Kumaran noted that doomsday predictions for the audio industry are overstated. There was a lot of learning and grappling during covid. “As with any business we all evolved very rapidly. This is a phase of consolidation. You cannot leapfrog it. This is a time when you sharpen your tool. We will pivot as a whole lot of digital opportunities come our way. Radio pays the bills. The point is, how do you balance the pace of growth? Where do you kind of find the tipping point? How do you invest your time in newer initiatives? This is the call that we all have to take, and it is now downward. You have to see what your strengths are and what can you leverage.”

    He feels that the problems abroad, like layoffs, will not happen here because the industry knows where to pivot and what to pivot on. Over two years a lot of work has been done on what digital opportunities can a radio player leverage. He said that RJs can go into the space of influencer marketing. “I have built an expertise in the last 15 years of what works and what does not. Does not that give me a huge advantage in areas like podcasts? This is where the opportunity lies. It is about pivoting at the right time. It is not about being unduly worried about a doomsday prediction.”

    The discussion shifted to advertising and subscription revenue, and the session noted that there is pressure on how much ad revenue one can get. It is a challenge that users do not like to be interrupted by advertising during a podcast. Sansare noted that podcasts build smaller communities than radio, but these communities are stronger. The listeners feel that the host is his/her friend. So the host can talk about a product that the listener can use, and this strategy will work. Podcasters have smaller but closer-knit communities.

    “So brands approach them.” Thomas said that there are people who are willing to not pay. They will listen to ads. Podcasting allows brands to have a far more nuanced conversation. It allows for brands to experiment. Brands can do things they have never done before in any other medium. Her hope is that brands can invest in creating audio content or ads within shows.

    The session did note, however, that average podcast content has a long way to go before it reaches the critical mass that ensures subscriptions. Good content creation is sporadic. It is about putting out great quality content out there. One has to get the content right. One cannot create content with a myopic lens. One has to be out there listening to what the audience wants. It is very important for the audio industry to be relevant to the audience that it serves. Thomas said that in terms of formats, the podcast industry has a lot of exploring to do. Her company is talking about documentary formats and better storytelling. It is about exploring different experiences within audio. “We have not hit the tip of the iceberg. The challenge is money.”

    The session noted that in the podcast fiction space, it is about having a screenplay, actors, and background music. There is a cinematic approach happening. People are now enjoying audio cinema. So podcast fiction is seeing good growth. Actors are coming in and enjoying working in the podcast format.

    The purchasing power of the youth is increasing, and if one can deliver content that people are willing to pay for, there is a significant opportunity. The example of independent musicians selling tickets today for Rs 1000 was given. This was not imaginable a few years back. If one can create content that consumers are willing to pay for, one does not have to rely too much on ad revenue.

    Thomas said that she can see the kind of people who approach her company to handle production for them. There are more creators. People get the experience of creating their own show, and there is a critical point reached when people realise that they need to create content that is a little better. So they approach her company as it is able to streamline production processes and be more innovative in terms of formats. In the past three months, three projects have come to her from outside the country. The creators are based in the US, UK, and Europe. People still want to make shows.

    Mugdh noted that audio fiction is coming in. He is excited to see adaptations coming to the country from places like DC Comics, which want to create Batman. This was a big move for the Indian fiction market. More such projects will come up this year. “There is clearly more indication of many such projects coming our way in 2023. So when you have international collaborations and adaptations of ‘Super It’ podcasts that have taken place all over the world this shows that the world is not just looking at India as a consumer market. It is also where they are getting the maximum hits now that we are the most populated country in the world. More listeners are getting generated everyday. The market for audio listeners will always remain.

    “Of course, we cannot compare today with 2020. That year was a very tough year for the world. But when it came to consumption, audio content skyrocketed. Now people have moved on to living their life but it is not that they have moved off audio completely.”

    Sansare noted that podcasts are now reaching tier two and tier three cities and towns. Penetrating there faster is a challenge. Podcasting so far has been a tier one phenomenon. Money is a problem. Having said that, there are solutions. It is not just about interview podcasts. It is about working on content like audio dramas. There are so many stories to share. D2C brands are story-heavy. They can use the power of audio. It might take time for them to understand how to use it. The industry must work together for growth to happen in this area. The session also noted that marketers need to invest in audio content and create content natively. The shortcut and lazy approach will not benefit anyone.

  • Harsha Bhogle joins Bowled.io as strategic investor

    Harsha Bhogle joins Bowled.io as strategic investor

    Mumbai: Cricket-based social experience platform Bowled.io has added cricket commentator Harsha Bhogle as a strategic investor. He will lead the Bowled.io think tank, aiding the company with key insights and connecting with global cricket fans. Additionally, he will also assist in developing newer formats for cricket-based games on the Bowled.io platform. He will team up with multiple international cricketers in the Bowled.io think tank.

    Commenting on Bhogle’s appointment, Bowled.io co-founder Rahul Singh said, “Straight drive is the same, whether it is Meerut or Melbourne or Manchester. We started with a mission to bring together cricket lovers from all over the world through the power of sports, gaming and social engagement. Bowled.io is the go-to platform for cricket lovers, providing an immersive and 360-degree experience for cricket fans to connect, compete, and share their passion for the sport. So far, global cricket fans have hit over 10.5 million sixes, caught over 12 million catches, and taken over 2.5 million wickets on the platform. Building further on the overwhelmingly positive response from the community, we are super excited to add Harsha as a brand ambassador and strategic investor. His expertise and adroit understanding of the sports ecosystem will help us grow Bowled.io and connect with sports fans globally.”

    Launched in March 2022, Bowled.io allows users to discover and play games, own in-game assets, compete in tournaments, reap social and economic benefits and much more. The entire ecosystem is powered by blockchain technology, allowing true ownership and interoperability of the assets. The Bowled.io super app already has a global community of cricket fans from 70+ countries, with over 34 million hours of gameplay consumed and 60+ million in-game assets in circulation.

    Bhogle added, “Strategy-based games have always piqued my interest since they let people compete with one another and get more involved. I was drawn in by the prospect of working with a youthful, zealous team of cricket enthusiasts and their new take on cricket. I now expect a prolonged, exploratory journey with this fantastic young team.”

    With its fleet of six hyper-casual games and two mid-core and strategy games, Bowled.io aims to be the pioneer in creating a platform for sports fans across the world. The flagship game, Faceoff, is being hailed as the chess of cricket as it combines knowledge and strategy to create exciting gameplay. Bowled.io also plans to bring live cricket games to the platform very soon. The Bowled.io marketplace hosts in-game assets that can be bought and sold among users.

    Bowled.io recently added core features like in-game asset utility and wallet, completing the blockchain gaming loop. Bowled.io plans to start venturing into other sports, like football, tennis and basketball, with similar core loops going forward. Along with this, Bowled.io is partnering with leading industry players to add content and distribution power ups. Sky Mavis, the creator and operator of the world’s largest play-to-earn game, Axie Infinity, is a strategic investor and partner to the Bowled.io platform, in addition to Bhogle. The company has raised three million dollars from other marquee global investors and industry leaders in March 2022.

  • OTT global market to reach $1.25 tn by 2027 at a 29.51% CAGR

    OTT global market to reach $1.25 tn by 2027 at a 29.51% CAGR

    Mumbai: ResearchAndMarkets.com has published its ‘over the top (OTT) market: global industry trends, share, size, growth, opportunity and forecast 2022-2027’ report.

    The global over-the-top (OTT) market reached a value of $265.1 billion in 2021. Looking forward, the publisher expects the market to reach $1,251 billion by 2027, exhibiting a CAGR of 29.51 per cent during 2021–2027.

    The growing media and entertainment industry, along with the rising sales of smart computing devices across the globe, is one of the key factors driving the growth of the market. In line with this, widespread adoption of OTT services and high-quality streaming content over devices, such as smartphones, laptops, smart televisions, computers and tablets, is further contributing to the market’s growth. In comparison to the traditionally used cables and satellite television sets, devices offering OTT media services provide higher portability, convenience, accessibility and connectivity.

    Furthermore, the deployment of artificial intelligence (AI) by OTT service providers is also providing a boost to market growth. Service providers are increasingly utilising advanced technologies to analyse users’ preferences and offer them customised content. This improves the overall experience of the user, thus favouring the adoption rates of OTT.

    Additionally, significant developments in the communication infrastructure and increasing penetration of high-speed internet across emerging nations are also creating a positive outlook for the market. Other factors, including rapid urbanisation, inflating disposable incomes, and increasing consumer expenditure on entertainment and related services, along with extensive research and development (R&D) activities, are expected to drive the market in the upcoming years.

  • IOS Sports & Entertainment onboards Indian rally racers Pragathi Gowda and Yuva Kumar

    IOS Sports & Entertainment onboards Indian rally racers Pragathi Gowda and Yuva Kumar

    Mumbai: IOS Sports and Entertainment Pvt. Ltd., a sports management organisation, has announced the onboarding of two of India’s promising future rally racing talents Pragathi Gowda and Yuva Kumar.

    Bengaluru-based rally driver Gowda will be representing the Asia-Pacific region in the 2023 FIA Rally Star training season after her impressive win in the Asia- Pacific finals of the FIA Rally Star program held at the Madras International Circuit in Chennai late last year. Gowda, who made her debut in Rally Racing in 2020 at the Indian National Rally Championships held at Itanagar, finished in the top 10 in her first national championship and in the process caught the eyes of the motorsport community within the country.

    Now in just a little over 24 months since her debut and two credible finishes that also include a continental win, Gowda is definitely a strong contender to one of the few prominent and emerging rally drivers from India in the global rally circuit. Gowda who has been racing since a very young age and credits her motivation to her late brother Prajwal who was the reason for her to start racing. 

    Gowda commented, “My racing career is short, but my ambitions are big. I am glad that in this short span, I have been able to achieve some good results and that gives me the confidence that there’s more in store for me. At this stage of my career, it was important for me to start building a professional team around me and the first need beyond the technical bit was having a commercial partner. I am glad to be joining hands with IOS Sports & Entertainment, who undoubtedly are one of the most professional and seasoned sports marketing entities in the country.” 

    IOS Sports & Entertainment also announced the signing of yet another promising rally rider, Yuva Kumar, into their fold. Kumar, who recently won the Desert Storm 2022 in the moto category (upto 250cc) hails from Andhra Pradesh but has been raised in Bengaluru, Karnataka. With nearly two decades of rallying experience on two wheels, Kumar currently competes for the Hero Motorsports Team Rally.

    Kumar said, “Motorsports is an expensive sport and after a while to step up, we all need commercial partners to help us take us to the next levels in our careers. Last year was a good year in my career and to now take the leap it was important for me to have experts with me. I am glad that I found that in team IOS and I am looking forward to my association with them.”

    IOS Sports and Entertainment Pvt. Ltd. COO Rahul Trehan said, “As an organisation, we have strived to bring to the fore talented youngsters to the national eye. Both Gowda and Kumar are truly motivated athletes with a tremendous ahead of them. It was their quality and sincerity that has made us put our trust in them. Motorsports is one of the most followed sports across the world, and through these athletes, we can bring some attraction towards motorsports in India.”

  • Tata Play Binge to accelerate digital content and OTT play with Comviva

    Tata Play Binge to accelerate digital content and OTT play with Comviva

    Mumbai: Comviva, which offers mobility solutions, announced its partnership with Tata Play Binge on Monday to accelerate its digital journey with the BlueMarble platform.

    Comviva’s BlueMarble platform shall power Tata Play Binge to maximise its growth by targeting a more extensive customer base beyond its existing DTH subscribers. BlueMarble provides an integrated suite of use cases like cataloguing, ordering, CRM, subscriptions, billing, and revenue management that enable an exceptional customer experience. Media service providers can onboard, launch, manage and stream new services quickly and seamlessly.

    In the current OTT ecosystem, customers download multiple content apps and subscribe to different paid content models to view their choice of content. With this move, Tata Play Binge brings many OTT apps under one roof, giving customers a simplified content-first approach via a single subscription. Through a single subscription and a unified frontend, Tata Play Binge currently offers 20+ OTT apps like Disney+ Hotstar, Zee5, SonyLIV, Voot Select, MX Player, Lionsgate Play, hoichoi, Chaupal, Namma Flix, Planet Marathi, ReelDrama, Koode, ManoramaMax, Tarang Plus, Sun NXT, Hungama Play, Eros Now, ShemarooMe, Voot Kids, Curiosity Stream, Epic On and DocuBay.

    Tata Play’s Vishal Arya said, “We are a customer-obsessed organisation and continuously strive to set new benchmarks for experience. One of the distinguishing features of Tata Play Binge is that it provides a unified subscription model to the customers while managing various subscription models simultaneously. Comviva’s BlueMarble digital platform gives us significant business agility and flexibility in delivering various business models. Our go-to-market time has drastically reduced, thereby making Tata Play Binge more competitive and innovative in the market.”

    Comviva senior VP and head of integrated solutions Tanveer Mahmood said, “Today, digital technologies present an ideal opportunity for media players to innovate and prepare for the future. We are excited about this strategic partnership with Tata Play Binge as it forays into the pure-play OTT content aggregation space. Our BlueMarble platform will make content viewing an enriching and engaging experience for all users and help Tata Play Binge in its digital transformation journey.”

    Comviva’s BlueMarble is a cloud-native, containerised, microservices-based platform that is scalable and flexible to handle traffic and customer base surges on the Tata Play Binge app. Additionally, the solution allows Tata Play Binge to devise customer-friendly subscription plans that are in line with the ever-evolving content-consuming market.

  • GUEST ARTICLE: Trends expected in 2023 in the gaming category

    GUEST ARTICLE: Trends expected in 2023 in the gaming category

    Mumbai: The gaming industry is catapulting forward at an exciting pace. It has come a long way from its homely beginnings in the seventies with home and arcade gaming. With big tech giants such as Apple, Microsoft, Amazon, and Google now offering gaming products, here are some major trends to expect in 2023:

    Cloud gaming services

    Cloud computing has had a significant impact on the gaming industry. The gaming industry has dramatically shifted from the days of stand-alone consoles and PC gaming platforms. Gamers can now play games from anywhere and on various devices—mobile phones, tablets, laptops, and even television sets! The cloud gaming market is growing like never before. The easy availability of cheap smartphones and internet connectivity will continue to augment demand. With an estimated CAGR of 26.12 per cent for 2017 to 2023, the cloud gaming market will hit $4.284 billion by 2023! The roll-out of the 5G network in India will also introduce plenty of possibilities giving players a seamless experience.

    Creative gaming collaborations

    2023 will witness a gamut of creative collaborations, resulting in exciting blockchain-based video game launches. The National Football League (NFL) has partnered with Mythical Games to create NFL Rivals, which will be available on the web, iOS, and Android platforms. Upland and FIFA announced a multi-year Metaverse partnership. With Sandbox having seven strategic alliances, such as with Skybound Entertainment and South China Market Post, expect some new interactive experiences and ground-breaking opportunities to delve into the virtual gaming world. Partnerships between finance-related companies such as CoinMarketCap and DBS with Sandbox aim to enable gaming enthusiasts to understand complex financial and environmental concepts through the learning-by-doing method. An increasing number of coaching centres and educational institutes have seen the potential of enhancing the learning experience through animation and games and will be looking to create relevant educational content. 

    More women in gaming – the growth of women-centric games 

    The number of female gamers has been on a steady rise and is estimated to make up 40 to 45 per cent of the gaming population in Asia. However, their representation in the gaming industry could be better. Women hold barely 16 per cent of the executive positions in the gaming industry and 24 per cent of other posts! This will change with women in games launching their Asia Chapter in the coming years. With their commitment to making gender equity and parity a lasting reality, they are calling for a reimagination of the existing structures within the gaming industry. Expect to see more games designed to serve the female segment of gaming enthusiasts.

    Expansion of the metaverse and mobile gaming

    The metaverse will revolutionise the gaming world beginning in 2023 entirely. By 2029 the industry size is estimated to breach the $1500 billion mark. Metaverse mobile games might focus on allowing users a seamless transition from mixed reality to augmented reality to a complete metaverse Immersive VR ecosystem. New and established players will likely invest heavily in research and development or look out for mergers and acquisitions to bring out innovative games and stay ahead in this competitive space. We can expect the rolling out of more incentives by gaming companies to keep individual players tied to their metaverse. The mobile-first rule in designing the metaverse for gamers will trigger a massive surge in the number of gamers. 

    Improved experiences in the i-gaming sector

    iGaming has been around since the nineties but has evolved significantly, taking aspects of well-known classic video games in recent years. The variety of games offered by online casino platforms is paving the way for rapid growth in the number of users. The growing popularity and acceptance of cryptocurrency as a payment method will continue to attract more gamers to the iGaming platform and its easy availability across any internet-connected device. Online casinos will continue to look for more ways to gain an edge over competitors through exciting bonuses, free-play features, and immersive graphics and animations. iGaming may very well be the future of online gaming.

    Virtual reality and augmented reality 

    The gaming sector’s adoption of cutting-edge graphics, high-definition displays, facial and voice recognition, and gesture control has transformed the gaming space from the early days of the PlayStation 1. Though AR and VR in India are still nascent, there is a vast talent pool of technically skilled workers and creative minds. Internationally, the AR and VR industries’ revenues are growing by leaps and bounds. The growing popularity of VR and AR and the boom in iGaming will see greater adoption of AR and VR in real-world casinos to supplement the casino environment and experience. This will be necessary to retain patrons and clients and attract new ones. 

    A space for socialising

    Approximately 50 per cent of the Indian population began playing online games during the covid-19 pandemic. Social distancing norms and lockdown restrictions forced people to find new avenues of entertainment and socializing. Currently, India has a growing youth and gaming population with disposable incomes that continue to connect through gaming platforms as more and more games move from the PC and console to online platforms. 

    International developers will be eyeing this market and are on the lookout for collaborations and tie-ups with Indian developers to enhance the experience of the Indian gamer.

    India has always had a unique market when it comes to media and entertainment. Mobile phone penetration in the country, cheap internet user fees, and developers’ mobile-first approach have increased exponentially the number of gamers hooked on to the metasphere. While hardcore gamers spend an average of Rs 6,500/- per year to enhance their experience with accessories and peripherals such as headsets, stereo-speakers, and even ergonomic chairs, casual gamers are the most significant user base, with almost 400 million users. Digital media is growing in leaps and bounds, and advertisers will target casual gamers as their audience. Casual gamers can expect an exciting year ahead, with developers vying with each other to capitalise on this growing momentum. The year promises to be adventurous for the serious gamer, with several new launches expected across different gaming consoles.

    The author of this article is PlayerzPot co-founder and director Mitesh Gangar.

  • Personalisation of content is our core feature: ViewLift’s Manik Bambha

    Personalisation of content is our core feature: ViewLift’s Manik Bambha

    Mumbai: ViewLift is a cloud-based streaming platform headquartered out of New York, offering a complete end-to-end solution to content owners to distribute and monetise their content across multiple device platforms, including web, mobile, over-the-top, connected TV, smart TVs and gaming consoles. ViewLift’s founding team has strong industry relationships and brings years of experience as an operator, not just a technology provider. ViewLift operates across the digital ecosystem, understanding each device’s unique requirements and best practices.

    In India, ViewLift is the enabler for the extremely popular OTT platform for Bengali content – Hoichoi, among others such as Kanccha Lannka and Oho Gujarati.

    The ViewLift platform offers industry-leading functionality, complete scalability, and deep experience in distributing live and on-demand video. ViewLift is a single, proprietary SaaS platform; in addition to its comprehensive technology stack, ViewLift also supports multiple integrations with payment gateways, ad networks, and marketing CRM systems such as Mailchimp & HubSpot and more.

    Indiantelevision.com in conversation with Manik Bambha, who is head of sales, product, tech and marketing for ViewLift in his role as co-founder & president. With over 15 years of experience, he has been a strategic leader with experience in the media and entertainment industry. He also has a deep understanding of social, web, mobile, OTT, CDN, live, stats and distribution.

    On ViewLift’s India journey 

    ViewLift operates globally. We have a strong presence in the USA, Asia and India. In India, we are the technology partner for Hoichoi, one of the earliest and most -successful OTT services for a regional language in the country. Since then, ViewLift has powered some of the leading D2C VoD services in India and APAC. Some of the clients include Hoichoi, Oho Gujarati, Kanccha Lannka and Chorki (from Bangladesh).

    As technology solutions providers to our clients, our biggest learning and USP has been to not compete with any service providers like Netflix or Disney+ Hotstar. Our clients offer their unique content and consumer solutions to audiences.

    ViewLift has spent a decade scripting success stories for a diverse range of OTT platforms of all flavours and sizes. Our prime focus area is to provide engineering and architecture that helps our customers to deliver delightful experiences that engage and retain their viewers.

    Content personalisation, therefore, is one of the core features of what we do. In addition to solutions, architects, and engineers, we assist OTT platforms with workstreams like analysing user preferences. Our state-of-the-art analytics infrastructure offers them a 360-degree view of both real-time and historical data on user preferences and much more.

    On monetising content

    ViewLift can get a brand up and running on any business model in weeks. This allows the brand to be making money from day 1 without spending months/years in build. ViewLift platform facilitates hybrid and multi-tiered monetization to enable DTC platforms to choose the business model that works best for their content type and target region they operate in such as – ads, free, SVoD, PPV, TV everywhere, PVoD, etc.

    On the changes made to the thought process before entering India. 

    In India, we had to make adjustments on the encoding ladder to address lower bandwidth issues. Adjustments were also made in apps handling lower-powered devices and CDN (content network delivery) to address remote areas. 

    One of the key changes we had to make to attract clients in India was the addition of new payment methods. India is by far the biggest market for regional content due to many different languages being spoken in different districts, unlike the US market. So, bringing in the use of wallets, and regional payment gateways to make the payment process seamless was very important. Integration with local telcos and third parties was also important.

    On the growth of OTT and where do you see it in the next five years

    India continues to be a virtual outlier in terms of consumer trends, with an estimated 0.5 million families currently practising cord-cutting. Although it started with a small base, smart TVs in India have grown quickly and now account for the majority of all new TV purchases. This was thought to be the tipping point for consumers to stop using pay TVs and switch entirely to OTTs for their entertainment needs, but barriers like internet connectivity and relatively higher entry costs have caused them to stick with linear TV.

    On regional content

    Big players are just scratching the surface on regional. Content budgets are thin and they can only afford to do five-10 shows a year in one region. Regional players on the other hand are doing 10-100 shows a year. Also, regional players have better access to scripts and talent. As far as regional content is concerned, regional players will continue to dominate in 2023.

    On the partnership with Hoichoi 

    Hoichoi is a key client and partner for us. We innovate with them and their expansion has been very helpful for us to test technology and business ideas. Hoichoi has benefited from our extensive marketing, data, and analytics tools, which assist them in improving interaction with their target audience by creating quality content. 

    ViewLift is excited to be a part of the development of Hoichoi. This collaboration between ViewLift and Hoichoi elevates it to the top of the regional entertainment space, not just in India, but globally. We bring Global to Hoichoi and we learn locally from them.

    On various other initiatives 

    A lot of big brands spend exorbitant amounts of money on tech resources and they have very average digital products. We cut that cost and give them a much better product. 

    Our clients save huge on Capex with ready-to-deploy yet fully customisable solutions to launch branded native apps on over 16 digital platforms such as Android, IOS, Apple TV, Roku, Fire TV, Smart TVs, Xbox, and more. This helps save on the technology operations without having to have a full engineering and support team.

    Also, the ‘pricing plans’ are created to support growth and scalability. This allows content creators to launch with smaller budgets and scale to additional platforms as they grow and can afford.

    On how does Viewlift bridge need gap in existing business

    ViewLift’s founding team has strong industry relationships and brings years of experience as an operator, not just a technology provider. ViewLift operates across the digital ecosystem, understanding each device’s unique requirements and best practices.

    It is our continuous endeavour to be innovative to keep the clients ahead of the competition with continuous upgrades and the addition of new features to enhance reach and performance.

    On expansion and growth plans 

    We plan to double our client base in India and work closely with them to showcase regional content, the consumption of which is increasing at a very fast pace in the Indian market.

  • BTS star j-hope’s doc to debut on 17 Feb on Disney+Hotstar

    Mumbai: On 17 February 2023 viewers are invited to watch as j-hope of BTS brings it all and does it all in j-hope In The Box. This is a behind-the-scenes documentary special showcasing the creation of his first solo album on Disney+ Hotstar.

    Produced by Hybe, it follows the international music sensation every step of the way as he works to release his first-ever solo album – Jack In The Box. Over the course of the documentary, viewers will be given a never-before-seen look at the creative challenges faced during the album’s preparation process, as well as front row seats to j-hope’s 2022 Lollapalooza performance and the album’s listening party.

    Disney+ Hotstar viewers can also enjoy BTS: Permission To Dance On Stage – LA. This is a 4K concert film featuring BTS’ live performance at Los Angeles’ Sofi Stadium in November 2021. There is also In The Soop: Friendcation. This is an original travel reality show with a cast including V of BTS, Park Seojun (Itaewon Class), Choi Wooshik (Parasite), Park Hyungsik (Soundtrack #1), and Peakboy as the five friends venture off on a surprise trip and enjoy a variety of fun leisure activities together.

  • Vh1 Supersonic 2023 announces its star-spangled artist line up

    Vh1 Supersonic 2023 announces its star-spangled artist line up

    Mumbai: Vh1 Supersonic 2023 has announced a stellar lineup of international musical sensations, including Anne-Marie and CKay, who will perform in India for the first time! The global artists and headliners will be joined at this eighth edition by India’s favourite musicians, including rapper Divine, singer-songwriter Anuv Jain and indie sensation Prateek Kuhad. Performing live for the first time will be OAFF & Savera, music producers of the critically acclaimed film music of the 2022 Bollywood movie Gehraiyaan. Adding to the indie scene at Vh1 Supersonic 2023, Farhan Saeed will also be seen performing his indie-English set.

    The event will be held live at Mahalakshmi Lawns, Pune, on the 24th, 25th, and 26th of February 2023!

    The highly anticipated latest edition promises an unrivalled experience of many ‘firsts’ for music and culture connoisseurs. The festival has already raised the bar, beginning with the UK’s breakout popstar and Psycho-hitmaker Anne-Marie, who will perform solo in India for the first time on the Vh1 Supersonic 2023 stage. Adding to it, Nigerian singer Chukwuka Ekweani aka CKay, who blazed through global music charts and social media with Love Nwantiti will also be seen taking the Vh1 Supersonic 2023 stage by storm with his first performance in India.

    This year’s superfamily will also get to experience a diverse musical spectrum, including indie electronic music producer Anyasa, indie techno artist Arjun Vagale, British DJ Bill Brewster, Qilla Records founder Kohra, electronic producer Zokhuma, and multidisciplinary electronic and techno phenomenon BLOT!. Sandunes explores the vast landscapes of sound, while Stalvart John finds new comfort in disco-infused house and techno. Peter Cat Recording Co. and Lifafa round out the lineup.

    Experimental lo-fi artist Begum, soul/R&B band Easy Wanderlings, Hamza Rahimtula, and Ranj x Clifr will provide a musically diverse experience for the attendees. Right from T.ill Apes, Tyrell Dub Corp., Bee Wise, Earl Gateshead, General Zooz, Harshal, I-tal Soup feat. David Goren, Leah, Mozez x PlanB, Nida, Ninjahdread, Petah Sunday, Parallel Live, Praise Jah Sound, Sanyas-I, Sourfunk x Joven Roy, Sunflower Tape Machine to Yash Nirwan, music lovers are in for a sensory and auditory treat!

    Talking about performing at Vh1 Supersonic 2023, Saeed said, “As a singer-songwriter, there’s nothing more that I love than performing live for my fans, and Vh1 Supersonic is the perfect stage for it. I’m so looking forward to sharing my music with everyone at the festival!”

    In conversation with Nikhil Chinapa, artists Savera and OAFF expressed excitement over performing at Vh1 Supersonic 2023. “It is going to be a fun experience as we are putting effort into going all out and playing live,” said Savera. Further to this, OAFF added, “It’s our first time connecting with our fans directly, and it’s very new for us. So, we are super kicked to experience it at Supersonic. We previously have watched great acts at Supersonic, and since pandemic came, it has been really difficult to experience this. We are looking forward to playing live, which will have a bunch of our songs and some new stuff with cool collaborators.”

    Festival curator Nikhil Chinapa said, “This year, Vh1 Supersonic continues on its journey of being a ‘Festival of Firsts.’ As we’ve always done, this year too, we’ve got an epic line-up of ground-breaking global artists and indie musicians performing for the first time in India. Our lineup reflects our own passion for dynamism and progress and includes artists that many will find exhilarating and unique. Our festival layout sees many changes too, unfolding like an exciting graphic novel where each panel brings a new surprise and tells a different story, challenging our fans to explore, indulge and experience our Vh1 Supersonic festival, 2023.”

    Viacom18 LIVE (Integrated Network Solutions) business head Gaurav Mashruwala added, “The excitement of our Superfam has only heightened over these three years, reinforcing how Vh1 Supersonic has always been at the heart of all things pop-culture. As we return after a hiatus amidst all the fan excitement, the 2023 edition will feature an incredible line-up of global artists and indie artists set to perform live in India for the very first time, making it a striking mix of musical styles and genres. With the support of our distinguished partners, we’ve curated a unique, multi-sensory fest combining multi-genre music stages, eclectic experience zones across fashion, food, art, and flea-style markets—all in one place. With an unprecedented curation of experiences, Vh1 Supersonic 2023 is set to bring a year of many ‘firsts’ for its superfam.”

    Vh1 Supersonic 2023 will encompass five spectacular stages. The main stage will offer attendees the best of pop, hip hop, jazz, and indie pop—an experience that will also be extended to Bangalore on the 24th of February, where two of the main festival headliners will perform as well! Ardent live music fans can get their dose of their favourite music at the Nexa Stage; festival-goers can also enjoy a striking car show by the automotive giant. The Reggae Stage will pack a musical punch, powered by 10,000 Lions Sound System. Budweiser will bring a dynamic BUDX Spectrum Stage, with a dancefloor to host techno and house artists, and the Beer Garden, a one-of-a-kind, high-spirited experience for the guests. Last but not the least, India’s favourite bar, Social, will have its own eponymous stage specially programmed by the team at Social!

    Committed to an elevated pop-cultural experience, Vh1 Supersonic 2023 will also bring to its superfam the SuperStreet arena, a melange of everything pop and trending including fashion wear, NFT and immersive augmented reality art and more by NRYTA & Sunday Soul Sante. The stage itself will be helmed by artists playing acoustic music. Impresario Entertainment & Hospitality will bring to the festival the exceptional – SuperFlea, a flea market inside the festival will offer mouth-watering food to fulfil the hunger pangs of all, from all the restaurants under the Impresario portfolio, like Social, Smoke House Deli, Salt Water Cafe, Slink & Bardot, Boss Burger, Dope Coffee & many more.

  • Netflix’s ‘Is Time Travel Possible’ trends no.1 on YouTube India

    Netflix’s ‘Is Time Travel Possible’ trends no.1 on YouTube India

    Mumbai: Netflix India’s latest YouTube video, Is Time Travel Possible?, has taken the whole internet by storm. It has reached the number one spot in the trending section of YouTube, garnering over 12 million views in just 48 hours.

    Is Time Travel Possible? has been lapped up by netizens, and social media is flooded with positive comments about the comical storyline, enjoyable performances, and laugh-out-loud dialogues. The video is streaming on Netflix India’s official YouTube channel.

    Conceptualised and executed by Netflix India in partnership with The Rabbit Hole, a full-service content and video marketing agency part of the Zoo Media Network, ‘Is Time Travel Possible?’ features popular internet creators Round2hell at their trademark best as they whip up some hilarious time travel high jinks, pulling in iconic references from different films and shows like Dark, Stranger Things, RRR, Money Heist, Monica O My Darling, & Kota Factory Season 2 that are featured on the Netflix OTT platform, making it an absolutely entertaining plot.

    Talking about the video and their partnership with Netflix India, The Rabbit Hole business head Rishabh Khatter says, “The social marketing team at Netflix has always given us a great playing field to experiment and always pushes boundaries in the content space. With The Rabbit Hole’s ability to answer that challenge, this partnership is very rewarding. This latest piece as well comes from a long list of different properties that we have created together and will keep doing so in the endeavour to grow the channel and showcase the immense value of their title slate through its content. With Round2hell collab, the question was, “How big of a winner can we have at our hands? We just had to make sure that the creators stay excited with our script and not take away from their signature style in the creation process.”