Category: Over The Top Services

  • Netflix launches trailer for the fifth season of The Crown

    Netflix launches trailer for the fifth season of The Crown

    Mumbai: The official trailer for the fifth season of The Crown was released today, a first chance to see the new cast in their interpretation of the Royal Family characters that Peter Morgan first created in 2016.

    The new season launches globally on Wednesday 9 November.

    Inspired by real events, this fictional dramatisation tells the story of Queen Elizabeth II and the political and personal events that shaped her reign.

    With the new decade in its stride, the Royal Family are presented with possibly their biggest challenge to date; as the public openly question their role in 90s Britain.

    As Queen Elizabeth II (Imelda Staunton) approaches the 40th anniversary of her accession, she reflects on a reign that has encompassed nine prime ministers, the advent of mass television and the twilight of the British empire. Yet new challenges are on the horizon. The collapse of the Soviet Union and the transfer of sovereignty in Hong Kong signals a seismic shift in the international order presenting both obstacles and opportunities. Meanwhile, trouble is brewing closer to home.

    Prince Charles (Dominic West) pressures his mother to allow him to divorce Diana (Elizabeth Debicki), presenting a constitutional crisis of the monarchy. Rumours circulate as husband and wife are seen to live increasingly separate lives and, as media scrutiny intensifies, Diana decides to take control of her own narrative, breaking with family protocol to publish a book that undermines public support for Charles and exposes the cracks in the House of Windsor.

    Tensions are set to rise further, as Mohamed Al Fayed (Salim Daw)  arrives on the scene. Driven by his desire for acceptance of the highest order, he harnesses his self-made wealth and power to try and earn him and his son Dodi (Khalid Abdalla) a seat at the royal table.

    Written by Peter Morgan, The Crown‘s fifth series stars Imelda Staunton as Queen Elizabeth II, Jonathan Pryce as The Duke of Edinburgh, Lesley Manville as Princess Margaret, Dominic West as Prince Charles, Elizabeth Debicki as Princess Diana and Olivia Williams as Camilla Parker Bowles. Jonny Lee Miller takes on the role of John Major. Also featured is Claudia Harrison as Princess Anne, Marcia Warren as the Queen Mother, James Murray as Prince Andrew and Sam Woolf as Prince Edward. Playing the role of the young princes will be Timothée Sambor and Senan West as Prince William and Teddy Hawley and Will Powell as Prince Harry. Prasanna Puwanarajah is Martin Bashir, Salim Daw is Mohamed Al Fayed with Khalid Abdalla as Dodi Fayed.

  • YuppTV bags broadcasting rights for T20 World Cup 2022

    YuppTV bags broadcasting rights for T20 World Cup 2022

    Mumbai: YuppTV, an over-the-top (OTT) South Asian content provider, has acquired the broadcast rights for the ICC Men’s T20 World Cup 2022, scheduled to take place between 16 October and 13 November.

    YuppTV has bagged the exclusive broadcast rights for the ICC Men’s T20 World Cup Australia 2022 for 75 countries, including Continental Europe, Malaysia (non-exclusive), Japan, China, Hong Kong (non-exclusive), Nepal, Bhutan, Maldives, and Southeast Asia (except Singapore). The tournament will be telecast live over YuppTV’s platform.

    The ICC Men’s T20 World Cup 2022 is the 8th edition of the tournament and will be held across seven venues in Australia between 16 October and 13 November. The tournament features 16 teams competing for the world title of T20 champions. A total of 45 matches are scheduled to be played in the tournament.

    YuppTV CEO & founder Uday Reddy said, “Cricket is one of the biggest sports in the entire world, with more than one billion fans situated in different corners of the globe. T20 began as an exciting format, and in recent years, has become one of the most watched and loved forms of the game.”

    He adds, “The exciting match-up between international teams, nation versus nation, for world dominance is guaranteed to be an enthralling experience for viewers, who will be gearing up from the comfort of their homes to watch the ICC Men’s T20 World Cup 2022 to support their favourite teams and take them to victory. It brings us immense pleasure to bring the tournament to millions of people across Asia and Europe, and we look forward to having users tune in to the match on our platform to catch all the action live!”

    Fans from across the world await the most anticipated fixture, India vs Pakistan, which will take place on Sunday, 23 October in MCG, Australia. The final match of the tournament is scheduled on 13 November where the winning team will claim the ultimate prize in T20 cricket.

  • Vossle witnessed an average spike of 200% in its sign-ups over the last 6 months: cofounder Prafulla Mathur

    Vossle witnessed an average spike of 200% in its sign-ups over the last 6 months: cofounder Prafulla Mathur

    Mumbai: Augmented reality (AR) isn’t just a fancy term anymore. It has, in fact, become a much sought-after means of accomplishing brand goals. The major factors driving the growth of web AR are the booming gaming industry and the rapid penetration of the internet, which are driving brands across the world to adopt web AR to increase their engagement with customers on their websites.

    Here’s where Vossle, a cloud-based, no-code web AR development SaaS platform, comes into the picture.

    Launched in January 2021, Vossle was co-founded by Prafulla Mathur and Pulkit Mathur. According to the duo, with the platform, businesses can create augmented reality in under a minute. It requires no app downloads to experience world targets, image target-based campaigns, games, or face detection-based try-ons using Vossle’s core AR+AI engine. It reaches millions of users instantly with an app-less AR experience that works on every modern smartphone browser the moment you publish it.

    Prafulla Mathur and Pulkit Mathur are serial tech entrepreneurs, and are also the founders of Queppelin, a global metaverse development company.

    Vossle raised funds from Nimbuzz ex-CEO Vikas Saxena. Nimbuzz was acquired by the UK’s New Call Telecom for $250 million. Vossle grew quickly and now operates in Gurugram and New York.

    In an exclusive confab with Indiantelevision.com, Vossle co-founder Prafulla Mathur discusses the application of Web AR by various brands and across categories, how it is being used in the advertising and marketing space, and so much more.

    For starters, the global augmented reality (AR) and virtual reality (VR) market size was valued at Rs 1,222.7 billion in 2020 and is projected to reach Rs 37,073.65 billion by 2030, registering a CAGR of 40.7 per cent.

    Discussing the expansion plans of Vossle over the next two years, Mathur reveals, “We are expanding Vossle technology teams as we are releasing new product features. Our current teams are in India and New York (USA), and we will add further teams at these offices. We are also adding more customer support teams (both through email, phone, and the Vossle tech forum) to help our customers.

    “Elaborating on Vossle being a no-code platform, Mathur reveals that it democratises AR for everyone by removing the dependence on development/coding teams. “You can think of Vossle as Shopify for web AR. With Shopify, businesses can create websites without writing any code and do not have to bother with hosting them. Similarly, with Vossle, businesses can create various types of AR without any coding knowledge and use them out-of-the-box as the created AR experiences are also automatically hosted on Vossle,” he explains.

    About the subscription model: Apart from a free trial, Vossle offers two subscription plans, namely, commercial and enterprise plans. In the free trial, users can create unlimited AR experiences with 100 free views. The commercial plans are for $99 per month, wherein users can create various types of AR experiences like in-line AR, face filters, try-ons, games, world tracking experiences, image tracking experiences, green screen chroma key videos, and so on. Users can create unlimited experiences and are offered 10,000 views + $0.01 per extra view. In the enterprise plans, along with all the commercial plan benefits, users can avail themselves of the option for white labelling and custom branding.

    Use cases of Vossle’s technology

    One of the most eminent use cases of Vossle’s technology is that of in-line AR being used for improving website search engine optimization (SEO). Any effective SEO strategy aims to keep visitors on the website for longer session durations. Vossle’s inline AR Feature makes it possible by embedding AR experiences inside a website, which has a 90-times higher engagement rate from website visitors.

    Mathur emphasises that AR is also utilised for product packaging. Brands which integrate AR into their packages are able to capture the audience way more than their competitors. This also gives analytics and insights on customer profiles, store level sales, and customer engagement analytics and makes brands better prepared to update inventory at the highest engagement stores.

    Advertising and marketing also constantly utilise AR. “Traditional marketing strategies are no longer sufficient to stay up with the times. The key to creating a digitally transformed company is to build upon new strategies such as integrating AR into business models,” points out Mathur. For instance, Tanishq, a product of the Tata Company, is one such example of excellent AR marketing. The company used Vossle’s virtual try-on feature to make a gorgeous 3D reproduction of their newest jewellery and made it possible for users to virtually put it on.

    Gaming is another instance wherein AR is used extensively. Nothing compares to AR for attracting audiences, engaging their attention for longer sessions, and boosting click-through rates. Web AR games amplify this even further. For example, Pond’s, a major skincare brand from Hindustan Unilever (HUL), needed a smart, potent, and engaging marketing strategy to connect and influence the younger audience and expand their loyal customer base. Thus, the brand created a unique web AR game on Vossle—users have to pop the bubbles with their facial movements. With each bubble they pop, their skin becomes more radiant and glowing. The game also has an end-to-end ecommerce flow with integrated discount coupons.

    Another example is that of a web AR experience of a 3D basketball game that can be played by scanning the code. The player has to shoot baskets through the hoop with their finger. This is just one of the many examples of how any idea can be turned into a web AR game with Vossle.

    AR being heavily applied in e-commerce. Online retail has already started adopting 3D AR product visualisations. Amazon is already offering 3D product visualisations, Lenskart (a prominent eyewear e-commerce player in India) offers eyewear try-ons, and Tanishq has offered Vossle jewellery try-ons. Mathur says, “This not only improves the shopping experience by allowing customers to visualise and virtually try-on a product before buying, it also reduces returns as the customers are making an informed decision.”

    Education is also an additional use case of AR. Players in the education space are now integrating Vossle into their online courses to explain concepts in a unique way by providing a real-life context to the students through AR. This interactive way of learning results in faster understanding and higher knowledge retention.

    Web AR – led promotions and the effect of web AR on sales

    Mathur brings out, “We witnessed an average of a 200 per cent jump in our monthly Vossle sign-ups over the last six months. Many of these signups are from brand marketers or their agencies. Additionally, some of the largest marketing, advertising, and creative agencies have become Vossle’s service partners, clearly indicating the huge investments that the brands are making towards creating web AR campaigns.

    “Talking about the effect of web AR on sales, Mathur elucidates that as the users’ gaze times are very high when viewing AR, they stay for longer durations on brand websites when AR is embedded on the page. This improves the websites’ SEO rank and hence drives traffic, resulting in higher sales.

    Brands selling their products online also give ads on Google, which is called search engine marketing (SEM). Inline AR on its landing page increases the quality score of such ads, reducing the ad rates for the brand and resulting in more targeted users being able to see it within the same budget.

    Additionally, brands that integrate AR into their packages are able to capture the audience way more than their competitors. “One of the recent campaigns we did for an FMCG company received 500K views in a month on their web AR experience through their packaging. This resulted in higher sales for the brand,” says Mathur.

    Brands and categories utilising Vossle’s web AR technology

    Along with many others, some of the few brands that Vossle is already working in tandem with are Pond’s, Tanishq, and Emirates NBD, which is a banking behemoth in the Middle East and uses Vossle web AR to wish their users on every festival like Mother’s Day or Chinese New Year.

    Speaking about the categories implementing AR, Mathur states that it is used for inline AR—website owners from across education, retail, furniture, jewellery, and consumer goods like beauty products, etc. are taking a lead in using inline web AR.

    It is also employed for packaging-based AR implementations. Consumer packaged goods (CPG) are leading the way in offering web AR experiences to engage customers. They have millions of packages on superstore shelves and in consumers’ homes, which is a huge marketing opportunity they can leverage.

    Reach, target group and brand experiences for consumers

    While deliberating over the kind of reach that web AR has, Mathur says that it works in browsers (Chrome, Safari, etc.) on devices like smartphones (Android, iOS) and laptops/desktops. All combined, a total of 5-8 billion devices across the globe are compatible with web AR.

    What is kept in mind while creating web AR brand experiences for consumers? “No-code platforms for web AR like Vossle have eliminated the need to write code, which used to be a big task earlier. Additionally, Vossle offers a fully hosted web AR creation experience. Hence, website owners and brands who want to create a web AR experience only have to focus on creating interesting content. Vossle helps with that too, with its integrated content library and empanelled service partner to create custom content for Vossle users,” deciphers Mathur.

    Needless to say, web AR as technological advancement is more attractive to the youth. Do brands usually use such experiences to target Gen Y, Gen Z and millenials only? Or if such web AR experiences are also created for the higher age groups, how does Vossle bring in traction from such age groups? Mathur concludes, “Every medium such as movies, television, videos or stories has different user groups and demographics preferring different types of content regardless of the medium. Same is with web AR which can create different content types for different interest groups like fun and educational for kids, exciting stuff like face filters and games for 16-30 year olds, and product visualizations and try-ons for 30-60 year olds.”

  • Netflix recovers with 2.4 mn subscriber gain in Q3

    Netflix recovers with 2.4 mn subscriber gain in Q3

    Mumbai: In the third quarter ending September 30, 2022, Netflix reported 2.41 million net new paid subscribers. It now has 223.1 million paid subscribers globally. Earlier, the expectation was to gain one million subscribers. The expectation for Q4 is 4.5 million paid net additions versus 8.3 million in Q4 2021.

    The company said that after a challenging first half, it believes that it is on a path to reaccelerate growth. The key, it says, lies in pleasing members. Its focus has always rested on winning the competition for viewing every day. When its series and movies excite members, they tell their friends, and then more people watch, join, and stay with the platform.

    Speaking about competition, it said that while competitors are investing heavily to drive subscribers and engagement, building a large, successful streaming business is hard. Netflix estimates that they are all losing money, with combined 2022 operating losses of well over $10 billion, versus Netflix’s five to six billion dollars annual operating profit.

    For incumbent entertainment companies, this high level of investment is understandable given the accelerating decline of linear TV, which currently generates the bulk of their profit. Ultimately, though, Netflix believes that some of its competitors will seek to build sustainable, profitable businesses in streaming—either on their own or through continued industry consolidation. While it’s early days, we are starting to see this increased profit focus—with some raising prices for their streaming services, some reigning in content spending, and some retrenching around traditional operating models which may dilute their direct-to-consumer offering. Amidst this formidable and diverse set of competitors, it believes that its focus as a pure-play streaming business is an advantage. Netflix explains that its aim remains to be the first choice in entertainment and to continue to build an amazingly successful and profitable business.

    Netflix said that it operates in a highly competitive industry where people have many different entertainment choices—from linear TV to streaming, YouTube to TikTok, and gaming to social media. The silver lining is that the opportunity is very large and growing, and Netflix is still very small relative to that opportunity (for example, eight per cent of total TV time in the US and the UK, two of its most established countries). Its annual revenue of $30 billion or more in the 190 countries in which it operates is roughly five per cent of the combined estimated $300 billion pay TV/streaming industry, $180 billion branded advertising market, and $130 billion consumers spend annually on gaming. So, Netflix believes that it has a long runway for growth if it can continue to improve its offering steadily over time.

    Netflix also stated that its six per cent year-over-year revenue growth in Q3 was driven by a five per cent increase in average paid memberships and a one per cent increase in average revenue per membership (ARM). Excluding the impact of foreign exchange (F/X), revenue and ARM grew 13 per cent and eight per cent year-over-year, respectively. The sequential decline in revenue was entirely due to F/X.

    In the third quarter of the fiscal year in the Asia Pacific region, revenue grew by 19 per cent, excluding F/X, as average paid memberships rose 23 per cent year-over-year. ARM fell three per cent year on year, excluding F/X, owing in part to lower ARM in India. This was somewhat offset by higher ARM in Australia and Korea. It added 1.4 million paid memberships in the region (versus 2.2 million in the last Q3).

    Excluding F/X, EMEA revenue and ARM grew 13 per cent and seven per cent, respectively. Paid net additions totaled 0.6 million, down from 1.8 million in the previous quarter. In Latin America, revenue increased 19 per cent year-over-year, supported by ARM growth of 16 per cent vs. the year ago quarter excluding F/X. It added 0.3 million paid memberships, in line with membership growth in Q3’21. ARM and revenue grew by 12 per cent and 11 per cent, respectively, in the US and Canada, which is its most penetrated market. Paid net adds totalled 0.1 million (similar to the 0.1 million in Q3’21).

    For Q4 of 2022, it is expecting revenue of $7.8 billion, with the sequential decline entirely due to the continued strengthening of the US dollar vs. other currencies. On a constant currency basis, this equates to nine per cent year-over-year revenue growth. The revenue growth forecast is driven by the expectation of 4.5 million paid net ads (vs. 8.3 million in Q4 ’21) and ARM growth of six per cent year-over-year, excluding F/X. The paid net adds forecast assumes that it experiences its usual seasonality as well as the impact of a strong content slate, counterbalanced by macroeconomic weakness, which leads to less-than-normal visibility. While it is very optimistic about the new advertising business, the company does not expect a material contribution in Q4 2022 as it is launching its Basic with Ads plan intra-quarter and anticipates gradually growing its membership in that plan. Its aim is to give prospective new members more choice—not switch members off from their current plans.

    Members who don’t want to change will remain on their current plan, without ads, at the current price, the company explains. It has forecasted a Q4 2022 operating margin of four per cent compared to eight per cent in the year-ago period. The fourth quarter is typically its lowest operating margin quarter of the year as it is usually its largest quarter in terms of content and marketing spend.

  • ACE & Premier League take action against illegal streaming devices seller in Malaysia

    ACE & Premier League take action against illegal streaming devices seller in Malaysia

    Mumbai: The Malaysian ministry of domestic trade and consumer affairs (MDTCA) has raided an electronics outlet for allegedly selling illicit streaming gadgets that gave customers unauthorised access to entertainment and sporting events, including Premier League games. The Premier League and the Alliance for Creativity and Entertainment (ACE), the foremost anti-piracy alliance in the world, collaborated to organise the event.

    The Johor Bahru-based retailer is accused of peddling a variety of gadgets, including SVICloud boxes. The devices had unauthorised software installed that gave users access to live sporting events, including Premier League content, as well as film and television programming. The retailer is suspected of running an illegal sales operation across numerous internet channels in addition to selling similar gadgets through their brick and mortar store.

    The Premier League and ACE are among the first organisations to take action under Malaysia’s new Copyright (Amendment) Act 2022. The amended Copyright Act strengthens copyright legislation and empowers authorities to take action against those who sell illegal streaming devices and illegal website operators.

    Motion Picture Association executive vice president and ACE head & global content protection chief Jan van Voorn said, “We commend the Malaysian government for the recent amendments to the Copyright Act, which criminalises the sale of such illicit streaming devices. These new provisions have become a gold standard within the APAC region. We would like to thank the MDTCA for taking prompt action to shut down this illicit operation.”

    “IPTV piracy services like the one closed down today put consumers at risk of malware, undermine investment, reduce tax contributions to governments, and stifle creativity. We will continue to identify and interdict the operators of such online piracy services and work closely with Malaysian law enforcement agencies to protect the livelihoods of Malaysian and international creators and distributors,” Voorn added.

    Premier League General Counsel Kevin Plumb said, “We are extremely pleased to be able to put the recently amended Copyright Act into action. The strengthened legislation puts Malaysia at the forefront of copyright protection, making it very clear that anyone involved in providing or facilitating illegal streams is carrying out a crime.

    “The Premier League is committed to fighting piracy in Malaysia and will continue to take action against those responsible for providing illegal access to our content. We want to ensure fans watch Premier League content in the best quality and safest way possible-and the majority do so via authorised sources. However, for those who don’t, they must be aware that by using devices such as SVICloud, they face security risks and disrupted viewing experiences.” Plumb said.

    “I would like to place on record our thanks to the MDTCA for their cooperation and swift response to support this enforcement action,” he added.

  • GUEST ARTICLE: The future of NFTs: Digital Property Rights

    GUEST ARTICLE: The future of NFTs: Digital Property Rights

    Mumbai: NFTs have revolutionised the internet market, ushering in a new budding world of creator empowerment. But very few people understand the underlying technology and cultural momentum that make NFTs and web3.0 so exciting for, and disruptive to, the traditional entertainment sector. With this technology, creators have a secure and infinitely distributable way to create value around and in their creative endeavours.

    But let’s start with the basics: NFTs possess scalable capabilities that we haven’t seen earlier in the creative sector. 

    1) NFTs are secure–meaning that the age-old issues of piracy and illegal exploitation of one’s creative work are dramatically reduced. 

    2) NFTs are portable at the click of a button; an artist can not only create and share directly with their audience, but the audience can now share and promote that work to the global community as well.

    3) NFTs are dynamic and programmable in any way the creator sees fit; from a simple piece of art to a benefits-packed loyalty club, to a certificate of achievement, NFTs can be created to address a variety of use cases, and the technology’s possibilities continue to evolve to this day.

    NFTs disrupt gaming industry

    Gamification acts as a catalyst for community building, thereby making communities cutting-edge and dynamic. Within communities, managers can provide tangible incentives to their consumers. On accomplishing a milestone in the community, members can be rewarded with a certain NFT that has attached benefits to it. This not only spearheads community participation and community building but evokes the interest of the community members and keeps them hooked.

    The future of businesses and brands

    Even for businesses and brands, NFT communities help in more ways than one; the former get the opportunity to learn more about NFTs and obtain tangible outcomes. Furthermore, brands and marketers are utilising this technology to communicate directly with consumers and potential customers, primarily gen-z and millennials.

    Apart from brands, artists themselves have also begun to experiment with creating NFTs & venture out in this space. The amount of money that some artists make is enough to not only maintain their projects but also fund new projects, pay for education, or even donate some of the earnings to charities and causes of interest. Also, organisations can develop NFT art as a standalone fundraiser, and in exchange, the artists can shower their fans with a range of benefits.

    Additionally, NFTs themselves can be utilised in the metaverse. Online trades in traditional art and collectibles are fairly common, but allowing artists to take their creative works of art worth millions of dollars around the world into the metaverse is a huge win for the creator.

    How NFT artists can actually get digital property rights

    The biggest advantage that artists get as NFT artists is digital property rights. When an NFT artist designs or produces an original piece, the artist automatically gets its digital property rights, which ensures its safety from fraudulent claims by another artist trying to get credit for their piece.

    This, however, is primarily only eligible when the piece is unique, the first and only of its kind. If it becomes a recreation or a digital representation of an already existing masterpiece, it does not give the artist any digital property rights, as the intellectual property rights belong to the original creator. Some of the important aspects of intellectual property that should be taken into consideration include trademarks and copyright. Another big advantage of the blockchain is that NFTs also include restrictions which prevent buyers from reverse engineering the technology and reselling it as their own. Thus, without a valid agreement, a creator may forfeit all ownership rights. Because anyone can create NFTs, both buyers and sellers should be cautious about how IP rights are addressed with NFTs.

    As the NFT industry continues to grow and evolve, artists are known to have more liberty and independence. With being able to decide their royalty fees and getting all sorts of control with the rights for their art, many traditional and digital artists are choosing independence as a means of prospect in their line of work.

    NFTs have the potential to decentralise, providing doors to a new economy and building a large and loyal community. And perhaps, this is one of the many reasons why both digital and traditional artists that are established & emerging have been switching their plans to be a part of the web3.0 space, building their own fanverse.

    The author of this article is HeyHey CEO & founder Caleb Franklin.

  • Tata Play Binge becomes a standalone OTT offering for Rs 59

    Tata Play Binge becomes a standalone OTT offering for Rs 59

    Mumbai: Content distribution platform, Tata Play (formerly known as Tata Sky), has announced the expansion of its OTT entertainment app, Tata Play Binge, to all smartphone users, with no pre-requisite of needing a DTH subscription. Tata Play Binge, the application that aggregates content from across OTT platforms in India and presents it on a single screen, offers subscribers one of the largest collections of movies, TV series, web originals, and live sports from 17 streaming apps, along with gaming, under one roof. In an endeavour to ease the process of content discovery and reduce the hassle of multiple subscriptions, Tata Play Binge is introducing plans starting at Rs 59 per month and providing access to premium content across popular national, international, and regional apps as per subscribed plans. The platform will soon host 25 apps as eight more apps are slated to be added in the coming months.

    The all-new Tata Play Binge offers content in 12 languages from popular OTT apps such as Disney+ Hotstar, ZEE5, Voot Select, SonyLIV, MX Player, hoichoi, Namma flix, Chaupal, Planet Marathi, Sun NXT, Voot Kids, Eros Now, Hungama Play, ShemarooMe, EPICON, DocuBay & Curiosity Stream. Upcoming integrations include Apple TV+, Lionsgate Play, Travelxp, Shorts TV, Reeldrama, Manorama Max, Tarang Plus, Koode, and more. Tata Play DTH subscribers can access Netflix combo plans, and Amazon Prime Video can be accessed with an add-on subscription on Binge.

    Tata Play MD & CEO Harit Nagpal said, “Today, in India, approximately 70+ OTT services cater to 450 million plus consumers with just 90 million paid subscriptions. The penetration at a subscriber level drops further as each consumer needs to subscribe to multiple OTT services. The biggest bottlenecks to the growth of OTT subscriptions are accessibility, availability, and affordability. With our aggregated OTT platform, Binge, we endeavour to address these pain points. Content from across 17 OTT providers plus gaming is available today to all subscribers, accessible through a unified interface with a single subscription package starting at Rs 59 a month. Tata Play Binge makes entertainment easy for consumers while increasing the subscription footprint for our OTTpartners.

    “India is a value-conscious market and value is a derivative of both time and money. Just as Tata Play DTH has connected television viewers across the country to channels from multiple broadcasters, so will Tata Play Binge aggregate content from across OTTs for digital viewers across the country.”

    Tata Play Binge app presents a freemium model, wherein anyone can install the Binge app and view and browse free content across partner OTT apps; and can also watch premium content behind paywalls by choosing subscription plans starting from Rs 59 per month. A single subscription will allow simultaneous viewing on two or more devices. Options such as “Universal Search,” “Language Preference,” and “Create Your Own Binge List” have been made prominent features of the app to create personalised experiences for consumers that reduce time spent navigating multiple platforms.

    Tata Play continues its association with actors Kareena Kapoor Khan, Saif Ali Khan, R. Madhavan, and Priyamani, who have played relatable, everyday characters to bring out the essence of Tata Play Binge to larger audiences through the campaign, to make entertainment more jingalala. Covering multiple touchpoints, Tata Play Binge’s marketing campaign aims to reach out to potential customers across the country this festive season.

    Tata Play chief communication officer Anurag Kumar said, “Through our campaign, “Bachcha Bachcha janta hai” we have created relatable, slice-of-life characters to bring out the essence of the Tata Play Binge offering, which is – access to all the content from 17 OTT apps covering movies, shows, live sports and more, under a unified platform-  making entertainment consumption easy and simple.”

    Rooted in its mission of providing entertainment on any budget, any screen, anytime and anywhere, Tata Play, through Binge, gives easy and simple access to a variety of OTT content, personalised for the consumer.

  • Disney+ Hotstar to stream UK show featuring David Beckham on 9 November

    Disney+ Hotstar to stream UK show featuring David Beckham on 9 November

    Mumbai: OTT platform Disney+ Hotstar has debuted the official trailer for the UK original series, Save Our Squad with David Beckham. The series is set to premiere exclusively on Wednesday, 9 November at Disney+ Hotstar. The announcement was accompanied by four new images from the series.

    It is co-produced by Bafta and RTS Award-winning production company Twenty Twenty, and Studio 99, the global content and production studio co-founded by Beckham. Save Our Squad with David Beckham is a series that sees David Beckham return to his East London roots to mentor Westward Boys, a young, grassroots team who are at the bottom of their league, facing relegation. However, this isn’t just any league… This is the same league that Beckham played in as a young boy. Working with the head coaches, he’ll try to turn the team’s fortunes around.

    Beckham mentors the young squad, sharing stories from his own playing career, which spanned over 20 years and saw him play for some of the most successful clubs in the world, to help them learn valuable lessons about practice, ambition, and teamwork. Off the pitch, Beckham gets the chance to spend time with players and their families, learning about their lives, hopes and concerns and talking to them about the importance of collaboration, work ethic and community.

    In the trailer, we see the first time the squad meets David Beckham, with one member of the team quizzing him on missed penalties. For David, this role is about giving back, as we see him mentor the boys, give them inspiring team talks, and even get his boots back on to try to score a trademark Beckham free kick against our young team.

    Save Our Squad with David Beckham builds on the company’s commitment to source, develop, and produce original productions. Disney’s International Content and Operations team plans to create 60 local productions in Europe, the Middle East, and Africa alone by 2024 as it continues to collaborate with outstanding creators and premium producers.

  • Instagram introduces new ways to verify age in India & Brazil

    Instagram introduces new ways to verify age in India & Brazil

    Mumbai: Meta-owned Instagram has announced that it has expanded the test of new options for people to verify their age to additional countries, including India and Brazil. The company further stated that it plans to expand to the UK and EU before the end of the year.

    The company has brought its new test for users to verify their age via an original ID or video selfie to India. It says that kids today are using fake dates of birth to create profiles on social media platforms.

    It requires people to be at least 13 years old to sign up for the service. In some countries, the minimum age is higher. Uners who are teens (13–17) will be offered age-appropriate experiences like defaulting them into private accounts, preventing unwanted contact from adults they don’t know and limiting the options advertisers have to reach them with ads.

    If someone attempts to edit their date of birth on Instagram under the age of 18 to 18, or over, in India, they will be required to verify their age using one of three options: upload their ID, record a video selfie, or ask mutual friends to verify their age. The company also expressed that they’re testing this to make sure teens and adults are getting the right experience for their age group.

    Instagram further added that it is removing “Social Vouching” as an option to verify age from the test to make some improvements.

    The Social Vouching option allows users to ask mutual followers to confirm how old they are. The person vouching must be at least 18 years old, must not be doing it for anyone else at that time, and will need to meet other safeguards that are in place. The three people selected to vouch for the user will receive a request to confirm the user’s age and will need to respond within three days.

    Further, Instagram also stated that it is partnering with Yoti, a company that specialises in privacy-preserving ways to verify age. Yoti is verified by the Age Check Certification Scheme and is an age verification provider for several industries around the world, including social media, gaming, and age-restricted e-commerce. Yoti has received public support for its approach and knowledge of responsible artificial intelligence from authorities and governmental organisations in the fields of youth and privacy, including the German regulator KJM.

    Yoti notes that it trains its dataset on anonymous images of diverse people from around the world who have transparently allowed the company to use their data and who can ask them to delete their data at any time. For people under the age of 13, Yoti collected data using specific data collection exercises where parents or guardians had given explicit consent.

  • NxtDigital launches its flagship integrated solution ‘OneDigital’

    NxtDigital launches its flagship integrated solution ‘OneDigital’

    Mumbai: Hinduja Group’s NxtDigital has announced the introduction of its flagship integrated solution, OneDigital. This customised customer solution provides a wide range of services, including wi-fi, digital TV, OTT, voice/intercom, broadband, and CCTV.

    When compared to broadband packages, which range in speed from 10 mbps to 1 gbps, the TV solution offers clients up to 650 TV channels in both standard and high definition.

    Customers can access over 3,00,000 hours of OTT content from top global and regional platforms through OneDigital on any device.

    Customers can still be reachable over an IP or telecom network and have a personalised landline number with the help of its partners’ VOIP (voice over internet protocol) service, which is available nationwide. ONEDigital may offer customised CCTV solutions and wi-fi-enabled internet access in public spaces as part of the solution.

    Speaking at the launch of OneDigital at SCAT 2022, NxtDigital’s broadband subsidiary OneOTT Intertainment chief operating officer and OneDigital project lead Sanjeev Agarwal said, “Consumer preferences are radically changing in the way they not only consume but also access and engage digital services at home or at work. OneDigital has been designed specifically based on that premise to give customers access to all digital solutions for their home and office through a single business conduit  facilitating true digital convergence and much needed convenience.”

    He further added, “The USP is that this is a bespoke end-to-end solution and can be tailored based on a customer’s specific needs—whether for home or a small, medium, or large business. This is the start and we will, of course, continue to add more products to the OneDigital portfolio over time.”

    The company also unveiled its future OTT content aggregator app, which will enable users to access OTT content from leading local and international platforms.

    The app, which will soon be accessible online, will allow users access to over 3,00,000 hours of international and local material at first and pave the way for the integration of education, gaming, and other apps within the solution.

    The company has already built an ecosystem of partners to provide quality VOIP and CCTV hardware and software solutions. In order to fulfil customer demands from pre-sales and installation to service support and troubleshooting, NXTDIGITAL has started training its digital franchisees throughout its TV and broadband businesses. OneDigital is now being introduced in Mumbai and will be made available in additional significant cities by the end of the year.

    NxtDigital chief operating officer NK Rouse said, “We have over the years built a robust infrastructure, a strong subscriber base, and a national network of franchisees, all backed by best-in-class technology, including our HITS platform and our award-winning NxtHubs.”

    He further added, “OneDigital and NxtPlatly are extensions of our solutions portfolio, focusing on emerging technologies and the need to develop solutions with an eye on the future. We have also commenced training our franchisee partners to make the paradigm shift to digital solutions providers, ready for the next decade of growth that will also include broadband over satellite.”

    The award-winning NxtHubs that NxtDigital owns and operates, which just passed 100 locations and already provide digital TV, broadband, and OTT solutions in the majority of locations, will try to offer one digital solution.

    NxtDigital is hoping to leverage the strength of its planned broadband-over-satellite service to augment the solution in countries where terrestrial connectivity may be an issue.