Category: Over The Top Services

  • Amazon partners with Blink Digital for India’s first immersive game

    Amazon partners with Blink Digital for India’s first immersive game

    Mumbai: Blink Digital on Saturday has collaborated with Amazon India for Prime Day to launch its one-of-a-kind interactive game within a pre-roll drive for its audience. The campaign will roll out on YouTube, which aims to allow users to hover within a 360-degree-video during the ad with the theme “Smartphone Hunt.”

    Blink Digital conceptualised the pre-roll advertising campaign for Amazon’s Safari-themed Prime day this season.

    The brand wanted to engage with its audience to evoke them to spot Amazon specials smartphones and share them on Twitter using #AmazonSpecialsonPrimeDay, which will encourage users to engage on the brand’s Twitter handle.  Additionally, this preroll will help the brand increase its engagement on ads as the interactive game will encourage the audience to watch the complete video and interact with the brand on social media to stand a chance to win Amazon Vouchers.

    This campaign is seamlessly going to bridge the gap between paid and organic media on social media platforms to raise awareness of Amazon Prime Day smartphone offers. The pre-roll is live and will be played till the 24th of July. 

    Talking about the collaboration Blink Digital co-founder and COO Rikki Agarwal said, “To candidly capture the user’s attention and create top-of-the-mind brand awareness, it was crucial for the creative team to help amazon engage with their audience with a campaign that encourages them to participate in their contest, in a meaningful way. This campaign format will put an interesting spin, which will engage more audiences and help us deliver our clients’ business goals with dissimilar experiences.”

  • Sandeep Bhushan logs out of Meta after seven years

    Sandeep Bhushan logs out of Meta after seven years

    Mumbai: Meta’s director business group India Sandeep Bhushan has announced his decision to move on from the tech conglomerate. Bhushan took to LinkedIn to announce that he will be moving on from the company before the end of this year.

    “I want to share that later this year I will be leaving Meta to start the next phase of my professional life,” he wrote.

    Although he did not disclose his future plans, he mentions that having completed 25 years of his professional journey this month, he is keen to go deeper into the social sector and “build new learning muscle” that can guide his contribution over the next 25 years.

    Bhushan further added, “I will be on a listening and reflection tour for a while as I plan the details ahead. Before that, I will be at Meta for the next few months to extend all possible transition support to Ajit Mohan and the team for their ambitious plans for Meta’s social and business impact in India.”

    Prior to taking on the role of director at Meta business group India, Bhushan was serving as the director and head of global marketing solutions India for six years.

    Furthermore, he is also an invitee to the Board at the Advertising Standards Council of India, in addition to being a board member at MMA APAC.

    He has also worked with companies such as Samsung Electronics, HT Media, and Hindustan Unilever towards the beginning of his career.

  • Canada-based Format Factory becomes first global studio to avail incentive scheme by MIB

    Canada-based Format Factory becomes first global studio to avail incentive scheme by MIB

    Mumbai: Canada-based production company Format Factory is the first global studio to avail the incentive scheme for the audio-visual co-production & shooting of foreign films in India in record time. The scheme was announced by union minister of information and broadcasting Anurag Thakur in May 2022 during his visit at the 75th Cannes film festival.

    As per the scheme, any foreign studio that takes up production work in India can avail a cash incentive of up to 30 per cent of the production cost, capped at Rs 2 crore or $250,000. An additional bonus of Rs 50 lakhs, or $62,527, is available if the production house employs 15 per cent or more of its workforce in India.

    Format Factory worked with the National Film Development Corporation (NFDC) and the Film Facilitation Office (FFO) to obtain permission, and will apply for the incentive scheme.

    Raising fund

    In October 2021, Format Factory raised $50 million in a funding round led by First Fund with plans to create high-end global content, focusing on South Asian originals. It will operate under a studio-model, where it will put up the initial investment to create content, mostly outside of India, and then look for buyers, mainly over-the-top (OTT) platforms.

    The studio was not only eligible for the 30 per cent incentive scheme, but also for the five per cent bonus because it employs more than 15 per cent of its workforce in India. It will begin filming its first show on 21 July. It will be an improvised comedy series with popular comedian Suresh Menon.

    Format Factory business head Subhadarshi Tripathy said, “It is fantastic how quickly the government worked to facilitate the process to avail the incentive scheme. I would like to thank the ministry of information and broadcasting and the government of India for their endeavour to create an enabling ecosystem for both domestic and international filmmakers. At Format Factory, we are completely focusing on South Asian content and distributing it globally. The content will be made in India with a global lens. There are so many stories in India that can be told.”

    First Fund founder Samarth Chandola said, “I am really happy about the leaps Format Factory has taken from its inception last year to actually being on the floor now. India is an important market for us given the explosion in content demand that has happened recently. We are happy and thankful to the I&B ministry and the government for the encouragement and all the help through FFO. I am looking forward to a long and entertaining production in India.”

  • Netflix faces strong headwinds due to slowdown in revenue growth

    Netflix faces strong headwinds due to slowdown in revenue growth

    Mumbai: On Tuesday, Netflix reported a loss of almost 1 million subscribers during the spring amid soaring inflation that’s squeezing household budgets while the company faced tougher competition from rivals including HBO Max and Disney+.

    However, the drop was not nearly as high as the two million cancellations that had been forecast. Nonetheless, Netflix co-CEO Reed Hastings didn’t try to minimize things during a Tuesday conference call about the results. “It’s tough losing a million subscribers and calling it a success,” he said.

    Netflix was probably spared from deeper losses by the ongoing popularity of Stranger Things, its science fiction/horror series that debuted in 2016. Stranger Things 4 is the second-most-popular TV series on Netflix, drawing more than 1.3 billion hours of watch time on the platform in its first 28 days, according to the company.

    Despite the downturn, Netflix still earned $1.4 billion, or $3.20 per share during the quarter, a 6 per cent increase from the same time last year. Revenue rose 9 per cent from the same time last year to nearly $8 billion. Netflix’s stock price had previously plunged by nearly 70 percent in the last year, wiping out about $180 billion in shareholder wealth.

    Netflix is taking steps to decrease costs and bump revenue. The company has been cutting costs with employee and contract worker lay-offs in such areas as marketing and social media. In April, the company announced a crack-down on subscriber password sharing.

    To attract and retain subscribers, the company began branching out last year by adding free video games to its streaming service and is also reportedly exploring live-streaming content, such as comedy specials. In addition, Netflix has taken another step toward putting together a cheaper, ad-supported subscriber option when it announced it will team up with Microsoft to deliver the commercials.

    “We have some headwinds right now and we are navigating through them,” Netflix co-CEO Ted Sarandos said at the end of Tuesday’s conference call. “We’ve seen entertainment formats come and go, we’ve seen entertainment business models come and go, and we have managed to grow through all of them, though all kinds of economic conditions and through all levels of competition.”

    Last year, Netflix India made a bold move in slashing prices across its four subscription tiers, notably cutting its popular ‘Basic’ plan by a huge 60 per cent, reducing it from $6.24 (Rs 499) a month to just $2.49 ( Rs 199).

    While the company didn’t state a reason at the time for the price cut, Netflix India’s vice president of content Monika Shergill told the entertainment news portal Deadline that the strategic move was made in a bid to open up the service to a broader range of audiences across the Indian market.

    Six months down the line, Shergill says the pricing cut is “working very well for us, and it’s brought in a whole new set of audiences,” enabling Netflix India to prioritize subscriber growth at a time when the company had begun to ramp up its licensing and original programming slate beyond Hindi and English-language content. “It’s a very different pricing model,” she says of the Indian streaming market, adding that most local competitors work on annual plans with the benefit of big discounts from telco partners.

    “For us, our revision of the pricing was very well-timed with our content strategy and the new slate we were rolling out. We were very clear that when we started programming for a broader set of audiences that we would need to increase access and the pricing was a very important part of it,” said Shergill.

    After Netflix’s better-than-expected second-quarter earnings on Tuesday, the company’s shares continued their recent upturn as Wall Street analysts had differing opinions on the takeaway from the report. After weeks of worry, investors took a brief sigh of relief. However, sceptics point out that the loss was the biggest in any quarter in the company’s 25-year history.

    In a bold move to woo back subscribers and attract new ones, Netflix will stream the action thriller, The Gray Man this weekend after a limited release in theatres. The film cost a reported $200 million, the most expensive movie in Netflix’s history.

     

  • MX Media’s Viraj Jit Singh joins Jio Entertainment Services as a chief revenue officer

    MX Media’s Viraj Jit Singh joins Jio Entertainment Services as a chief revenue officer

    Mumbai: Viraj Jit Singh has joined Jio Entertainment Services as chief revenue officer, he confirmed on his LinkedIn profile.

    Singh was previously associated with MX Media as senior vice president and head of revenue for MX Player and MX Takatak.

    He brings with him more than 25 years of experience across sectors such as TV broadcast, radio, sports and live events and expertise in marketing and sales.

    He has worked at KidZania as chief sales and marketing officer, Viacom18, Reliance Broadcast Network, ESPN Star Sports and Wilson Sporting Goods India.

    He is an alumnus of the University of Buckingham and completed his post-graduation in management from Indian School of Business (ISB). 

  • A third of consumers borrow money or use savings to cover the costs of media subscriptions in UK: KPMG

    A third of consumers borrow money or use savings to cover the costs of media subscriptions in UK: KPMG

    Mumbai: KPMG statistic reveals that nearly a third (29 per cent) of people have borrowed money or used their savings to cover the cost of media subscriptions since the beginning of 2022. 17 per cent of consumers stopped subscribing to a video streaming service to pay for higher food bills this year. Over a third (35 per cent) of respondents said that the number of subscriptions they pay have increased during the pandemic, but 64 per cent are now cutting back because they are worried about the general increase in the cost of living.

    Almost a third (29 per cent) of individuals have struggled to pay for their media subscription services since the start of 2022, with people needing to borrow money or use savings to pay their bills, according to new KPMG research. The survey of UK consumers conducted by OnePoll found that 15 per cent have missed or defaulted on a payment for a media subscription service in the last three months.

    Many media companies have also been affected by rising costs, which they have had to pass on to their customers. The data revealed that consumers have seen their bills for all media subscription services rise this year. 60 per cent of people have seen their mobile phone bills increase. 74 per cent have had their TV subscription bill go up; 68 per cent are paying more for a video streaming service; and 71 per cent have seen a rise in the cost of a music streaming service.

    When asked why they were cancelling media subscriptions, nearly half (48 per cent) said it was because the company put their prices up and it became too expensive.

    The cost-of-living crisis is also having an impact: two-thirds of consumers (64 per cent) said they are decreasing the number of media subscriptions they pay for because they are worried about the general increase in the cost of living and want to save money. This was the primary reason given by all age groups.

    Many people have stopped subscribing to some services to pay for higher food bills this year, which are expected to rise at a rate of 15 per cent this summer, according to the Institute of Grocery Distribution2: Due to rising food prices, 19 per cent have given up a video streaming service, 15 per cent have dropped a TV provider, 14 per cent have stopped paying for a music streaming platform, and 15 per cent have cancelled a mobile contract.

    KPMG UK head of TMT Ian West said, “While consumers and media companies alike are feeling the pinch, organisations’ customers will value them in the long term if alternative payment options or plans can be introduced to help them continue to use their services – especially for essentials such as mobile phones. Unfortunately, the current crisis is unlikely to disappear anytime soon, and I hope that this industry adapts to support their customers in times of difficulty.”

    Focusing on younger age groups, they were found to have the highest number of subscriptions and pay the most in total for their combined media subscription services:

    At the beginning of the year, 18–24-year-olds had on average 21 different media subscriptions, whereas the over-65s had just 13.

    19 per cent of 18–24-year-olds are spending £151–£200 per month, compared to just 3 per cent of 55–64-year-olds and 5 per cent of those over the age of 65.

    Therefore, this younger group is more exposed to fluctuations in prices, which could explain why three quarters (74 per cent) of 18–24-year-olds are planning to end a subscription in the next six months, while only 21 per cent of those aged 55–64 and 32 per cent of those aged 65 and over think they will do so.

    Price increases are disproportionately affecting the young; in the case of mobile phone bills, 90 per cent of those aged 18 to 24 have seen their monthly bill increase this year, compared to 39 per cent of those aged 55 to 64.

    With video streaming services, 90 per cent of the 18–24 age group have seen an increase in their monthly payments, compared with 41 per cent of 55–64-year-olds.

    KPMG UK head of consumer markets, leisure and retail Linda Ellett said, “It is evident that younger age groups will cut back most on their media subscriptions. This can be partly attributed to the fact that they are likely to have a comparatively lower disposable income than other demographics, and typically exhibit less loyalty and more switching in other purchasing behaviours. It’s also evident that younger age groups have more subscriptions and were spending higher amounts in the first place, meaning they have greater flexibility in being able to make changes to save money.”

    Other key findings include:

    Video streaming companies are most vulnerable to a drop in subscriber numbers, with over a fifth (22 per cent) of consumers saying they will reduce the number of these services they pay for in the next six months.

    This figure was 18 per cent for TV providers, 16 per cent for music streaming and 14 per cent for mobile phones.

    Analysing how much people are cutting back overall, 8 per cent have reduced their monthly spend on media subscription services by £1–5; 18 per cent have cut it by £6–10; 12 per cent have cut back by £11–15; and 5 per cent said they have reduced their bills by £16–20 per month.

    West added, “The dip in subscriber numbers seen so far is merely the tip of the iceberg. The data reveals that since the start of the year, consumers have been paying for roughly the same number of media subscription services, with the average number declining from 14.2 to 14 overall. Clearly, people haven’t scrapped too many services yet, but are likely to do so in earnest in the second half of 2022.”

  • Eros Investments collaborates with IIT Bombay to develop AI-based script generating tool Kurosawa

    Eros Investments collaborates with IIT Bombay to develop AI-based script generating tool Kurosawa

    Mumbai: Global media, entertainment and technology portfolio of ventures Eros Investments has announced a strategic collaboration with IIT Bombay to design and develop an AI-based tool for automatic script generation.

    Named Kurosawa, after the celebrated Japanese film director Akira Kurosawa, the software will assist film makers in developing the plot and script of movies by generating a full-length feature film script. IIT Bombay will also create a whitepaper on Kurosawa for academic and research purposes.

    The teams from IIT Bombay and Eros have been collaborating on Kurosawa for over a year. Kurosawa will help identify the right genre, output logline, and synopsis and deliver a potentially hit script that can be customized further as required. In the current phase, Kurosawa can generate multiple engaging plots and scenes basis single input. For example, it can create genre-specific movie plots, basic genre(s) and a short 2-3 sentence prompt. It can also create scenes in a standard screenplay format basis a brief description.

    Automatic Movie Script Generation is a subfield of Natural Language Generation (NLG). The machine can learn plot and scene generation from the pre-existing data with minimum human intervention.

    Eros Investments director Swaneet Singh said, ” This association between Eros Investments and IIT Bombay is an excellent example of the amalgamation of the left and right brain. Kurosawa is a pioneering and cutting-edge technology that will revolutionize the entertainment sector. The tool will enable scriptwriters to focus on creativity and quality while doing the groundwork for them. This innovation marks a new milestone for Eros Investments that will be used as a case study in the future.”

    IIT Bombay dean of research and development Prof. Milind Atrey, added, “Kurosawa will be a huge opportunity to transform the art of storytelling with proficiency and improve efficiency for content creators. We welcome collaboration with Eros investments, led by Prof. Pushpak Bhattacharyya from IIT Bombay, to provide automation to the process of scripting in the entertainment industry. As the outcome of the research, IIT Bombay will also be jointly launching a white paper on Kurosawa that will be used for academic and research purposes, further supporting the upcoming generation looking to make a mark in the industry.”

    Kurosawa is based on the latest deep learning and natural language processing technologies. It is led by Prof. Pushpak Bhattacharyya, known for his artificial intelligence and machine learning expertise, and an internationally renowned research group. He is a professor in the computer science and engineering department at IIT Bombay and is a Fellow of the National Academy of Engineering (2015) and Abdul Kalam National Fellow (2020). Prof. Bhattacharyya is supported in this project by the students from IIT Bombay who are a part of the curriculum.

  • Netflix to buy Australian animation studio Animal Logic

    Netflix to buy Australian animation studio Animal Logic

    Mumbai: Netflix on Wednesday announced its plans to acquire Australian animation studio Animal Logic. The transaction, which is subject to regulatory approval, is expected to close later this year.

    The acquisition will support Netflix’s ambitious animated film slate, building on films such as the Academy Award-nominated “Over The Moon,” the Academy Award-nominated “Klaus” and the recently released “The Sea Beast.”

    Animal Logic has been producing award-winning designs, visual effects and animation for over 30 years. Headquartered in Sydney, Animal Logic set up a second studio in Vancouver, Canada in 2015 and has worked on Hollywood blockbusters including “Happy Feet,” “Legend of the Guardians: The Owls of Ga’Hoole,” “The LEGO Movies” and “Peter Rabbit” 1 and 2, alongside a catalogue of amazing visual effects work including “The Matrix,” “Moulin Rouge!,” “300” and “The Great Gatsby.”

    The announcement builds on an already strong partnership between the two companies, with a full slate of films across Animal Logic’s Sydney and Vancouver studios, including “The Magician’s Elephant,” directed by Wendy Rogers, and the recently announced “The Shrinking of the Treehorns,” directed by Ron Howard, for Netflix.

    “Netflix has been investing in animation over the past few years and this furthers our commitment to building a world-class animation studio,” said Netflix vice president of studio operations Amy Reinhard. “Animal Logic is a leading animation studio with innovative technology that will strengthen our existing business and increase our long-term capacity in the animation space, so that we can better entertain our members around the world.”

    Working with Animal Logic will accelerate the buildout of Netflix’s end-to-end animation production capabilities. The Animal Logic and Netflix Animation teams together will create a global creative production team and an animation studio that will produce some of Netflix’s largest animated film titles. Netflix will continue to work with many other studios around the world for animated series and film needs.

    Led by CEO and co-founder Zareh Nalbandian, the Animal Logic teams and leadership will remain operating under the Animal Logic brand and will fulfil production of existing and ongoing commitments and continue to collaborate and work with longstanding studio partners.

    “After 30 years of producing great work with great people, this is the perfect next chapter for Animal Logic,” said Nalbandian. “Our values and aspirations could not be more aligned with Netflix, in working with diverse content makers, producing innovative and engaging stories for audiences around the world. Our collective experience and talent will open new doors for all our teams and will empower a new level of creativity in animation.”

    “The strength of our partnership across a number of projects is testament to our shared creative vision,” said Animal Logic COO Sharon Taylor. “Solidifying our future together felt like a mutually beneficial, natural progression, and I am so excited to continue to build on our success together.”

  • Crunchyroll brings excitement for anime fans in India

    Crunchyroll brings excitement for anime fans in India

    Mumbai: Crunchyroll, the ultimate anime destination worldwide, has made two wildly popular titles available in Hindi: “My Dress Up Darling” and “Ranking of Kings,” with more on the horizon. Adding to that, Crunchyroll also announced on Tuesday that anime fans in India have much more to be excited about now and in the months & years to come.

    Interestingly, the cost of a Crunchyroll premium membership is decreasing in India as the subscription tiers shift to Rs 79 per month for its fan subscription tier and Rs 99 per month for its mega fan subscription tier. The change also means that fans will be charged in local currency instead of the United States dollar. This price decrease will create consistency across Crunchyroll memberships across channels, including web, mobile, and home devices, and unlock more content for anime fans to enjoy.

    In India, Crunchyroll offers nearly 5,500 episodes of anime, with 1,000 hours dubbed in English.

    Crunchyroll president Rahul Purini said, “There is a massive appetite for anime in India with a growing number of fans who are craving more of what they love.”

    “Our team has worked hard to expand our service—including more content and more dubs—at a more affordable price,” he added.

    India’s price reduction is one of nearly 100 across international Crunchyroll territories.

    Crunchyroll offers fans and mega-fans premium subscriptions. The Crunchyroll fan membership offers ad-free viewing and access to Crunchyroll’s library of anime dubs, alongside access to Crunchyroll manga and simulcast series day and date with their premiere in Japan. The Crunchyroll Mega Fan membership offers all the benefits of Crunchyroll Fan, alongside access to anime on the go with offline viewing and the ability to stream Crunchyroll concurrently across four different streams.

  • Gusto TV announces a new distribution deal with Disney+ Hotstar

    Gusto TV announces a new distribution deal with Disney+ Hotstar

    Mumbai: Gusto TV has announced its newest distribution deal in India with the online video streaming platform Disney+ Hotstar. With a slate of culinary content, viewers will soon be able to access Gusto TV’s titles via Disney+ Hotstar.

    Gusto TV is an international food channel. It offers hundreds of hours of proprietary content. Gusto TV’s titles can be viewed in English, Spanish and Mandarin across 160+ countries on 30+ different platforms.

    Gusto Worldwide Media president, CEO Chris Knight said, “Our ambition was always for Gusto TV to be a global brand, and it’s coming true. From our original programming to our chefs to the recipes we create, our content continues to resonate and inspire audiences globally.”