Category: Over The Top Services

  • Oho Gujarati to stream ‘110’ starting 30 September

    Oho Gujarati to stream ‘110’ starting 30 September

    Mumbai: OTT platform Oho Gujarati will premiere its latest web series “110” on 30 September.

    Directed by Abhishek Jain and produced by Anish Shah, “110” is an Oho original that features actors like Jay Upadhyay, Sanjay Bhatiya, Shivani Joshi among others.

    Oho Gujarati is a joint venture of CineMan Productions and Khushi Advertising. Co-founded by Abhishek Jain and Pranay Shah, the vision of this language OTT platform is to offer a plethora of content – fictional and non-fictional, in various formats – films, short films, web/mini-series, documentaries, plays, table readings, music video and much more.

  • Nodwin Gaming set to launch Chess Super League

    Nodwin Gaming set to launch Chess Super League

    Mumbai: South Asia-based esports company, Nodwin Gaming is teaming up with chess streamer Samay Raina and chess media company ChessBase India to launch a new online chess league – Chess Super League (CSL). The online esports league is also the first property announced by Nodwin Gaming, an independent subsidiary of Nazara Technologies after the acquisition of the gaming business of OML Entertainment for Rs 73 crores. 

    The first season of the Chess Super League will run between 8-11 pm from 11 to 17 October featuring six top Grandmasters across the globe. It will include the top six players in both men and women categories from India as well as junior categories. The six teams of six players each will give viewers an opportunity to see players come together to battle for a prize pool of a whopping Rs 40 Lakhs.

    The teams will be spearheaded by franchise owners who will support and represent their squad through the Chess Super League. The franchise owners of the debut edition include Tanmay Bhat, Raftaar (Kalamkaar), Zakir Khan, MortaL (S8ul), Biswa Kalyan Rath, and PayTM Insider CEO Shreyas Srinivasan. These franchise owners will act as ambassadors and will be the torchbearers for their teams for the entirety of the league, it said in a statement on Tuesday.

    “Chess Super League is a testimony to the fact that gaming, eSports, and comedy have significant synergies and shall come together in a big way. It is a sampling of many such collaborations between the different forms of gaming entertainment that the world will see,” said Nodwin Gaming MD Akshat Rathee.

    The league will be broadcast on Samay Raina’s YouTube channel and will feature ChessBase India CEO Sagar Shah and Samay as the hosts and commentators. “Indian chess is on the rise and experts all across the world have dubbed India as the next powerhouse in the world of chess. We have many strong players and young talents. This online league will give more exposure and opportunity to Indian players, especially the youngsters,” said ChessBase India founder Sagar Shah.

    The league will see Grandmasters like Ding Liren, Hikaru Nakamura, Anish Giri, Teimour Radjabov, Hou Yifan (the strongest female player in the world), Muzychuk sisters, Nana Dzagnidze, Alexandra Kosteniuk, and others.

  • Insider’s view on how to bridge video monetisation to optimise revenues

    Insider’s view on how to bridge video monetisation to optimise revenues

    Mumbai: Most common reasons for video revenue loss for publishers in India range from factors including inventory control, underutilisation of video advertising, traffic quality and not taking advantage of the latest technologies available. 

    Some of these issues and their solutions were discussed during a webinar- ‘Bridging Video Monetisation to Optimise Revenues’ organised by Indiantelevision.com in association with Aniview on Tuesday. The virtual panel discussion was moderated by Indiantelevision.com Group founder, CEO, and editor-in-chief Anil Wanvari.

    Experts discussed, how better content experience, fuller transparency, a self-service platform with better control on the video player, along with having an experienced team to operate the platform could drive higher revenues.

    According to end-to-end video advertising and monetisation solutions provider Aniview, business director-APAC, Matthew Bray, currently India is the fastest-growing internet advertising market in the world, and video remains the most popular ad format. “It’s the sixth-largest market in consumption of video ads,” said Bray about the video advertising landscape in India.

    Amongst the reasons for the loss in video revenue, Bray cited poor content experience, heavy player, player loading issues, inventory loss, lack of transparency on traffic insights among others. Non-adherence to Google policies and underutilisation of Google Adx are other primary causes of video revenue loss, Bray said. “Many publishers in India leak video revenue & underutilise their own video content on a regular basis,” he said, adding that full control over a video player can lead to an increase in revenue. “Google will likely remain the dominant SSP for video.”

    According to HT Digital’s Prasad Sanyal, underutilisation of inventory plagues almost all publishers in India. “We are looking at avenues where we can have more control over our video assets & monetise them better,” he added.

    By running a video player in these placements publishers can make better use of their own video content to engage their users and create more ad opportunities. While it not only allows full control over ad placements, player behaviour, and ad breaks, it leads to the creation of better quality traffic that drives higher CPMs. When deployed correctly this can even lead to significant revenue lifts. Aniview cited Jagran as a successful case study, as it has more than doubled its revenue on some ad placements on article pages by deploying Aniview.

    “With Aniview we got a white label solution. There are the cities, and tier-2, tier-3 segments too, for all of which we need to create separate segmentation as per the category,” shared Jagran New Media, AVP and head-ad monetisation and strategic partnership, Dinesh Joshi. “We also produce a lot of text content, but definitely video is going to be big in the near future. Jagran is working on branded content on the video side, we have to work on the monetisation front too.”

    HDFC Bank, vice president, and head- digital marketing, Jahid Ahmed, said, regulations apart from basics like viewability can give a lot of confidence on rolling out a video across platforms. Also, the decision on which video is to be used where- that also plays a significant role, he added.

    Social Beat co-founder and director Vikas Chawla highlighted the need to scale up the inventory for advertisers to see it as a viable option to do large campaigns.

    “Most of us have invested in analytics significantly, but we have a long way to go before advertisers get comfortable with us,” added HT Digital Streams’ Prasad Sanyal.

    Manorama Online’s general manager (digital) Sathyajith Divakaran shared, “We have an OTT platform which is exclusively video-led and we only encourage video ads. We are clear in what we can offer as ads as we know which shows attract a certain kind of audience. It is just that the video inventory available is not utilised fully despite having a number of partners on board.”

    According to Matthew Bray, Video is going to keep growing in India & in order to sell the inventory created one needs to have a system that they can properly control. “Then you see better yields and more video views because you can control the content,” he said, adding that there are exchanges in India that are having trouble moving video content because there isn’t enough inventory being created.

    Sharing that increasingly they are evolving to a point where they know what to do with their inventories, HT Digital’s Sanyal said, “At HT we are getting to a stage where we should be able to drive more revenues out of videos & also do better videos in the process. We hope to deliver better value to our readers and viewers.”

    HDFC Bank’s Jahid Ahmed said that every platform is evolving in its own space and it’s great to see such platforms coming up that helps publishers in their cause. He added, “It’s right to outsource such expert work instead of all platforms trying to do everything by themselves. For discoverability of our product-led videos, if some platform smoothly integrates with our CMS & gives good info to our users, then why not,” added Ahmed.

    Talking about the near future Ahmed said, “Digital is growing significantly at 35 to 40 per cent Y-O-Y, and within digital, video-led content consumption is one key aspect we are focused on. Video along with a combined vernacular, with personalised elements like geography/ gender, is the way to go.”

    All the panelists were in agreement on the significance of video content in today’s times.

  • US drama Bridgerton is Netflix’s most popular show globally

    US drama Bridgerton is Netflix’s most popular show globally

    Mumbai: Eight-part romantic drama ‘Bridgerton’ has trumped all shows to emerge as the most popular shows on Netflix, said co-chief executive Ted Sarandos on Monday, as he gave a sneak-peek into the streaming platform’s most popular shows.

    “We’re trying to be more transparent with talent, and with the market. Netflix’s streaming data, is a big black box, mostly,” said Saranodos while addressing the Vox Media’s Code Conference held on Monday.

    The top executive shared two slides. The first slide showed the most popular shows based on its proprietary metric of the number of accounts that selected a given title in the first month of release and streamed for at least two minutes. The second slide showed total time spent viewing (hours) within the initial 28-day of release- reported Variety.

    The first season of the US drama ‘Bridgerton’ topped both the charts, and was closely followed by first season of ‘Lupin’, ‘The Witcher’, ‘Sex/Life’, and ‘Stranger Things-3’. Spanish drama ‘Money Heist -4’ featured at sixth position, followed by ‘Tiger King’ and ‘The Queen’s Gambit’. The movies’ list was dominated by ‘Extraction’ and ‘Bird Box’.

    In terms of rankings for overall time-spent viewing in the first 28 days of release, ‘Bridgerton’ and ‘Money Heist-4’ again lead the charts. Sarandos also said that the recently released Korean horror series ‘Squid Game’ could become Netflix’s biggest non-English title so far.

    Sarandos also dismissed news of the streaming platform looking to buy a movie theater chain. Netflix owns a theater in New York, and one in Los Angeles, which it bought in 2020, and uses the cinemas to hold movie premieres and to showcase some of its original films.

  • Webinar: Bridging video monetisation to optimise revenues

    Webinar: Bridging video monetisation to optimise revenues

    Mumbai: Websites in India lose revenue due to various factors including inventory control, under-utilisation of video advertising, traffic quality, and not taking advantage of the latest technologies available. Although Google is the largest sell-side platform in India, many publishers do not fully follow Google policies. Many publishers also do not even properly utilise their own AdX account to run video ads, resulting in consistent revenue leakage.

    Some of these issues, and their solutions will be discussed at the webinar – ‘Bridging video monetisation to optimise revenues’ – being organised by Indiantelevision.com in association with Aniview on Tuesday, 3 pm onwards.

    The virtual event will be attended by Jagran New Media, AVP and head-ad monetisation and strategic partnership, Dinesh Joshi, HDFC Bank, vice president and head- digital marketing, Jahid Ahmed, Aniview, business director – APAC Matthew Bray, HT Digital Streams, chief content officer, Prasad Sanyal, and Social Beat co-founder and director Vikas Chawla. The discussion will be moderated by Indiantelevision.com Group founder, CEO, and editor-in-chief Anil Wanvari.

    Apart from discussing the most common reasons for revenue loss for publishers in India, the webinar will throw light on the latest Google Policy in India, publisher Ad Ops, the latest video technologies, and how publishers can better utilise their own AdX. 

    The role of Aniview, which provides end-to-end video advertising and monetisation solutions will also be discussed. The virtual event will also highlight how a self-serve player platform like Aniview can address some of these challenges that publishers tend to face. Publishers can make better use of video players to self-manage traffic that is typically sold as out-stream inventory. By running a video player in these placements publishers can make better use of their own video content to engage their users and create more ad opportunities. When deployed correctly this can lead to significant revenue lifts.

    To join the discussion, register: https://indiantelevision.com/events/aniview/event-platform/registration.php

    The event will be live-streamed LIVE on YouTube and other social media handles of Indiantelevision.com. 

  • Amrita forays into OTT segment with Planetcast

    Amrita forays into OTT segment with Planetcast

    Mumbai: Malayalam GEC Amrita has launched its OTT platform Amrita Live on Planetcast’s multiscreen digital platform on Monday.

    Amrita Live will exclusively stream content related to spiritual leader Amritanandamayi Devi known to her devotees as Amma. As a part of the strategic partnership, Planetcast will host Amrita Live digital platform’s content from its library comprising over 5,000 hours and various live events, it said in a media statement.

    “By launching our own OTT platform, we will offer our target customers, the luxury of watching content as per their convenience. We are committed to adopting technological & digital solutions for improving the overall operations,” said Amrita TV COO Jayakesh Nair.

    Planetcast’s multiscreen digital platform is a SaaS platform, which offers an agile, advanced, easy to deploy, and easy to manage OTT ecosystem. “Amrita Live is actively strengthening its presence in the international market by launching its OTT service. Together, we will work for massive viewership with multilingual content through versatile apps available on popular platforms, devices, and appliances,” said Planetcast Media Services COO Sanjay Duda.

  • OTTs to benefit from the availability of price-discovery platform as cinemas reopen

    OTTs to benefit from the availability of price-discovery platform as cinemas reopen

    Mumbai: As many as 15 Bollywood movie release dates were announced within 24 hours of the news of cinema theatres reopening in Maharashtra on 22 October. These include the much-awaited titles such as ‘Sooryavanshi’, ‘Bunty aur Babli 2’, ‘Satyamev Jayate 2’, ‘83’, ‘Jersey’, ‘Tadap’, ‘Chandigarh Kare Aashiqui’, ‘Pushpa’, ‘No Means No’, and ‘Bhavai’ in 2021 and more for the next year.

    The enthusiasm is palpable with many welcoming the decision as a ‘victory’ of sorts for Cinemas over OTT. Yet, just a week back, multiplex chains that refused to screen the Hindi version of ‘Thalaivii’ were staring at a similar struggle over the gap between theatrical and digital screening for new releases. Having been released on 10 September, the Hindi version of the Kangana Ranaut-starrer is now streaming on Netflix, challenging conventional windowing norms.

     

     

     

     

    Cinema experience is unparalleled and in a film-crazy nation like India, it is expected that movie viewing will eventually return to the old normal. However, some things will definitely change, perhaps for the better. The direct-to-digital wave which saw digital rights revenues double during 2020 to Rs 35 billion (EY-FICCI March 2021 report on Media and Entertainment Sector), and continuing, was after all, not all ineffectual.

    The Box-office Barometer

    A study by Ormax Media published in July revealed that the 26 films which were originally conceived for a theatrical release but were released on streaming platforms due to the pandemic, fetched the producer a net gain of Rs. 350 cr, which more than offset the Rs 120 cr loss at the box office. However, it added that the “numbers look what they are, because of the absence of big Rs 150-200+ cr grossers (‘Sooryavanshi’ and ‘83’) at the top and the price premium streaming platforms paid in 2020 which can be seen as a marketing cost to acquire new subscribers.”

    Based on the industry estimates, the total monetisation from streaming rights across the 26 films stood at a “staggering Rs 720cr” as against Rs 250 cr if the 26 films had been released theatrically, at pre-covid streaming acquisition prices, it said. According to the EY-FICCI March 2021 report on Media and Entertainment Sector, digital rights grew as much as 86 per cent in 2020 compensating producers (wholly or in part) for lost theatrical revenue. This approach is, however, not sustainable.

    Mukta Arts MD Rahul Puri points out that it’s natural for a Rs 20-25 cr medium budget film to do good business on OTT platforms that are paying upwards of Rs 30-35cr for it. “Not only is the production cost being recovered, but when you go directly to OTT there’s no distribution and marketing cost to be incurred. It’s a sizeable profit, therefore. But the issue is going to be with the kind of legacy that the film earns. The brand value of a film that hasn’t been released in the theatres obviously goes down, and when it comes to a subsequent rights sale, its IPR value will diminish much faster; more so if the movie didn’t do well releasing directly on digital.”

    Stressing on the importance of theatrical releases for movies, Mumbai Movie Studios CEO Naveen Chandra notes, “A film’s box office performance typically serves as a price discovery platform, in the absence of which everyone is grappling with various formulas. A lot of good and bad decisions have been taken in this process of experimentation.”

    While in order to grow their subscription on the back of increased digital consumption OTT platforms may have agreed to acquire films for a premium, Chandra believes “there needs to be rationalisation in prices going ahead. By now the OTT platforms must also be having an idea of what their viewers are seeking, and should therefore tailor the content in terms of language, formats, and genres,” he adds.

    As regards ‘Thalaivii’ both Puri and Chandra are of the opinion that the situation would have played out differently had the big markets which contribute 35-40 per cent to the box office been open. “It was mainly the large multiplex chains that boycotted ‘Thalaivii’; the single screens are unfortunately in no position financially to hold out, and so they allowed the film to go ahead. Realistically speaking, Tamil Nadu is a strong single-screen state. So, with Maharashtra being shut the producers didn’t have much to lose,” states Puri.

    Direct-to-digital, shorter release windows stay

    The digital medium has not only provided another platform for the audience to watch movies, but also to filmmakers and producers to tell more stories with diverse formats, characters, and narratives. The nuances of the medium are sure to provide it some sort of exclusivity in story-telling.

    Shemaroo Entertainment, COO, Kranti Gada says, “OTT audiences have now got a taste of watching new movies at home, and this new reality is expected to continue providing a feasible release option for smaller, lower-budget films. Movies that can be enjoyed on smaller screens are more feasible for OTT platforms in the long run and therefore, they are expected to commission more original movie content going forward. Earlier, we used to see smaller movies that were unable to get a theatrical release go direct to video or television. This has now been replaced by direct-to-OTT.”

    Sharing Shemaroo’s experience through the pandemic years, Gada states that the outlook of big production houses and producers about the digital medium has changed, and they are now more open to reaching a wider audience through digital platforms. “The balance between commercial feasibility and reach will decide the way forward. One thing is certain; the eight-week exclusive theatrical window will not be something that producers will be held to and the norm will be broken. From eight weeks to four weeks or even shorter, the OTT release window is bound to change,” she asserts.

    Eros STX, chief executive officer, Pradeep Dwivedi also believes that windowing opportunities for theatricals will significantly reduce even after the situation eases. “In pre- pandemic days, a movie would take anywhere between two-to-six months to premiere on television after its theatrical release. Now I see this reducing to two weeks even after the pandemic is over. Post which, the movie will premiere on OTT followed by broadcast or, in some cases, the other way around.”

    In an industry-first move, Eros International had opted for the same-day digital and satellite release for the Rana Daggubati and Pulkit Samrat starrer ‘Hathi Mere Saathi/ Kaadan/ Aranya’ on 18 September. The film’s release on ZEE Cinema was immediately followed by streaming on Eros Now, the OTT platform owned by Eros STX Global Corporation.

    “With limited windowing opportunities for theatres, launching on OTTs is a natural choice for large studios like Eros Motion Pictures.  Since we also own Eros Now, we prefer the straight-to-OTT route till the pandemic situation improves and markets open up. In fact, going straight to OTTs allows large studios like Eros to produce more content with a wider diversity of talent from across India in addition to working with top stars,” observes Dwivedi.

    Even though Mukta Arts’ Puri is convinced of a return to the (old) normal when the pandemic is over, he does agree that OTTs will continue to invest in the films they think will work on their platforms. “While small/medium budget movies will still look for theatrical releases, there are a number of producers who will go primarily to OTT without even having a conversation about cinema. Big, commercial movies that are going to make 250-300 cr at the box office have no reason to do so. OTTs will pay a substantial amount for these films because of their brand value.”

    Chandra hopes that among and between the 30-second ad films, 100 hrs TV shows, 15-20 hrs web series, and two-hour films, the experimentative and edgy medium of OTT will find its place even as movie lovers return to the theatres.

  • Disney+ Hotstar’s ‘Aarya’ nominated for 2021 Emmy Awards

    Disney+ Hotstar’s ‘Aarya’ nominated for 2021 Emmy Awards

    Mumbai: Streaming service platform Disney+ Hotstar’s web series “Aarya” has been nominated at the 49th International Emmy Awards.

    Directed by Ram Madhvani and starring Sushmita Sen, the show bagged a nomination in the ‘Drama Series’ category, becoming the first show from the OTT platform to be nominated at the Emmys.

    “We are extremely proud and honoured to be nominated at one of the most esteemed global award platforms that recognise creativity, talent and storytelling at its best,” said Star and Disney India president and head of content Gaurav Banerjee. “I congratulate the entire crew of Aarya and our team at Disney+ Hotstar for underlining India’s creative talent to the world.”

    “It is surreal to know that Aarya has been recognised globally amongst the best drama series in the world and to be nominated at a platform as prestigious as the International Emmy Awards is phenomenal,” said actor Sushmita Sen. “I am overwhelmed with the love and faith viewers across the world have put into our labour of love and want to thank each one from the bottom of my heart for the encouragement.”

    The show’s ensemble cast included the actors Namit Das, Sikander Kher, Jayant Kriplani, Sohaila Kapoor, Sugandha Garg, Maya Sareen, Vishwajeet Pradhan, and Manish Chaudhary in pivotal roles.

    “It’s a feeling of pride and humility and true happiness to have been nominated for the International Emmy Awards,” said director Ram Madhvani. “Congratulations to the entire team and cast of Aarya for their immense support, belief, and love. And to the full team at Disney+ Hotstar and Endemol Shine. This nomination truly validates the full team’s hard and dedicated work.”

    Meanwhile, “Aarya” is set to return for a second season on the video-on-demand platform.

  • hoichoi to double spending on content, announces 20 new shows

    hoichoi to double spending on content, announces 20 new shows

    Mumbai: The Bengali OTT platform hoichoi has bolstered its content library with as many as 20 new shows as it marked its fifth year in the streaming space. The streaming service brand recorded 2x growth in active monthly subscribers and now planning to double its investment in content to power the next phase of growth, it shared during the virtual event #HoichoiSeason5 held on Friday.

    The go-to-market strategy will now rest on the pillars of content, tech and distribution, and expansion. “Since we only have a yearly subscription, it is very important for us to have high engagement on the platform. At (minimum) Rs 600 and Rs 900, it’s no way cheap to be on hoichoi, and hence we must continue to offer a great catalogue of films and shows on a regular basis for our premium users in order to drive subscription and engagement,” said hoichoi co-founder Vishnu Mohta.

    hoichoi currently has over 80 originals and is eyeing to reach the target of 100 shows by the end of 2022. Going forward, the main focus will be to drive subscriptions by bolstering its content offering and expand in both Bengali and non-Bengali markets in India and globally, said the platform.

    Content – Bengali/Dubbed Regional and Branded

    Of the 12 world premiere films planned for next year, five titles will be led by noted directors such as Srijit Mukherji and Anjan Dutt, which will add to the existing catalogue of 600+ films.

    Some of the originals revealed at Friday’s event include “Srikanto,” “Byomkesh 7,” “Mahabharat Murders,” “Eken Babu 5,” “Troilokkyo,” “Mandaar,” “Rudrabinar Obhishaap,” “Montu Pilot 2,” “Khyapar Shohor,” “Gora,” “Tiktiki,” “Swapan Kumar Obolomboney Bottolar Goyenda,” “Uttaran,” “Indu,” “Boli” (Bangladesh), “Karagar” (Bangladesh), “Sabrina” (Bangladesh), “Kaiser” (Bangladesh), and “Bodh” (Bangladesh).

    The platform also announced that it has witnessed a 2X growth in its overall watch-time and monthly active streaming users as well as a 4X growth in viewership, not only in India but in Bangladesh as well. It has recorded 60 minutes of average daily watch-time among subscribers, with each user visiting the platform thrice every day on an average.

    “We are overwhelmed with the response we have received for hoichoi in both the regional and as well as national OTT space in the span of past four years,” said co-founder Mahendra Soni. “hoichoi’s relevant and dynamic content has made it possible for us to build a diverse audience base, and as we step into the fifth year, the goal is to curate more remarkable content in collaboration with the best creators and talents of the industry.”

    The platform’s monthly subscription numbers in Bangladesh have also doubled every month since last year. Buoyed by the success in the neighbouring country, it intends to produce at least seven to nine originals for the Bangladesh market in association with local talent.

    While the pandemic-induced lockdown catapulted OTT platforms into accelerated growth, co-founder Vishnu Mohta believes the OTT culture began setting in among people for a few years now, and the pandemic only amplified it. “Since the pandemic surfaced, generally, people started getting accustomed to direct-to-digital releases along with the wide array of web series presented by the platforms. Post the lockdowns, OTT platforms have hardened their space in society. Therefore, this trend is here to stay. It will continue even in the post-pandemic world,” he said while talking to Indiantelevision.com ahead of the event.

    For hoichoi, the growth was also led by its Hindi dubbed content, which has been very well-received on partner platforms, said Mohta. “In order to replicate this success across regional markets and establish a connect with Indian and global non-Bengali audience, the platform is now planning to dub its content in other languages like Tamil, Telugu, and Malayalam,” he added.

    Running into its fifth year, hoichoi has also stepped up its branded content and launched a ‘Freemium’ service that allows users to watch ad-free shows without having to pay. So far, two shows have been released in collaboration with jewellery brands – Turu Love with Senco Gold & Diamonds and Subharambha with PC Chandra Jewellers. “While we stick to our strategy of offering ad-free content, we believe that branded content does not interrupt the viewing experience. Freemium section is primarily intended to cater to different brand needs while ensuring the content remains engaging and high-quality,” he added.

    Expansion, distribution, and partnership

    Running into its fifth year, one of the main focuses for hoichoi now is to drive more subscriptions on its platform through both direct subscription and subscription bundling partners. In India, besides its existing partnership with Jio Fibre for broadband subscription bundling, it has now partnered with Airtel as its preferred partner for mobility, broadband, and DTH bundling. There are other collaborations with ISP players like Alliance, Wishnet, Meghbela in India, and Link3 and Grameenphone and Sohoj in Malaysia.

    In 2022, the brand aims to have more such subscription bundling partners across telecom, ISPs, e-commerce, and DTH services.

    In order to reach out to tier 2 and 3 towns, hoichoi has also recently entered the retail vertical to enable subscription through offline payment mode where users can simply visit a local partner store and purchase a subscription by paying in cash. Sohoj and Paynearby are some of the current retail partners. Tie-ups with over 500 retail stores in both India and Bangladesh are planned for the next six months.

    At present, at least 40 per cent of hoichoi’s direct subscription revenue is contributed by the international market. With an aim to deepen its presence among the large Bengali population in South-Asian countries like Malaysia and Singapore and the middle-east, hoichoi is looking to partner with key telecom operators in the region. The launch of sachet pricing for both these markets is also on the anvil.

    Additionally, it will be launching digital gift cards offering special pricing plans for this Durga Puja across many countries like the US, UK, Australia, Singapore, and the Middle East. Mohta shares that as part of the recurring payment ecosystem that exists in most international markets, hoichoi subscription charges hover at nine dollars per month.

    Technology

    On the tech front, hoichoi will soon be available with a new interface displaying added features such as content description, trailer auto-play feature on the content details page, new and improved search layout functionality, Hamburger Menu Navigation, and new signup, streaming player, and login page.

  • Zee5 launches OTT-first ‘Intelligence Monitor’

    Zee5 launches OTT-first ‘Intelligence Monitor’

    Mumbai: Streaming service platform Zee5 on Friday announced its plans to launch an industry-first fortnightly knowledge series ‘Zee5 Intelligence Monitor’ to decode the latest and imminent consumption trends, consumer preferences, and new insights across various product and service categories. 

    According to a statement, the new offering aims to add incremental value to the brands’ range of advertisers.

    With its audience spread across the country, the ‘Zee5 Intelligence Monitor’ will track transformative consumer behaviour across industry verticals spanning diverse categories such as auto, beauty, health and wellness, smartphones, gaming, cryptocurrency and more, said the statement.

    This model will bring together renowned industry leaders for expert viewpoints especially pertaining to the new-normal accelerated by the rapid adoption of the internet and technology, it added.

    “The ZEE5 Intelligence Monitor knowledge series will bring on board brand custodians and product leaders from diverse industries to analyse and examine the deep implications of the emerging and imminent trends, consumer perceptions and outlooks, and further discuss how each product category can take maximum advantage of these disruptive transformations,” said Zee Entertainment Enterprises Ltd COO for revenue Rajiv Bakshi. “Our objective is to offer our advertiser partners a multidimensional understanding to traditional and emerging product categories, coupled with insights into the minds of consumers and to effectively drive targeted engagement, combat ambiguity and boost smarter business decisions.”

    “It is intriguing and exciting to hear about the imminent launch of the ZEE5 Intelligence Monitor. We all read category analyses from different forums, but I believe this is the first time an entertainment major is publishing perspectives on emerging and established categories,” remarked Madison Media & OOH group CEO Vikram Sakhuja.