Category: Over The Top Services

  • OTT players see subscription revenue as India’s future

    OTT players see subscription revenue as India’s future

    MUMBAI: Most Indian over the top (OTT) and even traditional mediums have assumed that Indian audiences aren’t willing to pay for content. But of late, discussions have shown that monetisation is happening at a slow pace. Though the return on investment (RoI) is not for the foreseeable future, the business minds are highly optimistic that the scenario will change in the next five years.

    Eros Digital COO Ali Hussein, SonyLIV EVP Uday Sodhi, Syntropic Systems managing partner Alap Ghosh, Atechnos founder Apurv Modi and Hungama Digital Media VP Soumini Shridhara Paul delved on the future of the industry at an OTTv Mumbai session.

    The session started with the age-old debate that Indian people don’t want to pay for content. The scenario hasn’t changed since last year’s panel.

    Hussein said the main challenge is not that people don’t want to pay but whether the platforms are able to grow a habit among consumers to return. “The question is to allow the whole ecosystem to pave the way for a feasible experience for the consumers to pay,” he said.

    Sodhi backed Hussein’s statement saying that everyone is paying for content in some way but it isn’t enough to allow evolution. 10 or 15 years ago, similar questions were thrown for traditional TV. He is optimistic in that next five years the scenario of the OTT industry will change too.

    “In the last two to three years, significant consumption appetite has been seen. Penetration of smartphone, easy access to 4g has activated this. Now some of us are encouraged to create content as we believe that some sort monetisation is coming through,” he said.

    Paul said, “When we come to down monetisation challenges, one has to look at how we can build something which is scalable.” She also thinks the quality of production makes a difference. Everybody cannot have $2 billion for content but ensuring the best product within budget is important. In spite of making some content similar, finding something different can really help.

    The reasons that make consumers hesitate to pay have never been found. Ghosh mentioned three reasons. One of the reasons is that people stop paying when they finish watching what they wanted to watch. The doubt on the validity of the expense also restricts them to pay again as the consumers are habituated to pay Rs 200 for 300 channels where they don’t have to think what to watch next.

    Whenever it comes to monetisation, everyone discusses subscription but it is advertising through which significant money can come through and that depends on good content. Going forward, revenue from both subscription and advertising will increase as the market will mature. As advertising is itself a complex ecosystem, there are bigger challenges for AVOD model to make money.

    While Modi said that there is enthusiasm from advertisers to engage in OTT platforms, Ghosh thinks that in the urge to be across platforms they choose to be on one or two select platforms like YouTube, Hotstar to create interest among viewers.

    Moreover, strategic partnerships for distribution also leave an impact to reach more consumers leading to better scaling as well as subscriptions.

    While monetisation has been the key challenge to Indian OTT industry, there are new avenues which can help to overcome the challenge. It’s important for the ecosystem to be able to allow growth of both advertising and subscription based models. The increased attention on statistics from optimising data can help the players to understand what is working and what needs to be changed to retain consumers.

  • TV relevant for streamers too finds survey

    TV relevant for streamers too finds survey

    MUMBAI: The growth of video streaming is beyond question as streaming devices are easier options for viewers to explore various chunks of content. However, streamers in various parts of US also have a bonding with traditional TV according to a report from Nielsen local watch report.

    93 per cent of streamers watched traditional TV on a typical day. The 7 per cent of the streaming viewer of the age group 25-54 streamed exclusively while 47 per cent of them watched only traditional TV on a typical day. Rest 46 per cent consumed a mix of traditional TV and streaming.

    In Detroit 53 per cent watch only traditional TV, while 39 per cent use a mix of both traditional TV and streaming devices. Eight per cent use only a streaming device in a typical day. The statistic varies in Portland where 41 per cent of streamers watch only traditional TV in an average day, with 12 per cent only using a streaming device to view content. 46 per cent use a combination of traditional TV and a streaming device in an average day.

    A huge number i.e., over 65 million US homes have an enabled device capable of streaming content to the TV as of last November. However, the OTT-savvy homes are more from urban areas. On the other hand, mid-size markets are showing more growth. Young affluent audience also has more inclination towards streaming devices. Homes, where the head of house is less than 35 years old, are 34 per cent more likely to have a streaming device than the average home. While this age group accounts for 20 per cent of streaming device owners, the age group of 25-54 comprise 44 per cent, and age group of 55+ make up 36 per cent.

    Like India, US viewers also have an affinity towards local media. 91 per cent of streaming device owners access local media on TV or online. 51 per cent access local news through app on mobile devices. 43 per cent have accessed local radio. 40 per cent completely or to some extent agreed to the importance of social media for keeping a track of local information.

    The survey reaffirms the importance of broadcast TV for even OTT viewers. Broadcast TV’s charm has not faded in this digital era also.

  • Netflix Originals popular in most global markets

    Netflix Originals popular in most global markets

    MUMBAI: Netflix is showing its clout as its popular show Stranger Things’ has emerged as the most popular digital original series in most markets. Parrot Analytics’ Global Television Demand Report examined the demand for all digital original series in 10 markets (Australia, Belgium, Italy, Netherlands, South Korea, Greece, Switzerland, Brazil, UK, US).

    While Netflix is shifting its focus more and more towards originals, the survey report has proved it is definitely helping the company’s popularity. In six markets including Australia, Belgium, Italy, Netherlands, South Korea, Greece, the Netflix original Stranger Things is the most in-demand original series.

    Star Trek: Discovery and Black Mirror from Netflix have been placed among top 10 in-demand originals in the most of the surveyed markets. Other than Netflix originals, Amazon Prime Video’s The Grand Tour has also been placed as a popular one in the list in all markets.

    While globally the demand for OTT services has increased dramatically, the willingness to pay for subscription is still not very high in the markets. Parrot Analytics carried a survey across four markets including Brazil, Italy, UK, US. In Brazil, over 40 per cent of the people are not willing to opt for SVOD subscription. Over 45 per cent of respondents and nearly 50 per cent of the respondents in the UK and US respectively are not willing to subscribe to any video subscription streaming services.

    Italy came out as an odd market in the survey as over 70 per cent of people in Italy are willing to subscribe to one or two SVOD services, much higher compared to the other three markets. Only 18 per cent of people in this territory are not willing to subscribe to a subscription video streaming service.

    Also Read:

    Survey finds word of mouth best way to discover content online

    Netflix hires Shrishti Behl to build original Indian slate

  • Artist Aloud Forays Into Original Content beyond Music

    Artist Aloud Forays Into Original Content beyond Music

    MUMBAI: Artist Aloud, a platform by Hungama that supports and promotes independent music, today announced its foray into original content beyond music. With this, Artist Aloud will now support non-music independent artists as well and help with creating and promoting their content. As a part of the expansion, Artist Aloud will launch its first show – The Ajay Gehi Show. Starring the talented and popular actor, Ajay Gehi, the series will be an anecdotal comedy and feature monologues delivered by him. The show will be available on the Artist Aloud app, Hungama Play and Artist Aloud’s social platforms starting 15th June 2018, with a new episode releasing every Friday.

    The first season of the show will consist of 14 episodes with each not exceeding 10 minutes of runtime. Produced by Artist Aloud and written, directed& performed by Ajay Gehi, the acts will be based on relatable situations that Ajay has observed in his day-to-day life. From people’s behavior at airports and the peculiar traits of the selfie generation to the tough process of making decisions and the scenes witnessed at weddings, Ajay Gehi will deliver his jocular take on commonplace scenarios.

    Commenting on the foray into non-music content, Hungama Digital Media Entertainment Pvt. Ltd., Vice President, Artist Aloud, Soumini Sridhara Paul said, “Since our launch almost a decade ago, we have endeavored to build a platform that enables independent musicians to get the recognition they deserve. Through the years, Artist Aloud has become synonymous with independent music. With the recent development, we are glad to make Artist Aloud a holistic platform for independent artists across the talent spectrum. Our aim is to provide a stage to gifted artists and help them showcase their talent, whether it is singing, comedy, poetry or anything else. Our new offerings will also enrich the user experience by giving them a wide array of content to explore and consume.”

    Commenting on the launch of his show, Ajay Gehi said, “The Ajay Gehi Show is a humorous take on situations that generally go unnoticed in our fast-paced lives. These moments would otherwise provide the much-needed cheer and relief that we need every day. Through the show, I intend to give the audience a break from the monotony of life and give them a reason to laugh while making them think. I am glad that Artist Aloud gave me an opportunity to explore the anecdotal comedy genre. Their unmatched expertise and reach in the digital domain will help in ensuring that the show gets a wide release.”

    Artist Aloud will release a new episode of The Ajay Gehi Show every Friday, starting 15th June 2018. Viewers can tune in on the Artist Aloud App, Hungama Play, Artist Aloud’s YouTube channel and Facebook page to watch the show.

  • Netflix’s 85% spending towards original content

    Netflix’s 85% spending towards original content

    MUMBAI: Worldwide Netflix lovers will have a gala time as the content provider will launch 1000 originals on its platform by the end of 2018.

    Speaking at a conference, Netflix CCO Ted Sarandos said that 85 per cent of Netflix’s new spending on content is going toward the company’s own original works. Netflix already revealed that it would spend $8 billion this year for overall content.

    The streaming giant is increasingly shifting to its own content instead of reruns and movies made by others. The direction is more driven by economic reasons as there are predictions that big media companies would eventually go for their own streaming subscription services.

    However, earlier there were reports that only 20 per cent of US users’ viewing is made up of originals. Sarandos reacted that more than 90 per cent of Netflix’s customers regularly watch original programming. Some of this investment is recovered through the monthly subscription fees people pay.

    Usually SVOD platforms raise their subscription rates seldom but a recent survey found that Netflix subscribers might be willing to pay even more than they do now. Another survey found that two-thirds of Netflix’s US subscribers would stick with the service even if it raised prices to $15 a month or more.

    Also Read:

    Netflix hires Shrishti Behl to build original Indian slate

    Localised content the way forward for Netflix in India

  • Ab Raaton Raat Ban Jao Sarkar with WatchN’Play on Hotstar

    Ab Raaton Raat Ban Jao Sarkar with WatchN’Play on Hotstar

    MUMBAI: With cricket season in full swing, Hotstar, India’s leading premium streaming platform, has taken the excitement to another level. Users can now become part of the on-field action with Hotstar’s cricket game, WatchN’Play, which users can play while they watch the match on their mobile phones. Putting your cricket smarts to the test has never been more rewarding, as the grand prize being given away after each and every match, is a Mahindra KUV100 NXT.

    Most people in India are self-styled cricket experts providing running commentary on player performance and the ebb and flow of the match, as they watch their favourite sport. Watch’NPlay gives them a chance to put this skill to good use. Through the game, Hotstar users also get to win exciting prizes from partners like Cadbury, Big Bazaar, FBB, Domino’s and PhonePe.

    With over 60 matches through the entire season, and one Mahindra KUV100 NXT, along with 10 lakh other prizes, being given away at the end of each match, the game has already made Hotstar viewers across India proud car owners, with winners in metros of Mumbai, Bangalore, and New Delhi, as well as cities such as Jaipur, Kochi, and Indore, among others.

    To convey to viewers that with Watch ’N Play more people can win a big prize than ever before, Hotstar has placed hoardings across cities saying “raaton raat ban jao sarkar”. Often, there is cynicism and disbelief around games promising big prizes and Hotstar recognizes and addresses that with hoardings communicating “yeh vaada nahi hai bekaar”. The intention is to make sure that people realize that this is a very real and rare opportunity for viewers to win big with cricket, every single day. The outdoor campaign is also accompanied by a new ad film wherein we see winners popping up in every town.

    Turning spectators into participants, WatchN’Play is set to elevate the viewers’ experience by engaging them with the game more deeply than ever before. 

  • Fanmania Brings Back Kaisi Yeh Yaariyan Season 3 as a VOOT Original

    Fanmania Brings Back Kaisi Yeh Yaariyan Season 3 as a VOOT Original

    MUMBAI: It’s a “Summer of Love” on Viacom18’s Video-On-Demand Platform VOOT. Upping the heat is the much loved and much awaited series, Kaisi Yeh Yaarian Season 3, with entertainment’s one true pairing Parth Samthaan and Niti Taylor reprising their roles as Manik and Nandini. Deep diving into a slew of emotions, trendsetting the next level of swag and exploring love in all its new age glory, the rebooted Kaisi Yeh Yaariyan promises to be 3 times cooler, 3 times mushier and 3 times more romantic. Produced by BBC Studios and powered by Veet, the 13-part series will premiere on 15 May with new episodes releasing every Tuesday and Thursday only on VOOT.

    Elaborating on the launch of the show, VOOT – Content Head,  Monika Shergill said, “Kaisi Yeh Yaariyan has consistently been amongst the top performing shows on VOOT and we realised that no other youth show matches the appeal and connect that KYY has with the millennial audience. The return of KYY 3 as a VOOT Original is a testimony to the power of fandom and at VOOT, we believe that understanding these fans is the new superpower that we need to build as content creators and platforms.”

    Speaking about partnering with VOOT on Kaisi Yeh Yariyaan RB South Asia Health, Chief Marketing Officer,  Pankaj Duhan added saying, “Veet has always celebrated beauty and confidence. We have always encouraged women to shed their inhibitions and showcase their true self to the world. We are extremely proud to introduce our new campaign #Unpose – with which we aim to make every girl live without inhibitions; starting with posing for a photo without inhibitions. We are excited to partner with youth platforms VOOT and The Hauterfly in spreading the message. We are hopeful that we can inspire women to change how they feel about themselves and become even more confident.”

    Speaking about the show and its following (SVP and GM, South and South East Asia, BBC Studios), Myleeta Aga said “Kaisi Hai Yeh Yaariyan Sseason 3 has been much anticipated by fans and we are thrilled to announce the premiere on 15th May on VOOT. The story and characters, specially MaNan, are as compelling and engaging as ever and we have taken the production design to the next level – viewers will not be disappointed.”

    Of the fans and for the fans, Kaisi Yeh Yaariyan 3 delves into Manik and Nandini’s coming of age romance and the varied emotions of being young and in love. Joining the yaars this edition are many popular faces, Pranay Singh Pachauri, Kishwer Merchant, Charlie Chauhan, Barkha Singh, Radhika Bangia and Meherzan Mazda in pivotal roles that add to the unexpected twists in the show.

  • Viu’s What The Duck- Season 3

    Viu’s What The Duck- Season 3

    MUMBAI: With cricket fever gripping the nation this season, premium video-on-demand service Viu is back with its marquee cricket-gone-crazy property ‘What the Duck’. For the past 2 seasons, the property has received rave reviews and gained a large following amongst both men and women. Today the platform announces the launch of its hatrick season, promising to bring back the madness and fun for all cricket enthusiasts.

    This third season will see Vikram Sathaye host 20 legendary cricketers on the show spanning 10 episodes. On each 15-minute episode, two cricketers will be seen together, engaging in a playful banter with Vikram Sathaye. The cricket duos on the show are Shikhar Dhawan & Bhuvneshwar Kumar, Michael Clarke & Brad Hogg, Mohammad Kaif & Harbhajan Singh, AB Devilliers & Jonty Rhodes, Ravichandran Ashwin & KL Rahul, Rohit Sharma & Ajinkya Rahane and many more, to share fun moments and interesting trivia on and off the field.

    Viu will also release unique short form comedy content on cricket titled ‘What The Duck Googlies’. The show will revolve around four popular stand-up comedians – Vikram Sathaye, Anirban Dasgupta, Saurav Mehta, and Sidharth Dudeja giving their comic spin on all the current and trending topics in cricket. The 35-episode show will be live on both Viu and YouTube starting May.

    Commenting on the launch of the What The Duck 3, Vishal Maheshwari, Country Head – Viu, India said, “Cricket and comedy are two things that connect most Indians together. Riding on the success of the first two seasons, we have decided to double the madness and triple the fun with season 3. We are also happy to partner with YouTube, who will help us increase the reach of our popular show to a larger audience”

     The digital premium show can be streamed exclusively on www.viu.com, the Viu App and Viu’s YouTube channel. And for regular updates and show announcements, you can follow Viu on Facebook, Twitter and Instagram.

  • Netflix CCO Ted Sarandos says India is ‘TV starved’

    Netflix CCO Ted Sarandos says India is ‘TV starved’

    MUMBAI: This could really make television executives in India, who have built a multi-billion dollar business, gnash their teeth. We are referring to Netflix chief content officer Ted Sarandos’ comment at the fifth MoffettNathanson Annual Media & Communications Summit, which is on in New York between 14 and 15 May.

    “There is no real great local television in India,” he said. “It is a television starved market.”

    He went to add that the interesting thing about the Indian market is that it is a culture that loves cinema. “What we are trying to do is bring something new to the country with cinema-infused television. Bit budget big scale productions in long form storytelling. We think this is going to differentiate us from the market,” he explained. “We believe that it is the big budget production with scale and local stars  which I think people like as much as the movies.”

    Sarandos went to explain that the streaming app has six tent pole shows under various stages of production in India and the first one to see the light of day will be Sacred Games.

    The streaming service obviously has got big plans under its sleeves for India. Amongst the senior professionals that it has hired for India  and is currently training in its US HQ figure Shrishti Behl, the Netflix director for originals, and former Fox senior executive Swati Mohan, who will be looking after marketing for Netflix as a brand in India.

    Sarandos added that productions are underway in 17 countries. And the reason that the streaming app is getting into originals is that clearing rights from existing content owners and studios was getting tooi expensive compared to the value they offered. Netflix has no control over the quality of the shows or the structure, hence that was a chellenge, he explained. Also  being able to get early windows was challenging. Additionally, Netflix users were increasingly watching original programming, hence the drive will be more towards creating new shows.

    He pointed out that the French press  read  Netflix’s  withdrawal from the Cannes Film competition wrongly. “We are totally interested in complying with the law that says that films need to be released in theatres and cannot be streamed online on a subscription model until three years between theatrical release is complete,” he said. “That law means we do not release our films in France in theatres. The past year the Cannes Film Festival applied this rule that we have to introduce our films in theatres in France to be eligible for the competition. We decided to pass because we would rather release our movies for millions oif viewers online in France than a limited number involved with the Cannes Film Festival.”

    Also Read :

    Netflix announces unscripted series on Mumbai Indians

    Localised content the way forward for Netflix in India

    Indian content at Netflix to be creatively lead by Disney’s Simran Sethi

     

  • Three years down, YouTube Kids unable to make an impact

    Three years down, YouTube Kids unable to make an impact

    MUMBAI: Generation Z has grown up with mobile phones and even smartphones in their hands. What TV was to the older generations, the phone was to these kids who grow up with YouTube. In 2015, YouTube Kids was launched promising filtered content and parental control but Indian viewers seem to have given it a pass.

    “The app makes it safer and easier for children to find videos on topics they want to explore,” YouTube Kids group product manager Shimrit Ben-Yair said in a blogpost when the app was first unveiled. In 2016, the app was officially launched in India. Parents can keep a timer restricting the usage as well as limiting the content kids can search with a “turn off” option. There are four sections in the app offering different kinds of content- shows, music, learning, explore.

    YouTube along with other OTT platforms targeting kids has become a ‘digital babysitter’. Though, according to a recent survey, even in developed countries, big screens remain a favourite of kids, the trend of consuming content on portable screens is rising expediently. Turning away from linear TV content, kids are increasingly flocking towards digital content globally. In such a scenario, YouTube Kids definitely has a promising market but there are several factors stunting the growth, especially in India.

    In India, YouTube has not aggressively started any campaign till now for its standalone app. While YouTube itself offers a wide range of kids’ content, other OTT platforms such as Viacom18’s Voot have done extremely well in terms of views. It has popular shows such as The Powerpuff Girls, Ben 10, Roll No. 21 and Chotta Bheem alongside Dora, Spongebob, Motu Patlu, Shiva and Pokemon.  Amazon and Netflix also have rich content—both commissioned and original.

    In addition to that, YouTube itself is a competition to YouTube Kids with children having plenty of entertainment options. Sparky short form content channels like ChuChu TV, LittleBabyBum, ToyPudding TV, Marsha and the Bear, Ryan ToysReview have more than 13 million subscribers and are thriving. The numbers show how many kids flock to these channels. Whereas, YouTube Kids is restricted. It can be accessed only on mobile devices and smart TVs making it less accessible than the parent site.

    “From collections of channels from trusted partners to enabling parents to select each video and channel themselves, we’re putting parents in the driver’s seat like never before,” YouTube Kids product director James Beser said after the recent announcement of introducing several ways for parents to limit what can be watched on the popular app after receiving huge criticism. After three long years, at least YouTube has acknowledged it needs better policing for the kids app.

    While YouTube has marketed its kid-specific app as a safer place for children, it has to walk a long way to prove itself safer. With its main site being unbeatable in the competition, amidst outcries from child rights groups, the presence of several other players offering various range of kids’ content, YouTube Kids is still not a primary option for kids.

    One of the main reasons behind the launch of YouTube Kids was to make it a safer platform for parents, who didn’t want their children using the main site unsupervised. Since the launch of the app, advocacy groups listed several serious problems. Amidst cartoon animation, explicit sexual language was used, graphic adult discussions about family violence, pornography and child suicide were noticed, modelling of unsafe behaviours, even jokes about paedophilia and drug use were discovered. Along with that, through the commercials, there are enough potential risks for kids to watch inappropriate content.

    Despite not tasting the kind of success YouTube is accustomed to, especially in India, YouTube Kids finds itself to be under promoted. Though more kids are hopping on board digitally, the lack of success of YouTube Kids is a glaring anomaly. YouTube has to ramp up the offering and make the app a safer place for kids, thereby giving usage a shot in the arm in a cluttered market.