Category: Over The Top Services

  • IBS: Redefining viewing experiences: The next era of connected TV  innovations

    IBS: Redefining viewing experiences: The next era of connected TV innovations

    Mumbai: The India Brand Summit held on 28 November 2023 at The Lalit Mumbai, convened leaders, marketers, entrepreneurs, and experts to explore current trends, challenges, and opportunities in the dynamic brands and marketing arena.

    Indian Television.com group founder CEO & editor-in-chief Anil NM Wanvari in a fireside chat with mediasmart vice president India, SEA and ME Nikhil Kumar

    Anil began the conversation by asking, “When speaking to industry, they see that the figure we should look at is 22 billion or 20 billion. Where are we at?”

    Nikhil replied “I mean, frankly, we feel the connected TV bases, approximately 18 to 20 million, which approximately means from an Indian context close to 60 million reach. In terms of households, but, the connected TV penetration, the number of activated connected TVs is close to 20 million to 22 million, but it’s growing really fast. By the time we have another panel like this, it could be 24, 28  and we all know Jio IPL is unexpecting and you know what it did or even the year so those numbers are growing really fast, double-digit, and pretty fast.”

    Anil questioned, “What are the innovations we’re seeing in terms of your experiences as far as connected TVs are concerned?”

    Nikhil commented, “Interesting things are happening, I mean, what connected TV has done is provide users with a very interesting way to engage with the television. Now, we all come from an era where you know, we were all growing up, we used to watch television together at home,  we found off watching.TV with a family, there used to be a Shaktiman and Ramayana I don’t know, choose your big night, right or no, or Baywatch, whichever finds your fancy. But we went to an era of personalized mobiles. And then suddenly everybody had a smart screen. Everybody was doing their own thing and the smart screen and then you found your families disintegrated. And then suddenly we were hit by this whole phenomenon called COVID. Where you didn’t have much to do at home, you watched television feed, which was quite depressing, because most of the live feeds were telling you depressing talks about people dying, which was not the most optimistic news you wanted to hear. media feeds led to a decline in what could be repeated and can be watched again, come on, it’s like well, months to 24 months to not have anything being shot. I think that is the time when connected TVs really started to rise and the growth of connected TV during that era actually catapulted the overall growth of connected TV. And when there are so many eyeballs, there are so many uses on connected TV, just the way you consume content itself also started to change. As an Indian, as a starting point, I don’t even need to talk about innovations. You watching Korean content, is that an innovation? Or is it just the way it’s supposed to be? If I asked people how many people have watched Money Heist or Squid games, I’m assuming it’ll be at 90 per cent. Again, none of you are Koreans. None of you are Spanish. But while you’re watching many eyes, I think that in itself speaks volumes of content consumption in terms of innovation,  I mean, there is all kinds of content available. There are 46 plus OTTs in India alone, That speaks volumes of just innovation, and the kind of content now, in terms of consumption and content innovation within connected TV, you can engage with the content you’re watching. Let’s say you can decide where  Ranveer Singh has to jump from the hill or Ranveer Singh has to take a row. We also what Netflix did recently, there are many such contents which are being developed by publishers that are letting users be controlled by Black Mirror one of the episodes you can actually control what the end outcome of the episode will be. Imagine the user in being control of the content.”

    Anil then went on to ask “What are the new innovations it seems to It appears to be that connected TV has kind of hit a pause mode in terms of content. So where is the innovation coming?”

    Nikhil replied, “I think innovations are coming and lots of engagement and interaction. I think your remote today is far more powerful than the remotes that you want it to have. And I think I was interestingly having a panel a couple of days back and what we did was we asked like a young gen Z to come and sit on the panel and really tell us what he wants from connected TV  and the kind of stuff he was saying is I don’t want to go all the way and pick up the remote from there, I won’t hand gestures so the world is moving towards Weiss automated commands. You can purchase the products that you actually want you can say hey, you don’t watch I’m going for a match. Need a Josie now suddenly you can have two TVs, you know tracking you down to a YouTube page or two or probably a website which you can actually view connected you can scan it which it opens up on your mobile the purchase can be made or in developed economy where the purchase itself can be made of the Apple TV because it’s connected to your card, your television experience is no longer the same, the innovation is actually coming a lot from the way you consume content. From the way you look at your television as an alternate screen, which it probably was never, it was only one side earlier, television is giving you content you are consuming. That’s why it was called the idiot box. Today, the smart TV is called a smart TV because it is smart. You can do a lot of things on your mobile, and your TV, you can connect your mobile to television, in fact, and suddenly you realise that my screens are all the same no matter where I watch it only the experience is better on the television.”

    Anil asked “I was watching one of the players Jio actually watching India vs. Australia. And there’s a QR code, which tells me you know, I have to go and that’s where we are at QR codes. When the ad is running, why hasn’t there been much more progress?”

    Nikhil shared “I think I’m a firm believer that everything doesn’t change. India was not built in a day, Rome was not built in a day either. And I think, at the cusp of where our ecosystem is, India has got over 800 internet users, we are 1.2 billion countries, I mean, things are gonna 20 million looks nothing when you talk about some statistics on the right. But look at the growth of it. Now Jio entering, the whole foray of connected televisions, suddenly changing the ballgame. It’s it’s gonna grow really fast. There’s a very contentious debate on whether you should be watching it on Star Sports or Jio, there’s a serious debate about where you should be watching it now.

    if you look at how things are changing QR codes, QR codes are probably a starting point. It’s getting the users a taste of what they can do with their television. Now, at the end of the day, if I get my user remote and tell him that you can buy a jersey of his favorite IPL team, probably he’ll get really confused. And it’s not just the consumer, I can start with the marketer. I mean, the marketer is questioning, how am I getting clicks from a connected television, they are really surprised by calling it fraudulent. But if you look at world economies like us, close to 50 to 60 per cent of the business is performance advertising on connected television. Now I would say connected TV and performance, how is it even met? Yeah, it is a screen. And you can use your remote to do a lot of things, download apps, engage with apps within apps, and do so many more things gaming itself is an ecosystem of connected TV where there’s an entire universe, you can put ads within games being played on cricket, TV connect with users across the globe purchase stuff from a store within that game, which have been delivered to your home, the world is moving really fast. India is taking its early stages of you know the revolution, which is connected to the TV, and if you see how we also started like three years back, vs where we are today, you can see the number of players talking like television, you can see the number of forums talking connected television, you can see the number of players with a connected television ecosystem, whether it’s OEMs, whether it’s smart tech companies, whether it’s publishers, they’re all out there it’s something that’s going to grow really fast.”:

    Anil further asked “What are the challenges that are in their place currently? And how do we get over them? And how do we get a connected TV viewing experience? How do we drive footfalls to stores even more? What is needed to get that to happen?”

    Nikhil commented “I think I sort of tend to agree and disagree that are we moving fast. I mean, we’re growing it 30 to 40 per cent quarter over quarter, I think that’s as good a growth. That’s what smart TV would actually look at. If you look at the factors, India is one of the most penetrated countries when it comes to the internet, we have got the cheapest package in terms of data per GB, if you look at any TV that is produced today is smart. Technically, I don’t remember the last time somebody was making a box TV. Just the accessibility but accessibility part of getting those smart TVs to your homes is well penetrated. It’s not like a tier one tier two phenomenon if you put these factors together, connected TVs only to grow. So technically, most people aren’t using the connected TV, but they probably don’t call it a connected TV the way we are calling it.

    If survive two years. And if you’re employed and you still have a job, I’m sure you figure out what Wi-Fi is. And that’s the factor that I think we are negating a lot how did CTV become so important? Why are why is IPL on Jio why, what’s going on? Why are the set-top boxes streaming set-top boxes anymore? These are all factors which are determined by what’s happened in the last three to four years. Some controllable factors, and noncontrollable factors like who doesn’t have Wi-Fi now today Wi-Fi is not a cost. You all have Wi-Fi most people don’t have Wi-Fi at home even in the remotest villages you would look at if they don’t have Wi-Fi India’s gonna be fine If you can’t read still, as a 5g country, you have well penetrated 5g ecosystems within the ecosystem. And that can very well actually support any kind of content that you want to watch on a connected TV.”

    Anil asked further” What are the innovative ad formats, that are coming in, not just in India, but globally, which which can be really put to use in India going forward? And which marketers can look forward to?”

    Nikhil replied “I think in terms of innovative ad formats, there are many things happening, I think. Just the fact that you can engage with the ad, just the fact that you can talk to your ad, just the fact that he can tell you the ad that I don’t want to see you. And itself is I think new in terms of innovation, when it comes to the large screen television, I think a lot of the comparative start to come with mobile, because there’s so much happening on mobile, but we need to understand the screens are different. They’re both digital, but just the way you consume anything, even as an ad on a large screen television versus where you are in itself is like ten steps ahead,  We come from an era where it used to be pushed down our throat, we could change channels, but we couldn’t escape an ad till the body had to step in says only 15 minutes of ad within one hour. Still, you can’t escape ads to now you deciding what ad comes to you? Can you engage with the ad? Can the ad really translate into you making a purchase? In fact, the innovation is not coming from just advertising innovation is also coming from ads transforming into a metric because any advertising is not done for the purpose of making a great ad, I as a marketer never made ads, because I loved making ads.

    I think most marketers have made ads for the share purpose of ROIs. As for ad spend, she would go back and say what’s the business? Where is the needle moving at. And connected TV today is able to serve that metric not as a post-mortem. So you’re not looking at the share of investments in advertising on television and looking at your market shares next month. With connected television, you can look at your investments in television in terms of TV ads being served in large screen format, which we love the TV ad and tracking it down to a metric right in terms of purchase website,  brand score search indexes on a real-time basis. Now from a marketing scenario, imagine that this is a best-case scenario because technically you’re not looking at a post-mortem which happens next month after your spending has been done because the body is lying there whether it was good or bad. I mean, you’re just finding out later with connected television or advertising and finding out real-time. you can down the funnel all the way to purchase remarketed re-retention reordered referred to my family. Imagine suddenly you have a metric which is the best-looking triangle, obviously upside down and you’re saying I showed an ad to a user. This guy engages with the ad. He filled out a form for a driving test driving a BMW. The BMW came to his house. It took him free he has gotten converted from the ad that he saw on television he is actually a purchaser of the BMW etc best case scenario.”

    Anil asked “I wish for a seamless content experience—starting a show on my connected TV, continuing in my Wi-Fi-connected car, then on my phone in the elevator, and finally, back on my office TV. Why isn’t this integration more widespread across platforms?”

    Nikhil commented on this “That’s already here, glad you brought it up, I think while content syndication needs to happen, I think from an ad tech lens from an advertising lens, this technology already is out there. I think I was talking to my earlier panelists that eventually, you want to use the reach the user at multiple levels, right, you want to reach them on their pistol on a phone screen, while they’re entering the left exactly like you said, you want to reach them and they are driving across the busy Bandra ceiling and a fancy holding. You want to reach them and reach home and switch on their television and watch their content of, I don’t know Annapurna whatever they want to watch a cricket match on the connected television. And eventually, it was sleeping at night, looking at the mobile going down to sleep now you want the user to see your ad in all these locations. But if you choose to be operating at multiple levels, with multiple partners doing multiple things, and at a certain frequency, which you believe is good, what are you creating? Are you making a little series ad 12 times 14 times where he’s saying, Why are these guys spending so much on me like, or could you create an environment where the multiscreen touch points are engaging with each other? We know this is the same. We need to catch him on maybe 12 times, no, maybe nine times or six times across the screen. So he suddenly realises Oh, yeah, I love the ad man. I’m seeing it everywhere. It’s not fatiguing me.”

    Anil asked further “Hotstar has been doing they had maximum mode, and vertical mode during the Cricket World Cup this year. That calls for content to be reimagined, it does not score for the app to be reminded. “

    Nikhil shared his opinion “Absolutely. You know, I think there the advertisers have the power to do it. Now. You know, it’s we live in a world today where ads can be shot on iPhone movies, it can be made on an iPhone. So we have evolved from an era where you shot an ad spent a bomb, and then you couldn’t change your advertising strategy or tank it. Now India has one that’s a sentiment and if your ad is coming during that sentiment, it will have a positive. Hopefully also be repercussions. India is lost. There is a certain sentiment on a Sunday, and you are bombarding the user with a very different happy ad of India very much. I don’t know what emotional outcome it could lead to.” 

  • Beyond the notes: Navigating the crossroads of AI and artistry in music: Part 2

    Beyond the notes: Navigating the crossroads of AI and artistry in music: Part 2

    Mumbai: As technology continues to evolve with each passing day, artificial intelligence appears to gain a strong and steady foothold in the very existence of human beings. The inescapable integration of AI is becoming more palpable, shaping a formidable future that blurs the lines between the artificial and the human.

    Soon, AI’s omnipresence threatens to permeate every industry, from the harmonies of music to the intricacies of architecture. In this era of rapid transformation, the ascent of artificial intelligence is not merely a paradigm shift; it is an indomitable force reshaping the narrative of our collective tomorrow.

    Through conversations with industry experts, and key figures, we have gleaned insights into their perspective on AI causing a potential threat to the music industry and artists’ creative processes with the rising use of AI tools to make dubbed versions of a song in different artists or people’s voices.

    The Hype Capital founder Sachin Shah

    I do not perceive AI as a direct threat to the music industry or the creative processes of artists. This is primarily because AI is still in its early stages, and larger corporations and platforms have taken appropriate measures to prevent its misuse. One of the examples of this is YouTube, which disclosed on their blog on 14th November, “We’ll require creators to disclose when they’ve created altered or synthetic content that is realistic, including using AI tools.” I anticipate that more companies will follow this trend to ensure a safer space and prevent the abuse of AI technology.

    Furthermore, artists can leverage AI to streamline their musical journey and processes, making use of the available tools to achieve better results. Although this may be easier said than done, it is always good to streamline things and use the available resources to make our lives better.

    Serial entrepreneur, tech visionary & advisor Vinod K Singh

    The rapid advancement of AI tools has opened up a new frontier in music production, enabling the creation of dubbed versions of songs in different voices. While this technology holds immense potential for creative expression, it also raises concerns about its potential impact on the music industry and the artistic process.

    On one hand, AI-generated dubs could threaten artists’ control over their work and deprive them of rightful royalties. The ability to effortlessly create unauthorized versions of songs could potentially diminish the value of original recordings and undermine artists’ financial stability.

    However, AI can also be harnessed as a powerful tool for musical exploration and innovation. By leveraging AI’s ability to analyze and mimic human vocal patterns, artists can expand their creative horizons and experiment with new sonic possibilities.To mitigate potential threats and maximize the benefits of AI in music creation, clear guidelines and ethical frameworks need to be established. This will ensure that artists’ rights are protected while encouraging the responsible and innovative use of AI in music production. By striking a balance between addressing concerns and embracing opportunities, we can foster a future where AI serves as a catalyst for artistic growth and creative expression.

    Leadzen.ai co-founder and CEO Sonakshi Pratap

    I believe it’s crucial to address the potential impacts of AI on the music industry, particularly regarding the creation of dubbed versions of songs in various artists’ voices. While AI offers incredible opportunities for innovation and accessibility in music, it also poses significant challenges to the integrity and authenticity of the artistic process.

    AI’s ability to replicate voices and styles can lead to a dilution of the unique qualities that individual artists bring to their work. This technology, if unchecked, risks turning unique artistic expressions into commodities that can be easily replicated and distributed, undermining the value of original creations. Moreover, there’s a profound ethical consideration regarding consent and rights. Artists’ voices and styles are deeply personal and often a result of years of hard work and personal development. Using AI to replicate these without consent or proper attribution can be seen as a form of artistic identity theft.

    However, it is important to recognize that AI is a tool, and like any other tool, its impact depends on how it is used. If employed responsibly, AI can enhance the creative process, opening new avenues for artists to explore and collaborate. It is essential for the industry to establish clear ethical guidelines and legal frameworks to ensure that AI is used to support artists rather than undermine them. This way, we can embrace the benefits of AI while protecting the heart and soul of musical creativity.

    Langoor CEO Venugopal Ganganna

    The way we collaborate and create music has changed. AI has not only democratised songwriting but is also being used by marketing agencies like ours to create stock music for video content. One disruptive way to work with AI is to use it as a music co-pilot to create all the backing instrumentals. Think of it as magically conjuring an extra band member. Google recently announced a new software that creates entire backing tracks for a melody line ingested into the LLM. So while AI presently does a functional job (at best) of replicating popular recording artists’ music (in its entirety), it doesn’t seem capable of putting them out of business — yet.

    Dot Media co-founder & CEO Shubham Singhal

    At Dot Media, we recognize the evolving landscape of the music industry with the increasing use of AI for creating dubbed versions. While AI tools offer exciting avenues, the potential threat lies in the delicate balance between innovation and the preservation of artists’ originality. We must ensure that the essence of a musician’s unique creative process remains intact amid technological advancements. Dot Media is committed to empowering artists through AI, emphasizing its role as a collaborator rather than a substitute. By prioritizing artists’ originality, we navigate the evolving landscape responsibly, fostering a future where technology augments, not hinders, the authenticity of musical expression.

    Tagglabs founder Hariom Seth

    During the ICC World Cup 2023, our use of AI revolutionized Royal Stag’s advertising strategy. We introduced personalized videos featuring Rohit Sharma addressing fans by name, a groundbreaking move that eliminated the need for repetitive recordings. This showcased the efficiency AI brought to the campaign, not only elevating fan engagement but also streamlining production and saving valuable time and resources.

    On a broader scale, instances like the proliferation of fake Drake videos highlight the urgent need for new legislation regarding AI-generated content. Such exploitation, where creators use the voice of artists like Drake to profit, emphasizes the necessity to protect original artists from financial harm. It is imperative to establish stringent measures and regulations to penalize those who breach these boundaries.

    Simultaneously, there’s a crucial need to differentiate between content that entirely replicates an artist and AI-generated content that draws inspiration from human work while introducing new elements. Striking this balance in regulation ensures the protection of creators and fosters a landscape where innovation thrives within ethical boundaries. By categorizing AI-generated content and implementing measures against misuse, we create a framework that not only safeguards artists’ interests but also encourages responsible and creative use of AI technology in the evolving landscape of content creation.

    Entropik founder & CEO Ranjan Kumar

    Deepfake technology utilizes a machine learning mechanism called the Generative Adversarial Network (GAN) to fabricate deceptive images and videos. In light of the growing threat posed by deepfake videos, there should be a concerted effort to develop and deploy effective deepfake detection technologies and establish robust regulations to mitigate the risks associated with deepfake technology. AI-manipulated media can be difficult to detect manually. Therefore, tech companies like Microsoft and Intel have introduced deepfake detection tools such as Video Authenticator, FakeCatcher, etc., and more global companies are now following suit by introducing user-friendly detection tools. There is a need for global cooperation on AI. Governments must enact stringent laws and run mass public awareness campaigns to educate people about how to protect their social media privacy and identify such content. AI regulation can be used to mitigate the creation of unlawful and non-consensual deepfakes and ensure accountability in their creation and distribution.

    TreadBinary Technologies Pvt Ltd director Yuvraj Shidhaye

    In the evolving landscape of the music industry, the rising use of AI tools poses a dual-edged sword. On one side, the potential threat to the uniqueness that defines each artist is palpable, as AI-generated voices and 3D simulations run the risk of homogenizing the creative landscape. The very essence that artists capitalize on for their careers—individuality—stands at the crossroads of technological advancement. If AI is not moderated correctly, it can become an imposter, posing a significant risk to the authenticity artists bring to their craft.

    However, in a parallel narrative, where VFX and animation elevate the viewer experience, the strategic use of AI, with permission from the artist, has the power to transcend human capabilities. Imagine a music concert featuring not only living artists but also those who have passed, such as Michael Jackson or Elvis Presley. The experience offered transcends imagination.

    Much like a hammer in the hands of a skilled worker can create furniture or tools, while in the hands of a psychopath, it can be destructive, AI, when used wisely, can either be a creative force or a destructive influence. The key lies in striking a balance and ensuring that AI serves as a tool for innovation, complementing artists rather than overshadowing the unique voices that make the music industry vibrant.

    VijayBhoomi University dean of school, faculty – sound engineering Nilesh Thomas

    From my perspective, I maintain the perspective that artificial intelligence does not present substantial threats to professions that rely heavily on creativity. What AI is potentially doing at the moment is in some ways democratizing music creation by making it more accessible to a wider range of people. Those who may not have traditional musical training can use AI to experiment and express their ideas to quickly generate original music for various purposes like videos.

    Complete reliance on AI to create original music (or any form of art) will potentially lead to an erosion of human-centric artistic identity, which is an important factor in how we appreciate and relate to art. If AI tools become too involved in the creative process, the unique human touch, emotions, and personal experiences that artists bring to their work may be diminished. This could affect the emotional resonance and authenticity of the music. For example, would you rather go to a concert by a machine or Arijit Singh, for a perfect weekend evening with your loved one?

    On the other hand, AI tools can be used to greatly augment and enhance the creative process. Artists can leverage AI to explore new sounds, generate unique compositions, or aid in the production process. This could lead to the creation of innovative and groundbreaking music. AI can significantly speed up the production process, helping artists experiment with different versions of their work more efficiently. This can free up time for artists to focus on the more nuanced aspects of their craft.

    RV University, professor and dean, School of Film, Media and Creative Arts, Prof. (Dr.) Piyush Roy.

    Music or any other creative output that has stood the test of time, or for it to withstand trends, the feeling has to be created among the audience. Has the best of CGI been able to replace the impact of shooting an epic in a literary epic scale, like Mughal-e-Azam, Gandhi, or Lagaan with real people? Will it work if the AI dubs in any voice? No, it has to be in the voice of a recognised artist, and that recognition happens for the achievement, vocal nuance, and uniqueness in rendition, brought about by that person’s signature. Such experimentation is no different from that of copying a signature, but the original is always original, and imitation will always remain so. AI creativity for sure will get mediocrity a competition, but true talent need not bother or fear, because their newness comes from an originality exclusive only to the human experience, ingenuity and mettle.

    Red FM and Magic FM COO & director Nisha Narayanan

    In the era of AI thrusting its way into the music scene, the potential ramifications for the industry and artists demand a strategic and nuanced perspective. At Red FM, we are not turning a blind eye to the efficiency gains that AI brings to the music-producing industry. However, in our own way, we are navigating the AI maze by protecting the value of human creativity. Our effort lies in balancing technological advancements with the human element to make the most out of musical artistry.

    We just believe that AI needs to be the backup dancer and not the lead singer stealing the spotlight from humans. As we move forward, collaboration is the name of the game. Be it with fellow partners, industries, or now with machines. We will continue all our efforts in empowering artists as our innovative resources meanwhile preserving the soul of music amidst technological progress.

  • ZEE5’s Sirf Ek Bandaa Kafi Hai sweeps Filmfare OTT Awards 2023

    ZEE5’s Sirf Ek Bandaa Kafi Hai sweeps Filmfare OTT Awards 2023

    Mumbai: ZEE5, India and Bharat’s largest home-grown video streaming platform and the OTT arm of ZEEL, bagged multiple awards for its original film “Sirf Ek Bandaa Kafi Hai” at the Filmfare OTT Awards 2023. The direct-to-digital ZEE5 original which later saw a theatrical release owing to its widespread acclaim, won across five key categories in the Web Original Film section. Alongside this, ZEE5’s comedy web series “TVF Pitchers S2” and “TVF Tripling S3” collectively won prestigious titles in the comedy series section.  

    Winning Categories:

    The gripping courtroom drama was inspired by a five-year-long standalone fight of lawyer Adv. PC Solanki, ZEE5’s “Sirf Ek Bandaa Kafi Hai” won the prestigious Black Lady in the following categories:

    Best Film, Web Original – “Sirf Ek Bandaa Kafi Hai”
    Recognizing the film’s outstanding narrative, direction, and overall cinematic excellence

    Best Actor, Web Original Film – Manoj Bajpayee
    Commending one of this era’s most versatile actors, Manoj Bajpayee for his exceptional portrayal of lawyer Adv. PC Solanki in the lead role

    Best Director, Web Original Film – Apoorv Singh Karki
    Recognizing Mr. Apoorv Singh Karki’s masterful direction of the sensitive film which tackled a societal issue with a powerful yet moving narrative

    Best Story, Web Original Film – Deepak Kingrani
    Acknowledging the depth and deft social commentary Mr. Deepak Kingrani brought into the film through storytelling

    Best Dialogue, Web Original Film – Deepak Kingrani
    Highlighting the impact and effectiveness of the film’s dialogues written by Mr. Deepak Kingrani

    “TVF Pitchers S2” and “TVF Tripling S3” on ZEE5 won the following awards in the Comedy Series category:

    Best Comedy (series/specials) – “TVF Pitchers S2”

    Recognizing the brilliant narrative, comedic elements, and direction of the web series

    Best Actor, Series – comedy (female) – Maanvi Gagroo for her role in “TVF Tripling S3”
    Captivating the audience with her outstanding comedic performance as Chanchal Sharma, Ms. Maanvi Gagroo bagged the ‘Best Actor, Series – comedy (female)’ title for her role in “TVF Tripling S3”

    Best Supporting Actor, Series – Comedy (Male) – Arunabh Kumar for his role in “TVF Pitchers S2”

    Commending  Arunabh Kumar’s brilliant comedic timing and remarkable performance as a supporting actor in “TVF Pitchers S2”

    Best Supporting Actor, Series – Comedy (Female) – Shernaz Patel for her role in “TVF Tripling S3”

    Veteran actor Shernaz Patel’s spunky yet heartwarming performance as Charu Sharma won her the Best Supporting Actor title in the Comedy Series category

    Hosted by The Times Group, The Filmfare OTT Awards was established in 2020 to honour both the artistic and technical excellence of professionals in OTT series and films. As the OTT entertainment industry continues to evolve and thrive, the Filmfare OTT Awards remains dedicated to upholding the Black Lady’s legacy and recognising the excellence of the Indian OTT segment. The event’s fourth edition took place on Sunday, November 26, 2023, in Mumbai which was attended by prominent celebrities from the entertainment industry.

  • Prime Video Wins the Inaugural Best Web Series (OTT) Award for Panchayat Season 2 at the 54th International Film Festival of India (IFFI)

    Prime Video Wins the Inaugural Best Web Series (OTT) Award for Panchayat Season 2 at the 54th International Film Festival of India (IFFI)

    Mumbai Prime Video, India’s most loved entertainment destination, today created history by winning the maiden Best Web Series (OTT) Award for Panchayat Season 2 at the 54th International Film Festival of India (IFFI) held in Goa. The award has been instituted to acknowledge and encourage India’s thriving streaming sector. A total of 32 entries across 10 languages from 15 OTT platforms were selected for the introductory Best Web Series award. The entries for the coveted award were judged by a five-member jury headed by filmmaker Rajkumar Hirani. Other members of the jury included filmmakers Utpal Borpujari and Krishna DK, and actors Divya Dutta and Prosenjit Chatterjee.  

    Directed by Deepak Kumar Mishra and produced by TVF’s Arunabh Kumar, Panchayat Season 2 features a highly talented ensemble cast including Jitendra Kumar, Neena Gupta, Raghubir Yadav, , Faisal Malik, Chandan Roy, and Sanvikaa. The comedy-drama captures the journey of an urban engineering graduate Abhishek Tripathi, portrayed by Jitendra Kumar, who for the lack of a better job option, reluctantly, joins as the Secretary of a Panchayat Office in Phulera, a remote fictional village in Ballia district in Uttar Pradesh. Following a stupendous first season, the second season delves deeper into life at Phulera, as it brings new challenges for Abhishek, who has to cope with the everyday workings of the decrepit Panchayat office, deal with the local village politics and the villagers, while also trying to prepare for his CAT exams for a future in the corporate world. Peppered with slice of life moments and ample doses of humour, the series reflects the daily tribulations of village life, tracing Abhishek’s growing camaraderie with Pradhan, Vikas, Prahlad and Manju Devi, as newer issues crop up in the village while he diligently tries to balance it all.

    “At Prime Video, our aim is to bring to life distinctive, relatable and ultimately deeply entertaining stories that reflect the rich and diverse cultures of our amazing country. These are stories from deep within India that at the same time represent universal themes and emotions, ultimately delighting audiences across the globe.” said Prime Video India country director Sushant Sreeram. “Panchayat is one such heart-warming story set within the richness of India’s culture and traditions. The series’ win today at the first ever Best Web Series (OTT) Award at the highly acclaimed 54th IFFI, Goa, is a testament to our dedication to curate truly immersive content for customers. IFFI and Prime Video share a common vision to promote the highly prolific Indian creative economy by providing them a platform to showcase their creative brilliance and cinematic excellence to the world. Thank you, to the jury and organizers at IFFI, we are truly honored to have received this recognition.”

    “Panchayat started off as a really simple idea, a coming of age story about a young engineering graduate man who sets off to a village and joins as a Panchayat secretary. What follows is a heartwarming story about his experiences living in this simple village, dealing with people and their everyday lives. This is a show that has received immense love from audiences and critics in India and around the world and has become a part of the cultural zeitgeist. The rootedness of the story and characters have made Panchayat into a global success, as a testament to our belief at Prime Video that authentic and honest stories can transcend borders,” said Prime Video India director – content licensing Manish Menghani India. “We are thankful to IFFI and the jury for recognizing the passion behind this remarkable and unique show, the audience for showering us with constant love and anticipation, and of course, the director, writers, the wonderful, amazing partners we have at TVF, the brilliant cast, and crew, without whom the show wouldn’t have become what it is today.”

    Mishra said, “A heartfelt thank you to the esteemed IFFI jury for recognizing Panchayat Season 2 with the Best Web Series (OTT) Award. It’s a genuine honor for our entire team. I am supremely grateful to Arunabh Kumar, the co-creator on this show who had the vision of bringing rural India to the screen.” He continued, “Panchayat wasn’t just a project; it was a narrative meant to reflect the intricate tapestry of India’s quintessential village life – rich in surprising complexities yet brimming with heart. Our aim was to craft a story set in rustic India, with a compelling slice-of-life narrative and a dash of humor. The exceptional talents of versatile actors like Neena Gupta, Jitendra Kumar, Raghubir Yadav, and the entire Panchayat cast made it possible to transform this simple tale of everyday occurrences in an Indian village into an award-winning series. It’s heartening to see audiences in India and across 240+ countries and territories on Prime Video appreciating the storytelling. Thank you for the global love!” 

  • Tata Play Binge partners with Playflix to expand Korean content library

    Tata Play Binge partners with Playflix to expand Korean content library

    Mumbai: Tata Play Binge announced today that it has partnered with Playflix, an OTT app dedicated to Korean entertainment, expanding its content library to offer viewers easy access to K-dramas and K-movies. With this collaboration, Tata Play Binge viewers can now access an extensive collection of Korean content, not only dubbed in Hindi but also in several other regional languages.

    Diverse Korean Content

    According to the official release, Playflix provides a plethora of content suitable for all age groups, including animated movies, series, and cooking shows. The platform also offers a wide range of Korean dramas and movies spanning across action, romance, thriller, horror, and more.

    The company said, “Playflix offers Korean series with English subtitles and Hindi audio, complemented by the vibrant world of K-POP – ensuring a diverse and inclusive viewing experience.”

    Top-Rated Titles

    Some of the top-rated K-drama content includes Extraordinary You, Goblin: The Lonely and Great God, Weightlifting Fairy Kim Bok Joo, She Was Pretty, W-Two Worlds Apart, I’m Not A Robot etc.

    Commenting on the addition of the new partner app, Tata Play’s Chief Commercial and Content Officer, Pallavi Puri, said, “We are delighted to collaborate with Playflix to bring to our Tata Play Binge subscribers a whole gamut of Korean content that has resonated so well with the Indian viewers. With each new partner integration, our aim is to enhance content discoverability, while creating a wholesome entertainment destination for OTT viewers.”

  • ZEE5 Global elevates US presence, unites top South Asian streaming platforms in one hub

    ZEE5 Global elevates US presence, unites top South Asian streaming platforms in one hub

    Mumbai: ZEE5 Global, a streaming service for South Asian content, today announced a strategic move to aggregate multiple South Asian streaming platforms within the ZEE5 Global platform with the launch of add-ons in the US. ZEE5 Global add-ons will offer subscribers in the US a single window to access their favorite South Asian entertainment platforms on the ZEE5 Global platform itself, with add-on pricing starting from just $1.49 onwards.

    ZEE5 Global add-ons were unveiled by  ZEE5 Global president, digital businesses and platforms Amit Goenka and chief business officer Archana Anand at a mega event in Mumbai, India attended by Bollywood and regional celebrities, industry stalwarts and others.     

    “The launch of add-ons on ZEE5 Global is a significant milestone, further cementing our leadership position as the No.1 South Asian streaming platform in the US market,” said ZEE5 Global chief business officer Archana Anand  “Add-ons will bring the best of South Asian content from multiple streaming platforms within ZEE5 Global for the diaspora in the US and soon globally, and at the best possible value.”

    ZEE5 Global add-ons currently offer content across languages from streaming platforms like Simply South (all South Indian languages), Oho Gujarati (Gujarati), Chaupal (Punjabi, Bhojpuri, Haryanvi), NammaFlix (Kannada), EPIC ON (Hindi) and iStream (Malayalam) with at least six more being onboarded.

    As a first for ZEE5 Global, Gujarati content will be available on the platform to delight the huge Gujarati-speaking diaspora in the US.

    ZEE5 Global add-ons partner titles will further add to the platform’s huge catalogue of over 250,000 hours of movies, TV shows, and originals across languages.

    ZEE Entertainment Enterprises Ltd president of digital businesses & platforms Amit Goenka said, “As digital entertainment consumption and delivery models evolve in the global landscape, addressing the growing consumer demand for engaging content and a seamless, personalized experience that combines accessibility and affordability is the need of the hour. With the launch of our aggregator platform ZEE5 Add-ons, we aim to unite the entertainment ecosystem for the discerning viewer to build a robust monetization opportunity for multiple players in the global markets. We are pleased to have on board some of the most renowned names offering South Asian content to the diaspora audience, and we look forward to building a healthy partnership by enhancing capabilities in the realm of content creation and distribution by establishing ZEE5 Global Add-ons as the single destination for all South Asian content.”

    Sharing her vision for ZEE5 Global Add-ons, ZEE5 Global chief business officer Archana Anand added, “As the foremost South Asian streaming platform in the United States, ZEE5 Global has played a crucial role in connecting the South Asian diaspora with their cultural roots. Building on our leadership, the natural progression was to evolve into the premier aggregator for South Asian entertainment. Add-ons will help address challenges such as content and consumer fragmentation and empower subscribers to effortlessly access their preferred content at one destination. It also benefits our partners, who can bank on our extensive reach in the US and save on customer acquisition and marketing costs.”

    With Add-ons, users will now have just one app to download, only one login and a single password to remember. Billing and payment is also simplified through a single platform for all streaming subscriptions. Personalized recommendations across languages, unified user interface and search across platforms, and an ad-free viewing experience are just some of the other key benefits for consumers in the US.

    In addition to Add-ons, ZEE5 Global is set to launch the largest consumer giveback program, the Great ZEE5 GiveAway, for its US consumers over the next few weeks in association with multiple partners like Quicklly, the leading online South Asian marketplace in the US, wherein with every purchase of ZEE5 or any Add-On pack, all new or existing subscribers will stand to win guaranteed gifts and sweepstakes ranging from gift cards to all-expenses-paid trips to destinations like Hawaii, Las Vegas, and more.

    A unique India-to-US referral program will also be rolled out shortly. Subscribers in India will be able to share their unique referral link with friends or family in the US and earn Rs.500 for each successful referral. The best part is no capping on the number of referrals, so there is no upper limit to how much one can get.

    Speaking at the event, Archana Anand also announced a massive campaign against global piracy to be launched soon with ZEE5 Global offering a logical and legitimate option for consumers tempted by the content variety and low costs offered by pirate platforms.

    Tied in with her aspiration around ZEE5 Global being at the forefront of taking South Asian entertainment larger on the global stage, the launch event also featured a panel discussion titled the Coming of Age of South Asian Entertainment: The Time is Now. The panel discussion, moderated by Anupama Chopra, featured actor Manoj Bajpayee, Guneet Monga, Vishal Bhardwaj, Pratik Gandhi, and Archana Anand from ZEE5 Global. The panellists discussed a range of topics around the subject covering how South Asian content is finally taking centre stage, their own perspectives about the South Asian diaspora audience, how storytelling has evolved and whether crossing over was a personal aspiration for them.

    ZEE5 Global add-ons is available across platforms like Android, iOS, www.zee5.com, Fire TV, Apple TV, Roku, and Samsung TVs. 

  • Bruce Willis’ Detective Knight is set to digitally premiere on Lionsgate Play

    Bruce Willis’ Detective Knight is set to digitally premiere on Lionsgate Play

    Mumbai: Bruce Willis returns for his ‘Die Hard’ fans! This December Lionsgate Play brings you a ‘Bruce Bonanza’, with the premiere of Bruce Willis’ iconic Detective Knight Trilogy. The action franchise showcases Bruce Willis as the steely-eyed detective James Knight, delivering merciless justice to all those who deserve it. So bookmark your next three Fridays, as Detective Knight: Rogue premieres on 1 December, Detective Knight: Redemption premieres 8 December and Detective Knight: Independence premieres on 15 December, all exclusively on Lionsgate Play.

    Talking about the film, director Edward Drake said, “Damaged men hurt those they love by chasing glory to fill an emptiness in their souls. This film hopes to explore the masks we wear in everyday life, not just at Halloween, to hide our own pain. For James Knight, the reason he pursued a career in law enforcement is rooted in a decades-long quest for vengeance.”

    Further elaborating about working with Bruce Willis, Drake said, “Working with Mr. Willis on his final films was a tremendous honour. The bedrock of our relationship has always been a trust in bringing the audience a ride they won’t forget while creating safe working environments for the cast and crew. I know we kept our promise on the latter, and time will tell about the former.”

  • Spotify unites ‘Animal’ cast and music team for exclusive fan experience

    Spotify unites ‘Animal’ cast and music team for exclusive fan experience

    Mumbai: On Friday evening, Spotify, the official streaming partner for the film ‘Animal’, brought the cast and music team of the film together for an exclusive fan experience, featuring performances, a conversation with Ranbir Kapoor and Bobby Deol, and the launch of the album.

    Ahead of the release of the film on 1 December, the ‘Animal’ team unveiled the music from the much-awaited film, and Ranbir Kapoor and Bobby Deol took the stage to talk about working on the film. The two actors also put their camaraderie on display, as they quizzed each other on their personal musical tastes – and fondest memories of songs from past films.

    The likes of B Praak, Raghav Chaitanya, Bhupinder Babbal, Vishal Mishra, and more treated fans to stellar performances of their songs from the film, including four unreleased, and never-played-before, tracks, namely ‘Kashmir’, ‘Saleda’, ‘Papa Main Teri Dhadkan’, and ‘Pehle Bhi Main’. 

  • Tata Play Binge enriches it’s portfolio with Playflix’s top-rated K-Dramas

    Tata Play Binge enriches it’s portfolio with Playflix’s top-rated K-Dramas

    Mumbai: Korean content has found a new home in India! Tata Play Binge today welcomed it’s newest addition into the family, Playflix, an OTT app dedicated to Korean entertainment. Through this partnership, Tata Play Binge viewers will have easy access to a vast library of K-dramas and K-movies. Bridging cultural gaps, Playflix is a comprehensive and engaging entertainment hub that presents shows not just dubbed in Hindi, but several other regional languages. It has a plethora of content that is suitable for all age groups, including animated movies, series, and cooking shows.

    Playflix offers a wide range of Korean dramas and movies spanning across action, romance, thriller, horror and more. The content catalogue reflects creativity and unique storytelling that Korean entertainment is celebrated for, resonating with audiences both in Korea and around the world. Playflix offers Korean series with English subtitles and Hindi audio, complemented by the vibrant world of K-POP – ensuring a diverse and inclusive viewing experience. Some of the top-rated K-drama content includes Extraordinary You, Goblin: The Lonely and Great God, Weightlifting Fairy Kim Bok Joo, She Was Pretty, W-Two Worlds Apart, I’m Not A Robot etc. It also includes top-notch Hollywood entertainment like Eternal, Anna Karenina, Love in Shanghai, Promesas De Arena and more along with children’s content like Bablu Dablu, Gattu, Billa Jasoos etc. in English, Hindi, and several regional languages like Marathi, Gujarati, Tamil, Kannada, Telugu, Malayalam, and Bhojpuri.

    Commenting on adding the new partner app, Tata Play’s chief commercial and content officer Pallavi Puri said, “We are delighted to collaborate with Playflix to bring to our Tata Play Binge subscribers a whole gamut of Korean content that has resonated so well with the Indian viewers. With each new partner integration, our aim is to enhance content discoverability, while creating a wholesome entertainment destination for OTT viewers.”

    Adding to the same Playflix, under the umbrella of One Take Media Co. Founder & CEO, Anil Khera – “We are proud to be partnering with Tata Binge for premium Korean dramas along with most sort after kids animation shows in Hindi, Tamil, Telugu and many Indian languages. With this partnership, Team Playflix feel that the right product is now available on the right platform. Playflix is committed to bringing new K-dramas and other compelling content every month,”

    Playflix will join the band of 25 other popular OTT platforms on Binge Disney+ Hotstar, Apple TV+, ZEE5, SonyLIV, MX Player, Lionsgate Play, KLiKK, Aha, VROTT, Sun NXT, Hallmark Movies Now, ReelDrama, Chaupal, Namma Flix, Planet Marathi, manoramaMAX, iStream, Tarang Plus, Hungama Play, Eros Now, ShemarooMe, Curiosity Stream, EPIC ON, Travelxp, DocuBay, and ShortsTV. Content from all these platforms is available to viewers of Tata Play Binge through a single subscription and single user interface. Free gaming is also available on Tata Play Binge as another point of engagement. Netflix and Amazon Prime Video plans are available for Tata Play DTH subscribers. Viewers can enjoy all 22+ apps on large-screen connected devices through Tata Play Binge+ Android Set Top Box, Tata Play edition of the Amazon FireTV Stick and www.TataplayBinge.com

  • ALL-Accor Live Limitless presents Laughter On The Menu

    ALL-Accor Live Limitless presents Laughter On The Menu

    Mumbai: ALL-Accor Live Limitless, the lifestyle loyalty programme by Accor, recently regaled its members with the last chapter of “Laughter On The Menu”, a three-city comedy tour featuring renowned stand-up comedian Atul Khatri.

    The opening act of this laughter-filled journey took place at the Grand Mercure Bengaluru Gopalan Mall, marking the beginning of an entertaining adventure that continued in Mumbai at Novotel Mumbai International Airport and concluded on November 18, 2023, at Pullman New Delhi Aerocity.

    Atul Khatri, the star of the show, delivered an hour of side-splitting comedy, leaving the audience in stitches and creating memories that will be cherished by attendees, followed by delightful cocktails and dinner.

    Accor Sr VP operations – India and South Asia Puneet Dhawan said “ ‘Laughter on the Menu’  exemplifies  ALL- Accor Live Limitless’ commitment to enhancing value for its members alongside creating memorable experiences beyond traditional hospitality offerings. This is one of the first limitless experiences we have curated for this year, and what fun, wonderful set of evenings they were”

    “ALL-Accor Live Limitless is our lifestyle loyalty programme, which gives members a host of benefits (at participating Accor properties around the world). You can earn and redeem your points to enjoy evenings such as these, stay at hotels (globally) and dine—we have various opportunities put together for our members, and we look forward to welcoming more members” Puneet further added.

    Internationally acclaimed comedian Atul Khatri boasts a stellar career that spans continents and accolades. From hosting prestigious award functions to acting in commercials and trending music videos, Atul’s versatility shines. Invited to grace the stages of prestigious comedy festivals worldwide, he has left an indelible mark on the global comedy scene, with performances in over 20 countries, including the USA, UK, Germany, UAE and Australia.

    With its unique bouquet of ideas and events, ALL-Accor Live Limitless continues to demonstrate its dedication to crafting moments of joy, laughter, and connection for its valued members.