Category: iWorld

Viacom18 launches its AVOD platform VOOT; to move its entire content library

MUMBAI: Finally setting to rest about when it would launch its OTT platform, Viacom18 launched its digital VOD platform VOOT. VOOT will be an advertising led VOD platform and will be available for free on iOS, Android and web.

In a major move aimed at curating the largest repository of kids’ characters in the Indian OTT space, VOOT will house popular characters from across networks – from Nick characters like Dora, Spongebob, Motu Patlu to external popular characters like Chhota Bheem and Pokemon. In what it claims to be another first for an Indian OTT player, VOOT has launched with the largest repository of original content. VOOT Originals will roll out shows in both long and short formats across genres like comedy and drama. Bollywood actors Gulshan Grover, Baba Sehgal, Alok Nath and a host of celebrity scriptwriters and directors will be front-lining these shows. Furthermore, Viacom18 will move its entire content library, including COLORS, MTV and Nick, to be digitally available only on VOOT.

Commenting on the launch, Viacom18 group CEO Sudhanshu Vats said, “India is at the cusp of a digital boom with over 400 million (20 crore) internet users and 200 million plus (20 crore plus)smart phone users spending significant amount of time online with entertainment and allied content being the prime driver. As more people move towards consuming content online, it is time for Viacom18 to move into the world of connected screens. Hence VOOT.”

VOOT’s target audience strategy is in line with Viacom18’s larger strategy – it is a one stop destination for tots to adults. And this is where VOOT brings its unique proposition. Explaining further, Vats added, “With Kids’ content and our entire VOOT Originals line-up, the focus was to get people addicted to happiness. Through our content strategy, that is what we have held true. Our television channels also provide a very robust content bank that we will build upon, for the digital consumers. VOOT will be Viacom18’s singular gateway to quality and differentiated content, in the digital medium.”

Echoing his CEO’s enthusiasm, Viacom18 Digital Ventures COO Gaurav Gandhi explained further, “As a network we are a content powerhouse, be it through our television channels or through our film studio. Our content strategy for VOOT is true to Viacom18’s philosophy of inclusive entertainment. Between VOOT Originals, VOOT Kids, our network content and content-around-content created exclusively for the platform, the idea is to peddle happiness to the ‘always wanting’ India, racing to go digital. Our marketing campaign, set to kick off in the next few days, also highlights this brand philosophy that is at the core of VOOT. ”

With digital advertising led video-on-demand category set to develop into a $1 billion business opportunity, Viacom18 has lined up an aggressive mix of business, content and marketing strategies. “From a business standpoint, we are following the advertising led VOD model. As the market matures in the next 12-24 months, we will be evaluating both freemium and subscription led models,” explained Gandhi.

The VOOT bouquet of offerings will include fresh, new content mix, keeping in mind the varied demands of the consumer base. VOOT has planned six originals through its launch phase, and is all set to introduce India’s first mockumentary – Badman. Written and directed by Soumik Sen and co-written by stand-up comedian Anubhav Pal; this 4-part film has Gulshan Grover playing himself. Soadies, a comic spin off of the ever popular Roadies, was also unveiled at the launch. With Baba Sehgal in the lead role, the web sit-com produced by Frames has all his trademark antics to laugh your guts out.

Comedy rules the roost on VOOT. With a web series ‘Chinese Bhassad’ written by Raahil Qaazi (Co-writer of Do Dooni Chaar) and directed and produced by Saurabh Tewari and a talk show with a ‘twist; called’Sinskari’ starring Alok Nath and produced by Monozygotic is all set to keep you in splits this April!

In the ‘Content around content’ category, there will be specially curated and platform exclusive shows, exploring never before seen footage and storylines to get you hooked. Rounding up the VOOT content mix, will be all of Viacom18’s channels’ shows. The OTT platform will offer a personalised experience and intuitive product features to engage the always on generation. With VOOT Viacom18 continues to enrich the lives of every Indian with something for everyone.

March 30, 2016
Viacom18 launches its AVOD platform VOOT; to move its entire content library

MUMBAI: Finally setting to rest about when it would launch its OTT platform, Viacom18 launched its digital VOD platform VOOT. VOOT will be an advertising led VOD platform and will be available for free on iOS, Android and web.

In a major move aimed at curating the largest repository of kids’ characters in the Indian OTT space, VOOT will house popular characters from across networks – from Nick characters like Dora, Spongebob, Motu Patlu to external popular characters like Chhota Bheem and Pokemon. In what it claims to be another first for an Indian OTT player, VOOT has launched with the largest repository of original content. VOOT Originals will roll out shows in both long and short formats across genres like comedy and drama. Bollywood actors Gulshan Grover, Baba Sehgal, Alok Nath and a host of celebrity scriptwriters and directors will be front-lining these shows. Furthermore, Viacom18 will move its entire content library, including COLORS, MTV and Nick, to be digitally available only on VOOT.

Commenting on the launch, Viacom18 group CEO Sudhanshu Vats said, “India is at the cusp of a digital boom with over 400 million (20 crore) internet users and 200 million plus (20 crore plus)smart phone users spending significant amount of time online with entertainment and allied content being the prime driver. As more people move towards consuming content online, it is time for Viacom18 to move into the world of connected screens. Hence VOOT.”

VOOT’s target audience strategy is in line with Viacom18’s larger strategy – it is a one stop destination for tots to adults. And this is where VOOT brings its unique proposition. Explaining further, Vats added, “With Kids’ content and our entire VOOT Originals line-up, the focus was to get people addicted to happiness. Through our content strategy, that is what we have held true. Our television channels also provide a very robust content bank that we will build upon, for the digital consumers. VOOT will be Viacom18’s singular gateway to quality and differentiated content, in the digital medium.”

Echoing his CEO’s enthusiasm, Viacom18 Digital Ventures COO Gaurav Gandhi explained further, “As a network we are a content powerhouse, be it through our television channels or through our film studio. Our content strategy for VOOT is true to Viacom18’s philosophy of inclusive entertainment. Between VOOT Originals, VOOT Kids, our network content and content-around-content created exclusively for the platform, the idea is to peddle happiness to the ‘always wanting’ India, racing to go digital. Our marketing campaign, set to kick off in the next few days, also highlights this brand philosophy that is at the core of VOOT. ”

With digital advertising led video-on-demand category set to develop into a $1 billion business opportunity, Viacom18 has lined up an aggressive mix of business, content and marketing strategies. “From a business standpoint, we are following the advertising led VOD model. As the market matures in the next 12-24 months, we will be evaluating both freemium and subscription led models,” explained Gandhi.

The VOOT bouquet of offerings will include fresh, new content mix, keeping in mind the varied demands of the consumer base. VOOT has planned six originals through its launch phase, and is all set to introduce India’s first mockumentary – Badman. Written and directed by Soumik Sen and co-written by stand-up comedian Anubhav Pal; this 4-part film has Gulshan Grover playing himself. Soadies, a comic spin off of the ever popular Roadies, was also unveiled at the launch. With Baba Sehgal in the lead role, the web sit-com produced by Frames has all his trademark antics to laugh your guts out.

Comedy rules the roost on VOOT. With a web series ‘Chinese Bhassad’ written by Raahil Qaazi (Co-writer of Do Dooni Chaar) and directed and produced by Saurabh Tewari and a talk show with a ‘twist; called’Sinskari’ starring Alok Nath and produced by Monozygotic is all set to keep you in splits this April!

In the ‘Content around content’ category, there will be specially curated and platform exclusive shows, exploring never before seen footage and storylines to get you hooked. Rounding up the VOOT content mix, will be all of Viacom18’s channels’ shows. The OTT platform will offer a personalised experience and intuitive product features to engage the always on generation. With VOOT Viacom18 continues to enrich the lives of every Indian with something for everyone.

March 30, 2016
VOOT plans to launch separate app for kids

MUMBAI: Viacom 18’s latest offering, its OTT arm VOOT, is banking heavily on the network’s rich kids content. Not only that, it plans to go beyond the network’s flagship shows like Motu Patlu and Shiva, and acquire kids content from an array of producers, small and large.

The OTT player has already acquired digital rights to internationally acclaimed properties like Pokémon and Chhota Bheem for the platform that went live yesterday.

“The idea is to bring together the top character shows under one digital platform to make the most of this booming market for kids content online with the aim being a market leader in the domain,” said Viacom 18 Digital Ventures COO Gaurav Gandhi.

When quizzed about the possibility of VOOT launching a separate app for kids, Gandhi shared that they are considering it ‘within a year’s’ time. Currently the OTT platform has a separate section for kids’ content within the same app.

March 30, 2016
VOOT plans to launch separate app for kids

MUMBAI: Viacom 18’s latest offering, its OTT arm VOOT, is banking heavily on the network’s rich kids content. Not only that, it plans to go beyond the network’s flagship shows like Motu Patlu and Shiva, and acquire kids content from an array of producers, small and large.

The OTT player has already acquired digital rights to internationally acclaimed properties like Pokémon and Chhota Bheem for the platform that went live yesterday.

“The idea is to bring together the top character shows under one digital platform to make the most of this booming market for kids content online with the aim being a market leader in the domain,” said Viacom 18 Digital Ventures COO Gaurav Gandhi.

When quizzed about the possibility of VOOT launching a separate app for kids, Gandhi shared that they are considering it ‘within a year’s’ time. Currently the OTT platform has a separate section for kids’ content within the same app.

March 30, 2016
Fremantle Media India forays into digital; launches web series ‘Confessions-It’s Complicated’

MUMBAI: Fremantle Media India is known for its successful Indian Idol franchise, which has been running for several seasons. The content creator is now pushing the envelope on digital and has launched its first web series titled Confessions –It’s Complicated. The launch was done at the hands of film actress Richa Chadda on 29 March.

Based on three spirited, vivacious girls Sameera Saxena, Raka Ghosh and Nupur Murthy from different parts of the country who live under one roof and office in Mumbai, Confessions, sheds light on their struggles, fears, dreams and adventures. Peppered with a mix of drama, love, romance and wit, the show bridges the gap between the reel and real lives of the characters.

The title track has been crooned by Anushka Manchanda, while the upbeat soundtrack has been composed by the renowned musician Leslie Lewis.

The 40 episode show has been conceptualised for the ‘on-the-go’ audience with each episode being of eight minute duration. Confessions – It’s Complicated begins airing on 4 April 2016 with fresh episodes being launched online every Monday, Wednesday and Thursday. A total of 10 episodes will have a confession that will be made every Saturday.

Each installment will first be released on Facebook before moving on to Youtube. And that’s what makes Fremantle’s effort a standout. Its association with Facebook India and Facebook Live will allow viewers and fans to share their perspectives and experiences in real time. Additionally, the three leads will also reach out to audiences across key social media platforms and share with them their journey in the city of dreams.

Estimates are that each episode is costing the production house anywhere from Rs six to eight lakh.

Fremantle has roped in four sponsors to help defray its costs. This includes Myntra, and Gillette Venus, as the title and powered by sponsors respectively with Miss Malini and Saavn coming in as other sponsors.

Fremantle Media India business head Vidyuth Bhandary highlights that every attempt has been made to integrate the sponsors into each episode so that the content and storyline looks seamless and unforced.

It’s something that is echoed by Myntra VP marketing and head of monetisation Manish Aggawal. Says he: “Confessions does that (brand integration) beautifully. We are a fashion brand and fashion is all about choice. It is interesting to see how the three protagonists leverage fashion and their freedom in Mumbai according to their choice. They will be seen wearing Myntra clothes. Our consumers will get to see the products that we have through this.”

Adds Myntra CMO and head of international brands Gunjan Soni: “We see digital and storytelling as a powerful way to engage with young people. The Confessions web series celebrates independent young women and hence is close to our beliefs. We hope the viewers will also enjoy the shoppable styles the protagonists will be wearing.”

The Myntra partnership has been extended in other ways: the show will air on the fashion outlet’s app giving it a reach of 7 million viewers even as the three faces will be seen on the application and its properties. Push notifications and pop ups will be sent to Myntra users.

Part of the marketing plan drawn up by Fremantle includes the sponsors promoting the series on their digital platforms. Additionally, an agency to moderate social media to create buzz around the show has been signed on.

“We are striving to develop new formats and explore innovative ways to integrate non-traditional platforms,” says Bhandary.

The web-series has been produced in HD with the hope that it will find a telecast window in traditional TV channels, depending on its success.

“You need a combination of high production values and good content for a show to stand tall, “ explains Bhandary. “Once we are done with the digital run, we will definitely syndicate it as it’s been made without any compromises. It’s produced equally or even better than how a TV show is produced. The amount I am paying to produce this web series, I would have to pay the same amount to produce a TV show.”

A professional who is confident that the digital initiative will pay off is Fremantle Media India senior VP of branded entertainment and digital partnerships Ron Crasto. It was he who forged the relationship between the creatives at the content creator, Facebook and Myntra. Says he: “We want to be at the forefront of digital content production and storytelling. This innovative series will delight audiences and deliver great results for all stakeholders.”

Bhandary is hopeful of Confessions getting a second season. Says he: “The idea behind a finite series is that people want a beginning and an end. If this gets successful, we might do a sequel also.”

Amen to that!

March 30, 2016
Fremantle Media India forays into digital; launches web series ‘Confessions-It’s Complicated’

MUMBAI: Fremantle Media India is known for its successful Indian Idol franchise, which has been running for several seasons. The content creator is now pushing the envelope on digital and has launched its first web series titled Confessions –It’s Complicated. The launch was done at the hands of film actress Richa Chadda on 29 March.

Based on three spirited, vivacious girls Sameera Saxena, Raka Ghosh and Nupur Murthy from different parts of the country who live under one roof and office in Mumbai, Confessions, sheds light on their struggles, fears, dreams and adventures. Peppered with a mix of drama, love, romance and wit, the show bridges the gap between the reel and real lives of the characters.

The title track has been crooned by Anushka Manchanda, while the upbeat soundtrack has been composed by the renowned musician Leslie Lewis.

The 40 episode show has been conceptualised for the ‘on-the-go’ audience with each episode being of eight minute duration. Confessions – It’s Complicated begins airing on 4 April 2016 with fresh episodes being launched online every Monday, Wednesday and Thursday. A total of 10 episodes will have a confession that will be made every Saturday.

Each installment will first be released on Facebook before moving on to Youtube. And that’s what makes Fremantle’s effort a standout. Its association with Facebook India and Facebook Live will allow viewers and fans to share their perspectives and experiences in real time. Additionally, the three leads will also reach out to audiences across key social media platforms and share with them their journey in the city of dreams.

Estimates are that each episode is costing the production house anywhere from Rs six to eight lakh.

Fremantle has roped in four sponsors to help defray its costs. This includes Myntra, and Gillette Venus, as the title and powered by sponsors respectively with Miss Malini and Saavn coming in as other sponsors.

Fremantle Media India business head Vidyuth Bhandary highlights that every attempt has been made to integrate the sponsors into each episode so that the content and storyline looks seamless and unforced.

It’s something that is echoed by Myntra VP marketing and head of monetisation Manish Aggawal. Says he: “Confessions does that (brand integration) beautifully. We are a fashion brand and fashion is all about choice. It is interesting to see how the three protagonists leverage fashion and their freedom in Mumbai according to their choice. They will be seen wearing Myntra clothes. Our consumers will get to see the products that we have through this.”

Adds Myntra CMO and head of international brands Gunjan Soni: “We see digital and storytelling as a powerful way to engage with young people. The Confessions web series celebrates independent young women and hence is close to our beliefs. We hope the viewers will also enjoy the shoppable styles the protagonists will be wearing.”

The Myntra partnership has been extended in other ways: the show will air on the fashion outlet’s app giving it a reach of 7 million viewers even as the three faces will be seen on the application and its properties. Push notifications and pop ups will be sent to Myntra users.

Part of the marketing plan drawn up by Fremantle includes the sponsors promoting the series on their digital platforms. Additionally, an agency to moderate social media to create buzz around the show has been signed on.

“We are striving to develop new formats and explore innovative ways to integrate non-traditional platforms,” says Bhandary.

The web-series has been produced in HD with the hope that it will find a telecast window in traditional TV channels, depending on its success.

“You need a combination of high production values and good content for a show to stand tall, “ explains Bhandary. “Once we are done with the digital run, we will definitely syndicate it as it’s been made without any compromises. It’s produced equally or even better than how a TV show is produced. The amount I am paying to produce this web series, I would have to pay the same amount to produce a TV show.”

A professional who is confident that the digital initiative will pay off is Fremantle Media India senior VP of branded entertainment and digital partnerships Ron Crasto. It was he who forged the relationship between the creatives at the content creator, Facebook and Myntra. Says he: “We want to be at the forefront of digital content production and storytelling. This innovative series will delight audiences and deliver great results for all stakeholders.”

Bhandary is hopeful of Confessions getting a second season. Says he: “The idea behind a finite series is that people want a beginning and an end. If this gets successful, we might do a sequel also.”

Amen to that!

March 30, 2016
Raghav Bahl’s The Quint completes a successful one year

MUMBAI: Tracing its inception back in March 2015, The Quint, a leading digital content platform has completed one year in India. The platform narrates stories through a smooth blend of video, audio, graphics and text.

Offering an edgy take on the world, the platform serves as a destination to the mobile-savvy ‘on-the-go’ audience. The platform provides information on various topics ranging from politics, entertainment, sports, business, food, issues faced by women, LGBTQ, etc.

Announced first on Facebook in the month of January, the website went live from March.

“In this exciting one year, we have experimented with content, formats, technology and different ways of engaging our readers meaningfully. Throughout this ride, we’ve broken news (and parameters) as well as our own expectations, but most importantly, we’ve broken the perception that only print or television can rule information,” asserted the overwhelmed The Quint CEO Ritu Kapur.

The Quint has championed several impactful campaigns in its first year on its platform that have helped it cinch its popularity with Indian content consumers like the ‘Buri ladki’ poster which gave away its first taste of going viral while attempting to break gender stereotypes in India.

Even during the Bihar elections, the portal covered the entire poll with a selfie stick and a smart-phone.

During the Jat reservation riots in Haryana, National chess champion Anuradha Beniwal posted a plea on the website. The video, messages against the violence in Haryana went viral.

Besides hard news, the website also paved its way into the hearts of its consumers by doing fun and fearless. #MakeOutInIndia, omne of their earliest campaigns encouraged Indians to talk about sex, breaking perceptions and cleaning out the cobwebs of hypocrisy. T

On 26 February 206, they started a #LetterToIndia campaign inviting everyone to throw bouquets and brickbats on their way. Everyone from Bollywood stars, politicians, social influencers, prominent voices from the film industry, theatre, educational institutions, LGBTQ rights activists, provided colour and dimension to a campaign that eventually took on a life of its own on social. The platform even got onto the #SayYesToWeed bandwagon.

A compelling combo of content, tech and distribution, the website is high-value digital journalism, storytelling, and advertising at scale. Recently, the website also launched Quint Hindi which giving Hindi news coverage catering to its Hindi speaking target group.

March 28, 2016
Raghav Bahl’s The Quint completes a successful one year

MUMBAI: Tracing its inception back in March 2015, The Quint, a leading digital content platform has completed one year in India. The platform narrates stories through a smooth blend of video, audio, graphics and text.

Offering an edgy take on the world, the platform serves as a destination to the mobile-savvy ‘on-the-go’ audience. The platform provides information on various topics ranging from politics, entertainment, sports, business, food, issues faced by women, LGBTQ, etc.

Announced first on Facebook in the month of January, the website went live from March.

“In this exciting one year, we have experimented with content, formats, technology and different ways of engaging our readers meaningfully. Throughout this ride, we’ve broken news (and parameters) as well as our own expectations, but most importantly, we’ve broken the perception that only print or television can rule information,” asserted the overwhelmed The Quint CEO Ritu Kapur.

The Quint has championed several impactful campaigns in its first year on its platform that have helped it cinch its popularity with Indian content consumers like the ‘Buri ladki’ poster which gave away its first taste of going viral while attempting to break gender stereotypes in India.

Even during the Bihar elections, the portal covered the entire poll with a selfie stick and a smart-phone.

During the Jat reservation riots in Haryana, National chess champion Anuradha Beniwal posted a plea on the website. The video, messages against the violence in Haryana went viral.

Besides hard news, the website also paved its way into the hearts of its consumers by doing fun and fearless. #MakeOutInIndia, omne of their earliest campaigns encouraged Indians to talk about sex, breaking perceptions and cleaning out the cobwebs of hypocrisy. T

On 26 February 206, they started a #LetterToIndia campaign inviting everyone to throw bouquets and brickbats on their way. Everyone from Bollywood stars, politicians, social influencers, prominent voices from the film industry, theatre, educational institutions, LGBTQ rights activists, provided colour and dimension to a campaign that eventually took on a life of its own on social. The platform even got onto the #SayYesToWeed bandwagon.

A compelling combo of content, tech and distribution, the website is high-value digital journalism, storytelling, and advertising at scale. Recently, the website also launched Quint Hindi which giving Hindi news coverage catering to its Hindi speaking target group.

March 28, 2016
Hotstar.com’s Ajit Mohan targets 100 million digital viewers this IPL

MUMBAI: Star India has long presented itself as undisputed disruptor when it comes to the Indian media and entertainment industry. The disruption wave does not look like settling down any too soon. Star India digital head and president Ajit Mohan is now chasing history: something that The Facebook achieved in early 2015 and India’s largest telco Airtel got to in 2009.

“Our objective is to reach out to 100 million users this IPL for our digital streaming services,” says Mohan with a smile on his face.

Star India started the online streaming of cash rich Indian Premier League (IPL) in 2014. The matches were streamed on Starsports.com and as per Mohan’s analysis over 21 million people logged on to watch the action on their hand held devices.

A year later, Star India invested a whopping Rs 302.02 crore to outbid then Multi Screen Media or MSM (now Sony pictures Networks or SPN) and Times Internet (TI) bid to acquire the streaming rights for three more years.

“The reach doubled and we got to over 42 million viewers. Not only that we also witnessed a significant traction when it came to time spent watching,” discloses Mohan.

Complementing Star’s unfettered digital disruption is the improving bandwidth condition in India. The affluent metro youth who are considered to be the biggest spenders and are always engaged with their hand held smart devices. It is these mobile natives that Hotstar is targeting this year.

“The audience we cater to is what makes Hotstar an attractive platform for advertisers. The response we got so far for IPL is overwhelming and we are extremely happy with it. We are selling as per slots exactly how it happens on television,” avers Mohan.

The digital innovation of Murdoch’s media conglomerate has roped in nine brands so far. Flipkart, Volini, Raymond, Axe have come on board as sponsors, while the other large advertisers include Lloyd, Hindware, Hero Fincorp, Airtel and Amazon.

“The metro is either working or returning back by the time IPL matches start and hence the streaming service is the go-to for cricket lovers. Moreover, with 3G getting better and 4G coming in, the infrastructure is also looking good so the streaming service is becoming more useful,” explains Madhouse COO Milind Pathak.

The growth of Hotstar continues unabated as per Mohan, especially its reach. It was at just two per cent of TV a year back. Today, Mohan, says it has multiplied manifold. “Hotstar has already reached 40 to 45 per cent of television audiences,” he points out. “I believe more than compete with TV, what we are doing is adding another screen and forming a consumer habit which is a great benefit for the industry.”

The leapfrogging numbers are not only because of the sacks full of dollars being spent on content, but also on account of an aggressive marketing overdrive. Captain of the Indian cricket team M S Dhoni promotes the platform. And for IPL the media house signed on with ad creative power house Lowe Lintas to unleash a cutting edge campaign.

“With our analysis we found out that affluent male youth in metros are the ones who spend most of the time on their mobile phones and our creative is targeted at them. Also there is a perception that Indian youth are selfish and stay by themselves which is not totally true and that’s why it has the tagline Screen Chota hai magar Dil bada,” says Mohan.

The promotional spots focuses on youth and their connection with community. It shows that although they are always in their own world, but whenever needed they become an active part of the society.

Last year Starsports.com streamed the matches along with Hotstar, “This year also we will continue to stream the action on both the platforms. The rights that we have are for a five minute delayed stream; an addition that we have this year is the fact that both Hindi and English commentary will be available for audiences to enjoy,” reveals Mohan.

Digital is still perceived as an ancillary consumption medium, mainly for snacking and for small pieces of content, not long form. Mohan believes Hotstar is paving many a pioneering path. “We broke all such myths, we proved the perception wrong,” he says with a wide grin. “One more wrong notion that we tore apart was that India was not ready for a premium OTT platform. With the time spent on OTT that we witnessed in the past and the way it is increasing now, I must say that the platform is only going to get bigger.”

March 28, 2016
Hotstar.com’s Ajit Mohan targets 100 million digital viewers this IPL

MUMBAI: Star India has long presented itself as undisputed disruptor when it comes to the Indian media and entertainment industry. The disruption wave does not look like settling down any too soon. Star India digital head and president Ajit Mohan is now chasing history: something that The Facebook achieved in early 2015 and India’s largest telco Airtel got to in 2009.

“Our objective is to reach out to 100 million users this IPL for our digital streaming services,” says Mohan with a smile on his face.

Star India started the online streaming of cash rich Indian Premier League (IPL) in 2014. The matches were streamed on Starsports.com and as per Mohan’s analysis over 21 million people logged on to watch the action on their hand held devices.

A year later, Star India invested a whopping Rs 302.02 crore to outbid then Multi Screen Media or MSM (now Sony pictures Networks or SPN) and Times Internet (TI) bid to acquire the streaming rights for three more years.

“The reach doubled and we got to over 42 million viewers. Not only that we also witnessed a significant traction when it came to time spent watching,” discloses Mohan.

Complementing Star’s unfettered digital disruption is the improving bandwidth condition in India. The affluent metro youth who are considered to be the biggest spenders and are always engaged with their hand held smart devices. It is these mobile natives that Hotstar is targeting this year.

“The audience we cater to is what makes Hotstar an attractive platform for advertisers. The response we got so far for IPL is overwhelming and we are extremely happy with it. We are selling as per slots exactly how it happens on television,” avers Mohan.

The digital innovation of Murdoch’s media conglomerate has roped in nine brands so far. Flipkart, Volini, Raymond, Axe have come on board as sponsors, while the other large advertisers include Lloyd, Hindware, Hero Fincorp, Airtel and Amazon.

“The metro is either working or returning back by the time IPL matches start and hence the streaming service is the go-to for cricket lovers. Moreover, with 3G getting better and 4G coming in, the infrastructure is also looking good so the streaming service is becoming more useful,” explains Madhouse COO Milind Pathak.

The growth of Hotstar continues unabated as per Mohan, especially its reach. It was at just two per cent of TV a year back. Today, Mohan, says it has multiplied manifold. “Hotstar has already reached 40 to 45 per cent of television audiences,” he points out. “I believe more than compete with TV, what we are doing is adding another screen and forming a consumer habit which is a great benefit for the industry.”

The leapfrogging numbers are not only because of the sacks full of dollars being spent on content, but also on account of an aggressive marketing overdrive. Captain of the Indian cricket team M S Dhoni promotes the platform. And for IPL the media house signed on with ad creative power house Lowe Lintas to unleash a cutting edge campaign.

“With our analysis we found out that affluent male youth in metros are the ones who spend most of the time on their mobile phones and our creative is targeted at them. Also there is a perception that Indian youth are selfish and stay by themselves which is not totally true and that’s why it has the tagline Screen Chota hai magar Dil bada,” says Mohan.

The promotional spots focuses on youth and their connection with community. It shows that although they are always in their own world, but whenever needed they become an active part of the society.

Last year Starsports.com streamed the matches along with Hotstar, “This year also we will continue to stream the action on both the platforms. The rights that we have are for a five minute delayed stream; an addition that we have this year is the fact that both Hindi and English commentary will be available for audiences to enjoy,” reveals Mohan.

Digital is still perceived as an ancillary consumption medium, mainly for snacking and for small pieces of content, not long form. Mohan believes Hotstar is paving many a pioneering path. “We broke all such myths, we proved the perception wrong,” he says with a wide grin. “One more wrong notion that we tore apart was that India was not ready for a premium OTT platform. With the time spent on OTT that we witnessed in the past and the way it is increasing now, I must say that the platform is only going to get bigger.”

March 28, 2016