ITV

Category: Video On Demand

  • Dekkho expands regional language content offering

    MUMBAI: Dekkho has partnered with some of the top online content creators in the country such as ScoopWhoop, Pinkvilla, 9X Media, Put Chutney, Being Indian and East India Comedy. In a bid to create an entirely alternate destination and divergence from YouTube and Facebook, and to increase its reach in tier II and III cities, Dekkho will expand its regional language content offerings through these collaborations in addition to mainstream content in English and Hindi.

    Through a long-term content strategy, Dekkho aims to reach 100 million users over the next five years, focussing on the vernacular segment of viewers who do not consume videos on Facebook or YouTube. It will also venture into content translation, dubbing, and voiceover of content for this segment, creating a new, non-overlapping market for creators. Additionally, Dekkho will localise its UI for different markets as well as the newsfeed for regional content.

    Commenting on its strategy, Tanay Desai, co-founder, said, “Dekkho’s initial strategy, which focussed on young urban viewers, has helped us carve a niche in the online entertainment market. Our next phase of expansion is targetted at a much larger viewer base that resides in the smaller towns, highlighting our larger focus at becoming a default social video network for the masses. Unlike incumbent platforms like Facebook and YouTube, which are highly fragmented in terms of content, we want to position Dekkho as a hyper-local, curated video platform. This will be supplemented by an engaging social layer aiming to represent India’s first large-scale video network. To effect, the platform will have a unique, localised avatar for each region and leverage the rising digital penetration across tier II and III towns in India.”

    Around 65 per cent of users on Dekkho belong to tier II and III cities. Around 30 per cent of these users have been acquired through focused regional marketing and do not consume videos on YouTube. As part of its marketing strategy, Dekkho has tied up with leading telecom operators and original equipment manufacturers (OEMs) to offer greater exposure to content developed by independent creators. Users streaming videos through Jio Internet subscriptions constitute nearly 30% of the total video consumption on the platform, contributing significantly to the growth among this demographic.

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  • Of Weaving Entertainment, digitally!

    MUMBAI: How would be the combination and its resultant be when one of the partners of a new venture would want to create and sell dreams and the other whips up and plays with numbers like a magician.

    An established actor and a business wizard have together started Weaving Entertainment Pvt Ltd., a film, television and digital production company. The duo — Nandish Sandhu and Gaurav Aggarwal — not only partnered in the production house but also co-own Ahmedabad Express team of the Box Cricket League.

    The ten-year old journey of friendship between Sandhu and Aggarwal has lately translated into a business partnership. Aggarwal took a stake in Sandhu’s team and now it has become a business alliance — a new venture comprising a six-member crack team which is in talks with digital players for making web series.

    Says Aggarwal: “Last year, we partnered Ahmedabad Express, and that’s how our friendship became a business tie-up. We thought of starting our own production house, and hence — ‘Weaving’ was born.” “Our production house is open to the idea of making television series too,” he added.

    In December 2016, the production house launched its short film — The Girl In Red, based on the short film ‘Gutthi’ which was written and directed by Abhishek Chatterjee. The Girl In Red got over two million views.

    “For the film, we did not compromise on anything at all. We made sure we have the best quality — in terms of talent, equipment and artistes. Making optimum use of our budget, we made the best products, and got a terrific response. That was the first encouragement to march ahead,” Aggarwal added.

    ‘Weaving’ seemed to have weaved its magic into the hearts and minds of publishers, broadcasters and the viewers. “The Gift’ was the second successful product by ‘Weaving’ which was now made for SonyLiv. Mandira Bedi, Gul Panag and Kushal Punjabi were the leading artistes in The Gift,” Aggarwal said.

    And Sandhu, best known for his role in shows such as Uttaran and Beintehaan, said: “I am into acting, which I plan to continue doing. I have been acting for other producers. But, after a point of time in your career, with your experience — you feel like doing a lot of changes during production.” Does one have the power and independence to make changes?

    Sandhu believes: “Your own production company gives you the liberty to make changes that you believe in. Your own company gives you the liberty to create content that you always dreamt of.”

    Forming a worthwhile company is one aspect of the business. It must have a sustainable business model too. In a creative industry, the duo believes, money is important but creative satisfaction is primary. “If one is not satisfied with the product it will not going to work,” the duo said.

    “The revenue model, however changes from project to project,” says Sandhu. Aggarwal added, “In our first film, we didn’t even think about it. We took up the opportunity as we liked the concept and the script, and it suited our budget too.”

    “The second film we did was not as smooth as we had a pre-decided budget. But, we went ahead and shot it. After our film aired on SonyLiv, people started recognising our work, and here we are — working on various projects, now,” says the duo.

    What about the type and quality of products they make? There are two ways of doing it. “One is a short-term goal and the other, long-term goal. In the former, people make videos wherein they put in the video anything and everything they have at their disposal because they are running after views,” says Sandhu. He insists that they had a long-term goal which is why they were making quality products.

    With the television background, why had they not thought of making products for the small screen? “Creative liberty,” Sandhu said, “is what attracted them towards the digital media.” Aggarwal echoed the thought, and said the digital platform, which is not restricted to any geography, helps them satisfy their creative itch. “It was amazing to see the kind of response (views) our first film got from across the globe — North America, Canada, Bangladesh and Pakistan, apart from India.”

    The exposure and experience of working in film and television production is helping generate and execute ideas in the digital world — ideas that are doing well, and raking in the moolah!

  • Dekkho to identify non-production house talent, plans four web series in Sept-Oct

    MUMBAI: Dekkho will largely focus on youth-based videos and regional content across six languages, primarily serving the 18-30 year old mobile audience.

    The online video streaming platform has announced plans to establish itself as the destination for talent discovery in India and showcase premium content from non-production house talent. Having collaborated with 80+ creators to curate premium videos across genres such as food, fashion, travel, lifestyle, comedy and gossip, the platform is now gearing up to run multiple digital promotions and events to identify emerging talent and get them on board over the next three to four quarters.

    The platform will also mark its foray into original content co-creation with four branded video properties, lined up for September-October period, in the form of web series, music videos, and short-form videos.

    Dekkho’s latest move is aimed at tapping into the unscripted and independent creator market, which comprises around 80 per cent of the overall production volume of online entertainment.

    As part of its marketing strategy, Dekkho has tied up with leading telecom operators and original phone equipment manufacturers (OEMs) to offer greater exposure to content developed by independent creators. The platform has additionally collaborated with partners like Amazon Fire TV.

    Co-founder Tanay Desai said, “Viewers today want more of short, snackable content that independent creators like AIB or Miss Malini produce. Our aim now is to create visibility through a bunch of exciting developments like localising our UI, promoting offline viewing and building for low data consumption. We are focused on Tier II, Tier III consumers who constitute the masses, and provide them a focused, curated experience that is missing on YouTube and Facebook.”

    “Dekkho,” he said, “will primarily host creators who are not associated with a label or production house. This initiative is synergistic with that vision, and will help us in discovering exciting talent from across the country to provide our viewers with premium content across age groups, geographies, and languages.”

    Says he: “Not only are we providing them with global exposure and monetisation opportunities through our advertising network and brand integrations, but this is the first time their ongoing content will be represented on a big screen format via our partnerships.”

    Dekkho aims at realising its target of reaching five million monthly active users within the next year and have 200 channels on board.

  • Taiwan digital video still underperforming

    MUMBAI: A key meeting of government officials, political leaders, industry regulators, business heads and international and local experts in Taipei has called for removal of investment constraints in the multichannel video industry, and increased attention to online piracy, as the Taiwan market reshapes itself as an all-digital (and often mobile) regional communications hub.

    Participants in the meeting, convened by regional industry body CASBAA on June 22nd, heard that a major hurdle blocking further development of the Taiwan digital video industry is the rigid application of the “No state/No party ownership” rule prohibiting any “government official, political party, or elected official to invest, directly or indirectly”, in cable system operators. ** The meeting heard that the rule is interpreted to prohibit acquisition of cable equities by companies where their corporate parents, several levels up, have even a single share owned by a government entity.

    “Because of these rigid restrictions, only introduced in 2005, urgently needed mergers between telecom carriers (fixed-line and mobile) and cable TV operators have proved almost impossible,” said CASBAA CEO Christopher Slaughter at the end of the meeting.

    Slaughter added that the “No state/No party” investment rule flies in the face of global industry experience over the past 20 years. “This is preventing Taiwan from enjoying the most compelling aspects of the twenty-first century media revolution,” he said.

    Proliferation of online piracy networks were cited as another major problem.

    Representatives of start-up OTT operators trying to market bouquets of programming to Taiwan consumers observed they faced huge obstacles, as long as pirate networks based offshore were free to steal the programs and distribute them for free. They warned that the development of innovative, indigenous Taiwan programming was at risk.

    Earlier points made during the packed agenda for the 130 Taiwanese government and media-industry decision makers included lively discussion of pay-TV pricing issues (the basic tier programming package is tightly controlled) and the desire of the government to promote broadcast of more Taiwan programming.

    By Y/E 2017, online video in Taiwan should attract 15 per cent of US$120 billion in revenues accrued by TV/telecoms industry from traditional free-to-air TV, pay-TV and OTT services, according to research house MPA.

    In the meantime, the rising level of mobile broadband penetration in Taiwan is benefitting cable TV and IPTV operators such as the dominant state-owned telco Chunghwa Telecom as they develop their own local-language, multiscreen services.

    No longer limited to traditional TV viewing, Taiwan’s mobile broadband subscribers are downloading apps and logging-in to pay-TV programming of all kinds. The largest group of OTT followers in Taiwan are young women aged 18-34, some 42 per cent of the total. Together with 18-34 year-old males, almost 70 per cent of OTT subscribers are “binge” viewers.

    While the CASBAA meeting was generally upbeat, warnings of the cost of revenue leakage i.e. piracy) were a recurring theme. “The hugely damaging level of content piracy is not only holding back growth of both traditional pay-TV and innovative OTT offerings, but also the overall economic development of Taiwan as a whole,” said CASBAA chief policy officer John Medeiros.

    “Living with massive revenue leakage from piracy while blocking sufficient investment in the digital economy, Taiwan is falling behind its natural potential as a regional communications hub,” added Slaughter.

    (** 
The island of Taiwan and its 23 million people are served by 61 cable operators, 36 of which are controlled by five Multi-System Operators, plus 25 smaller independent providers. As of Y/E 2016, the five MSOs controlled 73% of Taiwanese cable subscriptions.)

  • SonyLiv partners Pocket Aces, brings Filter Copy & Gobble originals

    MUMBAI: Underlining its commitment to provide the best entertainment experience, SonyLiv, the digital video entertainment platform of Sony Pictures Networks India (SPN), has announced a strategic partnership with Pocket Aces. With this partnership, latest content including iconic short videos from the Pocket Aces channel FilterCopy and food videos from its channel Gobble will now be available as a part of SonyLiv’s extensive content catalogue.

    The partnership will augment SonyLiv’s repertoire of entertainment offerings and allow Pocket Aces the opportunity to distribute its content to SPN’s audiences, which are different from the audience on its own social channels, thus also benefiting the advertisers and brands that partner with them for snackable content.

    Says SonyLiv EVP and head – digital business Uday Sodhi: “Our partnership with Pocket Aces aims at bolstering our already extensive content library with even more high-quality entertainment. The association will help us in meeting the growing demand for short-form video content in India and further consolidate our position as the country’s premium digital entertainment destination. We are confident our viewers will enjoy this high-quality addition to our content offerings as well as greater viewing flexibility and convenience that the partnership enables.”

    Pocket Aces co-founder Aditi Shrivastava: “We are excited to partner with SPN’s digital platform – SonyLiv and reach a completely new set of audiences through them. We reach over 25 million people on a weekly basis through our own pages and have been working with large brand partners to create some very successful content. Having our content distributed across various OTT platforms will benefit our brand partners and build a rich IP library. We will add to it this year with four web series and over 500 videos. We are glad to have several avenues to distribute this content.”

  • ChuChu TV on YouTube records 10m subs with 154 kids videos

    MUMBAI: A YouTube channel seems to be creating wonders with kids rhymes, and it is getting wonderful views and reviews and clicks! ChuChu TV, an Indian YouTube channel for kids, gives a positive spin to original nursery rhymes.

    One of the most popular edutainment channels worldwide, ChuChu TV, in its fourth year, has received 10 million subscribers with just 154 videos, making it the fastest-ever growing YouTube channel in the family entertainment and pre-school education space. This incredible milestone which reiterates ChuChu TV’s remarkable success was achieved on 17 June, 2017.
    Indiantelevision.com had reported in May 2017 that T-Series stayed put in its #1 spot on the top of the charts for the 11th week in a series. One of the India’s largest music labels and movie studio’s destination on YouTube popped up 26% to close out the week with more than 321.3 million views. Way far behind in the second place was Ryan Toys Review. The aging toddler saw his channel go up 4% in its week-over-week view count to top out at nearly 214.8 million views, TubeFilter had reported. In the fifth position was SET India. The YouTube home of Sony Entertainment (India) jumped up 19% to end the week with almost 183.1 million views.

    Says ChuChu TV co-founder and CEO Vinoth Chandar, “We are delighted to have made history by becoming the fastest growing family entertainment and preschool channel. We have always believed in quality and positive messaging and this landmark is a thumbs-up from our audience and care-givers. It inspires us to create iconic content, introduce consumer products and basically do more of everything that delights and educates our audiences across the world.”

    ChuChu TV is the fourth largest YouTube channel in India with its online audience larger than that of All-India Bakchod (AIB), Viral Fever Videos or Comedy Nights, Colors TV and Star Plus. The channels more popular with a larger subscriber-base than ChuChu TV are — T-Series, Sony and ZeeTV.

    However, T-Series has grown over the years through an upload of around 10000+ videos, SET India has around 17000+ videos and ZeeTV around 68000+ videos, whereas ChuChu TV has only 154 so far, making it a leader in its own right.

    In addition, ChuChu TV has achieved this milestone in four years. In terms of views, ChuChu TV has a whopping 12 billion views across all its channels. It ranks #1 in Asia Pacific region and in India and #2 worldwide in terms of  subscribers in the family entertainment & pre-school education categories.

    ChuChu TV is a YouTube based kid’s channel which offers educational videos and original nursery rhymes refreshed with a positive message. Designed to engage children through a series of upbeat songs and colourful animations, ChuChu TV has been making learning engaging and fun for toddlers in over 75 countries worldwide, truly making the channel a global phenomenon. Positive messages are at the heart of ChuChu TV’s entertaining songs and animations. Beloved nursery rhymes like “Chubby Cheeks” and “Baa Baa Black Sheep”  have been re-written to promote the value of sharing and helping others, while “Head, Shoulders, Knees and Toes” highlights the importance of exercise in a way that young children will understand.

    Their motto is ‘Spreading goodness among children,’ and the channel strives to keep to with every new video they offer to their young audience.

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  • How do viewers engage with OTT videos

    MUMBAI: Akamai Technologies, a cloud delivery platform, has released new research demonstrating how quality of video resolution and playback affects viewers’ engagement with and loyalty to over-the-top (OTT) video streaming services. Conveyed through advanced biometric measurement tools including facial coding and skin conductance, the findings underscore the importance of delivering consistent, high-quality video across any OTT business model.

    Akamai research measures viewers’ physical and emotional reactions to buffering and low-quality video; shows disengaged viewers in both free and subscription-based (SVoD & AVoD) models.

    According to the study conducted by third-party research firm Sensum, viewers disengage with emotive storylines and react negatively to low-quality streaming incidents like buffering regardless of the brand or interest in the content. The research shows negative emotions increase 16 per cent while engagement decreases nearly 20 per cent as a result of these poor experiences. The survey also demonstrates that 76 per cent of participants say they would stop using a service if issues such as buffering occurred several times.

    “This unique research shows there is no place for low-quality video in any streaming business model,” said Akamai director of product marketing, media solutions, Ian Munford.

    “The premium online video market is extremely competitive; the battle for revenue share is intense and subscriber acquisition costs are increasing, making differentiators like quality of experience more important than ever. Service providers cannot take risks with streaming experiences that are compromised by low resolution or buffering. They must provide consistent, high-quality experiences to help retain subscribers and reduce acquisition costs.”

    The research also found:

    Subscription video-on-demand (SVoD) brands lose the most engagement due to buffering while transactional video-on-demand (TVoD) models suffer the most negative impact to brand loyalty if delivering low-quality experiences.
    High-resolution video content with emotive storylines improve viewer engagement by more than 10 per cent

    When buffering begins:
    Happiness drops 14 per cent
    Negative emotions (disgust and sadness) increase by an average of eight per cent
    Viewers’ feeling of surprise increases 27 per cent
    Attention drops by three per cent and focus decreases by eight per cent

    The study, one of the most comprehensive of its nature ever conducted, used a variety of testing procedures including sensory, implicit and explicit responses from more than 1,200 participants. All tests carried out adhered to the Video Quality Experts Group (VQEG) standards to ensure results could not be contaminated. Akamai also created fictitious brands to remove any previous emotional association with the business models and used the same content across all the brands to nullify the impact of content type on the respondents.

    Meanwhile, Kaltura, a video technology provider, and Akamai entered into an agreement to extend their Net Alliance partnership to combine the power of Akamai’s Predictive Content Delivery with Kaltura’s TV Platform. Leveraging Akamai’s Predictive Content Delivery and CDN products, along with the Kaltura TV Platform’s deep customer behavior and content consumption intelligence, the joint solution facilitates predictive on-device caching of content, using smart resource management to efficiently download content in the background while on a strong Wi-Fi connection. The content is downloaded based on each user’s profile and history, and offered to the customer at any time for smooth offline viewing on any device regardless of network connection and quality. The solution is designed to allow video content providers to offer each user their preferred content with an excellent viewing experience.

  • SonyLiv’s content mirroring contemporary trends key differentiator, says Uday Sodhi

    MUMBAI: Lives today are a rigmarole of never-ending deadlines, household chores, family commitments and work life pressures. This cyclical orchestra of mounting pressures and waning pleasures leave an indelible impact on modern day relationships. With its focus on compelling storytelling that mirrors trends in our society, SonyLIV released its two latest short films – ‘Papa We Love You Too’ and ‘The Gift’ and had the celebrities participate in an engaging discussion on the subject – ‘Digital storytelling that mirrors relationship trends in contemporary Indian Society.’

    In its endeavour to present great narratives coupled with exemplary performances and production values, SonyLIV is creating ripples in digital entertainment with the release of its short films. Starring actors Jimmy Shergill, Lekh Tandon, Gul Panag, Mandira Bedi and Kushal Punjabi both films are poised to resonate with the audiences and take them on a reflective entertainment journey.

    The film ‘Papa We Love You Too’ revolves around the protagonist Vikas, portrayed by Jimmy Shergill, who is a 40-year old single parent. A workaholic, his life centers around his professional achievements and materialistic acquisitions, eventually weakening his bond with his 8-year old son. The shadow of this relationship is also reflected in the one that Vikas shares with his father, played by veteran director, writer and actor Lekh Tandon.

    ‘The Gift’, on the other hand, is an edge-of-the-seat thriller which describes the complexities of contemporary relationships, with actors Kushal Punjabi, Gul Panag and Mandira Bedi portraying powerful roles. The stylized narrative lays special emphasis on the visuals while the quick paced editing throws light on how the ruthlessness of modern life and our overarching desires make us commit incomprehensible acts.

    SonyLIV EVP Uday Sodhi says: “The key differentiator of SonyLIV versus other digital players is our ability to constantly provide content that mirrors trends in society. In the category of short films alone, we have a library of more than 500 originals. Compelling story telling coupled with superior performances is a winning formula for creating lasting impressions. These films echo our sustained efforts at providing our audiences with original, unique and thought-provoking content that resonates long after its runtime is over.”

  • Sports-first TV service FuboTV receives $ 55 m investment

    MUMBAI: fuboTV (fubo.tv), a leading sports-first streaming TV service in the U.S., has announced that it has raised an additional $ 55 million. The Series C round was led by leading Europe and New York-based VC fund Northzone, which will take a board position at the company. Also participating in the round are 21st Century Fox and Sky – both previously part of fuboTV’s Series B round – and Scripps Networks Interactive. The total investment raised to date by fuboTV is now more than $75 million.

    LionTree Advisors served as financial advisor and placement agent for this round.

    Launched in January 2015 as a streaming soccer service, fuboTV has evolved into one of the top virtual MVPDs in the U.S., bringing subscribers access to dozens of sports, entertainment, and news channels. The company launched its expanded “Fubo Premier” entry-level bundle in April 2017 with a line-up of 55-plus channels, including 31 that feature sports content – more than any competitor’s similar package. This live streaming TV line-up features coverage of the most popular sports teams, leagues, and tournaments in the world, as well as both professional and collegiate local teams via regional sports networks (RSNs) from Fox Networks Group and NBCUniversal. All channels available via Fubo Premier, as well as several add-on options, can be found at fubo.tv/welcome/channels; and a list of channels, broken down by sports carried, can be seen on this chart.

    With the closing of this fundraising round, Fubo plans to expand its basic line-up with new programming offerings; grow its engineering and product teams to continue to improve its state-of-the-art, back-end technology and build additional features focusing on its sports fan enthusiasts; and expand marketing efforts.

    Pär-Jörgen Pärson, partner at Northzone, who is joining the fuboTV Board, commented: “Fubo is at the apex of capturing a fundamental shift in consumer behavior. Just like we saw as early investors in Spotify within the music business, this will be potentially an even bigger game changer as television consumption moves online to mobile devices, computers and TV apps. Sports represents prime real estate in the television market, with a massive and engaged audience share, and Fubo has already achieved market-leading coverage of the best live sports content. David and his team have achieved incredible growth in the two years since launch, and we are excited to be partnering with Fubo as they take the next steps in building the online live sports experience of the future.”

    fuboTV co-founder and CEO David Gandler said: “Closing this latest round of funding is testament to our ability to execute efficiently in a very competitive market, and to our investors’ acute understanding of the future of our industry. Long term, we are best positioned to drive value for all major media companies and consumers in the U.S. and abroad.”

    Scripps Networks Interactive president of content distribution & marketing Henry Ahn added: “At Scripps Networks Interactive, we believe that defining and responding to changing consumer behavior is essential to our continued success. David and his team have created an exciting and innovative global platform that helps engage a new generation of consumers, and our investment in the team and their technology will enable them to continue to develop their offering and reach for the long-term.”

    Currently being offered at a discounted introductory rate of $34.99 per month, Fubo Premier is available with no long-term contract and for a free seven-day trial. In addition to streaming their favorite programming live, on demand or via DVR on fubo.tv, and through Fubo’s mobile and over-the-top (OTT) apps (see below for a full list of compatible devices), it was recently announced that subscribers can also use their Fubo credentials (name and password) to log directly into several popular channels’ websites and apps. This includes authenticated access to live and on demand programming – including additional content exclusive to these platforms – at no additional cost.

  • Amazon Prime: Keshet brings ‘Baker and Beauty’ to 200 countries

    MUMBAI: Keshet International (KI) has announced a worldwide licensing deal in more than 200 countries and territories for the addictive Israeli romantic comedy series The Baker and The Beauty. Prime Video will be the premium subscription streaming home for season one and season two which is currently airing in Israel, with both seasons amounting to 20 half-hour episodes.

    Later this year, Prime members will be able to stream The Baker and The Beauty via the Amazon Prime Video app for TVs, connected devices including Fire TV and mobile devices or online. Members can also download the series to mobile devices for offline viewing at no additional cost to their membership. The series will be a global release and available on Amazon Prime Video for members to watch via the Prime Video app or online at PrimeVideo.com in more than 200 countries and territories.

    The Baker and the Beauty, created and written by Assi Azar and produced by Endemol Israel (season one) and Shenhar Productions (season two) for Keshet Broadcasting is one of the highest-rated scripted series ever in Israel and has been successfully adapted The Netherlands (Net 5). The global Amazon deal was brokered by KI senior sales manager Rose Hughes.

    KI COO Keren Shahar and president – distribution said, “Owing to its totally universal appeal and uncompromising high production values, The Baker and the Beauty has found itself another new home on one of the world’s most prestigious content platforms, Amazon Prime Video. Following the acquisition of The A Word for US Prime members, we’re delighted to be in business with Amazon again, and this time on a global level.”

    This addictive romantic comedy follows the impossible love story between a simple baker and an international superstar. Noa Hollander has it all: she’s the most famous woman in the country, the beautiful daughter of a hotel magnate, a successful model with an international career and – up until now – one half of a Hollywood power couple. Amos is a simple 28-year-old guy who still lives with his parents and works at the family baker. A chance meeting leads to an unlikely love story.