ITV

Category: Video On Demand

  • Lights, Camera, AI: A new era in video content creation has arrived!

    Lights, Camera, AI: A new era in video content creation has arrived!

    MUMBAI: The future of video content is here, and it’s wearing an AI cape.

    AiVanta, a leader in AI-powered enterprise video solutions, has teamed up with UnScript, an AI video platform specialising in content automation and avatar technology, to revolutionise how businesses create and manage video content.

    Together, these companies are unleashing cutting-edge, scalable solutions designed to make video creation faster, smarter, and, dare we say, much cooler. Think professional-grade social media ads and corporate videos—without a single camera in sight.

    What’s the big idea?

    The AiVanta-UnScript partnership is set to address the growing demand for innovative video communication in enterprises. By merging UnScript’s revolutionary AI tech—which lets businesses generate video content from text—with AiVanta’s scalable solutions, they’re unlocking endless possibilities. From employee training to customer engagement and marketing campaigns, the duo promises to make video creation as easy as writing an email (minus the typos).

    In case you missed it, the AI video solutions market is booming. With a 20 per cent annual growth rate projected through 2030, sectors like BFSI, healthcare, retail, and education are leading the charge. For businesses racing to keep up with digital transformation, having tools that save time and money while delivering professional results isn’t just a luxury—it’s a necessity.

    What makes this partnership even more exciting is its “Make in India” ethos. Both AiVanta and UnScript are deeply rooted in India, offering locally developed, high-quality solutions that are also globally competitive. From multilingual videos to budget-friendly automation, they’re catering to enterprises of all shapes and sizes.

    AiVanta co-founder & CEO, Karan Ahuja sums it up perfectly, “This partnership represents a game-changer for enterprise video content creation. Together, we are empowering organisations to create hyper-personalised, immersive content that drives deeper connections and global impact.”

    Meanwhile, UnScript founder & CEO Ritwika Chowdhury is all about scalability, “Our revolutionary platform eliminates traditional video shoots, enabling businesses to scale video production effortlessly. Partnering with AiVanta allows us to deliver a complete transformation in enterprise video strategies.”

    These aren’t just words. AiVanta has worked with heavyweights like ICICI Bank, Bajaj Allianz, and Aster Healthcare, while UnScript counts Naukri, Tata Mutual Fund, and RadioCity among its clients. Clearly, this partnership isn’t playing in the minor leagues.

    With the market poised for exponential growth, AiVanta and UnScript are ready to lead the charge in transforming enterprise video content. Whether it’s hyper-personalised campaigns, AI-driven avatars, or solutions that help businesses reach global audiences, this duo is setting new benchmarks.

    So, what’s the takeaway? If your business hasn’t embraced AI for video yet, now’s the time. Why spend weeks (and budgets) on traditional shoots when AI can do the job better, faster, and cheaper?

    So, ready to join the revolution?

     

  • Fox, Disney & Warner Bros Discovery abort Venu Sports

    Fox, Disney & Warner Bros Discovery abort Venu Sports

    MUMBAI: The ambitious Venu Sports streaming service, a joint venture between Disney, Fox, and Warner Bros. Discovery, will not be launching after all.  The only launch  – if you can call it that –  it is having is – out of the window. The decision comes despite earlier indications that the project was moving forward, following the resolution of a lawsuit with Fubo.

    Venu had promised to shake up the sports streaming landscape by combining content from major networks like ESPN, ABC, TNT, and Fox into a single platform for $42.99 per month. However, persistent legal and market pressures ultimately derailed the effort.

    On Thursday, DirecTV and EchoStar signaled the possibility of their own lawsuits against Venu, citing unresolved antitrust concerns that were central to Fubo’s earlier legal challenge. By Friday, Disney, Fox, and Warner Bros. Discovery announced  that they were drawing the curtains on the project in a joint statement:

    “After careful consideration, we have collectively agreed to discontinue the Venu Sports joint venture and not launch the streaming service. In an ever-changing marketplace, we determined that it was best to meet the evolving demands of sports fans by focusing on existing products and distribution channels. We are proud of the work that has been done on Venu to date and grateful to the Venu staff, whom we will support through this transition period.”

    DirecTV, in its own statement, added: “We look forward to working with our programming partners — including Disney, Fox, and Warner Bros. Discovery — to compete on a level playing field to deliver sports fans more choice, control, and value all-in-one experience.”

    Venu was first announced nearly a year ago and was slated to launch last fall. However, a judge halted the rollout after Fubo filed an antitrust lawsuit, claiming the service would unfairly dominate the sports streaming market

    The service aimed to consolidate premium sports content from its parent companies’ linear TV networks, offering fans an all-in-one experience. It had even appointed former Apple executive Pete Distad as CEO to lead the charge. 

    While Venu has been shelved, Disney is still moving ahead with its plans to launch a standalone ESPN streaming service, currently referred to as “ESPN Flagship,” by the end of the summer. Analysts speculate that Fox may eventually license its sports content for inclusion on the new platform.

    This pivot underscores the complexities of navigating legal challenges and evolving consumer expectations in the highly competitive sports streaming market. For now, fans will have to rely on existing platforms to access their favorite sports content.

    (The visual for this story has been generated using Microsoft Designer. No copyright infringement is intended. It is just a depiction of the fate of Venu Sports with the three main partners aborting the venture. And there is no attempt to cause any injury or damage to the reputation of  either Fox, Disney or Warner Bros Discovery or to hurt anyone’s sentiments. In short, there is no malafide intent and no malice is intended either.)

  • TVOD & consumer behavior: What do viewers really want?

    TVOD & consumer behavior: What do viewers really want?

    Mumbai: The consumption landscape in media is evolving drastically. Streaming services have driven about a revolution when it comes to media consumption. It is a thing of the past that viewers were bound to linear television schedules. Today, the list of different models for delivering digital content ranges from TVOD (Transactional Video on Demand), SVOD (Subscription Video on Demand), AVOD (Advertising-based Video on Demand), and HVOD (Hybrid Video on Demand). Each mode has its upsides and downsides, but the thing one must ask is: what do viewers prefer as they choose to opt for one model over another?

    Let us take a closer look at how TVOD has changed consumer behavior and what sets it apart from SVOD, AVOD, and HVOD with a focus on understanding what drives viewers towards one platform and service model as opposed to another.

    Transactional Video on Demand (TVOD)

    TVOD is one where viewers pay for one piece of content. Instead of signing up for an entire service or watching with ads, viewers may be able to pay once for a movie, episode, or series rental or purchase. Platforms that use the TVOD model include iTunes, Google Play Movies, and Amazon Prime Video-where viewers can rent or buy individual titles outside of its subscription offering.

    Types:

    ●      EST (Electronic Sell Through) – The customer buys the content, and it belongs to him or her permanently.

    ●     DTR (Download to Rent) – The consumer downloads the content for a specific time period, usually 24-48 hours after which he or she will not be able to avail the content.

    Consumer Behaviour and TVOD

    The primary attraction of TVOD is flexibility. Consumers can choose only that content in which they are genuinely interested and skip recurring subscription fees or advertisers’ assaults. This is very appealing to those who consume media in a spotty fashion or are mostly interested in new releases, premium content, or films not distributed on subscription platforms.

    Benefits of TVOD

    1. Exclusivity and premium content for pay: TVOD, as a unit compared with the others, typically carries new releases and premium content that are not found on the other platforms. The consumers who want to keep up with the newest blockbuster films or series will not mind paying.

    2. Control and Flexibility: TVOD allows viewers to never have to pay a monthly fee with the firmness that says they can spend their money when and how they choose to. If you watch only one or two movies a month, then this is a cheaper option in comparison to most SVOD services.

    3. Ownership: Est makes it possible to allow the user who buys content in TVOD to own content which then allows him/her to access whatever they have bought at any time. That is what increases an appeal to consumers looking to create digital libraries.

    4. No Commitment: TVOD does not require contractually long subscriptions. People enjoy the ability to consume content on a transactional basis, not obligated to commit long-term for recurring subscription payment.

    The downside of TVOD

    TVOD’s drawback is that costs can add up quickly. Several purchases per month can easily escalate into a sum more expensive than an SVOD subscription, especially if the consumer has large viewing appetites. And if one isn’t sure about the quality or appeal of content, the upfront price can be daunting.

    TVOD Vs SVOD, AVOD and HVOD

    Each of the delivery models attracts a different kind of consumer. Media companies interested in optimizing services understand the nuances in consumer behavior across such models.

    SVOD (Subscription Video on Demand)

    The SVOD model refers to platforms like Netflix, Hulu, and Disney+ that grant viewers access to their respective catalogs for a fixed monthly or annual fee. During the subscription period, consumers have unlimited access to the catalog.

    Consumer Behaviour in SVOD

    – Binge-Watching Culture: SVOD made binge-watching trendy, where all the seasons and even the whole catalog can be binge-watched without interruption using SVOD. The advantage of uninterrupted viewing, which users prefer to make a “content buffet.”

    – Cost-Efficiency: For frequent viewers of content, SVOD seems cheaper than TVOD. To them, paying a monthly fee for access to thousands of titles is perceived as better value than paying for individual titles using TVOD.

    – Loyalty and Engagement: The SVOD focus is on brand loyalty through original programming, exclusive content, and user-friendly interfaces, for they come back with constant updates in the content catalog.

    – No Interruptions: Most SVOD services are ad-free and attract those who enjoy an unbroken experience.

    The downside of SVOD

    The disadvantage of SVOD is content saturation. With this much content, it is easy for viewers to be overloaded or lose interest in any title. More importantly, the popular content may become outdated and removed from the platform, thereby leaving subscribers unhappy with the fact that their favorite shows or movies are no longer available.

    AVOD (Advertising Video on Demand)

    AVODs, such as YouTube, Tubi, and Peacock (free tier), are free to consumers but advert-driven. Consumers must watch advertisements to be able to see the content.

    Consumer Behavior on AVOD

    – Price Sensitivity: AVOD appeals to the price-sensitive customer who is willing to pay in terms of inconvenience of ads for free content access. It appeals to casual viewers, who are less likely to commit than to a paid subscription or one-time TVOD purchase.

    – Ad Tolerance: The very first compromise viewers have to make is advertisements along the way. Perhaps viewers who want it to be seamless and continuous would not find AVOD palatable. However, the younger audience – including Gen Z and Millennials – are accustomed to ad-supported content as the case is with YouTube platforms.

    – Broad Access: AVOD platforms enjoy a wide, varied library entries, although, less of new releases and premium compared to SVOD or TVOD.

    The downside of AVOD

    The critical drawback it has is dependency on ads, which can be disturbing for the viewer. For content creators, AVOD may not always prove the most financially rewarding, due to fluctuating ad revenues.

    HVOD (Hybrid Video on Demand)

    HVOD is a combination model that carries both a subscription model and an ad-supported model. It falls between SVOD and AVOD as it meets the demand for services that charge less for the subscriptions with a monetization of ads to offer premium content to the consumer.

    Consumer Behaviour in HVOD

    – Middle Ground: The model speaks to a consumer who wants premium content at a lower price but who would be willing to tolerate some ads in order to access it. This model has typically attracted consumers because consumers are seeing it as the best of both worlds, such as lower subscription fees with some inconveniences from ads.

    – Personalisation: With most HVOD services offering an ad-free tier at a higher subscription price, it leaves the burden on the consumer’s choice on how they prefer to enjoy the show. This is appealing for those who want to balance cost and convenience in achieving their viewing needs.

    However, with this ad-subsidized nature of HVOD platforms, the end-users get frustrated and annoyed to have uninterrupted viewing without having to pay extra for the ad-free view.

    What do viewers really want?

    The choice among TVOD, SVOD, AVOD, and HVOD majorly depends upon the individual preferences and the modes of preference. Now, let’s take a look at what drives consumer behavior across these models:

    1. Convenience: Consumers prefer convenience and accessibility. Consumers seeking to watch all the content at one place without breaks gravitate toward the SVOD platform. For new releases to be watched immediately without making a subscription, consumers are drawn toward TVOD.

    2. Cost Sensitivity: Cost-sensitive consumers will gravitate to AVOD for free content availability, no matter the price they have to pay in terms of watching advertisements. Heavy content consumers will benefit more by paying for the SVOD subscription.

    3. Personalisation: TVOD and HVOD Provide for a lot more personalization. With TVOD, the viewer can essentially pay for just what they watch while with HVOD subscription terms and ad exposure offer options and an avenue for variation. Personalization has been the new battleground as more competition bids for the users that crave more control over how media is consumed.

    4. Ad Tolerance: AVOD as well as HVOD models test out the tolerance for ads. The young viewers will be more likely to accept ads if that content would stream free or at a lower price.

    TVOD meets the appetite for premium, flexible content access – mainly, for viewers reluctant to invest in a subscription. On the other hand, SVOD leads in very large libraries and binge-friendly experiences and AVOD, HVOD in cheap content at an ad compromise. All this understanding lets them better serve their audience through content that really resonates with expectations.

  • DistroTV announces partnership with Dominiche Productions

    DistroTV announces partnership with Dominiche Productions

    Mumbai — DistroTV, a premier global independent free, ad-supported streaming television platform, proudly announces its latest partnership with Dominiche Productions Pvt. Ltd., a leading Indian content provider specializing in astrology and lifestyle content. This collaboration will see the launch of a dedicated linear streaming astrology channel, “Jyotish Duniya”, utilizing DistroTV’s cutting-edge Platform Services to bring these new streaming television channels to a global audience.

    DistroTV’s Platform Services are at the heart of this partnership, offering Dominiche a robust solution to convert their extensive video libraries into fully operational, monetizable streaming channels. The new channel, “Jyotish Duniya” which means “the world of astrology” will feature a diverse range of content designed to cater to astrology enthusiasts across all age groups.

    Jyotish Duniya will be a comprehensive 24×7 astrology channel, featuring celebrity Indian astrology experts who are also consulted by top Bollywood stars and magnates. Offering a mix of daily, weekly, and monthly predictions, intriguing astrological insights and specially curated content focused on every conceivable form of astrology. The channel will also include short astro movies, weekend special shows, festival-based astrology, episodes on intriguing places and happenings, quick fix astrology solutions and shows exploring mysterious structures, unbelievable real past life cases and unexplained phenomenon.

    DistroScale co-founder & CEO Navdeep Saini expressed his excitement about the partnership, stating, “We are thrilled to collaborate with Dominiche Productions to bring their rich and diverse content to a global audience. Our Platform Services enable content providers to create fully functional linear streaming channels with ease, ensuring that Dominiche can distribute and monetize their content effectively while expanding its reach to new viewers across the world. The launch of ‘Jyotish Duniya’ represents a significant step forward in our mission to expand our content offerings and deliver exceptional viewing experiences to audiences everywhere.”

    Dominiche Productions director Utpal Vaishnav shared his enthusiasm for the launch of “Jyotish Duniya”, saying, “Astrology has always been a deep-rooted aspect of Indian culture, and with the launch of Jyotish Duniya, we are excited to bring the wisdom of our most revered astrologers to a global platform. DistroTV’s innovative services allow us to simply reach millions of astrology enthusiasts worldwide, offering them insightful predictions and engaging content that resonates with their daily lives.”

    Empowering content creators with DistroTV’s platform services

    DistroTV’s Platform Services provide a comprehensive suite of tools for video content creators, from technical infrastructure and content curation to full stack monetization and distribution. This partnership highlight’s DistroTV’s mission to empower content creators by simplifying the complexities and lowering the barriers of channel creation and syndication to global audiences.

    DistroScale APAC head Vikas Khanchandani added, “With the launch of ‘Jyotish Duniya’ we are expanding our content offerings in India and beyond. Our goal is to ensure that Dominiche’s high-quality content reaches a broader audience, offering viewers an unparalleled streaming experience.”

  • India premium VOD revenues top $1B in 1H 2024

    India premium VOD revenues top $1B in 1H 2024

    Mumbai: The premium video-on-demand (VOD) category, driven by advertising and subscription, generated $1.04 billion in revenues over 1H 2024, up 38 per cent from $760 million in 1H 2023. Local content accounted for 86 per cent of premium VOD engagement in 1H 2024, with live sports and local drama & romance leading category demand. Sports content attracted the highest number of unique viewers, with nine of the top 15 titles belonging to the sports genre – six of which were BCCI events. Cricket was the standout, as IPL 2024 and the ICC Men’s T20 World Cup 2024 were the top two sports properties, driving significant viewership.

    The take-outs were revealed by the latest analysis conducted by ampd, the digital measurement platform owned and operated by Media Partners Asia (MPA), which measures consumption and engagement across the digital economy in India, including VOD. In 1H 2024, a total of 8 trillion minutes were streamed across online video platforms in India. YouTube dominated the landscape, capturing 92 per cent of all online video consumption, while premium platforms—comprising AVOD, freemium, and SVOD services—accounted for the remaining eight per cent. Within the premium video segment, freemium platforms led with 92 per cent of the 645 bil minutes streamed during the same period.

    Jio Cinema, Netflix, and Disney+ Hotstar led premium VOD category monetisation, contributing 70 per cent of the total revenues garnered by the category. Jio Cinema was the category leader in 1H 2024 with 36 per cent revenue share while Netflix led pure-play SVOD monetization with a 38 per cent share.

    Premium VOD ad revenue in 1H 2024 was driven by Jio Cinema and Disney+ Hotstar, leveraging marquee cricket with the Indian Premiere League (IPL) and ICC World Cup. After a turbulent CY2023, total SVOD subscriptions rebounded from 110 million to 120 million in 1H 2024. India’s TAM of affluent audiences continues to expand, with Netflix and Prime Video capitalising on this trend through investments in local originals and films. Together, these platforms accounted for nearly 70 per cent of SVOD revenue in 1H 2024. Meanwhile, Jio Cinema’s launch of an affordable plan has further broadened the SVOD audience, incentivising more users to pay for streaming content.

    Commenting on the findings, MPA India vice president Mihir Shah said, “Subscriber growth momentum will continue in 2H 2024, driven by aggregation and deeper partnerships with telcos, pay-TV operators, and OEMs. In addition, with the onset of the festive season at, advertising spending should be robust in Q4 2024. However, with no major sports events, spending will shift toward tentpole non-fiction shows on premium VOD platforms, with a significant portion moving back to high-reach UGC platforms. Netflix and Prime Video have a steady stream of content planned for 2H 2024. For freemium platforms, entertainment spends have started to come back under new advertising-friendly formats like TV++, which are similar to daily TV soap operas with 40-120 plus episodes per season. These formats have proven to attract new users and drive engagement with lower budgets.”

  • MPA report: Content investment in seven APAC markets grew four per cent in 2023

    MPA report: Content investment in seven APAC markets grew four per cent in 2023

    Mumbai: Media Partners Asia’s (MPA) 2024 Asia Video Content Dynamics report offers a comprehensive analysis of content investment, engagement, and viewership across TV, VOD, and theatrical sectors in seven key APAC markets: India, Korea, Indonesia, Philippines, Singapore, Thailand, and Vietnam.

    The report reveals that content investment in these markets reached $15.5 billion in 2023, marking a four per cent year-on-year increase. This growth, while positive, represents a significant slowdown from the 2021-22 period, reflecting a post-COVID normalization of budgets and a rationalisation of local content investment in streaming VOD. India led the charge with a robust 12 per cent growth, driven primarily by sports content, while Indonesia followed with a solid five per cent increase. Korea, the Philippines, and Thailand managed modest gains, whereas Malaysia and Vietnam experienced contractions due to challenging advertising markets.

    Korea and India continue to dominate the landscape, collectively accounting for 80 per cent of total content investment in 2023. Korea, a mature market, is expected to see flat overall growth, with expansion in streaming and film offset by TV’s secular decline. In contrast, India, with its relatively low 52 per cent TV household penetration, presents significant growth potential across all verticals through 2028. MPA projects that India will surpass Korea in total content investment by 2026.

    Looking ahead, MPA forecasts a 2.7 per cent CAGR in total content investment across the seven markets, reaching $17.2 billion by 2028. This growth will be predominantly driven by India, with Indonesia and the Philippines also expected to show decent growth rates. Korea and Thailand are anticipated to experience limited growth, while Vietnam faces the most challenges due to weak TV advertising and rampant piracy.

    The investment landscape is evolving, with TV (free-to-air and pay) still commanding the lion’s share at 64 per cent in 2023, followed by streaming at 26 per cent and film at 10 per cent. By 2028, TV is projected to retain over 50 per cent of industry investment, while streaming is expected to increase its share to 33 per cent, with film marginally growing to 11 per cent.

    MPA vice president Stephen Laslocky offered insights on the shifting content dynamics:

    “Korean content continues to lead the pack with world-class production values and compelling storytelling, though we’re seeing online original content costs inflate to as much as US$7 million per episode. Its extraordinary appeal is evident, accounting for over 30 per cent of content demand in Southeast Asia and Taiwan. The rise of streaming has significantly elevated storytelling and production quality, particularly in Thailand and Indonesia, where competition is intensifying. We’re seeing content from these countries, especially Thai titles, gaining traction across Asia.

    It’s become clear that many traditional TV drama producers are struggling to compete with higher-end streamed video content. In contrast, quality film producers have embraced the flexibility of streaming and adapted with greater ease. Over the past year, as some ad revenues have permanently shifted to digital and streaming behaviour has become entrenched, we’ve observed TV production margins contracting across most markets. For online originals, streamers have become much more disciplined in their approach to budgeting and content strategy.”

    The report also highlights significant trends in online video consumption. YouTube leads with over a billion monthly active users across the surveyed markets, with 732 million in India alone. TikTok has emerged as a formidable competitor in Southeast Asia, boasting 211 million total monthly active users across Indonesia, Malaysia, Philippines, and Thailand.

    In the premium VOD space, Netflix maintains a strong lead in most markets, capturing between 40-70 per cent of viewership in Korea, Indonesia, Malaysia, and the Philippines. However, it faces stiff competition in Thailand from TrueID and in India from Disney+ Hotstar and Jio Cinema. Local players like Indonesia’s Vidio are also making their mark, while regional platforms such as Viu are leveraging Korean content and strategic partnerships to strengthen their positions.

    The theatrical sector is still in recovery mode, with superhero franchise fatigue and Hollywood strikes delaying a return to pre-pandemic levels in most markets. India has already bounced back, with 2023 box office revenues exceeding 2019 figures. Other markets, excluding Korea, are expected to recover over the 2025-28 period. An emerging trend in film distribution sees a shift towards revenue-share models for internationally appealing titles, presenting new opportunities for Korean and Thai producers in particular.

    As the APAC content landscape continues to evolve, the interplay between traditional and emerging platforms, coupled with changing consumer behaviours, will shape the industry’s future. The MPA report underscores the dynamic nature of the market and the critical importance of adaptability and strategic investment in driving growth across the region.

  • Robust growth in Korea’s premium VOD sector, led by Tving

    Robust growth in Korea’s premium VOD sector, led by Tving

    Mumbai: The premium video-on-demand (VOD) landscape in South Korea grew subscribers, revenues and engagement at robust levels in 1H 2024 according to analysis conducted by ampd, the digital measurement platform owned and operated by Media Partners Asia (MPA). The Korean SVOD market added 705,000 net new subscribers in 1H to a total 20.8 million by end of June 2024 while premium VOD revenues, including subscription and advertising, grew 11 per cent year-on-year to $922 million and viewership grew five per cent Y/Y to 103 billion minutes.

    Tving led subscriber growth in 1H 2024, contributing 34 per cent share of SVOD category net additions to 4.2 million total subscribers. Tving’s growth is anchored to popular tvN and JTBC network dramas, variety and originals. The introduction of a new advertising tier helped drive user growth in 1H 2024, with MAUs >11.5 million. Netflix remains the premium VOD category leader with 43 per cent share of revenue and 37 per cent of viewership. Tving is gaining pace, growing share of premium VOD viewership by six points Y/Y to reach 30 per cent, capturing 15 per cent of premium VOD revenues. Beyond premium VOD, viewership across AVOD, SVOD and live streaming platforms on mobile devices totalled 534 billion minutes in 1H 2024, up 24 per cent Y/Y. YouTube is the overall VOD category leader and continues to gain share, reaching 80 per cent of total VOD viewership in 1H 2024.

    ampd’s lead analyst & head of insights Dhivya T commented: “Local content captured 77 per cent of premium VOD category engagement and 75 per cent of customer acquisition in 1H 2024, with key drama and variety hits from Tving , Netflix , Coupang Play and Disney+. An abundance of local drama and variety releases across major VOD platforms drive viewership, with over 200 titles contributing to 80 per cent of Korean content demand in 1H 2024. Tving led hits across scripted and unscripted titles, carrying 10 of the top 15 titles (seven shared across platforms) in 1H 2024. Other key platforms include Netflix with seven of the top 15 titles. Disney+ originals Coupang Play’s sports and originals also broke through. CJ ENM produced six of the top 15 titles in 1H 2024.”

    Premium VOD viewership share in South Korea (1H 2024)

    Source: ampd

  • RVCJ Digital Media launches mini-web series “Tuition Days”

    RVCJ Digital Media launches mini-web series “Tuition Days”

    Mumbai: RVCJ Digital Media Pvt Ltd, India’s leading digital media company, today announced the launch of “Tuition Days,” an original three-part YouTube series in collaboration with Oswaal Books. Known for its relatable and engaging content that reaches over 50 million followers, RVCJ produces another highly anticipated show capturing the drama of student life.

    “We’re thrilled to partner with Oswaal Books to produce a Mini web series that combines entertainment and education,” said RVCJ Digital Media co-founder and CRO A. Aziz Khan. “‘Tuition Days’ brings to life relatable stories of students navigating challenges with the support of their teacher and friends. The series promotes positive lessons in an engaging way for viewers of all ages.”

    “Tuition Days” follows 10th-standard students and their eccentric math tutor Maria Miss. Led by math genius Tanay and his mischievous best friend Girgit, the show is full of humour and heart. New student Resham catches Tanay’s eye, adding excitement and awakening his rebellious side. With twists at every turn, “Tuition Days” depicts the struggles of balancing studies, family pressures, and relationships at a pivotal age.

    Oswaal Books CEO Prashant Jain said, “We are thrilled to partner with RVCJ on the exciting new web series ‘Tuition Days.’ At Oswaal Books, we believe in nurturing young minds and supporting their educational journey in every possible way. This series beautifully captures the essence of home tuition, highlighting the unique challenges and triumphs students face.  We are proud to be associated with a project that resonates with our mission of making learning more accessible and enjoyable. We look forward to seeing the positive impact ‘Tuition Days’ will have on students and parents alike.”

    The first episode of “Tuition Days” premiered today on RVCJ’s RVCJ Media – YouTube, with new episodes releasing every week. RVCJ is renowned for its unique entertainment and relatable content, making it a household name in digital media. This latest web series joins RVCJ’s roster of highly successful shows and viral content.

  • Vi says ‘Let’s Netflix’

    Vi says ‘Let’s Netflix’

    Mumbai: Leading telecom operator Vi, today announced its partnership with the global streaming service provider – Netflix, further strengthening its entertainment offerings for its customers. With this partnership, Vi users will be able to enjoy world-class entertainment with the best streaming experience on any device of their choice – mobile, television or tablet. Vi has currently introduced Netflix offering for its prepaid customers and will soon be launching Netflix bundled postpaid plans too.

    Home to an incredible variety of local and global stories like Heeramandi: The Diamond Bazaar, Amar Singh Chamkila, The Great Indian Kapil Show, Laapataa Ladies, Animal, Fighter, Dunki, Squid Game, Bridgerton, Mamla Legal Hai to name a few, Netflix in India recently announced its power-packed 2024 lineup, offering a wide range of films and series for the audience.

    Vi has introduced two new unlimited prepaid packs offering unlimited calls & data bundled with Netflix basic subscription that will allow users to watch Netflix on mobile as well as TV.

    Today, Vi is the only telecom operator to offer a Netflix basic proposition at an attractive price point of less than Rs 1000 bundled with a prepaid plan. Apart from the above-mentioned benefits, Vi users recharging with the 84 days validity product, will also get flagship Hero proposition benefits such as data delight, night binge and weekend data roll-over.

    Vi will soon launch its postpaid offerings with Netflix.

  • Tune in to Crunchyroll’s upcoming dubbed Anime premieres

    Tune in to Crunchyroll’s upcoming dubbed Anime premieres

    Mumbai: From Mashle_Magic and Muscles to Haikyuu and more, Crunchyroll brings its latest anime shows in Indian dubbed versions, this summer.

    Mashle_Magic and Muscles season one

    When: 17 May 2024 at 9:00 amIST (full batch)

    Dubs: Tamil & Telugu

    This is a world of magic. This is a world in which magic is casually used by everyone. In a deep, dark forest in this world of magic, there is a boy who is singlemindedly working out. His name is Mash Burnedead, and he has a secret. He can’t use magic. All he wanted was to live a quiet life with his family, but people suddenly start trying to kill him one day and he somehow finds himself enrolled in Magic School. There, he sets his sights on becoming a “Divine Visionary,” the elite of the elite. Will his ripped muscles work against the best and brightest of the wizarding world? The curtain rises on this off-kilter magical fantasy in which the power of being jacked crushes any spell!

    Dr.Stone season one

    When: 29 May 2024 at 10:30 am IST (Batch – 1 to 12 episodes)

    26 June 2024 at 10:30 am IST (Batch – 13 to 24 episodes)

    Dubs: Hindi, Tamil & Telugu

    Several thousand years after a mysterious phenomenon that turns all of humanity to stone, the extraordinarily intelligent, science-driven boy, Senku Ishigami, awakens. Facing a world of stone and the total collapse of civilization, Senku makes up his mind to use science to rebuild the world. Starting with his super strong childhood friend Taiju Oki, who awakened at the same time, they will begin to rebuild civilization from nothing… Depicting two million years of scientific history from the Stone Age to present day, the unprecedented crafting adventure story is about to begin!

    Log Horizon season two

    When: 4 June 2024 at 09:30 am IST (weekly launch)

    Dubs: Hindi

    One day, while playing the online game Elder Tales, 30,000 players suddenly find themselves trapped in another world. There, eight-year veteran gamer Shiroe also gets left behind. The trapped players are still alive, but they remain in combat with the monsters. The players don’t understand what has happened to them, and they flee to Akiba, the largest city in Tokyo, where they are thrown into chaos. Once proud of his loner lifestyle, Shiroe forms a guild called Log Horizon with his old friend Naotsugu, female assassin Akatsuki and others.

    Haikyuu season one

    When: 6 June 2024 at 09:30 am IST (Batch – 1 to 12 episodes)

    Dubs: Hindi, Tamil & Telugu

    Based off of the original Weekly Shonen Jump manga series from Haruichi Furudate, Haikyu!! is a slice-of-life sports anime revolving around Shoyo Hinata’s love of volleyball. Inspired by a small-statured pro volleyball player, Hinata creates a volleyball team in his last year of middle school. Unfortunately, the team is matched up against the “King of the Court” Tobio Kageyama’s team in their first tournament and inevitably lose. After the crushing defeat, Hinata vows to surpass Kageyama After entering high school, Hinata joins the volleyball team only to find that Tobio has also joined.

    Blue Lock season one

    When: 12 June, 2024 at 10:30 am IST (Full Batch – Part 1)

    Dubs: Hindi, Tamil & Telugu

    Japan’s desire for World Cup glory leads the Japanese Football Association to launch a new rigorous training program to find the national team’s next striker. Three hundred high school players are pitted against each other for the position, but only one will come out on top. Who among them will be the striker to usher in a new era of Japanese soccer?

    Tsukimichi – Moonlit Fantasy season one

    When: 19 June, 2024 at 11:30 pm IST (Full Batch)

    Dubs: Hindi, Tamil & Telugu

    Makoto Misumi was just an average teenager who suddenly was summoned to another world as a “hero.” But the goddess of this world called him ugly and took his hero status away from him, then sent him to the ends of the world. He meets dragons, spiders, orcs, dwarves, and many other non-human races in the wastelands. Makoto manages to show promise in the use of magic and fighting, which he wouldn’t have been able to do in his former world. He has numerous encounters, but will he be able to survive this new world? A fantasy where a guy who gods and humanity had abandoned tries to reset his life in this new world is about to begin!

    Radiant season two

    When: 26 June 2024 at 12:00 pm IST (Full Batch)

    Dubs: Tamil & Telugu

    Seth dreams of being a great sorcerer. He wants to be powerful and defeat the Némésis, monsters that come down from the sky. But his eagerness constantly gets him into trouble. He can’t seem to avoid angering the villagers and even his guardian, Alma. One day, an enormous Némésis really attacks the village! Determined to save the world, Seth embarks on a journey in search for the “Radiant,” the legendary lair of the Némésis. Making new friends, fighting tough enemies, and confronting hardships, Seth’s adventure begins!