Category: Distribution

  • IBC2024 grows across the board as AI Takes centre stage

    IBC2024 grows across the board as AI Takes centre stage

    AMSTERDAM: It has been a record breaking year at IBC2024 with the Amsterdam confab attracting 45,085 visitors from 170 countries – a jump of more than 2,000 as compared to the previous year. On top of that 100 additional exhibitors put up their stands in the 14 halls covering 46,000 square metres of space (as against 44,500 square metres in 2023) in Amsterdam’s RAI with their count adding up to 1,350 Many participants opined that IBC2024 was the busiest four days they have had this year as execuitves from the global media, entertainment and technology community came together to connect, showcase and discover innovations, tackle pressing industry challenges, and explore new opportunities. 

    Across a bustling show floor and packed theatres, IBC2024 addressed critical trends and issues driving change across the media landscape, such as combatting false information and fake news, while offering new show features, such as the AI Tech Zone, and IBC Talent Programme.

    “IBC continued on an upward trajectory in 2024, with tremendous turnout across the entire IBC community as people gathered in Amsterdam to explore the technological advances and market dynamics redefining our industry,” said IBC CEO Michael Crimp.. “In a year marked by major events such as the Olympics and national elections, there was an extremely positive buzz at IBC2024. This year’s show addressed soaring interest in trends such as AI’s leap from theory to real-world applications, how the industry is fighting disinformation in news, and the need to foster talent and diversity across media, entertainment and technology.”

    Other themes that took centre stage at IBC2024 included sustainability, 5G, cloud, esports, immersive experiences, over-the-top (OTT) and streaming, adtech, metaverse, edge computing, and connected technologies. Many of these were addressed in the three-day IBC Conference, relocated to the Auditorium Complex at the RAI, as well as in the various show floor theatres and by many of the exhibitors themselves on their stands.

    A number of IBC2024’s defining themes were also focuses of the IBC Accelerator Media Innovation Programme, which this year included another IBC first: the AI Media Production Lab, exploring a series of projects in which some of the industry’s most inventive innovators collaborated on specific AI concepts. One of the hottest Accelerator projects – also addressed in the IBC Conference – was ‘Design Your Weapons in the Fight Against Disinformation’, which aimed to develop an industry-wide?understanding?of the challenges and abuses being faced today by all media outlets in helping audiences identify trustworthy news and information.

    The new AI Tech Zone, powered by EBU, was packed with visitors engaging with leading innovators on practical applications ranging from automated video editing and music-audio separation to content provenance tracking and fast and secure cloud storage. Then Zone stage featured AI pioneers sharing insights into how the technology will impact the future and how it is already transforming media in areas such as discoverability, news verification, and creating immersive experiences.

    Another exciting new feature at IBC2024 was the Audio Visual (AV) buyers’ event on the eve of the show. Working with the AV User Group, media technology companies at the show were able to actively engage with major AV purchasers such as Arup, AstraZeneca, Bank of America, Barclays, Deliveroo, Direct Line Group, KPMG, Schroders, Sopra Steria, UBS, and WPP.

    The inaugural, free-to-attend IBC Talent Programme featured lively and engaged discussions on mentoring the industry’s next generation, recruitment challenges, and the importance of diverse perspectives for driving innovation. The programme was preceded by the World Skills Café, run by Global Media and Entertainment Manifesto, which took place at the RAI the day before the show.

    Leading global media technology brands exhibiting at IBC2024 included Arabsat, Arri, Avid, AWS, Blackmagic, BT Media, Canon, Comcast, Eutelsat, Evertz, EVS, Google, Grass Valley, Harmonic, Huawei, Imagine Communications, LG, Lawo, LTN, Mediakind, Microsoft, Nagra, Panasonic, Riedel, Ross Video, Samsung, SES, Sony, Tata Comms Media, Telestream, Zero Density, Zixi, and ZTE. There were also 150+ new exhibitors at the show, including 5G Broadcast Collective, CDN Alliance, Datacamp, Eosos, Frequency Networks, Medianet Berlin, Strada, SwXch IO, and Vubiquity, while Benro, Insta360, Robe, The Weather Company, Vecima – plus Yamaha returned to the show for the first time since 2019.

    “In the last few years, IBC has gone from strength to strength, with exhibitors continuing to find more ways to make the most of the show as we add new features and grow its scope and reach,” said IBC Director Steve Connolly. “The feedback we get is incredibly positive, with many seeing IBC evolving as an increasingly important incubator of media tech innovation, as well as maintaining our status as an essential networking destination and source of intelligence on new industry trends and developments.”

  • Sports innovation efforts lead at IBC2024 Innovation Awards

    Sports innovation efforts lead at IBC2024 Innovation Awards

    AMSTERDAM –The winners of the IBC Innovation Awards – which recognise collaborative efforts to develop solutions that address real-world industry challenges – were announced on 15 August at the Rai Amsterdam. They consisted of five categories: content creation, distribution, content everywhere, social impact, and environment and sustainability. 

    With 2024 being the year of big sporting events like the Olympics and UEFA European football championships, four of the five winners were those who had innovated in this area. 

     “Recognising and fostering industry innovation at every level is core to what IBC does, and these awards play a critical role in honouring and encouraging truly ground-breaking work,” said IBC CEO Michael Crimp. “This year’s expanded awards spotlight the fact that there are many areas in which we are seeing the media community collaborate to take us in new, exciting directions. I congratulate this year’s winners for demonstrating the co-operation, imagination and determination needed to really impact our industry.”

    The winners in the five IBC Innovation Awards categories were: 

    Content Creation
    * Olympic Broadcasting Services and partners for live broadcast production with more than 200 smartphones contributing video for the Paris 2024 opening ceremony and a sea-based 5G network for sailing competitions in Marseille.

    Content Distribution
    * The National Hockey League, in partnership with Verizon, AWS, Zixi, Vizrt and Evertz, for producing a 5G and Edge compute framework for assembly, control and delivery of live broadcast.

    Content Everywhere
    * LaLiga for working with Play Anywhere and Ease Live to enable true fan interactivity for itself and its worldwide broadcast and streaming partners.  

    Social Impact
    * Sesame Workshop for its Watch Play Learn Distribution Hub, which allows government agencies and aid organisations to preview and request videos for children in crisis settings.

    Environment & Sustainability 
    * France Télévisions for reducing CO2 emissions by 300 tonnes via a pioneering 100 per cent glass-to-glass cloud production and private 5G network, as it broadcast a 24/7 channel providing coverage of the Olympic torch relay for Paris 2024.

    Also at the 2024 Innovation Awards, this year’s IBC International Honour for Excellence (IHFE) – announced in August – was formally presented to Ukraine’s Mstyslav Chernov for his work as a video journalist and filmmaker. Chernov directed 20 Days in Maripoul, the multi-award-winning documentary chronicling the siege of the city by Russian forces in 2022, when he and his Associated Press (AP) team were among the last journalists there. He previously covered conflicts in Iraq, Syria, and Nagorno-Karabakh (in Azerbaijan) and the return of the Taliban to Afghanistan after the US withdrawal.
    The Best Technical Paper Award, another pre-announced honour presented at the Innovation Awards, was given to Joshua Maraval, Nicolas Ramin, and Lu Zhang for their paper Advancements in Radiance Field Techniques for Volumetric Video Generation: A Technical Overview. The authors, who are from the Institut de Recherche Technologique,  and the Institut d’Electronique et des Technologies du numéRique, were seeking an efficient solution to the complex problem of capturing and rendering volumetric video for three-dimensional VR experiences.

     

  • Amuz Distribution and GoQuest Media strike new distribution deal

    Amuz Distribution and GoQuest Media strike new distribution deal

    Mumbai: Amuz Distribution’s chief revenue & strategy officer Alex Avon with Vivek Lath, GoQuest Media managing director Vivek Lath jointly announced that the companies have struck a deal to distribute their titles in various territories. The entire Amuz Distribution catalog in Asia, Oceania, MENA, and non-French speaking African territories while some titles from GoQuest, to be named later, will be represented in Canada and the U.S.

    Titles from Amuz Distribution include multiple award-winning poly-handicapped family dramedy series About Antoine; hilarious real estate comedy series Counter Offer; redemptive dramedy series Larry; and mystery series Valmont, among other feel-good tv series.

    Avon stated: “Amuz Distribution is thrilled to partner with GoQuest Media and expand our reach. They have the right connections in Asia, Oceania, MENA and non-French speaking territories to share our premium catalog of award-winning dramedies, comedies and feel-good programs with new audiences. Additionally, we are excited to share titles from their portfolio.”

    Commenting on the deal, Lath said “GoQuest Media is pleased to be able to license such great programs from Amuz Distribution, a trusted company in the west. We look forward to sharing their top programs with viewers in regions where we have strong relationships.”

  • Tech Data inks distribution agreement with Couchbase in India

    Tech Data inks distribution agreement with Couchbase in India

    Mumbai –  Tech Data, a TD SYNNEX Company, has announced a new partnership with Couchbase, the cloud database platform company, that simplifies how organizations develop, deploy, and run modern applications This strategic collaboration enhances Tech Data’s ability to deliver high-performance database solutions to its customers, further strengthening its position as a leading IT distributor in India.

    Through this collaboration, Tech Data will help expand Couchbase’s presence in India and bolster the adoption of Capella, Couchbase’s distributed NoSQL database, as a fully managed service. Capella delivers flexibility across customer use cases with built-in multi-model and mobile synchronization capabilities. Its memory-first architecture drives millisecond data response at scale, and helps modern enterprises meet rising data management needs at more competitive prices.

    Commenting on the partnership, Tech Data India and ANZ VP and country general manager Sundaresan K  said, “Our collaboration with Couchbase reinforces our commitment to providing cutting-edge solutions that empower businesses to fast-track their cloud and digital transformation journeys. Through this partnership, we aim to drive digital innovation and enhance business agility for organizations across India and are looking forward to delivering unparalleled value that transforms the way businesses operate in the digital age.”

    The partnership between Tech Data and Couchbase will also help businesses across industries build modern database platforms that power mission-critical operations. As more businesses invest in enhancing customer experiences, IT infrastructures need to be able to handle multiple data flows with unprecedented speed and agility. This requires architectures that can run complex applications and manage data, without sacrificing scaling, availability, or security.

    “Tech Data India has a significant presence in the Indian market, with differentiated support and services as a value-added distributor,” said Couchbase India & SAARC managing director Shivir Chordia. “Our partnership with Tech Data India will enable government agencies and enterprises to accelerate their digital transformation journeys by helping them improve agility and operate at any scale. This reinforces our commitment to customers in India with our best in class enterprise solutions.”

  • Why NetxGenTV is not the panacea for Indian TV broadcasting

    Why NetxGenTV is not the panacea for Indian TV broadcasting

    Mumbai: A new transmission technology, direct-to-mobile (D2M) broadcasting or NextGenTV, despite enjoying coverage in media platforms such as this one, is struggling to gain TV industry traction. D2M transmits audio-visual content on a terrestrial (earth-based) spectrum and any device with a receiver can access it, just like FM radio transmits audio content. Prasar Bharati and IIT-Kharagpur conducted limited trials of the technology last year, and reports suggest that the Telecommunications Engineering Centre may issue a technical report. It is worth exploring why D2M has almost no takers.

    The first time Indians saw audio-visual content on TV, it was a science experiment to test the capabilities of satellite-based communications. The Satellite Instructional Television Experiment (Site), jointly designed by the National Aeronautics & Space Administration (Nasa) and India’s Department of Atomic Energy demonstrated the potential to disseminate audio-visual content via satellites in 1975. 2,400 villages spread across 20 districts received educational and instructional content that the All India Radio (AIR) had prepared.

    Later in 1991, strong demand for coverage of the Gulf War pushed satellite and TV dish manufacturers and cable operators to work overtime to create infrastructure for TV distribution. Market-led shifts from analog to digital transmission and the evolution of newer transmission technologies like direct-to-home (DTH) and Headend in the Sky (Hits), led the way and created new value and supply chains. In the case of D2M, no supply chain participant – content services, device makers and infrastructure providers – wants a hard mandate for adoption. At least at the time of writing.

    Content Services

    First, it is unclear if D2M can offer better content to consumers. The shift to digital broadcasting enabled more content to flow through the same frequency channels and made more content available. D2M offers no such efficiency. Prasar Bharati, India’s public broadcaster transmits a few Doordarshan channels in 16 cities in India through digital terrestrial transmission technology. Presumably, content made available on D2M would be the public broadcaster’s content.

    D2M is not lucrative for private broadcasters because they are likely to face monetisation challenges. For instance, D2M fragments the existing ad market for free-to-air TV channels, diminishing the value of TV advertising real estate. A TV channel would need to invest in packaging content for D2M distribution without any assurance of new eyeballs. PayTV providers are apprehensive of content protection standards as they may lose out on subscription revenues because of last-mile signal piracy. Anyone with a D2M receiver can view pay TV content and the transmission technology does not account for strong access controls.

    There is also an apprehension that the ministry of information &  broadcasting (MIB) may use anti-siphoning frameworks to source content for D2M. Prasar Bharati receives the live feed of expensive IP rights acquisitions like the Cricket World Cup for free as a result of the Sports Broadcasting Signals (Mandatory Sharing with Prasar Bharati) Act, 2007. If the public broadcaster makes this content available for free on D2M, rights holders cannot monetise their IP and recoup their investment. Consequently, the value proposition of investment in sports broadcasting diminishes and it will have an adverse impact on the sports ecosystem.

    Device Makers

    Second, the device ecosystem is neither prepared nor incentivised for D2M adoption. Like the shift to digital-required set-top-boxes (STBs) and DTH-required satellite dishes, D2M adoption requires transmission and receiver equipment. Saankhya Labs, the government’s partner in D2M trials, produces transmitters but India does not indigenously produce receiver equipment.

    If the government mandates original equipment manufacturers (OEMs) to install D2M receiver equipment they will resist on account of cost concerns. OEMs highlighted a similar challenge when the ministry of electronics & information technology (MeitY) issued an advisory and asked mobile phone manufacturers to include FM radio receiver functions in April 2023.

    Conversely, if consumers buy receiver equipment at their own cost, it is likely that cheaper products from jurisdictions like China will flood the market. This leads to privacy and security concerns and exacerbates underreporting and signal piracy. A D2M receiver in border areas can receive content and possibly communicate data on the mobile handset across the border.

    Distribution

    The Prasar Bharati-led trials proved the technology can work, but it does not speak to its feasibility and impact on the distribution ecosystem. D2M receivers received transmissions in a controlled environment in metro cities Delhi and Bengaluru. But, does that prove that it can work anywhere in the country? And can it coexist with other use cases?

    Spectrum is a scarce resource and many communication technologies need the resource to operate. Allocation of a spectrum for new technology requires a comparison of deploying D2M in this frequency range with competing use cases or assessed potential interference with existing services. D2M broadcasting uses spectrum in UHF frequency bands 526 – 582 MHz. Eventually, the 470 – 698 MHz would be key for D2M adoption. Telecom operators require the same band for 5G deployment, and accommodating D2M will reduce bandwidth. Further, radio microphones, in-ear monitors, wireless cameras, talkback systems used during live events, content production, political rallies, news broadcasts, and press conferences also use the 526 – 582 MHz frequency range.

    D2M will compete with audio-visual transmitted via data services of telecom and internet service providers. Airtel reported a 27 per cent increase in its revenue from mobile services in the first quarter of FY23, attributing it to growing consumption of mobile data.  Reliance Jio also reported similar growth in June 2022, with total data traffic in the quarter growing by 27.2 per cent. D2M does not offer a value proposition for telcos to diversify their offerings and build infrastructure for D2M broadcasting.  

    Where and when to use D2M

    D2M will not herald a new era of content dissemination or transform broadcast distribution as many claim it will for the reasons stated above. However, it can serve a public interest objective like the Site experiment did in 1975, that is, to disseminate educational and informative content. D2M also has the unique ability to disseminate locally which can be utilised for localised content dissemination, like community radio stations that broadcast audio content within a local range. In terms of content, D2M can provide an additional avenue to disseminate public interest content and spread awareness through localised transmissions in disaster situations. The government would still need to address device ecosystem and spectrum concerns before it can rollout and scale the technology.

    D2M holds potential for a revamp of public broadcasting in India, but it is unlikely to find any takers in the private sector. D2M’s unique proposition is its ability to localise transmission which Prasar Bharati can utilise for dissemination of content on themes of national importance and emergency transmissions during disaster events.

    Varun Ramdas is manager Koan Advisory Group. The views expressed in this article are entirely his own and Indiantelevision.com neither endorses nor supports them in any way.

  • Amuz Distribution licenses multi award-winning ‘About Antoine’ to France Television

    Amuz Distribution licenses multi award-winning ‘About Antoine’ to France Television

    Mumbai: Amuz Distribution’s Alex Avon, VP of Global Distribution announced that France Television has acquired its multi-award-winning series About Antoine S1 for France Television. The series will air on France Television’s France.tv in Spring 2024.

    About Antoine is an uplifting story of love and family triumphing over limitations. With authenticity, sensitivity, and humor the series tackles a rarely explored theme in fiction: life with a poly-handicapped child.  Inspired by True Events. The series was produced by Amuz Distribution parent company, ComediHa! Productions, and aired on Club Illico in Quebec.

    Featuring Edouard-B Larocque (George in the series) earned a nomination on 8 for Canada’s 2024 Young Artists Academy Awards, winners announced 21 July.

    Young Artist Academy

    The series was the recipient of multiple awards in 2023. The Prix Gémeaux in Montreal bestowed the Best Supporting Role in a Comedy award for actress Micheline Bernard, while in La Rochelle at the Festival de la Fiction, About Antoine received the Best Francophone Foreign Fiction Award; winner of the MIPCOM Diversify TV Award for Representation of Disability in a Scripted Series; and About Antoine received a nomination in the Comedy Drama & Sitcom category for the prestigious Rose d’Or Awards.

    Avon stated: “Amuz Distribution is thrilled that our partner France.tv will share our multi-award-winning series About Antoine with their viewers.  This heart-felt show is sure be loved by French audiences as it has been in Canada.  We’d also like to congratulate Edouard-B Larocque on his recent nomination for a Young Artists Academy Award.”

    France.tv International Fictions Coproductions & Acquisitions manager Catherine Gaucher said, “As every year, as part of World Autism Awareness Day, France Télévisions Group is mobilizing and is committed to highlighting this neurodevelopmental disorder, still too little known, which would affect nearly 1 in 100 people.  On this occasion, France Télévisions offers a special program to sensitize the general public to issues around autism, including the broadcast on france.tv of the multi-award-winning series “About Antoine”, which deals with this subject with sincerity, accuracy but also with humour.”

  • AlphaTheta Corporation launches OMNIS-DUO in India

    AlphaTheta Corporation launches OMNIS-DUO in India

    Mumbai: AlphaTheta Corporation, a market leader in DJ hardware and software through the pioneer DJ brand, is thrilled to announce the new AlphaTheta brand, leveraging the experience we’ve built under the Pioneer DJ brand. As we begin this journey, we’re releasing the OMNIS-DUO in the Indian market. This innovative portable all-in-one DJ system is set to redefine DJ performances with its unparalleled versatility and cutting-edge features.

    Since the introduction of the CDJ-500 in 1994, we’ve been making products with cutting-edge technology to help DJs excel. As we look to the future, the AlphaTheta brand is committed to growing with the community of people who are connected by a passion for music and its culture.

    The OMNIS-DUO boasts a range of cutting-edge features designed to elevate DJ experiences to new heights. Dual-deck control allows for seamless mixing and blending of tracks, enabling creative transitions and dynamic performances. The high-resolution touch display provides intuitive navigation of tracks, effects, and settings, ensuring smooth operation during sets. the OMNIS-DUO,  it’s worth noting that it doesn’t come with integrated speakers. However, you can still enjoy your music to the fullest by connecting external speakers for a personalized audio setup. Enjoy seamless connectivity with Bluetooth audio input and USB Type-A/SD card making it simple to access your music library from various sources. Additionally, the OMNIS-DUO offers professional eight types of beat FX, six types of sound colour FX, eight hot cues per deck, beat jump buttons, beat loop controls, two mic inputs and booth output allowing DJs to add depth and creativity to their mixes effortlessly. It is a perfect setup for throwing DJ parties anytime, anywhere, and features battery power and multiple audio input and output options including bluetooth/MD connectivity. The OMNIS-DUO will be available in Indian market at a price of Rs 1,49,900/- including GST.

    In collaboration with Alphatec, a pioneering provider of innovative AV technology solutions AlphaTheta aims to revolutionise the audio-visual landscape in India. Alphatec, known for its commitment to delivering state-of-the-art AV solutions, will serve as the exclusive distributor of the  OMNIS-DUO in India. With this partnership, both companies are poised to cater to a wide range of industries and events, offering professional-grade equipment that meets the highest standards of  quality and performance.

    “We are excited to introduce the OMNIS-DUO to the Indian market in collaboration with Alphatec,”  said AlphaTheta Corporation president and CEO Yoshinori Kataoka. “This partnership signifies  our commitment to providing Indian DJs and music enthusiasts with top-of-the-line DJ equipment  that delivers exceptional performance and unmatched versatility. With the OMNIS-DUO, DJs can take  their sets to the next level, whether performing at intimate gatherings or large-scale events.”

    “We are thrilled to partner with AlphaTheta to bring the OMNIS-DUO to India,” said Alphatec founder and managing director Devasis Barkataki. “As a leading provider of AV technology solutions, we are dedicated to delivering innovative products that meet the evolving needs of our customers. The OMNIS-DUO is a game-changer in the DJ industry, and we are confident that it will be  well-received by DJs and music enthusiasts across the country.”

  • VBS 2024: Driving distribution success with NexC

    VBS 2024: Driving distribution success with NexC

    Mumbai: India is in the grips of seismic changes as far as video and broadband consumption is concerned. Pay TV cord-cutting is rampant even as free TV subscriptions are on the rise and OTT buy-ins are churning with the signs up for certain platforms stagnating even as others are seeing rapid increases and some are seeing cataclysmic drops. Aggregators of OTTs are popping up on the horizon promising cheap bundles along with value-added services for cable TV and DTH. There’s a rush to set up free advertising-supported TV channels by TV set manufacturers and smart TV device makers. There’s the Jio factor where it is seeking to convert most pay TV customers to free streaming of video content by offering access to consumers at no cost. The consumer continues to demand bandwidths higher than ever imagined even as prices are dropping. Margins are under pressure as every player goes one-up on each other to acquire and retain customers.

    Clearly, the video and broadband distribution landscape has not been as vibrant as it is now… How long will this pot-boiling continue? What will the magic potion of video and broadband look and taste like? And what’s the end game? Indiantelevision.com held its 20th edition of Video and Broadband Summit better known as VBS at Sahara Star Hotel, Mumbai.

    The fireside chat on the topic: ‘Driving Distribution Success with NexC’ had Planetcast CEO Sanjay Duda in conversation with Indian Television.com group founder, chairman & editor-in-chief Anil NM Wanvari.

    Wanvari began the conversation by asking, “What are the major trends that you all see in terms of the workflows that are going on in production, acquisition, creation, and distribution?”

    Duda answered, “Largely what we’ve seen in the last 25 years and more so in the last seven years, most of the trends are being driven by the fact that on both sides, production and consumption, the creation environment is exploding. There are large, medium, and very small content creators, and they need to deliver ever-increasing profiles of people, and viewers who are viewing across multiple devices. So there are multiple options for delivery and there are multiple creators on this side. This actually is what is creating most of the pressure, it’s creating most of the direction to development. Clearly, content will always be king. It will always be the most important determinant of success. The stress right now is, how do you get your content to the right cohorts of viewers? How do you monetise your content? How do you get your money for the content that you’ve created in the most effective and efficient way? And how do you retain your viewers time after time? Slowly earlier, this whole pipeline had multiple stages, multiple players, there were three or four middlemen, so to speak. There were content creators used to provide the content to a large broadcaster and aggregator. Then they used to process that and then deliver it to the next stage for maybe creating linear channels for playout and slowly creating VOD assets. It then used to go to the next digital platform or cable platform, cable head-end or DTH head-end from where it was then distributed to final consumers who were managed by local cable operators or a DTH operator. This whole pipeline was well-oiled. There were clear business models, people were making money. But now what has happened is everything has been disrupted by the fact that the entire environment has become digital. And we are seeing that the content creator is increasingly able to see who’s viewing the content. Everything is getting driven by data. Information on who is viewing the content, how long they’ve been viewing the content, and that has created avenues for many technologies to come in. Like advertising or targeted advertising, so that you can even earn more for every viewer that you’re reaching. So this is how the overall ecosystem has changed.”

    He added, “From a production perspective, how this has now forced people, forced creators to think, innovate on how to produce your content. Content is of two to three types. One is the live content, which is actually driving this pipeline. Then there is the episodic content, user-generated content. The UGC content technologies are driven by the fact that users should be very easily able to create, curate, and deliver the content. The GECs or the episodic content or the movies, which is the library content, has its own non-linear production behaviour. There too technologies have changed. There’s a lot of VFX, a lot of virtual productions. The world is changing so that you don’t have to create one studio and then break it down and then create it for the next show. And in-between this, is the live. In the live content aggregation, there are a lot more changes. There’s a lot immersive content coming in. Now people get 360 degree cameras at the venue, creating a kind of remote viewer or an e-viewer kind of situation. Also now, data regarding the content that’s going in is also traveling with it. So there’s for sports, for example, all the information about the players is traveling along with it. A lot of the time, you can create a game. Already it’s happening, based on the performance of the players, the rating is determined on a daily basis. There’s a whole gaming industry. So these are the things that are driving the production technology at this end.”

    Wanvari then asked, “Where does your company come into play?”

    Doda replied saying, “I think all the players in this industry have seen change. Initially, there was some amount of denial and then acceptance, innovation, and then change. So we started our journey, providing essentially, distribution over satellite, bringing live videos from the arenas, be it news or sports. But largely satellite driven. We created a huge infrastructure for uplinking, DSNG services. We set up the first commercial teleport in the country and then as the media industry was growing rapidly in the country, our only thought was how do we create more teleports? How do we set up more facilities at that point of time? Then we saw that there are two things that are happening. A: people were going into a zone where they were not too sure. Earlier, most of our services were, because we needed to invest a lot of money to set up this infrastructure to provide services to our four or five customers, we used to always say five-year agreements or 10-year agreements. But as we all have stepped into a world where people have to keep trying. The viewers or the consumers have become very choice-oriented. They don’t want to watch a particular channel or a particular platform all the time. They need the right to stop the subscription and go somewhere else. Similarly, all the broadcasters, therefore, they would also like to experiment, but if they have to be tied down with three-year, five-year contracts, they won’t go there. Therefore, we also realised that we need to create solutions, which are flexible in terms of commitment from customers. And eventually, as some of these services have become robust and they’re accepted, then you’ll automatically see long-term commitments.”

    Doda added, “What we did was we expanded from very infrastructure-heavy services to a set of platform-driven services. We are moving from our on-prem to cloud. What that has done is, on cloud, there are two things you can do. One is that even your services can be flexible in terms of commitments from the customer and you can even deliver services globally anywhere. It connects the entire world and opens it up to you. Whereas infrastructure-based services are you need to set up something and they’re very regional in their influence. What NexC does is, as we have seen over the years, the content journey has four individual stages. One stage is the creation, where you’re creating the content, once you’ve created the content, the content needs to be made addressable. There is a lot of data that has to be attached, meta tagging has to be done, content has to be prepared for consumption, you’ve to check it for quality, technical quality, and SNP, to make sure it meets the content rules and regulations based on where you want to sell the content. You also then create another layer of it, which is localisation. If I’m creating content in India, and the broadcaster or the other publisher wants to deliver it in Korea, or Middle East, or Malaysia. So there’s a requirement for subtitling, dubbing, and SNP. So these are the localisation inputs that go into the client. So that part is essentially content management. Then when you’ve made the content, there is a need to create promos around it so that you’re able to market your content. Then we have the post-production, where you do on-air promotion, creating OEPs or teasers. That’s the second part of the stage that the content goes through these days.”

    Duda further added, “Once that is done, your content is essentially ready for consumption. Either it will go as a VOD asset, which is then delivered to an OTT platform or it could be archived for later use or it will be sent to a playout solution where it is converted into a linear stream. So, that is the third stage. Once it’s created into a linear stream, it is then delivered either directly to customers, or it can be delivered to a cable operator or a digital head end, or a FAST TV channel or FAST digital head end. Delivery is the other aspect of it. So essentially, the content once it’s created, moves from one stage to the other and then the to final destination, which could be your handsets where you’re watching it either on Instagram, YouTube, or Meta. So every platform has its own, technical specs, and you need to create the content for each spec, or it can be delivered to a teleport from where it can be uplinked, or it can be delivered to a digital head-end from where it is delivered through an OTT platform. These three main solutions or you can say modules. We have been involved with all of these three modules over a period of time. First, we started with essentially, delivery, then we did playouts. Maybe six to seven years ago, we got into the post-production domain. Now since we realised that we need to go global, we need to go on cloud, the need was to put it all together under a single umbrella, so to speak. What we found was that it missed only the last stage, which is the OTT. Why we did not go very aggressively initially for OTT because everybody wanted to set up their own OTTs. But we have seen over the years now and we know that it’s going to happen sooner, people will eventually want to outsource the OTT function as well. Right now every OTT has different feature sets. Every OTT player believes that their OTT is something very special, that only they know, they have created. Eventually, all OTT technology will become quite standard, and all features offered will be quite standard. That is where everybody will want to outsource it. It is just a technical platform and that’s what it is. So we therefore put together the entire set of solutions, right from acquisition to delivery to consumption, and this we’ve named NexC, where C stands for comprehensive. Incidentally, it rhymes with sexy.”

    Moving on to his next question, Wanvari asked, “Have you found customers for it so far within India and overseas?”

    Duda replied, “Yes, in fact, we had customers who were using each of these modules, anyway. So as we have started evangelizing the NexC concept, it becomes automatically an upgrade for them. We are able to upsell the other stages, and other services on either side of what they’re using. A playout or customer is ready to utilise the content aggregation. A content aggregation customer is happy to do post-production with us. So that we find a very easy-to-sell, easy-to-manage platform. In almost everything, in all these technologies, what you’ve seen is, that you think of all the problems that you’re solving, and you create a product, and once the product is used, it starts generating its own workflows, its own advantages, and it creates another set of development requirements on top of it. We are already seeing that, because everything is on a single platform, you’re saving a lot of multiple functions, be it a single sign-on, or a common database. We are able to pull a lot of metadata from various stages and eventually, it’s a part of our development plan. We will enable AI-based analytics based on all the data that we’re collecting, and that will automatically give you reports or give you advice on which content is selling better, and which content needs to be sent to which platform, and you can get literally get a real-time feedback on what is happening here.”

    Adding on to that, Duda said, “The idea is that it saves money because you are cutting out a lot of repetition of processes and at the end of the day, it is a solution you can use as long as you want. It takes in all formats. The input formats can range from MXF to MOV to any movie to any. In fact, we are using it for one of our customers, who brings in live feeds from outside. They sometimes bring the worst quality feeds and we are able to stabilise those feeds and put them back into the system. The fact is that this is nothing new. It is well tested, well used by our customers. So it’s nothing new. It’s just putting things together so that people can make better sense of what they’re doing. You’ve seen that there’s so many more questions than answers that are coming up these days. The least that you can do is make things easier and simpler.”

  • VBS 2024: Evolving content distribution landscape

    VBS 2024: Evolving content distribution landscape

    Mumbai: India is in the grips of seismic changes as far as video and broadband consumption is concerned. Pay TV cord-cutting is rampant even as free TV subscriptions are on the rise and OTT buy-ins are churning with the signs up for certain platforms stagnating even as others are seeing rapid increases and some are seeing cataclysmic drops. Aggregators of OTTs are popping up on the horizon promising cheap bundles along with value-added services for cable TV and DTH. There’s a rush to set up free advertising-supported TV channels by TV set manufacturers and smart TV device makers. There’s the Jio factor where it is seeking to convert most pay TV customers to free streaming of video content by offering access to consumers at no cost. The consumer continues to demand bandwidths higher than ever imagined even as prices are dropping. Margins are under pressure as every player goes one-up on each other to acquire and retain customers.

    Clearly, the video and broadband distribution landscape has not been as vibrant as it is now… How long will this pot-boiling continue? What will the magic potion of video and broadband look and taste like? And what’s the end game? Indiantelevision.com held its 20th edition of Video and Broadband Summit better known as VBS at Sahara Star Hotel, Mumbai.

    The very first fireside chat of the event, on the topic: ‘Evolving Content Distribution Landscape’ had Jio Platforms group CFO Saurabh Sancheti as the speaker in conversation with Indian Television.com group founder, chairman & editor-in-chief Anil NM Wanvari.

    Wanvari began the chat by asking Sacheti, how he has seen the content distribution landscape evolve over the past few years.

    Sacheti answered, “I think India is a very exciting market, and content distribution and media is like a market no other. Definitely, the last five years have been a big revolution on all fronts. So let me tell by seeing how the market is today and versus what it will be tomorrow. So today, yes, largely, even today, whatever people may say cable and DTH are very prominent platforms, they have the highest reach, they reach more than 100 million households and there’s a very big proportion, which they are serving directly as a pay TV. There’s a big business, which obviously, the free dish is having and the whole revolution on connectivity, which has changed not just the mobile, but the whole technology around, i.e., connected TVs, and large screens is there. There, we are just scratching the surface. So if I look, actually India had 350 million households, the last bottom 100 and 250 million don’t have a TV, and their only access is low-cost smartphones, for the content. If I look at the top tier, the top 50 million homes have connected TV, and many of them have a pay TV as well, which is where there are two products to the same segment, about 100 million pay-TV homes. So, the distribution landscape is changing very fast, because the numbers are not consumer time and attention is. That is what is leading to a lot of change in the mix of more choices, the customer time, definitely is now getting into multiple channels. So it’s an exciting time. I think the future is exciting for all the mediums of content distribution. Overall as the economy grows more prosperous, definitely the number of users and consumption is there to rise.”

    Moving on to the next question, Wanvari asked, “What are some of the key factors that have driven these changes in content distribution?”

    Sancheti replied, “One good thing that has happened is, definitely a lot of ecosystems are coming together. The access which was earlier very difficult is something which has been made easy. So earlier, we had it in mobility where, as a mobile subscriber, you had to pay 250 rupees a GB and therefore it was criminal to watch video on your mobile phone to now having very affordable tariffs that are less than 10 rupees a GB and everybody can afford a mobile phone with content and that opens up a huge audience. The same revolution, by the way, is also happening in phones, now almost touching 40 million internet users. It’s a very big market which is happening. What connectivity does is because it’s like the baseline infra but what it does is, it definitely changes the overall proposition. At the same time, with this opening up of the market, people are able to take exciting bets and make it really large. I mean, for example, just look at JioCinema and what has happened with digital watching on IPL, it’s like the whole model is pivoted, the whole attention has gone there. Therefore a lot of interesting experiments are happening, which is a very good thing to happen for the overall industry, because that is what maximises the consumer surplus and that really generates a lot of value for everybody in the ecosystem, not just the content producers, distributors, but the consumers as well. So it’s really exciting.”

    Wanvari then asked, “In your experience, what role do the new and emerging platforms play in reaching diverse audiences? How do you identify such platforms?”

    Sancheti then answered, “I’ll break the question into two parts. One is obviously as a content producer and then as a distribution channel. As a content producer, the good thing as I said, in India is there is no one India, there are many Indias, and overall, India is so big that even in the three Indias that I was discussing earlier, you have an opportunity of a global scale. Now, coming to the content producer angle, which is very interesting in India. So, D2C is the buzzword, that everybody’s trying to grapple with it, but the Indian consumer is kind of a high-touch consumer. So, existing relationships definitely prevail and across industries our learning is, that is definitely a winning point. Therefore, wherever you have a distribution channel, whether it be wire, a local cable operator, or a telco distribution, or any other distribution, where you have some touchpoint with the user, you have a lot of chance of getting him converted, and at least sample and if the content is of quality, definitely consume it. So, as a content producer and distributor, like I said, India is moving very fast, shifting fast, the market is growing, and it’s quite an exciting time to see how things are evolving. And if you have a great product, there is no dearth of consumers that clearly this market is showing.”

    Wanvari then added, “These days, we don’t look at a customer, we look at the lifetime value of a customer, how is that? What kind of role is that playing in terms of customer acquisition?”

    Sancheti commented saying. “I think that’s a very relevant question. The good thing is that consumers today have choices, and the bad thing is consumers ‘have’ choices. So if you are not able to take her attention at the right time with the right content, you’re lost. And that’s where I think, affordability, access, and the size of the market is a given, which everybody talks about. But content personalisation is the real secret sauce, which very few people talk about, and are working towards. I think one very important thing is unlike a lot of other categories, where the consumer is very involved in the purchase, and likes to go through the process of making the decision, entertainment is always a lean-back experience. The consumer may like to play around a bit, but the consumer doesn’t want to do a bit of big research to find the right piece of content. That’s where if you have the right content dished out at the right time, to the right consumer, the consumption obviously goes up. What I always try to remind my team is that choice is not actually a boon, it’s not certainly a gift, it’s a tax to the consumer. So the more you are making the consumer choose, you’re making them want variety. So in that sense, your variety of platforms is required but don’t expect the consumer to put a lot of effort in discovery. It should be seamless, the right content should surface and clearly, the who’s who of the world, the best people globally have this as the secret sauce. I think this is what in the whole Jio ecosystem, we have been able to do well. We have been able to segment the users, understand their needs, know what kind of content they need, and give them at the right time and price. And I think one more thing, which, I was talking to a large global techfin a couple of days back over dinner. One of the common pain points that came to them was, that digital is the sexy thing, everybody talks about it. But it’s really painful as a user because I don’t know what piece of content will appeal me where. Even if I have something in mind, I don’t know what platform it is available. It’s a lot of research. That’s I think, when we were just discussing what we have done in India, they were really blown away apart from that. So to summarise, I think the whole personalisation aspect is the aspect that is changing and which will differentiate, which will make the winners from the losers.”

    After that, Wanvari asked, “How important is the lifetime value?”

    To which Sancheti answered, “Let me explain it in a two-part equation. One part of the equation is the value derived from the users. But our principle in the business, and what I’ve learned through my own experiences here is that you should focus on the other part, which is what value you give to the user. If your product is valuable enough, and value is not only in monetary terms, it’s value in terms of giving the right thing, without the consumer having to put effort, giving it at the right price, giving it to the right user. What it does is, it adds a lot of value to the user. So the way businesses should look at it is to go beyond the LTV. That’s the internal control metric they should use, but focus more on giving and acquiring the right kinds of customer metrics. A lot of times what I’ve seen, a lot of people do is the whole process is more on vanity metrics of acquisition, and just trying to get the consumer in, and not figuring out what his or her needs are. So focusing more on the extracting part from the consumer, and focusing less on the giving part. And over a longer term, usually, the giving part is what makes the consumer stick around and, generate value. So focus on adding consumer surplus as I began with.”

    Wanvari then asked Sancheti about the challenges they have faced so far, as they’re not just looking at one port of distribution but at multi-channel distribution.

    Replying to this, Sancheti said, “I think the challenge, as I said, is that there is a large set of users today who have access to multiple channels. So it’s because a lot of things are in motion, like I explained. So it’s not like there’s only one channel, there’s only one way in which the consumer was. So if I zoom or go past 10 years back, life was very simple, because most of the consumers are either or. It’s either this kind of consumer or that kind of consumer, and when the choices are limited, it’s easier to get and retain the attention of the consumer to make him or her happy. But when there are too many choices, it’s important to first get the attention of the user and then make him or her happy. So I think what we have been trying to do is, figuring out what consumers need and at the same time, enable multiple products across the value chain for each of them. That is something that is working well for us because we have realised that rather than trying to compartmentalise the user that ‘okay, she is X kind of person, and they would need only Y kind of thing’. We are trying to give them a combination and figure out how to just serve what they want. So their attention is our currency, which we deeply track across businesses.”

    Wanvari then asked the next question “The consumer is more used to using mobile internet rather than internet at home. Is that true? Also, the fact that connected TVs are growing. Then apart from that, there’s a lot of competition amongst cable and DTH right now. There’s also free-to-air television. So what does this all mean for you? What kind of challenges do these factors pose to you?”

    Sacheti answered, “As I said, the part where we focus most on is delivering value to the user. And value is definitely dependent a lot on figuring out what the consumer wants. So at the end of the day, what you want is, the basic currency is attention of the consumer. Is the consumer spending more time with you, more attention to you, or staying with you longer, that’s all. That is the basic currency, everything else is the resultant. Therefore that is the lead indicator that we work on and analytics plays a very big part in it. So what analytics does is, in all our businesses, it plays a very important role. It helps us identify the right content for the right consumer and hypothesis testing and combine it with our tech capabilities. A lot of personalization and the whole consumer cohort strategy and dynamic cohorts are being created all by AI now. There are no longer a product manager who is standing up and saying, ‘Hey, I have five ideas, let’s test it out’, it’s the machines who are driving it, and which is helping us understand the customer better and serve it better. So if I go back to the previous one when I was talking about a multi-channel distribution strategy, a consumer has many choices. Getting their attention today is not easy. We are adapting for the new world by deeper analytics and serving them better.”

    Sancheti added, “I’ll tell you the fundamentals of business, which I have learnt. I think only one part in which people realise how to increase demand. So demand is what consumers demand. There is one part that people are overly fixated on, which is that if you make something cheaper, it increases the demand. But one thing, which is very rarely appreciated, is if you make something easier, that also increases demand. It’s not only the price thing, it’s easier and what is easier, personalised content, personalised product, something which understands me, I’ll be happy to lap it up. So that second part of the equation is often underappreciated. I’ve seen that by multiple people. That is what we focus a lot on.”

    Wanvari then asked, “In terms of content, what trends have you found that have been particularly effective in the current landscape?”

    Sachetio replied, “I’ll start with a global trend, and that is not unique to India. But what I realised is that people call some extrapolate two points and try to call it a trend. A trend is an underlying phenomenon, everything else is a resultant. So if I look at, just the underlying phenomena, for example, one thing which is given is what social media has done over the past 20 years is people’s attention spans are becoming shorter. There’s a whole boom of content and choices available. Therefore the need for gripping storytelling, something that captures attention is there. Now everything is just vying for attention. So attention span is smaller and the important or a different storyline is important. If I just extrapolate that to India, how I see things happening, I think, 10 years, if you talk about a concept, which was in the US, but you talk about in India, i.e., one season 24 or 30 episodes, the story ends and something else begins, was unheard of, and unthinkable, and it’s working very well. Or, say I think there’s a big digital audience, let me do a movie premiere on OTT people would laugh, it was not even thinkable. So all those kinds of things are definitely bringing new types of products, varieties to bring people in. I also think that, all the new formats, that have come in, and some of them are global formats, and all the new content formats, in a gripping storytelling way, which just captures the attention and imagination is there. This generates a lot of consumer surplus, because the whole consumer, which was posed to only a limited genre of content today has at least 100x more choices, if you just explore by types of subcategories. So the whole choice has exploded, the format has become shorter, and the storytelling is better and more gripping. So these are the trends and these are going to continue for the next 10 years as well.”

    Adding on to what Sancheti’s response, Wanvari said, “The audience has started participating a lot more and they’ve almost become a part of the content themselves. A lot more, as compared to if I watch what you do on JioCinema during the cricket tournament during the cricket tournaments that are going on, if I’ve watched what’s going on on Shark Tank, if I watch that the audience can actually also invest in, in those in the startup or whatever offerings they have.”

    After which, Sancheti said, “If you look at the overall piece, today audience is much more connected much more wanting to identify themselves personally with the content. And they are also very conscious about what they are about. So therefore, again, a larger variety of audience and more important, therefore to serve the right content to the right person, otherwise you end up taking away the attention or at least upsetting the consumer.”

    Wanvari then asked, “How is the entire Reliance Jio Group making sure that it stays ahead of the trends and it also stays relevant?”

    Sancheti replied, “This is something like we always remind ourselves, every day in the morning when we walk in. It’s not about what we have accomplished, but what is yet to be done. It’s still day zero. There’s a good saying which which we have in our team, that the best teacher in the universe is consumer, because especially when we are product managers, business folks, we think that we know the consumer, but consumer is the one who teaches us. Usually, those teachings come very late because we don’t realise it. So one thing which we do very rigorously is take the feedback and listen to consumer very, very intently, and look for signals where we are wrong. It’s important to know that consumer is right, and you will be wrong in multiple places. That is what we always look as a signal. We humbly accept it wherever it’s not working and we change our strategy and go ahead with that learning. So learning is is an integral part, it has always been important, but never as much as now, given the pace at which the whole industry is shifting. If you don’t learn, if you rest on your laurels, this is such a fast changing world, it will soon become mainstream. So we just keep reminding this to ourselves, and keep on putting ourselves the promise that consumer is right, maybe we are not getting it right and look for signs where we can improve.”

    Wanvari further asked, “Do we see pay TV and cable TV as well as DTH having legs because of the disruption that you’ll have been putting forth in the industry as a whole.”

    Sancheti answered, “Typically what happens is, a lot of times, people are quite pessimistic about things, but don’t see the overall opportunity and the size. So like I said, let me again, zoom into 10 years later, how do I see the market and what is going to happen in the market. 10 years later, India would have 400 million households and India would reach a per capita income of average of $5,000. That kind of per capita income, there would be a 90% penetration of TV, that’s like globally proven macroeconomic fact, which means that about 360 million households should own a TV at that point of time. Now, where are these people today? Today, those homes in contrast, are close to 350 million and 200 million only on TV. This means the overall homes which can be serviced by entertainment is going to expand significantly. I think there will be a top tier which is significantly large, which will be like about 120-150 million range, which will be fully digital, because at the end of the day, the choice and the personalisation, which can be delivered on digital will be unmatched. However, I still believe that out of the bottom 250 million left after that, or 210 million to be precise, left after that, pay TV universe would still be 100 million. The only challenge that pay TV will have will be the users who don’t have any touchpoint with the consumer. I think cable has a fantastic opportunity because you have a guy who has known the consumer for not just years, but decades. And therefore the kind of personalisation, adaptation, listening to consumer that you can do, is like nothing else. So cable definitely has a very bright future. DTH will have to reinvent itself a bit. At the end, obviously, there’s a big bottom tier about 50 to 100 million at least which will be on free dish or pay TV kind of offering. The beauty about Indian market is, it’s so big that any fun business you pick up, it’s still 100 million kind of scale, which is what you don’t even get in large countries. So the relevance definitely I see. The need for reinvention is also there. What I keep on reminding, across businesses to all our teams that, our past laurels are past laurels, but the way in which industry is changing, we need to reinvent ourselves. But I’m sure Indian organisations, our competition, or lot of people, especially Indian businesses are very smart. They will move and adapt quite quickly and we see a big market in it.”

    Wanvari then asked a question on forecasting the future, “How do we see the world of media and entertainment being aligned? Do we see three or four large players who are integrated like they are in the US, but the US has a lot more players now, because the tech giants are really driving the agenda. So what do we see happening in the marketplace as far as media and entertainment is concerned? We see a similar kind of play happening are we see telcos or do we see a software giant tech solution providers like like in the US?”

    Sacheti replied, “Out of 400 million households, 360 owning TV, I see three large markets. One is the digital-first market, which will be connected largely by telcos, who are obviously putting in a lot of money in fixed investments as well. That revolution is about to happen because even at 120 million out of 400 million, we’re at barely at 30 per cent penetration. Today, any country, of $5,000 per capita income goes higher, so that is bound to happen. Telcos will lead the distribution and digital companies, both the OTTs as well as the Internet giants, would be the media engines to them. I think the media engines of pay TV and free TV will serve the other 200 that will be there. The opportunity is so big, I do see a lot of space for everybody. That’s the beauty about India. Even if you pick up a niche, it’s 10s of millions. So the addressable market is large. The market is up for grabs and I’m extremely bullish on the future.”

    Adding on to Sancheti, Wanveri added, “India is this kind of a market, which is leapfrog a lot of things now. It’s very fertile, it’s very virginal. It’s very fertile for companies like Amazon, Microsoft, and Google to come in and make up a strong play and with the larger market that we have to come in, try to read up on acquisition strategy going forward. Do you see that happening?”

    Sancheti said, “All the global Internet giants will definitely make a mark. They have already made a mark. So it’s nothing like that. But having said that, isn’t there enough and more for Indian companies? I think the opportunity is so big that no one player, no one set of industry can take it over. It’s so big that everybody has a huge opportunity. Everybody has an opportunity to grow multi-fold from where we are.”

    Wanvari then asked, “Do you have anything to tell the cable TV or the pay TV fraternity as well as operators? Should they focus on broadband? Should they deliver video?”

    Sancheti answered, “What has been happening is, there has been a lot of pessimism and that happens in any inflection point. Anytime when things are not going as well as things are getting shaken up. A lot of self-confidence loss happens, whether it be cable fraternity or the pay TV. I think this is short-lived. This is an inflection point, this is where we can really build on our strengths. So the only thing which I’m working towards myself and my advice would be to reinvent ourselves be closer to the consumer, because there is a very big opportunity.”

    Wanvari commented saying, “But do we see the pipe or do we see wireless?”

    Sancheti said, “Everything will coexist. Look at the kind of consumption levels in India, you still are talking about a very little penetration even in wireless, the penetration levels are not the level that similar countries per capita will have when when we reach $5,000. So even wireless consumption, wired and I’ll even say the one-way medium also has a lot of flex because India has all the tiers available. When you think of yourself as a consumer, you also try to think that you are the only archetype. We are only one small portion of the archetype, there are many multiple archetypes. I have traveled to households in 75 villages and their outlook on how they consume media. That is what has opened my eyes. I found all sorts of contrast, people who move from one medium to the other. So yeah, it’s quite exciting.”

    Wanvari then wrapped up the conversation with his final question, “I think hyper localisation of content is what’s going to keep cable TV very relevant going forward apart from the bundle offerings and also even OTT is relevant at the same time. Whoever delivers more hyper localisation will also benefit apart from offering a wide diverse content offering.”

    Sancheti answered, “I couldn’t agree with you more. At the end of the day, the trend is that human beings are social animals and anything you get to them, which can correlate with their communities is going to help you. Communities are smaller, communities communities are local, they will be able to relate more they will be able to know more. I think what has not been cracked so far is a kind of economic model in which low-cost production can happen and be also telecasted or broadcasted locally, and regionally. But local and regional events is one of the key things which which will happen because that is where technology is going. It’s again a trend that is going to happen. So that suddenly will change the fortunes of cable.

  • VBS 2024: The FAST TV Phenomenon: The Next Growth Phase

    VBS 2024: The FAST TV Phenomenon: The Next Growth Phase

    Mumbai: India is in the grips of seisnic changes regarding video and broadband consumption. Pay TV cord-cutting is rampant even as free TV subscriptions are on the rise and OTT buy-ins are churning with the signs up for certain platforms stagnating even as others are seeing rapid increases and some are seeing cataclysmic drops. Aggregators of OTTs are popping up on the horizon promising cheap bundles along with value-added services for cable TV and DTH. There’s a rush to set up free advertising-supported TV channels by TV set manufacturers and smart TV device makers. There’s the Jio factor where it seeks to convert most pay TV customers to free streaming of video content by offering free access to consumers at no cost. The consumer continues to demand bandwidth higher than ever imagined even as prices drop. Margins are under pressure as every player goes one-up on each other to acquire and retain customers.

    The video and broadband distribution landscape has not been as vibrant as it is now.. How long will this pot-boiling continue? What will the magic potion of video and broadband look and taste like? And what’s the end game? Indiantelevision.com has held the 20th edition of Video and Broadband Summit better known as VBS at Sahara Star Hotel, Mumbai.

    The session chair for this panel was The Linus Adventures founder & chief evangelist Sunil Lulla along with the panelists: Travelxp co-founder  & CEO Prashant Chothani, DistroScale APAC head Vikas Khanchandani, Jioads CEO Gulshan Verma, Samsung Plus TV head of partnerships Kunal Mehta, Planetcast digital COO Venugopal Iyengar, Amagi SVP (Sales) Jay Ganeson

    Lulla began the session by saying how the marketplace is being built, how highly competitive it has been over the years, and also the emergence of FAST TV.

    To which Iyengar replied, “ The distribution landscape has been changed which we talked about on the morning session options. For media owners, there are hundreds of options which is great news but there is a complexity of how to manage not only distributing your content without too much conflict of interest or conflict of revenue. Secondly, also, how do you create a differentiated proposition for the viewer there’s no point doing a live channel and then you know, which is paid. So those two challenges are, of course, being dealt with by the media owners and the distributors like I was talking about, is really about figuring out how to manage this experience for the user, personalizing it and making it important.”

    Verma said, “ So I think the short answer right now is people want to watch a lot of content, and they want the variety that and they are willing to watch as in exchange for a more variety. And this is not just an Indian phenomenon, because we’re in India, if you look at the US, for example, you take something like Hulu TV, you know, they have two plans.1299 a month with no ads and 799 a month with ads. 95% of users taking seminar time without space. So, they will always be interested in FAST.”

    Khanchandani replied, “A lot of genres are getting pushed out of traditional distribution. So if you look at categories like English movies, and English entertainment, many other categories are feeling the heat. These guys are getting pushed out of traditional distribution. FAST is becoming a great place for them to land. Just allowing them to reach the right audience and build viewership.”

    Chothani said, “Fast helped us to graduate people to go on to pay TV and then get into the spot. So fast is when you say what is fast? It’s DD Free Dish on steroids. Because you can monetize it better. And it’s not that the television advertising budget is going down, the growth has slowed down. So nobody’s going away, everything is going to be there, we need to be a leader. That the key takeaway we understood when in the West when they entered FAST and it’s not that it took away from our pay TV audience or into coming from our OTT offering. So consumer is also consuming as part of certain transitions that the consumer is watching everything everywhere. So it’s not this or that. It’s this and that, and that.”

    Mehta said, “There is a need for other genres also to start, you know, investing in the content investing in FAST. About 80% of my consumers today watch some ad-supported streaming content on our FAST TV. So that just shows you how powerful the medium is whether it be TV plus or YouTube or any other VR OTT application on the platform.”

    Ganesan at the end summed up the by saying, “There are going to be four key players in any strategy from the consumer who’s eventually watching, who’s ready to watch an ad for getting the free content, they see value in FAST because on AVOD there is so much content, you just end up when you have what I have a lean back experience, you just don’t know what to watch what you want to watch.”