Category: Software

  • ZengaTV adds Raj TV channels to its offering

    MUMBAI: Strengthening its regional offering, Zenga TV has added Bangalore-based Raj Television‘s bouquet of channels.


    Raj TV channels will now be available free to mobile phone and web users globally.


    Raj TV Network‘s bouquet has channels in all south Indian languages in music, GEC, news and movies. The network also has a Hindi channel in the name of Raj Pariwar. The channels include Raj TV, Raj News Tamil, Raj Music Kannada, Raj Music Malayalam, Raj Music Telugu, Raj News Telugu and Raj NewsX Telugu.


    With the addition of Raj TV bouquet on Zenga, mobile users will be able to enjoy a mixture of live contemporary Tollywood, Sandalwood and Mollywood content. Programmes that include celebrity interviews, artist profiles, movies, film premieres and parties will transport the mobile viewer into the centre of the glitz, glamour and glitterati of Tollywood.


    Commenting on the partnership, ZengaTV CEO Shabir Momiin said, “Raj TV has a great channel bouquet and we are delighted to have them on the ZengaTV network. This tie-up will be especially useful for loyal fans of Raj TV outside the country.”


    Raj TV Head Distribution S. Swaminathan said, “Since inception Raj TV has made an enormous impact on the hearts and minds of the Indian television audience, therefore launching on the ZengaTV network is an important and crucial step in reinforcing Raj TV as the most popular among south Indians in news, music and entertainment.”


    Earlier, the mobile TV platform had partnered ETV network to offer 12 channels from the ETV stable to its subscribers for free.

  • TV18, Viacom18 form new JV

    MUMBAI: TV18 and Viacom18 have formed a strategic joint venture, IndiaCast, which will distribute all channels and content of the two companies in India and abroad.


    IndiaCast will also distribute Eenadu channels, post completion of acquisition by the TV18 group.


    The Sun TV group channels and Disney Channels will also be distributed by IndiaCast in the Hindi Speaking Markets (HSM).


    In Tamil Nadu, Sun TV Network will continue to distribute the TV18 and Viacom18 channels, apart from Disney channels.


    The new company will be headed by Anuj Gandhi as Group CEO, while Gaurav Gandhi is named COO.


    TV18 and Viacom18 said that IndiaCast will create India’s first multi-platform ‘Content Asset Monetization’ entity. It is mandated to drive domestic and international channel distribution, placement services and content syndication for TV18, Viacom18, A+E Networks I TV18 and the Eenadu group, post completion of its acquisition by TV18.


    “IndiaCast has been created with the aim to consolidate the distribution functions of both media houses to, reach newer markets and increase operational efficiencies,” the two companies said.


    IndiaCast will distribute all the 26 channels across all platforms, including Cable, DTH, IPTV, HITS and MMDS, and will offer a range of channels, from entertainment, kids, news, infotainment and music, to regional genres.


    Network18 group CEO Sai Kumar said, “The Indian distribution market is throwing up ample opportunities and we are uniquely poised to make the most of this proposed alliance in an increasingly digitized environment. We have entrusted this mandate with Anuj, who brings with him impeccable leadership and rich experience across various formats.”


    He further added, “Distribution is one of the high-growth areas in this industry and we’re excited to have a presence in this part of the business as well.”


    Viacom International Media Networks president and CEO Bob Bakish said, “As the Indian market continues to expand and evolve, the move to bring two media houses and proposed consolidation of Eenadu channels post acquisition into one distribution sales house presents an opportunity to accelerate our growth in the region, while increasing efficiencies of operation. We’re excited about the potential of IndiaCast and are looking forward to deepening our partnership with TV18 and Eenadu Group.”


    Anuj Gandhi added, “This is a momentous step forward and will create a paradigm shift in distribution and syndication. The new venture gives a clear impetus to digitalization. Also, it brings more channels and greater flexibility to consumers.”


    According to him, “The Company will be the focal point not only for content and media distribution but also to drive the Content asset monetization business of TV18, Viacom18, A+E Networks I TV18 and Eenadu Group. The growth and way forward for media brands in the journey ahead is through Content Asset Monetization – taking content across geographies, platforms and mediums.”

  • Netflix surpasses Apple to take lead in US online movie biz in 2011

    MUMBAI: Riding a tidal wave of growth for subscription video on demand (SVOD), Netflix Inc. in 2011 surged past Apple Inc. to become the largest U.S. online movie service in revenue terms, according to a new IHS Screen Digest Broadband Media Market Insight Report from information and analytics provider IHS (NYSE: IHS).


    Netflix’s share of U.S. online movie revenue soared to 44 per cent in 2011, up from less than one per cent in 2010.


    Meanwhile, Apple’s share of total revenue declined to 32.3 per cent last year, down from a 60.8 per cent in 2010, despite enjoying strong revenue growth.


    IHS research director for digital media Dan Cryan said, “2011 marked a sea change in the online movies business that saw the balance of consumer spending shift from a DVD-like transactional model to more TV-like subscription approach. The online movie business more than doubled in 2011 to reach $992 million and it is expected to double this year as well.”


    Online, on the money: In the US, revenue from SVOD services—which give consumers access to movies in return for a regular, recurring fee—reached $454 million in 2011, growing by more than 10,000 per cent from $4.3 million in 2010.


    As a result, SVOD became the largest segment of the U.S. online movie business in 2011, surpassing the other major parts of the market, transactional VOD and electronic sell-through. This change can be attributed to two factors: Netflix’s decision to start charging directly for online access, and the major growth in the number of people using online SVOD.


    Meanwhile, transactional VOD expanded to $273 million in 2011, up 75 percent from $155 million during 2010. In contrast to SVOD, transactional VOD services like iTunes require consumers to pay a separate fee to rent each individual movie. EST grew by just 2.4 per cent to reach $236 million.


    “We are in the midst of a significant change in the way people pay to consume movies online. All the significant growth in revenue in the U.S. online movie business in 2011 was generated by rental business models, which provide temporary access, not permanent ownership. Rental delivers unlimited consumption with a low monthly fee for older titles as well as cheap rentals of new releases, providing the kind of value that online consumers want. In contrast, EST, which is much more profitable for studios on a per-transaction basis, is stuck in the doldrums.” Cryan added.


    Netflix and Apple leading two sides of the market: What Netflix and iTunes have in common is that both services are focused on the hardware side of the business.


    Netflix is available on a range of connected devices, while iTunes can take advantage of Apple’s soaring device sales growth.


    Nevertheless, comparisons between the two services have their limits. IHS research reveals that it’s not unusual for 70 to 80 per cent of titles consumed through a transactional service to be new releases. However, SVOD services are overwhelmingly used for older titles.


    Cryan said, “Effectively the market has split. Netflix and Apple are competing for some of the same consumer time and money. However, the core value proposition of the two services is actually very different.”


    To understand the relative positioning of Netflix and Apple, it’s revealing to compare each service to its closest competitor. While Netflix rules the SVOD market, its closest competitor—Hulu—is less than 10 per cent of its size.


    Apple’s iTunes continues to dominate the transactional segment, accounting for 63 per cent of revenue in this area, which was only down slightly from 64.6 per cent in 2010. At the same time, the big growth story of 2011 was Walmart’s Vudu, which captured 8.2 per cent of the growing transactional market, up from 2.8 per cent last year. Most of this growth has been achieved by using a Netflix-like device strategy and has come at the expense of other providers, not Apple.


    SVOD into the future: The stunning growth in SVOD revenue seen in 2011 is not likely to continue at the same rate in the future. Netflix‘s customer transition is now complete. And while its effect will be felt into 2012, which will be the first full year of paid streaming, Netflix‘s U.S. digital customer base is likely to expand at a slower rate, in keeping with premium pay-TV channels.


    Consequently, IHS expects transactional VOD to experience stronger growth than SVOD after 2012 unless there is a significant market entry, such as a standalone HBO streaming subscription or a full-fledged pay-TV subscription service delivered over the open Internet.

  • FremantleMedia launches ‘The Pet Collective’ channel on YouTube

    MUMBAI: Television format creator and distributor FremantleMedia has launched its first-ever YouTube channel, “The Pet Collective,” featuring new series and programming available exclusively on YouTube.


    The Pet Collective is part of YouTube’s initiative to create new channels of programming, and is produced by FremantleMedia to celebrate pets and pet lovers through entertainment, information and involvement.


    At launch, “The Pet Collective” will offer seven original new, short-form series with new content added daily, for more than 20 hours of programming in its first three months.


    “The Pet Collective underscores our commitment to produce original, quality programming for evolving media platforms, Fremantle says.


    The channel also brings together three core divisions of FremantleMedia’s business – FremantleMedia North America, FremantleMedia Enterprises and FremantleMedia Cross Platforms (FMX) – to leverage their combined expertise, assets and busi-ness strategies to engage with consumers, advertisers and distribution partners.


    In response to growing changes in the content-distribution marketplace, the emergence of new online platforms, and new ways of reaching audiences, ”The Pet Collective” will bring together originally, professionally produced programming, expert opinions and advice, pet health and wellness tips, content from celebrity pet lovers, and real-life animal stories. It will also feature robust social-media content through Facebook, Twitter and Google+.


    FremantleMedia US CEO Cécile Frot-Coutaz says, “FremantleMedia is a global creative powerhouse that develops brands that extend well beyond TV. We’re really excited to bring our high-quality storytelling and production expertise to a subject matter like pets that is close to everyone’s hearts, and we’re proud to be delivering informative and innovative content that offers a compelling new form of engagement with international audiences.”


    FremantleMedia Enterprises CEO Americas Keith Hindle said, “From our many audition programs to numerous partner channels, FremantleMedia has a longstanding relationship with YouTube. ‘The Pet Collective‘ takes that partnership to a new level, securing our place at the forefront of online content development and creating new opportunities to monetise our content and build our brands.”


    The initial lineup of original programming on “The Pet Collective” includes:


    • The Litter – Narrated by animal lover and activist Khloé Kardashian Odom, The Litter is an adorably cute and informative series that follows a litter of six newborn kittens and their mother during an eight-week period.


    •Growing Up Wild – Bindi and Robert Irwin continue the legacy of their father, adventurer Steve Irwin, by educating and informing audiences about the animals who share their day-to-day lives. Each episode introduces one of their treasured pets – and broadens our knowledge of the animal kingdom


    • The Unadoptables – Designed to inspire a movement toward responsible pet purchasing and ownership, The Unadoptables focuses on different kinds of “unadoptable” pets – from black cats and senior animals to pets with special needs that have trouble finding a home.


    • Kitten on a Keyboard – Feline host Anime Lillipuss greets viewers from her office in the Pet Collective building, leading them through the best, funniest, silliest, most inspiring and amazing content to be found on The Pet Collective in the news and across the web.


    • Pet Sense – Animal communicator Michelle Childerley reaches out from her home in Cam-bridge, England, to help get Americans’ pet relationships on track.


    • Master and Pet – An original scripted comedy series about a young woman and the pet cat that is her best friend, co-conspirator and therapist.


    • David Lehre’s Hollywood Animals – YouTube star and innovative director David Lehre drops in on his celebrity friends to find out about their relationships with their pets.


    FremantleMedia claims that its content on YouTube has garnered more than 4.2 billion views to date since the start of its collaboration with YouTube, with more than 2 billion views in 2011 alone. Driving those views are viral videos from global entertainment shows including ‘The X Factor‘ from both the UK and Australia; ‘Korea’s Got Talent’s Sung Bong Choi audition; American Idol’s Chris Medina audition; and ‘Family Feud‘ with host Steve Harvey.


    Other popular videos include the audition of Susan Boyle for ‘Britain’s Got Talent‘, which has achieved more than 300 million views in aggregate, and Jackie Evancho’s audition for America’s Got Talent,which propelled the 10-year-old singing sensation to stardom after auditioning for the show through a season-long partnership with YouTube.

  • Yahoo! India launches cricket app for Windows Phone users

    MUMBAI: Digital media company, Yahoo! India, has launched a cricket app for Windows Phone users in India.


    The app is available for free on the Windows Marketplace. It offers a slew of features and user-friendly interaction for the user to follow live matches, and also keep a tab on the recent and upcoming ones.


    It offers a complete match experience in a variety of ways –with live scores, detailed ball-by-ball commentary which can be filtered by wickets, 4s and 6s; an interactive score card which allows the user to browse through the batting line up, fall of wickets and a complete chronology of how a match progressed.


    On a non-match day, the app will connect the user to specially created photo galleries, latest news articles on the game, player and team profiles, as well as results of completed matches, and schedules of upcoming ones.


    It has been developed at the R&D centre in Bangalore and is the third cricket app released by Yahoo!. The earlier apps were built for iPhone and Android.

  • Samsung launches digital communication for Smart TV range

    MUMBAI: Having just launched its new Smart TV range in India, Samsung is trying to provide consumers with a first hand experience of the next generation features of the Samsung Smart TV like Motion Control, Voice Control and Face recognition through Digital communications tailored by Starcom Worldwide, the company’s media agency.


    To this end, Samsung and Starcom have come out with the first ever Augmented Reality Motion Control Banner in the Digital space.


    Samsung’s Smart Interaction technology provides Smart TV users with a option for controlling and interacting with the TV breaking the physical boundaries between the consumer and screen. Samsung’s new Voice Control, Motion Control, and Face Recognition commands enrich the consumers’ television experience.


    Users can turn the TV on or off, activate selected apps or search for and select content in the web browser—all without touching the remote. The Samsung 2012 Smart television series feature a built-in camera that recognises movement in the foreground, as well as microphones that recognise voice.


    To communicate the benefits of a Smart TV, Samsung and Starcom have together innovated the first ever Augmented Reality banner format through the Motion Control Banner utilising digital platforms like YouTube and Moneycontrol.


    Samsung India CMO Rahul Saigal said, “In keeping with the Company’s thrust on innovation we have created this digital communication to provide consumers a complete experience of the interactive features of our new 2012 Smart television range.The Augmented Reality banner is giving consumers an opportunity to experience Motion Control in a manner that helps them understand this truly distinctive feature of our new leading edge Smart TV range.”


    SMG Digital national director Arnab Mitra said, “To a lot of Indians Smart TV just stood for a television with a few features like a radio or internet, which does not have a unique space anymore with the advent of Smartphones, however, the Samsung Smart TV is beyond that and enhances television viewing experience with interactive online content, exploring apps, and much more. Our objective was to ensure that the consumers can live this experience without having to visit a store or buy the TV, and thus actually create awareness about the features.”

  • Pay-TV to surpass $1 bn in 2014: Pyramid

    MUMBAI: Pay TV accounts will surpass the 1 billion mark in 2014 globally, with cable accounting for 58 per cent of the total accounts, down from 66 per cent in 2011, according to Pyramid Research’s bi-annual Media Forecast released recently.


    By end-2014, IPTV subscriptions will exceed 100 million, and IPTV over fiber networks is expected to contribute a larger share of the total IPTV subscriptions in 2017.


    With telcos and mobile operators increasingly offering TV and video services, Pyramid Research’s Media Forecasts are designed to provide competitive intelligence on the pay-TV and mobile TV dynamics for over 52 countries, including 14 in Asia/Pacific, as well as regionally and globally.


    The Media Forecasts track demand patterns for free and
    pay-TV services over terrestrial, satellite and mobile platforms worldwide, providing market share information at both the technology and operator levels, as well as five-year adoption and revenue projections.

  • CAG finds holes in the Antrix-Devas deal

    NEW DELHI: The Comptroller and Auditor General has described the hybrid satellite digital multimedia broadcasting service agreement with Devas as “a classic case of public investment for private profit.”


    In the ‘Report on hybrid satellite digital multimedia broadcasting service agreement with Devas’, CAG has said the Department of Space “in its eagerness went beyond its remit as laid down in the Allocation of Business Rules, concealed facts from the Union Cabinet and violated numerous rules, policies and procedures.”


    Furthermore, it says “public interest and those of the Government were sacrificed to favour” a private consultancy firm which was promoted by D. Venugopal and M G Chandrashekhar, retired employees of Indian Space Research Organisation.


    The Report contains the results of examination of the ‘hybrid satellite digital multimedia broadcasting service agreement with Devas’ entered into by Antrix Corporation Limited on behalf of the Department of Space and Devas Multimedia Limited. The audit was conducted between July 2010 and June 2011.


    The Antrix-Devas agreement allowed Devas to provide multiple services such as 4G services (improvement in 3G services), mobile TV services both through satellite and terrestrial route, DTH services, etc., on the same platform. It provided for the launch of two customer-specific satellites for Devas by leasing all 20 transponders of these two satellites.


    A total of 70 MHz of S-Band was earmarked for spectrum in 2.6 GHz band to Devas as a part of leasing out the transponders of the two satellites. Orbital slot was to be allocated for an indefinite period to Devas. It indicated a sub-licensing clause which would enable Devas to sub-lease satellite transponders to others.


    The breach of existing rules, policies and procedures finds resonance throughout, the CAG Report says, adding that the DoS took upon itself the task of approving the new hybrid SDMB service which as in the case of DTH services was the prerogative of the Union Cabinet. Valuable spectrum frequencies, including 10 MHz meant to be reserved for strategic purpose, were earmarked for Devas without obtaining approval of the Wireless Planning and Coordination (WPC) wing of the Department of Telecom.


    The report says the DoS, while seeking approval of the Union Cabinet for the launch of the GSAT-6 satellite in November 2005, “suppressed the crucial fact that it had signed an agreement with only one user, that is Devas, and not with different users as mentioned in the Cabinet note. The agreement with Devas was, in fact, signed well in advance of seeking approval of the Cabinet in January 2005.”


    The DoS also failed to inform the Cabinet that GSAT-6 and 6A satellites, proposed to be funded by the Government budget, were almost entirely (only 10 per cent was set apart) to be used by the private commercial entity. To avoid obtaining of approval of the Union Cabinet, DoS estimated the cost of GSAT–6A, the subsequent satellite of a similar configuration after GSAT– 6 at Rs 1.47 billion so that it fell within the financial competence of the Space Commission. The first satellite GSAT – 6, had been costed at Rs 2.69 billion.


    To promote the interest of the private consultancy firm, Forge Advisors, USA, the DoS extended to it a host of benefits. Seventy MHz of S-band spectrum was earmarked for an indefinite period to Devas ignoring its revenue potential to the Government.


    Subsequent events like the auction of 3G in which the Government received Rs 677.19 billion and auction of Broadband Wireless Access where Government received Rs 385.43 billion revealed that the possibility of obtaining commensurate amounts for providing this commercial service was never explored, the CAG says.


    “The special treatment accorded to Devas is also reflected in the fact that in the case of Devas, DoS decided to use the country-specific scarce orbital slot at 83° East for two co-located satellites to be used exclusively by the private customer.”


    The Antrix-Devas agreement cherry-picked from two different models (Customer specific satellite agreements and transponder lease agreements) in a way that extended maximum benefits to Devas. DoS further went on to even revise the contract to “reassure the investors’ so that even before engaging in any trading, manufacturing, ground segment development activity and rolling out of any services, it could raise an amount of Rs 5.7576 billion from foreign investors.”


    The CAG notes that there is an expectation that the Government should deliver a high standard of integrity in the civil services, public institutions and public services. There is a need to recognise and deal with conflict of interest issues so that the fundamental integrity of decisions, departments and the Government is not undermined. Having the same person holding multiple posts of Chairman ICC, Chairman Space Commission, Secretary DoS, Chairman ISRO and Chairman-cum-Managing Director, Antrix clearly led to a conflict of interest.


    This conflict is evident in the multiple roles exercised by Dr. G. Madhavan Nair. As ISRO Chairman, he appointed the Shankara Committee to examine the proposals of Forge Advisors. As Secretary in the DoS, he submitted a note to the Union Cabinet in which critical facts were concealed. As Chairman of the Space Commission, he chaired meetings where approval to GSAT– 6 and 6A satellites were accorded. He failed to convene INSAT Coordination Committee meetings as its Chairman, as a result of which, concerns of key stakeholders, represented through respective Secretaries of Ministries/Departments, were effectively blocked off in the decision-making process.


    Since the damage that this could do has been very clearly brought out, among others, by the High-Powered Review Committee, it is evident that the Government would have to ensure that the same person does not hold all the crucial posts and different functionaries are appointed to ensure checks and balances.


    The Antrix-Devas deal is a classic instance of failure of the governance structure in which selected individuals, some serving and some retired public servants, were able to successfully propel the agenda of a private entity by arrogating unto themselves, powers which they were not legitimately authorized to exercise. In the parliamentary system of Government, the Cabinet has a role of centrality in the exercise of executive power.


    The fact that a group of individuals was able to conceal facts and sidestep the Cabinet is a testimony of the extent of abuse of the trust reposed in them and needs to be addressed, the CAG says.

  • IPLs online viewership surges

    MUMBAI: The online streaming of the just concluded IPL season recorded 113 million page views globally, a 55 per cent increase in comparison to 72 million page views last year, Times Internet has said.


    The online viewership also recorded over 87 per cent growth in India with 80 million page views as against 43 million last year.


    The final match of the tournament, which ended in nail biting finish with KKR taking home the title, generated 7.5 million page views, making it the highest single day viewership during the entire season.
     
     
    This year the IPL website offered a slew of features including interactive scorecards, high-definition streaming of IPL matches, DVR features (to rewind during a match), video-on-demand facility, and a ‘Battleground‘ section.


    Times Internet Limited CEO Rishi Khiani said, “Premium video content is a key focus area for us at Indiatimes and IPL is the key property as part of this vision. We promised IPL 2012 viewers a highly interactive and engaging cricket viewing experience beyond what India has seen before. The record breaking online viewership numbers and advertiser traction across the season validate our delivery of this promise.”


    Google APAC Director Content Partnership Gautam Anand said, “It‘s heartening to see the continuous growth in the viewership of this exciting tournament online from across the globe. This season was extra special with lots of close matches and last ball finishes and we are really glad that we were able to bring all the action live to our audience on YouTube for the third consecutive year.”


    The IPL was streamed live on Indiatimes.com and the YouTube channel of Indiatimes.

  • 9X Media’s music channels now available on iPad

    MUMBAI: 9X Media, the music television network, is now available on iPad through 9X Music Network Live Application.


    This application brings 9X Music Television Network‘s four channels – 9XM (Bollywood music channel), 9X Jalwa (Timeless Bollywood Hits music channel), 9X Tashan (Punjabi Music Channel) and 9X Jhakaas (Marathi Music Channel) on the platform. The app is available by way of a quarterly, half yearly and annual subscription.


    9X Media Group VP-digital Vibha Gosher said, “With iPad sales skyrocketing and their ever increasing popularity, it‘s probably one of the best platforms to extend the 9X experience of unadulterated music. The 9X Music Network Live app is targeted at the ever growing segment of connected users who consume content on-the-move. This App will provide the users with the best experience of Bollywood and Indian regional music along with entertaining short format shows featuring some our most interesting animated characters.”