Tag: China

  • ‘We are talking with global companies to set up a studio to develop content’ : Rohit Sharma- Zapak Digital Entertainment COO

    ‘We are talking with global companies to set up a studio to develop content’ : Rohit Sharma- Zapak Digital Entertainment COO

    With a war chest of $100 million (Rs 4 billion), Reliance Entertainment’s online gaming portal Zapak is looking to invest in infrastructure and expand even beyond the frontiers of India. The portal is going to launch in China, Pakistan and the UAE.

     

    In an interview with Indiantelevision.com’s Ashwin Pinto, Zapak Digital Entertainment COO Rohit Sharma talks about the global plans of the gaming portal and the steps that are being taken to reach there.

     

    Excerpts:

    When George Soros picked up a 3 per cent stake in Reliance Entertainment for $100 million, how big was Zapak as a valuation attraction?
    It was definitely a point of attraction as it is one of our oldest businesses. Since Zapak is one of the most successful internet companies in India, it gives value to investors. However, I cannot talk about valuations. The investment has helped us understand what our value is and how we can scale it up.

    How much is Zapak going to invest and what is the breakeven period?
    Since gaming is still at a nascent stage in this country, the breakeven will not happen before four to five years. We are investing $100 million over the next five years. In terms of operational expenditure, we have to invest in manpower, bandwidth and marketing activities. In terms of capital expenditure, we are investing in infrastructure as well as technology and content. Our costs will go up each year as the business grows.

    What are the lines of synergy Zapak is drawing with the other verticals of Reliance Entertainment?
    We have the movie business with Adlabs. A lot of content alliancing will happen here as we acquire content, produce and co-produce it. Zapak will also develop content based on these movies.

     

    There are strong synergies between Big Flicks and Zapak as both are located in the internet space. Bigadda is our social networking site and the audience is similar. So we do a lot of cross-promotional activities. And with our FM radio business, we use it as an advertising medium.

     

    Thus, if we take the gaming piece in the entertainment space, there is a lot of content syndication, retail syndication and advertising opportunities that are possible.

    What are the trends being seen in online gaming in India?
    Zapak is setting the trends here as there is no other online gaming player in India per se. We have a 70-75 per cent market share in terms of revenues and the number of users which is four million right now. We are also attracting good advertising and so we are witnessing an upwards trend.

     

    The learning for us is that the user wants compelling content. Therefore, publishers/developers like us need to invest in the right kind of content. The content, whether global or local, has to be high-end in terms of graphics, artwork, game play and design.

    The kids genre has done well for us. Zapak Girls also does well as do our action oriented games. But cricket is our biggest property

    Who comprises your TG?
    Surprisingly consumers have an equal ratio between the top cities and B, C towns and cities. Males in the age group 12-25 are the core TG. Having said that, however, youngsters below 12 are increasingly playing on Zapak. They are becoming stickier towards gaming.

    How does the market size for online games compare with mobile gaming?
    If you look at developed gaming markets like China, Korea and Vietnam, online gaming has surpassed mobile gaming. In countries that have a strong PC and online penetration, online gaming offers a better user experience. The best part about online gaming is that you can form communities that you cannot have on the mobile.

    Could you shed light on the strategy being followed to increase the product portfolio?
    When we started, we focused on casual games, which is the low hanging fruit. There is no point getting hardcore games to non-gamers. We brought in world-class casual games into the country. We work with over 50 studios globally.

     

    Having built a critical mass of gamers, we want to expose them to better content. We are going into the next phase which is to bring in casual hardcore games and hardcore games.

     

    Hardcore games are played in cafes and most cafes do not have the right PC specifications and infrastructure for this. This is why we started our gameplexes across the country. We will have almost 10,000 seats by the end of this year. We started our gameplex business in the big cities and towns. Now we have expanded to smaller places like Jaipur where we are also getting good traction.

    What have been your top five properties?
    The kids genre has done well for us. Zapak Girls also does well as do our action-oriented games. But cricket is our biggest property. You need to have a hybrid model. Generally, in business it is a 80:20 ratio where 20 per cent of content gives you 80 per cent of traction.

     

    However, in casual online gaming, the long tail is also important. A lot of people who come back, also want to check out the catalogue in addition to consuming the same content twice or thrice. Therefore, you need to build on your catalogue.

    Zapak has done activities to get women and children involved in gaming. What prompted this?
    The 12-25 male TG is still being built up. It has not been fully tapped. However, we have gone into early segmentation. We want every gamer in this country to relate with Zapak. We want to have a product and a service for everyone including a four-year-old kid. Therefore, we have been broad basing our offerings.

    Does Zapak also focus on game development?
    We have a small in-house team but we don’t do actual game development. We outsource it. We work exclusively with studios both in India and abroad. We drive the game ideation, concept and documentation. Then they do the rest. We work with our sister company Jump Games. We work with a Delhi-based company Saffronage. However, by and large, we work with studios outside India.

     

    There have been technological advances from a product point of view. Casual games are now incorporating social networking phenomena. Community features which are possible due to technology are growing in importance. The more features you have and the better customer relationship management setup you have, the better is the traction you will get.

    Is Zapak also looking at acquisitions in the gaming space?
    Yes! We will be aggressive in this regard both in India and abroad. Our targets would include game developers. In India, nobody has the competence to develop a game from scratch to finish. Besides acquiring content, we are also talking with global companies to set up a studio which could serve as a factory to develop content.

    What are the different revenue sources for Zapak and how important is advergaming in the mix?
    Advertising is our main revenue stream at the moment. Casual games are a portal business. We also get some revenue from our cafes and our cards business as well as events that we do. Subscription revenue will come in when we get into offering hardcore games. Users either purchase the product or subscribe on a monthly or a weekly basis. Our first product here will be three casual MMOG titles which will be launched in May and June.

     

    Could you give me examples where Zapak has done innovations for clients?
    With McDonalds, we did a deal where you buy a “Happy Meal” and get a product from Zapak. With Dominos, we did an innovation around a gaming pizza which was accompanied with goodies. We also tied up with MTV for games around their show Roadies.

     

    There is talk about how gaming is evolving into a social activity with massively multiplayer online games (MMOG). What is your view on this?
    If you look at countries like China and Korea, it is the stickiest social networking opportunity. Other entertainment options do not engage on a social level. In a virtual world, though, you live a virtual life. Already in our cafes, you see thousands of kids who live in a virtual environment.

     

    The BCCI is kicking off the IPL in April. Are you looking to work with the franchisees to develop properties?
    Yes! We are working with franchisees to develop properties that aim to reflect the sport.

     

    Does cricket work better than Bollywood for games?
    Yes! This is partly because cricket has gameplay built in. With film, you have to think about a strategy that can fit. We have worked with Bipasha Basu and Salman Khan. We also did successful games around the film Cash. However, even in Hollywood, games out of films are not generally successful. Spiderman was an exception, though. The challenge for us is to tailor Bollywood content so that it is suitable for gameplay.

     

    Apart from cricket, are you looking at other sports?
    We are looking at tennis and F1. We also feel that table tennis will translate well as an online game. We recently did a successful tennis game that Apollo sponsored. In terms of working with official sports bodies like Fifa, their licence fees are too high to justify a good RoI in India at this point of time.

     

    What is the way forward to combat the lack of skill sets in game development in India?
    Gaming has to be more widely accepted as an activity and profession. Companies from abroad have to come in and invest. We cannot grow this space all by ourselves.

     

    How did the concept of “Zapak Corporate Gamer Challenge” come about? Do you foresee a time when gaming will be viewed as a professional sport in India?
    We have a division called Zapak Live. This division organises conferences, events, tournaments, etc. We realised that a lot of casual gaming happens in the office. So it seemed like a good idea to take it to an offline level where corporates can take part. The response was good. I see no reason why gaming cannot be looked at as a sport in India a few years down the line.

     

    One of your recent marketing innovations revolved around offering people the chance to win cash by constantly playing. How was the response to that?
    It was a loyalty programme for the portal. For each activity done, participants got points. It was a three-week programme. We also do other marketing innovations. We had done a series of short films to create awareness for our e-mail product. We also do a lot of viral activities which have included spoofs on films like Sholay. We also did innovative stuff in loos in multiplexes.

     

    Finally, is Zapak looking at expanding abroad?
    We are looking to launch our portal in China, Pakistan and the UAE. You will see launches from the next quarter. Our USP is content that is not India-centric; it appeals to a global audience. It is a question of customisation from a language point of view.
  • ‘Shows that are optimistic, hopeful, aspirational resonate well with viewers’ : Todd Miller – SPTI Asia executive VP, MD

    ‘Shows that are optimistic, hopeful, aspirational resonate well with viewers’ : Todd Miller – SPTI Asia executive VP, MD

     Last year Sony Pictures Television International (SPTI) set up an office in India. The aim was to get more closely involved with the market and help it grow by offering content in the form of formats. SPTI is also looking at developing more local content from India which can travel overseas. Indiantelevision.com’s Ashwin Pinto caught up with SPTI Asia executive VP, MD Todd Miller to find out more.

     

    Excerpts:

    When you say that SPTI is the Asian Hollywood Studio what does it mean?
    We are by ownership an Asian company. We pride ourselves that our business combines the best of US and Asian content. As a distribution company we offer locally relevant content and global content.

     

    SPTI has distribution, a networks segment and a production business. We are the most active of the US studios in terms of producing and distributing Asian content across Asia. So it positions us in a unique way from the others who only focus on US content. Asia is the fastest growing region for us. Korea, China, East Asia and India are key for us.

    Could you talk about the partnerships SPTI has with local Asian players in terms of co-producing with them and distributing their content overseas?
    We make and distribute content. On the film front we have been active making films like Crouching Tiger, Hidden Dragon. Recently we started to make Indian films. Sawaariya was our first film. We also distribute content on behalf of key Asian partners. With CJ Media in Korea we distribute films and shows.

     

    We distribute it not just in Asia but also outside. This enables our partners to access a wider market for Asian content. So we add value for our business partners. We have also worked with CCTV in China to distribute their show The Stories of Han Dynasty.

    How has SPTI boosted its production facilities and distribution network over the last couple of years?
    We have a strong distribution practice as there is great content to sell. On the distribution side to get closer to clients we set two offices last year – one in India in October and the other in Korea. We want to have a local presence and develop relationships on the ground. We already have offices in Tokyo, Beijing, Hong Kong and Singapore.

     

    So from a footprint perspective we have Asia well covered from a distribution point of view. On the production front we did a lot of work in South East Asia for formats last year. This year we will focus on India.

    How important is India and what is the gameplan to grow the business here?
    This year we will sell formats to India. Power of 10 is one show. It is a primetime game show and airs on CBS in the US. We are also planning to a local version of Ripley’s Believe It Or Not. We also have a lot of scripted formats as well like telenovellas from Latin America. Our dubbed films area is also growing. We were one of the first studios to offer local dubbing of films to channels.

     

    A year from now I can give you examples of how the formats are being developed. Emerging platforms will open up more business avenues. We recently did a deal with Dish TV for pay per view films.

    Are you also looking to create IP as well?
    Through films we are already doing this. Sony is also doing this with its Hindi channel. With AXN we are looking to create original shows that can travel. One of these will be a magic show.

    Have you formed any deals with Indian companies besides the Sony companies in terms of long term partnerships?
    We are talking with parties. One of the things that we pride ourselves on is that we develop relationships with major players across the TV spectrum. These are broadcasters, new media clients.

     

    We sell content to many players beyond just the Sony channels. India is a top five market for us in Asia. As new delivery platforms emerge we support them. As we continue to beef up our distribution infrastructure I would hope that one would see Sony content consumed across all the digital platforms.

    Are you also looking at co-productions in India?
    Our focus is on growing the format business. Once this area is up and running then we will look at other areas.

     

    We recognise the potential in India. We have been doing business for well over a decade in this country. Our management looks to India to be a major driver. One of the advantages we have is that we have different assets (channels, film division, the electronics business) that are already present. We have interesting pieces that often work together.

    We want to have a local presence and develop relationships on the ground

    What have the learnings been in terms of what works and what does not across the region?
    Great content from the US sells. But we also recognise the power of locally produced content and its connection with viewers of each country and even each state. In general though shows that are optimistic, hopeful, aspirational tend to resonate well with viewers across the board.

    A lot of your content comes from the US. What impact will the WGA strike have on this?
    It is having a big impact in terms of scripted shows. We are hopeful that the issue will be resolved soon.

    Viva Laughlin was cancelled by CBS after just two episodes. Do you feel that such an unusual format would have worked better on a cable network like USA Network where there is not so much pressure on ratings?
    It is quite possible that it might have done well there. Truly original shows sometimes do need time to find an audience.

     

    US networks are impatient and they have to be as they are ratings focussed. They do not have the luxury to wait for numbers to grow.

    Besides Damages what are the other high profile shows from Sony US that will debut in India?
    We are looking forward to Cashmere Mafia. It stars Lucy Liu. It is about a group of successful, powerful women friends living and working in New York. The show will come to AXN soon.

    SPTI also tailors content of shows for the mobile in Asia. From a production point of view what are the challenges?
    Our strategy is to make content for mobile and various digital platforms. Taking a multi platform approach allows us to spend more money on our content which results in better production values. At the same time we are not too dependent on any one platform from a revenue standpoint. So a show like Afterworld is a good example of how we are creating content for multiple platforms.

     

    Last year we acquired all television, Internet, digital sell-through, gaming and mobile rights to Afterworld, which is a futuristic 2.5D animated episodic property. This marked SPTI’s first-ever acquisition of a project for exploitation across all of these platforms.

     

    At the same time we also have a catalogue which we can and have repurposed for the mobile. This is what we call ‘minisodes’ which are edited versions of full length episodes of famous TV series Like Charlies Angels. It is a short but complete burst of entertainment. In some parts of Asia where 3G has a high penetration like Korea we are getting really good feedback on our mobile video content. We are also expanding our linear channels into the mobile space. We have created a mobile extension of AXN and Animax.

    When will these services come to India?
    Our mobile content is already available on all key carrier platforms in India through local partners such as Hungama Mobile. Hungama Mobile won the first Meffy (Mobile Entertainment Forum Award) awarded to an Asian company for their campaign on our Casino Royale mobile content.

    Digitisation offers the opportunity to launch more channels. Does SPTI have plans in this regard?
    Yes! We are extremely bullish on India and the region. AXN recently launched a new channel AXN Beyond in East Asia. It is a supernatural, sci fi channel that complements AXN.

     

    It also showcases out of the ordinary shows such as The Dresden Files, a mystery/fantasy series based on the books by Jim Butcher and has actor Nicolas Cage as one of the executive producers. The lead character, Harry Dresden, is a professional wizard and reluctant hero who often helps the police with cases involving ‘unusual’ circumstances.

     

    Another highlight is a sci-fi series called PainKiller Jane which is based on the cult comic book series of the same name. It stars Kristanna Loken as Jane Vasco, a.k.a. PainKiller Jane, she is recruited to contain the threat of Neuros – individuals with superhuman neurological powers. However, she soon discovers that she has a super power herself – that she cannot be killed, but she can still feel the pain.

  • CII moots 5% customs duty on imported STBs in bid to boost local manufacture

     
     

    NEW DELHI: While demanding various reductions and exemptions of taxes and duties that would be beneficial for the media and broadcasting industry in general, the Confederation of Indian Industry (CII) has demanded a hike in customs duty on STBs from the present nil to 5 per cent.

    The CII has demanded exemptions and tax burden relief on capital goods import and other issues, especially those meant for infrastructure development, creation of intellectual property and import of colour TV and picture tubes.

    Yet, so far as STBs are concerned, the CII says that whereas in the present situation, import of STBs do not attract any customs duty, this should be raised to five per cent in the budget for 2007.

     

    The CII, in its document “Pre-Budget Memorandum” gives its own arguments on that count.

    It says: “Excise Duty on STBs was exempted on 24th June 2003 to facilitate introduction of Conditional Access System in the country. In the budget 2006, the exemption on excise duty was withdrawn but customs duty was reduced from 15 per cent to Nil. However, there was no corresponding reduction of customs duty on inputs used in the manufacturing of STBs. This has resulted into another case of inverted customs duty structure.

    “The correction of the anomaly can be achieved either the by reduction of customs duty on inputs required for manufacturing of STBs to Nil, or increasing of customs duty on the import of STBs from Nil to 5 per cent, and also allowing import of inputs at five per cent.”

    A senior tax consultant told indiantelevision.com that the measure would benefit local manufacture of STBs, as the customs duty on import of boxes and import of input components would be the same, whereas previously, there was no customs duty on import to STBs.

     

    Currently, MSOs are importing STBs mainly from China and Korea.

    “This is a pro-local manufacturing and necessary corrective measure from an earlier skewed customs regime so far as STBs are concerned,” he explained.

    The CII recommendation says that the second option is preferable.

    It says also: “In case it is felt that it would increase the price of imported STBs, then excise duty can be reduced from 16 per cent to 12 per cent on STBs as well as its major imported inputs.

    Meanwhile, there are many general recommendations of the CII that would benefit the industry.

    It has specifically suggested that the customs duty on glass parts of the colour picture tubes for TV sets should be reduced from 12.5 per cent to five per cent.

    It has argued here that the Free Trade Agreement between India and Thailand has a list of goods covered by the Early Harvest Scheme and includes CTV and colour picture tubes.

    “Consequently, customs duty on CTV (8528 12) and CPT (8540 11) imported from Thailand was reduced to 12 per cent on September 2004, and to 6.25 per cent on September 1, 2005. The impact of (this) reduction has resulted in tremendous increase of imports (from Thailand).

    On the telecom sector the CII has recommended that there should be a reduction of customs duty to five per cent on capital goods required for manufacture of telecommunication equipment covered by the IT agreement.

    It also wants to extend the present “Nil” customs concession to inputs for the manufacture of components / sub assemblies duty under serial number 239 of customs notification 21/2002.

    Across the board, CII has recommended measures that will benefit industry as a whole and consequently the media and broadcasting industry. It has, for instance, recommended reduction of CENVAT rate of 16 per cent to 14 per cent in the budget 2007, and has also said that the service tax of 12 per cent must not be increased.

    On the issue of infrastructure development CII has suggested that the government may consider more loans from international institutions.

    “Gross Capital Formation in infrastructure must be progressively raised from 4.5 per cent of GDP to 11 per cent,” the report of CII says.

    In general, all companies and employees may stand to benefit also if the CII recommendation of abolishing of Fringe Benefit Tax (FBT), in consonance with the desires of business as a whole, ever since the tax was slapped vide the Finance Act 2005.

    It outlines the alternative thus:

    “Either the tax should be abolished or the choice be given to tax paying firms to pay one per cent additional corporate tax on its total income in lieu of FBT. Otherwise the corporate could chose to remain under FBT. If this is not possible, the CII proposes levy of FBT only on elements of personal benefit to employees, and exclusion of deeming provision of treating a portion of pure business expenses as personal expenses.”

    The CII recommendation on depreciation would also benefit the media and broadcasting industry.

    Stating that it is well known that technology is changing fast, “and unless we are able to replace our assets fast, we cannot match with other countries in terms of productivity, CII has recommended that depreciation rate be raised from 15 per cent to 25 per cent, as was the case earlier, provided the rate charged under Income Tax is the same or higher than charged under the Companies Act.

    Development of infrastructure would also benefit from the industry body recommendation that the Minimum Alternative Tax is abolished. If it is not, CII feels, it should at least be removed for infrastructure companies in order to promote development and to motivate the private investor to come into this sector.

  • Yuan promoted as MTV China GM

    Yuan promoted as MTV China GM

    MUMBAI: MTV Networks China promoted Bobby Yuan to general manager of MTV China

    Prior to his promotion, Yuan was general manager MTV Taiwan, following executive positions in YAM Digital Technology and Pacific Digital Media.

    In his new role, Yuan will oversee the day-to-day business operations of the channel and monitor the channel’s strategic growth across China’s Pearl River Delta Region. He will report directly to Li Yifei, the executive vice president and managing director of MTV Networks China, and will be relocated to Guangzhou.

    MTV China 24-hour Channel is based in the Guangdong Province. It is available to 13.1 million TV households in China. MTV is the only global brand with a 24-hour channel in the province.

  • IPTV subscribers in Asia Pacific expected to reach 27.4 million by 2013: Frost and Sullivan report

    IPTV subscribers in Asia Pacific expected to reach 27.4 million by 2013: Frost and Sullivan report

    MUMBAI: The Frost and Sullivan research service titled Asia Pacific IPTV Market provides an in-depth analysis of IPTV scenario in 12 markets across Asia Pacific.

    The research service identifies the market demand, competitive landscape, key drivers and restraints for the IPTV market.

    Further, the study presents detailed forecast patterns for revenues and ARPU trends for various countries in Asia Pacific. In this research service, Frost and Sullivan’s expert analysts thoroughly examine the markets of Australia, China, Hong Kong, India, Indonesia, Malaysia, New Zealand, the Philippines, Singapore, South Korea, Taiwan, and Thailand.

    Growth of Broadband Spurs IPTV Deployments

    Internet Protocol Television (IPTV) is fast making headway across the entire Asia Pacific region. The deployment of IPTV in the region has been further hastened by the explosion of broadband in various high growth markets across Asia Pacific, even as service providers across the region have invested heavily in the network infrastructure required for offering these services.

    IPTV has generated a new revenue stream, amidst dwindling fixed line revenues, and rapid advancements in compression, transmission, and watermarking technologies have enabled more and more service providers to jump onto the IPTV bandwagon. In line with these trends, the Asia Pacific IPTV market is set for considerable growth over the forecast period, with the number of IPTV subscribers expected to increase from the existing 1,47,000 to 27.4 million by 2013.

    However, poor broadband infrastructure in key growth markets such as China, India, and the Philippines coupled with lack of quality content have restrained the growth of IPTV in the region. Furthermore, access to quality content has been a common challenge for service providers.

    The analyst of this research service said, “While partnerships with content providers and broadcasting companies go a long way in securing access rights, the cable TV providers or the IPTV market leaders already have exclusive access to this content. This arrangement makes it difficult for other service providers to scale their service to meet the users’ requirements.”

    China and India expected to be high growth ,arkets

    With respect to individual regional markets, Hong Kong is already a mature market for IPTV services, and is expected to be heading toward saturation by 2009. China and India are perceived as high growth markets for IPTV by 2009. By 2013, China along with Hong Kong is expected to contribute nearly 60 per cent of the total Asia Pacific IPTV revenues. With 47.8 million subscribers, China has the largest broadband subscriber base in Asia Pacific in 2006, out of which nearly 70 per cent are residential subscribers.

    In Australia, IPTV is entering a crucial stage in its development, moving away from a technology under trial, into full commercial deployment. While it could take another three years for IPTV to enter the growth stage, service providers’ early adoption of IPTV services and aggressive pricing strategies are expected to contribute to the success of the technology in Australia.

    Presently, IPTV is deployed in China, Hong Kong, Malaysia, Singapore, South Korea, Taiwan, and Thailand. The service is expected to be introduced in India and the Philippines in 2007, and despite the lack of bandwidth in most markets, the demand for interactive entertainment has lured service providers to offer IPTV-based content in the form of video-on-demand (VoD) and channel-based offerings.

    Analyst further added, “As the service providers take the first few tentative steps, response from IPTV users has been positive in most markets. Service providers need to look beyond immediate revenue opportunities to understand the long-term importance of IPTV as a carrier distribution platform, over which many consumer communication and entertainment services can be offered simultaneously.”

  • China’s cartoon production sees rapid growth

    China’s cartoon production sees rapid growth

    MUMBAI: China’s cartoon industry produced more than 81,000 minutes of animation this year, almost double last year’s 42,700 minutes.

    An official with the State Administration of Radio, Film and Television (SARFT) was quoted in Chinese publication Xinhua saying that the country produced more than 50,000 minutes of cartoons from January to August this year, topping last year’s total output, not to mention the country’s aggregate output of cartoons from 1993 to 2003.

  • IPTV revenues to touch $512 million in 2007: Frost & Sullivan

    IPTV revenues to touch $512 million in 2007: Frost & Sullivan

    MUMBAI: Dwindling wireline revenues, consumer demand for greater control over viewing preferences, and the explosion of broadband in various high growth markets across Asia-Pacific represent the impetus for the development of IPTV in the region.

    While service providers across Asia-Pacific have invested heavily in the network infrastructure required to offer such services, the key success factor for IPTV lies in the gamut of content that service providers are able to provide consumers.

    New analysis from global growth consulting company, Frost & Sullivan Asia Pacific IPTV Market, reveals that revenues in this market – covering 12 major Asia-Pacific countries ex-Japan – is estimated to increase from $353.4 million in 2006 to $512.4 million next year. Growing at a compound annual growth rate of 37.5 per cent (2006-2013), the region’s IPTV market is forecasted to be worth $3.3 billion by end-2013.

    Frost & Sullivan senior research analyst Aravind Venkatesh says, “IPTV is the next notable wave in the consumer telecom space and service providers are planning to leverage this new technology to offer high quality interactive services to customers. While revenues from fixed-line services continue to decline, IPTV is likely to reduce churn, increase ARPU (average revenue per user) levels, and generate revenue streams in the long term.”

    IPTV is presently available in China, Hong Kong, Malaysia, Singapore, South Korea, Taiwan and Thailand, and is expected to be introduced in India and the Philippines in 2007. Countries like China, India and Australia are expected to be high growth markets by 2009.

    China, in particular, holds immense potential as it has the largest broadband subscriber base in Asia-Pacific. Residential subscribers constitute approximately 70 per cent of China’s 47.8 million broadband subscriber base. China together with Hong Kong, which is said to be one of the most sophisticated IPTV markets in the world, is expected to account for nearly 60 percent of the region’s IPTV revenues by end-2013.

    While initial response from end users has been positive, service providers face the challenge of procuring quality and regional content, most of which is exclusively offered by cable and satellite operators. The lack of quality content is a common problem for service providers across the region. Although partnerships with content providers and broadcasting companies aid in securing access rights, cable TV providers or IPTV market leaders already have exclusive access to the content.

    Venkatesh adds, “The lack of sufficient bandwidth and highly skewed broadband distribution are major inhibitors for the growth of IPTV in Asia-Pacific. While Hong Kong, Korea, Singapore and Japan are mature markets for broadband, developing markets like China, India and Malaysia have dismally low broadband penetration.”

    The lack of bandwidth in developing markets requires the implementation of high compression codecs and watermarking technologies to achieve the expected quality of service (QoS) levels. This may however be only a short-term solution. Service providers should scale their networks rapidly to offer bandwidth-hungry applications to consumers.

  • China to have over 32 mn mobile video users in 2008

    China to have over 32 mn mobile video users in 2008

    MUMBAI: The mobile video market in China will take off in 2008, driven by interest in the Beijing Olympics. A new study from ABI Research forecasts total mobile video users at more than 32 million in 2008.

    About 27 per cent of these consumers will use broadcasting technology, and 73 per cent will use unicast streaming technology, while a number of viewers are likely to use both.

    This year the Chinese State Administration of Radio, Film, and Television (Sarft) had announced two handset-related standards. DAB is likely to be the first phase of mobile multimedia broadcasting standards development in China. DAB paves the way for upgrading to China’s proposed mobile multimedia broadcasting standard, T-DMB, a terrestrial implementation of SK Telecom’s mobile video format.

    ABI research director Jake Saunders says, “Because both standards are voluntary, there are questions surrounding their effect in the market. “It is likely that local media groups and TV stations will deploy DAB initially, and implement T-DMB at a later date. The Chinese government will give preference to a standard that will be used in the 2008 Olympics, and DAB has been listed as one of the broadcast services that will be available at the Beijing Games.

    “Although lack of content is still deemed to be a bottleneck for mobile video in mainland China, the problem will be solved in the next two years. The current content shortage is caused by the limited number of handset TV SP licenses. When more companies obtain licenses, competition will become the lubricant to drive up the market.”

    Meanwhile in Hong Kong, mobile operators are active in mobile video streaming. Their international operations backgrounds allow them to provide diversified content to users. PCCW’s experience in operating its IPTV business will boost its performance in the 3G market.

    ABI Research forecasts approximately 715,000 mobile video users in Hong Kong in 2008, of which 99 per cent will be streaming users. In Taiwan, ABI Research forecasts that there will be over 1.5 million mobile video users in 2008, with 97 per cent receiving content via streaming.

  • Google, Baidu look to create online video solution in China

    Google, Baidu look to create online video solution in China

    MUMBAI: The world’s most valuable media firm Google is competing with rival Baidu.com to find China’s answer to global online video social site YouTube.

    Both the companies are looking to develop online video services in China.

    Media reports indicate that the two firms have independently had early discussions with some local video Web sites for potential business cooperation or possible acquisitions.

    However, neither Internet giant has secured a specific target yet.

    Google has two options. It could just translate its YouTube site into Chinese or build up a brand new ‘YouTube China’, possibly through the acquisition of a local video-sharing Web site.

  • China signs anti piracy online agreement with MPAA

    China signs anti piracy online agreement with MPAA

    MUMBAI: China has signed an agreement with the Motion Picture Association of America (MPAA), Business Software Alliance, Association of American Publishers and Britain’s Publishers Association to fight against online piracy of intellectual property.

    The National Copyright Administration (NCA) of China has signed the deal, reports state. These groups have agreed to provide the NCA with a list of items that they wish to see protected, such as movies, video and audio, software, and published works.

    The NCA media reports state has, in return, agreed to investigate reported cases of piracy and keep in regular communication with the trade groups regarding copyright issues.

    Reports add that piracy was a focus of two days of talks recently between US Treasury Secretary Henry Paulson and the Chinese government.