Tag: Hooq

  • Colors Infinity & HOOQ acquire ‘Mad Dogs’ from Sony for India

    Colors Infinity & HOOQ acquire ‘Mad Dogs’ from Sony for India

    MUMBAI: Viacom18’s English entertainment channel Colors Infinity has picked up the rights of Sony Pictures Television’s (SPT) US adaptation of the British black comedy and psychological drama Mad Dogs.

     

    Additionally, the pan-regional SVOD platform HOOQ, which launched in India last year, has also picked up the rights for the series. Apart from India, HOOQ will air the series in the Philippines, Thailand and Indonesia.

     

    SPT has sold Mad Dogs to over 140 countries around the world ahead of the series debut on Amazon in the US, UK and Germany.

     

    “Mad Dogs has been a huge hit in the UK and there is clearly an equally high appetite for the US series. Mad Dogs is a high end drama with real global appeal and brings together exceptional talent both on and off screen. Sony Pictures Television has long been producing ambitious, acclaimed and award-winning dramas which sit perfectly on traditional linear channels and new platforms – as demonstrated by the range of partners we have around the world,” said Sony Pictures Television president, international distribution Keith LeGoy.

     

    Across Europe, Movistar+ picked up the series in Spain and MTG acquired the show for Viaplay in Sweden, Norway and Denmark. Other territories include Finland (Nelonen), Belgium (Telenet), Turkey (D-Smart) as well as AXN in Central Eastern Europe.

     

    OSN picked up the series for the Middle East, Mnet will show it across Africa, and Sky bought the drama in New Zealand.

     

    Based on the format created by Cris Cole for Left Bank Pictures and British Sky Broadcasting Limited, Mad Dogs is produced by Left Bank Pictures, MiddKid Productions and Amazon Studios in association with Sony Pictures Television.

     

    Mad Dogs tells the story of a group of 40 something underachievers who gather in Belize to celebrate the retirement of one of their friends. A series of dramatic events unfold, exposing dark secrets, a web of lies, deception and murder.

     

    The series stars Ben Chaplin, Michael Imperioli, Romany Malco, Steve Zahn and Billy Zane.

  • Colors Infinity & HOOQ acquire ‘Mad Dogs’ from Sony for India

    Colors Infinity & HOOQ acquire ‘Mad Dogs’ from Sony for India

    MUMBAI: Viacom18’s English entertainment channel Colors Infinity has picked up the rights of Sony Pictures Television’s (SPT) US adaptation of the British black comedy and psychological drama Mad Dogs.

     

    Additionally, the pan-regional SVOD platform HOOQ, which launched in India last year, has also picked up the rights for the series. Apart from India, HOOQ will air the series in the Philippines, Thailand and Indonesia.

     

    SPT has sold Mad Dogs to over 140 countries around the world ahead of the series debut on Amazon in the US, UK and Germany.

     

    “Mad Dogs has been a huge hit in the UK and there is clearly an equally high appetite for the US series. Mad Dogs is a high end drama with real global appeal and brings together exceptional talent both on and off screen. Sony Pictures Television has long been producing ambitious, acclaimed and award-winning dramas which sit perfectly on traditional linear channels and new platforms – as demonstrated by the range of partners we have around the world,” said Sony Pictures Television president, international distribution Keith LeGoy.

     

    Across Europe, Movistar+ picked up the series in Spain and MTG acquired the show for Viaplay in Sweden, Norway and Denmark. Other territories include Finland (Nelonen), Belgium (Telenet), Turkey (D-Smart) as well as AXN in Central Eastern Europe.

     

    OSN picked up the series for the Middle East, Mnet will show it across Africa, and Sky bought the drama in New Zealand.

     

    Based on the format created by Cris Cole for Left Bank Pictures and British Sky Broadcasting Limited, Mad Dogs is produced by Left Bank Pictures, MiddKid Productions and Amazon Studios in association with Sony Pictures Television.

     

    Mad Dogs tells the story of a group of 40 something underachievers who gather in Belize to celebrate the retirement of one of their friends. A series of dramatic events unfold, exposing dark secrets, a web of lies, deception and murder.

     

    The series stars Ben Chaplin, Michael Imperioli, Romany Malco, Steve Zahn and Billy Zane.

  • Netflix a damp squib; broadcasters long term gainers: Edelweiss

    Netflix a damp squib; broadcasters long term gainers: Edelweiss

    MUMBAI: While the world is going gaga over Netflix’s simultaneous launch in 130 countries across the globe including India, financial services company Edelweiss is not too impressed, at least in the medium term.

     

    So when all and sundry are trying to predict and second guess the impact Netflix’s launch will have on the over-the-top (OTT) scene as well as on the broadcast industry in India, according to Edelweiss, the impact of Netflix in India will be limited on direct to home (DTH) and cable TV players over the medium term.

     

    Citing the reasons for the same, Edelweiss lists:

     

    1) Netflix does not have local content

    2) Free content is easily available on Erosnow, Hotstar, YouTube

    3) Steep pricing at 2-3x prevailing cable TV/DTH rates

    4) Broadband speed beyond top cities will be a huge challenge

    5) Lack of India cricket matches

     

    The Indian pay TV market is on its way to embrace OTT platforms, especially for sports content, following increasing usage of internet. According to the company, this will be an additional source of revenue for broadcasters like Zee, Sun TV and TV18 over the longer term. “However, most broadcasters already have their OTT platforms and are yet to sign content deals with Netflix,” the company said in its report.

     

    A successful OTT in US:

     

    Netflix is a successful OTT in US as cable TV ARPU is $60 per month versus Netflix’s ARPU of $20-24. Secondly, the US has higher broadband penetration (~80 per cent) with good speed; and original content is dished out by Netflix. However, in India, Netflix currently lacks these advantages.

     

    “Hence, we do not expect Netflix to have any major impact on Indian DTH/cable TV players over medium term. Netflix has a long way to go before tasting success in India,” Edelweiss said.

     

    Pricing, slow broadband key challenges in India:

     

    As was reported earlier by Indiantelevision.com, in India, Netflix’s subscription rates are Rs 500, Rs 650 and Rs 800 for basic, standard and premium packs respectively. “These are 2-3x the prevailing cable TV/DTH rates. Besides, broadband will entail additional costs,” the report added. 

     

    Internationally, Netflix has done well riding attractive pricing, which is almost half the cable TV/DTH rates, and original content. While the company currently does not enjoy these benefits in India, in a bid to attract subscribers, it is offering free services in its first month of operations. 

     

    According to Edelweiss, plans are also afoot to facilitate streaming via laptops, TV, smart phones and tablets. “However, we believe in India where subscribers pay ~Rs250-450 per month for cable TV (includes sports channels), Netflix’s rates are on the higher side. Broadband speed will also be a challenge. Netflix requires minimum speed of 512kbps and recommends 3mbps speed for SD content and 5mbps for HD videos, which further limits its expansion plans,” the report said.

     

    Sports missing, India savours diverse content:

     

    Netflix is currently beaming international TV shows in India along with English and Hindi movies. “The company is currently not offering local content. Sports content, the main driver of the OTT platform, is also not offered. With India being a country with diverse culture it consumes content in eight different languages. Currently, Netflix is beaming only English content which will attract only niche audience,” the report added.

     

    With Netflix’s subscription price being by far the steepest in India as compared to competition, some of whom even offer content for free on their platform, it remains to be seen whether other players up their price, match Netflix’s or continue to offer content at a lower price. That said, with growing competition in the space from the likes of Arré, ALT Digital, DittoTV, ErosNow, HOOQ, Hotstar, Netflix, nexGTV, Sony Liv, Spuul, Voot and YuppTV, Netflix’s content strategy in the near future will be the key differentiator, which will separate the best from the rest.

  • HOOQ India’s new MD Salil Kapoor bets big on glocal strategy

    HOOQ India’s new MD Salil Kapoor bets big on glocal strategy

    MUMBAI: Global OTT player HOOQ, which forayed into India earlier this year, has made its first big move forward. The platform has roped in industry veteran Salil Kapoor as managing director to handle its India operations.

    At a time when Indian companies are also firming up with the OTT strategy and keeping the impeding launch of Netflix in the Indian market, Kapoor’s appointment may well be a strategic move to tackle the competitive scenario. Kapoor, who is betting big on glocal content as the way forward for HOOQ, tells Indiantelevision.com, “My primarily role will be to establish the India operations. We will set up a new team and after we have achieved targets set for the Indian market, we will foray into neighbouring countries.”

    HOOQ follows a subscription based video on demand (SVOD) revenue model and has recently inked content deals with the likes of Sun TV and Saregama India, which includes content in South Indian languages of Tamil, Telugu, Malayalam and Kannada as well as Hindi.

    “We will be looking at many other such partnerships, our end goal is to create a strong portfolio comprising Bollywood, Hollywood and regional content for our subscribers,” asserts Kapoor.  

    Moreover, the platform will not just be limiting itself to acquisitions, but will also looking at creating original content.

    Reliance Jio, with the employee launch of its 4G services, has rejuvenated the entire OTT fraternity. Bandwidth has been a teething issue for the sector and Reliance Jio Infocomm’s 4G services has raised the hopes of one and all. “What Reliance Jio is doing is great indeed. But it will have a holistic impact. Now other telecom players will also do something or the other and at the end of the day, data price will go down. So I think good days are ahead when it comes to bandwidth,” says Kapoor.

    The freemium revenue model is something that experts are talking about aggressively in the Indian scenario. In the freemium model, premium content is put on a subscription model, while old content can be accessed for free. At this stage, HOOQ is not looking to change its strategy. “We follow the SVOD model and at this stage we are not looking to deviate from it. It’s my second day in office and with time there will be many more developments,” adds Kapoor.

    All major broadcasters now have their own OTT platforms. Star India has Hotstar, which follows an AVOD model, while ZEE’s DittoTV is a subscription based platform. Viacom18 is yet to disclose the revenue model of its platform VOOT. On the other hand, while Sony Pictures Networks’ Sony LIV follows the freemium model, during the FIFA World Cup matches, it offered all the matches for a subscription. Earlier this year, Eros International’s ErosNow also unveiled aggressive and ambitious plans for original content on its platform. Apart from broadcasters, Ronnie Screwvala, in association with Ajay Chacko and B Saikumar, has also launched an OTT platform called Arre and has a comprehensive plans drawn out for it. In a competitive scenario like this, it remains to be seen how HOOQ manages to create a niche for itself.

  • What Indian OTT players can learn from the US market

    What Indian OTT players can learn from the US market

    India’s consumers are just about beginning to experiment with video on demand content delivered over the internet. And a flood of OTT platforms and content creators has suddenly flowed onto the digital highway. Whether it is YouTube or Hotstar or DittoTV or Zenga TV or Hooq or Voot or Arre or nexGTv they have taken their first few steps to understand what consumers want, how they want to consume their content, and how much are they are willing to transact to view that content. 

     

    More evolved OTT markets like the US have already got a headstart and have got immense learning thanks to the availability of fat pipes of bandwidth making OTT almost ubiquitous. Can Indian OTT players learn from those experiences? Some tend to disagree, because the Indian consumer is unique and as different from the American subscriber as chalk is rom cheese. 

     

    But nonetheless for those who want to still find out how the US OTT market is performing and have not managed to get their hands on this study we are encapsulating it for you. Clearleap is a company that works with the likes of HBO, Scripps, and A+E Networks to deliver viewing experiences across screens. It has conducted a survey to learn more about which streaming services US consumers use, what their viewing habits are, and what they value most in an OTT offering. The results offer a look at how average users perceive streaming services, and how they engage with them.

     

    The Key Takeaways from the report are:

     

    Going OTT isn’t an option anymore – it’s a mandate. To stay relevant, reach audiences and grow revenue, content providers need to not only provide a streaming option to consumers, but also address the unique behaviours of today’s younger television viewers. In order to be successful in today’s television market, prospective OTT providers should follow the best practices below:

     

    (a) Ensure a good value. Consumers are willing to pay slightly more (up to $25 per month) if the service has the content they want. Balancing great content and a fair price is the key to attracting viewers and minimising churn.

     

    (b) Make it easy to browse, discover new content, and channel surf. While younger viewers may be more knowledgeable about what they want to watch after they log in, older viewers may not be as familiar with the content available on each service. Improve your user experience by including simple features that encourage discoverability and surface relevant content proactively.

     

    (c) Optimise for screens of all sizes, as tablet and smartphone viewing is significant. Mobile video will only grow in popularity. Get ahead of your viewers’ evolving habits by optimising your service for all screens at launch, and offering apps on key devices such as streaming boxes, mobile phones, and gaming consoles.

     

    (d) Offer tiered pricing solutions to match login-sharing habits. Especially since younger streaming service users are prone to sharing, new services should offer tiered subscription packages that prompt users to pay slightly more to watch content on multiple devices at the same time.

     

    (e) Consider the gaps in the market. While movies and TV series are widely available on Netflix, Amazon, and Hulu, live television is missing from the streaming market. Many current streaming service users wanted broadcast channels (41.26 per cent) in their ideal offering, with sports (28.15 per cent), local (20.28 per cent), and news (15.91 per cent) also highly rated by respondents. Content owners should capitalise on the white space by investing in live content that isn’t already easily accessible online.

     

    To Read the full report, click here

  • HOOQ expands viewing experience with Google Chromecast

    HOOQ expands viewing experience with Google Chromecast

    MUMBAI: In a bid to expand the viewing experience of users in the country and address the home entertainment market, video-on-demand service HOOQ app’s latest version will support Google Chromecast.

    With this, HOOQ subscribers will now be able to use Chromecast to cast movies and TV series from any connected device to their television screens. HOOQ offers unlimited streaming of over 15,000 English, Hindi and regional language films as well as TV shows on its platform. 

    HOOQ chief marketing officer Ravi Vora said, “We are very thrilled to bring the best in class entertainment from HOOQ to Chromecast users enabling them to enjoy the best content on their televisions right in their living rooms. We believe this partnership further solidifies our position as the country’s biggest premium video-on-demand service.”

    Chromecast is a thumb-sized media streaming device that plugs into the HDMI port on TVs. Viewers can use an Android phone, tablet, iPhone, iPad, Mac or Windows laptop, or Chromebook to cast the HOOQ app and its programming onto a television.

    HOOQ launched in India earlier this year with a subscription price of Rs 199 per month. Users can access entertainment content, which can be viewed on upto five connected devices. The service also offers a unique offline download feature of up to five titles at a time ensuring that there is always video content to be enjoyed even when users are offline or facing connectivity challenges.

    Customers, who purchase Google Chromecast through Snapdeal and Reliance Digital, will get free access to HOOQ for six months, which is worth Rs 1500.  

    Some of the content that is available on HOOQ includes movies like The Matrix, The Lord of the Rings, The Dark Knight Rises, Iron Man 3,Don, Chennai Express, Barffi, Kai Po Che, Lai BhaariHarishchandrachi Factory and Chandrmukhi, and TV shows like Friends, Nip Tuck, ER and first and exclusively in Asia – Ash vs. Evil Dead.

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  • Sun TV loads South Indian languages films on HOOQ in multi-year deal

    Sun TV loads South Indian languages films on HOOQ in multi-year deal

    MUMBAI: The OTT acceleration in India is rapidly getting recognition from film and television companies. After collaborating with the likes of Yash Raj Films and Shemaroo Entertainment, OTT player HOOQ has now joined hands with top South Indian broadcaster Sun TV in a multi-year deal.

    HOOQ will carry Sun TV’s library that includes a mix of super hit films in Tamil, Telugu, Malayalam and Kannada languages. 

    Sun TV group CEO S L Narayanan said, “We are excited about the possibilities arising out of our association with HOOQ, a digital distribution platform of impeccable lineage. Sun TV holds a large library of blockbusters and timeless classics with enduring appeal.”

    “Sun TV Network’s extensive library with titles from Tamil to Malayalam will help us ensure we have something for everyone in India. More importantly, we want our customers to continue to enjoy the largest and best catalogue of Hollywood and Indian content of any service available today,” added HOOQ CEO Peter Bithos.

    It may be recalled that Asian OTT player HOOQ recently set shop in India with over 30,000 hours  of movies and TV series.

  • Cyrus Oshidar launches youth centric digital venture 101India.com

    Cyrus Oshidar launches youth centric digital venture 101India.com

    MUMBAI: Digital ventures are mushrooming in the country nineteen to a dozen. With the big daddys of Indian media and entertainment like Raghav Bahl and Ronnie Screwvala leading from the front in the space with new ideas and bags full of investment, it doesn’t take much to figure that digital is where the future lies. And another such media personality, who is putting his money where the mouth is, is the former MTV man Cyrus Oshidar.

     

    When it comes to interacting with the youth in India, there’s no bigger name than Oshidar. Under his supervision at MTV India, iconic creative series targeted at the youth were launched, which successfully managed to garner the TG’s attention. Be it Roadies, or the musical voyage in Sound Trippin, uniqueness was forever visible in each and every concept.

     

    The man who played a pivotal role in establishing youth market in India with multiple innovations, is now set to connect with the youth yet again and this time with the digital portal 101India.com. The portal was launched a month ago with the aim of providing unique and differentiated content for young Indians. What’s more, his team’s unique skill sets were also used to create deeper and more relevant brand solutions. With 101India, Oshidar and his team aim to lead the digital content movement in India.

     

    Speaking exclusively to Indiantelevision.com, 101India.com MD and chief creative officer Oshidar says, “It was at the 2012 Cannes’ first branded content and entertainment contest that the concept of 101digital.com came into my mind. It’s time for the movement to begin. We need to talk to the youth in a creative manner, which they will acknowledge and then eventually interact with.”

     

    Combining adverts in a subtle manner with content on the platform is how the portal will look at making an impact on the youth’s mind. Oshidar says, “We are not a million hits platform and hence we are not going to go pitching to advertisers with promises to millions in return for their crores. We know how to speak to the youth of the country and that’s all we will do. Gone are the days of putting ads in between content. Now we have to fit the brand in the content itself and that’s what we will do in 101India.com.”

     

    The content publishing platform will target educated metro youth aged between 21 – 25 years and hence majority of the marketing and promotional activities to promote the venture will revolve around social media.

     

    Broadband speed in the country is poised to get a major fillip what with Airtel 4G already hitting the market and Reliance Jio impending launch by year end. Oshidar is of the opinion that these rollouts will enhance the infrastructure and bridge the gap between quality streaming and content.

     

    While internationally acclaimed over the top (OTT) venture Netflix is speculated to start its India operation in 2016, another player HOOQ has already launched its India ops. The space is getting cluttered by the day with the addition of Indian OTT players like Ditto TV, Hotstar and Eros Now amongst others. There’s cut-throat competition in the market and established ventures can often overpower startups. However, Oshidar believes that quality content will always sustain. “Game Of Thrones will remain Game Of Thrones and people will consume it irrespective of the platform. So we need to have premium content to sustain in the long run,” he asserts.

     

    101India.com will soon launch an app to reach out to more mobile customers. In terms of content, the venture has created a documentary on the issue of transgenders in association with Times of India’s online venture Indiatimes.com. Also in the pipeline are a series of fiction shows along with a few short movies.

     

    The entire production is taken care of by the in-house team at 101India.com. “We are blessed to have a group of creative talents, who have worked closely with me at MTV and we execute the production all among ourselves,” Oshidar concludes.

     

    More digital power to Oshidar we say!

  • Shemaroo loads 1000+ movies & TV shows on HOOQ

    Shemaroo loads 1000+ movies & TV shows on HOOQ

    MUMBAI: Shemaroo Entertainment and video-on-demand service HOOQ have inked a partnership, which will see the addition of more than 1000 movie titles across multiple genres and languages on the OTT platform. 

     

    With a content library of over 30,000 hours, HOOQ will now distribute Shemaroo’s library that includes a mix of classics to super hit films, TV serials and fitness videos. The content catalogue includes titles like Hunterrr, The Dirty Picture, Ishqiya, Don, Kaalia, Khuda Gawah, Mughal-E-Azam, Nukkad, Shilpa’s Yoga and Bipasha’s Fit & Fabulous amongst others.

     

    Shemaroo Entertainment director Jai Maroo said, “We are excited to partner with HOOQ for Indian content. With increasing number of devices and its users, the consumption of content on these platforms will certainly see an upward swing. We believe that services like this will catalyze consumers’ shift towards premium paid services and thus will ultimately benefit content owners like us. The deal affirms our focus to deliver quality content to our consumers on a variety of media and a network of their choice.”

     

    HOOQ chief executive officer Peter Bithos added, “Partnering with Shemaroo Entertainment, one of the largest content houses in the country will no doubt strengthen our ever-growing catelogue. We aim to satisfy the entertainment needs of the Indian consumers by ensuring that they continue to enjoy the largest and best catalogue of Hollywood and Indian content for only Rs 199 per month.”

     

    “We have put the Indian customers at the heart of our design to ensure that HOOQ serves their needs given the various challenges of India and other developing countries. This is evident in the world’s first download feature for Hollywood content, where customers can download up to five of their favourite movies to watch at a later time even when they are not connected to the internet,” he added.

     

    Singtel, Sony Pictures Television and Warner Bros launched HOOQ in India earlier this year and has also inked deals with the likes of Yash Raj Films amongst others. 

  • “If OTT players offer a unique proposition, all of them can co-exist:” Debashish Ghosh

    “If OTT players offer a unique proposition, all of them can co-exist:” Debashish Ghosh

    ditto TV – India’s first OTT venture owned by media mogul Subhash Chandra – is all set to thrust forward in the space with a strong focus on innovation and fresh content. The OTT player has launched its international operations and will soon have content from across the globe. 

     

    In conversation with Indiantelevision.com’s Anirban Roy Choudhury, ditto TV CEO Debashish Ghosh shares his vision and thoughts on the emerging OTT market in India. Prepared to take on international players entering the market, he says that Zee Entertainment Enterprises does not believe in loss making business propositions. Every business under the conglomerate is financially independent. The emerging market not only has the potential to grow rapidly but also offers ample scope for innovation.

     

    Excerpts:

     

     

    Is India ready for OTT platforms? How is the market shaping up?

     

    The Indian market is surely getting ready for OTT. The only challenge that Indian OTT players face is that of bandwidth. The cost of data be it mobile or cable is high. For an average Indian to shell out Rs 2000 individually to have internet on their mobile is still a challenge. Yes, things are improving and it’s but natural that penetration will increase. Statistically, we are going over the US when it comes to penetration of the Internet.

     

    We at ditto TV are cognizant of the bandwidth condition in the country from the very beginning. Hence, we are not a platform that only works on 3G or Wi-Fi. ditto TV also works on 2G, WAP as well as on feature phones. The OTT market in India is growing and has great growth opportunity. The infrastructure will get better and data will become cheaper as we go along. The growth of OTT will also be interconnected with the new set of consumers that are coming in. Anybody born post 1990s and is above 25 years old doesn’t really watch TV today. They watch all their content on the digital platform.

     

    Which revenue model will sustain in the long run for OTT players in India and which model will ditto TV follow?

     

    I don’t believe any one model will work. It has to be a hybrid scenario. Advertising revenue for at least next three – five years is not the proposition that will be sufficient to offset the cost, so if the business strategy is to incur huge losses then going with the advertising platform is okay. We don’t believe in such loss making propositions. We believe in that whatever business we do, must pay for itself and that’s the reason why we follow the subscription model. I think we are one of the two players, who follow a subscription revenue model. World over the subscription based revenue model is something that’s proven to be sustainable and I don’t see that changing in India.

     

    What kind of advertising can OTT platforms offer? What is the advertiser’s overview on the platform?

     

    If today India is paying for TV that means they are paying for content. The way digital platforms have progressed in this country, creates a challenge. So far the advertising model was working but we all know that it’s stagnating now. Display advertising by its own nature isn’t attractive anymore on digital for brands. As digital is a measurable medium, people over the platform want to target a specific audience and hence the funda of mass roll-out does not work here. That’s why a proposition like native advertising is coming in and innovations like brand solutions, integrated marketing and most importantly proposition like highly targeted advertising will work. Now when a brand wants to advertise, they won’t say “I want ‘X’ GRP” or “‘X’ circulation of a medium,” but will instead say “I want to target 1 million Male, who are aged between 24-32 and are interested in sports.”

     

    BARC is scheduled to release data for all screens which will also include screens that OTT caters to. Do you feel we have enough data to provide brands with a platform for targeted advertising?

     

    Even if BARC provides data for all screens, it will still remain a sample based proposition.

     

    On the other hand, publishers today have the capacity to roll out empirical data. We can give empirical data of the number of people watching our content, how they are watching it, how much time they are spending and how many of them are coming back. Based on this data, we can target specifically. That infrastructure is a function of technology and technology exists today. There are many data management companies like Lotame and Bluberry, which are in play today. So it is possible to fulfil advertisers’ demand and those who can fulfil this will remain in play or get premium CPM for their inventory. The growth will come from targeted advertising. But I believe that India is a market where if the content is original, attractive and effective, people will pay for it.

     

    What’s your take on the current content on OTT platforms? What will be ditto TV’s content strategy and what kind of content is likely to work?

     

    Largely, OTT players today are going for pre-produced TV content, which is easily available. At the same time, brands, freelancers and MCNs are also creating a lot of original content. ditto TV has also invested in creating original content. We launched a music show, which is exclusively for digital and then we are also moving towards producing a whole lot of original shows in different genres like humor, horror, short series and short movies etc. This is sharable content that resonates with consumers, which is not necessarily long. 

     

    I believe that the debate between long and short show is a wrong one. Content is what is important. If the content has quality, short will also work. We can take example from Sujoy Ghosh’s Ahalya, which got more than two million views in three days. So if the content has quality, it will fly. We make so many long movies but how many do we actually remember at the end of the day?

     

    Do you think an ‘only original’ content strategy is monetarily sustainable at this stage?

     

    Creating content cannot be the only strategy. Producing content is also a strategy. One must have all sorts of content including original content. You cannot drive something only on the basis of original content. Let’s face the reality, TV content is still attractive and liked by the mass so there is no point in saying that we will only create original content and dump TV.

     

    Also if you create content, you have to find different ways of monetizing it and that’s where syndication comes in. If you are stuck to a particular model, it’s highly unlikely that you will recover money. Also, the more the content is watched, the more relevant it becomes. House of Cards, Game of Thrones and Orange Is The New Black are examples that we already seen.

     

    Do you feel post the 4G launch, there will be more mobile consumption?

     

    I am keenly waiting for 4G to roll out. But I believe that content will be consumed on both mobile as well as broadband devices. Expecting someone to watch content full day standing on one leg is a little too much as entertainment is not only about content quality but also experience. So group viewing will continue but at the same time when someone is travelling, instead of missing the content because they are in transit, they will watch it on mobile devices, which they wouldn’t be able to do if OTT wasn’t present. In my opinionm consumption is never a ‘or’ but is always an ‘and’ proposition.

     

    Do you feel that the launch of global OTT players Netflix and HOOQ can pose a threat to existing Indian OOT platforms?

     

    India is a very big market and there is scope for everybody to play, provided you are unique. Whether you are ditto TV, HOOQ, Netflix or Hotstar, your USP should be clear to the consumers. The consumer is fickle, so if these players bring in a unique proposition in terms of content and entertainment, all of them will reside simultaneously.

     

    However, in the long run, there will be players who will survive and those who will perish. The platform offering the best holistic experience will survive and hence OTT players will have to keep innovating and setting benchmarks.

     

    Was ditto TV’s new TVC with the tagline ‘Who watches TV alone?’ launched with the aim of taking a dig at Hotstar’s ‘Go Solo’ campaign?

     

    If you don’t go only by the last line, with this campaign what we are actually trying to convey is that television viewing is a collective experience. Initially when TV came to India, it used to be a community viewing. We all used to go to the neighbour’s place and watch Mahabharat. I believe that has not changed significantly because it’s entertainment at the end of the day.

     

    Entertainment is consumed with people one cares for and that’s what we wanted to communicate. In today’s world, where cultures are shifting, people are moving out of their families, nuclear families are mushrooming but relationships do not change. So if people have separated due to circumstances, they don’t need to change their habit of watching TV together. That’s why we showcased mother – daughter, fiancé, brother and sister as well as friends in our campaign. This campaign was executed after research and has nothing to do with Hotstar or its campaign.

     

    With the campaign, was the aim to reach a particular milestone in terms of downloads? What is ditto TV’s subscriber base at this stage?

     

    Downloads mean nothing to us. Ideally, download should mean nothing to everybody. It is just an eyewash. Being a subscription based platform, we analyse ourselves on the basis of the number of active subscribers we have and our target is always to enhance the subscriber base, not the downloads.

     

    We have 1.5 million monthly paid subscriber base out of which most of them are based in India. We have just launched our international operations and have around 20,000 international subscribers. We believe that international operations will play a big role in our growth in terms of monetisation. 

     

    What is the roadmap ahead for ditto TV?

     

    Our goal is to have a worldwide presence with a versatile range of content, which includes both regional as well as international content. We will keep innovating and offering people an exquisite experience. We will make subscription easy and have a wide range of packs, which will make people pay for what they want.

     

    A Bengali has no necessity of a South Indian pack and vice versa, so we will make sure that channels are not forced on to consumers. We allow users to download shows and watch them at their leisure. So overall, we will keep innovating and I believe that’s something that the OTT sector also needs to do non–stop.