Tag: Hotstar

  • Govt defers mega spectrum auction to Oct 1

    Govt defers mega spectrum auction to Oct 1

    NEW DELHI: The Indian government has deferred to Oct 1, 2016 mega sale of mobile frequencies that are aimed at ushering in quality telecoms services, including 4G services capable of delivering hi-speed broadband speed for easy video delivery.

    “For start of the auction 29th September READ start of the auction 1st October,” PTI quoted a revised government communication inviting application for spectrum auction as saying.

    As per an earlier schedule, bids for airwaves was scheduled to start from September 29 that fell during the ‘shradh’ period considered inauspicious to start new ventures as Indians pay homage to departed souls during this period.

    Telecom operators had demanded that the spectrum sale, which is the biggest ever auction, should begin with the start of Navratra festival, considered auspicious, the PTI report states.

    Department of Telecoms (DoT) has put on the block a total of 2,354.55 megahertz of mobile frequencies for auction in bandwidths of 700 Mhz, 800 Mhz, 900 Mhz, 1800 Mhz, 2100 Mhz and 2300 Mhz.

    All the radiowaves being put for auction can be used for high speed 4G services.

    Recently during Vidnet2016, an OTT-specific conference organised by Indiantelevision, Star India’s chief of digital initiative (Hotstar) Ajit Mohan had opined that for platforms like Hotstar high data cost and low quality bandwidth were major challenges.

    At base price, the sale of all spectrum would fetch bids worth Rs 5.63 lakh crore. Of this, spectrum in premium 700 Mhz band alone has potential to attract bids of Rs 4 lakh crore.

    Industry experts, however, have cast doubts over success of the spectrum auction due to high base price of mobile airwaves, but DoT has expressed confidence saying buyers of airwaves in the most expensive frequency band 700 Mhz would be able to save 70 per cent of the cost they will spend on rolling out infrastructure, the PTI reports states.

  • Vidnet 2016: India’s First Focused OTT Conference

    Vidnet 2016: India’s First Focused OTT Conference

    MUMBAI: In today’s mobile-first-with-the-young-generation scenario, content creation, distribution and consumption is constantly evolving.

    Capturing the rapid emerging mood of innovation is Indiantelevision.com’s breakthrough conference, Vidnet 2016: Content on the Go which is to be held on 24 August at the swanky Westin Hotel in Mumbai’s Goregaon suburb.

    Indiantelevision.com’s Vidnet is a day-long congregation of the OTT ecosystem to discuss business models, tech trends, revenue streams, content creation and consumption patterns, success stories within the ecosystem and the way forward for its various constituents.

    The morning will begin with the Vidnet 2016 Summit, which will be followed / accompanied by a closed door VOD / OTT / broadcast CTO conference called Vidnet Tech.

    Vidnet Tech is chaired by Broadcast Media Consultant and Project Specialist, Vynsley Fernandes, Castle Media Pvt Ltd.

    Industry biggies and who’s who of the media and entertainment fraternity are set to attend the event in different capacities. Some confirmed attendees are Ajit Mohan, CEO, Hotstar, Neeraj Roy, MD and CEO, Hungama Digital, Uday Sodhi, Executive VP and Head, Digital Business, Sony Pictures Network India, Abhimanyu Singh, CEO, Contiloe Entertainment, Ajay Chacko, Co-Founder, Arre, Archana Anand, Business Head, DittoTV, Shamsuddin Jasani, Managing Director, ISOBAR, Mahesh Narayan, Managing Director, Saavn, Salil Kapoor, Managing Director, Hooq India, Vivek Bhargava, MD & CEO, iProspect, Tushar Vyas, CSO, GroupM, Baskar Subramanian, Co-founder, Amagi, Gautam Mehra, Data Stack, Aparna Joshi, Radioandmusic.com.

    Vidnet will begin at 10.30 am with an introductory note by Anil Wanvari, CEO, Founder & Editor-in-Chief of Indiantelevision.com Group.

    It will be followed by Presentation on OTT trends in the APAC Region by Vivek Couto, Media Partners Asia.

    The sessions and individual key notes will address holistically many pivotal issues and questions pertaining to the OTT and VOD ecosystem and usher new knowledge paradigms which will set industry trends in time to come.

    For full information on the agenda and list of speakers, visit http://vidnet.in/

    Speaking on the initiative, Anil Wanvari said: “There’s disruption in the video ecosystem, with viewers wanting to consume content wherever and on any device – at home or on the move. The industry has responded through independent or broadcaster affiliated on-demand offerings –either through an ad model or through subscription. Nobody knows what will work, what is needed to make it work and for how long. We hope that Vidnet – Content on the Go will help OTT players, content creators, advertisers, media buyers and planners, brands and the ad delivery measurement guys go a little further in their understanding of the way ahead.”

    In attendance will be major OTT players, individual content creators, advertising and media professionals, tech gurus, writers, journalists among others.

    Akamai is the CDN Partner for the event, Summit Partners include Hotstar and Voot, Elemental is Associate Partner and Amagi is Support Partner. Animationxpress.com, Tellychakkar.com and Radioandmusic.com are Online Partners. The event is executed by ITV 2.0 Productions.

  • Vidnet 2016: India’s First Focused OTT Conference

    Vidnet 2016: India’s First Focused OTT Conference

    MUMBAI: In today’s mobile-first-with-the-young-generation scenario, content creation, distribution and consumption is constantly evolving.

    Capturing the rapid emerging mood of innovation is Indiantelevision.com’s breakthrough conference, Vidnet 2016: Content on the Go which is to be held on 24 August at the swanky Westin Hotel in Mumbai’s Goregaon suburb.

    Indiantelevision.com’s Vidnet is a day-long congregation of the OTT ecosystem to discuss business models, tech trends, revenue streams, content creation and consumption patterns, success stories within the ecosystem and the way forward for its various constituents.

    The morning will begin with the Vidnet 2016 Summit, which will be followed / accompanied by a closed door VOD / OTT / broadcast CTO conference called Vidnet Tech.

    Vidnet Tech is chaired by Broadcast Media Consultant and Project Specialist, Vynsley Fernandes, Castle Media Pvt Ltd.

    Industry biggies and who’s who of the media and entertainment fraternity are set to attend the event in different capacities. Some confirmed attendees are Ajit Mohan, CEO, Hotstar, Neeraj Roy, MD and CEO, Hungama Digital, Uday Sodhi, Executive VP and Head, Digital Business, Sony Pictures Network India, Abhimanyu Singh, CEO, Contiloe Entertainment, Ajay Chacko, Co-Founder, Arre, Archana Anand, Business Head, DittoTV, Shamsuddin Jasani, Managing Director, ISOBAR, Mahesh Narayan, Managing Director, Saavn, Salil Kapoor, Managing Director, Hooq India, Vivek Bhargava, MD & CEO, iProspect, Tushar Vyas, CSO, GroupM, Baskar Subramanian, Co-founder, Amagi, Gautam Mehra, Data Stack, Aparna Joshi, Radioandmusic.com.

    Vidnet will begin at 10.30 am with an introductory note by Anil Wanvari, CEO, Founder & Editor-in-Chief of Indiantelevision.com Group.

    It will be followed by Presentation on OTT trends in the APAC Region by Vivek Couto, Media Partners Asia.

    The sessions and individual key notes will address holistically many pivotal issues and questions pertaining to the OTT and VOD ecosystem and usher new knowledge paradigms which will set industry trends in time to come.

    For full information on the agenda and list of speakers, visit http://vidnet.in/

    Speaking on the initiative, Anil Wanvari said: “There’s disruption in the video ecosystem, with viewers wanting to consume content wherever and on any device – at home or on the move. The industry has responded through independent or broadcaster affiliated on-demand offerings –either through an ad model or through subscription. Nobody knows what will work, what is needed to make it work and for how long. We hope that Vidnet – Content on the Go will help OTT players, content creators, advertisers, media buyers and planners, brands and the ad delivery measurement guys go a little further in their understanding of the way ahead.”

    In attendance will be major OTT players, individual content creators, advertising and media professionals, tech gurus, writers, journalists among others.

    Akamai is the CDN Partner for the event, Summit Partners include Hotstar and Voot, Elemental is Associate Partner and Amagi is Support Partner. Animationxpress.com, Tellychakkar.com and Radioandmusic.com are Online Partners. The event is executed by ITV 2.0 Productions.

  • Ditto TV sees more demand for regional content

    Ditto TV sees more demand for regional content

    MUMBAI: With an aim to be the default app on every internet enabled smartphone in India for content delivery, Zee’s dittoTV seems to have got its marketing pitch correct with #BeeskaTV and #DeshkaTV campaign.

    Poised to clock an annual revenue of Rs 150 crore (according to a media analyst) from a base of approximately six million installs (downloads), mostly in the Hindi speaking markets (HSM), the OTT service is attracting audience from a segment that is still growing in India.

    “We have received a phenomenal response across all our platforms— six million installs and counting! The viewers loved our television commercial and we trended at no. 3 worldwide on Youtube when the campaign went live,” gushed dittoTV business head Archana Anand.

    #BeeskaTV and #DeshkaTV were among the top 10 Twitter trends worldwide, according to Anand who added that the the dittoTV app trended at #1 in the entertainment category in both the Android and iOS app stores.

    With an aim to build on this trending success and further enhance penetration, the digital platform has tied up with sister company Siticable, which is one of the oldest and largest MSOs in the country. Both come from the Subhash Chandra and family-promoted Essel group.

    As part of this collaboration, Siticable will be pushing the authentication and subscription to dittoTV from its portal to the subscribers of its cable TV service for free. The cable TV service will share 20 per cent as revenue for every ditto TV subscription that the operator sells.

    dittoTV subscription charges for three months, six months and one year are Rs 50, Rs 90 and Rs 170, respectively.

    “They say well begun is half done. By that theory, we are in an extremely good position. With the new alliance rolling out and the masses sharing the phenomena of #BeeskaTV, we see the start of a fun and exciting journey,” Anand explained, adding a strong uptake is also reflected on the service’s usage and good content consumption.

    Anand and her team are working on getting new business partnership for the platform and some alliances are said to be in the pipeline, which were not disclosed.

    The platform credits its success to a combination of factors: width and depth of content and its incredible pricing. dittoTV offers access to over 100+ Hindi, English and regional-language channels encompassing general entertainment, sports, movies, news and lifestyle at just Rs 20 a month.

    What worked best on Indian television (general entertainment) seems to have mirrored on the OTT service too as GECs were key drivers of dittoTV, followed by regional and news channels.

    “Regional language content performs superbly across all our platforms and is rising steadily,” opined Anand claiming that regional viewer is also a `returning viewer’ and spends higher time compared to the platform average.

    “On certain days, we’ve actually seen higher consumption for certain regional GECs as compared to key Hindi GECs. Sports and News are very event based and do extremely well for us in bursts when there is a sporting event or breaking news,” Anand said.

    The average view time on the platform has been up to 24 minutes per user. What the reason? Events like cricket (the West Indies vs. India series) and the bundling of dittoTV with data packs with telcos like Idea Cellular have contributed to this substantially.

    dittoTV has deliberately positioned itself differently from other similar players in the markets like HotStar, Sony Liv and Voot as they follow a simple and clear strategy of providing live content similar to what is available on television.

    An aggressive pricing strategy notwithstanding, dittoTV is still far away from replacing cable TV or DTH from consumer homes as a primary source of video consumption, but Anand is upbeat.

    “TV is synonymous with entertainment for the Indian masses and dittoTV being a linear TV offering remains synonymous with TV. I strongly believe that our platform will be a game changer and will help us drive volumes as well as change the way people consume content on-the-go,” she concluded.

  • Ditto TV sees more demand for regional content

    Ditto TV sees more demand for regional content

    MUMBAI: With an aim to be the default app on every internet enabled smartphone in India for content delivery, Zee’s dittoTV seems to have got its marketing pitch correct with #BeeskaTV and #DeshkaTV campaign.

    Poised to clock an annual revenue of Rs 150 crore (according to a media analyst) from a base of approximately six million installs (downloads), mostly in the Hindi speaking markets (HSM), the OTT service is attracting audience from a segment that is still growing in India.

    “We have received a phenomenal response across all our platforms— six million installs and counting! The viewers loved our television commercial and we trended at no. 3 worldwide on Youtube when the campaign went live,” gushed dittoTV business head Archana Anand.

    #BeeskaTV and #DeshkaTV were among the top 10 Twitter trends worldwide, according to Anand who added that the the dittoTV app trended at #1 in the entertainment category in both the Android and iOS app stores.

    With an aim to build on this trending success and further enhance penetration, the digital platform has tied up with sister company Siticable, which is one of the oldest and largest MSOs in the country. Both come from the Subhash Chandra and family-promoted Essel group.

    As part of this collaboration, Siticable will be pushing the authentication and subscription to dittoTV from its portal to the subscribers of its cable TV service for free. The cable TV service will share 20 per cent as revenue for every ditto TV subscription that the operator sells.

    dittoTV subscription charges for three months, six months and one year are Rs 50, Rs 90 and Rs 170, respectively.

    “They say well begun is half done. By that theory, we are in an extremely good position. With the new alliance rolling out and the masses sharing the phenomena of #BeeskaTV, we see the start of a fun and exciting journey,” Anand explained, adding a strong uptake is also reflected on the service’s usage and good content consumption.

    Anand and her team are working on getting new business partnership for the platform and some alliances are said to be in the pipeline, which were not disclosed.

    The platform credits its success to a combination of factors: width and depth of content and its incredible pricing. dittoTV offers access to over 100+ Hindi, English and regional-language channels encompassing general entertainment, sports, movies, news and lifestyle at just Rs 20 a month.

    What worked best on Indian television (general entertainment) seems to have mirrored on the OTT service too as GECs were key drivers of dittoTV, followed by regional and news channels.

    “Regional language content performs superbly across all our platforms and is rising steadily,” opined Anand claiming that regional viewer is also a `returning viewer’ and spends higher time compared to the platform average.

    “On certain days, we’ve actually seen higher consumption for certain regional GECs as compared to key Hindi GECs. Sports and News are very event based and do extremely well for us in bursts when there is a sporting event or breaking news,” Anand said.

    The average view time on the platform has been up to 24 minutes per user. What the reason? Events like cricket (the West Indies vs. India series) and the bundling of dittoTV with data packs with telcos like Idea Cellular have contributed to this substantially.

    dittoTV has deliberately positioned itself differently from other similar players in the markets like HotStar, Sony Liv and Voot as they follow a simple and clear strategy of providing live content similar to what is available on television.

    An aggressive pricing strategy notwithstanding, dittoTV is still far away from replacing cable TV or DTH from consumer homes as a primary source of video consumption, but Anand is upbeat.

    “TV is synonymous with entertainment for the Indian masses and dittoTV being a linear TV offering remains synonymous with TV. I strongly believe that our platform will be a game changer and will help us drive volumes as well as change the way people consume content on-the-go,” she concluded.

  • Channel V’s musical reboot

    Channel V’s musical reboot

    MUMBAI: It has already happened Down Under. Earlier this year, in Australia, Foxtel merged two of its channels Channel [V] and [V] Hits into a new service called [V] Hits running back to back music clips, shuttering all its long form music shows. Huge groans were heard amongst all those who had got used to its cutting edge programming over the 20 years of its existence.

    Something similar is being repeated in India too. Channel [V], was earlier known for its razz-m-tazzy VJs and great shows between the late nineties and up to 2005 and was quite a cult brand. That’s when the management of Star India decided to move it into fiction and non-fiction television, reducing the amount of music played out on the channel. Cut to 1 August 2016, and it’s back to music for Channel [V], almost mirroring what has happened in Ozland.

    Popular Channel [V] shows such Sadda Haq, Gumrah, Mastaangi, Dil Dostii Dance, D4, which had defined it over the past few years are being shipped out to its Hotstar OTT platform. Replacing them will be round the clock music – Hindi, English and popular aired around specially packaged programs. Among the shows that have been introduced include: Hit Machine, Late Night, Most W@anted, V Shuffle, Dance with V, ‘V Hangover, V-non-stop, V international, and V rush.

    The channel has also gone in for a brand refresh with a new look and logo. The two square brackets around the V have disappeared finally, which is indeed refereshing. In a beautiful mix of real world meets contemporary digital design, the origami-inspired logo manages to create a distinct, youthful and approachable form connecting to the youth. The new logo and channel packaging have been created by the in-house design team.

    “Music channels today feature a cluttered environment where the visual experience is compromised. Three fourths of screen is covered with ads or banners with one ticker moving in two directions,” points out general manager & executive VP Channel [V], Star Gold, Movies OK, Utsav Movies Hemal Jhaveri. “Space is blocked for random selfies, there’s a bug on the top left. I always used to wonder where the music and the video is? We observed what was happening and decided to revamp Channel [V]. An uncluttered look, great music videos, minimal graphics on screen will ensure a high-quality experience to the viewer, promising an unparalleled visual experience.”

    According to Jhaveri Indian music channels on air today lack a unique voice, and the category has been dormant for quite some time. According to the Ficci KPMG report 2015 – the last one for which music channels were reported – the music television genre had seen an erosion in viewership and ad revenues dropping from a 3.6 viewership share in 2013 to 3.2 per cent in 2014 and from four per cent ad share in 2013 to three per cent in 2014. Among the players in the segment include: Music India, MTV Indies, National Geographic Music, VH1, B4U Music, Music Xpress, Zing, Mastii, Sony Mix, 9XM, 9XO, ETC, 9X Jalwa, Music India, MTunes etc.

    Jhaveri is quite sanguine that advertising will continue with the channel and newer ones will hop on with the new positioning. “Advertisers serving our target group will remain to be in our portfolio. They pay for eyeballs. If a product is well distributed and the content talks to the target group, advertisers will love to get on board with us,” he says.

    A media planner however adds a note of caution. “Air time on music channels is a commodity,. The entire genre does revenues of not more than Rs 250 crore, even that is a bit on the higher side, ” she says. “Hence, Channel V cannot expect to get the same rates it used to enjoy. The stickiness on music television is simply not there as most music video watchers tend to switch between different channels a lot. There are other B2B ad revenue models and native content deals that Channel V should consider. The advantage for Channel V is that it is a part of the Star India network. It can cross sell between its channels and even its hotstar platform, which should work in its favour.”

    Jhaveri points out to what he claims is another USP for the channel. Says he: “V will be the only channel which will play the best of Indian and International music on the same platform. The global Indian youth today enjoys latest Indian hits as well as popular international music. Staying true to its image, V will be the only channel to deliver a complete package at the consumer’s doorstep.”

    It is over to the Indian youth –who are consuming more and more on digital and on handheld devices– to decide on whether that promise is good enough for them to get on to Channel V circa 2016. And whether the channel’s latest reboot ends up being music for Star India’s ears.

  • Channel V’s musical reboot

    Channel V’s musical reboot

    MUMBAI: It has already happened Down Under. Earlier this year, in Australia, Foxtel merged two of its channels Channel [V] and [V] Hits into a new service called [V] Hits running back to back music clips, shuttering all its long form music shows. Huge groans were heard amongst all those who had got used to its cutting edge programming over the 20 years of its existence.

    Something similar is being repeated in India too. Channel [V], was earlier known for its razz-m-tazzy VJs and great shows between the late nineties and up to 2005 and was quite a cult brand. That’s when the management of Star India decided to move it into fiction and non-fiction television, reducing the amount of music played out on the channel. Cut to 1 August 2016, and it’s back to music for Channel [V], almost mirroring what has happened in Ozland.

    Popular Channel [V] shows such Sadda Haq, Gumrah, Mastaangi, Dil Dostii Dance, D4, which had defined it over the past few years are being shipped out to its Hotstar OTT platform. Replacing them will be round the clock music – Hindi, English and popular aired around specially packaged programs. Among the shows that have been introduced include: Hit Machine, Late Night, Most W@anted, V Shuffle, Dance with V, ‘V Hangover, V-non-stop, V international, and V rush.

    The channel has also gone in for a brand refresh with a new look and logo. The two square brackets around the V have disappeared finally, which is indeed refereshing. In a beautiful mix of real world meets contemporary digital design, the origami-inspired logo manages to create a distinct, youthful and approachable form connecting to the youth. The new logo and channel packaging have been created by the in-house design team.

    “Music channels today feature a cluttered environment where the visual experience is compromised. Three fourths of screen is covered with ads or banners with one ticker moving in two directions,” points out general manager & executive VP Channel [V], Star Gold, Movies OK, Utsav Movies Hemal Jhaveri. “Space is blocked for random selfies, there’s a bug on the top left. I always used to wonder where the music and the video is? We observed what was happening and decided to revamp Channel [V]. An uncluttered look, great music videos, minimal graphics on screen will ensure a high-quality experience to the viewer, promising an unparalleled visual experience.”

    According to Jhaveri Indian music channels on air today lack a unique voice, and the category has been dormant for quite some time. According to the Ficci KPMG report 2015 – the last one for which music channels were reported – the music television genre had seen an erosion in viewership and ad revenues dropping from a 3.6 viewership share in 2013 to 3.2 per cent in 2014 and from four per cent ad share in 2013 to three per cent in 2014. Among the players in the segment include: Music India, MTV Indies, National Geographic Music, VH1, B4U Music, Music Xpress, Zing, Mastii, Sony Mix, 9XM, 9XO, ETC, 9X Jalwa, Music India, MTunes etc.

    Jhaveri is quite sanguine that advertising will continue with the channel and newer ones will hop on with the new positioning. “Advertisers serving our target group will remain to be in our portfolio. They pay for eyeballs. If a product is well distributed and the content talks to the target group, advertisers will love to get on board with us,” he says.

    A media planner however adds a note of caution. “Air time on music channels is a commodity,. The entire genre does revenues of not more than Rs 250 crore, even that is a bit on the higher side, ” she says. “Hence, Channel V cannot expect to get the same rates it used to enjoy. The stickiness on music television is simply not there as most music video watchers tend to switch between different channels a lot. There are other B2B ad revenue models and native content deals that Channel V should consider. The advantage for Channel V is that it is a part of the Star India network. It can cross sell between its channels and even its hotstar platform, which should work in its favour.”

    Jhaveri points out to what he claims is another USP for the channel. Says he: “V will be the only channel which will play the best of Indian and International music on the same platform. The global Indian youth today enjoys latest Indian hits as well as popular international music. Staying true to its image, V will be the only channel to deliver a complete package at the consumer’s doorstep.”

    It is over to the Indian youth –who are consuming more and more on digital and on handheld devices– to decide on whether that promise is good enough for them to get on to Channel V circa 2016. And whether the channel’s latest reboot ends up being music for Star India’s ears.

  • Netflix steps up marketing drive in India, finally

    Netflix steps up marketing drive in India, finally

    MUMBAI:  There are finally some ripples in sight in the otherwise still surface of Netflix’s marketing efforts in India. From carefully curated short videos hashtagged #LifeWithoutNetflix that are doing the rounds on social media, to meme wars with market rival Hotstar on Twitter, we are seeing more of the American over-the-top video giant’s activity recently — a change from its initial presence in the market.

    https://www.facebook.com/NetflixIN/videos/1008915785888828/

    “The #LifeWithoutNetflix social campaign was created primarily to share with our users the things we love about Netflix and the great stories they can find on our service. We want to build communities within the Indian audience to help them discover content they will love, and also to understand what they want in an entertainment experience,” shared a spokesperson from Netflix team based in Singapore.

    On the recent Twitter spat with Hotstar over an internet meme and its omnipresent rivalry with the Star India owned OTT platform Hotstar, Netflix shared, “Because the entertainment market is so broad, there is an opportunity for multiple brands to be successful. Many people will subscribe to several services (including Netflix) since we have different, exclusive content.”

    For more details on this, please read

    Apart from its quick rise to be a market leader in the digital video space, what makes Netflix stand out is its effervescent marketing campaigns.  Believe it or not, its trademark ads are part of the reason it is a brand to be reckoned with, in several mature markets. And there are no rewards for guessing which media it’s best at. Netflix is known to be bullish with its social media campaigns, with each new market it enters. And yet, its touchdown on Indian soil earlier this year was marked with limited fanfare on the company’s part. No gala launch events, no press conferences with big names, no over the top PR drive. It was left to the overzealous media and enthusiastic netizens to spread the word organically.

    Therefore, industry couldn’t help ponder if this was a strategy of some sort, or Netflix simply wasn’t ready enough to take on the Indian market head on. Or maybe it is not on its priority list, given the fact that Indian audience still hasn’t fully accepted the SVOD way.

    Studying the market and spotting the real problems that is native to the audience was part of the reason for keeping a low profile before taking a plunge, a Netflix official pointed out. After all, a campaign gone wrong is probably worse than no campaign at all.

    “It’s early days in India and there’s still much to learn and discover so that we can keep making the Netflix experience better. We are pleased with how consumers in India are discovering Netflix. They like the fact that we are a flat-fee unlimited viewing commercial-free experience, can cancel anytime without commitments. They can watch as much as they want, anytime, anywhere, on nearly any Internet-connected screen,” Netflix shared. Therefore, to start with, building awareness is Netflix India’s primary task when it comes to marketing.

    Netflix has also somewhat caught the nerve of the Indian audience’s watching taste. “For now, we very quickly see that the shows Indians love are very much similar to what we see in other markets and the top ones are Netflix Originals like Master of None, Narcos, Marvel’s Daredevil and Marvel’s Jessica Jones,” the spokesperson pointed out.

    Analysts and brand consultants have time and again cited Netflix’s ads as the perfect blend of problem solving and brilliant storytelling. A good example is when Netflix coined a whole new term – ‘Netflix Cheating’ to address couples who watch shows together.

    Thus, building that niche in every market is an essential part of the brand’s communication strategy. Building a culture around  local content, of course, is the key to that.

    “On the local front, we are pursuing recent Bollywood titles, notable indie films, memorable classic Bollywood titles and the best of regional cinema (Tamil, Gujarati, Punjabi, Marathi). Our goal is to bring Indian cinema to not only all regions of India but to the world so you’ll find Indian film titles in all countries in which Netflix exists, accessible to all our over 81 million members. For example, Brahman Naman, a coming-of-age comedy by celebrated Indian director Q, is now available globally only on Netflix. Coming up, Raman Raghav 2.0 is also among the titles that we picked up at Cannes this year as an exclusive on Netflix. Sacred Games is Netflix first original series from India, which will be produced in partnership with Phantom Films,” the Netflix official added in parting.

    With so much on the way for Netflix audiences in India, one can anticipate the company to maintain a consistence interaction with streamers online through more engaging and snaky videos, and memes. Although the market has yet to see a high decibel campaign from digital media giant.
     

  • Netflix steps up marketing drive in India, finally

    Netflix steps up marketing drive in India, finally

    MUMBAI:  There are finally some ripples in sight in the otherwise still surface of Netflix’s marketing efforts in India. From carefully curated short videos hashtagged #LifeWithoutNetflix that are doing the rounds on social media, to meme wars with market rival Hotstar on Twitter, we are seeing more of the American over-the-top video giant’s activity recently — a change from its initial presence in the market.

    https://www.facebook.com/NetflixIN/videos/1008915785888828/

    “The #LifeWithoutNetflix social campaign was created primarily to share with our users the things we love about Netflix and the great stories they can find on our service. We want to build communities within the Indian audience to help them discover content they will love, and also to understand what they want in an entertainment experience,” shared a spokesperson from Netflix team based in Singapore.

    On the recent Twitter spat with Hotstar over an internet meme and its omnipresent rivalry with the Star India owned OTT platform Hotstar, Netflix shared, “Because the entertainment market is so broad, there is an opportunity for multiple brands to be successful. Many people will subscribe to several services (including Netflix) since we have different, exclusive content.”

    For more details on this, please read

    Apart from its quick rise to be a market leader in the digital video space, what makes Netflix stand out is its effervescent marketing campaigns.  Believe it or not, its trademark ads are part of the reason it is a brand to be reckoned with, in several mature markets. And there are no rewards for guessing which media it’s best at. Netflix is known to be bullish with its social media campaigns, with each new market it enters. And yet, its touchdown on Indian soil earlier this year was marked with limited fanfare on the company’s part. No gala launch events, no press conferences with big names, no over the top PR drive. It was left to the overzealous media and enthusiastic netizens to spread the word organically.

    Therefore, industry couldn’t help ponder if this was a strategy of some sort, or Netflix simply wasn’t ready enough to take on the Indian market head on. Or maybe it is not on its priority list, given the fact that Indian audience still hasn’t fully accepted the SVOD way.

    Studying the market and spotting the real problems that is native to the audience was part of the reason for keeping a low profile before taking a plunge, a Netflix official pointed out. After all, a campaign gone wrong is probably worse than no campaign at all.

    “It’s early days in India and there’s still much to learn and discover so that we can keep making the Netflix experience better. We are pleased with how consumers in India are discovering Netflix. They like the fact that we are a flat-fee unlimited viewing commercial-free experience, can cancel anytime without commitments. They can watch as much as they want, anytime, anywhere, on nearly any Internet-connected screen,” Netflix shared. Therefore, to start with, building awareness is Netflix India’s primary task when it comes to marketing.

    Netflix has also somewhat caught the nerve of the Indian audience’s watching taste. “For now, we very quickly see that the shows Indians love are very much similar to what we see in other markets and the top ones are Netflix Originals like Master of None, Narcos, Marvel’s Daredevil and Marvel’s Jessica Jones,” the spokesperson pointed out.

    Analysts and brand consultants have time and again cited Netflix’s ads as the perfect blend of problem solving and brilliant storytelling. A good example is when Netflix coined a whole new term – ‘Netflix Cheating’ to address couples who watch shows together.

    Thus, building that niche in every market is an essential part of the brand’s communication strategy. Building a culture around  local content, of course, is the key to that.

    “On the local front, we are pursuing recent Bollywood titles, notable indie films, memorable classic Bollywood titles and the best of regional cinema (Tamil, Gujarati, Punjabi, Marathi). Our goal is to bring Indian cinema to not only all regions of India but to the world so you’ll find Indian film titles in all countries in which Netflix exists, accessible to all our over 81 million members. For example, Brahman Naman, a coming-of-age comedy by celebrated Indian director Q, is now available globally only on Netflix. Coming up, Raman Raghav 2.0 is also among the titles that we picked up at Cannes this year as an exclusive on Netflix. Sacred Games is Netflix first original series from India, which will be produced in partnership with Phantom Films,” the Netflix official added in parting.

    With so much on the way for Netflix audiences in India, one can anticipate the company to maintain a consistence interaction with streamers online through more engaging and snaky videos, and memes. Although the market has yet to see a high decibel campaign from digital media giant.
     

  • Hotstar and Netflix India get into a Twitter battle

    Hotstar and Netflix India get into a Twitter battle

    MUMBAI: What happens when an Indian and a global streaming service get into a social media spat? Hotstar and Netflix on their respective Twitter handles have sparked an entertaining battle over a picture that was posted by Netflix India. The Reed Hastings headed company wanted to wish the House Of Cards star Kevin Spacey in style, and they did, with this picture. 

    Hotstar had created a similar image a while back in order to promote its All India Backchod show collaboration On Air With AIB.

    The reply from Hotstar started a banter between the duo in a series of tweets.

    Netlflix replied back with a GIF from House of Cards saying “Insecurity bores me”.

    To which Hotstar replied,

    We don’t know which of the two had the last laugh! But the twitter jousting sure brought a smile on twitterati’s faces!