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Tag: Netflix

  • 4K content, TV and OTT players: Why India needs to take note

    4K content, TV and OTT players: Why India needs to take note

    MUMBAI: Here’s why Indian OTT players, TV broadcasters and content creators need to take 4K seriously. A new research report Digital TV & Video: Network and OTT Strategies 2016-2021 from Juniper Reseatch has predicted that 4K OTT services will attract over 189 million unique users globally by 2021, up from just 2.3 million this year, driven by greater content availability and compatible devices.

    While connected TVs will be the dominant platform, viewership will take place through a range of devices, including smartphones, tablets and PCs.

    The report points out that a large part of the adoption will take place in the US, as an increasing amount of viewers there take to 4K internet TV and video content watching taking number of the tribe up to 1 in 10 by 2021 as against the 1 in 500 consuming it, there will be offtake in India too. With the dropping of bandwidth and data costs courtesy telecom price wars, and the spread of 4G LTE, India which is a mobile rich country, should see increasing video – even 4K – being consumed on the go on hand held devices and at home.

    The new research found that although YouTube, Netflix and Amazon already offer some 4K video, network providers have been waiting for a critical mass of content to become available before launching their own 4K offer. However, 2016 has seen roll-out of a number of new 4K offerings, such as the launch of the Sky Q 4K service in the UK, coupled with new hardware launches to provide a means of streaming online 4K content.

    Indeed, device compatibility in the past has proved to be a significant barrier for online 4K video.

    Research author Lauren Foye explained: ‘The popularity of online video has seen the use of set-top boxes from vendors such as Roku and Amazon soar. However, delivery mechanisms for content have seen slower adoption, as the availability of 4K capable streaming devices is limited. New device launches, such as the 4K capable Xbox One S this month, among others, are likely to spur a boost in 4K usage.’

    Juniper is cautiously optimistic about the progress of 8K. Whilst there is one commercially available 8K TV currently on the market (priced at $133,000), 8K content is a long way from becoming mainstream. In a similar form to 4K, Juniper sees 8K smart TVs emerging first, followed by streaming devices and set-top boxes, making this a drawn out process.

    With Japan seeking to broadcast the 2020 Olympics in 8K, the industry is likely to use this as an opportunity to drive sales of 8K smart TVs. Juniper forecasts that 8K smart TV shipments will grow more than threefold between 2020 and 2021, to reach over 400,000 per annum by the end of the forecast period.

  • 4K content, TV and OTT players: Why India needs to take note

    4K content, TV and OTT players: Why India needs to take note

    MUMBAI: Here’s why Indian OTT players, TV broadcasters and content creators need to take 4K seriously. A new research report Digital TV & Video: Network and OTT Strategies 2016-2021 from Juniper Reseatch has predicted that 4K OTT services will attract over 189 million unique users globally by 2021, up from just 2.3 million this year, driven by greater content availability and compatible devices.

    While connected TVs will be the dominant platform, viewership will take place through a range of devices, including smartphones, tablets and PCs.

    The report points out that a large part of the adoption will take place in the US, as an increasing amount of viewers there take to 4K internet TV and video content watching taking number of the tribe up to 1 in 10 by 2021 as against the 1 in 500 consuming it, there will be offtake in India too. With the dropping of bandwidth and data costs courtesy telecom price wars, and the spread of 4G LTE, India which is a mobile rich country, should see increasing video – even 4K – being consumed on the go on hand held devices and at home.

    The new research found that although YouTube, Netflix and Amazon already offer some 4K video, network providers have been waiting for a critical mass of content to become available before launching their own 4K offer. However, 2016 has seen roll-out of a number of new 4K offerings, such as the launch of the Sky Q 4K service in the UK, coupled with new hardware launches to provide a means of streaming online 4K content.

    Indeed, device compatibility in the past has proved to be a significant barrier for online 4K video.

    Research author Lauren Foye explained: ‘The popularity of online video has seen the use of set-top boxes from vendors such as Roku and Amazon soar. However, delivery mechanisms for content have seen slower adoption, as the availability of 4K capable streaming devices is limited. New device launches, such as the 4K capable Xbox One S this month, among others, are likely to spur a boost in 4K usage.’

    Juniper is cautiously optimistic about the progress of 8K. Whilst there is one commercially available 8K TV currently on the market (priced at $133,000), 8K content is a long way from becoming mainstream. In a similar form to 4K, Juniper sees 8K smart TVs emerging first, followed by streaming devices and set-top boxes, making this a drawn out process.

    With Japan seeking to broadcast the 2020 Olympics in 8K, the industry is likely to use this as an opportunity to drive sales of 8K smart TVs. Juniper forecasts that 8K smart TV shipments will grow more than threefold between 2020 and 2021, to reach over 400,000 per annum by the end of the forecast period.

  • Warner Bros’ Chad Kennedy joins Lionsgate as SVP current programming

    Warner Bros’ Chad Kennedy joins Lionsgate as SVP current programming

    MUMBAI: Lionsgate has roped in former Warner Bros. television director of current programming Chad Kennedy as SVP of current programming. His hiring represents Lionsgate’s increased presence in the scripted TV world. Kennedy will direct several reports focused entirely on current.

    “The scripted team in our television group has consistently turned out high quality, award-winning series on every platform, including broadcast, cable and streaming,” said Lionsgate EVP-television Chris Selak. “Chad’s experience working with critically acclaimed, fan-favorite series makes him the perfect fit for our existing team, which has done an incredible job of successfully shepherding all of Lionsgate’s series from conception to air.”

    Lionsgate’s scripted programming slate includes OWN’s recent breakout Greenleaf; Hulu’s dramedy Casual; Orange is the New Black, now entering its fifth season on Netflix; E!’s first scripted series The Royals, and Nashville, returning for its fifth season on its new home on CMT and Hulu.

    The studio also has upcoming comedy Graves, its first original series for Epix; the sci-fi anthology series Dimension 404, which begins streaming on Hulu this fall; Dear White People for Netflix, Lionsgate’s first series for YouTube Red, Step Up, and the anthology series Manifesto, the story of the hunt for the Unabomber for Discovery.

    A report reads that in the previous executive structure, SVP television Andy Richley and SVP development A.J. Morewitz, had been juggling both development and current. They now will focus squarely on development.

  • Warner Bros’ Chad Kennedy joins Lionsgate as SVP current programming

    Warner Bros’ Chad Kennedy joins Lionsgate as SVP current programming

    MUMBAI: Lionsgate has roped in former Warner Bros. television director of current programming Chad Kennedy as SVP of current programming. His hiring represents Lionsgate’s increased presence in the scripted TV world. Kennedy will direct several reports focused entirely on current.

    “The scripted team in our television group has consistently turned out high quality, award-winning series on every platform, including broadcast, cable and streaming,” said Lionsgate EVP-television Chris Selak. “Chad’s experience working with critically acclaimed, fan-favorite series makes him the perfect fit for our existing team, which has done an incredible job of successfully shepherding all of Lionsgate’s series from conception to air.”

    Lionsgate’s scripted programming slate includes OWN’s recent breakout Greenleaf; Hulu’s dramedy Casual; Orange is the New Black, now entering its fifth season on Netflix; E!’s first scripted series The Royals, and Nashville, returning for its fifth season on its new home on CMT and Hulu.

    The studio also has upcoming comedy Graves, its first original series for Epix; the sci-fi anthology series Dimension 404, which begins streaming on Hulu this fall; Dear White People for Netflix, Lionsgate’s first series for YouTube Red, Step Up, and the anthology series Manifesto, the story of the hunt for the Unabomber for Discovery.

    A report reads that in the previous executive structure, SVP television Andy Richley and SVP development A.J. Morewitz, had been juggling both development and current. They now will focus squarely on development.

  • Gaurav Pradhan and Swati Shetty join Netflix

    Gaurav Pradhan and Swati Shetty join Netflix

    MUMBAI: In a move to strengthen its team, global video-on-demand player Netflix has hired two senior talents from India. Former YouTube Indian and Southeast Asia product partnerships head Gaurav Pradhan has joined Netflix as director business development Asia, effective from July 2016.

    Meanwhile, Netflix LA has also appointed former Balaji Telefilms’s motion pictures president and Samosa Stories Entertainment founder director Swati Shetty.

    Pradhan has more than 16 years of experience in business development and has served at Google in business development International product partnerships functions for a year. He has also been a part of Yahoo as the chief manager for telco operations and was the assistant manager for value added services in Hutchison Essar (now Vodafone).

    Shetty, on the other hand, was the founder and director of Samosa Stories Entertainment, where she produced Umrika, a film written and directed by Prashant Nair and starring Suraj Sharma (Life of Pi) and Tony Revolori ( The Grand Budapest Hotel ).

    The film was selected in the world cinema dramatic competition at the Sundance film festival 2015 and won the Audience Award. Umrika is represented by Beta Cinema internationally, and ICM Partners in North America.

    Prior to that, Shetty had worked with Star India for five years as manager; and with Walt Disney International productions India as an executive director.

    In April 2016, Netflix roped in Anthony Zameczkowski as vice president, business development for Asia-Pacific. Zameczkowski came with over 17 years of experience in the media and technology industry. At Netflix, his mandate will include leading and managing strategic partnerships and business development in the region.

  • Gaurav Pradhan and Swati Shetty join Netflix

    Gaurav Pradhan and Swati Shetty join Netflix

    MUMBAI: In a move to strengthen its team, global video-on-demand player Netflix has hired two senior talents from India. Former YouTube Indian and Southeast Asia product partnerships head Gaurav Pradhan has joined Netflix as director business development Asia, effective from July 2016.

    Meanwhile, Netflix LA has also appointed former Balaji Telefilms’s motion pictures president and Samosa Stories Entertainment founder director Swati Shetty.

    Pradhan has more than 16 years of experience in business development and has served at Google in business development International product partnerships functions for a year. He has also been a part of Yahoo as the chief manager for telco operations and was the assistant manager for value added services in Hutchison Essar (now Vodafone).

    Shetty, on the other hand, was the founder and director of Samosa Stories Entertainment, where she produced Umrika, a film written and directed by Prashant Nair and starring Suraj Sharma (Life of Pi) and Tony Revolori ( The Grand Budapest Hotel ).

    The film was selected in the world cinema dramatic competition at the Sundance film festival 2015 and won the Audience Award. Umrika is represented by Beta Cinema internationally, and ICM Partners in North America.

    Prior to that, Shetty had worked with Star India for five years as manager; and with Walt Disney International productions India as an executive director.

    In April 2016, Netflix roped in Anthony Zameczkowski as vice president, business development for Asia-Pacific. Zameczkowski came with over 17 years of experience in the media and technology industry. At Netflix, his mandate will include leading and managing strategic partnerships and business development in the region.

  • 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.
     

  • Government & private initiatives required to achieve ambitious goal of Digital India

    Government & private initiatives required to achieve ambitious goal of Digital India

    MUMBAI: According to Akamai’s 2015 Asia Pacific Survey, India had the lowest average broadband speeds of 2.5 Mbps. As 3G speeds increase and 4G adoption is still nascent; the quality of internet access and affordability in terms of data tariffs and on 3G/4G enabled devices continue to remain a challenge to deliver consumer value. On the regulatory side, there have been a lot of discussions on net neutrality and licensing of OTT services. These will have a significant impact on how digital media evolves in the future.

    Sony Pictures Networks India Pvt Ltd. head – marketing & analytics, digital business Abhishek Joshi strongly believes that content is where you stream it and the government has the a say in it. “The OTT industry has graduated from the innovators stage to the early adopters stage within the innovation diffusion curve, based on distinguished product strategies by players in the market. However to cross the chasm to gain the majority market, policy makers will have to play a very big role. Infrastructure and regulatory policies are going to be the biggest differentiators for industry growth for the next 18 months.”

    While on the other hand, Ping Networks co-founder Rajeshree Naik is of the opinion that the government should not play any role in an individual’sprivacy. “That is a grey area. The government should rather focus on the infrastructure, companies coming up, partnerships, investments, etc rather than on content. Infrastructure does not bother pay because I know it is going to get better soon. The thing that scares me are the two terms related to digital i.e. no censorship and payment methods. Though, the beauty of digital is having no regulations, collective responsibility is to be taken ensuring that the government stays away.”

    Supporting Joshi on government interference was VOOT head, marketing and partnerships Akash Banerji. “Short form of content is not the solution. “These are early days for OTT in India. Players are either following the AVOD or SVOD model today. Both are profitable but for now what concerns me about the SVOD model is that why should a consumer pay for subscription when he is already paying a lot for mobile data. “

    Banerji adds, “There also is limitation of vast content on platforms. 80-90 percent of content is with the top players and a minuscule number of hours of great quality content is curated. For a new entrant for eg VOOT, it is difficult to drive money immediately after it rolled out.”

    Whereas Joshi thinks that even the consumers are not inclined to pay. “There is no inclination to pay. They will pay for content that has some value for them. They want quality content, expect HD, streamless service, etc.”

    Hungama.com COO Siddharth Roy opined that transactions have worked. “There is massive copyright infringement. The government needs to have a robust and strong IPR. Branded entertainment is the driver of this entire eco-system. Branded IP makes money.”

    “Value comes from the content and the way it is consumed. The business needs a lot of clarity. Government and all the players should work together to come to a concrete conclusion. In the end, crows is the king,” asserts Banerji.

    Naik believes that videos and original content will co-exist and that content will keep evolving.

    With global players like Netflix and Amazon Prime in India, the players present in the panel are looking forward to the global entrants. “If Netflix is a success in India, the creators will have more chance to put their content on the digital platforms. It is investing plenty on producing original content here and will be a good example. Viewers will love to pay for quality content that can entertain them.”

    Joshi is also excited with the entry of this global player and India and thinks that it is only going to be good for the business.

    Sharing his thoughts on the future of India’s burgeoning digital market, Technicolor’s country head for India Biren Ghose, in his valedictory remarks, said, “Content is assuming new life in the emerging digital economy. Technology enables innovations in imagery that could hitherto neither be produced nor consumed. FICCI and LA India Film Council need to be complimented on encouraging the conversation for the Indian agenda in this space.”

    Panelists at FICCI Knowledge Series 2016 for the Regulatory and Infrastructural Challenges for Digital Media, concluded that a combination of government and private initiatives would need to be rolled out to achieve the ambitious goal of a truly Digital India.

  • Government & private initiatives required to achieve ambitious goal of Digital India

    Government & private initiatives required to achieve ambitious goal of Digital India

    MUMBAI: According to Akamai’s 2015 Asia Pacific Survey, India had the lowest average broadband speeds of 2.5 Mbps. As 3G speeds increase and 4G adoption is still nascent; the quality of internet access and affordability in terms of data tariffs and on 3G/4G enabled devices continue to remain a challenge to deliver consumer value. On the regulatory side, there have been a lot of discussions on net neutrality and licensing of OTT services. These will have a significant impact on how digital media evolves in the future.

    Sony Pictures Networks India Pvt Ltd. head – marketing & analytics, digital business Abhishek Joshi strongly believes that content is where you stream it and the government has the a say in it. “The OTT industry has graduated from the innovators stage to the early adopters stage within the innovation diffusion curve, based on distinguished product strategies by players in the market. However to cross the chasm to gain the majority market, policy makers will have to play a very big role. Infrastructure and regulatory policies are going to be the biggest differentiators for industry growth for the next 18 months.”

    While on the other hand, Ping Networks co-founder Rajeshree Naik is of the opinion that the government should not play any role in an individual’sprivacy. “That is a grey area. The government should rather focus on the infrastructure, companies coming up, partnerships, investments, etc rather than on content. Infrastructure does not bother pay because I know it is going to get better soon. The thing that scares me are the two terms related to digital i.e. no censorship and payment methods. Though, the beauty of digital is having no regulations, collective responsibility is to be taken ensuring that the government stays away.”

    Supporting Joshi on government interference was VOOT head, marketing and partnerships Akash Banerji. “Short form of content is not the solution. “These are early days for OTT in India. Players are either following the AVOD or SVOD model today. Both are profitable but for now what concerns me about the SVOD model is that why should a consumer pay for subscription when he is already paying a lot for mobile data. “

    Banerji adds, “There also is limitation of vast content on platforms. 80-90 percent of content is with the top players and a minuscule number of hours of great quality content is curated. For a new entrant for eg VOOT, it is difficult to drive money immediately after it rolled out.”

    Whereas Joshi thinks that even the consumers are not inclined to pay. “There is no inclination to pay. They will pay for content that has some value for them. They want quality content, expect HD, streamless service, etc.”

    Hungama.com COO Siddharth Roy opined that transactions have worked. “There is massive copyright infringement. The government needs to have a robust and strong IPR. Branded entertainment is the driver of this entire eco-system. Branded IP makes money.”

    “Value comes from the content and the way it is consumed. The business needs a lot of clarity. Government and all the players should work together to come to a concrete conclusion. In the end, crows is the king,” asserts Banerji.

    Naik believes that videos and original content will co-exist and that content will keep evolving.

    With global players like Netflix and Amazon Prime in India, the players present in the panel are looking forward to the global entrants. “If Netflix is a success in India, the creators will have more chance to put their content on the digital platforms. It is investing plenty on producing original content here and will be a good example. Viewers will love to pay for quality content that can entertain them.”

    Joshi is also excited with the entry of this global player and India and thinks that it is only going to be good for the business.

    Sharing his thoughts on the future of India’s burgeoning digital market, Technicolor’s country head for India Biren Ghose, in his valedictory remarks, said, “Content is assuming new life in the emerging digital economy. Technology enables innovations in imagery that could hitherto neither be produced nor consumed. FICCI and LA India Film Council need to be complimented on encouraging the conversation for the Indian agenda in this space.”

    Panelists at FICCI Knowledge Series 2016 for the Regulatory and Infrastructural Challenges for Digital Media, concluded that a combination of government and private initiatives would need to be rolled out to achieve the ambitious goal of a truly Digital India.