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Tag: Online content

  • “We invest in creating unique, authentic, engaging and high-quality content:” Jist’s Rishi Pratim Mukherjee

    “We invest in creating unique, authentic, engaging and high-quality content:” Jist’s Rishi Pratim Mukherjee

    Mumbai: In today’s digital age, the way we consume news and entertainment has evolved dramatically. With the rise of digital platforms and social media, millennials and Gen Z  prefer accessible, engaging, and informative content that simplifies complex news and entertainment topics. This shift has not only transformed how content is delivered but also how it’s consumed.

    Amidst this trend stands Jist Media, a dynamic digital news and entertainment company that has redefined content creation. Jist is founded by Rishi Pratim Mukherjee (co-founder & CEO), Sattvik Mishra (co-founder), and Nitin Narang (co-founder). Since its inception in January 2023, Jist has captivated over five million followers with its innovative approach to simplifying news and making it accessible through a mix of short and long-format videos. With a staggering 1.2 billion views and a reach of 3.5 billion, Jist has quickly emerged as a leading player in the digital media landscape, resonating deeply with a young, curious audience eager for meaningful and engaging content.

    Indiantelevision.com caught up with Jist Media co-founder & CEO Rishi Pratim Mukherjee to gain more insights on the latest developments at Jist, their business model, and much more…

    Edited Excerpts:

    On the inspiration behind the creation of Jist and the journey since its launch; and some of the latest developments at Jist

    Jist (India), is a digital news and entertainment company that creates videos to explain the world to young, curious audiences –  particularly millennials and Gen Z. Our platform aims to empower users through accessible, authentic, engaging, and informative video content. With a dedicated team of 40 plus talented individuals, we consistently produce 250 plus original videos per month, catering to the preferences of audiences who have a penchant for video content consumption.

    Our primary focus is to cater the audiences who have a preference for video content consumption. Over the past year, our social media channels including Facebook, Instagram and X have reached 1.2 billion views per year and amassed five million followers. This tremendous growth is a testament that there is a growing audience for meaningful content that is merely not serving news in a static manner but providing genuine value by making sense of the news cacophony surrounding today’s digital natives. This overwhelming response gives us the confidence to keep making content for our audience and continue to reimagine storytelling via multiple digital formats.

    Latest developments – Jist is currently leveraging branded content partnerships. It has begun taking nascent steps in monetising its content by partnering with marquee brands like Invideo AI, Iqoo, Baazi Games, JB Power Consultants, and Rockford (Modi Illva India Pvt Ltd).

    On Jist setting itself apart from other digital news and entertainment platforms

    We invest in creating unique, authentic, engaging and high-quality content that caters to the diverse needs and interests of our audience eg – entertainment, health, lifestyle, politics, economy and sports among others. As mentioned above, our social media channels including Facebook, Instagram and X have reached 1.2 billion views per year and amassed five million followers. We are committed to meeting the evolving preferences of our viewers by providing them a seamless and enriching experience on the devices of their choice.

    We prioritise quality engagement metrics over mere quantitative indicators.

    On Jist’s business model and the strategies to monetise your content effectively

    Jist operates on a digital content business model, focusing on curating and creating original video content in both short and long formats. Targeting a community of over five million millennials and Gen Z followers, Jist produces infotainment content that makes news simple, fun, and accessible. Since its launch in January 2023, Jist has garnered 1.2 billion views and a reach of 3.5 billion (in 2023 alone). Jist is currently leveraging branded content partnerships. Jist has begun taking nascent steps in monetising its content by partnering with marquee brands like Sprite (Coca Cola) Titan Eyewear, Invideo AI, Iqoo, Baazi Games, JB Power Consultants, and Rockford (Modi Illva India Pvt Ltd).

    On strategies that Jist has implemented to rapidly grow its user base

    We invest in creating unique, authentic, engaging and high-quality content that caters to the diverse needs and interests of our audience eg – entertainment, health, lifestyle, politics, economy and sports among others. The platform reached a significant milestone in 2023, surpassing 700 million viewers across its social media platforms, and are thrilled to see the continued growth in viewership throughout the year. We are committed to meeting the evolving preferences of our viewers by providing them a seamless and enriching experience on the devices of their choice.

    What content consumption trends are you noticing among millennials and Gen Z and how does Jist tailor its content to meet the preferences of younger audiences

    In recent years, there has been a notable transformation in the content consumption pattern of the youth in India, particularly for news and entertainment. According to a report by Global data company YouGov, young consumers between 25-34 years will be driving streaming growth in India. As consumer content consumption patterns continue to evolve, we at Jist News are committed to adapting our content creation approach including leveraging innovative digital storytelling formats, enhancing our presence on social media platforms, and exploring opportunities in the growing streaming market to deliver engaging and relevant content that resonates with our audience.

    ●    Our focus is on providing editorially curated news content that offers perspective and important contextual cues, making sense of the noise for our audience in a language and format native to their digital experience, ensuring both relevance and engagement.

    ●    Ensuring the authenticity of information is paramount to us. Our editorial team led by Rahul Shrivastava, who comes with decades of experience in esteemed news organisations like NDTV and India Today, upholds classical fact-checking and journalistic rigour to meet the highest standards of credibility and reliability. Our editorial team is mentored and moulded constantly to present content that meets the highest journalistic standards.

    ●    While entertainment content, especially scripted fiction, remains popular among Indian youth, there is a noticeable shift towards consuming more informative and issue-driven content. This indicates a growing interest among the youth in understanding and engaging with important social, political, and cultural issues.

    ●    The rise of over-the-top (OTT) streaming platforms has transformed the way Indian youth consume entertainment, with on-demand viewing becoming the norm over traditional appointment-based TV watching.

    ●    We prioritise quality engagement metrics over mere quantitative indicators. Metrics such as organic views, video completion rates, average watch time, and the quality of user comments are considered more meaningful in assessing the effectiveness and impact of its content on the audience.

    We recognise this shift in preferences and strive to provide content that not only entertains but also informs and educates its audience. By delivering well-researched, authentic, and digestible news content, Jist News aims to simplify complex topics and make them more accessible to the digitally savvy youth.

    On some of the most successful IPs Jist has created so far and future IPs that we can look forward to, from Jist Media

    Our most produced content IP is Answered, helmed by in-house anchors Nimisha Wahi and Nishtha Pandey, vertical format video explainer that is Reels first. Each video has an average duration of 120-240 seconds, focusing on crunching information on key topics trending in the news and connecting information dots for our audience, providing them with context of the topic. We handle the entire production process in-house, garnering 15 million monthly views from this content alone.

    In addition to this, all our original interviews – HotSpot (politicians), Townhall (actors, celebs), Spotlight (social media influencers) which are approximately an hour (for YouTube), are sliced into pithy highlight chunks for our reels and shorts section.

    Our IP – Townhall, interview series, features celebrities from the entertainment industry(featured so far – Richa Chaddha, Bhumi Pednekar, Manoj Bajpayee, etc.).

    It is one of our most popular formats and has rapidly gained traction and garnered 100 plus million views over the past year.

  • GUEST COLUMN: OTT platforms are revamping the art of storytelling

    GUEST COLUMN: OTT platforms are revamping the art of storytelling

    Mumbai: The OTT space in India is exploding. There are a plethora of options available for people to watch online. Be it any genre, one will find something interesting to watch and enjoy. There are new titles dropping every week, all trying to catch the eye of viewers. The number of users that are warming up to the OTT bandwagon too is increasing. With the internet penetration getting better and smartphone adoption improving, more people now have access to OTT services.

    OTT players are also looking to expand their market share and vying to get the maximum time spent and visibility. All this is ensuring that viewers have a lot of options to binge. While that might be the case, the space is still getting warmed up to the idea of storytelling.

    OTT and the art of storytelling

    Storytelling is akin to painting a picture albeit with videos. It is an art that requires a lot of extensive observation and weaving into an etched story that viewers can connect and resonate with. The current explosion in the OTT space has enabled many to tap into this world and create beautiful, well-thought stories that are entertaining, educating and enlightening the audiences. However, the process is still at a very nascent stage. A very few OTT players have been able to crack this space and use storytelling to its full potential.

    As the competition in the space continues to heat up, storytelling will become even more important. Platforms that are able to master this art will be the ones that will be able to leave a lasting impression on the minds of the viewers.

    Growing popularity of regional content

    In the last couple of years, regional content has started gaining popularity amongst the masses. Earlier the regional content was only limited to the audience of that geographic area. However, with the advent of OTT platforms, this content is now widely available. Moreover, most OTT platforms are offering dubbed versions of the content that is enabling users to enjoy the same in the language of their preference. The recent success of titles such as Dark, Money Heist, Lupin, Squid Games, Crash Landing on You, “Pushpa”, “Beast”, and “KGF” are glowing examples of how content from any language and geography is able to connect with the audience.

    The content viewing behaviour has become more personalised and everyone wants to watch what they like best. Television was more about watching it with family and OTT has changed that drastically.  To cater to the evolving tastes and preferences, OTT players are revamping their strategy and getting regional and local flavours to reach out to a wider audience base. Content is truly the king and if they can come up with an interesting story then they will find suitable takers for the same.

    Data-backed decisions

    OTT platforms heavily rely on the data of consumers. There are two sides to data, the good and bad. On a positive note, the platforms have a complete picture of what content is getting consumed and the demographics of their users. They even get to know details such as which device the content is being consumed, how much time the viewers are spending on their app, at what hour of the day they are getting maximum traffic, and the drop-out point. It also provides information on what type of content keeps the users engrossed and what they are searching for. This is the bad side of the data as it impacts their social behaviour and how their personality is getting moulded. A lot of companies use this data to push their products and services.

    While data is helping OTT players in finding the most engaging content but it is also typecasting them into making the same things. Serving similar content over time may result in fatigue and viewers switching over to other platforms. Therefore, one needs to be mindful of how they are using the data and make intelligent decisions.

    Emergence of short video app

    The attention span of people is reducing. OTT players now have a very short time to hook the audience to the content. There is also increased competition that OTT content is facing from the new age short video format apps. Tik-Tok, Instagram Reels, Moj and Chingari have managed to create a space for themselves. These short video apps deliver a variety of content and have become immensely popular. These apps are now forcing the OTT players to rethink and rejig their strategy. Some OTT players are now thinking of reducing the time per episode to 25 mins from 45 minutes. Netflix is also planning to come out with a short video format to take on these apps head-on.

    In nutshell, there is no dearth of content available online. From different genres to platforms to video lengths, there is space for everyone. Viewers are also exposed to quality content from across the globe. While there are global titles and K-Dramas that are ruling the roost, even the regional content is making a big impact. In the end, it is powerful stories and engaging content that is gaining the maximum attention. There is also a wider segmentation. Not everyone will be open to consuming content about spirituality and religion. The older audiences are more likely to connect with bhakti and pravanchans but to connect with the younger lot, the platforms will need to have a fresh approach. In the past, mythology shows that are well presented and made keeping in mind the sensibilities of today’s audience have worked wonders for the OTT platform. Legend of Hanuman on Hotstar was one such show.

    Presentation is an important aspect in today’s time. Great presentation and storytelling can go a long way in winning over the audiences and garnering viewership from across age groups.

    The author is OMTV (India’s first sanatan storytelling platform) founder and MD Nitin Jai Shukla.

  • BBC Studios partners with Vuulr to list over 3,000 hours of British content in Asia

    BBC Studios partners with Vuulr to list over 3,000 hours of British content in Asia

    MUMBAI: Vuulr, an online content marketplace for film & TV has announced that BBC Studios has signed an agreement to list over 3,000 hours of its premium British content on the Vuulr marketplace.

    BBC Studios’ library of documentary, comedy, factual entertainment and lifestyle content will be immediately made available for licensing to customers in Asia, featuring titles like Top Gear, Death In Paradise, Call The Midwife, Attenborough and the Sea Dragon and The Young Offenders.

    Additionally, BBC Studios has commissioned a BBC Studios branded content sales platform from Vuulr at bbcstudios.vuulr.com. This BBC Studios Branded Sales Platform (BSP) will allow interested buyers to search the catalogue, watch trailers and screeners on-demand, check rights availability and place licensing offers easily and conveniently.

    All 7,000 buyers already registered with Vuulr will be able to login to BBC Studio’s BSP with their Vuulr credentials. New buyers will only need to do a quick registration to gain full access to the platform.

    “The entertainment industry is fast evolving, and we need to expand the ways to showcase our extensive content catalogue to capture customers that we can’t always reach. Working with Vuulr enables us to reach out and connect with buyers across the diverse Asia and South Asia regions, bringing our bold British premium content to new audiences” BBC Studios senior VP & GM Asia Phil Hardman said.

    “BBC Studios is well known for producing some of the most engaging and premium British programming, with many iconic and much-loved titles. We are incredibly excited to be working with BBC Studios and to present their amazing catalogue on Vuulr,” Vuulr CEO Ian McKee said.

  • Will Indian short-video apps’ monetisation experiments pay off?

    Will Indian short-video apps’ monetisation experiments pay off?

    KOLKATA: The popularity of short snackable videos exploded in India with the advent of TikTok. While it was on the way to be the indisputable leader with top influencers, premium brands, and a growing number of users, geopolitical tension curtailed the dream journey. When several homegrown apps emerged to plug the market gap left by TikTok, many experts had been sceptical about their sustainability.

    However, these apps did not tank – in fact, the ‘Made in India’ apps collectively have managed to capture TikTok’s market share. These platforms have secured 97 per cent of the Chinese app’s users, a recent report from consulting firm ReedSeer suggested. However, the time spent reaching 55 per cent of what it was in June shows there are more opportunities to boost engagement. While many of these apps are raising funds, using the capital to scale up the operations, build robust technology, adding new features, they have started looking at monetisation potentials as well.

    Unleashing brand partnership opportunities

    One of the apps that have emerged as a leading player in the ecosystem is MX TakaTak, the short video arm of MX Player. “For short video platforms, there are a variety of monetisation opportunities available. One is obviously the ad-based model, where we sell inventory to different brands. We are not focusing on that too much at the moment,” MX TakaTak business head Janhavi Parikh said.

    For now, the platform’s primary focus is to work with brands to run branded hashtag challenges to drive engagement. “Although it’s in pretty early stages for us, a lot of brands are interested in doing this. But we are taking things slow. Branded challenges, influencer marketing are big opportunities to grow monetisation,” Parikh added.

    Chingari has also tried out hashtag challenges for brands that are very popular on the platform, co-founder & CEO Sumit Ghosh said. Brands can float a hashtag and then offer money to influencers, creators to create content for the brand. It’s a win-win for the brands and creators as brands pay the latter and the platform amplifies the brand. However, the app is overall not very bullish about direct advertisements as those disrupt the user experience, he noted.

    Another homegrown app Bolo Indya has partnered with brands to do content marketing using live streaming with creators where there could be a product positioning during the live stream or purely working with a brand for brand recall being the primary objective, Bolo Indya CEO and founder Varun Saxena shared.

    Expanding the role of social commerce

    Rather than depending only on advertisers, the apps are also coming up with innovative initiatives. Take for example Chingari – the app that’s dominating the vernacular markets is experimenting with several routes. “We will get into monetisation at a later stage but right now we are just testing certain methods,” Chingari’s Ghosh said.

     “We have recently produced video commerce technology where every video that gets uploaded to Chingari, you will see a shop button on the video, powered by AI & ML. Basically, what we are doing is finding out shoppable objects within the video and comparing with the live catalogue of Amazon and showing what products you can buy from Amazon,” he explained.

    The chosen model will impact revenue as well. For Bolo Indya, it will not be a backend set-up but will be launched under a partnership model with an e-commerce player. MX TakaTak has also been toying with the idea. Lifestyle content focused short video platform Trell also entered this segment at the beginning of this year, partnering with over 500 brands across makeup, personal care, health and wellness categories.

    Building consumer-creator direct engagement

    “I think everybody is trying to innovate revenue model, somebody is trying e-commerce model, somebody is going the advertisement way. Everybody has to find which model suits their product and how to benefit. The good part for us is we have seen a good trend in terms of users spending on the platform, not just time but some money since last quarter,” Mitron TV CEO and co-founder Shivank Agarwal previously said in an interview.

    The app, which recently celebrated its first anniversary, has opened up different monetisation opportunities. One such feature is Mitron Club, Through the Club, creators can churn out engaging content exclusively for users opting for the service. The Club members can also directly connect with creators to request to create content that they would like to watch. Consumers subscribe for Rs 99 per month to become a part of the entire ecosystem of the creator.

    In addition to that, it has unveiled an on-demand service wherein consumers can ask specific help of creators and they can create videos around the queries asked by the audience.

    Direct engagement between consumers and creators to drive monetisation is a key focus for Bolo Indya. On this app, content creators can create online services and post on the platform which are delivered on a real-time interactive basis to audiences through one-to-one, one-to-many live interactions, Bolo Indya’s Saxena said. This could be an astrologer conducting an astrology session with someone or a comic creator doing stand-up comedy show for a group of audiences on a pre-ticker basis. The app takes a platform fee and the rest of the share goes to creators.

    “Our application primarily revolves around the core of enabling the content creators to monetise their content. When we native them to monetise their content on the platform, we see a revenue share out of it,” Saxena stated.

    Another major mode of monetisation for the app is through live streaming. Any creator can go and live stream and people who are watching those live streams can send gifts to those creators. These gifts can be purchased by the audience paying real money on the platform, Saxena said. Whatever the value of the gifts end up being the earning of the content creators and the platform takes a revenue share out of it. Hence, the app highly relies on consumer microtransactions which start from as low as Rs 10 and goes up to Rs 5000.

    Tapping into booming ed-tech opportunities

    Interestingly, some of these platforms are looking at ed-tech as an opportunity to bring in money. Mitron Academy is one such initiative where the creators get an opportunity to share educational videos to help users learn from the platform. It has onboarded a number of experts on different topics.

    Chingari is also working on an edtech offering called ‘Chingari Skill’ which will be launched soon. Thanks to this product, any Chingari user will be able to sell their skills. According to Ghosh, it will leave a lot of scopes for users to create such content in vernacular language as most ed-tech content is either in English or in Hindi. Notably, a large part of Chingari’s user base comes from tier-3 and tier-4 cities.

    Future opportunities

    “We have few other revenue streams in the pipeline which include launching creator rooms where the creator can post social games live learning sessions around fitness, wellness, health etc on the platform for a closed room of the audience creating their own customisation by the platform,” Saxena said.

    While MX TakaTak is already doing live streaming, Parikh seems optimistic that there are a multitude of monetisation opportunities in live streaming over time. The bigger ones could be e-commerce as well as virtual gifting, all of which will be explored in near future.

    How far is profitability?

    As the platforms are trying to build sustainable revenue models, the question of when these models will turn profitable also arises. However, Chingari is not focusing on profitability at the moment and is devoting its energies to distribution, to reach the maximum numbers of users. Ghosh added that it may take two years down the line to become profitable.

    However, Bolo Indya’s Saxena claimed the platform is very close to breaking even at the current scale as well when it comes to the monetisation side. He expects the app to be profitable in the next 12-15 months.

    “If we look towards China, after the first few years, Kuaishou, as well as Douyin, have done phenomenally well because the growth has been so huge. With all of the different monetisation opportunities kicked in, it probably took three-four or even five-six years. If we follow that China model, revenue opportunity is huge and profitability follows definitely,” Parikh commented without revealing any timeline.

  • ‘Value proposition’: Why OTT platforms are here to stay

    ‘Value proposition’: Why OTT platforms are here to stay

    KOLKATA: The Covid2019-induced lockdown was boom time for over-the-top (OTT) players. Making obvious gains at the expense of shut theatres and lack of fresh content on television, SVoD services drew in millions of subscribers who were more than willing to pay for their entertainment, which is why experts believe that there will be no significant churn post-pandemic, thanks to the value proposition offered by OTT platforms.

    Consequently, the pressure has been on the streaming services to provide more content and ensure they keep delivering to users, pointed out Disney+Hotstar president Sunil Rayan. However, the streamer has taken multiple bets like launching direct-to-digital movies as multiplexes were closed. Although it has been a hectic nine months, it has led to the point where it’s normal for people to come to OTT platforms for most of their entertainment needs.

    “Leaving aside the concerns for OTTs, this platform has grown in clarity and prominence. It has been a great opportunity for talented people in the country, huge opportunity for actors, singers, musicians and technicians to present their skills,” ministry of information & broadcasting (MIB) joint secretary Vikram Sahay said at Confederation of Indian Industry’s (CII) ninth edition of the Big Picture Summit 2020.

    Amazon Prime Video country general manager Gaurav Gandhi mentioned that the sector has already seen huge interest in the last few years and the last few months have only accelerated the change. According to him, customer habits are transforming rapidly, and for good. Moreover, users haven’t missed the fact that streaming services are trying to bring a very different premium quality content experience for them – after all, the Indian consumer is very value-conscious, quipped Gandhi. Hence, this adoption is not short term and there would not be a significant churn after people go back to their normal lives, he added.

    One of the trends that OTT platforms have seen is a shift towards watching in the living room as opposed to mobile device viewing, highlighted Rayan. “So that has helped us prepare for more traffic, higher bit rates and all. Will these trends continue? Maybe, maybe not, but the good news is it helps us deal with multiple behaviours. Predominantly a lot of people used to watch OTT on mobile devices and now they are moving to living rooms. Maybe they will come back to mobile devices, though the good news for OTT is that it is accessible on all these different platforms,” he remarked.

    Gandhi also agreed, but qualified this observation by mentioning that mobile viewing is also going deeper. As Amazon Prime Video has subscribers in over 4,300 cities, it indicates subscription service is not confined to a limited part of the country, he noted.

    Overall subscription has seen higher adoption during this period, especially as users have become more accustomed to online payment. “While our ad revenue based business was looking very well, it (SVoD) was completely challenging for us because it was a service that was born in the pandemic. We could map how users migrated from free service to subscription service and that acceleration was significantly higher than we thought,” Viacom18 digital ventures COO Gourav Rakshit shared.

    While investment in OTT content is at its peak right now, the comparatively smaller players believe staying true to their value propositions will help them to create a viable business model, Shemaroo Entertainment CEO Hiren Gada said. Eros Digital general counsel and legal head Bishwarup Chakrabarti echoed the sentiment, adding that it’s not about choosing X or Y, but going for “and.” According to him, consumers are trying to get a feel for what they have access to.

    However, amid the rapid growth of OTT platforms, the fear of censorship has also risen online content has been brought under the ambit of the MIB. Allaying concerns, Sahay stated that there shouldn’t be scepticism around the government’s decision. But he averred that certain sensibilities, especially of children, need to be protected. “Therefore, we will continue to be in touch with the industry to work out a (regulatory) model which is acceptable to all of us, so that nobody can say India has a large amount of content which it cannot be proud of,” he concluded.

  • AVIA announces governance framework for online curated content services

    AVIA announces governance framework for online curated content services

    KOLKATA: The Asia Video Industry Association (AVIA) has announced the publication of the governance framework for online curated content (OCC) services (hereafter referred to as the “Governance Framework”). The governance framework delivers concrete commitments and standards in order to deepen discussions with APAC regulators and empower consumers in the region.

    OCC services are online video streaming services, which offer a fully curated content catalogue. Their unique characteristics distinguish them from other online video services, such as social media and user-generated content, as well as pay TV and broadcast TV. OCC services are operated by professional media companies and have suitable technology at their disposal to more effectively ensure controls and take responsibility for the content they distribute. These services stand ready and available for dialogue with governments, to help build a positive and growing content ecosystem.

    OCC services are transforming the way that content is created and consumed in Asia and around the world, expanding markets and options for creators and empowering consumers to safely view the professional content they select whenever, wherever and on whichever device they choose.

    A recent YouGov survey of consumers in five Asian markets found that there is a high expectation (62 per cent) that OCC service providers curate their content well with ratings and advisories, but an even higher expectation (77 per cent) that final content control is put in consumers’ hands. A large preponderance of consumers (77 per cent) also believed parental controls or content filters are an important attribute of OCC services.

    The new governance framework is designed to meet those expectations. Within its provisions, the framework proposes various industry actions that include robust systems of control by way of parental control features, program ratings, advisories, and consumer feedback mechanisms. It also proposes a notification process overseen by the regulator to ensure accountability, and formal industry-regulator consultations to continue to improve the framework.

    Importantly, the survey found that viewers have high expectations for access to the content they seek. The survey found that in reaction to government censorship, 80 per cent of streaming viewer customers would revert to piracy, cancellation or reduction of their use of legal services.

    An effective governance framework, rather than heavy regulation, is therefore critical for this dynamic sector providing an accountable framework for legal content consumption. It is designed to encourage growth of the OCC sector, and ensure the progressive adoption of higher standards by a greater number of curated service operators.

    AVIA CEO Louis Boswell said, “OCC industry leaders have already demonstrated their commitment to responsibility and ensuring accountability. This framework will help guide our members, and hopefully governments, to act in good faith and closely collaborate as this nascent sector continues to evolve. And, more importantly, it will give consumers confidence in the content provided by the OCC sector without the need for burdensome regulation on top.”

    The concept for the governance framework grew from initial discussions at the ASEAN Telecom Regulators Council dialogue, held in Bangkok in September 2017. This forum brought together both regulators as well as industry in dialogue, to create pan-ASEAN solutions. The initial output from this was the subscription video-on-demand industry content code for ASEAN. Similar content codes have also been released in India and Taiwan, creating room for a region-wide framework that puts forward guiding principles for the industry.

    AVIA has put these principles forward in the spirit of continued dialogue and engagement between industry, government, civil society and consumer groups. AVIA members look forward to discussing with governments how policy and regulation can be developed to benefit consumers across the Asia-Pacific region and help grow the region’s creative industries.

  • Karnataka High Court rejects plea to regulate online content under Cinematograph Act

    Karnataka High Court rejects plea to regulate online content under Cinematograph Act

    MUMBAI: The films, serials and other multimedia contents transmitted, broadcast or exhibited through internet platforms an donline streaming platforms like Hotstar, Amazon Prime, Netflix and Alt Digital, cannot be regulated under the Cinematograph Act, 1952. The Karnataka High Court on Wednesday held the order while rejecting a plea made in a public interest litigation (PIL), according to a report in The Hindu.  

    The petition was filed by a Bengaluru resident Padmanabh Shankar which was heard by a division bench comprising chief justice Abhay Shreeniwas Oka and justice Mohammad Nawaz.

    The division bench said that he act of exhibition of films, serials and other content perhaps amounts to transfer of files based on requests by users as per  the concept of internet and its operation. Hence, transfer of files or films, serials through the internet can not come under the purview of Cinematograph Act.

    However, the bench said that it hopes that the union government will find a solution in public interest within the four corners of the law if the petitioner submits a representation seeking regulation of content of online streaming platforms.

  • MIB proposes amendment to Cinematograph Act to combat piracy

    MIB proposes amendment to Cinematograph Act to combat piracy

    MUMBAI: No online content is free of the hassle of battling piracy in India. The multi-million dollar film industry is arguably the most affected by piracy. Therefore, the Ministry of Information and Broadcasting feels a necessity to have an enabling provision in the Cinematograph Act, 1952.

    In a press release, MIB has proposed for the introduction of the Cinematograph Act (Amendment) Bill for the inclusion of a new sub-section (4) of section 7 of the act while penalties for contravention of provisions for certification of films for public exhibition are given under section 7.

    MIB has also sought comments from the general public on the amendment by 2 February 2019. Comments can be submitted via email and in exceptional cases, submissions by post will be accepted.

    The new sub section has been proposed with the following text:

    “Notwithstanding any law for the time being in force including any provision of the Copyright Act, 1957, any person who, during the exhibition of an audiovisual work, cinematographic in an exhibition facility used to exhibit cinematograph films or audiovisual recordings and without the written authorisation of the copyright owner, uses any audiovisual recording device to knowingly make or transmit or attempt to make or transmit or abet the making or transmission of a copy or visual recording or sound recording embodying a cinematograph film or audiovisual recording or any part thereof or a copy of sound recording accompanying such cinematograph film or audiovisual recording or any part thereof during subsistence of copyright in such cinematograph film or sound recording, shall be punishable with imprisonment not exceeding three years and shall also be liable to fine not exceeding Rs.10 Lakhs, or to a term of imprisonment for a term not exceeding three years or both.”

  • In the online medium, the audience is the king, say digital stars

    In the online medium, the audience is the king, say digital stars

    MUMBAI: Over the past few years, the media landscape has taken a dramatic shift. It is a whole new virtual world and the rise of ‘YouTube generation’ has enabled talents to gain large followings online. From music to comedy, there are compelling opportunities for people to show their skills on the world wide web. The future of story-telling is evolving and the online sphere has proven to be a great platform for talents to find their own voices. So, what is it about crafting content online that attracts numerous talents?

    “It is an opportunity for us to work with the creative freedom and aesthetics that mainstream media doesn’t allow,” say the talents of the popular YouTube channel, Enna Da Rascals.

    Explaining their reasons to take on the virtual world, the group elaborates, “We started off as a theatre company and all of us work in films. It felt like a logical extension to move towards online content.” The channel, which has over 27,000 subscribers and 1,000,000 views on YouTube, includes names such as Pooja Devariya, Venkatesh Harinathan, Rajiv Rajaram and Yohan Chacko.

     

    The creators of another popular channel, SnG Comedy, boasting over 80,000 YouTube subscribers and 5,000,000 views tell us a comparable story. “With the kind of comedy we do, there were only two ways to get ourselves out there – stage and YouTube. The stage, while truly gratifying, does not have the reach and the ability that YouTube has.”

     

    More and more people are relying on their smartphones and tablets to watch content online. Whether it is a tip on how to look good or how to cook a dish, chances are that we would go online for instant solutions.  “People like to be spoon fed. They are lazy to answer their own questions,” says make-up artist and hair stylist Elton Fernandez, who has over 8000 subscribers and 300,000 views on his YouTube channel.  According to Fernandez, the audience today wants specific content and answers to their precise requests.  

    This can be deemed true for the current generation which particularly has a short attention span and is constantly looking for diverse entertainment. According to Enna Da Rascals, people are inherently opinionated and content which polarize people and make them think about their perspectives do well.  

    SnG Comedy, comprising Karan Talwar of BollywoodGandu, Varun Thakur, Aadar Malik, Brij Bhakta, Neville Shah and Kautuk Srivastava, believes that the audience today wants real and original content.  “There are no fixed formulas. It all depends on your originality and how the audience can relate with your content,” they say.

    So, how do these talents create good content online?

    “With us, there is no strategy really. We do stuff that we like. We prefer to get our humour and ourselves out there,” answers SnG comedy.

    Make-up artiste and hair stylist Mrinalinee Mukherjee who has recently started a YouTube channel, feels that it is vital to be true to one’s art and share the expertise of a subject to the best of their ability. She says, “Making good videos, teaching new things and reaching out to them are some ways to keep the audience interested.”

    Fernandez tries to keep his content simple and does things that are actually achievable in real life. “The viewers should not feel that what I am doing is rocket science. It should not be intimidating for them to try,” he adds.

    However, according to Enna Da Rascals, there is a downside to having creative freedom online. The content created is up and there for everyone to judge. “With a film or a play, you can market or sell it to a specific audience. Here, the content is for everyone to see. Finally, you realize in this medium, the audience is king. You can’t rig the press, the counts or juries. What you see is what you are,” they say.

    Budget is also a common concern for all these talented online celebrities. There is a cost attached to making videos with no fixed returns. So, do they then compromise on the quality of their content?
    Enna Da Rascals feels that this is where engagement with brands come in handy. “Sometimes brands can help you create videos with a much larger design.  If we’re feeling ambitious and the content is something the audiences may enjoy, we’ll need the support of a brand to make it happen.”

    With the advent of multi-channel networks, talents are also being able to find support financially. SnG comedy which comes under Culture Machine Digital Video Entertainment Company says, “Culture Machine has been pivotal. They’re really the money. They are the ones who selflessly invested actual capital to help us grow as a channel. They believed in our style and brand of comedy. They’ve pulled all stops to help and assist us.”

    Adding to that, Enna Da Rascals states, “It’s nice to know that someone has your back looking at the monetary side of things. Also, they provide insights on which videos have the potential to do well.”

     
    Despite of all these, the perks of being a digital star are endless. A digital footprint contributes in getting live gigs and recognition. For SnG Comedy, it has helped them in the sales of their stage shows. Having a channel online has added to their brand equity when they are pitching for a live act.  “People know us,” they say.

    For Fernandez, he feels it is nice to be recognised by a specific target audience and creating content online is a long term business for him.

     

    Such is the case with Enna Da Rascals who believes that they have been successful in attracting the attention of various brands. According to them, the online world is definitely preferred amongst the young tech savvy consumers. “Don’t be surprised if you find yourself choosing the online industry over the main industry,” they conclude.

     

  • BBC launches service connecting TV, radio and online content

    BBC launches service connecting TV, radio and online content

    MUMBAI: UK pubcaster The BBC has launched Connected Red Button. The aim is to reinvent the red button service for the future by effortlessly bringing TV, radio and online content together in the simplest possible way.

    The service will launch first on Virgin Media’s TiVo service as part of the innovation partnership agreed between the two organisations to create next-generation TV experiences. BBC Connected Red Button will be rolled out to other internet-connected TVs over the coming months.

    BBC Connected Red Button enables users to:
    – Watch programmes from BBC children’s channels, BBC Three and BBC Four anytime – day or night – even if the channel is off-air

    – Catch up on previous episodes of the shows you love and discover new gems

    – Get closer to the latest sporting action, with more streams, clips and content from your favourite events

    – Immerse yourself in news and weather headlines and clips that matter to you, when you want them, all at the touch of a button

    BBC Connected Red Button arrives in around 1.2 million Virgin Media TiVo homes today and will be available on other internet-connected TVs over the coming months. With new functionality and features added to the service over time, Connected Red Button will redefine how audiences watch, engage and interact with BBC content on their TV.

    The BBC has over 13 years of experience developing and evolving its red button services, which have brought viewers closer to the action at major events like Glastonbury, Wimbledon and Formula 1. BBC Red Button now attracts an audience of 20 million per month, peaking during this summer’s Olympic Games, where 24.2 million viewers watched up to 24 live streams via the red button.

    With predictions that by the end of 2016 there will be almost 22 million connectable TVs installed in the UK, and that over 50 per cent of UK TV households will have a connectable primary set – either directly or via a set top box**, BBC Connected Red Button will give viewers even more reason to connect their TV, and provide a platform to make BBC TV, radio and online content more interactive and engaging in the future.

    BBC Programmes, On-Demand GM Daniel Danker said, “With today’s launch of BBC Connected Red Button, the BBC is seamlessly bringing the Internet together with live TV, while making the technology completely invisible. This is red button reinvented, and the beginning of the exciting future of television.”

    IPTV, TV Online Content head Victoria Jaye said, “With BBC Connected Red Button, we’re starting with the TV audience who love our broadcast output and we’re curating online content on the big screen in ways that add value to their TV viewing. The audience can sit back and relax – the internet just made TV better.”

    Virgin Media executive director of digital entertainment Cindy Rose said, “The BBC understands as passionately as we do how important connected television is for home entertainment. We’re delighted the BBC is working with us to launch another milestone in interactive services. Our commitment to this partnership of innovation means Virgin Media TiVo customers are the first to experience the latest interactive services at the press of a button.”