Tag: Ormax Media

Old Hindi TV shows make a comeback to light up primetime again

MUMBAI: Ready for a trip down Tele‑vision Lane? Indian TV networks are reaching for the rewind button, dusting off iconic serials from the 90s and 2000s and re-hashing them with a modern twist. From crime procedurals to kitchen politics, old favourites are back to reclaim viewer loyalty, and early signs suggest it’s working. From Kyunki Saas Bhi Kabhi Bahu Thi and CID to Bade Achhe Lagte Hain, broadcasters are betting big on nostalgia to revive TRPs. These revamped shows began dropping between December 2024 and July 2025 CID 2 returned last December, Bade Achhe Lagte Hain 4 launched in June, and Kyunki 2 is all set to make its grand comeback come 29 July.

Why the flashback fix? For starters, the 25–45 age group grew up with these shows, making them more than just content, they’re memories. Channels are cashing in on this emotional bond to draw back viewers amid the OTT onslaught. Legacy titles offer not just a TRP rescue but a cost-efficient revival strategy complete with ready sets, familiar faces, and low marketing spends. As a source at Star India put it, it’s a smart way to “mitigate screen fragmentation.” Plus, the pandemic proved nostalgia’s power when Ramayan and Mahabharat re-aired, they smashed viewership ratings records, outpacing even fresh content.

Ormax Media head of business development for streaming, TV & brands Keerat Grewal said: “Over the past three to four years, shows with strong protagonists such as Anupamaa, Yeh Rishta Kya Kehlata Hai, Ghum Hai Kisi Ke Pyaar Mein, and Kumkum Bhagya, have managed to sustain high viewership even across multiple leaps. This has been largely driven by the strong emotional equity their lead characters hold. The shows have skillfully introduced a new generation of characters who inherit familiar personality traits while addressing more contemporary issues, allowing the audience to feel a sense of continuity and evolution.

“The growing preference for shows with known characters and familiar storylines is not just a trend – it’s deeply rooted in how the human brain works. Neuroscience research shows that nostalgia and familiarity activate the brain’s reward centers, triggering comfort, trust, and emotional safety. Audiences are neurologically wired to return to content that evokes positive memories or past emotional resonance. That’s precisely what the return of a show like Kyunki Saas Bhi Kabhi Bahu Thi will tap into.”

Based on Ormax’s extensive tracking in the HGEC category, we know that the Kyunki brand still holds strong equity among viewers today. This is reflected in the exceptional performance of the show’s new promo on our proprietary awareness tracker Ormax Showbuzz. Within just two days of the promo’s release, the show has recorded unaided awareness levels typically seen only after three to four weeks of sustained marketing in this genre. The data underscores the power of nostalgia, combined with trusted storytelling and iconic characters, to drive early interest and engagement.

Kyunki Saas Bhi Kabhi Bahu Thi (2000–2008) is set to return with Smriti Irani reprising her iconic role of Tulsi on Star Plus. CID (1998–2018) made its way back in December 2024 with most of the original cast. Bade Achhe Lagte Hain 4 debuted in June 2025, introducing a next-gen romance against a familiar emotional backdrop. Also making a play for comeback glory: Shaktimaan, slated for an audio reboot and a blockbuster film starring Allu Arjun; Aahat, the spooky staple now re-airing nightly; and evergreen titles like Khichdi, Office Office, Shrimaan Shrimati and Ramayan, all back on air or rumoured to be.

A JioStar spokesperson said, “Bringing back a show like Kyunki Saas Bhi Kabhi Bahu Thi is not just hinged on nostalgia, it is a strategic storytelling move designed for today’s viewers. At Star Plus, we see legacy IPs as powerful cultural assets that can be reimagined to reflect today’s evolving values. By blending familiarity with freshness, we aim to bring together households, unite generations, spark new conversations and reaffirm the enduring relevance of stories rooted in family, identity, and resilience.”

A source at Balaji Telefilms revealed that the decision to bring back Kyunki wasn’t an easy one. The creator Ekta Kapoor initially resisted, reportedly saying, “You can’t compete with nostalgia. Why shake it up?”

One of the reasons she said yes, sources close to her say, is the creative challenge to make it connect with today’s evolved audience and make an impact by tackling issues which don’t find their way into the current roster of shows on air. (On a lighter note, it will give Balaji Telefilms an opportunity to take the show past a record-breaking 2,000 episodes; remember, it was taken abruptly off-air in its 1,833rd episode).

The clincher for the channel and OTT was not just ratings, it was legacy. Internal research commissioned had once shown that Kyunki helped amplify women’s voices in Indian homes. It tackled domestic abuse, ageism, and marital consent long before these were TV buzzwords.

The reboot, sources said, is less about chasing numbers and more about “reclaiming the power to reach millions and change mindsets.”

Sources familiar with the strategy at Star noted that Kyunki’s return serves both sentiment and business. “Broadcast reach is still far greater than OTT,” one executive explained. “Advertisers too have bought into the show because of its familiarity, going by the sponsors who have been tied up: Procter & Gamble (a classic soap advertiser), Colgate and Fortune Oil.”

They added that older viewers with their own families who first watched shows such as Kyunki as youngsters or young adults or are now settled, have disposable income, and more free time. “This group is now reachable again especially in slots like 10:30 pm,” said she.

With Kyunki, CID and Bade Achhe Lagte Hain leading the charge, the revival roster is far from done. Insiders suggest shows like Naagin, FIR, and Shrimaan Shrimati could be next in line. Meanwhile, connected TVs and Fast (free ad-supported streaming TV) channels are helping extend the reach of these classics into smaller towns and rural households, where smart TVs and budget broadband are becoming the norm.

Indian TV isn’t stuck in a time loop, it’s cleverly remixing the past. This wave of strategic nostalgia blends cultural memory with broadcast savvy, reminding us that some stories never really go out of style. In fact, they just get retold with better twists, lighting, cast and production values.

July 14, 2025
Box office in all languages as Ormax cinematix gets a pan India upgrade

MUMBAI: What’s the buzz across Bharat? Ormax Media may now have the answer in eight languages. India’s go-to media insights firm Ormax Media has given its flagship film tracking tool a blockbuster twist. Ormax Cinematix, long trusted for tracking hindi film pre-release buzz, has just dropped its Pan India version now equipped to track and forecast theatrical releases across eight Indian languages including Hindi, Tamil, Telugu, Malayalam, Kannada, Marathi, Punjabi, and even Hollywood films dubbed for desi fans.

The upgraded tool has been designed specifically for the multi-lingual film juggernauts that dominate India’s box office, think RRR, K.G.F., and Pushpa. These big-ticket releases no longer belong to just one region, and now, neither does Ormax Cinematix.

The Pan India version offers a unified, real-time snapshot of campaign performance and box office projections for films that drop in up to five languages at once. Using weekly polls of 2,000 plus theatre-goers and tracking parameters like Buzz, Reach, and Appeal, it claims 75–85 per cent accuracy on first-day forecast numbers, a stat that may soothe even the most jittery film marketer.

Speaking about the launch of the pan India version Ormax Media head of business development (Theatrical) Sanket Kulkarni said, “With South Indian cinema seeing a significant surge in both scale and theatrical reach over the past few years, the need for a consolidated, data-driven tool that captures audience response across languages and markets has become critical. The Pan India version of Ormax Cinematix is a result of extensive research and data modelling, to ensure accurate language-wise forecasting of the first-day box office of films that release in upto five languages at the same time”.

The tool, which operates on a subscription model, is aimed at helping producers, studios, distributors, and exhibitors decide how best to spread their marketing spends, scale their campaigns, and benchmark success all before a single ticket is sold.

As storytelling becomes more pan-Indian, so does the science behind its success. With this rollout, Ormax is hoping to become the box office’s crystal ball no matter the language, region, or genre.

May 15, 2025
Baba Nirala breaks the internet as Aashram S3 hits 250 million viewers

MUMBAI: From crime to cult status, Aashram S3 Part 2 isn’t just streaming, it’s storming. The smash-hit series on Amazon MX Player has crossed a jaw-dropping 250 million viewers, becoming a full-blown digital phenomenon and topping Ormax Media’s most-watched originals list for a fourth straight week.

In the land of cricket and cinema, it’s rare for a web series to stir the nation with the intensity of a blockbuster film. But Aashram has done exactly that, transcending genre stereotypes, turning marketing on its head, and transforming Bobby Deol into a full-time messiah of mayhem.

Forget the old trope of male-dominated crime thrillers. Aashram is busting audience myths left, right, and centre. Over 20 per cent of its viewership comes from women, while its reach spans both urban metros and Tier 2/3 towns. The drama has travelled in multiple tongues too, with dubbed versions in Bengali, Tamil, and Telugu clocking impressive numbers.

Even Amazon’s internal data is dishing out interesting clues: 77 per cent of viewers are tech-savvy, and 64 per cent are fashion-forward. Yes, Baba Nirala has fans who not only meditate but also accessorise.

The show didn’t just ride on hype, it engineered it. Aashram’s trailer trended on YouTube for 23 days, raking in 24 million views. A clever collab with cricketer Yuzvendra Chahal, featuring a fictional blessing from Baba Nirala to let him open an innings, went viral with 6.3 million views and 850,000 engagements.

Major brands were eager to hop onto the Baba bandwagon, Vimal served as presenting sponsor, co-powered by Lahori Zeera and Lux Nitro, with KEI Wires, Zandu Fast Relief and Kenstar also in the mix.

Bobby Deol, reflecting on the overwhelming response, added, “Aashram has been a defining journey for me, and the love it continues to receive is truly humbling. This season, the stakes are higher, the drama is deeper, and the impact is greater than ever before. Seeing fans embrace Baba Nirala’s journey with such enthusiasm is incredibly rewarding!”

National Award-winning director Prakash Jha expressed his gratitude, stating, “The journey of Baba Nirala continues to enthrall Indians. Every season, we push boundaries to make Aashram more intense, compelling, and relevant. I am deeply grateful for the unwavering love and enthusiasm of our audience.”

Amazon MX Player director and head Karan Bedi shared, “Aashram is a tribute to Indian viewers. It’s phenomenal success reaffirms our commitment to delivering high-quality, free entertainment to audiences across India. The overwhelming response to Aashram S3 Part 2 has been extraordinary, driven by its gripping storytelling and outstanding performances. We are grateful to our sponsors for their support and helping us bring compelling stories to life.”

And that’s the other key to Aashram’s stratospheric success: it’s entirely free. The series is available across Amazon MX Player, Prime Video, Amazon’s shopping app, Fire TV, Airtel Xtreme, and smart TVs, basically anywhere your thumbs can scroll.

With its heady cocktail of social commentary, psychological manipulation, and pulpy thrills, Aashram has become more than a show. It’s a movement. A sermon with swagger. And by the looks of it, Baba Nirala isn’t done preaching just yet.

April 4, 2025
Indian box office flexes its muscles in Feb 2025 as Chhaava conquers all

MUMBAI: The Indian cinema landscape is witnessing a box office bonanza in early 2025, with February continuing the strong momentum established in January. The domestic box office is flourishing, with projections indicating a cumulative haul of Rs 2,264 crore for 2025 releases thus far—a whopping 39 per cent increase compared to the same period last year, according to the Ormax Media The India Box Office Report for February 2025.
The Hindi epic Chhaava has emerged as the undisputed champion of February, single-handedly contributing a staggering 53 per cent of the month’s total collections. The film has muscled its way into the record books with earnings exceeding Rs 650 crore, cementing its position among the highest-grossing Hindi films of all time.

Only the Hindi language collections have been tallied in this report, as the Telugu version didn’t swagger into theatres until March 2025. The only other film to smash through the Rs 100 crore barrier in February was the Tamil action-thriller Dragon, which has proven to be a surprise package.

The film has outperformed expectations, even eclipsing the collections of the big-budget Tamil spectacle Vidaamuyarchi—proof that audiences still prefer substance over style when parting with their hard-earned cash.

The re-release trend shows no signs of abating, with nostalgic favourite Sanam Teri Kasam and Christopher Nolan’s mind-bender Interstellar both featuring in the top 10 grossers of the month. It seems cinema-goers are just as keen to revisit classics as they are to embrace new narratives.

With Thandel joining the party in February, Telugu cinema now boasts four entries in the list of highest-grossing films of 2025 so far. Hindi and Tamil industries are tied with three films each, suggesting a healthy competitive balance in the Indian film ecosystem.

Thanks largely to Chhaava’s earth-shattering performance, Hindi language films have increased their market share to 45 per cent for January-February 2025, up from 40 per cent for the entire 2024 calendar year.

March 16, 2025
Ormax Media introduces Ormax Mpact to revolutionise brand lift measurement

MUMBAI: Ads are now sneakier than ever—slipping into your favourite reality show, casually making an appearance in blockbuster films, and popping up in places you least expect. But do they actually work? Ormax Mpact is here to find out. This state-of-the-art Brand Lift Measurement tool helps marketers navigate the ad clutter and determine what’s making waves and what’s just white noise.

With India’s advertising space bursting at the seams, Ormax Media has launched this data-driven tool to evaluate and optimise brand partnerships, sponsorships, and advertising innovations. According to Ormax Media’s estimates, more than 8,000 major brand collaborations take place every year across various platforms, including sports sponsorships, reality show integrations, digital brand tie-ups, in-content product placements, and more. Ormax Mpact aims to quantify their effectiveness and ensure brands get the best bang for their buck.

Ormax Mpact employs two sophisticated approaches to measure brand impact:

. Audience vs. non-audience approach: This method compares individuals exposed to a specific media platform (such as a TV channel or digital platform) against those who aren’t, to measure its influence on key brand metrics.

. Exposed vs. control approach: This model evaluates the impact of a particular creative—be it a TV ad, print campaign, or digital ad—by comparing those who have seen it with those who haven’t.

By leveraging Ormax Media’s extensive 16 years of research & analytics and its robust online research panel of 300,000+ media consumers across 1,500+ towns in India, Ormax Mpact delivers rapid, cost-efficient campaign evaluations with quick turnaround times.

Ormax Media founder & CEO Shailesh Kapoor highlighted the evolving nature of advertising, “We live in a time when ads aren’t just TV commercials anymore. Sponsorships, influencer tie-ups, and branded content are the new norm, and they come at a premium cost. With Ormax Mpact, we offer brands and media platforms a structured, data-backed approach to measure and refine their strategies, ensuring every rupee spent translates into real impact.”

Echoing this sentiment, Ormax Media head – business development (TV, streaming & brands), Keerat Grewal added, “From an IPL sponsorship to a Shark Tank collaboration or a film integration like Pushpa 2, Ormax Mpact helps brands quantify their media investments. It also enables platforms—TV channels, AVOD services, print publications, social media—to build case studies that improve the effectiveness of their ad sales strategies.”

Ormax Mpact is priced between Rs 2.5 lakh and Rs 6.5 lakh, depending on the research sample size. Having already built case studies across multiple industries, Ormax Media is targeting a broad spectrum of brands, media agencies, and platforms as potential users.

In an advertising jungle where brands are battling for consumer eyeballs, Ormax Mpact is the ultimate survival tool-helping brands ensure their ad spend doesn’t just fade into the abyss. Because, let’s face it, if your ad spends flops, your brand’s just another tree falling in the forest with no one around to hear it.

February 13, 2025
Prime Video releases O Womaniya! Report 2024, highlights gender gaps

MUMBAI: In an era where superheroes fly across screens and futuristic worlds captivate our imagination, one battle remains stubbornly grounded in reality: the gender gap. Despite women making strides into traditionally male-dominated spaces, their presence is still a drop in the ocean of overwhelming disparity.

Nowhere is this more evident than in the entertainment sector-a realm that thrives on stories yet often silences half its storytellers.

The fourth edition of O Womaniya! 2024 report, released by Prime Video in collaboration with Ormax Media and Film Companion Studios, pulls back the curtain on gender representation across 169 Indian films and series in nine languages.

Streaming platforms may lead the way, but the industry’s persistent imbalance reminds us that while screens evolve, some stigmas refuse to fade.

The report introduced a unique Gender Equality Toolkit to help filmmakers evaluate female representation in their projects at the content inception stage. This toolkit analyses films and series through four critical parameters to ensure women’s agency and active participation in storytelling.

Key findings showed that only 31 per cent of the analysed titles passed the Gender Equality Toolkit test, with streaming series performing better, at 45 per cent. Additionally, the data revealed that female-led commissioning significantly improved representation, with 48 per cent of such titles passing the test. Meanwhile, traditional gender evaluation using the Bechdel Test revealed nearly half of the titles still failed to meet its benchmark.

Among creative roles, only 15 per cent of head-of-department (HOD) positions in direction, cinematography, editing, writing, and production design were held by women. Streaming content contributed the most, with over 20 per cent female HODs. Editing emerged as the most female-represented department, particularly in streaming projects.

In marketing, women occupied only 29 per cent of trailer talk time, reflecting incremental progress over the past two years. Streaming platforms showed higher female representation in promotional trailers. Prominent series and films such as Made in Heaven Season 2, Sweet Kaaram Coffee, and Saas Bahu Aur Flamingo featured notable female-centric narratives and voices.

Corporate leadership saw a slight decline, with only 12 per cent of CXO or director roles at leading media and entertainment firms held by women.

“At Prime Video, we firmly believe that Diversity, Equity, and Inclusion (DEI) is not just good to have — it is essential to driving meaningful change. We have worked intentionally and persistently to build a diverse, inclusive, and equitable ecosystem, creating more opportunities for women, both in production and within our organisation. In a collaborative industry such as ours, the true impact of DEI can only be realised when it is embraced across the board, with each of us committing to fostering an environment where women are seen, heard, and truly valued,” said Prime Video, India, director & head of production, international originals, Stuti Ramachandra. “O Womaniya! exemplifies the power of collaboration in addressing female representation in the industry. This latest edition of the report calls on all of us to accelerate these transformative efforts—not merely taking small steps, but making bold strides toward a world where opportunities and growth are defined by capability and talent, not gender.”

Ormax Media founder & CEO, Shailesh Kapoor underscored the toolkit’s value, adding, “With every edition of O Womaniya!, we have looked at expanding the scope of the report. In this year’s edition, the introduction of the Gender Equality Toolkit offers a nuanced perspective on representation of women in entertainment. The toolkit is designed to be action-oriented, and can help creators and producers evaluate new ideas at their end, from an inclusivity perspective.”

Film critic and producer Anupama Chopra reflected on the industry’s progress and challenges: “The entertainment industry is under greater scrutiny than ever before. With every step forward and every gap left uncovered, stakeholders are reflecting on how they can drive meaningful change. Every action and conversation around gender inclusivity matters and with the O Womaniya! Report and the newly launched Toolkit, we are moving closer to creating an equitable industry. I am deeply grateful to Prime Video and Ormax Media for their partnership in this groundbreaking initiative.”

As the entertainment industry faces increasing scrutiny, initiatives like the O Womaniya! report continue to push for transformative change, ensuring talent and opportunities are defined by merit, not gender.

Access the full report at www.owomaniya.org.

December 17, 2024
From solitude to shared screens: How connected TVs Are changing SVOD in India

MUMBAI: Picture this: you’re slouched on the couch, watching the season finale of your favorite show, but the room feels hollow. No one to laugh with, no one to argue about the plot twist. Feels a little dull, doesn’t it?

You’re not alone—literally. A new wave of co-viewing, driven by Connected TVs, is revolutionising how India engages with subscription video on demand (SVOD) platforms.

Ormax Media’s latest SVOD audience report 2024 reveals a seismic shift in urban India’s viewing habits. With insights from 3,000 subscribers, the report paints a vibrant picture of a market where language diversity, shared experiences, and tech-savvy innovation drive customer loyalty and growth. From couch-bound solo binging to interactive group viewing, the way Indians consume content is evolving faster than ever—and it’s bringing a mixed bag of emotions along for the ride.

The question is: are you tuning in alone, or are you part of this co-watching revolution?

The report highlights a stagnation in the SVOD audience base, which declined by two per cent to 150.6 million in 2024, compared to 153 million in 2023. This represents 28 per cent of India’s digital video audience, a group dominated by ad-supported video on demand (AVOD) viewers who account for 72 per cent of the market. The slowdown in SVOD growth underscores the competitive challenges platforms face in subscriber acquisition and retention.

A major revelation of the report is the growing impact of Connected TVs, with 36 per cent of SVOD audiences in urban India regularly using such devices to stream content. This trend is expanding beyond metro cities into mini metros and smaller towns, altering how content is consumed.

The report also sheds light on the phenomenon of co-viewing, where 66 per cent of Connected TV users watch streaming content with family members. This shift calls for OTT platforms to prioritise inclusive content catering to diverse age groups and preferences, ensuring a broader family appeal.

Ormax Media, head of business development (streaming, TV & brands), Keerat Grewal underscored the importance of these insights in shaping OTT strategies.

“In a cluttered marketplace where subscribers typically pay for just 2-3 apps, pay OTT platforms must align their pricing, content, and marketing strategies with audience preferences,” Grewal said.

She added, “While platforms have data on their own subscribers, Ormax Media has consistently built industry-wide insights for the Indian OTT sector. Our latest report equips platforms to craft compelling value propositions, grounded in macro-level audience behaviours and tastes.”

Contrary to perceptions that Connected TVs are limited to metro audiences, the report reveals growing traction in smaller towns and mini metros. Grewal highlighted the potential for this shift to fundamentally reshape the type and style of content consumed on OTT platforms in India.

The Ormax SVOD Audience Report: 2024 is now available for subscription and provides valuable data for streaming platforms, brands, and content producers. Covering viewing behaviour, language preferences, genre trends, content sampling triggers, and media habits, the report is a comprehensive resource for industry stakeholders aiming to stay ahead in a dynamic market.

December 9, 2024
The Legend of Hanuman season five tops Ormax’s OTT originals list

Mumbai: According to recent reports from Ormax Media, The Legend of Hanuman season five created and produced by Sharad Devarajan and Graphic India has secured the #1 spot as the most-watched show across all OTT/Streaming platforms for two weeks in a row – surpassing all live-action films and shows including The Great Indian Kapil Show, Do Patti, and Fabulous Lives of Bollywood Wives. According to Ormax estimates, from 21 October to 3 November 2024, the Disney+ Hotstar mythological series reached a total of 9.4 million viewers.

Co-creator, producer and showrunner of the series Sharad Devarajan commented “Because of the millions of fans across the country who have taken a chance to watch this show and support the work we are doing, The Legend of Hanuman has become the most successful animated project in Indian history. Lord Hanuman has inspired countless generations for thousands of years, connecting people across ages. The morals, lessons, and universal human truths he embodies, remain relevant today, now more than ever. Our mission with The Legend of Hanuman was to use the power of contemporary animation, direction and storytelling to create a series that does justice to this timeless hero beloved by so many billions of people. Hopefully our series will also move a generation of audiences in India to look at animation in a whole new way and usher in a golden age of original Indian animated projects that appeal audiences across the country and potentially all across the world.”

The Legend of Hanuman has topped the Ormax streaming charts for each of its four previous seasons, making it the first animated series in India to achieve that milestone. The previous season four was released this June and according to Ormax’s charts, exceeded 22 million views in the first five weeks of release.

November 7, 2024
Vi Movies & TV strengthens OTT aggregator portfolio with ‘Super pack’ at Rs 175

Mumbai: The all-new avatar of Vi Movies & TV, launched in March earlier this year, is a one-stop entertainment destination for all Vi subscribers. Vi Movies & TV provides a vast range of entertainment to its users, with up to 17 OTT apps, 350 live TV channels and complimentary access to several content libraries all under one app through thoughtfully designed packs across post-paid and prepaid. With the latest addition of ‘Super’ pack, Vi prepaid users can access over 15 OTT platforms including SonyLIV, ZEE5, ManoramaMAX, FanCode, PlayFlix, and more, along with 10GB data.

The over 15 OTT benefits of the Vi Movies & TV Super pack will also be available to all prepaid users recharging with Vi Hero Unlimited Rs 449 or Rs 979 pack at no extra cost. These packs offer unlimited calling and daily data quota, along with unique data benefits like unlimited high-speed data from 12 AM to 6 AM, weekend data rollover & much more.

A recent report by Ormax media reveals that India’s OTT audience has reached an impressive 547.3 million, with rural regions contributing around 65 per cent of video consumption. The penetration of OTT services has risen to 38per cent of the population, up from 34 per cent last year. Currently, there are 99.6 million active paid subscribers on these platforms. Smartphones continue to be the preferred device for watching videos, with 97 per cent of OTT viewers using them. To cater to the rising demand for entertainment, this new pack includes access to over 15 OTTs in one place and is bundled with Data benefits, exclusively for prepaid customers.

The Vi Movies & TV App offers four subscription plans for prepaid users: Vi Movies & TV Plus, Vi Movies & TV Lite, Vi Movies & TV Pro with the recent addition – Vi Movies & TV Super at just Rs 175. As the number of OTT platforms are growing, handling multiple subscriptions can be both inconvenient and costly. Vi Movies & TV App guarantees that customers can enjoy their favourite content on a single App with a single subscription, without burning a hole in their pocket.

October 7, 2024
India’s OTT users at 547M paid subscriptions stuck at 100M by Ormax report

Mumbai: Media consulting firm Ormax Media has released the latest edition of India’s largest audience research to size the OTT universe in the country, titled The Ormax OTT Audience Report: 2024. Based on a sample size of 12,000 across urban and rural India, the research was conducted in June and July of 2024.

Select findings of the report released by Ormax Media reveal that the Indian OTT audience universe is currently pegged at 547.3 Million (or 54.73 Crore) people. This translates to a penetration of 38.4 per cent. The 13.8 per cent growth in the universe vis-à-vis 2023 is entirely driven by the AVOD audience, which grew by 21 per cent, while the SVOD segment witnessed a degrowth of 2 per cent. The report defines an OTT audience who watched at least one online video (free or paid) in the last one month. The report breaks down this universe by gender, age, NCCS, pop strata, states, and cities.

Speaking about the findings of the report, Ormax Media head of business development (streaming, TV & brands) Keerat Grewal said: “While the overall expansion rate of the OTT universe has stably been around the 13 per cent mark post-pandemic, this year’s report highlights the significant role of AVOD segment in expanding the universe. The growth is driven by AVOD audiences, with most new entrants into the category watching video content only on YouTube and social media. The stagnation in SVOD audience size also reflects the trend whereby free content is driving OTT growth in small towns and rural India”.

The report reveals that India has 99.6 Million active paid (B2C) OTT subscriptions, a number very similar to last year. The average number of platforms subscribed to per paying audience member decreased from 2.8 to 2.5 in 2024, highlighting the waning need among audiences to subscribe to too many platforms.

This year’s report also elaborates on various devices used by the OTT audience in India to watch online video content. Smartphones have emerged as the most preferred device to watch online video content with 97 per cent of the Indian OTT audience using it, and a sizeable 81 per cent audience watching OTT content only on their smartphone. The connected TV audience base is estimated at 69.7 Million.

Elaborating on the significance of the report, Grewal said: “This year’s report offers an in-depth look at the dynamic growth and future trajectory of the OTT landscape in India, that can help OTT platforms and agencies with growth strategy, acquisition and retention decisions, revenue planning and content strategy. We have also expanded the scope of this year’s report to provide insight into devices of consumption, which will help in defining distribution strategy. This report stands as a testament to Ormax Media’s ongoing commitment to providing insights that empower platforms, production companies, and agencies to enhance profitability through data and analytics.”

The full report is available by subscription for streaming platforms, production companies, media agencies and other companies associated with the OTT category in India.

August 21, 2024