Tag: OTT

  • Lionsgate sets up shop in India; appoints Rohit Jain as country head

    Lionsgate sets up shop in India; appoints Rohit Jain as country head

    MUMBAI: Global American content leader and NYSE-listed Lionsgate has finally set up shop in India to tap one of Asia’s biggest media markets. It has appointed Rohit Jain, a media industry veteran, to head the ops here as managing director.

    Jain, who till some time back worked with DTH operator Videocon d2h as deputy CEO for seven years contributing to the company’s growth in size and its Nasdaq listing, confirmed to Indiantelevision.com over phone his appointment and opening of the Mumbai office.

    Lionsgate India will spearhead all licensing to local linear and digital platforms in the territory from feature films, television series and library content under the Lionsgate and Starz brands.  It will work closely with the studio’s theatrical distribution partners to maximise box office for Lionsgate films, and it will partner with local production companies to develop intellectual property for theatrical release as well as distribution across other media platforms.

    Apart from that, Lionsgate India, a 100 per cent subsidiary of its American parent, will also explore investment opportunities throughout the Indian media market.

    “We’ve been focused on the enormous opportunity created by the Indian marketplace for years, and Rohit checks off all the boxes as the right executive to lead our business there,” said Lionsgate chief executive officer Jon Feltheimer in an official statement. 

    Feltheimer added: “Lionsgate brings to this territory a global content platform, an entrepreneurial mind set, and the agility of a next generation digital age company. Rohit is ideally qualified to leverage these strengths into accelerating growth and new business initiatives in the years ahead.”

    Lionsgate has been steadily expanding its global content platform with the continued growth of Lionsgate UK into a leading film and television production and distribution company, a growing operation in China that has established strong relationships with nearly all major platforms in the territory and increased the studio’s box office gross by 63 per cent from last year, and a new Canadian office that was opened in Toronto earlier this year.

    “I’m thrilled to join Jon and the rest of the Lionsgate team as we continue to build the company’s brand in India,” according to Jain, a 20 years veteran of the Indian media industry.

    Jain further pointed out that as India was the next logical frontier for Lionsgate’s multi platform content creation, marketing expertise and digital initiatives, he was “incredibly excited” at the opportunities that lie ahead.

    Boasting the world’s second largest consumer population and fastest-growing middle class, India has achieved double-digit annual growth across television, film, interactive games and delivery of content to digital platforms.  With over 800 television channels, more than 30 over-the-top platforms, 8,500 theatrical exhibition screens and an evolving interactive game business, opportunities for content producers and distributors are continuing to increase, according to Lionsgate.

    In the past few years, the company said it has tripled its revenue from India and made Hindi-language film `Brothers, a remake of Lionsgate’s critically-acclaimed `Warrior. A Hindi-language remake of the studio’s action hit comedy `Red is also in the works with a possible involvement of Hindi film star Anil Kapoor.

    Rohit Tiwari of Morris Street Advisors, who had previously served as Lionsgate’s local sales agent in India, has transitioned to a consulting relationship to Lionsgate India, the company said.

    The first major new studio in decades, Lionsgate is a global content platform whose films, television series, digital products and linear and over-the-top platforms reach next generation audiences around the world.  In addition to its filmed entertainment, Lionsgate claims its content drives a growing presence in interactive and location-based entertainment, gaming, virtual reality and other new entertainment technologies.

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  • English Football League Cup goes OTT-exclusive with Veqta

    English Football League Cup goes OTT-exclusive with Veqta

    MUMBAI: Digital is now attempting to spread its wings wider than television. For the first time in India, a football tournament will be broadcast only digitally, skipping the TV altogether. India’s only OTT service dedicated to sports, Veqta, will broadcast live games from the English Football League (EFL) this season.

    The EFL cup, also known as the Carabao Cup, is an annual knockout football competition in men’s domestic English football. All EFL matches including quarterfinals, semi finals and finals will be available live and exclusively on the Veqta.in website and the Veqta Sports Android application.

    Veqta co-founder and director Varun Mathur said, “We are thrilled to be streaming the matches Live for the English Football League (Carabao Cup) in India. India has one of the largest fan bases in the world for top English football clubs, with the top six clubs having more than 50 million fans in the country. Veqta is excited to bring to the fans of top English Football teams like Manchester United, Arsenal, Manchester City, Chelsea and Tottenham, all the action from all the rounds of the Carabao Cup (EFL) in 2017-18. We are committed to bringing the best of world football to fans in India through the platform.”

    The eight matches will be spread across two days Wednesday and Thursday, 25 and 26 October 2017 at 12.15 am onwards (IST). Manchester United, Arsenal, Manchester City, Chelsea, and Tottenham Hotspur along with 11 other teams will battle it out for qualification to the Quarter Finals.

    Some of the key games will be –

    Swansea vs Manchester United

    United are the current champions of the EFL Cup and will be looking to bounce back after their embarrassing defeat at Huddersfield Town over the weekend, which was its first league defeat this season.

    Swansea (15th in the PL table with 8 points in nine games) faces United (tied at 2nd in PL with 20 points in nine games) in its second encounter this season. The last one was dominated by United as it beat Swansea 4-0 at the Liberty stadium.

    Swansea has proved to be a tough opponent for United with its last 8 encounters giving the Swans 3 wins and a draw.

    Arsenal vs Norwich City

    After a boisterous 5-2 thumping of Everton on Sunday, Arsenal looks to be back in form after what was a disappointing start to the league season.

    With chances of winning the Premier League looking bleak for the London giants, the Carabao Cup could be a key trophy for Wenger this season to justify his position at the helm of Arsenal.

    Last 8 games between Arsenal and Norwich – 5 wins for Arsenal, 2 draws, 1 win for Norwich.

    Chelsea vs Everton

    Ronald Koeman (Everton’s manager) looks to save his job after the team’s 2-5 defeat at home at the hands of Arsenal on Sunday which saw them drop down to the relegation zone of the PL table.

    The last 3 games between the two have been all Chelsea victories with Chelsea scoring 10 goals and Everton scoring 0.

    Just like Wenger, Koeman will also be looking at the EFL and the FA Cups for any silverware this season.

    public://EFL.jpg

  • YuppTV tech and innovative offering will make it a front-runner, says Frost & Sullivan digital media exec

    YuppTV tech and innovative offering will make it a front-runner, says Frost & Sullivan digital media exec

    MUMBAI: With the OTT video services market disrupting traditional TV viewing habits in India, YuppTV will emerge as one the front runners in this niche segment in the next few years. Its cutting-edge technology and innovative product offering will drive customer acquisition, says Frost & Sullivan senior director – digital media practice Vidya S. Nath.

    YuppTV India was recently named “India Companies to Action Award OTT Video Services Market” at Frost & Sullivan’s 2017 India Best Practices Awards Banquet in Mumbai.

    YuppTV, a leading OTT platform offering regional South Asian content to audience in India and across the globe, offers a library with over 250 channels in 14 languages, with live and catch-up options, bringing content to over 25 devices. A robust back-end technology with innovative solutions for OTT platforms and a strong product portfolio make its value proposition unique.

    Nath said, “YuppTV is a pioneer in the industry with a unique product that caters to an audience that is under-served/under-penetrated and starved of regional content. The company’s ability to leverage technological prowess to build diverse products and solutions sets it apart from the competitors. Since its launch in India, it has strategically partnered with some of the leading production studios, to bring premium regional content on an OTT platform to audiences here and abroad.”

    YuppTV India founder and CEO Uday Reddy said, “When we started YuppTV around a decade ago, it was merely a dream to disrupt the traditional TV experience and make one’s favorite shows and movies easily accessible. This recognition only motivates us to further drive the change, accelerate innovation, create more jobs and hopefully, transform this world to be a better place.”

    Frost & Sullivan Awards recognise companies across regional and global markets for outstanding achievement and performance in a range of regional and global markets for superior leadership, technological innovation, customer service, strategic product development, etc.

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  • FTV India working on linear and SVoD launch by Dec ’17

    FTV India working on linear and SVoD launch by Dec ’17

    MUMBAI: FashionTV is taking a leap forward by presenting its unique 12+ new FTV+ OTT channels and FashionFlix SVoD at at MIPCOM, Cannes 2017.

    The 20-years young global satellite TV network dedicated to lifestyle and fashion, launched its multi-content platforms FTV+ and FashionFlix, presenting significant amount of original and informative programming for the platforms of the next generation TVs.

    The company is currently working on the launch of the FTV China, FTV India, FTV Indonesia, FTV Spain, FTV Japan, FTV Africa, etc. both, in linear and SVOD, formats by the end of the year.

    FashionTV group president Michel Adam said: “FTV channels and VOD are now more engaging to our audience across all devices. The FTV+ platform presents 12+ visually stunning OTT streams on FTV+ cover all types of themes and can be received through satellite, IP or mobile application.”

    FashionFlix is a SVOD platform focusing on the cult movies as “The Devil Wears Prada”, “Yves Saint Laurent”, “Coco Chanel,” and Fashion trend-setting films as “Matrix”, “James Bond — Skyfall,” and documentaries about the fashion industry and the iconic people behind the luxe of the world of fashion.

    The content on the platforms is available in SD, HD, UHD and VR and can be received on the Web, Apple Store, Google Play, AppleTV, AndroidTV, AmazonTV, Roku and on many OTT platforms.

    FashionTV just launched two localised livestreams – FTV USA and FTV Brazil, broadcasting world class production, exclusive shows and the hottest up-and-coming fashion trends from USA and Brazil,” the FTV CEO said.

  • Guest Column: Race to the bottom(line) – From consumption to subscription

    Guest Column: Race to the bottom(line) – From consumption to subscription

    It’s been a quick and busy 36 months since the advent of the very first OTT services and between all of the media-owning majors, the flush-with-money global players and the battling aggregators and the ever-growing flock of Indie hot-shops, it’s a whole load of original and aggregated content that has been unloaded on the Indian consumer. Complemented by falling data costs, average consumption (data) has shot up 6 times with video being the clear driver.

    One thing is for sure. 100 million+ video consumers on OTT (predominantly the phone) within the year is a certainty and a target of 200 Mn+ in the coming 24 months seems a very realistic possibility. And to get to that goal, almost everyone is working to make the consumption process from app download to sign-ups to browse and watch to recommend and return an almost frictionless experience. The question of payment and monetization is a reality for everyone with the only variable being ‘when is the right time to bring it up?’

    With all the tentative attempts so far, and piecing together a lot of disparate data, and depending on how optimistic a view you would like to take, it looks like we may have anywhere between two to three million viewers paying something for their OTT video. And these payments range from Rs.500/- at the highest end (admittedly an exception) to Rs.20/- at its friendliest, and with an average possibly in the early triple figures. Now, admittedly this is small change compared to the investments in content that is being witnessed.

    From the wildly astronomical figures witnessed in recent sporting acquisitions to the scarily exuberant movie acquisitions by global majors to even the more measured investments from the original content creators, it all adds up to a serious amount of investment that is all being gussied up to make these 100 million and the next 100 million users default to their connected devices for video. Everyone realizes the habit has to come before the money. And, the majors opening that tap in full force and running it mostly for free makes it pretty difficult for the others to push the monetisation button on the subscription front.

    Having said that, the move towards subscription has begun in earnest over the last year with all major services. The likes of Netflix and Amazon Prime have always been pay. And, arguably while Hotstar’s conversion of free to pay was pretty low, this has to be seen in the light of the monstrous funnel of free users that they have been able to create. From hereon, one could assume that the subscription push will begin to intensify, already in evidence through the live cricket feed versus delayed cricket feed as a strategy to push conversions. Bolder new launches like ALTBalaji and SunNxt have started off with a paid model. 

    So, is there still a question about whether a subscription model will work in India where content has famously been sold cheap historically? There is no data that shouts an emphatic NO to that question but emerging models are clearly making it less of an unknown. 

    To my mind, among all the things happening, two aspects that pretty much decide the issue of subscription success are:

    a. Distinctive content – without a doubt, this seems to be the most crucial factor in your ability to find a core audience that will evangelise your stories. Youtube is crawling with a lot of me-toos with a phone-cam, hastily pulling together half-baked stories of clichéd youth issues presented sensationally with a liberal dash of promiscuity and abuse. As a way to make people sit up and take notice, promiscuity and abuse did show promise but as a means to create a distinctive and engaging story-telling equity, they don’t take you much past the gate. And that’s where a lot of the focus will need to be, if you hope to ever get even a part of your audience to pay. A frequently asked question is how many apps/ services is a user going to have on their devices. Well, everyone cannot and will not have everything. It’s a country of a billion different people with demographic, ethnographic and psychographic variations. 

    Finding a meaningful core audience will probably become the most critical skillset for survival. A case in point is the south-focussed offering of a SunNxt. 

    b. Charging (payments) – for a long time since the advent of e-commerce we have bemoaned the low credit card penetration and how cash on delivery is still a reality of our market. Neither helps the small-ticket digital products business. However, the one tsunami of payment enablement rapidly bubbling up is the rise of wallets. From telcos to transporters and banks to Google, everyone will have one and a significant part of their customer base can be expected to adopt. Pricing, for almost all the Indian services, is at a very realistic level. It was charging where a bulk of the problem lay. And the wallets in this context can only be good news. This can and will change the charging and subscription scenario. Examples like the Vodafone Play service with a single gate-pass for a wide ranging content offering will showcase the difference that frictionless charging can make. Thus also making the case for more charging platforms/ wallets to offer aggregated media services. 

    As this drama unfolds over the next 24 months and as the majors, minors and everyone in between tries out various strategies to bring you into their subscription net, sit back (or stand), pop the screen of your choice, choose your poison and hit Play. 

    public://vamsi.jpgThe writer is the founder and CEO of Apalya Technologies. The views expressed here are of the writer’s, and Indiantelevision.com may not subscribe to  them.

     

  • Broadcasters, OTTs to gain as Via adds xHE-AAC at special rate

    Broadcasters, OTTs to gain as Via adds xHE-AAC at special rate

    MUMBAI: Via Licensing Corporation, a intellectual property solutions provider, has announced the upcoming availability of Extended High Efficiency AAC (xHE-AAC) as part of the Advanced Audio Coding (AAC) patent pool. The expanded patent pool licence will be available at no additional cost to licensees, starting in Q4 of 2017.

    DRM receiver manufacturers deploying the xHE-AAC technology will be able to gain from special rates for emerging markets (which were earlier only available to AAC licensors) such as India, Indonesia, Pakistan, most African countries including South Africa, most Arab countries, most South American countries including Brazil.

    Via and AAC licensors are taking steps to encourage and accelerate the adoption of xHE-AAC, the most recent and advanced member of the AAC family of audio codecs.

    “The addition of xHE-AAC technology increases the value of our AAC patent pool licence,” said Via Licensing president Joe Siino. “Adding xHE-AAC to our patent pool ensures that broadcasters and service providers can deliver the next generation of audio to consumers efficiently and affordably.”

    Previously, xHE-AAC technology could only be used in devices if manufacturers paid for an additional licence in addition to an existing AAC licence. By bringing xHE-AAC into its AAC patent pool, Via grants licensees access to xHE-AAC rights at no additional cost, and reduces average per-unit cost through greater volume aggregation across all AAC related products.

    xHE-AAC combines two MPEG technologies, High Efficiency AAC v2, and Unified Speech and Audio Coding (USAC). It is designed to support the delivery of mixed speech and general audio content including music on mobile devices, radio broadcasts, and wired streaming (OTT) services. xHE-AAC provides exceptional audio quality using low bit rates delivering a listening experience suitable for mobile devices, and can scale-up to offer audiophile-quality reproduction. The reduced bit rate helps mobile broadcasters and streaming audio providers distribute their content more efficiently. Consumers are able to enjoy high quality audio reproduction at lower bit rates which lowers their data consumption and costs.

    Applications for MPEG xHE-AAC include digital radio broadcasting, streaming over mobile and wired networks, and terrestrial radio. It has already been adopted for the Digital Radio Mondiale (“DRM”) broadcast standard and is currently in use on DRM transmissions around the world.

  • ALTBalaji identified local talent for regional language comedy shows, says Manav Sethi

    ALTBalaji identified local talent for regional language comedy shows, says Manav Sethi

    MUMBAI: ALTBalaji, an OTT platform for original and exclusive shows, has launched regional stand-up comedy in Marathi, Punjabi, Gujarati and more Hindi videos on its digital platform.

    The short, snacky and hilarious videos feature famous comic artistes – Bharat Ganeshpure, Sagar Karande, Anirudh Madesia, Suresh Albela, Pratap Faujdar, Amit Khuva and Dharsi Baredia. The entire library offers English subtitles for easy understanding.

    ALTBalaji is catering to the diversified needs of a population that speaks multiple language and experience life differently as per their culture. The content offers a slice of life of these cultures, be it anecdotes of a Sardar traveling to Germany, a Gujarati stuck in a bizarre situation in Bengaluru or a Marathi talking about cricket. The comedians add tadka to everyday mundane events and serve them up loaded with the perfect garnish of humour. They leave nothing and no one, from Lucknow to Valentine’s Day to Dhoklas to Rajinikanth! The laughing riot is bound to tickle audience’s funny bone.

    ALTBalaji CMO Manav Sethi said, “Based on consumer insight, we understood that the stand-up available to viewers is mostly English or Hindi, neglecting the regional language demand and so we have identified local talents from these regions and got them on board. The highly talented, witty and humorous artistes bring in the flavour of their language and culture on stage; hope the viewers like it.”

  • Vikram Bhatt’s LoneRanger taps Brightcove for TVoD service by mid-Nov

    Vikram Bhatt’s LoneRanger taps Brightcove for TVoD service by mid-Nov

    MUMBAI: A US video firm has started working with a Bollywood producer on a streaming service soon after developments in India where VoD services such as Amazon and Netflix tried to get a toehold in the OTT market through original content agreements.

    Netflix, late last year, signed a deal with Shah Rukh Khan’s Red Chillies to distribute the studio’s films. Shortly later, Amazon announced its own content agreement in India with Xilam Animation, making the former the exclusive streaming platform for kids’ shows such as “Zig & Sharko” and “Oggy & the Cockroaches.”

    Brightcove, a provider of cloud services for video, has now partnered LoneRanger Productions to develop an over-the-top (OTT) service for the production company. The deal represents Brightcove’s maiden deal with a Bollywood production company.

    LoneRanger is headed by Vikram Bhatt, a 30-plus year veteran of the Bollywood market and the director of classic films such as Ghulam, Raaz, and 1920. With its transactional video on demand (TVoD) OTT service, LoneRanger claims to deliver the best of its mystery and suspense content to consumers. The service is expected to launch in mid-November.

    “Today’s viewing experience is as much about mobile delivery as it is about television. So, we have been looking for a partner that could help us revolutionise the user experience,” Bhatt said.

    “Brightcove’s platform performance, player speed and technology stack were real differentiators in creating a service that was theater-like. We also wanted a vendor that could help us get to market quickly — able to stand up our service within weeks after signing the contract,” he added.

    Brightcove CEO Andrew Feinberg said: “India has an enormous opportunity because of the explosive growth in online video in the region.

  • OTT players claim voluntary compliance as TRAI petitioned on anti-tobacco norms breach

    OTT players claim voluntary compliance as TRAI petitioned on anti-tobacco norms breach

    MUMBAI / NEW DELHI: Even though the Indian government has asked the broadcast carriage and telecoms regulator TRAI to rein in OTT platforms for alleged flouting of norms relating to tobacco and alcohol advisories in programmes, a majority of digital players claim to be voluntarily adhering to government directives meant primarily for TV shows despite absence of regulations for the sector.

    “As we belong to the traditional medium of television, it comes from within to carry Indian government-advised disclaimer (relating to scenes in TV shows and films involving tobacco and alcohol consumption),” Alt Balaji CMO Manav Sethi told Indiantelevision.com, adding, it is “not mandatory” for OTT platforms to do so, though.

    According to Arre co-founder and CEO Ajay Chacko, “OTT platforms are regulated under the Information Technology Act, but carrying a disclaimer relating to tobacco and alcohol consumption in shows depends upon the online content creators. We certainly carry a disclaimer highlighting the negative effects of alcohol and tobacco on health in our shows as done in films.”

    In a controversial and much-debated move, which some critics dubbed as killing creative freedom, the ministry of health and family welfare, some years ago, had come out with a directive stating that all films and TV shows had to carry a disclaimer regarding the negative effects of tobacco and alcohol consumption during scenes where artistes were shown doing the same.

    But why a hue and cry now relating to shows on OTT platforms?

    The ministry of health, according to a report in Millennium Post yesterday, has written to TRAI to ensure that OTT players such as Amazon Prime, Netflix, Hotstar, Reliance Jio and Voot adhere to the ministry’s directive relating to anti-tobacco and alcohol norms. The ministry felt that OTT and digital platforms were not running health-related disclaimers as done by movies and traditional TV shows. 

    But, why lobby with TRAI, which doesn’t regulate or govern content-related issues? In the opinion of the ministry of health, as enunciated by the newspaper report, internet-based services fell within the purview of the Telecoms Ministry and Telecom Regulatory Authority of India and the issue was flagged with TRAI since anti-alcohol and anti-tobacco agencies were finding it difficult to enforce the rule on errant OTT players.

    Though a source in Voot said it voluntarily runs during shows a health warning ticker — like “Smoking is injurious to health” — as part of “best practices”, the health ministry’s letter to TRAI highlights the conundrum of content regulation relating to OTT platforms.

    Indian films and TV programmes started carrying disclaimers on the negative effects of alcohol and tobacco consumption to adhere to the health ministry directive, indirectly enforced by the ministry of information and broadcasting (MIB), but at present there are no regulations relating to OTT platforms in India.

    TRAI has been debating the issue of OTT regulations, as part of net neutrality, with the stakeholders for over a year now but is still in the process of finalising its recommendations, which are expected to be unveiled some time soon.

    However, it is pertinent to point out that TRAI’s jurisdiction doesn’t extend to content regulation and is limited to content distribution and distribution platforms. As there’s no official content regulator like the Ofcom or the FCC, Indian TV channels broadly follow industry-formulated self-regulation norms, guided by pointers enumerated in the Cable TV Networks Regulation Act that’s enforced by MIB.

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  • Selective, snackable, short episodes, niche mktg vital, says Manav Sethi as ALTBalaji ranks among top OTTs

    Selective, snackable, short episodes, niche mktg vital, says Manav Sethi as ALTBalaji ranks among top OTTs

    MUMBAI: The consumer who is on the move doesn’t consume long-form content. Snackable content is crucial. Every show is split into 10-12 episodes ranging between 20-30 minutes. Ninety per cent of the marketing spends is on digital. These are some of the critical insights Indiantelevision.com gleaned from an expert at ALTBalaji, which has ranked third among 34-odd India-based revenue-grossing video streaming apps, within six months of its existence.

    Online video (OTT) platform for original and exclusive shows ALTBalaji has been ranked amongst the Top 3 as per ‘State of  Video Streaming Apps in India’ report compiled by App Annie Intelligence — the ranking is a combination of iOS App Store and Google Play Store for H1 2017 period.

    The report focuses on the state of video streaming apps in Asia-Pacific region including emerging markets such as India, China and Thailand, among other. Since its launch in April, ALTBalaji has had more than 10 million mobile downloads with more than 1M+ web viewers. The ad-free, subscription-based platform is available in over 80+ countries, catering to the need of Indians and Indian diaspora spread across the globe. It is offering content in various Indian regional languages — Bengali, Tamil, Punjabi and Gujarati, etc.

    About the traction ALTBalaji gets, CMO Manav Sethi opened up with his geographical analysis: “Our Tamil show ‘Maya Thirrai’ not only garnered the southern audience but also has gathered traction from countries such as Singapore and the middle east because of the largest Tamil-speaking diaspora there.”

    He added: “Within 24 hours of announcement and trailer upload of our Bengali show ‘Dhimander Dinkaal,’ we observed spike from Dhaka (Bangladesh). From the regional standpoint, we are glued to the areas where internet bandwidth is available and the language-speaking diaspora has the acceptability of new-age content. This also helps in picking particular language and genre.”

    The video streaming app currently offers 10 active shows of various genres such as romance, mystery, drama, and comedy. ALTBalaji will soon launch more shows on the app.

    Sethi said, “In the last six months, we had 10 original shows which nobody including Amazon and Netflix had been able to launch in India. We are working on 50+ concept which are at various stages in our release pipeline. And, when a show goes live, it never goes on TV. By the exit of March 2018, we are committed to have 200-250 hours of original show content.”

    Sethi said, “Our content clarity and customer acquisition strategy worked for us to grow in such short time. We have never made content for the small universe, we have always endeavoured to create it for bigger universe. The shows that ALTBalaji put on the app are mainly in Hindi and other Indian languages. If we look at the top-rated GECs, news channels and circulated trends, English is a very miniscule component of consumption.” He further added with an example of YouTube that “YouTube claims to have 200 million unique monthly users consumption, wherein the part of English consumption is just 12 per cent.”

    One of the major reasons behind the growth of ALTBalaji is Ekta Kapoor, said Sethi, adding, “Ekta’s strength in identifying the stories and the narratives which have never been told in the past, and TV as a medium can’t handle it, holds a big part of our growth strategy. We did ‘Romil and Jugal’ where two boys fall in love with each other, ‘Dev DD’ where we have showcased a female as Devdas then ‘The Test Case’ with Nimrat Kaur which was about women in combat role, are some examples of stories never heard and told.”

    An interesting subject to know is whether ALTBalaji would now redesign their content strategy structure. Commenting on the strategy, Sethi said, “Our content strategy will remain the same. We will be creating more content in Hindi and in Indian languages. We have launched the Tamil and Bengali shows, and currently we are doing an epic show ‘Bose: Dead or Alive’ starring Rajkumar Rao which is releasing soon.

    Sethi added: “We are working on a new show ‘Mangalyaan’ which will revolve around three women, and will talk about various aspects of the Mars Orbiter Mission at ISRO. We have announced a Gujarati and Punjabi show each as well. We have already released an original comedy series ‘Pammi Aunty’ with Ssumier S Pasricha. From today (4 October), people will see stand-up comedy in four languages including Marathi and Tamil.”

    According to Sethi, the consumer was always on a move and did not consume long-form content on mobiles. “So, from a marketing standpoint, we have created snackable content which is easily downloadable across thin bandwidth,” he said. He further describes that their every show was split into 10-12 episodes which ranges between 20-30 minutes each.

    About the growth, Sethi said, “We were cautious in our advertising and marketing spends. Ninety per cent of our spends is focused on digital. Also, when we launched ALT as an OTT platform in April 2017, we did four weeks’ campaign on TV, which resulted in creating the awareness and launching it as a brand. But, since then, we are largely focusing on digital.”

    Also Read:

    Rajeev & Surveen’s digital debut on ALTBalaji’s Haq Se

    ALT Balaji announces Dhimaner Dinkaal – its  first Bengali original

    ALTBalaji is essentially everything that Balaji on TV is not: Sameer Nair

    ALTBalaji welcomes Pammi Aunty & family