Tag: OTT

  • Consumers have been spoiled for choice with over 850 channels in the linear space and 40+ OTT platforms: Dish TV group CEO Anil Kumar Dua

    Consumers have been spoiled for choice with over 850 channels in the linear space and 40+ OTT platforms: Dish TV group CEO Anil Kumar Dua

    Mumbai: In his company’s annual report, DTH operator Dish TV group CEO Anil Kumar Dua has maintained that the bigger picture remains intact in a market where the consumer is spoiled for choice. The popularity of DTH as an all-encompassing, budget-friendly option is well maintained despite the many emerging alternatives in the market. “Dish TV appreciates the changing tastes and preferences of consumers and is on track to leverage these emerging trends considering that technology-driven evolution and related growth of the sector is inevitable.”

    He noted that the DTH industry is maintaining its popularity at a time when the media and entertainment space in India is witnessing a change in the landscape with a growing number of content delivery platforms and viewing options available to consumers. “Consumers have been spoiled for choice with over 850 channels in the linear space and 40+ big and small OTT platforms laden with movies, TV shows, web-series, time-shifted content, etc. Entertainment watching has spiked to almost 4.5 hours per day per user as against 3.6 hours in 2018,” he added.

    He further highlighted that, “Competition has also increased from free-to-air government-run distribution platforms and telcos. The fall in subscriber numbers is due to top-end subscribers alternating between DTH and streaming content, and bottom-end subscribers often choosing free-to-air DTH over pay DTH.”

    He said that fiscal 2022 was certainly not the smoothest year for Dish TV. “Challenges, both on the corporate and business front, kept us engaged but never to the extent of losing focus on business. Notwithstanding difficulties, the company continues to keep up with the times and remains optimistic about its capabilities to stay as one of the most relevant players in the content delivery space in India. The company is actively looking beyond its contemporary offerings of hybrid boxes and OTT platforms and is exploring new possibilities that would make its service bouquet more appealing to an even wider set of audience.”

    “Our company is expected to be one of the biggest beneficiaries of the government’s strong focus on vaccination, rural electrification, rural income, make in India, road and highway construction, and housing for all, all of which are expected to be instrumental in increasing the share of pay television viewers by helping create overall rural infrastructure and employment in the days to come,” he added.

    Dish TV, he said, has played a significant role in changing the Indian television landscape through the use of DTH technology. “Dish TV is the only media company that is CMMI-certified. Our company has constantly strived to take television viewing to the next level as it supports various futuristic features, providing consumers with easy accessibility and a wide variety of digital content. Its vast distribution network is spread across the length and breadth of the country. Our company enjoys strong brand equity with a large number of SD and HD channels, value-added services, and multiple offerings spanning across price points. Customer centricity being at the heart of its operations, the company strives to offer superior quality at competitive prices.”

    “The home-grown OTT platform of Dish TV India has been steadily growing its reach and crossed the 50 million downloads mark at the end of the fiscal, doubling its subscribers during the year. The platform debuted several new web series to gain strength as an OTT platform with a strong semi-urban presence in addition to meaningful tier-1 visibility. The platform is poised to become the medium to carry Dish TV India to the next level by being a critical connection between the company and its younger audience.”

    He also said that during the fiscal, subscription revenues were lower as compared to the last fiscal, primarily due to volatile viewing habits, the emergence of the second and third waves of the pandemic in the country, high inflation, and conservative spending.

    While the fiscal started with a renewed sense of optimism, he added, the optimism, however, was short-lived as the first quarter itself witnessed the worst of the pandemic attack, bringing, once again, life to a grinding standstill, both for businesses and individuals. “Fortunately, learning from the first curve of the pandemic kept the business organised and we were determined to serve the community, not only by fulfilling our obligation to entertain but in every other manner we could. Dish TV extended its support to encourage vaccination amongst individuals by offering a day’s worth of complimentary television viewing for anyone who got vaccinated and uploaded their vaccination certificate. A day of extra subscription was also credited to all hospitals and medical facilities with a DTH connection as a mark of gratitude and support.”

    “As post pandemic normalisation dawned in the latter part of the second quarter, consumerism picked up though rural demand remained largely depressed. The third quarter witnessed higher marketing spending in anticipation of higher demand, but consumer spending fell below par once the pent-up demand was exhausted. Overall, the cloud of Covid-19 obstructed any meaningful increase in consumer confidence and spending.”

    “With the worst of Covid behind us and normalcy expected, India is set to remain one of the fastest-growing economies in the world in FY 2022–23. Strong fiscal, monetary, and budgetary interventions initiated by the government are expected to keep the country on track to becoming a five-trillion dollar economy. The government is focused on making India a digital economy with technology-enabled development, energy transition, and climate action for a more sustainable future. Though India continues to tread the growth path, inflationary pressures led by global supply chain bottlenecks and the ongoing geopolitical conflict pose a challenge to this forward march. Mounting inflationary pressures have necessitated a gradual and controlled rate hike that could be mildly recessive in the medium term but will certainly have a longer term progressive upside for the economy.”

  • MX Player to bring new original and international shows in September

    MX Player to bring new original and international shows in September

    Mumbai: MX Player announced its latest slate of originals and international series on Friday. The OTT platform brings plenty of drama, fiction, romance, mystery, and thrill with the web-shows scheduled to launch in the month of September.

    As a part of MX’s original series slate, Shiksha Mandal is set to launch on 15 September.

    Shiksha Mandal is a hard-hitting narrative inspired by true events that revolves around the biggest scam in the educational system in India. With a socially relevant premise, Shiksha Mandal will reveal corruption, fraud, cheating, and criminal conspiracy that affect vulnerable students in India.

    Shiksha Mandal is directed by Syed Ahmad Afzal and stars Gauahar Khan, Gulshan Devaiah, and Pavan Raj Malhotra in lead roles.

    In addition to Shiksha Mandal, as a part of their latest content category – MX VDesi, MX Player is also bringing six acclaimed international shows from across the globe, including one of the most popular Korean dramas, Boys Over Flowers, which started the K-wave in India with the same love of melodrama, intricate storylines, and adrenaline-pumping action.

    The shows included in the pipeline for a September launch are:

    Boys Over Flowers

    The 21-episode long Korean drama, Boys Over Flowers, starring Ku Hye Sun, Lee Min Ho, and Kim Hyun-Joong, launches on 7 September in Hindi. The blockbuster series follows the story of a humble girl who attends the prestigious Shin Hwa High School. She is immediately bullied by the leader of F4 (the four richest boys), who eventually falls in love with her. However, she has a crush on his best friend. Whom will she pick? Tune in to find out.

    Alphas

    Up next is the Hollywood hit series Alphas. Alphas are ordinary citizens with amazing abilities, including superhuman physical and mental abilities, who operate within the department of defence. A secret group, led by pre-eminent neurologist Dr. Lee Rosen, investigates cases that point to others with similar Alpha abilities. With its unique premise, this show will keep you on your toes throughout 12 episodes. The science fiction drama will be streamed in Hindi from 14 September onwards.

    Secret of Love

    All 30 episodes of the hit show Secret of Love will be streamed in Hindi from 21 September onwards on MX Player. The show revolves around the story of Su Yi, who loses her memory after getting burnt in a fire accident. She meets Li Jia Cheng, who has countless ties to the incident. The pair form a tactical partnership on equal footing after Su Yi challenges his outlook and beliefs.

    Signed, Sealed and Delivered

    A crew of postal detectives seeks to unravel the mysteries behind undeliverable letters and packages from the past, delivering them at crucial moments in the Hollywood production Signed, Sealed, and Delivered. Watch 34 episodes of this series in Hindi starting 21 September.

    Wild District

    After the signing and approval of the Colombian Peace Agreements, a deadly guerrilla warrior escapes from the forest and makes his way to Bogotá, where he attempts to reintegrate into society. Watch all 20 episodes of this Spanish series in Hindi streaming from 28 September onwards!

    Innocent Defendant

    At the Seoul central district prosecutors’ office, a prosecutor wakes up one morning to discover that he is a death row inmate. He is temporarily amnesiac and is unaware of the events that led to his arrest. Before his time is out, he tries to jog his memory and clear his name. Catch this award-winning Korean series starring Seong Ji, Ki-joon Uhm, and Jo Jae-yoon on 28 September in Hindi, Tamil, Telugu, Marathi, Bengali, Kannada, and Malayalam!

  • Planet Marathi OTT unveils new content slate on achieving 500 per cent subscriber growth globally

    Planet Marathi OTT unveils new content slate on achieving 500 per cent subscriber growth globally

    Mumbai: Vistas Media Capital’s Planet Marathi OTT, home to record-breaking original content, is ready to step up its robust performance as it completes its one-year run.

    The platform has seen a phenomenal spike of 500 per cent in its subscriber base, which spans globally across the UK, US, New Zealand, the continent of Africa and other countries. The first platform of its kind, it hosts web series, films, talk shows, music, reality shows, and other forms of entertainment in Marathi.

    Since its inception in August 2021, the platform has seen a whopping 550K+ instals and 24+ million video plays. Various marquee and big league players, including Tata Play and Jio Ads, have collaborated with Planet Marathi OTT on various levels to capitalise on the robust, superlative library being the only exclusively Marathi OTT player. To increase its own reach and cater to a wider audience, the OTT platform has entered into partnerships and will be collaborating with telecom providers.

    Emerging as a name to reckon with in the Marathi entertainment industry, Planet Marathi OTT has established itself as an innovative player given its fresh, experimental, and original approach to the web space. The upcoming impressive slate of titles includes Mrinal Kulkarni’s directorial venture “Sahela Re” starring her, Sumeet Raghavan, and Subodh Bhave; RaanBaazaar director Abhijit Panse’s next political outing Raaji-Naama; new age romantic drama, “Eka Hatacha Antar.” Other names in the content line-up include “Athang,” Soppa Nasta Kahi Season 2, Gemaadpanthi, Compass, Aamcha Aahe, Baby On Board, Chikatgunde Season 2 and Crypto Aajji.

    Speaking about this record breaking milestone, Planet Marathi OTT founder Akshay Bardapurkar commented, “We have been fierce in our vertical and horizontal expansion and as we complete one year, the entire Planet Marathi OTT team is able to look back with pride and satisfaction on the kind of achievements we have had. However, we are far from done. We are excited to announce a large slate of OTT content which will further blur boundaries and catapult us to compete with big league content players. The goal gets bigger every year and we are just beginning to make a mark.”

  • GUEST ARTICLE: Why content creators need to embrace OTT platforms for better growth and impact

    GUEST ARTICLE: Why content creators need to embrace OTT platforms for better growth and impact

    Mumbai: OTT (over-the-top) services have received a lot of attention in the last three years, completely transforming the way we consume information online. OTT platforms are significantly altering the landscape of the entertainment and media industries. OTT services are classified into several groups based on the type of content, helping both innovative content creators and brands gain better visibility and engagement among a wider set of global audiences. With access to internet video material, artists and content creators also have an opportunity to build a brand out of their work, which will lead to organic development and popularity among viewers.

    With the versatility of gadgets, modern consumers are more accustomed to consuming video material at any time and from any location. According to a PWC analysis, India’s OTT video industry would grow at a 21.8 per cent CAGR from Rs 4,464 crore in 2018 to Rs 1,1976 crore in 2023.

    From large companies to start-ups, everyone is welcoming OTT platforms for innovative and data-driven campaigns. This also provides content creators with an opportunity to drive better brand partnerships, find sponsors, and build a stronger viewer base for themselves, as well as enjoy a wider reach to viewers via dedicated OTT platforms.

    In line with the above, having a dedicated OTT platform and building a niche ecosystem can have several benefits for content creators, like:

    1. Better engagement

    OTT platforms have enormous potential for expansion. The enormous market makes it all feasible, but before proceeding, one needs to understand the approach to engaging the audience. OTT enables content makers to create content that increases engagement. It provides a diverse range of materials to choose from based on the consumer’s preferences. Consumers, on the other hand, have increased viewing independence in terms of location, device, time, and quality of options.

    Additionally, OTT platforms also help the audience to locate new material quickly and effortlessly, which will undoubtedly lead to success for content providers.

    2. Increases brand awareness

    OTT platforms are excellent at preserving an image that will improve your audience’s reach. On a regular basis, almost 70 per cent of users watch at least three hours of video streaming services. According to a different survey, video accounts for 82 per cent of all consumer web traffic. So it’s evident that digital and video are here to stay. Any brand, person, or organisation that can successfully combine these two. Owning an OTT platform will aid in improving brand exposure, increasing reach, and gaining more consumer loyalty.

    3. Focus on your target audience

    OTT platforms clearly identify their target audience, followed by enticing and relevant advertising based on their target group’s interests, which increases the ads’ views and reach. The OTT network’s 5G network is based on fixed wireless access video transmission. 5G will encourage high-quality consumption in households, thus enlarging the advertising area. Focus on a certain target first, then expand your reach after you have a clear understanding of the OTT audience.

    4. Monetization model

    Content producers now have the resources and flexibility to pursue their passions. They might monetize their material in a single or several ways. These include ad-supported video-on-demand (AVoD), subscription video-on-demand (SVoD), and a hybrid approach, i.e., ad-supported video with a subscription mode. The service provider or creator should select the most appropriate model for the platform. It all depends on your target audience.

    Every content producer has a strong desire to increase the exposure of his or her own brand in the entertainment industry. And with a strategically planned platform, it is possible for large and small content creators to generate revenue and make an impact in the market through a well-planned and managed platform.

    The author of this article is Ssoftoons COO Hansa Mondal.

  • Zee Zest has a 40% market share in the lifestyle category, says business head, Amit Nair

    Zee Zest has a 40% market share in the lifestyle category, says business head, Amit Nair

    Mumbai: Since its inception in 2020, Zee Entertainment Enterprises’ first lifestyle channel, Zee Zest, has established itself with a diverse and comprehensive lineup of shows.

    Zee Zest, which is known for its global content, hosts a great mix of Indian and international lifestyle and infotainment shows.

    The channel’s content includes food, travel, lifestyle, home improvement, wellness, culture, and do it yourself (DIY). Apart from producing travel category shows including Kahani Kashmir Ki, Shonar Bengal, Safari India, Mast Maharashtra, and Goan Gullies, the channel also has highly popular food shows like Patt-ay ki baat, Taste Ki Gully, Papad Pickles Aur Pyaala, Simple Korea, and The Baker’s Table.

    In an exclusive conversation with Indiantelevision.com, Zee Zest’s business head Amit Nair talked about the content & business strategy for Zee Zest shows. With a key focus on bringing original content to the platform, Nair added 100+ hours of original content every year across food & travel, in partnership with award-winning chefs, anchors, influencers, celebrities, and hosts. From documenting the evolving Indian culture and contextualizing it for modern sensibilities, he created a contemporary brand identity for both Living Foodz and Zee Zest, on-air, online, and on-ground.

    By delivering substantial revenue growth through a combination of advertisements, subscriptions, and syndication, Nair oversees all major functions of the brand, including business strategy, content, editorial, marketing, and product development.

    With over 10 years of experience at Zee Zest, he was instrumental in the acquisition of major international titles and the development of relationships with top international distributors such as BBC, Freemantle and Banijay. He also built mega tent poles, including “Ganga–The Soul of India” with Dia Mirza, “Station Master’s Tiffin” with Ranveer Brar, and “Fit, Fab and Feast” with Huma Qureshi.

    Edited Excerpts:

    On Zee zest’s viewership

    Amit: Zee Zest’s viewership is always in the top ranking. They have overshadowed their competitors every year. We have 40 per cent market share. There are five or six players in this market, and we always keep 40 to 42 per cent viewership as our benchmark to be there.

     On Indian content growth

    Amit: We are looking at a high-growth strategy right now. So we are investing significantly in content. Indian stories have more takers than international stories. When you create content for India or the Indian market, there are many more takers as compared to international stories. Our primary goal is to produce original content from India.

    On the importance of user-generated content

    Amit: Zee Zest is looking forward to collaborating with content creators to develop unique content, preferably recipe shows. Audiences watch user-generated content to be entertained as well as to learn something.

    User-generated content has its importance, and it’s something that we’ve also been keenly looking into because certain formats want to develop where a user is a central person where we can develop ideas and content around them.

    There are several formats currently. The easiest is the one where, if it’s a food show, you invite them to be part of the audience or share something that’s part of the entire theme of the particular show.

    Zee Zest will soon focus on user-generated content where users want to express themselves, their skills, and their talents. We are trying to balance this entire thing by keeping audiences engaged but at the same time engaging with our advertisers and with the users as well so that we bring them on a platform that gives them better reach.

    On Zee Zest’s online reach

    Amit: The channel has about three million users per month and is among the top 15 websites in the country. It’s a multi-platform brand. We don’t want Zee Zest to be just a television-centric brand. Since our users search for us or various media, they are different from TV. As a publishing platform, it makes perfect sense for us to not only provide a platform to watch a point of view, but also to serve as a handy guide for their lifestyle.

    The social media platform offers recipes and interactive content as a way to make it happen, while the channel offers interesting viewing content. Web platforms and events have become the two-way communication channels between the audience and the brand.

    Zee Zest is investing in the web platform as well. We’re also looking to buy a couple of untitled Intellectual Properties (IPs) this year, which will be mostly online. So several more ideas are being put into play. And all of this will be taking shape next year.

    On the competition in the OTT space

    Amit: Interest among the audience has remained unchanged. We always find our audiences when there is new content because that is when we create content that is entirely original, new, and innovative. It’s a mix of finding and wanting the content rather than the medium, which is particularly important.

    On regional collaborations

    Amit: Zee Zest, along with the network’s sub-channels (regional channels), is venturing into various regional collaborations. While Mast Maharashtra and Sonar Bengal are already on Zee Zest’s channel, the upcoming show Highway Dream will start in mid-September and will be on Zee’s south sub-channel. There are a lot of insights, knowledge, audience insights, and so on.

    On new content and ideas

    Amit: We have a great ideation cell internally, which manages to churn out some interesting formats and ideas. Now, these ideas are also taken to advertisers, where they find fitment. The newly launched eight-episode series Luxe Pins aims to let the audience experience exclusivity through the host’s eyes.

  • Spinny launches new brand campaign ‘Go Far’ with Sachin Tendulkar

    Spinny launches new brand campaign ‘Go Far’ with Sachin Tendulkar

    Mumbai: A full-stack used car buying and selling platform, Spinny has announced its brand new campaign, “Go Far,” featuring its brand ambassador and strategic investor Sachin Tendulkar.

    The series of films celebrates India’s spirit of dreaming big and making things happen. The campaign explores how different people go beyond boundaries for love, dreams, and self-improvement. For Sachin, someone who has seen the kind of success that he has, going far is, in a way, going back to basics—an inward journey to meet himself again. Back to the person that makes him who he is, to the source, and to his most rooted version. A part of this is driving his first car, the humble 800.

    A couple of years ago, Sachin expressed a keen interest in reconnecting with his first car. He said, “My first car was an 800. Unfortunately, it is not with me right now. I would love to have it back again with me. So people listening to me, feel free to contact and get in touch…”

    The original, Bayers Blue, was painstakingly recreated down to every last detail in Spinny’s integrated quality centres. Now, as a strategic investor for Spinny, Sachin is seen out and about in the 800, doing things that represent his most authentic self.

    Go far as a campaign is personal and relative, hence featuring different people and their stories to push beyond the comfort zone to get what they really, truly want. Whether it’s a family celebrating a new car and a new house or an elderly couple focusing on a dream they ignored for many years, the journeys represent a very individualistic take on pushing boundaries.

    Spinny founder & CEO Niraj Singh said, “We believe in life and in your choices. Go far. You should be able to buy a car that you actually, really want to buy and that you know would make you happy. With Spinny, we’d go that extra mile, go far at every step to make it happen for each of our customers, including Sachin Tendulkar. His first car would make him happy in a way that is rooted and real, and we made it happen. A car is a special purchase for a home, and our endeavour is to make it extra special for each of our customers.

    Speaking about his involvement in the campaign, Tendulkar said, “A car to me is more than just a mode of travel. It’s my second home, my co-passenger on the journey as one explores life and goes places. Our car reflects us and sometimes complements our personality. It was therefore very special when Squad Spinny re-created my first car. The team had put in a lot of effort and gone to great lengths to bring back special memories of my first car. Spinny values the emotions behind car ownership and strives to provide an experience with timeless values of trust, transparency, and integrity.”

    The campaign will run on digital platforms along with a strong presence across TV, radio, OOH and OTT platforms. It will also be aired during the Asia Cup 2022 on Disney+Hotstar and StarSports.

  • Netflix to touch $1.9 bn ad revenue in Western Europe by 2027

    Netflix to touch $1.9 bn ad revenue in Western Europe by 2027

    Mumbai: Western Europe will generate annual revenues of $1.9 billion for Netflix from advertising by 2027, more than the US and almost as much as North America ($2.1 billion when Canada is included), according to a new report by Ampere Analysis. The study forecasts that an additional $841 million will be earned from ad tier subscription fees in Western Europe ($1 billion in North America).

    Ampere believes that Netflix in Western Europe will experience an increase in average revenue per user (ARPU) as a result of the launch of the ad tier. Specifically, the firm predicts that in 2023, ARPU will be 4.9 per cent higher than without it, rising to 8.6 per cent higher by 2027.

    Western European viewers have the highest price sensitivity among Netflix’s customers, which combined with relatively high advertising rates on a cost per thousand (CPM) basis, makes advertising in the region a strong opportunity for the streaming giant. By 2027, nearly one-fifth (19 per cent) of Western European users will be on the ad tier.

    According to Ampere’s report, 19.3 per cent of Netflix users in this European region will view content via the ad tier by 2027, most of them from the existing customer base. The ad tier will stabilise this saturated region. Ampere predicts a 1.8 per cent increase in subscriber growth (with ad tier) in Western Europe over a subscription-only model. A relatively strong increase in the value of advertising-supported customers will boost the overall revenue gain.

    Globally, Netflix will earn $5.5 billion in annual advertising income by 2027, boosted to $8.5 billion a year by ad tier subscription fees. The launch will see Netflix earn $2.2 billion more by 2027 than it would with purely a subscription-only model, driven by an ARPU uplift combined with a modest increase in the overall subscriber base. Ampere estimates that total customers will be 3.2 per cent higher than without an ad tier.

    Ampere Analysis analyst Ben French said, “Very strong advertising rates for streaming in Western Europe will contribute to a significant uplift in the value per customer for those taking the ad tier. Although the overall boost to subscriptions is predicted to be modest in the region, this increased customer value will see Western Europe exceed the value of the US market by 2027.”

  • News9 Plus launches new OTT series ‘Duologue with Barun Das’

    News9 Plus launches new OTT series ‘Duologue with Barun Das’

    Mumbai: The first season of four mini-episodes for TV9 Network’s latest OTT series, Duologue with Barun Das, has been released.

    TV9 Network MD & CEO Barun Das introduces an exchange of ideas not prompted by headline management, but rather to evolve emancipated influencer conversations on the Network’s newly launched OTT video magazine, News9 Plus.

    The show made its debut with “Liger” actor Vijay Devrakonda. Das and Devrakonda discuss not only the Telugu boom in Bollywood but the lives and times of both as they exchange hitherto unknown experiences and perspectives.

    Next in line on Duologue with Barun Das, Das engages with the UK’s former prime minister David Cameron, who made history by becoming the country’s youngest leader in two centuries, forging unrivalled ties with India. Cameron speaks about India’s role in the emerging global order.

    Speaking on the philosophy of Duologue, Das said, “Duologue is a cerebral conversation with a legend or a legend in the making. That’s the profile the show will feature. As the title suggests, it is a two-way interaction where we pose questions to each other as we exchange ideas in a free-flowing manner.”

    He added, “For me to take up this role, the driving force is the need to aggregate great ideas for India’s path to development. I also believe there is room for creating long-lasting and meaningful conversations in a content environment currently dominated by sensationalism.”

    “Barun Das is neither a conventional business leader nor a professional anchor. As a CEO, he has always outperformed the industry. Little known in the public domain is his unique and uncanny ability to slice through conflicting narratives with great ease while stitching loose threads to build meaningful conversations with intelligent minds,” said News9 Plus editor Sandeep Unnithan.

    After watching the show, The Linus Adventures founder and chief evangelist Sunil Lulla said, “Tantalising and intriguing. Duologue opens new voices and new perspectives.”

    “I loved the episode. Barun is so natural. I feel this kind of content can reach a whole new demography… not just rule India but reach the world,” added Chopra Foundation CEO & Seva.Love founder Poonacha Machaiah.

    The show is streaming now on the News9 Plus app, available across the iOS App Store and Google Play Store, as well as on the web.

  • GUEST ARTICLE: How web 3.0 can take full advantage of streaming’s potential making it accessible to all users

    GUEST ARTICLE: How web 3.0 can take full advantage of streaming’s potential making it accessible to all users

    Mumbai: Web3 promises to be the renaissance for how we use internet services. It is fundamentally an idea for a more open, decentralised, and secure internet, governed by anti-monopoly and pro-privacy norms. Naturally, the scale and allure of OTT services’ revenue and seemingly insatiable demand make it a prime industry to attempt to ‘disrupt’. The proposition boils down to ‘what value addition does this new technology and ownership structure bring’. It’s an idea we have experimented with for a few years now being on both 1.0 and 2.0 versions of the web.

    Web3 splitting the pie

    There are broadly three models that can exist at scale with web3 characteristics—one, where users are owners [I own a piece of Netflix and I watch it], two, where creators are owners [the studios or the producers or the individuals], and three, where ownership is split between creators, users, and intermediaries [marketers, platforms, other intermediaries, etc.]. Depending on the market this hypothetical business operates in, some of the business models become viable based on the negotiable split amongst these many stakeholders.

    Cutting the middlemen

    The promise of web3 essentially posits ‘cutting the middlemen’ who supposedly ‘do not add value to the flow of creation to consumption, or at least reduce their ‘cut’. “Hey, why is the app store taking 30 per cent?” and “Wait, XYZ label makes millions of dollars off her song, but my favourite artist lives in a rented house?” are the kinds of questions that can be approached two ways. First, since the relationship between creator and consumer is paramount, and since the audience makes someone famous by consuming created content, the value should primarily be distributed between these two.

    Second, stars and hits are made, not born. So, the backers, marketers, technology developers, and distributors (who work thanklessly behind the stage, risking their time and money) deserve a large part of the credit (aka value).

    Therefore, the model of web3 works well for already established creators who can rely on fanfare and loyalty to create subsequent work. However, they will have to choose between their audience’s capital or the existing pool of professional backers. They do acknowledge that the former carrier risks additional work in raising capital, but with the benefit of doing it on their own terms.

    For the new and upcoming creators, it offers them better terms, but at the risk of losing mainstream system support that has proven its success so far.

    Race to the start

    There is now an increasing list of examples of creators across movies, music, social media content, and TV experimenting with the web3 path, which has led to a crop of new web3-only services. Even incumbent studios, distributors, and platforms are making investments in web3 businesses. Following sufficient examples, existing incumbents will further adapt to offering web3-based models as well.

    The fact remains that the entertainment industry overall has very clear risk-reward profiles. If creators take the risk simultaneously with their hopeful audience, they can all potentially gain from it, but will then be on opposite sides of the table. And to create what we deem “hits,” large-scale distribution is still a professional industry, the providers of which will always demand a high fee for their services.

    The web3 model’s adoption will thus grow at the rate that the creators are willing to take it—and help create more stars and hits than the “industry” has allowed since it offers an alternative path to grow. To the end audience, for any type of content, the key criteria remain quality, price, and on-demand. Adding the proposition of being an earning shareholder makes the deal sweeter depending on the potential earnings. What could eventually emerge is a model where audiences contribute to a diversified pool of creators of their choice, while creators will choose who provides intermediary services to them. Some may argue that this is not too different from existing models, but the creatives are pathbreakers by nature.

    The author of the article is Vistas Media Capital & Fantico chief strategy officer Dhruv Saxena.

  • Govt’s Digital India Act to monitor OTT, social media & metaverse

    Govt’s Digital India Act to monitor OTT, social media & metaverse

    Mumbai: The Digital India Act (DIA), India’s upcoming digital regulatory framework, will have jurisdiction over OTT and social media platforms like Twitter, Facebook, and the Metaverse, according to media reports.

    Any violations of content guidelines by OTT platforms such as Netflix and Amazon Prime, such as spreading misinformation or inciting violence, will be monitored by the DIA.

     

     

    The ministry of electronics and IT (MeitY) is working to replace the existing IT Act 2000 by the winter session of parliament. MeitY is rushing to finish the legislation by the deadline, which will include specific rules for women’s and children’s online safety.

    The Digital India Act will cover social media, OTT platforms, and online apps, as well as web3 applications such as the metaverse and blockchain.

    It was previously reported that the proposed Digital India Act would oversee laws dealing with cybercrime and e-commerce, but new reports indicate that the government has broadened the scope of the DIA.

    In order to create the Digital India Act, the regulators have studied similar internet laws from other countries, including the General Data Protection Regulation (GDPR) in Europe and laws in Singapore and Australia.

    The government has also formed a special committee to review the rules from a technological and legal perspective.

    The government will have the ability to request that OTT platforms remove content that transgresses the aforementioned rules, with the DIA serving as the highest authority in this regard.