Tag: OTT

  • Wonder Woman 1984 to premiere in theatres & on HBO Max

    Wonder Woman 1984 to premiere in theatres & on HBO Max

    KOLKATA: After several protracted delays, Warner Bros superhero tentpole Wonder Woman 1984 is set to premiere in US movie theatres and on HBO Max on 25 December, in a Christmas present to fans of the franchise. The film will debut one week earlier in international markets where HBO Max is not available.

    “The film will be available for one month on HBO Max in the US at no additional cost to subscribers. After that it is understood it will be taken off the platform and continue to play exclusively in whichever cinemas are open,” WarnerMedia CEO Jason Kilar wrote in a blog.

    Wonder Woman 1984 was expected to be one of the biggest films of 2020, and was slated to hit theatres after this summer. However, the release has been deferred many times due to the Covid2019 crisis.

    “As we navigate these unprecedented times, we’ve had to be innovative in keeping our businesses moving forward while continuing to super-serve our fans,” WarnerMedia Studios and Networks Group chair and CEO Ann Sarnoff said.

    The move, though a highly welcome one for fans, is somewhat unprecedented for Warner Bros, which in September ensured an exclusively theatrical opening for its big ticket release Tenet, directed by Christopher Nolan. The film turned out to be a dud at the US box office, earning $56 million over two months, as compared to production cost of $200 million. Luckily for the studio, Tenet fared much better internationally, raking in more than $350 million worldwide.

    The dual platform release of Wonder Woman 1984 could spark a trend, with other studios making their biggest titles available in cinema halls and streaming services simultaneously. For instance, Disney's Black Widow is currently scheduled for theatrical release in May 2021, a full year after its original date. While CEO Bob Chapek has come on record to say that the company was pleased with the "premiere access" release of Mulan to Disney+, no such plans regarding Black Widow have been made public yet.

  • Eros Now reaches 36.2 mn paying subscribers

    Eros Now reaches 36.2 mn paying subscribers

    KOLKATA: Eros Now, the OTT platform owned by ErosSTX, has reached 36.2 million paid subscribers and 211.5 million registered users worldwide as of 30 September. This represents 6.9 million net new paid subscriber additions over the past six months.

    This subscriber growth has been powered by its investment in technology and the larger partnership with Microsoft. In a recently completed project, Eros Now uploaded content to a central content repository, built on Microsoft Azure, that can quickly process large volumes of data to distribute to hubs via satellite. Consumers then connect to these hubs to securely download content to their mobile devices without internet connectivity. By using this system, consumers in low connectivity regions can access Eros Now’s rich media content and pay for services in modes they prefer. Enabling video distribution via satellite could be game changing for the OTT business in developing markets like India, South East Asia and Africa where more than 50 per cent of the population has intermittent access to internet and internet video.

    Another major attribute to the platform’s growing popularity has been the Eros Now Original Series. The recently released and critically acclaimed original series Flesh, starring Swara Bhaskar, generated the highest ever time spent viewing by Eros Now consumers – more than any other original series so far. Overall engagement on the platform has increased dramatically so far this year and is approximately double the pre-lockdown engagement.

    This festive season, Eros Now has partnered with Paytm to offer 100 per cent cash back to the digital payments app’s consumers in India who subscribe to the Eros Now’s monthly pack of Rs 49 and to unlock #DilwaliDiwali and enjoy the best of movies, original series and more.

  • Tarun Katial steps down as Zee5 India CEO

    Tarun Katial steps down as Zee5 India CEO

    MUMBAI: Zee5 CEO Tarun Katial has put down his papers after four years. He had joined the OTT platform in November 2016 and during his tenure, not only did he steer the platform and help the company gain a leadership position, but was instrumental in conceptualising the brand’s home-grown short video app HiPi, among other things.

    A company spokesperson said, “We wish to confirm that Tarun Katial has tendered his resignation, as CEO, Zee5 India. We thank him for his valuable contribution towards the growth of Zee5. Under his able leadership, in a very short span of time, Zee5 has emerged as India’s largest ConTech brand, delivering seamless, superlative content across different consumer touch-points, backed with cutting edge technology. His rich experience and expertise have been invaluable in building a robust digital platform. We wish Tarun the best in all his future endeavours.”

    In line with its recently announced strategic restructuring of the organisation, Amit Goenka as the president – digital businesses and platforms will continue to lead team Zee5, along with other digital platforms.

    In a career spanning over three decades, Katial has worked at companies such as Internet and Mobile Association of India (IAMAI), BIG FM, Sony Pictures Entertainment, Star TV Network, Ogilvy & Mather (now Ogilvy), Enterprise Nexus Lowe.

    Under his leadership, the Zee5 platform has amassed 100+ originals across genres and languages and seen 100 million plus downloads.

  • OTT players up their focus on Tamil market

    OTT players up their focus on Tamil market

    KOLKATA: In India, content is king and over-the-top (OTT) players are increasingly dishing out programming to audiences in their local flavour, moving beyond the Hindi and English speaking segment. As developments in these frontier markets gain momentum, Tamil has emerged as an obvious choice. Some domestic players have already planted a flag in this domain over the last couple of years, and now, the deep-pocket streaming colossuses are also moving in.

    Disney+Hotstar, which started focusing on regional content since 2019, recently revealed its first Tamil original content slate, including feature films. A few days before that, Amazon Prime Video announced nine direct-to-digital premieres, and two of these big ticket releases are in Tamil language. Moreover, the service also started streaming its first ever Tamil anthology film Putham Pudhu Kaalai, a collaborative effort by five well-known Tamil directors. And while Netflix hasn’t made inroads in the regional market yet, the global streaming giant announced two Tamil anthologies in October.

    “Indian audiences have really diverse tastes and enjoy films and series in several languages. At Netflix, we’re steadily growing our original and licensed film catalogue across multiple Indian languages, including Hindi, Tamil, Telugu and Malayalam. We are honoured to showcase the brilliance of Tamil storytelling to our members in India and around the world through two new Tamil originals, Paava Kadhaigal and Navarasa. We will continue to engage with established and emerging creators from different parts of the country and hope to share their stories with the world,” Netflix India international original film director Srishti Behl Arya commented.

    Then there are streaming platforms like MX Player, Zee5 that have gone the regional route since the beginning. For instance, MX Player’s Tamil original Queen was a runaway success that won several accolades. The platform’s chief content officer Gautam Talwar said the series was probably the largest bet any OTT platform took for a regional piece of content, but what it proved was that a good story in any language transcends all barriers. According to him, its performance in Telugu and Hindi has been equally phenomenal, along with witnessing a 6X increase in Tamil consumption on the platform post the launch of the show. He noted that the platform has a robust slate for Tamil audiences planned for 2021.

    Moreover, the huge Tamil diaspora offers an opportunity to platforms beyond two-three states. “When we started conceptualising content including originals for the Tamil market, we knew that it is a huge opportunity, possibly as big as a Hindi venture. Tamil is also a language which allows you to go international very easily. So, you can end up targeting countries like Sri Lanka or Singapore. The language does not relate only to the Tamil Nadu market,” pointed out Zee5 programming head Aparna Acharekar.

    The Tamil market is an interesting segment in terms of content creation too. The audience is a developed film, TV market and has great expectations due to the variety of content they are already exposed to, Acharekar said. MX Player’s Talwar also stated that the Tamil market has historically had a palette for differentiated and bold content, which gives platforms more leeway to experiment with unique narratives and storytelling styles.

    “The big players always had the intent to invest in the regional market. Within the regional market, the largest markets are Tamil, Telugu. These are 65-70 per cent of the overall regional market. So, whenever one starts to move to regional, they will definitely choose Tamil, Telugu because it is a large audience base,” Elara Capital VP research analyst (media) Karan Taurani said.

    Asked to share his observations on the recent activity by leading OTT players in the regional space, Taurani shared that most of the leading players have already exploited the Hindi and English speaking market. At present, there is a low-competition intensity as no streaming giants have made a mark in the market, other than Zee5, MX Player. In fact, none of the OTT players has aggressively invested yet, he added. This, despite the fact that the Tamil viewers have a huge appetite for content, given their higher than national average time spent on TV, cinema occupancy.

    This recent trend of every player trying to expand their footprints – especially Amazon Prime Video, Netflix – may increase the competition significantly, especially for homegrown players. Zee5’s Acharekar seemed less worried as she is of the view that competition helps a market evolve, giving consumers more varieties in the narrative. Along with that, Zee5 possesses last two years’ learning in the episodic format, whereas others have been mainly experimenting with movies till now.

    Elara Capital’s Taurani noted that as more players stream into the Tamil market, the production cost will go up as global deep-pocket players invest at a different scale. Hence, domestic players may feel the pinch of higher content production costs. However, he mentioned that all of these platforms have a different target audience.

    “There is a huge audience base consuming online content right now, especially since the lockdown. Viewers have not only fast adopted OTT platforms as a medium of choice but are also investing time in watching and experimenting with different kinds of content. I think the more the content produced and served by platforms in regional languages, the more the overall category will grow and that is beneficial to all the platforms. So it’s not about the competition as much as it is about the category growth. Everyone is trying to tell stories in their own unique way and there is a large audience base to cater to for all these stories,” Talwar said.

  • US, India to account for around 50% of Disney+ subscriber base in 2025

    US, India to account for around 50% of Disney+ subscriber base in 2025

    KOLKATA: With an overwhelming surge of users on over-the-top (OTT) platforms, the global SVoD users are growing significantly. Analyst firm Digital TV Research expects five global platforms to have 678 million paying SVoD subscribers by 2025 based on September results.

    While Disney+ has already added over 73 million subscribers, it will add another 112 million subscribers between 2020 and 2025 to reach 194 million. The report adds that Netflix will increase its subscriber base by 73 million.

    “Much of Disney+’s initial growth came from the US, mainly due to the attractive bundle of Disney+ with ESPN+ and Hulu. More recently, India’s Disney+ Hotstar subs count has rocketed due to its coverage of IPL cricket. The US and India will account for nearly half of Disney+’ subscriber base by 2025,” Digital TV Research principal analyst Simon Murray says.

    According to the report, the streaming giant Netflix will take its revenue up to $37 billion and its rival Disney+ will generate $13 billion in revenue by 2025. The report adds this is a lot lower than Netflix due to lower ARPUs charged in developing markets.

  • Will MIB crack the whip on online content: Experts debate

    Will MIB crack the whip on online content: Experts debate

    KOLKATA: It's been an oft debated issue over the past few years: how does one keep a tab on free as a bird, digital sector – OTT and digital news platforms? With the government bringing it under the regulatory oversight of the ministry of information and broadcasting (MIB) many a conservative who has complained about the content on streaming services may well heave a sigh of relief. But it is  exactly this which is creasing the brow of many a digital executive as they wonder now  if their creative freedom is about to be curtailed with the leash of a draconian censorship law.  But experts believe there is no reason to panic at the moment.

    They say that so far, the matter of digital content regulation was neither here nor there, dangling between the MIB and ministry of electronics and information technology (MEITY). The government’s move was aimed at drawing lines and clearly defining what comes under whose ambit. According to industry experts, MEITY has less knowledge about content and was also not very active in the sphere.

    “There is certainly a need for some kind of regulation. If self-regulation is adopted, exercised, and disciplined, that would have been ideal. That’s what the industry had signed up for some time back. Putting everything under censorship would be one extreme step which could be very difficult for the industry to work on as the OTT segment is a very different business in terms of content, infrastructure, investment, and challenges,” said PwC India media, entertainment & sports advisory partner a& leader Raman Kalra.

    He went on to add that there would be a need for the government to work in very close consultation with the various stakeholders in the industry and arrive at a middle ground. “You can’t have a completely unregulated environment. On the other hand, you can’t have a very tightly controlled censorship driven framework,” he quipped.

    Elara Capital VP – research analyst (Media) Karan Taurani conjectured that the ministry may be formulating a framework for regulating the OTT space but that may not be very anti-digital in nature.

    Since the industry cannot be left unregulated, the government’s gazette notification will ensure that the entire media ecosystem will be aligned in terms of processes and overview under MIB, commented former SonyLiv head and Kurate Digital Consulting’s Uday Sodhi.

    “It is still early days to predict the impact. I think it has done the re-categorisation and recognised OTT as a proper medium and therefore put it under MIB. This is the right way to go about. It basically integrates the entire content ecosystem whether it is entertainment content or news, whether it is digital or TV,” he added.

    In terms of censorship, Sodhi was of the view that change in ministry will not change the Centre’s take on the matter, which has been a hot button issue for a while now. But he believes that MIB will not impose any censorship, rather it will follow the self regulation model in traditional media.

    On the subject of investment in the OTT sector, Kalra stated that it will be affected if – and only if – there is a heavy regulatory environment. The harder it becomes to create a good content funnel, the slower will be the growth of the sector. However, he qualified his statement by saying that it’s still early days. On the other hand, Taurani claimed this will not discourage global OTT giants from investing, or impact the streaming sector negatively in a big way.

    “We look forward to working with the ministry to implement our industry's self-regulation efforts. As responsible content creators, we want to ensure this act not only takes cognisance of the nature of content being released, but also ensures that we safeguard creativity in this rapidly growing sector,” MX Player CEO Karan Bedi clarified.

    On a slightly different note, another senior media professional added that the move is aimed more at the news segment. The good part, he said, is that MIB will now be able to keep a check on fake news and foreign companies’ control over news determination. But he cautioned against the misuse of power as well. Things will get sticky from a political point of view if the action turns out to be ‘A vs B.' However, the ministry will need a piece of huge machinery if it really tries to monitor every piece of news content.

    With an increasing number of services  getting into streaming –  and some have  content which can  be construed as crossing the line of decency by a sensitive India today – it behooves the mainline streaming players to quickly come up with a self regulatory mechanism which is acceptable to the MIB.  Also, those streamers who have not signed on the dotted line, need to arrive at an agreement with those who have.  So far the fledgling sector's efforts to come up with self-regulation under the IAMAI have not  really excited the regulator.

    Advertisers, agencies, and  entertainment and news broadcasters have –  in their time – got together, buried their differences  and drawn up mechanisms which have kept audiences, and the government  satisfied.  OTT and digital outlets need to keep a picture in their minds: being forced to run to the censor board for every piece of content that they produce, should they fail to get a self regulatory code in place. That's a nightmare no OTT  executive would like to go through.

  • Online content and news finally comes under MIB’s jurisdiction

    Online content and news finally comes under MIB’s jurisdiction

    KOLKATA: The meteoric rise of digital media has put high focus on how online content will be regulated. Until now there were no particular guidelines to regulate the exhibition of online content, even though talks have been going on for a long time. Now, the government has brought online news platforms and content providers under the ambit of the ministry of information & broadcasting (MIB).

    The latest gazette notification issued by the Prakash Javadekar-headed ministry stated that films and audio-visual programmes made available by online content providers, as well as news and current affairs content on online platforms will come under MIB’s purview.

    Earlier this year, MIB secretary Amit Khare said at FICCI e-Frames that the ministry is proposing to take over jurisdiction on online content regulation from the ministry of electronics & information technology.

    “OTT being a digital platform will fall under the purview of the ministry of IT. We are proposing a decision that content should fall under purview of I&B. Convergence of ministries is extremely necessary,” Khare had remarked.

    Amid intense pressure from the government, Internet and Mobile Association of India( IAMAI) also tried to push a self-regulatory model for online content curators. About 15 OTT players operating in the country came together to sign a code, but this was later disapproved by MIB. The ministry asked IAMAI to look at other models.

  • Amazon Prime Video India forays into live sports with New Zealand Cricket rights

    Amazon Prime Video India forays into live sports with New Zealand Cricket rights

    KOLKATA: In its latest move, Amazon Prime Video has announced its first foray into live sports in India, with the acquisition of India territory rights for New Zealand Cricket through 2025/26. With this announcement Amazon Prime Video becomes the first Indian streaming service to secure exclusive live cricket rights from a major cricketing board.

     Under the multi-year deal between Amazon and the New Zealand Cricket Board, Prime Video will become the one-stop streaming destination for all international cricket matches to be played in New Zealand for both men’s and women’s cricket, across ODI, T20 and Tests starting late 2021. The deal includes Team India’s tour of New Zealand in early 2022, and a second tour, the dates for which will be announced later. The rights for 2020-2021 season starting later this month is intended to be syndicated by Amazon.

    The Indian men’s cricket team receives unrivalled support and unites fans across the entire country. With two highly-anticipated tours of the Indian team to New Zealand, over the next 6 years, cricket fans in India are in for a treat! The New Zealand men’s cricket team, also known as the Black Caps, enjoys world-wide popularity and is ranked No.3 in ODI and No. 2 in Test Cricket by the International Cricket Council.

    “Over the last few years Amazon Prime Video has become the go-to destination for world class entertainment in India – be it our Amazon Original Series or the biggest blockbuster movies across languages,” Amazon Prime Video director & country general manager Gaurav Gandhi said.

     “We are excited to add India’s most loved game – Cricket – to our content selection for our Prime Video customers, and we are thrilled to work with New Zealand Cricket on this endeavor as they have a strong, passionate and much-loved cricket team, and the cricketing rivalry between the two countries has been fantastic. We are happy to make this collaboration with New Zealand Cricket our first live sport offering in India, and are confident that our Prime members will be delighted with this initiative,” Gandhi added.

    “This partnership with Amazon Prime Video is massive for NZC – we’re delighted and proud to be teaming up with such a famous and successful brand. As we’ve said before, the future of live sport is streaming and in Amazon Prime Video we have a partner right at the center of the industry; innovative, trend-setter and well-known for putting fans and subscribers first,” New Zealand Cricket chief executive David White said.

    “One of NZC’s key goals is to extend our teams’ global reach and to build closer relationships around the world and, in terms of that particular objective, we don’t think we could be in better hands. India has always been important for viewership of NZC; no other country follows cricket like India, so it’s exciting to be announcing this agreement with India’s leading streamer,” he added.

    The Indian territory New Zealand Cricket rights package is the latest in Prime Video’s growing line-up of live sports around the world including Thursday Night Football, the Premier League, ATP Tour Events, WTA, the US Open (tennis), UEFA Champions League, Autumn Nations Cup (rugby), and the Seattle Sounders FC. Fans can also subscribe to streaming services such as Eurosport, MLB.TV, NBA League Pass, and PGA TOUR LIVE through Prime Video Channels. This in addition to a selection of popular docuseries for sports fans, including The Test: A New Era for Australia’s Team, which follows the Australian men’s cricket team during the 2018/2019 season, and Emmy-winning Amazon Original All or Nothing, among many others.

  • Balaji Telefilms sees stronger Q2 FY21

    Balaji Telefilms sees stronger Q2 FY21

    KOLKATA:  The Ekta Kapoor headed content production house Balaji Telefilms on Monday reported a consolidated revenue of Rs 78.3 crore in the second quarter, up 123 per cent from Rs 35.05 crore in the first quarter. The company has narrowed down EBIDTA to a negative Rs 12.4 crore from the negartive Rs 26.3 crore in the previous quarter. The company has posted a net loss of Rs 19.5 crore again an improvement over Rs 27.9 crore in Q1 2020.

    In a regulatory filing, Balaji Telefilms has stated that content production has resumed slowly leading to higher production cost of Rs 60.5 crore. 176.5 hours of TV content have been produced in the quarter. Six shows were on air during the quarter and the company is expected to launch two new shows in the coming quarter.

    “This quarter we took steps to restore our content production activity and have slowly returned to more normal levels of TV content production. The teams are adapting to the new processes of shooting and I am confident we will adapt quickly given our strength and successful track record. Our digital businesses had limited fresh content during the quarter but we have managed to get better engagement using our library of over 65 original shows. We will soon restart adding more shows to the platform as shows are ready for launch. Overall some of the cost optimization programs initiated should continue to allow us to see strong profitability as our operations return to pre-COVID levels,” Balaji Telefilms managing director Shobha Kapoor said.

    Total Revenue for ALTBalaji stood at Rs 14.7 for the quarter compared to Rs 14.9 in the previous quarter. The OTT platform has witnessed a marginal uptick in international subscriptions as it is gaining traction globally. While average daily subscriber addition in the quarter has stood at 9000, average revenue per user (ARPU) remains between Rs 140 to Rs 150 a year.

    The direct subscription revenue has witnessed a marginal de-growth as the country has slowly opened up and customers are returning back to work and social commitments. Moreover, revenue from its Zee5 deal has also resumed in the quarter. As there has been a huge change in content consumption trends, the recent lockdown has accelerated the shift of consumer base from tier 1 into non-metro and tier II or tier III towns and cities. 

  • Bodhi Tree Multimedia’s debut on NSE Emerge to fuel expansion & growth

    Bodhi Tree Multimedia’s debut on NSE Emerge to fuel expansion & growth

    KOLKATA: It is not a common practice for production houses in India to venture into the capital market. But in quite a unique move, content production company Bodhi Tree Multimedia Ltd recently debuted on NSE Emerge. It has already raised Rs 3.71 crore from its SME initial public offering, which will go towards expansion activities and strategic growth, said Bodhi Tree Multimedia managing director Mautik Tolia.

    Started in 2013 by Tolia and Sukesh Motwani, the production house initially focused on general entertainment on TV, and later expanded into other genres and also into digital content. Along with working for major broadcasters, it has produced content for OTT platforms like Voot, Viu.

    Tolia said that they had been considering going public since last year, and the process would have been finished in the last financial year if the Covid2019-induced lockdown had not struck suddenly. Hence, they had to push it back by a couple of months.

    “You are at a point in entertainment industry where you are at an inflection point with digital content, TV content. Moreover, new avenues of content production are emerging. If you want to take advantage of that, this is the right time to focus on accessing the capital market because it is a long-term way for a company to grow. Eventually, if you want to develop your own IP, being listed opens lots of doors for you. It’s a strategic objective, more than anything else,” Tolia explained.

    The company posted Rs 27.45 crore consolidated revenue for FY20. For the first five months of FY21, it has reported Rs 4.86 crore revenue and profit of 0.32 crore. In a filing on the stock exchange, the company has also stated that it intends to utilize the issue proceeds towards working capital requirements, general corporate purpose and meeting the issue expenses.

    Elara Capital VP – research analyst (Media) Karan Taurani also endorsed the decision of getting listed. Noting that content making has, in fact, picked up during Covid period due to increased amount of time spent on TV and digital platforms, Taurani said this has led to greater demand for good content from major broadcasters and OTT players alike. According to him, Bodhi Tree Multimedia is a solid production house which has made quality TV shows and web-series. Hence, Taurani expressed confidence that it will get a good valuation.

    Taurani went on to mention that being platform-agnostic will also work in Bodhi Tree’s favour in a market where most listed content creators churn out shows either for their own channels or OTT platforms. Hence, it will provide multiple opportunities overall, he shared.