ITV

Tag: OTT

  • Gippi director Sonam Nair on her upcoming shows and challenges in the OTT industry

    Gippi director Sonam Nair on her upcoming shows and challenges in the OTT industry

    MUMBAI: Sonam Nair, director and writer best known for her work in Wake Up Sid, Gippi and The Trip in a fireside chat at the Content Hub 2020 spoke at length about directing digital and television series.

    After working as an assistant director in Wake Up Sid and Vishal Bharadwaj’s Saath Khoon Maaf Nair made Gippi a movie based on her own life. Nair poured her heart out while addressing social stigmas and how she was bullied and body shamed as a kid. However, things were never easy for her. She had to wait for three years to make a sex comedy film. Finally, a short film based on the same ethos of sex comedy Khujli starring Neena Gupta and Jackie Shroff resurrected Nair’s career.

    “I don’t think in a way which is a very large screen, having lots of special effects, ensemble star cast. I think simple, relatable stories can have humour attached to it. This whole digital platform opened up for me  and I could tell stories I wanted to tell. After Khujli I directed the second season of Trip, I directed Kaafir and now I am working on a story written and directed for Netflix called Masaba and Masaba," she said.

    The  show is based on the bond between a real-life mother-daughter duo of ace fashion designer Masaba Gupta and Bollywood actor Neena Gupta.

    While addressing the issues prevailing in the content industry Nair said, “It is difficult to sell stories to a particular platform because this not how OTT platforms work. It is an anthology of supposedly six short films that works otherwise platforms are quite scared to take just one story.”

  • Nivedita Basu’s journey from Balaji Telefilms to her own production house

    Nivedita Basu’s journey from Balaji Telefilms to her own production house

    MUMBAI: The Day 2 of The Content Hub 2020 had an interesting session on producing for television by Nivedita Basu.  The audiences witnessed the independent producer and creative director speak on her journey in Balaji Telefilms to becoming an independent producer and creative director. 

    Basu joined Balaji Telefilms in 2000 as a deputy creative director and worked on many TV serials with Ekta Kapoor and worn many hats under her mentorship. Basu quit Balaji Telefilms in 2009 and she started her own production house 'House of Originals'. 

    Basu says, "After 15 years, it's natural to go independent. I was very excited about making Meri Awaaz Hi Pehchaan Hai and we wanted to make a show that stands out."

    She further adds, "There are lots of obstacles in becoming an independent producer and creator. I always wear a creative hat more than the producer's. Even though I didn't make profit out of my first show but I am still proud of it. Luckily, after Meri Awaaz… I got the second show and that did commercially well and gave me the confidence as a producer."

    Basu also shared her experience of working with Balaji Telefilms. She says, “The advantage of Balaji Telefilms is that we have Ektaa Kapoor and Shobha Kapoor there. In Balaji I was handling nine shows at a time and it was not that difficult as I had Ekta as guru.”

    Basu believes today's writers are struggling between writing and producing. She says, “Right now, television is not the only thing for writers or creative people. Thanks to digital and OTT, people are making what they want to make. Going ahead, I will be producing content for OTT platform.”

  • Hotstar targets Hindi market with free content

    Hotstar targets Hindi market with free content

    MUMBAI: Hotstar has launched a 360-degree marketing campaign, “Hotstar ka vaada, free entertainment sabse zyada”, reaching out to millions of viewers in Hindi-speaking markets who currently have little access to high-quality content for free.

    With more than a 60 per cent share of entertainment consumption in 2019, Tier II and III cities have been fuelling the growth of online video consumption in India. However, a large section of the audience in these cities still does not have access to high-quality entertainment and is limited to watching reruns of outdated content. While some have lost access to paid channels following the TRAI tariff order, others are hampered by infrastructure issues such as frequent power cuts. This issue of access is further exacerbated by a single shared TV screen in large households.

    Hotstar is bridging the accessibility gap for viewers through its campaign, which spreads the word about its vast library of high-quality free content. Hotstar’s free content includes several movies like Chhichhore, Mission Mangal; TV shows from Star Plus like Yeh Rishta Kya Kehlata Hain, Nazar, Kasauti Zindagi Kay and Star Bharat like Savdhaan India along with News.

    Hotstar chief product officer Varun Narang said: “The next wave of growth for OTT platforms will come from smaller cities as adoption picks up. In fact, non-metros today outstrip metros in terms of video consumption. Through this campaign, our endeavour is to engage with our audiences further in Hindi-speaking markets and take digital video consumption to new frontiers.”

    Hotstar EVP and business head Sidharth Shakdher said: “We see a huge opportunity in building awareness and encouraging trial across Tier II and Tier III cities around our vast and high-quality library of free entertainment, and thereby, enabling a behavioural shift towards online video consumption. Hotstar’s free content will unlock a new world of entertainment for this audience which currently has to settle for outdated reruns on a limited set of channels.”

    The campaign aims to make inroads into Tier II and III markets using mass media vehicles such as TV and print, along with on-ground activations. A unique out-of-home initiative will culminate in a billboard spanning 10,000 sq. ft, the longest ever set up in India, which will feature the variety and scale of content available on Hotstar.

    Other high-impact activations include out-of-home billboards and wall paintings across 80 small towns in India along with a branded mobile marketing canter van campaign. This canter will travel across 30 cities for a month, conducting roadshows across 150 congregation points, showcasing Hotstar’s breadth of content. This will be amplified further with unique interventions such as Nukkad Natak and on-the-spot engagement activities.

  • Hotstar Specials launches ‘Special Ops’

    Hotstar Specials launches ‘Special Ops’

    MUMBAI: Hotstar Specials, along with Friday Storytellers, is set to launch the biggest spy action thriller of 2020, Special Ops. This fast-paced 8-episode series is based on the role of Indian intelligence in a series of real terror attacks that India faced over the last 19 years. Starting with the 2001 attack on Indian Parliament, the show goes back and forth in time covering several other events including 26/11, Kashmir terror attacks amongst others; and the chase for the single mastermind behind these attacks – making it the longest manhunt in Indian Intelligence for India’s deadliest enemy.

    The show has been written by Neeraj Pandey, Deepak Kingrani and Benazir Ali Fida; all of them have spent years carefully researching the ways of Indian intelligence. Every aspect of the show has been conceptualized and created to deliver a high-quality thrilling experience. Keeping with the scale, it has been shot across numerous international locales including Turkey, Azerbaijan, Jordan and India. 

    Special Ops features an ensemble cast including acclaimed actor Kay Kay Menon along with the powerhouse talents such as Karan Tacker, Saiyami Kher, Divya Dutta, Vinay Pathak, Muzammil Ibrahim, Meher Vij, Vipul Gupta, Sajjad Delafrooz, Parmeet Sethi, Gautami Kapoor, Sana Khaan, Sharad Kelkar, KP Mukherjee, and many others.

    Specials Ops is slated to release on 17 March 2020 in seven languages on Hotstar VIP.

    STAR India Hindi Entertainment head Gaurav Banerjee said: “Neeraj Pandey is one of the most distinguished filmmakers of our time and we are delighted to partner with him for his digital debut. Our goal with Special Ops is to create an action-packed spy series that’s at par with global standards when it comes to quality and scale; it takes forward the Hotstar Specials agenda of bold and varied story telling on a big scale.”

    Neeraj Pandey, who has created the show, added: “Special Ops is a story I thought of many years ago – it’s a big idea that required a lot of patience and research to pursue and develop. With newer and exciting formats of storytelling gaining prominence, we were able to build a fabulous team to create this larger-than-life story that strings together many real events from the past two decades. For the first time in the history of Indian entertainment, the 2001 Indian Parliament Attack has been recreated on celluloid. That’s just one of the many big moments from the show.”

    “A big idea requires the right scale and platform to bring it altogether. This is an exciting partnership for us and has many firsts – first digital series from Friday storytellers, Neeraj’s first on the digital platform and our association with the largest OTT Hotstar. The show has the right mix of scale, talent and pace to enthral and entertain the audiences,” said Shital Bhatia who has produced the show.

  • Kantar’s OTT audience measurement aims to be industry currency

    Kantar’s OTT audience measurement aims to be industry currency

    MUMBAI: Kantar, in association with VTION, has launched OTT Audience Measurement Insights for audio streaming platforms at a time when a unified third-party measurement is need of the hour. While the video measurement will come up in Q2, both the companies, on the back of the collaboration, aim to fill the need gap.

    “The idea here is that we hope to provide a third party independent measurement, which tells platforms about what the consumers are listening, at what time which platforms, what kind of content is being consumed. We don't have any stake, either of the parties in any of the platform. The idea is that we want to be the currency for the OTT industry to make decisions about content, marketing and communication,” Kantar South Asia Insights Division managing director and chief strategy officer Hemant Mehta said.

    Mehta added that VTION’s expertise in technologies is the core strength of the partnership, while Kantar brings in the knowledge of using that data to understand from a media planning or market insights perspective. Despite challenges, both the parties are now confident that what they are measuring and reporting to the market is reliable.

    He added that having one standard metric is not possible, it would vary. “What we are giving is our standard variables by which you can evaluate like in any other medium. We've got reach, rating, time spent, share – the four variables which every medium has, we are also releasing those to the industry. And we hope that industry will take a consensus about what should be the measure,” Mehta said.

    He also added that the in-depth measurement data will be subscription-based. As shared by him, along with platforms, advertisers are also showing interest in the data. The recent study is based on a robust sample size of 9000+ stretching across top 9 cities (Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Pune, Ahmedabad & Lucknow/Kanpur) among male and female of age group of 18+ and across SEC A, B & CDE.

  • Delhi, Mumbai largest markets for OTT audio streaming

    Delhi, Mumbai largest markets for OTT audio streaming

    MUMBAI: There is a strong interplay between radio and OTT audio streaming resulting in what can be called a “Battle for the Ear”, according a study. 

    The OTT Audience Measurement Insights – a first-of-its-kind, passive, continuous audience measurement service – has been launched by Kantar and VTION and it will bring the streaming audio medium on par with radio, TV, print and digital platforms.

    In the inaugural release, the study has picked up certain unique regarding content consumption patterns as OTT audio streaming players seem to have built unique core audiences. 

    There is a clear pattern of consumption of songs that go beyond ‘trending’ time-frame giving them a longer lifespan. The study also shows that the OTT platforms are also effectively competing with TV in the weekday morning slots.

    The study reports multiple variables by gender, time of the day, age group, genre, OTT platforms, NCCS, and cities for the content being consumed.

    Hemant Mehta, Managing Director, Insights Division & Chief Strategy Officer, Kantar South Asia, said: “The year 2020 will be ‘The Battle for the ear’ as OTT Audio platforms are shaking up the music market, especially by creating an intense competition between Radio and OTT Audio platforms. Today the listeners are spoilt for choice as far as content consumption is concerned and move across the platforms to fulfill their entertainment needs. The OTT Audience measurement is redefining the audience measurement space as it provides rich insights ranging from listening habits across devices, age groups, peak times, and genres and so on and addresses a need for a robust solution to track the OTT space. Our joint initiative withVTION has provided the industry with the much-needed metrics that will ultimately help the marketers understand the consumer profiles, their content and platform preferences required for effective communication planning and implementation.’’

    Manoj Dawane, Founder & CEO of VTION, added: "Audio as a medium of entertainment and engagement, comprising of OTT platforms, broadcast radio and podcasting, is a fast-growing media segment in India. We believe that a well-defined and unbiased independent measurement system will catalyse growth even more as marketers, platform owners and content owners will be able to drive relevance, programme meaningfully and target audiences effectively. Our partnership with Kantar combines their deep consumer behaviour understanding with our patent-pending technology to serve the industry better and grow the market.”

    Key Findings

     13 Million adults listened to any OTT streaming App in the last 30 days over nine cities.
     OTT Audio streaming peaks between 9 PM- 9.30 over weekends, almost making it the new prime time. Weekend listenership trumps weekdays.
     The medium is fast catching on across audience groups providing “personal, me time”
     Delhi and Mumbai at 25% each are the largest OTT audio streaming markets, followed by Kolkata and Bangalore standing at 11% and 10%, respectively.
     Mumbai is deeply entrenched in terms of OTT Audio streaming, capturing 44% of the pie followed by Delhi at 25%.
     Clear interplay between Radio and OTT Audio streaming – Battle for the ear 
     Strong correlation between radio and streaming audio; OTT streaming seems to be thriving in markets where radio listenership habit is not strong.
     Among the top 10 songs 
    o 2 Singles amongst 10 songs 
    o 3 Remix / version / Recreation
    o Longevity of Music beyond the theatrical: Kabir Singh

    The OTT Audience Measurement offering brings together Kantar’s expertise in media measurement and consumer insights with VTION’s proprietary audience measurement technology and data management framework to provide a unique, comprehensive understanding of audience behaviour, insights for communication planning as well assessment of ROI for media investments across OTT video platforms, OTT audio streaming & podcasting and broadcast radio FM platforms.  

    The study is based on a robust sample size of 9000+ stretching across top nine cities (Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Pune, Ahmedabad & Lucknow/Kanpur) among the male and female of age group of 18+ and across SEC A, B & CDE. 

  • ALTBalaji management confident of breakeven by April-June 2020

    ALTBalaji management confident of breakeven by April-June 2020

    MUMBAI: Ekta Kapoor’s over-the-top platform has managed to solve the OTT revenue question. The ALTBalaji management always spoke of profitability and breaking even rather than cash-burn and tons of investment and it seems that aspiration will soon be achieved.

    The management at Balaji Telefilms remains relentlessly upbeat about lowering the recorded loss in the balance sheet gradually. In the third quarter, it stood at about Rs 16 crore. As shared with investors in an earnings call, the management is optimistic to bring it down to single digit in the fourth quarter. “April-June onwards we will practically breakeven the ALT business,” the company says. It also mentions that the breakeven is at the P&L level.

    Before September 2019, ALTBalaji shows were available for free on telco services. The indirect customers were yielding very low average revenue per user (ARPU) bordering between Rs10 to 15. The platform last year entered in a deal with ZEE5 also. All 42 shows which were produced before September are exclusive to ALTBalaji and the 13 co-produced shows on both platforms. Due to the changes, now all ALTBalaji content is behind a paywall, be it on its own service or on ZEE5.  

    “This has enabled us to one raise our ARPU. Secondly we have direct subscriptions going up, as a result year-on-year. We are doubling our subscription revenue overall and also through direct subscribers, so that is the benefit of going behind paywall. We feel that as our library increases we need to ensure that people form the habit of paying for our content and our content is not offered free. We had to do telco deals and give it off free in the first, probably 30 months of our existence because our library was small, but now we have taken a call, now with the library is growing that we are going to go only behind paywall,” the management reaffirms.

    The revenue has gone up this quarter too which stood at Rs 23.1 crore in Q3. The management thinks numbers are looking more and more cheerful in terms of the topline. It attributes it to two factors – one, the exclusive 42 shows and the ZEE deal. Because of the deal, it has been able to manage P&L and revenues.

    “It is a 60-40 content share, 60 per cent of our content cost is picked up by ZEE and I think on an annual basis that will amount to at least about Rs 80 crore to 90 crore and the rest of the money that we spend on the apps has to be made by us directly through our exclusive live and show that exploit and as a result of that we hope to breakeven between 36 to 48 months from our launch,” the management states.

    The management is very confident that its direct subscription revenues are doubling every year. At the closing of this financial year, it estimates the figure to stand well above Rs 31 crore to 32 crore . It is also expecting to double direct subscription revenues next year as well. Moreover, the two-year  ZEE partnership will also span most of the next financial year leaking into the year after.

    “We want to be the only OTT platform in the country that has broken even that too with a considerable base of originally-produced shows. We are now the number one store house of originally produced Hindi content in country and we will also demonstrate that we are able to market our shows exclusively better than everybody else because our efficiencies are better. We are achieving this at a much lower marketing spend than the competition,” the management says.

    “That is reflected in the fact that we are consistently in the top four gross billing OTT apps on the Android and the iOS web store pick any month in the last 12 months we will always be in the top four, though our rate to the consumer is probably one of the lowest it is Rs 100 for three months and Rs 300 for a year."

    "What we are therefore setting to establish is that there is a mass market, which we are successfully able to target and operate a profitable OTT business with the topline of about Rs 150 crore to Rs 200 crore in the coming two financials,” it adds.

  • Actus Digital to demonstrate all-in-one media platform at 2020 NAB Show

    Actus Digital to demonstrate all-in-one media platform at 2020 NAB Show

    At the 2020 NAB Show, Actus Digital will demonstrate how its mandatory compliance solution is part of a much larger media intelligence platform, providing cross-organizational benefits to the operations, marketing and research, and new media departments of broadcasters and media companies. The platform includes solutions for compliance, quality-of-service assurance, technical monitoring, content repurposing, rating and competitive analysis tools, advanced AI options, and more.

    "We have enhanced the Actus Digital intelligent media platform to include more functionality, additional AI options, and extended automation related to compliance, clips creation, and export capabilities for social media, with intelligent content monitoring and analysis," said Raphael Renous, CTO at Actus Digital. "Having all of these capabilities on one integrated platform gives customers the freedom to choose what makes the most sense for their business today and easily add features in the future. At the 2020 NAB Show, we will showcase how media companies can use the new platform to improve their daily workflow and reduce costs."

    A Compliance Platform That Goes Beyond Standard Requirements

    Media companies today need a solution that pushes the boundaries of compliance well beyond supporting simple tasks, such as logging, monitoring, and regulation. They require a solution that can also handle complex compliance tasks, with advanced AI options. They want a compliance solution to provide quality assurance tools, video analysis reports, advanced clip creation, OTT monitoring, and multiviewer capabilities, all from a single platform. Moreover, since the industry is changing rapidly, the industry needs flexible solutions that support a range of deployment models.

    At the 2020 NAB Show, Actus Digital will demonstrate the expansive functionalities of its media monitoring platform, which offers an intelligent approach to monitoring and support for multiple deployment environments, including on-premises, virtualization, the cloud, and hybrid combinations.    

    New Products and Improvements Include:

    • A new TS analysis solution for in-depth evaluation of transport streams, with the ability to detect ETR 101 290 priority 1, 2, 3 errors; track MPEG sections and tables (i.e., PAT, PMT, NIT, SDT); and display TS statistics in real time. The solution provides an overall view of TS health for enterprise applications via a web-based user interface, enabling global access and multiviewer display of critical errors.

     • Enhanced SCTE support, with the ability to compare multichannel SCTE messages and display live or archived SCTE messages, smart filtering for better monitoring, SCTE alerts, and the power to extract SCTE-35 and SCTE-104 for presentation on interactive graphical timelines.

    Hands-On Demo at the 2020 NAB Show

    At the 2020 NAB Show, visitors will have an opportunity to book a one-to-one meeting with Actus Digital experts. During a demo at the stand, visitors can see the efficiency of Actus Digital's platform, how it's being used in the real world by customers, and improvements on the horizon for media monitoring in the future.

  • Advertising icon and philanthropist Ashok Kurien turns 70

    Advertising icon and philanthropist Ashok Kurien turns 70

    MUMBAI: “Life is a circus and I’ve been the clown,” is what Ambience boss and advertising icon (one of the pioneers  of private satellite TV in India as a founders of Zee TV and, now a committed social philanthropist) Ashok Kurien is known to say. And it was this belief of his that inspired the theme for his seventieth birthday party, planned and executed by Trinity Entertainment & Strategic Consultant.

    “The Circus of Life” celebrations marked the beginning of a new year in the life of Kurien, was one of the most enthralling evenings of the decade, it was uniquely planned and executed as an ode to his creativity. From an OTT pop up card announcing the Circus of Life theme to the OTT red-carpeted giant circus tent straight out of a kid’s fantasy, circus rings, aerialists, stilt walkers, jugglers, unicyclists, clowns, multiple photo-opts, a giant lion and a giant Ashok Kurien clown-like sculpture of his face, it was astounding but oh so colourful. Everywhere one looked on Friday evening, performance artistes and acrobats were putting on a spectacle never seen before.

    But what no one had expected was the wave of nostalgia that collectively swept over the evening. In retelling his life in the form of songs and dance, Kurien gave his friends an unexpected reliving of their own lives with music that touched the soul. From jazz standards to an Elvis impersonator; Choir songs, risqué rugby ditties; and a straight retro set which included numbers that ranged from ‘Bing Crosby to Boney M to Bruno Mars, and from Engelbert to Enrique’, most of the baby boomers (now senior citizens) were raving on the dance floor, with all elements seamlessly integrated into a story showcasing key milestones in Ashok’s life.

    The planning of the event started way back in September 2019 which gave the team at Trinity Entertainment & Strategic Consultants enough time to understand and break down each aspect of his life and do justice to it. Ashok’s first statement to the team was “Can you fly me out of a cannon” and that’s when it was sure that this celebration would be something that the city will always remember with Ashok being the key orchestrator!

    “I got to script my life story (and all my fantasies),” said Kurien the next day, adding “I hope it gave all of us the chance to relive our childhoods and become kids again”. Creating a magical experience for the guests, each one had a smile on their face. Attended by those closest to him, the guests were left mesmerised by the sheer scale and attention to detail.

    Close to his heart, the event also had another side to it that was so full of love that it made everyone's heart melt. Ashok and his wife Rachel Wawn are so deeply committed to corporate social responsibility and empowering the disfranchised, that they paid for an extra day and kept the entire set up intact so that they could host 350 underprivileged and challenged children for a circus show over lunch the next afternoon. Talk about making a wish on a birthday! Pictures from the lunch are a brief peek into Wawn and Kurien dancing joyously with the children, demonstrating that however OTT and grand one makes one's celebrations, the joy can be multiplied exponentially if we include the less fortunate. Will others who host such celebrations take a leaf out of Kurien’s progressive and thoughtful example? Could this be a (welcome) trend henceforth? We all definitely hope so. “If it even inspires a few others to do the same, think of what a thing it could be,” the delighted Ashok said.

    It’s safe to say, Ashok Kurien really has raised the bar. And big props to Trinity Entertainment for pulling off what seemed like one of their most magnificent projects ever.

    Ashok Kurien, a legendary stalwart of the advertising space in India is also the co-founder of Zee Entertainment Television and many other major ventures. Accredited with the iconic ‘Taste The Thunder‘ campaign for Thums Up, he is a man who has contributed immensely to the creative world. Words cannot do justice to his achievements and accomplishments and his reputation and passion for his work precede his name at all times.

  • Nielsen’s consumer attitude insights on streaming video

    Nielsen’s consumer attitude insights on streaming video

    MUMBAI: Streaming video is becoming increasingly crucial for Indian legacy broadcasters, as GenZ continues to spend an increasing amount of time on video apps, watching their favourite shows. But the business is not easy, burning away ginormous amounts of capital. Customer acquisition is expensive, and keeping them engaged even more so. Viu is one of the first casualties in this space, having exited from its India play.

    Hence, any user studies – no matter from which part of the world – are useful to get some insights into how the customer is reacting to the plethora of choices on offer. Recently, US-based research agency launched Streaming Wars – a special edition of its Nielsen Total Audience Report. 

    The report revealed that US consumers in OTT-capable homes are spending 19 per cent (nearly one fifth) of their TV time streaming content, be it through ad-supported or paid subscription models.

    “That’s a hefty amount of the already large media diet of audiences today, especially considering that the medium has only existed for a relatively short period of time. Not to mention, it’s a prime opportunity to easily reach consumers in the digital age, using interfaces that feel familiar and comfortable to them,” the report has advised.

    Nielsen has also noted that 60 per cent of Americans subscribe to more than one subscription video on demand service and 93 per cent of them have stated that they will increase or keep their existing streaming service.

    American consumers like the rest of the world, lay a great emphasis on price; in fact, it is the single most important attribute for a quality streaming service, Nielsen’s report highlights. In fact, when asked about what made them cancel a paid video subscription service, 42 per cent said they didn’t use it enough to justify the cost.

    User-friendly interactivity plays a key role for streaming services and ranked second in consumer importance. Frustrating user experiences or hard to navigate interfaces may not bode well when it comes to subscriber retention, especially when the internet has cultivated a culture of convenience and consumers have a bevvy of other media choices available to them. Of course, content is also of major importance for consumers, as the variety and availability of it placed in the top three of video streaming attributes, Nielsen reported.

    While there are myriad attributes that make a streaming service attractive to users, the content is what ultimately gets them to type out their credit card number and hit “Enter.” The top four reasons as to why survey participants decided to subscribe to additional streaming services were all content-based, with the top reason being to expand the content that they had available. 

    Content has always been king, but with the growth of streaming, content creators and rights owners are effectively given more power. Platforms must be able to maintain the programs that audiences want while offering compelling new ones to keep them interested. Wherever good content goes, subscribers will follow. When that content runs out, don’t be surprised when some of the subscribers do too: 20 per cent of consumers said they cancelled a service after watching all the content that they were interested in.

    The Nielsen report revealed that Netflix is the numero uno in the streaming space, with it accounting for 31 per cent of American consumers, YouTube was number two with 21 per cent, Hulu no three, with 12 per cent, Amazon No 4, with eight per cent. The remaining 28 per cent was accounted for by the rest of the streaming services.