Tag: streaming

  • GUEST COLUMN: OTT serves the nation while the internet counsels it

    GUEST COLUMN: OTT serves the nation while the internet counsels it

    Mumbai: The Covid-19 pandemic has upturned all walks of life. People’s lives have switched to a virtual setup and personal choices have moved from interacting with people to purchasing products, availing services, and even spending leisure time to a click or a swipe! The significance of this transition, however, has established itself as a big opportunity for the Internet. While the exponential growth of the Internet is undeniable, three sectors, in particular, continue to witness mammoth amounts of data traffic – collaborative communication tools, gaming, and OTT.

    A weekend without binge-watching or watch-parties today is more like a restaurant that’s taken your favorite food off the menu! Hence OTT is far from experiencing a post-Covid slackening. In fact, with such a large user base and the confidence, the content creators found in releasing content on OTT ever-growing platforms, OTT & VOD traffic rose by 139 per cent from January to August.

    March 2021 culminated with the Telecom Regulatory Authority of India (Trai) marking 825.30 million internet users in the country. Amongst these, active ad-support and paid streaming users accounted for 325 million. A phenomenal breakthrough was observed in rural India, and numbers as high as 65 per cent of India’s total OTT consumption were reported by the Broadband India Forum. At an all-time high, the OTT industry is only set to boom, and as reports by RBSA Advisors suggest, the OTT market is set to grow to $ four billion by 2025 and $12.5 billion by 2030. From 20 minutes to 50 minutes and one-hour average time spent on OTT platforms, from two OTT platforms to 40+ platforms, the OTT revolution in India has come a long way.

    One facet of this revolution that took the center stage included OTT platforms launching themselves into the hyper-competitive environment by catering to local tastes and preferences that enabled them to reach a wider audience in less than no time. As part of their content variety offerings and in an endeavor to bridge the gap beyond the urban setups, OTT platforms across the diverse geography of India, launched regional content in India. This led to one impressive surge in regional content viewership, and industry analysts suggest that 40 per cent of the total viewership in India now comprises regional content consumers. Additionally, this regional content also witnessed a surge overseas particularly in countries like the USA, UK, Dubai, Malaysia, Singapore, etc.

    Observing this stark rise and the massive demand from the Indian market, international players like Netflix, Disney, and Amazon got into an arms race by launching regional and India-centric content in addition to international content. This availability of content in both original and dubbed languages further boosted the momentum of OTT making it one of the hottest segments across the Indian subcontinent.

    However, while the demand is only set to grow, matching the growth of the sector at the same pace requires a stable, reliable, secured digital infrastructure making it more critical than it was ever expected to be thereby giving interconnection center stage.

    Internet exchanges have established their importance in the OTT world primarily on three grounds. Firstly, internet exchange points reside within data centers that offer world-class facilities and the ability to shoulder critical and customised digital infrastructures. Secondly, interconnectivity creates an ecosystem with widespread points of presence all converging at a single place while also providing peering, DirectCloud, and other similar services. This enables the reduction of latency, the ability to bypass as high as 90 per cent of the internet traffic, the scaling down of costs associated with bandwidth and transmission. Additionally, in an environment placing an urgency on security, internet exchange points provide network services that enhance data security.

    If you considered key runners in an OTT-hiccup race, latency would bring home a medal. While the live video experiences can be killed by high latency, even constant buffering in recorded content can lead consumers far from service. In fact, studies suggest that a two-second delay while loading a website can result in a 100 per cent bounce rate.  This emphasises the importance of keeping content as close to the user as possible. To quantify it, live streaming in HD/4K should ideally be less than 1,200 km away from the user. While it is easier for broadcast networks to circumvent congestion and avoid latency, the challenge lies in finding long-term, reliable, and cost-effective solutions. An Internet Exchange Point allows networks of all segments to exchange traffic while keeping local traffic local. This enables OTT providers to reach the Internet’s ‘long tail’—ISPs who distribute content to regional users. Keeping traffic local reduces the distance data must travel which in turn reduces latency thereby improving content performance and user experience. Interconnection services can give OTT players the secure and resilient digital infrastructure they require while also giving them the ability to upgrade a 10 Gigabit Ethernet (GE) port to a 100GE port.

    Digital entertainment is an ever-evolving medium and that the need for seamless and secure internet access will continue to soar high. It also brings in higher possibilities of network collisions and contentions. This can lead to a downstream or a slowdown of a platform’s functioning. That again finds answers in an Internet Exchange built to deal with peak internet traffic with also the ability to manage outages making it an indispensable solution even in the face of a major crises situation.

    India is the second-largest country in terms of internet users and is the fastest-growing OTT market globally and is predicted to become the sixth-largest by 2024. Reports by RBSA indicate that the industry has the potential to grow into a $15 bn industry over the next decade. This can also be accredited to OTT players partnering with telecom companies like Airtel, Jio, and VI, the entry of global players like Netflix, Amazon, Disney+ Hotstar through customised content and major investments, and the growth of home-grown booming OTT platforms. This aggressive pace of growth has further fueled the demand of the data-hungry nation which has trends across the industry as proof.

    This emphasises the need for a secure, scalable, and compliant infrastructure to support this demand now more than ever. It is only in the presence of an innovative and unfailingly reliable internet infrastructure that the OTT industry in the country will be able to meet the needs of the nation it has held firm to until now.

    (Sudhir Kunder is the country director of DE-CIX India. The views expressed in the column are personal and Indiantelevision.com may not subscribe to them.)

  • Chicken Soup for the Soul Entertainment acquires Locomotive Global

    Chicken Soup for the Soul Entertainment acquires Locomotive Global

    Mumbai: Chicken Soup for the Soul Entertainment which operates streaming advertising-supported video-on-demand (AVOD) networks has acquired a majority stake in Locomotive Global Inc.

    The homegrown production company is currently producing and developing some original productions including an original series in development with Amazon Prime Video, as well as Indian local language remakes of well-known series including “Ray Donovan” for Netflix India.

    “Expanding into India has been a top priority for us in our international expansion strategy and we are excited to be entering the market with an ambitious company like Locomotive Global,” said Chicken Soup for the Soul Entertainment chairman and CEO William J Rouhana Jr. “This acquisition allows us to utilise Locomotive’s revenue, cash flow and presence in India as a base for further expansion in the region.”

    Locomotive Global is led by industry former programming and acquisition strategy head for the Hallmark Channel Scott Anderson, who also was with Starz/Encore and Liberty Media Corporation, and QYOU Media India co-founder and former EVP for Sony Pictures Television Networks India Sunder Aaron.

    “India is arguably the largest and most accessible media market in the world right now. While we will continue to manage the business in India, as part of the Chicken Soup for the Soul Entertainment family, we now have the resources to capitalise on our ambitions and expand more quickly in this market,” said Anderson.

    Elaborating on the move, Sunder Aaron said, “There continues to be a major opportunity to produce high-quality content for platforms and services in India. Production costs are also lower than in most Western markets, and we can use our development and production capabilities here to meet this growing demand for quality content. The AVOD business is primed for growth in India as broadband connectivity, FAST channels, and usage of connected televisions are expanding rapidly.”

  • ShortsTV is now on Amazon Prime Video channels in India

    ShortsTV is now on Amazon Prime Video channels in India

    New Delhi: ShortsTV- 24×7 linear and OTT channel dedicated to short-form content has announced a partnership with Amazon to launch ShortsTV on Amazon Prime Video channels in India.

    ShortsTV is already broadcasted in India across major DTH platforms including Tata Sky, Airtel TV, Dish TV, and d2h, and earlier this year, it entered India’s OTT world through the Airtel Xstream App. Through Amazon Prime Video, the short form entertainment network will now extend its reach into the Indian heartland at a cost of Rs 299 for a year, it said on Tuesday.

    The collaboration is led by ShortsTV’s larger aim to expand its digital footprint in the country, and reach a new set of highly engaged viewers. Prime members will now be able to access the short film channel alongside a specially curated on-demand short film library of over 4,000 titles.

    ShortsTV chief executive Carter Pilcher said, “Short films are India’s cauldron of creative energy, with some of the world’s most surprising and interesting movies emerging in what can only be described as a post-Bollywood revolution.  We are thrilled to join with Amazon Prime Video to bring these ground-breaking films to audiences across the sub-continent on the Prime Video platform.  Our goal to bring the short film revolution to every hamlet in India is one step closer.”

    “From star-studded, internationally acclaimed films by The Academy Awards, Cannes, BAFTA, and others, to the movies produced by international, independent, and local Indian filmmakers, ShortsTV offers a complete binge-watching experience,” the company said in a statement. “In addition to a vast array of short films, the service also features various segments on local film festival coverage, film school vignettes, ‘making-of’ features, and interviews with directors, actors, and other leaders in the industry.”

    The service features multi-language short films across English, foreign language, and local Indian languages, including Hindi, Gujarati, Bengali, Marathi, Kannada, Tamil, Malayalam, and Telugu.

    According to ShortsTV president- Asia Tarun Sawhney, the service will provide viewers with the flexibility to watch their favourite shorts anytime, anywhere. “Our strategy is to continue partnering with the top content aggregators in India and worldwide to present the largest selection of short films to our viewers,” he added.

    Head of Prime video channels Chaitanya Divan said the streaming platform is excited to bring even more selection to its Prime members in India with the launch of Prime Video Channels. “As consumers consume more content on the go and on their mobile phones, there has been increasing interest in short-form content in India, especially high-quality short films. We are happy to collaborate with ShortsTV and provide access to their deep library of short films from across the globe to Prime Members, with an add-on subscription. Consumers can select, subscribe and enjoy their favourite short-form content all within the Prime Video app and website,” he said.

  • This Diwali, Amazon Prime urges viewers to log out and spend time with family

    This Diwali, Amazon Prime urges viewers to log out and spend time with family

    Mumbai: Amazon Prime Video has launched a unique campaign to celebrate the festive season, urging its customers & fans to reconnect with their loved ones. In a year that saw people turning to streaming platforms like Prime Video as their preferred entertainment destination, the campaign urges viewers to press pause on the world of Prime Video, and instead celebrate with their family and friends, following all necessary health and safety precautions.

    “Over the last four years, we have had the amazing privilege of entertaining our customers with a slate of compelling Amazon Originals and movies across multiple languages. Especially over the last 18 months, as the country went into lockdowns, Prime Video has become the go-to entertainment destination for customers across the country and we are truly humbled by this. At the same time, we want to encourage our customers to take a moment to reconnect and rediscover the joy of togetherness – in real life or virtually,” said Amazon Prime Video (India) director marketing Sushant Sreeram.

    The streaming platform is reminding customers that Prime Video and the world of their favourite stories and characters are always going to be around, but they shouldn’t miss the beautiful opportunity to celebrate the festive season with their loved ones. “We couldn’t think of a better way to say this than have some of our iconic characters do it for us! We hope customers enjoy many joyous moments and create some amazing new memories this festive season and we can’t wait for them all to be back to their favourite world of Prime Video,” added Sreeram.

    Led by two of Prime Video’s iconic characters, Kaleen Bhaiyya (“Mirzapur”) and Siddhi (“Four More Shots Please!”), the campaign features two films that will run on digital platforms and TV. The films were conceptualised in-house and created and directed by Big Momma Productions founder Sohini Dasgupta.

    Actor Pankaj Tripathi who returns as Mirzapur’s Kaleen Bhaiyya in one of the films, said, “I want to tell my fans that Kaleen Bhaiyya would love for them to spend time with their families. Diwali gives us the opportunity to connect with our loved ones and the time spent with them adds to the joy of the festival. Kaleen Bhaiyya and the many characters that you love will be there on Prime Video tomorrow and every other day, but Diwali should be all about family and friends.

  • Times Now & ET Now launched on Australian streaming service Flash

    Times Now & ET Now launched on Australian streaming service Flash

    Mumbai: Strengthening its foothold in Australia, Times Network has launched two of its news channels Times Now and ET Now on Australian streaming service Flash, in partnership with Foxtel Group.

    Flash is a dedicated Live and on-demand news streaming service that features more than 20 local and global news sources. The news network will cater to the content preferences of the viewers in the region, with a focus on India, it said on Monday. “As the only Indian news channels available on Flash, Times Now and ET Now will deliver reportage on national, political, local, financial & business news, and enable Australian viewers to stay informed on the latest and trending news stories from India,” it further added.

    “With an evolving consumer preference for watching Live news content across platforms, we are excited to partner with Flash, to provide Australian viewers access to our best-in-class news channels on a dedicated news streaming service,” said Times Network COO and executive president Jagdish Mulchandani. “We are thrilled to enhance our reach in the region with this launch. Delivering reliable and world-class TV viewing experience, I am confident that our news channels will be an enriching addition to the discerning viewers seeking superior global and India news reportage.”

    “Flash will transform the way Australians consume the news that matters to them by bringing together the widest range of local and international live news sources in a single, easy-to-use, feature-packed service,” said Flash CEO Julian Ogrin. “And we are thrilled to have Times Now and ET Now as part of this unrivalled offering on Flash.” 

  • GUEST COLUMN: Mobile marketing in the OTT landscape: Big opportunity for digital marketers

    GUEST COLUMN: Mobile marketing in the OTT landscape: Big opportunity for digital marketers

    Mumbai: The rise in both viewership and engagement of over-the-top (OTT) has opened up a world of possibilities for marketers looking for new and better ways to reach their consumers sitting in the comfort of their homes. Recent reports estimate that the OTT segment will grow to approximately $ four billion by 2025. 

    Confirming this trend, India saw a huge upsurge in media consumption between March and June 2020. By the end of 2020, OTT video subscribers almost tripled to nearly 62 million, up from 32 million at the end of 2019. This accelerated growth of the Indian SVOD industry is assumed to be caused by the Covid-19 pandemic. 

    Despite the fact that the OTT streaming business is dominated by large corporations such as Netflix, Hulu, YouTube, and Amazon Prime, smaller OTT streaming services continue to emerge. In order to have an edge over these budding competitors, it’s essential to utilise the power and proven results of mobile marketing.

    Before we dive into the strategies, below are some major trends that mobile marketers must be cognisant of, to make the best use of this ripe opportunity:

    Mobile is becoming the first choice for content: Mobile has surpassed traditional TV as the main growth route for video distribution. In fact, mobile collaborations now account for more than half of all recent OTT video bundle deals, indicating that customers are increasingly using mobile devices. As more MNOs subsidise at no additional cost to encourage upsell and retention, this trend is anticipated to continue.

    The rise of 5G: Because 5G internet is projected to become the standard, especially in metropolitan areas, it will permanently transform streaming patterns.

    Shared viewing due to lockdown: The entire population has been forced to stay at home owing to worldwide lockdowns, which has resulted in a fast rise in the consumption of content. Many OTT platforms, such as Netflix and Disney+, quickly acted on this and launched technology that allows individuals to view films together on a video chat, allowing platform users to stream in sync, to assist customers to isolate themselves and social distance. GroupWatch on Disney+ and Teleparty on Netflix have been huge hits, and it’s a trend that is likely to remain.

    Shift in OTT Model: Live and linear OTT services, which are projected to be an essential element of the future generation of OTT video, have a large growth opportunity based on existing watching trends and untapped video segments. Pay-TV providers are ideally positioned to offer live streaming services that make use of content that is best enjoyed in real-time, such as news, weather, talk programs, and sports. In the future, the content will be re-bundled under an OTT structure, whereas the previous cable model concentrated on content unbundling.

    Now, in OTT, when it comes to developing a short- or long-term marketing strategy, mobile marketing is a critical component. There’s a mobile marketing channel for every segment of your audience where they are most comfortable, from email to pay-per-click (PPC), search engine optimisation (SEO), content marketing, and social media marketing. 

    To be effective with mobile marketing, marketers must provide a consistent experience that customers expect—which may be difficult to do when you’re trying to attract, engage, and retain people across several platforms.

    Following are some of the key things that marketers must keep in mind while crafting strategies for the OTT landscape-

    Push notifications are key: User-behavior-driven push notifications should remain a crucial component of the entire engagement plan, which are proven to boost engagement rates by as much as 80 per cent. 

    Value recommendations of customers: It’s extremely important for marketers to understand the preference of their customers and value their suggestions. Viewing history, in-app behavior, and daily time of app launch are some of the data points that when accumulated continuously will give a wealth of information on customer behavior, significantly helping personalisation. This personalisation will further help in increasing in-app time spent by generating the most appropriate content recommendations over time.

    Timing is crucial: Focusing on personalisation and context is very important to make mobile marketing work for OTT platforms. However, what’s also important is delivering the content, suggestions, and notifications at the correct time, the results of which are proven to be phenomenal.

    Conversion of freemium subscribers to paying customers is imperative: Acquiring users is definitely important when it comes to implementing a growth strategy, but the end goal should be to turn the subscribers who are consuming content for free into paying customers. Hence, marketers need to focus on pitching the platform’s subscription options, with appropriate personalisation, to the customer.

    Make the customers feel important: Finally, building brand loyalty is the key at every stage, and this can be done by making customers feel valued by addressing their feedback. Hence, through personalised and crafted push notifications and in-app messages, repeat users can be encouraged to rate and review the OTT platform.

    Connecting the links between online and offline media is the future of mobile marketing. When used with other, more traditional media, mobile is a strong tool that should be viewed as the glue that holds everything together. The competitive environment for OTT apps, both native and browser-based, is continuously shifting. Benchmarking one’s performance and development versus industry norms is essential for marketers. 

    OTT marketers need to note that distinctions between the provision of and accessibility to high-quality content across OTT platforms will continue to merge. How they can achieve a substantial competitive edge is by using data-driven AI-powered customised, relevant, and time-bound multi-channel dialogues with consumers. For successful user engagement for your media, marketers must take advantage of every single mobile moment!

    (Dave Dabbah is former chief marketing officer of CleverTap. The views expressed in the column are personal and Indiantelevision.com may not subscribe to them.)

  • Music listening time through audio streaming up 51 per cent: IFPI

    Music listening time through audio streaming up 51 per cent: IFPI

    Mumbai: The pandemic has taken a severe toll on people’s lives, and impacted their media consumption patterns in more ways than one. According to a new study, it has also led to an increase in the time spent listening to music across the world. People are enjoying more music today than ever before, on an average spending 18.4 hours a week (up from 18 hours in 2019) – the equivalent of listening to 368 three-minute tracks.

    The findings are part of a new study – ‘Engaging with Music 2021’ conducted by the International Federation of the Phonographic Industry (IFPI), representing the recording industry worldwide.

    Driven in part by record labels’ investment, engagement with streaming – particularly subscription audio streaming – also continued to grow, demonstrating increasing value to fans. Time spent listening to music through subscription audio streaming grew 51 per cent, as music fans continue to embrace it for the access and autonomy it provides to choose the artists and the music that they love.

    The report measures how people engage with music across 21 countries, and found that fans make their own listening choices, thanks to streaming. The main reasons behind their engagement with streaming were being able to choose their favourite songs, artists, and their own playlists. 68 per cent searched for specific songs and 62 per cent listened to playlists they created more than once a week.

    Around the world, music fans are enjoying a rich and diverse mix of genres. In addition to popular genres, well over 300 different ones were named by at least one person in the 43,000-person study as the music they typically listen to, including gqom, axé, and hokkien song.

    Engagement is fuelled by listeners’ increasingly rich experiences, with music driving innovations such as short-form video, live streaming, and in-game experiences. 68 per cent of the time spent on short-form video apps involved music-dependent videos such as lip-syncing and dance challenges. Furthermore, one in three (29 per cent) said they had watched a music live stream such as a concert in the last 12 months.

    Music makes a powerful contribution to wellbeing, providing comfort and healing to many, especially younger people, in challenging times. 87 per cent said that music provided enjoyment and happiness during the pandemic. 68 per cent of 16-19s said new releases from their favourite artists helped them during the pandemic.

    Music is central to what people enjoy about listening to the radio. 74 per cent listen to it mainly for the music and 73 per cent tune in to their favourite radio station because of the music it plays.

    The availability of unlicensed music remains an issue for the music ecosystem and the threat continues to evolve. Almost one in three (29 per cent) of people had used illegal or unlicensed methods to listen to or download music, and 14.4 per cent had used unlicensed social media platforms for it.

    The data is based on fieldwork conducted in June and July 2021 with 43000 respondents aged between 16 and 64. Panels were nationally representative in each country.

    IFPI chief executive Frances Moore, said, ‘Engaging with Music 2021’ tells the story of how fans around the globe are connecting with the artists and music they love in ways never before imagined.

    “Record companies have enabled artists to develop their vision, licensed an abundance of music tracks to a multitude of platforms, and harnessed new technologies to pave the way for music fans around the world to connect with artists in these growing, and exciting ways. The freedom of record labels to license music to these new and immersive experiences is crucial to the future growth of the entire music ecosystem.  We are campaigning worldwide to ensure governments maintain or implement a fair environment in which such commercial deals can be made,” said Moore.

  • Audiences have replaced slots as the new language of transaction: Kantar’s Puneet Avasthi

    Audiences have replaced slots as the new language of transaction: Kantar’s Puneet Avasthi

    Mumbai: Following the ratings controversy in the US that led to the revocation of Nielsen’s MRC accreditation, the TV measurement Company late last month announced an “Impressions First Initiative” to support an industry-wide move to impression-based buying and selling in local markets across the US. This shift to an impression-based currency will lay the groundwork for implementing Nielsen ONE – Nielsen’s single cross-media product – across local, national, and digital measurement.

    The alacrity with which the Company has acted indicates the growing importance of CTV measurement for advertisers and how it has been at the core of the entire unrest. Closer home, similar voices are being heard, though at a much lower intensity. One may recall that at the height of the Barc TRP controversy last year, a section of the industry had expressed dissatisfaction with the ratings agency’s efforts and even intentions to bring forth a unified, cross-platform measurement system.

    According to Ormax Media’s recent research, the Indian OTT audience universe is now 353.2 million people, translating into a penetration of 25.3 per cent. This means that one in four Indians watched online videos at least once in the last one month. CTV viewing in India increased by 31 per cent as per mediasmart’s India CTV Report 2021. Amazon streaming services that were once considered niche in India are today being accessed by 99 per cent of the pin codes in the country. Now that Amazon has turned into a super app with the launch of Prime Video Channels, further massification is expected. Add to all this, the availability of linear TV on OTT platforms, and the medium becomes a staple in media plans for brands across categories.  

    Needless to say, advertisers are clamouring for a third party measurement system for OTT and a unified metric across linear and connected TV that serves all their data needs. While there is no industry body that has been recognised as the standard, individual players both global and independent, are working to meet marketers’ demands, with each contributing its own unique technology, methodology as well insights to evolve a robust and competitive OTT measurement ecosystem in the country.

    Taking the discussion forward, Indiantelevision.com’s Ashee Sharma connected with Kantar director (specialist businesses) –South Asia Insights Division, Puneet Avasthi to understand the work being done by the data and insights Company in the field of OTT measurement in India, and the shift in TV measurement over the years.

    Edited Excerpts:

    On the big shift in TV measurement

    The advertising market has seen a significant shift in recent years with the old order of having TV commercials placed on (time) slots changing. Instead of slots, audiences are being sold today, and that has become the new language of transaction. In the old linear TV viewing world where there used to be a fixed time for a content piece, we were measuring the viewership for a particular time spot. But now as viewership and programming become non-linear we have to offer audiences in terms of size and profile, at a particular point in time, and on the content of choice. This effectively means that what used to be a time-centric measurement system is today viewer-centric.

    On the challenges of measuring OTT

    OTT Measurement is challenging because, one has to not just measure the time when the audiences are available online but, also what content are they watching on the OTT platforms. In the earlier world, the task was principally to estimate how many people are going to be watching TV and which channel, and that could be used to ascertain the particular programme being watched and therefore you had the rating. Now you are estimating not just the viewership at a particular time slot, but also looking at the content that has been specifically beamed into a device. So, media measurement is going to be about both time as well as the content.

    On the problem of duplication

    In a world of multi-screeners, it is possible that a million impressions that have been counted might actually be fewer because the same individual who is toggling screens may have been served the ad multiple times. Therefore, when it comes to OTT viewership we should ideally be capturing the frequency i.e. how many times someone has watched a particular ad, and not how many times it was served. The latter is what the OTT platforms are able to tell anyway. 

    On how Kantar is addressing these issues

    Kantar, along with its partner VTION, measures OTT viewership through a consent-based app that can be installed on android devices of people who have been recruited into a 16000-strong panel online. We focus on all on-mobile viewership in towns that have a population of over one lakh. Since it is a recruited panel we have a fairly good understanding of the audience profile. The system allows us to tell the time of viewing and the content that is being watched. It is also possible to extend this service to measure ‘what ads have been served on various devices’, and therefore, theoretically speaking, it is possible to assess the reach of advertising, online.

    Another level at which we measure OTT is through the annual baseline or internet usage study called ICUBE. It is conducted on a sample size of 75000 to determine the reach of the internet across urban and rural India. Within that we track the usage of different internet services which includes video entertainment as well; OTT specifically. This gives us an idea of the reach and how it has evolved over a period of time for different OTT platforms.

    On Convergence

    Eventually, there has to be a convergence where one is able to integrate the viewership of programmes across different modes of content delivery, whether linear on OTT. That is something everybody is working towards. There are technologies that are available. 

  • Mipcom 2021: Stage set for world’s largest content market

    Mipcom 2021: Stage set for world’s largest content market

    CANNES: All the naysayers must be regretting not hoofing it down to the south of France for the annual jamboree of the content trading and production community – Mipcom 2021. Not only were the planeloads coming into Nice full of TV, streaming, and feature film executives, the weather gods too seemed to be playing fair, by keeping the sun out blazing strong, and the rain away.

    The streets of Cannes were bustling with people most unmasked, the restaurants overflowing onto the sidewalks. Tables at favourite restaurants were hard to get.  Welcome Back, read the signs everywhere. It felt like the old times of the content market were back. The Palais was playing host to screening some of the most premium series and TV films. Conversations were being struck in bistros, on the Croisette, on sidewalks. There were smiles everywhere as new acquaintances were made, and old friendships revived.

    The reality, however, is that RX France (into which Reed Midem has now been absorbed) announced that it was expecting 4,000 attendees for MIPCom from 11-14 October. That may pale compared to the 13,000-14,000 professionals, it attracted in Mipcom 2019, but once again if truth be told, the number is impressive in pandemic times:

    – when only select vaccines are recognised in Europe;

    – when media and entertainment companies are still reeling from the financial side effects of covid 2019;

    – when travel red alerts and bans continue to be in place between nations;

    – when corporate cutbacks have not been reversed,

    – when fear and confusion continue in the minds of all about the stage we are in conquering the virus

    – when the virus continues to mutate and the new Delta Plus bug now seems to lay millions to waste the world over.

    For those not in the know, the Palais’ basement or P-1 where almost 30-40 per cent of the exhibitors used to collect in their booths, is shut this year on account of safety protocols. Riviera 7 area is this year’s new basement as the premium area has been reorganised to accommodate as many booths as possible. But it is here where some of India’s leading content producers, distributors, has decided to locate themselves.

    Zee Entertainment (called Zee Content Sales), Indiacast, and AnimationXpress (part of Indian Television Dot Com group) have set up the tent in this very premium location. Around 35 Indians are slated to attend this year’s extraordinary Mipcom. Among some of the known professionals: the new head of Zeel content syndication Ashok Nadmboodri, the new Indiacast distribution boss Sheetal Mehra. Of course, Mipmarkets India, Pakistan Sri Lanka, and Bangladesh head Anil Wanvari was seen going from stand to stand to resolve any issues Indian clients face or requests they may have.

    Hopes were running high that offers would be made; deals and collaborations would be struck from 11-14 October.

    For those in the Riviera 7 and eight sections of the Palis de festival, however, things were buzzing as the clock counted down to the opening of the exhibition. And those who have chosen to stay back home can also be part of the Mipcom experience by signing up for the digital version of MIPCOM.  With a simple-to-use user interface and networking tool, RX France has outdone itself, corrected, whatever errors popped up in the previous edition.  

  • US drama Bridgerton is Netflix’s most popular show globally

    US drama Bridgerton is Netflix’s most popular show globally

    Mumbai: Eight-part romantic drama ‘Bridgerton’ has trumped all shows to emerge as the most popular shows on Netflix, said co-chief executive Ted Sarandos on Monday, as he gave a sneak-peek into the streaming platform’s most popular shows.

    “We’re trying to be more transparent with talent, and with the market. Netflix’s streaming data, is a big black box, mostly,” said Saranodos while addressing the Vox Media’s Code Conference held on Monday.

    The top executive shared two slides. The first slide showed the most popular shows based on its proprietary metric of the number of accounts that selected a given title in the first month of release and streamed for at least two minutes. The second slide showed total time spent viewing (hours) within the initial 28-day of release- reported Variety.

    The first season of the US drama ‘Bridgerton’ topped both the charts, and was closely followed by first season of ‘Lupin’, ‘The Witcher’, ‘Sex/Life’, and ‘Stranger Things-3’. Spanish drama ‘Money Heist -4’ featured at sixth position, followed by ‘Tiger King’ and ‘The Queen’s Gambit’. The movies’ list was dominated by ‘Extraction’ and ‘Bird Box’.

    In terms of rankings for overall time-spent viewing in the first 28 days of release, ‘Bridgerton’ and ‘Money Heist-4’ again lead the charts. Sarandos also said that the recently released Korean horror series ‘Squid Game’ could become Netflix’s biggest non-English title so far.

    Sarandos also dismissed news of the streaming platform looking to buy a movie theater chain. Netflix owns a theater in New York, and one in Los Angeles, which it bought in 2020, and uses the cinemas to hold movie premieres and to showcase some of its original films.