Tag: VOOT

  • VOOT plans to launch separate app for kids

    VOOT plans to launch separate app for kids

    MUMBAI: Viacom 18’s latest offering, its OTT arm VOOT, is banking heavily on the network’s rich kids content. Not only that, it plans to go beyond the network’s flagship shows like Motu Patlu and Shiva, and acquire kids content from an array of producers, small and large.

    The OTT player has already acquired digital rights to internationally acclaimed properties like Pokémon and Chhota Bheem for the platform that went live yesterday.

    “The idea is to bring together the top character shows under one digital platform to make the most of this booming market for kids content online with the aim being a market leader in the domain,” said Viacom 18 Digital Ventures COO Gaurav Gandhi.

    When quizzed about the possibility of VOOT launching a separate app for kids, Gandhi shared that they are considering it ‘within a year’s’ time. Currently the OTT platform has a separate section for kids’ content within the same app.

     

  • Mullen Lintas wins creative mandate of Viacom 18’s VOOT

    Mullen Lintas wins creative mandate of Viacom 18’s VOOT

    MUMBAI  As it gears up for the consumer launch of its advertising led VOD platform VOOT, Viacom18 has appointed Mullen Lintas, the advertising agency of the Mullen Lowe Lintas Group as its creative partner.

    The agency’s mandate would be to provide strategic recommendations pertaining to marketing and promotion of the brand and also provide ideas that go beyond conventional advertising.

    Commenting on the appointment, Viacom18 Digital Ventures COO Gaurav Gandhi said, “As we set out to launch a new brand in this space, we needed a creative partner who could not only help in building a distinct positioning for VOOT, but also bring-to-life key facets of our product and content proposition in the campaigns. Our choice for Mullen Lintas is not only because of the fantastic credentials of the agency, but also the very deep consumer insights and creative edge that the team brings with it.”

    Expressing his views on the immense scope that the brand presents,  Mullen Lintas chairman and CCO Amer Jaleel said, “We are delighted to partner Viacom 18 for their high-decibel launch of VOOT. Time and place are no longer the deciding factors for accessing entertainment. This is the future of entertainment and we have no doubt that VOOT will play a big role in shaping this category. We are committed towards creating magic for the brand VOOT.”
    On winning the new mandate,  Mullen Lintas  CEO Virat Tandon said, “Technology is changing the way people are consuming content. Video on demand is the next big leap after the remote control. It’s a super exciting space and an opportunity to create the next big entertainment brand in this new tech world. Also exciting is the opportunity to work with some remarkable bunch of people at Viacom 18.”

    VOOT is a digital video entertainment platform launching with over 17,000 hours of content (across languages and genres) including the biggest TV shows, Kids content and films. This will be supplemented by fresh and original web series, Digital films and other original content created only for VOOT.

    Content on VOOT will be classified based on genres such as reality, comedy, drama, kids and other segments and has been formatted based on a year’s research on what people watch on digital video platforms.

  • Mullen Lintas wins creative mandate of Viacom 18’s VOOT

    Mullen Lintas wins creative mandate of Viacom 18’s VOOT

    MUMBAI  As it gears up for the consumer launch of its advertising led VOD platform VOOT, Viacom18 has appointed Mullen Lintas, the advertising agency of the Mullen Lowe Lintas Group as its creative partner.

    The agency’s mandate would be to provide strategic recommendations pertaining to marketing and promotion of the brand and also provide ideas that go beyond conventional advertising.

    Commenting on the appointment, Viacom18 Digital Ventures COO Gaurav Gandhi said, “As we set out to launch a new brand in this space, we needed a creative partner who could not only help in building a distinct positioning for VOOT, but also bring-to-life key facets of our product and content proposition in the campaigns. Our choice for Mullen Lintas is not only because of the fantastic credentials of the agency, but also the very deep consumer insights and creative edge that the team brings with it.”

    Expressing his views on the immense scope that the brand presents,  Mullen Lintas chairman and CCO Amer Jaleel said, “We are delighted to partner Viacom 18 for their high-decibel launch of VOOT. Time and place are no longer the deciding factors for accessing entertainment. This is the future of entertainment and we have no doubt that VOOT will play a big role in shaping this category. We are committed towards creating magic for the brand VOOT.”
    On winning the new mandate,  Mullen Lintas  CEO Virat Tandon said, “Technology is changing the way people are consuming content. Video on demand is the next big leap after the remote control. It’s a super exciting space and an opportunity to create the next big entertainment brand in this new tech world. Also exciting is the opportunity to work with some remarkable bunch of people at Viacom 18.”

    VOOT is a digital video entertainment platform launching with over 17,000 hours of content (across languages and genres) including the biggest TV shows, Kids content and films. This will be supplemented by fresh and original web series, Digital films and other original content created only for VOOT.

    Content on VOOT will be classified based on genres such as reality, comedy, drama, kids and other segments and has been formatted based on a year’s research on what people watch on digital video platforms.

  • Viacom18 Digital Ventures ties-up with technical partners for VOOT

    Viacom18 Digital Ventures ties-up with technical partners for VOOT

    MUMBAI: Viacom18 Digital Ventures has announced the line-up of technical partners for its upcoming digital Video On Demand (VOD) platform VOOT. To build and roll out its Over-the-top (OTT) streaming service, Viacom18 has roped in partners with an extensive international experience.

    Kaltura, one of the global majors in OTT and video streaming services, is on-board as the platform provider and will build several customized features for the OTT platform which will be totally unique and relevant for the Indian market.

    For the user experience and user interface design, Viacom18 has roped in US based A Different Engine (ADE), a company which has extensive experience and specialization in building UX/UI for large multi-platform video streaming services.

    While Web Dunia is on board for web services and website development, the company is also playing the critical role of a system integrator.

    The mobile applications are being developed by one of India’s leading developers Robosoft Technologies.

    Speaking on the partnerships, Viacom18 Digital Ventures COO Gaurav Gandhi said, “In this business, product and technology play a pivotal role.  While we work towards bringing popular and engaging content in this space for our viewers, we were equally focused on working with the best technology and design partners to build a world-class, differentiated product with superlative user experience.”

    VOOT, an ad-supported VOD service, will aim to cater to the constant content consumption cravings of the always-on digital generation. The platform will also have a big focus on originals content created only for the service.

  • Viacom18 Digital Ventures ties-up with technical partners for VOOT

    Viacom18 Digital Ventures ties-up with technical partners for VOOT

    MUMBAI: Viacom18 Digital Ventures has announced the line-up of technical partners for its upcoming digital Video On Demand (VOD) platform VOOT. To build and roll out its Over-the-top (OTT) streaming service, Viacom18 has roped in partners with an extensive international experience.

    Kaltura, one of the global majors in OTT and video streaming services, is on-board as the platform provider and will build several customized features for the OTT platform which will be totally unique and relevant for the Indian market.

    For the user experience and user interface design, Viacom18 has roped in US based A Different Engine (ADE), a company which has extensive experience and specialization in building UX/UI for large multi-platform video streaming services.

    While Web Dunia is on board for web services and website development, the company is also playing the critical role of a system integrator.

    The mobile applications are being developed by one of India’s leading developers Robosoft Technologies.

    Speaking on the partnerships, Viacom18 Digital Ventures COO Gaurav Gandhi said, “In this business, product and technology play a pivotal role.  While we work towards bringing popular and engaging content in this space for our viewers, we were equally focused on working with the best technology and design partners to build a world-class, differentiated product with superlative user experience.”

    VOOT, an ad-supported VOD service, will aim to cater to the constant content consumption cravings of the always-on digital generation. The platform will also have a big focus on originals content created only for the service.

  • Viacom18 to launch VOOT VOD service in April; firms up content pipeline

    Viacom18 to launch VOOT VOD service in April; firms up content pipeline

    MUMBAI: The latest addition to the growing digital family in India, Viacom18’s new digital video-on-demand (VOD) platform – VOOT is all set to launch its service in the first week of April armed with a slew of shows from various content houses.

    According to information available with Indiantelevision.com, among the few production companies that Viacom18 has roped in to produce original content for VOOT are Endemol Shine India, Saurabh Tiwari Films, Colosceum Media, Frames Production Company, Sunshine Production, Shakutantalam Telefilms and Bodhi Tree.

    Unlike Netflix’s subscription based revenue model, VOOT will follow the advertising based VOD model, wherein content will be offered free for subscribers.

    When asked to comment on VOOT’s decision to go for the ad based VOD model, a senior media planner on condition of anonymity says, “It’s very early to predict anything. Getting an advertising pipeline takes time. Initially they will be making money out of advertising and it will be limited to certain brands, which they already have in their portfolio and slowly they will be able to expand in the market.”

    Speaking on their show for VOOT, Frames Production co-founder Ranjeet Thakur says, “Yes, Frames is producing show for VOOT called Soadies. It’s a shows based on how Roadies has influenced families and their behaviour.”

    Soadeis will be an eight-episodic story of 20-25 minutes duration.

    According to information available, the per episode production cost of Soadies is said to be between Rs 5-6 lakh. 

    Sudhir Sharma’s Sunshine Production is also in the process of producing two shows for VOOT. Though production is in its early stages, the production house has begun casting for one of the shows, which will comprise four episodes.

    Additionally, Colosceum Media will be producing a dating reality show for the VOOT platform.

    VOOT’s launch comes at a time when Netflix has already made a big bang entry into India, following the likes of Star India’s Hotstar, Sony Pictures Networks India’s Sony Liv, Zee Enterprises’ dittoTV, Eros International’s ErosNow and HOOQ amongst others. With a handful of more players like Balaji Telefilm’s Alt Digital and Vuclip poised to enter the space, the OTT content production space is likely to get a shot in the arm.

  • Viacom18 to launch VOOT VOD service in April; firms up content pipeline

    Viacom18 to launch VOOT VOD service in April; firms up content pipeline

    MUMBAI: The latest addition to the growing digital family in India, Viacom18’s new digital video-on-demand (VOD) platform – VOOT is all set to launch its service in the first week of April armed with a slew of shows from various content houses.

    According to information available with Indiantelevision.com, among the few production companies that Viacom18 has roped in to produce original content for VOOT are Endemol Shine India, Saurabh Tiwari Films, Colosceum Media, Frames Production Company, Sunshine Production, Shakutantalam Telefilms and Bodhi Tree.

    Unlike Netflix’s subscription based revenue model, VOOT will follow the advertising based VOD model, wherein content will be offered free for subscribers.

    When asked to comment on VOOT’s decision to go for the ad based VOD model, a senior media planner on condition of anonymity says, “It’s very early to predict anything. Getting an advertising pipeline takes time. Initially they will be making money out of advertising and it will be limited to certain brands, which they already have in their portfolio and slowly they will be able to expand in the market.”

    Speaking on their show for VOOT, Frames Production co-founder Ranjeet Thakur says, “Yes, Frames is producing show for VOOT called Soadies. It’s a shows based on how Roadies has influenced families and their behaviour.”

    Soadeis will be an eight-episodic story of 20-25 minutes duration.

    According to information available, the per episode production cost of Soadies is said to be between Rs 5-6 lakh. 

    Sudhir Sharma’s Sunshine Production is also in the process of producing two shows for VOOT. Though production is in its early stages, the production house has begun casting for one of the shows, which will comprise four episodes.

    Additionally, Colosceum Media will be producing a dating reality show for the VOOT platform.

    VOOT’s launch comes at a time when Netflix has already made a big bang entry into India, following the likes of Star India’s Hotstar, Sony Pictures Networks India’s Sony Liv, Zee Enterprises’ dittoTV, Eros International’s ErosNow and HOOQ amongst others. With a handful of more players like Balaji Telefilm’s Alt Digital and Vuclip poised to enter the space, the OTT content production space is likely to get a shot in the arm.

  • Blossoming of a ‘Sunrise’ industry, with help from a ‘Sunshine’ Budget

    Blossoming of a ‘Sunrise’ industry, with help from a ‘Sunshine’ Budget

    Literary purists will expect an op-ed on the media and entertainment sector’s budget wish-list to begin with a reference to Chanakya’s Arthashastra or Manu’s Manusmriti; and rightly so, for they contain priceless public policy principles that hold good even today. However, as someone who is tasked with navigating an innovative organisation that takes pride in its ability to win the hearts of Indians across the world, I will opt for a more recent, relevant and simpler quotation, with a creative twist:

    ‘Kuch to phool khilaye ‘aapne’, aur kuch phool khilane hai Mushkil yeh hai bag me ab tak, kaante ‘kuch’ purane hai’

    Shri Arun Jaitleyji

    Honourable Finance Minister, Government of India

    28 February, 2015, Union Budget Speech

    Last year, the FM listened to two of our industry’s requests. Withholding tax rates on payment of royalty were reduced to 10 per cent and a new, comprehensive foreign trade policy (SEIS) ensured that service sectors are treated at par with their counterparts in manufacturing. This time we have three sets of requests: those that remain from last year, those that are relatively more recent and those that are apply uniformly to all industries.

    Irrespective of which part of the value chain they might represent, all industry stakeholders will agree that consolidation is a much-needed, ongoing business reality that is critical for our sector to flourish. It is only natural that as this trend gathers steam, the regulation should treat our sector at par with other sectors like telecom and software when it comes to the carrying forward of losses in case of a merger or amalgamation. All this needs is an amendment in Section 72A of the IT Act to include the ‘broadcasting, media and entertainment sector.’ The second issue is an oft-repeated one and refers to the treatment of hire charges for transponders as royalty. This leads to an unnecessary tax burden given that there is no transfer of technology taking place. Moreover, even foreign jurisdictions don’t treat these payments as royalty. A simple clarification from the authorities can help resolve this issue.

    Amongst the more recent requests, the first pertains to how we treat payments for content production. These are not ‘fees for technical services’ (u/s 194J) and should instead be treated as ‘work’ (u/s 194C). This will bring clarity regarding the applicability of withholding taxes and help reduce litigation. The other pertains to the sponsorship of ground events. Currently, despite the recipient of the service paying service tax in entirety, set off of CENVAT credit is not available to the sponsorship service provider. This anomaly needs to be corrected.

    The final category pertains to requests that will help industry at large and not just our sector. However, this very aspect makes them even more critical for the M&E sector given our role as a ‘force-multiplier.’ Around $18 billion of investment proposals have been received in electronics manufacturing under the ambitious ‘Make in India’ programme, driven mainly by mobile handset manufacturers. Without high-quality engaging video content, that device with a 5-inch HD screen, 64GB storage and oodles of computing power has practically no use. Media rights are the single largest contributor to almost all sporting leagues in this country. FMCG companies spend a significant portion of their top-line (~10-15 per cent) on advertising because it contributes significantly to their growth. The moot point here is that we power several ecosystems, beyond our own. In keeping with this philosophy the top four requests are (1) reduction in Minimum Alternate Tax (MAT) rate (2) utilisation of credit of Education Cess and Secondary and Higher Education Cess lying in CENVAT balance (3) allowing CENVAT credit on Swachh Bharat Cess (SBC) and (4) removing restrictions on claiming CENVAT Credit.

    While MAT may eventually have lesser relevance (as corporate tax rates and the number of exemptions available to companies reduce), it is in the transitory period that a reduction in the MAT Rate (ideally coupled with the possibility of claiming MAT Credit over an indefinite period of time) can be extremely beneficial. On the issue of Education Cess and Secondary and Higher Education Cess, a simple clarification will suffice. Finally, the Swachh Bharat mission is a unique, much-needed effort that has several positive externalities. So much so, that many organisations are, in their individual capacity, trying their best to support it. At MTV we’ve launched the Junkyard Project, where we are helping with the cleaning and beautification of junkyards. In its current avatar, it is likely that the burden of the SBC will be passed on to the end consumer, after the effects of cascading. Therefore, it will be helpful if CENVAT Credit is allowed on the Swachh Bharat Cess. The government has placed huge emphasis on the ease of doing business. A smooth, seamless flow of tax credits is a critical aim in this regard. As a precursor to the GST regime, it will be helpful if all restrictions on claiming CENVAT credit are removed, including those related to timelines and specific inputs and input services.

    At Viacom18 we take the value of ‘listening deeply’ very seriously. In addition to some of the points above, my op-ed before the last year’s Budget had also argued for a more ‘innovative’ style of dissemination of the budget speech (‘engaging, multi-lingual, audio-visual with info graphics’). I hear that this time around the Finance Ministry has launched an official YouTube channel. Clearly the prashaasan is listening. Now it’s our turn to switch on the TV sets on and grab the popcorn. We’re all ears for Budget 2016.

    (These are purely personal views of Viacom18 group CEO by Sudhanshu Vats and Indiantelevision.com does not necessarily subscribe to these views.)

  • Blossoming of a ‘Sunrise’ industry, with help from a ‘Sunshine’ Budget

    Blossoming of a ‘Sunrise’ industry, with help from a ‘Sunshine’ Budget

    Literary purists will expect an op-ed on the media and entertainment sector’s budget wish-list to begin with a reference to Chanakya’s Arthashastra or Manu’s Manusmriti; and rightly so, for they contain priceless public policy principles that hold good even today. However, as someone who is tasked with navigating an innovative organisation that takes pride in its ability to win the hearts of Indians across the world, I will opt for a more recent, relevant and simpler quotation, with a creative twist:

    ‘Kuch to phool khilaye ‘aapne’, aur kuch phool khilane hai Mushkil yeh hai bag me ab tak, kaante ‘kuch’ purane hai’

    Shri Arun Jaitleyji

    Honourable Finance Minister, Government of India

    28 February, 2015, Union Budget Speech

    Last year, the FM listened to two of our industry’s requests. Withholding tax rates on payment of royalty were reduced to 10 per cent and a new, comprehensive foreign trade policy (SEIS) ensured that service sectors are treated at par with their counterparts in manufacturing. This time we have three sets of requests: those that remain from last year, those that are relatively more recent and those that are apply uniformly to all industries.

    Irrespective of which part of the value chain they might represent, all industry stakeholders will agree that consolidation is a much-needed, ongoing business reality that is critical for our sector to flourish. It is only natural that as this trend gathers steam, the regulation should treat our sector at par with other sectors like telecom and software when it comes to the carrying forward of losses in case of a merger or amalgamation. All this needs is an amendment in Section 72A of the IT Act to include the ‘broadcasting, media and entertainment sector.’ The second issue is an oft-repeated one and refers to the treatment of hire charges for transponders as royalty. This leads to an unnecessary tax burden given that there is no transfer of technology taking place. Moreover, even foreign jurisdictions don’t treat these payments as royalty. A simple clarification from the authorities can help resolve this issue.

    Amongst the more recent requests, the first pertains to how we treat payments for content production. These are not ‘fees for technical services’ (u/s 194J) and should instead be treated as ‘work’ (u/s 194C). This will bring clarity regarding the applicability of withholding taxes and help reduce litigation. The other pertains to the sponsorship of ground events. Currently, despite the recipient of the service paying service tax in entirety, set off of CENVAT credit is not available to the sponsorship service provider. This anomaly needs to be corrected.

    The final category pertains to requests that will help industry at large and not just our sector. However, this very aspect makes them even more critical for the M&E sector given our role as a ‘force-multiplier.’ Around $18 billion of investment proposals have been received in electronics manufacturing under the ambitious ‘Make in India’ programme, driven mainly by mobile handset manufacturers. Without high-quality engaging video content, that device with a 5-inch HD screen, 64GB storage and oodles of computing power has practically no use. Media rights are the single largest contributor to almost all sporting leagues in this country. FMCG companies spend a significant portion of their top-line (~10-15 per cent) on advertising because it contributes significantly to their growth. The moot point here is that we power several ecosystems, beyond our own. In keeping with this philosophy the top four requests are (1) reduction in Minimum Alternate Tax (MAT) rate (2) utilisation of credit of Education Cess and Secondary and Higher Education Cess lying in CENVAT balance (3) allowing CENVAT credit on Swachh Bharat Cess (SBC) and (4) removing restrictions on claiming CENVAT Credit.

    While MAT may eventually have lesser relevance (as corporate tax rates and the number of exemptions available to companies reduce), it is in the transitory period that a reduction in the MAT Rate (ideally coupled with the possibility of claiming MAT Credit over an indefinite period of time) can be extremely beneficial. On the issue of Education Cess and Secondary and Higher Education Cess, a simple clarification will suffice. Finally, the Swachh Bharat mission is a unique, much-needed effort that has several positive externalities. So much so, that many organisations are, in their individual capacity, trying their best to support it. At MTV we’ve launched the Junkyard Project, where we are helping with the cleaning and beautification of junkyards. In its current avatar, it is likely that the burden of the SBC will be passed on to the end consumer, after the effects of cascading. Therefore, it will be helpful if CENVAT Credit is allowed on the Swachh Bharat Cess. The government has placed huge emphasis on the ease of doing business. A smooth, seamless flow of tax credits is a critical aim in this regard. As a precursor to the GST regime, it will be helpful if all restrictions on claiming CENVAT credit are removed, including those related to timelines and specific inputs and input services.

    At Viacom18 we take the value of ‘listening deeply’ very seriously. In addition to some of the points above, my op-ed before the last year’s Budget had also argued for a more ‘innovative’ style of dissemination of the budget speech (‘engaging, multi-lingual, audio-visual with info graphics’). I hear that this time around the Finance Ministry has launched an official YouTube channel. Clearly the prashaasan is listening. Now it’s our turn to switch on the TV sets on and grab the popcorn. We’re all ears for Budget 2016.

    (These are purely personal views of Viacom18 group CEO by Sudhanshu Vats and Indiantelevision.com does not necessarily subscribe to these views.)

  • What Indian OTT players can learn from the US market

    What Indian OTT players can learn from the US market

    India’s consumers are just about beginning to experiment with video on demand content delivered over the internet. And a flood of OTT platforms and content creators has suddenly flowed onto the digital highway. Whether it is YouTube or Hotstar or DittoTV or Zenga TV or Hooq or Voot or Arre or nexGTv they have taken their first few steps to understand what consumers want, how they want to consume their content, and how much are they are willing to transact to view that content. 

     

    More evolved OTT markets like the US have already got a headstart and have got immense learning thanks to the availability of fat pipes of bandwidth making OTT almost ubiquitous. Can Indian OTT players learn from those experiences? Some tend to disagree, because the Indian consumer is unique and as different from the American subscriber as chalk is rom cheese. 

     

    But nonetheless for those who want to still find out how the US OTT market is performing and have not managed to get their hands on this study we are encapsulating it for you. Clearleap is a company that works with the likes of HBO, Scripps, and A+E Networks to deliver viewing experiences across screens. It has conducted a survey to learn more about which streaming services US consumers use, what their viewing habits are, and what they value most in an OTT offering. The results offer a look at how average users perceive streaming services, and how they engage with them.

     

    The Key Takeaways from the report are:

     

    Going OTT isn’t an option anymore – it’s a mandate. To stay relevant, reach audiences and grow revenue, content providers need to not only provide a streaming option to consumers, but also address the unique behaviours of today’s younger television viewers. In order to be successful in today’s television market, prospective OTT providers should follow the best practices below:

     

    (a) Ensure a good value. Consumers are willing to pay slightly more (up to $25 per month) if the service has the content they want. Balancing great content and a fair price is the key to attracting viewers and minimising churn.

     

    (b) Make it easy to browse, discover new content, and channel surf. While younger viewers may be more knowledgeable about what they want to watch after they log in, older viewers may not be as familiar with the content available on each service. Improve your user experience by including simple features that encourage discoverability and surface relevant content proactively.

     

    (c) Optimise for screens of all sizes, as tablet and smartphone viewing is significant. Mobile video will only grow in popularity. Get ahead of your viewers’ evolving habits by optimising your service for all screens at launch, and offering apps on key devices such as streaming boxes, mobile phones, and gaming consoles.

     

    (d) Offer tiered pricing solutions to match login-sharing habits. Especially since younger streaming service users are prone to sharing, new services should offer tiered subscription packages that prompt users to pay slightly more to watch content on multiple devices at the same time.

     

    (e) Consider the gaps in the market. While movies and TV series are widely available on Netflix, Amazon, and Hulu, live television is missing from the streaming market. Many current streaming service users wanted broadcast channels (41.26 per cent) in their ideal offering, with sports (28.15 per cent), local (20.28 per cent), and news (15.91 per cent) also highly rated by respondents. Content owners should capitalise on the white space by investing in live content that isn’t already easily accessible online.

     

    To Read the full report, click here