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Tag: VOOT

  • Voot partners with upGrad, expands content play to edutainment

    Voot partners with upGrad, expands content play to edutainment

    MUMBAI: Leading streaming platform Voot has tied up with the largest online higher education company upGrad. This opens a doorway for consumers and working professionals to seamlessly access the best of entertainment and education videos, all under one roof.

    Voot, home to hours of exciting entertainment content across formats and genres, with this thoughtful partnership, is pioneering the cause for young Indian professionals by providing them quality upskilling content as part of its repertoire. A dedicated upGrad segment on the Voot app will unleash its viewers into a pool of informative content around the new-age domains of data science, blockchain, tech and management, which are carefully curated by upGrad’s in-house content team to help working professionals enhance their employability quotient.

    Additionally, to provide in-depth and accurate knowledge, the playlist will also include new-age anecdotes in the form of snackable videos and sessions hosted by industry leaders and Subject Matter Experts (SMEs). The segment will include upGrad Shotgyaan, Crash course in Data Science and a recently curated interesting list of Work From Home (WFH) tech tips as starters with frequent additions being made to the binge-watch content library.

    Voot AVOD business head  Akash Banerji said, “In these times, with digital assuming a decisive role in a user’s life, our objective with Voot is to deliver a truly enriching and inclusive content slate that elevates the user experience and engagement. Blending our entertainment proposition with learning through this partnership with upGrad, is not only an innovative solution for young minds, but also enables us to widen our reach and user base."

    Announcing the partnership, upgrade corporate development president Gaurav Kumar said, “Young India is hooked on to the OTT platforms for their daily dose of entertainment and therefore, it is exciting to have a special window that seamlessly lands them to a new-age upskilling content playlist, that will add up to their professional growth at large. With our insightful storytelling format and innovative execution, we look forward to shedding the stereotypical emotion attached with education of being serious.”

  • SonyLIV 2.0 embarks on a journey with brand new identity, original premium content

    SonyLIV 2.0 embarks on a journey with brand new identity, original premium content

    MUMBAI: One of the early movers in the Indian over-the-top (OTT) ecosystem set out on its quest to reimagine the business in the latter part of 2019. Starting with a rejig in leadership last year, SonyLIV has now brought one of the most noticeable changes to its look: content strategy.

    Sony Pictures Network India (SPN) on Tuesday revealed a brand new look of its digital arm.

    A video on its social media gives glimpses of the redesigned logo which will replace its yellow background logo with a vibrant colourful one. The new logo emphasises the ‘liv’ part in a bright yellow colour in contrast to a colourful background with streaks of purple, blue, orange. Compared to the earlier one, it looks thinner and more refined reflecting warmth.

    Although being one of the oldest contenders, the platform has not been able to create much buzz lately. The ecosystem has not only grown but also the competition from both homegrown and international players. Netflix and Amazon Prime Video have started upping their investment in local content aggressively. Another giant player Disney+ also made its much-awaited entry into the market in March. Other broadcast-led players like ZEE5 and VOOT have also brought premium content to woo users, the former going deeper into the vernacular market.  Amidst all these ambitious players, a reimagining was required to make a mark and stand out.

    Better late than never. Along with re-designing, its content strategy is also set for an overhaul. Earlier, the new faces of SonyLIV spoke about the plan of focusing on originals. As the video reveals, the platform is going to bring original stories from the well-known storytellers in the country including Ashwini Iyer Tiwari, Ajay Monga, E Niwas, Hansal Mehta, Samar Khan, Nikkhil Advani, Nitesh Tiwari, Saumya Joshi, Tigmanshu Dhulia, Sachin Pathak, and Vir Das. It will also premiere international series including For Life, The Tudors. However, it promises to stay committed to the core strength, and sports content, too.

    The platform has struck a deal with Applause Entertainment announcing a content licensing deal of four premium drama series: Your Honor, Avrodh,  Undekhi and Scam 1992.  It has started its gradual rollout of its refreshed SonyLIV 2.0. app with the new visual identity and a distinct user interface.

    SPNI rejigged its digital team last year, with old-time SPNI executive Danish Khan leading it, with added responsibilities as business head of its leading GEC Sony Entertainment Television. Khan roped in his A Team who worked with him at SET, Ashish Golwalkar and Aman Srivastava, to also help him out to revitalise SonyLIV. The new faces revealed the wish for a rekindled focus on subscription-based service which just took off last year.

    Before this overhaul in brand identity, SonyLIV went through a change in 2016, after three years of its launch. The latest change comes at a time when all the OTT platforms have seen a huge surge in the viewership due to ongoing lockdown.

    At the time of publication of this story, the platform was reached for more details, but denied response.

  • Go Fun Yourself, says VOOT to all its #AsliFans

    Mumbai:  Voot is all set to add more fun and humour to your lives with its new VOOT Original ‘Go Fun Yourself on Voot’. Loaded with craziness and a slew of madcap challenges, the 10-episode series will feature the funniest videos India has seen.  Whacky, eccentric, and goofy – the show that is sure to unleash your crazy side and set you rolling with laughter, is being hosted by the witty and feisty Kusha Kapila.

    Every week,  Kusha will throw a fun and exciting challenge at people and ask them to upload their videos on the Voot platform. The best videos will not only get featured on the show but will also get a chance to win exciting prizes as gratification. Apart from featuring funny videos, Kusha will also have celebrity guests appearing on the show performing the challenges with Kusha adding her own madness all through the show.

    As a part of the first fun challenge, people have to create videos while having a conversation with inanimate objects around their homes. Kusha will select the ones she thinks are the funniest and provide entertaining commentary all through it, ensuring that Go Fun Yourself on Voot has India’s funniest videos together in one place.

    Akash Banerji, business head – VOOT, AVoD, says: “Increasing engagement along with wholesome entertainment is our constant focus . User generated content is one of the most powerful tools for creating meaningful engagement with the audiences on digital platforms. With our upcoming show, Go Fun Yourself on Voot, we intend to take the level of engagement a notch higher by making the audience co-creators of our show. With the high decibel humour that our viewers are seeking, delivered by a versatile host like Kusha , we are certain that there will be an immediate connect between  the show  and the audience.”

    Kusha Kapila comments about her association with the show, “When I was asked to be the host of Go Fun Yourself on Voot, I did not need to think twice. The concept of the show is extremely unique and entertaining. As a content creator myself, I have always believed that a healthy dose of fun and laughter can make you forget all your problems and worries. In times when we are stuck at home and are finding ways to cheer ourselves up, the show will keep you going and entertained with interesting and fun content. I am delighted to be a part of the show and looking forward to making the nation laugh out loud.”

  • Entertainment drives Network18, TV18 numbers up

    Entertainment drives Network18, TV18 numbers up

    BENGALURU: Mukesh Ambani’s Network18 Media & Investments Limited (Network18) reported 4.7 per cent growth in consolidated operating revenue for the year ended 31 March 2020 (FY 2020, year under review) as compared to the previous fiscal (FY 2019). Consolidated operating revenue for the quarter ended 31 March 2020 (Q4 2020, quarter under review) grew 19 per cent as compared to the corresponding year ago quarter (Y-o-Y).  Consolidated operating EBIDTA for the year and the quarter grew 191.2 per cent and almost twentyfold (up 1,888.1 per cent) as compared to the corresponding periods of the last year. The company reported profit after tax for FY 2020 and Q4 2020 as compared to losses reported in the previous year and the corresponding year-ago quarter. 

    Network18’s reported consolidated operating revenue in FY 2020 and FY 2019 was Rs 5,375.15 crore and Rs 5,116.18 crore, respectively. For Q4 2020 and Q4 2019 it was Rs 1,464.51 crore and Rs 1,230.93 crore. Consolidated operating EBIDTA for FY 2020, FY 2019, Q4 2020 and Q4 2019 was Rs 616.92 crore, Rs 211.88 crore, Rs 225.11 crore and 11.34 crore, respectively. 

    Network18 reports revenue from two streams – (1) TV18 Broadcast Limited or TV18 which comprises News (TV18 standalone) and Entertainment (Viacom18+AETN+Indiacast) and digital, print and others. It must be noted that Viacom18 and AETN18 are 51 percent Entertainment subsidiaries of TV18, while distribution-arm Indiacast is a 50:50 JV of TV18 and Viacom18. TV18's 24.5 percent minority stake in Telugu entertainment associate Eenadu TV (Ramoji Rao group) is not included in the TV18’s numbers.

    Network18 reported profit after tax (PAT) of Rs 56.14 crore for FY 2020 as compared to a loss of Rs 177.60 crore in the previous year. For Q4 2020, PAT was Rs 60.19 crore as compared to a loss of Rs 75.57 crore in Q4 2019. 

    TV18 Broadcast Limited numbers 

    TV18 Broadcast Limited (TV18) consolidated revenue grew five percent in FY 2020 to Rs 5,175 crore from Rs 4,943 crore. TV18 consolidated revenue for Q4 2020 grew 21 per cent to Rs 1,425 crore from Rs 1,182 crore in Q4 2019. 

    TV18 consolidated EBIDTA grew 124 per cent in FY 2020 to Rs 703 crore from Rs 314 crore in FY 2019. Consolidated EBIDTA for Q4 2020 grew 365 percent to Rs 240 crore from Rs 52 crore in Q4 2019. 

    Though News (TV18 standalone) reported seven per cent growth in FY 2020 as compared to FY 2019, it contributes about 22 per cent to the revenues of TV18 consolidated revenues. The larger revenue stream for TV18 is entertainment, which had revenue growth of four per cent during the same period. TV18 standalone or news revenue grew seven per cent in FY 2020 to Rs 1,150 crore from Rs 1,079 crore in FY 2019. 

    Entertainment revenue grew four percent as mentioned above to Rs 4,025 crore from Rs 3,863 crore. Entertainment revenue also includes subscription revenue – the company reported 43 per cent growth in subscription revenue for FY 2020 to Rs 1,811 crore from Rs 1,269 crore in FY 2019. This implies that without subscription, revenue from other streams of entertainment declined in FY 2020 as compared to FY 2019. 

    News (TV18 standalone) operating EBIDTA grew five per cent in the year under review to Rs 97 crore from Rs 93 crore in FY 2019. Entertainment operating EBIDTA grew 174 per cent in FY 2020 to Rs 606 crore as compared to the Rs 221 crore in the previous year. 

    News (TV18 standalone) revenue for Q4 2020 grew 4 per cent to Rs 301 crore from Rs 288 crore in Q4 2019. Entertainment revenue for the same period grew 26 per cent to Rs 1,124 crore from Rs 893 crore. Subscription revenue for Q4 2020 grew 41 percent to Rs 468 crore from Rs 332 crore. 

    Operating EBIDTA for News (TV18 standalone) grew 11 percent in Q4 2020 to Rs 35 crore from Rs 31 crore in Q4 2019. Operating EBIDTA for Entertainment grew 901 percent during the quarter under review to Rs 206 crore as compared to Rs 21 crore in Q4 2019. 

    Print, digital and others and intercompany eliminations (others) numbers 

    Print, digital and others and intercompany eliminations (others) operating revenue in FY 2020 increased five per cent to Rs 182 crore from Rs 173 crore in FY 2019. Others operating EBIDTA in FY 2020 was a lower operating loss of Rs 86 crore as compared to an operating loss of Rs 102 crore in FY 2019. 

    Others operating revenue for Q4 2020 reduced 20 per cent to Rs 40 crore from Rs 49 crore in Q4 2019. Operating EBIDTA for Q4 2020 was a lower operating loss at Rs 15 crore as compared to an operating loss in Q4 2019. 

    Company speak: 

    Network18 chairman Adil Zainulbhai said: “The COVID-19 pandemic is a major blackswan event, which has dragged the economy and the advertising environment as a result. The

    immediate impact on the ad-driven media industry will be significant; however an increasing proportion of subscription revenues will help us pull through. Amid uncertain times, the strength of our brands and our class-leading content creation capabilities continues to shine through. We are proud of the coverage being provided by the News18 Network despite trying circumstances. The growth in media consumption witnessed augurs well for the future, as some of the increased engagement will be sticky even once the pandemic tapers off. We have stayed the course on our digital impetus and sharp focus on profitability.”

  • Digital marketing becomes mainstay for OTT platforms during COVID-19

    Digital marketing becomes mainstay for OTT platforms during COVID-19

    MUMBAI: The COVID-19 pandemic has thrown a spanner in the works of every single organisation. Even as the media and entertainment industry comes to terms with this ‘new normal’, the over the top (OTT) industry seems to have got a thrust. As digital viewership keeps increasing week on week, it is imperative for streaming services to ensure viewers are aware and engaged.

    Right at the beginning of the lockdown, several services opened up their premium content for free viewing. Since there is hardly any chance in the resumption of OOH advertising in the next few weeks or even months, OOT platforms are mulling over innovative ideas to attract and retain customers. In part two of this series, we explore how these platforms are communicating to its consumers who are stuck at home and hungry for good content.

    The BARC-Nielsen report states that VOD viewership on digital is at 3 hours 59 minutes a day in week three of lockdown, with a 12 per cent increase from pre-COVID time. This is being fuelled by movies and original series. Understanding this change, services have shifted their OOH spends to these two mediums.

    On the digital front, ZEE5 is focusing on reach and frequency campaigns along with expertise on entertainment and news websites. “News and entertainment are our two key segments on digital and TV now since people’s attention is currently diverted there. We have moved a lot of our OOH display advertising to the digital medium. We have also started a lot of video advertising,” says ZEE5 India SVOD marketing head Reilly Rebello.

    Voot Select and Viacom18 youth, music and English entertainment head Ferzad Palia is confident that Voot Select, which launched days before the country went into lockdown, has a huge slate of originals that can easily attract consumers. With the ongoing crisis, the aim is to focus on creating awareness. One of the ways is through chat shows with talented artists from their shows. Palia says that Voot had intended to take this approach even without a lockdown.

    According to Palia, the impact lies in how effectively they use the two available mediums – TV and digital – in the crisis as the words need to be maximised.

    ALTBalaji, the streaming service from the house of Balaji Telefilms, struck a deal with Zee TV to air some of its family dramas. The duo also has an OTT partnership in place. ALTBalaji marketing, analytics & direct revenue SVP Divya Dixit says that for them, digital marketing comprises all social media handles, platforms and websites that are being accessed by the audience.

    “We create backlinks across our media communications to ensure our website witnesses a continuous influx of new and existing users. Influencer marketing is another tool that has worked wonders for us and the shows. When you see actors and vloggers talking about the show and the characters directly with their fanbase, it tends to create a personal bond with the audience and engages them in the journey of their favourite characters and actors,” she says.

    She adds that memes have become mainstream and an important and engaging tool for marketers. So, ALTBalaji has incorporated meme marketing as an integral part of its marketing campaigns. “Besides Instagram and Twitter, we also actively use WhatsApp to engage with audiences,” she adds.

    Switching over to digital, ZEE5 has started moving press screenings online. Rebello says that they have sent the key information to reviewers and media people along with a link to a 20-30 minutes preview.

    MX Player launched eight shows in March and the first week of April for which campaigns were seen across social media to create personalised experiences. “We have digital PR, an increase in spends on mobile marketing, optimising performance marketing to reach out to viewers at every possible touchpoint as well as contextual advertising. More so, since our own platform hosts 75 million daily active users, we have used our own internal inventory to cross-promote across categories. It’s more personalised with focused audience buckets,” MX Player marketing and business partnerships head Abhishek Joshi says.

    Hungama Digital Media COO Siddhartha Roy states that on the basis of the double-digit growth in consumption Hungama Play has noticed on the platform since the beginning of March, it will continue channel marketing spends on the digital medium for the next set of original shows that are ready for release.

    It is an opportune time for streaming platforms to target existing customers as well as attain new ones to sample the content in the hope that not only viewership but also revenue through advertising and subscription will increase over time.

  • How OTT players re-calibrate OOH advertising during social distancing

    How OTT players re-calibrate OOH advertising during social distancing

    MUMBAI: The world continues to grapple with the COVID-19 pandemic, an unprecedented crisis in living memory that has almost crippled our everyday lives and left the whole country deserted. And the reality has been unpalatable to the media and entertainment industry, especially the outdoor advertising segment, which is bearing the brunt of the stay-at-home/social distancing stipulations.

    The out-of-home (OOH) medium has been one of the go-to points for OTT services in India so much so that leading streaming platforms had started outdoing even retail brands in OOH advertising. Now, with that option totally shut, streaming services are looking at ways to re-calibrate their ad spends. 

    In this new series, we explore how the OTT industry is coping with its communication strategies amidst the COVID-19 pandemic. We start off with the OOH industry. 

    As people have suddenly been forced to shift to seek entertainment online, digital advertising has gained traction. However, none of the platforms denies the importance of OOH in the media mix.

    ALTBalaji marketing, analytics & direct revenue SVP Divya Dixit says that the platform has been at the forefront of executing creative and innovative OOH formats for its varied shows. However, she mentions that their strategies have always been a mix of varied tools, and in times such as these, they seek to explore the rest of them with innovation and uniqueness. 

    "For marketers, with OOH advertisement being suspended, it does create a dent in the overall marketing outreach. As all of us exercise the mandatory stay-at-home-stay-safe measure during the lockdown, audiences across the country are now consuming content digitally every part of the day. In such a situation, digital marketing, buoyed by social media, influencer marketing, meme marketing, OBD calls, SMS and email blasts etc., can prove to be the best bet for brands right now. Especially for a digital-first platform like ours, it promises to play a crucial role in the overall marketing mix, seeing 50 per cent of the allotted marketing budget," she adds.

    Hungama Digital Media COO Siddhartha Roy comments that the stay-at-home measure has enabled the TV and digital media to find captive audiences while the audience for OOH and other forms of outdoor and experiential marketing has decreased dramatically. "As a platform, we realised a long time ago that our audience is present on the digital medium; hence, our marketing strategy, even in the past, has been heavily skewed towards digital and social platforms," he says.

    Broadcaster-led platforms, like VOOT, ZEE5, etc., whose traditional business has also been bullish on OOH, accept it as a key component of the media mix. Voot Select and Viacom18 youth, music and English entertainment head Ferzad Palia says that outdoor is very important when a new service is launching, especially in markets like Mumbai. But he also adds that they have never been over-indexed on outdoor; hence, cutting back on this area is not a huge change. While having an outdoor option could have been an advantage, he mentions the OOH spends are being shifted to a mix of TV and digital ads.

    ZEE5 India SVOD marketing head Reilly Rebello also echoes Palia's thoughts. While terming OOH as a key component of its advertising mix, he does not forget to mention that there are a lot of other mediums that have been used regularly. Rebello also says that they are focusing a lot on digital and TV. ZEE5 India is doing heavy targetted advertising on the ZEE5 app while focusing on other digital mediums. A major part of ZEE5's OOH cost has moved to the digital medium.

    However, TheSmallBigIdea CEO and co-founder Harikrishnan Pillai has a different take. He is of the view that outdoor was never a pivot platform for OTT. According to Pillai, while OOH builds perception and is a great reminder medium, it is seldom the core medium. "What outdoor helped OTT do is place itself alongside broadcast television in terms of scale. Over the years, TV has built a perception on the back of the outdoors. So for OTT, which is digital-first, absence of outdoor doesn't matter much in these times, since TV, too, isn't making much use of it," he says.

    "Given the stay-at-home, stay-safe mandate, a lot of outdoor media has had to be removed from the marketing media mix, but at MX Player, we firmly believe that all else can wait, but your daily dose of entertainment must go on. We've gone live with eight shows just in the month of March and the first week of April," MX Player marketing and business partnerships head Abhishek Joshi states.

    While OOH hoardings stay barren for now, the hope is that the industry will be back on track after this crisis passes us.

  • Viacom18 beats Monday Blues with fun social media chatter within its brands

    Viacom18 beats Monday Blues with fun social media chatter within its brands

    MUMBAI: The coronavirus outbreak has brought dramatic changes in our lifestyle. To slow down the spread of the pandemic in the country, we have been asked to maintain social distancing. This Monday could have been more gloomy than usual. But, Viacom18 brands started social chatter within themselves to beat the Monday Blues.

    Using #LetsBinge, the brands started talking to each other.  Led by the mother brand, Viacom18, all the other brands followed. From COLORS that encouraged binge watching on VOOT to VOOT that asked MTV India to help it choose between COLORS and MTV shows, to MTV and Vh1 providing music to the background and much more. It also included Viacom18 Motion Pictures or any of our regional channels behind. All in all, it became a long banter chain between Viacom18's channels, whether on air or digital, Hindi or kids or English entertainment, movies or the regional cluster. 

    “We love being close to our fans and engaging with them. So we thought, why not have a social chatter with all our brands; a fun banter on a usually 'blues' Monday, and use the might of the network for something cool. When Viacom18 tagged COLORS and said #letsbinge, COLORS tagged Voot, and so on the chain cut across our channels and reached about 10 million followers. Now that's the power of the digital medium in times of quarantine. We had fun while engaging with our fans and sending out our message to them to watch our content, while sitting at home,” Viacom 18 Corporate Marketing, Communications and Sustainability head Sonia Huria said.

    Through the conversation, the brands wittly highlighted the popular shows and movies available across its portfolio including Barrister Babu, Big Boss, Asur,Marzi, Andhadhun, FRIENDS. While all the brands are constantly reminding people to stay home, there are chances to sound as panic monger and preachy or awkward and opportunistic others. Viacom18 found a different and creative way to stay connected with the audience ruling out both the possibilities. 

  • Netflix and its India story

    Netflix and its India story

    MUMBAI: Netflix has been making  a good catch wherever it has been spreading its net over the past three years. But viewers in Indian waters do not get snared easily by the bait of snazzy and edgy content like in other parts of the world and that is something the streamer learned the hard way. It made a scratchy debut with just a handful of original shows and a thin catalogue of local content in 2016. Net result: only the top sliver (in the hundred thousand or so) of India’s 1.3 billion populace bit and it was left wondering why the service was not getting traction like it was elsewhere.

    The answer lay in localisation: India’s masses care very little about Stranger Things or Black Mirror – Bandersnatch – two series that fired viewers’ imaginations in several countries. Indians would rather watch a Naagin or a Nazar. And just having a Sacred Games and a couple of local movies and shows were not enough to make Indians flash out their check books or credit cards to pay the stiff Rs 700- plus monthly fee in a market where cable TV offered a smorgasbord of 700 channels at less than half that price. And CEO Reed Hastings' promise to shareholders that India would bring in the next 100 million subs seemed like an empty one.

    Cut to 2020: the SVOD platform seems to be getting its act right and has rolled out a slate of local originals –both films and series – like Yeh Ballet, Sacred Games, Jamtara , Leila, Delhi Crime – and many more are in pre-prod stage or on the shooting floor.

    According to media reports, its financials too are getting better. Netflix’s India business grew more than 700 per cent during financial year 2019 recording revenues of Rs 466.7 crore and a net profit of Rs 5.1 crore. Hastings continues to have lots of faith in India’s entertainment-hungry viewers: he has kept a stash of Rs 3000 crore to invest in original content over the next two years.

    India needs that kind of investment; maybe more. There are more than 150 free-to-air channels offering TV shows (fiction and drama), movies and a lot more. Premium cable and satellite pay TV general entertainment channels at Rs 12 to Rs 19 also don’t cost that much. And they offer entertainment which suits the milieu that they are living in and even meets their aspiration needs. The main Indian broadcasters Zee TV, Sony, Star and Viacom18 have strong streaming services, ZEE5, SonyLIV, Hotstar and VOOT, which not only serve the linear feeds of the GECs but also offer the shows and movies on demand, apart from offering premium digital-only originals. Then there are independent streamers like AltBalaji, MX Player, hoichoi and ShemarooMe, which too have interesting programmes for their viewers.

    What bodes well for Netflix is that it has invested in local hires like Monika Shergill, Srishti Behl Arya, Aashish Singh with lots of experience in the local media and the entertainment industry. Earlier, for the first two years, Netflix executives in Los Angeles had oversight over the India office and the content that was being acquired and churned out. The perks of a team familiar with local content is already reflecting in the recent content slate.

    Since the end of 2018, the dramatic change in the overall approach has become noticeable. The platform has joined hands with big names of B-Town like Karan Johar, Shah Rukh Khan, Anurag Kashyap, Dibakar Banerjee and Vikramaditya Motwane. Kashyap’s Sacred Games was the first Indian original series to give the platform prominence in the cluttered market. While Red Chillies Entertainment’s Bard of Blood was critically acclaimed, Dharmatic Production’s Drive received negative feedback. At Indiantelevision.com’s The Content Hub 2020, Netflix’s Aashish Singh said that a number of people watched the film adding that the service does want to create content for every mood of the member and every segment.

    The diversity of Indian audience may sound a cliched and over-stated fact but no one can deny the truth. Film-buff Indians can now watch erstwhile star Manisha Koirala in its upcoming original film Maska. The platform has also slated a comedy special original Ladies Up. Mighty Little Bheem will also get a new season soon. To battle with the broadcaster-led platforms like Zee5, Hotstar, Voot, which have legacy content and international rival Amazon Prime Video with its shopping benefits, Netflix must reach into the heartland or Bharat as it is called. Especially when it looks to sign on that humongous 100 million subscribers from the country.

    Indians are price-sensitive consumers and it's a well-known fact. As is the fact that India is a mobile-first video consumption market thanks to cheap handsets and almost-free data plans. Last year, Netflix hit both these peculiarities by launching a mobile-only pack for Rs 199 per month as against the Rs 799 for the premium large screen experience. In its latest investor conference call, Netflix chief product officer Greg Peters said that thanks to this, they have been able to add incremental subscribers along with an increase in retention.

    The platform is also coming up with more innovative marketing strategies. Over the last year, Netflix India’s social media presence has also started gaining more word of mouth in the vast e-universe of the country. It is also recently testing a Rs 5 plan for the intial month which has again created good chatter. Moreover, it recently added a feature which allows users to make their watchlist decision easier. On the back of the new top 10 feature, Netflix members will notice a newly designed row that will show them what's popular in India.  

    One of the major challenges for Netflix is increasing its awareness to beyond tier-I and tier-II cities. More vernacular, localised content may give the platform a fillip in India’s interiors where smart phones work, even if TVs don’t because of frequent power outages. Although competition is bound to rise for the streaming service in India with the entry of Disney+, there’s optimism abounding about Netflix’s Indian journey in the days, months and years ahead. It looks like its story will have a happy ending.

  • Decoding Viacom18’s SVOD blueprint for Voot Select

    Decoding Viacom18’s SVOD blueprint for Voot Select

    MUMBAI: Unlike other international markets, the Indian streaming revolution was started by major broadcasters and Viacom18’s Voot has been at the forefront of the OTT boom in the country. While it has already built up a robust 100 million monthly active user base, the platform now starts its journey into the subscription game. Voot Select enters the market at a time when SVOD has already started its uptick. As the platform aims to strike a balance between quality and quantity, it looks at a window of three-four years to turn the business profitable.

    Viacom18 Digital Ventures COO Gourav Rakshit says that this next decade is going to be about subscription and depth of content consumption while the previous decade was about online video and most of it free. He adds that consumers that are now habituated to online video consumption are going to start to become more and more comfortable with online payments providing impetus to the category.

    "We are very clear that we are not playing for quantity. We as a whole network are very clear that we will focus on great stories. And we have been great storytellers, by virtue of everything that you have seen of us over the last 12 to 15 years and creating content at any scale, in any language is second nature to us. That is exactly why we're so proud of the originals that we have. Each original is gripping, keeps you hooked right to the last episode, and you will not want to move till it's over- that is the strength of a story. The primary focus is the script, then everything else,” Voot Select and Viacom18 youth, music and English entertainment head Ferzad Palia comments on content strategy.

    “The nature and width of offering that we have is unlike anyone else. Now it comes down to the quality of stories and we are confident of our stories being great stories,” he adds.

    “We will do telco and other partnerships with all of the people that either have reached to the consumer, or in billing relationships with the consumer. Both such models makes sense to us and will help us in delivering valuable content to the frontline. Hence, anybody who has a billing pipe to a consumer is valuable to us. These are the partners that we would find a natural fit with and seek to engage,” Rakshit comments on the distribution.

    The first step of the campaign will be to target existing AVOD subscribers. "We do have the significant advantage of scale of some of our other businesses, which will allow us to communicate our message and make our offering to them first,” Palia comments.

    Voot Select has 30 originals planned in the coming financial year. The currently planned library of these 30 originals will consist of long-format content but the platform is evaluating some interesting digital movies too. The premium service has been priced at Rs 99 per month or at Rs 999 per year with an exclusive offer price of Rs 499 per year.

    “The AVOD gives us wings to be able to run this SVOD business. Hence, we will continue to invest in the business and what we are really good at is doubling down on interactivity, moving the 300 million number to a billion and creating an AVOD world as a place where fandom can exist. The SVoD business is going to be all about storytelling. Select is made for stories, and so the best stories in the world are going to be curated for you. And that is kind of how I see the distinct role played by these two businesses,” Rakshit adds on the overall approach going forward. 

  • SonyLIV to enter Originals race, get fresh look by next year

    SonyLIV to enter Originals race, get fresh look by next year

    MUMBAI: The over-the-top media game is just heating up and Sony Pictures Networks is all set to revamp its digital platform SonyLIV by next year. It will roll out a few new originals in another six-eight months in both Hindi and regional languages.

    SonyLIV is an ad-based video-on-demand platform in the OTT space and majorly runs the content that is being broadcasted on its network television channels across genres.

    SonyLIV’s head – original content Saugata Mukherjee, during an exclusive chat with indiantelevision.com, says: “By next year or so, there is a plan to re-launch SonyLIV. Our focus is to bring some of the real variety on the platform and to get to work with really interesting filmmakers and storytellers.”

    He adds: “We have on board some filmmakers and some of our originals are already in production. And hopefully, we shall have enough slate to talk about by the end of this year.”

    The OTT space has received an overwhelming response from the individual audience for the extraordinary and out-of-the-box content that is being produced and shown on the digital platforms. US-based Netflix and Amazon being leaders in the market, dominate the space.

    Mukherjee, highlighting the content strategy of the platform, says: “We are going to invest a lot on Hindi original content and step two would be to invest in Southern language content such as Tamil and Telugu. However, right now the focus is on the Hindi content and then the regional.”

    “Data gives us a lot of numbers and drives us towards the south,” says the SonyLIV head. “If there’s a big skew in the south, we need to cater to that. And thankfully, we have real-time data, which clearly points out that we have a great piece of an audience in the southern part of the country.”

    Out of four broadcaster-led OTT platforms, Zee Enterprises’ ZEE5 and Star India’s Hotstar have already entered the game of originals along with the content they broadcast on television. However, the other two – Network18’s Voot and Sony Pictures’ SonyLIV – are yet to embark on their original content journey.

    Voot, however, is all set to begin the journey in another a month’s time, as confirmed by the platform’s head Gourav Rakshit during an exclusive chat with indiantelevision.com. “We are set to launch at least four new originals in Hindi within the next 30-45 days,” he said. The platform earlier in January has turned itself to subscription video-on-demand from ad-based video-on-demand.

    According to Mukherjee, it’s been two years since the proliferation of OTT has happened and it’s just a start. He believes there’s enough space for everyone just like there’s space on television for Sony, Zee, and Star. They have their own set of audience and running a successful business for so many years now, he explains.

    “Unlike other OTT platforms, the good part of the broadcaster-led OTTs is that they are already sitting on a huge amount of content they have produced and realised the importance of IPs created by them,” he says.

    “The good thing about SonyLIV is that we have some marquee sports properties this year such as Tokyo Olympics, Euro Cup, and we plan to monetise them really well. Since we have a strong cohort and ardent subscribers here, we need to take care of them by making original content,” Mukherjee concludes.