ITV

Tag: YouTube

  • Famebox Networks appoints Ignitee as digital agency partner

    Famebox Networks appoints Ignitee as digital agency partner

    MUMBAI: Video consumption in the country has been on an exponential growth, giving rise to a growing demand for original digital content. India has approximately 50 million online video viewers and one billion unique YouTube users each month.

     

    FameBox, a multi-channel talent platform for digital media, has appointed Ignitee Digital Services to manage its entire digital mandate and engagement across various digital platforms such as Twitter, Facebook and YouTube.

     

    FameBox aims to create an active and engaged online community by promoting established and emerging talent to create innovative and original digital content. As FameBox’s digital marketing partner, Ignitee will help in conceptualising and executing social media campaigns to increase the level of consumer engagement across FameBox’s digital initiatives and properties. Ignitee will also be responsible for the digital media planning and buying as well as managing the FameBox website and microsites.

     

    “India is now witnessing a growing amount of ‘made for web’ content which is capturing the audience’s imagination.  We are seeing webstars emerge and this trend is going to grow rapidly in the coming 12-18 months. At FameBox, we build digital video led communities for established and emerging talent as well as grow the ecosystem around original digital content,” explained FameBox business head Dhruvank Vaidya. “To emerge as a true web-entertainer, it is important to have the right balance of great content, engaging style and an eye for monetisation opportunities. Creating awareness, educating and promoting original web content will require a concerted and integrated effort. And, that is where we see Ignitee adding value to FameBox’s proposition.”

     

    FameBox currently manages a network of channels on YouTube across genres including entertainment, fashion, travel, food, comedy, health and wellness, lifestyle, and technology.  In addition to producing ‘made for web’ content, FameBox is also creating online reality show formats like FameBox WebChef, India’s first online hunt for the best amateur cook. Every quarter will see a new show in a different genre.

     

    Ignitee Digital CEO Atul Hegde said, “With the tremendous surge in digital video consumption in India, there has been an increase in the creation of original content on the web in line with the global trend. This is the ideal time for brands to capitalise on this opportunity, develop channels across genres and create customised content that will connect with the consumers.  Ignitee is thrilled to partner with FameBox and will play an integral role in creating some path breaking content for them. We have started off with a bang with WebChef. You will see some more such marquee content for FameBox in the months ahead.”

     

    Ignitee Digital has an array of renowned clients across sectors – Lifestyle, Entertainment, Corporate, BFSI, and Travel & Tourism and is now aggressively focussing on growing the business across industries in India.

  • Only 22 per cent Pakistanis support freedom on the internet

    Only 22 per cent Pakistanis support freedom on the internet

    NEW DELHI: Even as the Lahore High Court in Pakistan continues to debate on whether the ban on YouTube should be lifted, a survey has revealed that a mere 22 per cent of Pakistanis want internet that is free of official censorship from the government.

     

    Pakistan scored the lowest percentage out of the 24 developing countries where the use of internet is either prohibited or limited.

     

    India did not figure in the survey as there are no restrictions on internet in this country.

     

    Pew Research Center said while Venezuela topped the list with 69 per cent wanting freedom of the internet, the other country at the bottom was Uganda with 49 per cent wanting the internet to be free.

     

    Most of the other countries in the poll said that they wanted an internet free from censorship.

    Pakistan had banned YouTube after the showing of what it termed as an offensive film, but has not lifted the ban even after the film was removed.

     

    With the ban on YouTube for the past 17 months, famous singer Ali Gul Pir has released a song ‘Kholo BC’ to mock government for its inability to lift the ban on such a useful online platform. With main focus on YouTube ban, Ali and his fellow artiste Adil Omer have touched upon various issues related to Pakistani society, its Youth and the dichotomy present in the behavior of its ruling elite.

     

    According to the US-based Pakistani website MoreMagazine, this song is perhaps the most controversial song released by Ali till date and is almost matched to the norm breaking music that was once produced by beygairat brigad, but their songs were banned in cyber space because of them mocking the Pakistan Army.

     

    A censorship-free internet is a priority for most people in emerging countries, especially the younger population, according to the Pew report.

     

    Pew Research Center interviewed nearly 22,000 people in 24 emerging and developing countries. In 22 of those 24 countries, the majority of respondents think “it is important that people have access to the internet without government censorship.”

     

    The strength of censorship opposition varied by country, as well as other factors. Support of internet freedom is prevalent in Latin American countries as well as Lebanon and Egypt, Pew said.

     

    Not surprisingly, anti-censorship sentiment tends to be strong in nations where internet use is more common, such as Chile and Argentina. The trend is reversed in less connected nations like Uganda.

     

    But two countries bucked that trend: internet-freedom support in Russia (63 per cent) and Pakistan (22 per cent) came in low compared with the level of Internet penetration in those countries.

     

    Age is also a major factor: In 14 of the 24 countries surveyed, people ages 18-29 are more likely than those 50 or older to think a free Internet is important. In nations including Russia and Lebanon, that age gap came in at 20 percentage points or more.

     

    “These age differences suggest that support for internet freedom will only become more widespread with the passage of time,” Pew said in its report.

  • Walt Disney to acquire Maker Studios

    Walt Disney to acquire Maker Studios

    MUMBAI: Furthering its goal of bringing content to consumers on all the platforms they prefer, The Walt Disney Company (NYSE:DIS) has agreed to acquire Maker Studios, the leading network of online video content on YouTube.

     

    Maker Studios shareholders will receive total consideration of $500 million, and a performance-linked earn-out of up to $450 million if the strong performance targets are met.

     

    With more than 55,000 channels, 380 million subscribers and 5.5 billion views per month on YouTube, Maker has established itself as the top online video network for Millennials.

     

    By acquiring Maker Studios, Disney will gain advanced technology and business intelligence capability regarding consumers’ discovery and interaction with short-form online videos, including Disney content.

     

    “Short-form online video is growing at an astonishing pace and with Maker Studios, Disney will now be at the center of this dynamic industry with an unmatched combination of advanced technology and programming expertise and capabilities,” said Robert A. Iger, Chairman and Chief Executive Officer, The Walt Disney Company.

     

    “Disney is synonymous with the best entertainment and is the ideal partner for us, strengthening our position as the leading player in online video,” said Ynon Kreiz, Executive Chairman and CEO of Maker Studios.  

     

    Maker Studios will report to Disney Chief Financial Officer Jay Rasulo. Maker Studios will remain headquartered in Culver City, Calif., with operations in New York and London.

     

    The transaction, which is subject to regulatory clearances, is expected to close in Disney’s third fiscal quarter.

  • Dwayne Johnson’s ‘Hercules’ movie trailer released

    Dwayne Johnson’s ‘Hercules’ movie trailer released

    MUMBAI: MGM and Paramount have come together to re-envision the classic Greek tale of the legend of Hercules starring Dwayne Johnson (The Scorpion King, Fast & Furious) as the legendary hero, adapted from Steve Moore’s graphic novel.

    The film boasts a stellar cast that includes Golden Globe Award winner Ian McShane (Deadwood, The Pillars of the Earth), BAFTA Award nominee Rufus Sewell (Eleventh Hour), BAFTA Award winner Joseph Fiennes (American Horror Story: Asylum), Emmy Award nominee Peter Mullan (Top of the Lake) and Golden Globe Award winner John Hurt (Midnight Express) and is directed by Brett Rattner (Rush Hour series).

    Ratner’s film follows the story of the warrior who, in the wake of his legendary twelve labours, becomes a mercenary. When the King of Thrace and his daughter seek him out for help to defeat a tyrannical warlord, his life is tested in a way it never has been before. Based on the graphic novel series Hercules: The Thracian Wars by Steven Moore and Admira Wijaya.

    The Rock took to Instagram to talk about the grueling preparations he undertook to get into the titular role for Hercules, which hits the big screen this summer.

    Click here to watch the trailer

    “I trained and worked harder than ever for eight months for this role. Lived alone and locked myself away (like a moody 260-lb. monk) in Budapest for six months while filming.” He said on his Instagram page, “Goal was to completely transform into this character. Disappear in the role. Press journalist asked me today, with the mental & physical toll the role had on me, would I do it again? Not only would I do it again… I’d do it twice!”

  • Sun TV Network signs ‘pay per view’ deal with iTunes and YouTube

    Sun TV Network signs ‘pay per view’ deal with iTunes and YouTube

    MUMBAI: In a major initiative, the south Indian broadcasting giant Sun TV has signed a mega deal with YouTube and iTunes to monetise its vast content libraries. The group’s proprietary content will be available to people across the globe on a ‘pay per view’ basis.

     

    “Sun TV has a wide ranging repertoire of content, with its channels offering almost every genre of entertainment with the exception of sports and business news,” Sun TV group CFO SL Narayanan told indiantelevision.com. He also added that a total of more than 25,000 hours of content would be available for viewing on both the platforms.

     

    In a growing internet world, Sun TV is looking at creating a mark for itself through its variety of programming.

     

    “This initiative positions Sun TV very well and much ahead of the shifts anticipated in buyer behavior with regard to consumption of entertainment services. More and more people are accessing content through mobile devices while on the move and over the internet. We believe that the revenues from these new formats could accelerate rapidly once smart phone penetration picks up in India,” says Narayanan.

     

    Apart from these two distribution platforms, Sun TV has also inked a deal with Mumbai based Purple IFE to license its popular Tamil, Kannada, Malayalam and Telugu programmes as in-flight entertainment on leading airlines such as Emirates, Singapore Airlines, Air India, Etihad, Jet Airways, Oman Air, British Airways, Cathay Pacific, Gulf Air and Qatar Airways.

     

    The broadcaster says these airlines carry a lot of south Indians who would consume its content.

     

    According to industry sources, the network would be looking at making approximately Rs 15 to Rs 20 crore through both the deals depending upon the kind of content that it offers to viewers  and its currency.

     

    “What’s called as catch up TV – which is episodes being uploaded as soon as they go on air – has good revenue generating potential as compared to catalogue content which adds to the volumes,” says a media observer. “Many of the TV shows are available on torrent sites online at no cost, which viewers download and watch. Sun TV can optimise its revenues on Youtube if it can attract viewers to its legitimate content – and away from these torrent sites.”

  • Starsports.com targets 10 mn unique visitors during ICC T-20 World Cup

    Starsports.com targets 10 mn unique visitors during ICC T-20 World Cup

    MUMBAI: To say cricket is a religion in India could be an understatement. Cricket fanatics who are unable to watch live action on television find help in mobile phones and sports websites to get near live updates. These cricket devotees now have a whole new comprehensive experience on offer in Starsports.com.

    Ever since its launch in June 2013, starsports.com has drawn nearly 28 million unique visitors for all its sports properties and the average time spent is 45 minutes per match. Starsports.com claims these numbers – comparable to television – are the highest ever on a digital platform.

    “During the recently concluded Asia Cup, we witnessed 4.5 million unique visitors, and with over 10 million video views, the numbers are really humbling,” says Star India digital head Ajit Mohan. “The average time spent on video content was 32 minutes. Thus, Asia Cup was an affirmation that if someone is willing to create a great video experience there is a great appetite for it out there.”

    Heading into the ICC T-20 World Cup, Starsports.com is going through a fairly major revamp. “It all began in June 2013 with Starsports.com and our major pull was the proposition of watching live matches on the go or on desktops for a subscription price with a great video player having timelines and data integrations with the option of tracking data without leaving the live video,” adds Mohan.

    Now the portal is expanding the proposition with the insight that when sports fans are not in front of their TV sets there is a huge interest in following the matches. And of course the interest is higher when India is playing.

    “So far, most companies for sports on the web will give the option of text commentary, or give ball by ball commentary. Over the last six months with the onset of Starsports.com with live video available on subscription and text commentary, we have changed the way sports is perceived on the web,” explains Mohan.

    Starsports.com believes that there is a whole new space in between which can be shaped by it and create an experience that is way better than text commentary.

    The three major changes that will be experienced on the revamped site, as Mohan puts it, will be Zip Clips, Graphical Representations and streaming of live action with a 5-minute delay.

    Zip Clips: Starsports.com is creating a new match centre, where sports fans will be able to enjoy the live match through a series of clips. Almost ball by ball we will have ‘Zip Clips’ to catch up with the game or follow the game. So one doesn’t really have to sit and read the scores but gets to experience it with a series of short clips. And the clips will be almost in real time.

    Graphical Representations: The other thing added to the mix is a lot more graphical representation during the match and provide nuggets and insights. There will be experimentation with capturing in graphics where the match stands at that point in time.

    5-minute delayed live stream: And the third and most promising proposition for sports fans is streaming of the live action with a five-minute delay. This should encourage increased video consumption also in homes that do not have more than one TV screen.

    Cricket fans pressed for time and also those having low bandwidth can watch ‘zip clips’ to catch up with the near live action or when in leisure, cricket fans can watch the match with a five minute delay. For those wanting to watch live streaming, there’s a small charge to be paid.

    Starsports.com carried out loads of tests for nearly four months on how to make the best use of the zip clips feature and created the work flow from both the content and the technology point of views. Taking into consideration the fact that there are bandwidth constraints across the nation, Starsports.com strives to provide the best in video content at great quality.

    “Essentially, we are shaping a new service for fundamentally addressing the need for following a match. When the sports fan is not in front of the television, and therefore, to create a full video experience that is beyond what they are used to in terms of text commentary but also addresses the issue of time and convenience,” expounds Mohan. “It’s still a world where people are concerned about data charges and bandwidth and we are saying let us help you solve the concern by reducing the duration of the clips.”

    The prices for the tournaments and matches are quite reasonable given that they will get to watch it in high definition. ICC T20 World Cup 2014 Pass: Rs 100; The FA Cup 2013: Rs 100; Premier League Season Pass: Rs 500; Formula 1 – 2014 Season Pass: Rs 500; La Liga Season Pass: Rs 500; Football Season Pass: Rs 800; All Sports Day Pass (floating): Rs 20; Match Week Pass (floating): Rs 30 (which starts from Friday).

    The zip clips will be supported by ads but they would only feature on the clips of particularly longer duration, and it has a great value proposition for advertisers. “I believe advertisers increasingly value ads when the fans are really engaged in a full video experience. So our aim is to let them target engaged sports fans, so there is no point in cluttering the clips with ads. But there will be ads against these clips and for the delayed five minute stream, only the live stream will be ad free,” expounds Mohan.

    Thus with these three offerings Starsports.com is trying to keep sports fans pleased with the proposal of watching shorter clips to play catch-up with the live action or to watch the five minute delayed stream at leisure or if you are really keen to watch M S Dhoni smack the ball out of the park live just shell out a few extra bucks.

    “We have always had a tournament pass, season passes on soccer and our objective has always been to keep the prices reasonable and we believe in delivering quality content at that price,” beams Mohan.

    Speaking on Starsports.com’s association with Vodafone, Mohan adds, “They are a very valued partner for us, I think as a telco looking to shape data and video consumption, they are acutely aware of the power of sports, so we are powering Vodafone Sports with our curated content and all of what we are doing here will help us shape that service as well.”

    Social media acts as a catalyst for driving viewers from all over the web to the content on offer. These clips will be made available for easy sharing, “But I guess primarily people want to watch the matches and the shorter clips and for us to deliver a great video experience, we don’t want to clutter our social media with the buzz word like most providers do,” explains Mohan.

    Looking at the kind of brands that the portal has on board and already in talks with some of the leading brands for the ongoing T-20 World Cup, industry sources estimate that starsports.com generated ad revenue of around Rs 7-8 crore during the recently concluded Asia Cup and would generate around Rs 15-16 crore from the ongoing ICC T-20 World Cup.

    “We have received a great response from the advertisers and a lot of brands are looking for a great video experience on the web. It’s no longer about banner ads and they are keen to grab the attention of engaged sports fans,” says Mohan.

    Starsports.com is gung-ho about touching the 10 million unique visitors mark during the ICC T-20 World Cup tourney. “Our target has always been to hit the 50 million unique visitors mark between the major tournaments namely the recently concluded Asia Cup, the ongoing T-20 World Cup and the upcoming big-ticket tourney the Indian Premiere League,” says Mohan.

    There are three major things that one looks at when delivering the best experience through a sports service – one is having great storytellers, great infrastructure and the video player.

    Expanding on these three aspects, Mohan says: “We have a dedicated sports team working on the digital front, focusing on how to communicate stories on the web. We have learnt a lot over the past year to deliver the best in sports experience on the web and finally our video player is something that we are proud of after investing so much on building one of the best players in the market currently that can support great graphic content as well.”

    Starports.com is clearly living up to its claim of being the YouTube of sports in India and is focused on building a strong backbone for video content delivery and continuing to invest in improving the experience even further.

    “For us, the response we receive from the ICC T-20 WC and the IPL will be a good trial of (whether) we are able to both communicate and bring in a sports fan,” says Mohan.

    “Sports fans have been used to something else and it’s not easy to bring a change in habits as most people have been following a text scorecard over the years and our challenge is to tell them that there is a better way to consume sports,” concludes Mohan.

  • New video platform to compete with YouTube, Vimeo

    New video platform to compete with YouTube, Vimeo

    NEW DELHI: A new video platform for lifestyle content Wonder PL hopes to compete with YouTube and Vimeo and capitalise on the soaring popularity of online video streaming.

     

    Backed by Universal Music Group, Qualcomm Ventures, former Apple executive Pascal Cagni and a personal investment by Vice Media president Andrew Creighton, Wonder PL which was launched on 13 March features topics from wellness to food to entertainment targeting women.

     

    Wonder PL is differentiating itself from YouTube by targeting professional content makers to use its platform for an annual fee. Whereas, YouTube is free to anyone who wants to upload a video.

    “We want to be the Whole Foods of video,” said Wonder PL founder and CEO Sofia Fenichell. “YouTube is Wal-Mart.”

     

    Wonder PL is going after brands and content creators such as the National Film Board of China and chef Tom Aikens. Wonder charges an annual fee of $300 for its members to use the platform to upload videos. “We know everyone is going to produce more videos,” Fenichell said.

     

    While more people are uploading and consuming video, it is a crowded market. Google’s YouTube, which is ad-supported, has more than a billion unique users per month who watch more than six billion hours of video.

     

    IAC/Interactive’s Vimeo provides a platform for professional users too. Anyone can post videos to the Vimeo platform for free but it charges up to $199 for more comprehensive features like additional storage, support and the ability to sell video on demand. Vimeo takes a 10 per cent cut on all videos using this additional feature. The platform has over 22 million registered members and reaches a global monthly audience of about 150 million.

     

    Fenichell said Wonder will depend on subscription revenue for now but could eventually start providing opportunities for sponsored content. People view videos on Wonder in an ad-free environment.

     

    “The industry currently trades a free or nominal membership fee in exchange for taking very high platform commissions,” she added. “We believe this is an unsustainable model for creators who need to generate value from their work.” 

     

  • Most Millennials still pay for TV

    Most Millennials still pay for TV

    MUMBAI: While it’s not startling that Millennials (consumers in the 16-24 year-old age group) watch a lot of TV online, it might be more unexpected that the vast majority of them haven’t cut the cord, according to a new study (PDF) from Verizon Digital Media Services (VDMS), the company’s cloud video unit.

     

    As a group that translates to multiple screens and represents about 21 per cent of total consumer spending, Millennials spend three times as much of their TV time watching online – 34 per cent versus 12 per cent among non-Millennials, VDMS found in a study that surveyed 1,000 consumers (800 Millennials and 200 non-Millennials) and based its findings in part to in-home interviews with eight selected Millennials.

     

    But 75 per cent of the Millennials surveyed haven’t cut the cord and still pay for TV through a traditional MVPD, the study revealed.  And most (64 per cent) also pay for an online streaming subscription, versus 33 per cent of surveyed non-Millennials. Only 14 per cent of the Millennials surveyed said they had never watched TV from an online source, versus 44 per cent among non-Millennials.

     

    Here is a look at how the Millennials surveyed broke down their total TV distribution time, 41 per cent was for live TV, 34 per cent online, 15 per cent on the DVR, and 10 per cent using VOD.

     

    But broadcasters could have some reason for concern. While Millennials are generally brand loyal, not a single broadcast network made the top ten list of brand loyalties among the Millennials surveyed, VDMS said.

     

    According to the survey, the top 10 brands among Millennials were: Amazon, YouTube, Facebook, Google, Walmart, Netflix, Apple, Microsoft, McDonald’s, and Samsung. Verizon was 16th.

     

    Among other findings:  40 per cent of Millennials want access to live TV online, 40 per cent want 4K/Ultra HD video, 25 per cent want device and session shifting, and 19 per cent want interactive TV.

  • Suits Season 2 FB App: Are You a Real Suitor?

    Suits Season 2 FB App: Are You a Real Suitor?

    Brand and communication objectives:

    Promoting television shows – be it reality or drama or even comedy for that matter – is really serious business. Especially in a cluttered television space that is vying for audiences glued to their favourite programs. Viacom18 owned Comedy Central India, the Indian version of Comedy Central devoted to catering to our constant need to laugh, launched a social media game for the second season of its legal comedy drama series ‘Suits’.

    The objectives were twofold:

    1. To capitalize on the show’s wide appeal and provide a refresher to audiences before the second season
    2. To drive eyeballs to the latest episodes of the show

    Target Audience: Information on Demographics and Psychographics of intended target audience

    Comedy Central reaches an affluent, internet savvy audience. The average viewer is a working professional whose television viewing time is fairly limited.

    Campaign Details:

    How we achieved our outcome, including creative & media communication strategies and execution.

    Comedy Central created conversations around Suits through a “Suits challenge”. It tested die-hard fans of the show to find out if they have what it takes to be a real Suitor. It used an innovative approach of creating a treasure hunt across the web. Fans needed to hunt for clues across social media – spanning Comedy Central’s gamut of properties – Facebook, Twitter, Pinterest and YouTube. Fans needed to watch a video on YouTube to complete a quote, find a hint on Pinterest image board or tweet with a hashtag #IfIWereJessica to @comedycentralin. In true Comedy Central spirit fans also needed to research funny laws and odd facts to complete the game.

    The game consisted of six levels and with six questions around the six key characters thereby increasing familiarity and recall. Participation was further incentivized with exclusive custom made Suits merchandise.

    The game was marketed through a mix of television and on-line promotions. And the fans loved it. Over 50,000 participants signed up to test their “Suits Quotient” giving us 308,000 page views and 199,160 unique views. A fairly healthy bounce rate of 30% proved that audiences were engaging with the content.

    Results:

    Comedy Central used a unique technology of weaving different social media platforms into a single game creating a truly platform agnostic experience. The application was integrated with Facebook and Twitter allowing fans to sign in and post and tweet without leaving the gaming interface.

    Another tricky element from a technology point of view was creating the mechanics of a Treasure Hunt. Fans could only move forward if each question was answered correctly. While they could keep trying again and again they were only eligible to win if they got all the questions right in their first try. This means that the backend needed to differentiate between users with single tries and users with multiple tries and throw up a unique “result page” for each category. This fed back into the campaign strategy of separating the true Suits fans from the others, while still keeping all participants engaged up to the end.

    The final question – did this campaign succeed in driving audiences to Suits Season 2? The answer is a resounding yes. Social media conversations around the show increased and the show hashtag  #SuitsS2onCC trended in India. 

  • Govt releases six documentaries for DD and YouTube

    Govt releases six documentaries for DD and YouTube

    NEW DELHI: Six documentary films produced by the Department of Administrative Reforms and Public Grievances (DARPG) on good governance initiatives are to be telecast on National Network of Doordarshan and other television channels.

     

    According to Minister of State for Personnel, Public Grievances and Pensions V Narayanaswamy the number of such films will now go up to 67.

     

    The films include: Tackle the problem of adverse sex ratio – initiative of District Administration of Nawashahr, Punjab; Initiative of Strengthening CSR spending in Raigarh District, Chattisgarh;  Educational initiatives in Dantewada, Chhattisgarh; Saving Open Space and Urban Lakes (SOUL) and Cultural Rejuvenation of the Twin City of Hubali-Dharwad, Karnataka; Excellence in Rural Management and Development in the Challenging Physical Environment of the Sikkim Himalaya; and Kaushalya Vardhan Kendra (Skill Development) project of the Directorate of Employment & Training, Gujarat.

     

    The films were formally released by DARPG Secretary Sanjay Kothari. The documentary films of three-and-a-half-minute duration were also screened in the release function. These are of different duration and can also be used for classroom study and discussions in the training institutes, and for conferences where senior level officers participate.

     

    Based on stakeholders’ consultation, the films have been made in three durations – 14 minutes, three-and-a-half-minute, and 30 seconds. The 14-minute format is for class room study and discussion in the Central Training Institutes (CTI) and Administrative Training Institutes (ATI); the three-and-a-half-minute film is meant for larger conferences where senior level officers participate, or if the audience is already aware of the broad contours of the schemes or for the meetings with non-officials. These are also meant for telecast on national network of Doordarshan or other television channels. The 30 second version is like a teaser to be used for advertising or to evoke interest in the audience to watch the larger version of the film.

     

    These films are available on YouTube and the department’s website www.darpg@nic.in.