Journal of Content, Community & Communication Amity School of Communication Vol. 12 Year 6, December - 2020 [ISSN: 2395-7514 (Print) ] Amity University, Madhya Pradesh [ISSN: 2456-9011 (Online)]
ROLE OF COVID AS A CATALYST IN INCREASING ADOPTION OF OTTS IN INDIA: A STUDY OF EVOLVING CONSUMER CONSUMPTION PATTERNS AND FUTURE BUSINESS SCOPE
Garima Sharma Nijhawan PhD scholar, Manav Rachna Institute of International Research and GuestAsst. Professor at Delhi School of Journalism, Delhi University
Prof. (Dr.) Surbhi Dahiya Professor and Course Director, Department of English Journalism Indian Institute of Mass Communication, New Delhi
ABSTRACT
COVID-19 is an unprecedented global pandemic which has changed the way audience consume media. An undeniable trend surfaced in this period– adoption of OTTs. There are many reports which point to the growing market and consumer appetite for content of choice available on OTT platforms. OTTs offer a never before consumer advantage– choice of content, ease of access, choice of device / mediums (hand phone, laptop, tablet or TV screen). Gone are the days when family members fought for screen time of choice on family’s singular home device i.e. TV. With this study, the researchers studied the evolution of OTT space in India and reviewed the dynamic OTT space – evaluate some firsts like big banner movie releases on platforms like Amazon and Netflix, return of old content like Mythological programmes from the DD era on Hotstar etc. To complete the study, it was imperative to evaluate the impact of growing content consumption on psychographics across generations (children, adults and elderlies) as there is limited censorship in the OTT space. With this background, the researchers workedon the objectives and tried to evaluate the role played by the pandemic in evolving OTT media consumption trends; a qualitative mapping of increase in OTT adoption – Pre and Post COVID 19 in India; study underlying trends around increasing consumer appetite for the medium and analyse psychographic impact on children, adults and elderlies – listing pros and cons for freely available content with minimal censorship. The researchers adopteda combined qualitative and quantitative approach to extrapolate the data. A survey was also conducted to do audience mapping and analysis.In addition to primary data, content from news articles, industry research reports, international journals for accumulation of key trends were analysed.
Keywords: Digital media, COVID-19, OTT platforms, mobile media, viewership and lockdown
INTRODUCTION travel for leisure and business, internet The news media and general entertainment adoption in tier II and III markets, acceptance sector in the country has evolved dynamically of content and a diverse variety of subjects over the past 10 years and more after the pertaining to women and older generations. internet boom. Entry and uptake of OTT This research paper aims to understand the (Over-the-top) players has changed the way current trends of the OTT space in India and we consume content and as per an industry evaluate its possible impact on various report by a credible and global marketing consumer segments. research firm - The Boston Consulting Group( BCG) titled ‘Entertainment Goes Online', OTT To understand the current consumption content market in India is pegged to reach $5 patterns and its impact, it is imperative to billion in size by 2023.1 There are multiple understand the intrinsic relationship between factors which have fuelled this rapid growth mass media and its impact on the social fabric and the unfortunate health pandemic COVID- of the society. Television, cinema and 19 has proved beneficial for OTT players in the advertising have always had an impact on the past six months. Some additional factors society and vice- a-versa. From drama, to which have contributed to this growth include politics, to sports, to changing gender roles, to rising house hold income, growing exposure revolutionary thoughts, to realistic issue based to international trends, increased incidence of themes, to parallel cinema becoming more
DOI: 10.31620/JCCC.12.20/28 298
mainstream, content has changed over time to numerous parts, such as television, print and suit contemporary sensibilities. From strictly films, under its folds. Smaller segments, such regulated TV and Films censorship, to the as radio, music, out-of-home advertisement, current times of free to all internet enabled animation, gaming and visual effects (VFX) OTT content, the new age mediums have and internet advertisements are also included. empowered the consumer to make his/ her But, for the context of this research, we would own choices. be talking about the current Indian Republic period post 1947 and to keep the conversation As per the BCG report, there is scope for co- more contemporary and centred around existance of numerous OTT models in India uptake of TV, we would like to discuss and world over. These models include - SVOD nuances from a post-liberalisation perspective. (subscription-based platforms), AVOD (advertising-based platforms) and TVOD A brief history of TV in India (transaction-based platforms). But, before we Television once used to be a scare luxury get there, let us have a look at the history of which could be afforded by a niche few in media and entertainment market in India India. One or two channels available in black succinctly. and while colours were enough to catch attention and ignite imagination of the Historical context ignorant and economically compromised India has been a land of exploration and Indian audience. As decades passed by, expression through various forms of art. From technology grew and so did the creative singing, to dancing, to painting and other canvas for thematic exploration. From just forms of handicrafts have always had a special being a medium of information dissemination place in our society. Owing to its rich heritage, to becoming a 24X7 companion, the role of Hindustan has been a cultural melting pot of television screen has evolved dynamically in numerous art forms which have filled our the past 50 years. hearts with warm and amazed the world with its diversity. As times progressed and eras Table 1: Evolution of TV in India evolved from Indus Valley Civilisation, to Timeline Progression with regards to TV Harappan Civilisation, to Mauryan Empire, reach and programming Gupta Era, to the time of political instability, 1950s A television was put up for Mughal Empire, British Raj and the Modern demonstration at an exhibition by day Indian Republic, our culture got B. B. in the Teynampet town of influenced by a diverse range of art forms Madras (now Chennai). from around the world. And, our richness and Terrestrial television in India interest in entertainment and its expression in began on 15 September 1959 with various forms only grew and become finer in an experimental telecast in Delhi nature. with a small transmitter and a makeshift studio.2 When the British were ruling India, tools of 1960s As a part of All India Radio mass communication were used as a medium (AIR), regular transmission to spread awareness – share ideas, enthuse started in 1965. masses towards revolution, talk about our rights and keep the fire of Indian freedom 1970s The television service was struggle ignited. Entertainment was luxury subsequently expanded in 1972 to reserved for the niche group of fortunate few Bombay and Amritsar. Just seven in power – mostly, the royalty. Primary source Indian cities had television of entertainment would be live dance services up until 1975.A performances, live sporting events (indoor and significant move taken by India outdoor), presentation of fine arts in form of to use television for growth has paintings and more. But, as eras evolved and been the Satellite Instructional our economic conditions improved, media and Television Experiment (SITE).3 entertainment shaped up as flourishing The programmes were mainly industry including a diverse range genres like created by Doordarshan (DD), a News, Entertainment, Sports and more. India's member of the AIR at that time. media and entertainment industry consists of
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1980s With shows such as Hum Log gained popularity when biggies like Zee and (1984-1985), Wagle Ki Duniya Sony entered the market with DittoTV (Zee) (1988), Buniyaad (1986-1987) and and Sony Liv. DittoTV went on to aggregate comedy shows such as Yeh Jo Hai content from channels including Star, Sony, Zindagi (1984), other than the Viacom, Zee and more and this led to a wider popular mythological dramas adoption of the platform per say. such as Ramayan (1987-1988) and Mahabharat (1989-1990) glued Today, India enjoys services from over 40 OTT millions to Doordarshan and later providers including domestic and to Chandrakanta (1994-1996), the international players like Netflix, Amazon 1980s was the era of DD. Prime, Disney+ Hotstar, Zee5 and Eros Now. According to a credible research firm - Price 1990s In 1991, under Premier Waterhouse Coopers Global Entertainment Narasimha Rao, the central and Media Outlook 2019-23, the over the top government initiated a series of (OTT) market in pegged to growth at the rate economic and social reforms. of 21.8 % CAGR, from Rs. 4,464 crores in 2018 Under the new policies , the to Rs. 11,976 crores in 2023. Meanwhile, FICCI- government has allowed private EY Report 2019 suggests the market will reach and foreign broadcasters in India Rs 24 billion by 2021.6 to participate in restricted operations. All subsequent To consume content via OTT medium, it is federal administrations have imperative for the consumer to have access to continuously followed this an internet enabled device like a Smart TV, method. Satellite transmissions Mobile phone, Laptop or a Tablet. Owing to have been launched by the basic need for technology access, younger international networks such as generation is much more comfortable CNN, STAR TV and private interacting with OTT platforms but post domestic networks such as Zee COVID the read and adoption has increased TV, ETV, Sun TV and Asianet. By manifolds. The BCG report ‘Entertainment 1995, television in India had Goes Online'7 - suggests that OTT consumers covered more than 70 million can be classified under three main categories: households, beginning with 41 sets in 1962 and one channel, Traditionalists – who primarily consume offering a viewing audience of on other than OTT platforms more than 400 million people OTT Experimenter – who have significant over more than 100 channels.4 consumption on both conventional and OTT platforms 2000s The nation had over 857 channels Early Adopter – whose primary as of 2016, of which 184 were pay consumption occurs on OTT platforms. channels While early adopters are still a more urban phenomenon, going forward it will be more equally distributed. (Source: Self) According to the 2017 Ficci-EY media and Adoption of OTT in India entertainment industry survey, rural users, While OTT has become the new buzzword, it who are projected to rise from 38 percent to 52 might be hard for some to believe that OTTs in percent, would drive growth in India's India are over a decade old platform. Reliance Internet user base by 2021.8 This is bound to Entertainment launched the first OTT have a huge effect on the content form and platforrm in india in the year 2008.5 Thereafter, language that will need to be created. Regional India received its first OTT mobile app called content often reaches out to the Indian nextGTv, which provided access to both - diaspora abroad, not just within the country. normal TV and on-demand content including To put this in context, it is imperative to live-streaming of one of the most popular understand the Indian vernacular landscape sporting event - Indian Premier League inclusive of all mediums of maximum media matched in the year 2013-14. The medium
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and mediums. See Table I - Indian vernacular Reports suggest that Bollywood and Cricket media landscape rule the hearts of Indian consumers on OTT platforms and release of big banner movies Table II: Indian vernacular media landscape like Amitabh Bachhan starrer Gulabo Sitabo, 124 Newspapers published in 22 regional Vidhya Balan starrer Shakuntala Devi, Late languages Sushant Singh Rajput starrer, Dil Bechara on 23 AIR originated programming 23 platforms like Amazon Prime and Disney + languages and 179 dialects Hotstar have triggered a new trend in B town. 226 Entertainment, news and movie While this necessity was actually the mother of channels in 13 regional languages this innovation, market analysts who watch the cinema space worry that if this trend 45% People recognise Hindi as their impacts consumer behaviour, it might be a mother tongue challenge to get them back to cinema halls and 5308 Use other regional languages as their this might have a long term impact on native language sustainability of the medium in the country, 10 – Is the English speaking population, especially the urban markets. 12% but only 8% consume OTT content in native language In context of these nuances, it is seen that (Source: Inc42 report ‘India's OTT Market uptake for OTT has gone up considerably Landscape Report 2020’) owing to COVID lockdown in India and Globally. This change in consumer behaviour Streaming networks have recognised the is interesting to observe and evaluate as there potential of regional languages that are spread are numerous layers in this consumption worldwide by their speakers. For example, pattern which need to be unravelled and Maya Thirrai's Tamil show by ALTBalaji understood from various angles and point of witnessed viewership in the Middle East, the views. Aspects like nature of content being United States, and the United Kingdom, which consumed, timings for different genres of house huge sections of the Tamil population.9 consumption, consumer age and commensurate content consumption, TV Impact of COVID on TV viewership, channels v/s OTT providers, impact of the including OTT medium on advertising patterns, innovative If 80s was an era of DoorDarshan and 90s deals and discount packaging and much more. dominated by private broadcasters, media and Therefore, this study aims to specifically entertainment gurus predicted that 2000s will review consumer consumption trends of the be an era dominated by technology enabled past six months and look at certain milestones entertainment beyond TV screens – there will and highlights which become the poster boy of be greater uptake for ‘content of demand’ and OTT adoption / success. by that we don’t just mean the genre and nature of content but the choice of time, place REVIEW OF LITERATURE and device as well. Understanding the revolution called OTT TV Growing internet penetration and access and OTTs are not limited to audio visual content, availability of multiple screens and gadgets the audio only market makes for a significant have encouraged the development and growth share of this market. While platforms like of OTT platforms in the past decade. While StoryTel and Audible are gaining popularity, there are multiple forms of OTT platforms, innovative offerings like Graphy (by OTT TV refer to high quality video content homegrown edtech soonicorn Unacademy) are streamed directly from the provider, on to a still to be categorised as OTTs. Needless to user’s screen (mobile, tablet, laptop, TV etc.) say, this space is buzzing for numerous via Internet Protocol over a public network. innovative solutions and offerings What is critical to understand here is the fact consistently. Players are leaving no stone that OTT democratises content accessibility unturned to catch attention of the consumer, and empowers the consumer manifolds as it grow their user base and retain each user for a bypasses cable, broadcast, and satellite longer duration than before. 10 television platforms, the companies that traditionally act as a controller or distributor of such content. Majority literature available
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regarding advent and adoption of OTTs hint include - Tamil, Telugu, Marathi, Bengali and towards this key differentiation of the Hindi. Bundled content is the most preferred platform and medium which emphasis on its consumer choice but subscription is the most B2C approach. adopted business model by OTT players. Short form, originals and web series content There are various kinds of OTT services categories are gaining immense consumer including OTT messaging, OTT voice calling, attention.14 video calling and OTT TV. OTT TV is becoming increasingly popular because of the Existingliterature on the OTT space ease and convenience it offers. It is mostly The literature on the topic remains somewhat called digital television or internet driven TV limited and skewed, despite the drastic platform or even as streaming television. As changes that OTT services have introduced to compared to diffusing a television signal from the media and entertainment industry. In a terrestrial broadcast or satellite, this signal is terms of several threads, common research received via Internet or from a mobile phone themes so far can be summarised. First, network. The access to content in this case is several case studies illustrate the development monitored and governed by the content of OTT services. Second, it is popular to distributor, connected to a computer, Laptop address the viral effect of OTT services on the or smart television set through either an app conventional media industry. The competitive or a separate OTT dongle or box. dynamics between OTT and conventional pay TV platforms was hypothesised through niche USA’s largest and globally most popular and research. The results shed light on the effect of penetrated streaming service Netflix entered established systems by explaining how OTT India in the year January 2016. By mid of the systems overlap or are competitively superior next year in 2017, the provider was registered to existing services15-16 Built a Technology- as a limited liability partnership (LLP) and Policy-Consumer (TPC) model and examined started commissioning content from domestic how the introduction of OTT services has production houses. It earned a net profit of impacted the technology / industry, public ₹2020,000 (₹2.02 million) in the year 2017. In policy, and consumer / culture aspects of the fiscal year 2018, Netflix earned revenues of US media industries. Analyses of OTT services ₹580 million.11 According to Morgan Stanley that revolutionise conventional stages of Research, Netflix had the highest average development, delivery and consumption often watch time of more than 120 minutes but offer an important viewpoint on viewer counts of around 20 million in July understanding the latest features and future 2018.12 As of 2018, Netflix has six million developments in the media industry caused by subscribers, of which 5–6% are paid OTT services.17 members.13 Hotstar invested INR 120 crore in the production of original content such as Third, user motivations for adopting OTT "Hotstar Specials" in 2019. On Hotstar, 80% of services have been investigated by a number the audience comes from drama, films and of scholars18 Comparing TV consumption sports programmes. 96% of viewing time on motivations, Yi-Ning Katherine Chen (2016)19 - Hotstar comes from videos longer than 20 examine how OTT services can serve as a minutes, according to Hotstar 's India Watch substitute for TV in Taiwan. Finally, as Report 2018, while one-third of Hotstar different businesses continue to broaden their subscribers watch TV shows. Although offerings to the online video streaming market, customers profit from the complementary net neutrality laws or recommendations about services provided by companies, competition how to regulate the emerging industry are between providers of OTT services is forcing discussed. Therefore, what is evident from companies to look for international markets. literature available domestically and India is a land of diversity and same clearly internationally is the fact the OTT has reflects in its dynamic OTT market space revolutionised the way audience consumer which includes - 40+ active video OTT players, content and this has impacted not only the 15+ active music streaming OTT players, 40+ media and entertainment industry but the active podcast players and beyond. Over 30% entire eco-system, including content, prefer to consumer content in regional creativity, formats, regulations, language and the most preferred languages telecommunications, device market including
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software and hardware and last but not the Fig I: Factors impacting acceptance of new least, one of the most crucial peg of the puzzle, technology23 the internet providers.
Factors influencing adoption of OTT TV Researchers have reviewed consumer behaviour in certain studies and reviewed theories to understand and predict consumer behaviour with regards to OTT adoption. Growing technology adoption and internet penetration have been cited as clear benefits for OTT growth in past decade internationally. Numerous authors have used various models including - Technology Acceptance Model (TAM), (Davis, 1989), Theory of Panned Behaviour (TPB) (Ajzen, 1991), Diffusion of
Innovation (DOI), (Roger, 1995), Theory of Prevalent business models and consumer Reasoned Action (TRA) to review and preferences understand the acceptance of a new As per an industry report by BCG and CII technology by customers and correlate it with called ‘The Trillion (and growing) touchpoint adoption of OTT media including TV, voice, story recognising the monetisation interactive and others.20 With respect to OTT conundrum’, released in November 2019, platform, TAM is used mainly by various consumption of daily digital video data grew authors like Cha, 2013; Cha and Chan- from 11minutes to 24minutes in the last two Olmsted, 2012. In which two major variables years. With internet data plans going as low as i.e. perceived ease of use and perceived INR 99 per month / INR 49 per month for usefulness have been identified as crucial regional players and smartphones becoming factors which predicts users’ adoption of new cheaper, there is no stopping the OTT players technology.21 from gaining more traction. But, this growth
brings competition and the fight between local Based on these key theories22 of technology and international players only intensifies. adoption and acceptance, a research was done From content creation, to production, to - to study the impact of key elements creating local content libraries and exploring including - Apparent Ease of Use, Apparent regional markets is just like scratching the Usefulness, Apparent Enjoyment, Role of surface of this vast and deeply diverse Indian Customisation, Compatibility, Content Quality market. But, that is the only route to opening and User Interface on OTT adoption (See Fig I the doors of monetisation for this extremely - Factors impacting acceptance of new price sensitive Indian market. At the same technology). It was found that four variables time, the traditional digital players are facing were determined, i.e. Customization, user an extremely tough competition combating experience, perceived pleasure and quality of emergence of telcos backed players such as content have had an important and positive Reliance, Airtel as well as traditional DTH effect on users' attitudes toward OTT media players like Tata Sky and Dish TV. adoption. Content quality has been shown to have the greatest effect on developing a As per the Inc42’s latest report ‘India's OTT positive attitude towards embracing the OTT Market Landscape Report 2020’24 - There are media platform. This implies that a very 3 key concerns faced by the service providers important aspect is the quality of content / OTT platform owners – delivered on the OTT media site. Also, from Challenge 1 (Paywall Vs Free Customers) The the previous researches, it has been found that digitally sophisticated user base that prefers people switch from Traditional media to OTT content behind the paywall has a total size of media due to the good content quality just 18 million in 2018, according to the Zee5 provided in OTT media. whitepaper. Compared to the over 310 million
conventional digital consumers (in 2018)
consuming video content online either free of
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charge or bundled with telcos and other Indian platforms, this is one major challenge. distribution channels, this is very poor. (See As opposed to bundled plans provided by Table II - Indian OTT Video Streaming telcos and DTH players, individual Players) subscription packs are extremely highly priced and do not suit the pocket of an average Table III: Indian OTT Video Streaming Indian customer. For most players, this Players (Types of consumer breakdown) approach does not seem to work well, as they Consumer Approx Content Mode of have to rework their plans to make them more Type User preferences Consumption Base in palpable for the Indian palate and wallet. Min Initially, Netflix arrived with an INR 700 a (2018) month subscription plan, but was forced to Digital 10 International Tablet I Smart reassess its strategy. Similarly, though still Sophisticates original TVs I shows & Smartphones promoting independent outlets, Telcos movies, monetizes its own online video streaming typically outlets. Same is true for DTH players like Tata behind a Sky. paywall
OBJECTIVES OF THE STUDY Digital 190 International Tablet I Smart The available literature suggests that OTTs Enthusiasts original TVs I have had a deep impact on the media, shows & Smartphones movies, entertainment, telecom and the IT sector. freemium While multiple factors have contributed to its content growth so far, players have still scratched the preferred surface when it comes to exploring the
potential of the Indian market. The COVID-19 Digital 310 Free content Smartphones mainstream or content pandemic occurrence gave an impetus to the bundled with adoption of OTT in India at a national scale mobile and including urban and regional markets alike. DTH Similarly, the big fight between existing subscription Fringe user 10 Mobile Feature players in leading to revamp of regulations, messaging Phones I marketing formats and advertising on the and free Entry-level platform. Keeping all these factors in mind, bundled Smartphones this study aims to explore the following content aspects: (Source: Zee5 Whitepaper) To study the key trends around OTT Challenge II (Subscription Vs Free Vs adoption trigged by COVID-19 in urban Freemium Models) Most players are India within Delhi-NCR experimenting with subscription-based video To study and evaluate comparative on demand (SVOD) business models, in one audience preferences and trends around way or the other, despite the number of paid OTT v/s TV viewing subscribers being substantially smaller than To assimilate and study the consumer free content users. Only TVF and MX Players opinion regarding ‘likes and dislikes of have advertisement-based on-demand video OTT as a platform’ (AVOD) business model content. Examples of a few players offering content based on RESEARCH DESIGN AND METHODOLY different models: In order to answer the above research questions, a mix of quantitative and AVOD - TVF, Arre and MXPlayer qualitative research analysis was adopted. The SVOD - Amazon, Netflix, Apple TV, researchers carried out a detailed primary BigFlix, Youtube et. research to study consumer preferences and trends regarding OTT adoption and this was Freemium - Eros, Hotstar, Sony Liv, Zee5, supported by secondary research. As part of YuppTV secondary research, the researchers reviewed
Challenge III (Monetisation Vs Bundled reports from different organisations, studied content) - For both the international and local past global literature regarding OTT adoption and trends, referred white papers, newspaper
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extracts and numerous other research viewership. From content preference, to reports.Qualitative and quantitative primary timelines, to growth evaluation, to research was done to understand the thoughts understanding pros and cons – an in-depth and opinions of consumers regarding OTT analysis has been done for the purpose of the adoption and content consumption during study and the data has been evaluated first COVID-19. The lockdown forced people to hand for a deeper understanding of these stay indoors and restricted social mobility trends. As the lockdown occurred in March further reduced the sources of recreation and 2020 and this data was collected in September entertainment. Therefore, it was imperative to 2020, the insights are fairly neutral and understand if people turned to OTT platforms balanced. led content to keep themselves engaged or were there other reasons which were A. Age and Gender representation: This is a contributing to the growth and adoption. section carrying basic background These nuances could only be understood by information on the age and gender of the way of qualitative research focusing on respondents. understanding the reasons for actions. The aim of this primary survey was to understand Age group of respondents –Largely consumption patterns and key trends to dominated by younger audience in the age analyse how they correlate with secondary group of 18 years to 35 years information available via journals, research 49.2% respondents were in the age group reports and news stories. Appended below are of 18 years to 25 years section wise insights and figures along with Followed by 31.1% in the age group 25-35 interpretations. years 11% in the age group 35-45years Method used: 8% in the age group of 45 years and Survey method was used to carry out the beyond primary research. As this research was conducted in September 2020 during the scare Gender: There was a balanced representation and caution of COVID-19, social mobility was of gender in the research, with 51% female and restricted and digital survey method was used 49% male respondents to carry out a detailed consumer study. Inference: While there was a balanced representation of gender in the survey, the Sampling: majority respondents were from an age As this was a broad-based study, the age group of 18 years up to 35 years. group of 18 to 60 was considered for the purpose of research and a random sampling B. Impact of COVID lockdown on AV approach was adopted. A sample of 80 content consumption: This section respondents completed the entire survey elaborates key trends around the level of within a timeframe of two weeks and this change in content consumption habits sample was evaluated for the purpose of the during COVID lockdown, including study. impact on screen hours, timeline of consumption and reason for change Tool used for data collection: beyond having some extra time at hand A structured questionnaire carrying 14 close in the day. ended questions and one open ended question was administered via google form. The Impact of COVID on screen time:Owing to questionnaire had relevant queries to evaluate the lockdown and restrictions on social respondent insights around key areas mobility, people had to stay at home and including – OTT uptake, rationale and operate from restricted premises. Therefore, reasoning, timelines, factors of dissonance etc. mode of entertainment and news consumption also became limited as people even avoided DATA INTERPRETATION AND sourcing a physical newspaper from local ANALYSIS vendors and switched to audio visual modes Basis the primary consumer survey conducted on news consumption. In the survey, the across Delhi NCR, the researchers have tried researchers found that over 87.3% respondents to understand the nuanced trends across OTT felt their screen time has gone up individually
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and as a family post COVID, while 9.5% did respondents held growing entertainment not observe a significant change. Close to 3.2% choice via OTT content responsible for their respondents were unable to make any notable increasing screen hours, but keeping kids or observation in this regard and therefore could elderly persons in the family engaged was not not say if their screen time increased or not. the reason for growing screen time of the family. People choose to restrict social Chart 1: Impact of COVID-19 on screen time mobility and turned to e-commerce and home delivery mediums for all their day to day Screentime gone up during / Post COVID needs, they had more time at hand. Therefore, personally and as a family their need for entertainment went up but 3.20% restricted outdoor activities like sports, recreational engagements, movies or theatre 9.50% etc. more and more respondents resorted to digital content consumption via screens – TV, Tablets, Laptops and Smartphones. Additionally, it is a part of human psychology – when physical mobility is restricted, our creative side takes over and resort to 87.30% imagination which helps us travel mentally to places.
Yes No Maybe Estimated screen time through the day: (Source: Primary survey) 2 to 4 hours – 38.7% 4 to 6 hours – 24.2% Reason for increased screen time: 1 to 2 hours – 19.4% Growing content availability on OTT 6 hours and beyond – 17.7% platforms – 32.1%
Lack of entertainment options - 28.3% Chart III: Estimated daily screen time WFH give me the flexibility and choice-26.4% Became more tech savvy during COVID Estimated screen time (entertainment lockdown - 13.2% led) on a daily basis To keep my kids engaged - NA To keep my parents/elders engaged– NA
Chart II: Rational for increased screen time 17.70% 19.40% Reasons for increased screen time 13.20% 24.20% 38.70% 28.30% 26.40%
32.10% 1 to 2 hours 2 to 4 hours 4 to 6 hours 6 hours and beyond
Lack of entertainment options (Source: Primary survey) Growing content availbility on OTT platforms Inference: In line with numerous researches WFH gives me the flexibility and choice and insights from this survey, it is being seen Became more tech savvy during COVID lockdown that adults are spending anywhere between 4
(Source: Primary survey) to 7 hours or more consuming content for entertainment and recreational purposes Inference: There was a notable increase in the online. Same is reflected in the survey research screen time of the respondents during the where over 80% admit to consuming content COVID lockdown period. Majority for 2 hours or more, on an average every day.
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Dominant time of the day when content is Chart IV: Preference between OTT v/s TV consumed: Share of TV vs OTT Afternoon – meal time with family - NA 21.70% Evening – de-stressing post work - 9.5% Late night – meal time / family time - 25.4% Randomly anytime basis schedule – after everyone is asleep / binge watching - 65.10%
Chart IV: Timelines for content consumption 75%
1.4 Time of the day to consume content 0
9.50% I watch TV more I watch OTT content more 25.40% I watch both equally
65.10% (Source: Primary survey)
Inference: It is clear that OTT exposure and Evening – de-stressing post work adoption is growing and as this survey is specific to the metro cities, love and liking for Late night – meal time / family time OTT is significantly higher that Television. While there is a notable number of people who Randomly anytime basis schedule –after everyone is like watching both platforms alike, the asleep / binge watching Afternoon – meal time with family purpose and nature of content consumption may differ.
(Source: Primary survey) Rationale for OTT preference Inference: While some may believe that the Content of choice - 54.1% time of consuming content is not reflective of Time of choice - 41% any trend, it is increasingly being reported that Gadget of choice - 4.9% availability and flexibility of content is Language of choice – NA increasingly leading to addiction. The survey throws an interesting insight that owing to the Chart V: Rationale for platform preference lack of routine that WFH or digital schools is fuelling, more and more respondents are Why do you prefer OTT? consuming content at random hours through the day. Not only is it throwing discipline out 4.80% of the window, the leaning towards the evenings or late nights is triggering inactivity after a hectic day or work, making content consumption the only choice of recreation. 41.30% C. Television v/s OTT – the tug of war: 54% While there is consistent pick-up of OTTs and an exponentially growing user base, it is imperative to look at this trend in context of the TV audience and evaluate 0 how this correlates with TV or impact the user base of the medium. Content of choice Language of choice Preference of content - TV v/s OTT content: Convenience of time (can choose) OTT over TV – 75% Convenience of gadget (can choose) TV and OTT alike – 21.7% TV over OTT – 3.3% (Source: Primary survey)
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Inference: OTT platforms are primarily loved trend for marketers to study in the near future. for the immense flexibility and convenience Also, lack of censorship and complete viewer they offer to the audience. From choice of discretion is another aspect up societal content, to timing, to the fluidity of logging in evaluation as it has very deep psychological from any device, all contribute to the growing impact on impressionable young audience. user base of the medium and platforms. While content remains the king with 54% KEY FINDINGS: respondents citing ‘choice of content’ as the 1. Over 87% respondents felt their screen key reason for choosing OTTs, flexibility of time went up post COVID, while 9.5% did watching anytime on any device comes in not observe a significant change close second and third reason for people to opt 2. Growing content availbility on OTTs for the OTT platform. (32.1%) and lack of any other entertainment sources (28.3%) were the D. The OTT war – pros and cons: Access to primary reasons for increased OTT screen OTT platform comes at an additional cost time which is over and above the tradition 3. For over 26% respondents, flexibility of audio-visual medium of television. working from home was an added Additionally, it also requires a high speed advantage to login to OTT platforms internet connection and availability of a anytime of the day suitable gadget, which makes access to the 4. Surprisingly as against the common experience relatively more demanding. notion, engaging kids or elderlies in the family was not the stated reason for TopFour OTT platforms increased screen time Netflix - 62.7% 5. While 38.7% people observed a screen YouTube - 18.6% time of 2 to 4 hours daily. A vast majority Amazon Prime - 10.2% of 40% plus respondents agreed to watch a Hotstar - 6.8% screen for over 4 hours in a day. 6. Unfortunately, over 65% respondents do Does paying extra for OTTs bother you: not follow any discipline of timelines in Yes - 54.1% terms of screen time and mostly indulge in No - 27.9% binge watching Maybe - 18% 7. While OTT is clearly ahead of TV in terms of platform preference with 75% people OTT Likes and dislikes: liking it over TV, there are still 20% plus Likes: diversity of content, portability, respondents who like both TV and OTT trendy, Ad free, User friendly alike Dislikes: High subscription charges, 8. Content of choice (54.1%) and convenience distractions (content overload), need for of time (41%) are the two main reasons for high speed internet, can be addictive, no OTT preference, with gadgets of choice censorship (4.9%) as the third reason 9. Netflix (62.7%), YouTube (18.6%), Amazon Inference: While pros and cons, or likes and prime (10.2%) and Hotstar (6.8%) are the dislikes of OTT platforms is a very broad top 4 platforms of choice in that order subject and demands detailed study in itself, it 10. In terms of costs, over 54% respondents is a fact that diversity of content and formats are concerned over the additional OTT has opened up a new field of entertainment for cost, while 27.9% respondents do not mind the Indian audiences. While enough has been it. said about the likes and the exponential 11. Last but not the least, despite the growing growth is a clear indicator of the same, there is consumption of OTTs - High subscription a downside to OTTs which is also talked about charges, distractions (content overload), evidently. There is a very interesting need for high speed internet, addictive dichotomy highlighted by respondents in the nature, no censorship are stated concerns research – on one hand they highlight of respondents. advertisement free entertainment as a key like, 12. Yet, diversity of content, portability, distractions in form of content overload is a trendy, Ad free content and platform User clear downside. This might be an interesting friendliness are immensely loved
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CONCLUSION Study the impact of digitisation of media Viewing content on any medium is a matter of and entertainment on content behaviour which converts into a habit over a democratisation period of time. Indians for long have yearned Study the impact of family staying for diversity of content. A common family together during the pandemic leading to television enabled with limited channels the exchange of consumption habits from restricted the imagination of young India. This younger to older generation (reverse imagination was tapped and explored by OTT parenting) players optimally during COVID 19 and the flexibility of accessing a range of content on REFERENCES personal devices including smartphones and 1. ETBrandEquity.com. 2020. Indian OTT tablets gave young India the freedom to watch Market To Reach $5 Billion In Size By 2023: what they desired. Report - ET Brandequity. [online] Available at: Yet, OTT players have just been able to touch
OTTs are being perceived as aspirational 3. The Financial Express. 2020. Prasar Bharati medium of content consumption and with all Looks At A Turnaround. [online] the noise in right circles, they are fast Available at: converting the fence sitters across age groups 309 dwagon/writers-alley/how-new-ott- expected-to-reach-rs-13-800-crore-by-fy- players-can-win-indian- 2023-92262.html> [Accessed 26 October customers/2020753/#:~:text=According% 2020]. 20to%20PwC's%20Global%20Entertainme 13. Android Central. 2020. Netflix Is Getting nt,Rs%2024%20billion%20by%202021> Crushed By Amazon And Hotstar In India. [Accessed 5 October 2020]. [online] Available at: 7. The Economic Times. 2020. Indian OTT 310 platforms and television. Journalism & 24. Inc42 Datalabs. (2002). India’s Healthtech Mass Communication Quarterly, 89(2), Landscape in a Post-Covid-19 World. 261–278. Retrieved October 04, 2020 from www.Inc42.com : 22. Katherine Chen, Y., 2019. Competitions https://inc42.com/reports/india- between OTT TV platforms and traditional healthtech-landscape-in-a-post-covid- television in Taiwan: A Niche world/ analysis. Telecommunications Policy, 43(9), p.101793. 23. Ibid. *** 311