DOCSLIB.ORG

Netflix-Believing in the Indian Subscriber

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Netflix-Believing in the Indian Subscriber NETFLIX-BELIEVING IN THE INDIAN SUBSCRIBER INTRODUCTION With over 117.5 million subscribers in over 190 countries consuming over 140 million hours of TV shows and movies per day, Netflix has created a paradigm shift in the consumption of entertainment content in the digital entertainment business. The company grew its streaming revenue by 36% to over $11.6 billion, adding 24 million new members to its subscriber base. This has allowed the company to double its share price enabling it to reach a market capitalisation of $120 billion. [1] The company added 7 million new subscribers in the third quarter FY18 with a Y-o-Y growth of 31% from the 5.3 million additions in the previous year and showed great resolve in its comeback from the feeble numbers of the second quarter FY18. Netflix entered India in 2016 in the midst of a growing broadband infrastructure and a potentially huge subscriber base for their globally acclaimed content. Netflix has its deft profiling algorithm and a readily available content library in store for the Indian subscriber. However, with players like Hotstar and Amazon Prime offering low subscription fee and premium delivery options for online shopping in addition to the video streaming services respectively, the challenge for Netflix for dominance in the Indian video services market has just begun. THE INDIAN VIDEO SERVICES MARKET There are about two dozen, streaming services in India with digital subscriptions rising by 50% to $60 million in 2017, and are expected to hit $309 million by 2020, according to an EY report.[2] Services like Amazon Prime and its domestic counterparts like Sony LIV, Zee5, Voot, and Hotstar form the lower price segment of the video services industry. (Exhibit 5) Netflix, however, is targeted at an audience devoted to western content and carries a higher price tag. Unlike the global players in the segment, the domestic services offer a “freemium” model for their services (except Voot, which does not have a paid subscription). A lot of content of their television programming is available for free while the paid subscription covers popular international shows and the latest movies. The Indian consumer also prefers free content over the likes of paid services like Amazon and Netflix and is willing to cancel the paid subscriptions over free content. [3](Exhibit 4) Presently, Hotstar owns about 70% share of the on-demand local streaming services market. Sony LIV doubled its share from 5.9% three months earlier, to 13%, Viacom 18’s Voot was in 1“India is a key part of international business growth: Netflix”, Madhav Chanchani, February 26, 2018,economictimes.indiatimes.com/small-biz/startups/newsbuzz/india-is-a-key-part-of-international-subscriptio n- growth-netflix 2“Streaming services are vying for dominance in India as cord cutting finally takes off”, Abhishek Baxi, March 27, 2018, www.forbes.com/sites/baxiabhishek/2018/03/27/streaming-services-are-vying-for-dominance-in-india-as-cord-cutting- finally-takes-off 3“Surprise! Netflix, Amazon are not preferred streaming platforms in India, reveals study”IANS October 19, 2018, www.financialexpress.com/industry/technology/surprise-netflix-amazon-are-not-preferred-streaming-platforms-in-india- reveals-study This Case Study has been made by Team Think Tank for its annual event: Corporate Buddha Page 1 third place with 11%, while Amazon Prime Video had a 5% share and Netflix 1.4%, according to estimates by research firm Jana.[4] HOT CHALLENGE FROM HOTSTAR It is predicted that in two years, digital entertainment in India will be bigger than the world’s largest film industry, with more Indians logging on to services like YouTube, Hotstar,and Netflix on smartphones, according to a recent joint report by EY India and FICCI on the media and entertainment sector. Revenue from films is expected to grow at a slower pace to about INR 19,200 Crores by 2020 compared with INR 22,400 Crores for digital at the same time.[5] Additionally, the study mentioned, Indian consumption for digital content showed up in the trend of online searches with entertainment (music and videos) becoming the largest sought-after category covering 31% of all searches. The differentiator for all service providers is providing original localised content. With the penetration of faster internet services in rural areas, the consumption of content in the local language is expected to shoot up. Data shows that Indians prefer viewing content in local languages with more than 93% of the time spent on videos in Hindi or other local regional dialects. Hotstar is capitalising on the localised content parameter by offering a wide variety of regional content which is available for free. In addition to this, Hotstar also capturing the sports- loving audience in India, with a live broadcast of sports content available on the go. For a country obsessed with cricket, Hotstar is hitting just the right notes. NETFLIX- WHAT’S NEXT? Netflix uses a customized profiling algorithm which focuses on targeting individuals instead of mass marketing campaigns. The demographics have been replaced by “taste clusters”, programming decisions on data about true viewing habits of customers. This has helped the company to acquire enough niche viewers to make a profitable business by investing right amounts in retaining customers who may not be regular viewers. According to Greg Peters, Chief Product Officer, Netflix, the company is in the nascent stages of its operations in India and will continue experimenting with different pricing models to accelerate growth and gain more market penetration. However, he also shares the opinion that with the current pricing model, Netflix has a long way to go. Netflix has set aside INR 500-600 Crores per year for its investment in original content in India. Using these finds, Netflix has launched new shows to increase its subscriber base in the country. Investment in India poses a serious challenge for Netflix which is poised to generate free cash flows before it runs out of its allocated content budget for the country. 4 “Netflix and Amazon are struggling to win over the world’s second largest internet market”, Manish Singh, July 6, 2018, www.cnbc.com/2018/07/05/netflix-and-amazon-are-struggling-to-win-over-indian-viewers.html 5 “India’s online streaming infatuation is taking over its love for cinema”, Azman Usmani, March 6,2018, www.bloombergquint.com/technology/indias-online-streaming-infatuation-is-taking-over-its-love-for-cinema This Case Study has been made by Team Think Tank for its annual event: Corporate Buddha Page 2 DELIVERABLES Q1. India’s Over the Top Video services market stands to grow in the upcoming years amidst increasing competition between the international and domestic players like Amazon Prime, Hotstar, and Voot etc. Netflix has invested heavily in developing original content while its competitors are providing a broader range of offerings to customers. Design a comprehensive strategy for Netflix to gain market share in India while maintaining its core focus on providing original content. Q2. Netflix has been acquiring usage rights for publication and media content globally. In August 2017, it acquired Millarworld Limited, a Scottish comic books publisher. This will help the company in expanding its business in consumer products and enhance top-line growth for Netflix. Given its heavy investment in original content and differentiated offerings to consumers, how can Netflix achieve sustained profitability in India? This Case Study has been made by Team Think Tank for its annual event: Corporate Buddha Page 3 ANNEXURES Exhibit 1: India’s online video streaming boom, predicted by EY-FICCI Report Image credits: Bloomberg Quint Exhibit 2: OTT services app installs in India during Q1 2017 and Q1 2018 Image credits: Cnbc.com This Case Study has been made by Team Think Tank for its annual event: Corporate Buddha Page 4 Exhibit 3: Global vs Regional Content in Indian Market Image credits: Economic Times Exhibit 4: Preference of subscription type of streaming platforms in India Prefer free content % Viewership more than paid content 20% Equal preference for free content and paid content 9% Prefer only Free Content 64% Prefer paid content more than free content 7% Source: Video Streaming services report, Jana This Case Study has been made by Team Think Tank for its annual event: Corporate Buddha Page 5 Exhibit 5: Comparison of pricing of different Over the Top service providers in India Web Streaming Service Subscription Fee Amazon Prime INR 999 Annual Sony LIV and Zee5 INR 99 Monthly Hotstar premium INR 199 Monthly Netflix Starts at INR 500 Monthly Price of Annual Subscription of video Streaming services 7000 6000 5000 4000 3000 2000 1000 0 Amazon Prime Sony LIV and Zee5 Hotstar Premium Netflix Source: Forbes.com, 2018 This Case Study has been made by Team Think Tank for its annual event: Corporate Buddha Page 6 .
Load more

Recommended publications
  • EARNINGS RELEASE: Q4 and FY 2020-21
    EARNINGS RELEASE: Q4 and FY 2020-21 Mumbai, 20th April, 2021 – Network18 Media & Investments Limited today announced its results for the quarter and financial year ended 31st March 2021. Consolidated EBITDA up 29% in COVID year; Highest ever EBITDA margins led by cost controls and innovative measures. PAT up by ~9x at Rs. 547 cr. Strong recovery in TV ad-growth to high single digits in Q4; Digital growing at fast clip TV News remains #1 on reach; margins expanded all through the year TV Entertainment grew viewership share by ~2% to 10.9%; full year margins highest ever Flagship GEC Colors returns to a strong #2 position during the year Entertainment OTT fastest to 1mn D2C subscribers within first year of launch Digital News breaks even for the full year; subscription the next engine of growth Summary Consolidated Financials Q4FY21 Q4FY20 Growth FY21 FY20 Growth Consolidated Operating Revenue (Rs Cr) 1,415 1,464 -3% 4,705 5,357 -12% Consolidated Operating EBITDA (Rs Cr) 279 225 24% 796 617 29% Operating EBITDA margin 19.7% 15.4% 16.9% 11.5% Highlights for Q4 Q4 Operating EBITDA up 24% YoY, Q4 Operating Margin expanded to highest ever ~20% Entertainment operating margins are at a healthy ~19% in Q4. News margins rose to highest ever levels of ~27% in Q4, led by 5% YoY revenue growth. Digital News maintained its break-even performance. Consolidated revenue ex-film production grew 2% YoY, despite deferral of award shows Highlights for FY2020-21 Consolidated Annual EBITDA margins rose to ~17%, the best ever inspite of COVID Group EBITDA up 29% YoY despite pandemic impact dragging revenue down 12% YoY.
    [Show full text]
  • India OTT Video Market
    Solve. New India OTT Video Market Jan 2021 Bangalore. Delhi. Mumbai. Dubai. Singapore. New York © 2020 RedSeer Consulting confidential and proprietary information Sports streaming period saw the highest OTT Video consumption in 2020 Monthly Consumption, OTT Video Bn Mins ~13% growth 228 231 218 208 200 205 201 204 193 195 181 175 162 Jan'20 Feb'20 Mar'20 Apr'20 May'20 Jun'20 Jul'20 Aug'20 Sept'20 Oct'20 Nov'20 Dec'20 Jan`21 Pre-COVID Lockdown Post Lockdown Growing with sports & new releases - New movie and series - Sports and IPL from Sept to Nov - Declining new releases - Less OTT engagement as released - New movies released didn’t perform well - Free Trial closed by users started moving out - Users watching their - Free StreamFest by Netflix Netflix - TV soaps started again favorite content on repeat - Number of Original increasing and more releases in the pipeline for JFM`21 Note: Analysis excluding YouTube Source : RedSeer IP, RedSeer Analysis 2 © RedSeer Higher releases leading to strong growth for Originals & movies consumption on OTT Genre wise engagement, OTT Video Industry Key Takeaways Jan`20 v/s Jan`21 Originals ~180 Bn ~205 Bn • Increased Investments: Both International & homegrown platforms have been heavily investing in creating & promoting more quality Originals 12% -1 % 11% Others • Rise of regional OTT Platforms: 15% Smaller OTT platforms have only 18% -4% focused on creating relevant Original TV Series content & have gained massive traction 19% over the last year 14% 50% Originals Movies • Mainstream movie releases: Higher
    [Show full text]
  • Airtel Digital Tv Recharge Offers in Mumbai
    Airtel Digital Tv Recharge Offers In Mumbai usuallyBoris corrugate noddled hissome tragopans cane or beguilingcounterplots instrumentally, fitly. Goober but dilated patronized fresh. Karl never paid so representatively. Palish Anatole Airtel Digital TV DTH Services in Goregaon East Mumbai List of airtel digital TV DTH services packages plans near Goregaon East must get airtel digital TV DTH services contact addresses phone numbers. Bajaj Finserv Wallet powered by Mobikwik India's first integrated Debit and Credit wallet for Fastest Online Recharges and Bill Payments No Cost EMI offers on. What axis the best TV packages? Airtel Dth Recharge Recharge your Airtel Dth service from Bro4u in seconds. Click on your entertainment channel plans? Airtel DTH Mumbai Toll-Free Customer a Number- 022 4444-00. Adds a matter which i m giving time when the offers in rainy season you and commentary focused on. MUMBAI Airtel Digital TV's subscribers will definite have resort to broadcasters' revised channel prices 25 April onwards There bad been. Airtel DTH Recharge Plans Packages 2021 Find two new Airtel Digital TV recharge plan packs and Price details for all kinds of channels like HD Sports. Airtel Digital TV Recharge Plans Gizbot. On witch hand selecting a-la-carte packs is cumbersome customers with long-term recharge packs have little clarification over their subscriptions. Airtel Digital TV Packs Price and Channels list list are down Home Airtel Digital TV Search Combo Packs Hindi 24 Hindi Value Lite SD 24500month. To maybe list of cities it written now offering services inLucknow Navi Mumbai and Surat. Browse best prepaid recharge plans for your Airtel number.
    [Show full text]
  • D2h Brings the Latest Converged Technology to Homes with a Range of New-Age Products
    PRESS RELEASE d2h brings the latest converged technology to homes with a range of new-age products Introduces Android based Set Top Box and ‘Alexa Built in’ kit for d2h customers that promises to change the way traditionally TV is watched The ‘d2h stream’ Hybrid HD Set Top Box comes with AndroidTV™ 9.0, and support for Dolby Audio for superior sound clarity with seamless switching between Live TV and popular OTT Apps The ‘d2h Magic (voice enabled)’ which transforms d2h set top box into an Alexa enabled connected STB. It enables content discovery, access to thousands of Alexa Skills through voice commands along with access to popular OTT apps India, 12th March, 2020: With an aim to provide world-class TV viewing for its customers, d2h, a brand of Dish TV India Limited, today launched its new range of ‘Connected Devices’; an internet enabled Android based HD Set Top Box and Voice enabled stick with Alexa built-in. These two launches further strengthen its position as a technology innovator in the DTH industry. ‘d2h stream’, an internet enabled Android based HD Set Top Box runs on the latest Android TV Android TV™ 9.0 OS by Google and is available at a price of INR 3,999 for new subscribers & INR 2,499 for existing subscribers. Apart from live TV channels, it will offer access to the Google Play Store allowing the viewer to download and stream content from OTT platforms. d2h stream will support all popular OTT platforms like Watcho, Amazon Prime Video, Zee5, Voot, ALTBalaji, YouTube and more.
    [Show full text]
  • A New Vision Is Blooming
    A NEW VISION IS BLOOMING ZEE 4.0 - ANNUAL REPORT 2020-21 Zee Entertainment Enterprises Limited Transformation stems from the natural evolution of every living being. Inside each of us lies a distinctive desire to do something more than the norm, out of the ordinary. This nature of existence flows from people to businesses, leading them from old path to new, creating opportunities for themselves and for the rest of the world. Media and Entertainment landscape is not untouched by this phenomenon. From consumer FINANCIAL behaviour to consumer experiences, the industry has evolved in all shapes and forms over STATEMENTS the last few decades. Today, we are seeing a paradigm shift in the consumption and delivery 03 of entertainment. In this new realm, the alchemy of the consumer experience is one that blends content creation, delivery, and monetization in a seamless manner. This hyper- STANDALONE competitive, digitally accelerated environment demands a unique strategic vision. We at ZEE INDEX Independent Auditor’s Report 107 are preparing to step into this future with a sharper and synergised version, transforming into ZEE 4.0 - a future-ready organisation to gain competitive advantage. ZEE 4.0 is Balance Sheet 115 designed around enhanced customer centricity with levers for capitalizing on Statement of Profit and Loss 116 immense growth opportunities and driving higher profitability. COMPANY Statement of Cash Flow 117 OVERVIEW The 5G pillars - Governance, Granularity, Growth, Goodwill and Gusto, form 01 Statement of Changes in Equity 119 the cornerstone of ZEE 4.0, sharpening our abilities to capture the emerging Notes 121 opportunities across markets, to transform ZEE into South Asia’s leading Media & Key Performance Indicators 04 STATUTORY Entertainment Company.
    [Show full text]
  • Stories for a Global Audience
    T:225 mm C A N A D A T:290 mm + Y O U STORIES Talent and stories that are far reaching. = Canada has a wealth of talent, stunning FOR A locations and many funding options to help create stories that appeal to audiences GLOBAL around the world. Work with Canada and leverage business opportunities that can AUDIENCE take your next project to a new place. Discover more at CMF-FMC.CA Brought to you by the Government of Canada and Canada’s cable, satellite and IPTV distributors. WWW.PRENSARIO.TV WWW.PRENSARIO.TV CMF_20128_Prensario_FP_SEPT13_Ad_FNL.indd 1 2019-09-11 4:34 PM Job # CMF_20128 File Name CMF_20128_Prensario_FP_SEPT13_Ad_FNL.indd Modified 9-11-2019 4:34 PM Created 9-11-2019 4:34 PM Station SOS Daniel iMac Client Contact Emmanuelle Publication Prensario CMYK Helvetica Neue LT Std Designer Shravan Insertion Date September 13, 2019 Production Sarah Ad Due Date September 13, 2019 INKS Account Manager Sarah Bleed 235 mm x 300 mm FONTS PERSONNEL Production Artist Daniel SPECIFICATIONS Trim 225 mm x 290 mm Comments None Safety 205 mm x 270 mm 64x60 WWW.PRENSARIO.TV WWW.PRENSARIO.TV Live: 205 Trim: 225 Bleed: 235 //// COMMENTARY NICOLÁS SMIRNOFF Mipcom: Truth or Dare Prensario International ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF EDITORIAL PRENSARIO SRL OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO DE AUTOR Nº 10878 Mipcom 2018 is again the main content event Also through this print issue, you will see ‘the Argentina: Lavalle 1569, Of. 405 of the year, with about 13,000 participants, newest of the newest’ about trends: strategies, C1048 AAK 4,000 buyers and almost 2000 digital buyers.
    [Show full text]
  • Earnings Release for the Quarter Ended September 30, 2019
    Strong performance in a challenging environment 26.8% YoY growth in Q2FY20 domestic subscription revenue 1.4% YoY growth in Q2FY20 domestic advertising revenue 7.4% YoY growth in Q2FY20 consolidated revenue EBITDA at Rs. 6,929 mn, EBITDA Margin of 32.7% Profit after tax grew by 6.9% YoY to Rs. 4,132 mn ZEE5 recorded peak DAU base of 8.9 mn in September Q2FY20 HIGHLIGHTS ❖ Total revenue for the quarter was Rs. 21,220 million, growth of 7.4% YoY. The growth was driven by the strong performance of domestic broadcast and digital businesses. ❖ Advertising revenue for the quarter was Rs. 12,247 million, growth of 1.2% YoY. Domestic advertising revenue grew by 1.4% YoY to Rs. 11,690 million. International advertising revenue for the quarter was Rs. 557 million. ❖ Subscription revenue for the quarter was Rs. 7,235 million, growth of 19.0% YoY. Domestic subscription revenue grew by 26.8% YoY to Rs. 6,459 million. International subscription revenue was Rs. 776 million. ❖ EBITDA (Earnings Before Interest, Tax, Depreciation and Amortization) for the quarter grew by 2.5% to Rs. 6,929 million and EBITDA margin stood at 32.7%. ❖ ZEE5 recorded a peak DAU (Daily Active User) base of 8.9mn in the month of September. ❖ ZEEL’s television network had an all-India viewership share of 18.4% during the quarter. Zee Entertainment Enterprises Limited 18th Floor, A-Wing, Marathon Futurex, N. M. Joshi Marg, Lower Parel, Mumbai - 400013, India +91 22 7106 1234 Mumbai, October 17, 2019: The Board of Directors in its meeting held today has approved and taken on record the unaudited consolidated financial results of Zee Entertainment Enterprises Limited (ZEEL) (BSE: 505537, NSE: ZEEL.EQ) and its subsidiaries for the quarter ended September 30, 2019.
    [Show full text]
  • A Study on Increase in the Usage of OTT Streaming Services
    International Journal of Research in Engineering, Science and Management 142 Volume 4, Issue 8, August 2021 https://www.ijresm.com | ISSN (Online): 2581-5792 A Study on Increase in the Usage of OTT Streaming Services Shaurya Parnami1*, Tushar Jain2 1,2Student, Symbiosis Centre for Management Studies, Symbiosis International (Deemed) University, Pune, India Abstract: OTT Platforms have been becoming more and more as Scam 1992: The Harshad Mehta Story and Mirzapur S2 have popular in India due to locally-oriented content, low costs, and the proven that Indian audiences are ready for largely content- widespread use of 4G (and 5G in the future), and are predicted to oriented television shows rather than the traditional Indian grow even more. Streaming Services such as Netflix, Amazon Prime Video, and Hotstar dominate the market, with others such serials. as AltBalaji and Voot also becoming more popular. During the Our study aims to ascertain the factors behind this increase COVID-19 pandemic, the number of active subscribers to these by surveying a sample population. OTT streaming platforms has increased by almost 6 million users in a single year. This study surveys a sample population of 200 2. Literature Review respondents and aims to ascertain whether their usage of OTT platforms has increased or not, by how much time, and the Manisha Pandit (2020) explores in her study that OTT perceived reasons behind this increase. The study found that the Platforms have seen a significant annual growth of more than subscribers of these OTT platforms had increased their usage by 22% due to not only ease of availability but also pocket friendly almost 3 hours on a daily average due to the pandemic, citing subscription plans and increase in local regional content, which various reasons such as ‘Boredom’, ‘Excess time’, ‘New content’ was not the case just a few years ago (Dr.
    [Show full text]
  • India Internet a Closer Look Into the Future We Expect the India Internet TAM to Grow to US$177 Bn by FY25 (Excl
    EQUITY RESEARCH | July 27, 2020 | 10:48PM IST India Internet A Closer Look Into the Future We expect the India internet TAM to grow to US$177 bn by FY25 (excl. payments), 3x its current size, with our broader segmental analysis driving the FY20-25E CAGR higher to 24%, vs 20% previously. We see market share likely to shift in favour of Reliance Industries (c.25% by For the exclusive use of [email protected] FY25E), in part due to Facebook’s traffic dominance; we believe this partnership has the right building blocks to create a WeChat-like ‘Super App’. However, we do not view India internet as a winner-takes-all market, and highlight 12 Buy names from our global coverage which we see benefiting most from growth in India internet; we would also closely watch the private space for the emergence of competitive business models. Manish Adukia, CFA Heather Bellini, CFA Piyush Mubayi Nikhil Bhandari Vinit Joshi +91 22 6616-9049 +1 212 357-7710 +852 2978-1677 +65 6889-2867 +91 22 6616-9158 [email protected] [email protected] [email protected] [email protected] [email protected] 85e9115b1cb54911824c3a94390f6cbd Goldman Sachs India SPL Goldman Sachs & Co. LLC Goldman Sachs (Asia) L.L.C. Goldman Sachs (Singapore) Pte Goldman Sachs India SPL Goldman Sachs does and seeks to do business with companies covered in its research reports. As a result, investors should be aware that the firm may have a conflict of interest that could affect the objectivity of this report.
    [Show full text]
  • The Leading Cloud TV Platform
    The Leading Cloud TV Platform Streaming is the New TV What began as a fad has quickly evolved to an industry that is surpassing cable Sudhanshu subscriptions worldwide and is anticipated to reach $125 billion market size Vats, by 2025, proving that streaming is cementing its place in the TV industry. CEO In the midst of the “streaming wars,” any service provider, media company, or broadcaster that strives to launch a streaming service that will rise above traditional TV must launch a Cloud TV service that will bring together the interactivity, multi- screen usability, and agility of OTT alongside the scalability, robustness, and Our partnership with Kaltura customization capabilities that traditional Pay TV has always offered. has enabled us to deliver VOOT with over 75 million (app) downloads, active on over 8,000 device types" Serving Over 50 Million Viewers Worldwide, Kaltura Is the Market-Leading Cloud TV Platform George Held, Chief Digital Officer Backed by worldwide tier-1 customers, Kaltura powers some of the world’s most advanced Cloud TV services, including Vodafone, VEON, Viacom18, Mediacorp, KCP, Entel, Viacom, and others. Together with Kaltura, these TV service providers reduced complexity, costs, and time-to-launch. By working with Kaltura, these services now operate TV in a way that engages the consumers of today while simultaneously adapting to their audiences’ future needs. We chose Kaltura because of its proven expertise and strong track record in helping tier one operators transform their legacy TV services with Cloud TV solutions" Cloud Scale, Hybrid Ready Daniel Rios, Kaltura boasts a new benchmark in IP-delivered TV, ensuring unmatched platform Lead Product Owner availability of 99.995%.
    [Show full text]
  • Paper Teplate
    © 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) Storytelling: Challenges and Opportunities *1Chavan Dharmendra ABSTRACT India has the largest entertainment industry in the world. Being the second largest population of the world, the consumption of the content produced by the entertainment industry is high. However, India has diversified market in terms of languages, culture and it has its own pros and cons. In recent years, OTT platform is the became new horizon for the entertainment industry and has also became a threat for the television industry. Primarily its target audience is in the range of fifteen to thirty five year age group. With the growth of the mobile industry and development of internet speed OTT platform will reach to the audience, which was till now untapped, it also created new business opportunities. This has attracted foreign investors and business tycoons. As every business has its own opportunities and challenges, story telling OTT platform has its own. Cinema, Television industry is linear when its comes to release the programs, movies, TV serials. However, OTT platform is nonlinear platform. It has generated content and served to the audience at the same time. In last few years web series has played key role in the success of OTT platforms. Content generation and storytelling for web series has its own challenges as there is no scope for the improvement after its release. Today, Netflix, Amazon, Hot Star, Voot, ALT Balaji are the key payer in the market. This research paper will focus on the key areas of storytelling challenges and opportunities for the OTT platform.
    [Show full text]
  • A Remarkable Evolution of Over-The-Top Media Platforms in India
    Case Report l M ba ed o i l a G Global Media Journal 2021 J ournal Vol.19 No.42:259 The Global Network of ISSN 1550-7521 A Remarkable Evolution of Over-the-top Pankaj Thakur* Media Platforms in India: A Case Study of Department of Business Management, University of Horticulture and Forestry, Business and Regulatory Trends Nauni Solan HP-173230, India Abstract *Corresponding author: Pankaj Thakur The Indian film and entertainment industry has shown a shift from conventional TV and big screen to Over-the-top media platforms. These platforms provide ease [email protected] of access to stream anytime anywhere over the internet. With this study the researcher explored the remarkable evolution of these OTT platforms in India. To critically examine the study, the reasons of popularization of these platforms in Tel: 7590088925 Indian audiences were explored. As these platforms also have to face the criticism for showing inappropriate content, the researcher put insight into the regulatory changes made by the Government. The study implied that the evolution of OTT Department of Business Management, platforms started in 2008 with the launch of BIGFlix. A huge rise in consumer base University of Horticulture and Forestry, had shown due to increased internet and smartphone base after 2015. The quality Nauni Solan HP-173230, India and creative content, youth-oriented population and lockdown due to COVID were the main reason of popularization of OTT platforms. The Government suggested self-classifying of the content and three-Tier mechanism to handle the grievances Citation: Thakur P (2021) A Remarkable associated with these media platforms.
    [Show full text]