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10 Web Series You Must Watch

10 Web Series You Must Watch

Thanks to cheap data plans, quality content, and competitive marketing, web series is officially thriving in India. Gone are those days when family members used to flock together to watch a series on television, and missing an episode meant taking updates from others.

Recent surveys also underline the preference for online content. A survey conducted by Chrome Data Analysis & Media[1] unveils that 44% prefers watching exclusive online content. An Ofcom[2] report suggests broadcast TV viewership by 4 – 24-year-olds fell 33% between 2010 and 2016.

A survey by the Diffusion Group (TDG)[3] reveals that SVOD services are more popular among 18-24-year-olds. Though 57% of those surveyed chose traditional pay-tv over SVOD, around 66% 18-24-year-olds and 54% 25-34-year-olds prefer SVOD services.

The disinterest in traditional television among the youth has led to the rise of on-demand services like Amazon, Netflix and Hulu to name a few. The freedom to choose what, when, and where (in which device) to watch for a fraction of the cost of most cable subscriptions is one of the primary reason for the rise of over-the-top (OTT) content providers. The high rate of mobile and wireless broadband penetration also contributes to the rise.

With so many web series across various OTT service providers, choosing a host of ‘must watch’ is difficult. To make the task easier, we list the most popular digital original television shows based on audience demand across India:

1. 13 Reasons Why (Netflix): Produced by July Moon Productions, 13 Reasons Why is an American mystery teen drama web television series. The series revolves around Clay Jensen, a high school student, and his romantic interest Hannah Baker, who commits suicide after a series of traumatic and demoralizing circumstances

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Pic Credit: Netflix

2. House of Cards (Netflix): Based on a novel by Michael Dobbs, House of Cards is an American political thriller. First aired on February 1, 2013, the final season of the web series with six episodes will be released in 2018.

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Pic Credit: Netflix

3. Inside Edge (Amazon Prime): Based on Mumbai Mavericks, a fictional T20 cricket team, Inside Edge captures the world of cricket and entertainment. First aired on July 10, 2017, the Indian-American web television series follows the twists and turns in the lives of powerful characters.

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Pic Credit: Amazon Prime

4. Bose: Dead/Alive (AltBalaji): Spread over 9 episodes of 20 minutes each, the series is a well-researched story of Netaji Subhas Chandra Bose and his allegedly mysterious death.

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Pic Credit: AltBalaji

5. Pitchers (TVF Play): Launched in 2015, Pitchers features in the IMDB’s Top 250 TV Series List. It traces the lives of four young professionals who quit their jobs to venture out into the wild entrepreneurial world.

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Pic Credit: TVF

6. Baked (ScoopWhoop): Produced by ScoopWhoop Talkies and Pechkas Pictures, Baked is an account of the misadventures of three university flatmates who decide to start a midnight food delivery service.

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Pic Credit: ScoopWhoop

7. Life Sahi Hai (Luv Films): Revolving around four guys, the sitcom explores the hilariously challenging situations they land themselves in every time they deal with their bosses, girlfriends, or each other. Living independently for the first time, they realize that their new-found freedom doesn’t come for free. The first season of the web series aired in 2016, and the second season in 2018.

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Pic Credit: LuvFilms

8. Stranger Things (Netflix): First aired on July 16, 2016 Stranger Things, set in the fictional town of Hawkins, focuses on the investigation into the disappearance of a young boy amid supernatural events.

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Pic Credit: Netflix

9. Sense8 (Netflix): The American web fiction drama traces the story of eight strangers from different parts of the world. These strangers suddenly get linked mentally and emotionally. The series explores subjects like politics, identity, sexuality, gender, and religion.

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Pic Credit: Netflix

10. Man’s World (Yash Raj Films): A ‘what if’ series, Man’s World traces the journey of a man walking in women’s shoes, in their world. The series, which portrays what if women treat men the way men treat them, is a comedy with an underlying social message.

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Pic Credit:YRF

Sources:

https://www.statista.com/statistics/739033/india-most-in-demand-digital-original-tv-shows/

[1] https://tvnews4u.com/70-watches-web-series-night-study-chrome-data-web-series-consumption/

[2] https://www.ibc.org/consumption/engaging-audiences-the-death-of-linear-television/2660.article

[3] https://www.marketingcharts.com/television/pay-tv-and-cord-cutting-79072

Cyber Security: Tips for Broadcasters

Cyber Security: Tips for Broadcasters

While the digital era has brought significant advances in technology, it has also opened the doorway to continuously evolving threats in the media and broadcast industry. Over 30% of media and broadcasting companies admit that they have experienced a cyber-attack of some kind or the other.

In 2015, five unreleased Sony Pictures’ movies – Annie, Fury, Still Alice, Mr. Turner and To Write Love on Her Arms –made their way onto torrent file-sharing websites. French broadcaster TV5Monde’s TV channels and social media accounts were hacked by a nation-state hacker in January 2015, costing the TV station millions of Euros.

In October 2016, Internet infrastructure company Dyn was hacked, affecting broadcast companies like CNN, HBO, Amazon, Yelp, and the Wall Street Journal.

Recently, in 2017, an anonymous hacker leaked some of the scripts and unaired episodes of Game of Thrones’ seventh season from HBO. The email from the hacker claimed a leak 1.5 terabyte of raw data from HBO.

Vulnerabilities and threats

The common security vulnerabilities and threats faced by the media and broadcast companies are as follows:

  • Distributed Denial-of-Service (DDoS): This attack occurs when multiple systems flood the bandwidth of the targeted system with traffic
  • Signal piracy: World Intellectual Protocol Organization (WIPO) internet treaties that would outlaw the breaking of anti-piracy locks on digital signals such as encryption and ‘tagging.’
  • The Cloud: The threat of data breaches and compromised credentials and account hijacking are some of the major threats to data on the cloud
  • Connected Devices (TV): More and more IoT enabled devices are setting up paths for ways to launch cyber attacks
  • Data leakage: the collection and monetization of an online publisher’s audience data by a third party without the publisher’s permission
  • Vendor System Vulnerabilities: Maintaining security standards across multiple vendors across the media value chain is difficult to achieve
  • Malware Attacks: (Malicious software) or a program code designed to harm a computer or its data
  • Ransomware Attacks: A form of malware in which the user’s computer files are encrypted. A ransom is demanded to restore the system or device to normal use
  • Piracy: Broadcasters can think of simultaneous global broadcasting as a solution to tackle TV piracy.

How to avoid cyber-attacks?

  • Monitor the social media accounts of the hacktivist campaigns that are relevant to your industry
  • Proactively monitor for credential dumps relevant to your organization’s account
  • Monitor for the latest IE and Flash vulnerabilities and ensure your site is patched
  • Understand which ransomware variants are targeting your industry, which delivery methods are most popular, and the CVEs the hackers target
  • Monitor for the registration of typo-squatted domains
OTT: The Way Ahead

OTT: The Way Ahead

Over-the-top content (OTT) service providers like Hulu, Netflix, and Amazon are showing massive uptake by consumers who want to view content as per their choice of time and platform. According to Juniper Research titled Mobile & Online TV & Video: OTT, IPTV & Connected Markets 2015-2019[1], OTT subscription is forecasted to generate $31.6 billion in revenue by 2019.

As traditional broadcasters face increased competition from OTT service providers, let us take a look at the future of OTT.

New providers in the market

While countries like the United States have already adopted OTT and are on the verge of saturation, developing countries with high mobile penetration and adoption rates of pay-TV and broadband are witnessing increasing popularity of OTT services. A  Digital TV Europe Research[2] estimates that developing countries like Eastern Europe, Middle East & Africa will see greater growth in revenues and that of Latin America will nearly triple from 2015.

Driven by rising mobile data usage, mobile is becoming an important medium to deliver OTT service in East European countries, Middle East & Africa. Pay-TV providers, mobile operators, broadcasters and media companies are expanding their OTT services in these regions either by launching their OTT services or partnering with regional OTT players. For example, UAE-based mobile operator Etlisat has introduced eLife ON, Saudi Arabian Mobily has mView, Times Media Group has an OTT service called VIDI in South Africa, and Pay-TV operator OSN has launched GO across MENA.

SVOD is catching up

Viewers are increasingly opting for OTT services like Hulu, Netflix, and Amazon Video, which gives them the freedom to choose the content they want to consume across different platforms. Millennials are adopting subscription video-on-demand (SVOD) services faster than their older counterparts. A report from BI Intelligence highlights younger viewers watch four times as much video content online than aged viewers. The popularity of SVOD services like YouTube, Sling TV, and PlayStation Vue further underlines this fact.

For SVOD services, usability is the key. Companies need to innovate to leverage OTT and SVOD services to reach out to more viewers. For example, YouTube has launched offline viewing for consumers to download videos and watch it at their convenience – even when there is no mobile connectivity.

With the first screen of the millennials being the mobile screen, digitization provides a huge opportunity for SVOD providers to grow their business. Content creators and marketers can reap the benefits from SVOD adoption. Content creators can profit from the surge in the short-form video, while marketers can capitalize on advanced product placements.

More connected TVs

Thanks to connected TVs, which include streaming devices like Apple TV, gaming consoles, Web-enabled TV sets, and TVs connected to the Internet by laptops in the group, monetization is also growing. According to FreeWheel, an ad-serving company whose clients include major video providers such as AOL, Crackle, Fox, NBCUniversal, Viacom, and Vevo, more than one-third of monetization was led by OTT devices. An eMarketer report[3] estimates that by 2018, 191.4 million or 58.2 percent of the U.S. population will use a connected TV device to access the Internet.

Changing fundamentals of content creation

OTT has unlocked transformational changes in how the content is created and consumed. The availability of unlimited content space has given more freedom to experiment and has provided audiences for all kinds of content. Although most are amateurs, some are earning millions of dollars, while contributing to the depth and breadth of content available to consumers.

Further, the increase of mobile and streaming access has enhanced consumers’ ability to choose what they watch and where and when they watch it. With the rise in mobile use, the demand for short-form, high-quality content, also called ‘snackable content’ has also witnessed a massive growth. Consumers are turning to live, user-generated video and “citizen journalists” for news related to developing events or stories. For example, The Young Turks, which offers short-form news videos on relevant topics around the world every day has become a key news destination for millennials.

The launch of Facebook Live in April 2016, which makes it easier “to create, share, and discover live videos” further highlights the changing fundamentals of content creation. Content creators are also focusing on introducing contextual parameters for content discovery. Factors like mood and current affairs are being taken into account apart from their viewing preference while making a content recommendation to the viewers.

To ensure successful adoption of OTT, service providers must address three critical challenges – aggregation, subscription churn, and transparency. As consumers look to fulfill the 3Ws – watch what they want, when they want to, and where they want – OTT providers not only need to manage content but also create new content and recreate legacy content to retain subscribers. Proper archiving, digitization and tagging of content will help in aggregation while generating content across various formats will provide shared experience across devices and help in customer retention.

[1] https://www.juniperresearch.com/press/press-releases/ott-tv-market-to-increase-fourfold-reaching-32bn

[2] https://www.digitaltvresearch.com/ugc/Global%20OTT%202016%20TOC_toc_149.pdf

[3] http://digiday.com/platforms/ott-video-going-5-charts/

The Tube Goes Personal- My Television, My Time, My Way

The Tube Goes Personal- My Television, My Time, My Way

The Tube Goes Personal

It was just another lazy Saturday noon at 41, Manchester lane for the Smiths. Everyone in the family was busy with their routine weekend affairs. Jenny was busy with her preparations for the dinner they were hosting for their family friends and was hoping to get a helping hand from her teenage kids Amber and Alex. She exclaimed looking at her teenage son, Alex “God knows what these kids to up to! They are always hooked to their mobile phones and iPads.”  It was half past seven and Alex was still completely engrossed in his tablet, watching something with rapt attention. Out of sheer curiosity and a bit of anger, Jenny took a peak into Alex’s screen trying to figure what he was glued to.

What Alex shared was a revelation for his mother. He explained how he can catch up on his favorite TV series on his smart phone or a tablet as and when he gets time. The very thought of watching her favorite shows without having to fight for the remote made Jenny smile, and she was super excited to learn that she can enjoy all of her sops simply by downloading an app on her mobile.

A global research suggests that an adult-internet user spends almost 20 hours per week online – consuming media. Interestingly, for the first time ever, Britons will spend around GBP 1.31 billion on video streaming subscriptions and film/TV downloads in 2016, more than on buying and renting DVDs.

My Television, My Way:  Happy Viewers

Television has been constantly reinventing itself and today, it has transformed itself from an idiot box to a smart device offering a personalized experience.  There were times when watching television was a family affair but with growing options, reach and changing preferences, there is a major change in content consumption patterns. While the previous generations fret over missing an episode, the modern viewer is consuming content in a whole new way.

OTT services providers like Netflix, Hulu, Amazon , beIN Connect etc. are now offering subscription based services to consumers on one end and are investing on sourcing content. Netflix has even taken a step forward by entering into production of content.

Cord cutting (the term used for viewers cancelling their television subscription services for alternate content sources) is now catching up with millennials around the world. As a viewer, on-demand TV gives them a choice to watch the content they like anytime, anywhere and on any device.

Getting Heard:  A Marketer’s Delight    

OTT, SVOD, Mobile TV are a fantastic medium for marketers to reach out their audience. Not only does it offer targeted advertising options but it offers meaningful insights for marketers to analyze and optimize their campaigns.  The result is impactful campaigns, reduced media spill and improved ROI.

Feed the Appetite: Content for the Consumers

With this trend shift, the industry is more focused on creating content to cater to the diverse set of viewers. While creating new content is important, re-purposing old content to make it accessible is also equally important. Digitization and management of old content in various formats is necessary for the survival of the heritage. Because, the new generation may not have read the works of Jane Austen, but chances are they would not have missed ‘Emma Approved’, the web-series based on her popular novel Emma.