Ha Long Bay is a UNESCO World heritage site, famous for its stunning beauty.
Some products / brands are only limited to a particular place. Products like Tirunelveli Iruttu kadai halwa. Its made by a family in Tirunelveli and till recently it was only available in that particular shop but now things have changed and you can order the awesome Tirunelveli Iruttu kadai halwa online. Same is the case with Charagh Din shirts. They had only one showroom throughout India, only in Mumbai. But then now its available online too.
21 by Lipton
This drink was only available in Delhi city. Not sure why it was only restricted to Delhi, was it because of lack of distribution, or to maintain the exclusivity? or to test the market?
Anyway do you remember any brands like this?
Amul ads are a great fun to watch, to understand and appreciate. Its the best topical ads i have seen, its hilarious and at the same time educative too.
MS, what are you Dhoin?
This ad appeared on 24 June 2015.
India’s automobile history can be easily summarised as pre and post Maruti.
Hindustan Motors and Premier were the two main car brands prior to Maruti. Hindustan Motors’s “Ambassador” and Premier’s “Padmini” had many fan following.
Maruti- The Family car
Then came Maruti, incorporated as Maruti Limited under the Companies Act with Sanjay Gandhi as its first managing director.
In 1981, Maruti Udyog Limited was incorporated, in joint venture with Japanese car maker Suzuki and the first car – Maruti 800 – was launched in December 1983.
But then there were other car manufacturers also, one being Bangalore-based Sipani Automobiles Ltd. Sipani launched many variants including ‘Dolphin’ and ‘Montana’.
D1 or Montana D1 – The only way to arrive!
In 1990, they launched Sipani D1 with the help of British technology and marketed as the family car. But the design was almost as same as Maruti 800. As per Wikipedia, Sipani manufactured 290 cars in the fiscal year 1989-90 and 190 cars in 1991.
Remember the Old Black and White TV? and later the screen that we used to place in-front of the B&W TV sets to make it more colourful?
Then came the magnificent colour TVs!
Year 1982, India hosted the Asian games for the second time, first one was way back in 1951, the inaugural Asian Games.
25 APRIL 1982
Doordarshan started the test run of India’s first colour Telecast. India saw the action at the Asian Games in Colour. India came 5th in the medal tally.
Look at the “T” in the name, the TV antenna ( fish bone) like image 🙂
Look at the “T” in the name, the TV antenna ( fish bone) like image 🙂
The fist TV that I had at home was Bush, which one was yours 🙂
“Made in India” and “ Aatm Nirbhar Bharat” are the words we often hear nowadays, especially after the showdown with China at the borders, but do you remember ( Millennials and Get Z are excused ) a soft drink brand that was manufactured and marketed by Indian Government?
After the withdrawal of Coca Cola and PepsiCo from India in 1977 due to regulations, lot of ‘Desi’ brands got launched. During that time the then ruling Janata Party led by Sri Moraji Desai, launched “ Double Seven” at the annual trade fair at Pragati Maidan, New Delhi.
The name of the soft drink was “Satattar” means 77 in Hindi, yes the year was 1977, when national emergency was declared by Ms Indira Gandhi, later she was defeated in the elections and Janata Party came into power.
The first soft drink?
Do you remember the first soft drink you tasted? mine was Thums Up. I still get the strange sensation of the aerated water gushing through my throat.
What was yours?
Lot of Disruption to the content pipeline
New productions likely won’t be greenly until late 2020, or 2021
Challenges for platforms dependent on new content offerings
Limited access to financing in a potential recession
Increased competition from new entrants
Consolidation in a global marketplace
Impact on consumer choice
The distinction between different formats is blurring
Cinematic content comes in all shapes and sizes, and filmmakers often work across multiple formats ( series / documentaries)
Franchises are more important than formats
Long term enterprise value created through IP ( e.g Marvel, star wars, merchandising and video games)
Major studios will continue to focus on large releases with built-in audiences
Small speciality producers and distributors will exist to satisfy the gaps in the marketplace, and target underserved audience.
Read part 3 here
Digital innovation is putting the user experience at the centre of value proposition.
Device manufacturers are aggregating content from multiple subscriptions ( Apple TV)
Speech recognition and recommendations to improve navigation and content discovery
Real time feedback allows services to adapt to audience preferences
E.g Adding more regional content to MUBI INDIA and expanding access to older content with library
Ease of access widens the breadth of content available
Consumers are no longer restricted by geographic location, time, format, platform, or connectivity
Streaming time is ever increasing- the average American streams 8 hours of content per day under lockdown.
Digital distribution enables audience to discover films considered too niche or obscure ( OXONE in Netflix)
MUBI INDIA highlights alternative cinema, including our Parallel Cinema and New Voices series.
Localisation makes international content more accessible to audience
The proportion of non-English language content on platforms like Netflix is increasing with multiple subtitles and audio-tracks available to users
Example—— Dark – German
Platforms are able to focus on specific Genres or Verticals
Disney+ ( Kids / family),
Shudder ( Horror / thriller)
BritBox ( UK TV /film)
In the next part, we will look into the Future of content.
Read Part 2 here
SVOD consumption has overtaken pay TV in almost 30 countries
Total worldwide subscriptions are forecast to reach over 1 Billion by 2025, including huge growth in India and China.
India is forecasted to have the third highest number of SVOD subscribers worldwide by the end of 2020 due to increasingly affordable devices, cheaper data and faster internet access.
This growth will be driven by new services like MUBI, with Amazon and Netflix’s combined market share decreasing from 42% today to 34% by 2025.
Consumers in major markets are embracing multiple platforms and devices.
Stacking streaming services has become the norm
SVOD penetration will accelerate due to the heavy promotion by top services like Disney+ and HBO Max
SVOD stacking will accelerate as consumers adopt these new services without canceling existing subscriptions
74% of all US households have at least one SVOD service
51% have more than one SVOD service
How many OTT platforms have you registered? I have 3.
Exclusivity means that there is little overlap between different platform offerings.
Increased investment in content has turned streaming into a game of quantity vs quality
Platforms are optimising for time spent and size of library, others are focussed on increasing the quality of content and improving the user experience.
OTT and Engagement
Online platforms are engaging the audience beyond the viewing experience
Social and editorial features foster dialogue and a sense of community
Social viewing creates new opportunities for engagement
Examples for social viewing :
Social features mimic the collective experience of watching and discussing content with friends or family, while allowing for social distancing
To Be continued.
In the next part, lets look at How is digital expanding the scope of Cinematic content
Read Part 1 here
I recently attended one virtual conference on live streaming / OTT platforms. Thought of sharing some of the highlights from the conference.
These are the excerpts from the keynote speaker Efe Cakarel, CEO and co-founder of MUBI.
Cinema Vs Digital
COVID-19 has accelerated the following changes
Cinemas (Theatres) are facing acute challenges and are forced to close temporarily
- Social distancing, combating fears over returning, implementing health and safety measures
- Massive closures: 41 % of UK venues said they cannot reopen with social distancing guidelines
- Right-holders ( production houses) shortening windows – e.g Disney eliminating waiting period altogether
Online distribution can substitute for the theatrical release
Rights holders (Producers) opting for digital distribution
Film festivals cancelled ( but resurrecting online)
New content production paused ( But now slowly started in various places)
MUBI’s virtual preview of EMA debuted in multiple territories with over 25,000 views in one day.
Universal’s digital only release of Trolls World Tour netted $95 million in 3 weeks.
Subscription Video On Demand (SVOD) / Digital consumption is overtaking traditional forms.
Technological innovation is reshaping the way we consume content
UX design is the focus of further innovation
Design thinking – what do we use technology for?
We want to be connected and be constantly entertained, and are designing new technologies to satisfy these desires
Technological innovation is going to bring lot of changes, to make it faster, smaller and cheaper.
Innovation has led to greater portability and new use cases like Internet of Things (IOT) and smart home which can create new forms of engagement.
New platforms specifically optimised for mobile are struggling in the current climate ( Quibi)
SVOD platforms have the benefits of increased data
- What are people watching? when? How are they viewing content? What will they finish? What won’t they finish? What will they binge?
- <80 of the TV shows watched on Netflix are discovered through the platform’s recommendation system
Platforms use these data to refine their acquisitions strategy
- Netflix has increased reality and documentary content based on indicators that these perform better amongst viewers.
- But this also narrows the experience – you only see what’s in your recommendation ‘bubble’.
To Be Continued.