Beyond Screens
Streaming VOD’s Impact on
India’s Creative Economy
July 2024

Table of Contents
Introduction
Introduction

0303

1. Streaming
To Drive
FutureFutureVideo Industry
Value
1. Streaming
To Drive
Video Industry
Value

0606

2. Streaming Investments Propel India's Content Boom08

3. Impetus For The Creative Economy

11

4. Expanding The Audience And Its Content Palette

12

5. Economic Impact

16

5. Economic
Impact6. Nurturing
Talent19 17

6. Nurturing
7. Building
India’sTalentSoft Power2619

8. Adopting
GlobalBest Soft
Practices
7. Building
India’s
Power

3226

9. Catalyst
For Allied
Industries
8. Adopting
GlobalBest Practices

35 30

10. Key Challenges

40

Closing Thoughts

44

Appendix45

2. Streaming Investments Propel India's Content Boom
3. Impetus For The Creative Economy

4. Expanding The Audience And Its Content Palette

9. Catalyst For Allied Industries
10. Key Challenges
Appendix

08
11
13

34
38
43

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Introduction
While this represents a significant growth from the US$3.3 bil.
invested in 2018 and online video’s contribution has grown from
15% to 40% in 2023, India trails Japan (US$10 bil.), Korea (US$6bil.) and the world’s number one entertainment economy USA(US$125 bil.). On a per capita basis, the gap is wide: US$4 for India
relative to US$370 for USA; US$120, Korea; and US$80, Japan.

India's video entertainment economy is like a kite justabout to fly, propelled by the pivotal impact of thestreaming VOD sector. According to Media Partners Asia
(MPA), the video entertainment economy, fuelled by streaming
VOD, is projected to reach US$13 bil. in value by 2028, representing
an 8% average annual growth rate from 2023. This pie reflects
revenue monetized by IP owners, TV networks and online video or
OTT platforms with streaming VOD expected to contribute ~50% to
new revenue growth for the video economy.

140

124.8

120

15
12

100
US$ bil.

It's only the beginning. Investment in local entertainment,
including scripted, unscripted and sports programming reachedUS$5.8 bil. in India in 2023.

Content Investment (CY 2023)

80

US$ bil.

This report explores India’s streaming industry evolution,
providing a thorough analysis of its impact with key insights forstakeholders in the media & entertainment industry, policymakers
and enthusiasts. We evaluate the pivotal role of the streaming
video-on-demand (VOD) sector in India's economy with analysis on
how relevant stakeholders can seize opportunities and overcome
challenges in the journey to foster a vibrant creative ecosystem.

60

10.1

9
6

6.1

5.8

Korea

India

40
3

20
0
USA

0
Japan

Note: Analysis include investment in local content and sports across TV,
theatrical and online video
Source: Media Partners Asia
Section I: Executive Summary3

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Introduction
Monetization across India’s subscription video-ondemand (SVOD) industry is set to move into another gear.
After a dynamic period of land grab between 2016-22 where
platforms invested to drive reach and acquire subscribers, helping
to build the streaming VOD category, the focus is now more rationalwith platforms focused on improved economics and an even better
customer proposition anchored to pricing, packaging andsustainable investment in local content. As a result, while customer
churn increased over CY 2023 with a slow down in the rate of new
customers adopting to streaming, average yields per customer have
improved and total SVOD revenues have scaled to ~US$1 bil.
Streaming VOD remains a key anchor for the acquisitionand commissioning of local content, transcending language
barriers, while also fostering a thriving ecosystem of storytellers andcreators. Streaming VOD platforms have nurtured seasoned andemerging talent, offering creative freedom and diverse narratives.
Actors, writers, and directors have found new avenues forsustenance and creative expression due to the crucial support
provided by the online video sector, especially during thechallenging period of the pandemic.
Local Indian content is also engaging and captivatinginternational audiences, by showcasing India's rich culture andprogressive perspectives thereby emerging as a powerful tool forsocial change.

Section I: Executive Summary

The impact of streaming has also extended far beyond thecreative industry into allied industries including telecomsand broadband connectivity, pay-TV, VFX, animation, tourism andhospitality. Streaming VOD also demonstrates a social multipliereffect, evident in its creation of ~174,000 direct and indirect
professional jobs in 2023 alone, with projections indicating thepotential to nearly double employment opportunities by 2028.
Streaming has become existential to several matured
industries. The real scale of India’s online video industry cameinto focus when it became the film industry’s lifeline during theCovid-19 pandemic, while theatres remained closed. Between 20202022, over 300 digital-first releases debuted, providing crucial cash
flow to the industry.
Today, movie producers continue to thrive, with streaming revenues
equating to 1.5x of their net share from theatrical box office.
Similarly, investments in local original shows and series have
rapidly gained ground, now representing over 50% of entertainment
spends on pay-TV (excluding movies and sports). This trend
supports the television content ecosystem which is making atransition from linear to connected TV (CTV). For telecoms, video
has been the primary driver of data consumption, representing over
70% of their data traffic.

4Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Introduction
Content owners will continue to prioritize streaming as the
economic value for the sector is expected to equal if not surpass TV
by 2026 while the growing resonance and travelability of Indian
content globally on large VOD platforms such as Prime Video andNetflix, will help unlock additional value for local storytellers.
Over the next five years, the online video industry has apotential to attract investments close to US$17 bil. into
India's creative economy. However, despite its undeniablesuccess, the future of the streaming industry will not be without
challenges that necessitate solutions. Addressing issues such as thelack of modern production facilities outside major cities,
collaborating for new infrastructure development, and fosteringskilled technical talent across all levels through robust training
programs and academic initiatives will be essential. In addition,
continued efforts to combat piracy are crucial to protect intellectual
property and ensure a sustainable creative ecosystem.

Vivek Couto
Managing Director

Section I: Executive Summary

Mihir ShahVice President

5Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

1. Streaming to Drive FutureVideo Industry Value

Streaming choice. In the coming years, a significant portion of the digitalindustry's incremental revenues will come from the online video sector. Such
opportunity has attracted a large number of online video platforms to invest andcompete in the market. India had close to 60 platforms as of the end-2023,
surpassing its Southeast Asian neighbors as well as developed markets such as the
UK, Japan, South Korea and Australia. Today, consumers enjoy abundant choice instreaming, based on affordability, language and convenience, due to localization
initiatives implemented by major streaming platforms.
Premium VOD sector growth. According to MPA, the premium online video
market, which comprises operators offering long-form entertainment, sports andnews content to consumers for fee or for free or in a hybrid model (i.e. freemium),
generated an estimated US$1.7 bil. in revenue in 2023, contributing ~50% of
incremental revenue growth for the total video industry. Premium online video
revenues are expected to reach US$3.7 bil. by 2028. In 2023, with a collective
investment of US$2.2 bil. in local content (entertainment and sports), these players
have already boldly positioned themselves to capitalize on the future.

70
No. of OTT Platforms

Video monetization engine. India has emerged as a powerhouse in the global
video market, offering content owners and creators a US$13 bil. monetization
opportunity by 2028, increasing at a robust 8% compound annual growth rate
(CAGR). A key component of the vibrant digital economy, online video platforms
have provided significant value to India’s diverse consumers across demographics,
socio-economic backgrounds, and regions.

Number Of Online Video Platforms

60

5x GROWTH IN OTT OPERATORS

50
40
30

59

20
10
-

12
2015

2023

SVOD
49%
Freemium
41%
AVOD
10%

In t er
Onl nationa
y 13
l
%

International& Indian
12%

Hindi &
multilingual
37%

Regional
Only
32%

Source: IBDF, DPCGC, Company Data
Note: Appendix 1, 2 & 3 includes full details
Section1.
Streaming
I: Executive
to Drive
Summary
Future Video Industry Value

6

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Total Video Revenue By Segment (2016-2028)

15
12.6
11.8

12

11.0
10.0

2.5

9.1

9
US$ bil.

8.3
7.1

6
4.1

0.1
3

13.2

0.1

4.6

0.1

5.5

0.4
0.4

6.2

0.6
0.7

5.6

0.7

1.0
1.2

1.3
1.8

2.9

3.3

3.7

2.1
1.7
2.1

2.4

2.7

3.0

3.3

3.6

0.9

0.2

3.9

4.2

4.7

5.0

2016

2017

2018

2019

4.1

5.0

5.2

5.4

5.6

5.8

5.9

6.0

6.0

2021

2022

2023

2024

2025

2026

2027

2028

0
2020

Pay-TV Channel Business Revenue

UGC Revenue

Premium Video Revenue

Source: Media Partners Asia
Note: Appendix 4 & 5 includes full details
Section1.
Streaming
I: Executive
to Drive
Summary
Future Video Industry Value

7

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

2. Streaming Investments Propel
India’s Original Content BoomPremium local finite original offerings from SVOD platforms serve
as a significant differentiator for consumers seeking content beyond
traditional daily soaps. As a result, local originals have become
instrumental in attracting new SVOD subscriptions, reducing churn,and enhancing marketing visibility for OTT players amid acompetitive market. As the SVOD market has continued to expand,broadcaster-backed OTT platforms (BVOD) and other home-grownregional platforms have also intensified their investments in local
originals. Investments in local entertainment originals have grownmulti-fold since 2019. This trend is expected to continue, withannual investments surpassing the one-billion-dollar mark by 2028.
Currently, investment in local originals by streaming platforms
represents ~45% of the total spends on TV entertainment content(excluding movies and sports). Over the next five years, with therevenue potential for premium video in India, a projected 20%
CAGR in investment for local entertainment originals indicates thatstreaming will align with Pay-TV content spending by 2028. This
shift supports the traditional linear TV creator ecosystem, which is
rapidly transitioning to CTV.
Section2.
Streaming
I: Executive
Investments
Summary
Propel India's Content Boom

1,200
US$ mil.

1,000
800
600
400
200
-

158

192

2019

2020

335

2021

529

479

527

606

2022

2023

2024

2025

728

2026

910

1,182

2027

2028

OTT Entertainment Spends Narrow Gap With Pay-TV

Content Investment(US$ bil.)

Local Content Drives Streaming Boom. The surge ininvestment in local online video originals coincided with the entry of
Netflix and Prime Video into the market in 2016. Leveraging thestrong preference of Indian consumers for local content, both
platforms expanded their library of local originals, led by episodic
series, which has since dominated the cultural zeitgeist aroundstreaming content in India.

Online Video Content Investment In Originals (2019-2028)

1.5
1.2
0.9
0.6
0.3
0.0

2017 2018 2019 2020 2021 2022 2023 2024 2025 2026 2027 2028
OTT Originals

Pay-TV Entertainment

Note: Content Investment excludes Investment in Sports and Movies
Source: Media Partners Asia
8

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

A substantial investment in creating unique content has
led to significant growth in the number of original series
and films across platforms. MPA analyzed the number oforiginal series and direct-to-OTT films released across the
top six OTT platforms (Disney+ Hotstar, Prime Video,
Netflix, Sony LIV, Zee5, and Voot/Jio Cinema) which
account for more than 90% of India’s SVOD subscribers
and revenue. Between 2015 and 2023, these six platforms
collectively introduced >1,000 original titles, generating>4,000 hours of original content across a diverse array of
local languages. Post-pandemic, the reopening of theatres
has led to a decline in the number of direct-to-OTT
releases. The streaming industry since has focused on
ramping up on original series. This change has led to fewer
new titles overall, but an uptick in the number of original
programming hours.

Number Of Indian Original Titles Released On Top OTT Platforms (2015-2023)

250
200
150
100

189

199

206

2022

2023

137

50
0

225

70
5

13

21

2015

2016

2017

2018

2019

2020

2021

Note: 1) Indian Original content for a platform includes both local originals and direct-to-streaming/ OTT movie releases
2) For the above analysis, we have exclusively examined the supply of web original titles from the following six streaming
platforms: Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema. 3) The subsequent season of an original
series franchise has been considered as an individual title
Source: MPA analysis (See Appendix 6 for more details)
Section2.
Streaming
I: Executive
Investments
Summary
Propel India's Content Boom

9

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Future Opportunity. Historically, TV has led video
industry content investment, but by 2023, online video(ex-sports) claimed 24% of video industry’s content
investment, 3x increase in its share from 8% in 2017.
According to MPA projections, online video has thepotential to surge to US$2.6 bil., representing
approximately 30% of the total video industry's content
investment. This trend also underscores the paramountimportance of the streaming VOD sector in the overall
GDP of the entertainment industry. However, unlocking
such potential is dependent on creating a more progressive
policy environment and engaging stakeholders
collaboratively in key grassroots initiatives.

Overall Video Content Investment (2017-2028)

9.0

8.2

8.0
7.0
5.8

US$ bil.

6.0
4.9

5.0
4.0
3.0
2.0
1.0
0.0

2.7

3.3
16%

3.7
18%
23%

3.8

14%

2.9

9%

25%

8%

23%

17%
22%

24%

54%

51%

48%

50%

9%

11%

17%

22%

21%

2018

2019

2020

2021

2022

8%

2017

Online Video

25%

45%

Television

40%

6.7

6.9

12%

12%

13%
36%

34%

7.4

8.8
12%

12%

12%

34%

36%

30%

28%

25%

34%

24%

29%

29%

23%

26%

27%

30%

24%

25%

2023

2024

2025

2026

2027

2028

33%

Sports (TV +Digital)

Movies

Total

Source: Media Partners Asia
Section2.
Streaming
I: Executive
Investments
Summary
Propel India's Content Boom

10

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

181

148

144

135

89

100

34

33

17

81

40

150
62

200
150
100
50

0

0

2018

2019

2020

Multiplex Footfalls

2021

2022

No. of Direct-to-OTT
Releases

200

2023

Direct-To-OTT Movies

Note: 1. PVR-INOX CY data as a proxy for multiplex footfalls. 2. Direct-to-OTT movie releases on Disney+ Hotstar, Prime
Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema have been considered for analysis

Net Income To Movie Producer’s From Theatricals And Streaming
1.2
1.0
0.8
0.6
0.4
0.2
0.0

155%

0.5

0.7

158%

0.5

0.8

160%

165%

0.8

0.9

0.5

170%

174%

180%
160%

0.5

0.6

1.0

1.1
0.6

140%
120%
100%

2023

2024

2025

Theatrical Revenue

2026

2027

2028

Streaming Revenues as% of Net Domestic BO

The movie production industry, once grappling with issuesof monetization and scalability, now thrives on streaming.
Today, digital rights for movies collectively generate 1.5
times more revenue than the producer’s net share ofdomestic box office collections. Looking ahead, streaming
platforms will continue to push the boundaries ofstorytelling, leveraging technology to offer wider reach aswell as new immersive experiences. Thus, while theatricalreleases still remain an important barometer of a movie’s
success or failure in public perception, video streamingrights will continue to contribute a sizeable and for manyfilms a larger share of revenues for the movie producers.

Number of Theatrical
Footfalls (mil.)Premium VOD platforms have stood as a pillar of strengthand a major contributor to the growth of India’s creative
economy. During the peak of the 2020-21 pandemic,
amidst production activities grinding to a halt and theatresclosed, online video platforms emerged as indispensable
lifelines for India's entertainment industry. Production
studios leaned heavily on these platforms not only for
financing but also as crucial conduits linking content
creators with consumers. By facilitating income and value
generation across the entire value chain, OTTs played apivotal role in sustaining the industry during challenging
times. The film industry had 300+ digital-first releases
during the pandemic period of 2020-22.

Comparison Of Theatrical Footfalls With Direct-to-OTT Releases (2018-2023)(US$ bil.)

3. Impetus for the Creative
EconomyDigital Rights Revenue

Source: Company data, MPA analysis
Section3.
Impetus
I: Executive
for the Creative
Summary
Economy11

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

4. Expanding the Audience & its
Content Palette
No single language of content. India's vast and digitally savvy
population, spread across diverse regions, speaks various languages
and holds varied content preferences. During the pandemic years,
with the broadening of online audiences, online video platforms
championed the appreciation of cross-regional and global content,
expanding the linguistic palette of viewers to an extent where,
viewers at large started watching OTT content across languages.
While Hindi dominated original streaming productions, the four
southern languages—Tamil, Malayalam, Telugu, and Kannada—
have significantly contributed to the growing share of regional
consumption.
Amidst the peak years of the pandemic (2020-2022), the surge indirect-to-OTT movie releases drove the growth of original regional
content, accounting for 42% share in 2021. Despite the subsequent
reopening of theatres, original series from South India and otherregions have maintained momentum, resulting in a notable
increase in regional language programming hours.
Delving into new regional language markets demands meticulous
attention to unique nuances, content preferences, and creativemindsets. This requires significant investment in both time andresources. As an additional measure, platforms today are also
curating licensed content in local languages.

Section4.
Expanding
I: Executive
the Audience
Summary& its Content Palette

Indian Original Titles By Language (2015-2023)
250

225
199

189

200

206

62
137

150

89

81

144

9
10

33
100

70

25

12
2

24

14

67

72

68

2019

2020

2021

3
9

17

50

13

5

0

5
8

6
3

1

2

4

2015
Hindi Series

6
3

21
3

11

13

2016

2017

Southern Series

12
3
2

39

1

84

86

2022

2023

32
2018

Other Regional Series

English Series

Direct-to-OTT Movies

Note: 1) For the above analysis, we have exclusively examined the supply of web original titles from the following six streaming
platforms: Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema. 2) Indian Original content for a platform
includes both local originals and direct-to-streaming/ OTT movie releases 3) ‘Southern’ includes four languages; Tamil, Telugu,
Kannada, Malayalam 4) ‘Other regional’ languages include Marathi, Bhojpuri, Bengali, Punjabi, and Gujarati languages 5) English series
represent Indian series made in English language.
Source: MPA analysis
12Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Redefining cultural storytelling. Online video platforms
have become global ambassadors of India's rich cultural
tapestry, showcasing a diverse range of local stories throughoriginal series and movies. During their formative years, OTT
platforms focused on urban stories and narratives, especiallythose based in major metropolitan regions of Maharashtra,
Tamil Nadu, Andhra Pradesh and Telangana. However, anotable shift has occurred over the last few years, as more andmore stories from Hindi heartland states i.e., Uttar Pradesh,
Himachal Pradesh, and Rajasthan and even North-East India
have started to emerge. As a result, new avenues have opened
up to explore different cultural worlds within India, as seen inshows like Kohrra (Netflix) set in Punjab, Dahaad (Prime
Video) set in Rajasthan, Panchayat (Prime Video) set in Uttar
Pradesh, Kaala Paani (Netflix) set in Andaman & Nicobar
Islands and The Last Hour (Prime Video) set in the Northeast
for authentic nuances.

Exploring Diverse Locales for Indian Streaming Originals (2015-2023)

250
225
200
15
7
5

175

14
5
4
7

43

19

150
125

25
5
2
6

100

23

75

17
2
6
11
13

50
25
0
2015
West India

2016

15
38

83

48

10

16
14
16
45

69

47

29
47

56
2020

8

21

2017

2018

2019

North India

East India

South India

39

12
4
3

69

58

58

2021

2022

2023

International

Indoors

Multiple Locations

Note: 1) For the above analysis, we have exclusively examined the supply of web original titles from the following six streaming
platforms: Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema.. 2) "Multiple Locations" indicates narratives
set across various cities, towns, or villages. 3) "International" denotes stories taking place in countries other than India. 4) "Indoors"signifies productions filmed in controlled environments, including indoor sets for live-action, stand-up, or animated series, or fictionalsettings without specific location disclosure.
Source: MPA analysis
Section4.
Expanding
I: Executive
the Audience
Summary& its Content Palette

13

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Subtitling and dubbing have broken the language
barrier and helped the consumption of regional content
become a mega trend on online video platforms in India.
Southern films whether direct-to-streaming like Jai Bhim,
Sarpatta Parambarai, Jagame Thandhiram, or posttheatrical like RRR, Pushpa: The Rise, KGF Chapter 2, andKantara, have been streamed by audiences across thecountry, a testimony to how online video has unlocked thepotential of India’s diverse story-telling cultures. In
response to the growing demand for local content, online
video players are also actively localizing their UI/UX,
enhancing the search and discovery experience for regional
titles.

Localization Efforts Made By Top Platforms In India

No. of Original
Languages(Worldwide)

No. of Original
Languages(Indian)No. of Dubbed
Languages(Indian)No. of Subtitling
Languages(Indian)

Netflix

30

6

6

3

Prime Video

21

9

8

5

Sony Liv

8

7

9

1

Zee 5

12

11

11

1

Disney+ Hotstar

11

8

7

1

Jio Cinema

12

11

7

1

OTT Platform

Source: Company Websites, MPA analysis
Section4.
Expanding
I: Executive
the Audience
Summary& its Content Palette

14

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Evolving genre mix with the maturity of audiences.
Over the past seven years, online video platforms have not
only provided entertainment in local Indian languages but
have also played a pivotal role in shaping content acrossvarious genres. During the pandemic, the closure oftheaters and limited TV programming prompted viewers to
explore the extensive libraries of original content on OTT
platforms. A wave of new viewers embraced edgy shows
including ASUR, Mirzapur, Special Ops, Aarya, and Scam
1992. In recent years, the rising adoption of streaming
content on connected TVs has also resulted in a growing
influx of Drama and romance, Comedy, and other familyoriented content on OTT platforms.

Genre Variety In Indian Originals (2015-2023)
250

225
189

200

4
8
4

137

150

4
3
2
10
7

100

70
3
2
6
2

50
5
0

2
2015

13
3

21

20
10

2
2 7

7

3
9

26

2016

2017

2018

24

16

5
7
6
5

206

199
1
6
8

22
47

38
54
55

1
6
13

1

12

11
15

39

25

64

63

68

72

2022

2023

34

53

63

2019

2020

79

2021

Drama & Romance

Crime & Thriller

ComedyAction & Adventure

Reality

Documentary

HorrorOthersTotal

Note: 1) For the above analysis, we have exclusively examined the supply of web original titles from the following six
streaming platforms: Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema.
2) Others include genres of Sci-Fi/Fantasy, Children & Family, & Anime & Adult Animation
Source: MPA analysis
Section4.
Expanding
I: Executive
the Audience
Summary& its Content Palette

15

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

5. Economic Impact
Online video industry impact on employment. Premium video platforms have emerged as significant contributors to India’s economy, generating numerous employment opportunities. With
more than a five-fold increase since 2015, India now boasts close to 60 premium online video services. The exponential growth of these platforms has resulted in increased investment in originalcontent production, which has helped provide an economic boost to the creative economy as well as ancillary industries.

Employment Generation & Distribution Of Roles In Producing Local Movies

Employment Generation & Distribution Of Roles In Local Web Series

Average Total Jobs Per Project – 365 to 415

Average Total Jobs Per Project – 345 to 400

Direct Jobs per project (51%)

Indirect Jobs per project (49%)

Legal, Finance &Insurance, 5%Cast &Creative , 40%

Other,
19%

Music, Dubbing &Sound , 13%

185-200
Hair & Makeup,
Wardrobe, 8%

Art & Design,
12%

Streaming &Distribution, 3%Marketing &Publicity, 3%
Production,
4%Sound &
Camera,Electric &7%
Lighting, 10%

Studio,Location
Scouting &Equipment
Rentals, 8%

Direct Jobs per project (50%)

Indirect Jobs per project (50%)

Legal, Finance &Insurance, 5%Transportation, Catering &Hospitality,
26%

Cast &Creative , 39%

Other,
21%

Hair & Makeup,
Wardrobe, 6%

Postproduction
incl. VFX,
42%

Music, Dubbing &Sound , 12%

170-195

180-215

Art & Design,
12%

Production,
4%
Electric &Lighting,
12%

Streaming &Distribution, 4%Sound &
Camera,7%

Studio,Location
Scouting &Equipment
Rentals, 8%Transportation, Catering &Hospitality,25%

175-210Marketing &Publicity, 2%

Postproduction
incl. VFX,
43%

Source: Industry discussions, MPA analysis
Section5.
Economic
I: Executive
ImpactSummary16

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Each locally commissioned and acquired project has
generated a significant impact. From 2016 to 2023, >1,500
original content titles were released across all OTT video
platforms in India, comprising >500 direct-to-streaming
movies and 1,000 original series. This surge in content
creation has resulted in substantial employment
opportunities for professionals within the domestic
creative economy. Moreover, each commissioned or
acquired project has resulted in the creation of one
additional indirect job for every direct job generated.

350

Employment Opportunities (‘000)

The entry of new players and increased investments haveresulted in a multi-fold increase in the number of jobs
created by the premium online video segment. In 2023
alone, the industry generated ~174,000 direct and indirect
jobs. As platforms continue to invest in capturing India's
market heterogeneity and revenue potential, employment
opportunities are set to expand. According to MPA, theOTT industry is projected to experience a steady growth ofprofessional direct and indirect jobs between 2023-2028.
This forecasted growth trajectory is anticipated to generatearound 280,000 job openings by 2028. However, withincreased emphasis on higher production quality andlocalization of content, there will be a growing demand inallied sectors such as VFX, animation, subtitling, anddubbing, thereby presenting numerous opportunities. As
this trend unfolds significantly, it can lead to a muchhigher demand for skillsets, potentially reaching >330,000
jobs by 2028.

Potential Employment Generation By The Online Video Industry

331
288

300
251

250

218

200
143

150
78

9

14

2016

2017

37

2018

2019

2020

2021

Direct Jobs

Section5.
Economic
I: Executive
ImpactSummary

191

110

100
50

160

174

2022

2023

2024

2025

2026

2027

2028

Indirect Jobs

Note: Each season of an original series franchise has been counted as an individual title for the calculation of total original
titles in the employment generation analysis above.
Source: MPA analysis

17

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

A boon for local creative economy. The rise of popular
Indian OTT shows is bringing a boom to tier II cities beyond
the usual filming hubs of Mumbai and Chennai. These
productions are scouting picturesque locations and local
talent in cities like Indore or Lucknow, creating a wealth ofjob opportunities. From crew positions like set designers
and sound technicians to background actors and catering
staff, most of whom are trained on the job, the influx offilming projects injects a much-needed shot of income andexperience into these regional economies. This trend not
only benefits the shows with fresh settings and potential
new audiences, but also fosters a growing media industry
beyond the traditional strongholds.

Rise Of Tier II Cities As Production Locations Boosts Job Creation

Jammu & Kashmir

Himachal Pradesh

Bard of Blood (NF) - Ladakh

Aranyak (NF) – Manali, Dalhousie

PunjabUttarakhand

Kohrra (NF) – Ludhiana

Haseen Dilruba (NF) – Haridwar, Rishikesh
Rocket Boys (SLV) - Dehradun

Haryana

Kohrra (NF) – Jhajjar

Uttar Pradesh

Mirzapur (PV) – Lucknow, Varanasi, Sarnath
Kaagaz (Zee5) – Lucknow, Malihabad, Sitapur

Rajasthan

Dahan: Raakan Ka Rahasya (D+H) – Chirana,
Nawalgarh, Mandawa, Jaipur
Bandish Bandits (PV) – Bikaner, Jodhpur, Khinvsar
Aarya (D+H)– Jaipur, Chittorgarh
Dahaad (PV)– Samode, Bikaner, Nawalgarh,
Mandawa, Jaipur, Jhunjhunu
Bard of Blood (NF) – Mandawa, Sambhar
Kota Factory (NF) – Kota

SikkimThe Last Hour (PV) - Mangan, Ravangla,
Gangtok, Yumthang, Lachung, Zuluk

Assam

The Last Hour (PV) – Guwahati

Gujarat

Meghalaya

Paatal Lok (PV) – Ahmedabad

The Last Hour (PV) – Cherapunji

Maharashtra

West Bengal

Little Things 4 (NF) – Pune, Igatpuri
Rocket Boys) (SLV) – Pune, Wai
Farzi (PV) - Alibaug

Goa

Farzi (PV)

KeralaLittle Things 4 (NF) – Kochi

Madhya Pradesh

The Last Hour (PV) - Kalimpong

Human (D+H)– Bhopal
Gullak (SLV) – Bhopal
Panchayat (PV) – Mahodiya
Paatal Lok (PV) – Chitrakoot
Maharani (SLV) – Narmadapuram, Bhopal

Source: MPA analysis

Section5.
Economic
I: Executive
ImpactSummary

18

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

6. Nurturing TalentMore opportunities for fresh talent. Online video
platforms have revolutionized the content market,
enabling emerging talent and seasoned veterans tocollaborate and produce compelling content. The successof series like Kota Factory, Scam 1992, Panchayat,
Jamtara, Mirzapur, Paatal Lok and TVF Pitchers
demonstrates that innovative content, combined with fresh
talent, can be popular across the country. Thisphenomenon also extends to technicians behind thescreens, with 25% of all original content on top OTT
platforms being directed by first-time filmmakers. These
newcomers introduce fresh voices and untold stories fromdiverse regions, enriching the content landscape with avariety of genres and formats.

Acting Talent Blooming With The Advent Of OTT In India

Vijay Verma(12 titles)

Jitendra
Kumar(17 titles)

AvinashTiwary(6 titles)

Babil Khan
(3 titles)

Vikrant
Massey(13 titles)

AdarshGaurav(7 titles)

Pratik Gandhi(5 titles)

Tanya
Maniktala(9 titles)

Sayani Gupta(12 titles)

Divyendu
Sharma(10 titles)

Amit Sadh(12 titles)

SobhitaDhulipala(5 titles)

Note: 1) Original titles from different OTT platforms have been considered for analysis. 2) The subsequent season of an
original series franchise has been considered as an individual title
Source: MPA analysis
Section6.
Nurturing
I: Executive
Talent Summary

19

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Opportunities for all. Online video platforms havesignificantly boosted job opportunities in the media andentertainment sector. More importantly, they haveemerged as vital channels by linking creators, talent, anddiverse audiences.
The format's flexibility, with multiple episodes, seasons,parallel leads, and sub-plots, offers actors ample chances
to delve into their characters. Actors, both seasoned andemerging, once limited by traditional production
boundaries, are now finding household popularity.
OTT platforms also allow popular actors to extend theircareers, challenge stereotypes, and refresh their image
with diverse roles.

Popular Mainstream Actors Testing The OTT Waters

Ajay Devgn(Rudra: The Edgeof Darkness)

Sonakshi Sinha(Dahaad, Bhuj: The Prideof India)

Saif Ali Khan

Anil Kapoor(Sacred Games,
Taandav)(The Night
Manager, Thar)

Kareena Kapoor
Khan

Rana Daggubati(Rana Naidu)(Jaane Jaan)

Manoj Bajpayee

Abhishek
Bachchan(The Family Man,
Gulmohar, Sirf Ek Banda
Kaafi Hai)

(Breathe: Into the
Shadows, Dasvi)

Kajol

Shahid Kapoor

Raveena Tandon(2 titles)

Madhuri Dixit Nene
(2 titles)(The Trial, Lust Stories
2)(Farzi, Bloody
Daddy)

Actors Making A Comeback In The Mainstream Content

Manisha Koirala(3 titles)

Ragubir Yadav(10 titles)

Bobby Deol
Sushmita Sen
Lara Dutta
Shefali Shah
(2 titles)(3 titles)(7 titles)(6 titles)
Note: 1) Original titles from different OTT platforms have been considered for analysis. 2) The subsequent season of an
original series franchise has been considered as an individual title
Source: MPA analysis
20
Sanjay Kapoor(7 titles)

Section6.
Nurturing
I: Executive
Talent Summary

Neena Gupta(14 titles)

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

OTT platforms have created more job opportunities forboth seasoned and new actors. Today's popular actors on
premium VOD platforms have, on average, derived 6070% of their projects from the medium in the last eight
years. This underscores its pivotal role in recognizing andpropelling talent.

OTT Presented More Opportunities For Talented Actors
Total OTT Titles(2016-2023)

ACTOR NAMESJITENDRA KUMAR

17

89%

RASIKA DUGGAL

68%

15

VIKRANT MASSEY

67%

13

PRIYANSHU PAINYULI

67%

10

DIVYENDU SHARMA

65%

10

SHEFALI SHAH

64%

6MOHIT RAINA

64%

9TILOTAMA SHOME

53%

8

ABHISHEK BANERJEE

52%

17

0%

20%

40%

60%

80%

100%

Share of OTT Titles in Filmography (2016-2023)
Note: 1) Original titles from different OTT platforms have been considered for analysis. 2) The subsequent season of an
original series franchise has been considered as an individual title
Source: MPA analysis
Section6.
Nurturing
I: Executive
Talent Summary21

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Cross-cultural collaboration. Online video platforms
are dissolving boundaries and transcending language
barriers by enabling a crossover of talent from diverse
regional clusters onto a broader pan-India stage. This has
unlocked creative opportunities for producers, technicians,
and viewers, both within and outside India. The popularityof these regional actors also helps the content increase
viewership in their ‘home markets’.

Actors Breaking The Language Barrier

Name: Regina Cassandra
Primary Industry: Tamil/ Telugu
Popular Pan-India OTT Titles: Farzi, Rocket
Boys

Name: Parambrata Chattopadhyay
Primary Industry: Bengali
Popular Pan-India OTT Titles: Aranyak,
Jehanabad

Name: Swastika Chatterjee
Primary Industry: Bengali
Popular Pan-India OTT Titles: Paatal Lok,
Criminal Justice: Behind Closed Doors

Name: Vijay Sethupati
Primary Industry: Tamil
Popular Pan-India OTT Titles: Farzi

Name: Pratik Gandhi
Primary Industry: Gujarati
Popular Pan-India OTT Titles: Scam 1992:
The Harshad Mehta Story, The Great Indian
MurderName: Amruta SubhashPrimary Industry: Marathi
Popular Pan-India OTT Titles: Bombay
Begums, Sacred Games S2, Lust Stories 2

Note: Original titles from Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema have been considered for analysis
Source: MPA analysis
Section6.
Nurturing
I: Executive
Talent Summary

22

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Screenwriting

Direction

Talent Behind the Screen for Popular Indian OTT Originals

Deepak Kumar
Mishra(Panchayat,
Permanent
Roommates)

Abhay Pannu(Rocket Boyz)

Avinash Arun
Raj & DK
(Paatal Lok, School of (The Family Man, Farzi)
Lies, Three of Us)

Sudip Sharma(Paatal Lok,
Kohrra)Durgesh Singh(Gullak)Raj & DK(The Family Man,
Farzi)

Darshan Raval“Yaara Teri Yaari”
Darshan Raval
Naveen Tyagi
Four More Shots
PleaseYT Views: 48M

Achint Thakkar“Theme Song”
Achint Thakkar
Scam 1992
YT Views: 29M

Swanand Kirkire“Shauq”
Amit Trivedi
Varun Grover
Qala
YT Views: 23M

Gurmeet Singh(Mirzapur)

Shivam Nair(Special Ops)

Richie Mehta(Delhi Crime)

Chandan Kumar(Panchayat)

Gaurav Shukla(Asur)Atul Sabharwal(Jubilee)Reema Kagti(Made In Heaven, Dahaad,
Kho Gaye Hum Kahaan)

ShivamMahadevan“Chedkhaniyaan”
Shankar Ehsaan Loy
Divyanshu Malhotra
Bandish BanditsYT Views: 21M

Vishal Mishra“Teri Hogaiyaan”
Vishal Mishra
Broken But
Beautiful 2
YT Views: 20M

Rekha Bhardwaj“Aise Kyun”
Anurag Saikia
Raj Shekhar
Mismatched S2YT Views: 18M

Vishal Dadlani“Paisa Hai Toh”
Sachin-Jigar
Jigar Saraiya
Farzi
YT Views: 14M

Music

Talent behind the scenes. The rise of OTT
platforms in India has sparked a revolution for
creative talent behind the scenes. Unlike
traditional film studios, OTT platforms embraceinnovation, welcoming emerging voices andunconventional narratives. This environment
fosters opportunities for writers to explore
complex social issues, directors to push
storytelling boundaries, editors to experimentwith narrative techniques, cinematographers to
explore new visual styles, and composers tocraft culturally infused soundtracks. This results
in a richer and more diverse entertainment
landscape that mirrors modern India's
complexities.

Source: MPA analysis
Section6.
Nurturing
I: Executive
Talent Summary23

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Social influencers catapult tomainstream stardom. In India, OTT
platforms have transformed the landscape forsocial media influencers and creators,
recognizing their talent and loyal audience base.
This transition to mainstream acting offers
lucrative opportunities, addressing thelimitations of monetization on social media.
Shows and films like Taaza Khabar,
Mismatched, Govinda Naam Mera, Masaba
Masaba 2, Campus Diaries, and Bhaag Beanie
Bhaag, Pushpavalli showcase how digitalcontent creators seamlessly make their way into
mainstream acting.

Social Media Influencers Who Successfully Made The Shift To OTT

Bhuvan Bam

Prajakta Koli

Viraj Ghelani(Taaza Khabar)(Mismatched)(Govinda Naam Mera)Arun Kushwah(TVF Bachelors, Dasvi)

Kareema Barry

Radhika Seth

(Masaba Masaba 2,
Girls Hostel 3.0)

(Call My Agent:
Bollywood)

Dolly Singh

Kusha Kapila(Bhaag Beanie Bhaag,
Modern Love: Mumbai)(Ghost Stories, LOL: Hasse
Toh Phase, Masaba Masaba
2)

Sumukhi Suresh(Pushpavalli)

Zakir Khan

(Chacha Vidhayak Hain
Humare)Source: MPA analysis

Section6.
Nurturing
I: Executive
Talent Summary24

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

More Women Directors At The Helm (2017-2023)

25
No. of titles with women directors

Shattering gender barriers. OTT platforms recognize
the importance of promoting inclusive employment growthin the sector. The under-representation of women behindthe camera, much like the insufficient screen time andlimited substantive roles for women on-screen, washistorically a major issue in the entertainment industry.
Despite widespread calls for the inclusion of stronger andmore dynamic female characters in shows and movies,
resistance persisted against hiring women writers. This
resistance was based on the perception that finding highquality female writers was challenging and that malewriters were just as capable of crafting well-rounded
female characters. Over the years, all major OTT platforms
have recognized the need for women writers and launched
a concerted effort to create a comprehensive database of
female professionals, including cinematographers,
production designers, and editors, fostering change.
Today, the inclusion of women in technical teams iscommonplace, marking a significant step towards
addressing industry disparities.

20

15

10

20

22

23

22

2021

2022

2023

16
5

0

2
2017

5
2018

2019

2020

Note: For the above analysis, we have exclusively examined the supply of web original titles from the following six streaming
platforms: Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema.
Source: MPA analysis

Section6.
Nurturing
I: Executive
Talent Summary25

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

7. Building India’s Soft Powerfor Positive Change and Global
Recognition
Showcasing a progressive India to the world. OTT
platforms have served as powerful tools leveraging highquality content to engage domestic audiences and bolster
India's global soft power. By showcasing India’s diverse
cultures and progressive outlook, these platforms
contribute significantly to India's global influence andpresent a positive image worldwide. The rich cultural
heritage and varied traditions of India take center stage
through original series and movies on OTT platforms,
providing a platform for diverse storytellers andhistorically marginalized narratives.

Being an agent of social change. Across genres likedrama, documentary, and comedy, OTT platforms tackle
topics like gender inequality, LGBTQ+ rights, caste
discrimination etc. By portraying these issues thoughtfully
and reaching diverse audiences, Indian OTT shows
contribute significantly to raising awareness, fostering
empathy, and driving social change.

Popular Indian Originals Showcasing Social Issues

Panchayat

Kota Factory

JamtaraKaagazSirf Ek Bandaa
Kaafi Hai

Ayali

Made In Heaven

Trial By Fire

DahaadTaali

Criminal JusticeSuzhal – The
Vortex

Source: MPA analysis
Section7.
Building
I: Executive
India’s Soft
Summary
Power for Positive Change and Global Recognition

26

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Reshaping Women's Portrayal on Screen. OTT
platforms are championing female-centric narratives,
showcasing the diverse experiences andaccomplishments of women. Actresses are seizing
challenging roles, portraying multi-dimensional
characters in lifelike and relatable narratives. Theseshows and movies celebrate the myriad facets of Indian
women, tackling themes often overlooked bymainstream cinema. Viewer acclaim for this approach
fuels the creation of more such content, with streaming
platforms backing projects that might otherwise havestruggled to emerge.

Popular Indian Originals Showcasing Women Stories

The Married
Woman

DahaadAarya

SherniDarlings

Delhi Crime

Four More
Shots Please

Lust Stories

Maharani

Scoop

She

Sweet Kaaram
CoffeeMade In Heaven

Pitta Kathalu

BombayBegums

Human

Pagglait

Maja Ma

Source: MPA analysis

Section7.
Building
I: Executive
India’s Soft
Summary
Power for Positive Change and Global Recognition27

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Growing Titles With Women Leads, Diversity & Social Commentary

50

47

45

42

40

40
No. of Original Titles

The creative freedom granted by OTT platforms allows
writers to explore realistic topics without traditional
constraints, resulting in the rise of women taking leadroles, contributing to engaging plots, and showcasing adiverse range of strong female characters. In addition,
OTT platforms actively address queer representation,transforming stories of oppression into celebrations of
the community. Furthermore, stories on OTT
platforms tackle social issues, portraying the harshreality of social hierarchy, privilege, and violent
struggles. From 2016 to 2023, the surge in women-led
titles and those addressing gender diversity and social
issues on OTT platforms showcases a positive trend.
Notably, 2023 recorded the highest number of titles inall three categories with a three-fold increase in titles
addressing social issues.

35

35

29

30
25

22

20
15

12

10
5

1

3

2

5

7
2

10

8

8

10

13

4

0
2016

2017

2018

Women-Centric

2019

2020

Gender Diversity

2021

2022

2023

Social Issues

Note: For the above analysis, we have exclusively examined the supply of web original titles from the following six streaming
platforms: Disney+ Hotstar, Prime Video, Netflix, Sony LIV, Zee5, and Voot/Jio Cinema.
Source: MPA analysis

Section7.
Building
I: Executive
India’s Soft
Summary
Power for Positive Change and Global Recognition

28

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Global popularity of Indian Originals. Historically, local Indian
content had a limited release outside the home market. Today, with
OTT’s worldwide reach and global distribution, Indian OTT content
can now be accessed in more than 190 countries. Audiences globallyare consuming quality stories from large local territories in addition
to Hollywood (i.e., South Korea, Japan, France, UK, Spain, etc.) andhence, original Indian content on streaming platforms is increasingly
finding an audience outside India.
•

•

•

•

For Prime Video, 25% of audience demand for Indian titles comesfrom outside India and includes but is not limited to the Indian
diaspora. Throughout 2023, Prime Video Indian originals
consistently secured spots in the Global Top 10 list for all content,
including English, for 43 out of 52 weeks.
In 2023, Indian films and series released by Netflix consistently
featured in the Global Top 10 for non-English content for 49 out of
52 weeks. More than 60 Indian stories, including 17 Netflix India
originals, ranked among the top 10 globally in the non-English
category.
‘RRR’ stayed on the global Top 10 list of most watched nonEnglish films for 15 weeks, making it the longest-ever trending
Indian film on the list.
ZEE5 Global has experienced a 46% year-on-year increase inoriginal content viewing in the United States.

and Japan has put Asian economies, including India, in the spotlightfor their potential in globalizing content. As a result, it is anticipatedthat Indian content will become a major contributor to the global
entertainment landscape, similar to the influence of K-pop, K-dramas,
and Anime. Streaming platforms such as Prime Video, Netflix, Disney+
Hotstar, Jio Cinema, Zee5, and Sony Liv are expected to play a crucialrole in facilitating the global dissemination of Indian original content.
Global awards and recognition. Indian content on OTT platforms
such as Prime Video and Netflix, have achieved success globally having
earned nominations and wins at prestigious international awards,
highlighting Indian talent and content on the global stage. Prime
Video's Inside Edge was the first Indian fiction show to be nominatedat the Emmys, followed by Netflix’s Sacred Games, Four More Shots
Please, and Made in Heaven in subsequent years. In addition, Prime
Video India's homegrown format, Comicstaan, is being taught inbusiness schools as a case study of how it created a new phenomenon
by making stand-up comedy a career option. The authentic storytellingin these shows has been the key to their overseas success, making
them universal in appeal to audiences worldwide.

Indian talent, including actors, writers, and directors, now have asignificant opportunity to showcase their skills and creativity on a
global stage. The success of entertainment industries in South Korea

Section7.
Building
I: Executive
India’s Soft
Summary
Power for Positive Change and Global Recognition

29

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Indian Originals Receiving Global Recognition

Year

Title/ Actor

PlatformAwardsCategory

Result2018

Inside Edge S1

Prime Video

International Emmy Awards

Best Drama Series

Nominated

Anurag Kashyap (Sacred Games)

Netflix

Asian Academy Creative Award

Best Direction (Fiction)

Win

Lust Stories

Netflix

International Emmy Awards

Best TV Movie/Mini-Series

Nominated

Sacred Games S1

Netflix

International Emmy Awards

Best Drama Series

Nominated

Radhika Apte (Lust Stories)

Netflix

International Emmy Awards

Best Actress

Nominated

The Remix

Prime Video

International Emmy Awards

Best Non-Scripted Entertainment

Nominated

Shefali Shah (Delhi Crime)

Netflix

Asian Academy Creative Awards

Best Actress in a Leading RoleWin

Richie Mehta (Delhi Crime)

Netflix

Asian Academy Creative Awards

Best Direction (Fiction)

Win

Delhi Crime

Netflix

Asian Academy Creative Awards

Best Drama Series

Win

Delhi Crime S1Netflix

International Emmy Awards

Best Drama Series

Win

Four More Shots Please S2Prime Video

International Emmy Awards

Best Comedy Series

Nominated

Arjun Mathur (Made in Heaven S1)

Prime Video

International Emmy Awards

Best Performance by an Actor

Nominated

Aarya

Disney+ Hotstar

International Emmy Awards

Best Drama Series

Nominated

Nawazuddin Siddiqui (Serious Men)

Netflix

International Emmy Awards

Best Performance by an Actor

Nominated

Vir Das: For India

Netflix

International Emmy Awards

Best Comedy

Nominated

Amruta Subhash (Bombay Begums)

Netflix

Asian Academy Creative Award

Best Actress in a Supporting RoleWin

Konkona Sen Sharma (Ajeeb Dastans: Geeli Pucchi)

Netflix

Asian Academy Creative Award

Best Actress in a Leading Role

Nominated

2019

2020

2021

Source: MPA analysis
Section7.
Building
I: Executive
India’s Soft
Summary
Power for Positive Change and Global Recognition

30

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Indian Originals Receiving Global Recognition

Year

2022

2023

Title/ Actor

PlatformAwardsCategory

Result

The Elephant Whisperers

Netflix

95th Academy Awards (Oscars)

Best Documentary Short FilmWin

Minnal Murali

Netflix

Asian Academy Creative Award

Win

Mumbai Diaries 26/11

Prime Video

Asian Academy Creative Award

Suzhal: The Vortex

Prime Video

Asian Academy Creative Award

Best Direction (Fiction)
Best Original Programme by a
Streamer/OTTBest Drama Series

Sakshi Tanwar (Mai)

Netflix

Indian Film Festival of Melbourne

Best Actress in a SeriesWin

Mohit Raina (Mumbai Diaries 26/11)

Prime Video

Indian Film Festival of Melbourne

Best Actor in a SeriesWin

Mumbai Diaries 26/11

Prime Video

Indian Film Festival of Melbourne

Best Series

Win

Jim Sarbh (Rocket Boys)

Sony LIVInternational Emmy Awards

Best Performance by an Actor

Nominated

Shefali Shah (Delhi Crime S2)

Netflix

International Emmy Awards

Best Performance by an Actor

Nominated

Vir Das: Landing

Netflix

International Emmy Awards

ComedyWin

Vijay Varma (Dahaad)Prime Video

Indian Film Festival of Melbourne

Best Performance (MALE) in a Series

Win

JubileePrime Video

Indian Film Festival of Melbourne

Best Series

Win

Vijay Varma (Dahaad)Prime Video

Best Actor in a leading roleWin

Rajshri Deshpande (Trial By Fire)

Netflix

Best Actress in a Leading RoleWin

DahaadPrime Video

Best Original Productions by Streamer/OTT

Win

Modern Love Chennai (Memory is but a bird)

Prime Video

Best Single Drama/Telemovie/Anthology
EpisodeWin

Panchayat S2

Prime Video

Inaugural Best Web Series (OTT)Win

Asian Academy Creative Awards Global winners
Asian Academy Creative Awards Global winners
Asian Academy Creative Awards –National winners
Asian Academy Creative Awards Global winners
54th International Film Festival ofIndia (IFFI)

Win
Win

Source: MPA analysis
Section7.
Building
I: Executive
India’s Soft
Summary
Power for Positive Change and Global Recognition

31

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

8. Adopting Global
Best Practices
Indian OTT platforms have been quick to adopt global practices oncontent production to cater to ever-growing demand.
Key global practices adopted include:
Systemic reorientation. In 2016-17, international OTT platforms
entered India, collaborating with established production houses andfilmmakers to create premium TV content. However, they faced
challenges as TV professionals prioritized deadlines over quality,and prominent filmmakers hesitated, considering it a professional
downgrade. Those who joined often repurposed film scripts as fresh
concepts. To drive the differentiation of these shows especiallyamong creators and talent, platforms began labelling their shows as'Originals' and describing them as long-form cinematic storytelling.
Building quality benchmarks. International OTT platforms
revolutionized content creation by investing in talent, technology,
and storytelling. They streamlined the production process,enforcing global quality standards from advanced cameras to postproduction technologies. This meticulous approach, including roles
like post-production, music, and VFX supervisors, allowed Indian
filmmakers to produce visually stunning and engaging content

Section8.
Adopting
I: Executive
Global Summary
Best Practices

The competition prompted domestic OTT players to raise
production budgets, select superior scripts, and hire qualified
professionals to meet 'international standards.' Some directors notea marked quality improvement compared to their earlier domestic
projects, highlighting the significant resources invested by online
video platforms.
Focus on project development. Earlier film production
involved the approval of a basic idea or story, an attached star cast,and was quickly followed by pre-production work. However,international OTT platforms, realizing the need for time, resources,
and collaboration for the then-nascent streaming medium, invested
heavily in proper script development. Creators were required todraft comprehensive stories, step outlines, and detailed screenplays.
Only when 80% of the series script was completed would the show
be budgeted and greenlit for production. This process, taking
almost two years, allowed for better budgeting and a 'two-door'
policy for script screening. If draft scripts did not align with theirvision, both parties could part ways. The platforms, willing to takethe risk, brought in global consultants to facilitate idea
development, working with local professionals to translate thecreator's vision. This collaborative approach has fostered a thriving
creative ecosystem in India.

32

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Writers’ Room. 'Originals' on OTT platforms offer immersive,
multifaceted experiences with intricate plotlines, interwoven arcs,
and episodic cliffhangers spanning multiple seasons. Recognizing
streaming as a writer's medium, OTT players prioritize writing,introducing the Writers' Room concept. Initially met with resistancein India, it became an essential tool to maintain continuity inwriting when filming for multiple episodes or seasons. Comprising
five or six writers, the writers' room fosters talent development,with many writers advancing to become showrunners. This shiftemphasizes the importance of writing, often overlooked in thecreative process.
Introducing new content formats and genres. OTT platforms
introduced diverse content formats and genres previously
unavailable in traditional broadcast media. This expanded viewer
choices and provided creators with new opportunities. Global
platforms like Prime Video replicated popular formats acrosscountries, such as Modern Love: Mumbai, an adaptation of a US
show based on New York Times stories. Another homegrownformat, One Mic Stand, originated on Prime Video and is now being
produced in Germany and explored in other territories. Jio Cinema,in Oct 2023 released the Indian adaptation of the popular US reality
series Temptation Island.

Upskilling initiatives. International OTT platforms have invested
significantly in upskilling programs for professionals in the content
creation industry. These initiatives enhance skills, keeping
individuals abreast of trends, consumer preferences, andtechnological advancements. Active participation in these programs
enables professionals to create more engaging content, improve
career prospects, and attain higher positions with better
remuneration. Notably, the impact of these upskilling efforts isevident in screenwriting, where India, despite being a major global
film industry, lacked formal screenwriting courses until 7-8 years
ago. Implementation of supervised processes and upskilling
programs have transformed writers who participated in writers'
rooms into leaders, guiding and mentoring their peers.
Research and data-driven approach. Indian OTT platforms
conduct thorough audience research to understand behavioral
patterns, preferences, and tastes. They test content at the script or
pilot episode level, creating content finely attuned to audience
preferences for heightened engagement and long-lasting loyalty.

The ‘Human Touch.’ OTT platforms prioritize humane elements
in production, fostering creator-friendly contracts, ensuring
protection for multiple seasons, and eliminating middlemen for faircompensation. Amid the pandemic, platforms prioritize team safety
and emphasize sustainable, environment-friendly sets. Valuing
long-term relationships, platforms recognize the significance of a
happy crew for success.
Section8.
Adopting
I: Executive
Global Summary
Best Practices

33

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

New Content Formats Emerging From OTT

Anthologies
Anthology series are a collection of independent stories that are connected by a common theme or
topic. Each episode tells a different story, often with a different cast and crew.

Docuseries
Docuseries are non-fiction television series that often consist of several episodes and are created to
explore a specific topic such as true crime, politics, history, and nature, in detail.

Stand-up Comedy Specials
Stand-up comedy specials are stand-up comedy performances that are recorded and released as avideo, OTT is a popular destination for these specials with many comedians releasing their shows
exclusively on these platforms.

Interactive Shows
Interactive shows are television programs that allow viewers to participate in the storyline by making
choices that affect the outcome of the show. This format blurs the line between gaming andentertainment.

Source: MPA analysis
Section8.
Adopting
I: Executive
Global Summary
Best Practices

34

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

9. Catalyst for Allied
Industries
Telecom. Affordable high-speed broadband and thewidespread adoption of smartphones with enhanced
computing capabilities have empowered users to consume
rich media formats, particularly video content. Today,
video has become the primary use case for Indians to
consume high speed data. The share of telco's data
revenues has surged significantly, escalating from 22% in2015 to a commanding 85% in 2022. Video remains theprimary use case, driving over 70% of telco data traffic.
Streaming video platforms have played a pivotal role inincentivizing users to consume data by creating immersiveand engaging local IPs. According to AMPD, between
January 2022 and December 2023, Indians collectively
spent a staggering 10 trillion minutes watching online
video content

Telco’s Growing Share Of Data Revenues And Video Consumption

Breakdown of Telco Revenue

Share of Data Consumption on Mobile - 2023
QE Sept’23

QE Dec’15
SMS
3%

Other
11%

Rental
17%

Voice
48%

Data
22%

Rental1%Video70-80%

Others

Voice 3%10%US$
6.4 bil.

Data
86%

SocialMedia
10-12%
Browsing
12-14%

21
GB/mo.
/sub

Others5-10%

According to MPA, monthly data consumption is projected
to double from the current 21 GB per user to 50 GB per
user by 2028. This anticipated growth underscores theincreasing importance of video content and its impact on
driving data consumption and revenues for the telecom
industry.
Source: MPA analysis

Section9.
Catalyst
I: Executive
for AlliedSummary
Industries

35

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Emergence Of New Age Content Aggregators

Pay-TV operators, local ISPs, and OEMs. Incumbent pay-TV
operators, once wholesalers of linear channels, are facing challenges
with high subscriber churn and sluggish ARPU growth, arising due toshift in consumption of viewing habits. The aggregation of OTT or
online video services has thus become a natural transition for these
operators. This allows them to keep subscriber churn in check andboost ARPU, thereby improving the unit economics of the business.
Local cable operators and internet services providers (ISPs) have also
found bundling OTT services to be an effective strategy in competingwith DTH and national telcos. In addition to facilitating bundlingthrough API integration or a user-friendly web interface, streaming
platforms have also shown flexibility in their commercial
arrangements. Offering options such as prepaid coupon codes, fixed
fees, or commission-based models tailored to the ISP or cable
operator's planned offering prove to be mutually beneficial. Today,
telecom companies, pay-TV operators, local ISPs, and OTT players,
are actively aggregating OTT services with the aim of becoming futurecontent gatekeepers, serving their respective customers.
Freemium premium video services have become a significant catalyst,
fueling the aspirations of India's young consumers to invest in highvalue smartphones. As a result, India is now the largest smartphonemarket in the world, following China. There is also a growing userinterest in enjoying their favourite local content on larger screens,driving the widespread adoption of connected TV (CTV) devices,
including smart TVs, dongles, and hybrid STBs. According to MPA
estimates, India is poised to exceed 130 mil. CTV devices by 2028.

JioTV

TELCO
AGGREGATORS

OEMs &DIGITAL MEDIACONSOLES

PAY-TVPLATFORMS

Proliferation of CTV Devices
Smart TVs (mil.)Hybrid STBs (mil.)Dongles (mil.)

90
48

29

8

2028

2023

9
2023
Section9.
Catalyst
I: Executive
for AlliedSummary
Industries

INDEPENDENT
AGGREGATORS

2028

Source: Media Partners Asia

2023

11

2028
36

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Coming through the pandemic, CTV in India has reported a rapid adoption in both reach and consumption. In 2023, India boasted 25 mil. active CTV homes, a figure set to nearly triple by 2028,
driven by the rapid adoption of OTT bundled home broadband services in the country. This has opened a market for CTV advertising. Currently, CTV advertising for premium video platforms
predominantly revolves around sports content. However, the introduction of FAST (Free Ad-Supported Streaming TV) and freemium tiers by SVOD players in the future is poised to increase
consumption and the supply of premium advertising inventory, thereby expanding the potential for CTV advertising. According to MPA estimates, CTV advertising stood at US$278 mil. in 2023.
While the market remains nascent today, it has the potential to grow multi-fold, reaching US$1 bil. by 2028.

Expanding Active CTV User Base (2021-2028)

2.5x

70

60
47
37

40
30

25

20
7

1,000

1,000

54

50

1,200

65

Ad Revenues (US$ mil.)

Net DAUs (HH mil.)

60

10

CTV Ad Revenue Opportunity (2023-2028)

13

860

800

696
564

600
400

405
278

200

0

0
2021

2022

2023

2024

2025

2026

2027

2028

2023

2024

2025

2026

2027

2028

Source: Media Partners Asia
Section9.
Catalyst
I: Executive
for AlliedSummary
Industries

37

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

AVGC In India - Future OTT Growth Drivers

Homegrown original animated content on OTT platforms, such as"Bombay Rose," "Mighty Little Bheem" (Netflix), "Bahubali: The
Lost Legends" (Prime Video), and "The Legend of Hanuman"(Disney+ Hotstar), has received positive audience reception. The
demand for localized storytelling has motivated storytellers to bring
India’s literary heritage to life through CGI.
Animation, VFX, VR, and Gaming. India's animation and VFX
sector has evolved from a basic production hub to offering
comprehensive computer graphics content creation services,
particularly in children's content, which has seen a surge inviewership. Dedicated kids’ OTT platforms have emerged, withmajor players like Netflix, Prime Video, and Jio Cinema providing
specific children's content sections in various regional languages.
The growing popularity of anime among millennials has led to thecreation of high-quality adult-focused animated content, as
exemplified by Prime Video's 'Anime Times.'

Section9.
Catalyst
I: Executive
for AlliedSummary
Industries

Virtual Reality (VR) is gaining momentum in India's video
landscape due to improved broadband infrastructure and accessible
high-quality devices, that seamlessly integrate into various
applications. Simultaneously, the gaming sector has seen significant
post-pandemic growth, emerging as a promising avenue formonetization and fostering collaborations such as BGMI with
Disney+ Hotstar, Zee5 with Revenant Sports, Viacom18 with
Nodwin Gaming, and Netflix launching games on its platform.
While VR and gaming currently have limited influence, theirpositive expansion aligns with the broader growth of the OTT
sector.

38

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Tourism. Streaming platforms have played a pivotal role inbolstering India's tourism economy by showcasing the nation's
diverse landscapes and rich cultural tapestry through various series
and films. This exposure has piqued the interest of both domestic
and international audiences, who are drawn to visit locations
featured in their favourite OTT content. This phenomenon not only
drives inbound tourism but also stimulates economic growth,
fostering job opportunities in sectors like line production,
hospitality, and logistics.

Madhya Pradesh Film Tourism Policy 2020
Key Features

Recognizing this potential, the Madhya Pradesh government
launched the Madhya Pradesh Film Tourism Policy 2020 in March
2020, aiming to create a sustainable tourism ecosystem. Several
other states, including Rajasthan, Kerala, and Uttarakhand, havealso introduced policies to leverage film tourism. With the
pandemic prompting travellers to explore lesser-known
destinations, the rise of OTT content production presents anopportunity to boost tourism nationwide.
ü Over 200 projects have been successfully
shot including feature films, TV serials, webseries, documentaries etc.

ü Avail upto 40% discount on lodging at all
MPSTDC Hotels and Resorts while shooting inthe stateü 15% subsidy with the upper cap of Rs50 mil.
for min. investment of Rs10 mil. for setting upof permanent film infrastructureü Film Facilitation Cell online portal is a single
window clearance system to facilitate film
shooting permissions in 15 days

ü Subsidies covering up to 25% of the total
cost of production for films made by local
filmmakers, with a maximum subsidy of Rs15
mil. (US$188K)

ü Land banks are available to lease out forestablishment of film infrastructure projects

ü Recognized with the “Most Film Friendly
State award” at the 68th National Film
Awards, Madhya Pradesh exemplifies thepotential of film tourism
Section9.
Catalyst
I: Executive
for AlliedSummary
Industries

ü Popular OTT titles such as Panchayat, Gullak,
Maharani, Ye Kaali Kaali Aankhein, Sherni,
Ludo, and more have been either fully or
partially filmed in Madhya Pradesh.

39

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

10. Key Challenges
Bottlenecks in physical infrastructure. Content production inIndia faces significant challenges due to its concentration in
metropolitan areas. The existing facilities in these key cities struggle
to keep up with the growing demands of the film, television, andexpanding OTT sectors. Despite India's annual production of over
1,500 films, the actual filmmaking is predominantly limited to theseurban centres and studios. The overuse of existing facilities has
hindered these centres from making necessary technologicalupgrades.
Most film cities in India were established between the 1960s and1990s and lack the essential equipment and post-production facilities
required to produce world-class content. Additionally, theirconcentration in specific urban areas not only restricts access to abroader talent pool but also hinders the exploration of new andunique shooting locations throughout the country. This centralized
approach adversely affects the financial viability of projects. To
address these challenges, industry stakeholders and governments
both state and central, must collaborate on developing policies thatincentivize the establishment of new state-of-the-art production
facilities throughout the country.

Most of Existing Content Production and Training Infrastructure in India is Legacy• NOIDA Film City (estd. 1988)• Marwah Film Studio• National School of Drama• Asian Academy of Film and Television• Centre for Research in Art of Film and Television• Kalapurnam Institute ofVisual effects andAnimation MAYA
• National Institute of Design• Centre for Research in Art
of Film and Television• Dadasaheb Phalke Chitra
Nagari (estd. 1977)• Filmistan• Mehboob Studios• Whistling Woods
International

Delhi-NCR

Ahmedabad

Kolkata

MumbaiPune• Film and Television Instituteof India (FTII) (estd. 1960)

Hyderabad

Bengaluru• Innovative Film City
(estd. 2008)• Krantiveera Studios

Training Institutions
Production Studios• Prayag Film City (estd. 2012)• Matree Productions• Satyajit Ray Films and Television
Institute• Ramoji Film City (estd. 1988)• Annapurna Studios• Padmalaya Studios• Ramanaidu Studios

ChennaiChengalam(Kerala)• K. R. Narayanan
National Institute ofVisual Science and Arts

• MGR Film City (estd. 1994)• AVM Productions• MGR Film and Television Institute• L V Prasad Film and TV Academy

Source: Industry discussions, MPA analysis
Section10.
Key I:Challenges
Executive Summary

40

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Skilling and upskilling of talent. Promising
employment growth for the creative industry faces asignificant hurdle — a scarcity of skilled technicaltalent across all production levels. Drawing a parallelto the Indian Premier League's (IPL) role innurturing emerging cricket talent in India, online
video platforms play a pivotal role in providing
valuable opportunities for skilled professionals in
the entertainment industry. However, much moreneeds to be done to address the fundamental issue ofthe lack of technical training at the grassroots level.
Currently, most creative professionals acquire theirskills through on-the-job training, primarily due tothe absence of academic institutes offering
comprehensive content production courses. To
unlock the industry's full potential, there is a need to
attract a broader talent pool for studies in cinema
and storytelling. This necessitates a collaborative
effort from all stakeholders, including industry,
government, and educational institutions.
The solution involves introducing structured coursesthat nurture creative talent at the grassroots level aswell as focusing on upskilling the existing talentpool. Extending this initiative to Tier 2 and 3 cities
will promote more inclusive development oftechnical expertise in content production, ensuring aconsistent flow of skilled professionals for sustained
growth and innovation in the industry.

Section10.
Key I:Challenges
Executive Summary

Q&A with Mr. Nitin Vaidya, Director and Member of the Core Committee,
Indian Film and TV Producers Council (IFTPC)
Q. Should India’s TV and film production infrastructure expand
beyond Mumbai and other metros to other parts of India to
accommodate the surge of original content on OTT platforms?
A. Mumbai's television infrastructure barely meets the demandsof fast-paced daily episodic TV production, while films and OTT
content require additional infrastructure. During the pandemic,
the data from the Indian Film and TV Producers Council(IFTPC) revealed that around 145 TV episodes in Hindi,
Marathi, and Bhojpuri languages were filmed daily in Mumbai,
with only 26 shot in Goregaon Film City. The rest were filmed in
outskirts like Vasai-Virar, Naigaon, and Thane on makeshift
setups like old factory plots or unusable agricultural lands ofmarginal farmers. This infrastructure gap becomes even more
pronounced when considering the needs of films and OTT
content.
Q. Have film cities like Ramoji Film City in Hyderabad
effectively eased the production burden? Why do thesechallenges persist?
A. Newly developed film cities like Ramoji in Hyderabad
prioritize real estate, yet the industry demands state-of-the-art
equipment, technology, and post-production facilities. State-ofthe-art studio infrastructure can yield up to 20% cost
efficiencies in production, streamlining relocation andscheduling.

Q. Are our higher education institutions equipped to provide essential
skills training for the Media & Entertainment industry?
A. Most creative professionals learn on the job due to a lack ofacademic institutions offering content production courses. Although asimilar course was proposed under Skill Development University, it
never came to fruition. In contrast, the US offers over 25 universities
with graduate and post-graduate programs in content production. To
bridge this gap, India should establish or empower institutes to offer
such courses in collaboration with esteemed foreign universities, while
also providing shorter-term training programs to meet the increasing
demand for technical roles in content production.
Q. What steps has the government taken to tackle production
infrastructure challenges and what are your expectations for further
action?
A. Since Mumbai Film City's establishment in 1977, no state
government has designated land for film production. Additionally, theRBI's classification of the film industry as a "low-priority sector" forlending, stemming from past NPA instances, deters nationalized banksfrom financing projects. Despite the flourishing Television and OTT
sectors, this reluctance persists. The government must recognize thepotential of content creation in both Hindi and regional markets,collaborate with stakeholders, and design a comprehensive "cultureindustry" policy to address the media and entertainment industry's
infrastructure and financial needs.

41

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Upskilling Initiatives Undertaken By Leading OTT Platforms

Prime Video's Maitri: Female First Collective
An initiative in partnership with the Mumbai Academy of Moving Image(MAMI) to create a safe space where women from the media andentertainment industry can come together, share their experiences,challenges, and successes, and discuss solutions to overcome theroadblocks while fostering meaningful collaborations.
Take Ten by Netflix
Supported by the Netflix Fund for Creative Equity, Take Ten, is aworkshop that uplifts emerging filmmakers. It includes industry-led
workshops and fully funds a short film production. Offering a $10,000
grant.

Netflix’s VFX Internship Program
Netflix Visual Effects Training Initiative: One-year program offering
exposure to various positions and production workflows within Netflix’s
Visual Effects Management team, starting from May 2023.

Prime Video’s O Womaniya! Report
It is a research-based report by Prime Video, Ormax Media and Film
Companion that leverages data to amplify female representation andaddress gender disparities in Indian entertainment. The report identifies
gaps in representation thereby sparking discussions and actions for amore inclusive industry.

Section10.
Key I:Challenges
Executive Summary

NFDC-Netflix Screenwriting Workshop for Women
A collaborative program between Netflix and NFDC, focusing on skill
enhancement and promoting gender inclusivity in the media andentertainment industry.

Netflix's Virtual Training Pilot For Content Editors
A collaborative virtual training program by Netflix and New York Film
Academy (NYFA), for Content Editors in India utilizing diverse
instructional methods, to enhance the skills and knowledge.

Prime Video’s Masterclasses
Since 2023, Prime Video has collaborated with the I&B Ministry to
conduct industry-focused masterclasses at top Indian film andtelevision institutes like FTII, Pune, and SRFTI, Kolkata. These
initiatives aim to nurture talent, enhance capacity, and promote 'Madein India' creative content on a global scale.
Prime Video’s Internship program for students of leading
Film and Television Institutions
Under the MIB-Amazon India LoE, Prime Video and miniTV initiated a
4-month internship program in April 2024 providing valuable
experience in streaming-related aspects to aspiring talent from India’s
leading film institutions. Eight interns from SRFTI, Kolkata, wereselected, with seven interns joining Prime Video and one intern joining
miniTV.

42

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Impact Of Anti-piracy Measures – Boost In
Premium Online Video Revenue

Piracy hurts potential. The Indian media industry has expressed concerns
about the adverse impact of piracy for many years. Today practically all piracy
takes place in the virtual realm, with illicit streaming websites and apps fast
displacing peer-to-peer file sharing (torrent) websites as the dominant mode.

Implementing effective anti-piracy measures holds the potential to unlock
value on multiple fronts. It not only encourages the growth of a larger base oflegal paying customers but also expands the pool of addressable users thatadvertisers can engage with, thereby driving revenue growth for premium
online video services. Improved economics for media owners, as a result, leadto reinvestment in the commissioning of higher value content and a greater
volume of projects. This in turn results in more job creation and higher
contribution to the exchequer through increased tax receipts.
India's struggle to combat unorganized piracy underscores the need for asystemic solution. The key to this solution lies in targeting of major piracy
distribution channels. While individual OTT platforms have their own antipiracy mechanisms, the ultimate solution lies in industry-wide collaboration
and a united front against piracy coupled with enhanced public awarenessabout protection of IPRs. Another strategy to combat piracy is to cut off
pirate’s primary revenue stream—advertising, requiring a concerted effort
from advertisers, agencies, and media companies to ensure no ads are placedon sites that infringe on intellectual property.

Section10.
Key I:Challenges
Executive Summary

8
Revenue (in US$ bil.)

The growth and monetization of online video lags due to piracy thereby
inhibiting the development of the premium video sector. According to MPA,
online video piracy is estimated to grow, with the commercial value of piracy
at US$1.5 bil. for the year 2023, representing > 40% of the online video
market. If online piracy is not brought under control, by 2028 the commercial
value of piracy could reach to US$3.3 bil.

7
6

3.3

5
4
3
2
1

1.5

3.7

1.7

0
2023
Commercial Value of Piracy

2028
Premium online video revenue

Source: Media Partners Asia

43

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Closing Thoughts

Streaming VOD: A Gateway to the Hearts and Minds of the
20-40 Demographic
As India's youthful and ambitious 20-40 demographic continues toexpand, streaming VOD is a potent force, leveraging local
storytelling as its cornerstone.
Over the past decade, the streaming VOD industry has thrived, notonly nurturing local content development but also generating asignificant social impact through direct and indirect job creation
across various allied sectors.
In the wake of the pandemic, a new market paradigm necessitates
addressing past issues of content cost inflation and pricing
constraints, aligning prudent business economics with ongoinginvestments. The industry needs to be sustainable, scalable andultimately profitable so that the wider creative economy can benefit.
Critical to India's aspirations as a global creative hub aregovernment initiatives and regulatory clarity, essential forcompeting on a global scale alongside key players like the UK, US,
China, Japan, South Korea and Latin America. While local movies
and series have showcased global appeal on international streaming
platforms, there's untapped potential yet to be explored.

Section I: Executive Summary

Challenges persist in content production, primarily due to its
urban-centric concentration. To overcome these hurdles,
collaboration between industry stakeholders and government
entities at both state and central levels is imperative to incentivize
the establishment of cutting-edge production facilities nationwide.
The creative industry's growth trajectory is hindered by a scarcity ofskilled technical talent across all production tiers. Unlocking thesector's full potential requires a concerted effort to attract diverse
talent pools to cinema and storytelling studies, necessitating
collaboration between industry, government, and educational
institutions.
Combatting piracy is a pivotal strategy with multifaceted benefits.
Effective anti-piracy measures not only foster a larger base of legal
paying customers but also expand the audience for advertisers,
driving revenue growth for premium online video services.
Enhanced economics for media owners pave the way forreinvestment in high-value content creation, fuelling job creation
and bolstering tax revenues.
While individual OTT platforms deploy their anti-piracy
mechanisms, a collective industry approach and heightened publicawareness about protecting intellectual property rights (IPRs) areessential for sustained success.
44

APPENDIX

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

1,600

120%

1,412

1,400
Addressable Market (mil.)India's online video user base has experienced exponential
growth rate over the last five years. Currently, theconversion rate from total addressable market (TAM) to
active online video users in India lags Asian counterparts.
The under-penetrated market in India represents asignificant opportunity to expand the addressable universe
for online video services.

99%

93%

94%

91%

1,200

96%

81%
67%

1,000

95%

97%

79%

80%

67%

818

800

100%

60%

600

40%
336

400

281
123

200

20%
69

68

52

35

26

6

0%

Ko
re
a
M
al
ay
sia
A
us
tr
al
ia
Si
ng
ap
or
e

U

Addressable Market

Online Video Penetration

K

U
S
In
do
ne
sia
Ja
pa
n
Th
ai
la
nd

a
In
di

C

hi
na

-

Online Video Penetration/Addressable Market

Appendix 1: Online Video
Addressable Market And
Penetration (2023)

Source: Media Partners Asia
Section I: Executive Summary
APPENDIX46

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Appendix 2: Number Of OTTPlatforms By Country
India offers a plethora of online video platforms,
considerably higher than most of its Southeast Asianneighbours as well as developed markets such as the UK,
Japan, Korea and Australia. With close to 60 platforms,
India caters to a wide spectrum of consumers, spanning
different income levels, demographics, and languages.

180

165

160

No of OTT Platforms

140
120
100
80
59

60

40

40

37

36

35

33

32

28

26

Thailand

Korea

20
0

China

India

Indonesia

Japan

Australia Singapore Malaysia

UK

Source: Media Partners Asia
Section I: Executive Summary
APPENDIX47

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Appendix 3: Consumer Affordability, Flexibility And
Convenience
OTT platforms offer flexible plans tiered by device, duration, ad preferences (ad-free), and screen resolution, catering to diverse consumer choices.

Timeline Of OTT Platforms Offering Convenience Of Choices To Consumers
Aug-20Introduced
Hindi language
User Interface

Jul-19Introduced mobile
only plan at
Rs199/US$3 monthly

Sept-21
Superaggregation of
third-party
video services

Sept-21
Revamped plans fromcontent based tier todevice based tierApr-22Introduces
Movie Rental
service as a
TVOD tierJan-23Introduced mobile
only plan at
Rs499/US$7 annually

Apr-24
Jio Cinema
introduced Ad freeplans starting at
Rs. 29/month

Ad Free

Q3
2019

Q2
2020

Q3
2020

Jun-20
Launched ‘Multiplex’, adirect to digital movie
release service
Section I: Executive Summary
APPENDIX

Source: MPA analysis

Q3
2021

Sept-21
Introduced mobile only
plan at Rs499/US$7
annuallyQ4
2021

Nov-21Introduced mobile
only plan at
Rs599/US$8 annually

Q2
2022

Q1
2023

Apr-22
Quarterly mobile
only plan introduced
at Rs149/US$2

Q2
2023

Q2
2024

Jun-23
Prime Video launched
Ad tier – Prime Lite at
Rs.999/US$12
48

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Appendix 4: Online Video
Revenue Mix And Contribution
Of Premium VOD

8.0
Online Video Revenue (US$ bil.)

Since the pandemic, India’s online video industry has
expanded by 2.5x to reach US$3.7 bil. revenue in 2023
with advertising contributing 75% and subscription
25%. Going forward a significant portion of incremental
revenue for the industry will be driven by the supply ofadvertising inventory from premium VOD players
featuring marquee sports and local entertainment
content on freemium tiers to penetrate deeper into themarket. The premium video segment, estimated at
US$1.7 bil. in 2023, is projected to remain the fastestgrowing category, expanding to US$3.7 bil. by 2028.

7.3
6.6

7.0
5.9

6.0

5.2

5.0

4.4
3.7

4.0

3.1

3.0
2.0
1.0
0.0

0.2

0.3

1.3

0.7

0.3
0.2

0.4

0.7

1.5
0.4
0.2

0.9

2.1

0.8

0.7

0.5

0.3

1.2

1.8

1.0
0.7
2.1

1.1
1.0

2.4

1.3

1.2
1.4

2.7

1.4

1.6

3.0

2.0

3.3

1.5

2.2

3.6

Premium Video
Revenue(SVOD+ Premium AVOD)UGC AVOD
Revenue2016 2017 2018 2019 2020 2021 2022 2023 2024 2025 2026 2027 2028
UGC AVOD

Premium AVOD

SVOD

Source: Media Partners Asia
Section I: Executive Summary
APPENDIX

49

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Appendix 5: Media And
Entertainment Market
Revenue Outlook (2016-28)
Online video has made a significant impact with its
share of the M&E revenue pie doubling from a mere 6%
in 2019 to 13% in 2023. This upward trajectory is
expected to continue, with online video projected toaccount for 20% of the entire M&E industry by 2028.

Media and Entertainment Industry (US$ bil.)

40.0
35

35.0

33
31
29

30.0
24

25.0
20.0
15.0
10.0
5.0

14

1.7
0.8
1.2

17

16

2.4

1.9

1.4
1.4

1.0
1.3

3.4
0.2

3.4
0.3

6.9

7.5

2016

2017

3.5
0.7

20

20

2.8

2.3

2.2
1.5

3.4

16

1.8
2.6
0.3

3.5
5.0

26

6.4

5.7

1.6

1.5

3.8

1.4

0.5

2.7

2.9

3.1

3.7

2.4
2.1

4.5

4.0

5.2

7.1
1.7

6.0

7.8
1.7

6.7

8.4

1.8

37

7.3

9.0

1.9

3.0

2.9

3.0

3.0

4.4

5.2

5.9

6.6

7.3

3.0

1.3

2.2
1.5

8.1

8.5

7.6

8.5

8.7

8.6

8.7

8.8

8.9

8.9

8.9

2018

2019

2020

2021

2022

2023

2024

2025

2026

2027

2028

Television

Online Video

MoviesPrint

Internet

Others

Source: Media Partners Asia
Section I: Executive Summary
APPENDIX

50

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Appendix 6: No. Of Hours Of
Indian Original Programming On
Top OTT Platforms (2015-2023)

No. of Indian Original Programming Hours

1,200
1,000
800
600
1,002

400

667

2020

2021

471

200
0

626

921

26

42

2015

2016

60

214

2017

2018

2019

2022

2023

Source: Media Partners Asia
Section I: Executive Summary
APPENDIX

51

Beyond Screens: Streaming VOD’s Impact on India’s Creative Economy

Appendix 7: Competitive LandscapeIn OTT Aggregation
Platform

Tata Play Binge

Airtel Xstream Play

Airtel Fixed Broadband

Jio Mobility

Jio Fixed Broadband

Prime VideoOTT Play

Business Model

Freemium

SVOD

Free

Free

Free

SVOD & TVOD

Freemium

Target Universe

All OTTAll OTT

Large Screen

Small Screen

Large Screen

All OTT

Small Screen

149/month

149/month(Premium Pack)

799/month (BB bundle)

398/month(Telco bundle)

398/month (BB bundle)

299/month (Prime)
799/year (Prime Lite)
1499/year (Prime)

149/month(OTT Bundle)

Popular app

6+2^

3

5

9

9

2

4

Special-interest content apps

26

20

10

5

7

22

32

# of OTT Platforms

31+2^

23

15

14

16

24

36

Effective Discount % - Basic
Plan

86%

93%

34%

69%

71%

Effective Discount % Premium Plan

87%

Applications

Starting Price Points

74%
25%-50%*

NA

7%

12%

30%

87%

^ Available as add-ons* A la carte offers with limited time promotional discounts (seasonal) ranging from 25% to 50%
Note 1:
Effective discount refers to the difference between the pricing of aggregator's popular plan vsgross price for individual OTT services. In the absence of monthly plans, annual plans havebeen considered for calculations
Note 2:
Data updated as of April ‘24
Source: Company Websites, MPA analysis
Section I: Executive Summary
APPENDIX

52

Established in 2001 with offices across Asia including
India, Media Partners Asia is a leading independent
provider of advisory, consulting and research services,focusing on media, entertainment and telecoms in Asia
Pacific. MPA also operates ampd, launched in 2019,
which measures digital activity in 11 markets using
proprietary software, focused on video, content,
advertising and connectivity with detailed insights todrive planning and business outcomes. MPA reports
and research are widely used by all key industry
stakeholders for business planning, M&A transactions,
economic analysis and policymaking.
MPA provides due diligence for M&A activity in APAC
with numerous local and cross border transactions
while also operating as an IC (Independent Consultant)in the IPOs of media and telecoms companies. MPA
hosts and operates APOS, the leading annual summit
for Asia’s TMT industry with global impact.

Contact
Lavina Bhojwani: lavina@media-partners-asia.com
www.media-partners-asia.com

Vivek Couto
Managing Director
vivek@media-partners-asia.com

Mihir ShahVice President
mihir@media-partners-asia.com

Shubhangi Borade
Analystshubhangi@media-partners-asia.com

Suyash Chaturvedi
Analystsuyash@media-partners-asia.com

Pratik Shah
Associatepratik@media-partners-asia.com

Ian Wong
Creative Manager
ian@media-partners-asia.com

Lavina Bhojwani
Business Development
lavina@media-partners-asia.com