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It seems that streaming platforms are following a strategy, which is no different than television channels.
There are a few factors which amply demonstrate that streaming platforms are no different than television channels in terms of gathering and creating content. Firstly, a key aspect which has blurred the distinction between streaming platforms and television content is their approach in building their libraries. There is no discerning approach in the selection of content. “Today, streaming platforms are just accumulating content. In doing so, they are blurring the distinctions in their offerings,” said Kunal Churi, a photographer-cum-cinematographer. “There is duplication of content. What I see on television is also available on streaming platforms. It seems that I just have an additional screen to consume more or less same content. The perception that streaming platforms would not offer what television offers is gradually turning out to be untrue,” added Churi. According to a research by consulting firm RedSeer out of the 188 billion minutes spent on streaming platforms, users spent the highest—69 billion minutes—on daily soaps.
The second aspect which provides sufficient basis to believe that streaming platform<\/a>s are following the strategy of television channels is the recent launches of streaming platforms based on themes and languages. A question which analysts raise is: Why there is a need to launch niche and theme-based streaming platforms when existing streaming platforms already provide diversity of content in different languages? In the past few years, there are at least nine streaming platforms which provide content in nine different languages in India. A few prominent ones are Hoichoi (Bengali), Aha (Telugu<\/a>) and Regal Talkies (Tamil). Yogesh Parker, an avid consumer of streaming platforms’ content said, “Content in different languages is available under one streaming platform brand. I can watch a Marathi or Bengali on Netflix or Amazon as these platforms have separate windows for regional content. I don’t see the logic of subscribing to a streaming platform which offers content only in one language.” In the context of these facts, analysts have doubts about the sustainability of such niche, theme-and-language-based streaming platforms.
“India is a very different and price-sensitive market,” said a former top executive of a large streaming platform. “There are already over 40 players. It is not possible for all to continue and co-exist. You will see consolidation. Some will be acquired or merged or will become unviable. At present, many are playing valuation games.”
Analysts also draw a connection between funding and earnings of streaming platforms as competition intensifies in the coming years. “It is difficult to gauge a clear pattern in the consumption of content among Indian viewers. So, almost every new or existing platform is either too niche or provides all kinds of content. As a result of this, streaming platforms will either have stagnant or falling revenues. There are three key reasons for this. One: there is high level of piracy. Two: viewers have too many choices for consuming content. Three: Inordinate dependence on subscriptions for revenues rather than advertisements. In the context of these facts, costs associated with running streaming platforms are likely to go up impacting earnings in the long-term,” said an analyst with a leading auditing firm.
Lastly, a crucial development which may hasten the process of streaming platforms becoming like television channels is the government’s imposition of censorship rules already followed by television industry<\/a>. This may rob streaming platforms of certain amount of creative freedom in terms of creating content. Consequently, streaming platforms may produce content which will be more or less similar to television content with the only difference of better production value and visuals.
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似乎流媒体平台策略后,比电视频道没有什么不同。
有几个因素,充分证明了流媒体平台并不比电视频道不同的收集和创建内容。首先,一个关键方面,模糊的流媒体平台和电视内容之间的区别是他们的方法在构建他们的库。没有识别方法的选择内容。“今天,流媒体平台只是积累的内容。在这一过程中,他们模糊的区分他们的产品,”Kunal Churi photographer-cum-cinematographer说。“有重复的内容。我在电视上看到在流媒体平台上也可以。看来,我只有一个额外的屏幕消费或多或少相同的内容。流媒体平台的感知不会提供什么电视提供逐渐是不真实的,”Churi补充道。根据咨询公司研究RedSeer 1880亿分钟花在流媒体平台,用户每天花费最高- 69分钟肥皂。
第二个方面相信,提供充分的依据流媒体平台年代后电视频道的策略是最近推出的流媒体平台基于主题和语言。分析师提出一个问题:为什么需要发射利基和教案流媒体平台现有流媒体平台提供内容的多样性在不同的语言吗?在过去的几年中,至少有九流媒体平台提供内容在9个不同的语言在印度。一些著名的Hoichoi(孟加拉),哈哈(泰卢固语)和君威有声电影(Tamil)。优帕克,一个狂热的消费流媒体平台的内容说:“内容在不同的语言中可用在一个流媒体平台的品牌。我可以看马拉地语和孟加拉语Netflix或亚马逊这些平台有单独的窗口区域的内容。我没有看到订阅一个流媒体平台提供的逻辑内容只有一种语言。“在这些事实的背景下,分析人士怀疑这样的利基市场的可持续性,theme-and-language-based流媒体平台。
“印度是一个非常不同的,对价格敏感的市场,”一位前高管说的流媒体平台。“已经有超过40岁的球员。不可能对所有的继续和共存。您将看到整合。有些人会被收购或合并或将变得不可行。目前,许多人玩价格游戏。”
分析师也画一个资金和收益之间的联系的流媒体平台在未来几年随着竞争加剧。“很难判断一个清晰的模式在印度观众的消费内容。因此,几乎每一个新的或现有的平台太利基或提供各种各样的内容。因此,流媒体平台将要么收入停滞不前或下降。有三个主要原因。一:有高水平的盗版。二:观众对消费内容有太多的选择。三:过度依赖订阅收入而不是广告。在这些事实的背景下,相关费用流媒体平台上运行可能会影响长期收益,”一家领先的审计公司的分析师说。
最后,一个至关重要的发展可能加速的过程流媒体平台成为像电视频道是政府审查制度的实施已经紧随其后电视产业。这可能抢流媒体平台一定的创作自由的创造内容。因此,流媒体平台可能产生内容将或多或少类似于电视内容与唯一的区别更好的生产价值和视觉效果。
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