Project Report

On

Game Changers in Digital Age: A Study on Online Streaming

Services

Submitted in Partial Fulfillment for the Award of the

Degree of B.COM (H) 2017-2020

Under the Guidance of: Submitted By:

Ms. Divya Jain Chetna Gupta

(Assistant Professor) 41212388817

Delhi Institute of Advanced Studies

Plot No. 6, Sector-25, Rohini, Delhi-110085
(Approved by AICTE & Affiliated with GGSIP University for B. Com(H), BBA, B.COM(H), MBA & MBA(FM) Programmes)
(An ISO 9001:2015 Certified Institution)
 CERTIFICATE (ISSUED BY THE COLLEGE)
DATE

CERTIFICATE
This is to certify that the Project Dissertation entitled
“Game Changers in Digital Age: A Study on Online
Streaming Services” submitted by Ms. Chetna Gupta, Roll
No. 41212388817 has been done under my guidance and
supervision in partial fulfillment of the requirement for
the award of Bachelor of Commerce(hons.) degree.

To the best of my knowledge the work and analysis

mentioned in this Project Dissertation have been
undertaken by the candidate herself and necessary
references have been recognized and acknowledged in the
text of the report.

Project Guide

ACKNOWLEDGEMENT
I would like to express my gratitude to all those who gave me the possibility to
complete this Project Dissertation.
I am deeply indebted to my guide Ms. Divya Jain from Delhi Institute of Advanced
Studies whose help, stimulating suggestions and encouragement helped me in all the
time of research and writing of this project.

The learning was immense and valuable.

Chetna Gupta
41212388817

DECLARATION
I hereby declare that the project work entitled “Game Changers in Digital
Age: A Study on Online Streaming Services” submitted to the Delhi Institute of
Advanced Studies, is a record of an original work done by me under the guidance
of Ms. Divya Jain (Assistant Professor) and this project work is submitted in the
partial fulfilment of the requirements for the award of the degree of B.COM (H).

I hereby certify that all the endeavour put in the fulfilment of the task are genuine and
original to the best of my knowledge and I have not submitted it earlier elsewhere.

Chetna Gupta
 TABLE OF CONTENTS

S No Topic Page No
1 Certificate
2 Acknowledgement
3 Declaration
4 Chapter-1: Introduction
5 Chapter-2: Literature Review
6 Chapter 3: Research Methodology
7 Chapter-4: Data Analysis & Interpretation
8 Chapter-5: Findings and Conclusions
9 Chapter-6: Suggestions and Limitations
10 References/Bibliography

11 Appendix(Questionnaire)
 CHAPTER 1
Introduction to the Topic
and Company
ONLINE STREAMING SERVICES

Online entertainment is a growing industry which is replacing traditional media.

Within the past decade, video renting companies have shutdown due to services such
as Netflix making video rental more convenient. Similarly, cable and satellite
television companies are experiencing similar situations. In March 2017, YouTube
announced their new service YouTube TV. The news prompted the discussion as to
how the service would compare to traditional cable and satellite. When referencing
the stock market, companies that provide cable or satellite services have been to
shown to have decreasing share prices while companies such as Netflix have shown
substantial growth.
Streaming media is multimedia that is constantly received by and presented to
an end-user while being delivered by a provider. The verb "to stream" refers to the
process of delivering or obtaining media in this manner; the term refers to the delivery
method of the medium, rather than the medium itself, and is an alternative to
file downloading, a process in which the end-user obtains the entire file for the
content before watching or listening to it.
A client end-user can use their media player to start playing digital video or digital
audio content before the entire file has been transmitted. Distinguishing delivery
method from the media distributed applies specifically to telecommunications
networks, as most of the delivery systems are either inherently streaming
(e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video
cassettes, audio CDs). For example, in the 1930s, elevator music was among the
earliest popular music available as streaming media; nowadays Internet television is a
common form of streamed media. The term "streaming media" can apply to media
other than video and audio, such as live closed captioning, ticker tape, and real-time
text, which are all considered "streaming text".
Live streaming is the delivery of Internet content in real-time much as live
television broadcasts content over the airwaves via a television signal. Live internet
streaming requires a form of source media (e.g. a video camera, an audio interface,
screen capture software), an encoder to digitize the content, a media publisher, and
a content delivery network to distribute and deliver the content. Live streaming does
not need to be recorded at the origination point, although it frequently is.
There are challenges with streaming content on the Internet. For example, users
whose Internet connection lacks sufficient bandwidth may experience stops, lags, or
slow buffering of the content. And users lacking compatible hardware or software
systems may be unable to stream certain content.
Some popular streaming services include Netflix, Hulu, Prime Video, the video
sharing website YouTube, and other sites which stream films and television
shows; Apple Music and Spotify, which stream music; and video game live
streaming sites such as Mixer and Twitch.
India has the largest young population in the world which is driving the digital media
consumption in India. Internet traffic in India is being driven by mobile internet users.
The major reason for this will be the availability cost efficient smartphones in India,
improving 3G and 4G internet coverage and fast reducing data prices. Indian
consumer prefers both long form as well as short form videos online. Within content
Original content from video streaming channels categories followed by new movies is
the most preferred. Being a large and diversified country in terms of demographics
and languages, India has specific regional demand for localized content. Most of the
players have their products customized on various devices for ease of usage to their
customers. Similarly different players have also customized their product to suit their
content strategy and service offering. These players also need to pay attention to the
usage habits of their customers and segment them on the basis of their demographics,
paying capacity and geographical presence.
Even though on demand video consumption in India is on the rise, the internet
connection speeds are much lower than most other countries in the world. This is
currently the biggest roadblock for the digital content industry in India. The adoption
of 3G / 4G technologies is expected to increase the connection speed in India, which
is further expected to increase the digital video content consumption.
Streaming video: Connections in the digital age.
Streaming Video accelerates everything. Now movies are released on streaming
services just a few months after their release on theaters. A whole season for a TV
show can be found on the web and binged watched in just one weekend.  With his
new service, users now have a voracious appetite for new content.
The media industry much like the print industry when e-books first appeared has to
adapt to this new consumption model. Long gone are the days where movie
enthusiasts started a DVD or VHS collection and showed it proudly to visitors. With
streaming technology and online movies when you buy something you don’t really
own it. Now everything resides within a cloud storage service where we have a false
sense of belonging. 
The first live streaming event occurred in 1995 when ESPN Sports Zone streamed a
live radio broadcast of a baseball game between the Seattle Mariners and the New
York Yankees using technology developed by a company named Progressive
Networks.  A few years later the company would change its name to Real
Networks. Users would become familiar with the name while using the “Real Audio
Player”.  And while the Real Player was a revolutionary technology more would
follow.  Names like Adobe Flash, Apple QuickTime, Microsoft Windows Media and
Silverlight would soon offer streaming services.
Streaming services started as an add-on to DVD and digital download offerings with a
trickle of second-run movies and TV shows. They were supplements to the programs
you watched on their first (and second) runs on cable TV. But speedier internet
connections and an abundance of video streaming devices have accelerated the
decline of traditional cable. More and more viewers are cutting the cord entirely in
favor of dedicated streaming alternatives.
Entertainment and tech giants are not blind to the threat, however, and the media
landscape is rapidly changing. Consolidation and curation (that is, owning the most
media properties and serving the best content) seem to be the overarching goals of the
players involved.
 STREAMING SERVICE PROVIDERS
A streaming service provider is a subscription-based service offering online
streaming of films and television programs. Most of these services are owned
by major film studio. The streaming services started as an add-on to DVD offerings,
which are supplements to the programs watched.
Streaming is an alternative to file downloading, a process in which the end-user
obtains the entire file for the content before watching or listening to it. Some popular
streaming services include Netflix, Hulu, Prime Video, Disney+, and other sites
which stream films and television shows.
The major players in online video streaming services in India are:-
I. NETFLIX :-

Netflix, Inc.  is an American media-services provider and production

company headquartered in Los Gatos, California, founded in 1997 by Reed
Hastings and Marc Randolph in Scotts Valley, California. The company's primary
business is its subscription-based streaming service which offers online streaming of a
library of films and television programs, including those produced in-house. As of
April 2019, Netflix had over 148 million paid subscriptions worldwide. Netflix is a
member of the Motion Picture Association (MPA).
Netflix's initial business model included DVD sales and rental by mail, but Hastings
abandoned the sales about a year after the company's founding to focus on the initial
DVD rental business. Netflix expanded its business in 2010 with the introduction of
streaming media while retaining the DVD and Blu-ray rental business. The company
expanded internationally in 2010 with debuting its first series House of Cards.
Since 2012, Netflix has taken more of an active role as producer and distributor for
both film and television series, and to that end, it offers a variety of "Netflix Original"
content through its online library. Netflix entered India in January 2016. In April
2017, it was registered as a limited liability partnership (LLP) and started
 commissioning content. It earned a net profit of ₹2020, 000 (₹2.02 million) for fiscal
year 2017. In fiscal year 2018, Netflix earned revenues of ₹580 million.

II. AMAZON PRIME :-

Prime Video, also marketed as Amazon Prime Video, is an American Internet video

on demand service that is developed, owned, and operated by Amazon. It
offers television shows and films for rent or purchase and Prime Video, a selection
of Amazon Studios original content and licensed acquisitions included in the
Amazon's Prime subscription.
Launched on September 7, 2006 as Amazon Unbox in the United States, the service
grew with its expanding library, and added the Prime Video membership with the
development of Prime. It was then renamed as Amazon Instant Video on Demand.
The platform has 2,300 titles available including 2,000 movies and about 400 shows.
It has announced that it will invest ₹20  billion in creating original content in India.
Besides English, Prime Video is available in six Indian languages.
III. HOTSTAR :-

Disney+ Hotstar, also known simply as Hotstar, is an Indian over-the-top streaming

service owned by Novi Digital Entertainment, a subsidiary of Star India. It features
two paid subscription tiers—the "VIP" tier, which focuses on domestic programmes
and sports content (including Indian Premier League cricket), and a second
"Premium" tier featuring premium international films and television series
(including HBO, Showtime and other American original series). As of March 2020,
Hotstar has at least 300 million active users.

In February 2020, following the purchase of Star India's parent company 21st Century

Fox by Disney in 2019, the company announced plans to integrate its new
international streaming brand Disney+ with Hotstar in April 2020—leveraging
Hotstar's existing infrastructure and userbase. On April 3, 2020, the platform was
merged with Disney+.

Hotstar has also introduced versions of the service targeting international markets,
with a focus on Star original programming and domestic sports rights (such as the
IPL), but without content from Disney+ or other American partners. These versions
operate solely under the "Hotstar" brand.
IV. VOOT :-

Voot is an Indian subscription video on demand (SVOD) service. Launched in March

2016, it forms the online arm of Viacom 18. It is Viacom 18's advertising-led video-
on-demand platform that is available as an app for iOS, KaiOS (JioPhone)
and Android users, and a website for desktop consumption.

Voot is available only in India, and hosts over 40,000 hours of video content that
includes shows from channels like MTV, Nickelodeon and Colors. Content is also
available in multiple languages like Kannada, Marathi, Bengali, Gujarati, Telugu and
Tamil.

In February 2020, Voot introduces paid subscription service called Voot Select. Voot
Original series are made available only to paid subscribers. Some TV shows are being
streamed a day before TV for its paid subscribers.
V. ZEE5 :-

ZEE5 is an Indian video on demand website run by Essel Group via its

subsidiary Zee Entertainment Enterprises Limited (ZEEL). It was launched in India
on 14 February 2018 with content in 12 languages. ZEE5 mobile app is available on
Web, Android, iOS, Smart TVs, among other devices.

The platform also provided the first Tamil web series in 2018 with the title America
Mappillai. In the same year, the platform also introduced another web series
titles, Kallachirippu which was produced by popular filmmaker Karthik
Subbaraj, and Karenjit Kaur – The Untold Story of Sunny Leone, a biographical web
series on Sunny Leone.

The service has been launched everywhere except for United States, because of Dish
Network's clause in the contract ZEE has with the satellite provider, which is the
major provider for Indian channels in the country. ZEE5 has launched Ad Suite which
has Ad Vault, Ampli5, Play5 and Wishbox.
VI. ALT BALAJI :-

ALTBalaji is an Indian subscription based video on demand platform which is a

wholly owned subsidiary of Balaji Telefilms Ltd. Launched on 16 April 2017,
ALTBalaji is the Group's foray into the digital entertainment to create original,
premium, and tailor-made content especially for Indians across the globe.

ALTBalaji is available across 32 different interfaces for its viewers. The content has
been made available on mobile and Tablet Devices, Web browser (Desktop
Browser), Android TV, and Windows (Windows PC, Windows Mobile, Windows
tablet).

Their website claims the platform to be the largest content bank seen in India. They
also get casts from industry professional like Anshuman Pratap Singh, Dhaivat
Records & Productions, the plotted scene comes to life when Ekta’s vision meets
Anshuman’s & his team’s execution. The stories range from drama, comedy, and
romance, to thriller, crime, and mystery.
 CHAPTER – 2

Literature Review
Dapeng Wu., et al., (2002) briefed a Streaming video over the Internet: approaches
and directions. Because of the increased development of the Internet and raising
demand for multimedia information on the Web, streaming video over the Internet
obtained great attention from academic world and industry. Transmission of real-time
video normally contains bandwidth, delay, and loss needs. But, the current best-effort
Internet does not provide any quality of service (QoS) assurances to streaming video.
Additionally for video multicast it is more complicated to attain both efficiency and
flexibility. As a result, Internet streaming video contains many problems. Particularly,
video compression is covered with the application-layer QoS control, continuous
media distribution services, streaming servers, media synchronization mechanisms,
and protocols for streaming media.

Boddy (2004) study revealed that it has only been augmented by streaming, which
does not require as much technical knowledge as downloading. Streaming extended
globally draws further attention to the fissures and ruptures in the strategic ‘place’ of
nation-states and copyright.

Hibberd’s (2004) study’s objective was to establish that ratings are not the only key to
customer satisfaction. Hibberd attempted to determine the channels that are most
important to customers, as well as how much they may be willing to pay monthly per
channel in order to retain viewing rights. A survey of 1000 cable customers (all age
18+) measured perceptions of major and midsize networks such as Discovery
Channel, History Channel, TNT, ESPN, etc. What is intriguing about this research is
that it revealed the top-rated channel was ESPN, which is not always available on all
streaming options, and that customers would be willing to pay the highest monthly fee
to retain access for ESPN. Discovery Channel, History Channel, CNN, and the
Weather Channel were found to be the next most popular ones. Further analysis
should be done to determine which of these highly valued channels is available on
streaming platforms versus just cable networks.

Cheng Huang., et al., (2004) briefed an Optimal Coding Rate Control for Scalable
Streaming Media. Possibly main technical difficulty in streaming media on demand
over the Internet is the requirement to settle into the varying network conditions.
Here, the issues of coding rate control, or consistently quality adaptation is studied in
replying to the varying network conditions like onset of congestion. By means of the
theory of optimal linear quadratic control, an effective online rate control algorithm is
introduced. In this presented technique three aims are attained:

• Fast startup,

• Continuous playback in the face of severe congestion, and

• Maximal quality and smoothness over the entire streaming session

(Mittell, 2011) study stated that audiences have always sought to intervene in the
mediated cultural flow enabled by communication technologies. Scholars have argued
that the current media environment is a move from the metaphor of flow to the
framework of files. Yet, flow is still being re-inscribed into this framework of files
and mediated life—only now with the networked individual co-constructively
assembling and articulating digital flow. We are in the midst of a re-calibration
between audiences and industry where flow becomes increasingly channelled through
the networked individual.

Vincent Miller (2011) study stated that points to two additional affordances of digital
media that can be applied to streaming. According to Miller, digital media, as opposed
to analog media, can be automated. Automation in digital media means that templates
and algorithms manipulate the numerical composition of digital data without human
intervention. The Netflix recommendation system, for example, automatically filters
user inputs and generates recommendations that reinforce flow within streaming.

(Miller, 2011) revealed that Analog is in sharp contrast to digital media, which is
“discontinuous representation of analog or continuous physical properties”. Computer
code employs “discrete binary digitisation: zeros and ones” in order to “represent and
store data and information”. Digital data is extremely malleable and can be stored,
shared, and circulated more efficiently than analog media forms. Streaming as a
technological practice was not possible until data could be compressed and
decompressed to allow viewers to buffer and simultaneously consume content (or
very close to simultaneously). Digital information as opposed to analog is infinitely
changeable and adaptable, which includes combining things like sound and text, for
example, to a multimedia website. This affordance allows digital information to be
flexible and manipulable as data crosses multiple mediated platforms and formats. In
this way, streaming exists in-between orality and literacy and refers not to a particular
medium but to the mode of delivery itself. All of these properties and characteristics
of digital media are part of streaming and differentiate digital streaming media from
analog media.

Cha and Chan-Olmsted (2012) study stated that there was some concern regarding
whether online streaming would have a cannibalizing effect on traditional cable
networks. As the technology and infrastructure of video streaming has evolved, many
of the industry leaders questioned the effect this would have on television, some even
suggesting it would replace it altogether. Cha and Chan-Olmsted’s (2012) study was
focused on this issue, intending to determine if the new medium (digital media) would
either replace or complement the older one (cable). Some of the questions they asked
were: “What motivations do consumers have to watch video content?”, “Are there
differences between users and non-users of online video platforms with respect to
motivations for watching video content?” The researchers collected survey data from
1500 adult internet users in 2009. They used a Likert Scale to gauge the respondent’s
motives for video content, which included music videos, TV programs, movies, and
videos. The primary method was principal components exploratory factor analysis, in
addition to ANOVA. The results varied but did provide some insights, for instance,
learning motives differentiate online streaming and television in terms of customer
satisfaction. As well, the study revealed that non-users are more likely to view online
video platforms as a substitute for cable television. Cha and Chan-Olmsted’s (2012)
research was important for demonstrating the “fundamental functional similarities”
between online streaming and cable, as well as the relationships that stem from each.

Hulkower, (2012) states that age is clearly the central driver for streaming usage.
Internet users between 18 and 24 consume an average of 3.7 hours of content on a
weekly basis, while adults 55 and over only watch 1.6 hours of content per week.

Bondad-Brown, Rice, and Pearce (2012) explored the motivations of users to access
online media for content over traditional TV, and also considered age, generation, and
contextual age (physical health, economic security, etc.). To gather the data, surveys
were sent out through email and were able to identify 500 people as their sample size.
The model looked into a number of independent variables which included media use,
internet experience, online video use, age, generation, and audience activity.
The Motion Picture Association of America (2012) defines streaming as a sub-
category of ‘Content Theft’ labeled ‘Streaming Theft’. The MPAA anticipates some
of the objections to this categorization of streaming as theft (references to 68
advertising and subscriptions) and tries to give ‘tips’ to the public on how to avoid
fraud and theft:

“While there are many websites where consumers can legally view streamed content,
there are many illegal streaming sites where operators will solicit users to provide
payment to purchase "subscriptions" or "memberships" or otherwise pay for illegal
content. These sites often feature advertisements for legitimate products or services
alongside illegal streaming of unauthorized movie and television content. Website
operators of such illegal sites purposely use these techniques to fool consumers into
believing that their websites are legal; that’s how they make a profit. It’s called fraud
and theft.”

Mintel’s (2012) online and streaming video study stated that the top methods for
finding content include viral word-of-mouth, and the video displayed on the
homepage of streaming services’ websites (Hulkower, 2012). The Mintel 2012 study
found that approximately one third of study participants watch content from direct
recommendation from people they know through a social network. In addition, about
half of streamers liked to surf for content. The starting point of this browsing behavior
is most likely to be the home page of the video sites where content is recommended
based on previously viewed content, or other viral videos (Hulkower, 2012). For
example, the YouTube home page, always recommends content based on the channel
subscribed to, similar topics viewers have previously searched or trending videos. In
the case of Netflix, this means half of the Netflix streaming users could potentially
browse through the recommended list. This study also suggests that younger viewers
between 18 and 44 are browsing for content more than older viewers. Younger
viewers are more likely to share the video they enjoy with people they know, while
older viewers watch more videos that are directly shared with them by family and
friends but are less likely to recommend it to someone else (Hulkower, 2012).

Mintel’s (2013) report also suggests that subscriber growth for streaming services in
general is more likely to come from younger age groups, given the fact that over 70%
of streaming users 18 to 34 watched video content monthly using a subscription based
service (Hulkower, 2013). Breaking down demographics by gender, Mintel reports
reveal that men showed higher usage of streaming video services. In their 2013 report,
27% of the male survey participants claimed that they used the internet to watch
movies or television shows more than 6 hours in a given week as compared to 19% of
female participants (Hulkower, 2013). The study suggests that men are not only more
likely to own devices like gaming consoles that provide access to streaming service,
but also more willingly to spend money to purchase video or to adopt new media
trends early (Hulkower, 2013). The Mintel 2012 report shows similar findings where
21% of male survey participants are heavy streaming users as opposed to 14% of
female participants (Hulkower, 2012).

Greenfield (2013) study stated that Netflix is mutually disrupting/reaffirming

traditional media industry logics and best practices through the introduction of their
own original streaming content—the House of Cards series. Netflix’s flagship
production House of Cards is based closely on the BBC award winning miniseries of
the same name--House of Cards. Netflix is paying close to five million dollars for
each episode of House of Cards and over one hundred million dollars for two pre-
ordered seasons of the series.

Christian (2015) classifies streaming media into what he labels “web TV networks” to
theorize how “‘networks’ function differently outside the legacy cable system”:

“1. Corporate, subscription networks have had the most success in series
development because their revenue stream is independent of brands, which have been
slow to fund native-digital programming.

2. Corporate, ad-supported networks have had the most challenges as they cannot
afford programming slates as large as traditional television networks and aren’t social
media sites like YouTube.

3. Multichannel networks on YouTube have engaged a broad base of producers and

fans but have found it challenging to raise funds from brands, forcing them to sell
their companies to major media conglomerates.

4. Independent networks have innovated new types of stories, showcased a diverse

group of storytellers, and connected with niche audiences but have found financing
hard to come by”.
Virendra (2016) identified in his study that the demographic consumer research has
showed many qualitative factors which could possibly affect the subscription rates. A
Qualitative Model was also developed a quantitative model through which 11
independent variables, performed factor analysis and formed 4 factors on which
multiple regression found to identify the explanatory power of factors on subscription
rates.

Cox (2017) study stated that as cable television prices continue to rise, more than 50%
of Americans are ready to say goodbye to their service. TiVo produced a report in
which they ran quarterly trends surveys for the past five years. The data showed that
almost half the people surveyed were planning to abandon regular cable television for
streaming services, due to high cable costs. For those consumers who had already “cut
the cord,” an astounding number (80%) said they left due to rising service charges,
with costs averaging $101 per month. The survey indicated many consumers are
watching digital options, such as Netflix (54% of respondents were subscribers),
Amazon Prime (27% were subscribers), and Hulu (12% were subscribers).

Livemint titled Online Video Forecasts (2018), the report said globally consumers
will spend an average of 67 minutes a day watching online videos this year, up from
56 minutes in 2017.
 CHAPTER 3
Research Methodology
OBJECTIVES OF THE STUDY

 To investigate the popularity of online streaming industry among the Indian

viewers.
 To identify the major players in the industry and factors leading to preferences
among the major competitors of online streaming services.
 To gain a better understanding of consumer experiences with such services
and attitude towards online video streaming.

SCOPE OF THE STUDY

To fulfill the framed objectives, the study is conducted by circulation of a structured

self- administered questionnaire majorly via emails and social media on the basis of
the convenience sampling within the Delhi NCR region, usually among the youth
respondents. Further, this study can be used to analyze customer satisfaction of the
viewers of online streaming services. The study is primary in nature.

RESEARCH DESIGN

The research design used in this project is ‘exploratory research’ as the main aim is to
explore the customer satisfaction, the streaming services popularity, etc.

DESIGNING THE QUESTIONNAIRE

Self administered structured questionnaires have been used to conduct the research.

SAMPLING METHOD

Convenience Sampling method is used to get the respondents to fill the questionnaires

SAMPLING UNIT

The data was collected from the respondents from Delhi Ncr Region by sending
questionnaire via online sources, emails, watsapp, etc.
SAMPLE SIZE

 Questionnaire was circulated to 140 people but only 104 respondents reverted.
 The questionnaire can be completely filled by the respondents who use online
streaming services and out of 104 respondents 13 respondents don’t use online
streaming services.
 So, after question no. 5 the responses are given by only 91 respondents.

DATA COLLECTION

There are two major methods of data collection:

 Primary data
 Secondary data

According to the need of the research and the reliability of data, both primary and
secondary sources are used to collect data. For primary data, structured questionnaire
method is used and for secondary data the sources used are books, journals, and
Internet.
CHAPTER 4
Data Analysis
&
Interpretation
Q1. Name

Q2. Age

Particulars No. of Respondents Percentage

Below 18 5 5%

18-25 94 90%

26-35 3 3%

36-45 2 2%

46-55 0 0%

Above 55 0 0%

Total 104 100%

3% 2% 5%

Below 18
18-25
26-35
36-45
46-55
90%
Above 55

INTERPRETATION:

As the Major Outlook was for the youth, So out of 104 respondents, 90% repondents
are within the age group of 18-25 years, 5% belongs to below 18, 3% in the age group
of 26-35, 2% belongs to the age group of 36-45 and there is none in the age group of
46-55 and above 55.
Q3. Gender

Particulars No. of Respondents Percentage

Male 55 53%

Female 49 47%

Others 0 0%

Total 104 100%

47%
53% Male
Female
Others

INTERPRETATION:

The above chart show that amongst 104 respondents on whom survey was conducted,
the proportion of male and female respondents is almost similar being slightly higher
for male. 53% are male respondents and 47% are female.
Q4. Occupation

Particulars No. of Respondents Percentage

Student 95 91%

Self employed 2 2%

Service 4 4%

Professional 2 2%

Housemaker 1 1%

Other 0 0%

Total 104 100%

2 1%
% 4% 2%

Student
Self employed
Service
Professional
Housemaker
91%
Other

INTERPRETATION:

Out of all the respondents, maximum numbers of respondents are students i.e. 91%,
2% self employed, 4% are service class people, 2% professional and the remaining
1% are housemaker.
Q5. Do you use online streaming services?

Particulars No. of Respondents Percentage

Yes 91 87%

No 13 13%

Total 104 100%

13%

Yes
No

88%

INTERPRETATION:

From the survey, it was found that amongst 104 respondents majority of the youth is
using online streaming services and very few are there who don’t use. 87% of the
people use the online streaming services and remaining 13% doesn’t use them.
Q6. If yes then which online streaming service, do you prefer most?

Particulars No. of Respondents Percentage

Netflix 39 43%

Amazon Prime 36 40%

Hotstar 11 12%

Zee5 2 2%

Alt Balaji 1 1%

Other 2 2%

Total 91 100%

2% 1% 2%
12%
Netflix
43%
Amazon Prime
Hotstar
Zee5
Alt Balaji
40% Other

INTERPRETATION:

From the above pie chart it can be interpreted that there are two major players who are
very popular in the youth with slightly high preference for Netflix over Amazon
Prime with 43% preference for Netflix, 40% preference for Amazon Prime,. For other
players of the market 12% prefer Hotstar, 2% prefer Zee5, 1% prefer Alt Balaji and
remaining 2% prefer other sites as their favourite source of online video streaming
channel for entertainment.
Q7. What do you like most in your preferred online streaming service?

Particulars No. of Respondents Percentage

Content 65 71%

Price 15 17%

Convenience 8 9%

Other 3 3%

Total 91 100%

3%
9%
16%
Content
Price
Convenience
Other
71%

INTERPRETATION:

From the above pie chart it can be concluded that content purely is that one factor
which can make you the market leader and maximum respondents i.e. 71% people
like the content of their preferred online streaming service, there are only few 17%
who are price driven, 9% like the convenience provided and remaining 3% like other
factors.
Q8. Reasons you like to spend time on it? (Multiple response based question)

Particulars No. of Respondents Percentage

For time pass 44 48.4%

For interest 41 45.1%

To overcome stress 19 20.9%

Other 7 7.7%

INTERPRETATION:

From the above chart, it can be interpreted that 48.4% respondents uses the online
streaming service for time pass, 45.1% uses because of their interest, 20.9% of them
to overcome stress and remaining 7.7% for other purposes.
Q9. How many online streaming services do you currently subscribed to?

Particulars No. of Respondents Percentage

0 8 9%

1–3 69 76%

More than 3 14 15%

Total 91 100%

15% 9%

0
1 to 3
More than 3

76%

INTERPRETATION:

From this chart, it can be seen that the majority respondents are having more than one
subscription i.e. 76% people are subscribed to 1 to 3 sites, 15% people subscribed to
more than 3 sites and there is very less number of respondents who do not have any
subscription 9% to none.
Q10. Are you satisfied with the present service?

Particulars No. of Respondents Percentage

Yes 68 75%

No 2 2%

To some extent 21 23%

Total 91 100%

23%

2%
Yes
No
To some extent
75%

INTERPRETATION:

The above pie chart says maximum number of respondents almost 75% people are
satisfied with the service they are currently using, 23% are satisfied to some extent
and remaining 2% people are not at all satisfied with the present service.
Q11. Factors affecting your satisfaction level with the current service provider

Particulars Technological Original Content Ads free content Subscription

Glitches streaming price & offer

Highly 8 6 12 15
Dissatisfied

Dissatisfied 14 19 15 15

Neutral 25 15 18 17

Satisfied 36 32 26 33

Highly Satisfied 8 19 20 11

Total 91 91 91 91

INTERPRETATION:

The satisfaction level of customers is affected by various factors like technological

glitches, ads while streaming, originality of content, offers given and subscription
prices of the service. Out of all the respondents, majority of the respondents fall off on
the satisfied level for all the factors of satisfaction level. Almost 21% and 22%
respondents respectively are highly satisfied for ad free streaming and originality of
content and 12% are highly satisfied for the subscription prices and offers by the
online streaming service. Dissatisfaction level is low as compared to the satisfaction
level.
Q12. On a typical day, about how many hours do you spend looking at content on a
video streaming website?

Particulars No. of Respondents Percentage

0 to 1 hour 20 22%

2 to 4 hours 49 54%

5 to 7 hours 11 12%

More than 7 hours 11 12%

Total 91 100%

12% 22%
12%

0 to 1 hour
2 to 4 hours
5 to 7 hours
More than 7 hours
54%

INTERPRETATION:

The above pie chart says that 22% people spends 0 to 1 hour looking at the content on
the online video streaming website in a day, 54% spends about 2 to 4 hours in a day,
12% spends 5 to 7 hours a day and 12% spends more than 7 hours a day.
Q13. What most induces you to buy their premium accounts?

Particulars No. of Respondents Percentage

Advertisement 16 18%

Influence 7 8%

Interesting Content 63 69%

Other 5 5%

Total 91 100%

5%
18%

8%
Advertisement
Influence
Interesting Content
Other
69%

INTERPRETATION:

It shows that 69% people looks for interesting content that induces them to buy
premium account, 18% rely on advertisement, 8% through influence and remaining
5% induces from other factors as well.
Q14. Do content releases on these social streaming services affect your purchases of
their accounts?

Particulars No. of Respondents Percentage

Yes 39 43%

No 24 26%

To some extent 28 31%

Total 91 100%

31%

43%

Yes
No
To some extent

26%

INTERPRETATION:

The data collected states that 43% people think that content releases on these social
streaming services affects their purchases on these accounts, 31% to some extent and
remaining 26% doesn’t think so.
Q15. Do you think, online streaming services get benefited by creating their own
original content?

Particulars No. of Respondents Percentage

Yes 67 73%

No 7 8%

Maybe 17 19%

Total 91 100%

19%

8%

Yes
No
Maybe

74%

INTERPRETATION:

The above data says that yes definitely originality and self created content is
something which is highly preferred 73% respondents believes that online streaming
services get benefited by creating their own original content, 8% doesn’t believe so
and remaining 19% are not sure.
Q16. Do you find web series as addictive in nature and have bad consequences on
your lifestyle?

Particulars No. of Respondents Percentage

Strongly Disagree 6 7%

Disagree 12 13%

Neutral 40 44%

Agree 16 17%

Strongly Agree 17 19%

Total 91 100%

40

40

35

30

25
16 17
20
12
15

10 6

0
Strongly Disagree Neutral Agree Strongly
Disagree Agree

INTERPRETATION:

The above bar chart shows that nearly 10% respondents strongly disagree the
statement that web series are addictive in nature and can have bad consequences on
their lifestyle, 13% respondents disagree, 40% respondents have a neutral opinion,
17% agree to this statement and remaining 20% strongly agree. So overall an
inclination towards agreement of addiction can be witnessed with these responses
though not clearly expressed as majority has preferred to answer being neutral on
commenting about the same.
 CHAPTER - 5

Findings and Conclusions

 FINDINGS
 Mostly respondents are of young age (18-25 years) who participated in the survey.

 Out of all the respondents, 53% are male respondents and 47% are female
respondents.

 It is observed that majority of the respondents are students.

 An important finding that emerged out of the survey is that 87% of people use the
online streaming services while 13% doesn’t use them.

 .Netflix is the most preferred online streaming service with 43% people whereas
Amazon Prime is the second most preferred and Hotstar is the third most
preferred.

 It has been observed that content is the hero of online streaming as 71%
respondents mostly like the content in their preferred online streaming service,
17% like the price, 9% like the convenience provided and remaining 3% like other
factors.

 Most of the respondents use the online streaming service for time pass and interest
in the content offered.

 Mostly people are satisfied with the service they are currently using.

 22% people spends 0 to 1 hour looking at the content on the online video
streaming website in a day, 54% spends about 2 to 4 hours in a day, 12% spends 5
to 7 hours a day and 12% spends more than 7 hours a day.

 Interesting content is the prime reason that induces respondents to purchase

premium accounts of their preferred online streaming service.

 73% respondents believes that online streaming services get benefited by creating
their own original content, 8% doesn’t believe so and remaining 19% are not sure.
 Majority of respondents have neutral opinion on the statement that web series is
addictive in nature and can have bad consequences on their lifestyle. Still an
inclination is witnessed towards agreement rather than strong disagreement.
 CONCLUSION

Media and Entertainment industry is ruled by consumer choices of content and

accessibility all over the world. The online video streaming service market in India is
still maturing and it won’t be a wise decision to call out a specific service as the best
streaming service. Mostly, because each one of them has its own pros and cons.

But out of all the options available for online video streaming channels Netflix is the
major player in India. Amazon Prime is also one of the major players in the market
but it has less audience as compared to Netflix. Most of the people watch content on
online streaming services about 2 to 4 hours in a day. Time pass and interest is the
biggest reason behind the use of online streaming services.

Content is said to be the king when it comes to online video streaming services.
Indian consumer is always said to be price sensitive but in case of online streaming
services it doesn’t happen. Interesting content is the most important influential factor
that induces people to purchase premium accounts of their preferred online streaming
service. Of course, backed by some offers and discounts on subscription prices.

Online video streaming consumption is highly influenced by the age of the consumer
and the service is consumed mostly within the age group of 18 to 25 years i.e. mainly
the young generation. These services are independent on gender of the consumer that
is both males and females are equally interested.

This online streaming service is in its inception stage and has already attracted a good
number of users and captured a unique place in the hearts of the consumers with a
change that has been brought to traditional television content.
 CHAPTER - 6

Suggestions & Limitations

 SUGGESTIONS

 Content is the king regardless of the device on which the videos are being

watched. Thus marketers and directors of online video streaming services should

make sure that the content is good enough and with good quality so that

consumers can easily access it.

 India as a market is also be attracted to regional content and it should be made

sure that regional content with new Bollywood movie release is a major option in

the offering

 Price sensitive market like India should be convinced that the offerings are worth

the amount paid in order to get maximum number of people to buy paid

subscription to channel.

 Consumers have many alternatives to evaluate and choose and thus there should

be distinctive factor which forces the consumer to choose other channels. Netflix

has observed, has made its position and ranks first in the most preferred.

 India as a market has a tremendous growth opportunity in the digital section of

online video streaming services and this opportunity should be leveraged by

service providers.
 LIMITATION OF THE STUDY

 Small area of research and small sample size

The area for study was quite small to judge effectiveness of customer’s preference.

The research considers only of the customers who belong to Delhi and NCR

regions which has made it area specific and limited. And also 104 respondents is

very small number to represent Delhi as research area. So results are not

generalizable.

 Short time of period

The time period for carrying out the research was short as a result of which many

facts have been left unexplored.

 Unwillingness of respondents

While collection of the data many customers were unwilling to fill the

questionnaire. Respondents were having a feeling of wastage of time doing this.

 Assumptions and Biasness

There may be a chance that the respondents might be making assumptions while

filling the questionnaire. Chances of some biasness could not be eliminated.

 Limited Scope of Study

The scope of study is limited as the numbers of respondents are limited to 104

respondents only. Also, further study can be conducted on other aspects like with

respect to increased usage of these digital platforms due to pandemic COVID-19

outbreak.
 BIBLIOGRAPHY

 www.google.com

 https://scholar.google.com/

 https://www.wikipedia.org/

 http://journal.iujharkhand.edu.in/June-2019/Transition-of-Consumer.html

REFERENCES

 Dapeng Wu., et al., (2002) Streaming video over the Internet: approaches and
directions
 Boddy, W. (2004) Interactive television and advertising form in contemporary
US television. In L. Spigel & J. Olsson (Eds.), Television after TV: Essays on a
medium in transition (pp. 113-132).
 Hibbered, J. (2004). Ratings not key to satisfaction. Television Week, 23(50).
 Cheng Huang., et al., (2004) An Optimal Coding Rate Control for Scalable
Streaming Media.
 Mittell, J. (2011) TiVoing childhood: Time-shifting a generation’s concept of
television. In M. Kackman, M. Binfield, M. T. Payne, A. Perlman, & B. Sebok
(Eds.), Flow TV: Television in the age of media convergence (pp. 46-54). New
York, NY: Routledge.
 Miller, V. (2011) Understanding digital culture.
 Cha, J., & Chan-Olmsted, S. (2012) Substitutability between online video
platforms and television.
 Hulkower, B. (2012) Online and streaming video – US – November 2012.
Retrieved from Mintel database.
 Bondad-Brown, Beverly A., Rice, Ronald E. & Pearce, Katy E. (2012) Influences
on TV viewing and online user-shared video use: Demographics, generations,
contextual age, media use, motivations, and audience activity.
 Mintel’s (2012) online and streaming video
 Hulkower, B. (2013) Streaming Media: Movie and Television – US – November
2013. Retrieved from Mintel database.
 Greenfield, R. (2013, February 1) The economics of Netflix’s $100 million dollar
new show.
 Christian, A. J. (2015) Web TV networks challenge linear business models.
Casey-Wolf Center.
 Dr.Virender Khanna, ‘A Study on Factors Affecting Subscription Rates of
Netflix In India: An Empirical Approach’ 2016 International conference on
Recent Innovation in Science, Technology, Management and environment.
 Cox, K. (2017, June 18). Cord-cutting will only continue as cable prices rise.
 Live Mint Newspaper, LataJha, “Indians spending more time watching online
videos”.
ANNEXURE
 The Game-Changer in Digital Age

A survey on online streaming services

Q1. Name

Q2. Age

a) Below 18
b) 18-25
c) 26-35
d) 36-45
e) 46-55
f) Above 55

Q3. Gender

a) Male
b) Female
c) Other

Q4.Occupation

a) Student
b) Self employed
c) Service
d) Professional
e) Housemaker
f) Other

Q5. Do you use online streaming services?

a) Yes
b) No
Q6. If yes then which online streaming service, do you prefer most?

a) Netflix
b) Amazon prime
c) Hotstar
d) Zee5
e) Alt Balaji
f) Other

Q7. What do you like most in your preferred online streaming service?

a) Content
b) Price
c) Convenience
d) Other

Q8. Reasons you like to spend time on it?

a) For time pass

b) For interest
c) To overcome stress
d) Other

Q9. How many online streaming services do you currently subscribed?

a) 0
b) 1-3
c) More than 3

Q10. Are you satisfied with the present service?

a) Yes
b) No
c) To some extent
Q11. Factors affecting your satisfaction

Highly Dissatisfie Neutral Satisfied Highly

dissatisfied d Satisfied

Technological
glitches

Original content

Ads free content

streaming

Subscription price
and offer

Q12. On a typical day, about how many hours do you spend looking at content on a
video streaming website?

a) 0-1 hour
b) 2-4 hours
c) 5-7 hours
d) More than 7 hours

Q13. What most induces to buy their premium accounts?

a) Advertisement
b) Influence
c) Interesting content
d) Other

Q14. Do content releases on these social streaming services affect your purchases of
their accounts?
 a) Yes
b) No
c) To some extent

Q15. Do you think, online streaming services get benefited by creating their own
original content?

a) Yes
b) No
c) Maybe

Q16. Do you find web series as addictive in nature and have bad consequences on
your lifestyle?

a) Strongly disagree
b) Disagree
c) Neutral
d) Agree
e) Strongly agree