MINI PROJECT REPORT-II

ON

“IMPACT OF ADVANCEMENT
TECHNOLOGIES IN FILM INDUSTRY”
Under the guidance of
MS. FARHANA JAMAL
Assistant Professor, ICCMRT

Submitted in partial fulfillment of the requirement for the

award of Degree of Master of Business Administration from
Dr. APJ Abdul Kalam Technical University, Lucknow

Submitted by:
JHILIK PAL
MBA II Semester
Roll No. : 2301240700023
BATCH (2023-2025)

INSTITUTE OF CO-OPERATIVE & CORPORATE

MANAGEMENT, RESEARCH & TRAINING
21/467, RING ROAD, INDIRA NAGAR, LUCKNOW-226016

Institute of Co-operative & Corporate Management,

Research and Training
467, Sector-21, Ring Road, Indira Nagar, Lucknow-226 016

Date/ :

CERTIFICATE

This is to certify that JHILIK PAL (Roll No. :2301240700023), student of Master
of Business Administration (MBA) programme (Batch 2023-25), at this institute
has completed a mini project report on “ Impact Of Advancement Technologies
In Film Industry”.
The student has also made a presentation before a panel of experts at this institute.

Dr. K. Anbumani MS. FARHANA JAMAL

(Principal, ICCMR) (Assistant professor)
 DECLARATION

I JHILIK PAL student of M.B.A. batch 2020-2021 at ICCMRT Lucknow hereby declare that
this project report titled “ IMPACT OF ADVANCEMENT TECHNOLOGIES IN FILM
INDUSTRY” is completed. It is my original work.
The findings in this report are based on the data collected by me. This report has not been
submitted to any university for any purpose.

JHILIK PAL
MBA II Semester

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 ACKNOWLEDGEMENT

I owe many thanks to many people who helped and supported me during the writing of this
project. My deepest thanks to director of our institute Mr. Alok Dixit for his continues support.
I express my thanks to the Principal of ICCMRT Lucknow, Dr. K. Anbumani for extending his
support and valuable guidance. My deep sense of gratitude to MS. FARHANA JAMAL,
(Assistant Professor) ICCMRT, Lucknow for constantly guiding me and tackling hurdles with
implicit patience throughout my project. Thanks and appreciation to the helpful people at
ICCMRT, Lucknow for their help and to the faculty members for their support and unbiased
responses regarding my queries.

JHILIK PAL
MBA IInd Semester

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 Preface
As a part of MBA curriculum in order to gain practical knowledge in the field of management, we are
required to make report on IMPACT OF ADVANCEMENT TECHNOLOGIES IN FILM

INDUSTRY”

The basic objective behind doing this project report is to get the knowledge tools of different marketing.

In this project report we have included various concept implications and analysis regarding business start-
up plan.

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 TABLE OF CONTENT

S.NO. TOPIC PAGE NO.

1 Certificate by mentor 2
2 Declaration 3
3 Acknowledgment 4
4 Preface 5
5 Introduction of industry 7-15
6 Introduction of topic 16-17
7 Objective of study 18-26
8 Content of report 26-28
9 Advantages & challenges 28-38
10 Limitations 39
11 Conclusion 40-41
12 Bibliography 42

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 INTRODUCTION
Just like it has for a lot of other industries, technology has completely changed the
film industry – from the ways movies get made, to how they are edited, to the ways
audiences watch them.Technology has simplified life for everyone involved in making
a movie. Just 50 years ago, cameras had to have a full crew to operate, and if they
wanted to get an aerial shot, they needed an aircraft-mounted camera that was so
heavy it weighed more than the plane! And once the film was captured, the editing
was done by physically cutting and pasting the film together...not exactly an efficient
process.It was long, hard work that still only resulted in low-quality images.

But today, new, lighter cameras have allowed for clearer images, and shots never
thought possible. Plus, with the incorporation of the cloud, editing films has never
been easier. Teams from across the globe can work on a film together from
anywhere, even the comfort of their homes. This opens up a whole new world for
filmmakers that never could have participated before.

And for audiences, it‘s no longer necessary to go to your local theatre to see the one
nightly showing of a movie. On-demand, streaming services, and TV have allowed
viewers to watch their favorite movies whenever, and wherever, they want.The
history of film is full of advances that have changed the seventh art ever since, both
in the way it is produced and in the way in which the public has enjoyed it. From
the first Lumière brothers projections to modern computer-generated graphic films,
the industry has not stopped innovating to make better films. been some of the
advances in technology that have revolutionized the history of film.

1. THE LUMIÈRE BROTHERS

The beginning of the seventh art cannot be understood without the contribution of the
Lumière brothers. These pioneers, inventors of the cinematograph, recreated the
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illusion of movement. Their goal was no other than deceiving our eyes. According
to the journalist Yolima Andrea Díaz, the film and its advances in technology date
back to representations such as the mid-sixteenth century ―camera obscura‖, the
seventeenth century ―magic lantern‖ or Étienne-Jules Marey‘s portable
chronophotography. But the industry went far beyond those basic techniques that
projected images in dark rooms, showed still transparent pictures or moved bands
that displayed twelve images per second.

The Lumière brothers‘ cinematograph was unveiled at a scientific conference held

in March 1895, although its official presentation was on December 28 of that same
year at the Grand Café Boulevard des Capucines in Paris. In this French corner,
and as a surprise to the audience, they projected the arrival of a train at the Ciotat
station. The seventh art was officially born.

As explained in the National Media Museum, the Lumière brothers were soon
aware of the business opportunity they stood upon. As a result, they developed 450
portable cinematographers.

2. MÉLIÈS’ MOON

The Lumière brothers began the history of film with the invention of the
cinematograph. But the illusion of movement – centrepiece of the seventh art –

also owes much to another French filmmaker. Since Georges Méliès ―crashed‖ a
rocket on the surface of the Moon in 1902 nothing will ever be the same again.

The French director used the techniques of superimposition of images, fading, double
exposures and scale models. Thus he managed to produce the film A Trip to the Moon
(Le Voyage dans la Lune) despite the technical precariousness of the early twentieth
century. 67 years before the Apollo 11 mission set foot on the satellite for
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the first time, Méliès could ―portray‖ the landing of a ship in the eye of the Moon,
a famous image that characterizes the first major science fiction film.

3. COLOUR

In 1916, one of the most important techniques of the seventh art arrived:
Technicolor, which allowed filmmakers to record films in colour. A key turning
point for the industry, which was possible thanks to the introduction of a
photographic chemical process that managed to introduce colour in movie frames

Thanks to the discovery of Daniel Comstock and Burton Wescott, the Technicolor
Corporation company succeeded in turning black and white films into colour. This
discovery, based on the Kinemacolor system, recorded images in two colours (red
and teal) using only one lens. How did it work? A light and colour filters beam
splitter facilitated the process, however, it ended up having many difficulties for
the projection in theatres. And so was demonstrated with the premiere of The Gulf
Between, in 1917. The projectionist – due to the novelty of the process – was not
able to adjust the machine properly and correctly register the two colors on the
screen, affecting to the proper display of the film.

The arrival of two subsequent systems (called Process 2 or ―two strip‖ system and
Process 3) would improve the production of colour films. But it was the
development of the three–color camera (Technicolor three–strip) which would
revolutionize the industry technically. According to what David Bordwell, Janet
Staiger, and Kristin Thompson wrote in The Classical Hollywood Cinema: Film
Style and Mode of Production to 1960, this invention was attributed to Comstock,
Troland and Ball (graduates and students of MIT), while its development was
thanks to Kalmus. A development that made colour films experience an
‗unstoppable growth‘ from 1935 on.
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4. SOUND

The incorporation of coloured frames was not the only technical revolution
experienced by the cinema between the twenties and thirties. In 1927, Alan
Crosland premiered his black and white film The Jazz Singer. A work which was
not yet benefited from the advantages of Technicolor, but in which an essential
aspect for another of our senses was changed. We changed from the silent film
characterized by Charles Chaplin to one in which sounds accompanied the images
projected.

The technical breakthrough that made it possible was the Vitaphone.This system,
sponsored by Warner Bros and First National studios, allowed recording
soundtracks and spoken texts on disks that were then reproduced at the same time
as the film. Despite its precariousness, this device completely changed the industry
but was soon replaced by the Movietone, invented by Lee de Forest and marketed
by Fox from 1927 on with the production of Sunrise: A Song of Two Humans. This
second system allowed to record audio directly onto the film, an achievement that
proved to be a success until 1939 when, again, innovation changed the industry one
more time with another system implemented by Edward C. Wente.

5. TELEVISION

Two decades after these technological revolutions, film came face to face with what
would remain its biggest competitor until the arrival of the Internet: Television. To
counteract its popularity, Fox developed a new imaging system known as
Cinemascope. This method takes large images by compressing a normal size one
within the standard 35 mm frame. The aim is to achieve a ratio between 2.66 and 2.39
times wider than high, thanks to the use of special anamorphic lenses, which were
placed in the cameras and screening machines. The introduction of the

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Cinemascope also inaugurated a new era in film, thereafter characterized by the use
of panoramic formats, with similar systems to VistaVision, Todd-AO, Panavision,
SuperScope and Technirama.

6. ANIMATION

If something has been highlighted in the recent film innovation it has been, without a
doubt, the works of animation. And Disney has played a key role in these advances.
With the release of Steamboat Willie in 1927, Walt Disney began the golden age of
animated films, with Mickey Mouse as the big star, becoming the flagship of the
multinational until today. The genius of animation introduced a technique that would
be emulated by many other producers of his time. The method, known as sound
cartoon, allowed to synchronize cartoons and sounds, as perfectly shown in the scene
of the smoke coming out of the boat that a primitive Mickey Mouse sailed.

He was the first to give importance to animation as a potential for the filmmaking
sector and, as such, he wanted to go much further in the techniques employed. The
multiplane camera developed by Ub Iwerks and also introduced by Disney,
allowed to provide traditional animation with – at least at the time – innovative
three– dimensional effects. This type of video camera used in Snow White, the first
feature film of the firm, allowed scenes to be more realistic by achieving depth in
animation for the first time in history.

7. THE PIXAR ERA

But if something has highlighted Disney, and later Pixar, it is in the application of
computer graphics. The first work in which the company used computing was the
famous Beauty and the Beast. Among the examples of technical innovation that takes
place at Disney Research – the research centres located in the United States and

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Switzerland – the smoke effect, the reconstruction of hair and facial hair or facial
geometry modelling are to be highlighted.

Pixar was also a symbol of animated filming since its very beginning with
premieres such as Toy Story, Monsters Inc. and Cars. Its creations and innovations
were based on the advances made in Westworld, a science fiction story famous for
having used the first computer-generated graphics. The momentum that Steve Jobs
(co-founder of the animation company) gave to the film industry was so great that,
eventually, Disney ended up acquiring Pixar in 2006 for 7,400 million dollars.

The two companies joined forces, a collaboration that had begun in the development
and implementation of the CAPS system (Computer Animation Production
System).This breakthrough, known as 2D digital software, allowed to digitally colour
hand-drawn animations. CAPS was a key to the realization of Toy Story, the film
directed by John Lasseter which received an Academy Award in 1995.

We could not finish without mentioning the use of chroma, and 5even if it exists since
1930, it has been in the digital age when this technique has reached its greatest
potential. There is no doubt film is a way to create what does not exist, in other words,
to fool our brain by getting difficult to shoot scenes or landscapes even our
imagination cannot create. In that sense, the chroma can capture a background and a
character or object separately, and then use 3D animation, image digitalization and
computer generated graphics; three technical advances that have helped produce
amazing films such as The Matrix, The Lord of the Rings, 300 or Avatar.

In this latest film, the director James Cameron also used the so-called performance
capture, so that the ―blue‖ characters kept the essence of the actors‘ and actresses‘
interpretation. What for? According to James Cameron himself, ―the idea is that,

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ultimately, the public cannot tell whether what they have seen is real or not‖. A phrase
that also sums up the purpose of applying technical advances to the film industry.

And so innovation in this industry does not stop. Besides the work of companies
like Pixar and Disney, a new era of film which seems to relate to facial recognition
is now being born. Faceshift, recently acquired by Apple, is also introducing a
number of technical advances in this field and these have already been used in
films such as the Star Wars saga. Improvements show that the industry has the RDI
formula in its DNA, which offers new possibilities for future releases.

Technology has taken the film industry from silent, black-and-white films to high-
definition movies that are capable of making the audience feel as if they are there,
in only a short period of time.

The COVID-19 Pandemic has had an impact on nearly all aspects of our lives, and
the film industry is no exception. It‘s estimated that the US box office alone will
lose over $5 billion dollars this year, and many long-anticipated features have been
pushed back indefinitely.

Movie theaters are by nature a high-risk environment, as they often pack hundreds
of people into a small space together for extended periods of time. Additionally, it
can be difficult and time-consuming to clean them, making them less than ideal for
a highly contagious virus like COVID-19.

So how have businesses like movie theater chains and film production companies
adjusted to these unprecedented times? Movie theaters have arguably been hit the
hardest, and several major chains such as Cinemex have been forced to close down
permanently. Even AMC, the largest chain in America, may be forced to file for
bankruptcy. Some smaller chains and independent theaters have allowed small
groups of people to book private screenings, in an attempt to earn some money.
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Several states have announced support for a socially-distanced reopening of
theaters, but with distribution companies not releasing new films and most film-
goers wary, it remains to be seen if many will reopen at all.

Several major and minor releases were forced to end their theatrical runs early as
the COVID-19 pandemic grew worse earlier this year. Rather than wait months for
digital and Blu-Ray sales to begin, some production companies decided to release
their movies digitally early. Disney Pixar‘s Onward released on Disney + barely a
month after theatrical release, an unprecedented move from both the company and
the industry.

Many new releases have been indefinitely postponed, as production companies

would like to see them released in theaters instead of digitally. Some titles include
Disney‘s live-action Mulan remake, A Quiet Place Part II, and Wonder Woman
1984. Production for virtually all films has also ground to a halt, with production
of some films only just beginning to start up again in countries with low rates of
infection.

Some production companies are attempting unorthodox measures to release films

during these times. One such example was Universals‘ Trolls World Tour which it
released exclusively to digital rental instead of in theaters. It managed to earn over
$100 million dollars in its first three weeks, leading Universal to announce that in the
future it would release its movies simultaneously in theaters and on digital rental. This
has led to tension between Universal and movie theater chains, with some threatening
to not play Universal films in their theaters if this comes to be. What will happen,
remains to be seen. A popular independent film festival, SXSW was cancelled. In
response, Amazon Prime offered to host films that would have played

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there and pay the film makers. While few accepted over concerns with future
distribution issues, nearly 40 accepted the offer.

COVID-19 has upended the global film industry, halting film production and
closing cinemas.

Even before the pandemic, however, streaming video on-demand (SVOD) was
having a huge impact on the industry.

The pandemic is accelerating the ongoing transformation in movie production,

distribution and consumption.

Movies are a massive value creator. Global box office revenues totalled $42 billion
last year – an all-time high – contributing almost one-third of the estimated $136
billion in the value of worldwide movie production and distribution.

Hollywood supports more than 2 million jobs and 400,000 American businesses;
British film and TV are worth around £60 million each day to the UK economy.
Countries like China are taking bold steps to grow creative output, too.

The coronavirus pandemic has upended the content pipeline, halting film
production and closing cinemas. Normality should resume; production has restarted
in some countries and the industry has adopted remote-work protocols where
possible. But the virus creates uncertainty, and the biggest short-term risk seems to
be consumers‘ dwindling confidence in physical venues.

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 INDUSTRY ANALYSIS

The Indian music industry grew 24.5% to touch $156 million (Rs. 1,068 crore) in
2018. According to a report released by IFPI, a body representing the recording
industry worldwide, India, currently ranked 15th in the world, is well-positioned to
break into the top 10 music markets by 2022.

The global recorded music market grew by 9.7% in 2018, the fourth consecutive
year of growth, according to IFPI. Figures released in IFPI‘s Global Music Report
2019 show total revenues for 2018 were $19.1 billion driven by an uptake in paid
subscription streaming (32.9%). The Asia and Australasia region (11.7%) grew to
become the second-largest region for combined physical and digital revenue, with
especially strong growth in South Korea (17.9%) and India.

Streaming revenue grew by 34.0% and accounted for almost half (47%) of global
revenue, driven by a 32.9% increase in paid subscription streaming. There were 255
million users of paid streaming services at the end of 2018, with paid streaming
accounting for 37% of total recorded music revenue. Growth in streaming more than
offset a 10.1% decline in physical revenue and a 21.2% decline in download revenue.

Mirroring global growth, India has witnessed an increase in streaming revenue

(31%) with rising traffic towards legitimate sources of music (audio OTT
platforms, video streaming platforms, etc.) driven by an increase in smartphone
penetration and low data rates. The penetration of music services to tier two and
tier three cities, along with an increasing subscriber base of internet users suggests
that the scope for growth for audio streaming consumption (and therefore,
revenues) remains large – as emphasized by the increasing competition in the
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audio OTT industry. Physical revenues, on the other hand, grew only by 21.2% and
synchronization revenues by 24.6%.

―Talent, technology and tenacity have been the key drivers of the recorded music
industry in India, through the ever changing technological and legislative landscapes.
Content creators and owners in India are connecting with audiences globally, through
the ubiquity of the Internet and the reach of online platforms," said Blaise Fernandes,
president and CEO, Indian Music Industry, in a statement. ―The recorded music
industry in India is on the cusp of crossing boundaries within India and outside -
providing much encouragement to content creators, both established and emerging. It
is imperative, therefore, that the investment cycles by rights holders are sustained
through fair valuation of music and voluntary licensing norms."

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 EMERGING TRENDS OF STUDIO INDUSTRY

The transformation of the global film industry

First, there is a secular decline in film attendance. Except for China – where
audiences grew over 860% from 2009-2019 – most major markets are in retreat. In
North America, the number of tickets sold has barely changed since 1995, while in
the UK, admissions have hovered around 170 million per year since 2005. In both
places, population increases mean yearly per capita admissions have in fact
decreased. Even in India – a production powerhouse – per capita cinema
admissions from 2009-2018 fell 32%.

This is likely not attributable to the movie-going experience. Most operators have
invested in theatres, upgrading audio-visual technology, making seats more
comfortable and introducing consumer-friendly subscription offers like A-List,
MoviePass and Sinemia.

In India specifically, demand is believed to be strong, but the country suffers from
a relative dearth of screens. ―The problem we have in India is a constraint on the
supply side of new cinemas, as there is a huge demand for theatres which are able
to offer a vast range of bespoke experiences to those looking for great value family
and corporate entertainment," explains Siddharth Jain, Director at INOX Group,
one of India's top multiplex groups.

Venue operators are also challenged by a shrinking theatrical window, the amount
of time studios show movies exclusively in theatres before releasing them for sale,
download or streaming. Since the turn of the century, the theatrical window has
narrowed by more than two months.

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This change reflects consumer preferences for content consumption, which
increasingly favour streaming video on-demand (SVoD). Many SVoD services are
now owned or invested in by movie studios, which mitigates incentives to maintain
a long theatrical window and intensifies an increasingly competitive streaming
environment.

This has led studios to prioritise releases for their own services, leading to a
reduction in films shown in theatres. According to analyst Matthew Ball, 15 years
ago, the ―big six‖ studios – Warner Bros, Walt Disney, 20th Century Fox,
Paramount, Sony and Universal – released 20-25 major films. By 2019, some were
releasing as few as nine.

Well-funded SVoD providers with significant content budgets are shifting the
power balance. Netflix, Amazon and others acquire movies made outside the big
six studios, releasing them directly to consumers and further limiting the pool of
movies available to brick-and-mortar distributors. The apparent depletion of choice
in theatres, in contrast to the wealth of content available via SVoD services, is
expected to compound downward pressure on admissions, even as some are bullish
about the prospects for cinemas.

―If content creators go direct to digital, they cut out the potential box office
collections and satellite rights as a massive source of revenue generation for the
producers. In addition, film stars were made for the big screen experience – it‘s
where they want their movies to be shown,‖ argues INOX Group's Jain.

First, the business model is moving from third-party distribution and single-ticket
sales towards owned distribution and recurring revenue. This is seen by

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investments in SVoD services, where a single movie or TV series is rarely a profit
driver; rather, recurring subscriptions (and, in some cases, advertising revenue)
produce value.

As a result, media companies no longer optimise releases for fixed schedules,

primetime TV slots or popular holiday weekends. Instead, the goal is increased
engagement, thereby improving user retention and data on content popularity. The
corollary is an expansion of demand for proprietary content.

As Kamal Gianchandani, Chief Executive Officer of PVR Pictures and Chief of

Strategy for PVR, describes, ―I expect that investments in content creation will
come from distribution platforms instead of studios. The studios and the platforms
are likely to coexist and thrive, especially in under-penetrated markets like India.‖

Tencent‘s recent purchases of iQIYI and Iflix is the latest manifestation of this
trend. And within its $4 billion investment in HBO Max, AT&T is accounting for
lost earnings from content it otherwise would have licensed to outside buyers;
HBO Max is expected to become an engine for bundling subscriptions to AT&T‘s
wireless and data services.

The SVoD model also normalizes the release of movies directly to consumers,
eating away at the market for theatre operators. Theatres take up to 50% of ticket
sales; now, this income stream is under threat. Perhaps the most aggressive reaction
has been from AMC, which announced a boycott of Universal‘s films after the
studio bypassed a theatrical release. Similar disputes will follow as the practice
standardises.

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Independent theatres are expected to be heavily impacted. Even before the pandemic,
studios would often give exclusive rights to larger chains or mandate that smaller
venues block screens regardless of demand. Some are warning of a consolidation
among theatre operators. In Italy, for example, art house and indie distributors are
calling for government intervention to maintain plurality in the market.

Many operators are responding by improving consumer targeting. ―We have a

strong loyalty programme with a lot of meaningful customer data, which
empowers us to understand what our customers like to watch and which cinemas
they like to visit,‖ says Gianchandani. ―We‘re using technology which integrates
this data into our communications systems, so that we can identify all the touch
points that users have with cinemas in their daily lives.‖

Consolidation may deliver economies of scale for theatre operators, but it also
strengthens the biggest movie studios. With fewer films available, blockbuster
franchises take a growing share of box office revenue. The portion of sales
attributed to franchises has increased from around 30% in the 1980s to 40% today.

Disney is playing a greater role in franchise growth. Since 2000, the share of box
office revenues taken by the big six has grown over 10%; Disney‘s share in the
same period has more than doubled, with most in the last decade.

The Indian Media and Entertainment (M&E) industry is a sunrise sector for the
economy and is making significant strides. Proving its resilience to the world, Indian
M&E industry is on the cusp of a strong phase of growth, backed by rising consumer
demand and improving advertising revenue. According to a FICCI-EY report, the

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advertising to GDP ratio is expected to reach 0.4% by 2025 from 0.38% in 2019.
Market Dynamics

According to an EY report, the Indian media and entertainment (M&E) sector

stood at Rs. 1.38 trillion (~ US$ 18 billion) in 2020 and is estimated at Rs. 1.79
trillion (~ US$ 24 billion) in 2021. Further, it is projected to grow to Rs. 2.23
trillion (~ US$ 29 billion) by 2023, due to acceleration of digital adoption among
users across geographies. The market is projected to increase at a CAGR of 17%
between 2020 and 2023.

In FY20, digital and online added revenue stood at Rs. 26 billion in the M&E sector
and their contribution to the sector increased to 23% in 2020 from 16% in 2019.

Within the M&E sector, Animation, Visual Effects, Gaming and Comic (AVGC)
sector is growing at a rate of ~29%, while the audiovisual sector and services is
rising at the rate ~25%; is recognised as of one of the champion sectors by the
Government of India.

Advertising revenue in India is projected to reach Rs. 915 billion (US$ 12.98
billion) in 2023, from Rs. 596 billion (US$ 8.46 billion) in 2020.

India‘s subscription revenue is projected to reach Rs. 940 billion (US$ 13.34
billion) in 2023, from Rs. 631 billion (US$ 8.95 billion) in 2020.

According to 'India: Online Video Trends and Omdia Consumer Research

Highlights' report published by Omdia (published in 2021), the Indian SVOD

market, with OTT video subscriptions, reached ~62 million in 2020 from ~32
million in 2019.

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Key growth drivers included rising demand for content among users and affordable
subscription packages.

The online gaming market in India is projected to reach Rs. 155 billion (US$ 2.12
billion) by 2023, from Rs. 76 billion (US$ 1.08 billion) in 2020, due to rapid
increase in consumption.

The music industry is expected to reach Rs. 23 billion (US$ 330 million) by 2023,
from Rs. 15 billion (US$ 210 million) in 2020 at a CAGR of 15% between 2020
and 2023.

Growth of the sector is attributable to the trend of platform such as YouTube that
continues to offer recent and video content-linked music for free, which is expected
to drive the paid OTT music sector reaching ~5 million end-users by 2023,
generating revenue of ~Rs. 2 billion (US$ 27 million).

By 2025, the number of connected smart televisions are expected to reach ~40-50
million. 30% of the content viewed on these screens will be gaming, social media,
short video and content items produced exclusively for this audience by television,
print and radio brands.

According to the FICCI-EY media and entertainment industry survey, those who
watch online videos through bundled packages (online video services bundled with
mobile and broadband connections) will account for half of all online video
viewers (399 million) by 2023, up from 284 million in 2020.

As of 2020, India registered ~803 million online video viewers, including

streaming services and videos on free platforms such as YouTube.

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OTT video services market (video-on-demand and live) in India is likely to post a
CAGR of 29.52% to reach US$ 5.12 billion by FY26, driven by rapid developments
in online platforms and increased demand for quality content among users.

Recent development/Investments

FDI inflows in the information and broadcasting sector (including print media)
stood at US$ 9.4 billion between April 2000 and December 2020.

In May 2021, Kwalee, a UK-based game developer, announced to invest funds

worth US$ 30 million, over the next five years, in its operations to expand in the
Indian market.

In May 2021, Mediabrands launched Mediabrands Content Studio (MBCS) in

India. The company integrated its content division with MBCS India to cater to
clients more efficiently.

In May 2021, MBCS signed a production partnership with VICE Media, to

strengthen its capabilities and position in India.

In May 2021, Amazon India launched miniTV, a new video streaming service for
its users to further strengthen its position in the country.

In May 2021, HOTOTT Entertainment announced its plan to launch ‗HOTOTT‘, a

streaming service app, by mid-June 2021 to expand in the country.

In April 2021, Zee Entertainment signed a deal with Tokyo Broadcasting System
Television (TBS) in Japan to produce diverse content for India and Japan and the
global market.

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In April 2021, InMobi Exchange launched in-game ads to target premium mobile
users with advertisements such as electronic advertisement boards, in-game sports
stadium, e-sports arena, hyper-casual gaming room, etc.

Government Initiatives

The Telecom Regulatory Authority of India (TRAI) is set to approach the Ministry
of Information and Broadcasting, Government of India, with a request to Fastrack
the recommendations on broadcasting, in an attempt to boost reforms in the
broadcasting sector. The Government of India has agreed to set up National Centre
of Excellence for Animation, Gaming, Visual Effects and Comics industry in
Mumbai. The Indian and Canadian Government have signed an audio-visual co-
production deal to enable producers from both the countries exchange and explore
their culture and creativity, respectively.

As part of the expansion to include all digital platforms and digital (OTT) players
under a single roof, in May 2021, the Indian Broadcasting Foundation (IBF)
announced the move to be renamed as the Indian Broadcasting and Digital
Foundation (IBDF).

As per the Information Technology (Intermediary Guidelines and Digital Media

Ethics Code) Rules, 2021, IBDF would also form a self-regulatory body (SRB)
soon.

On February 25, 2021, the government outlined the Information Technology

(Intermediary Guidelines and Digital Media Ethics Code) Rules 2021 to establish a
progressive institutional mechanism and a three-tier grievance redressal framework
for news publishers and OTT platforms on the digital media.

25
In February 2021, the digital entertainment committee of the Internet and Mobile
Association of India (IAMAI) finalised a code of conduct to form the basis for self-
regulation code for OTT content. The code has been endorsed by 17 OTT platforms
including Netflix, Amazon Prime Video, Disney+ Hotstar, ZEE5 and Voot.

In February 2021, Prasar Bharati (India) and PSM (the official State Media of
Maldives) inked an agreement to facilitate collaboration and capacity building in
the field of broadcasting.

Digital audio–visual content including films and web shows on over-the-top (OTT)
streaming platforms, as well as news and current affairs on online platforms, have
been brought under the Ministry of Information and Broadcasting in November
2020.

5 Technological Advances That Will Impact the Film

Industry

With the advent of the internet, computers, and the miniaturization of technology, the future of
film may be a far cry from the bulky camera equipment and sound stages we know now.

Filming Equipment—for Phones

The ability to film and upload video using a phone has already dramatically impacted film by
allowing anyone to create their own independent projects without a lot of overhead or technical
knowledge. Now, advancements and equipment specifically for phone-based filmmaking may
democratize film even further by allowing phone users to get the same, high-production-value
feel you'd normally only get with expensive camera equipment. If it's hard to imagine an entire,
feature-length movie shot on a phone, don't worry—it's already happening. Just look at the
Sundance hit Tangerine. Digital Re-creation

26
Creative editing and the careful application of technology have been used for post-mortem
performances plenty of times before (just look at Tupac Shakur's appearance at Coachella in
2012, or Oliver Reed in Gladiator). That said, the ability to digitally re-create faces, bodies, and
even dialogue is experiencing some dramatic improvements. Digital effects have progressed to
the point where it is possible to create a stunningly lifelike facsimile of just about anyone. While
this ability represents a tremendous technological advancement for film and stage performances,
it does raise several moral and ethical dilemmas. Not all performers are comfortable with
continuing to make appearances post-mortem, extras are concerned that the ability to digitally
create people will cause them to lose work to cheaper digital puppets, and we may no longer be
able to rely on the truth of video evidence.

Virtual Reality

While current 3D technology allows for a more immersive, exciting film experience, virtual
reality is poised to be the wave of film's future. With new projects like Two Eyes VR, it's
possible to create a finished product that utilizes full 360° recording to allow us to watch films
the same way we see the natural world. Like any new advancement, however, the potential
widespread adoption of VR does come with a downside—not every viewer can tolerate a virtual
reality environment for the length of the average feature film, so more conventional cameras may
not be going the way of the dodo just yet.

Drones

Before long, award-winning cinematography might be courtesy of an algorithm. Drones are

already pretty great at capturing shots that are difficult, if not impossible, for a regular
cameraman to get. Now, imagine the mobility of a drone combined with an algorithm that allows
it to autonomously avoid obstacles and employ different filming techniques. Not only will drones
be able to go where regular cameras can't, they'll know how to maintain the framing of aerial
shots with little input needed from the ground.

Algorithmic Video Editing

Digital editing is one of the most tedious, if important, aspects of producing a polished, finished film.
Right now, MIT researchers are developing ways to help automate and streamline the process.

27
Facial recognition technology has already improved by leaps and bounds in just the past few
years, but computers may soon be able to follow scripts, automatically label every clip, and
apply jump cuts and other editing techniques to enhance the feel of a scene. While nobody wants
video editing to take more time and effort, it does raise some interesting questions about the
concept of art in filmmaking—can a film still be artfully made if computers are programmed to
handle the technical parts?

Past advances like green screens, animation, and camera stabilization allowed filmmakers to
bring their creations to life in ways that their forebears could only dream of. Now, modern
advancements are largely geared toward streamlining the editing process and improving
availability of filmmaking technology. No longer will would-be filmmakers need access to a
studio and hundreds of thousands of dollars' worth of equipment to turn out a polished finished
product, nor will they have to spend hours dealing with tedious editing.

EMERGING TECHNOLOGIES OF STUDIO

28
With the advent of the internet, computers, and the miniaturization of
technology, the future of film may be a far cry from the bulky camera
equipment and sound stages we know now.

Filming Equipment—for Phones

The ability to film and upload video using a phone has already dramatically
impacted film by allowing anyone to create their own independent projects
without a lot of overhead or technical knowledge. Now, advancements and
equipment specifically for phone-based filmmaking may democratize film even
further by allowing phone users to get the same, high-production-value feel
you'd normally only get with expensive camera equipment. If it's hard to
imagine an entire, feature-length movie shot on a phone, don't worry—it's
already happening. Just look at the Sundance hit Tangerine.

Digital Re-creation
Creative editing and the careful application of technology have been used for
post-mortem performances plenty of times before (just look at Tupac Shakur's
appearance at Coachella in 2012, or Oliver Reed in Gladiator). That said, the
ability to digitally re-create faces, bodies, and even dialogue is experiencing
some dramatic improvements. Digital effects have progressed to the point where
it is possible to create a stunningly lifelike facsimile of just about anyone. While
this ability represents a tremendous technological advancement for film and
stage performances, it does raise several moral and ethical dilemmas. Not all
performers are comfortable with continuing to make appearances post-mortem,
extras are concerned that the ability to digitally create people will cause them to
lose work to cheaper digital puppets, and we may no longer be able to rely on
the truth of video evidence. Virtual Reality

29
While current 3D technology allows for a more immersive, exciting film
experience, virtual reality is poised to be the wave of film's future. With new
projects like Two Eyes VR, it's possible to create a finished product that utilizes
full 360° recording to allow us to watch films the same way we see the natural
world. Like any new advancement, however, the potential widespread adoption of
VR does come with a downside—not every viewer can tolerate a virtual reality
environment for the length of the average feature film, so more conventional
cameras may not be going the way of the dodo just yet.

Drones

Before long, award-winning cinematography might be courtesy of an algorithm.

Drones are already pretty great at capturing shots that are difficult, if not
impossible, for a regular cameraman to get. Now, imagine the mobility of a drone
combined with an algorithm that allows it to autonomously avoid obstacles and
employ different filming techniques. Not only will drones be able to go where
regular cameras can't, they'll know how to maintain the framing of aerial shots with
little input needed from the ground. Algorithmic Video Editing

Digital editing is one of the most tedious, if important, aspects of producing a

polished, finished film. Right now, MIT researchers are developing ways to help
automate and streamline the process. Facial recognition technology has already
improved by leaps and bounds in just the past few years, but computers may soon
be able to follow scripts, automatically label every clip, and apply jump cuts and
other editing techniques to enhance the feel of a scene. While nobody wants video
editing to take more time and effort, it does raise some interesting questions about
the concept of art in filmmaking—can a film still be artfully made if computers are
programmed to handle the technical parts?

30
Past advances like green screens, animation, and camera stabilization allowed
filmmakers to bring their creations to life in ways that their forebears could only
dream of. Now, modern advancements are largely geared toward streamlining the
editing process and improving availability of filmmaking technology. No longer
will would-be filmmakers need access to a studio and hundreds of thousands of
dollars' worth of equipment to turn out a polished finished product, nor will they
have to spend hours dealing with tedious editing.

ISSUES AND CHALLENGES FACED BY STUDIO

Last year was one for the movie-history books: 2019 gave us the highest grossing
movie ever in ―Avengers: Endgame,‖ Netflix continued to cement itself as a
corporate patron of original storytelling with awards movies like ―The Irishman,‖
and Disney‘s purchase of Fox further solidified the company as the Hollywood
power to be reckoned with as its movies accounted for nearly 40% of domestic
grosses.

While these milestones mark success for powerhouses Disney and Netflix, dig
beneath the surface and you‘ll find plenty of questions about what they mean for
the future health of the film industry. If ―Endgame‖ can make $2.8 billion, why
would any studio ever want to take a gamble on something that might only make a
modest few million at best? If Netflix continues to grow as a go-to distributor for
original prestige titles that play for just a short time in limited release, what does
that mean for moviegoing‘s future?

31
In this time of change, the industry is facing a wide range of challenges as it
steadies the course into the era of streaming wars. Here are some of its biggest
hurdles in the year ahead. Inclusivity Challenges

A USC Annenberg Inclusion Initiative report released in the fall put it simply:
Inclusion in Hollywood continues to proceed at ―a very slow pace‖ and
inconsistently. It‘s a fact that‘s played out most recently in the 2020 BAFTA
nominations, which saw only white actors and male directors.

2019 marked an increase in women-directed films: 19 of the 125 or-so wide studio
releases were female helmed, an increase from just four the year before. Greta
Gerwig continued to prove her stellar writing and directing chops with ―Little
Women‖ and Chinese-American Lulu Wang offered her entirely original family
drama ―The Farewell.‖ Meantime, three other women-directed titles, ―Frozen II,‖
―Captain Marvel,‖ and ―Hustlers‖ will pass $100 million, showing studios there‘s
money to be made with women behind the camera.

But at the same time, IndieWire‘s Tambay Obenson reported that of the top 100
movies of 2019, 34% featured a lead or co-lead of color, compared to 27 percent in
2018. But the number directed by filmmakers of color fell from 26 percent in 2018
to 18 percent in 2019.

At its best, cinema can help bring audiences from different backgrounds together
and help them navigate and understand the world around them — and that world is
full of diversity in gender, ethnicity, sexuality, and class. The measure of success in
this realm is straightforward: Studios should aim to make movies with casts and
crews that better reflect society. And there‘s more work to be done.

32
Income Inequality

As mega-corporations like Disney make billions every year and the biggest
showrunners and filmmakers are inking hefty deals with studios and streamers, the
riches have not been trickling down to those on the lowest rungs of the Hollywood
ladder. Assistants struggle to make ends meet on salaries that in many cases aren‘t
much more than minimum wage. In addition to making sky-high rent in Los
Angeles, assistants at agencies must dress to impress while set PAs and writers
assistants need to pony up for movie tickets and streaming services in order to keep
up with everthing new, all as part of a system that has long promised the possibility
of realizing dreams if you pay your dues — which often means low pay, long
hours, and tough working conditions.

The #PayUpHollywood movement, sparked in the fall by veteran writers Craig

Mazin (―Chernobyl‖), John August (―Big Fish‖), and Liz Alper (―Chicago
Fire‖), has many declaring the system is broken. It‘s started gaining traction, with
showrunners
Adam Conover (―Adam Ruins Everything‖) and Ayelet Waldman
(―Unbelievable‖) among those reportedly negotiating for higher assistant pay on
projects they‘re developing and Verve giving entry-level employees as much as a
40% pay hike.

As the streaming war ramps up and the industry continues to consolidate, executives
and creatives in power should think about how they want the industry to look in this
new era. Advocates say entering Hollywood on the ground floor is increasingly open
only to those with family support, a factor that undoubtedly limits the perspectives of
stories told in moves or on TV along ethnic and class lines.

33
Unstable Streaming Wars

It‘s boom times for both original, high-quality content and well known library titles as
Netflix and Hulu are facing new competition from the likes of Apple, Disney,
WarnerMedia, Quibi, and NBCUniversal, all of which are have launched or will soon
launch their own streaming services. It‘s an environment that led HBO to pick up
TIFF breakout ―Bad Education‖ for nearly $20 million and NBC paying $100 million
per year for five years to stock its Peacock service with ―The Office.‖

It‘s all but assured we‘ll see even more eye-popping deals as companies battle for
subscribers dollars‘ and embrace the prospects of operating streaming platforms at
a loss in order to make that happen. But as streaming continues to grow in
importance compared to theatrical releases, there will eventually need to be a
method to the madness. Netflix is already thinking about how it can mirror
blockbuster theatrical paydays by offering bonuses for films that win awards or
pull in a large number of viewers, a move that could help set the standard for how
talent is compensated in this new era.

CGI’s Existential Crisis

It‘s an exciting time for visual effects when Will Smith can convincingly battle
against a younger version of himself in 120 fps in ―Gemini Man‖ and a 76-year-
old Robert De Niro can be de-aged to lifetime of more youthful moments in ―The

Irishman.‖ But recent movies indebted to CGI advancements haven‘t all been
well-received by audiences.

The unexpected appearance of the namesake character in the trailer for ―Sonic
the Hedgehog‖ led filmmakers to go back and tinker with his appearance before
34
the movie‘s planned February 14 release. The so-called ―digital fur‖ donned by
Judi Dench and Taylor Swift in ―Cats‖ became instantly notorious long before the
film was released in December, which came apparently before it was even finished
— Universal sent a second version of the film with more complete CGI to theaters
after it was exhibited to audiences for a week.

While these movies are testaments to the countless people who work tirelessly on
bringing fantasy to life and to the stunning technological advancements realized in
just a few years, they‘re also evidence that studios need to think more tactically
about spending on such expensive CGI spectacles. Universal is reportedly looking
at a $70 million loss for ―Cats‖ after poor box-office performance and has ceased
the awards campaign for the film after dreadful reviews.

Quandaries at the Box Office

The statistic only tells part of the story: 2019 was one of the top-three best years
ever at the box office, with over $41 billion in worldwide grosses. That‘s largely
thanks to a banner year for Disney, the studio that has become synonymous with
franchise installments like ―Avengers: Endgame,‖ which broke the worldwide
gross record when it brought in $2.8 billion.

Marvel/Disney

Meanwhile, original, mid-budget theatrical releases are an ever-rare breed. In an era

when familiar tentpoles like ―Endgame‖ set the standard for moneymaking (i.e. an
enormous profit is guaranteed) filmmakers and studios have struggled to find a way to
apply the low risk, high reward formula to original stories. It‘s why no traditional
studio would touch ―The Irishman‖ with its very expensive VFX — even though
director Martin Scorsese is as much of a one-man franchise as Hollywood

35
could ask for — and why Netflix released that film and ―Marriage Story,‖ the
prestige drama from director Noah Baumbach.

One curious outlier exists in ―Knives Out‖: Rian Johnson‘s original murder
mystery, a crowdpleaser since its Toronto premiere, has so far grossed $247.32
million. Perhaps expectedly given the returns, that movie is reportedly getting the
franchise treatment as Lionsgate looks to develop a film centered around Daniel
Craig and his Southern detective character.

When it comes to original movies that stand on their own, ―1917‖ director Sam
Mendes suggested after his Golden Globe win that the onus is on filmmakers to
make cultural moments that need to be seen in a theater — think explosions that
need to be heard on surround sound and gorgeous cinematography that just can‘t

be done justice on a TV. Could his World War I epic scratch the same itch as the
latest Marvel movie? After it goes wide on Friday, studios just might have found
their next formula for success.

The year 2020 saw one of the biggest global shutdowns of the entertainment industry.
The impact of this worldwide film and TV production shutdown was perhaps felt
nowhere more than in India, where the world''s most prolific film industry was forced
to go on a hiatus. India is the second-largest television market in the world. It has a
large broadcasting and distribution industry with approximately 900 satellite T.V.
channels, 6,000 multi-system operators, around 60,000 local cable operators, and 7
D.T.H. operators. We also have close to 2,500 multiplexes across the country. Unlike
other sectors, Entertainment and Media industries have also faced unprecedented
turbulence in the pandemic. According to F.I.C.C.I. and E&Y Report, the industry fell
24% in the pandemic. Television channels must go on, and their viewership witness
spike, as people are primarily at their home and T.V. sets
36
or mobile phone was the only way to connect with the outer world. Unfortunately, this
did not result in a similar increase in revenue. Every segment has witnessed a decline
in revenue except digital and online gaming. According to the study of EY, digital
media had overtaken print, and online gaming had overtaken the film entertainment
segment in 2020. Last year few movies had to pull out from the theatre and eventually
released on the O.T.T. platform. However, many big-ticket films from mainstream and
regional languages have also been delayed because various state governments ordered
to close the Cinema Hall. When the prime minister announced nationwide lockdown
sealed the fate of several projects, which directly impacted daily technician and
marginal workers employed in the art, commerce, and light department who were
dependent on industry for their livelihood. Not only the film industry, but even the
event industry has also suffered a lot, approx. 10 million people were affected by the
crisis. M.I.C.E. (meetings-incentives-convention-exhibition) is a 500,000-crore market
including organized and unorganized sector put together, and covid-19 is responsible
for impacting job. As per the study by EY, the media industry would grow 25 percent
this year to reach Rs 1.73 trillion, covering up for the loss suffered in 2020. The study
says the market would cross the Rs 2.2-trillion-mark by 2023, growing at a
compounded annual growth rate of 17 percent. Industry players don‘t have any other
option except experimenting with digital and virtual space, giving new exposure to
them. OTT entertainment platforms gain acceptance in Covid times Life will be
marked as the ‗pre-covid‘ era and ‗post - covid‘ era when travel and other restrictions
forced people to adjust to a new world and consumer behaviour is rapidly evolving.
As a result, there is an ever-increasing demand for the O.T.T. platform, which is
expanding to new demographics and locations. It coupled with the continued
proliferation of internet users with cheap data and smartphones led to a rise in
subscriptions. Abhishek Singh, Founder of

37
CelebBazaar, highlighted, ―Yes, the pandemic has affected all the industries, but
on a positive side, for the entertainment industry, it has accelerated the subscription
trend (of O.T.T. platforms) because of increased in-home spending. Subscriptions
for top O.T.T.s grew by 55-60 percent as has many of them also made inroads into
tier two, three and even four cities.‖ he further added on the current scenario ―As a
consequence of this lockdown revenue from this industry was hit big time. The
annual box office earnings of Bollywood stand at a little over Rs 3,000 crore, but in
the year 2020, it was around Rs 500-600 crore only.‖ Abhishek said Varun Bansal,
Founder and C.E.O. of Limelight Entertainments, highlighted how the event
industry has taken a hit, and people from top to bottom are affected ―Naturally,
one of the worst affected by the pandemic was the events industry.

2020 saw the cancellation of many prominent festivals, sporting events, exhibitions
and concerts in an effort to slow the spread of the virus. The restrictions imposed due
to the pandemic have also impacted private events, bloodwood movie promotions,
movie shootings and celebrity appearances. Future of media and entertainment
industry Given the current scenario, it is understood that the time is ripe for O.T.T.s,
even in 2021 when people are still hesitant to go to theatres. ―The film industry went
through an entire industry shift when O.T.T. platforms bypassed the theatrical release
of a film and started releasing mainstream Bollywood films on their platforms. This
trend is going to continue as people are still wary of going to the theatres,‖ said
Abhishek Singh, Founder CelebBazaar. While the future prospects are in favour for
O.T.T.s, not all hope is lost for multiplexes. ―Watching a movie in a multiplex is an
immersive experience.

38
FINDINGS

The devastating second wave of the COVID-19 crisis in India has turned many
sectors of the local economy upside down, including the country‘s storied
entertainment industry, which was still reeling from the effects of last year‘s first
wave of the pandemic.

India is currently the epicenter of the global COVID-19 pandemic, with the country
accounting for over 3.7 million active cases while the total death toll has crossed
246,000. In the first week of May, a World Health Organization report stated that
India accounted for 46 percent of new cases recorded worldwide and 25 percent of
deaths.

While cinemas gradually began to open in October with limited seating and film
shoots resumed, the devastation caused by the ongoing second wave since March
has now brought everything to a halt. The wildly popular cricket event Indian
Premier League, which has been a massive streaming success for Disney+ Hotstar,
had to be suspended mid-season due to the pandemic. Brief attempts to keep
India‘s most beloved game going amid the carnage of the new wave was met with
widespread criticism over the resources used to protect wealthy and healthy
players, prompting organizers to agree to a full, ongoing shutdown.

―Everyone is making plans and contingencies based on an assessment of when

things will open up, but there is no way of knowing that,‖ Producers Guild of India
president Siddharth Roy Kapur tells The Hollywood Reporter. ―It‘s a bit like
drawing up plans on the beach and then the waves come and wash them away
before you know it.‖

39
 CONCLUSION
India's film industry, which is the world's largest in terms of the number of films produced and
second largest after Hollywood in terms of its global reach is increasingly on edge since the first
Covid-19 lockdown in March last year.

Major film productions have been shelved or indefinitely postponed, thousands of cinema halls
shut down, supply chains and post production disrupted, not to mention significant job losses.

Trade analysts are unsure when normalcy will return given that they have seen a flourishing
industry sell 1 billion tickets every year before the pandemic.

Every year 1600-1800 films get produced collectively in various languages in India. Of this,
about 200-250 Hindi films alone are made in a year and the Hindi film industry, popularly
known as Bollywood, yearly box office earnings stands at a little over 30 billion Indian rupees
(341 million euros).

For Hindi films, more than 70% of the box office including big budget movies comes from
multiplexes, and contribution of smaller single screens is not considerable to make a larger dent
in the earnings.

Several major films which are completed are on hold and ambitious projects have been put on
the backburner.

Screen goes dark

Even the southern Indian film industry, referred to as ‗Tollywood‘ is staring at its worst crisis
with losses pegged at 9 billion rupees (102.5 million euros) for the Kerala film industry as a slew
of films including possible blockbusters still lie unreleased.

―There are many daily wage workers in the industry who‘re badly affected right now, and
they‘re the ones who actually need the livelihood more than anyone else,‖ said actor Tamannaah
Bhatia in a recent interview.

It is not only producers who are stuck in a tight spot. Other stakeholders like multiplexes, film
exhibitors and cinema owners are having a tough time too.

According to an Ernst and Young 2020 report, India had around 9,527 screens out of which there
were around 6,327 single-screens and 3,200 multiplexes. Last year around 1,000 screens had
shut shop permanently.

―I just think every business will face a little bit of financial hit including the movie business. The
kind of content people will churn out will also get affected,‖ said actor Taapsee Pannu.

40
With new lockdowns, more theatre owners are looking at permanent closures. This means that
India's overall screen count could come down to around 7,000, say industry insiders.

―Thousands of screens countrywide are forced to close down. Even their supply chains and
other stakeholders facing personal hardship, it is a tough state of affairs,‖ Gautam Dutta, CEO
PVR Cinemas told RFI.

Online platforms the 'new big screen'

Insiders estimate that the Indian cinema exhibition industry had lost theatrical revenues of close
to 120 billion rupees (1.36 billion euros) in 2020-21. There has
also been additional impact on revenues in terms of lost concession sales, and screen advertising
sales.

Instead of traditional cinema, Over the Top (OTT) platforms like Netflix and Amazon Prime
have become the ‗new big screen‘.

Industry trends indicate that with access to better networks, digital connectivity and smartphones,
OTT platforms in India have been attracting subscribers on a daily basis.

India‘s streaming market is expected to grow 31% from 2019 to 2024, with revenues reaching
US$2.7 billion (2.29 billion euros), according to consultancy firm Pricewaterhouse Coopers,
while cinema revenues will contract 2.6% in the same period.

With over 45 OTT services in India, there is a battle for consumers. Low cost and efficient
mobile recharge packages along with good internet connectivity have permitted both rural and
urban populations to consume video content at an alarming rate.

41
 BIBLIOGRAPHY

https://www.rfi.fr/en/culture/20210801-covid-19-crisis-hits-india-s-booming-film-
industry-hard-bollywood-culture-television-economy

https://www.hollywoodreporter.com/business/business-news/bollywood-dealing-
with-covid-crisis-1234950526/

https://en.wikipedia.org/wiki/Impact_of_the_COVID-19_pandemic_on_cinema

https://www.outlookindia.com/newsscroll/biggest-shutdown-of-the-
entertainment-industry-due-to-covid19/2100152

42
THANK YOU

43