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How Covid2019 is affecting outdoor media
Outdoor advertising had a fantastic 2019. Defying predictions, India’s OOH (Out Of Home) industry, grew at over 15 per cent. Driven by IPL, elections and a huge increase in the OTT industry’s outdoor advertising, the industry saw a big increase, enabled adequately by digitization. The industry itself has been seeing radical positive transformation over the years. From the rather primitive static format, it has now become a dynamic audiovisual one, with all kinds of creativity made possible by technology. Global giants like Google Maps and LinkedIn have used OOH to create an impact, in addition to Netflix, Amazon Prime and Hotstar. Events are a big money spinner for OOH, and last year KumbhMela was proof of this. Witnessing audiences in crores, the promotion of brands on-site contributed significantly. In the financial year 2019, the revenue generated from out-of-home advertising across India amounted to over Rs 34 billion. This was estimated to reach up to Rs 52 billion by the financial year 2024, and Rs 38 billion in 2020.
But all this has now been severely affected by the pandemic Covid2019. Many organizations have slashed their ad campaign budgets and have left the advertisers reeling for their incomes. OOH has been acutely affected in this scenario.
Looking at history does not help, as during the previous instances of recession or pandemic, digital media or ambient advertising (a variation of outdoor) were not as developed as it is today. 1918 was the year when the Spanish Flu hit the world, and at that point mass television broadcast was at least 25 years away. Much later, in 2008, when the financial crisis hit the world, digital marketing was just fledgling. But today, it is hard to find a single household that is not reached through digital and/or outdoor advertising.
Lockdown has changed the way we live and the way in which we consume media. Urging people to stay indoors has resulted in streets and roads being empty. Halting public transport has created a vacuum in bus shelters and train stations and the busy shopping areas are deserted. The familiar red colour of Coca-Cola or the bright branding of Samsung is no longer visible while walking down the busy areas of metros in India. Many hoarding sites are empty as there are no consumers to view these.
In-home media has been the gainer during this period. Whether it is TV, which has increased reach in terms of viewers and duration of viewership, or web streaming, which has seen a significant climb in the household watching time, or even video games (where playtime has gone up), people staying at home has resulted in a sharp increase in in-home entertainment and viewing.
Out-of-home also includes ambient advertising i.e., advertising in unexpected areas. Aimed at evoking an emotional response, ambient advertising includes placing products, models etc. in attractive locations like malls and restaurants in order to catch the consumer’s attention. It is also called ‘creative guerilla advertising,’ and that has also hit a new low now. Reduction in public traffic has done away with the need for this kind of advertising, at least temporarily. Cancelling events has also had a bearing on this industry. With no immediate need to promote new products on a mass scale, clients are cancelling these events, leaving the advertisers high and dry.
So, how can the outdoor media industry buck the trend?
Outdoor medium is an integral part of our cityscapes and our lives. It has always had a place in building trust with local communities. Located in proximity to where people live and commute, it ensures a special bond with the citizens of that geography. And in times such as the current crisis, the medium is all the more relevant in garnering faith and educating the public. The medium, therefore, needs to play to its strengths. There have been cases where governments have recognized this and placed their confidence in this medium. According to the Ad Council of the US, ‘Out Of Home’ media plays a critical part in informing local communities and residents on how to stay safe during times of uncertainty. As part of their ongoing efforts to address the growing Covid2019 pandemic, the US department of health and human services (HHS) and centers for disease control and prevention (CDC), have convened (OOH) industry leaders, to bring critical Covid2019 safety messaging to the American public. From mall kiosks to airport TVs to Uber car tops and billboards, the industry is leveraging their extensive networks to help slow the spread of the virus. The scenario in India is no different. The advertising giants – Lintas, Ogilvy, JWT, etc. – are all focusing efforts on their outdoor advertising arm to bring more awareness to the public on Covid2019.
Already known for its novel campaigns in the ambient format, the OOH industry needs further innovations. Take the case of Ro, an American digital health company, that has both men and women health products. Situated in New York, they decided to use outdoor medium and came up with a public utility message on safety on billboards, while also announcing their website-based tele-health assessments. This dual-purpose innovation helped them gain consumer mind share while also doing public good.
Flexibility is the other aspect that will enable OOH to flourish. Media agency outfits that have a digital or TV component should allow clients to trade their outdoor budgets for digital or TV campaigns during this lockdown period, thereby retaining clientele. This will give them the much-needed revenues and allow them to get back on track once the current crisis is over.
Making advertising trustworthy has always been a challenge. The metric for measuring trust in advertisements – the AD TRUST Scale – highlights the reliability of source as the topmost. Outdoor medium scores significantly on that front. Seeing China rebound from Covid2019 gives hope to outdoor marketers that all will be well soon. Coincidentally, the Beijing Olympics of 2008 was one of the pioneer outdoor events which showcased what OOH was capable of, through spectacular creativity (and technology). Given that outdoor advertising touches people in a personal, topical way, it is important that the industry adopts a combination of the above-mentioned strategies of playing to its strengths, practicing innovation and retaining flexibility.
(The author is senior associate professor (marketing), Great Lakes Institute of Management, Chennai.)
MUMBAI: 2025 will be remembered as the year India’s OTT industry stopped chasing scale for its own sake and began reckoning with how audiences actually consume content. Completion rates fell, patience wore thin and the limits of long-form excess became impossible to ignore. In this guest column, Pratap Jain, founder and CEO of ChanaJor, traces how micro-drama moved from the fringes to the centre of viewing behaviour, why short-form fiction emerged as a retention engine rather than a trend, and how platforms that respected time, habit and emotional payoff were the ones that truly grew up in 2025.
If there is one thing 2025 will be remembered for in the Indian OTT industry, it’s this: the industry finally stopped pretending.
Stopped pretending that bigger automatically meant better.
Stopped pretending that viewers had endless time.
Stopped pretending that scale without retention was success.
What began as a quiet reset in 2023 and a cautious correction in 2024 turned into a very visible shift in 2025. Business models matured. Content strategies tightened. And most importantly, platforms started aligning themselves with how Indians actually watch content, not how the industry wished they would.
At the centre of this shift was micro-drama—not as a trend, but as a behavioural inevitability.
When OTT finally understood the time problem
For years, long episodes were treated as a marker of seriousness. A 45–60 minute runtime was almost a badge of credibility. Shorter formats were pushed to the margins, labelled as “snack content” or “mobile-only.”
That belief quietly collapsed in 2025.
What platform data showed very clearly was not a drop in interest—but a drop in patience. Viewers weren’t rejecting stories. They were rejecting commitment.
Across platforms, the same patterns appeared:
* First-episode drop-offs on long-form shows kept increasing
* Completion rates continued to slide
* Viewers were sampling more titles but finishing fewer
At the same time, shows with episodes in the six to 10 minute range started showing the opposite behaviour: higher completion, higher repeat viewing, and stronger daily habit formation.
Micro-drama didn’t win because it was short. It won because it respected time.
Micro-Drama didn’t arrive loudly. It took over quietly.
There was no single moment when micro-drama “launched” in India. It crept in through dashboards and retention charts.
By mid-2025, it was clear that viewers were happy watching four, five, sometimes six short episodes in one sitting—even when they wouldn’t finish a single long episode. Romance, relationship drama, slice-of-life conflict, and grounded comedy worked especially well.
This wasn’t disposable content. It was compressed storytelling.
In shorter formats, there was no room for indulgence. Every episode had to move the story forward. Weak writing was punished faster. Strong writing was rewarded immediately.
Micro-drama raised the bar instead of lowering it.
Where ChanaJor naturally fit into this shift
ChanaJor didn’t pivot to micro-drama in 2025 because the market demanded it. In many ways, the platform was already built around the same viewing behaviour.
From the beginning, ChanaJor focused on short-to-mid-length fictional stories that felt close to everyday Indian life—hostels, rented flats, office romances, small-town relationships, young people figuring things out. Stories that didn’t need heavy context or cinematic scale to connect.
What worked in ChanaJor’s favour in 2025 was clarity:
* A clearly defined audience
* Tight episode lengths
* Storytelling that prioritised emotion and pace over spectacle
While several platforms rushed to copy global micro-drama formats, ChanaJor stayed rooted in familiar Indian settings and conflicts. That familiarity mattered. Viewers didn’t have to “enter” the world of the show—it already felt like theirs.
Why audiences started responding differently
One of the biggest misconceptions going into 2025 was that audiences wanted shorter content because their attention spans had reduced. That wasn’t entirely true.
What viewers actually wanted was meaningful payoff per minute.
On platforms like ChanaJor, episodes didn’t waste time setting the mood for ten minutes. Conflicts arrived early. Characters were recognisable within moments. Emotional hooks landed fast.
A typical consumption pattern looked like real life:
* One episode during a break
* Two more before sleeping
* A few the next day
This is how viewing habits are built—not through marketing spends, but through comfort and consistency.
Viewers came back not because every show was a blockbuster, but because they knew what kind of experience to expect.
2025 was also the year OTT faced business reality
The other big change in 2025 was on the business side. Subscriber growth slowed. Discounts stopped hiding churn. Customer acquisition costs rose.
Platforms were forced to ask harder questions:
* Are viewers finishing what they start?
* Are they returning without reminders?
* Is this content worth what we’re spending on it?
This is where micro-drama began outperforming expectations. A well-written short series could deliver sustained engagement without massive budgets. It didn’t peak for one weekend and disappear—it stayed alive through repeat viewing.
Platforms like ChanaJor benefited because they weren’t chasing inflated launch numbers. The focus was on consistency and retention, not noise.
Failures Became Visible Faster
2025 also exposed weaknesses brutally.
Several platforms assumed micro-drama was a shortcut—short episodes, quick shoots, instant traction. What they discovered was that bad writing fails faster in short formats than in long ones.
Viewers dropped off within minutes. Episodes were abandoned mid-way. Weak stories had nowhere to hide.
Micro-drama didn’t forgive laziness. It amplified it.
The platforms that survived were the ones that treated short storytelling with the same seriousness as long-form—sometimes more.
OTT Stopped Chasing Prestige and Started Chasing Habit
Perhaps the most important shift in 2025 wasn’t technical or creative—it was psychological.
OTT stopped trying to look like cinema. It stopped chasing validation through scale and awards alone. It began behaving like what it actually is in people’s lives: a daily companion.
Platforms like ChanaJor found their space here because that mindset was already baked in. The goal wasn’t to dominate a weekend launch. It was to quietly become part of someone’s everyday viewing routine.
That shift changed everything—from release strategies to how success was measured.
What 2025 Ultimately Taught the Industry
By the end of the year, three truths were impossible to ignore:
* Time is the most valuable thing a viewer gives you
* Retention matters more than reach
* Format must follow behaviour, not ego
Micro-drama didn’t take over because it was fashionable. It took over because it fit real life.
Looking Ahead
Micro-drama is not replacing long-form storytelling. It is redefining the baseline of engagement.
Longer shows will survive—but only when they earn their length. Short-form fiction will continue to evolve, becoming sharper, more emotionally confident, and better written.
Platforms like ChanaJor have shown that it’s possible to grow without shouting—by understanding the audience, respecting their time, and telling stories that feel real.
2025 wasn’t the year OTT became smaller. It was the year it became smarter.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
