iWorld
Industry bigwigs sound the alarm on piracy from OTT platforms
KOLKATA: Digital piracy is nothing new. But it has registered a massive uptick as millions of people have been forced to stay cooped up in their homes because of the Covid2019 pandemic. Illegal streaming could cost the industry around $12.5 billion by 2024 and the only way to curb the threat is a concerted effort by policy makers and service providers, according to experts.
In a webinar hosted by Indiantelevision.com, panellists agreed that a 360 degree approach can help win the battle against piracy. ZEE5 India technology head Tushar Vohra, SonyLIV technology head Manish Verma, Synamedia intelligence and security operations VP Avigail Gutman participated in the discussion, which was moderated by Indiantelevision.com founder, CEO and editor-in-chief Anil Wanvari.
Gutman elaborated on how piracy from streaming platforms has come to be the most significant problem in the last five-ten years. Content is being extracted from the devices from where it is legitimately supplied, says Gutman. Along with that, another kind of copyright violation has emerged including identity theft and skimming of customer credentials. While there are many security solutions that prevent older forms of piracy, streaming is now “the lowest hanging fruit” for pirates.
Security Challenges of OTT platforms & Content Owners & how leveraging solutions can reduce piracy https://t.co/UxmRJPOqKs
— Indiantelevision.com (@ITVNewz) October 1, 2020
With more and more people switching to digital platforms, piracy is also increasing in tandem, states SonyLIV’s Manish Verma, agreeing to the fact that the issue is ever-evolving. He explained that it started with a very simple process like deep linking of content. It went one step further when people started using proxy and VPN to stream content illegally. This gradually devolved into credential theft, identity sharing, screen mirroring and copying the content on screen.
Verma believes that the rise in content piracy has a lot to do with malpractices on social media platforms like Telegram, which allows people to share large multimedia files without supervision. The messenger app became immensely popular after the government crackdown on peer-to-peer file sharing sites, better known as torrents. While the company behind the app claims to have a zero tolerance policy on pirated content, its encryption makes it nearly impossible to find out what users are sharing.
“With content acquisition and content production costs increasing – whether it is for original content or live sports events –it is very important for us to see what all we can do to stop piracy,” he added.
ZEE5’s Vohra pointed out how they witnessed a big spike in piracy in the wake of Covid2019 crisis. As TV content dried up with the beginning of lockdown, the platform saw a huge increase in credential theft, and original content getting pirated. This is only going to increase as people have now already tasted original premium content, he warned.
“It is easy for pirate services to lure audience as they combine content from several platforms and offer it freely or for a much lower price,” Vohra said. Clearly, 360 investment from content owners, communities, governments and lawmakers is the need of the hour to tackle this challenge.
With the evolution in the nature of piracy, security solutions have also changed. Verma said that at the outset, the platform used to take basic steps earlier as the volume of traffic and impact wasn’t very high. Then they went from encrypting content, user URLs, using DRMs to blocking proxy and VPN access. Now, they’re looking at more advanced measures at different layers to make the service completely watertight against piracy.
On the other hand, ZEE5’s Vohra said that the company believes in creating a barrier. It is trying to warn pirates that ZEE5 can catch them by figuring out their IP, user id, device etc. The platform is working on a forensic watermark to be launched on the web player in October. Later, it will be launched on all applications expect for KAIOS by end of December. He is optimistic that the OTT service will be in a better position after six months.
“We were engaging with the government of India for data protection laws and we stressed content protection as one of the most important clauses that the lawmakers should take up. We are seeing good results from that engagement. We are hopeful that a new law that doubles down on copyright protection will be introduced by April,” Vohra added.
Gutman concurred that there is great need for stricter law enforcement as hackers are attacking DRMs exploiting the loopholes, legitimate CDNs, video services. As piracy becomes increasingly sophisticated, it demands equally progressive regulations to check it.
iWorld
Uber spotlights Rs 25 bike rides with music led IPL campaign
Uber uses 15 second music films with Divine and Roll Rida to push Rs 25 rides
MUMBAI: In a season where ads usually swing for sixes with celebrity spectacle, Uber has chosen to play a clever single sharp, fast, and straight to the point. Uber has rolled out a distinctly stripped-down IPL campaign, putting its product Uber Bike rides starting at Rs 25 for up to 3 km front and centre, rather than leaning on big-budget storytelling. The campaign features hip-hop artist Divine in Mumbai and Roll Rida in southern markets, using music as the primary vehicle for recall.
IPL advertising has long been dominated by high-production narratives packed with cricketers and film stars. Uber’s approach flips that playbook. Instead of elaborate storytelling, the brand opts for 15-second music-led films quick, rhythmic bursts designed to mirror the pace of urban mobility itself.
The message is deliberately simple, affordable, fast rides that cut through city traffic. No layered plots, no extended build-up just a functional promise delivered with cultural flair.
In the Mumbai-led film, Divine zips through traffic on an Uber Bike, turning the Rs 25 price point into a hook with his signature wordplay around “pachisi”. The campaign cleverly reframes affordability as a moment of delight, the kind that leaves commuters with a “32-teeth smile” after beating traffic at minimal cost.
Meanwhile, Roll Rida’s version leans into southern sensibilities, blending Telugu and Tamil influences with high-energy visuals. Set to the beat of tape drums, the film celebrates how low-cost rides can unlock a more connected and vibrant city experience. Together, the films reflect a conscious push towards regional authenticity, rather than a one-size-fits-all national narrative.
The campaign also signals Uber’s sharper focus on India’s growing bike taxi segment. While the company offers multi-modal services spanning cars, autos, metro integrations and intercity travel, this push zeroes in on two-wheelers as a key growth lever in dense urban markets.
By anchoring the campaign around a Rs 25 entry price for short distances, Uber is targeting everyday commuters, particularly younger users navigating congested cities where speed and cost matter more than comfort.
With IPL advertising clutter at its peak, even the most straightforward message risks getting lost. Uber’s answer is to embed the proposition within culture using music, regional nuance and repeat-friendly short formats to drive recall. The creative team has also layered subtle visual cues including multiple references to “25” within frames encouraging repeat viewing and reinforcing the core message without over-explaining it.
The campaign reflects a broader shift in advertising priorities. As attention spans shrink and media environments get noisier, brands are increasingly favouring clarity over complexity and speed over scale.
Uber’s IPL play may not shout the loudest, but it lands where it matters in the everyday commute. Because sometimes, in a marketplace full of grand narratives, a Rs 25 ride is story enough.
