iWorld
Online Video remains the growth engine of content investment with local content still key to acquiring subscribers: AVIA OTT Summit
Mumbai: The Asia Video Industry Association (AVIA), held its annual OTT Summit in Singapore on 5 December, where over 90 per cent of the speakers were senior female executives from across the video industry in Asia Pacific. This year’s summit was designed to try and redress the gender imbalance seen in many industry conferences.
The Summit opened with Media Partners Asia head of content & platform insights, lead analyst Dhivya T, presenting an overview of the state of streaming in Asia, a market where competition was very much driven by a battle for share of time, with premium video on demand (VOD) fighting with social media and user-generated content (UGC).
Competition was also giving rise to new business models and strategies beyond the traditional AVOD and SVOD models, including mobile gaming, ecommerce and bundle subscriptions becoming more common. And with a higher focus in increasing ARPUs, price increases have also become prevalent.
Ex-China, online video revenues in Asia Pacific were expected to hit US$46 billion in 2028, up from US$29 billion this year. While SVOD was expected to have a CAGR of 6.4 percent, premium AVOD will see a growth rate of almost 18 percent, led by Japan, India, and Korea. In Southeast Asia, Indonesia was emerging as the leading market for AVOD, with Thailand for SVOD.
In terms of content trends and investment, although pay TV remained the largest vertical, online video was the growth engine of video content investment, with local and Asian content leading premium VOD viewership with the highest reach. Hence local content remained key to acquiring subscribers in the region, and constantly over-indexing with new users.
In the world of streaming, Free Ad-Supported Streaming TV (FAST) was also much talked about at the Summit as the new kid on the block, as it mimicked the experience of linear TV, delivering scheduled content, with advertising included. Driving the growth of FAST in Asia was the penetration of Smart TVs in the region, with 80 per cent of OTT viewers in APAC using Connected TV (CTV), and with one-third of OTT viewing on CTV, shared Samsung Ads APAC head of product marketing Samantha Cooke. But FAST channels were not always about making money, as FAST was also used for marketing, outreach and brand building, added Brightcove senior product marketing manager Roberta Cambio.
Senior marketeers from the major platforms too chimed in on the importance of brand building, as the mantra was no longer acquiring subscribers at all costs but focus on keeping the ones you have. For Shemaroo Entertainment CMO Anuja Trivedi, marketing was now more aligned to the business, as consumers who saw campaigns engaged better as well. And partnerships which built more value can only build more excitement for the product and engagement for the platform, said Trivedi. Akamai Technologies senior solutions engineer Sarah Lim, also added that people, platform and the technology were what will help drive your strategy forward for the future. “Marketing is greater than the sum of its parts,” said Lim.
With 71 per cent of viewers in APAC watching advertising supported streaming on top of linear TV viewing, OMG Singapore chair for media & measurement, AAMS & CEO Chloe Neo, was also seeing growth from regional clients with a greater inclination to look at branding, with the reallocation of budgets into OTT tending to be from the big brands, due to their expectations on quality content. While investment was coming from the linear TV side, more clients were now embracing CTV and addressability for strategic benefit, and not just for incremental reach, added GroupM CIO Southeast & North Asia, Chair, APAC Investment Committee Anita Munro.
A strong focus on content closed off the Summit, with panellists agreeing that Asian content could not be lumped together. There was huge variety within what is labelled Chinese or Indian content. ZEE5 CCO Hindi Originals Nimisha Pandey emphasised that storytelling trumped investment. “Audiences don’t care how much money has gone into content, if it connects, it connects,” she said.
Viu content acquisition and development chief Marianne Lee noted, “Each local market has their own strategy which complements the regional strategy. While it is important for the content to travel outside, the content must also do well locally,” said Lee. In agreement, Agnes content director Agnes Rozario added, “There will always be certain types of content that travel better than others. But it has to work in the home market first.”
One market which saw things a little differently was Thailand where True Corporation deputy director, planning & business development, strategic content group Kirana Cheewachuen, saw huge potential in the overseas growth and popularity of Thai content, and international success was her primary goal.
Sharing her strategy for the Pacific Rim in the closing session, Paramount ANZ EVP, chief content officer & head Beverley McGarvey said that Australia was a mature market at a pivotal point now as audiences were adjusting between more traditional legacy media and streaming. Hence accelerating growth in streaming while maintaining linear businesses and making content that can work across platforms was what was needed in order to remain viable.
iWorld
Prime Video drops trailer for Lukkhe, a rap crime drama starring KING in his acting debut
Eight episodes of revenge, redemption and hard-hitting rap arrive on the streaming platform on 8th May
MUMBAI: Prime Video has unveiled the trailer for Lukkhe, an eight-episode musical action drama built around the world of rap, crime and bruised relationships — and it has done so in suitably loud fashion, launching it at a live concert in Mumbai featuring electrifying performances by KING, Amira Gill, Akshath, Raashii Khanna, Ruaa Kayy and RUTVXK. As if that were not enough, the show’s music album was also dropped at the event, in collaboration with exclusive music streaming partner Amazon Music and music label Warner Music India.
The series is directed by Himank Gaur and produced by Vipul D. Shah and Rajesh Bahl under the banners of Optimystix Entertainment and White Guerrilla LLP. It is created and executive produced by Agrim Joshi and Debojit Das Purkayastha.
The cast is the talking point. KING, the acclaimed Indian rapper and songwriter, makes his acting debut as MC Badnaam, a performer consumed by rivalry and hunger for recognition. Raashii Khanna, returning to Prime Video after Farzi, plays Gurbani. Palak Tiwari, making her streaming debut, plays Sanober. Lakshvir Singh Saran plays Lucky. The ensemble also includes Nakul Roshan Sahdev, Kritika Bharadwaj, Shivankit Parihar, Yograj Singh and Ayesha Raza Mishra in pivotal roles.
The trailer plants its flag squarely in the tension between MC Badnaam and his rival MC OG, played by Parihar, while threading in the love story between Lucky and Sanober. The soundtrack, which spans hard-hitting rap anthems to emotionally charged melodies, is as much a character in the show as any of its leads.
Gaur was candid about what drew him to the project. “Lukkhe gave me a chance to dive into a world that’s loud, emotional, and constantly on edge,” he said. “What stayed with me was how every character is chasing something personal, and music becomes their way of expressing it. Working with this cast, especially KING in his debut, along with Raashii, Lakshvir, and Palak, was incredibly rewarding because they brought honesty that elevated every moment.”
Khanna reflected on her character with evident relish. “Playing Gurbani in Lukkhe was a really intense and fulfilling experience,” she said. “What I found most interesting was how her strength comes from something deeply personal, which shapes every decision she makes. It was about finding that balance between vulnerability and grit.”
KING, stepping in front of the camera for the first time, was characteristically direct. “Stepping into Lukkhe as MC Badnaam has been a defining moment for me,” he said. “What drew me in was how real his hunger and need to be heard felt. It’s something I connect with as an artist. Bringing music into his journey made the experience even more personal.”
Tiwari described the role as a first on multiple fronts. “It was my first time working with Prime Video, and the whole experience felt new and creatively satisfying,” she said. “Being part of a story that has both intense and heartfelt moments, along with a team that brought so much honesty to it, made this journey truly memorable.”
Saran, for his part, zeroed in on what made Lucky tick. “Lucky is someone who’s trying to move forward while still carrying the weight of his past, and that push-pull made him really interesting to explore,” he said. “There’s a sincerity to his journey that I hope people connect with.”
Lukkhe premieres on Prime Video in Hindi on 8th May, across India and in more than 240 countries and territories worldwide. In a streaming landscape drowning in crime dramas, this one is betting that putting a rapper at its centre – and meaning it – is enough to cut through the noise. On the evidence of the trailer, it might just be right.
