Latest news with #Odia-language
Mint
3 days ago
- Business
- Mint
Regional content players struggle with low advertising rates, unfavourable algorithms
Regional content is booming across audio, and video streaming platforms. But for many small players, the growth wave hasn't translated into fair value or visibility. Despite the surge in hyperlocal, regional-language content across audio and video platforms, smaller creators producing such films, shows, and music say they remain constrained by industry norms that favour mainstream languages like Hindi and English. A key hurdle: ad rates. CPMs (Cost Per Mille, the cost an advertiser pays for 1,000 impressions) for regional content are usually lower, and smaller creators have little negotiating power. Platforms often offer standard rates, leaving them as 'price takers, not price makers." Adding to the challenge, algorithm-driven platforms such as YouTube and Meta determine revenue largely on performance metrics — watch time, clicks, and ad returns — rather than on direct deals or custom rates. These algorithms optimise for engagement, but don't always account for the nuances or loyalty of niche audiences. 'CPMs for regional content, especially from smaller language markets like Odia, are significantly lower than those for English or Hindi content," said Kaushik Das, founder and CEO of Odia-language platform AAO NXT. 'The platforms operate on demand-supply economics, and because advertisers aren't always educated on the depth or loyalty of regional audiences, the value ascribed to our content remains limited." The promise of the internet is that it's democratic, but in practice, it often reinforces existing hierarchies, he added. Smaller players compete with global budgets, paid promotions, algorithmic bias, and big influencers. Without alliances or paid boosts, getting discovered is an uphill battle. 'Negotiations are minimal unless you're a large network or aggregator. Most of us are price takers, not price makers. We try to build value over time by providing engagement metrics, but the uphill climb is real, especially when you're speaking in a language that isn't algorithmically prioritised," Das added. Penalised for being niche Several regional players say the challenge is that they are often penalised for being niche. Algorithms tend to reward volume and velocity over depth of connection, skewing visibility toward larger creators and trending genres. 'Technically, everyone can upload and distribute content. But in practice, discovery is a major challenge," said Vicky Rajani, director of Sai Digital Broadcast Media Pvt. Ltd and owner of Sindhi OTT SINDHIPLEX. 'Algorithms are skewed toward engagement-heavy or viral content, which inherently favours larger creators, trending genres, or language groups. Algorithms prioritise watch time, click-through rate, and ad performance — metrics that aren't always in favour of culturally rich but non-mainstream content." Rajani added that 'algorithm fatigue" can set in quickly: if initial videos underperform, future uploads receive fewer impressions, creating a vicious cycle. Income and advertiser bias Rajat Agrawal, COO and director of Ultra Media & Entertainment Group, which operates Marathi OTT Ultra Jhakaas, agreed that demand for Indian regional languages is limited compared with global ones like English. Advertisers are also more willing to pay for audiences with higher disposable incomes — a challenge for some Indian regional demographics. Further, creators in finance, technology, and beauty niches tend to earn more globally, while entertainment or general lifestyle content may have lower CPMs. Entertainment industry experts point out that the sheer volume of content on platforms can make it difficult for creators to stand out and reach their target audience. Also, audiences are scattered across multiple platforms, making it challenging to reach them effectively. Platforms may also impose limitations on content formats, lengths, or types, restricting creators' ability to reach their audience. At times, algorithms can be opaque, making it difficult for creators to understand why their content is being demoted or not shown to their audience. The nature of algorithms is such that they are constantly evolving, and changes can negatively impact content visibility and reach. Additionally, algorithms can have biases or flaws that unfairly penalise certain types of content or creators. 'The biggest hurdle is breaking through the noise. Algorithms on platforms like YouTube and Meta reward content that is already performing well. This creates a loop where popular content keeps getting more visibility, while new or small creators struggle to get noticed. Once you do get that reach and the content connects with people, the growth can be rapid. But it all starts with reach, and getting that first push is the toughest part," said Ujjwal Mahajan, co-founder, Chaupal, a platform specialising in Punjabi, Haryanvi, and Bhojpuri content.
India Gazette
30-05-2025
- India Gazette
NHRC takes suo motu cognisance of brutal attack on journalist in Odisha
New Delhi [India], May 30 (ANI): The National Human Rights Commission (NHRC) has taken suo motu cognisance of reports detailing the brutal assault of a TV journalist while he was covering alleged corruption at a construction site in Kulthipali village in Balangir district on May 25. According to media reports, the journalist was suddenly ambushed by a group of individuals while documenting the site, where locals had raised corruption allegations. The attackers reportedly tied his hands and legs, paraded him through the village, and later bound him to a pole before subjecting him to a ruthless beating. Recognising the gravity of the situation, the NHRC stated that if the allegations are true, they constitute a severe violation of human rights. Consequently, the Commission has issued a notice to the Director General of Police, Odisha, seeking a detailed report on the matter within two weeks. Further reports indicate that the perpetrators also destroyed the journalist's mobile phones and video camera, threatening him against publicising details of the incident or the alleged irregularities at the construction site. According to reports, Bijay Pradhan, a journalist from a privately-owned Odia-language news outlet, was recently tied up and brutally beaten by a group of men while investigating alleged corruption at a construction site in Kulthipali village, Bolangir district. A widely circulated video on social media shows Pradhan being kicked and dragged by his attackers. The assault, which lasted for two hours, resulted in a ruptured eardrum, and he is currently receiving treatment at Bhima Bhoi Medical College and Hospital. Pradhan further stated that the assailants forcibly took his mobile phone, which contained footage of the incident, along with his microphone and other reporting equipment--an apparent attempt to prevent him from covering the story. (ANI)
Mint
26-05-2025
- Entertainment
- Mint
Long-format content consumption growing on YouTube in India as connected TV penetration deepens
New Delhi: As short-form videos dominate smartphones and attention spans shrink, YouTube is seeing a surprising countertrend in India: surging consumption of long-form videos on connected TVs. This unexpected shift, executives say, is helping turn the world's largest open video platform into the country's biggest over-the-top (OTT) service in living rooms. 'While Shorts is growing, the consumption of content longer than 20 minutes on YouTube is actually also growing tremendously," said Gautam Anand, vice-president and managing director, YouTube Asia Pacific at Google. 'As a platform, we historically went from PC to mobile and now, the fastest growing surface for us is the living room." Read this | Content studios turn to YouTube to launch new originals despite surge in premium streaming platforms The rise of connected TV sets in urban India is reshaping how content is programmed and marketed, with platforms increasingly targeting family-oriented content over mobile-personalized fare. According to media consulting firm Ormax, 36% of the audience for subscription video-on-demand (SVoD) services in urban India now uses connected TVs regularly. 'Family-oriented content, such as movies, reality shows, and children's programming, is often consumed together, fostering shared experiences. The multi-profile features of streaming platforms also allow multiple members of the family to create personalized recommendations, making CTV an ideal medium for group entertainment," said Kaushik Das, founder and CEO of AAO NXT, an Odia-language OTT platform. Read this | Creators expect increase in income after YouTube allows them to place third-party product links in their videos India is now among the top three global markets, alongside Japan and the US, where YouTube ranks as the largest OTT platform on connected TVs, Anand added in an interview with Mint. The TV comeback The platform's deepening presence in living rooms reflects India's rapid expansion in connected TV penetration, fuelled by cheap data, affordable smart TVs, and a broadening appetite for premium content beyond traditional OTT paywalls. To be sure, YouTube already commands a staggering 92% share of all video consumption in India, according to the 2024 Ficci-EY report, leaving paid and ad-supported streaming rivals to jostle for the remainder. But long-form TV consumption is creating new pockets of stickiness. It's also influencing how creators think about content. Some studios that have found success on subscription OTTs are now debuting new shows directly on YouTube. For instance, Applause Entertainment recently launched a kids' animation channel, ApplaToon, on YouTube. The Viral Fever (TVF), known for hits like Panchayat, has put out new series such as MitronPolitan and Very Parivarik on the platform. As YouTube seeks to scale its pan-India appeal, a key enabler has been its multi-language audio feature, which lets creators add dubbed audio tracks in different languages without creating separate channels. The move is helping content from one part of the country travel seamlessly across others, such as Tamil or Telugu-language videos finding new audiences in the Hindi belt. People are discovering languages and personalities, and thanks to the multi-language audio feature, creators can now offer dubbed versions of their content, reaching out to newer audiences without knowing those languages, Anand said. Read this | YouTube AI dubbing raises creator concerns over language advantage This dovetails with broader trends in Indian media: the nationwide popularity of southern films, the rising consumption of regional content, and the increasing linguistic fluidity of younger digital audiences. Beyond ads: The new creator economy While advertising remains a core revenue engine, YouTube is betting heavily on diversified monetization for creators. Memberships, where creators can offer exclusive content to paying subscribers, are gaining traction in India. So is YouTube Shopping, which lets creators embed products and storefronts directly into their videos. 'There are multiple ways in which our partners and creators can generate revenue and we're unique in the fact that we're the only ones that share most of that back with our creators, as well. So we've not only set the foundations of the creator economy, but will also be the ones continuing to fuel that into the future," Anand said. YouTube Premium and YouTube Music Premium are also growing steadily, Anand said, offering users ad-free viewing, offline access, and background playback. While Google doesn't break out India-specific revenue, executives say these services are helping monetize high-intent users beyond ads. YouTube Premium grants ad-free viewing across all of YouTube, including YouTube Music, and allows for offline downloads and background playback of both videos and music. YouTube Music Premium, on the other hand, specifically focuses on the music experience within the YouTube Music app and website, providing ad-free listening, offline downloads, and background playback, but only for music content. To reinforce this flywheel, YouTube is doubling down on creator investments in India. Earlier this month, CEO Neal Mohan announced a planned investment of over ₹850 crore over the next two years to boost India's creator economy. More than 100 million channels uploaded content in the country last year, with over 15,000 of them crossing 1 million subscribers, Mohan said at the inaugural World Audio Visual & Entertainment Summit (WAVES) in Mumbai. Also read | The consumer longs for humanity in music, says YouTube's head of music Content from India is also travelling far: it racked up 45 billion hours of watch time from international viewers last year, according to the company. For YouTube, these point to India's evolving role in the global video economy. It's no longer just a massive consumption market; it's becoming a content and monetization hub that's setting the pace for how YouTube adapts to the future of TV.
