Journal of Content, Community & Communication Amity School of Communication

Vol. 12 Year 6, December - 2020 [ISSN: 2395-7514 (Print) ] Amity University, Madhya Pradesh [ISSN: 2456-9011 (Online)]

ROLE OF COVID AS A CATALYST IN INCREASING ADOPTION OF OTTS IN

INDIA: A STUDY OF EVOLVING CONSUMER CONSUMPTION PATTERNS
AND FUTURE BUSINESS SCOPE

Garima Sharma Nijhawan

PhD scholar, Manav Rachna Institute of International Research and
GuestAsst. Professor at Delhi School of Journalism, Delhi University

Prof. (Dr.) Surbhi Dahiya

Professor and Course Director, Department of English Journalism
Indian Institute of Mass Communication, New Delhi

ABSTRACT

COVID-19 is an unprecedented global pandemic which has changed the way audience consume
media. An undeniable trend surfaced in this period– adoption of OTTs. There are many reports which
point to the growing market and consumer appetite for content of choice available on OTT platforms.
OTTs offer a never before consumer advantage– choice of content, ease of access, choice of device /
mediums (hand phone, laptop, tablet or TV screen). Gone are the days when family members fought
for screen time of choice on family’s singular home device i.e. TV. With this study, the researchers
studied the evolution of OTT space in India and reviewed the dynamic OTT space – evaluate some
firsts like big banner movie releases on platforms like Amazon and Netflix, return of old content like
Mythological programmes from the DD era on Hotstar etc. To complete the study, it was imperative
to evaluate the impact of growing content consumption on psychographics across generations
(children, adults and elderlies) as there is limited censorship in the OTT space. With this background,
the researchers workedon the objectives and tried to evaluate the role played by the pandemic in
evolving OTT media consumption trends; a qualitative mapping of increase in OTT adoption – Pre
and Post COVID 19 in India; study underlying trends around increasing consumer appetite for the
medium and analyse psychographic impact on children, adults and elderlies – listing pros and cons
for freely available content with minimal censorship. The researchers adopteda combined qualitative
and quantitative approach to extrapolate the data. A survey was also conducted to do audience
mapping and analysis.In addition to primary data, content from news articles, industry research
reports, international journals for accumulation of key trends were analysed.

Keywords: Digital media, COVID-19, OTT platforms, mobile media, viewership and lockdown

INTRODUCTION travel for leisure and business, internet

The news media and general entertainment adoption in tier II and III markets, acceptance
sector in the country has evolved dynamically of content and a diverse variety of subjects
over the past 10 years and more after the pertaining to women and older generations.
internet boom. Entry and uptake of OTT This research paper aims to understand the
(Over-the-top) players has changed the way current trends of the OTT space in India and
we consume content and as per an industry evaluate its possible impact on various
report by a credible and global marketing consumer segments.
research firm - The Boston Consulting Group(
BCG) titled ‘Entertainment Goes Online', OTT To understand the current consumption
content market in India is pegged to reach $5 patterns and its impact, it is imperative to
billion in size by 2023.1 There are multiple understand the intrinsic relationship between
factors which have fuelled this rapid growth mass media and its impact on the social fabric
and the unfortunate health pandemic COVID- of the society. Television, cinema and
19 has proved beneficial for OTT players in the advertising have always had an impact on the
past six months. Some additional factors society and vice- a-versa. From drama, to
which have contributed to this growth include politics, to sports, to changing gender roles, to
rising house hold income, growing exposure revolutionary thoughts, to realistic issue based
to international trends, increased incidence of themes, to parallel cinema becoming more

DOI: 10.31620/JCCC.12.20/28 298

mainstream, content has changed over time to numerous parts, such as television, print and
suit contemporary sensibilities. From strictly films, under its folds. Smaller segments, such
regulated TV and Films censorship, to the as radio, music, out-of-home advertisement,
current times of free to all internet enabled animation, gaming and visual effects (VFX)
OTT content, the new age mediums have and internet advertisements are also included.
empowered the consumer to make his/ her But, for the context of this research, we would
own choices. be talking about the current Indian Republic
period post 1947 and to keep the conversation
As per the BCG report, there is scope for co- more contemporary and centred around
existance of numerous OTT models in India uptake of TV, we would like to discuss
and world over. These models include - SVOD nuances from a post-liberalisation perspective.
(subscription-based platforms), AVOD
(advertising-based platforms) and TVOD A brief history of TV in India
(transaction-based platforms). But, before we Television once used to be a scare luxury
get there, let us have a look at the history of which could be afforded by a niche few in
media and entertainment market in India India. One or two channels available in black
succinctly. and while colours were enough to catch
attention and ignite imagination of the
Historical context ignorant and economically compromised
India has been a land of exploration and Indian audience. As decades passed by,
expression through various forms of art. From technology grew and so did the creative
singing, to dancing, to painting and other canvas for thematic exploration. From just
forms of handicrafts have always had a special being a medium of information dissemination
place in our society. Owing to its rich heritage, to becoming a 24X7 companion, the role of
Hindustan has been a cultural melting pot of television screen has evolved dynamically in
numerous art forms which have filled our the past 50 years.
hearts with warm and amazed the world with
its diversity. As times progressed and eras Table 1: Evolution of TV in India
evolved from Indus Valley Civilisation, to Timeline Progression with regards to TV
Harappan Civilisation, to Mauryan Empire, reach and programming
Gupta Era, to the time of political instability, 1950s A television was put up for
Mughal Empire, British Raj and the Modern demonstration at an exhibition by
day Indian Republic, our culture got B. B. in the Teynampet town of
influenced by a diverse range of art forms Madras (now Chennai).
from around the world. And, our richness and Terrestrial television in India
interest in entertainment and its expression in began on 15 September 1959 with
various forms only grew and become finer in an experimental telecast in Delhi
nature. with a small transmitter and a
makeshift studio.2
When the British were ruling India, tools of 1960s As a part of All India Radio
mass communication were used as a medium (AIR), regular transmission
to spread awareness – share ideas, enthuse started in 1965.
masses towards revolution, talk about our
rights and keep the fire of Indian freedom 1970s The television service was
struggle ignited. Entertainment was luxury subsequently expanded in 1972 to
reserved for the niche group of fortunate few Bombay and Amritsar. Just seven
in power – mostly, the royalty. Primary source Indian cities had television
of entertainment would be live dance services up until 1975.A
performances, live sporting events (indoor and significant move taken by India
outdoor), presentation of fine arts in form of to use television for growth has
paintings and more. But, as eras evolved and been the Satellite Instructional
our economic conditions improved, media and Television Experiment (SITE).3
entertainment shaped up as flourishing The programmes were mainly
industry including a diverse range genres like created by Doordarshan (DD), a
News, Entertainment, Sports and more. India's member of the AIR at that time.
media and entertainment industry consists of

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1980s With shows such as Hum Log gained popularity when biggies like Zee and
(1984-1985), Wagle Ki Duniya Sony entered the market with DittoTV (Zee)
(1988), Buniyaad (1986-1987) and and Sony Liv. DittoTV went on to aggregate
comedy shows such as Yeh Jo Hai content from channels including Star, Sony,
Zindagi (1984), other than the Viacom, Zee and more and this led to a wider
popular mythological dramas adoption of the platform per say.
such as Ramayan (1987-1988) and
Mahabharat (1989-1990) glued Today, India enjoys services from over 40 OTT
millions to Doordarshan and later providers including domestic and
to Chandrakanta (1994-1996), the international players like Netflix, Amazon
1980s was the era of DD. Prime, Disney+ Hotstar, Zee5 and Eros Now.
According to a credible research firm - Price
1990s In 1991, under Premier Waterhouse Coopers Global Entertainment
Narasimha Rao, the central and Media Outlook 2019-23, the over the top
government initiated a series of (OTT) market in pegged to growth at the rate
economic and social reforms. of 21.8 % CAGR, from Rs. 4,464 crores in 2018
Under the new policies , the to Rs. 11,976 crores in 2023. Meanwhile, FICCI-
government has allowed private EY Report 2019 suggests the market will reach
and foreign broadcasters in India Rs 24 billion by 2021.6
to participate in restricted
operations. All subsequent To consume content via OTT medium, it is
federal administrations have imperative for the consumer to have access to
continuously followed this an internet enabled device like a Smart TV,
method. Satellite transmissions Mobile phone, Laptop or a Tablet. Owing to
have been launched by the basic need for technology access, younger
international networks such as generation is much more comfortable
CNN, STAR TV and private interacting with OTT platforms but post
domestic networks such as Zee COVID the read and adoption has increased
TV, ETV, Sun TV and Asianet. By manifolds. The BCG report ‘Entertainment
1995, television in India had Goes Online'7 - suggests that OTT consumers
covered more than 70 million can be classified under three main categories:
households, beginning with 41
sets in 1962 and one channel,  Traditionalists – who primarily consume
offering a viewing audience of on other than OTT platforms
more than 400 million people  OTT Experimenter – who have significant
over more than 100 channels.4 consumption on both conventional and
OTT platforms
2000s The nation had over 857 channels  Early Adopter – whose primary
as of 2016, of which 184 were pay consumption occurs on OTT platforms.
channels While early adopters are still a more urban
phenomenon, going forward it will be
more equally distributed.
(Source: Self)
According to the 2017 Ficci-EY media and
Adoption of OTT in India entertainment industry survey, rural users,
While OTT has become the new buzzword, it who are projected to rise from 38 percent to 52
might be hard for some to believe that OTTs in percent, would drive growth in India's
India are over a decade old platform. Reliance Internet user base by 2021.8 This is bound to
Entertainment launched the first OTT have a huge effect on the content form and
platforrm in india in the year 2008.5 Thereafter, language that will need to be created. Regional
India received its first OTT mobile app called content often reaches out to the Indian
nextGTv, which provided access to both - diaspora abroad, not just within the country.
normal TV and on-demand content including To put this in context, it is imperative to
live-streaming of one of the most popular understand the Indian vernacular landscape
sporting event - Indian Premier League inclusive of all mediums of maximum media
matched in the year 2013-14. The medium

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and mediums. See Table I - Indian vernacular Reports suggest that Bollywood and Cricket
media landscape rule the hearts of Indian consumers on OTT
platforms and release of big banner movies
Table II: Indian vernacular media landscape like Amitabh Bachhan starrer Gulabo Sitabo,
124 Newspapers published in 22 regional Vidhya Balan starrer Shakuntala Devi, Late
languages Sushant Singh Rajput starrer, Dil Bechara on
23 AIR originated programming 23 platforms like Amazon Prime and Disney +
languages and 179 dialects Hotstar have triggered a new trend in B town.
226 Entertainment, news and movie While this necessity was actually the mother of
channels in 13 regional languages this innovation, market analysts who watch
the cinema space worry that if this trend
45% People recognise Hindi as their impacts consumer behaviour, it might be a
mother tongue challenge to get them back to cinema halls and
5308 Use other regional languages as their this might have a long term impact on
native language sustainability of the medium in the country,
10 – Is the English speaking population, especially the urban markets.
12% but only 8% consume OTT content in
native language In context of these nuances, it is seen that
(Source: Inc42 report ‘India's OTT Market uptake for OTT has gone up considerably
Landscape Report 2020’) owing to COVID lockdown in India and
Globally. This change in consumer behaviour
Streaming networks have recognised the is interesting to observe and evaluate as there
potential of regional languages that are spread are numerous layers in this consumption
worldwide by their speakers. For example, pattern which need to be unravelled and
Maya Thirrai's Tamil show by ALTBalaji understood from various angles and point of
witnessed viewership in the Middle East, the views. Aspects like nature of content being
United States, and the United Kingdom, which consumed, timings for different genres of
house huge sections of the Tamil population.9 consumption, consumer age and
commensurate content consumption, TV
Impact of COVID on TV viewership, channels v/s OTT providers, impact of the
including OTT medium on advertising patterns, innovative
If 80s was an era of DoorDarshan and 90s deals and discount packaging and much more.
dominated by private broadcasters, media and Therefore, this study aims to specifically
entertainment gurus predicted that 2000s will review consumer consumption trends of the
be an era dominated by technology enabled past six months and look at certain milestones
entertainment beyond TV screens – there will and highlights which become the poster boy of
be greater uptake for ‘content of demand’ and OTT adoption / success.
by that we don’t just mean the genre and
nature of content but the choice of time, place REVIEW OF LITERATURE
and device as well. Understanding the revolution called OTT TV
Growing internet penetration and access and
OTTs are not limited to audio visual content, availability of multiple screens and gadgets
the audio only market makes for a significant have encouraged the development and growth
share of this market. While platforms like of OTT platforms in the past decade. While
StoryTel and Audible are gaining popularity, there are multiple forms of OTT platforms,
innovative offerings like Graphy (by OTT TV refer to high quality video content
homegrown edtech soonicorn Unacademy) are streamed directly from the provider, on to a
still to be categorised as OTTs. Needless to user’s screen (mobile, tablet, laptop, TV etc.)
say, this space is buzzing for numerous via Internet Protocol over a public network.
innovative solutions and offerings What is critical to understand here is the fact
consistently. Players are leaving no stone that OTT democratises content accessibility
unturned to catch attention of the consumer, and empowers the consumer manifolds as it
grow their user base and retain each user for a bypasses cable, broadcast, and satellite
longer duration than before. 10 television platforms, the companies that
traditionally act as a controller or distributor
of such content. Majority literature available

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regarding advent and adoption of OTTs hint include - Tamil, Telugu, Marathi, Bengali and
towards this key differentiation of the Hindi. Bundled content is the most preferred
platform and medium which emphasis on its consumer choice but subscription is the most
B2C approach. adopted business model by OTT players. Short
form, originals and web series content
There are various kinds of OTT services categories are gaining immense consumer
including OTT messaging, OTT voice calling, attention.14
video calling and OTT TV. OTT TV is
becoming increasingly popular because of the Existingliterature on the OTT space
ease and convenience it offers. It is mostly The literature on the topic remains somewhat
called digital television or internet driven TV limited and skewed, despite the drastic
platform or even as streaming television. As changes that OTT services have introduced to
compared to diffusing a television signal from the media and entertainment industry. In
a terrestrial broadcast or satellite, this signal is terms of several threads, common research
received via Internet or from a mobile phone themes so far can be summarised. First,
network. The access to content in this case is several case studies illustrate the development
monitored and governed by the content of OTT services. Second, it is popular to
distributor, connected to a computer, Laptop address the viral effect of OTT services on the
or smart television set through either an app conventional media industry. The competitive
or a separate OTT dongle or box. dynamics between OTT and conventional pay
TV platforms was hypothesised through niche
USA’s largest and globally most popular and research. The results shed light on the effect of
penetrated streaming service Netflix entered established systems by explaining how OTT
India in the year January 2016. By mid of the systems overlap or are competitively superior
next year in 2017, the provider was registered to existing services15-16 Built a Technology-
as a limited liability partnership (LLP) and Policy-Consumer (TPC) model and examined
started commissioning content from domestic how the introduction of OTT services has
production houses. It earned a net profit of impacted the technology / industry, public
₹2020,000 (₹2.02 million) in the year 2017. In policy, and consumer / culture aspects of the
fiscal year 2018, Netflix earned revenues of US media industries. Analyses of OTT services
₹580 million.11 According to Morgan Stanley that revolutionise conventional stages of
Research, Netflix had the highest average development, delivery and consumption often
watch time of more than 120 minutes but offer an important viewpoint on
viewer counts of around 20 million in July understanding the latest features and future
2018.12 As of 2018, Netflix has six million developments in the media industry caused by
subscribers, of which 5–6% are paid OTT services.17
members.13 Hotstar invested INR 120 crore in
the production of original content such as Third, user motivations for adopting OTT
"Hotstar Specials" in 2019. On Hotstar, 80% of services have been investigated by a number
the audience comes from drama, films and of scholars18 Comparing TV consumption
sports programmes. 96% of viewing time on motivations, Yi-Ning Katherine Chen (2016)19 -
Hotstar comes from videos longer than 20 examine how OTT services can serve as a
minutes, according to Hotstar 's India Watch substitute for TV in Taiwan. Finally, as
Report 2018, while one-third of Hotstar different businesses continue to broaden their
subscribers watch TV shows. Although offerings to the online video streaming market,
customers profit from the complementary net neutrality laws or recommendations about
services provided by companies, competition how to regulate the emerging industry are
between providers of OTT services is forcing discussed. Therefore, what is evident from
companies to look for international markets. literature available domestically and
India is a land of diversity and same clearly internationally is the fact the OTT has
reflects in its dynamic OTT market space revolutionised the way audience consumer
which includes - 40+ active video OTT players, content and this has impacted not only the
15+ active music streaming OTT players, 40+ media and entertainment industry but the
active podcast players and beyond. Over 30% entire eco-system, including content,
prefer to consumer content in regional creativity, formats, regulations,
language and the most preferred languages telecommunications, device market including

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software and hardware and last but not the Fig I: Factors impacting acceptance of new
least, one of the most crucial peg of the puzzle, technology23
the internet providers.

Factors influencing adoption of OTT TV

Researchers have reviewed consumer
behaviour in certain studies and reviewed
theories to understand and predict consumer
behaviour with regards to OTT adoption.
Growing technology adoption and internet
penetration have been cited as clear benefits
for OTT growth in past decade internationally.
Numerous authors have used various models
including - Technology Acceptance Model
(TAM), (Davis, 1989), Theory of Panned
Behaviour (TPB) (Ajzen, 1991), Diffusion of
Innovation (DOI), (Roger, 1995), Theory of
Prevalent business models and consumer
Reasoned Action (TRA) to review and
preferences
understand the acceptance of a new
As per an industry report by BCG and CII
technology by customers and correlate it with
called ‘The Trillion (and growing) touchpoint
adoption of OTT media including TV, voice,
story recognising the monetisation
interactive and others.20 With respect to OTT
conundrum’, released in November 2019,
platform, TAM is used mainly by various
consumption of daily digital video data grew
authors like Cha, 2013; Cha and Chan-
from 11minutes to 24minutes in the last two
Olmsted, 2012. In which two major variables
years. With internet data plans going as low as
i.e. perceived ease of use and perceived
INR 99 per month / INR 49 per month for
usefulness have been identified as crucial
regional players and smartphones becoming
factors which predicts users’ adoption of new
cheaper, there is no stopping the OTT players
technology.21
from gaining more traction. But, this growth
brings competition and the fight between local
Based on these key theories22 of technology
and international players only intensifies.
adoption and acceptance, a research was done
From content creation, to production, to
- to study the impact of key elements
creating local content libraries and exploring
including - Apparent Ease of Use, Apparent
regional markets is just like scratching the
Usefulness, Apparent Enjoyment, Role of
surface of this vast and deeply diverse Indian
Customisation, Compatibility, Content Quality
market. But, that is the only route to opening
and User Interface on OTT adoption (See Fig I
the doors of monetisation for this extremely
- Factors impacting acceptance of new
price sensitive Indian market. At the same
technology). It was found that four variables
time, the traditional digital players are facing
were determined, i.e. Customization, user
an extremely tough competition combating
experience, perceived pleasure and quality of
emergence of telcos backed players such as
content have had an important and positive
Reliance, Airtel as well as traditional DTH
effect on users' attitudes toward OTT media
players like Tata Sky and Dish TV.
adoption. Content quality has been shown to
have the greatest effect on developing a
As per the Inc42’s latest report ‘India's OTT
positive attitude towards embracing the OTT
Market Landscape Report 2020’24 - There are
media platform. This implies that a very
3 key concerns faced by the service providers
important aspect is the quality of content / OTT platform owners –
delivered on the OTT media site. Also, from Challenge 1 (Paywall Vs Free Customers) The
the previous researches, it has been found that digitally sophisticated user base that prefers
people switch from Traditional media to OTT content behind the paywall has a total size of
media due to the good content quality just 18 million in 2018, according to the Zee5
provided in OTT media. whitepaper. Compared to the over 310 million
conventional digital consumers (in 2018)
consuming video content online either free of

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charge or bundled with telcos and other Indian platforms, this is one major challenge.
distribution channels, this is very poor. (See As opposed to bundled plans provided by
Table II - Indian OTT Video Streaming telcos and DTH players, individual
Players) subscription packs are extremely highly priced
and do not suit the pocket of an average
Table III: Indian OTT Video Streaming Indian customer. For most players, this
Players (Types of consumer breakdown) approach does not seem to work well, as they
Consumer Approx Content Mode of have to rework their plans to make them more
Type User preferences Consumption
Base in palpable for the Indian palate and wallet.
Min Initially, Netflix arrived with an INR 700 a
(2018) month subscription plan, but was forced to
Digital 10 International Tablet I Smart reassess its strategy. Similarly, though still
Sophisticates original TVs I
shows & Smartphones promoting independent outlets, Telcos
movies, monetizes its own online video streaming
typically outlets. Same is true for DTH players like Tata
behind a Sky.
paywall

OBJECTIVES OF THE STUDY

Digital 190 International Tablet I Smart The available literature suggests that OTTs
Enthusiasts original TVs I have had a deep impact on the media,
shows & Smartphones
movies,
entertainment, telecom and the IT sector.
freemium While multiple factors have contributed to its
content growth so far, players have still scratched the
preferred surface when it comes to exploring the
Digital 310 Free content Smartphones
potential of the Indian market. The COVID-19
mainstream or content pandemic occurrence gave an impetus to the
bundled with adoption of OTT in India at a national scale
mobile and including urban and regional markets alike.
DTH
subscription
Similarly, the big fight between existing
Fringe user 10 Mobile Feature players in leading to revamp of regulations,
messaging Phones I marketing formats and advertising on the
and free Entry-level platform. Keeping all these factors in mind,
bundled Smartphones
this study aims to explore the following
content
aspects:
(Source: Zee5 Whitepaper)
 To study the key trends around OTT
Challenge II (Subscription Vs Free Vs adoption trigged by COVID-19 in urban
Freemium Models) Most players are India within Delhi-NCR
experimenting with subscription-based video  To study and evaluate comparative
on demand (SVOD) business models, in one audience preferences and trends around
way or the other, despite the number of paid OTT v/s TV viewing
subscribers being substantially smaller than  To assimilate and study the consumer
free content users. Only TVF and MX Players opinion regarding ‘likes and dislikes of
have advertisement-based on-demand video OTT as a platform’
(AVOD) business model content. Examples of
a few players offering content based on RESEARCH DESIGN AND METHODOLY
different models: In order to answer the above research
questions, a mix of quantitative and
 AVOD - TVF, Arre and MXPlayer qualitative research analysis was adopted. The
 SVOD - Amazon, Netflix, Apple TV, researchers carried out a detailed primary
BigFlix, Youtube et. research to study consumer preferences and
trends regarding OTT adoption and this was
 Freemium - Eros, Hotstar, Sony Liv, Zee5,
supported by secondary research. As part of
YuppTV
secondary research, the researchers reviewed
Challenge III (Monetisation Vs Bundled reports from different organisations, studied
content) - For both the international and local past global literature regarding OTT adoption
and trends, referred white papers, newspaper

304
extracts and numerous other research viewership. From content preference, to
reports.Qualitative and quantitative primary timelines, to growth evaluation, to
research was done to understand the thoughts understanding pros and cons – an in-depth
and opinions of consumers regarding OTT analysis has been done for the purpose of the
adoption and content consumption during study and the data has been evaluated first
COVID-19. The lockdown forced people to hand for a deeper understanding of these
stay indoors and restricted social mobility trends. As the lockdown occurred in March
further reduced the sources of recreation and 2020 and this data was collected in September
entertainment. Therefore, it was imperative to 2020, the insights are fairly neutral and
understand if people turned to OTT platforms balanced.
led content to keep themselves engaged or
were there other reasons which were A. Age and Gender representation: This is a
contributing to the growth and adoption. section carrying basic background
These nuances could only be understood by information on the age and gender of the
way of qualitative research focusing on respondents.
understanding the reasons for actions. The aim
of this primary survey was to understand Age group of respondents –Largely
consumption patterns and key trends to dominated by younger audience in the age
analyse how they correlate with secondary group of 18 years to 35 years
information available via journals, research  49.2% respondents were in the age group
reports and news stories. Appended below are of 18 years to 25 years
section wise insights and figures along with  Followed by 31.1% in the age group 25-35
interpretations. years
 11% in the age group 35-45years
Method used:  8% in the age group of 45 years and
Survey method was used to carry out the beyond
primary research. As this research was
conducted in September 2020 during the scare Gender: There was a balanced representation
and caution of COVID-19, social mobility was of gender in the research, with 51% female and
restricted and digital survey method was used 49% male respondents
to carry out a detailed consumer study. Inference: While there was a balanced
representation of gender in the survey, the
Sampling: majority respondents were from an age
As this was a broad-based study, the age group of 18 years up to 35 years.
group of 18 to 60 was considered for the
purpose of research and a random sampling B. Impact of COVID lockdown on AV
approach was adopted. A sample of 80 content consumption: This section
respondents completed the entire survey elaborates key trends around the level of
within a timeframe of two weeks and this change in content consumption habits
sample was evaluated for the purpose of the during COVID lockdown, including
study. impact on screen hours, timeline of
consumption and reason for change
Tool used for data collection: beyond having some extra time at hand
A structured questionnaire carrying 14 close in the day.
ended questions and one open ended question
was administered via google form. The Impact of COVID on screen time:Owing to
questionnaire had relevant queries to evaluate the lockdown and restrictions on social
respondent insights around key areas mobility, people had to stay at home and
including – OTT uptake, rationale and operate from restricted premises. Therefore,
reasoning, timelines, factors of dissonance etc. mode of entertainment and news consumption
also became limited as people even avoided
DATA INTERPRETATION AND sourcing a physical newspaper from local
ANALYSIS vendors and switched to audio visual modes
Basis the primary consumer survey conducted on news consumption. In the survey, the
across Delhi NCR, the researchers have tried researchers found that over 87.3% respondents
to understand the nuanced trends across OTT felt their screen time has gone up individually

305
and as a family post COVID, while 9.5% did respondents held growing entertainment
not observe a significant change. Close to 3.2% choice via OTT content responsible for their
respondents were unable to make any notable increasing screen hours, but keeping kids or
observation in this regard and therefore could elderly persons in the family engaged was not
not say if their screen time increased or not. the reason for growing screen time of the
family. People choose to restrict social
Chart 1: Impact of COVID-19 on screen time mobility and turned to e-commerce and home
delivery mediums for all their day to day
Screentime gone up during / Post COVID
needs, they had more time at hand. Therefore,
personally and as a family
their need for entertainment went up but
3.20% restricted outdoor activities like sports,
recreational engagements, movies or theatre
9.50% etc. more and more respondents resorted to
digital content consumption via screens – TV,
Tablets, Laptops and Smartphones.
Additionally, it is a part of human psychology
– when physical mobility is restricted, our
creative side takes over and resort to
87.30%
imagination which helps us travel mentally to
places.
Yes No Maybe
Estimated screen time through the day:
(Source: Primary survey)  2 to 4 hours – 38.7%
 4 to 6 hours – 24.2%
Reason for increased screen time:
 1 to 2 hours – 19.4%
 Growing content availability on OTT
 6 hours and beyond – 17.7%
platforms – 32.1%
 Lack of entertainment options - 28.3%
Chart III: Estimated daily screen time
 WFH give me the flexibility and choice-26.4%
 Became more tech savvy during COVID Estimated screen time (entertainment
lockdown - 13.2% led) on a daily basis
 To keep my kids engaged - NA
 To keep my parents/elders engaged– NA

Chart II: Rational for increased screen time 17.70% 19.40%

Reasons for increased screen time
13.20%
24.20%
38.70%
28.30%
26.40%

32.10% 1 to 2 hours 2 to 4 hours

4 to 6 hours 6 hours and beyond

Lack of entertainment options (Source: Primary survey)

Growing content availbility on OTT platforms
Inference: In line with numerous researches
WFH gives me the flexibility and choice
and insights from this survey, it is being seen
Became more tech savvy during COVID lockdown
that adults are spending anywhere between 4
(Source: Primary survey) to 7 hours or more consuming content for
entertainment and recreational purposes
Inference: There was a notable increase in the online. Same is reflected in the survey research
screen time of the respondents during the where over 80% admit to consuming content
COVID lockdown period. Majority for 2 hours or more, on an average every day.

306
Dominant time of the day when content is Chart IV: Preference between OTT v/s TV
consumed:
 Afternoon – meal time with family - NA Share of TV vs OTT
21.70%
 Evening – de-stressing post work - 9.5%
 Late night – meal time / family time - 25.4%
 Randomly anytime basis schedule – after
everyone is asleep / binge watching - 65.10%

Chart IV: Timelines for content consumption 75%

1.4
Time of the day to consume content
0

9.50%
I watch TV more
I watch OTT content more
25.40% I watch both equally

65.10%
(Source: Primary survey)

Inference: It is clear that OTT exposure and

Evening – de-stressing post work
adoption is growing and as this survey is
specific to the metro cities, love and liking for
Late night – meal time / family time OTT is significantly higher that Television.
While there is a notable number of people who
Randomly anytime basis schedule –after everyone is
like watching both platforms alike, the
asleep / binge watching
Afternoon – meal time with family purpose and nature of content consumption
may differ.
(Source: Primary survey)
Rationale for OTT preference
Inference: While some may believe that the  Content of choice - 54.1%
time of consuming content is not reflective of  Time of choice - 41%
any trend, it is increasingly being reported that  Gadget of choice - 4.9%
availability and flexibility of content is  Language of choice – NA
increasingly leading to addiction. The survey
throws an interesting insight that owing to the Chart V: Rationale for platform preference
lack of routine that WFH or digital schools is
fuelling, more and more respondents are
Why do you prefer OTT?
consuming content at random hours through
the day. Not only is it throwing discipline out 4.80%
of the window, the leaning towards the
evenings or late nights is triggering inactivity
after a hectic day or work, making content
consumption the only choice of recreation.
41.30%
C. Television v/s OTT – the tug of war: 54%
While there is consistent pick-up of OTTs
and an exponentially growing user base, it
is imperative to look at this trend in
context of the TV audience and evaluate
0
how this correlates with TV or impact the
user base of the medium. Content of choice
Language of choice
Preference of content - TV v/s OTT content: Convenience of time (can choose)
 OTT over TV – 75% Convenience of gadget (can choose)
 TV and OTT alike – 21.7%
 TV over OTT – 3.3% (Source: Primary survey)

307
Inference: OTT platforms are primarily loved trend for marketers to study in the near future.
for the immense flexibility and convenience Also, lack of censorship and complete viewer
they offer to the audience. From choice of discretion is another aspect up societal
content, to timing, to the fluidity of logging in evaluation as it has very deep psychological
from any device, all contribute to the growing impact on impressionable young audience.
user base of the medium and platforms. While
content remains the king with 54% KEY FINDINGS:
respondents citing ‘choice of content’ as the 1. Over 87% respondents felt their screen
key reason for choosing OTTs, flexibility of time went up post COVID, while 9.5% did
watching anytime on any device comes in not observe a significant change
close second and third reason for people to opt 2. Growing content availbility on OTTs
for the OTT platform. (32.1%) and lack of any other
entertainment sources (28.3%) were the
D. The OTT war – pros and cons: Access to primary reasons for increased OTT screen
OTT platform comes at an additional cost time
which is over and above the tradition 3. For over 26% respondents, flexibility of
audio-visual medium of television. working from home was an added
Additionally, it also requires a high speed advantage to login to OTT platforms
internet connection and availability of a anytime of the day
suitable gadget, which makes access to the 4. Surprisingly as against the common
experience relatively more demanding. notion, engaging kids or elderlies in the
family was not the stated reason for
TopFour OTT platforms increased screen time
 Netflix - 62.7% 5. While 38.7% people observed a screen
 YouTube - 18.6% time of 2 to 4 hours daily. A vast majority
 Amazon Prime - 10.2% of 40% plus respondents agreed to watch a
 Hotstar - 6.8% screen for over 4 hours in a day.
6. Unfortunately, over 65% respondents do
Does paying extra for OTTs bother you: not follow any discipline of timelines in
 Yes - 54.1% terms of screen time and mostly indulge in
 No - 27.9% binge watching
 Maybe - 18% 7. While OTT is clearly ahead of TV in terms
of platform preference with 75% people
OTT Likes and dislikes: liking it over TV, there are still 20% plus
 Likes: diversity of content, portability, respondents who like both TV and OTT
trendy, Ad free, User friendly alike
 Dislikes: High subscription charges, 8. Content of choice (54.1%) and convenience
distractions (content overload), need for of time (41%) are the two main reasons for
high speed internet, can be addictive, no OTT preference, with gadgets of choice
censorship (4.9%) as the third reason
9. Netflix (62.7%), YouTube (18.6%), Amazon
Inference: While pros and cons, or likes and prime (10.2%) and Hotstar (6.8%) are the
dislikes of OTT platforms is a very broad top 4 platforms of choice in that order
subject and demands detailed study in itself, it 10. In terms of costs, over 54% respondents
is a fact that diversity of content and formats are concerned over the additional OTT
has opened up a new field of entertainment for cost, while 27.9% respondents do not mind
the Indian audiences. While enough has been it.
said about the likes and the exponential 11. Last but not the least, despite the growing
growth is a clear indicator of the same, there is consumption of OTTs - High subscription
a downside to OTTs which is also talked about charges, distractions (content overload),
evidently. There is a very interesting need for high speed internet, addictive
dichotomy highlighted by respondents in the nature, no censorship are stated concerns
research – on one hand they highlight of respondents.
advertisement free entertainment as a key like, 12. Yet, diversity of content, portability,
distractions in form of content overload is a trendy, Ad free content and platform User
clear downside. This might be an interesting friendliness are immensely loved

308
CONCLUSION  Study the impact of digitisation of media
Viewing content on any medium is a matter of and entertainment on content
behaviour which converts into a habit over a democratisation
period of time. Indians for long have yearned  Study the impact of family staying
for diversity of content. A common family together during the pandemic leading to
television enabled with limited channels the exchange of consumption habits from
restricted the imagination of young India. This younger to older generation (reverse
imagination was tapped and explored by OTT parenting)
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