Dhollywood goes on a digital drive
In a bid to capitalize on a growing digital market, Dhollywood seems to be making all the right choices. Due to shrinking screen space in multiplexes, dwindling number of single screens and stiff competition from Hindi and English big budget films, Gujarati filmmakers seem to be moving towards digital platforms like video sharing websites and OTT apps to expand revenue generation and broaden their audience base. With a number of films like Love ni Bhavai, Wrong Side Raju, Thai Jashe, Superstar, Gujjubhai The Great, Passport, Bey Yaar et al now officially available for online viewing, Gujarati filmmakers seem to have got their math right. If figures are anything to go by, India will acquire the second position in the world in video viewing market by 2020 with an estimated
4 billion viewers, according to a report. The media and entertainment industry grew by 17 per cent in 2017 with digital platforms taking the lead with a growth index of 29.4 per cent. This unprecedented growth can be attributed to a 28.8 per cent rise in advertisement revenue and a 50 per cent rise in subscriptions that are further expected to grow at a rate of 9 per cent by 2020 as compared to a meagre 3.3 per cent in 2016.
And interestingly this growth is not limited to Hindi and English digital content. Even regional content consumption online witnessed a huge surge in numbers. Studies show that India currently has 234 million viewers consuming regional content at digital platforms, which is expected to double in the coming years (536 million by 2021). With a number of OTT platforms showing keen interest in acquiring and promoting regional content, the ad revenues have shot up. The video ad share alone for digital platforms is expected to skyrocket to $74.4 by 2021. This shows that the growth and the future lies in the digital space.
Dhollywood goes on a digital drive
In a bid to capitalize on a growing digital market, Dhollywood seems to be making all the right choices. Due to shrinking screen space in multiplexes, dwindling number of single screens and stiff competition from Hindi and English big budget films, Gujarati filmmakers seem to be moving towards digital platforms like video sharing websites and OTT apps to expand revenue generation and broaden their audience base. With a number of films like Love ni Bhavai, Wrong Side Raju, Thai Jashe, Superstar, Gujjubhai The Great, Passport, Bey Yaar et al now officially available for online viewing, Gujarati filmmakers seem to have got their math right. If figures are anything to go by, India will acquire the second position in the world in video viewing market by 2020 with an estimated
4 billion viewers, according to a report. The media and entertainment industry grew by 17 per cent in 2017 with digital platforms taking the lead with a growth index of 29.4 per cent. This unprecedented growth can be attributed to a 28.8 per cent rise in advertisement revenue and a 50 per cent rise in subscriptions that are further expected to grow at a rate of 9 per cent by 2020 as compared to a meagre 3.3 per cent in 2016.
And interestingly this growth is not limited to Hindi and English digital content. Even regional content consumption online witnessed a huge surge in numbers. Studies show that India currently has 234 million viewers consuming regional content at digital platforms, which is expected to double in the coming years (536 million by 2021). With a number of OTT platforms showing keen interest in acquiring and promoting regional content, the ad revenues have shot up. The video ad share alone for digital platforms is expected to skyrocket to $74.4 by 2021. This shows that the growth and the future lies in the digital space.
Riding the digital wave
Be it reaching out to the audiences across the world or making the film available for viewing after it is out of the theatres, digital platforms provide a number of benefits. “There is no limit to the reach of digital platforms,” says producer Vaishal Shah. He adds, “While we try to release our films in US, Africa and Australia apart from India, we can’t release a film everywhere due to shortage of fund and logistics. But thanks to digital platforms, we can now reach the Gujarati diaspora across the world.” Digital platforms not only ensure a wider reach, they also help in increasing the overall profit. “Once I sell the copyrights of my film to a digital content provider, I am assured of certain amount of money,” says actor producer Malhar Thakar. He adds, “I would like to get the most out of a film that I have worked so hard on, and the BO collection doesn’t always earn you the desired profit. Now that digital platforms are looking to tap into regional content, I can look at expanding my resources for better returns.”
Recent studies on the pattern of mobile consumption show that 65-67 per cent of mobile data consumption in regional language is for watching videos. And this very popularity of regional content and a renewed interest of OTT platforms has worked to the advantage of Gujarati films. Filmmaker and producer Abhishek Jain shares, “From Bey Yaar till for Love ni Bhavai, the price of digital rights has only increased. This is a clear indication of the growing popularity of the local film industry.”
Protecting against piracy
Piracy has posed serious concerns for Dhollywood with a number of films getting leaked online. Recently, a pirated version of Gujjubhai Most Wanted was leaked online clocking over one lakh views in four days impacting the film’s BO collection. However, filmmakers believe that releasing films through official channels help fight piracy. “When an official channel buys a film, they also keep an eye on pirated versions and take stringent action,” says Shah. Malhar, whose four films were leaked online, says, “Before we strike a deal with any online or on demand viewing app, we have to ensure that there are no pirated versions available online, only then can we get a good deal. Digital platforms have opened a whole new horizon for the Gujarati film industry.”
As Dhollywood gets on a digital ride, hopefully it will be net gain for the industry in the days ahead.
