Industry Falling In OTT Dark Net
With its triumphs across India, the telugu film industry has achieved national recognition. According to many, tollywood has already supplanted bollywood in the indian film industry. But all of this is just the glitz on the exterior. tollywood is currently dealing with an existential crisis in addition to its own problems. The OTT is the primary cause of this. Today's telugu films are mostly concerned with non-theatrical rights. The reliance on the theatre would have been 70% in the past. Today, non-theatrical is used 70% of the time, while theatrical is used the remaining 30%.
Once more, OTT and hindi rights dominate the non-theatrical. The market for satellite rights completely collapsed with the advent of OTT. Many tiny and medium-sized films are already having trouble reaching viewers on satellite. On the basis of non-theatrical marketplaces, producers plan their markets. The movie becomes financially viable for the producer if there is a need for a hero in non-theatrical. However, the issue is still very much alive.
According to the non-theatrical market, heroes are modifying their compensation. For instance, a YouTube celebrity who now produces short films found popularity with one on the feelings of mothers. He is asking for compensation between 1.25 and 1.5 crores. During COVID, another hero who had a direct-to-OTT release received 10 crores in compensation for that movie. After that, he had three releases, and his most recent picture would cost 30 crore. The non-theatrical market serves as the basis for both arguments. Heroes and producers therefore rely heavily on the OTT rights market, which is non-theatrical. But is everything well with the OTT companies?
SunNXT has already vanished from view. Zed has slowed pace significantly and is considering a possible merger with Sony. SonyLIV is now making some purchases, but based on its customer base, this may not continue long. The company that started the OTT boom for tollywood, amazon Prime Video, has changed its approach and slowed down. Netflix is buying rights quickly. tollywood is anticipating aggressive purchasing from Jio. But no OTT firm can burn money indefinitely. The pricing being given today won't last forever when there is eventually a consolidation to one or two players.
As of right moment, hindi rights money only appears assured as long as bollywood continues to produce garbage. However, that won't last forever. It will be risky to ignore the theatre industry and rely solely on non-theatrical. One young actor creates films as part of a package agreement with non-theatrical money. With an emphasis on making money rather than creating information, this is gradually dissolving. With package agreements featuring this hero, two prestigious production studios got money but gained a poor reputation. Due to a lack of interest in their OTT agreements, two heroes—one from a powerful family and the other with an unexpectedly huge debut film—have had their pictures sit in cans for several months.
It's past time for the industry—in particular, the protagonists and producers—to review their approach. The audience needs to be lured back into the theatres in some way. If not, the fall is imminent. Before single-screen theatres transform into warehouses, multiplexes, and wedding halls, this needs to be done. Shares are not as good in multiplexes as they are at single-screen theatres. Before single-screen theatres go extinct, the theatre industry has to be resurrected. Otherwise, there will be a new issue before long. To accurately define Industry's situation, it is comparable to riding a tiger and not understanding how to get off without getting devoured.
Once more, OTT and hindi rights dominate the non-theatrical. The market for satellite rights completely collapsed with the advent of OTT. Many tiny and medium-sized films are already having trouble reaching viewers on satellite. On the basis of non-theatrical marketplaces, producers plan their markets. The movie becomes financially viable for the producer if there is a need for a hero in non-theatrical. However, the issue is still very much alive.
According to the non-theatrical market, heroes are modifying their compensation. For instance, a YouTube celebrity who now produces short films found popularity with one on the feelings of mothers. He is asking for compensation between 1.25 and 1.5 crores. During COVID, another hero who had a direct-to-OTT release received 10 crores in compensation for that movie. After that, he had three releases, and his most recent picture would cost 30 crore. The non-theatrical market serves as the basis for both arguments. Heroes and producers therefore rely heavily on the OTT rights market, which is non-theatrical. But is everything well with the OTT companies?
SunNXT has already vanished from view. Zed has slowed pace significantly and is considering a possible merger with Sony. SonyLIV is now making some purchases, but based on its customer base, this may not continue long. The company that started the OTT boom for tollywood, amazon Prime Video, has changed its approach and slowed down. Netflix is buying rights quickly. tollywood is anticipating aggressive purchasing from Jio. But no OTT firm can burn money indefinitely. The pricing being given today won't last forever when there is eventually a consolidation to one or two players.
As of right moment, hindi rights money only appears assured as long as bollywood continues to produce garbage. However, that won't last forever. It will be risky to ignore the theatre industry and rely solely on non-theatrical. One young actor creates films as part of a package agreement with non-theatrical money. With an emphasis on making money rather than creating information, this is gradually dissolving. With package agreements featuring this hero, two prestigious production studios got money but gained a poor reputation. Due to a lack of interest in their OTT agreements, two heroes—one from a powerful family and the other with an unexpectedly huge debut film—have had their pictures sit in cans for several months.
It's past time for the industry—in particular, the protagonists and producers—to review their approach. The audience needs to be lured back into the theatres in some way. If not, the fall is imminent. Before single-screen theatres transform into warehouses, multiplexes, and wedding halls, this needs to be done. Shares are not as good in multiplexes as they are at single-screen theatres. Before single-screen theatres go extinct, the theatre industry has to be resurrected. Otherwise, there will be a new issue before long. To accurately define Industry's situation, it is comparable to riding a tiger and not understanding how to get off without getting devoured.