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unschool · 2 years

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Upskill Yourself With Online Course Certification 2023

Are you looking for ways to grow your skills? This article discusses how you can upskill yourself to be a better version in 2023.

The future holds immense growth opportunities. Although, only those who adapt and adopt the forthcoming technological drift will thrive. But how do we prepare for it? As job markets divert and conventional roles quit with automation, what do we bring to the table? The answer lies in upskilling. In simple words, if you are a fresher, get an online course certification to upskill your knowledge in your chosen domain. Let's check out the perks of upskilling.

The Major Upskilling Benefits?

The question is: why upskill?

And the obvious answer is: In a rapidly changing world, we must update our knowledge, particularly related to our niche. Learn to enhance yourself.

But, apart from that, there are many other benefits of upskilling. Let's learn about those benefits one by one. Likewise, Unschool is the new, easy, and definitive path for keeping up with the 21st century. It is the platform where you can finally stop trying to fit in a system crafted for the masses and learn in a unique way that brings out the best version of you. Get your online certificate programs to get hands-on experience in your chosen domain.

1. Makes You Versatile

Having valuable, extra, and related skills is an asset. For example, a professional writer with exemplary digital marketing expertise will be preferred over others with vanilla writing knowledge. The reason being employers look for talent that is versatile, trained, and eager to learn. Hence, adding new skills like online courses with certificates will always work in your favour.

2. Improves Your CV

Skills make your resume outshine. Boosting your expertise and adding them to your CV casts a good impression on potential employers. The more you learn, the more credible you become, and your CV gets an edge leading to getting hired. What are you waiting for? Enroll in Unschool's online course certification now to become more employable.

3. Up-to-date With Market Trends

A freshly brushed-up skill set keeps you abreast with market trends. You encounter new people, earn valuable exposure, and make contacts. Moreover, it is a gateway to discover new career prospects. Following a passion or pursuing interests gives you room to consider career paths never thought of before. Get your hands on the best online certificate programs now!

4 Improves Your Productivity

Your preference for learning is indicative of your desire to enhance. This is something employers seek in candidates. Hence, Unschool offers online course certification with an internship to help you gain more insight and gain knowledge to become a valuable asset for the company. In the end, productivity leads to appreciation, which eventually brings satisfaction. Thus, it is the principal benefit of upskilling yourself. Since developing related skills is the ultimate way to produce quality work, companies impart skills training facilities to employees that augment their productivity.

5. Adds to Job Security

Nothing is unavoidable in the existing job market. It is expected that many positions in the present climate job market will be undertaken by technology in the future. Since upskilling makes you golden, it boosts your job security too. You will gain the upper hand over those less skilled than you. You need to comprehend development patterns, know all the current changes, and embrace a learning path accordingly.

In today's world, freshers looking for a job should understand the value of upskilling to compete in the market. I hope the above points will help you to enroll in online courses with a certificate.

All the best!

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meghalathaclicktots1 · 8 months

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Over the Top Media Services In Bangalore | Clicktots Technologies

Experience unparalleled Over the Top Media Services in Bangalore with Clicktots Technologies. Our comprehensive approach integrates strategic content delivery, data-driven optimization, and precision advertising for a cohesive brand impact. With cross-platform integration, we ensure personalized and engaging experiences, navigating the dynamic digital landscape. Choose Clicktots for innovative solutions that maximize your brand's success in the realm of OTT media services in Bangalore.

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webideasolution · 2 years

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Develop your own OTT Platforms with the help of a top-tech Indian developer from Web Idea Solution. We have the habit of getting successful in developing any project!

#Best OTT Platforms #OTT Platforms #Best OTT apps #Indian developer

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ineffable-opinions · 4 months

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BL “Censorship” & Commercialization

Content: 1. ubiquitous censorship - special focus on Japanese BL 2. commercial viability of live action BL & generalizations 3. solutions - special focus on state support of Thai BL

Censorship is a sensitive topic. I have tried my best. Please feel free to comment and critique.

History of Korean BL is one of censorship and commercialization and Korean fu-people has struggled against both. There have been different victors at different points in time. Aljosa Puzar’s "BL"(Boy Love), "GL"(Girl Love) and Female Communities of Practice and Affect in South Korea chronicles that struggle. (Highly recommended.)

I have tried to problematize BL commercialization before. But that was in the context of fu-culture and the commodity fetishism associated with the consumption of BL, particularly in live action form which is probably its most capitalist rendition for many many reasons.

Here I would like to look at it from another angle: censorship. This is a continuation of my earlier post (Why so many shonen ai live-action?) motivated by the live action adaptation of ‘조폭인 내가 고등학생이 되었습니다’ (I, A Gangster, Became a High School Student) by 호롤 (Ho Rol).

The live action has jumped genres switching from BL to 판타스틱 휴먼 드라마 (lit. fantasy human drama). This switch got it tagged as ‘Censored Adaptation of Same-sex Original Work’ on My Drama List. I personally don’t like that tag. Almost all BL adaptation is a censored adaptation, with notable exceptions like Sei no Gekiyaku. But no one uses that tag for, say, 25 Ji, Akasaka de (2024) which censored all sexual content, especially from the volume 1 of the manga which was critical to the story and the couple’s development in the original manga series’ and its multiple adaptations’ popularity. Sukiyanen Kedo Do Yaro ka (2024) went as far as removing the more sexual second couple from the live action adaptation all together, yet it does not get a "censored" tag.

An interesting question that the controversy surrounding High School Return of a Gangster (2024) has sparked is that of BL media’s commercial viability, especially in live action form. Here’s what producers told the Korean newspaper, Hankook Ilbo, about the genre-jumping:

"BL 장르는 제작비 투자나 리쿱(제작비 회수)에 한계가 있는 게 사실이다. 그러다 보니 처음부터 이 작품은 브로맨스로 해보고 싶었다"

“The BL genre is limited in terms of investment in production costs and recoup (recovery of production costs). So, from the beginning, we planned it as a bromance (beulomaenseu).”

The author of this article cites examples of works that enjoyed success on OTT platforms, namely Watcha’s Semantic Error and TVing's Unintentional Love Story (2023). However, the article also highlights the fact that BL continues to be a niche genre and live action adaptations don’t guarantee success.

이성택 (Lee Seong Taek), the director of High School Return of a Gangster, previously directed the BL Love Class (2022). The producer 넘버쓰리픽쳐스 (Number Three Pictures Co., Ltd.) have BL works like Unintentional Love Story under its belt.

'Unintentional Love Story' Director Jang Eui-soon (장의순) | source

If the producer of one of the two most popular live action BL is admitting to it, then it is not easy to dismiss the issue of commercial viability of live action BL.

Very famous BL publishing houses (starting with JUNE) and hosting platforms with relatively lower expenses have struggled. Some of them are no more. It is also difficult for authors to survive merely on earnings from publishing houses and hosting platforms, especially when those platforms are not very rich. So, it is not difficult to imagine that live action production houses also struggle to survive.

Take GMMTV for example. They are probably one of the most successful BL producers. According to their managing director, BL content (series) is not a profitable business in itself. They rely on khujin (branded pairs) of actors to bring in advertisement revenue, merchandize sales, and pull crowds to concerts and fan-meets. It is not enough for actors to just act. They are expected to sing, dance and perform. Meanwhile, GMMTV is forced to keep working with these actor pairs and stick to templates that suit them. While it works for now, it remains to be seen how long the business model can last.

Now there is also investment from Mainland China that has migrated to other BL producers following dangai ban. But those who invest already burned themselves pretty bad with all the money they poured in during the short-lived but explosive dangai boom. It is sunk cost at this point. Another crack down could be the death knell for Chinese investments in BL.

More generally, it is likely that commercial viability of a live action BL project hinges on the following:

#1 Target demographic

Like all other BL content, live action too is primarily targeted at fu-people (BL audience) – both queer and non-queer. The target demography is further sub-divided based on the type of BL and purchasing power.

Sweeter ones are supposed to appeal to all ages and that’s the area Thailand and GMMTV in particular are focused on. Most of Japanese BL series are sweet. Korea too produces sweet BL. However, they are unlikely to bring in explosive success the way odo BL (those following royal road narrative progression – wherein characters face significant challenges, interpersonal or otherwise, to reach happy ending).

Older and, perhaps more hard-core fans, are likely to support jado works (BL that follow the evil path where neither happy ending nor resolution to challenges are guaranteed) with surprising frequency. This might be partly due to the erotic content in jado works.

Purchasing power of BL fans vary widely. There are those who are

“sending gifts to their actors in Thailand, sending food trucks to their shooting locations, putting up billboard advertisements and doing charity events [as well as] ordering merchandise in bulk.”

They also travel to BL producing nations [on fan pilgrimages] and attend fan meetings, concerts and other events regularly.

(Source: The Print)

The other group of BL fans who are probably younger and/or can’t afford to show support in the above-mentioned ways. BL commercially benefits from being appealing to those with higher purchasing power.

#2 Popularity of original work in case of adaptation

Popular BL novels, manhwa, etc. bring in a set of fans who are interested in the live action. Longer and more-acclaimed works are likely to ensure success of the live action given decent making and reasonable changes during adaptation. Semantic Error is a case in point. However, missteps during adaptation can have the opposite effect.

#3 Cost of production

It is difficult to get investment in the first place, especially with how niche the genre is. Moreover, higher cost of production sets the bar for success higher too.

On the other hand, high production quality and better cast and crew (likely more expensive too) makes the viewing more pleasurable and increases the likelihood of success.

There are other factors which influence the success of BL producers. The most popular BL live action from China, Addicted, was produced by the author, Chai JiDan, with a tiny budget. Its dangai family drama remake, Stay with Me, also has an interesting producer.

Source | Mame with her Japanese fans

Orawan Vichayawannakul’s MeMindY is another BL author led production company that has enjoyed considerable success.

OP Pictures’ entry into BL genre has also been successful.

Solutions

#1 Let’s start with the worst

BL as money laundering vehicle. It is probably the most obvious, sort of win-win until it isn’t. Sustainability depends how much skin the ruling class have in the game.

#2 State sponsorship

(or better yet, tax payer supported BL production)

State sponsorship is what Thailand has perfected.

source | 2023 seminar on "Beyond Borders: Exploring the Global Appeal and Diversity of Thailand's Boys' Love Contents" by 9 companies from Thailand organized by Department of International Trade Promotion under Thailand’s Ministry of Trade.

The eleven speakers, including an official from the Office of Commercial Affairs, Royal Thai Embassy in Japan, vigorously pitched partnerships with Japanese content companies [at the above-mentioned seminar.]

Also, several of the companies pitching at the seminar, such as Star Hunter Entertainment […] were plumping for BL not as a niche product but rather a core element of their corporate strategy.

Halo Productions representative Tewarat Supunnium [trumpeted] the vertical integration of his company, from talent representation to contents distribution.

source

Thai BL has been big hits in China, South Korea, Japan, India, Indonesia, the Philippines, and beyond, which has motivated Thailand’s government to ‘deploy Boys Love as its latest soft power weapon to promote the country on the global stage’. In an article published in The Nation, BL director, Bundit Sintanaparadee, explains how that affects production.

He pointed out that the international popularity of Thai shows can boost tourism and generate interest in the featured locations – a vital aspect of soft power. The government can facilitate this process by providing support and streamlining the bureaucratic obstacles to filming in attractive locations like Bangkok’s Chinatown district of Yaowarat.

Filming in iconic places such as Yaowarat can be costly and complicated due to the need to coordinate with multiple government agencies and pay location fees. Bundit said the government could simplify the process to benefit not just filmmakers but also tourist revenue in the locations.

Bundit also cautioned against a top-down approach to soft power, where the government dictates what represents Thailand on the world stage. He emphasises the need for industry professionals to have their say.

source

In a 2022 article, Bangkok Post explores the impact of BL on Thailand’s economy ‘as export products that can draw lucrative revenue streams and foster business opportunities in other areas, including tourism.’

[According to government estimates from 2021,] Thailand's Y content market was worth more than 1 billion baht... In June that year, the Department of International Trade Promotion held an online Y content business matching event to boost the industry, with the participation of 10 Thai content creators. More than 360 million baht was generated from the purchase of the Thai content, with the top three buyers coming from Japan, Taiwan and Vietnam.

Noppharnach Chaiyahwimhon, GMMTV's senior director of content production, said [that the] business ecosystem linked to Y Series in Thailand shows a growth of 30-40% per year. [He also said that] Y Series can also be a boon for other businesses, such as films, artist management and merchandise. [He mentioned] Y Series from Thailand [getting] translated into several languages [and one of their Y Series having received theatrical adaptation in South Korea.]

[According to] Kanokporn Prachayaset, chief commercial officer and country manager of WeTV Thailand, … Y Series from Thailand is one of the most popular content genres on its platform. [Half of all the BL content on the platform was Thai.] WeTV [was] sourcing Y Series from Asia as well as having its own WeTV original shows by working with various local production houses, such as GMMTV, TV Thunder, Dee Hup House, M Choice Studio and All This Entertainment. [She also highlighted the contribution of the fan base, which is] active in organising activities and campaigns for their idols.

Seksan Sripraiwan, director of the Tourism Authority of Thailand's (TAT) Tokyo office, said the TAT and the Royal Thai Embassy have actively promoted the country by using Thai entertainment [and that] Thai BL content is considered one of the most popular recent cultural exports to Japan. Japan's market for Thai BL is around 1 million viewers, of which 20,000-30,000 are heavily active on social media sites for renowned BL actors, led by Bright-Win and Krist-Singto. He said Japanese tour operators already offered tailor-made tour packages which contain elements related to BL TV series, such as shooting locations like universities, cafes, Wat Arun or the Amphawa floating market.

Kanokkittika Kritwutikon, director of the TAT Chengdu office, said Thai BL TV shows have gained popularity in China, such as the coming-of-age series "I Told Sunset About You", which helped drive tourists to Phuket, the main location of the story.

"Most Chinese BL fans are millennial females who can offer long-term support for their favourite actors," Mrs Kanokkittika said. [Recognizing the 3 million strong queer population of Chongqing,] she said the LGBT segment could be categorised as luxury travellers as they are high-income earners, live in key cities, and want to spend more for travel experiences.

source

Earlier this year Ministry of Commerce have partnered with Be On Cloud and Idol Factory to promote ‘Thai products, services, tourism, and culture by incorporating them seamlessly into’ their new series “Shine” and “Pin Phak” aka “The Loyal Pin” respectively.

“This will help create around 2 billion in value for Thailand’s economy,” said Commerce Minister Phumtham.

Deputy Prime Minister and Commerce Minister Phumtham Wechayachai and two actresses, Becky and Freen, witness the signing ceremony between the Ministry of Commerce and Idol Factory Co., Ltd. on February 28, 2024....

According to the Department of International Trade Promotion, the Thai movie and series sector and related industries will generate 8,000 million baht in exports by 2023. In 2024, it will likely reach 10,000 million baht, particularly in the Y-movie and Y-series, which are expected to expand in value from 1,000 million baht to 2,000 million baht as a result of the Ministry of Commerce’s proactive cooperation with the private sector.

source

The Thai government’s efforts are paying off.

Oramon Sapthaweetham, director-general of the Department of Business Development, revealed that the Boys’ Love series had helped revitalise the film production industry, generating substantial profits and extending economic benefits to allied sectors, such as advertising, leveraging actors as influencers, event organisation, and tourism.

"Over the past 10 years, Thailand has produced over 177 Boys’ Love [series], continuously gaining popularity and expanding its customer base, eventually leading to exports to international markets," Oramon added.

The film production industry in Thailand is witnessing substantial growth. In the first four months of 2024, 56 new businesses were registered, marking a 12% increase from 2023. The total registered capital also saw a significant rise of 146.44% to 195.18 million baht. In 2023, the industry grew by 20% with 137 businesses and a capital of 258 million baht. The total revenue in 2022 was 12.895 billion baht, indicating a continuous growth trend.

source

#3 Diversification

Ok, so this is based on my limited knowledge and imagination. Feel free to skip.

There are two production companies that I have ever been interested in - Bhavana Studios and Mammootty Kampany. Both of them have produced experimental Malayalam movies while managing to remain commercially successful. While is partially attributable to these companies being brands, I think their overall strategy of diversification have worked in their favour.

Mammootty Kampany could produce art-house movie Nanpakal Nerathu Mayakkam for award circuits and with no expectation of commercial performance by banking on their other production Kannur Squad which was action entertainer sure to bring in the big bucks. Their queer family drama Kaathal – The Core and neo-noir psychological thriller Rorschach did exceptionally well in the box office as well as garnered critical acclaim. Bhavana Studios has similar track record of their commercially successful projects kind of cross subsidizing their experimental and unique projects and lifting the heat off in case of flops.

Having production companies which are aspirational in their approach to BL while having the economics sorted out help where government support is not forth coming.

Censorship as No-thing

When sometime is truly censored, we wouldn’t know. Unless we ask. Here’s what Jooyin Saejang learned from asking.

Conclusion

I have a strong preference for live action adaptations that are willing to go the last mile in terms of sexual content, social critiques and addressing real-life issues. That’s the reason why the header image for this BL side blog is from Moothon (2019).

But realistically this isn’t always possible. And I prefer having more production companies offering variety. I don’t want them to sink under the weight of BL that didn’t do well commercially and me being left at the mercy of media conglomerates with seemingly bottomless funds and monopsony over BL authors, original works and the culture that creates them.

Also, there is queer content from Korean that is neither mainstream nor from fu-culture. Support those.

youtube

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absolutebl · 2 years

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[23rd December, 2022]

Hi!

Not sure what percentage of BL audience understand the algorithm, or the metrics of how an OTT platform is run, but I believe, since they are paying for it by taking either monthly, quarterly, or yearly subscriptions, they should be made aware of how things work with the OTTs, because almost all the BL series are streamed on them, unlike movies which have their theatrical release.

I do know for sure that well-established filmmakers, and producers get the analytics from multiplexes, and media companies that's into research, about how well their movie is doing domestically, and internationally. And they also get a detailed information about the demographics of the audience, to understand better about the kind of consumers they have.

For some strange reason, I think it would be fine to compare HW, or any other successful movie industry in the world, with that of the BL, because although the genre may be different, the intention of making money remains the same. And I guess, no producer would deny that, be it someone from the Asia, or the West. And given that almost 90% of the BL audience are international fans, the amount of money that's pumped in by the producers, as against the money minted by the OTT platforms would show a big difference.

That's the reason, I have always been intrigued with how OTTs function. And how does the business of streaming BLs on multiple OTT platforms work?

Apologies if any of my question is repetitive, but I guess its not.

So, my question to you are as follows:

As a BL fan yourself, how many OTT platforms have you subscribed to? And the price-point of which OTT platform according to you is justified? (If possible, mention how much you pay in your currency for each OTTs - Monthly, Quarterly, and Yearly.)

The subscription model of which OTT platform is affordable for all three options (Monthly, Quarterly, and Yearly)? (To you give you an example, a lot of BL fans are in praise of Viki, and have taken a yearly subscription of it, as against "iQIYI", which most have subscribed to for just Quarterly.)

At the moment, which BL OTT platforms would you consider the best in terms of streaming regular BL content, while at the same time offering a feasible subscription model? (The one that you are subscribed to for long, and will continue the subscription in future too.)

Which OTT platform according to you has the best User Interface? And what is it that's more appealing to you? (Please elaborate in detail if possible.)

As an audience, what kind of changes do you expect from an OTT platform? (Like for example: No pop-up ad windows, introducing comment section, multiple language subtitles, being able to reverse and fast forward, off-line download, etc,..etc,)

With multiple options of OTT platforms, like "Viki", "Netflix", "GagaOOLala", "iQIYI", "WeTV", "AISPlay", "DisneyPlus Hotstar". Don't you as a BL fan find it confusing and ridiculous at the same time to subscribe to so many platforms?

Should mid-budget, low concept BLs really be offered on a Membership model on YouTube, only because its coming from an independent production company that's trying to establish itself? (Case in point - "Commetive Productions by Dir.Aam Anusorn".),

Will you be ready to pay more price for an OTT platform that not only offers the best BLs, but also offers HD quality content, and multiple other options that you were looking out for?

If you as a BL content consumer had to give a critical advise to the creators (service providers & app developers) of an OTT platform, what would that be? And why?

Thanks!

xoxo

Arjuna

Hi hi, sorry it’s taken so long, been a bumper end of the year. All the stats must be collected and proceed all at once for prediction reasons. Jan-March are my busiest times just number crunching.

1. As a BL fan yourself, how many OTT platforms have you subscribed to? And the price-point of which OTT platform according to you is justified? (If possible, mention how much you pay in your currency for each OTTs - Monthly, Quarterly, and Yearly.)

Erm, let me see:

Youtube Premium $119.99/yr (I hate ads) - since I also run some channels and do a ton of other stuff on YT I find this totally acceptable as an expense, I already pay Google for work related services as well (see tax note)

Viki Plus $99.99/yr (I like Kdramas so I upgraded last year) - not sure the higher price point is justified for BL, and many of the BLs are actually free with ads on Viki so... shrug. Others may not need this one at all.

Gaga $83.88 - lowest price point, supports Taiwan, queer content. I’d probably keep this one going even if I never watched the platform, but they always have content I like, we have similar taste

My FairyGodBLer gifted me subscriptions to IQIYI & WeTV because she wanted my thoughts on some of their offerings (and is a total sweetheart). I would not belong to these myself and either not watch their content or use back channels to get the BLs.

Notes:

Because of my job, media subs are a tax deduction most of the time.

I’m not price sensitive, I’m efficiency and convenience sensitive. I always pay yearly. Since I’m a contract worker I earn income in chunks, rather than a salary, so I prefer to pay out that way. Psychologically, I think it helps to know exactly how much a thing costs me per year, too.

2. The subscription model of which OTT platform is affordable for all three options (Monthly, Quarterly, and Yearly)? (To you give you an example, a lot of BL fans are in praise of Viki, and have taken a yearly subscription of it, as against "iQIYI", which most have subscribed to for just Quarterly.)

That depends on how you define affordable and content.

I did do this breakdown last year. Results still hold:

Viki has the most BL content (not Thai) by watchable hours, but by numbers only about 13%. (might have gone up a bit)

Gaga has the most content (not Thai) by numbers ( 28% because so many shorts).

YouTube has the most content in general (42%), because Thailand. Although Thai BLs are getting outside distribution now so that number is falling GMMTV and its long history on the platform, still tips the scales.

I can’t run these numbers anymore because lately so many BLS are on more than one platform especially Viki+Gaga and also it makes a difference where you, the watcher, live.

3. At the moment, which BL OTT platforms would you consider the best in terms of streaming regular BL content, while at the same time offering a feasible subscription model? (The one that you are subscribed to for long, and will continue the subscription in future too.)

For me personally?

Viki

Gaga

iQIYI

WeTV

If you’re only interested in queer content and very price sensitive?

Gaga

I’d do YT & Viki free w adds, everything else I’d wait or grey source it

4. Which OTT platform according to you has the best User Interface? And what is it that's more appealing to you? (Please elaborate in detail if possible.)

I watch primarily on an iPad. For that?

YouTube - playlists (sharable!) are great, they have a skip forward, 1.25 watch speeds (and more), continuous play, watch later, history, and tracking systems. The dash is easy to understand and personalize. It works seamlessly in desktop mode as well. Comments are non-invasive, and I can screen grab. It’s easily my favorite interface. Say what you want about YT’s search algos (which are crazy-making) as a UX it is quirky but smooth and easily the best streaming platform ever built (AS a streaming platform, for content creation that’s another story). I even enjoy the watch weight graphs on occasion.

Viki - I like creating my own private categories and organizing things. I like they have a skip forward and autoplay options. I hate that they don’t have high speed and block screen grabs (which is why you rarely see screen grabs on this blog from their shows). Their desktop interface is always dated and lousy with bugs. The dash is insane. Their comment interface should be disabled. It’s a fucking nightmare if you accidentally press that button at the bottom. Viki should strip its community aspect entirely IMHO, just allow star ratings, nothing else is needed.

Gaga - lack of sorting system, autoplay, and skip forward are maddening. Plus they block screen grabs. But the dash is okay, and they have high speed playback. I hate that anytime you tap anything it pauses. My List should be first not continue watch, and there should be some more personalization options governing things like visibility.

iQIYI - vertical launch (SERIOUSLY?) how DARE THEY, also they serve ads even if you’re a subscriber (shitheads) those ads are ALSO portrait mode and often buggy, I’ve had alpha crashes off of their ads, that’s a UX SIN. They offer both high speed and skip forward, VERY necessary with their content, AND I can screen grab. But everything else about their interface is pretty darn terrible.

I watch WeTV on a laptop. And not very much.

5. As an audience, what kind of changes do you expect from an OTT platform? (Like for example: No pop-up ad windows, introducing comment section, multiple language subtitles, being able to reverse and fast forward, off-line download, etc,..etc,)

None, I expect no significant changes. I don’t think any of the established OTTs, even YT, are at all invested in improving background code infrastructure. They are all in maintenance mode, even more so now with a recession looming. The only thing they are focused on expanding is content acquisition (and not creation, acquisition).

I foresee more and more shows, the same show, appearing on multiple platforms for international audiences either simultaneously (Viki & Gaga) or in succession, IQIYI/WeTV then YouTube.

I foresee at least one deal between a larger Thai BL production house and a major streaming service, my guess is GMMTV + Netflix, APrime, or iQIYI.

I’d like to predict a heavy hitting new OTT out of Korea, maybe Kakao, but I think they have missed that boat now, and Viki has cornered the market.

6. With multiple options of OTT platforms, like "Viki", "Netflix", "GagaOOLala", "iQIYI", "WeTV", "AISPlay", "DisneyPlus Hotstar". Don't you as a BL fan find it confusing and ridiculous at the same time to subscribe to so many platforms?

No, see point 1 directly above. Also I am aware that most fans aren’t like me (a completest) and that there is too much content for most to keep up with. if you have a style of BL you prefer, like KBL for example, there is a platform for you (Viki). JBL = Gaga. Thai BL = YT, etc... So it still works if your fandom is niche within BL. There are only a ridiculous number of options and obligations if you are ridiculous in your consumption, like me. In which case... suffer for your obsession. That is the nature of obsession. The hunt. The collection. The expense.

I found it a LOT more frustrating, and still do, when I have to go grey for soemthing and get it illegally. I would much rather pay creators for their content and it’s HUGELY frustrating when that content is just unavailable to me legally. I’m looking at you, Japan.

7. Should mid-budget, low concept BLs really be offered on a Membership model on YouTube, only because its coming from an independent production company that's trying to establish itself? (Case in point - "Commetive Productions by Dir.Aam Anusorn".),

I don’t know. Maybe? I don’t kickstart or otherwise back indie projects, I’ve talked about why before.

8 Will you be ready to pay more price for an OTT platform that not only offers the best BLs, but also offers HD quality content, and multiple other options that you were looking out for?

Yes, and I do with Viki, although I may drop back down to Standard in a year or so. But it’s not about HD for me it’s always about access to more content. The additional options i would pay for (downloadability w/ subs attached - glares at YT, screen grab access) they usually don’t offer and aren’t really desired by others enough to pay extra).

9. If you as a BL content consumer had to give a critical advise to the creators (service providers & app developers) of an OTT platform, what would that be? And why?

Specialize in international distribution of one kind of BL from one country and then corner that market. Including going back into the archives for the older stuff from that country.

If it is older previous published content, offer it in a form that’s not already available, so movie length repackages. Stripped out product placement. Re-edits and extra content director cuts.

Figure out how to buy/commission better subs. Don’t air content until the subs are complete.

For shorter series, experiment with binge releasing, not week to week. Like Netflix does.

Integrate your descriptions, tracking, sorting and tagging system with MDL. If you are going to borrow a crowd sourced community aspect, go for tags, not comments. Don’t try to build a community, borrow someone else’s.

Allow for: sharing on social media, screen grabs & gifs, high speed & continuous play, skip ahead, anonymous public playlists, and personalized sorting systems, and a 10/10 star review system.

#asked and answered #bl industry #industry talk

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ryansjane · 1 year

Note

[04th June, 2023]

Hi Axelle!,

HAPPY PRIDE MONTH. #PrideMonthSeries

That's the reason, I have always been intrigued with how OTTs function. And how does the business of streaming BLs on multiple OTT platforms work?

Apologies if any of my question is repetitive, but I guess its not.

So, my question to you are as follows:

Which OTT platform according to you has the best User Interface? And what is it that's more appealing to you? (Please elaborate in detail if possible.)

Will you be ready to pay more price for an OTT platform that not only offers the best BLs, but also offers HD quality content, and multiple other options that you were looking out for?

If you as a BL content consumer had to give a critical advise to the creators (service providers & app developers) of an OTT platform, what would that be? And why?

Thanks!

xoxo

Arjuna

hi!

I am not subscribed to ANY streaming platform, be it as a thai drama fan or outside of that. as someone who grew up watching everything on free streaming sites, & considering half of thai dramas are available on youtube anyway, it has never crossed my mind to pay to watch a show lol. for western content, I never subscribed to netflix either bc they cancelled all of my fave shows in my late teens & now I almost exclusively watch asian content so it would be ludicrous to pay for something I'd barely use.

I haven't looked into any streaming platform so I can't answer you.

again no idea since I'm not interested in that, but imo viu seems the best bc some (or all?) of their shows are available for free. also I'd say the distribution of bl shows is pretty equal across wetv, viu, & ais play. gagaoolala seems to have the most shows though, while disney+ hotstar & iqiyi have only a few.

I have no idea which one has the best interface, but let me tell you something: it ain't ais play lmao. you can't fast forward, you have to reset the quality at every new part of an episode, and the search bar is also shit so finding shows is horrible. but hey at least they stopped making this a paid service lol.

since I'm not a streaming platform audience I have no idea.

I agree that there is too many platforms, but I also think I don't care bc I don't use any. every show will either be on youtube or end up on dramacool anyways so I just have to patiently wait lol

for mid-budget & low-budget bl series, I don't really know which is the best plan for them. I think hiding the eps behind a youtube paywall might be good for some that do gather success, but sadly I've also seen it stifle a project's success bc no one outside of the paying members (so not a lot of people) is watching it or talking about it. I think working with sponsors & ads is almost always the best option to offer the show up for free, as that's what drives more viewers to watch the show.

the only platform I've considered paying for is gagaoolala, bc it really has a lot of the bl content from thailand & also some great qualitative queer movies & short films, that include the always forgotten wlw. but the reason I haven't is that the price is too high for me & I don't see myself getting enough value from it for that price. apart from that, I am not ready to pay for a streaming platform AT ALL, therefore not willing to pay more, even for better content.

streaming platforms are simply not for me, so I don't know if I have anything to say. there are two types of people in the world: the ones who are willing to pay for comfort & no ads, and the ones who'd rather have to struggle more to find a show but not pay at all. I'm part of the later category, therefore I'm just not a streaming platform demographic. I would, though, definitely watch a streaming platform who ran on ads for free, like linetv was.

xxx

#answers

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rallamajoop · 1 year

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Resident Evil's 2 and 3

It'll surprise no-one that I’ve been poking through some of the other games in the Resident Evil franchise – mostly just by watching through let’s-plays and cutscene compilations on youtube. And with the remake of RE4 finally out, it’s past time I got some thoughts down about them (because, as always, I have many). So let’s talk the previous two remakes in the franchise – RE’s 2 and 3.

Resident Evil 2 (Remake)

I have one big complaint about new!Leon, and that’s that he isn’t pretty enough. Call me shallow if you will, but the original RE4 Leon is iconic because he looks 100% like a guy who got lost on his way to audition for a 90’s boyband (I will grant you his goofy one-liners and ridiculous acrobatics help too), and new!Leon just doesn’t have any of that going for him. FFS, new!Jill looks like a supermodel – why can’t Leon be that pretty? This is not what gender equality looks like!

I want all that out of the way up front, because otherwise? I adore the new Leon! His story in RE2 is basically about him having the most OTT first day as a cop imaginable, trying to prove himself and make the best of an awful situation, and the writing and voice acting have just about nailed it. He’s naïve but not stupid, capable but inexperienced, and his chemistry with Ada is so good I came out of his scenario fervently shipping het, which I do not often do. Ada’s wonderful too: cool, badass, almost unflappable, but not incapable of accepting help (or getting attached to a certain rookie). I loved their dynamic so very much.

Mind you, Leon has excellent chemistry with just about everyone he gets to share the screen with, especially Claire and Marvin (taken from us too soon, alas – I loved Marvin too). But it’s Ada who defines Leon’s main narrative throughline: she swans into his story being so much more important and badass than his poor rookie-self, and barely has he convinced her to trust him before he’s learning he might have helped exactly the wrong person. So far, so cliched – it’s really the execution that makes the difference, and they nailed that too. And I can’t tell you how much I loved that Leon isn’t punished for his final moment of trusting-Ada-when-he-really-shouldn’t-have without spoiling more than I’d prefer to, but trust me – it was great.

What I loved most about the new Leon may really be more about what he doesn’t do: he never acts like Claire or Ada are any less capable of handling themselves because they happen to be female. He’s 100% there to help them in any way he can, because helping people is very explicitly his core motivation for getting into this line of work at all. But even in a scenario that could so easily have slid into sexist cliches about evil femme fatales and the men who have to put them in their place, I never got that vibe here. If you’re playing as Claire on your second run, Leon will even happily babysit Sherry while she goes off to handle the final-bonus-boss alone, and nothing in this rest of the game makes this feel the least bit out of character.

On the subject of gender though, I am judging the game hard for putting Ada in high heels. Now, granted, if anyone could survive the apocalypse in stilettos, it is Ada Motherfucking Wong, but c’mon – the original game gave her flats, and with all the time she spends jumping off high platforms and trudging through the sewers, is it so much to ask she gets a nice pair of boots or something? Save the heels for the alternate costumes, c’mon!

But that's just one half of RE2 ‒ time to talk about Claire.

Claire’s own campaign, alas, did not live up to Leon’s for me, for one big reason: it opens with a terrific hook, then tosses it overboard at the first opportunity.

History may be partly to blame here: apparently the original RE2 was well into development Claire became a Redfield, to tie the game more strongly to the predecessor. But either way, she's explicitly here to find her brother Chris, who's missing after investigating a bio-terror incident (ie. RE1) instigated by the same evil company responsible for the zombie virus now spreading through the city. That’s a great opening hook – so it’s beyond disappointing that we're barely five minutes in before Claire is unceremoniously told I’m sorry but your brother is in another castle, and has to find something else to do for the rest of the game. Claire's relationship to Chris is little more than trivia from then on in.

Instead, Claire’s story revolves around protecting this little girl she just met (Sherry), whose parents just-so-happen to be Umbrella scientists. Sherry’s father William has mutated into the monster that started the whole outbreak, and her mother Annette is now furiously working to find a solution. And sure, protect-the-little-girl worked for Ripley in Aliens, but Ripley also got the validation of proving herself not-crazy, putting her alien-experience to use, and punching an alien queen in the face. If the problem at the colony had turned out to be completely un-xenomorph-related, we’d be within our rights to feel let down.

Worse, Claire has known Sherry for barely five minutes before Sherry's on the wrong side of a hostage situation and Claire's completely willing to hike across a zombie-infested city to save her. There’s precious little time for them to build rapport before protecting Sherry has become Claire's only goal. It’s a pacing issue as much as anything else: had Sherry been introduced earlier, this would probably have worked better for me.

But what really doesn’t work for me about Claire’s campaign is that this feels so much more like Annette’s story than hers. Claire just stumbles in on events already in progress, and could have been just about anyone. Her big victory is in convincing Annette to take some time out from trying to save the city to save her own (now infected) daughter – and as heartless a mother as Annette is, I just don’t buy that Claire’s in any position to make that call. How many other little girls are out there dying tonight, if no-one finds a solution?

Possibly Claire’s story may have worked better in the original RE2, where she does at least find Chris’ diary, and the connections between his investigations and current events are more clearly spelt out. But in the remake, Annette is just so much more interesting to me than Claire (or Sherry) because she’s so much more flawed and compromised – and also the kind of ice queen who’s now ready to empty a shotgun into her monstrous former husband without much remorse.

There's certainly still stuff to like in Claire's campaign ‒ not least that between Claire, Sherry, Ada and Annette, this is a rare game where women account for most of the playable and/or story-centric cast. And Claire’s still a likeable character herself, but with Sherry as her own Ada-equivalent, she just doesn’t give her much to play off of.

But there’s a third story still to talk about in the realm of RE2…

Resident Evil 3 (remake)

Now, this is an odd one. By and large, the RE3 remake seems to have gone down poorly with fans for cutting significant chunks of the original game, and reducing Nemesis from a monster who stalks you relentlessly through semi-open environments to a monster to who mostly just shows up at intervals for yet another big-event-boss-fight. For myself, having only experienced this game via youtube, I felt more let down by character and plot.

What I did love about the game were all the little ways the story intersects with the events of RE2. In that game, Marvin warns you not to make his mistake, hesitating when faced with a zombie that was someone he knew. In RE3, we find out just who that zombie-mistake of Marvin’s was. It’s not just a neat little call-back, it’s heartbreaking in all the right ways.

The broader plot is fairly straightforward: Jill Valentine is trying to make it out of Raccoon City alive, hampered by the fact Umbrella have sent Nemesis to wipe out any surviving STARS members who can testify against them after the events of RE1 (yet more reason why Claire’s search for Chris should have been significant) and variously helped or hampered by members of an Umbrella mercenary squad (most of whom have no idea what their masters are really up to). Jill’s main character arc involves proving herself as capable as any of the men – more so, really – and more than a match for Nemesis.

This flounders for me for a couple of reasons.

For one, this is another RE that opens with a solid hook – Jill suffering a horrific dream about becoming a zombie – that doesn’t really go anywhere. Her PTSD really only exists in two cutscenes; the degree to which the outbreak in Raccoon City must be a scene straight out of her nightmares just doesn’t come across for me. The obvious ways Nemesis ought to be a conveniently-defeatable manifestation of everything that’s haunted her since RE1 felt badly undersold for me too. If Jill isn’t actively being sexily-brutalised by Nemesis, she’s just not scared of him. And when she does wake up mid-game to learn she’s been infected and survived – the exact scenario from the opening – she has no reaction to speak of.

I do appreciate Jill’s steely determination and willingness to put herself in danger to lead Nemesis away from other survivors, but those PTSD-dreams felt like something tacked in as an afterthought. Jill is an unflinching badass right up until we want to throw in a creepily-sexualised scene of some monster shoving its probiscis down her throat. And her final, triumphant, “I’m gonna take down the monster!” declaration is so similar to Claire’s from RE2 that you feel they’re running out of ideas.

Jill’s character design really doesn’t work for me either. This is a professional member of a special ops team: I can live with the game giving her the face of a supermodel, but why stick her with the body of one as well? Sheva got to have real muscle definition way back in 2009, and it sure as fuck didn’t make her any less gorgeous – even Jill’s own look back in RE5 and Revelations said ‘professional’ as loudly as possible. Why can’t we have some of that here? No wonder the mercenary team don’t take her seriously, she looks like an actress, not someone who’s used to dragging a grenade launcher through the mud. (I will grant Capcom credit that at least this Jill isn’t trying to survive the apocalypse in a strapless top – she’s still thrown into the action in her civies with minimal warning, but at least she gets to wear a proper bra this time. Look, it's something.)

Jill’s main partner/foil/presumable love interest in the game is Carlos, who – credit where it’s due – is very pretty in all the ways I wanted Leon to be (though he’s still built in all the ways Jill isn’t, you may note). He’s generally likeable, but character-wise, he’s just too straightforward to be very interesting. He takes the revelation that Jill was right and his employers are scumbags with mild shock, but he’s been so unambiguously on her side from the start that the reveal feels like a bit of a technicality. This is a game devoid of any twists or reveals on par with ‘Ada’s lying about working for the FBI’, or even ‘the monster is Sherry’s father,’ or any interestingly-grey figures like Annette. It has its moments, but it didn’t do much for me.

Maybe the greater problem with Jill’s story for me is that, of the three plotlines running through these two games, her goals are the most straightforward. Leon’s very explicitly driven by his sense of responsibility to the people of Raccoon City: to find answers and hold the perpetrators responsible. Claire’s at least nominally looking for her brother, who was investigating Umbrella. Jill’s really just trying to escape Nemesis and get out of the city. Leaning into her PTSD as a plot point could’ve lent a wealth of thematic weight to that, but in its absence, there’s just not much here that resonates for me.

Resident Evil 2 (Remake): The actual game

I wasn’t planning on actually buying and playing RE2, but I enjoyed Leon’s story enough to want to see it in context (and I was kind of hoping Claire’s might improve when experienced that way) – and then there was another Steam sale going, so I figured what the hell.

RE2 was a genuinely solid experience all up, though in many ways, it could only confirm for me that ‘true’ survival horror games like REs 2 and 7 are much less my thing than more action-oriented titles like 4 and 8. Having to worry so much about resources isn’t engagingly tense for me, it’s just annoying, and the uncertainty about what I can use now vs what I’m desperately going to need later sends my perfectionist streak into overdrive. Compulsively reloading saves every time things go vaguely south just produces an inventory full of healing items that I can't use in case I need them later later (though I probably won’t). Doesn’t help that my patience with fighting the same boss over and over in slightly different forms runs out pretty quickly.

Mr X, beloved as he is by the fans, was for me mostly just a minor annoyance. I have to judge Capcom a little for giving the player a ‘puzzle’ which involved moving three very large bookcases on rollers very slowly in a well-lit room so soon after the chase really begins, because the result quickly devolved into farce. Move one bookcase, whoops, he’s getting a bit close – better do another lap up the stairs and down the ladder again to give myself some space! All it needed was the Benny Hill theme playing in the background.

And playing the game properly mostly just drove home how utterly irrelevant he is to the plot. The idea that he’s been sent by Umbrella brass to wipe out witnesses is alluded to in one document, then never really commented on again, and he seems completely unrelated to all the Birkin-family drama that makes up the main Umbrella-plot. It’s disappointing how easily it feels like he could’ve been excised from the game altogether.

Such nitpicks aside though, I found a lot to like playing Leon’s campaign. The puzzle design and some of the weird internal logic genuinely impressed me in a way I haven’t gotten from any more recent RE title – and I loved the little tongue-in-cheek justifications for some puzzles, like a sewer engineer with a ridiculous chess obsession. Annoying as zombies could be, I have to appreciate the fact these are proper zombies, who will keep getting up again just when you least expect it. Leon’s standard kit of pistol-shotgun-magnum (plus-eventual-flamethrower and rocket-launcher-for-special-occasions) was familiar enough to work for me. Having grenades classed as secondary weapons (such a bugger to equip when you wanted them and so easy to waste by accident when you didn’t) did not work so well, and what red-plus-blue herb combinations actually do was frustratingly opaque, but so it goes.

I did not have such a good experience playing Claire as a B-campaign though, and not all of that was really Claire’s fault. The B-campaign runs you through most of the earlier story beats common to both campaigns on fast forward, covering Marvin and the police station – which makes sense on paper. In practice, I found it meant I had Mr X all up in my grill before I’d had any time to explore, gather resources, expand my inventory slots, and clear out some zombies, and he quickly went from ‘minor annoyance’ to ‘major frustration’. Getting anything done became a real headache. You’re also down one save point in the most central location for reasons unknown. I’ve been broadly aware or RE2’s A/B structure for years before I ever got into the series, but I’d never before osmosed that the B-campaign was playing the game on hard-mode.

The B-campaign also awards you a special bonus weapon – a pistol that takes higher calibre ammo and apparently does more damage. I say ‘apparently’, because I could not for the life of me tell the difference, except that now I was having to juggle another kind of limited ammo in my even-more-limited inventory slots, despite having to really squint to even tell them apart.

Claire’s guns also include a third pistol, which takes standard ammo but in larger clips, and an upgrade to her first gun which takes new ammo completely. There’s also a grenade launcher that fires two kinds of rounds: flame rounds that produce a huge and very satisfying conflagration, and acid rounds which, for me, mostly just seemed to splash lightly over enemies without interrupting their day. While Leon could craft ammo for all his guns, Claire couldn’t craft ammo for her bonus pistol, her upgraded-original pistol, or flame rounds for her grenade launcher. Her campaign is the first time in any RE game I’ve really come to appreciate being given an assault rifle, but that may be just because at least ammo for the thing was distinct and craftable.

By the second major boss battle with William (another perfect duplicate from Leon’s campaign), I was about ready to throw in the towel.

Alas, putting Claire’s story in its full game context did not improve it for me. If anything, revisiting it just drove new issues home. Chief Irons makes a terrific villain, but his section and the whole ‘Umbrella was experimenting on orphans!’ thing feels painfully disconnected from the rest of the game. Files you can pick up reveal that he’s been working for Umbrella all along, but neither Irons nor much else about the orphanage is well-foreshadowed before, nor really mentioned again afterwards.

Why is he after Sherry’s pendant? Presumably he knows it’s the key to a vault in the research facility, but how he knows and what he wants with the contents of the vault are left to your imagination. Me, I’d have cut the pendant angle altogether and suggested he wanted Sherry as a hostage to manipulate her parents, leaning into how that relationship has gone sour – only to have it backfire when monster!William shows up to infect his daughter (already implied, but something that could have been a lot more explicit). But the pendant was a plot point in the original RE2, so I guess we’ve got to shoehorn it in somewhere.

The issues I had with Claire’s story are all the more irritating because all the pieces to build something better are right there. Lean into her search for her brother – let her find those diary entries from the original where he talks explicitly about investigating Umbrella, the G-virus, and his suspicions about Chief Irons. Now Claire’s got all the reason she needs to go looking for the truth before it's buried for good under a zombie wasteland, run afoul of Irons, draw the attention of Mr. X, and meet Sherry on the way. She can and should still save Sherry, but it doesn’t have to be her whole motivation.

None of this takes away from how much I loved Leon’s story, or even his scenes with Claire. Honestly, another minor complaint would be that there weren’t more of those – it seems a real shame their stories don’t intersect in more places. My only other real complaint on Leon’s front here that his story in RE2 left me expecting so much more from him in RE4 than what we ultimately got – his dynamic with Ada especially.

But there, again, we’re getting into territory that so very definitely needs a whole 'nother post.

#Resident Evil 2 #Resident Evil 3 #Leon Kennedy #Claire Redfield #Ada Wong #Resident Evil #Annette Birkin #Jill Valentine #meta #RE reviews

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sikariatech005 · 9 months

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ott development companies in india

India stands as a thriving hub for the entertainment industry, witnessing an explosive growth in Over-the-Top (OTT) platforms. With the surge in digital content consumption, the demand for proficient OTT development companies in India has soared. These companies serve as the architects behind the creation of robust, feature-rich, and user-friendly platforms that cater to diverse content preferences of audiences across the globe.

The landscape of OTT development companies in India is characterized by a blend of technical expertise, innovation, and a deep understanding of consumer behavior. These companies leverage cutting-edge technologies and industry best practices to design and develop OTT platforms that offer seamless content streaming experiences across multiple devices.

A hallmark of these companies is their capability to provide end-to-end solutions, encompassing every stage of the development process. From conceptualization and architecture planning to UI/UX design, backend development, integration of content management systems (CMS), analytics, monetization models, and ongoing maintenance, they ensure a comprehensive and robust platform.

Technical proficiency is a cornerstone of these companies. They harness cloud-based infrastructure, advanced video streaming protocols, content delivery networks (CDNs), and stringent security measures to guarantee high-quality video playback, minimal buffering, and secure content delivery. Additionally, they prioritize scalability and adaptability, ensuring that platforms can handle varying user loads and device types without compromising performance.

User experience (UX) and user interface (UI) design are paramount for OTT development companies in India. They focus on creating intuitive interfaces, personalized content recommendations, smooth navigation, and engaging viewing experiences. These efforts are aimed at enhancing user satisfaction, retention, and ultimately, the platform's success.

Furthermore, these companies recognize the significance of analytics and data-driven insights. They integrate analytics tools to gather user behavior data, allowing content providers to understand audience preferences, optimize content libraries, and tailor marketing strategies for better engagement and monetization.

Collaboration and client-centricity define the working ethos of these companies. They collaborate closely with content creators, production houses, broadcasters, and media companies, understanding their unique requirements, content strategies, and target audiences to develop tailor-made solutions aligned with their objectives.

Indian OTT development companies offer versatility in their services, catering to a wide spectrum of requirements. They deliver solutions for video-on-demand (VOD), live streaming, subscription-based models, advertisement integration, multi-device compatibility, and more. This adaptability allows them to meet the diverse needs of clients operating in various niches within the entertainment industry.

As the Indian OTT market continues to expand and evolve, these companies are at the forefront of innovation, driving the industry's growth. Their agility in adopting emerging technologies, responsiveness to market trends, and commitment to delivering high-quality, immersive digital experiences contribute significantly to shaping the future of entertainment consumption globally.

#website design #website designing #digital marketing

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aunti-christ-ine · 2 years

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Acclaimed Daniel Roher-directed Documentary Investigates Assassination Attempt on Putin Adversary

CNN Films will broadcast the Sundance sensation, NAVALNY, directed by DanielRoher, on Saturday, Jan. 14, at 9:00pm Eastern on CNN. As the world watches Russia’s brutal aggression continue against Ukraine, the gripping investigation of the 2020 attempted assassination of Alexey Navalny reminds the world of the serious repression and danger the Russian government presents to its own citizens.

Just months after the attempt on his life, and during the height of the global coronavirus pandemic, Alexey Navalny and his family allowed Roher exclusive access to document his physical recovery from their secret location. Roher and the production team weave interviews with the former Russian presidential candidate and his family, as well as Navalny’s Russian Anti-Corruption Foundation (FBK) colleagues, to describe the events leading up to the attempt upon his life that the world first witnessed via social media. Later, together with investigative journalists led by Christo Grozev, the executive director of Bellingcat, the team reveals a sprawling web of Russian government surveillance that had tracked the Putin opposition leader for years, ultimately exposing a shocking plot to poison him with the Russian government-linked nerve toxin, Novichok.

“Daniel and his team secured extraordinary access to a story of immense global significance,” said Amy Entelis, executive vice president for talent and content development for CNN Worldwide, on behalf of CNN Films. “The film is a window into a rigorous and disciplined investigation that, beyond exposing the serious stakes for one man and his family, offers a view into the sobering stakes for a citizenry when a nation oppresses its own people. NAVALNY is the kind of documentary that defines CNN Films.”

NAVALNY is currently nominated by the Producers Guild of America for its 2023 documentary motion picture award, nominated by the Cinema Eye Honors for the best nonfiction feature category, and named as a 2023 finalist by the duPont-Columbia Awards. NAVALNY was honored with the Audience Award in the U.S. Documentary competition, and the fan-selected Festival Favorite Award, following its world premiere at the 2022 Sundance Film Festival. NAVALNY is produced by Odessa Rae of RaeFilm Studios, Diane Becker and Melanie Miller of Fishbowl Films, and Shane Boris of Cottage M. Amy Entelis and Courtney Sexton of CNN Films, and Maria Pevchikh of the FBK, are executive producers of the documentary. The editorial team was led by Langdon Page and Maya Daisy Hawke.

NAVALNY currently has a 99% Tomatometer® score at Rotten Tomatoes. It was theatrically released by Warner Bros. Pictures. During the Jan. 14 broadcast on CNN, NAVALNY will also stream live for pay TV subscribers via CNN.com and CNN OTT and mobile apps under “TV Channels,” or CNNgo where available. NAVALNY will be available On Demand beginning Sunday, Jan. 15, to pay TV subscribers via CNN.com, CNN apps, and Cable Operator Platforms. It is also available to stream via HBO Max. Viewers can interact with others across social media by using the hashtag #NAVALNY.

# # #

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entertainmentworld54 · 2 years

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Free Telugu movies to watch on aha

Everyone likes watching movies, and nowadays, it has become easy to watch your favourite movies based on your requirement. With the development of internet facilities as well as various online platforms, it has become an easy task to download movies or watches them online. Most of all, the latest movies are now available online; thus, you do not need to wait until it is available on TV. Watching movies online through streaming platforms has made everything easy for people so that they can watch it based on their convenience.

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Why watch movies online for free?

Watching movies online for free is preferred by the majority of people as they can save some amount of money. A subscription to a streaming service or paying money to watch a particular movie will not be a good choice for some people who do not spend much time watching movies or are not interested in them. Such people usually watch fewer movies during weekends or any other time. Thus, they don't have to spend their money on subscriptions for watching Telugu movies with streaming platforms. On the other hand, few people like watching movies and are always looking for places to watch them for free. aha is a good choice in both cases, as they can find a list of super-hit Telugu movies that are free to watch.

Free Telugu movies streaming on aha

In aha, you can find many Telugu movies you can watch for free based on your choice. Some famous Telugu movies streaming for free on aha are Magadheera, 100 Days of Love, Paraguay, etc. Apart from these Telugu movies, you can also find other dubbed Telugu movies like Khakee, Utthama Villain, Thuppaki, etc. (which are some of the famous South Indian films of other languages). The only thing you have to do to watch these movies is visit aha and look for the free movies section.

Watch unlimited Telugu movies on aha with and without a subscription

If you are looking for free movies online, you can easily find them in aha. But to watch all the latest Telugu movies, you must get an aha subscription. With the subscription, you can watch many latest OTT-released Telugu movies in aha, along with many other famous Telugu TV shows, web series, Kids' shows, news, etc. Thus, by taking a subscription in aha, you can get access to unlimited video content. You can use an aha subscription on 5 devices, allowing you to watch your favourite show on your smartphone while your siblings or parents can watch theirs on another device.

To watch free Telugu movies or the latest Telugu movies (via subscription), visit aha.

#freemovies #entertainment #telugumovies

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colourmoon-tech · 4 days

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Ultimate Guide: Top OTT App Development in 2024

The surge in demand for Over-the-Top (OTT) applications has revolutionized how we engage with entertainment. For those eager to tap into this trend and forge a state-of-the-art OTT platform, choosing the right OTT app development partner is essential.

An OTT app development company in India, for example, can provide customized services designed specifically for your business needs, ensuring your streaming service shines in a competitive landscape.

Whether your aim is to launch a live streaming app through a specialized live streaming app development company, tailor OTT subscriptions, or introduce free OTT apps, the specialized expertise of these companies can be the key to realizing your objectives.

This guide will explore the realm of OTT app development, emphasizing the essential criteria for selecting the top OTT app development companies and highlighting some of the leading firms in the sector for 2024.

Criteria for Choosing OTT App Development Companies

When selecting an OTT app development company, several key criteria must be considered to ensure you partner with a firm that can meet your specific needs and deliver a high-quality product. Here are some of the most important factors to evaluate:

Expertise and Experience

An OTT app development company's expertise and experience are essential for the success of your project. Look for a company with a proven track record in OTT app development, positive reviews, and a portfolio that showcases their past work. This indicates that they have the necessary skills and knowledge to handle the complexities of OTT platform development.

Their experience should include successful projects across various sectors, demonstrating their ability to deliver premium video content and seamless streaming experiences.

Innovative Solutions

Innovation is a key differentiator in the competitive OTT market. The company you choose should be at the forefront of technology, offering innovative solutions that enhance user experience and stay ahead of market trends. This includes leveraging advanced technologies such as HTML5, CSS, JavaScript, React Native, and Flutter to support your app development.

Additionally, they should be able to integrate cutting-edge features like personalized content recommendations, robust analytics tools, and advanced security measures to protect user data and content.

Customization and Flexibility

Customization and flexibility are essential for creating an OTT app that aligns with your business goals and brand identity. The company should offer tailored solutions that meet your unique needs, including the ability to customize OTT subscription packages for your audience.

They should also be able to integrate your existing systems and third-party services, providing a modular design that allows for future scalability, while keeping the OTT app development cost in India in mind.

Top OTT App Development Companies to Watch in 2024

As the OTT market continues to expand, a few companies have distinguished themselves through outstanding services and innovative solutions. In 2024, these are the top OTT app development companies you should keep an eye on:

Colourmoon Technologies

Colourmoon Technologies is the best and reliable OTT app development company, which offers you the best features at an affordable pricing.

9 best features are WE offer:

Android Platform & iOS Platform

Admin Panel

Integrated GPS

Videos, Category and User management

Multiple payment gateway

custom requirements

user management

SEO friendly Design

Records & Statistics

Benefits of Working with us

Colourmoon is the being working on the on demand solutions rather looking for the quantity but on quality.

What matters in

Highly Transparent

Proficient Developers

On-time delivery

Highly personalized App

Smooth UI/UX design

Result driven approach

24/7 support

Future Trends in OTT Platform Development

The OTT industry is poised for significant advancements in 2024, driven by emerging technologies and evolving user preferences. Here are some of the key trends that will shape the future of OTT platform development:

Artificial Intelligence and Machine Learning

Artificial Intelligence (AI) and Machine Learning (ML) are set to revolutionize the OTT landscape. AI is being increasingly adopted for various aspects of OTT platforms, including content creation, metadata enhancement, and localization. For instance, AI-powered dubbing and subtitling can help in expanding the global reach of content by making it accessible in multiple languages.

Additionally, AI-driven personalization will continue to enhance user experience by providing tailored content recommendations based on viewer preferences and behavior.

Cloud Solutions

Cloud solutions are becoming a cornerstone of OTT platform development due to their scalability, flexibility, and cost-efficiency. Cloud infrastructure, such as Amazon Web Services (AWS), enables OTT platforms to handle peak traffic without compromising on performance.

This allows for seamless streaming experiences even during high-demand periods, such as the release of popular shows.

Cloud-based solutions also facilitate the rapid deployment of new features and updates, ensuring that OTT platforms remain agile and responsive to changing user needs.

Enhanced Security Measures

As OTT platforms grow in popularity, ensuring robust security measures becomes increasingly critical. With the rise in data breaches and content piracy, OTT providers must invest in advanced security technologies to protect user data and content.

This includes implementing encryption protocols, secure authentication mechanisms, and robust content protection systems. Enhanced security will not only safeguard user trust but also comply with stringent regulatory requirements, thereby maintaining the integrity of the OTT ecosystem.

Conclusion

In conclusion, choosing the right OTT app development company is pivotal for the success of your streaming service. It's essential to assess companies based on their expertise, innovative solutions, and customization capabilities. Leading companies such as Colourmoon Technologies, Zype are at the forefront in 2024, driving progress with their cutting-edge technologies and focus on user experience.

As the OTT industry continues to evolve, emerging trends like AI, cloud solutions, and enhanced security measures will significantly influence the future of platform development. By forming a partnership with a reputable OTT app development company and keeping abreast of these trends.

You can forge a high-quality, engaging streaming service that not only captures your audience's attention but also establishes your presence in the fiercely competitive OTT landscape, whether you're looking to manage ott app development costs in India or customize OTT subscription options.

Feel free to contact us: https://thecolourmoon.com/contact-us.php

FAQ

What are the key factors to consider when selecting an OTT app development company?

When choosing an OTT app development company, consider understanding your business goals and vision, evaluating the company's experience and expertise, considering customization and scalability, ensuring robust security and data protection, and assessing ongoing support and maintenance capabilities.

How much does it typically cost to develop an OTT app, and what are the different pricing models available?

The development cost for an OTT app can vary widely, aprroximately from ₹25,000 to ₹300,000, based on the app's complexity and features. Pricing estimates include:

Basic OTT App

Netflix-like Platform

Complex OTT App

Cost-determining factors encompass app features, platforms, data inventory, streaming features, user traffic, and geographic location.

What are the essential UI/UX features that a successful OTT app should have?

A successful OTT app should boast essential UI/UX features such as simplified navigation, personalized content recommendations, multiple device compatibility, intuitive search functions, user-friendly layouts, accessibility features, and responsive design. Features enhancing the user experience include easy payment options, preview content, and the ability to create multiple user profiles.

What are the main monetization models available for OTT apps, and how can they be implemented effectively?

Main monetization models for OTT apps encompass:

Subscription-based Video on Demand (SVOD): Users pay a monthly fee for access to content.

Advertising Video on Demand (AVOD): Content is free but includes ads.

Transactional Video on Demand (TVOD): Users pay a one-time fee for renting or buying content.

Premium Video on Demand (PVOD): Offers early access to premium content for a one-time fee.

Hybrid Model: A combination of multiple models, such as SVOD and AVOD. Effective implementation requires understanding the target audience, integrating seamless ad and subscription features, and leveraging advanced technologies for personalized advertising.

#ottappdeveloper #ottplatform #ottapp #appdevelopement

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unschool · 2 years

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mogiottplatformprovider · 28 days

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SaaS vs. On-Premise: Why Streaming Services Should Choose SaaS Model?

Building a streaming service from scratch can be challenging. You will have to acquire knowledge related to infrastructure, cost, and time-to-market.

One big decision you will have to make is choosing between a SaaS (Software as a Service) and on-premise/on-cloud model.

You need to carefully evaluate which model best suits your needs, especially in a competitive market where agility, cost-efficiency, and rapid feature deployment are key.

In this blog, we will talk about why the SaaS model is often the best choice for streaming services, focusing on cost-effectiveness, the efficiency of feature development, and the hidden costs associated with on-premise/on-cloud models.

Learn more at - https://www.mogiio.com/saas-vs-on-premise-create-white-label-ott-platform

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serenatechie · 1 month

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Step-by-Step Guide to Creating an OTT Streaming App for Multiple Devices

In an era where digital consumption is at an all-time high, creating an OTT (Over-The-Top) streaming app that caters to multiple devices is crucial for success. Whether users are on their smartphones, tablets, smart TVs, or desktops, they expect a seamless experience. In this guide, Innocrux will take you through the essential steps to develop an OTT streaming app that meets these demands.

Step 1: Understand OTT Streaming App Development

The first step in OTT streaming app development is understanding your target audience and their preferences. Knowing who you’re building for will help shape the content strategy and user experience. At Innocrux, we emphasize the importance of a user-centric approach in OTT platform creation to ensure your app delivers what users want, where they want it.

Step 2: Select the Right OTT App Technology Stack

Choosing the appropriate technology stack is crucial for the success of your app. A cross-platform streaming app requires a tech stack that ensures smooth functionality across multiple devices. Essential components include:

- Frontend: Use frameworks like React Native or Flutter for a multi-device OTT platform.

- Backend: Node.js or Python for scalable server-side operations.

- Streaming Protocols: HLS (HTTP Live Streaming) or DASH (Dynamic Adaptive Streaming over HTTP) for high-quality video and audio streaming.

- CDN: Content Delivery Networks like AWS CloudFront or Akamai to ensure fast and reliable streaming.

Innocrux’s development team is experienced in selecting the optimal OTT app technology stack to deliver a seamless experience across all platforms.

Step 3: Design an Intuitive OTT App Interface

A user-friendly interface is critical for the success of your OTT app. The design should be intuitive and easy to navigate, regardless of the device. Features like personalized recommendations, easy content discovery, and a responsive design that adapts to different screen sizes are essential. Innocrux focuses on OTT app design and development that prioritizes user experience, ensuring your app looks and feels great on any device.

Step 4: Implement Multi-Device Support in OTT Apps

Multi-device support is a must for modern OTT platforms. Users expect to start watching content on one device and continue seamlessly on another. This requires a robust backend that can sync user sessions and playback history across all devices. At Innocrux, we specialize in multi-device support in OTT apps, ensuring that your users have a consistent viewing experience no matter how they switch between devices.

Step 5: Focus on OTT Video and Audio Streaming Quality

Quality matters. For an OTT app, this means ensuring that your streaming content is delivered in the best possible quality, whether it’s video or audio. Implementing adaptive bitrate streaming allows the app to adjust the quality based on the user’s internet connection. Innocrux ensures that your OTT video and audio streaming is optimized for all conditions, providing users with a smooth and enjoyable experience.

Step 6: Thoroughly Test Your OTT App Across Multiple Devices

Testing is a critical phase in the OTT app development tutorial. It’s essential to ensure that your app works flawlessly across all supported devices, from smartphones to smart TVs. At Innocrux, we conduct rigorous testing on various devices and operating systems to identify and fix any issues before your app goes live. This ensures multi-device compatibility in OTT apps, providing users with a consistent experience across all platforms.

Step 7: Deploy and Maintain Your OTT App

Once development and testing are complete, it’s time to deploy your app. Choosing a reliable cloud provider is essential for high availability and scalability. After deployment, continuous monitoring is crucial to ensure the app performs well and to identify areas for improvement. Innocrux offers comprehensive OTT app deployment and maintenance services, ensuring your app remains stable and user-friendly post-launch.

Key Features of an OTT Streaming App

When developing an OTT streaming app, consider the following key features:

Multi-device support: Ensure seamless cross-platform compatibility across multiple devices.

Content discovery: Provide users with a user-friendly interface to discover new content.

Content recommendation: Offer personalized content recommendations based on user behavior.

User authentication: Implement secure user authentication and authorization.

Payment gateway: Integrate a secure payment gateway for users to purchase content.

Analytics: Provide analytics and insights on user behavior and engagement.

Conclusion

Creating an OTT streaming app for multiple devices involves a series of carefully planned steps, from understanding your audience to selecting the right technology stack, designing an intuitive interface, implementing multi-device support, ensuring high-quality streaming, thorough testing, and finally deploying the app. With Innocrux by your side, you can build an OTT app that stands out in the competitive streaming market.

Whether you’re looking to build an OTT app from scratch or improve an existing platform, Innocrux is here to help. Let’s work together to create an OTT app that delivers exceptional experiences across all devices.

#MultiDeviceStreaming #OTTAppDevelopment #OTTPlatformGuide #StreamingAppDevelopment #CrossPlatformOTT

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