#ott platform provider

[tripta-123]

OTT Platform Service provider in India

VideoCrypt offers OTT platform services to stream live or pre-recorded entertainment or educational content with a layer of security and a video monetization facility.

[livestreamingplatform]

Muvi - The Leading OTT Platform Provider

Muvi is an end-to-end OTT platform provider, which allows you to launch white label multi-device OTT streaming & video streaming platforms, offering monetization, CDN, DRM, and much more!

With Muvi, you can also launch audio streaming platforms offering music streaming service and live audio broadcast. Muvi includes everything, fully managed, end-to-end, all controlled from a single CMS.

[sneezemonster15]

How do you think does Konoha view same-sex relationships?

Not favourably. Now this is shounen, so it's not as explicit as you would want to see. But it doesn't have to be. Before OTT platforms provided more freedom and patronage to creators, majority of mainstream media wouldn't acknowledge same sex relationships as frequently as they do now. Homosexuality would be shown as something to mock or laugh at, for comic purposes. That would be the extent of gay representation. However, it does indicate that same sex relationships do exist in their world, no matter how they are portrayed.

Kishi couldn't have been so overt about the shinobi world as a homophobic world, but it is nonetheless. We have seen Naruto's own oft portrayed homophobic tendencies because of his closetedness, his struggle to accept his sexuality. You can see comphet in his behaviour consistently, as written by Kishi. Which is another indicator of his repressed homosexuality. If Konoha was a more progressive society, he wouldn't have felt the need to repress so much, now would he? If there were examples or gay role models for Naruto to look upto, he would have felt more comfortable in his skin. But he doesn't. Shinobi world is a reflection of the real world, and modern Japanese society is homophobic at large, even if things are changing, albeit very slowly. But it doesn't take away from the fact that their society still stigmatises homosexuality. In the manga, heterosexual romantic relationships are taken as a given, like any other heterosexual media. But the biggest proof that shinobi world is not very welcoming towards gay relationships, is the fact that Naruto is still closeted, even after Shippuden. As in he knows but hasn't come out. He couldn't. Sasuke doesn't care about social mores, never did, he doesn't have many compunctions towards living his truth. But he adjusted for Naruto's sake. But it's different for Naruto, he never had a family to ground himself. There is more than one reason for Naruto to still be closeted, but it doesn't take away from the fact that he represses his homosexuality because he knows he would be made to feel guilty about it, like he has felt his entire life. And more importantly, he can't break his promise to his mother, that he would find a girl to marry, like most mothers in a traditional society would expect from their sons.

There are a few indicators in the manga that give us an insight into the shinobi world pertaining to people's attitudes towards homosexuality.

Jiraiya's forceful statement about how he is not into men and Naruto's startled response is another layered hint at Naruto's closeted homosexuality, Kishi does this very consistently. This scene could easily be forgotten under the pretext of comedy, but red herrings like this one are written very consistently by Kishi, make no mistake, it's a super deliberate attempt at giving information about Naruto's sexuality.

Jiraiya, a very straight man, is offended at the mere idea of being interested in men.

This is another panel that says something about shinobi world's attitudes towards homosexuality, even something as innocent as carrying an injured shinobi makes people uncomfortable.

Well, we know that Sakura is borderline homophobic and it totally gels with her shallow, self absorbed personality as portrayed consistently by Kishi. She already showed her discomfort at Gai carrying Kakashi in the previous panel, but Kishi had to make Sakura repeat her sentiment of extreme discomfort at the 'disturbing' imagery in front of her. Lol.

It's also very funny to me because like, shinobi world has no CARS or mediums of transport, so how the fuck are they gonna carry injured people around anyway? Like??

Gai is already shown to carry an injured Sasuke, Kakashi is shown to have carried an injured/exhausted Naruto on his back. Like how else are they supposed to do it?

So it's pretty normal for shinobis to carry people on their backs. But Kishi decided he wanted to make it funny with Kakashi and Gai, by creating an uncomfortable situation with comedic overtones, but also managed to say something about the general attitude of people towards homosexuality.

Someone as stoic as Kakashi isn't immune either.

Naruto, who has already been established as a closeted gay boy, shows his homophobic tendencies again when Kakashi compliments him after his Rasenshuriken training session, which is clearly without any ulterior motive. But well, Naruto is closeted, so he gets panicky and nervous at even an innocent compliment that he interprets as homosexual interest. Again, Kishi gives us information about Naruto's sexuality, but hides it under the garb of comedy. But Kakashi's own conciliatory response (that he didn't mean it 'that' way) shows his attitude towards homosexuality. Doesn't seem like Konoha normalizes same sex relationships.

Then we have this. Lol. Tayuya has such a pottymouth, lolol.

Yeah, the term is used as an insult in the ninja world. Quite like the real world.

Tobirama also got his panties in a twist when he saw Hashirama hanging out with Madara, and he couldn't take it. Now it's not made apparent or overtly shown by Kishi that he did it out of homophobia. But what's clear is that Hashirama and Madara's relationship is homoerotic/romantic, and Tobirama is a bigoted, narrow minded individual who couldn't find a sliver of happiness in his own brother's happiness. I can imagine him to be homophobic, it gels with his characterisation.

So yeah, the shinobi world is a reflection of the real world as seen through Kishi's lens and he implicitly portrayed this world as not very open to same sex relationships.

[absolutebl]

[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? 

YT

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. 

[kalena-henden]

The fantasy romance drama “Lovely Runner” has successfully captured attention of viewers around the globe!

According to global OTT (over-the-top) platform Rakuten Viki, “Lovely Runner” ranked No. 1 in viewership in 133 regions including the United States, Canada, France, Germany, Italy, Brazil, Mexico, and more in the week the drama premiered. The drama is also maintaining a high viewer rating of 9.8 on Viki with favorable reviews from subscribers.

Based on a popular web novel and penned by “True Beauty” writer Lee Si Eun, “Lovely Runner” is a new time-slip romance drama that asks the question: “What would you do if you had the opportunity to save your ultimate bias?” Kim Hye Yoon stars as Im Sol, a passionate fan devastated by the death of her favorite star Ryu Sun Jae (Byeon Woo Seok), who goes back in time to save him.

Rakuten Viki is a global OTT platform that provides video streaming services for Asian dramas and films in more than 190 countries around the world. In addition to the on-air K-dramas such as “Lovely Runner,” “Missing Crown Prince,” “The Midnight Studio,” “The Escape of the Seven: Resurrection,” and “Beauty and Mr. Romantic,” more dramas including “Dare to Love Me” and “Midnight Romance in Hagwon” are scheduled to be launched in May.

[softwaredevelopmentindia-one]

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[ryansjane]

[04th June, 2023]

Hi Axelle!,

HAPPY PRIDE MONTH. #PrideMonthSeries

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!

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

[tripta-123]

OTT Platform App Development Company

Flawlessly stream your premium video content on our feature-rich OTT platform in India, developed to meet your business objectives and help you drive more revenue.

[sikariatech005]

ott development companies in india

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.

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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.

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[thebobby1432world]

Chawl House 3 Web Series Ullu Cast, Release Date, Real Names

Chawl House 3 Web Series Ullu Cast: Chawl House 3 is the latest web series by Ullu. The web series was released on 12 August 2022. It is available to watch online on the official website and the Ullu app. Sneha Paul (Teena), Ankita Dave (Meena), Nikhil Parmar (Rahul), Meenu Sharma (Teena's Mother), and Ravi Parmar (Shankar) play the lead in the series. The audience loves the web series. The series received good responses from the audience.

Chawl House 3 Web Series Ullu Cast/ Image Credit: Ullu Chawl House 3 Web Series Ullu CastChawl House 3 Web Series Ullu Story Chawl House 3 Web Series Ullu Chawl House 3 Web Series Ullu All Details

Chawl House 3 Web Series Ullu Cast

- Sneha Paul (Teena) - Ankita Dave (Meena) - Nikhil Parmar (Rahul) - Meenu Sharma (Teena's Mother) - Ravi Parmar (Shankar) Chawl House 3 Web Series Ullu Story The story is about A sweet, functioning camaraderie between the sisters, Tina and Mina, disrupted by the entry of a new guy into their chawl, Rohit. As both sisters fall for Rohit, the conflict further escalates when Rohit is faced with the double trouble of choosing one between them. Chawl House 3 Web Series Ullu GenreDramaCastSneha Paul (Teena), Ankita Dave (Meena), Nikhil Parmar (Rahul), Meenu Sharma (Teena's Mother), Ravi Parmar (Shankar)OTTUlluRelease Date12 August 2022CategoryWeb Series Chawl House 3 Web Series Ullu All Details - Genre: Drama, Romance - Release Date: 12 August 2022 - Director: Jasbir Bhati - Language: Hindi - OTT Platform: Ullu Disclaimer: The above information is for general informational purposes only. All information on the Site is provided in good faith. However, we make no representation or warranty of any kind, express or implied, regarding the accuracy, adequacy, validity, reliability, availability, or completeness of any information on the Site. Read the full article

[save-the-data]

Hello!

I stumbled upon your gifs now that I have in interest in Thai BL and I wanted to ask if you could tell me please on which streaming service I could find some? Is there something for international Watchers available?

The below are the main streaming sites, where you'll find like 90% of the content either free or for a subscription. There are also several YouTube channels that also have free or paid content, some titles have their own dedicated channel whilst others are aligned with a production house like GMMTV. Just be aware that if you are watching an episode on YouTube it is mostly a directors cut version, but not always. Also another thing to note, some projects might be geo-restricted so VPN is your friend.

[objectwaysblog]

The Power of AI and Human Collaboration in Media Content Analysis 

In today’s world binge watching has become a way of life not just for Gen-Z but also for many baby boomers. Viewers are watching more content than ever. In particular, Over-The-Top (OTT) and Video-On-Demand (VOD) platforms provide a rich selection of content choices anytime, anywhere, and on any screen. With proliferating content volumes, media companies are facing challenges in preparing and managing their content. This is crucial to provide a high-quality viewing experience and better monetizing content.  

Some of the use cases involved are, 

Finding opening of credits, Intro start, Intro end, recap start, recap end and other video segments 

Choosing the right spots to insert advertisements to ensure logical pause for users 

Creating automated personalized trailers by getting interesting themes from videos 

Identify audio and video synchronization issues 

While these approaches were traditionally handled by large teams of trained human workforces, many AI based approaches have evolved such as Amazon Rekognition’s video segmentation API. AI models are getting better at addressing above mentioned use cases, but they are typically pre-trained on a different type of content and may not be accurate for your content library. So, what if we use AI enabled human in the loop approach to reduce cost and improve accuracy of video segmentation tasks. 

In our approach, the AI based APIs can provide weaker labels to detect video segments and send for review to be trained human reviewers for creating picture perfect segments. The approach tremendously improves your media content understanding and helps generate ground truth to fine-tune AI models. Below is workflow of end-2-end solution, 

Raw media content is uploaded to Amazon S3 cloud storage. The content may need to be preprocessed or transcoded to make it suitable for streaming platform (e.g convert to .mp4, upsample or downsample) 

AWS Elemental MediaConvert transcodes file-based content into live stream assets quickly and reliably. Convert content libraries of any size for broadcast and streaming. Media files are transcoded to .mp4 format 

Amazon Rekognition Video provides an API that identifies useful segments of video, such as black frames and end credits. 

Objectways has developed a Video segmentation annotator custom workflow with SageMaker Ground Truth labeling service that can ingest labels from Amazon Rekognition. Optionally, you can skip step#3 if you want to create your own labels for training custom ML model or applying directly to your content. 

The content may have privacy and digitial rights management requirements and protection. The Objectway’s Video Segmentaton tool also supports Digital Rights Management provider integration to ensure only authorized analyst can look at the content. Moreover, the content analysts operate out of SOC2 TYPE2 compliant facilities where no downloads or screen capture are allowed. 

The media analysts at Objectways’ are experts in content understanding and video segmentation labeling for a variety of use cases. Depending on your accuracy requirements, each video can be reviewed or annotated by two independent analysts and segment time codes difference thresholds are used for weeding out human bias (e.g., out of consensus if time code differs by 5 milliseconds). The out of consensus labels can be adjudicated by senior quality analyst to provide higher quality guarantees. 

The Objectways Media analyst team provides throughput and quality gurantees and continues to deliver daily throughtput depending on your business needs. The segmented content labels are then saved to Amazon S3 as JSON manifest format and can be directly ingested into your Media streaming platform. 

Conclusion 

Artificial intelligence (AI) has become ubiquitous in Media and Entertainment to improve content understanding to increase user engagement and also drive ad revenue. The AI enabled Human in the loop approach outlined is best of breed solution to reduce the human cost and provide highest quality. The approach can be also extended to other use cases such as content moderation, ad placement and personalized trailer generation. 

Contact sales@objectways.com for more information. 

[newswisenow]

IB71 OTT Release Date: Vidyut Jammwal Starrer Movie to Premiere on Disney+ Hotstar on July 7

In recent years, the Indian film industry has showcased the remarkable skills of Indian intelligence teams through a series of captivating movies. Films like "Baby," "Akbar Walter Romeo," and the recent release, "Mission Majnu," have shed light on the daring adventures of Indian Intelligence operatives. Adding to this trend, Bollywood's action hero, Vidyut Jamwal, has now brought another fascinating story to the big screen. Disney+ Hotstar Set to Premiere IB-71: Vidyut Jammwal Takes Center Stage Vidyut Jamwal's latest movie, "IB71," delves into the perilous operations of the Intelligence Bureau of India during the Indo-Pak war of 1971. Although the film received a lukewarm response from audiences upon its release, Vidyut took the opportunity to explain the significance of the title and the plot. He clarified that "IB" stands for Intelligence Bureau, the Indian secret service, and emphasized that there hasn't been a movie centered on the IB until now. "IB-71" showcases the agency's paramount undertaking during the Indo-Pak war of 1971, as India's secret service fearlessly confronts the formidable alliance of China and Pakistan. https://twitter.com/DisneyPlusHS/status/1672489462872387586 Significantly, "IB-71" signifies Vidyut Jammwal's foray into film production, marking his debut as a producer. The actor has launched his production company, Action Hero Films, with the aim of providing a platform for actors who often have less prominent roles in films. The streaming rights for the movie were acquired by Disney+ Hotstar, which has announced that the film will premiere on July 7. To enjoy the intense drama unfolding on screen, viewers will need a subscription to the streaming platform. Read Also Adipurush OTT Release: Amazon Prime Video Secures Digital Rights The official trailer of "IB-71" provides a tantalizing sneak peek into the film's storyline. When Indian Intelligence discovers a grave threat posed by Pakistan and China, indicating the possibility of imminent attacks, they find themselves caught off guard. In response, IB agent Dev Jammwal devises a tactical plan to protect the country by effectively cutting off Indian airspace, thwarting this impending danger. Directed by Sankalp Reddy, the film is produced by Vidyut Jammwal, Bhushan Kumar, Krishan Kumar, and Abbas Sayyed. The screenplay is written by Sankalp Reddy, Vasudev Reddy, and Arjun Verma. Alongside Vidyut Jammwal, the movie features talented actors such as Anupam Kher, Vishal Jethwa, Niharica Raizada, Dilip Tahil, and Mir Sarwar. Official Trailer: https://www.youtube.com/watch?v=-V9tu8rqWIg As the release date approaches, anticipation grows for "IB71." With its focus on a lesser-explored aspect of Indian intelligence history and the promise of gripping storytelling, the film aims to captivate audiences with its intense and patriotic narrative. Read the full article

[mysilentmemory]

Takeaways from teuk’s fansign yt live:

Takeaways from teuk’s fansign yt live:

vol 2 will be later half of the year

he’ll not be part of surfer junior

concert tour will continue till next year

he is still thinking about releasing hairspray and latte digitally

sj docu will be released on OTT platform this year

*OTT platform means an online content provider that offers streaming media as a standalone product (aka netflix etc.)

someone asked for a 17th anniv fanmeeting and teuk said if they have time then they will do

ᵗᵉᵘᵏᵃᵇˡᵉˢ

[daydreamersana]

𝐃𝐑𝐌 𝐒𝐨𝐥𝐮𝐭𝐢𝐨𝐧𝐬: 𝐇𝐨𝐰 𝐑𝐨𝐛𝐮𝐬𝐭 𝐃𝐑𝐌 𝐒𝐨𝐟𝐭𝐰𝐚𝐫𝐞 𝐂𝐚𝐧 𝐏𝐫𝐨𝐭𝐞𝐜𝐭 𝐘𝐨𝐮𝐫 𝐕𝐢𝐝𝐞𝐨 𝐂𝐨𝐧𝐭𝐞𝐧𝐭

𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 𝐬𝐨𝐥𝐮𝐭𝐢𝐨𝐧𝐬 have taken up significant space in today’s media market. Enterprise companies are always on the lookout for better security and encryption for their content and getting a robust 𝐞𝐧𝐭𝐞𝐫𝐩𝐫𝐢𝐬𝐞 𝐝𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 system is one way of going about it. This is especially true of those companies who are creating and distributing media content online.

𝐃𝐑𝐌 & 𝐖𝐡𝐚𝐭 𝐢𝐭 𝐌𝐞𝐚𝐧𝐬 𝐟𝐨𝐫 𝐁𝐮𝐬𝐢𝐧𝐞𝐬𝐬

Digital Rights Management is used to protect digital media content, be it audio or video or text or image, from unauthorised and illegal use or piracy. With 𝐝𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 𝐬𝐨𝐟𝐭𝐰𝐚𝐫𝐞, unauthorised users won’t be able to copy, convert, or redistribute the content in any way. Since there is a vast horde of media content that is being consumed over the internet, enforcing DRM software is becoming a standard requirement in many companies.

DRM Solution, when applied, ensures that the video content is securely encrypted, and wrapped up robustly when stored and transmitted. Here, the goal is to make sure that the video content can only be accessed and played back by authorised users. When the appropriate 𝐝𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 𝐬𝐨𝐥𝐮𝐭𝐢𝐨𝐧𝐬 are set in place, then the video player will only decrypt the video content once it confirms that the user and the device have the appropriate authorization.

𝐇𝐨𝐰 𝐭𝐨 𝐂𝐨𝐧𝐬𝐢𝐝𝐞𝐫 𝐭𝐡𝐞 𝐑𝐢𝐠𝐡𝐭 𝐄𝐧𝐭𝐞𝐫𝐩𝐫𝐢𝐬𝐞 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐑𝐢𝐠𝐡𝐭𝐬 𝐌𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭

There is quite a bit of 𝐝𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 𝐬𝐨𝐟𝐭𝐰𝐚𝐫𝐞 that is floating around in the market. They are all capable of protecting your video content with varying degrees of security.

However, when considering the 𝐛𝐞𝐬𝐭 𝐃𝐑𝐌 𝐬𝐨𝐟𝐭𝐰𝐚𝐫𝐞 that is compatible with all the popular browsers and devices, it all boils down to these three – Google’s Widevine, Microsoft’s PlayReady, and Apple’s Fair Play.

𝐖𝐡𝐞𝐧 𝐀𝐫𝐞 𝐃𝐑𝐌 𝐒𝐨𝐥𝐮𝐭𝐢𝐨𝐧𝐬 𝐔𝐬𝐞𝐝?

Basically, when you have video content that needs to be protected from piracy or illegal and unauthorised use, then you should utilise 𝐃𝐑𝐌 𝐬𝐨𝐥𝐮𝐭𝐢𝐨𝐧𝐬. 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 𝐬𝐨𝐟𝐭𝐰𝐚𝐫𝐞 for digital media assets should be in place for the following:

1. When delivering any original business model that is subscription-based.

2. When licensing OTT video assets or other content for digital platforms.

3. When creating one’s own video content.

4. To utilise live environments, which will ensure that your video content isn’t shared on social media without consent or authorisation.

5. To prevent any type of piracy or unauthorised copying or streaming of your media content online.

𝐇𝐨𝐰 𝐈𝐬 𝐓𝐡𝐞 𝐂𝐨𝐧𝐭𝐞𝐧𝐭 𝐒𝐞𝐭 𝐟𝐨𝐫 𝐃𝐑𝐌 𝐒𝐨𝐥𝐮𝐭𝐢𝐨𝐧𝐬?

When you strategize and set up 𝐝𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 𝐬𝐨𝐟𝐭𝐰𝐚𝐫𝐞, then you need to make these few modifications to your streaming content:

1. Content: Your video content should be transcoded, encrypted, and wrapped up in formats that your digital rights management software supports.

2. Player: The video player that you use to play your video should be able to request a key from a license server in order to decrypt the video. Since this is a distinct feature that is specific in nature to the platform used, you might require different players on each different platform.

3. License Server: A license server is needed to authenticate any request for keys from the video player. The authentication will provide the player with the appropriate key to decrypt the video.

In this present age, where the internet is bombarded with multitudes of video content, the significance of 𝐞𝐧𝐭𝐞𝐫𝐩𝐫𝐢𝐬𝐞 𝐝𝐢𝐠𝐢𝐭𝐚𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐦𝐚𝐧𝐚𝐠𝐞𝐦𝐞𝐧𝐭 is sky-high. Whether an individual or a company, protecting digital information assets is of paramount importance.

For businesses both large and small, getting the 𝐛𝐞𝐬𝐭 𝐃𝐑𝐌 𝐬𝐨𝐟𝐭𝐰𝐚𝐫𝐞 should be a priority, as it can safeguard sensitive customer information as well as internal data, not to mention the company’s intellectual property. From the bottom rung to the top of the ladder, starting from the creation of the content to its sale and distribution, all entities involved must employ robust digital rights management solutions to protect their digital assets.

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