“AN ANALYSIS OF CUSTOMER PERCEPTION TOWARDS OTT
PLATFORMS DURING COVID-19 PANDEMIC”
Project Report submitted to
CHRIST COLLEGE (AUTONOMOUS), IRINJALAKUDA
In partial fulfilment of the requirement for the award of the degree of
Master of Commerce
Submitted by
AKSHAYA SAJI
(Reg.No: CCAUMCM002)
Under the guidance of
Ms. SHINE PAUL
POST GRADUATE & RESEARCH DEPARTMENT OF COMMERCE
CHRIST COLLEGE (AUTONOMOUS), IRINJALAKUDA
UNIVERSITY OF CALICUT
MARCH 2022
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CERTIFICATE
his
Is
to
certify that the project entitled «AN ANALYSIS OF CUSTOMER
PERCEPTION TOWARDS OTT
PLATFORMS DURING-COVID-19 PANDEMIC" by|
Miss, AKSHAYA SAJI is a bona-fide
record of work done under my guidance and
Supervision in partial fulfilment of the requirement for the award of the degree in Master of
Commerce.
Dr. JOSHEENA JOSE
Ms. SHINE PAULL
Head of the Department)
Project Guide)
SHINE PAUL
P.G. DEPARTMENT
OF
CHRIST COLLEGE, IRINJALANDA
COMMIRCE
Dr. JOSHEENA JOSE
M.Com, MBA, PGDCA, B.Ed., P.hd.
Head of the Department of Commerce
ASSISTANT PROFESSOR
.KERALA
Christ College (Autonomous)
Irinjalakuda P.O. Thrissur Dt., Kerala
India 680 125
EPARTMTOF COM MES
IRINJALAKUDA
CHRIST
ERC
LLEGE
DECLARATION
OF
SAJI, hereby declare that the bona-fide record of "AN
|CUSTOMER PERCEPTION TOWARDS OTT PLATFORMS DURING COVD-19
|,
AKSHAYA
ANALYSIS
|PANDEMKC" done in partial fulfilment of the MCom degree program of Calicut University
under the guidance of Ms. Shine Paul, Post Graduate &Research Department of Commeroe,
ChristCollege (Autonomous), Irinjalakuda.
I also declare that the projoct has not formed the basis ofreward ofany degree
or
any other
similar title to any other University.
Place: Irinjalakuda
Date:
AKSHAYASAJI
ACKNOWLEDGEMENT
First, I praise and thank God Almighty who showers his plentiful blessings upon me,
who guide, shield and strengthen me all the time.
I wish to express my profound gratitude and heart-felt thanks to our Principal Fr. Dr.
Jolly Andrews CMI for his encouragement and for giving me permission for the study.
I am thankful to Dr. Josheena Jose, Head of department of M.Com, for providing proper
help and encouragement in the preparation of this report.
I express my sincere gratitude to Ms. Shine Paul, whose guidance and support throughout
the training period helped me to complete this work successfully.
I would like to express my gratitude to all the faculties of the Department for their
interest and cooperation in this regard.
I extend my hearty gratitude to the librarian and other library staff of my college for their
wholehearted cooperation. I also take this opportunity to thanks my friends and family for
their support in completing this project successfully.
Place: Irinjalakuda
Date:
AKSHAYA SAJI
TABLE OF CONTENT
SL NO:
TITLE
PAGE
NO:
1
LIST OF TABLES
2
LIST OF FIGURES
1
CHAPTER 1 - INTRODUCTION
1-6
2
CHAPTER 2 - REVIEW OF LITERATURE
7-13
3
CHAPTER 3 - THEORETICAL FRAMEWORK
14-18
CHAPTER 4 – DATA ANALYSIS AND
19-44
4
5
INTERPRETATION
CHAPTER 5 – FINDINGS, SUGGESTIONS &
45-49
CONCLUSION
6
BIBLIOGRAPHY
50-51
7
APPENDIX
52-55
LIST OF TABLES
TABLE
TITLE
NO:
PAGE
NO:
4.1
Classification of respondents on the basis of gender
19
4.2
Classification of respondents on the basis of programme
20
Classification of respondents on the basis of awareness of
21
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
OTT platforms
Classification of respondents on the basis of subscription
22
to OTT
Classification of respondents on the basis of usage of
23
OTT platforms
Classification of respondents on the basis of the way they
24
came to know about OTT platforms
Classification of respondents on the basis of time
25
preferred for the consumption of OTT platform
Classification of respondents on the basis of preference of
26
watching movies on OTT than in theatres
Classification of respondents on the basis of preference of
27
OTT platforms
Classification of respondents on the basis of no. of OTT
28
channels subscribed to
Classification of respondents on the basis of having more
than 1 paid OTT channel
29
4.12
4.13
4.14
4.15
4.16
4.17.1
4.17.2
4.17.3
4.17.4
Classification of respondents on the basis of preference of
OTT over other traditional mediums
Classification of respondents on the basis of content
31
preference
Classification of respondents on the basis of increase in
32
using OTT during lockdown
Classification of respondents on the basis of influence of
33
pandemic on OTT consumption
Classification of respondents on the basis of choice of
34
devices to watch OTT content
Classification of respondents on the basis of having poor
35
internet connection
Classification of respondents on the basis of having lack
36
of personal security and privacy
Classification of respondents on the basis of limit big
37
screen experience
Classification of respondents on the basis of contents in
38
OTT platforms lack of censorship
Classification of repondents on the basis of people’s
4.17.5
30
39
addiction to OTT platforms limits social media of contents
in OTT platforms lack of censorship
5.1
Levene’s test for Equality of variance among Male and
Female respondents
One way ANOVA to test the variance in the level of
5.2
42
43
perception towards OTT platforms among students in
various programs.
5.3
Levene’s test for Equity of variance between gender and
level of satisfaction
44
LIST OF FIGURES
FIGURE
TITLE
NO:
PAGE
NO:
4.1
Figure showing gender of respondents
19
4.2
Figure showing programme on going by the respondents
20
Figure showing whether the respondents are aware of
21
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
OTT platforms
Figure showing no. of respondents subscribed to OTT
22
platforms
Figure showing respondents usage of OTT platforms
23
Figure showing the way respondents came to know
24
about OTT platforms
Figure showing time preferred for consumption of OTT
25
platforms by the respondents
Figure showing respondents preference of watching
26
movies on OTT than in theatres
Figure showing respondents preference of OTT
27
platforms
Figure showing no. of OTT channels subscribed by the
28
respondents
Figure showing respondents reason for having more than
1 paid online video subscription
29
4.12
4.13
4.14
4.15
4.16
4.17.1
4.17.2
4.17.3
4.17.4
4.17.5
Figure showing OTT is more convenient than other
30
traditional mediums
Figure showing content preference of respondents
31
Figure showing increase in watching OTT content
32
during lockdown
Figure showing influence of pandemic on OTT
33
consumption
Figure showing choice of devices to watch OTT content
34
by the respondents
Figure showing problems faced while streaming on OTT
35
platforms
Figure showing of having lack of personal security and
36
privacy
Figure showing the limit big screen experience
37
Figure showing the contents in OTT platforms lack of
38
censorship
Figure showing the contents in OTT platforms lack of
censorship
40
CHAPTER 1
INTRODUCTION
1.1 INTRODUCTION
The current Covid-19 pandemic and nationwide lockdown has not only slowed business
development and fiscal output, but it has also prompted a shift in people's attitudes about
product and service consumption, notably digital-based consumption. The shift is the
change in consumer behaviour brought about by the government of India's shutdown, and
it’s been hypothesised that a considerable number of these societal changes aren’t
temporary; they’re likely to last a long time. In 2020, 2021, and 2022, the COVID-19
pandemic will have a significant influence on the film business, replicating its effects
throughout other creative industries.
The popularity of internet entertainment in India has increased dramatically in recent
years. All of this has been made feasible by the changing lives of Indian spectators and
the foreground of the vibrant internet videotape streaming platforms on which the
material is provided to them. With the introduction of quicker and cheaper internet
services in the form of mobile connections and widespread availability of broadband
services, there has been a significant increase in access to online material. The number of
individuals who go online for material has risen, as has the amount of time they spend
watching online videos. In the Indian entertainment sector, Netflix, Amazon Prime, ALT
Balaji, MX Player, TVF, and a slew of other web and app-based online video streaming
platforms, as well as speedier internet connections, have become undeniably popular.
With increasing fissionability, online content streaming has become a profitable
opportunity for content directors, and it has also resulted in more and more material
being published to the internet.
Since India’s 4G revolution, OTT (over-the-top) platforms such as Disney +Hotstar,
Netflix, Amazon Prime Videos, ALT Balaji, and others have been giving addicts with
limitless quality material such as web series, big screen, television journals, sports, and
news in many languages. The internet streaming programmes are also addressed in the
habits of viewing web series. Streaming services popularised
“binge-watching,” in
which a viewer watches many episodes of a single television series in a single sitting.
Working on this concept assists these platforms in attracting young people who are
1
searching for pleasure on their smartphones. A web series is a collection of short
videotape events that are distributed over a period of time to present a storey to the
audience. It’s supposed to look like a day-to-day TV show, but it’s only available on the
web. The youngish generation, which includes teens and youth, is the primary target
audience for web series and other internet streaming material. Web series allow for the
focus on the following with its own idea of “anywhere - anytime,” where viewers may
watch programmes at their leisure and in a specific medium by manipulating criteria such
as time and space.
The OTT (Over-The-Top) media platform is a digital media service that is offered
directly to subscribers over the Internet. OTT bypasses corporations that have
traditionally served as a regulator or distributor of comparable material, such as string,
radio, and satellite TV channels. It has also been extended to no-carrier Cellphones,
which charge all dispatches as data, thereby eliminating monopolistic competition. OTT
also refers to a new generation of ultramodern TV networks that, like traditional satellite
or cable TV providers, deliver live channels of direct specialised channels through the
public Internet rather than a private network of personal equipment such as set-top boxes.
Now, as technology advances, we are changing our routines at a rapid pace. When it
comes to TV, there would have been one in every room and everyone would have sat and
watched it at the same time, however now we live in the age of OTT, where everyone has
a smart phone and can view any sort of content at any time.
A research is undertaken in this article on customer perceptions of OTT platforms during
the COVID – 19 pandemic. The determination of the OTT platforms utilised, the time
spent on them, and their experience are all part of the perception analysis. OTT content
can be viewed on phones (including Android, iOS, and Windows-based mobile bias),
smart TVs (such as Google Television and LG Electronics, Channel Plus), set-top boxes
(such as Apple TV, Nvidia Shield, Fire TV, and Roku), gaming consoles (such as the
PlayStation 4, Wii U, and Xbox One), tablets, and laptop or desktop computers.
The growing fissionability and increased use of the OTT platforms are supported with
colourful benefits like Connectivity for easy to use, Cost friendly, Convenient and
accessibility of variety of content. (Wikipedia, 2022)
2
1.2 SIGNIFICANCE OF STUDY
The emergence of the COVID-19 pandemic has had a substantial impact on practically
every industry in a variety of ways. OTT platforms have also gone through these changes
and have progressed to the next step. OTT platforms have gained in popularity
throughout all age groups during these periods. According to the analysts, India has the
world's highest and fastest-growing OTT demand. These platforms have made OTT more
widely accepted due to their convenience of offering international entertainment.
1.3 STATEMENT OF THE PROBLEM
The project’s topic is “An analysis of customer perception of OTT platforms during the
COVID – 19 pandemic.” The study’s aim is to evaluate the numerous OTT platforms that
are accessible to use, as well as the degree of use by observers, as well as their
experiences and perspectives on these platforms. The research would also aid in
concentrating on the numerous factors that may have affected the utilisation of these
platforms. The level of satisfaction with these platforms is also measured, as well as
further ideas and peer use.
1.4 OBJECTIVES OF THE STUDY
1.4.1 To determine the factors influencing the users to opt OTT platforms.
1.4.2 To study the customers perception toward OTT platforms.
1.4.3 To measure customers level of satisfaction towards OTT platforms.
1.5 HYPOTHESIS OF THE STUDY
1.5.1 There is no significant difference in the level of perception towards OTT platforms
among Male and Female respondents.
1.5.2 There is no significant difference in the level of perception towards OTT platforms
among students pursuing in various programs.
1.5.3 There is no association between gender and level of satisfaction.
3
1.6 RESEARCH METHOLOGY
For study, appropriate sample size will be taken from the students towards OTT
platforms during the covid-19 pandemic period with special reference to Christ College,
Irinjalakuda. Both primary and secondary data will be used for the study. The primary
data is collected through online survey and secondary data is collected from the internet,
various books, journals, and magazines. The study will be conducted in descriptive
nature.
1.6.1 DATA COLLECTION
There are mainly two sources of data, primary sources and secondary sources:
Primary data sources: The study relies heavily on primary data. They’ve been gathered
from first-hand sources. The information gathered is pure and original, and it was
gathered for a specific reason. It has not been subjected to any statistical analysis. A wellstructured questionnaire is used to collect data from the respondents for the study.
Secondary data sources are the polar opposite of primary data sources. Someone else has
previously collected and published them. They can be utilised as a data source, and
surveyors can use them to collect data and do analysis. At least once, secondary data has
been statistically treated. The study makes use of secondary data sources as well.
Journals and publications are among them.
1.7 TOOLS FOR DATA COLLECTION
Data collection tools refer to the devices/instruments used to collect data. The success of
any research depends solely on the data which drives it. In this study, data is collected
through well-structured questionnaire.
4
1.7.1 Sampling design
Stratified samples techniques I used to select the samples. The total population of 3812 is
divided into UG and PG. The total population of UG in 81% and that of PG 19%.
Accordingly the sample size 105 consists of 81% (85) of UG and 19% (20) of PG
students.
1.7.2 Sample size
The sample size is limited to 105.
1.8 TOOLS FOR DATA ANALYSIS
Appropriate statistical tools are used for analysis like Descriptive and Inferential
Analysis. Inferential analysis done through independent two sample that is Levene’s “t”
test and ANOVA for testing of Variance. Descriptive analysis is done and graphs, piecharts, used to describe the data.
1.9 SCOPE OF THE STUDY
This study focuses on the current degree of consumption and perception towards
different OTT platforms and also the future estimated consumption. This would thus help
in providing statistical analysis of the preference of different customers. The study would
also help to infer the experiences of different users of OTT platforms and their views.
The scope of study is limited to UG and PG students of Christ College (Autonomous),
Irinjalakuda.
5
1.10 LIMITATIONS OF THE STUDY
1.10.1 Qualitative research and physical in-depth interview cannot be conducted due to
the on-going global pandemic COVID-19.
1.10.2 Much of literature review was not available.
1.10.3 This study is limited to UG and PG students of Christ college.
1.10.4 The primary data collected may be biased.
1.11 CHAPTERIZATION
1.11.1 Chapter 1 – Introduction
1.11.2 Chapter 2 – Review of literature
1.11.3 Chapter 3 – Theoretical framework
1.11.4 Chapter 4 – Data analysis and interpretation
1.11.5 Chapter 5 – Findings, Suggestions & Conclusion
6
CHAPTER 2
REVIEW OF LITERATURE
2. REVIEW OF LITERATURE
1.
Sharma (2020: The multiplexes have been forced to the ongoing COVID-19
crisis. As a result, production houses are now directly disturbing content on OTT
channels. The users may ship the standard windowing pattern, which has become
a source of worry among multiplexes. INDOX and PVR both released statements
in response to the situation. According to experts, this is a short-term solution for
the film industry’s need. It’s a win-win situation for OTT players with new
content and filmmakers who have completed work but are unable to release it. In
the long run, however, once things return to normal, this will not be a paradigm
change. In comparison to OTT platforms, the cinema earns greater money for
production houses. Because this is such an important factor, the market is free of
the COVID-19 crisis. In fact, it’s possible that a boom in multiplex services will
occur for a few days after things have returned to normal. (Sharma.K, 2020)
2. Menon (2020): States that the restrictions imposed in the aftermath of the
COVID-19 outbreak had a substantial impact on media and entertainment
consumption patterns. As people were prevented from going outside for
recreation or employment due to lockdowns, public activities shifted to online
platforms. Web-based social networking allowed people to stay in touch with
their families, friends, partners, neighbors, and others. Due to the government’s
request to shut down external channels of entertainment (outside of home-based
entertainment), home-based entertainment modes have shown steady growth and
development.(G, 2020)
3. Deloitte, Digital Media (2020): According to a Deloitte report titled “Digital
Media: Rise on-demand Content,” the proliferation of internet-enabled digital
devices capable of supporting digitalized information has led to an increase in the
consumption of digital content worldwide. This trend can be seen in India on a
variety of channels, including audio, video, news and music. (Delotte(n.d), 2020)
4. Manoj Kumar Patel (2020): According to the findings, OTT platforms are
evolving and have a significant advantage over traditional entertainment
channels. The study claims that the rise of OTT will undoubtedly increase in
7
India due to its cost effectiveness and continual development of content richness,
based on an online survey with 95 percent of the primary stakeholders aged 20 to
40 years. Finally, the author believes that the rapid rise of streaming media in
India is due to the freedom it offers customers to access information at any time,
regardless of location. (Patel, 2020)
5. Prof. Ripal Madhani and Dr. Vidya Nakhate (2020): The study compares
viewing behavior across traditional television channels and over-the-top video
platforms in Maharashtra. The article examines the behavioral characteristics of
traditional and OTT viewers for a total of 110 persons utilizing a structured
questionnaire. In conclusion, the survey find that consumers prefer OTT
platforms to traditional television channels because they offer greater
convenience in terms of time and location, lower data costs, and instant access to
high-quality content. (Prof. Ripal Mandhani, 2020)
6. Dasgupta & Grover (2019): Researchers identified four significant elements that
influence customer adaption to various platforms in the study “Undertaking
Adoption Factors
of Over-The-Top Video services
among Millennial
Consumers.” Convenience, Mobility, Content, and Cost are the four factors.
(Dasdupta, 2019)
7. Meghan McAdams (2019): “Understanding the Modern Media Streaming
Landscape: What is OTT.” According to the findings, OTT apps undoubtedly
represent India’s future. The main finding of her research was the 50 percent of
OTT customers are felling ‘subscription fatigue” as a result of engaging with so
many channels. It was also noted that the rise of large-scale platforms such as
Disney plus would have n impact on the possibilities for similar specialty
offerings. (Mcdams", 2019)
8. Brett Hutchins (2019): Live streaming services will disrupt the market for
coverage rights and the expansion of media sort websites, he said in Over-The –
Top Sport. Tensent, Amazon Prime Video, and DAZN are creating new norms for
how media sport is available and curated, signifying a fundamental shift in the
global market for sport broadcast rights and the media systems that transmit live
content. (Hutchins, 2019)
9. P Singh (2019): P Singh’s study, “New Media as a Change Agent of Indian
Television and Film: A Study of Over-the-Top Platforms are affecting Indian
television and cinema, as well as how the youth are using these new digital
8
platforms to watch video material. Young people enjoy watching OTT web series
and movies, according to research. The average viewer spends 2 hours watching
OTT, with nighttime viewing being the most popular. Because of the service, the
availability of international content, young people prefer OTT to television.
(singh, 2019)
10. Paramveer Singh (2019): Netflix, Hotstar and Jio are the most popular among
Indian youth, according to the report. Youth are more inclined to take advantage
of these platforms free trials, are nocturnal viewers, and prefer web series to
movies. According to the respondents, over-the top applications are changing
media consumption trends in India. (singh, 2019)
11. Dr. Sabyasachi Dasgupta and Dr. Priya Grover (2019): The study
“UNDERSTANDING ADOPTION FACTORS OF OVER-THE-TOP VIDEO
SERVICES AMONG MILLENNIAL CONSUMERS”, confirms that Indian
viewers are drawn to OTT content and are willing to pay for easy and limitless
access to content that is not limited by location or time. It emphasizes the
negative relationship between OTT’s pricing plan and its popularity once more.
Another features that makes it a difficult choice for Indian viewers, as well as
their habits and preferences for television as a medium, is data consumption.
(Grover, 2019)
12. Muhammad Farooq and Valliappan Raju (2019): In the age of transformative
marketing, the report illustrates the influence of OTT services on telecom
businesses. This paper focuses on the revenue loss for telecom’s traditional voice
and information sectors as a result of the introduction of Over-the-Top(OTT)
services such as Whatsapp, Messenger and Telegram, which offer many new
features such as sharing pictures, videos, file transferring, video calling, group
conversations and so on. Customers are buying fixed internet contracts and using
OTT for communication, according to the report, which is eroding telecom
companies voice and SMS revenue. According to the study, OTT services were
once the main cause of income declines, but on the plus side, they also
established favorable conditions for telecom providers to profit from internet data
plans. (Farroq, 2019)
13. Ritu Bhavsar (2018): Digital media has become an indispensable part of everyday
lives and is a prominent medium used for gathering and disseminating, entertainment,
and disseminating information, socialization, entertainment, and marketing,
9
according to her research paper “The Burgeoning Digital Media Consumption: A
Challenge for Traditional and Advertising Industries- An Analysis.” Consumer
preferences and attitudes are changing as a result of increasing content consumption
via digital media, and this development may be attributed to improved internet
connectivity, advanced digital devices, competitive data prices in India, and the onthe-go nature of online media. (Bhavsar, 2018)
14. KPMG (2017): The research “The ‘Digital First Journey” compiled a list of OTT
video platforms announcements on original content investments in India. It also
discussed the new live streaming genre. (KPMG-FICCI, 2017)
15. Ernst & Young (2016): According to the research ‘Future of Digital Content
Consumption in Indi,” a growth in smartphone usage has ushered in a new are of
video consumption on personal media device in India. Smartphone penetration in
India is expected to reach 520 million by 2020, with broadband coverage increasing
to 40% from 14% in 2020. (report, 2016 july 30)
16. Khanna (2016): According to his article, “A study on factors affecting Netflix
subscription rates in India: An Empirical Approach,” Indian consumers prefer to view
free content online rather than pay for it. Netflix has a low subscription rate due to the
lack of regional and local TV series and movies. (Khanna, 2016)
17. Sujatha Joshi (2015): The research primarily examines the shift in consumer trends
in India as a result of the rise of OTT platforms, as well as the impact on traditional
platforms. According t the author’s study in the article, cost, content availability, net
neutrality, and user friendliness are the game-changing aspects, as OTT platforms
provide all of these at a lower cost than traditional platforms. The key advantage of
OTT player, according to the study, is that they may use telecom infrastructure
without paying for it and are not subject to the same regulatory frameworks as
traditional services. (Joshi, 2015)
18. Gregory Gimpel (2015): The expansion of the telecom business in terms of content
consumption is the subject of this article. He concludes that OTT platforms “create
original content and work on licensed agreements” based on platform theory and data
collected from 22 senior executives. He also suggests that production businesses vary
their media portfolios in order to diversify their revenue streams. He also
distinguishes between OTT businesses and MSOS (Multiple System Operators) in
terms of consumer preference, and delves deeper into the theoretical and practical
issues that the industry’s marketing techniques face. (Gimpel, 2015)
10
19. Sidneyeve Matrix (2014): According to the Netflix survey, viewers, particularly
young peoples, are becoming active curators of material rather passive consumers of
“whatever creators give them.” The demand to share, remain connected, and discuss
content on social media platforms is encouraging this paradigm shift in consumers.
Viewers are setting new levels of expectation from producers as a result of these
social media transactions, and they are becoming an active catalyst in the creative
process as well. (S)
11
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Menon, G. (2020). Media and Entertainment Post Covid-19. Retrieved from Media and entertainment-post-covid-19-the-best-oftimes-the-worst-f-times.html.
Patel, M. K. (2020). A Study: OTT viewership in "Lockdown" and Viewer's Dynamic Watching.
International Journal on Transformations of Media,Jounalism & Mass communication , Vol.
5(Issue 2)
Prof. Ripal Mandhani, D. V. (2020). Comparative study of Viewers behaviour over Traditional
Channels and Over Out Video platforms in MAharashtra. Internationl Journal of Advanced
Science and Technology.
report, E. &. (2016 july 30). Futurenof Digital content consumption in India.
S, M. (n.d.). The Netfli Effect; Teens, Binge Watching, and On-Demand Digital Media Trends.
Jeunesse: Youg Peple. Texts.Cultures.
Sharma.K. (2020, May 19). Benefits of Video demand traditional-tv.
singh, P. (2019). New Media as a change Agent of Indian television and Cinema: A study of
over the top Platforms. ResearchGate, 131-137.
13
CHAPTER 3
THEORETICAL FRAMEWORK
3. THEORETICAL FRAMEWORK
3.1 Understanding OTT
The term “OTT” refers to any streaming service that offers material over the internet. As
the name implies, the service is offered “on top” of another platform.
Users can join up for OTT platforms and access their offers through the internet in the
current day. Because OTT is such a young phenomena, there is a lot of room for
development. Many firms are joining the OTT industry, giving consumers a wider range
of alternatives and boosting the amount of ad inventory available to advertisers.
OTT platforms are the companies that supply these services. Netflix, Amazon Prime,
Disney Hotstar, HBO Now, Sony LIV, Zee5, Voot, Hulu, Eros Now, and other major
OTT services in India include Netflix, Amazon Prime, Disney Hotstar, HBO Now, Sony
LIV, Zee5, Voot, Hulu, Eros Now, and others. (Adjust, 2022)
3.1.1 Evolution of OTT platforms
•
BIG Flix, launched by Reliance Entertainment in 2008, was the first organised
Indian OTT platform.
•
In 2010, Digivive introduced nexG TV, India's first OTT mobile app, and it was
the first app to live stream Indian Premier League matches on smart phones,
which it did in 2013 and 2014.
•
Around 2013, the preface of Ditto TV and Sony LIV sparked additional interest.
•
Eros Now was created by Eros International in 2012 and quickly became popular.
•
Netflix, an American streaming service, launched in India in January 2016. It also
started commissioning material after forming a Limited Liability Partnership
(LLP).
•
In 2016, Amazon Prime Video was introduced. In February 2018, Amazon India
announced Amazon Prime Music.
•
After fifteen months of preparation, Star India debuted Hotstar on February 11,
2015, just in time for the 2015 Indian Premier League.
14
•
Hotstar announced a subscription league in April 2016 that was mostly focused
on international content and the ability to reward sports material.
•
Voot was launched in March 2016 by Viacom 18’s digital division. Hoichoi is
India's first dedicated indigenous-language OTT service.
•
It debuted in 2017 with 30 new episodes and 12 original Bengali films, and it has
now acquired over 200 Bengali films as well as dubbed content from English,
Hindi, and Arabic. Sun TV Network launched its Sun NXT native OTT service in
Telugu, Tamil, Malayalam, Bengali, and Kannada in June 2017. (Mukherjee,
2021)
3.1.2 Reasons for growth of OTT platforms
•
OTT allows disintermediation by bypassing string, broadcast, satellite TV, and
other platforms that typically operate as a regulator or distributor. In the days of
conventional media, the only means to reach customers was through film
distributors, theatre operators, TV networks, or Multiple System Drivers (MSOs).
With OTT, content creators may communicate directly with their audience via a
website or a smartphone app. This provides the convenience of seeing
photographs and other entertainment at one’s leisure and location.
•
The OTT platforms are easily accessed via the many OTT applications that are
available. OTT applications have surpassed social networking apps like
Facebook, messaging apps like WhatsApp, and e-commerce apps like Amazon
and Flipkart in terms of app downloads. From 2017 to 2022, streaming demand
will account for 46% of the entire increase in the Indian entertainment and media
business.
•
Rising internet and broadband penetration, reducing data prices, the spread of
internet-enabled mobile phones, and personalisation of content and pricing are all
contributing to the expansion of OTT platforms. India has 451 million annual
active internet users at the end of 2019, with a predicted increase to 666.4 million
by 2023. It now has the world's second-largest population of internet addicts.
•
The availability of bias that is compatible with online VHS viewing was a major
factor in OTT platform consumption. In India, the Smartphone is the most
popular VHS streaming device. According to Gevers, over 144 million
15
individuals spent a total of 362 million hours on an OTT platform in February
2019.
•
The accessibility of verified material is the next crucial component for enhanced
fashionability of OTT platforms. According to IHS Markit research, 76% of
respondents polled believe that attainability of localised material is the most
important aspect in making decisions, while 74% believe that the quality of
dubbing and translations of transnational content is the most important
component. (Periwal, 2021)
3.1.3 Impact of COVID-19 pandemic on OTT platforms
The COVID-19 pandemic has contributed significantly to the rise in OTT platform
viewing, since people working from home are increasingly adopting these platforms.
Guests' pleasure has also increased as a result of more room to watch with family, more
time to utilise OTT platforms, better material on OTT platforms, and a preference for
OTT platforms over television. As a result of these reasons, streaming services are
expected to spend more than Rs.533 crores ($ 700 million) in India by 2020, according to
a research by Media Partners Asia. Since sports announcements account for a substantial
portion of the earnings for these OTT services, the suspense of major sports leagues
throughout the world was a tremendous blow.
Even yet, most major leagues have returned in October, which is a comfort to both sports
fans and OTT service providers. According to many studies from exploration dive, the
OTT industry’s Compound Annual Growth Rate (CAGR) before the pandemic was about
16, and the CAGR post-pandemic is expected to be above 19. People have stopped
coming to walks and theatres, therefore OTT platforms have filled the hole. Trends like
as personalised content distribution and personalisation that promote addict engagement
are expected to boost this segment’s growth and expansion. On average, drug addicts
have over 300 streaming service providers to select from, allowing them to anticipate
television-like programming and a near-ideal viewing experience while watching
streaming video. There are more people. During the shutdown, more people are
subscribing to OTT platforms. Not only that, but many governments are promoting
investments in the supporting infrastructure. The OTT platform is considered as a way to
provide educational information, convey government programmes, and offer a boost to
16
native service providers and product firms who utilise it to engage with their customers.
(Wikipedia,Article talk, p. 2021)
3.2 CONSUMER PERCEPTION
Consumer perception or customer perception is a “Marketing concept that encompasses a
customer’s impression, awareness, or consciousness about a company or its offerings.”
(dictionary)
Customer perception is a “Process during which an individual acquires knowledge about
the environment and interprets the information according to his/her needs, requirements
and attitudes.” (F.G Crane and T.K Klarke, 1994,1998)
Customer perception is a process in which a customer gathers information about a
product and interprets that information to create a meaningful picture of that product.
When a customer sees commercials, promotions, customer reviews, social media
comments, and other information about a product, they form an opinion about it. When a
customer sees or learns about a certain product, the entire process of customer perception
begins. This cycle repeats itself until the consumer begins to form an opinion about the
product. Everything a company does has an impact on how customers perceive it. The
way things are displayed in a store, the colours and forms of the logo, the ads, and the
discounts all have an influence on the customer’s perspective.
3.2.1 FACTORS INFLUENCING CONSUMER PERCEPTION
In general, a variety of factors can impact a customer’s perspective.
• Consistency of performance - How has the brand performed in the past and how it is
doing now are some of the primary considerations.
• Emotional connection - Great businesses understand the importance of emotional
connection with customers in brand growth.
• Marketing communications - The many media vehicles via which the brand
communicates with customers.
17
• Holistic marketing - A brand can’t be great if its employees are great but the support
staff is terrible. A brand must be a trustworthy all-arounder who can satisfy clients across
all of its contact points.
• Personal experience - One of the most critical influences that has an instant impact on
consumer impression is personal experience. Our personal experiences are the most
important. The quality of products and services matters when a client receives honest
service or acquires an amazing product.
• Promotional campaigns - Promotional campaigns are an important aspect of every
business. It requires significant measures to create commercials that will quickly alter the
impression of a few brands.
• Influencers - We are all surrounded by a slew of influencers who have direct and
indirect effect on our thoughts. It has the ability to modify consumer impression at any
time.
• Social media platforms - In this day and age of technology, most individuals spend their
time on one or the other social media platform, exploring to their hearts delight. When
you read evaluations or comments regarding a brand’s specific products or services, your
subconscious mind immediately makes a decision. (Clootrack, 2022)
18
CHAPTER 4
DATA ANALYSIS & INTERPRETATION
4. DESCRIPTIVE STATISTICAL ANALYSIS
4.1 Classification of respondents on the basis of gender
Table 4.1: Gender
Particulars
No. of respondents
Percentage (%)
Male
24
25
Female
81
85
Others
0
0
Total
105
100
(Source: Primary data)
FIGURE 4.1
Gender
0%
25%
Male
Female
85%
Others
From the table 4.1, out of 105 respondents, 25% of the respondents are male, 85% of the
respondents are female and 0% other respondents. From this data it is clear that majority
are female.
19
4.2 Classification of respondents on the basis of programme
Table 4.2: Programme
Particulars
No. of respondents
Percentage (%)
UG Aided
62
65
UG Self
21
22
PG Aided
15
16
PG Self
7
7
Total
105
100
(Source: Primary Data)
FIGURE 4.2
Programme
7%
16%
UG Aided
65%
22%
UG Self
PG Aided
PG Self
20
From the table 4.2, out of 105 respondents 65% of the respondents are doing UG aided,
22% are doing UG self, 16% are doing PG aided and 7% are doing PG self. From this
data it is clear that majority are UG aided and the least is PG self.
4.3 Showing whether the respondents are aware of OTT platforms
Table 4.3: Awareness of OTT platforms
Particulars
No. of respondents
Percentage (%)
Yes
98
100
No
7
7
Total
105
100
(Source: Primary data)
FIGURE 4.3
Awarness of OTT platforms
98
100
100
80
60
Yes
40
No
20
7
7
0
1
2
21
From the table 4.3, out of 105 respondents, 100% of the respondents are aware of OTT
platforms and 7% are not aware. From this data it is clear that majority of the respondents
are aware of OTT platforms.
4.4 No. of respondents subscribed to OTT platforms
Table 4.4: OTT subscribers
Particulars
No. of respondents
Percentage (%)
Yes
76
80
No
29
30
Total
105
100
(Source: primary data)
FIGURE: 4.4
OTT Subcriber
80
70
60
80
76
50
Yes
40
No
30
30
29
20
10
0
1
2
From the table 4.4, out of 105 respondents, 80% of the respondents are OTT subscribers
and 30% are not. From this data it is clear that majority of the respondents are OTT
subscribers.
22
4.5 Respondents usage of OTT platforms
Table 4.5: Classification based on use of OTT platforms
Particulars
No. of respondents
Percentage (%)
Daily
19
20
Weekly
37
39
Monthly
37
39
Yearly
12
13
Total
105
100
(Source: Primary data)
FIGURE 4.5
Use of OTT platforms
13
12
Yearly
39
37
Monthly
Percentage (%)
39
37
Weekly
No.of respondents
20
19
Daily
0
10
20
30
40
From the table 4.5, out of 105 respondents, 20% of the respondents use OTT platforms
daily, 39% use it weekly, 39% use it monthly and 13% use it yearly. From this data it is
clear that majority of the respondents use OTT platforms weekly.
23
4.6 The way respondents came to know about OTT platforms
Table 4.6: How come know about OTT platforms
Particulars
No. of respondents
Percentage (%)
Friends & Relatives
36
38
Advertisements
18
19
3
3
All of the above
48
50
Total
105
100
Magazines& Newspaper
(Source: Primary Data)
FIGURE: 4.6
Know about OTT platforms
60
50
40
30
48
36
50
38
18
19
20
3
10
3
0
No. of respondents
Percentage (%)
From the table 4.6, out of 105 respondents, 38% of the respondents knew about OTT
platforms from their friends and relatives, 19% knew about it from advertisements, 3%
knew it from magazines and newspapers, and 50% knew it through all of the above three.
From this data it is clear that majority of the respondents came to know about OTT
platforms through friends and relatives, advertisements and magazines and newspapers.
24
4.7 Time preferred for consumption of OTT platforms
Table 4.7: Time preferred for consumption of OTT platforms
Particulars
No. of respondents
Percentage (%)
Morning
6
6
Afternoon
20
21
Evening
25
26
Night
54
57
Total
105
100
(Source: Primary data)
FIGURE: 4.7
Time preference
57
60
54
50
40
21
30
6
20
10
20
26
25
No. of percentage
6
Percentage (%)
Percentage (%)
No. of percentage
0
From the table 4.7, out of 105 respondents, 6% of the respondents prefer morning for
consumption of OTT platforms, 21% prefer afternoon, 26% prefer evening and 57%
prefer night. From this data it is clear that majority of the respondents prefer night for
consumption of OTT platforms.
25
4.8 Preference of watching movies on OTT than in theatres
Table 4.8: Preference of watching movies on OTT than in theatres
Particulars
No. of respondents
Percentage (%)
Yes
48
50
No
57
60
Total
105
100
(Source: Primary Data)
FIGURE:4.8
Preference of watching movies
60
57
60
50
Yes
40
No
50
48
30
20
No
10
Yes
0
1
2
From the table 4.8, out of 105 respondents, 50% of the respondents prefer watching
movies on OTT platforms and 60% prefer cinema halls. From this data it is clear that
majority of the respondents prefer cinema halls over OTT platforms.
26
4.9 Preference of OTT platforms
Table 4.9: Preference of OTT platforms
Particulars
No. of respondents
Percentage (%)
Netflix
55
58
Amazon prime
19
20
Disney + Hotstar
16
17
HBO - MAX
1
1
MX player
9
9
ZEE 5
3
3
Voot
2
2
Alt Balaji
0
0
Total
105
100
(Source : Primary data)
FIGURE:4.9
Currently subscribed platform
70
60
55
58
50
40
No. of
respon
dents
30
19 20
20
16 17
9 9
10
1 1
3 3
2 2
0 0
ZEE 5
Voot
Alt Balaji
Percent
age (%)
0
Netflix
Amazon Disney +
prime Hotstar
HBO MAX
MX
player
From the table 4.9, out of 105 respondents, 58% of the respondents prefer Netflix, 20%
prefer Amazon prime, 17% prefer Disney+ Hotstar, 1% prefer HBO-MAX, 9% prefer
MX player, 3% prefer Zee5, 2% prefer Voot and no one prefer ALT Balaji. From this
data it is clear that majority of the respondents prefer Netflix.
27
4.10 Number of OTT channels subscribed to
Table 4.10: Number of OTT channels subscribed to
Particulars
No. of respondents
Percentage (%)
0 - 1 Channels
61
64
1 - 3 Channel
37
39
More than 3
7
7
Total
105
100
(Source: Primary data)
FIGURE: 4.10
Currently subsribed
70
61
64
60
50
37
40
39
No.of respondents
Percentage (%)
30
20
7
10
7
0
0 - 1 Channels
1 - 3 Channel
More than 3
From the table 4.10, out of 105 respondents, 64% of the respondents have currently
subscribed to 0-1 OTT channels, 39%, 1-3 channels and.7% more than 3 channels. From
this data it is clear that majority of the respondents have subscribed to 0-1 OTT channels.
28
4.11 Reason for having more than 1 paid online video subscription
Table 4.11: Reason for having more than 1 paid online video
subscription
Particulars
No. of
respondents
Percentage (%)
To meet the need of different household
members
13
14
There is no single service that provide all
the content I want
28
29
I signed to a free trial and forgot to cancel
8
8
Just to have more platforms
56
59
Total
105
100
(Source: Primary data)
FIGURE: 4.11
Reason for video subscribtion
59
Just to have more platforms
56
8
8
I signed to a free trial and forgot to cancel
29
There is no single service that provide all the
content I want
28
14
13
To meet the need of different household
members
0
Percentage (%)
10
20
30
40
50
60
No. of respondents
From the table 4.11, out of 105 respondents, 14% of the respondents have more than 1
paid online video subscription to meet the need of different household members, 29%
because there is no single service that provide all the content they want, 8% they signed
to a free trial and forgot to cancel and 59% signed to have more platforms. From this data
it is clear that majority of the respondents are just to have more platforms.
29
4.12. OTT benefits than other traditional mediums
Table 4.12: OTT is more convenient than other traditional mediums
Particulars
No. of respondents
Percentage (%)
Yes
47
49
No
19
20
maybe
39
41
Total
105
100
(Source: Primary data)
FIGURE: 4.12
Video content
50
45
40
35
30
25
20
15
10
5
0
47
49
39
19
Yes
41
No. of respondents
20
Percentage (%)
No
maybe
From the table 4.12, out of 105 respondents, 49% of the respondents think watching
movies in OTT-based video content is cheaper and more convenient than other
traditional mediums, 20% doesn’t think this way and 41 think maybe it could be. From
this data it is clear that majority of the respondents believe watching movies in OTTbased video content is cheaper and more convenient than other traditional mediums.
30
4.13. Content preference
Table 4.13: Most-watched content on OTT platforms
Particulars
No. of respondents
Percentage (%)
Original Content
8
8
Movies
87
91
Sports
4
4
Others
6
6
Total
105
100
(Source: Primary data)
FIGURE: 4.13
Most watching content
100
87
90
91
80
70
60
50
No. of respondents
40
Percentage (%)
30
20
8
8
4
10
4
6
6
0
Original
Content
Movies
Sports
Others
From the table 4.13, out of 105 respondents, 9.5% of the respondents watch original
content, 89.5% watch movies, 8.6% watch sports and 5% other contents (web series,
anime, drama, etc). From this data it is clear that majority of the respondents watch
movies on OTT platforms.
31
4.14.Change in usage of OTT during pandemic
Table 4.14: Increase in watching OTT-based video content during
lockdown
Particulars
No. of respondents
Percentage (%)
Agree
94
99
Disagree
5
5
Can't Say
6
6
Total
105
100
(Source: Primary data)
FIGURE: 4.14
Increased habbit of watching Video
100
94
99
80
60
No. of respondents
40
Percentage (%)
20
5
6
5
6
0
Agree
Disagree
Can't Say
From the table 4.14, out of 105 respondents, 99% of the respondents think the habit of
watching OTT-based video content has increased during the lockdown period, 5%
disagree with this and 6% can’t clearly say what they think. From this data it is clear that
majority of the respondents think the habit of watching OTT-based video content has
increased during the lockdown period.
32
4.15. Influence of pandemic on OTT consumption
Table 4.15: Influence of pandemic on OTT consumption
Particulars
No. of respondents
Percentage (%)
Yes
81
85
No
14
15
Can't say
10
11
Total
105
100
(Source: Primary data)
FIGURE: 4.15
Pandemic Influence
180
160
140
120
85
Percentage (%)
100
No. of respondents
80
60
40
81
15
14
20
0
Yes
No
11
10
Can't say
From the table 4.15, out of 105 respondents, the pandemic has influenced the OTT
consumption of 85% respondents, 15% weren’t influenced and 11% can’t clearly say
whether they were influenced or not. From this data it is clear that the pandemic has
influenced the OTT consumption of majority of the respondents.
33
4.16. Choice of devices to watch OTT content
Table 4.16: Choice of devices to watch OTT content
FIGURE: 4.16
Social
Rank
Media
Weight
1
2
3
4
5
X
5
4
3
2
1
f
27
26
14
21
17
105
fx
135 104 42
42
17
340
f
22
20
4
105
Total Mean Rank
TV
29
30
Laptop
fx
110 116 90
40
4
360
f
43
17
14
105
14
17
Mobile Phone
fx
215 56
51
34
14
370
f
17
23
40
13
105
12
Tablet
fx
85
48
69
80
13
295
f
17
10
34
29
15
105
PC
fx
85
40
102 58
15
3.24
3
3.43
2
3.52
1
2.81
5
2.86
4
300
(Source: Primary Data)
FIGURE: 4.16
Device to watch OTT content
PC
Tablet
Mobile Phone
Laptop
TV
2.86
2.81
1
3.52
3.43
3.24
34
From the table 4.16, out of 105 respondents,
mobile phone is mostly choose by
respondents by ranked No. 1 to watch OTT content and 2nd ranked laptop by the
respondents 3rd ranked TV ,4th ranked for Pc and 5th ranked Tablet to watching OTT
contents. From this data it is clear that majority of the respondents choose mobile phone
to watch OTT content.
4.17. Limitation of OTT plartforms
4.17.1 Have poor internet connection
Particulars
No. of respondents
Percentage (%)
Highly Agree
23
24
Agree
47
49
Nuetral
27
28
Disagree
7
7
Highly Disagree
1
1
105
100
Total
(Source: Primary Data)
FIGURE.4.17
POOR INTERNET
50
40
42
42
44
40
30
20
12
13
9
10
9
2
2
0
Highly Agree
Agree
Nuetral
NO. OF RESPONDENTS
35
Disagree
PERCENTAGE(%)
Highly Disagree
From the table 4.17.1, out of 105 respondents, 24% of the respondents highly agree
they’re face poor internet connection while streaming on the OTT platforms, 49%
respondents agree to face poor internet connection , 28% average to this, 7% disagree
with this and only 1% of respondents highly disagree. From this data it is clear that
majority of the respondents feels streaming on the OTT platforms faces poor internet
connection.
TABLE 4.17.2 Lack of personal security and privacy
Particulars
No. of respondents
Percentage (%)
Highly Agree
12
13
Agree
40
42
Nuetral
42
44
Disagree
9
9
Highly Disagree
2
2
Total
105
100
(Source; Primary data)
FIGURE: 4.17.2
Personal security and privacy
50
45
40
40
42
42
44
35
30
25
20
15
10
5
0
12
13
9
9
2
Highly Agree
Agree
Nuetral
No. of respondents
36
Disagree
Percentage (%)
2
Highly Disagree
From the table 4.17.2, out of 105 respondents, 13% of the respondents highly agree
they’re face lack of personal security and privacy while using OTT platforms, 42% of
respondent agree with this, 44% average to this, 9% of respondents disagree with this and
only 2% of respondents highly disagree. From this data it is clear that majority of the
respondents face lack of personal security and privacy while using OTT platforms.
TABLE 4.17.3 Limit big screen experience
Particulars
No. of respondents
Percentage (%)
Highly Agree
38
40
Agree
34
36
Nuetral
28
29
Disagree
3
3
Highly Disagree
2
2
Total
105
100
(Source: Primacy data)
FIGURE: 4.17.3
BIG SCREEN
45
40
38
40
34
35
36
28
30
29
25
20
15
10
3
5
3
2
2
0
Highly Agree
Agree
Nuetral
N. OF RESPONDENTS
37
Disagree
PERCENTAGE(%)
Highly Disagree
From the table 4.17.3, out of 105 respondents, 40% of the respondents highly agree
they’re face limits on big screen experience while streaming on the OTT platforms, 36%
of respondents agree to this, 29% of respondents feels this, 3% of respondents disagree
with this and only 2% of respondents highly disagree with this. From this data it is clear
that majority of the respondents feels streaming on the OTT platforms limits big screen
experience.
TABLE 4.17.4 Contents in OTT platforms lack of censorship
Particulars
No. of respondents
Percentage (%)
Highly Agree
13
14
Agree
30
31
Nuetral
43
44
Disagree
16
16
Highly Disagree
3
3
Total
105
100
(Source: Primary data)
FIGURE: 4.17.4
Contents in OTT platforms lack of
censorship
50
43
44
40
30
31
30
20
13
16
14
16
10
3
3
0
Highly Agree
Agree
Nuetral
No.of respondents
38
Disagree
Percentage (%)
Highly Disagree
From the table 4.17.4, out of 105 respondents, 14% of the respondents highly agree to the
contents in OTT platforms lack of censorship, 31% f respondents agree to this, 44% of
respondents neutral agreed to this statement, 13% agree to this and only 3% of
respondents disagree to this. From this data it is clear that majority of the respondents
feels while streaming on the OTT platforms, the contents may have lack of censorship.
TABLE 4.17. 5 People’s addiction to OTT platforms limits social media
Particulars
No. of respondents
Percentage (%)
Highly Agree
18
19
Agree
42
44
Nuetral
32
34
Disagree
11
12
Highly Disagree
2
2
Total
105
100
(Source: Primary data)
39
FIGURE: 4.17.5
Addiction to OTT platforms limits social
44
life
42
50
40
32
34
30
20
18
19
11
12
10
2
2
0
Highly Agree
Agree
Nuetral
No.of respondents
Disagree
Highly Disagree
Percentage (%)
From the table 4.17.5, out of 105 respondents, 19% of the respondents highly agreed that
people’s addicted to OTT platforms limits social media, 44% of respondents agree to
this, 34% of respondents average agreed, 12% agreed with this and only 2% highly
disagree with this. From this data it is clear that majority of the respondents feels
people’s addiction to OTT platforms limits social media.
40
5. INFERENTIAL STATISTICAL ANALYSIS
Cronbach's
Alpha
.926
Reliability Statistics
Cronbach's Alpha
Based on
Standardized Items
.927
No.
of Items
9
KMO and Bartlett's Test
Kaiser-Meyer-Olkin Measure of Sampling Adequacy.
Bartlett's Test of Sphericity
Approx. Chi-Square
df
Sig.
.882
703.987
36
.000
Rotated Component Matrixa
Component
1
Variety Contents
.871
User friendly services
.856
Economic cost
.852
Access to international
content
The reviews about the
program from friends
Any time Access
.828
The extra features, discounts
& deals being provided
Lockdown
.765
Safety
.665
.812
.790
.713
Extraction Method: Principal Component Analysis.
41
a. 1 components extracted.
Interpretation: 1 component constitute the total of variable1 to variable 9. All factors are
relevant.
5.1 INDEPENDENT T – Test
H0: There is no significant difference in the level of perception towards OTT platforms
among M & F respondents
H1: There is significant difference in the level of perception towards OTT platforms
among M & F respondents
Table: 5.1
Independent Sample T - test
Levene's Test for Equality of Variances
Variable
F Sig. t
df
Level of
Equal .07 .78 .22 103
perceptio variance 8
0
0
n towards
s
OTT
assumed
Platform Equal
.23 41.67
among variance
4
9
gender
s not
assumed
(Source: SPSS Output Version No: 26)
Sig.
(2tailed
)
.826
.816
P value
>.05
Decision
H0
Statistically
Accepte insignifican
d
t
P
H0
Statistically
Value>.0 Accepte insignifican
5
d
t
The table 5.1 shows the Levene’s test for equality of variance in the level of perception
towards OTT platforms among M &F respondents.
The equality of variance is tested through SPSS, the result of analysis shows that
variance are no significant difference in the level of perception toward OTT platforms
among M & F respondents, because its P value(.826) is more than the level of significant
of .05 ,hence accepting null hypothesis(H0).
42
5.2 ONE WAY ANOVA
The factors were tested with ONE WAY ANOVA by framing the following hypothesis.
H0: There is no significant difference in the level of perception towards OTT platforms
among students pursuing in various programs.
H1: There is significant difference in the level of perception towards OTT platforms
among students pursuing in various programs.
Table:5.2
ANOVA
Total perception
Sum
of
Squar
es
df
Level of Betwee 212.9 3
percepti
n
35
on
Groups
towards
OTT Within 12711 101
platfor Groups .598
m
among
students Total 12924 104
.533
Source: SPSS Output Version No: 26
Decision
Mean
Squar
e
F Sig.
70.97 .56 .64
P
H0 Statistical
8
4
0 value Accept
ly
>.05 ed
insignific
ant
H0
125.8
P
Accept
Statisticall
57
Value ed
y
insignifica
>.05
nt
The table 5.2 shows the result of testing the hypothesis that is significant difference in
the level of perception towards OTT platforms among students pursuing in various
programs.
From the table the researcher realised that majority of students pursuing in various
programs have no significant difference in the level of perception towards OTT
platforms. Because its P values (.640) is more than significance level of .05. So accepting
null hypothesis (H0).
43
5.3 INDEPENDENT SAMPLE T – TEST
H0: There is no association between gender and level of satisfaction
H1: There is association between gender and level of satisfaction
Table:5.3
Independent Sample T - Test
Levene's Test for Equality of Variances
Variable
Level of
satisfactio
n towards
OTT
platforms
among
gender
F Sig. t
.65 .42
2
1 .65
6
Sig.
(2tailed
df
)
103 .513
Equal
variance
s
assumed
Equal
- 41.89
variance
.70
0
s not
1
assumed
(Source: SPSS Output Version No: 26)
.487
Decision
P value
H0 Statistically
>.05 Accepte insignifican
d
t
P
H0 Statistically
Value>.0 Accepte insignifican
5
d
t
The table 5.3 shows the Levene’s test for equality of variance between gender and level
of satisfaction.
The equality of variance is tested through SPSS, the result shows that variance have no
association between gender and level of satisfaction, because its P value(.513) is more
than the level of significance of .05, so accepting null hypothesis(H0).
44
CHAPTER 5
FINDINGS, SUGGESTIONS & CONCLUSION
6.1 Findings
1. Out of 105 respondents 25% of the respondents are male, 85% are female and 0%
other respondents. From this data it is clear that majority are female.
2. Out of 105 respondents, 65% of the respondents are doing UG aided, 22% are
doing UG self, 16% are doing PG aided and 7% are doing PG self. From this data
it is clear that majority are UG aided and the least is PG self.
3. Out of 105 respondents, 100% of the respondents are aware of OTT platforms
and 7% are not aware. From this data it is clear that majority of the respondents
are aware of OTT platforms.
4. Out of 105 respondents, 80% of the respondents are OTT subscribers and 30%
are not. From this data it is clear that majority of the respondents are OTT
subscribers.
5. Out of 105 respondents, 20% of the respondents use OTT platforms daily, 39%
use it weekly, 39% use it monthly and 13% use it yearly. From this data it is clear
that majority of the respondents use OTT platforms weekly.
6. Out of 105 respondents, 38% of the respondents knew about OTT platforms from
their friends and relatives, 19% knew about it from advertisements, 3% knew it
from magazines and newspapers, and 50% knew it through all of the above three.
From this data it is clear that majority of the respondents came to know about
OTT platforms through friends and relatives, advertisements and magazines and
newspapers.
7. Out of 105 respondents, 6% of the respondents prefer morning for consumption
of OTT platforms, 21% prefer afternoon, 26% prefer evening and 57% prefer
night. From this data it is clear that majority of the respondents prefer night for
consumption of OTT platforms.
8. Out of 105 respondents, 50% of the respondents prefer watching movies on OTT
platforms and 60% prefer cinema halls. From this data it is clear that majority of
the respondents prefer cinema halls over OTT platforms.
45
9. Out of 105 respondents, 58% of the respondents prefer Netflix, 20% prefer
Amazon prime, 17% prefer Disney+ Hotstar, 17% prefer HBO-MAX, 1% prefer
MX player, 9% prefer Zee5, 3% prefer Voot and 2% prefer ALT Balaji. From this
data it is clear that majority of the respondents prefer Netflix.
10. Out of 105 respondents, 64% of the respondents have currently subscribed to 0-1
OTT channels 39% ,1-3 channels and 7% more than 3 channels. From this data it
is clear that majority of the respondents have subscribed to 0-1 OTT channels.
11. Out of 105 respondents, 14% of the respondents have more than 1 paid online
video subscription to meet the need of different household members, 29%
because there is no single service that provide all the content they want, 8% they
signed to a free trial and forgot to cancel and 59% doesn’t belong to any of the 3
reasons. From this data it is clear that majority of the respondents have other
reasons.
12. Out of 105 respondents, 49% of the respondents think watching movies in OTTbased video content is cheaper and more convenient than other traditional
mediums, 20% doesn’t think this way and 41% think maybe it could be. From
this data it is clear that majority of the respondents believe watching movies in
OTT-based video content is cheaper and more convenient than other traditional
mediums.
13. Out of 105 respondents, 8% of the respondents watch original content, 91%
watch movies, 4% watch sports and 6% other contents (web series, anime, drama,
etc). From this data it is clear that majority of the respondents watch movies on
OTT platforms.
14. Out of 105 respondents, 99% of the respondents think the habit of watching
OTT-based video content has increased during the lockdown period, 5% disagree
with this and 6% can’t clearly say what they think. From this data it is clear that
majority of the respondents think the habit of watching OTT-based video content
has increased during the lockdown period.
15. Out of 105 respondents, the pandemic has influenced the OTT consumption of
85% respondents, 15% weren’t influenced and 10% can’t clearly say whether
46
they were influenced or not. From this data it is clear that the pandemic has
influenced the OTT consumption of majority of the respondents.
16. Out of 105 respondents, most of the respondents ranked TV for 1st choice to
watch OTT content, 2nd choose laptop, 3rd choose mobile phone, 4th % choose
tablet and choose PC. From this data it is clear that majority of the respondents
choose mobile phone to watch OTT content.
17. Through this study the researcher analysed the factors which are influences the
user to opt OTT platform during COVID –19 pandemic. The factor, lockdown,
safety to use, economic cost, any time access, variety contents, User friendly,
reviews from friends, extra features, discounts& deals being provided, access to
international content are equality affecting users to preferring OTT platforms.
18. Through this study the researcher analysed there is no significant difference
between the level of perception towards OTT platforms among male and female
respondents.
19. Through this study the researcher analysed there is no significant difference
between the level of perception towards OTT platforms among students pursuing
in various programs.
20. Through this study the researcher analysed there is no association between
gender and level of satisfaction. The factors, customized services cheaper rates,
Free available content, Smooth viewing experience, Unlimited variety of choices,
Parental control tools, Provide International content, preference over Big screen
are satisfying the gender towards OTT platforms.
6.2 Suggestions
•
By displaying appealing advertisements, OTT platforms should promote fresh
and highlighted material to its viewers who have obtained the permission to
stream protected content.
•
Better and more effective subscription plans will be launched to meet the needs of
the bulk of consumers who only use OTT platforms on occasion.
47
•
From content selection to payment mechanism, all aspects of the user’s
experience must be properly managed to meet the expectations of their distinct
audience bases.
•
The link between the streaming platform and its users should be enhanced by
gathering critical customer feedback, which will help you maintain service quality
and keep your subscribers.
•
Advertising should be done by OTT platforms, whose presence should have as
little influence on the viewing experience as feasible, and should be targeted to
the user’s interests.
•
More appealing offers and promotions should be made on the OTT platforms
referral policy, which will aid in the acquisition of new users.
•
Consumers should be made aware of the negative consequences of sharing login
details with others, as well as steps to avoid doing so.
•
OTT platform content should be advertised and promoted more on social media,
as it is one of the most influential factors in youth consumption.
•
More regional movies and shows should be broadcast, resulting in an increase in
the number of OTT subscribers
•
Customers should have the freedom to choose their favourite language and
material.
6.3 Conclusion
This incitement is used by the considerable growth in the introduction of new OTT
participants in the request and rapid-fire alterations in the furnishing of tailored content in
India, which is the world's fastest expanding OTT sector. Indeed, the lower-tier OTT
platforms are attracting funds from global investors and influencing demand.
The emergence of the COVID-19 epidemic appears to have bolstered the OTT platforms,
with increasing consumption by the youth and OTT being the most popular media. The
main advantages of OTT platforms are their scalability, accessibility to cross-cultural and
global entertainment, and subscriptions to stoner-friendly infinite material. Factors such
as smartphone adoption and internet data availability at affordable costs are also critical
in India.
48
The most popular OTT material among the young is big screen and online series, which
are liked owing to the accessibility of original content that is not censored. The
government's attempt to restrict the contents of OTT platforms would have a significant
impact, as most addicts prefer to watch original content that is unavailable in theatres or
on other platforms. Some young people are also opposed to censorship.
Netflix, Amazon Prime Video, and Disney +Hot Star are the most popular OTT services,
since they provide high-quality material and addictive features to their users. In addition,
there has been a significant increase in the appearance of indigenous OTT players in the
market. The majority of existing OTT platform junkies are pretty content with their
experience, and as consumers mature, they are more likely to expand their OTT use in
the future. The many OTT platforms can successfully investigate this trend. To get at the
best model, the OTT will go through a series of revisions and improvements.
The COVID-19 pandemic and subsequent lockdown in India from 2019 to 2022 resulted
in a rise in the use of OTT platforms. Furthermore, metros had the biggest number of
OTT video platform users. The Indian public has become increasingly conscious of the
digital world over time. For visual material, they choose smartphones or computers. The
COVID-19 epidemic has had a significant role in the growth of OTT platforms in India.
People became increasingly active with the internet in 2022 due to the lockdown
scenario.
49
BIBLIOGRAPHY
Bibliography
Books
•
The Consumer Mind: Brand perception and the Implications For
marketers,(2012), by Pepe Martinez
•
JInternet Tv Systems, OTT technologies, services, operation,(2016), by Lawrence
Harte, Roger Mc Garrahan
•
Consumer perception of product risks and benefits, (2017), by Emilien, Gerard,
Fran Ludicke, Rolf Weitkunatournal
Journal
•
SAGE Journals (2021) - Consumption of OTT Media Streaming in COVID-19
•
International Journal of Advanced Science and Technology (2020) - Factors
influencing the shift from traditional TV to OTT platforms in India (by Rohit
Jacob)Vol.29.7s(2020)(special issue)
•
Lockdown (by Garim Gupta & Komal Singharia)
•
ResearchGate Journals (2020) - Emergence & future of OTT video services in
India(by E.Sundaravel & Elongovan N)
•
International Journal Creative research thoughts(IJCRT) – A study of effects of
web series & streaming content on Indian youth(by Rahul ahuja) Vol 8,Issue 9
september 2020
•
Reserch Article (2021) – Consumption of OTT Media Streaming in COVID -19
Lockdown: Insights from PLS Analysis (by Garima Gupta and Komal Singharia)
Newspapers
•
The Hindu
•
The Indian Express
•
The Times of India
•
The Economic Times
50
Websites
https://en.wikipedia.org/wiki/Over-the-top_media_service
https://www.consultancy.in/news/3551/indias-over-the-top-streaming-ott-marketcontinues-growth
https://www.pwc.in/industries/entertainment-and-media/television-and-ott.html
http://www.livemint.com
https://www.ipsos.com/en/evolution-entertainment-india
https://www.endavomedia.com/what-is-ott
https://clootrac.com/knowledge_base/customer-perception
https://www.marketing91.com/customer-perception-important/
https://www.adjust.com/glossary/ott-over-the-top/
http://sambasenglish.com/the-rise-of-ott-platforms-in-india-and-the-fall-that-may-comesoon
51
APPENDIX
Questionnaire
An analysis of customer perception towards OTT platforms during Covid–19
pandemic
The following questionnaire is used for the collection of primary data from an academic
research titled “An analysis of customer perception towards OTT platforms during
COVID –19 pandemic.” The study is conducted by Akshaya Saji, 2nd year M.Com Aided
batch 2020-22 of Christ College Autonomous, Irinjalakuda.
1. Name
2. Gender
•
Male
•
Female
•
Other
3. Programme
•
UG aided
•
UG self
•
PG aided
•
PG self
4. Are you aware of OTT platforms?
•
Yes
•
No
5. Are you an OTT subscriber?
•
Yes
•
No
6. How often do you use OTT platforms?
•
Daily
•
Weekly
•
Monthly
•
Yearly
7. How did you come to know about OTT platforms?
•
Friends and relatives
52
•
Advertisements
•
Magazines and newspapers
•
All of the above
8. Time preferred for consumption of OTT platforms?
•
Morning
•
Afternoon
•
Evening
•
Night
9. Do you prefer watching movies on the OTT platforms instead of watching movies in
cinema halls?
•
Yes
•
No
10. Which OTT platforms do you prefer the most?
•
Netflix
•
Amazon prime
•
Disney + Hotstar
•
HBO-MAX
•
MX Player
•
Zee5
•
Voot
•
Alt Balaji
11. How many OTT channels have you currently subscribed to?
•
0-1 channels
•
1-3 channels
•
More than 3
12. Specify the reason for having more than 1 paid online video subscription
•
To meet the need of different household members.
53
•
There is no single service that provide all the content I want.
•
I signed to a free trial and forgot to cancel.
•
Just to have more platforms
13. Do you think watching movies in OTT-based video content is cheaper and more
convenient than other traditional mediums?
•
Yes
•
No
•
Maybe
14. Which is the most-watched content on OTT platforms?
•
Original content
•
Movies
•
Sports
•
Other
15. Do you think the habit of watching OTT-based video content has increased during the
lockdown period?
•
Agree
•
Disagree
•
Can't say
16. Has the pandemic influenced your OTT consumption?
•
Yes
•
No
•
Can't say
17. Rank the choice of devices to watch OTT content from 1-5. (Highest-Lowest)
•
TV
•
Laptop
•
Mobile phone
•
Tablet
•
PC
54
18. Rank the factors affecting user preference to OTT platforms from 1-6. (HighestLowest)
•
Lockdown
•
Safety
•
Economic cost
•
Any time access
•
Variety contents
•
User friendly services
•
The reviews about the program from friends
•
The extra features, discounts and deals being provided
•
Access to international content
19. State the level of satisfaction towards OTT platforms
•
Provide customized services
•
Have cheaper rates for subscription
•
Provide freely available content
•
Less amount of ads between the contents ensure a smooth viewing experience
•
Provide unlimited variety of choices
•
Have parental control tools
•
Provide international content
•
Preference of OTT platforms over big screen
20. Specify the problems faced while streaming on the OTT platforms
•
Have poor internet connection
•
Lack personal security and privacy
•
Limit big screen experience
•
Content in OTT platforms lacks censorship
•
People's addiction to OTT platforms limits social life
55