OTT streaming: How online platforms are transforming the way movies are made and watched

The last half-decade has certainly brought a change in cinema, with the way the crowd reacts to an upcoming film. There was a time when the filmmakers used to bank on the opening-weekend box office numbers, the mood in multiplex foyers, and the pulse of trade analysts. But now another entity has come into the market in the past couple of years, which these makers cannot ignore and have to keep in mind. That is OTT 'over the top' releases. Let's try to understand how the inclusion of it has an influence on what actors choose to do, how sets are designed, and how producers and studios conceive risk and reward.

From one big night to many small screens

For years, the normal way of showing on screens was through cinema. A film had to get a green light, be shot, be made and have a theatrical release, its marketing with posters and finally wait for the box office collection. During the COVID-19 pandemic, when movie theaters shuttered nationwide and for extended periods, OTT platforms emerged as a lifeline for filmmakers and studios. They offered a direct-to-consumer approach, avoiding some uncertainties and logistical complexities of theatrical releases.

During a conversation with DW News in 2022, film critic Himesh Mankad stated, "OTT has come as a boon for Bollywood producers because their funds were locked for such a long time. They could just sell their films to and set the cycle rolling."

In fact, many recent Bollywood blockbusters and artistic ventures chose digital premieres on streaming platforms, finding vast audiences globally without the constraints of cinema halls, which remain geographically limited and vulnerable to disruptions.

Actor's choices evolving with OTT

Speaking about the streaming platforms' effect on the actors. A leading star used to measure success by ticket sales and fans or audience he or she can pull in theatres. Now, as an actor, they can have the chance to take a more personal, streaming-first anthology and receive both the approval of critics and a worldwide audience.

OTT projects often demand different kinds of performances, it can be subtler, a less theatrical project, it can also add freedom to separate your stories into several episodes rather than keeping a precise runtime. For younger actors, streaming can also offer faster visibility; for veterans, it can be a place to experiment without the same commercial pressure.

However, big actors, directors and producers design certain films with the cinema in mind. They want to give a spectacle with high-quality visuals, sound design and give the grand experience on the big screen and packed hall. As filmmaker Karan Johar has pointed out, not all films are born equal in terms of platform, some are cinematic events best seen in a theater and then streamed online can be more profitable. Speaking with The Week, KJo added "People love to watch love stories at home, crime, investigative thrillers but the tentpole massive productions are still for the celluloid."

New rules, new gatekeepers in cinema business

While OTT platforms have injected good revenue through streaming and reduced a small dependency on the theatrical box office collection, there's also a downside to it. Earlier, many producers believed that OTT rights provided them a safety net, but the market has evolved, too. Now big streaming platforms too choose to buy much more precisely. They would be ready to invest in their originals, but won't buy everything.

Veteran Tollywood producer Allu Aravind warned that the days of depending on OTT deals to recover half a film's cost are over. He mentioned that platforms are selective and reward consistent. During an interview with Gallata, he said, "Believing OTT platforms, or that half of the recovery will be made through OTT rights—those days are gone."

He also added, "I know they are watching this interview. They are very choosy, and they don't take every film. Yes, there are certain privileges for producers who deliver consistent hits, OTT gives certain privileges to these banners; they pay a bit more for these films. I have seen many producers who started their films this way, like that, and burnt their fingers halfway through. There is a huge, surprising number of these films, in both Tamil and Telugu."

On the positive side, a good film also ensures global licensing, language dubbing, and long-tail viewership that can revive a film's economics months after its theatrical run.