aamir khan’s YouTube Strategy Sparks Debate in Indian Film Industry
Why Producers Are Turning to YouTube
• YouTube offers direct access to viewers without platform gatekeeping
• immediate global reach
• A fallback option when OTT deals don’t close
• Many smaller or independent films are turning to YouTube due to the shrinking number of buyers on OTT platforms
How Monetisation Works on YouTube for Filmmakers
• AdSense revenue, where creators receive 55% of advertising income, while YouTube takes 45%
• Channel memberships, offering paid perks to subscribers
• Pay-per-view (PPV) rentals
AdSense Revenue: A Niche Opportunity
• The base CPM for Indian creators on AdSense is relatively low—ranging from Rs 50 to Rs 200 depending on genre and audience
• High view counts can make up for it, according to a report by Influencer Space
• A video with over 50 million views, if well-monetised, can fetch lakhs in ad revenue
Why Producers May Consider YouTube Anyway
• YouTube can be a viable model for both small and big producers—but mid-tier films may struggle the most
• It’s either for indie films that don’t find OTT buyers or for high-value films with strong brand pull
• YouTube provides direct access to viewers, immediate global reach, and a fallback option when OTT deals don’t close
Indian Audiences and Pay-Per-View (PPV) on YouTube
• Limited adoption of PPV in India, even after pandemic disruptions
• By the end of 2022, industry experts noted that TVoD had “not emerged as a preferred mode” and was unlikely to challenge subscription or free (ad-supported) models in reach
• Consumers accustomed to either free YouTube content or existing OTT subscriptions have shown resistance to one-off rentals
Why Aamir Khan’s Strategy Matters
• Regaining control over release and distribution
• Retaining full intellectual property (IP) ownership
• Aamir wants a full theatrical window—not to be rushed onto OTT
• YouTube revenue trickles in over time, unlike a lump-sum OTT cheque
Industry Tensions Are Already Brewing
• Karnataka passed the Cine and Cultural Activists (Welfare) Act in 2024, imposing a 1–2% cess on OTT subscriptions and cinema tickets
• Tamil Nadu theatre owners have also demanded an eight-week buffer between theatrical and OTT releases
• The Supreme Court, in a ruling on entertainment taxation, acknowledged that entertainment is now largely digital and delivered via mobile phones
Conclusion
• If Sitare Zameen Par does end up on YouTube post-theatrical release, it could:
• Normalize ad-based monetisation models for big-budget films
• Encourage filmmakers to bypass OTT if payout offers are low
• Push YouTube to develop more India-specific monetisation tools
• Whether this becomes a trend or remains a one-off depends largely on how Sitare Zameen Par performs not just in cinemas, but in view counts and ad revenue afterward.
