MAM
Zeno Group and Origami Logic form global partnership
MUMBAI: Integrated communications agency Zeno Group and marketing signal measurement company Origami Logic announced a global partnership offering brands the ability to manage the increasing complexities of navigating and managing marketing performance data. The partnership allows brands to draw real-time actionable insights by consolidating, refining and analysing marketing signal data across paid, owned and earned media channels into simple, customizable and dynamic dashboards and insights.
The partnership with Origami Logic will help Zeno Group deliver even more comprehensive results supported by data-fuelled approach driven by real-time newsrooms, social amplification, engagement planning, and process management and design.
“Brands need to optimize at every opportunity to drive efficiency of marketing dollars. With this partnership, they can get an unprecedented view into all their ongoing campaigns deployed over a multitude of online channels. This is probably the single most important step in closing the widening gap between data and insights and get the best possible value from marketing spends.” said Zeno Group chief digital officer John Kerr.
“The explosion of marketing signal data and the availability of the data science to refine and interpret these massive data sets is enabling performance-driven marketers to become much more data-driven in how they execute successful campaigns across an increasingly fragmented media and channel mix. Moving to a continuous cycle of campaign execution and optimization enables changes to be made throughout the course of a campaign to deliver a higher return on marketing spend and objectives. With marketing signal acquisition and real-time refinement and analytics at the heart of Origami Logic, we can help capture opportunities at the point of engagement across all channels and media,” remarked Origami Loogic CEO and co-founder Opher Kahane.
“Our partnership with the Zeno Group allows continued delivery of enhanced measurement and insight capabilities to brands looking to connect with customers and respond faster to their engagement moments across channels,” added Kahane.
Extreme changes in the media landscape, including fragmentation, the shift to digital, growth of video, taking a mobile-first approach and an applications driven ecosystem, have paved the way for a new breed of marketers to increase their ability to interpret data and take action on insights across disparate data sources. According to the 2016 State of Marketing report by Salesforce, 63 percent of the marketing teams surveyed will increase spend on marketing tools and technology over the next two years, with the projection for high performing teams being as high as 72 percent. Those companies are more than 13 times more likely to lead in today’s competitive landscape by leveraging emerging marketing technologies.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
