MAM
Omron India’s BMB social media campaign brings in huge fan base
NEW DELHI: Omron which deals in automation, home healthcare and sensing and control technology has successfully concluded its social media campaign focusing on the company‘s association with the blockbuster Bhaag Milkha Bhaag as the Technology Partner.
The campaign, carried out on Facebook and Twitter, witnessed huge amount of participation and a significant enhancement in engagement level contributing towards the brand awareness and recognition in India. It was a key highlight of the association which was also promoted via TVCs, hoardings and online advertisements.
The Facebook campaign motivated people to participate in the “Inspiring tomorrow” contest by sharing inspirational stories of their lives on the Omron page.
In sync with the movie‘s theme of courage and conviction, the contest was rolled-out few days before the movie release. Before it went live, Omron ran a teaser with captivating messages to draw attention and create excitement around the contest.
This was followed by inviting the participants to share their real life stories which were then made visible for votes/likes. On the Basis of the number of votes, participants found their positions in the leaderboard and the first three winners were rewarded with exciting Omron hampers.
|
|
The contest resulted in addition of 30,665 fans increasing traction from 114,868 to 145,533 in a span of two weeks. The ‘no. of people talking about‘ went up from 400 to 17,338 during the same period.
Omron India debuted on Twitter during the same campaign and promoted the Inspiring Tomorrow contest by inviting fans on its Facebook page to tweet their inspirational stories using#MyInspiration. Three winners were selected on the basis of the maximum tweets. The campaign reached out to 4805 audience and gained 30 new followers in just three hours. @OmronIndiaTwitter handle, which is 22 days old now, has 60 followers and 88 tweets.
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.
