MAM
Multichannel TV beneficial to advertisers : Casbaa
MUMBAI: A 100 per cent allocation of a $1.75 million budget to free-to-air (FTA) results in a campaign viewed by just 33 per cent of the TV population. The campaign reach increases from 33 per cent to 56 per cent when half of the TV budget is redistributed to multichannel TV from only FTA TV allocation.
Casbaa has released a powerful first-of-its-kind reach and frequency analysis of the definable returns on media investment in multichannel TV advertising.
Commissioned by Casbaa and executed by global media agency Universal McCann, the study measures the benefits of allocating variable percentages of a $1.75 million TV budget on multichannel TV and FTA in seven key Asia-Pacific markets: India, Australia, Hong Kong, the Philippines, Malaysia, Singapore and Taiwan.
Casbaa CEO Simon Twiston Davies said, “The clear advantage of advertising on multichannel TV becomes self evident when simulating real-life budgeting scenarios via robust Peoplemeter data. The numbers demonstrate that multichannel TV makes undeniable fiscal sense when reach and return on investment are optimized.”
Added Universal McCann Hong Kong managing director Chris Skinner,”This powerful new look at TV data allows to us to better understand that for a regional campaign, switching a portion of the budget onto regional multichannel TV channels means we can deliver higher reach at a lower cost-per-thousand for our clients.”
An equal combination of FTA and multichannel TV sees total impressions (gross number of times a commercial is viewed) multiplied by 2.5 times from an FTA only schedule: increasing from 537 million to 1.4 billion. Using multichannel TV lowers cost per thousand (CPT) by up to 60 per cent in a 50/50 multichannel TV/FTA combination versus an FTA only schedule.
“Campaigns that allocate part of their terrestrial TV budget to multichannel TV reap the rewards. The research tells us that you can effectively double your reach, increase the viewing frequency of ads, and lower your CPT – all with no extra investment” added Twiston Davies.
A similar trend was also monitored when the demographics data was analysed to reflect key age, gender and socio-economic groups.
In the coming months, Casbaa will release yet more data from two other global media agencies supporting the case for multichannel TV advertising.
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.
