MAM
IAS announces attention product to unify media quality and eye-tracking
Mumbai: Integral Ad Science (Nasdaq: IAS), a global media measurement and optimisation platform announced the general availability of its Quality Attention™ measurement product –to unify media quality and eye tracking with machine learning. The new offering provides transparent metrics to help global advertisers increase return on investment, drive brand consideration, and boost conversions.
With Quality Attention, advertisers can capture higher attention to drive campaign performance and unlock proven results. Quality Attention uses advanced machine learning technology, actionable data from Lumen Research’s eye-tracking technology, and a variety of signals obtained as part of IAS’s core technology, including viewability, ad situation, and user interaction, and weighs them into a single attention score. IAS’s attention model is designed to predict if an impression is more likely to lead to a business result including awareness, consideration, and conversion.
Integral Ad Science chief commercial officer Yannis Dosios said, “Attention measurement must inform actions that drive superior results for advertisers, Integral Ad Science. Our Quality Attention offering is purpose-built to help brands and agencies navigate through media clutter to seamlessly understand how media visibility, the ad environment, and customer interaction impact campaign performance. According to our research, brands that focus on driving higher IAS attention scores achieve up to a 130 per cent lift in conversion rates leading to a better return on their investment.”
Quality Attention provides global advertisers with:
1. An Advanced Machine Learning Model: A singular view of campaigns’ attention performance, trained based on a pool of data consisting of billions of impressions and millions of conversion events.
2. Proven Performance and Brand Results: Up to a 130 per cent lift in conversion rates when comparing high attention impressions to low attention impressions, with greater attention scores seeing 91 per cent higher brand consideration and 166 per cent higher purchase intent.
3. Unification of Media Quality with Human Attention: IAS is the first company to combine one of the world’s largest consumer attention biometric data sets with media quality metrics to provide the most accurate picture of attention for global advertisers.
Global healthcare company Sanofi has partnered with IAS as they move beyond traditional ways of measuring media performance. Sanofi CHC Global Digital Media Lead Anna Kechekmadze said, “We know that ad clutter is not only a frustrating consumer experience, but it also correlates with attention and carbon footprint: less ad clutter = more attention and less carbon, Our partnership with IAS on Quality Attention is giving us insight into how attention plays a role in reducing ad fatigue, getting better inventory quality and improving media KPIs.”
IAS and Lumen Research announced their initial partnership in 2023 to change the way digital advertising impressions are measured for attention-first advertising. Now, IAS customers will have an even more powerful way to accurately track which ad impressions have captured attention and are likely to yield business results.
Lumen Research CEO Mike Follett said, “We are excited about the evolution of our partnership with IAS and how we are offering advertisers a transparent and more accurate picture of attention, by bringing our cutting-edge eye-tracking data to IAS’s attention model, advertisers have access to the most robust predictive attention models at scale.”
For more information, visit https://integralads.com/solutions/attention/ or read the recent report, The Attention Payoff.
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.
