MAM
Huge Syst. retains Asia Media Products as exclusive manufacturer’s representative for Asia
MUMBAI: Huge Systems, Inc., a leading storage solutions provider for the content creation, broadcast and delivery markets, has announced the retention of Asia Media Products as the exclusive manufacturer’s representative for Asia.
The growth of digital video and High Definition applications in Asia now includes video post production, broadcast, content creation, animation, and graphics for film and gaming. As a result, production and creative professionals require powerful, scalable and reliable storage that is capable of meeting present as well as future standards, and is interoperable among a variety of operating systems and platforms. Huge Systems has developed a respected range of RAID storage products for a variety of high bandwidth SD and HD applications that meets these requirements, informed an official release.
Asia Media Products will provide sales growth, business planning, marketing assistance, and front-line technical support for Huge Systems throughout the Pacific Rim.
“We welcome Asia Media Products as our exclusive product representative for the burgeoning Asian arena,” states Huge Systems vice president sales Jerry Palace. “Asia is a major producer of digital media content for professional, corporate, as well as consumer audiences, both foreign and domestic. Critical to our success in Asia is the need for savvy technical and sales support already familiar with these markets. Asia Media Products has a demonstrated track record of success in these areas and we look forward to a diversity of users around the Pacific Rim discovering the advantages of Huge Systems storage technology.”
Asia Media Products CEO Robert Stacy concurs, “Huge Systems has built a solid and respected reputation for high performance storage products for a variety of video and imaging applications. We look forward to nurturing this relationship and bringing Huge Systems products to the forefront among a variety of content and video production professionals across the Asian region. We look forward to bringing our resources to bear on behalf of Huge Systems.”
Stacy has over 12 years of combined direct experience in sales, marketing and product development of digital media technology. Stacy was formally the Worldwide Director of Product Management for Avid Technology and the Asia Pacific and Western US Sales Director for Teranex.
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.
