MAM
Adsertion, Limelight Networks team for radio broadcasts online
PHOENIX : Limelight Networks which claims to be the price-performance leader in IP transport services, has announced a new agreement with Adsertion Technologies the leading provider of targeted advertisement insertion technology. This new alliance provides an all-in-one Internet broadcast package that enables terrestrial radio stations to expand audiences and provide a new revenue source by extending broadcasts to the Internet. The alliance also creates a turnkey way for Internet-only broadcasters to lower delivery costs as well as capture online advertising revenues.
Competition from digital, satellite and Internet-only radio stations is challenging many terrestrial radio stations to expand their audience base via Web transmissions. Stations have discovered that adding Internet broadcast capabilities can require new royalty payments, investments in technology, and present unique challenges since radio stations are typically not allowed to retransmit advertisements from their terrestrial broadcasts online.
Adsertion Technologies provides technology that offers truly seamless ad insertion that can be achieved without cumbersome downloads of a player to the users’ PC. Adserstion’s solutions are compatible with various platforms including Windows NT and Macintosh. The company’s proprietary audience tracking and reporting technology assists in generating reports now required as a result of recent changes in the law.
Improving upon industry-standard media-encoding technology (Windows Media and Real), Adsertion allows traditional and Internet broadcasters to create new ad inventory with Adsertion’s interactive, targeted flash-media advertising. Adsertion targets and delivers interactive gateway/channel start and in-stream advertisements within the audio broadcast, thus avoiding end-user downloads and minimizing audio level fluctuations and “ad firing” delays. This not only provides broadcasters with increased ad inventory, but also enables advertisers to reach their target audience with greater accuracy. Adsertion couples the interactive flash-media ad insertion with Limelight Networks’ distributed streaming services from multiple delivery locations around the Internet.
Limelight Network’s innovative IP Transport solutions utilise the Edge of the Internet to improve the delivery of rich media. The EdgePrism family of products enables customers to deliver an extraordinary Internet experience while controlling costs and simplifying complexity. The robust technology behind Limelight Networks installs quickly and provides customers with the most cost-effective method of adding richer, more engaging features to their Web sites without change to existing Web server code.
Limelight Networks claims that its technology is becoming the first choice for the Internet radio space. The combination of price/performance and proven track record enable broadcasters to expand their audience and reduce delivery costs and infrastructure complexity. The company claims to be delivering nearly half of the traffic in terms of hours listened for the top 10 Internet radio networks according to Measurecast reports. The company is seeing great momentum in this space, where controlling costs is critical.
Adsertion states that its proven technology provides truly seamless ad integration. This means that customers avoid truncated ads, dead air space, and media player downloads due to constant revisions. Adsertion’s patent pending techniques accommodate the chaotic environment associated with traditional radio stations providing ad transitions that are imperceptible from a listener perspective.
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.
