MAM
O&M Mumbai ranked sixth in Asia by Campaign Brief Asia
MUMBAI: O&M Mumbai is the sixth most awarded agency in Asia in the annual Campaign Brief Asian Creative Rankings. Last year the agency was in eight position.
Four other Indian agencies rank in Asia’s top 50 agencies – Ambience D’Arcy Mumbai (now part of the Publicis group) at number 23, Leo Burnett Mumbai at number 25, O&M New Delhi at number 47 and McCann-Erickson at number 48.
For the third time in a row O&M Singapore has topped the rankings. This is also the third time in a row they have beaten 1999’s winner Saatchi & Saatchi Singapore.
The 2003 Campaign Brief Asia Creative Rankings tabulated the performances of the top 123 ad agencies and 787 individual creatives in the Asian region. Only performances at award shows over the past two years (2002, 2003) count.
However in terms of the top five most awarded networks in Asia Saatchi & Saatchi came out on top with 4237 points. They were followed by O&M with 3864 points, BBDO with 1678 points, Leo Burnett with 1372 points and JWT with 1001 points. As far as India’s top 10 creatives were concerned O&M Mumbai’s Rajiv Rao was on top with 296 points. He was followed by his colleague Piyush Pandey with 244 points. This is way below the top 10 creatives in Asia. BBDO Singapore Renee Lim was numero uno with 781 points.
The top 10 most awarded agencies in Asia are:
Agency Points
O&M Singapore 1314
Saatchi & Saatchi Singapore 1276
Saatchi & Saatchi Hong Kong 1182
Saatchi & Saatchi Bangkok 1077
BBDO Bangkok 991
O&M Mumbai 688
Dentsu Tokyo 603
JWT Bangkok 596
Bartle Bogle Hegarty 575
O&M Malaysia 481
The annual Rankings were first published in 1998 by Campaign Brief Asia. Awards won in four international shows and 2 regional shows count in the Rankings. Points are allocated for finalists and award winners at Cannes, Clio, D&AD, One Show, Asian Advertising Awards and Asia Pacific AdFest. Importantly, only the previous two years results at these shows count.
Campaign Brief Asia is a regional advertising magazine whose sole focus is creativity. It launched in Asia in 1996. Sister publication Campaign Brief Australia has come out monthly since 1987.
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.
