Digital
Garage Group expands its offerings in cutting-edge e-content creation services
Mumbai: Garage Group, a full-service digital creative agency, has recently established the e-learning content wing aimed at producing cutting-edge e-content for various universities and government initiatives. This new vertical focuses on developing content that enables its clients to build a portfolio of interactive, effective, and remarkably impactful content in different formats compatible with the world’s best learning management systems. With their expertise and commitment to innovation, Garage Group’s new wing is poised to deliver exceptional e-content for e-learning experiences that drive business growth as well as establish them as pioneers in the field.
The newly established vertical is designed to cater to the growing demand for dynamic digital content across various industries. By leveraging the latest technologies and industry best practices, Garage Group aims to empower its clients with a portfolio of e-content in a variety of formats ranging from immersive videos, multimedia presentations to interactive e-learning modules and engaging webinars. Garage Group’s e-content services will enable businesses to captivate their target audience and deliver a truly immersive digital experience.
Garage Group’s team of skilled professionals brings a wealth of expertise and creativity to the table, ensuring that every e-content project is executed with the utmost understanding of the project. From conceptualization to execution, Garage Group’s collaborative approach ensures that clients’ unique brand identity and messaging are seamlessly integrated into the content, resulting in a cohesive and impactful digital experience.
With the proliferation of smartphones, tablets, and other digital devices, it is crucial for various educational institutes to ensure that their content is optimized for different screen sizes and resolutions. Garage Group’s expertise in responsive design and mobile optimization ensures that the e-content seamlessly adapts to different devices, providing a consistent and engaging experience for users, regardless of their preferred platform.
“We are thrilled to be taking on this new challenge,” said Garage Group founder and managing director Saurabh Gupta. “Cultivating a strong digital presence is no longer a choice, but a necessity for companies. By entering in the e-content space, we aim to create a new set of clients in a completely new domain and help them embrace the future of digital media, unlocking the limitless possibilities to redefine the way business ideologies. Establishing this new vertical is a testament of our team’s expertise in developing high-quality e-content that aligns with modern organizational needs.”
Garage Group’s commitment to delivering high-quality educational resources has quickly established them as a trusted partner in the industry. Recently, Garage has partnered with ICAR (Indian Council of Agricultural Research) to develop e-content properties for their undergraduate and postgraduate courses. This project will not only give an edge to ICAR among its peers but also help students and faculty to deliver anytime education, which is very essential post-covid era.
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.
