MAM
Trivayu Media Works aims to double client base; focus on newly built startups
Mumbai: Hyperlocal content distribution company TriVayu Media Works has announced ambitious targets to expand its client base by 100 per cent by specifically focusing on newly built start-ups. TMW is a one-of-a-kind hyper-local content distribution company with a presence over 200 districts, 1,000 villages, and 20+ states across the country. In addition to English, TMW offers content services in 12+ languages to help brands reach a wider audience.
TMW has facilitated over 100 projects to date and currently has 50+ clients, with 80 per cent of start-up clients connected to TMW’s network. The company garners a major 60 per cent of its business from internet/social companies, 20 per cent from agriscience, 10 per cent from OTT, and 10 per cent from the news/media sector. In order to build its business traction, TMW aims to target the OTT start-ups understanding the growing demand and changing dynamics in the field of hyperlocal content.
TMW co-founder Ratnendra K Pandey, “The OTT (over-the-top) industry is rapidly expanding and is one of the most competitive in emerging markets. Also, the OTT sector is witnessing a boost in investments in Indian original local content, which will undoubtedly lead to an increase in the number of hours of original content available to users. This has created enormous potential for content distribution networks, and we are attempting to capitalise on the market trends. We seek to expand our client base by focusing primarily on OTT start-ups and intend to make a substantial mark.”
TMW team also trains and employs youth and the process until a candidate starts earning money is completely free. Candidates are onboarded based on their performance and work from TMW’s micro-offices that TMW claims no other company currently offers. The unique model helps TMW reduce 30 per cent of the project cost of its clients by closely working with trained resources from Tier 3 and Tier 4 cities. TMW’s majority of the workforce in these cities has resulted in quick TAT, cost efficiency of projects, and multilingual operations without compromising on quality.
The top four most popular services at Trivayu include bulk content distribution; data learning resources (moderation & tagging), and customer success; projects (such as voice calling and email support); creative designs; and production of hyperlocal news content. Since its inception, TMW has served over 110 clients and reached over 1 billion users through its various social media platforms.
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.
