iWorld
Amagi will explore M&As to accelerate revenues, expand marketplace: Baskar Subramanian
Mumbai: Just a couple of years prior to the pandemic Amagi was known as a targeted TV advertising solutions provider. At present, it prides itself on calling “a global leader in cloud-based SaaS technology for broadcast and connected TV,” which aims to transform the media and entertainment industry by virtualising entire broadcasting operations.
Pivoting around the growth of streaming, Amagi has evolved into a next-generation media technology company driven by increased demand for its products, more so globally, than in India. Today, its clientele includes large media conglomerates (NBCUniversal, Paramount, A+E Networks UK), connected TV majors (Samsung TV Plus, Roku, Vizio, LG Channels), content owners (Tastemade, USA Today, AccuWeather) and leading OTT/FAST players (Fubo, Stirr, Redbox, Rakuten TV & more).
Overall, Amagi supports 650+ content brands, 800+ playout chains, and over 2000 channel deliveries on its platform in over 40 countries. It has a presence in New York, Los Angeles, Toronto, London, Paris, Singapore, broadcast operations in New Delhi, and an innovation centre in Bangalore. Amagi witnessed a 59 per cent surge in customers in 2021, 108 per cent YoY growth in revenue, and 112 per cent YoY growth in ad impressions generated using its dynamic ad insertion platform – Amagi Thunderstorm.
In March, the company solidified its position as a unicorn after raising $95 million in a funding round led by Accel. Impressive traction for Amagi’s cloud solutions, and its demonstrated leadership in the rapidly growing CTV-led Free Ad-supported Streaming TV space, led to further investments from existing investors Norwest Venture Partners and Avataar Ventures to power the next wave of growth.
“The media industry has been swept up in a content storm with consumers demanding high-quality, personalised content at faster-than-ever turnaround speeds,” says Amagi investor Avatar Ventures’ founding partner Nishant Rao. “Amagi has enabled major media players to stay relevant in these times of change while helping them to extract nearly 40 per cent operational savings through cloud solutions.”
But what does Amagi actually do?
Amagi provides end-to-end cloud-managed live and on-demand video infrastructure to content owners, broadcast and cable TV networks, and OTT platforms. Its core expertise lies in broadcast-grade 24×7 linear channel creation, channel distribution to Free Ad-Supported Streaming TV platforms, live orchestration for sports and news, OTT server-side ad insertion, analytics for monetisation, and cost-effective disaster recovery, among others.
“The popularity of streaming and the resultant change in consumer behaviour has also effected a change in the back-end or what is called the content factory,” Amagi co-founder and CEO Baskar Subramanian simplifies the jargon for us. “What used to be a hardware-based setup is now becoming software-driven. As a result, large TV networks are moving all of their media operations to the cloud. And this movement to a virtualised model of operating the business is nothing new; it has happened in retail, in BFSI, now it is happening in the media business,” he says.
For TV channels Amagi helps in moving all operations to the cloud, while OTTs use its services to operate and monetise their content with targeted advertising at an individual level.
“Even though OTT is starting to become big in the country, it’s not really big in advertising dollars. In India, we made about 900 million in ad revenue last year, which is quite low for a country of our size. Video CPMs are also dismally low at three-four dollars vs 30 dollars in the US. This needs to change, and it will happen when marketers start moving their TV budgets to OTT platforms. I see that happening in the next few years,” shares Subramanian.
“FAST which is gaining traction due to increasing fatigue among consumers overwhelmed by choices, can be a great way of increasing streaming ad revenues, but it has not yet made inroads in India,” he informs. Internationally, FAST services like Pluto TV and Tubi continue to up the game by investing in quality content. Audiences and advertisers are following.
According to the latest edition of the FAST industry report by Amagi, in 2021, total FAST viewership hours grew by 103 per cent, while the average session duration increased by eight per cent. Ad impressions grew by a robust 134 per cent, reminiscent of the $50 billion in ad opportunities up for grabs for content owners each year across FAST platforms.
The next wave of growth for Amagi
Buoyed by the recent fundraise, the company is doubling down on its R&D from last year. It has quadrupled its sales team and also plans to expand offices across the globe including in Australia, Latin America, and Eastern Europe.
Amagi recently announced two new hires including Daniel Marshall as EVP of global sales for its SaaS business and streaming TV veteran James Smith to lead its global ad sales and partnerships business. Marshall moves in from Amazon, and Smith, from Facebook.
The company is keen on raising capital and growth through mergers and acquisitions. “We are looking at acquisitions which can help us to accelerate the overall revenue and expand the marketplace,” informs Subramanian.
“This is a crucial juncture for our business as we look to hit a hyper-growth trajectory by creating a winning combination of goals, processes, team structures and more. Our investors have a known history of crafting the success stories of companies with the promise of potential. We look forward to leveraging their astute understanding of the B2B SaaS landscape to successfully navigate the market intricacies and position ourselves for sustained success in the coming years,” he concludes.
eNews
How short, addictive story videos quietly colonised the Indian smartphone
A landmark Meta-Ormax study of 2,000 viewers reveals a format that is growing fast, paying slowly and consumed almost entirely in secret
CALIFORNIA, MUMBAI: India has a new entertainment habit, and it arrived without anyone really noticing. Micro dramas, those short, cliffhanger-driven episodic stories built for the smartphone screen, have quietly embedded themselves into the daily routines of millions of Indians, discovered not by design but by algorithmic accident, watched not in living rooms but in bedrooms, on commutes and in the five minutes before sleep.
That, in essence, is the finding of a sweeping new audience study released by Meta and media insights firm Ormax Media at Meta’s inaugural Marketing Summit: Micro-Drama Edition. Titled “Micro Dramas: The India Story” and based on 2,000 personal interviews and 50 depth interviews conducted between November 2025 and January 2026 across 14 states, it is the most comprehensive study of the category in India to date, and its findings are striking.
Sixty-five per cent of viewers discovered micro dramas within the last year. Of those, 89 per cent stumbled upon the format through social media feeds, primarily Instagram and Facebook, without ever searching for it. The algorithm did the heavy lifting. Discovery, as the report puts it bluntly, is algorithm-led, not intent-led.
The typical viewer journey begins with accidental exposure while scrolling, moves through a cliffhanger-driven incompletion hook that makes stopping feel unfinished, and is reinforced by algorithmic repetition until habitual consumption sets in. Only then, when a platform asks for an app download or a payment, does the viewer pause. Trust, not content quality, determines what happens next, and many simply return to the free feed rather than pay. It is a funnel with a wide mouth and a narrow neck.
The numbers on consumption tell their own story. Viewers spend a median of 3.5 hours per week watching micro dramas, spread across seven to eight sessions of roughly 30 minutes each, peaking sharply between 8pm and midnight. Daytime viewing is snackable and low-commitment, squeezed into morning commutes, work breaks and coffee pauses. Night-time is where the format truly lives: private, uninterrupted and, for many viewers, socially invisible. Ninety per cent watch alone, compared to just 43 per cent for long-form OTT content. Half the audience watches during their commute, well above the 37 per cent figure for streaming platforms, a direct reflection of the format’s low time investment advantage.
The audience itself breaks into three segments. Incidental viewers, comprising 39 per cent of the total, are passive consumers who stumble in and rarely seek content actively. Intent-building viewers, the largest group at 43 per cent, are beginning to form habits and seek out episodes but remain cautious. High-intent viewers, just 18 per cent, are the ones who download apps, tolerate ads and occasionally pay: skewing male, younger and urban.
What audiences want from the content is revealing. The top three genres are romance at 72 per cent, family drama at 64 per cent and comedy at 63 per cent, precisely the same top three as Hindi general entertainment television. The format rewards emotional familiarity over complexity. Romance in particular thrives because it demands low cognitive investment, needs no elaborate world-building and plays naturally into the private, pre-sleep viewing window where inhibitions lower and emotional intimacy feels safe.
The most-recalled shows, led by Kuku TV titles such as The Lady Boss Returns, The Billionaire Husband and Kiss My Luck, share a common narrative DNA: rich-poor conflict, hidden identities, power imbalances, melodrama and cliffhangers that make stopping feel physically uncomfortable. Predictability, the research warns, is fatal. Each episode must re-earn attention from scratch.
The terminology question is telling. Despite the industry’s embrace of the phrase “micro drama,” viewers have not adopted it. They call the content “short story videos,” “short dramas,” “reels with stories” or simply “serials.” One respondent from Chennai said bluntly that “micro sounds like a scientific word.” The category is at the stage that OTT occupied in 2019 and podcasts in the same year: widely consumed, poorly named and not yet crystallised in the public imagination.
Platform awareness remains alarmingly thin. Only three platforms, Kuku TV at 78 per cent, Story TV at 46 per cent and Quick TV at 28 per cent, have crossed the 20 per cent awareness threshold. The rest languish in single digits. This creates a trust deficit that directly throttles monetisation: viewers who cannot remember which app they used are hardly primed to enter their payment details.
Yet the appetite is clearly there. Sixty-five per cent of viewers watch only Indian content, drawn by the TV-serial familiarity of the storytelling, the comfort of Hindi as a shared language and the sight of actors they half-recognise from decades of television. South languages are rising fast: Tamil, Telugu and Kannada together account for 24 per cent of first-choice viewing. And AI-generated content, still a novelty, has landed better than expected: 47 per cent of viewers call it creative and unique, with only 6 per cent actively rejecting it.
Shweta Bajpai, director, media and entertainment (India) at Meta, called micro drama “a category that is rewriting the rules of Indian entertainment,” adding that the discovery engine being social distinguishes this wave from previous content formats. Shailesh Kapoor, founder and chief executive of Ormax Media, was characteristically measured: the format, he said, is showing “the early signs of becoming a distinct content category” and, given how closely it aligns with natural mobile behaviour, “has the potential to scale very quickly.”
The format’s fundamental mechanics are working. It enters lives quietly, through boredom and a scrolling thumb, and burrows in through incompletion and habit. The challenge now is monetisation: converting a category of highly engaged but deeply anonymous viewers into paying customers who trust the platform enough to hand over their UPI credentials. The story, as any micro-drama writer knows, is only as good as the next cliffhanger. India’s platforms had better have one ready.
