iWorld
Newgen marks 30 years of global service; unveils new logo
Mumbai: In a move to keep up with the dynamic transformation of the digital world, Newgen Software has revamped its brand identity with a new logo focusing on rapid growth in the next five years. The software company has completed 30 years as a global digital transformation provider.
On the sidelines of the celebratory event, Newgen Software CEO Virender Jeet speaks with IndianTelevision.com and shares the idea behind the new logo, the journey of 30 years, and how India is becoming a global leader in digital transformation.
Idea behind the Newgen new logo
Sharing the idea behind the newly launched logo, the CEO says the world is rapidly moving towards digital transformation and this is the time when Newgen has to focus on equally rapid growth. “Our new identity epitomises agility, connect, and transformation,” he shares, adding that, “With this new logo, we aim to position Newgen as a trusted digital transformation platform provider.”
30 years of Newgen Software
Spread across 72 countries, Newgen focuses to fasten up its business in the coming years. Talking about their journey over 30 years, Newgen Software founder and CMD Diwakar Nigam says that they have always been focused on becoming a global leader in software products.
“Our vision of ‘One World, One Workplace’ drove our product investment towards digitising physical documents, automatic process flows and enabling secure, remote access to information,” he remarks. Adding on to what Nigam said, Jeet tells that digital transformation is no longer a buzzword, rather it is being a practical phenomenon for companies across the globe.
India witnessing swift digital transformation
Highlighting the business percentage they get from all across the world, Jeet reveals that they get a total of 30 per cent business from the USA, 30 per cent from Middle East and interestingly, India too is no less, as they get the other 30 per cent from here and the rest 10 per cent comes from the APAC region.
“Newgen has filed for 44 patents, out of which 23 have been granted in India and the US alone,” Jeet notes. He feels that India is becoming a global leader in software transformation. Further sharing their overall business breakup, he told, Newgen enables customers across 72 countries from multiple industries. On being asked which categories are the early adopters of digital transformation, Jeet explained that the major business comes from industries including banking, insurance, government, shared services, healthcare, and energy & utilities.
Newgen’s plan to get more clients on board
Newgen has many national and international banking and insurance brands as its clients. Interestingly, most of their clients are very loyal that they have been associated with Newgen ever since its inception. However, if we see their overall kitty, all their banking brands are conventional and already established in the market.
On the other hand, we see many new-age banking companies, for example, Fino Payments Bank, who are heavily spending on marketing and sponsorships to grab the attention of users.
On being asked what extra Newgen will do to attract these new-age brands to take their services, Jeet says they have a plethora of services to offer to all types of brands across categories. “At Newgen, we believe that no company can really survive without joining hands with technology. We have some really effective tools to help banking companies to maintain their data and information flawlessly and we are sure with time we will be able to grab more such brands on board,” Jeet 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.
