MAM
Ozone stresses on power of vote with ‘Ab Chalegi Finger Key’ campaign
Mumbai: With the election season upon us, Ozone, a homegrown Indian brand in the digital ‘locks and safes’ segment has launched the ‘Ab Chalegi Finger Key’ campaign. The campaign metaphorically demonstrates the connection between Ozone’s digital lock and electronic voting wherein one can open a lock using one finger and simultaneously vote for a better future.
Conceptualised and executed by Dentsu Impact, a dentsuMB Company & the creative agency from dentsu India, the 360-degree campaign will be promoted across print, radio, digital and OOH. Furthermore, the brand has launched an IP (Intellectual Property) in association with news channels – NDTV and ABP. The multi-episode program on the news channels nudges the voters to make the right choice for themselves and the society at large. It also includes an exclusive anthem to help attract mass appeal and celebrity endorsements along with on-ground interviews with audiences and debates.
“Through this campaign, we aim to sensitise people that by exercising the power of their finger they can choose the right government for better security and progress just like with a swipe of their fingers they can secure their valuables,” said Ozone Overseas president Abhishek Aggarwal. “We are consistently working towards enhancing the customer experience by altering the traditional usage of keys with our digital key that effortlessly eliminates the breach of security system, allowing the consumer more control and efficiency,” he further added.
The campaign follows closely in the wake of the brand’s ‘Guccha Singh Campaign,’ urging people to move from a ‘Chabiyoun Ka Guccha’ (bunch of keys) to the new age digital locks with multiple access mode that gives ‘unmatched security with utmost ease.’
“Elections give that one chance to the voters to exercise their rights for a safe, secure and brighter future. By using the power of the voting finger, they can make changes that really matter,” remarked Dentsu Impact executive vice president Ujjwal Anand. “‘Is baar kiski chalegi,’ ‘is baar kaun ayega,’ ‘satta kisko milegi’ are all turn of phrases that we get to hear particularly around the election frenzy. We decided to give a spin to these phrases and hinge our campaign articulation around the verbiage.”
“While in the earlier campaign the mascot we created was around a popular face and larger than life ‘Chabiyoun Ka Guccha’, this campaign takes the engagement to a different space, by tapping into the culture of elections and voting in India; the finger as a voting tool, readily recognisable, took the centre stage,” said Dentsu Impact executive creative director Mayank Khattar. “We used the finger as a symbol of power in people’s hands. The overall tonality of the campaign has been thought-provoking, urging people of states where the elections are being conducted, to acknowledge and exercise their voting rights and choose a better, progressive future. Just like our digital locks that take the security of our homes and valuables to a different level that too with five access modes, giving the control in people’s hands. The instant connection of the people with the empowering index finger is striking.”
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.
