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Canon India brings two power lenses into focus with new Cinema EOS Ambassadors onboard
MUMBAI: In a move that blends art with optics, Canon India has rolled out the red carpet for two of the country’s most accomplished visual storytellers. The brand announced on 23 June 2025 the onboarding of Kiran Deohans and Sudhir Koushik as its newest Canon Cinema EOS Ambassadors, adding weight to its commitment to championing cinematic brilliance across India.
With careers that span decades and formats, both Deohans and Koushik bring unmatched industry experience to Canon’s expanding creator community. Known for his iconic work in mainstream cinema, Deohan’s lens has shaped classics such as Qayamat Se Qayamat Tak, Jodhaa Akbar, and Kabhi Khushi Kabhie Gham. His portfolio also boasts over 1,500 commercials and a membership in the Indian Society of Cinematographers. Koushik, meanwhile, has been the man behind the camera for India’s biggest unscripted entertainment hits, from Kaun Banega Crorepati to The Great Indian Kapil Show and MTV Hustle.
“At Canon, we see cinematography not just as a technical pursuit, but as a cultural force. The stories being told today whether through a feature film, a reality show, or a digital series are shaping how we view the world. Our aim is to support and empower storytellers who are redefining these narratives. Kiran Deohans and Sudhir Koushik bring immense experience and creative integrity to the table, and we are thrilled to have them as ambassadors of Canon’s larger vision for visual storytelling in India”, said Canon India Imaging Communication Business Centre assistant director Vishesh Magoo.
“Cinema is not just about capturing visuals; it’s about shaping culture, evoking emotion, and preserving memory. Canon has always understood that storytelling is as much a craft as it is a responsibility. I’m excited to be part of a brand that empowers creators not just with cutting-edge tools, but with a deep commitment to shaping the future of Indian cinema”, said Deohans.
“What sets Canon apart is not just its products, but its purpose. The brand truly believes in elevating the art of cinematography not just through innovation, but by creating a platform for collaboration and creativity. As someone who has seen this industry evolve from analog to digital, it’s heartening to partner with a brand that evolves with us, not just for us”, added Koushik.
Through its Cinema EOS Ambassador Program, Canon has created a talent-powered platform that brings together filmmakers, cinematographers, and content creators under a shared mission of visual mastery. Ambassadors serve as product consultants, mentors, and evangelists, offering insights and support across genres, languages, and screens big and small.
With Deohans and Koushik stepping into ambassadorial roles, Canon is banking on creative synergy to not only advance its cinema product line but also help foster a more collaborative, craft-driven industry narrative.
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India’s $14 billion interactive media boom: From micro-dramas to astro-apps
Micro-dramas, gaming, and niche apps are driving India’s interactive media boom.
MUMBAI: It seems India has decided that merely watching content is so last season; the sub-continent is now officially leaning forward, picking up the controller and clicking its way into a new era. While the rest of the world might be hitting the ‘snooze’ button, India’s interactive media market has surged to a staggering $13.8 billion in 2025, posting a robust 17 per cent year-on-year growth.
The secret sauce behind this digital boom isn’t just a love for entertainment; it is also the world’s most aggressive digital infrastructure. With data rates as low as $0.10 to $0.15 per GB and 877 million smartphone users, the barrier to entry has all but vanished. Add to that a UPI payment system that handles 85 per cent of all transaction volumes, scaling nearly six times to 228 billion transactions in 2025, and you have a frictionless ecosystem where discovery turns into a purchase in a heartbeat.
Video remains the heavyweight champion, valued at $5.4 billion and growing at 23 per cent. While traditional OTT platforms provide the foundation with $4.9 billion in revenue, the real “show-stopper” is the rise of micro-dramas. These bite-sized vertical stories, typically 30 seconds to 3 minutes, have exploded from virtually zero to a $300 million market almost overnight.
Despite their brevity, micro-dramas are proving that size doesn’t matter when it comes to engagement. Users now spend around 60 minutes a day on micro-dramas, nearly rivaling OTT’s 78 minutes. On the monetisation front, they command a $15 Annual Revenue Per Paying User (ARPPU), proving that cliffhangers are a lucrative business model. Looking ahead, the segment is projected to skyrocket to $4.5 billion by 2030.
The gaming sector hit $1.5 billion in 2025, maintaining a 17 per cent CAGR despite a significant regulatory curveball. The PROG Act of 2025 effectively banned Real Money Gaming (RMG), causing a 9 per cent dip in the total gamer base to 555 million. However, the “hardcore” crowd stayed put, with weekly time spent averaging 8 hours and payer penetration holding steady at 25 per cent.
Gaming’s punch-above-its-weight status is undeniable. While it accounts for only 8 per cent of downloads among India’s top 25 apps, it generates a massive 36 per cent of the revenue. In-app purchases (IAP) in mid-core games are particularly potent, boasting a $15 ARPPU compared to just $3 for casual titles.
Perhaps the most uniquely Indian trend is the success of high-intent “lean-forward” platforms. Astro-devotion apps have emerged as surprise leaders in monetisation per user, achieving an annual ARPU of $8.4, outperforming even social media. Meanwhile, interactive learning platforms, powered by AI tutors and gamified micro-learning, have carved out a $2.4 ARPU niche, proving that users are willing to pay when content solves a specific problem.
Audio, the category “no one heard coming,” grew 29 per cent to $0.4 billion. Audio series, with their episodic hooks, now drive 31 minutes of daily engagement, significantly higher than music streaming.
India is also moving from “back office” to “front of house” in the $1.6 billion Animation & VFX sector. While 80 per cent of revenue still comes from international exports, domestic IP like Mahavatar Narsimha and The Legend of Hanuman is gaining ground. AI is the new co-director, compressing production timelines by 50 per cent and allowing studios to turn what used to be four weeks of work into just six hours.
With a market at the same inflection point that social media reached in 2010, India isn’t just following the global digital script; it is rewriting it. For investors and creators alike, the message is clear: the game has only just begun.
