MAM
OTMC Adds 100 New Kids Animation Movies to it Library
MUMBAI: One Take Media Co. as a content Hub understands the importance of continuously refreshing its content library and adding newer titles in a timely mannered. This is crucial for keeping the customer engaged, ensuring customer satisfaction and maintaining stickiness to the platform.
Thus OTMC is regularly updating its content library and adding newer titles to its library. It has recently acquired 100 new Kids Animation Movies. It includes likes of Easter Sing, Farmtastic Fun, Penguin League, Pixy Dragons, Sea Monsters, Space Guardians, Sir Billi aka Guardians of the Highland, Tyon&Taekwon Heroes etc
Sir Billi is an adventure about the race to save the last beaver in Scotland, led by Sir Billi; veterinarian by profession, skateboarder by passion and grandfather by love.Sir Billi also knownas Guardian of the Highlands is a 2012 Scottish computeranimated adventure comedy feature film.The film is Scotland's first CGI animated feature film.Directed by Sascha Hartmann, the film stars the voices of Sean Connery, Alan Cumming, Patrick Doyle and Kieron Elliott.
Tyon&Taekwon Heroes is another such Animated Movie that depicts the power of Taekwondo throughFour children who defeat the monster and save the world. The Four children represent the 4 powers of nature: wind (Dragon), fire (Phoenix), water (Turtle) and earth (Tiger). In this movie children can understand the basic philosophy and techniques of Taekwondo and enjoy the adventurous story at the same time.
Mr. Anil Khera, Founder & CEO of One Take Media Co quoted “ Each of the movies are handpicked by One Take Media Co. They cover all genres of fun, education, entertainment, mystery, adventure and comedy. Not onlyChildren but also Adults will enjoy the bright and beautiful characters, melodious songs and entertaining story line of each of our movies.”
One Take Media Co. (OTMC) is a global content Production & Distribution based in Mumbai,India. It is one of the leaders in providing Value Added Services(VAS) to DTH, Telecom and Cable industries. Services include Hollywood Movies, Hollywood Movies dubbed in Hindi & regional languages , Kids Animation Movies&Series,Celebrity based Cooking show and Korean Content and K Pop. OTMC is also successfully providing content to various OTT Players in India and abroad.
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.
