MAM
In an ode to design, Post Office Studios’ new campaign announces the Hyderabad Design Week
Mumbai: Award-winning animation and new media technology company, Post Office Studios, created a promotional video to announce the Hyderabad Design Week.
This five-day festival of design brings together leading design practitioners to explore their role as change-makers, present the best in human-centric design innovation, and tackle some of the biggest challenges facing the world today. With the theme ‘Humanizing Design’, Hyderabad Design Week 2019 will be held between 9th-13th October, in tandem with the 31st edition of the World Design Assembly, which is taking place in India for the very first time.
The promotional video takes the audience through a variety of design styles, largely depicted through 2D and 3D animation, and some amount of live action. Each visual element is tied together with a spoken word piece, conveying the thought that everything happening around us, from the simplest to the most complex, is made possible through good design. Taking a lead from the theme of the event, ‘Humanizing Design’, the video does not simply depict abstract design elements as with most videos of this kind, but rather showcases the various instances through which these elements govern and are a product of our day to day lives.
Aditya Tawde, CCO, Post Office Studios and Director of video says “We were approached by the Government of Telangana to create a promotional video for the Hyderabad Design Week, which would be taking place in October 2019 in tandem with the 31st World Design Assembly. Their main ask was to create a video that was as innovative and unconventional as possible, while ensuring that we did justice to the event’s theme – Humanizing Design. Given the leeway we had for this project, as well as the nature and scale of the event in particular, we wanted to create a content piece that would in some way be an ode to design. The team conceptualised a spoken word piece highlighting how design has evolved around human experiences over the years, each of which would be visually depicted with a distinct design style.
One of the most challenging parts of the process was to design and animate the end sequence of the video, which revealed the word ‘Design’. For this, we designed 54 graphic frames, and animated them together to end the video on a high and intensive note, giving the viewers an adrenaline rush of sorts. The music and sound design was upbeat and engaging, and helped elevate the viewing experience for the audience.
This collaboration has been a great experience for us, as it not only gave us the opportunity to create animated content driven by great design, but also allowed us to push our creative boundaries significantly.”
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.
