MAM
Kotak Securities partners with DAN Data Sciences & Dentsu Webchutney to reinvent Customer Acquisition
MUMBAI: Dentsu Aegis Network’s (DAN) Data Sciences division has collaborated with Dentsu Webchutney to reinvent ‘Customer Acquisition’ for Kotak Securities. The teams have developed MarTech solutions to reach out to potential consumers with DAN Sync. For the record, DAN Sync is a proprietary custom solution built to link CRM with online marketing endeavours.
The consumer journey is no longer linear. While a lot of the journey is completed offline, the online signals are not strong enough. Meanwhile, acquisition of a new prospect has become increasingly expensive, especially in the cluttered BFSI space.
“The better one is able to harness the intelligence of data mines, the better the end numbers look,” believes Kotak Securities EVP and head marketing, products and customer service Jaimit Doshi,
Dentsu Webchutney director media Nishant Malsisaria identifies the problem. He says, “For Kotak Securities’ Trading account offerings, performance campaigns ran on multiple channels online. However, optimization was possible only for first level leads since a large part of the final conversion is done through offline call centers. The resultant marketing strategy assumed focus on high acquisition rates with lesser control over quality leads, since reverse transfer of marketing intelligence was not happening then.”
With Facebook being one of the key platforms of the acquisition strategy, the task at hand for Dentsu Webchutney was to narrow the acquisition funnel by reaching out to the closest prospects for conversion.
Explaining the strategy, chief data officer (South Asia), Dentsu Aegis Network and CEO DAN programmatic Gautam Mehra says, “The problem with the traditional form of digital advertising is that intelligence built offline is not passed back to inform online strategies. Using a custom built product such as DAN Sync that was created to transfer offline learnings for online optimizations, we deployed the globally renowned DAN Data Labs Product Suite – that uses best in class machine learning algorithms – over the hashed data from the client’s CRM to deliver a new benchmark for the industry.”
“Although expected, the results were astounding enough for augmenting the client’s confidence. The tool performed magnificently well, improving the lead to account open ratio by 500%,” adds Mehra.
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.
