MAM
Ooyala unveils integrations and workflows for google cloud video intelligence, avid media composer and teravolt
MUMBAI: Ooyala, a leader in content supply chain solutions, will showcase a range of new integrations and features for its Ooyala Flex Media Platform at NAB 2019. Among those features highlighted at the Ooyala booth – #SV1000 – the Ooyala Flex Media Platform now integrates with Google Cloud Video Intelligence, Google Cloud’s AI and Machine Learning products, for precise video analysis and metadata enrichment.
The Ooyala Flex Media Platform is an open and extensible video management solution that simplifies and streamlines the entire content supply chain, from production to profit, significantly reducing costs and complexity while increasing revenue. It seamlessly integrates with legacy solutions and is already being used by many of the world’s leading organizations offering entertainment, news and sports content, such as HBO, Turner and Arsenal Football Club.
New integrations and features include:
Enhanced OoyalaMAM: This completely fresh look and feel, developed with feedback from sports content creators, distributors and other high-volume content companies, delivers a whole new user experience, and includes state-of-the-art search and filtering of assets;
Adobe Premiere Pro workflows and panels: Users can now search for content within the Adobe Premiere Pro user interface without leaving the creative Adobe environment; users also can open content collections from OoyalaMAM within Premiere for further streamlined editing and multi-platform distribution;
Sports workflows with TeraVolt’s new Jupiter sports entertainment editing suite: Ideal for sports and live events, Ooyala Flex Media Platform now enables fast clipping of live streams and effortless highlight creation in concert with the enhanced-TV services provided by this Hamburg, Germany-based multiplatform-distribution innovator;
Avid integration: The Ooyala Flex Media Platform integrates with Avid’s editing tools, storage and production asset management solutions. At NAB 2019, Ooyala will showcase import, process and push media and metadata to Avid Media Composer from the Ooyala Flex Media Platform; users can also clip assets in OoyalaMAM for editing with Avid.
“The Ooyala Flex Media Platform is at the forefront of shaping the content supply chain revolution. It’s the key to solving one of the industry’s biggest pain points: how to get content to market faster, at a lower cost,” said Jonathan Huberman, CEO, Ooyala. “These new features are just one example of how Ooyala is continuing to innovate and improve the way video content is created, managed, curated, orchestrated, published, and monetized.”
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.
