MAM
Posterscope predicts 12-15% growth for OOH in 2019
MUMBAI: Posterscope India, location-based marketing specialist from the house of Dentsu Aegis Network, has predicted a disruptive growth for OOH in India, which will range between 12 to 15 per cent in 2019.
As per its findings, the year is expected to be an important and exciting one for the OOH industry as the year is full of events that have historically boosted advertising. These include the upcoming General Elections, the Cricket World Cup, and of course, the Indian Premier league among other marquee events.
The findings read, “Digital out-of-home (DOOH) inventory will continue to increase and reach the levels of respectability it deserves while its share of revenue will see a significant rise. New categories of advertisers will come to the fore and dislodge some traditionally strong advertising categories. Meanwhile, newer infrastructure will provide varied and interesting advertising options.”
The report also stated that the campaigns will go high on data-driven OOH, which will go go beyond demographics to online behaviour, card transactions, app usage and location analytics to decide where the OOH ads should appear.
Another key aspect is projected to be ROI-led OOH. Posterscope India expects to see boundaries in OOH being pushed through digitisation, automation, scientific planning tools, machine learning and cross-media collaborations to drive and achieve returns that are in line with other media offerings. Digital OOH is also projected to see a boost.
Posterscope India director Fabian Cowan said, “In a fast paced ever changing out-of-home ecosystem, having informed intelligence of what are going to be the drivers of change is critical to our offerings and client associations. We firmly believe that we have the leading technology platform, the best planning tools, the strongest data and analytics capabilities, the most advanced automation programme, the broadest and most diversified view of the out-of-home channel and, most importantly, the best people to manifest and deliver the best OOH solutions.”
Posterscope – South Asia group MD Haresh Nayak added, “As industry leaders we are driving change across the medium. Our predictions are not only based on year-long research and a close watch on trends but also based on our understanding of how cities and consumers transform with advancements in technology, access to data, infrastructural developments and evolved travel patterns. 2019 is poised to be a very exciting year for OOH and our predictions depict that amply.”
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.
