MAM
Luminous and VML India- theKhushiyon ka Gharjourney
With over 3 decades of expertise, Luminous Power Technologies is the leading power and home electrical specialist in Indiaofferinga vast portfolio from power back up solutions to home electrical offerings. In the past few years, the company has successfully launched various products in the market, becoming “A Home Electrical Specialist”.
At the end of 2017, Luminous Power technologies partnered with VML India to launch their first brand campaign: Khushiyon ka Ghar, staging Luminous as the brand that powers Happy Homes.
Since then, with the focus of their consumers at the center, VML and Luminous embarked on a journey to create a poetic storytelling piece,witnessing a young couple buildingtheir dream home, with Luminous playing a crucialrole, brightening theirhome and their hearts.
From the beauty of the storytelling to the cinematography and creative musical score, every detail has been individually crafted. The piece stages a fairy fantasy Kerala, with a soundtrack specifically tailored for this heartfelt film.
The agency’s creative team crafted the brand’s anthemlyricsand the melody was brought to life with two of the most renowned Bollywood artists. Clinton Cerejo gave depth to the verses by composing the musical score while Sonu Nigam, a natural choice to reach a broader audience across the country, enlivened the melody with his interpretation.
It culminated with a magic mix that embarks the audienceon Luminous’ happy home journey. The campaign film was released on April 3rd on the brand’s Facebook and Youtube pages.
Link to the video: https://www.facebook.com/myluminous/videos/1869118523148338/
Sachin Bhalla , Vice President Marketing at Luminous commented – “We, at Luminous strongly believe that happiness should reside in every home which is what Khushiyon ka Ghar is all about. We are proud to present this brand anthem as we had a strong story to tell beyond products. When VML came back to us with their pitch, where they actually wrote and performed the song, we knew this would be our brand anthem. Sonu Nigam of course was our first choice and we hope everyone loves the song as much as we do”
Amandeep Singh, Business Director at VML added “It has been a dream project for us at VML and we are so delighted by the end result. It has always been a pleasure working with Sachin, Ruchika and team at Luminous, where you always have a synergy between the agency and client team.”
1) Credits
Client – Luminous
Sachin Bhalla – VP Marketing
Ruchika Gupta – AVP Marketing
Riti Sinha – Digital Lead
Agency – VML India
Creative Agency: VML
Creative Head: Venkatagiri Rao
Creative: Alok Banerjee, AshankPatkar, Vinayak Kohli, Sunil Shinde, Ricardo D’Silva
Lyrics: Alok Banerjee
Production Manager: Saurabh Pal
Country Head: Udit Bhambri
Business Director: Amandeep Kochar
Account Manager: Gaurav Tuli
Production House: Infamous People
Director: ShihabKarim
Producer: AmarendraSIngh
Music Director: Clinton Cerejo
Singer: Sonu Nigam
Colour correction and Grading: SwapnilPatole
Post Studio: Famous
VFX: Spectrum Studios
Online Editor: Abhilesh
DOP: Archit Patel
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.
