MAM
Acer launches its new ‘Home Theater System’; priced at Rs 69,999
BANGALORE: Acer has announced its new complete home cinema center offering of the Acer PD113P wide screen DLP projector, bundled with the Phillips Home Theater System, which has 5.1 surround sound speakers with amplifiers and a DVD player. The first of its kind, this offer gives customers the unique opportunity to experience the home theater effect with cinema quality pictures and sound, in the comfort of their own home.
With the Acer PD113P projector, the user has multiple options of connecting it to the DVD player, a notebook or a desktop. The Acer PD113P can project up to 330-inches of quality picture, more than a normal home entertainment center can provide and has a 2000:1 contrast ratio. Equipped with 16.7 million displayable colors and native SVGA (800 x 600) resolution (extendable to a maximum of 1,280 x 1,024 SXGA), the Acer PD113P, the projector has a 1,700 ANSI lumens brightness and 200 W user replaceable NSH lamp with up to 3000 hours of lamp life. Weighing 2.3 kg, the projector comes with internal speakers of two watts output, a remote control and laser pointer.
Priced at Rs.69,999 (excluding taxes), the new Acer Home Cinema Center has been designed to occupy minimal space while giving the user, all the features and advantages of wide screen, cinematic quality viewing.
Acer India GM sales and marketing consumer products group S Rajendran says, “The new Acer projector offering with the Phillips 5.1 Home Theater System is the latest addition to our portfolio. This offering not only broadens our scope beyond the PC user, but extends it to customers looking for a complete home entertainment by providing him a full fledged solution. This offering will also allows our retailers to graduate from selling PCs to selling home entertainment products and become a one-stop shop for consumers.”
Acer ranks among the world’s top ten branded PC vendors. In 2000, Acer spun-off its manufacturing operation to focus on globally marketing its brand-name products: desktop and mobile PCs, servers and storage, displays, peripherals, and e-business solutions for business, government, education, and home users. Established in 1976, the pan Acer Group employs 39,000 people supporting dealers and distributors in more than 100 countries. Revenues reached US$15.6 billion in 2003.
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.
