MAM
Chef Kapoor-promoted Food Food bolsters ops with Amagi Cloudport
MUMBAI: Amagi, a leader in cloud-managed playout services and targeted advertising for TV and OTT, has announced that celebrity master chef Sanjeev Kapoor-promoted food and lifestyle channel, Food Food, has deployed Amagi’s Cloudport edge playout platform to launch its new international feed.
“Since we launched in 2011, Food Food channel has been building an enviable viewership, not only in India, but also across the U.S., Canada, UAE, Qatar, and Mauritius,” said Sanjeev Kapoor, co-founder and director, Food Food. “However, till now, we had been broadcasting a common feed to all our markets of operations. Owing to popular demand for our programming, creating dedicated international feeds was a natural step in consolidating our position as a food and lifestyle channel of choice.”
“Using traditional broadcast models, Food Food channel would need to create a separate playout infrastructure for each international market. This would not only be expensive, but it would also limit the channel’s ability to scale rapidly in new markets. In contrast, Amagi Cloudport is a low capex and opex cloud broadcast model, with unprecedented scalability to expand into non-contiguous geographies as needed by Food Food channel,” said K.A. Srinivasan, co-founder, Amagi.
Amagi enabled Food Food channel to push all its content assets to a secure Amazon Web Services cloud. Using a web-based UI, the channel’s operations team was able to import schedules, add dynamic graphics, create playlists, and manage the entire content asset library to create a new international feed. Amagi installed its Cloudport edge playout servers at operator headends. Through a simple business internet connection, playout-ready content was pushed to the edge servers. The server then played out the content as per defined playlists and schedules, offering audiences a feature-rich, world-class playout and viewing experience, in HD format, 24×7.
The channel’s international feeds using Amagi’s cloud technology are distributed in the U.S. through Dish TV, and in Mauritius via Mauritius Telecom. “Amagi made it simple and cost-effective, helping us to launch entirely new feeds in less than two months. Further, with its edge-based playout architecture, we now have the ability to localize content in the U.S. and Mauritius, and support regional advertisers in the future”, added Kapoor.
Since all its content is now on the cloud, Food Food channel can easily expand into new geographies, significantly reducing go-to-market timelines. From any remote location, the operations team at Food Food can manage the entire channel operations through a simple, yet sophisticated, web-based UI.
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.
