MAM
DigitasLBi creates global VR experience for OnePlus 3 launch
Mumbai, June 15, 2016: OnePlus, the global technology start-up, is launching its third flagship smartphone –in virtual space. Behind this creative and break-through use of virtual reality technology is the combined efforts of creative and technology professionals from DigitasLBi.
‘The Loop’ is the name of the VR experience that creates a mélange of never ending animations in a virtual space station high above the Earth’s surface. While inside The Loop, users can explore many of the key features of the new OnePlus 3, and even order the smartphone in the virtual world – and then have it delivered to the real one.
“To create the most realistic and immersive experience possible, we’ve employed a number of innovative, never-before-seen, usages of CGI and 4D technologies, as well as 360° films,” explains DigitasLBi Nordics creative director Rasmus Frandsen. “Together, these create an experience designed to excite the global community of OnePlus fans, as well as tech enthusiasts.”
“Last year OnePlus held the first-ever product launch in VR. This time with The Loop, we’re taking things a step forward by pushing accessible VR technology to its outer limits,” said OnePlus co-founder and head of global Carl Pei. “It’s going to go down in history as the first global shopping experience in VR!”
The OnePlus 3 launched on June 14, 2016, and The Loop can be downloaded from Google Play and the App Store. For the first 2.5 hours OnePlus 3 could only be ordered from inside The Loop.
About the campaign:
The campaign delivers the world’s first VR looping animation. Using a VR headset, potential customers are welcomed on board the OnePlus office of the future – a spacecraft called The Loop. While on board, visitors receive a tour of the spacecraft and an introduction to the OnePlus 3, as well as the opportunity to purchase the OnePlus 3 directly in the VR experience.
The solution sets a new standard for VR experiences on smartphones. The campaign creates an interactive and engaging experience through ingenious use of seamlessly looped Hollywood quality CGI 3D stereoscopic visuals. The custom VR playback engine is optimized for low latency, high resolution, high frame-rate mobile VR immersion, making it possible for viewers to enjoy a rich VR experience on a normal smartphone.
The campaign will run in the US, Europe, India and China.
The trailer can be seen here:
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.
