MAM
Everything you need to know about ‘Industry 4.0’
What is Industry 4.0?
Doubtlessly that innovation is having a tremendous influence in our regular day to day existences today, yet the undeniably associated culture we live in is additionally affecting the universe of industry.
Welcome to Industry 4.0, the name given to the developing a mix of conventional assembling and mechanical stages and practices with the most recent brilliant innovation.
This principally centres around the utilisation of huge scope M2M and the internet of things (IoT) arrangements to give any semblance of expanded mechanization, improved correspondence and observing, just as shrewd machines that can examine and analyze issues without the requirement for human mediation.
Industry 4.0 is as of now observing processing plants become progressively computerized and self-checking as the machines inside are enabled to dissect and speak with one another. This at that point free ups their human associates, giving organizations much smoother forms that leave representatives open for different assignments.
Industry 4.0 – the most recent news
24/07 – Industry 4.0: for more intelligent tasks – Understanding this present reality utilizations of IIoT information catch…
13/05 – Remember the human touch in Industry 4.0 – Consistent client encounters that offset innovation with a human touch…
04/04 – Industry 4.0 enduring significant security issues – Assembling part lingers behind with regards to cybersecurity…
29/03 – Why portable is at the core of Industry 4.0 – Industry 4.0 or the IIoT will change each part and versatile will assume an enormous job…
22/03 – IoT security spend to reach £ 1 billion in 2018 – Gartner figures propose expanded consciousness of dangers is boosting spend…
10/03 – Overlook keen ice chests: the Modern Web of Things is the genuine upset – Industry 4.0 is now here and making monstrous contrasts…
25/02 – Industry 4.0: a modern advancement, as opposed to an upheaval – The associated, clever industrial facilities of things to come will introduce another age of industry…
20/02 – UK organizations caught off guard for Industry 4.0 – Assembling industry in the UK has done little to embrace computerization and other advanced advances…
30/10/2018 – 'Fourth Mechanical Unrest' could open billions for the UK – Grasping Industry 4.0 advances could be vital to major new advantages, report claims..
Why Industry 4.0? What befell Industry 2.0 and 3.0?
Industry 4.0 is neither another type of innovation nor a business perfect, however in truth a redid approach propelled by new progressions to accomplish results that weren't conceivable ten years back.
It has additionally been named as "the fourth mechanical transformation" – however, what precisely does that mean?
The primary mechanical transformation saw England move from cultivating to industrial facility creation in the nineteenth century. The second spread over the period from the 1850s to World War I and started with the presentation of steel, coming full circle in the early charge of processing plants and the primary spouts of large scale manufacturing. At long last, the third modern insurgency alludes to the change from simple, mechanical, and electronic innovation to advanced innovation that occurred from the late 1950s to the late 1970s.
The fourth, at that point, is the move towards digitization. Industry 4.0 utilizes the web of things and digital physical frameworks, for example, sensors to gather tremendous measures of information that can be utilized by makers and makers to examine and improve their work.
Ongoing headways in huge information and investigation stages implies that frameworks can trawl through the enormous arrangements of information and produce bits of knowledge that can be followed up on rapidly.
Brilliant manufacturing plants, which will be at the core of Industry 4.0, will accept data and correspondence innovation for advancement in the inventory network and creation line that brings a lot more significant level of both mechanization and digitization. It implies machines utilizing self-advancement, self-setup and even computerized reasoning to finish complex assignments so as to convey immeasurably prevalent cost efficiencies and better quality merchandise or administrations.
(The author is founder, Squadk.in. The views expressed are her own and Indiantelevision.com may not subscribe to them.)
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.
