MAM
FremantleMedia deploys Artesia DAM solution to hasten access to TV shows
MUMBAI:The international creators and producers of television programmes FremantleMedia has implemented Open Text’s Artesia Digital Asset Management solution (Artesia DAM) for a new Web-based system that will dramatically speed up access to programmes for broadcast customers in countries around the world.
The international creator has deployed the Digital Asset Management to speed up access to television shows globally.
The announcement was made at the National Association of Broadcasters conference, NAB 2006, the electronic media show at Las Vegas.
The Open Text’s Artesia Digital Media Group has a major presence at the event as sponsor of the Digital Asset Management Pavilion and the DAM Theater.
According to an official release, with this Web-based application, all of FremantleMedia’s regional offices have the ability to preview more than 1,000 hours of programming as well as new shows in more than 20 countries where FremantleMedia has production offices.
The solution initially supports the worldwide drama department and will soon scale across other departments.
“This is already one of our most important sales tools, letting broadcasters around the world tap into the breadth of our programming quickly and easily. We look forward to expanding the system across all of our departments,” said FremantleMedia Production executive VP production Worldwide Entertainment Rob Clark.
An important aspect of FremantleMedia’s business is identifying and selling “formats” globally. For example, the company reviews programmes when they are aired and determines whether the programmes have potential for remarketing in other markets.
A recent example is The Apprentice, which FremantleMedia brought to the UK and other international markets. A traditional format like The Price is Right, the world’s number one game show, took about 40 years to get to the point where it is now broadcast in 40 different countries.
Today improved communications and digital broadcasting mean that a format like Pop Idol in the UK has reached 30 countries in three years. By using Artesia DAM, the company is compressing this time even further.
“From the outset we were looking for a DAM solution that could meet our needs for at least the next five years. That meant it had to scale in two dimensions by volume and by the nature of the content used,” said FremantleMedia information systems & technology head Nigel Dixon.
“Other critical factors that led to the selection of Artesia DAM were the ability to integrate into our existing systems and other products, and production deployment within a six-month timeframe. We worked closely with the Artesia team to deliver the solution on time and under budget, ” briefs Dixon.
The initial implementation of Artesia DAM will give the company’s sales staff and broadcasters around the world immediate access to shows shortly after they are broadcast. At present, this is done by the distribution of DVDs which results in significant delays.
The company is already seeing a significant time-to-market advantage using the new system. In addition, more than 1,000 hours of FremantleMedia’s extensive programming archive is available in Microsoft Windows Media format through the Web application.
“FremantleMedia is leading the trend globally toward central management of program content and distribution using digital asset management along with Web-based user interfaces,” said Open Text’s Artesia Digital Media Group president Scott Bowen.
“Across the board we’re seeing that Artesia DAM delivers significant business value, helping to lower operational costs and improve the bottom line.”
Artesia DAM is a leading solution for managing large volumes of digital content, such as video, audio and graphics files, in global organizations. The solution helps customers manage this content more efficiently, and helps them to reduce costs, safeguard copyrights and derive new revenue streams by re- expressing and reusing existing content. It complements every phase of the video asset lifecycle including production, review and approval, distribution, and content preservation.
The company has a cliente based which includes leading media and entertainment companies, such as Comcast, Discovery Communications, DreamWorks, HBO, and MLB.com, informs the release.
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.
