MAM
Instream largest video ad inventory on the net
MUMBAI: US video ad network Instream has announced that it has emerged from its Beta period as one of the largest sources of managed video advertising inventory on the Internet.
Instream president and CEO Tom MacIsaac says, “Some have said there is a shortage of quality in-stream video ad inventory on the Internet — the truth is there is a shortage of quality managed video ad inventory. Instream aggregates high quality Internet video sites onto the leading video advertising technology platform, forming a new, high quality, high reach, single source for brand advertisers embracing video advertising. We believe that, after the major portals, Instream is the single biggest source of managed video ad inventory on the Internet.”
The company says that when advertisers venture beyond the few places with sophisticated in-stream video ad management capabilities, such as the major portals and a handful of other leading video internet sites, they have little control over the delivery of their ad campaigns in terms of targetting, frequency capping, session management, ad unit standardisation (such as a synchronised IAB banner) and other requirements.The reporting they receive back is equally limited.
Advertisers who buy the Instream network can receive not only state- of-the-art ad delivery but also get consolidated, rolled up reporting including the enhanced reporting requirements emerging for Internet video such as closed loop auditing and per cent-of-ad-played reporting.
Instream says that it is able to deliver such highly managed inventory because its technology platform is built on the best-of-breed Lightningcast video advertising platform, which is also used by AOL, Microsoft, ABC News, Scripps Networks, A&E Networks, The Employment and Career Channel and others.
As a result, Instream has the opportunity to leverage the Lightningcast network to provide remnant inventory sales for Lightningcast technology customers.This platform also enables dynamic ad insertion into live streams and downloaded content as well as on-demand streams.
Instream claims to have experienced strong demand from publishers and advertisers. Since the launch of the Publisher Beta in July, Instream has been delivering more than 100 million video streams per month and anticipates total monthly volume of more than 500 million monthly streams by early 2006.
Since the launch of the Advertiser Beta in September, Instream claims to have been embraced by major brand advertisers, and has more than a dozen other advertiser campaigns planned for Q4 2005 and 2006.
Carat Fusion media supervisor Christine Peterson said, “Video advertising has become an important part of our clients’ digital media strategy. We are excited about the growth in high quality managed video advertising inventory such as that amassed by Instream”.
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.
