MAM
Interactivity with innovation; billboard with a zing
MUMBAI: Pre-release, Yash Raj Films’ new movie, Hum Tum has been in the news a lot and for all the right reasons!
First it was the tie up with Radio Mirchi, then came MTV, then Sony’s Jassi Jaissi Koi Nahi, then Lay’s chips… the list seems endless. The latest is that Asian Paints along with Wits Interactive has come up with an innovative interactive hoarding at Fame Adlabs in Mumbai, called ‘iframe’ which is movement sensitive. And of course the movie on the interactive hoarding is Hum Tum which is all set to hit the screens on Friday, 28 May.
‘Iframe’, the brainchild of Madison Media was developed by Wits Interactive.
Touted as India’s first interactive movie poster, ‘iframe’ uses the Intelligent Content Distribution Architecture (ICDA), a proprietary technology developed by Wits Interactive to deliver an engaging, entertaining experience to the cinema going audience by converging different promotional media like print, multimedia and film.
‘iframe’ powered by the Wit engine, makes the content intelligent and beams full motion promos on detecting the presence of its audience. At a later stage, Wits is also looking at voice activation and personalisation of iframe.
Says Madison media director Rajiv Gopinath, “We wanted to do something different for our client Asian Paints and hence we thought of this. The tag line of Asian Paints is ‘Somethings in life deserve a royal treatment’ and we have used the Asian Paints Royale background as a backdrop for the interactive hoarding.”
Asian Paints brand manager Manish Dubey said, “We believe that somethings in life deserve a royale treatment. This interactive poster is something very unique and it sure deserves that kind of appreciation, so we thought that ‘iframe’ required a special environment that we could provide.”
Shringar Cinemas has been quite upbeat recently with innovative stuff like the Good Morning Shows and the sale of premier tickets of Hum Tum. Fame Adlabs also organised a Run for Abhishek contest with Go 92.5 FM when Bachchan Junior’s movie Run was released. Shringar Cinemas’ national head (marketing and sales) Deepak Netram says, “We have exhibition space in our theatre offering clients space for their ads. The cost and the space factor is not that important for us. What we are trying to do is enhance the viewers’ experience at the theatre with such experiments. We have been pioneers in a lot of areas and this is just another step towards that.”
When queried as to which ‘privileged’ movies would feature on this hoarding, Netram says, “We will inform Asian Paints about the movies that can be featured on iframe. But at the end of the day it will be Asian Paints’ call as to which movie they want on ‘iframe’ because they want to associate with only a particular type of movie. On behalf of Madison and Asian Paints we will then approach the producers of that particular movie that Asian Paints wants to associate with.”
Wits Interactive creative director Ninad Chhaya says, “We are looking at voice activating iframe at a later stage so that it will also be sound sensitive. We believe in helping companies increase their customer value and maximize return on relationships and that is exactly what we have done for Asian Paints. Iframe is the first of its kind hoarding in Asia.”
The destination of ‘iframe’ will be in Fame Adlabs, Mumbai for the next three months. More iframes will be put up at other Adlabs too. It’s surely innovation at its best and what with a voice sensor soon, it really couldn’t get better than this… or could it?
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.
