MAM
Only 3% of brands in Tamil Nadu advertise on both TV and digital
MUMBAI: Marketers advocated for the need to create ads simultaneously for television as well as digital to penetrate deeper in regional markets like Tamil Nadu, at the recently concluded Tele-Wise Tamil 2019. The event was organised by Indiantelevision.com to acknowledge the vast pool of opportunities Tamil television has for brands and advertisers in Chennai on 6 August.
On the panel were Lodestar UM EVP Laya Menon, Matrimony.com AGM marketing communications Akhil Jain, Paytm Travel GM brand marketing Bhushan Walzade, TAM Media Research VP Tam Axis Vinita Shah, TVS Auto Assist India head marketing Mahima Singh, and Wavemaker general manager Rajendra J Prasad. It was moderated by Bodhitree Multimedia co-founder & Director Mautik Tolia.
Speaking on the panel, discussing the might of the Tamil market for national and regional advertisers, Menon said, “Hetero-TV consumption is a trend not just in Tamil Nadu but also other South Indian markets. Thus, to optimise the reach of any campaign, we have seen while the reach tends to start with TV, the digital medium adds anywhere between 7-10 per cent to it. And this is just the AV medium I am talking about. To top that, we have other layers like social media platforms. The fact is that the market is now screen-agnostic. TV sells the opportunity and the added advantage comes from online content that has to be fairly customised for the market on a language-basis, which adds a significant amount of measurable reach.”
Jain, who admitted spending around 80 per cent of his ad spends on TV, shared the example of his own brand as he elaborated more on the concept. He said that he has seen campaigns that run both on TV and digital performing better than the ones that ran just on the latter.
He said, “I believe that there is a huge synergy between digital and television. As you know, ours is a digital-first platform. With our marketing communications, we ask people to download our app. Now, there is this two-screen theory, which says that even while people are watching TV, they have their phones with them. So, whenever our ad pops up on TV, and the person is using the phone, we serve them the communication on digital medium too, for example, on Facebook.”
Jain added that it increases the rate of conversion for their app, adding more users. He mentioned that he has observed a positive blip in the number of registrations on the app when the ad is running simultaneously on both platforms.
Walzade shared similar thoughts as he noted, “I think that the digital medium is growing very fast now. It makes it very important for us to 360-degree campaigns. At Paytm, especially with our travel business, we don’t only put TVCs on national and regional TV, but are also going big on social media.”
Speaking about the Tamil Nadu market, Walzade added that the state is in top 3 when it comes to internet penetration and the literacy rate is also quite high there. The acceptance of new technologies there is leading to the thriving of e-commerce industry and it really helps us in investing in media and reaching to consumers.
However, Shah noted that despite there being a great understanding of the need to advertise on multiple platforms only 2.5-3 per cent of advertisers in Tamil Nadu advertise on both TV and digital. She urged the community to recognise this big gap in the synergy between TV and digital and try to fill it.
Another insight that came out through the session was the importance of creating content in simple and relatable language for the regional audience. The speakers insisted that national advertisers create simultaneous campaigns for the regional markets to assure better results for their campaigns.
Singh said, “One’s approach should be really regional when it comes to connecting with the regional audience. National advertisers should look at creating content that is more local and is closer to the audience.”
She also emphasised the need to understand the audience’s AV-viewing patterns and recognise at what time they are accessing content on what platform for better targeting. Prasad seconded her thoughts as he advocated for the creation of customised and bespoke brand codes for each region.
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.
