MAM
Pepperfry campaign: iProspect recognised at Google Awards
MUMBAI: iProspect India, the global digital agency from Dentsu Aegis Network, has won the Mobile Innovation Award for its campaign for Pepperfry.com at the Google Premier Partner Awards in India.
The campaign will now compete at the APAC level and the winning campaigns at APAC will further be shortlisted for the global awards to take place in New York on 28 September, 2017. The first ever Google Premier Partner Awards recognizes and celebrates the top-performing Google Premier Partners for their contributions to digital marketing, product innovation and client growth.
iProspect’s proprietary tool iSync was used for the Pepperfry.com campaign. iSync delivers online ads synchronised with television, radio advertising, weather, sporting events, and 3rd party in real time. The objective of the campaign was to leverage the online opportunity created by the offline (TV) campaigns of Pepperfry.com and its competitor. The strategy was pegged on the insight that the online brand searches of the competitor’s brand would increase during the time period that its television ads were aired. It focused on dynamically bidding up on the competitor’s brand keywords, during their TVC slot, which ensured that users saw Pepperfry.com ads on searching for the competitor’s brand. Similarly, bidding up Pepperfry.com’s brand keywords 20 per cent on mobile during their TVC slots, amplifying the reach of its ads online.
iSync synced Pepperfry.com’s digital media buys to Pepperfry.com’s and its competitor’s TV ad slots. Messaging to capture the consumer’s content such as compelling offers in the ad copies, in sync with the messaging on TV were highlighted. This increased relevancy from the customers’ point of view and therein increased clicks on the ad. Results comprised 42 per cent of the mobile impression share on competitor keywords, 146 per cent increase in impression share, 82,000 brand impressions achieved in just 21 days against the competitor, 63 per cent increase in CTR (Click through Rate), 1 per cent conversion rate on competitor traffic, 301 per cent increase in number of clicks and 235 per cent increase in sales.
iProspect India CEO Rubeena Singh said, “The e-commerce category is the top digital spender. It spends the majority of its digital ad spends on search (42 per cent ), followed by social media (20 per cent). Ad spending on mobile is estimated to grow at a rate of 59 per cent CAGR to reach Rs 133.25 billion in 2020. These figures are testimony to the fact that mobile will continue to grow at a rapid pace in the future and companies will accordingly increase investments in this digital platform.”
“It’s been exciting to see the submissions from digital marketing leaders from India. We’re delighted to celebrate the Premier Google Partners who have made it to the winner list for Awards,” said Google India director – India agencies Sam Singh.
“To sync our existing digital marketing campaigns to offline marketing inputs was a creative solution to an age-old omnichannel ambition. We congratulate the iProspect team for winning the coveted award – it is well deserved! The award winning campaign has been instrumental in improving business metrics for us. We look forward to more of such interesting innovations going ahead,” said Pepperfry.com senior manager – digital marketing Abhishek Dasgupta.
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.
