MAM
Posterscope India launches OOHZONE
MUMBAI: Posterscope India, the out-of-home agency from Dentsu Aegis Network, has launched ‘OOHZONE’, a fully automated live dashboard for OOH media planning. Its shear scope of process automation and innovative design makes it an impressive asset, which the agency trusts is a milestone in OOH media planning and execution mapping.
The tool encompasses media inventory of over 60,000 OOH sites across 1700+ cities in India. The media ranges from Billboards, Unipoles, Bus Shelters and Gantries along with inclusion of media at ambient touchpoints such as Mall facades.
The tool’s state of the art planning mechanism is fool proof and facilitates the know-how of critical data points integral to a robust brand centric OOH plan. The tool incorporates consumer insights of over 24 OOH touch points, their heat mapping, analysis of live traffic data, mobile tracking for hyperlocal targeting, alongside many more important inputs. When all combined, the tool designs a detailed online plan with mapping of consumers vis-à-vis media, providing an integrated plan in absence of any research or data in Indian OOH industry.
This futuristic dashboard is an end to end solution for automating the entire process in OOH. Right from the brief stage to planning to execution and finally the payment, all of it tethered to a single dashboard for transparency and accountability. The tool has helped Posterscope to bring down the process time by more than 5 days and gain effective incremental efficiency by 70%.
Posterscope recognizes the importance of location analysis as a key driver for consumer understanding, which is becoming increasingly important to all its clients. In addition to make OOH planning more efficient, Posterscope is now using mobile data to build their location expertise, beyond planning billboards, bus shelters, mall spaces and digital screens. This involves using granular mobile data to understand diversity of audiences, where they are, what they are doing and where they are going.
The tool will cut across all conventional media planning processes to give out an evolved media planning perspective in the OOH domain. Now all the clients at Posterscope will get media plotting with consumer and traffic heat maps.
Haresh Nayak, Managing Director Posterscope said, “Location is the new leverage that brands and agencies are eyeing to ascertain the consumer behaviour, and when OOH is the context, mobile devices are the undeniable common currency of information mining. We now have access to large data sources that allow us to break away from traditional audience demographics, enabling us to plan, on location based behaviours and interests. To achieve this we have forged number of partnerships in order to access a variety of mobile data.”
“OOHZONE is now at the forefront of automated, speed driven and process oriented planning and by its virtue it will surely stir a paradigm shift in the OOH industry,” he added.
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.
