MAM
Roohafza gets innovative on billboards
MUMBAI: Over the last two months, Roohafza has spread its communication across several multimedia platforms.
Roohafza’s advertising campaign idea for 2014, centred on ‘Be Natural Be Cool’ has been stepped up on the outdoor medium and is targeted towards youngsters of SEC AA, A and B. The task behind the campaign was to bring alive the over 100 years old iconic brand and speak to the new age audience. Kinetic India is the agency that has executed the outdoor campaign.
The campaign brief given to Kinetic was to ensure that the innovativeoutdoor display should serve the brand objective of addressing the natural lineage of the product head-on. Also the campaign is aimed to support and amplify outdoor to TV and print.
Hamdard India brand manager Puneet Kapoor further elaborated, “People perceive Roohafza as a rose based syrup. What’s less known is that Roohafza is a unique blend of 15 herbal ingredients and fruit juices. The campaign aims to build on the natural goodness of the product and at the same time refresh our connect with the younger generation with the message of ‘Be Natural Be Cool’.”
The two month outdoor campaign has rolled out in Mumbai, New Delhi, Aurangabad, Kanpur, Lucknow, Agra, Amritsar, Ludhiana, Chandigarh, Panchkula, Mohali, Ambala, Jaipur, Jodhpur, Ajmer, Indore and Bhopal and ends in mid July.
The main areas covered in this outdoor campaign are key junctions and main arterial routes of the tar. The inventories used in traditional media are billboards, unipole, bus shelters and metro panels with innovation. The innovation is done by keeping in mind a Roohafza bottle of which half indicates different ingredients of the drink and the other half show syrup inside the bottle.
Other than this, the bottle is depicted to be tilted and is being poured in the glass with a cut out of a glass and a base of a lot of ice indicating its best had cold to feel refreshed.
“Our challenge was to bring the wow factor in the outdoor innovation and highlight the unique ingredients of Roohafza. We came up with a solution where we used a larger than life 3D bottle of Roohafza on the outdoor media highlighting the unique mixture of ingredients that goes in making Roohafza,” said Kinetic India vice president and business head Raj Mohanty.
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.
