Digital
Sprect, C2C knowledge marketplace from mCanvas co-founder Vishal Rupani, rolls out
Mumbai: Sprect, an innovative startup focused on changing the way people connect digitally, announced the launch of its platform today. Sprect, short for ‘super connect’, aims to bridge the gap between individuals and professionals from diverse fields, making them digitally accessible to each other quickly and effortlessly.
The inspiration behind Sprect arose from the realisation that connecting with individuals outside of our social and professional circles can be challenging. This problem becomes even more pronounced when the desired professional (PRO) is located in a different city. Traditional solutions fall short despite willingness to pay. Sprect’s extensive research led to a cutting-edge web platform enabling secure 1:1 video interactions, preserving privacy. As India’s first multilingual open marketplace, users filter professionals by location, language, and price, ensuring personalized matches. Refunds for declined calls emphasize user satisfaction. The self-service model empowers professionals to tailor profiles, pricing, and availability, enhancing the experience.
Co-founder Mohit Khadaria, shared his motivation for creating Sprect, stating, “As a student, I faced numerous challenges when it came to reaching out to the right people for advice. I always wanted to address this issue. With the increasing comfort level people have with video calls and the democratization of internet access, we realized that now is the perfect time to tackle this problem. Sprect aims to change the game by providing quick access to professionals who can offer valuable guidance.”
Sprect co-founder Vishal Rupani, veteran in the digital advertising industry, provided insights into the platform’s unique proposition, saying, “While many individuals are willing to help, they often lack the incentive to offer their precious time. They wouldn’t expect you to transfer money for a conversation. Corporate consulting has long been established in the B2B market, but there hasn’t been a convenient one-to-one C2C solution available for the wider masses, removing the awkwardness of asking for help or payment. Sprect fills this void.”
Bootstrapped yet noteworthy, Sprect has attracted considerable attention, amassing hundreds of professionals on its platform. Notable figures like Income Tax, retd. principal chief commissioner N P Singh and Vishwajeet Sangle, India’s representative in the 2024 Olympics have joined the platform.
BharatPe CBO Dhruv Dhanraj Bahl endorsed Sprect’s vision, stating, “Sprect is addressing a significant problem in today’s digital landscape. The ability to access and interact with a professional from any walk of life at the click of a button is an invaluable resource. By providing a platform that facilitates these connections seamlessly, Sprect is poised to revolutionize the way people seek knowledge and expertise.”
Sprect remains dedicated to delivering an unparalleled user experience without subscriptions, commitments, or risk for PROs. Sprect invites individuals and professionals alike to join its platform and unlock new opportunities for personal and professional growth.
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.
