MAM
TAM India mulls starting Television Innovation Monitor
MUMBAI: Television Audience Measurement Media Research (TAM India), a 50:50 joint venture between Nielsen Media Research(NMR)/AC Nielsen and Kantar Media Research(KMR) / IMRB, is planning to launch a Television Innovation Monitor (TIM).
TAM India is already providing the Press Innovation Monitor (PIM) to ad agencies and corporates.
TAM India has compiled exhaustive information on the various options available for ‘creating innovations on print’ on a single CD. The CD provides information (annual basis) on ‘innovations’ in nearly 700 Indian publications; and is a one-stop shop available to media planners and buyers.
While speaking to indiantelevision.com, TAM India CEO LV Krishnan says: “PIM is India’s largest pool of print innovation. It has been a great asset to agency planners and buyers who work on the annual client plans under tremendous pressure and stringent deadlines. By using this value-added service provided by TAM India, the fraternity has been able to obtain information at the click of a button. Now, we are planning to extend the concept to track ‘innovation on television’.”
TAM India S-Group director Atul Phadnis adds: “Although, there are fewer innovations on television as compared to print, we still feel that this scenario is changing rapidly. The trend of product placements and in-serial placements is increasing as newer formats of TV programmes such as Khulja Sim Sim(Star Plus) are being conceptualised by broadcasters. Several companies such as P&G and Dr Morepen are pro-actively exploring these avenues aggressively.”
In addition to measurement, TAM’s recent foray into monitoring services of press and TV has given the firm a unique opportunity for integrating measurement and monitoring under a single roof.
An ISO 9001 certified service, TAM Adex monitors over 550 products and 85,000 brands every minute for 365 days thereby providing the largest monitoring repository in India.
Phadnis adds: “With the objective of providing innovative solutions, TAM Adex has initiated,for the first time in India, a scientific approach into the measurement of non TVC’s such as in-stadia advertising for major sports,events and in-programme advertising.”
TAM India has also launched specialised services for broadcasters. “Track TAM – The Promo Monitor is one of the most advanced tools in the TAM’s offering for broadcasters. It consists of a series of tools and techniques to evaluate the performance of on-air programme promotions,” says Krishnan.
The process involves fusion of raw level viewership data with the TAM ADEX data on programme promotions. The Track TAM – “Promo Monitor” can provide ‘actionable’ information into areas of promo planning that have so far been “black holes” for broadcaster namely:
* Optimised promo plan, which minimises opportunity costs for the channel network.
* Effect of cross media promotions
* Effective frequency of promotion exposures
* Effect of changes in creative on conversions
Post-expansion plans conducted in January 2003, TAM India claims be the biggest measurement system in Asia Pacific with a panel strength of 4,800 meters. With services in more than 20 countries spanning Asia, Europe and Americas, TAM India claims to have come a long way, since its inception in 1998, to be regarded not only as the universal television currency but also as a complete television solution provider.
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.
