MAM
Videa launches automated television advertising platform
MUMBAI: Videa, a Cox-backed supply-side platform bringing automation and data-driven decision-making to broadcast television, is slated to debut at the National Association of Broadcasters Show in Las Vegas next week. Videa is currently working with seven key broadcast partners including Gannett, Raycom, Media General, Graham Media, and Cox as well as major advertising agencies including Carat / Amplifi and Starcom, to enhance and simplify the buying and selling of television advertising.
First launched in beta in December 2014, Videa has worked with station groups, agencies and rep firms across the spot TV ecosystem to build an automated television solution that optimizes advertising campaigns and enables workflow efficiencies and data enhanced audience targeting.
For broadcasters, Videa provides a powerful set of products and services driven by insightful reporting tools to enhance their existing sales channels and bring new sources of demand to spot television. By leveraging Videa’s platform, stations can offer features such as transparent pricing, enhanced data, yield and schedule optimization, and improved stewardship. Videa’s platform works across existing sales channels and offers buyers advanced access to the entire premium TV inventory schedule.
As part of its launch, Videa has also inked a key partnership with Mediaocean, the leading software platform provider for the advertising world, to provide agencies unprecedented speed, efficiency and transparency to traditional local broadcast media transactions. As part of the agreement, Videa will be the supply partner for broadcast inventory that will be initially available through Mediaocean’s Spectra.
“Our goal is to continue to make spot television more efficient and more powerful and believe the partnerships we have in place with the broadcasters, agencies, rep firms and Mediaocean are integral in achieving that goal. The Videa platform arms local stations with the same capabilities as large networks, helping them efficiently and effectively sell more spot television advertising at scale – something we will continue to do as we evolve our product to include more audience targeting capabilities,” said Videa president Shereta Williams.
“The ability to access traditional television advertising using automation provided by Mediaocean and Videa is a critical step forward in convergence. Embracing this change is essential to success and we are continually evolving to offer our clients a central converged ecosystem. The first step was enabling media buyers to access TV and digital from one platform, and now by partnering with Videa we are offering clients the technology to buy and sell broadcast in the most efficient way,” added Mediaocean vice president, product and partner solutions Cordie DePascale.
Videa is the only TV supply-side platform that provides a broad range of tools to manage sales channel conflict, as well as yield optimization tools. Local broadcasters can now leverage automation and data to enhance existing selling approaches and increase the demand for their inventory while providing advertisers with automation and analytics to reach target audiences with greater speed and accuracy.
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.
