MAM
WarnerMedia asia pacific taps Synamedia to improve satellite delivery efficiencies
MUMBAI: Synamedia, the world’s largest independent video software provider, today announced that WarnerMedia Asia Pacific has chosen its end-to-end PowerVu content delivery solution to enhance their satellite content delivery system. Synamedia technologies will reduce bandwidth costs, deliver next-generation security capabilities, and prepare the company’s satellite system for future IP delivery innovations.
WarnerMedia is leveraging Synamedia’s Virtual Digital Content Manager (vDCM) with Smart Rate Control and Automation, PowerVu Network Center (PNC), and D9800 Network Transport Receiver to help revolutionize the efficiency and speed by which their content is delivered around the world.
“Today’s viewers, no matter their location, expect content when they want it and how they want it. Simply put, there’s no room for delay,” Luis Esparza, Senior Vice President of International Technology, WarnerMedia. “Synamedia understands this fact and has both a robust portfolio of solutions and an impeccable security track record. Our continued partnership is one based on proven success.”
Today, satellite technologies are advancing, leases are expiring, and security is becoming an ever-increasing concern. WarnerMedia looked to the formidable expertise of Synamedia and its HEVC technology to enable them to protect their footprint in existing markets while finding new routes to additional revenues. The end-to-end Synamedia solution will allow the company to complement its traditional satellite distribution with future IP-based delivery options, a unique capability of the D9800 Network Transport Receiver.
“Our brands are synonymous with high-value content and innovation, and with our laser focus on business retention, revenue growth, and security, we need a partner as committed to these goals as we are,” said Gustavo Fracassi, Senior Director, International Infrastructure & Transport, International Technology, WarnerMedia. “Synamedia brings decades of experience and some of the best engineering minds in the industry to the table, which shows in their solutions and deployments.”
Synamedia’s Virtual DCM encoding and multiplexing platform represents a new generation of virtualized and software-based video processing, providing advanced video, audio, and metadata processing for live multi-format video delivery. By using machine-learning and Stream Video Quality (SVQ) Synamedia’s patented light weight and real-time quality metric technology, Virtual DCM can scale automatically to provide maximum video quality at minimum bandwidth and storage costs. This enables broadcasters, content providers, and service providers to meet their service requirements for premium picture quality, bandwidth efficiency, and multiscreen transcoding/encoding.
Synamedia’s PNC platform is a sophisticated, highly reliable and easy-to-use content delivery system that provides network management, improved security, decoder management, monitoring and analytics and focused on advanced revenue protection. The Synamedia D9800 Network Transport Receiver is the most versatile network receiver available today, offering hardware configurability and Over-The-Air (OTA) licensing that allows for customization as part of the video distribution handoff to service providers. This platform complements or transitions traditional satellite distribution with a variety of IP-based video delivery mechanisms.
“WarnerMedia Asia Pacific is one of the most progressive content providers in the industry today. Thanks to that, they are the ideal partner to illustrate how advanced technologies can continue to evolve content delivery,” said Julien Signes, Senior Vice President and General Manager, Video Processing, Synamedia. “It’s yet another reinforcement to the industry that Synamedia is committed to endless innovation.”
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.
