MUMBAI: Phenomenal-Ent has announced the appointment of Mrinalini Khanna as partner, effective February 2025. Khanna brings extensive experience in content development and strategy across television, digital and live entertainment sectors.
Prior to joining Phenomenal-Ent, Khanna served as vice president of originals at Lionsgate India from August 2021 to December 2023. She previously held senior positions at Endemol Shine India for over a decade, including vice president and associate vice president roles, where she spearheaded content strategy and development for various entertainment channels.
Khanna’s career spans multiple facets of the media industry, including a stint as a writer for Miditech, where she contributed to the award-winning children’s programme “Galli Galli Sim Sim”. Her work on the show earned a Gold Plaque at the 44th Chicago Film Festival in the Education for Child Audience category.
Her expertise includes creating original intellectual property, adapting international formats for Indian audiences, and developing content strategies for general entertainment, youth, and specialty channels. She has also worked extensively on brand communication through branded content initiatives.
MUMBAI: Bodhitree Multimedia Ltd (BSE: BTML; NSE: BTML), a leading Indian content creation and media production company, has announced its unaudited financial results for the third quarter ending 31 December 2024.
The company posted a consolidated revenue of Rs 50.47 crore, marking a 19.6 per cent increase from Rs 42.17 crore in the corresponding quarter last year. The consolidated profit before tax (PBT) reached Rs 4.31 crore, up 9.9 per cent from Rs 3.92 crore in Q3 2023, whilst the profit after tax (PAT) grew by 22.2 per cent to Rs 3.03 crore, compared to Rs 2.48 crore in the same period.
On a standalone basis, the company witnessed remarkable growth, with revenue surging 57.7 per cent to Rs 38.50 crore from Rs 24.42 crore in Q3 2023. The standalone PBT nearly doubled to Rs 2.85 crore, showing a 99.3 per cent increase from Rs 1.43 crore. The standalone PAT demonstrated exceptional growth of 139.8 per cent, reaching Rs 1.99 crore compared to Rs 0.83 crore in the previous year’s quarter.
Bodhitree Multimedia chief executive Mautik Tolia, chief executive of Bodhitree Multimedia, attributed the strong performance to the company’s focus on premium content production and strategic partnerships. “Shows like Gunaah have been instrumental in driving our success,” he said, expressing confidence in the company’s growth trajectory.
Founded by Tolia and Sukesh Motwani, Bodhitree Multimedia has produced over 3,000 hours of content across more than 50 shows for major broadcasters and OTT platforms. The company specialises in various genres including drama, thriller, horror, comedy and lifestyle programming, operating primarily on a business-to-business model.
The company’s services span production, direction, writing, dubbing, mixing, subtitling, content editing and localisation for television, films and digital platforms.
MUMBAI: Stype Cajic, the founder of Stype, is a 40-year-old trailblazer who has built a global media tech empire from the ground up. His journey began with a simple idea while still a student—developing autofocus technology for camera cranes. What started as a project in his parent’s house bedroom has now evolved into Stype, a company with a team of over 200 people.
Since its inception in 2011, Stype has made a name for itself by providing state-of-the-art tracking solutions for VR, AR and MR (mixed reality) productions, as well as movie previsualisations. From the optical camera tracking system RedSpy 2.0 Fiber, used by the world’s biggest broadcasters like BBC, Fox, and MTV, to the innovative StypeKit mechanical tracking solution for cranes and jibs, Stype’s products are now a staple in the industry. The company’s latest breakthrough, Follower, takes talent and object tracking to new heights, enabling real people to seamlessly interact with virtual elements in AR.
In this interview, Cajic shares his insights into the evolution of his company, the technological innovations that have shaped the company’s success, and his vision for the future of media tech. Excerpts:
What inspired you to develop Automatic aiming for camera cranes?
The idea came when a friend was building camera cranes and struggled with controlling the camera using a joystick. I thought, why not automate the process so the camera could track objects on its own? This led to the development of the first prototype, which proved the concept could work.
My background in shooting music videos against green screens also played a key role, as creating dynamic, realistic backgrounds was challenging with static shots. This led me to realise that the encoders used for automatic aiming could also track the camera’s position in 3D space, improving virtual backgrounds. Initially, we developed the system for my friend’s crane, naming it “Aim Crane,” but it took off when we adapted it into a universal kit that worked with popular cranes like the Stanton Jimmy Jib and Cammate.
How did you land your first major client?
Our big break came when we tested the system successfully in Lebanon – an AR project for a Ramadan TV show. This project helped me make necessary innovations in the software side of the workflow, particularly data conversion and lens calibration. The success of this project gave us a foothold in the industry.
Though we shared our work online, it didn’t initially lead to business until we received an unexpected email from Fox Sports Australia. They had ordered a Japanese tracking system for their AR-enhanced broadcast, but it wouldn’t arrive in time. After finding our online posts, they decided to try our system, even though it was much cheaper. We agreed to a trial, and I flew out to their studio. Despite some initial technical issues, I used a data logic analyser to tweak our system to work with theirs, and after a few adjustments, it worked perfectly. Fox Sports was impressed, especially with the auto-aiming feature, which solved problems they had with camera operators. The system not only improved their AR broadcasts but also enhanced the quality of their camera shots. The first unit we sold to them is still operational 13 years later.
Stype’s RedSpy
What options were available on the market when you began developing an automatic aiming system for cranes?
When I started, I was studying electrical engineering and computing while also working as a video editor, mainly on music videos. It was a fun way to learn during my college days. A friend of mine, who ran a video company, began building camera cranes, but he and his team struggled to control the camera using a joystick—especially with a crane arm stretching five to six metres. It takes years of experience to master that kind of precision.
Drawing on my background in programming, I decided to create a device to automate the process, making crane operation easier, even for less experienced users. After some research, I realised there were no existing products like this on the market. Encouraged by my friend’s enthusiasm, I ordered components, incorporated the project into my college coursework, and eventually developed a prototype by the time I was around 22.
The first prototype worked brilliantly. For example, you could programme the crane to keep a flower perfectly centred in the frame while swinging the arm—producing smooth, professional shots that amazed everyone who saw them.
Interestingly, another benefit emerged from my experience shooting music videos against green screens. Back then—over 20 years ago—we’d rent films from video stores, find suitable backgrounds as inspirations, and painstakingly modify them in Photoshop to repurpose the scenes. However, these backgrounds were static, lacking the depth and dynamic feel of 3D environments. I wanted to move the camera and have the background shift perspective accordingly.
While developing the automated aiming system, I realised the same encoders used to track crane movements could output the camera’s 3D position. This “side feature” turned out to be transformative, opening up new creative possibilities—not just for us but potentially for others in video production. Eventually, this functionality became the core strength of the product, enhancing both camera control and visual effects.
StypeKit and Human Crane setup
How do your camera tracking solutions differ for sports studios, music video production, and esports?
Our hardware solutions have been utilised across various production sectors, including sports, music video production, and esports. Initially, we started with mechanical tracking systems for cranes, such as the StypeKit, which provides auto-aiming and AR data output. Over time, we expanded into optical tracking products like RedSpy and Follower.
For OBs, concerts, arenas and sports, mechanical tracking systems are often preferred because they are reliable, self-sufficient, and don’t depend on external markers, making them ideal for large, dynamic environments like stadiums. In controlled studio spaces, RedSpy is the go-to solution, offering the most precise camera tracking available. Its infrared camera system uses retroreflective markers to ensure flawless tracking, with no drift or wobble, which is essential for high-quality virtual graphics. One key feature was its unobtrusiveness: the infrared LEDs blinked so briefly they were practically invisible, yet the tracking remained flawless. RedSpy’s reliability allows production teams to focus on the creative aspects of their shows instead of worrying about camera tracking performance. This is what has made it the world’s most popular camera tracking system.
StypeKit and RedSpy both have been honoured with an Emmy Award.
Follower, our newest addition, is another optical solution, goes beyond just tracking cameras. It’s similar to a motion capture system and can track people and objects in real-time. Follower is designed for interactive 3D elements, allowing real-time tracking of objects, people, or even props, making it ideal for interactive broadcasts or performances. Unlike other motion capture systems, Follower can handle the complex demands of high-quality AR and virtual content in live environments. It’s also used in LED volume environments, where traditional tracking systems might struggle with precise tracking when complex foreground graphics are involved.
Follower Spyder
What innovations have you introduced in your software solutions?
On the software side, we have consistently pushed the envelope. After recognising the need for advanced chroma keying, we developed StypeLand, a software tool for Unreal Engine that includes a 3D difference-based chroma keyer called GreenKiller. This keyer surpasses others on the market by refining edges, enhancing shadows, and even keying through transparent objects—features that earned us an Emmy Award.
We also lead in XR solutions, offering photorealistic XR sets with LED volumes and set extensions. Our system ensures seamless transitions between virtual and real environments by automatically adjusting colour shifts across LED panels. This innovation, which is the only one of its kind on the market, earned us another Emmy, recognising our work in XR technology for Fox Sports in Los Angeles.
In total, we’ve won multiple Emmys, both for our technical contributions and for our cutting-edge software solutions. These accolades reinforce our commitment to delivering the most precise and the most reliable technology to the media production industry.
Are your solutions compatible with other suppliers, or do clients need to use your complete end-to-end system?
Our solutions are designed to integrate with other systems. Our hardware camera tracking portfolio is fully compatible with any software manufacturer that requires high-quality camera tracking. We’ve ensured that integration is straightforward, making it easy for clients to incorporate our technology into their existing workflows.
On the software side, we operate almost like a standalone company, which means our virtual graphics and XR solutions can support any other camera tracking system on the market. Compatibility has always been a focus for us, ensuring flexibility for broadcasters and studios with diverse setups.
While some clients prefer the simplicity of having a single point of contact for their entire studio solution, we also work with those who already have existing camera tracking or software in place. They don’t need to replace their current systems—whether they require just camera tracking or software integration, our solutions are fully compatible with others.
StypeKit main console
How does your technology compare to Zero Density’s solutions?
Our hardware product line is fully compatible with Zero Density, ensuring seamless integration for users. However, when it comes to software, we believe our solutions not only meet but exceed the performance of Zero Density’s offerings.
While Zero Density initially gained more installations by being the first to introduce an Unreal-based workflow, the landscape is shifting. During the period they advanced their software, we concentrated on perfecting our RedSpy camera tracking technology. Now, with both hardware and software offerings, we’re setting new industry standards.
Although software wasn’t our original focus, once we entered the market, we were determined to deliver the best possible solutions. A prime example is our chroma keyer, GreenKiller. When compared to Zero Density’s keyer, GreenKiller consistently delivers superior results—a fact many of our clients have attested to.
How is the Indian market responding to your products? Have you done many installations, and do you see India evolving into a global virtual production hub like Korea or the US?
The Indian market is one of our largest, with over 40 installations across the country. Our biggest client in India is Network18, but we’ve also worked with major broadcasters like Star Sports, Sony, Times Now, India News, and many others. In addition to broadcast and news networks, we’ve collaborated with several film studios and cinema production houses across the country.
While India’s market is vibrant and full of creative potential, it comes with unique challenges, particularly around budget constraints. Unlike regions like the US or Korea, where large-scale LED volume installations are more common, India leans heavily towards AR and green screen setups, which are more cost-effective. However, this hasn’t limited the ambition or creativity we see from Indian clients—they are eager to explore new technologies and make the most of what’s available.
Interest in our products grew significantly after our success with projects in Australia, and it has continued to expand ever since. Even for products like StypeLand, there’s considerable demand in India. Despite budget limitations, the market remains dynamic, with broadcasters and studios pushing the boundaries of virtual production in innovative ways.
Installation of Follower
With generative AI products like Sora becoming increasingly lifelike, how do you see AI impacting the AR products you deliver? Are you also using AI and machine learning within your company to improve your products?
Generative AI, like Sora from OpenAI, opens up tremendous possibilities for the AR space. When creating virtual shows, hardware and software are just part of the equation. One of the biggest investments often lies in designing virtual environments, which requires extensive work from virtual architects and designers. AI can significantly reduce these costs by automating the creation of intricate details within virtual environments—something that would typically take an enormous amount of time. This will accelerate the adoption of virtual production by making content creation more efficient and accessible.
Within our company, we’re actively exploring AI and machine learning to enhance our products. For example, in our StypeLand product, we’re experimenting with AI to optimise certain features. Looking ahead, AI will play an even more prominent role in the next generation of our products, as we continue to explore how it can enhance both performance and efficiency.
Where do you see Stype going from here?
Looking ahead, Stype is focused on expanding its portfolio with several new camera tracking products. As you’ve likely noticed, we’re continually enhancing our camera tracking solutions. We’re also diving deeper into the robotics space, similar to how we developed the StypeKit.
StypeLand has become a major growth driver for us, and its improvements are ongoing. We’re constantly refining it, adding new features that help us stay ahead of the competition. One of the latest advancements we introduced is a playlist-based system for StypeLand, which integrates with newsroom control systems using multiple protocols. This update fills in some of the gaps that were missing before.
What’s especially exciting is how StypeLand has evolved from being a tool for AR and green screens to a full-fledged solution that TV stations are now using as a central part of their workflow. It’s become more than just a piece of software—it’s now an essential tool for broadcasters.
Our aim is to continue offering a comprehensive suite of solutions that meet the needs of modern TV stations, and that’s the direction we’re taking Stype in.
MUMBAI: Balaji Telefilms Ltd has announced its financial results for the third quarter and nine months ended 31 December 2024.
Financial Highlights * The group reported revenue of Rs 93.2 crore in Q3 FY25, with consolidated nine-month revenue at Rs 386.8 crore. * EBITDA profit for 9M FY25 stood at Rs 5.3 crore, driven by operational excellence and strategic cost rationalisation, particularly in the digital business (ALT Digital). * Profit before tax for 9M FY25 was Rs 0.5 crore. Television Segment * The TV business remains the company’s core, contributing Rs 194.2 crore in revenue for 9M FY25. * EBITDA for 9M FY25 was Rs 26.8 crore. * Balaji had four shows on air during the quarter across major broadcasters, producing 640 hours in 9M FY25, with realisation per hour at Rs 29.14 lakh. Digital Business (ALT Digital) * Cost rationalisation efforts improved performance, with ALT Digital’s EBITDA loss narrowing by 18 per cent in Q3 FY25 to Rs 6.9 crore from Rs 8.4 crore in Q2 FY25. * Subscription revenue stood at Rs 13.32 crore for 9M FY25, with 7.34 lakh subscriptions sold, including 3.93 lakh renewals. * ALT Digital launched 20 new shows in Q3 FY25, totalling 46 shows in 9M FY25. * The platform has over 167 shows live, and content consumption reached 17.41 billion minutes with 1.74 billion views. * ALT is expanding into the AVOD model and has an order book of Rs 343 crore for web series across major OTT platforms. Film Business * The Sabarmati Report, released in Q3 FY25, received positive reviews but underperformed at the box office. * Earlier releases in H1 FY25 included LSD 2 (April 2024) and The Buckingham Murders (September 2024), both later released on Netflix. * The company has a strong pipeline, with Vrushabha (starring Mohanlal) in post-production and Bhoot Bangla (starring Akshay Kumar, directed by Priyadarshan) in production. * A new project, Vvan, in collaboration with TVF and starring Sidharth Malhotra, is in development. Fundraising Initiative * Balaji Telefilms raised Rs 130.67 crore through an equity issue to promoters and foreign investors. * A total of 1.78 crore shares were allotted at Rs 73.17 per share, approved by the board on 7 February 2025. * The funds will be used to scale the movie business, explore music retention and distribution, enhance the digital content business, and strengthen the financial structure.
Group CEO and CFO Sanjay Dwivedi stated, “This successful capital raise underscores the confidence of our promoters and foreign investors in the company’s growth plans. The funding will reinforce our commitment to shareholder value and strengthen our balance sheet.”
Merger Update * The board approved a draft composite scheme of arrangement on 30 May 2024 for the merger of Balaji Telefilms Ltd, ALT, and MFPL.
* The Bombay Stock Exchange (BSE) and National Stock Exchange (NSE) granted no-objection certificates, and the company filed an application with the National Company Law Tribunal (NCLT) on 27 January 2025 for approval.
* The merger aims to consolidate content production, eliminate redundancies, enhance financial capacity, and streamline compliance, leading to improved returns and efficiency.
Managing director Shobha Kapoor stated, “With a strong focus on profitability, operational streamlining, and cost rationalisation, we are confident in our growth trajectory across television, films, and digital platforms.”
MUMBAI: Colour Yellow Productions, helmed by filmmaker Aanand L Rai, has appointed Harini Lakshminarayan as chief operating officer. She brings over two decades of experience in IP development, production and strategy to the Mumbai-based production house.
In her new role, Lakshminarayan will oversee strategic operations and business development while maintaining the studio’s focus on storytelling and IP creation. She joins the company as it plans to expand its content slate across markets.
“Harini brings a unique combination of creative foresight and strategic expertise that aligns perfectly with our mission,” said Colour Yellow Productions founder Aanand L Rai. “Together, we will continue to raise the bar for what Indian cinema can achieve in both domestic and global markets.”
Lakshminarayan said she was excited to join the studio known for films like Raanjhanaa, Tanu Weds Manu, and Tumbbad. “Aanand L Rai’s incredible vision for storytelling that consistently pushes boundaries is truly inspiring,” she noted.
The appointment comes as Colour Yellow, established over a decade ago, looks to build on its legacy of creating culturally rooted content that appeals to wider audiences. The studio has previously produced critically acclaimed films like Newton, Mukkabaaz and Shubh Mangal Saavdhan.
MUMBAI : Dharma Productions is set to make its mark in global cinema with the appointment of Bhumika Tewari as head of content acquisition and film distribution worldwide. Stepping into film distribution for the first time, the production house aims to broaden its reach and bring diverse Indian narratives to a wider audience.
Under Tewari’s leadership, Dharma will acquire high-quality films across multiple languages, including Hindi, Tamil, Telugu, Kannada, Malayalam, Punjabi, and Marathi, while independently distributing its own productions and third-party films. To streamline operations and strengthen ties with regional talent, the company will establish distribution hubs in key locations such as Delhi, Punjab, Hyderabad, and Chennai.
Commenting on the appointment, Dharma Productions chairman Karan Johar said, “Stepping into film distribution is a major leap for Dharma, and we are excited to have Bhumika lead this initiative. Her expertise in content acquisition and distribution aligns perfectly with our vision of expanding Indian storytelling to global audiences.”
Dharma Productions CEO Apoorva Mehta added, “Bhumika joins us at a crucial time as we evolve into an end-to-end content powerhouse. Her experience will be instrumental in shaping our journey as a key distributor of compelling stories worldwide.”
Expressing her enthusiasm, Tewari stated, “Joining Dharma Productions is an extraordinary opportunity to champion Indian cinema on a global scale. I look forward to expanding Dharma’s reach, fostering regional storytelling, and ensuring diverse narratives find their audience.”
Before joining Dharma, Tewari served as senior vice president of film acquisition & revenue at Zee Entertainment, overseeing the distribution of over 150 titles and managing content strategy across multiple platforms. Her appointment signals a bold new era for Dharma Productions as it strengthens its foothold in both national and international markets.
MUMBAI: Sun TV Network, once the prime-time champion of regional television, is now facing more reruns than fresh hits. The third quarter of FY25 has been less ‘superhit serial’ and more ‘filler episode’—with revenue, EBITDA, and profits all taking dramatic dives. While audiences may still be watching, advertisers have clearly flipped the channel, leaving Sun TV’s earnings on mute.
Is this a brief ad break before the comeback, or is Sun TV headed for a season finale?
Standalone Results
Sun TV’s Q3 FY25 numbers resemble an ageing sitcom—still on air, but struggling for ratings. The company reported total income of Rs 927.66 crore, a decline from Rs 1,014.81 crore in Q3 FY24. The advertisement revenue stood at Rs 332.17 crore, sliding from Rs 355.43 crore last year. Clearly, advertisers are swiping right on digital and left on traditional TV.
Subscription revenue, however, managed a 2.03 per cent growth, reaching Rs 434.51 crore—a small consolation prize in a sea of red ink. Meanwhile, EBITDA took a nosedive to Rs 432.13 crore, down from Rs 573.76 crore in Q3 FY24, reflecting higher operational costs and the ever-shrinking TV margins.
Profit before tax (PBT) slipped to Rs 454.61 crore, down from Rs 591.31 crore last year. The real kicker? Profit after tax (PAT) dropped to Rs 347.17 crore, a steep decline from Rs 437.34 crore in Q3 FY24. A 20.6 per cent drop in net profits is enough to make any investor reach for the remote control.
Consolidated Results
On a consolidated level, total income stood at Rs 967.56 crore, marking a drop from Rs 1,058.66 crore in Q3 FY24. Revenues from operations were Rs 827.56 crore, a slump compared to Rs 923.15 crore in the corresponding quarter last year.
The profit before tax on a consolidated basis stood at Rs 473.87 crore, down from Rs 611.85 crore in Q3 FY24. The after-tax profits also followed the downward trend, clocking in at Rs 363.26 crore, compared to Rs 453.09 crore in the previous year’s Q3.
While cricket franchise revenues from Sunrisers Hyderabad and Sunrisers Eastern Cape offered some cushion, their combined contribution stood at a modest Rs 0.11 crore this quarter, a stark contrast to Rs 8.98 crore in Q3 FY24. The cost of maintaining these franchises remains high at Rs 1.09 crore this quarter, squeezing margins further.
Sun TV Network’s board has approved an interim dividend of Rs 2.50 per share, a 50 per cent payout on a face value of Rs 5.00 per share—a small consolation prize for investors watching their returns shrink faster than a bad soap opera plot twist. While this cash giveaway might sweeten the deal, will it be enough to distract from the sinking profits?
Meanwhile, ad revenue has taken a nosedive, as brands shift their budgets towards digital darlings like YouTube and OTT platforms. Is Sun TV stuck in an old-school rerun while the world streams ahead? Or does it have one last prime-time comeback left in its script?
With advertising dollars migrating to digital, subscription revenues becoming the lifeline, and cricket franchise earnings proving inconsistent, Sun TV has its work cut out. Will it manage to reinvent itself, or are we witnessing the beginning of a long-term fade-out?
MUMBAI: Get ready to wear history like never before! The go-to destination for Indian pop culture and heritage-inspired merch, A47.in has teamed up with Maddock Films to launch an exclusive merchandise collection for the much-anticipated film Chhaava. Fans of history, cinema, and bold fashion can grab these must-have collectibles starting 7 February 2025, only on A47.in.
Designed with A47’s signature craftsmanship, the Chhaava collection features sweatshirts, t-shirts, and hoodies adorned with striking designs inspired by the film’s epic narrative. Whether you’re a history buff, a Maratha warrior at heart, or just looking for a statement piece, this collection blends heritage with modern style. With prices starting at Rs 699, fans can now own a wearable tribute to one of India’s greatest warrior kings.
Speaking about the collaboration, A47 founder & CEO Bhavik Vora said, “At A47, we love telling India’s iconic stories through high-quality, stylish merchandise. Collaborating with Maddock Films for Chhaava is an exciting way to bring history to everyday fashion. We’ve ensured every fan finds something to cherish, making Chhaava’s fearless spirit a part of their wardrobe.”
A cinematic spectacle in the making, Chhaava is one of the year’s most awaited films, featuring Vicky Kaushal in a commanding lead role, alongside Rashmika Mandanna and Akshaye Khanna. The film brings to life the inspiring saga of Chhatrapati Sambhaji Maharaj, the fearless son of Chhatrapati Shivaji Maharaj. Backed by Maddock Films, known for delivering blockbuster hits, Chhaava promises a riveting mix of breathtaking visuals, stellar performances, and an emotionally charged narrative—a must-watch for history buffs and cinema lovers alike.
Mumbai: Post facility Identical Brains has announced the appointment of Sabu Jose as creative director, a strategic move aimed at strengthening the company’s post-production services for feature films, OTT, and advertising content. He will also play a key role in advancing its renowned visual effects division.
With over two decades of experience in the film and advertising sectors, Jose has an extensive portfolio featuring collaborations with leading brands such as Pepsi, Coca-Cola, Samsung, Tata Motors, Airtel, Lakmé, and Garnier. His career includes leadership roles at prestigious studios, including Famous Studios, Prime Focus Ltd, Studio Mirage, and VC Studiioz.
In his new role, Jose will oversee creative direction, digital content creation, and post-production consulting. Identical Brains is set to expand its DI colour grading services using advanced technologies like Baselight and Resolve, alongside bolstering audio post-production capabilities with Dolby Atmos and 5.1 mixing for immersive sound experiences.
Previously, Jose served as COO and creative head at VC Studiioz, where he led post-production and brand services. He also founded ClearFX in 2024, offering visual design and filmmaking consultancy. His journey began as a 3D animator at Crest Communication, later progressing to roles as a senior editor and VFX artist at Famous Studios and Prime Focus.
MUMBAI: When it comes to advertising, the battle for consumer attention is fierce, and JioStar has just enlisted a powerhouse to take the lead. Anuradha Mathu Agrawal has stepped in as head of mid-market entertainment ad sales, armed with decades of experience in media sales and strategic revenue growth. With a career spanning top networks and ever-evolving markets, she is set to redefine JioStar’s ad sales game with fresh strategies and bold moves.
Her appointment follows the exit of Dhruv Dhawan, who previously led digital growth for mid-tier and emerging clients. While Dhawan’s next move remains a mystery, his contributions to JioStar’s digital ad sales strategy were widely recognised.
A career built on media mastery
If the advertising industry had a hall of fame, Agrawal’s name would be etched in gold. She has consistently delivered market-leading ad sales strategies, built robust revenue streams, and established herself as an expert in regional content monetisation.
Agrawal’s media journey kicked off in 1994 with Bennett Coleman and Co. Ltd. (Times of India Group), back when print was still king and social media wasn’t hijacking everyone’s attention span. She later took her talents to India Today in 1998, proving she wasn’t just here to play—she was here to win.
In 1999, she landed at Star India, where she spent nearly a decade making TV advertising a goldmine, selling ad slots that turned daily soaps, cricket matches, and reality TV into revenue machines. After an impressive nine-year run, she moved to Ndtv as senior vice president in 2008, and by 2010, she was fine-tuning brand deals at Turner Broadcasting System as an executive director (Cartoon Network, anyone?).
Then came the plot twist—she co-founded Leomax International in 2012, running the show for nearly three years, striking e-commerce deals with Snapdeal, Fashion&You, and 99labels. Because why just climb the corporate ladder when you can build one yourself?
By 2015, she was back in the corporate saddle as national revenue head at CNN-News18, before making a grand return to Star TV Network in 2016 as senior vice president—later rising to executive director at Disney Star post-merger, where she dominated regional ad sales in Telugu markets and the kids’ portfolio.
The entertainment ad sales landscape is evolving faster than a binge-worthy series, and Agrawal is here to push JioStar to the forefront. With JioStar doubling down on innovation, her expertise will be pivotal in scaling revenue, optimising advertiser engagement, and creating a next-level media ecosystem.
JioStar’s entertainment ad sales division just got a serious boost, and with Agrawal at the helm, the industry is watching closely. Will she revolutionise regional advertising? If history is any indication, the answer is a resounding YES.
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