Tag: India

  • One Take Media Co. to bring a new show every week in India

    One Take Media Co. to bring a new show every week in India

    Mumbai: One Take Media Co. is here to provide fresh shows every week, both in their original language and with English subtitles and dubbed in Hindi.

    Action, historical, school, legal, medical, and even horror comedy are just a few of the many categories that shows might fall under. While romantic aspects and intense emotional themes are common, some dramas also have tragedies and slice-of-life themes. There are different tones and styles.

    This week, One Take Media Co. presents the wildly popular K-Drama She Was Pretty, which has garnered numerous accolades, including Drama of the Year at the annual Soompi Awards and Best Mid-length or Short Drama at the Korean Broadcasting Awards. In addition to winning these accolades, this show has Park Seo-Joon, Hwang Jeong-Eum, and Jun-Hee Ko as its most adored actors.

    Kim Hye-Jin, a once popular girl, grew into freckles and curly hair, losing the perfect features she had as a child. Ji Sung-Joon, who was once chubby and fainthearted, has grown into a successful and attractive man. Hye Jin and Sung Joon had a childhood crush on each other, but he and his family moved to the United States. After many years, Sung Joon returned to Korea as the chief editor of a fashion magazine, while Hye Jin remained unemployed. He hopes to meet Hye Jin upon his return. The plot is full of comedy and romance. Keep an eye on this space for next week’s new release.

    One Take Media Co. is a global content distribution hub—the biggest show aggregator in India—for providing premium quality shows dubbed in Hindi, Tamil, Telugu, and Kannada.

  • National Geographic India to feature Dr. Pawan Munjal  on its show ‘Mega Icons’

    National Geographic India to feature Dr. Pawan Munjal on its show ‘Mega Icons’

    Mumbai: The extraordinary journey of Hero MotoCorp CEO Dr. Pawan Munjal will be featured in National Geographic India’s award-winning series Mega Icons.

    The documentary “Mega Icons: Dr. Pawan Munjal,” which has its world premiere on 6 October at 8.30 p.m. on National Geographic Channel, delves into the history of Dr. Munjal’s Hero MotoCorp, one of the companies that helped revolutionise the mobility industry. It also explains the brand’s many achievements over the years and how it still leads the industry.

    The 22-minute documentary follows Dr. Munjal as he grows from a small hamlet in Punjab to one of India’s most renowned businesspeople and offers an inside look at the success of the largest motorcycle and scooter manufacturer in the world.

    A National Geographic spokesperson said, “With Mega Icons, it has been our endeavour to bring forth inspiring and insightful stories of successful personalities, motivating and guiding our audiences to follow their path of success. With this special edition, we extracted the exciting and impactful moments from the life journey of Dr. Munjal and combined them with our rich storytelling of National Geographic with the aim of empowering and enlightening our viewers while also celebrating the journey of Hero MotoCorp.”

    The company’s ambitions to introduce a number of electric and future-ready vehicles will also be made clear, including how it intends to reduce its dependency on fossil fuels and explore alternatives like hydrogen, solar power, and wind power.

    From dominating the bicycle industry to becoming the biggest maker of motorbikes and scooters in the world, Hero has carved out its own niche in the cutthroat automotive industry. This process of embracing emerging technologies and achieving new milestones is highlighted in the movie. The movie depicts Hero MotoCorp’s strategy for creating an electric, collaborative, and modular future.

  • India’s first private satellite TV channel Zee celebrates 30 glorious years of entertainment

    India’s first private satellite TV channel Zee celebrates 30 glorious years of entertainment

    Mumbai: Zee Entertainment Enterprises (ZEEL) celebrates 30 years of glory in India. The company has transformed the media & entertainment industry by providing the best experiences to audiences in India and around the world.

    Throughout its glorious three-decade journey, the company has consistently evolved, paving the way for it to become one of the most iconic home-grown brands. From its humble beginnings as the country’s first private satellite television channel, Zee has made significant contributions to the nation’s liberalisation journey by driving positive societal change on and off screen.

    The company’s spokesperson said, “Today, Zee is not only a well-loved household name, but it also enjoys a formidable position as a global media & entertainment powerhouse with its consumption platforms as the cultural ambassador for Indian content on the global stage.”

    In line with its Zee 4.0 vision, the company is broadening its horizons by establishing a strong tech foundation through its state-of-the-art technology and innovation centre to boost innovation and data-led capabilities, as well as recently re-entering the sports segment.

    The company further added that the mantra at Zee has always been to lead by example, demonstrating its commitment and determination to create a robust version of the company while also defining the future of the media and entertainment industry in India.

    On this milestone, Zee Entertainment Enterprises MD & CEO Punit Goenka said, “It is indeed a momentous occasion as the nation’s first home-grown entertainment company, Zee, completes three wonderful decades of entertainment and value-creation. This milestone is extra special as we also celebrate the genesis of the media & entertainment industry in India. Zee’s journey over the years can be defined by its sharp growth, its risk-taking ability to constantly tap into newer avenues and its consistent vision to generate higher value for all stakeholders.”

    He added, “As  we lay the strategic roadmap for the next 30 years, we are gearing up to propel the company’s growth and transform into a formidable player from the emerging markets. With our sharp strategic vision across the business coupled with a keen eye on profitability, our endeavour will always be to stay ahead of the curve. I would like to extend my gratitude to all our viewers, stakeholders, and partners, for sharing this memorable journey with us and expressing their continued faith in our capabilities.”

    For three decades, Zee has been known as an academy of talent, and its alumni have played an important role in shaping the industry’s future.

    On this occasion, several stalwarts acknowledged the industry and Zee’s contribution towards making India a formidable economy on a global stage.

    Actor Vidya Balan expressed, “It fills me with pride to note that Zee, the institution that gave me a platform to showcase my talent through an iconic show like Hum Paanch, has completed 30 magnificent years. Zee has been a home to a thousand stars and has relentlessly encouraged homegrown talent, irrespective of their background, to achieve their dreams. I hope that the company continues to remain a beacon of hope for budding talent across the nation and wish the Zee family all the very best for the journey ahead.”

    A leading investor and ENAM group co-founder Vallabh Bhansali stated, “As someone who believes in entrepreneurs as the prime drivers for creating valuable businesses, I have always trusted Zee’s ability to generate consistent returns for its stakeholders. I have been an ardent admirer and supporter of its amazing entrepreneurial journey—from a single channel on a rented transponder to a global media conglomerate. Throughout its journey, Zee has taken necessary risks and proved time and again its ability to stay ahead of the curve. I congratulate Punit and team for achieving this glorious milestone and wish them all the best for a bright future.”

    Zee has also made significant contributions to the welfare of society, driving positive societal change not only through iconic stories but also through various initiatives that improve the lives of people from all walks of life.

    Zee is laying a strong foundation for its next phase of growth by focusing its investments on television, digital, and its movie production businesses.

  • “India is amongst the largest content hub”: Ficci DG Arun Chawla

    “India is amongst the largest content hub”: Ficci DG Arun Chawla

    Mumbai: Ficci Frames is back in 2022. The two-day convention kicked off on 27 September at the Westin in Mumbai. The event focused on creating content and its consumption by eminent media and entertainment industry leaders.

    Ficci Frames Fast Track had plenary and parallel sessions along with workshops and master-classes on issues and topics covering the entire gamut of media and entertainment like films, broadcast (TV & radio), digital entertainment, animation, gaming, visual effects, etc. over a period of two days.

    While giving a welcome address, Ficci director general Arun Chawla remarked that the media has shown resilience and will continue to grow. He said, “According to the Ficci report, India’s M&E industry will grow 17 per cent this year (to $25.2 billion) and try to recover its level from the 2019 pre-pandemic level and maintain a CAGR of 11 per cent. The industry is trying to reach $30.9 billion. This indicates a strong growth rate. India is amongst the largest content producers. Approximately 1,50, 000 hours of TV content, 2,500 hours of premium OTT content, and 2,000 hours of filmed content will be produced in 2021.”

    In his opening remarks, Chawla discussed how the media and entertainment industries not only survived but also kept the country’s morale high by providing entertainment while the rest of the world was suffering from the pandemic.

    He said, “India’s media and entertainment market is one of the most vibrant and diverse groups. Media and entertainment industries have come a long way and are contributing to the GDP of this country. We have over 900 TV channels, more than 1,44,000 print publications, and more than 385 private radio stations. Showing immense resilience, the industry is back on its feet but still must overcome its pre-pandemic level.”

    Chawla further added, “We are all aware of India’s digital transformation. It has caused the number and importance of online media platforms to rise dramatically. The government has actively supported the M&E industry, particularly through several initiatives to increase digitization and the creation of digital communication infrastructure.

    The ministry of information & broadcasting secretary Apurva Chandra, said that the media and entertainment industry in India is about $23 billion. He also talked about setting up a film facilitation office and working with Invest India to build a single-window portal for opening theatres. We were also informed about proposed amends to the Cinematograph Act.

    Also Read : We should aim for the M&E industry to grow more than $100 bn by 2030: I&B secretary at Ficci Frames Fast Track’ 22

    Actor Ranveer Singh, who enthralled the audience with his infectious energy, was awarded the ‘Frames Achiever of the Year’ at the event.

    On receiving the award, Singh stated, “Collectively coming out of a very difficult time, I hope that we crack great ideas at Ficci Fast Track in the rapidly changing hyper-dynamic world. I deliberately say the hyper-dynamic landscape of Indian entertainment that we are going to see because it is so.”

    Speaking at the event, West Yorkshire mayor Tracy Brabin said, “We want to work with the talented and creative people to champion sustainability in the creative industries and the film industry, through investment and support. We are open for business. We would like to invite you to get involved in our cultural festivals; to attend, but also to partner in the exciting programmes of activity.”

    “With the strength of the sector in the region, there are huge opportunities for companies from India to partner with our leading companies and invest in the region. The rewards are there for the taking, and we will support you every step of the way. We want to deepen our relationship with creative India, attracting more investment from production companies, studios, post-production houses, and VFX companies,” added Brabin.

    Film director Ramesh Sippy reflected upon the changes that happened during the pandemic. He said, “As much as the pandemic has affected us, it has also brought in some changes. OTT is certainly getting a big boom. Both cinema and small platforms will perform jointly as they used to, but in a much bigger way.”

    The session on the topic “M&E Consumption: Evolving Trends Across Segments” received a good response from the audience where panellists from various TV and OTT platforms explored trends such as short vs. long vs episodic video, the resilience of radio, the rise of regional and vernacular media, etc.

    A parliamentary representative participated in an engaging discussion on the “Role of M&E in Building the Social Fabric of the Nation” and spoke on the importance of the media in fostering critical and proper public awareness of planners’ goals and limitations.

    On the first day, the event saw actor Ranveer Singh, director Ramesh Sippy, MIB secretary Apurva Chandra, West Yorkshire (UK) mayor Tracy Brabin, and members of parliament (MP) like Sumalatha Ambareesh, Priyanka Chaturvedi & Sanjay Seth.

    The two-day convention saw sessions with renowned names of the industry like Nikhil Advani, Divya Dutta, Madhur Bhandarkar, Paresh Rawal, Tannishtha Chatterjee, Adil Hussain, Revathy, Tamanna Bhatia, Raj Nidimoru, Krishna DK, Sohum Shah, Karan Johar, Ayan Mukherjee, Imtiaz Ali, Anees Bazmi, Abhishek Sharma, Nitesh Tiwary, Ashutosh Gowarikar, to name a few, along with studio heads. They talked about the gamut of media & entertainment like films, television, digital entertainment, radio, animation, gaming, visual effects, film tourism, IP rights, and film incentives.

  • OTT streaming services are most popular entertainment than traditional TV: Magnite Asia MD Gavin Buxton

    OTT streaming services are most popular entertainment than traditional TV: Magnite Asia MD Gavin Buxton

    Mumbai: Creating a great ad experience and monetising all ad formats is the biggest challenge for media owners and brands today. Major global streaming platforms like Netflix and Disney+ are planning to roll out exclusive advertising solutions in 2023. With this, in-the-right-place-at-the-right-time, Magnite Asia MD Gavin Buxton stepped in to provide his input on strengthening such ad solutions for media owners and brands.

    By joining Magnite Asia in August 2021, Gavin and his firm are working with over 60 OTT clients looking to activate AVOD (advertising-based video-on-demand).

    Named as ‘one of the top people to look out for’ by the Digerati Asia Pacific in 2018, Gavin currently leads the growth of Magnite in the APAC region. His working knowledge stretches across television, digital, search, programmatic, mobile, content marketing, and social media.

    Gavin brings with him over 20 years of global experience in digital advertising. Previously, he held leadership positions at tech and publishing companies such as Microsoft, Turner Broadcasting System, and LinkedIn, spending the last ten years in Asia building businesses.

    He is an active participant within the advertising industry with multiple thought leadership publications, speaker slots, and contributions to industry bodies, including past board member of The Interactive Advertising Bureau of Southeast Asia and India (IAB SG), and participation in several committees.

    Magnite, an independent omnichannel sell-side advertising platform is helping publishers use their technology to monetise their content across all screens and formats—including desktop, mobile, audio, and connected TV (CTV).

    This is a one-of-its-kind platform that is built specifically to handle the complexities of over-the-top (OTT) video supply with real-time reporting and performance insights, automated ad pod functionality to manage frequency capping, competitive separation, and audio level detection to enhance the viewer experience.

    In an interaction with Indiantelevision.com, Gavin shared all things from monetisation, the CTV platform, the APAC market, and programmatic advertising to programmatic guaranteed deals. 

    Edited Excerpts:

    On his journey with SpotX- Magnite 

    Gavin: I have had work experience in the APAC region for 11 years now, five of which have been focused on the OTT digital advertising sector, originally with SpotX and onwards into Magnite.

    It has been a challenging, exciting, and rewarding experience to collaborate with some of the first OTT AVOD publishers in the region and assist them in being best positioned and embracing programmatic activations and collectively grow the ecosystem together.

    Today, Magnite is the leading OTT supply-side platform (SSP) in APAC. Brands are now embracing such AVOD activations due to their ability to reach and engage with scaled audiences in premium viewing environments.

    On collaboration with Samsung Ads

    Gavin: Our relationship with Samsung Ads is not exclusive. However, we work with them across major markets, including the US, EMEA, LATAM, South Korea, Australia, and India. Our technology helped them to monetise their inventory on their ad-supported streaming service, Samsung TV Plus, and deliver a better advertising experience for the end user.

    As Samsung scales up its Samsung TV Plus inventory, working with us has accelerated its expansion plans by making it programmatically available to brands and agencies in India.

    In India specifically, we have been excited to see how Samsung’s team, audience, and offers have grown. It is also exciting to watch their continued growth in advertising activation.

    On emerging CTV markets in APAC and the level of adoption 

    Gavin: Apart from India, APAC’s major CTV markets include Australia and New Zealand, Indonesia, the Philippines, Singapore, Thailand, and Vietnam.

    The OTT market in India is the fourth largest globally and one of the most competitively growing markets. Advertisers have unprecedented opportunities to reach audiences increasingly shifting to OTT streaming.

    According to Magnite research in Southeast Asia, OTT is now watched more regularly than traditional TV among audiences aged 16–34 who prefer ad-supported over ad-free content. While mobiles continue to be the dominant device for accessing streaming content, CTV is on the rise, especially among affluent OTT audiences, 20 per cent of whom watch CTV.

    In addition, GroupM’s “This Year Next Year” research found that OTT investment in APAC will grow from $4.3 billion in 2020 to $7.2 billion in 2026, increasing by around 67 per cent in six years.

    On adoption of programmatic

    Gavin: For several reasons, the adoption of programmatic has been slower in some markets in APAC. Magnite provides education and information about the opportunities and benefits that are on offer for buyers and sellers. There has been a marked increase in activation.

    While programmatic trading simplifies the supply chain, continued education and case study examples will assist in educating clients on the benefits and value it can bring to publishers and brands.

    On the OTT/CTV front, unless there’s transparency and an understanding of the different roles linear TV and OTT play, clients won’t just buy based on the availability of existing tech, but on their understanding of the benefits of such technology.

    For programmatic to develop further, it needs to be pushed forward from both the buy and sell side. For publishers, programmatic enables them to maximise revenue through technology and provides greater efficiencies.

    On major players’ rollout of advertising solutions 

    Gavin: The upcoming ad solutions provided by major streaming players are clear evidence that the publishers are now ready to embrace the AVOD model.

    This shift will increase available CTV inventory in the market and its demand by pushing more supply out of walled gardens and into the open programmatic ecosystem.

    Magnite, thus, expects the continued expansion of biddable inventory as a progressive step toward true utilisation of premium streaming services. Since publishers are now realising the actual potential of programmatic demand activations competing with direct deals, they’ll continue leaning into this real-time biddable inventory to take advantage of the increased yield opportunities it generates as the value of premium addressable video from brands grows.

    On duplication of audiences in an omnichannel environment 

    Gavin: Identity fragmentation across the ecosystem is limiting the brand’s ability to effectively communicate parameters, such as ad frequency. The sell-side is uniquely positioned to help brands curb ad quality issues such as repetition and improvisation in delivery. In today’s identity space, the publisher increasingly controls the interaction with content viewers and has access to personal information about them.

    By leveraging frequency capping in the SSP, buyers can lower ad frequency even across publishers’ wishes to protect their user data from being used outside their chosen sell-side platforms.

    The SSP’s close relationship with the publishers has resulted in the most accurate user identifiers in every bid request. Because they are only one or two “hops” away from the publisher, SSPs can reach audiences more effectively than traditional publishers. To gain insight into user IDs and campaign reach, sell-side technology evaluates all bid requests, including those that demand-side platforms (DSPs) reject due to queries per second (QPS) limits and other restrictions.

    With more users ingesting media across platforms, addressing fragmentation to improve ad experiences has never been more critical. To help improve the performance of campaigns, buyers can be proactive by talking to their SSP about frequency capping and other identity-related ad delivery criteria. By reaching audiences across touchpoints in a controlled, planned way, brands can drive efficient impact and ROI.

    On the major areas of investment

    Gavin: CTV is the fastest-growing digital medium, and advertising in this space is poised to be largely traded programmatically in the future. 42 per cent of Magnite’s business is now CTV. However, the company is now focused on continuing its investment in a diverse omnichannel strategy to build upon and scale CTV capabilities to better serve new and existing clients.

    The acquisitions of SpotX and SpringServe by Magnite in 2021 created the largest independent CTV and video advertising platforms, and thus advanced Magnite’s programmatic OTT and CTV innovations. In early 2022, the company acquired Carbon and Nth Party to strengthen its audience and identity capabilities. This collaboration helped Magnite accelerate the integration of audience and identity solutions across its omni-channel offerings. Magnite strived to give retailers all the tools necessary to maximise their audiences across all channels.

    On the programmatic guaranteed (PG) deals preference

    Gavin: With programmatic guaranteed, the publisher commits to their video inventory in exchange for a “guarantee” of a certain rate and impression goal. While a buyer bids 90-100 per cent of the time on PG, they bid as the market demands and the audience layers they apply on a private marketplace (PMP). PG is essentially a high-fill PMP.

    Depending on campaign goals, PG may effectively suit a marketer’s KPIs. However, by solely “checking the box” of PG instead of bidding on inventory across PMPs, brands may be missing opportunities for cross-publisher and omnichannel flexibility.

    If publishers restrict their inventory to just PG activations (even for a guaranteed fill rate), they risk making less money than they might in a higher bid-density auction. For sellers, the upside of PG is that it enables them to forecast their inventory fill with a set volume and price, as committed upfront to the buyer. However, this doesn’t necessarily guarantee a greater yield.

    An area that created concern for publishers in activating PMP is the lower fill rates achieved per campaign, which could result in ad server timeouts and slow decisioning where the publisher is using a suboptimal waterfall ad server. However, with a modern ad server built with programmatic in mind or header bidding tools, activating PMP results in higher fills and less timeout, leading to potentially higher yields and better viewing experiences. This is a growing area of interest and education in India and across the APAC region.

    On key trends in the programmatic advertising space in APAC

    Gavin: Firstly, OTT/CTV will continue to be one of the largest growth areas in programmatic activation in the region and secondly, advertisers will further see the value of an omnichannel open internet approach to deliver scale, addressability, performance, and return on investment (ROI).

    Furthermore, header bidding/holistic ad decisioning adoption across all digital formats will prove to be the best direction for the supply and demand side in enabling scaled audience activation, programmatic and direct campaign synergy, improved yield management, more opportunities for inventory monetization, and collective ROI.

  • Zee Bangla Cinema unveils new brand identity

    Zee Bangla Cinema unveils new brand identity

    Mumbai: Zee Bangla Cinema, India’s leading Bengali-movie channel, will commemorate its decade-long journey with a new brand identity. Unveiled in time for the upcoming festive season, the evocative all-new brand identity highlights how movies have the power to make everything magical.

    The channel is about serving a daily dose of magic potion that takes viewers to a world where possibility takes the front seat and reality takes a backseat. Zee Bangla Cinema’s new tagline, “Hok Na Ektu Magic,” echoes this brand purpose.  

    Zee Bangla Cinema’s new identity was revealed during the world television premiere of the blockbuster of the year, “Aparajito – The Undefeated,” starring Jeetu Kamal and Saayoni Ghosh, directed by Anik Datta.

    For today’s evolved audiences who consume a range of genres, Zee Bangla Cinema has also revealed a powerful line-up of star-studded blockbuster Bengali movies that will premiere on the channel through the festive season. Starting 24September, “Notun Cinema Proti Robibaar” will bring world television premieres every Sunday. This first-of-its-kind programming will see the channel achieve a milestone of telecasting world television premieres on every week, rather than only once in a month.

    Commenting on the announcement, Zee Entertainment chief cluster officer – East Samrat Ghosh said, “Bengali cinema has always held a special place in the history of Indian films. From its beginnings in the 1920s, Bengali cinema has achieved global acclaim and popularity. From Satyajit Ray and Mrinal Sen to our contemporary filmmakers today, Bengali cinema has always been a creative powerhouse. It is an honour for us to celebrate this love for cinema and magic on the occasion of Zee Bangla Cinema completing 10 successful years of entertaining viewers. As one of the leading and most-loved channels in the Bangla movie-entertainment category, we cater to the audience’s varied preferences with a special content curation. “Notun Cinema Proti Robibaar” will strengthen our market share as we aggressively widen our movie library and bring the best of movie content for our viewers.”

    Talking about the channel’s revamped brand identity, Zee Bangla Cinema chief channel officer & head of marketing – East, Jalaluddin Mondal said, “As Zee Bangla Cinema completes a decade of passion for Bengali cinema, we decided to celebrate and build on our love for cinema by giving our viewers a brand-new experience. The new brand identity is accompanied by a slew of new initiatives to delight our viewers. A new slot strategy with each slot featuring films curated on the basis of audience demand and the genres they love is just the beginning. The icing on the cake is the most talked about and latest weekend television premieres for the ultimate weekend experience. As we enter a new decade, we will create a Movie++ experience with special music and movie events to cater to the Bengali lover of literature, music, and culture.”

    Talking about the new brand identity, Zee Entertainment chief marketing officer, content SBU Kartik Mahadev said, “Zee Bangla Cinema has always championed the power of cinema as an inspiring and binding medium that creates unforgettable moments of magic around television. Our new brand identity is our way of celebrating this intrinsic bond with every Bengali movie lover. As we complete a decade, we promise to keep bringing the magic of Bengali cinema alive for our viewers in every moment of their lives, as expressed in our new brand thought “Hok Na Ektu Magic!” The design of the new brand identity expresses the ‘Golden Circle of Special’ that curates’ moments of magic every day, brought alive through a vibrant colour play that is nuanced for the category and region. The refreshed design aesthetics will not only enhance the visual appeal but will facilitate intuitive content discovery creating an immersive experience.”

    Zee Bangla Cinema is promoting the new brand identity with a high-octane campaign, which will be promoted through a 360-degree approach across mediums – OOH, print as well as its social media channels including YouTube, Instagram and Facebook.

  • Art-E MediaTech bags social media mandate for IndiaMART

    Art-E MediaTech bags social media mandate for IndiaMART

    Mumbai: IndiaMART has awarded its social media mandate to Noida-based full-stack agency, Art-E MediaTech. The partnership will be an essential step for IndiaMART in reinforcing its brand communication with its digital audience in a more strategic and effective manner.

    This social media mandate was accorded to Art-E MediaTech in a competitive multi-agency pitch. As a leading independent digital marketing and technology consulting firm, Art-E MediaTech will now be in charge of IndiaMart’s social media strategy, influencer marketing, strategy formulation, and media buying.

    Speaking about this partnership, IndiaMART, InterMESH chief operating officer Dinesh Gulati said, “We are pleased to partner with Art-E MediaTech for our social media handles with the aim of establishing a strong digital presence. This collaboration will significantly add value to IndiaMART’s brand awareness & loyalty and help us connect & engage with more potential customers.”

    “Art-E MediaTech has an excellent team that can assist IndiaMart in fulfilling its mission and vision by bridging the gap between the target audience and the brand. The team’s ideals brilliantly overlap with those of IndiaMart, and thus, the collaboration is destined to produce notable results. ArtE understands how to make a brand’s voice heard and I am sure that will aid us to further strengthen our positioning,” he added.

    Sharing his thoughts on the win, Art-E MediaTech co-founder Rohit Sakunia said, “IndiaMart pursues excellence in strengthening businesses in the MSME sector as the company’s major objective. The brand not only shapes the future of small businesses but also drives their business values. Hence, for ArtE, the partnership with IndiaMART is a testament to our expertise in providing result-oriented communication to the leading B2B companies of India while leveraging our detailed market insights.”

    “We help brands create meaningful, long-lasting, and impactful communication that drives growth for their businesses through our creative and strategic prowess. With this collaboration, we are looking forward to creating innumerable insight-led campaigns for IndiaMART, driving remarkable results and achieving new levels of success in the digital space,” he concluded.

  • Eurosport acquires broadcast rights for international football friendlies of India

    Eurosport acquires broadcast rights for international football friendlies of India

    Mumbai: Warner Bros. Discovery’s premium sports brand Eurosport India has acquired broadcast rights for the upcoming international football friendly match of the Indian national men’s football team against Singapore and Vietnam.

    The matches are scheduled for 24 September (vs Singapore) and 27 September (vs Vietnam) at 5:30 p.m. IST at the Thống Nhất Stadium in Vietnam.

    The All-India Football Federation (AIFF) awarded Eurosport India the broadcasting rights. The Indian men’s football team, also known as the Blue Tigers, will play for the first time since the 2023 AFC Asian Cup qualifiers in Kolkata in June 2022. These friendlies have been planned in anticipation of the team’s participation in the upcoming Asian Cup next year.

    India, led by talismanic Captain Sunil Chhetri, will face the host nation, Vietnam, for the first time in over a decade, with the goal of maintaining their winning record, while their next game against Singapore will be played on 27 September , 2022.

    Warner Bros. Discovery Sports has been bringing top-level action from the world of international football leagues to India via the MLS and the Eredivisie (Dutch league).

    In addition, through the AFC Women’s Asian Cup earlier this year, FIFA friendlies, the SAFF Championship, and the inaugural Hero Futsal Club Championship, they have played an important role in bringing Indian football to the fans here.

    Both matches will be broadcast live on the Eurosport and Eurosport HD channels in India, as well as on the discovery+ app.

  • Amitabh Bachchan turns narrator for Warner Bros Discovery’s new series

    Amitabh Bachchan turns narrator for Warner Bros Discovery’s new series

    Mumbai: Warner Bros. Discovery, the leading global media and entertainment company, is in celebratory mode with India’s “Azadi Ka Amrit Mahotsav” on its 75th year of Independence and is all set to unveil its new series, The Journey of India, on October 10. Narrated by Bollywood legend Amitabh Bachchan, who is also the face of Incredible India, the series is ready to memorialise the country’s rich tapestry of heritage, innovation and contemporary marvels that have paved the way for the country’s cutting-edge advancement.

    The six-part special series premieres globally on the streaming platform, discovery+, in India, the US, the UK, and the Philippines. It will be broadcast in more than 140 countries, including India, Japan, Singapore, France, Switzerland, UAE, Egypt, Brazil, Iran, and Kenya, among others, on the Discovery network of channels.

    The series weaves a tale of India’s legacy with contributions from a range of esteemed personalities and leaders. Spanning a wide range of subjects, this one-of-a-kind series provides an in-depth look at the nation’s progress, influences and accomplishments during the past 75 years; from advancements in science and technology and our ambitious and successful space missions to the world of cinema that not only entertains but also inspires.

    From fascinating stories of faith found across the length and breadth of the country to a diverse food culture that is adored around the world, India in the last 75 years has slowly but steadily made its presence felt on the global stage. Featuring an extensive collection of historical footage, it also hears from a stellar line-up of respected personalities and subject matter experts.

    Warner Bros. Discovery general manager South Asia Arjun Nohwar said, “As India celebrates 75 years of Independence, this commemorative new series reflects Warner Bros. Discovery’s commitment to bringing to life unique stories that inspire. We are proud to work with the iconic Amitabh Bachchan to take the audience on a vibrant journey through India, capturing the ethos of the nation, its diverse culture, and the spirit of its people.”

    The Journey of India will premiere in India on Discovery Channel, TLC, Discovery Science, Discovery Turbo and DTamil. More details on the series will be announced in the coming weeks.