Executive Dossier

“Looking at creating multinational co-funded and co-financed content”: Applause Entertainment’s Sameer Nair

Published

6 years ago

July 31, 2020

Many believe this is the golden age for content creators. Applause Entertainment is one of those at the forefront of creating digital content today. However, the company’s ambition isn’t just restricted to India but rather a global audience. Some of the recent names that can be credited to the Sameer Nair-run company are Hostages, Criminal Justice, Rasbhari, Hasmukh, The Office, etc. Under development are an Israeli thriller adaptation for India – Fauda, as well as Luther.

In the second part of this interview, Applause Entertainment CEO Sameer Nair, in a virtual fireside chat with indiantelevision.com founder, CEO and editor in chief Anil Wanvari spoke at length about content creation for global audience, co-production in different countries, short-form content, TikTok, the role of streamers in today’s digital world and much more.

Read the first part here

Edited Excerpts:

The pandemic has been longer than what we have suspected, do you think it will change the way viewers live. Due to lack of fresh content at their disposal audiences are moving from GECs to OTT now.

I think what the pandemic has done, in India especially, is that it has exposed a new giant audience to the OTT platform. It is a forced thing that has become a habit now. I think it’s a good thing; the distribution of content via the internet is a golden age of content consumption and content creation. Television, theatre and OTT are very important parts of our business. I don’t think any one part of the business can or should replace the others. From a content creator point of view what you want to have is multiple revenue channels. If it gets monopolised then it will create distortion in the market.

Do you think that Indian content has not travelled the world? Also the broadcast industry is heavily dependent on advertising and subscription is not coming to the level it was expected.

I think from our scheme of things the world is an open playground. For now, we are an Indian studio but thankfully due to streamers content is travelling globally. The US market exists all over the world but in the next 15 or 20 years, the Indian market will have the same influence. Initially, Chinese had a lot of power with their technology and the Koreans have done that but as India seems to have a large market one can be happy because it is such a huge market. But now what global streamers have automatically created is a system where content can be viewed in any part of the world.

Certain animation studios have set outposts in Hollywood and they are starting co-production and are hiring locals from there. So are you looking at penetrating American market with American style shows rather than doing Indian shows alone?

It is definitely a possibility and different people in different ways have done that. The story of Hollywood is like when they run out of money they find a new investor. Originally, it was run by Jews then Germans and Russians came and the Indians went for some time. If you talk about co-production in America, I believe they are already more qualified than Asians. It is more about growing together, partnerships, collaborations because they are already doing great stuff and maybe we can contribute to it.

Is there a chance to do a co-production between India, France and the UK?

Yes, in fact, we have been approached by a documentary company to figure out if we can co-produce some documentaries which would be partly financed by the French and partly financed by Applause Entertainment. We were looking at monetising it in a way where France would take care of Europe and we could take care of the rest of the world and India. Actually streamers while arriving are shaking up the global content. Originally what used to happen in the West is that anyone in the US or Europe is completely aware of how these whole syndication licencing models work, how multiple financing models work or how to create content in one market and sell in different countries. Streamers have put a planner in place and they are doing this very effectively.

We are looking at these partners and seeing how to create a multinational content which is co-funded and co-financed. Finally, what has to work is the economy, the business of it, who pays and the ways to recover money.

What is your opinion on 15-second 30-second and 90-second short-form story format? Are they lending good storytelling?

I think the whole TikTok revolution and before that what YouTube did and a lot of short-form content has democratised storytelling. Before the internet and social media came along, only a few could create that content. Either you have to be a filmmaker or a media and TV producer. Then YouTube came and TikTok took it even further. I think storytelling is a form of expressing creativity. I don’t believe it is right to judge anybody. With millions of pieces of content on YouTube some things rise up some things catch our attention and that is how a YouTube star or TikTok star is created just like any other platform. Story of content and its quality remains fundamental. People should be allowed to express their story.

What do you think about the TikTok ban, now a lot of indigenous brands that have come up or do you think Indians will create a better version then TikTok?

TikTok is more than a brand and replacement; it is an ecosystem that has been built over so many years. It has been built on very clever insight and how audiences and market works. It is not something that is replaceable; it was also an economic model that needs financial backing. In the end, a lot of social media platforms have huge financial resources that look at building customer acquisition. Personally, I think the TikTok ban will be revoked and it will be sorted out

Do you think it is important to entertain and impact society at the same time with content?

I think in a way we are already doing this. What we are today is the outcome we have created for ourselves. Different creators, filmmakers are trying to influence society. One can influence society in a good or a bad way. There are many movies that make you sit and think and there are also some dumb comedies. I don’t think one size fits all or there is a right way. That goes into a dictatorial regime which is against creativity. If I want to laugh about something, then I should be allowed to do so. I don’t have to be meaningful all the time. Television has been the biggest influencer in India but to what extent it has influenced, that we don’t know.

How do you choose a story or a subject of a story and what is the process of greenlighting the project? Also, which are the genres you are looking at developing further?

One filter for our selection process is to do something which we are already not doing or have just done. If I have three to four thriller series in development then maybe I won’t do the fifth one right now. There are some broad genres we want to focus on: thriller, crime, homeland security, military biopic, inspirational stories, romance, family drama and historical.

For us, the process is very simple. The idea of a story comes to us, sometimes it comes through a producer or a writer, then we get into development. We are always involved in the process. We are responsible for every product that comes out of Applause Entertainment. Sometimes the idea comes attached with the producer who then comes with his own director then actors come on board. This is the overall process but it starts with writing.

Tell us more about your joint production with Gurinder Chadha and Sunder Aaron for Seeker?

Locomotive Global’s Sunder Aaron was already in talks with Bend it Films & TV’s Gurinder Chadha. They have developed an idea after which they approached Applause Entertainment. I have met Sunder a couple of times where I explained to him about our work. It took some time to complete the paperwork and now we are creating a multi-country writers room. There is a writer in New York then there is a writer’s room in India and all of us at Applause Entertainment are putting this together. I am very excited about this project.

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Executive Dossier

Game on, fame on as Good Game hunts India’s first global gaming star

Published

4 weeks ago

January 27, 2026

indiantelevision.com Team

MUMBAI: Game faces on, pressure high India’s gaming ambitions are levelling up. Good Game, billed as the world’s first as-live global gaming reality show, has officially launched in India with a bold mission: to crown the country’s first Global Gaming Superstar.

Blending esports with mainstream entertainment, the show brings together competitive gaming, creativity and on-camera performance in a format that tests more than just joystick skills. Contestants will be judged on gameplay, screen presence and their ability to perform under pressure, reflecting how gaming has evolved from pastime to profession and pop culture currency.

Fronting the show are three high-profile ambassadors: actor and entrepreneur Samantha Ruth Prabhu, Indian cricket star Rishabh Pant, and gaming creator Ujjwal Chaurasia. The winner will take home Rs 1 crore ($100,000) among the largest prize pools for any Indian reality show along with the chance to represent India on a global stage.

Backed by a planned annual investment of up to Rs 100 crore, Good Game is also courting brand partners, promising a minimum reach of 500 million among India’s core youth audience. The creators position the show as a bridge between entertainment and interactive culture, offering long-format content, community engagement and commercial scale.

Auditions are now open to Indian citizens aged 18 and above, inviting amateur and professional gamers, creators and performers alike. Shortlisted candidates will be called for in-person auditions in Mumbai on 14 and 15 February, and in Delhi on 28 February and 1 March 2026.

With big money, big names and even bigger ambition, Good Game signals a shift in how India views gaming not just as play, but as performance, profession and prime-time spectacle.

Digital

SpotDraft hires new CMO and CFO to fuel global push for its AI contract platform

Published

3 months ago

December 3, 2025

indiantelevision.com Team

INDIA: SpotDraft has strengthened its senior ranks as it gears up for faster global expansion, naming Alon Waks as chief marketing officer and Amit Sharma as chief financial officer. The appointments follow the firm’s $54 million Series B round earlier this year and mark a push to scale across the Americas, EMEA and India.

The AI-powered contract-lifecycle-management platform has posted 100 per cent year-on-year growth in customer acquisition, counting Apollo.io, IPSY, Mixpanel, Oyster and Panasonic among its global clients. The firm processes more than one million contracts annually, with volumes up 173 per cent and nearly 50,000 monthly active users.

Waks, a veteran of Kustomer, Bizzabo, CreatorIQ, LivePerson and ZoomInfo, will steer global marketing and category positioning as legal teams adopt AI-driven tools. Sharma, who has led finance across scaling tech firms since 2016, will guide financial strategy, investor relations and market expansion.

Both hires aim to sharpen SpotDraft’s bid for a larger slice of the fast-growing legal-tech market, expected to exceed $63 billion by 2032. Co-founder and chief executive Shashank Bijapur said the company is focused on scaling go-to-market operations in the Americas, deepening leadership in EMEA, and accelerating AI capabilities for general counsels and legal-operations leaders.

Clients report shorter deal cycles and better alignment between legal and business teams. “What used to take weeks now happens in days,” said Abnormal Security senior legal operations manager Susan Koenig. DeepL head of legal operations André Barrow, said SpotDraft has helped reframe legal “from a cost centre to a generator of revenue”.

Executive Dossier

Outdoor Ads Get Smarter as LOC8 Shifts OOH from Visibility to Attention

Published

3 months ago

November 28, 2025

indiantelevision.com Team

MUMBAI: Out-of-home ads were once the wallflowers of marketing seen by everyone, noticed by few. But in an age where attention has become the world’s most fought-over currency, even billboards are getting a brain upgrade. Enter LOC8, OSMO’s AI-powered attention engine, quietly reshaping the old OOH playbook by measuring not just who could have looked at an ad, but who actually did. The shift is subtle but seismic: impressions are out, impact is in and data, not gut instinct, is calling the shots.

In a landscape where marketers question every rupee spent outdoors, LOC8 is turning lampposts, flyovers and traffic islands into precision-mapped attention laboratories. By crunching dwell time, visibility zones, perceptual size and real-world obstructions, the platform is dragging OOH into a future where creativity meets computer vision and where the best ideas aren’t just eye-catching, but eye-measured. From automotive facelifts to FMCG novelty and real estate trust-building, the message is clear, outdoor has stopped shouting and started listening. Indian Television Dot Com explores more about it in an Interview interview with OSMO co-founder Nipun Arora.

On how OSMO is shifting outdoor advertising from a visibility-led medium to an attention-led one through LOC8.

Traditional OOH has long been measured by visibility and impressions i.e how many people could see an ad. OSMO, through its proprietary AI platform LOC8, is shifting that narrative more towards likelihood of being noticed. Using computer vision and machine learning, LOC8 analyzes real-world video data to measure visibility zones, obstructions, dwell time and perceptual size; bringing precision to how attention is quantified outdoors. It moves the focus from mere impressions to quality of impressions, making OOH a data-verified, attention-led medium comparable to digital in accountability.

On how marketers can use LOC8’s dwell-time, visibility and perception insights to craft more effective, emotionally resonant OOH campaigns.

LOC8 helps brands understand how people truly experience outdoor media how long they look, from what distance, and under what conditions. By quantifying dwell time, visibility duration, and perceptual size; marketers can plan campaigns that align with real human viewing behavior. This empowers creative and strategy teams to design emotionally resonant storytelling where messaging, visual hierarchy and placement are optimized for how people actually notice and process OOH creatives.

About what LOC8 has revealed through campaigns like Renault Triber and Namaste India on how categories such as auto, FMCG and real estate use attention metrics to drive outcomes.

Each category uses attention data differently but all share one common goal: to convert outdoor visibility into measurable engagement.

• Automotive | Renault Triber

For the new Renault Triber facelift, bold creative met data-led planning through LOC8. By analyzing on-ground video data, LOC8 measured real audience attention across placements factoring in visibility zones, obstructions, traffic speed and perceptual size. This enabled Renault to identify corridors that delivered maximum reach, saliency and engagement, optimizing media efficiency and ROI.

• FMCG | Namaste India

In OOH, innovation is the hook and assets are the bait. But bait often hides the hook. With Loc8’s attention metrics, we ensured the bait wasn’t a hurdle, rather it became the perfect stage for innovation to deliver its full impact! The insight proved that creative novelty, when validated by attention data, drives deeper engagement and measurable brand lift.

• Real Estate

For luxury and real estate campaigns targeting HNI/UHNI audiences, attention patterns differ especially between front and rear passengers, who are often the core audience segment for premium sites. LOC8’s ability to distinguish rear vs. front visibility plays a critical role here. It helps identify sites that offer longer viewing windows and stronger perceptual dominance from the rear seat where decision-makers are most likely seated making it a key differentiator for premium and trust-led categories. Together, these insights prove that auto optimizes for impact, FMCG for recall, and real estate for trust visibility showing how attention metrics adapt to category goals while ensuring measurable outcomes.

On how attention analytics will shape the future of brand storytelling and media planning as OOH becomes more digitised and data-driven.

As outdoor digitizes, attention analytics will inform not just where to advertise but how stories are told in public spaces. This evolution transforms OOH from a static broadcast channel into a dynamic attention ecosystem, where creativity is optimized through evidence-based insight.

On how LOC8’s data-led framework helps marketers quantify OOH impact and make outdoor a more accountable, ROI-driven medium.

LOC8 bridges the gap between intuition and evidence. By quantifying metrics like visibility duration, attention opportunity index, and visual saliency rank, it allows brands to benchmark site performance and justify investment. This data-led approach brings transparency, comparability and ROI measurement to a medium historically driven by perception.

On how OSMO ensures AI and computer vision enhance creativity rather than reduce it to numbers.

OSMO believes that technology should enhance creativity, not overshadow it. LOC8’s attention models reveal what naturally draws the human eye helping creative teams refine design cues, contrast, and visual hierarchy for greater impact. By merging art and science, LOC8 empowers creativity with intelligence.

About the creative best practices and design cues LOC8 has uncovered regarding what truly captures consumer attention outdoors.

LOC8’s visual cognition analysis has surfaced clear patterns across campaigns:

• High contrast and minimal messaging outperform cluttered designs.

• Motion cues draw significantly longer dwell times.

• The first two seconds are critical, creatives must establish focus instantly.

• Contextual alignment between the creative and its environment increases attention by over 30%.

These learnings offer a scientific foundation for creative effectiveness helping brands design OOH that’s visually magnetic and emotionally memorable.

On how attention metrics will integrate into omnichannel planning where OOH, digital and social work together for unified brand impact.

Attention can become the unifying KPI across OOH, digital and social to creates seamless storytelling continuity, where outdoor triggers digital engagement. The future of omnichannel planning lies in attention-led integration ensuring that campaigns don’t just reach audiences everywhere but truly capture and hold their focus.