Infinitum Network Solutions is a global content network based in Hyderabad, India. The company says that it has carved a niche in the digital media landscape through its innovative approach to content creation, talent management, and digital marketing services. With content reaching audiences in over 160 countries and available in more than 100 languages, Infinitum has achieved remarkable global reach in a relatively short period. Under the leadership of founder Satyadev Chada Krishna, the company has experienced financial growth, with recent reports indicating revenue increases exceeding 50% year-over-year.
Infinitum Network Solutions specialises in end-to-end content creation, from script development to screen production and promotion. Known for its diverse portfolio, Infinitum produces a range of content, including series, movies, and shows across various genres, catering to different demographics and markets worldwide. In addition to content creation, the company also offers design agency services like brand storytelling, web development, animation, and marketing, helping clients transform creative content into measurable business results. This hybrid approach positions Infinitum as a versatile and impactful player in the digital space, with a strong focus on delivering business value through creative content.
Medianews4u.com caught up with Infinitum Network Solutions Group Head IP Rajiv Lakshman. He has recently joined the company. Infinitum’s is looking to expand its IP portfolio across multiple platforms. Lakshman, widely recognised for co-creating youth formats including MTV ‘Roadies’ and ‘MTV Splitsvilla’, brings more than two decades of experience in developing television and digital formats. The company continues its evolution from a traditional multi-channel network to a global ambassador for Indian creativity.
Q. What are the genres that Infinitum is focusing on in creating IPs like gaming, rom-com?
Infinitum has developed a diverse portfolio of IPs spanning multiple genres. While romcom has been a standout success with series like ‘Software DevLOVEper’, Surya, & Backbenchers achieving more than 400 million views, we’re strategically expanding into gaming, educational content, music, news, and entertainment. Our approach is vertically diverse – from children’s programming through Edewcate to comedy with channels like Funmoji, Infinitum Romcom, and Tej India and from celebrity-driven lifestyle content to news networks. This diversification allows us to build sustainable content systems rather than relying solely on talent management.
Q. What does one need to keep in mind to create a good IP?
A successful IP requires three critical elements: authenticity, scalability, and multi-platform potential. First, content must connect genuinely with audiences through relatable narratives and cultural nuance – as demonstrated by our Telugu series which reflect regional sensibilities. Second, the format must be structured for longevity and adaptation, allowing for seasonal renewals and franchise extensions.
Finally, truly valuable IP transcends its original platform, enabling merchandise, events, licensing opportunities, and cross-media adaptation. The most powerful IPs build communities around them rather than just accumulating views.
Q. You were involved with ‘Roadies’ which has been running for many years. Is the goal at Infinitum to create IP that like ‘Roadies’ that has a long cycle and becomes iconic?
Nobody should set out to make an ‘iconic show’. It is the viewers who elevate a concept to iconic levels. Our goal is to build innovative, cross-platform IPs that resonate with their intended audience, regardless of whether it’s niche or mainstream.
Success isn’t solely measured in viewership numbers, but in how ‘sticky’ the content is with its target audience. Our “Back Benchers” series, for instance, may not have universal appeal, but it has developed a deeply engaged community that followed it from its school setting into college life. What matters is creating content with honest storytelling and built-in adaptability that allows it to evolve organically based on audience feedback. Some IPs will naturally develop long cycles because they touch something meaningful in viewers’ lives, while others might serve their purpose perfectly within a shorter lifespan. Our goal is building a diverse portfolio of properties that each serve their intended audience exceptionally well, regardless of scale.
Q. Could you talk about projects in the pipeline?
All in good time. I’m super excited about each one of them, and feel that they deserve exclusive attention beyond the scope of Infinitum’s strategy discussions. But you can be assured of disruptive shows which redefine genres such as Podcasts, Auditioning, Music, Food and Entertainment.
Q. What are the short and long term goals of Infinitum?
In the short term, we’re focused on strengthening our multi-platform distribution strategy, transitioning from a traditional MCN to a comprehensive Multi-Platform Network (MPN) that develops, owns, and distributes premium content across multiple channels. This includes launching owned digital destinations for our highest-performing verticals and implementing enhanced analytics for content tracking.
Long term, we aim to scale our original IP portfolio across multiple verticals internationally, particularly in high-growth markets. We’re developing a merchandise and licensing program around our key IPs and exploring strategic partnerships with OTT platforms. Our vision is becoming a fully integrated media company with diverse revenue streams beyond advertising – including subscription models, brand partnerships, ecommerce integration, and format sales – all while maintaining our creator-centric approach.
Q. What role will data-driven insights play in identifying emerging content opportunities that deliver both audience engagement and business impact?
Data analytics forms the backbone of our content strategy. We’ve moved beyond basic metrics to implement predictive analytics that forecast audience preferences using engagement patterns.
Often Advertisers on Content fly by Probabilistic Data where we are now creating shows with Deterministic Data. This will have huge impact in how Businesses will invest in content with potency instead of shooting in dark. We’re particularly focussed on cross-platform content performance tracking to understand how content travels between platforms and regions. By mapping seasonal and cultural trend cycles against our content calendar, we can align releases with peak audience interest periods, which has proven crucial for educational content tied to academic seasons; and festival-related programming.
Q. The content business is going through a difficult period across various screens. A recent report noted that 90 per cent of shows on OTT do not find favour with the audience. Where is the industry going wrong?
This is a complex discussion with no consensus on answers. However, I’ll list out my thoughts on this subject. The industry’s primary challenge is their multiple levels of approvals and testing at every stage of creative development.
These approval cycles get disproportionately influenced by data. While this seems like a good de-risking strategy, when all projects are informed by the same data set, shows are in danger of not feeling differentiated enough to the viewer. There’s also a disconnect between production investment and audience development. Many OTT platforms spend heavily on production but inadequately on community building and audience engagement.
Our experience with series like “Software DevLOVEper” shows that nurturing audience communities before, during, and after release significantly impacts longevity. Finally, there’s a tendency toward platform-first rather than audience-first thinking. Content needs to be conceptualised for specific audience segments across multiple touch-points rather than as platform-exclusive properties. This approach allows content to find its natural audience regardless of where they consume media.
Q. Is lack of respect for IP a challenge in the country?
IP protection remains a significant challenge in India’s content ecosystem. While legal frameworks exist, enforcement is often difficult, particularly in digital spaces where content can be repurposed or reproduced without attribution. However, we’re seeing positive shifts as creators recognise the long-term value of owning and protecting their intellectual property.
At Infinitum, we’ve implemented robust rights management systems for copyright protection and content fingerprinting. The industry is gradually maturing, with more creators and networks adopting comprehensive IP strategies that extend beyond immediate content monetisation to include licensing, merchandising, and format sales.
Q. Is Youtube a difficult platform for content creators to monetise because a large part of earnings are taken away?
We prefer to see things the opposite way. Platforms like YouTube empower creators to generate revenue through the power of their content. These creators would normally never get access to OTTs as a distribution channel; and even if they do, they’ll give up on ownership of their content as well as rev-share.
Having said that, at Infinitum, we address monetisation challenges through a diversified approach. Over & above direct revenue streams like YouTube ad revenue, we implement indirect rev-streams like brand partnerships, and create cross-platform distribution strategies. The key isn’t abandoning YouTube but using it as part of an integrated strategy that includes owned platforms, merchandise, and brand partnerships to maximise creator value.
Q. The key to partnering creators with brands is that the content should not feel like advertising. How do you accomplish this and help them solve their business problems?
Authentic brand integration starts with strategic creator-brand matching. Our approach uses audience behaviour data to pair creators with sponsors whose values and demographics naturally align, rather than forcing awkward partnerships. We focus on collaborative storytelling where brands enhance rather than interrupt the narrative.
We also emphasise long-term partnerships over one-off campaigns, allowing creators to develop genuine relationships with brands that their audiences recognise as authentic. This approach delivers measurable business impact for brands while preserving creator credibility.
Q. In the area of branded storytelling what trends do you expect to see in 2025?
Will India follow other markets like the US? In 2025, I see branded storytelling changing in two big ways. First, AI tools will become everyday helpers for creators – making it easier to try new ideas, create different versions of content, and develop unique visual styles without breaking the bank.
Second, we’ll hear fresh voices from smaller cities and towns. Our #SheCreates programme for female creators, is already discovering amazing storytellers from tier two and three cities who bring authentic perspectives that big brands are starting to value while they monetise their content and become additional sources of wealth for the family. Perhaps most transformative will be how AI-powered language technologies are breaking down India’s linguistic barriers. Advanced AI dubbing and translation tools are making vernacular content accessible across regional boundaries with unprecedented quality and cultural sensitivity. A creator from Vizag can now effectively reach audiences in Punjab without losing their distinctive voice or style.
This cross-pollination of regional storytelling approaches will create entirely new hybrid narrative styles unique to India’s diverse cultural landscape. While we may not yet match global trends in terms of scale, our mix of new technology and incredible cultural diversity means we might actually lead the way in creating branded stories that feel both high-tech and genuinely human.
Q. ChatGPT is now allowing users to create Studio Ghibli images. How is AI transforming the content creation game and how is Infinitum leveraging this?
AI is opening doors for creators in two powerful ways – it helps them make better content more easily, while also finding new ways to reach audiences and make money. At Infinitum, we’re bringing AI into every step of our process.
For our creators, AI tools are like having extra team members. They can now produce higher-quality content without needing massive resources or technical expertise. This frees them up to focus on what they do best – being creative and connecting with audiences. On the business side, AI helps us spot trends early, adapt content quickly for different languages and cultures, and create more personalised experiences for viewers. We don’t see AI replacing human creativity – quite the opposite. It’s like giving our creators superpowers, letting them do things that were impossible before. The magic still comes from human imagination and storytelling, but now with fewer limitations on bringing those visions to life.
