Digitalisation is transforming our world in astonishing ways, enhancing efficiency, connectivity, and collaboration while redefining how we work, learn, and connect. For those energetic, fast-paced individuals looking to showcase their creativity in a digitally-driven landscape, a new player has entered the scene — Minikin DGWorks a sister concern of the production house – Chrome Pictures Co-founded by Aleya Sen, Amit Sharma, and Hemant Bhandari.
Minikin is a production house that specialises in internet-driven content. Their production team is a squad of fresh, hungry, and totally in-tune crew members driven to create stories that “click” with the new-age audiences. Their business model involves a panel of freelance directors and a production team that is efficient in quick turnarounds, has solid quality, and brings ideas to life with high energy. The directors are selected for their expertise in different genres, be it storytelling, stylized work, VFX, and animation.
Minikin says that it gets the pulse of the internet and crafts content that doesn’t just speak to your audience but also makes an impact. No fluff. Just stories that resonate and connect.
Since its inception, Minikin DGWorks has worked with brands like Google, Make My Trip, HDFC Life, Tanishq, Pepsi, Flipkart Minutes, Bajaj Allianz, Saregama, Airtel, Snapdeal, Goibibo, ICICI Bank, Maruti Suzuki, and Acko India. The company has also collaborated with actors such as Shahrukh Khan, Ranveer Singh, and Deepika Padukone.
Their redBus campaign, directed by Mithun R Shaw and produced by Ashish Gole, was recognised at the Effies Awards 2024 and IAA Awards 2024. Minikin DGWorks has earned a reputation for creating effective, cost-efficient, and highly engaging video content.
At Minikin DGWorks, the motto is to keep things fresh, real, and always evolving. Constantly on a hunt to create something that resonates with the new age audience, Minikin DGWorks envisions embracing the state-of-the-art technology that the future beholds.
Medianews4u.com caught up with Aleya Sen Writer, Director, producer Co-Founder Chrome Pictures & Minikin DGWorks
Q. What was the opportunity that you saw that prompted you to start Chrome Pictures at the age of 24?
Simply speaking, it all started with a dream. Chrome Pictures happened when the “passion” for filmmaking aligned with the “purpose” to create one’s own legacy.
My journey in film-making started at the age of 20, under the guidance of renowned director, the Late Pradeep Sarkar, which is where I met my partner Amit Sharma, equally driven, focussed, and shared similar vision. As young enthuse assistants, we directed a few TVCS and a short film too. Soon came a time when the itch to start our own production house was inevitable. We were joined by Amit’s childhood friend, Hemant Bhandari.
Chrome Pictures was launched amidst a competitive thriving Ad industry with well established and renowned names. Our approach was that of “New kids on the block” hungry to explore and experiment. A production house that would deliver within tight timelines and be cost effective, while matching high creative standards.
At the time of inception, It was my observation, that all established production houses were segmented into particular genres or styles of films they would make. We categorically explored every possible genre, be it story telling, stylised fashion and cosmetic films, automobiles or animation, and made an ‘All rounder’ portfolio. Our versatility worked in our favour and set us apart.
Q. As a woman entrepreneur, what has been the big challenge?
Something I have always been careful about is the right choice of people in my immediate surroundings. Especially for women, the environment makes a lot of difference and eventually reflects on their professional growth as well as personality.
It is important to work with people who have a progressive mindset and aren’t threatened or feel insecure around ambitious and creative women.
When I started off, being young was a challenge—earning the trust of clients that we could deliver the quality they expected was the biggest hurdle. Back then, it was harder to gain that faith, but things have shifted now, and people are more open to newcomers.
Another challenge was landing big projects like an automobile film. In those days, securing an automobile project was a significant achievement. It may not be the same today, but back then, it was crucial. Now that I produce for Chrome and Minikin, I see how much has changed in the industry.
Q. Is there hesitation among a family when a woman decides to start her own business or has the success of companies like Chrome Pictures, Mamaearth changed things?
I come from a progressive family, so I’ve always been encouraged to push forward without focussing on obstacles. While challenges exist, I’ve always been determined to find a way through them. In today’s society, especially in New India, there’s much more support for women entrepreneurs.
Success stories like Chrome Pictures or other contemporaries show that women can thrive in business, which inspires others to support their female family members. These stories are important for society as they break barriers and motivate others to move forward.
Q. Do you think that women are more easily able to bring empathy and warmth to a campaign message?
Women naturally understand nurturing, warmth, and caregiving, which makes it easier to connect with people on an emotional level. When creating campaigns that need to resonate with audiences, women often bring a deeper, more instinctive understanding of emotions.
This shows in the content we create, which tends to have a stronger, more rooted connection with people. Whether in storytelling or people management, there’s an impact that comes from that innate empathy.
Q. Is there a big difference between making a theatrical movie versus one that goes straight to OTT in terms of the scope, scale, the ability to explore a new genre?
Yes, there is a difference in terms of budget and scale. It will take time for the lines between the two to blur. As a creative, I don’t focus much on the format. I treat every project with equal importance, whether it’s a theatrical film or an OTT release. My background in advertising has inculcated the value of every format, even a 30-second spot, holds equal amount of importance.
However, the marketing and promotion of OTT vs theatrical films do differ. Theatrical films often have bigger budgets for promotional events, while OTT films lean more on social media presence.
But in terms of content, OTT films align well with today’s experimental space, connecting more with modern, younger audiences as well as makers. The success of a project is totally based on the quality of content and not the traditional norms of working with established names. However not denying that promotion of any film, whether on OTT or theatre, plays a significant role.
Q. How is AI being used by Chrome Pictures in various areas in its different verticals?
At Chrome Pictures, we’re currently exploring the potential of AI, particularly in our operational segments such as script analysis, visual referencing, and project management, allowing us to be more time and cost-efficient. By using AI to automate certain tasks, we’re able to focus more on the creative side while enhancing the overall workflow.
Additionally, we’re venturing into understanding how AI can be further integrated into other areas like post-production. As the technology evolves, while we are excited to see how AI can contribute to both the creative and operational aspects of filmmaking, we wish to ensure it doesn’t hamper the very core of connecting emotionally with our audience, keeping realism intact.
Q. In the digital world consumers are bombarded with content. That makes it difficult to create content that resonates on a deeper level. How is Minikin DGWorks approaching this task?
In our first year Minikin has primarily focussed on caving its path througth the advertising industry, However as we transcend into exploring the longer digital format, we are aware that in this enormous whirlpool of content, the only hook that works with audience is realistic emotional content, now that could be humour or philosophical insight.
Q. Agency margins are being squeezed. How is Minikin DGWorks able to ensure that it commands a fair remuneration?
This is a universal challenge—when margins are squeezed, it trickles down to every level. To sustain in this environment, the key is adapting to new technology. By leveraging tech, we can reduce wasted resources and work more precisely and efficiently.
This also helps us streamline our crew and talent, working on a smart production budget. Minikin works on the simple philosophy of adapting itself to changing tides.
Q. Could you talk about the system that are in place to deliver quality work with a quick turnaround time? How important is automation?
Minikin works on the module of delivering quality work within quick turnaround time. Such a module can only suffice with an efficient team working on an automation mode.
We’ve expanded rapidly in a year by collaborating with a panel of specialised talents tailored to meet the specific needs of a project. This enables us to safeguard artistic quality while following a producer-led strategy.
Q. How are advances in AR and VR enabling Minikin DGWorks to create immersive stories?
At Minikin, we’re actively exploring the potential of AR and VR to enhance our storytelling.
We’re looking out to collaborating with experts in various digital mediums with the intention to develop unique and immersive content that pushes the boundaries of traditional filmmaking.
Q. Could you talk about work recently done with brands like Google, Make My Trip, HDFC Life that standout?
Some of Minikin’s recent projects that truly stand out include the Acko India film, the Flipkart Minutes campaign, the Birla Opus Holi film, and the Bandhan Bank film featuring Sourav Ganguly.
These projects showcase the range and creativity we bring to each brand’s story. One of our most notable campaigns, directed by Mithun R Shaw and produced by Ashish Gole, was for redBus. This campaign earned recognition at both the IAA Awards 2024 and the Effie Awards 2025, which was a proud moment for us.
We’ve also had the opportunity to collaborate with major brands like Google, Pepsi, Tanishq, Uber, Make My Trip, Dettol, and Saregama. These partnerships have been particularly rewarding as they align perfectly with our storytelling style, allowing us to create content that is not just engaging but also impactful and memorable. The common thread in all these projects is our ability to connect emotionally with audiences, which is at the heart of our approach.
