Author: mxmadmin

  • Radio Mirchi appoints Starcom as media partner

    By A Correspondent

     

    Starcom Worldwide has bagged the media mandate of leading radio network Radio Mirchi. The account will be handled from Starcom’s Mumbai office. It was previously with Madison. The agency is reported to started work on the new business.

     

    The win adds to a series of new business wins at Starcom MediaVest Group (SMG) since the middle of last year, among which are Aircel, Dabur, Axis Bank, Zee Learning, Supermax, Sterling Holidays etc. SMG has also been aggressively strengthening their media product in India. The agency recently launched its proprietary Web+TV optimiser, billed as the first of its kind in the market.

     

    Confirming the news, G G Jayanta, National Head of Marketing, Radio Mirchi said: “we are pleased to appoint Starcom since we needed a partner who is future focussed and can help us navigate the new media landscape. Their in-house research and tools are very impressive and their media product and philosophy are pretty solid. We look forward to a long and rewarding association with Team Starcom”.

     

    Commenting on the win, Malli CR, CEO of SMG India said: “We are thrilled to win the Radio Mirchi account. Given the developments in this sector, we look forward to exciting times. We have planned some specific research and insights projects using our proprietary tools and optimisers”.

     

  • Milk brand Gopaljee rebranded Gopaljee Ananda

    By A Correspondent

     

    Popular dairy brand Gopaljee undertaken a rebranding exercise calling itself ‘Gopaljee Ananda’. The company has unveiled its new logo with new tagline ‘Joy of fresh Milk’. The company has invested Rs 3.5 crore in the rebranding exercise which includes dealer meets, BTL activities like vehicles Branding (both company owned and distributor owned ), shop boards at retailers end , wall painting , hoardings ; metro branding , ATL activities like newspaper ad / regional tv advertising / radio activity and entire merchandising activity.

     

    According to Mr. R.S. Dixit; CMD – Gopaljee Ananda, “As we expand and innovate our products, we believe our customers will be supportive of our choice to do the right thing. What matters most is that the experience will be exactly the same, only our name will be different.”

     

    The packaging need was designed to create such a differentiation that people could identify the packs instantly and uniformity across all the packs could be created and maintained.

     

    Aqua Communication is the creative agency which has designed the new logo and entire branding of Gopaljee.

     

  • Colors launches Jhalak Dikhhla Jaa online game

    By A Correspondent

     

    General entertainment channel Colors announced the launch of a first-of-its kind online game allowing viewers to be a part of the popular dance reality show, Jhalak Dikhhla Jaa. Exploring digital avenues to enhance the popularity of the show, the initiative allows fans to partake in the Jhalak Dikhhla Jaa experience online. Designed by BBC Worldwide Productions India, the game takes fans on a whirlwind ride while allowing them to learn and experience different dance forms that makes the show a hit among audiences.

     

    Commenting on the launch of the game, Vivek Srivastav, Digital Head – COLORS said, “With the Jhalak Dikhhla Jaa game, we aim to connect with our strong online fan base which elevates the show to a higher mass platform. The more virtual formats we explore, the more it enables us to tap newer audiences across the world.”

     

    Elaborating about extending the Jhalak Dikhhla Jaa experience across digital platforms, Myleeta Aga, General Manager & Creative Head – BBC Worldwide Productions India, said, “We are very excited to explore newer avenues in the digital media space and bringing the television experience of Jhalak Dikhhla Jaa to the virtual world. We believe that with the launch of this game, the overall experience will create an addiction among the Jhalak Dikhhla Jaa fans and dance lovers.”  The game can be accessed at http://colors.in.com/in/jhalak-dikhhla-jaa.

     

  • MxM Mondays | Why do we love to hate Media Measurement?

     

    By Ananya Saha

     

    Media measurement in itself is a very sensitive topic. Every data is looked at with apprehension. Why is it that all measurement statistics are scrutinized with apprehension? Why is it that objections are raised time and again, with regard to the findings? Have we lost faith in media measurement tools? In this edition of MxM Mondays, we spoke to a cross-section of industrypersons on the issue. TAM Media Research did not wish to participate given the current controversy and Nielsen Managing Director-Media was unavailable for comment, though he did speak to MxMIndia on the issue last week – see link)

     

    Lynn de Souza

    Lynn de Souza, Chairman and CEO, Lintas Media Group (also Chairman of the Readership Studies Council of India)

    Ordinarily, it is the ones who are measured who do not like what the measurement index throws up – because in any index there can only a few leaders. So, the majority could have some issue or the other.

     

    It is human nature to then pick on the messenger rather than the message.

     

     

    Santosh Desai, MD & CEO, Futurebrands

    Santosh Desai

    There are issues with media measurement in its current form. But it is also true that any form of measurement is always resented. The resentment stems from the fact that one, it is quite shallow in approach when it comes to reach and importance. Secondly, it stems from when the mental picture of your media’s reach and influence does not match with the reality of the numbers. It then becomes difficult to reconcile with reality. Third, what with the anecdotal stories about how numbers are arrived at, you tend to believe that you are on the wrong side of the great picture and the statistics are unfair to you.

     

    Personally, I believe that TV needs a new measurement currency. The current currency is also influencing the quality of TV that we watch. The media measurement does not account for engagement and reach, which from advertisers’ perspective is a huge injustice.

     

    On the other hand, the clients need to be ready too to pay for it in case they wish for more clarity in measurement results.

     

    Media measurement, in its current form, needs to be modified. The issues that are highlighted with the current measurement system need to be tackled in a very transparent way. Conceptually, what is being done is not adequate. What can make it less contentious is including more people in the process, and make it much more transparent.

     

    Bharat Kapadia, Chairman, Whatuwant Solutions (also until a few years back:Vice-Chairman, MRUC)

    Bharat Kapadia

    We do not love to hate media measurement. But we are usually put in such a situation that we hate it. There are two reasons for this. One is ‘legacy’, which we have been following. We have learnt and built the media measurement architecture learning from international models, which are not very suitable for Indian conditions. Secondly, the problem of ‘investment’. We believe in not investing much cash into the measurement system. Like the famous saying goes, ‘If you cut corners, all you get is a round zero.’ This has resulted in the current plight against media measurement. There is, however, a great possibility for change and an opportunity to improve the research methodology and structure. It is not as if current media measurement systems are in bad shape or in pathetic condition. One needs to understand that the current measurement system captures only certain segments, and thus turns unfair since it becomes the currency that everyone abides by. This currency can harm somebody’s business too. The main problem is to have a robust mechanism to check the data collection from where all the problems start.

     

     

    Sriram Kilambi, President, Bloomberg TV India

    Sriram Kilambi

    There is a lot that rides on media measurement of the current media industry, which is about Rs 15,000 crore of television media, 10,000 crore of print media and 10,000 crore worth of radio and other media. The industry does not seem to invest in proper measurement tools and mechanisms.

     

    Media measurement currently is sub-optimal. Since there is no other mechanism currently present, we have no option but to trust the numbers presented. The standard errors in the media statistics are too high, that is why the industry cannot seem to trust the data. The media measurement needs more investment.

     

    Why cannot the advertising industry and the media industry come together to formulate and create a coherent measurement system?

     

    Sanjeev Kotnala, VP, Dainik Bhaskar Group

    Sanjeev Kotnala

    ‘When did you quit smoking?’ is the classic trap question. ‘Why do we love to hate media measurement?’ falls in the same category.

     

    ‘Love to hate media measurement’ is an involuntary reaction. We all hate report cards. The foundation for that was laid while we were studying. At least for me, this holds true.

     

    Media measurements need to be accepted as an industry yardstick with constructive participation by stakeholders in the process of measurement. Not a Black Box that opens at a regular frequency to decide your fate. Till the process and the results meet expectation, everything is fine.

     

    But when we use media measurement as the final verdict, the problem starts. More so, with a lot at stake on a non-transparent extrapolation of small set of data points. Actually media measurement should have had a wider role in product health measurement and for that people should have been pushing transparently for the qualitative enhancement of methodology and matrices. Sadly, current media measurement systems have not kept pace with industry growth and changing needs.

     

    So it’s not me. And at the stakeholder end when each and every element of media measurement in terms of width and depth, process and transparency does not seem credible or transparent or reflecting ground realities, it is bound to give rise to debate and that normally ends with a love-to-hate situation.

     

    The stage we find ourselves at in the industry is not something new. I believe that objections have been raised by section of users at different point of times in forums and formats. Some media measurement process owners have shown just openness to ideas and changes. Mostly they have been feeling good. Unfortunately, with many fates riding, more questions than answers will be available. Net take out: Not Being Heard? Definitely it will not breed Love.

     

    More so when it is a single monopolistic currency, media measurement tend to lose its credibility. And anyway that only has a B2B importance. For the common men it makes no sense. They do not read, see or listen based on media measurement. They do that when the content touches them. And this traction is visible on ground level much before media measurement can reflect it. This lag makes media measurement redundant and at times irrelevant.

     

    It will always be debated till such time as measurement remains restricted to just the size – a numeric tag and not about impact.

     

    Trust, all stakeholders want a participative, constructive, transparent, collective process. And in that case these bodies must be completely neutral with all relationships at arm’s length. (*This is a personal view and not that of any company/brand, Mr Kotnala represents).

     

     

    Lloyd Mathias, Director, Greenbean Ventures (Former CMO, Tata Taleservices & Motorola and  Immediate Past Chairman, MRUC)

    Lloyd Mathias

    Media measurement – whether it is TAM for TV channels or IRS for newspapers – has always been a contentious issue. Usually it’s the media owners who feel aggrieved — especially when the results do not meet their expectations. They then want to shoot the messenger.

     

    There is a strong case for tightening media measurement tools. Often results tend to be inaccurate because media owners try to influence the respondents or the research company. Yes, the measurement methodology and samples need strengthening. For instance, TAM’s sample of 8,500 homes – measuring the television viewing habits of 1.22 billion Indians – is definitely limiting.

     

    Industry stakeholders – advertisers, advertising agencies, media owners and media agencies – need to come together and work towards effective media measurement that benefits all.

     

    It’s currently the advertiser who bears the brunt of the impact as it is their advertising moneys being wasted.

     

     

    Maheshwar Peri

    Maheshwar Peri, Chairman and CEO, Careers 360

    When there are very obvious mistakes, acknowledged by the research agency and also all parties, it is also accepted that the continuance of such mistakes is hurting stakeholders badly, but when no concrete step is taken to solve it, we lose faith. Besides, each measurement benefits or hurts each stakeholder and they will continue to question it.

     

    We haven’t yet questioned Google or ComScore as they are scientific. However, if it is sample-based, not foolproof and very obvious errors have been detected, they must be corrected.

     

    This dogfight between the stakeholders would continue till we find a way to make it more objective and scientific.

     

  • Sujoy Ghosh quits BCCL as Joy Chakraborthy returns

    Joy Chakraborthy

    By A Correspondent [updated from Friday]

     

    It’s now official. Bennett, Coleman and Co Ltd’s long-serving Director-Response Sujoy Ghosh has decided to move on as Joy Chakraborthy is set to take the position. Mr Chakraborthy will report to Arunabh Das Sharma, President, BCCL. A mail is said to have been circulated to senior employees on Friday evening.

     

    Mr Ghosh was not reachable for comment, but is rumoured to be keen on pursuing entrepreneurial interests. Mr Chakraborthy is scheduled to join today (Monday, September 3). This will be his second stint with BCCL.

     

    Meanwhile, there have been rumours that Dr Bhaskar Das, President and Principal Secretary to the MD at BCCL was also not planning to pursue his service extension following his retirement. Dr Das has denied this to MxMIndia.

     

  • MxM Buzzer # 7 | Quiz on Taproot – Dentsu

    Welcome to the Seventh edition of MxMIndia’s media quiz – MxM Buzzer, that happens every Friday and where our prizewinners are real people . Our quizmaster is Sorbojeet Chatterjee, Vice President – Marketing at Neo Sports. To enter this quiz, simply email the answers with your personal details (Name, email id and telephone number) and a five-word descriptor for MxMINDIA at editor@mxmindia.com with Buzzer#6 in the subject. Standard contest rules apply (see box below).

    Note: entries without the descriptor will not be considered for prizes.

    There will be two prizes for Buzzer #7. One First Prize of Rs 1001 and One Second Prize of Rs 101.

    If there’s a tie, the best descriptor for MxMIndia will get the prize (note: tie-breaker question will change every week).
    Last date for sending entries: THURSDAY, September 6, 2012. Entries must reach us by 5 pm IST.

     Aggie and Paddy quit which advertising agency to launch Taproot?
     Dentsu had launched an ad auction portal in India to help broadcasters monetize unutilized ad inventory. What was it called?
     The ad-film for which brand (created by Taproot) won a Gold lion in Cannes this year?

     Identify him?
     Aggie, one of the co-founders of Taproot, is married to Nandini. She is currently the COO of which media agency?
     Prior to buying a controlling stake in Taproot, which UK based agency did Dentsu acquire for around $5 Billion?
     The awardwinning Aman Ki Asha campaign for TOI was conceptualized by Taproot. Which media group in Pakistan was a partner in this campaign?
     Sandeep Goyal was instrumental in launching Dentsu in India. He sold his stake in January 2011 and invested in a television channel in India. Which channel?
     Dentsu had got into an arrangement with a leading broadcaster in India to underwrite significant amount of ad inventory for their marquee cricket tournaments. The deal eventually fell through. Identify the broadcaster?

     The image depicts an annual company event in Dentsu (Japan) that was started in 1925 and every year in July more than 500 employees participate to pray for the growth of all their clients. What happens in the event?

    Winner of Buzzer #6 is Manish Pratik  (Tel No xxxxxx 6926). Mr Pratik (who works with MediaPro) wins a Prize of Rs 1001. The Second Prize of Rs 101 is won by Mayank Jain (xxxxxx 2616) who works with Network 18.  Congratulations, Messrs Pratik and Jain. Please await our mail, send us your coordinates and we will wire/ courier/ deposit you the prize… within a month.

     

    Answers to Buzzer # 6

    1. Shah Rukh Khan, 2. Ramayana, 3. Hum Log, 4. Shobhaa De, 5. Sony Entertainment Television, 6. Buniyaad, 7. Lok Sabha TV, 8. Nimbus, 9. Zabaan Sambhal Ke, 10. Surabhi


    1. The families and employees of MxMIndia Private Limited and its associates are not eligible to win prizes.
    2. You can send as many entries as you would like. There is no entry fee.
    3. In case of more than one all-correct entry, the Tie-Breaker will be the decider. Entries without the Descriptor for the Tie-Breaker will not be considered complete.
    4. The decision of the Quizmaster and/or the MxMIndia editor will be final.
    5. If the winner is not reachable by phone/email, the next best entry will be awarded the prize.
    6. By sending your entry, it is assumed that you are in agreement with the rules.
    7.  Entries for Buzzer #7 must reach us latest by 5pm IST on Aug 30.
  • AdStrat: Man from Motilal Oswal

    Ramnik Chhabra, Associate Director Marketing, Motilal Oswal Financial Services Ltd

     

    Name of the campaign

    Motilal Oswal Securities Ltd – Man from Motilal Oswal

     

    Research insights

    When it comes to investing, managing emotions is what can make the difference between making money and losing money. When investing in stock markets, people often go by hearsay rather than research.

     

    The thought process behind the creative

    To make an intangible product like broking come alive, Motilal Oswal has used ‘the advisor’ as a tangible dimension to their service.

     

    [youtube width=”400″ height=”220″]http://www.youtube.com/watch?v=0OCwisDoBWE[/youtube]

    Media vehicles chosen

    Cinema, TV, Online.

     

    Key issues kept in mind while executing the ad

    To make sure the ad captures the basic DNA of the brand – a focus on old-fashioned research and homework, attributes that are timeless in their relevance to investors.

     

    Does the treatment do justice to the brief?

    The brief was to break clutter, and to showcase a research orientation. The treatment does both quite well.

     

    What is the differentiating factor about the ad?

    The format of a trailer and the mystique of the old-worldly ‘Man from Motilal Oswal’ differentiates the film and makes it break clutter. It helps us stay focused on the anxieties and concerns of investors, without becoming boring.

     

    Market/client feedback

    Just launched on 15th August. Initial feedback has been encouraging.

     

    Compiled by Shubhangi Mehta.

     

     

     

  • AdStrat: 6 Days Mahabachat

    Anand Karir, Senior Creative Director, DDB Mudra

     

    Name of the Campaign

    6 Days Mahabachat

     

    Brief

    Mahabachat as a property was conceived in 2006 to spur consumption around the Independence Day holiday, offering great savings across product categories. This year the challenge was to instil confidence into the property promise of big savings at a time when persistent inflation was dampening consumer spirit.

     

    Research insights

    The consumer reality revealed that they harboured a sense of helplessness towards inflation, with no solution in sight. Over the years, the effect of inflation had moved beyond the kitchen and even impacted their purchases of fashion, education, fuel and entertainment, leading to an overall increase in the cost of living. At the same time consumer aspirations were also on the rise, resulting in an overall state of dissatisfaction.

     

    The thought process behind the creative

    As a solution to the consumer’s angst, the attempt was to empower consumers with a concrete solution throughout the six days of Mahabachat. The resolve of victory over inflation by participating in Mahabachat was brought alive through the optimistic clarion call of ‘Mehengai pe Halla Bol’.

     

    Media vehicles chosen

    TVC, Press, Outdoor, Radio, In-store and Digital.

     

    Key issues kept in mind while executing the ad

    The clarion call of ‘Mehengai pe Halla Bol’ was not an agitation or a morcha against anyone but the joy of having found a solution against inflation at Big Bazaar through the ‘6 days of Mahabachat’. The mood was that of celebration and freedom.

     

    Does the treatment do justice to the brief?

    Yes.

     

    What is the differentiating factor about the ad?

    Every Indian detests the inflation of the last few months. Our TG, the middle class Indian housewife, is feeling no different. Her budgets have not grown in proportion to the inflation and this is somewhere tying her hands and giving her a feeling of being helpless. Of not being able to do enough for her family. She wants to do something to change this and vent her feelings. We just gave her feelings an expression – ‘Mehengai pe Halla Bol’. She knows that Big Bazaar has always understood her needs and brought stuff within her reach. Mahabachat 2012 is yet another chapter in that epic.

     

    The TVC first mildly touches upon her and her family’s day-to-day encounters with inflation and then introduces ‘Mehangai pe Halla Bol’ as a positive cry, during these testing times, asking her to reach out to her friend Big Bazaar and grab everything she and her family wants and deserves, in abundance. Simple poetry narrated in the background subtly sets the mood and puts the point across without letting the harsh reality hit her in the face, which was a very important objective that we wished to achieve.

     

    Compiled by Shubhangi Mehta.

     

  • AdStrat: Chill Out Surprise

    Kowkab Naim, Director/Chief Development Officer, Social Seety

     

    1. Name of the Campaign: Chill Out Surprise

     

    2. Brief: To create buzz about the product while keeping the brand proposition in the limelight

     

    3. Research insights: More than half a million impressions – 1,50,000 people reached,  10 tweets per minute

     

    [youtube width=”400″ height=”220″]http://www.youtube.com/watch?v=NkBU9nayZqc[/youtube]

    4. The thought process behind the creative: In this hustle bustle of the city, people are often too stressed and thus ruin their day. And not only are they stressed, with social media they actually vent it out on different platforms. This insight tied down with our brand positioning of ‘take a chill pill’ very well. We saw Twitter as the perfect platform as it is real time and people share what they feel, right now! The idea was to surprise them out of nowhere and turn their stress into smiles.

     

    5. Media vehicles chosen: Twitter

     

    6. Key issues kept in mind while executing the ad: Quick turn around time, finding out the location of the winners

     

    7. Does the treatment do justice to the brief?

    With such a phenomenal response and curiosity for the second season of Chill Out Surprise, it definitely did justice to the brief

     

    8. What according to you is the differentiating factor about the ad?

    The differentiating factor would be the fact of how a brand used the platform and gave an experience to the user rather than just pushing the product information or discounts. An experience which was packaged in the form of a surprise; got us even traction as we managed to give the Twitter followers a reason to smile and of course to remember us the next time they are stressed.

     

    Compiled by Shubhangi Mehta

     

  • AdStrat: Recurring Savings Plan by Birla Sun Life Asset Management Co Ltd

    Deepak Agarwal
    Ajay Kakar

    Lead Credits: Deepak Agarwal, Executive Creative Director, M&C Saatchi; Ajay Kakar, Chief Marketing Officer – Financial Services, Aditya Birla Group

     

    Name of the Campaign: Recurring Savings Plan (RSP) by Birla Sun Life Asset Management Co. Ltd.

     

    Brief:

    Saving via a Mutual Fund v/s other ways of saving!

     

    Everyone knows that it is important to save their earnings – but people go about saving in the manner that they are most used to. Very few people choose to evaluate newer methods of saving, other than the traditional avenues. It is not surprising, therefore, to see as low as 5 per cent of all people opting for a Mutual Fund as a means of saving.

     

    Since its introduction, the option of saving in a Mutual Fund has also been perceived as a riskier method of saving, because of the propagation of information about Mutual Funds. Namely, that Mutual Funds invest in the equity/ share market and that this market can be volatile – hence mutual funds are risky. But the other half of the story is that there are options in mutual fund that can cater to a variety of saving needs, with similar safety and flexibility as traditional avenues.

     

    Among those who are used to saving in other ways, there is also a growing sense of disappointment with traditional avenues of saving – as the rising price of fuel and other aspects of inflation eat away at everyone’s savings.

     

    Research insights: 

    A vast majority of Indians have grown up with traditional avenues of saving (bank accounts, post office etc …)

    A vast majority of Indians are not financially savvy about modern ways of saving (mutual funds, stock market etc …)

    The investors who choose avenues other than the traditional ones target for ‘increasing their income’ as opposed to ‘planning their savings’

     

    The thought process behind the creative:

    The campaign objective: Remind and inspire people with the knowledge of how to save their earnings, regularly and more smartly, via a “Recurring Savings Plan” – a regular savings method in select mutual fund schemes that offer relative safety when it comes to your hard earned money.

     

    The campaign idea: The secret to saving smarter lies in your childhood stories!

     

    As children, we have all heard fables and learnt the difference between right and wrong from their morals. The brand plays the role of a provocateur, reminding adults of the moral behind the fable of ‘The Crow & The Pitcher’ – that doing something different, regularly can actually help one to reach one’s goals.

     

    The message that the brand conveys, via its TVC, is that as adults we often use fables and morals to remind our children to approach issues in their lives in a smarter manner … but the second and more powerful message is to also remind adults to approach their savings habits in a similar, smarter manner.

     

    This creative route leverages the space that fables occupy in everyone’s life, as the morals behind fables are deep rooted and unquestionable. Additionally, morals always seek to educate the reader with valuable life learnings. Hence, the creative route uses a fable to open the minds of adults – in order to plant the thought that perhaps it is these very fables and morals that can also guide us when it comes to saving our money.

     

    Media vehicles chosen:

    The campaign uses a mix of online and mainline (TV, Print, OOH) media to bring alive ‘The Crow & The Pitcher’ fable – in order to inspire adults to try a smarter way to save regularly.

     

    The campaign is supported by a website www.recurringsavings.in where the audience can also play a game that replicates the actions behind the moral of ‘doing something regularly to reach your goal.’

     

    Does the treatment do justice to the brief?
    Commenting on the film, Ajay Kakar, Chief Marketing Officer – Financial Services, Aditya Birla Group said: “In a country that has deep rooted belief in savings and resultantly the highest savings rate (35 per cent of GDP contribution as compared to 20 per cent for the rest of the world), the challenge and opportunity is to bring a self realization among mass India, of the need to also save smartly, through Recurring Savings, through a mutual fund”.

     

    He added: “Being a Top 5 MF player, at BSLMF we were quick to recognize this opportunity and decided to remind mass India about the merits of regular savings through MFs by reminding them of the thirsty crow fable we all heard and grew to. The moral of this story is what we hope creates self realization among our target audience. And in execution, the fable route and the animation approach was chosen for its ease in understanding and to build an instant connect on our core messaging. We decided to rely on a fresh and non threatening approach, going away from what’s now expected as a typical predictable FS advertising look and feel.”
    What according to you is the differentiating factor about the ad?

    • Simple yet powerful concept of regular savings through fixed income instruments of MF- easy for investors to understand and comprehend
    • Inculcates the habit of regular and systematic savings and take advantage of power of compounding
    • Fresh look and feel using an animated approach and a fable, story – telling route, a first in Financial Services category

     

    Compiled by Shubhangi Mehta

     

     

  • AdStrat: Parle’s Wafers ‘Khaaneka aapka kya hai funda?’

    Rahul Jauhari, NCD, Everest Brand Solutions & Pramod Sharma, Creative Director, Everest Brand Solutions

     

    Rahul Jauhari

    Name of the Campaign: Parle’s Wafers ‘Khaaneka aapka kya hai funda?’

     

    Brief: Create clutter-breaking communication for the brand targeting the youth.

     

    Creative Thought Process:

    The idea was to carry forward Parle’s Wafers ‘Match jitaaneka aapka kya hai funda?’ campaign to moments beyond cricket. We decided to create more moments and give the younger audience more reasons to consume Parle’s Wafers.

     

    Media vehicles chosen: Television, Outdoor, Print, Social media

     

    [youtube width=”400″ height=”225″]http://www.youtube.com/watch?v=rMzCmynCXnQ[/youtube]
    [youtube width=”400″ height=”225″]http://www.youtube.com/watch?v=e2juospDlyo[/youtube]

    Key issues kept in mind while executing the ad:

    The communication was kept short, humorous and on topics relating to youngsters. Youngsters spend half their lives on stuff like FB. And of course, teen romance is a sweet spot that is immensely exploitable. Hence the use in the films. We believe these will connect well with the audience.

     

    Does the treatment do justice to the brief?

    Yes, the treatment, as mentioned above, is pretty much in the youth space.

     

    What according to you is the differentiating factor about the ad?

    Youth is all about fundas. This campaign speaks exactly this language – and allows youngsters to create their own fundas with Parle’s Wafers. Youth connect to new things in life. Talk in their language and they’ll surely accept you. We’ve cracked new Fundas of life for them. Fundas they can use in their daily life. The creative relates to them and will surely work the brand.

     

    Market/client feedback – The initial feedback on the campaign is very positive, and the audiences are very kicked up about it

     

    Pramod Sharma, Creative Director, Everest Brand Solutions:

    Youth connect to new things in life. Talk in their language and they’ll surely accept you.

    We’ve cracked new Fundas of life for them. Fundas they can use in their daily life.

    The creative relates to them and will surely work the brand.

     

    Credits:

    Client: Parle Products Pvt Ltd –

    Mr. B. Krishna. Rao – Group Product Manager

    Ms. Asha Mathew – Brand Manager

    Agency: Everest Brand Solutions, Mumbai

    Creative Team: Pramod Sharma, Samir Chonkar and Rahul Jauhari

    Account Servicing: Siddhi Shah andRavi Walia

    Film Director: Ram

    Production House: Nirvana Films

    DOP: Mohanan

     

    Compiled by Shubhangi Mehta

     

     

  • AdStrat: Monster.com ‘Find Better’

    Soumitra Karnik, NCD, Dentsu India Group

     

    1. Name of the Campaign: Monster.com ‘Find Better’

     

    2. Research insights:

    Finding a better career/job is serious business, it’s no laughing matter. And yet, there is a danger of the brand and the business becoming too serious, too “manufacturer” oriented. According to a survey conducted by Monster India, 80 per cent of Indians believe that getting a new job is not just dependent on your capabilities and experience; ‘Luck’ plays an important role. 69 per cent people in India, believe that ‘Luck’ plays an important role in job search as well.

     

    [youtube width=”400″ height=”225″]http://www.youtube.com/watch?v=UakFavcFagw[/youtube]

    3. The Brief:

    With social media and professional networking playing a pivotal role in all spheres of our lives, there has been a shift in the way both jobseekers and employers are consuming services. This new media opportunity led the path for Monster to innovate in the e-recruitment space. Monster is the worldwide leader in successfully connecting people to job opportunities. From the web to mobile to social, they help companies find people through their most advanced technology. The innovative products and services help connect jobseekers and employers better than anyone else across the world. Now is the right time to transient into the next level.

     

    Monster India has introduced the new user interface. The company launched Monster College to facilitate campus hiring; Monster JobsActive, in partnership with DishTV, to help people with no internet access apply for jobs through Monster India. The company also launched The Monster Employment Index (MEI) which is a monthly gauge of online job posting activity in India based on a real-time review of tens of thousands of employer job opportunities culled from a large representative selection of career Web sites and online job listings

     

    4. The thought process behind the creative:

    Job-searching is subject to many vagaries – The pool of candidates in the fray, their relative ranking in the pool, having/not having any “contacts” in the field, the possible hiccups with the search and results of the job site, the timing of the opening, physical location of the opportunity, idiosyncrasies of the hiring manger, cultural fit, compensation criteria, not to mention an inevitable X factor.

     

    That X factor? It’s a little something called luck. And inIndia, as in most parts of the world, luck plays a huge role in almost every sphere of our lives. Or at least, people like to believe that. From the use of innumerable lucky charms to invoking many symbols of auspiciousness from human and other-worldly sources (caution against signs of good-luck such as sneezing, breaking glass, walking under a ladder, having a black cat cross your path), luck is wooed relentlessly.

     

    5. Media vehicles chosen: Owned, Paid, Earned

     

    6. Key issues kept in mind while executing the ad:

    The trick for a brand in this category is to find the right balance between creating clutter-breaking brand communications without dissing the serious nature of the task at hand.

     

    7. Does the treatment do justice to the brief?

    The TVC is about candidates who try to carry every possible symbol of luck with them to enhance their chances of getting a better job. The TVC exaggerates the acts of superstition in a humorous manner to show the extent that people go to, to get luck on their side. It then drives home the point that with Monster.com, you get luck on your side.

     

    Striking a balance between levity and gravity, it is a culturally relevant interpretation of the “Find Better”. It leverages the core strengths of monsterindia.com and its presence on web, mobile as well as social , beyond just a superior search algorithm, and demonstrates powerfully each of monsters ‘features’, showcasing how you can get luck on your side and find better.

     

    8. What according to you is the differentiating factor about the ad?

    The highlight of the film is when the mother emerges from the bag in this show of one-upmanship. It’s most unexpected and at the same time humorous; you can almost hear a gasp followed by a chuckle from the viewer.

     

    9. Market/client feedback: Not available yet

     

    AdStrat, compiled by Shubhangi Mehta appears every Monday.