Category: ADVERTISING

  • Bang In The Middle announces alliance with music agency Songfest India

    By A Correspondent

     

    Ad agency Bang In The Middle has announced a strategic alliance with Mumbai-based music agency Songfest India. The offering is in response to the growing need of brands to reach out to consumers via digital platforms such as TikTok, Helo, Instagram and YouTube, especially in wake of the Covid-19 pandemic.

     

    Said Naresh Gupta, co-founder and chief strategy officer of Bang In The Middle: “We’ve always believed in evolution and advising our clients on the latest in brand building. In the post Covid-era, brands shall gravitate even more towards digital content to connect with their consumers. The association with Songfest shall enable us to provide a new array of music based offerings to new and existing clients and shall enable them to reach out to newer audiences across different digital platforms.”

     

    Added Prathap Suthan, co-founder and chief creative officer, Bang In The Middle: “It is the age of co-creation. Our aim is to collaborate and create innovative music IPs that are not only highly engaging but also seamlessly allow a brand to convey its message to the viewer. Songfest India is a team of young and bright individuals and we’ve been impressed by their ideas and work ethic.”

     

    Said Gaurav Dagaonkar, co-founder and chief executive officer, Songfest India: “We’re excited about this alliance as it shall allow us to leverage Bang In The Middle’s proven expertise in creative storytelling, building brands and crafting hugely successful and memorable campaigns to create strong concepts. Prathap and Naresh are industry stalwarts who keep inspiring us and we look forward to creating some magic together.”

     

    The two agencies have worked on an ad hoc basis before and shall continue servicing their respective clients independently, while developing new ideas for potential clients together. “Work has already begun on a TikTok based campaign for a brand, as well as a series of shot-from-home music videos for another,” added Meghna Mittal, co-founder and chief marketing officer at Songfest India.

     

     

  • DAN India’s data sciences division launches ‘Dentsu Play’

    By A Correspondent

     

    DAN India’s data sciences division has launched ‘Dentsu Play’, billed as the world’s first gaming DSP for programmatic advertising across APAC.

     

    Gautam Mehra

    Commenting on the launch, Gautam Mehra, CEO, DAN Programmatic & Chief Data Officer, DAN – South Asia said: “With the growing frictionless payment facilities, mobile phone prices, data rates and promotion of localized content, there has been a surge in the gaming ecosystem within the country that has only propelled further in the lockdown era. The increasing demand from clients to understand more about these audiences to build strong consumer-brand relationships has been a long-standing pain point. The absence of a single ecosystem to understand and buy these audiences in a seamless manner has been a key challenge for advertisers that we are now able to resolve with Dentsu Play. Dentsu Play will overlay complex machine learning algorithms to better segment audiences and identify opportunities that yield maximum value for brands as well as gaming partners integrated with the ecosystem. It will also be capable of serving completely playable ads that have known to have high engagement rates and are a capability of only a handful of DSPs that exist today. Dentsu Play will bring to the forefront better control over performance and insights, whilst ensuring the best of technology deployed to ensure brand safety and transparency.”

     

    Sunil Naryani

    Added Sunil Naryani, Vice President Commercials & Partnerships, Amplifi, Dentsu Aegis Network Asia Pacific: “The pace at which gaming and e-sports in the Asia Pacific region is growing is absolutely phenomenal. New startups are mushrooming the space every month. The industry has already attracted some of the biggest names in the global ecosystem such as Youzu, Nazara, Unity Tencent and Alibaba investing in it and has over 500 game development companies actively invested. Forging a unique and one of a kind partnership with Unity Technologies, Dentsu Play will expand the network’s capabilities in programmatic gaming with the ability to deploy engaging creatives at scale across the APAC region.”

     

     

  • Ad Club’s announces interactive digital debate series titled ‘Vice & Versa’

    By A Correspondent

     

    The Advertising Club has announced a digital debate series titled Vice & Versa. Moderated by Agnello Dias, Creative Chairman – Dentsu Aegis Network & Founder, Taproot Dentsu, the debate will see industry veterans Santosh Desai, CEO, Future Brands and Josy Paul, Chairman and Chief Creative Officer, BBDO India. The first debate in the series will be held on Saturday, June 20, 2020 at 6.15 pm. The live streaming will be done on Zoom, Youtube and Facebook.

     

    The theme of the firset debate is Brand Purpose – Responsible Or Opportunistic. Speaking about the debate series, Partho Dasgupta, President, The Advertising Club said: “These are unprecedented times requiring all brands and organizations to adapt and reinvent their media and brand strategies.  The digital debate series has been curated to provide insights and guidance on how to empower brands to thrive in the new normal. We are sure that Agnello along with Josy and Santosh will make this an interesting session full of breakthrough ideas and insights.”

     

     

  • Ogilvy India is the #2 Most Effective Agency globally

    By A Correspondent

     

    The Global EFFIES Index 2020 has announced today that Ogilvy India is the #2 Most Effective Agency in the World and the #1 Most Effective Agency in Asia. Also, as per the report, WPP is the #1 Most Effective Agency Holding Group in the world.

     

    Said Piyush Pandey, Chief Creative Officer Worldwide and Executive Chairman India, Ogilvy: “It is yet another recognition of our continued belief in our founder David Ogilvy’s words, ‘we sell or else’. I am extremely proud of our clients and Team Ogilvy for winning us this recognition.”

     

    Added Prem Narayan, Chief Strategy Officer, Ogilvy India: “This is a tribute to the great partnership between our clients and the Ogilvy planning, account management and creative talent that we have fostered over the years in India.” A communique from Ogilvy India informs that the 2020 rankings reflect a compilation of over 4000 worldwide Effie winners and finalists announced between January 1, 2019 and December 31, 2019.

     

     

  • Clients get the Creative they Deserve

     

    By Sanjeev Kotnala

     

    Each one of us is has a belief system. It defines our actions and reactions. It is based on our experiences, work culture, observations and expectations. It is fluid in the initial part of life and becomes a bit non-negotiable after some time. In fact, we start selectively searching and seeking examples to further reinforcing our beliefs. We slowly develop these biases and refer to them as mindset filters. As humans, we suffer from selective knowledge that we have anyway interpreted through Generalisation, Distortion and Deletion of experiences and information.

     

    It becomes tough to remain open to new ideas and thinking which are not as per our belief system. So, we keep reminding ourselves to remain open to ideas, try to think outside the box, not to be biased and importantly evaluate the idea, not the person.

     

    I too have my belief system, which I strongly endorse. I know, it is not meant to be perfect, but it has worked for me. I am trying to question this statement which is a part of my belief systems and would love hearing your point of view. 

     

    CLIENTS GET THE CREATIVE THEY DESERVE.

    How many times we have heard it agency people saying it. Yes, the client gets the creative they deserve. I have been on the agency side, client-side and now am an independent brand and marketing advisor/consultant, and I have reason to believe that clients get the creative they deserve.

     

    Creative is merely not a function of getting the best talent to work on a sharply defined probortunity or the funds available for development and production. It is more about the freedom the agency enjoys, the culture of ownership and innovation at the client ends and the degree of empowerments within the teams.

     

    I don’t know how many from the younger generation consider the Client-Agency relationship to be like a marriage based on shared values and outlooks, and not on the retainer fee. In an idealistic framework of client-agency relationship, it should promote co-existence, mutual benefits, acceptance and adaptability of thoughts. The agency can and should be able to influences the client’s approach to communication. However, people in the industry know the reality. It has only been deteriorating with time.

     

    Agencies were business partners and advisors. They were like a doctor. They were prescriptive and recommendatory in their approach. The agency participated in the strategic discussion. Now, they rarely get treated like business associate and mostly as a vendor. Exceptions to the rule exist…

     

    Here is a classic Mohammed Khan anecdote. In meeting with a large automobile client, Mohammed Khan re-presented the campaign that was rejected in the last meeting. He was convinced that was the campaign client should run. The client pointed out that the campaign was already rejected it. Then Mohammed Khan said: “you know how to make the best cars, and we don’t tell how to make them, you hired us as an agency, because, we are expert in our field and you should not be telling us how to make a campaign”. Those were the days, and those were the agency people. The situation has changed.

     

    Today, agencies act as a tailor. The customer dictates the type and style of the dress. Many agencies now serve creative options on a menu card and expect the client to evaluate and buy.

     

    Yes, few agencies are still trying to do excellent work on their terms. And these are small set-ups.

     

    Yet, clients are not to be blamed completely. It is also about the level of engagement and involvement the agency has the conviction in their work. The confidence to passionately go for what they believe is right. The filed work to really understand the market, competition and the customer.

     

    There is another anecdote, this time from a copywriter who has won many CAG awards. When a client suggested that the ‘,’ in the copy should be changed to ‘.’. The copywriter refused and said, if the campaign goes, it goes with the ‘,’ otherwise I am happy to present a new campaign tomorrow. That ownership is hard to find nowadays.

     

    Another case. In one meeting, the copywriter presented a Golden Sheaffer pen, to the client. This client was known for taking out a ballpoint pen and start marking copy changes on the layouts. While gifting the pen, the copywriter said, we write copy passionately. We evaluate and think of every word there. We think how the syntax should be and how the consumer thinks. And yet, if you have to do the changes and mark ruthlessly on the layout, it will be appreciated if you use a Sheaffer.

     

    THE COUNTER ARGUMENT.

    Then there is another counter-argument, best reflected by the quote often attributed to Walter Saldhanha of Chaitra and shared by Ambi Parameswaran. “We will recommend what we think is right. But if the client insists on doing bad ads, we will do them. Simply because, if they are going to waste their money, they might as well, waste it through us.” This does make business sense.

     

    In the late nineties, I remember Denis Joseph reacting to a Lintas campaign that the client has rejected. Dennis said, ‘Don’t be disappointed. He is a mere client and must have his reasons to believe this campaign won’t work. Pity he does not know to advertise. So we will first present what we think is best for the brand. And if the client fails to see the truth, we will do what he thinks should be done, but, still, we will do Okay but not a mediocre job.’. 

     

    IT TAKES TIME.

    Remember, relationships take time to build up. Confidence and Trust take much longer. Willingness to support each other’s initiative still much longer. And hence, a longer relationship mostly shows polarised results: absolutely brilliant work or run of the millwork.

    Many times, change of CMO or the agency trigger a shift in approach and the type of work happening on a brand.

     

    Great or Excellent or even Good work happens when the client and agency’s thinking resonates. When both are in it for a long haul. When innovation and experimentation are accepted and encouraged. When people listen to disruptive ideas. And, when Idea is owned collectively. 

     

    HINDU LONG COPY ADS.

    I am not really surprised at long copy ads that Hindu has released in recent past. Each of them is brilliantly written. It makes sense for a Newspaper brand to believe in written words and hence be extremely confident of long copy advertisements. However, it needs much more than mere conviction. Hindu has done it consistently and in recent times. It has also taken a tough stance and amplified a not so popular opinion. Here is the one they released on the world environment day.

     

    TCP- THAILAND AD.

    The other quoted statement and this time from the client-side, ‘Efficient and effective full-page ad is easy, creativity is when you can do it in 60 ccs’. I know it is loaded and can be debated until the cows come home. But there is some truth in it. There are ideas which need space and more, and there are ideas that cost almost nothing. However, opinion remains divided if creativity gets amplified when there are no constraints or when it is severely constrained.

     

    Here is another example of such creativity. And if one is to believe Wunderman Thompson, Thasorn Boonyanate, ECD in Thailand, cut the film after TCP Group (owner of Red Bull & other beverage brands) cancelled one of his most significant campaigns of the year. Okay, let us for a moment believe even that and that could be true. Then Boonyanate posted the film on his personal Facebook account and trust me it is going to be noticed and do a hell lot for TCP. The film is smooth and engaging, it takes a somewhat different route to present what TCP; the client is doing during the crisis listing many initiatives that are going to make you feel good about the brand TCP. And it then ends with ‘I am upset they quit of our advertising campaign, But what matters more is that they don’t quit on the millions of people they serve, so thank you, thank you.’ ( Thank you Campaign India– I saw this first here)

    This may or may not be client supported, but in either situation, it is good to work. 

     

    NEARER HOME- FEVICOL

    Nearer home, saw the Fevicol communication loaded with simplicity. It reaffirmed that to engage the audience, mega-production budgets is not a requirement. Don’t wait for perfection, just be on time.

     

    If the client and agency are on the same wavelength, they hit the target more often.

    I am not sure if this Fevicol film ( Zinda rehna hai aur aagey badna hai) would have been released in pre-COVID days. It may have remained as an in-house scratch production for client presentation. It is raw, and that is the beauty of it. Right now the audience understands and accepts some imperfection, till the idea strikes a chord. 

     

    It also reminds of the Fevicol initiative at the start of the COVID crisis. And the two link. It is easy when the brand remains contextual and speaks to leverage its long-standing promise.

     

    TOP OF THE HOUSE- AMUL

    It is the classic example of Trust and faith between the two parties, the client and the agency. The client totally trusts the agency, so much so that the client sees the OOH creative with the consumers. The creatives are considered approved. They usually are, not sent for client approval. It is not that such working has not resulted in issues and problems. The timely technical glitch with Twitter is an example. Yet, what we hear from the client a simple statement- Amul Girl will speak her mind!

  • HUL’s Ouch Mummy is Kantar’s 9th most effective ad

    By A Correspondent

     

    Hindustan Unilever’s ‘Ouch Mummy’ creative for Bru Instant has ranked #9 amongst the top performing global TV ads for 2019. It’s the only ad from India to win an award across all categories- TV, Digital and OOH/ Outdoor – in Kantar’s inaugural Creative Effectiveness awards.

     

    BP’s Blind Date (Spain), Milka’s Christmas ad Give to those who give the most (Germany) and HSBC’s CSR Birmingham (UK) are the most effective ads from around the world in 2019 in these new awards that were set up to celebrate the world’s best performing ads across the three key media channels based on actual consumer feedback.

     

    Here’s what a communique noted:

    Spanning three categories (digital, print/out of home and TV) and from 78 different markets, the winners represent the most creative and effective work from over 10,000 ads tested with consumers in 2019 using Kantar’s Link creative testing, which measures any advert’s potential to deliver against short and long-term brand goals. These first award winners perform in the top 4% for short-term sales likelihood, and the top 1% for long-term brand building when measured against the Link database of over 200,000 ads analysed over the past 30 years. The winning ads are all at least twice as likely to drive sales than an ad that performs at the median evaluation score and ten times more likely than a weak ad.

    The winners show that distinctive creative is central to advertising success, falling in the top 15% of ads for distinctiveness in Kantar’s database. In a world flooded with content, brands need to ensure their advertising captures people’s attention.

     

    Digital effectiveness: Engage don’t enrage

    Analysis of the digital category revealed the most effective ads reward the viewer with entertaining content that breaks through the ‘ad filter’ in consumers’ minds and compels them to view it. Milka’s Christmas ad Give to those who give the most tops the digital ad awards, demonstrating the power of storytelling for driving engagement by evoking strong emotions. The beautifully touching film, centred around a strong, seasonally relevant message of thoughtful gifting, was created in partnership with the European Union of the Deaf and promotes inclusion in a very moving way.

    Digital Ranking Brand Ad Name Agency Country
    1 Milka Milka Christmas: give to those who give the most Wieden + Kennedy, Amsterdam Germany
    2 Google App Search the lyrics with Google Zula Alpha Kilo Indonesia
    3 Dulux Let’s colour experiment: escalator Road 381 UK

     

    Print & Out of Home ads: Spark a response in seconds

    The winners here illustrate the power of creative to deliver an instant impression about the brand. Immediate impact is essential as consumers give just seconds of their time to print and out of home (OOH) ads, in which the content needs to communicate its message or hook the viewer in for longer.

    HSBC evokes an immediate emotional reaction through its winning OOH execution. The shocking statistic that 1 in 45 people living in Birmingham have no address, therefore can’t have a bank account, a job, or a home, helps highlight the work the bank is doing to support the local community. The impact of the message is heightened by delivering it in situ enabled by the medium of OOH.

    Print and OOH Ranking Brand Ad Name Agency Country
    1 HSBC HSBC CSR Birmingham Wunderman Thompson UK
    2 Estrella Damm Silja &Rosàs UK
    3 Camden Hells Juicer static Forever Beta UK

     

    Top-performing TV ads tell great stories

    The TV winners demonstrate the continued sales-generating and brand-building ability of broadcast content, particularly when strong distinctive assets are weaved into great emotional story telling. Crowned as  Kantar’s most powerful TV ad of 2019 globally, BP’s Blind Date is a great example of how a distinctive approach to a category can create differentiation. The ad shows how a functional message can be intrinsically sewn into an amusing, brand-centric story that is quite different to what you would expect to see from the category.

    TV Ranking Brand Ad Name Agency Country
    1 BP Blind Date Ogilvy&Mather Spain
    2 Tim Hortons Ask a Timbits Kid Zula Alpha Kilo Canada
    3 Unox Tijden veranderen TBWA Netherlands

     

    Said Daren Poole, Global Head of Creative at Kantar: “The first ever Kantar Creative and Effective awards showcase some of the most impactful advertising work from around the world. The commonality across all the winning ads is distinctiveness, and how strongly the brand is integrated into the narrative. Our winners – real consumers’ favourites – take on many forms and employ a range of creative tactics to convey their message; proving there is no ‘one-size-fits-all’ approach that can be employed to achieve great content. Interestingly, many of the winning ads in Kantar’s Creative Effectiveness awards are heart-warming stories or contain humour, in contrast to the broader industry trend, which is to incorporate humour less.” Just over one third (34%) of 2019’s adverts were intentionally light-hearted or funny, compared to more than half (54%) of ads evaluated by Kantar in 2000.

     

     

  • Jack in the Box wins Mars Petcare mandate

    By A Correspondent

     

    Jack in the Box Worldwide has won bagged the digital mandate of Hyderabad-based Mars Petcare in a multi-agency pitch. The agency will handle the digital duties of three of their leading products – Pedigree, Whiskas and IAMS. The mandate includes creative duties, content creation, social media and SEO services. Jack in the Box Worldwide, will elevate/build the brands presence across leading social media platforms and help expand the brands to reach out to newer target audiences.

     

    Speaking on the win, Rishi Sen, Managing Partner, Jack in the Box Worldwide said: “We are extremely excited to partner with Mars Petcare to drive their digital initiatives in India. The pet care market in India is rapidly growing at a CAGR of 13.9% and we see this as an opportunity to position Mars Petcare right at the top of the awareness funnel. In the next 12 months, we will focus on driving top-of-mind recall and commerce through content and collaborations.

     

    Added Ganesh Ramani, General Manager, Petcare – Mars International: “Jack in the Box stood apart with their strategic thinking and creative capabilities. The pet care industry is growing at a rapid pace and partners just like JITB can bring agility with the right strategic acumen to the table. We look forward to creating some memorable campaigns together in the months to come”

     

     

  • Future of Safety for Brand Marketers

     

    By A Correspondent

     

    A new brand safety report has been released by GroupM, WPP’s media investment group, offering new category-specific recommendations for marketers on the future of brand safety.

     

    The report reveals how brand safety may evolve into the future within the context of political, social and technological shifts impacting brand safety at a high level. Then looks to specific challenges in five categories currently undergoing rapid transformation: Connected TV, Digital Out-of-Home, Location Data, Audio and Gaming.

     

    Said John Montgomery, GroupM Global EVP, Brand Safety: “In the first six months of 2020 alone, CCPA has taken effect, Google announced they would be phasing out third cookies, the home stretch of the 2020 presidential campaign has come into full focus – increasing the attention on fake news – the world has been hit with a global pandemic and most recently protests related to racial inequality,” adding: “Each of these events marks a unique opportunity to continue to challenge our brand safety practices. And, as people continue to evolve in how they consume content, there is always opportunity to push the envelope to create an even safer, more trustworthy online world. We look forward to continuing to do that for our clients and partners.”

     

    Some of the key items to consider in the evolution of brand safety:

    • Policy shifts such as GDPR and CCPA, among many others around the world, have created a seismic ripple throughout the industry, the full effects of which are yet to be felt. As old measurement methodologies such as third-party cookies fall away, the industry has an opportunity to collectively create better standards.

     

    • The Covid-19 pandemic has established a ‘new normal’ ‘digital first’ lifestyle for the majority of the global population. Consumption habits have changed (more news, gaming and streaming content). Where consumers go, advertising follows and, with it, new opportunities to strengthen brand safety measures arise. Aggressive keyword avoidance demonetizes online news, especially so during the Covid crisis, as the audiences increase and at a time when the public needs reliable information. Local news faces an existential crisis.

    Fake news and technologies that create deepfake videos are growing more sophisticated and threaten to further erode institutional trust. Brands must be more proactive than ever in preserving their core assets and demand transparency in all transactions.

     

    • Connected TV promises to command a larger share of budget in the coming years. However, measurement is fragmented across devices and publishers. Brands should demand greater transparency and interoperability among key players.

     

    •  Digital Out-of-Home is set to grow more advanced and complex as programmatic buying becomes more commonplace. While out-of-home has long been used for broad awareness, it remains an open question as to whether brands will have—or need—access to more granular targeting and measurement solutions.

     

    •  Gaming presents a huge opportunity in terms of audience, but brands must navigate a vast landscape of platforms, titles, player personalities and publisher relationships. Esports continues to grow in popularity, but brands must be aware of adjacency risks (violence and language, particularly). If people continue to stay home in the aftermath of the coronavirus, gaming audiences will retain some of the recent, rapid growth.

     

    Added Christian Juhl, GroupM Global CEO: “Consumers and brands use technology to access media in new and interesting ways. As behaviours, habits and preferences shift with social factors, responsible brand safety requires a constant assessment of these changes and their impact on how brands continually earn consumer trust. GroupM has long acted as an industry advocate in shaping how we manage brand safety across new and established media partners. It’s never been more important than it is now, and we stand by our commitment with this latest guidance.”

     

  • Indigo elevates Jose Leon to COO

    By A Correspondent

     

    Indigo Consulting, Publicis Groupe’s leading digital business and marketing transformation company, has elevated Jose Leon to Chief Operating Officer. Leon will continue to report to Rajesh Ghatge, CEO, Indigo Consulting.

     

    Rajesh Ghatge

    Leon joined Indigo Consulting in 2017 from Adobe. Commenting on his elevation, Ghatge said: “Soon after my joining Indigo Consulting, I was clear of needing a transformational leader to partner me in our endeavour to build on the organisation’s strength and transform it into a data-led, creative fuelled, technology driven digital solutions provider for our clients. Over the last few years, Jose has collaborated with me in executing on this vision. Powered by fantastic talent, today we deliver excellence on very large marketing and technology mandates for number of brands across categories. Jose has played a pivotal role in introducing new services and growing marquee businesses. Given the unprecedented challenges that we face in the business environment, we feel that we are just in the right place to add tremendous value to our clients. We are launching sector -specific technology enabled products and solutions across platforms fintech , omnichannel and content velocity.It is just the time for Jose to take over a larger role and lead the next wave of innovation and growth at Indigo Consulting.”

     

    Jose Leon

    Added Leon on his elevation: “When I joined the company, I saw great potential in executing transformation across Talent and Technology at Indigo Consulting to drive superior value for our customers. It has been an exciting journey thus far and in the new role, I look forward to continuing our relentless drive to deliver excellence across our product and service offerings. The next wave will see a launch of a series of innovative products and further deepening of expertise across sectors. The current challenge has deepened our resolve to partner our clients and help them cope and win.”

     

     

  • GroupM integrates ITV & Kinetic under Ajay Mehta

    By A Correspondent

     

    GroupM has announced that Ajay Mehta will Managing Director of Cinema (ITV) and OOH (Kinetic). Prior to this Mehta was MD of ITV. Mehta will also be joining the GroupM India Executive Committee (ExCo).

     

    Speaking on the development, Prasanth Kumar – CEO, GroupM South Asia said: “We are fortunate to be the leaders in both cinema and OOH practices and our goal and vision is to make it stronger and bolder. Our belief in OOH and Cinema related solutions for brands continue to be strong and while we are going through tough times, it is important to prepare as well as strengthen our offering. Ajay in his leadership role will focus on integrating the teams and prioritise focus on larger returns for clients and brands, shaping solutions that would provide an edge for our clients by collaborating with multi avenues like digital, technology and other media opportunities. I am confident his entrepreneurial skills and collaborative nature will help and lead the teams to larger strength.”

     

    Added Mehta:  “I am very excited with this opportunity. The coming together of the two businesses is a huge opportunity for us to create new strengths and to be valued partners for our clients by delivering result -oriented solutions for them. I look forward to working with the two teams and to contribute to the growth of the business.”

     

    All the ITV teams along with the Kinetic leadership team will report to Mehta while he will continue to be based out of Gurugram and will report into GroupM CEO Prasanth Kumar.

     

     

  • A SWOT Analysis for M&E given Covid-19: EY

     

    Excerpted from an EY (Ernst & Young) report:

    The Media & Entertainment sector is facing unprecedented challenges from the spread of Covid-19. Rapid changes in consumer behaviour and consumption, stoppages in content production, cancellation of live events and sports, and cuts in advertising spend, are impacting companies across the ecosystem. Media agencies, many of which were grappling with operational volatility, are struggling to maintain media spend as marketers manage risks and reduce spend rapidly. Publishers and media companies are benefitting from some marketers seeing the opportunity but face advertising revenue losses. Film and TV producers are under pressure to mitigate impact from delayed release schedules, theatre closures, and production stoppages.

     

    Companies are currently focused on enterprise resiliency and triaging revenue, but will likely need to turn to rapid cost reduction as business models settle into new norms as business models are not on solid foundation. Bright spots across the industry include digital pure-plays (such as video gaming) and other virtualised production capabilities.

     

    Accelerated consumer shift to digital journeys

    :: Enhance technology and infrastructure to support digital journeys including streaming and commerce

    :: Ensure digital sales and service models are as effective as traditional journeys

    :: Consider moving

     

    Marketers cut ad spend and demand agile response times

    :: Accelerate efforts around ad ops and creative production support to enhance responsiveness to marketer needs

    :: Proactively conduct brand sentiment analysis and consumer research to offer stronger insights

    :: Consider incentives or package bundles to maintain or motivate ad spend, including entertainment or escapism content

     

    Rapid transition to virtualized working environments

    :: Leverage collaborative software to maintain productivity and connection with vendors and clients (e.g. Microsoft Teams)

    :: Accelerate efforts around self service and inside/virtualized sales • Develop models for virtualized customer service rapidly, including potential for augmented reality

     

    Disruption or cancellation of content production and launch

    :: Revisit programming schedules to extract value out of back catalogue

    :: Accelerate releases to enhance consumer engagement

    :: Identify partners with virtualized content production capabilities

     

    And here’s a SWOT analysis as presented in the EY report:

     

    Strengths

    :: M&E is categorised as “essential services” and permitted to continue operation (except theatres and events)

    :: Need for escapism, news and knowledge increases in times of trouble – demand for content expected to remain high

     

    Weaknesses

    :: Inability to produce content (physical presence critical)

    :: High dependence on advertising for revenues

    :: Inability to connect with and sell to large number of advertisers and SMEs (traditional media)

     

    Opportunities

    :: Consolidation – Financially stronger brands consolidating weaker brands

    :: Sharing resources between competitors (co-ompetition)

    :: Back-office to the world

    :: Re-invention of sales through platforms to reach SMEs

    :: Direct to consumer and digital community creation

    :: UGC and Create-from-Home services

    :: WFH and manpower optimisation

    :: Better monetisation of library content

     

    Teihreats

    • Stressed balance sheets for smaller players, increasing credit days due to liquidity squeeze
    • Supply chain disruptions – Print distribution
    • Continuity risk – one positive case in a studio can derail content production
    • Increased piracy of content
    • Ad revenue from sectors like travel, hospitality, services will contract in the medium / long term
    • Reduced willingness to spend more on subscription products can impact price increases

     

     

     

  • Kyoorius Creative Awards in digital form. Entry fee: 1.5k+GST

    By A Correspondent

     

    Kyoorius Creative Awards are happening, albeit in digital form.

    Punit Goenka

    Said Punit Goenka, Managing Director and Chief Executive Officer of Zee Entertainment Enterprises Limited: “We understand and acknowledge the challenges faced by the entire creative fraternity and this disruptive step is being taken to enhance the participation levels while significantly reducing the award entry budgets,”

     

    The entry fee will be Rs 1500 per entry, exclusive of taxes.

    In addition to reducing the fees, Kyoorius Awards will donate a minimum of 2000 PPE kits to authorities in Mumbai, Delhi NCR and Bengaluru on behalf of the advertising community of India. The first consignment of 500 PPEs has been delivered in Mumbai.

     

    Rajesh Kejriwal

    Added Rajesh Kejriwal, founder of Kyoorius: “Obviously, we debated whether the Award should, indeed, be held this year. After much thought, we decided that the Awards should be held, at the same size and scale as previous awards, but taking into account the realities of the post-coronavirus world that we live in,” adding: “The major change will be in the judging process. “While the quality and composition of the jury will be similar to previous years and will see both Indian and international practitioners assessing the work, the jury sessions will be online and virtual… It is a difficult time for all businesses including advertising, and we hope the Kyoorius Creative Awards plays a small role in the upliftment of the mood of the industry and all those who work in advertising and marketing, especially the younger professionals,” added Kejriwal.

     

    The key milestones and dates are as follows:

    Call for Entry Resumes – Monday, June 15, 2020

    Entries Close – July 15, 2020

    Jury Session

    First Round – July 31 and August 1, 2020

    Final Round – August 7 and 8, 2020

    Awards Night – Friday, August 28, 2020