MxMIndia

Category: PRODUCTS

  • Is it better to run a serialised film than a series of them, asks Sanjeev Kotnala

    How Many Ad Films are too Many in a Campaign?

     

    By Sanjeev Kotnala

     

    Brands make multiple television or digital video commercials (TVC/DVC in short,  referred hereafter as ad films) to engage their audience and deliver the message. They are mostly various expressions of the same idea. So, how many ad films should a brand make? Or, how does the team decide how many should be made? Or, why create a series of ad films? That is not counting the edits and adaptations into regional languages.

     

     

    Why Multiple Ad Films?

     

    There are possibly so many highly logical reasons that may push the client and the creative to look for multiple ad films:

     

    • The client believes in iterative expressions.

    • There is a budget to make multiple ad films.

    • The creative is of the point of view that the concepts need clarity.

    • The media agency needs it to keep the audience engaged when the ad frequency is high.

    • The campaign runs aggressively across a property like IPL, and hence audience gets bored faster.

    • To take advantage of economies of scale in production.

    • To justify the high fee of a celebrity.

    • The communication aims to change behaviour and hence more ad films.

    • The concept is so disruptive that we better have more ad films to explain.

    • The idea is so strong that it demands multiple ad films.

    • The idea is weak, and with multiple ad films, we minimise risk.

     

    I am stopping listing reasons knowing that there could be many more for such a strategic decision. But the questions kept bugging me, and soon I found myself with my dear friend, consultant Vermajee, the Management Guru. Last Friday, over Antiquity Blue topped with chilled No 1 club soda, served in steel glasses, I got enlightened on the subject. Being Navratri, drinking was banned at home. So, we parked his SUV under a banyan tree on the Western Express Highway within sight of a ‘No Parking Zone’ sign and chewed on the subject along with Faldhari Chiwda. Vermajee shared his gyaan and opened my eyes. He usually does have that impact on me.

     

    Ad Films Earlier – Vermajee’s Time

     

    Some few decades back, when Vermajee was part of the agency circus, the brands were happy with one TVC at a time. Maybe one TVC per season. Some TVCs lasted many seasons over TV, Cinema and Rural Vans.

     

    It was not the creative teams lacked ideas. The act of making a TVC was time-consuming and very painful. You had to really work hard. Work in detail. Post work was astronomically costly. Budgets were sacrosanct and less clutter in the media. The clients as usual finicky and khadoos, wanting a Merc at the cost of a Maruti.

     

    The client today is no different. Even then, they did not understand that creative and advertising was an investment, not an expense. They fail to see, it is better to invest in good creative even at the cost of the media budget and expose it a less number of times. Cutting production budget, making an average TVC and exposing it more number of times is a bad idea.

     

    Yes, some clients made TVC throughout the year. If you made a judgmental error in one, there was not much to worry as the next TVC was on its way.

     

    However, we were absolutely sure of our craft but a bit unsure of consumer understanding. The research was used as the master key for campaign support and approvals. The scripts and even at times the edits were pre and post researched. It was too costly to change anything at a later stage, not that changes did not happen.

     

    Vermajee Gyaan

     

    Vermajee explained the difference between episodic series (procedural) and serialised ad films. He reiterated the need to judge an ad film more on strategy and impact, likeability, memory and engagement than anything else. He empathised on the law of marginal returns. Vermajee said: “the client and creative along with media must risk raising the question about the number of Ad films and must stop when they stop adding value to the campaign”.

     

    The Case of Multiple Ad Films

     

    Here, the same story is repeated with a slight twist or a change of character. Each of the films is complete, and you don’t lose much, not watching all of them collectively or in a particular series.

     

    The recent Cred communication is an example. Film celebrities like Anil Kapoor, Madhuri Dixit and Bappi Lahiri audition for Cred. They perform in their signature styles but are rejected. They are so overexposed that one completely forgets the Cred ad of last year, which is more explanation-based.

     

    People question the creativity in the Cred campaign. There is a huge awareness buildup for Cred, and the single-minded message is clearly established. I don’t have data for app downloads and usage. Recently, we saw  Alka Yagnik- Udit Narayan auditioning, which makes me think that the brand missed an opportunity in using influencers and UGC.

    In another version of this, you have the same proposition and intent but the playground and the story changes. The episodes remain independent and complete in themselves. It works brilliantly with a simple message and some emotional engagement.

    Dream11 seems to have been successful in campaigns in this style of multiple ad films. Dream11 last year #YehGameHaiMahan with multiple fils – Bush or pipeline, Dhobighat, old friends etc. pr the campaign #kheloDimaagsey. This year the Dream11 campaign #YehApnaGameHai features Dhoni, Shikar, Rohit and others.

    One of the best examples of it is Thanda Matlab Coke. Here Aamir Khan played different roles from the Punjabi farmer, Pahadi guide, to Bengali babu and some more. Well, one can not forget the ZooZoos.

     

    The Serialised Ad Film

    Here the multiple ad films that are following a pre-defined narrative. There is a link between them. Sometimes subtle and sometimes overt. They are best watched in series or totality.

    The story moves forward with each ad film, keeping the audience engaged in the campaign. There is a surprise packet of what next. The character layers get unravelled with time.

    Some years back we saw Amazon  Chokpur cheetahs; India Ke Sapno Ki Apni Dukkan. A small town bunch of cricket players and their coach. The ad films are still remembered with films like Dhyani’s Birthday, Introduction, Kab Khelenge 2020 and official song among others.

    Nowadays we are seeing something of serialised ad films by PhonePe ads featuring Aamir Khan and Aliya Bhat. The Chaiwala,  Kiskepass, safety and more. This time, the functionality is overpowering, it is making its point, and the interplay of characters is excellent. However, will it really become a true serialised ad film set is yet to be seen?

     

    The best I have seen in the Indian context is Tata Sky Chota Recharge. The campaign kept the audience glued. In fact, they were rooting for the teenagers to meet and love to blossom. The brand message delivered simply. In such cases, when the audience gets hooked, they want more of it.

     The attempts of true serialised campaigns have been far and few. Such creative requires commitment and a willingness to carry the collective risk. But like gambling, the response and gains are equally large. 

     

    Reminder: How Many Ad Films?

    :: Always look at multiple Ad Film from Brand and the strategy point of view.

    :: Always evaluate the content and multiple ad films in the context of the newness of the message, brand, service, media budgets and complexity or simplicity of communication.

     

    Invest in creative development even at the cost of media budgets. An excellent creative product exposed less will always pay back far more than a bad/mediocre/average creative exposed more number of times.

    Evaluate from consumer interest engagement point of view than the jury and judges at the awards point of view.

    No need to make more films just because you have a good script. As you may end up hitting marginalised returns and underexpose other films.

    Go ahead and do multiple ad films if they really add to the brand message understanding or clarity, emotions and association.

    Maybe Dream11 did not need all the films and Cred could benefit from serialised rather than a series of films. Perhaps, the client-agency-media teams on these brands know better the reason for multiple ad films, and when did they hit the curve of marginalised decreasing returns or maybe they can do with some more films.

  • This will be company’s longest ever consumer celebration campaign

    Khimji Jewels launches TVC

    By A Correspondent

     

    Khimji Jewels, the 84-year-old jewellery and fine crafts brand from Odisha, has launched its longest ever consumer celebration campaign called Back To Being Beautiful. The brand will be running the campaign for a period of 75 days. The multimedia campaign has been created with Digital Dogs Content and Media.

     

    Commenting on the TVC Campaign, Nishit Nanda, CEO, Consumer Business, Khimji Jewels, said, “This festive season Back to Being Beautiful campaign will allow the consumer to relive all the moments which they have missed this year due to the pandemic. In the season of celebration, joy and with the country opening up, we have launched our longest ever consumer celebration campaign, bringing to the consumer a 75-day mega mela packed with new launches and collections, offers, promotions, value backs and surprise gifts not just in Odisha but across the country.”

     

    Added Ambarish Ray and Anjali Rawat, Founders of Digital Dogs: “What we absolutely love about Khimji Jewels is their authenticity, which is not provoked by any circumstances but is a deeply ingrained genetic code within the company. With #BackToBeingBeautiful we wanted to give consumers something to look forward to, as the unlocking process continues. The campaign is designed to provide true benefits and values to Khimji’s audience as they seek emotional markers and familiar routines in their journey of getting back to normalcy.”

     

     

  • The Moms Co, the direct-to-consumer personal care brand

    Moms Co., launches #AgelessExpression campaign

    By A Correspondent

     

    The Moms Co, the direct-to-consumer personal care brand, has launched a new nationwide cross-platform digital campaign, ‘#AgelessExpression’ to announce the launch of a new product. Conceptualised by All of the Above Studio, the campaign film featuring actor Kalki Koechlin.

     

    Commenting on the launch of the new campaign, Malika Sadani, Founder & CEO, The Moms Co. said: “Over the years, we have seen how ageing concerns make women less comfortable in their skin. Ageing is completely natural and an indication of how things only become better with age. A woman’s face mirrors who she is. She smiles with her eyes, frowns with her brows & thinks with her pout, then why let signs of ageing be an obstacle on the path of expressing yourself? With this campaign, we want women to celebrate their skin with our new Natural Age Control Range and let their face do the talking, as expressions can never age.”

     

     

  • The campaign highlights the importance of iodine in a child’s mental development

    Tata Salt launches new ad campaign, #SawaalDeshKiSehatKa

    By A Correspondent

     

    Tata Salt has launched its latest integrated marketing campaign, #SawaalDeshKiSehatKa. The new TVC  is an extension to the last-running ‘Sawaal Kijiye Apne Namak Se’ campaign. This main objective of this campaign conceptualised by Ogilvy is to “build awareness of Iodine and its importance as a micronutrient in proper mental development of children”.

     

    Said Richa Arora, President, Packaged Foods, India, Tata Consumer Products: “Tata Salt’s genesis was in serving a national need for iodizing India, and we are proud that with our latest campaign #SawaalDeshKiSehatKa, we continue to stay true to our motto of ‘Desh ki Sehat, Desh ka Namak’. Today’s children are very inquisitive, and this is very relatable behaviour for every parent, and people in general. Being inquisitive is often considered a sign of intelligence in children, and this film celebrates that spirit in a unique and endearing format.”

     

    Added Sukesh Nayak, Chief Creative Officer-Ogilvy India: “As parents, we are all so used to getting stumped almost every other day with the never ending set of questions asked by our children. Building on this insight, we took the idea further, to the person who is now also a partner to parents in answering these questions, the AI device in our homes. The idea is not just be informative but also entertaining to ladder up how Iodine helps in ensuring proper mental development of children.”

     

     

  • It is an integrated marketing campaign for the cold-and-cough medicine

    Hamdard campaign for Joshina

    By A Correspondent

     

    Hamdard Laboratories (Medicine Division) has today launched an integrated marketing campaign for Joshina – a natural remedy for cold and cough.

     

    Commenting on the campaign, Suman Varma, Chief Marketing Officer, Hamdard Laboratories (Medicine Division), said: “A nagging cough and cold can ruin anybody’s day by making them feel sluggish and irritable. Joshina is a time-tested product that fights the first signs of cough and cold. It also provides relief to itching throat. In times like today, it is worth treating the body with natural ingredients. Joshina is an amazing product for respiratory health and is known for its preventive power. Joshina can be consumed by people of all age groups without any apprehension regarding its side effects.”

     

    Added Pranav Sharma, Creative Head: “Sardi- cough and cold – is like an unwanted guest which comes visiting every year and stays in our body leaves us exhausted! However, with Covid-19, a regular cold is also viewed suspiciously. Evem a mild cough and cold today is viewed as a symptom of something bigger, thus raising the antenna for doubt and suspicion. Joshina is a perfect cure to kills sardi in the bud stage .The film is treated like a suspense thriller. Sardi is personified. We have tried to make it relevant in the current scenario and highlighted the product efficacy story.”

     

     

  • The 12 contextual TVCs are aired during live match hours

    Candyman gets ads around live cricket

    By A Correspondent

     

    ITC Ltd.’s confectionery brand Candyman Fantastik has released a set of 12 contextual TVCs for its campaign ‘Cricket’s Snacking Partner’.

     

    Notes a communique: “The three-phased campaign, led by contextual TVCs, amplified through subsequent influencer and extensive sampling activities, intends to sweeten up consumers’ homebound cricket cheering experience. Candyman Fantastik Chocostick’s unique cylindrical shape makes it a relevant mnemonic for stumps or the handle of a cricket bat. The contextual TVCs translate the spirit of a cricketer’s ‘Fantastik’ celebratory moment into one which can be replicated by consumers at home with the product, taking a differentiated approach to sweet snacking experience. To further elevate the consumers’ match viewing experience, Candyman Fantastik has launched an in-home mini treats pack, ideal for snacking by oneself or with friends and family during match hours.”

     

     

  • Curegarden is a natural health supplements brand owned by Livlong Nutraceuticals Ltd

    Langoor Havas bags digital mandate for Curegarden

    By A Correspondent

     

    Langoor Havas has bagged the digital transformation mandate for Curegarden, a natural health supplements brand owned by Livlong Nutraceuticals Ltd.

     

    Said Venugopal Ganganna, CEO, Langoor Havas: “Indian Nutraceuticals market is expected to grow to $18 billion by 2025, as consumers become more health and fitness conscious. Amid the pandemic, ‘immunity’ has become a new buzzword, the demand for nutraceuticals across the globe has increased manifold. While the world is battling with COVID 19, Curegarden is set out to help its customers build immunity and better health. We are excited to partner with Curegarden in its dream of sharing a happier, healthier quality of life with its customers.”

     

    Added Antony Kunjachan, CEO of Curegarden: “At Curegarden our main focus is to develop a safe and effective Nature based Nutraceutical formulations to make the benefits of Natural healthy living widely available across India. We found a perfect partner in Langoor Havas to ideate and take our products to market leveraging all things digital. We look forward to taking this journey to new heights.”

     

     

  • It is as if being entry-level or mass-market is a protozoan life rid of all respect and pride, writes Avik Chattopadhyay

    The Obsession To Be Premium

     

    By Avik Chattopadhyay

     

    The other day I was chatting up with a Maruti Suzuki Nexa dealer. Post the expected lament on lack of footfalls and the still elusive operating profit, we got into discussing the basic Nexa model – the purpose, the promise and the delivery. After a lot of soul-searching and head scratching, he finally brought it down to the wooden flooring, fancy furniture and focused lighting as the “premium” experience being offered to a customer vis-à-vis one who walked into a Maruti Suzuki Arena!

     

    Sounds preposterous? Totally believable!

    Let’s just spend a few more words on this Nexa vis-à-vis Arena case. The two channels of the same Maruti Suzuki brand offer separate products to customers, hence ensuring a minimum level of footfalls in both. I cannot buy an Ignis from an Arena outlet, hence go to a Nexa. Similarly, I cannot pick up a WagonR at a Nexa, hence go to an Arena. It is not that I have a similar product portfolio in both, yet I choose a Nexa over an Arena as the entire customer promise and experience is what I associate with and aspire for.

     

    There are various ways I can be premium in being a Nexa channel partner.

    In my product pricing. But the Nexa offers the Baleno that is in the same price band as the Swift.

    In my product positioning by addressing a different customer psychographic. But, then, the Ciaz was moved from Arena to Nexa to allow more revenues to the latter.

    In my overall experience. But the service and ownership experience, as per customer feedback and dealer inputs, are the same in Nexa and Arena.

     

    So, I am fundamentally undifferentiated from my less privileged channel cousin and totally confused in what I am supposed to be in the first place. Yet, I boast that I am “premium”. Not a very sustainable business model, is it?

     

    Maruti Suzuki’s urge to go premium is not an oddity. It is another demonstration of the common malaise many Indian brands have – the obsession to be premium!

     

    From aviation to automobiles, food to furniture, healthcare to homes, brands and businesses make proud statements in press releases and communication that they are a premium brand or aim to go premium.

     

    It is as if being entry-level or mass-market is a protozoan life rid of all respect and pride. It is as if being affordable is an affront to business logic and purpose.

     

    In the three decades I have spent working for a living, I have come across a handful of seniors and bosses who have also expressed this desire to ‘elevate’ the brand into a premium one. Basically, making the customer pay more money for the same product or solution. And how will that happen? Magical marketing! Spend on symbols of an elevated status like brand ambassadors, sponsorships and imagery to package the same product in a new avatar!

     

    Does this not work? It does, for some time and for some people. But it is never sustainable as the brand is desperately trying to live on borrowed clothes and makeup.

     

    Have I been successful in any such attempt? Not once. Have tried a few times but failed miserably. But in the process, have learnt five important lessons which I wish to share.

     

    Premium vis-à-vis Expensive

    These are two separate concepts. A Harley-Davidson is expensive. It is not premium. It is expensive because the Americans can just not get efficient enough. But in its home market no one buys it for its premium-ness but for its distinct imagery and culture code.

     

    Mass vis-à-vis Premium

    A Bic ballpen is mass. And people love it because it is so. But a special edition Bic commemorating the Black Lives Matter movement will certainly sell at a premium. Similarly, a Maruti Suzuki Swift is mass. But a 15th anniversary limited edition Swift Sport will be premium. Hence, mass and premium are not mutually exclusive concepts… in reality.

     

    Premium vis-à-vis VFM

    These are not conflicting at all. In fact, the better a brand is able to demonstrate value-for-money [VFM] to its target customer, the better the premium it will attract. And not extract. I once met Mr R M Dhariwal, the owner of the Manikchand Group, who told me that he bought a Maybach for his daughter on her birthday as believed for the amount of money he wanted to spend, the Maybach offered him best value for money!

     

    The intangible value of a product or experience, over and above the physical value is what allows a brand to command a premium. And not just demand it.

     

    Premium vis-à-vis Profit

    These two are not necessary and sufficient conditions to co-exist. There are mass-market brands that make profits that many luxury brands would give both arms for. A premium offering need not make higher profits than an entry-level one. The focussed definition and delivery of its promise is what makes a brand charge a premium.

     

    Response vis-à-vis Objective

    This is the biggest lesson for me. Being “premium” is a desired consumer response and not a business goal or objective. It is an outcome and not the process. It is the end and not the means. This clarity of brand management happens only when the brand stays true to its intended purpose and promise.

     

    We experience brands like Bata, Amul, McDonald’s and Chevrolet not because they are positioned as “premium” but because they are true to their brand DNA and carry no pretensions. As customers, we give them their due premiums when we wait for the pack of Amul Taaza milk to arrive at the store, love to see the sparkle in the eyes of our children on getting them a Happy Meal, squeal the hell out of the tyres of a gleaming Corvette or splash about in muddy puddles in the Naughty Boy shoes. Each of these experiences is what truly makes a brand “premium”!

     

     

  • The film has been conceptualised by Lowe Lintas

    Godrej Lal Hit’s new digital film

    By A Correspondent

     

    Insecticide brand Godrej Hit has unveiled a new festive digital film for Lal Hit, the brand’s offering to kill cockroaches. Conceptualised by Lowe Lintas, the film captures the current sense of anticipation around festive fervour in the country.

     

    Speaking on the film, Sunil Kataria, CEO – India & SAARC, Godrej Consumer Products Ltd (GCPL), said: “2020 will witness an inherently ‘indoor’ festive season, but that will in no way dampen the festive spirits. We want to remind everyone how even though this year’s festivities will be on a smaller-scale with our immediate family, we will enjoy it in our own unique yet endearing way.”

     

    Added Amar Singh, Regional Creative Officer, Lowe Lintas: “Diwali 2020 is unlike any that we have experienced or are likely to experience in our lifetimes. And after everything we have been through in this trying period, each one of us deserves to celebrate it. Conceived by Rajat Dawar and Vishal Bagade, this film aims to capture this sentiment. And is a wish for all of us to have a Super HIT Diwali from a brand that ensures we are always safe and protected in our homes.”

     

     

  • Rao will promote the Syska products across LED and fan segments

    Rajkummar Rao is brand ambassador for Syska

    By A Correspondent

     

    Syska, the electrical goods company, has announced that it has roped in actor Rajkummar Rao as the new face of the brand. Rao will promote the Syska products across LED and fan segments.

     

    Commenting on the onboarding of Rajkummar Rao, Mr. Rajesh Uttamchandani, Director, Syska Group said, “We are extremely excited to have Rajkummar Rao as the new face of the Syska Group. Rajkummar is an apt choice for the brand because of his discerning choice of work and roles which reflects a sensitive, and mature actor. We believe that our journey at Syska is mirrored in his work. We are confident that our association with Rajkummar Rao will grow from strength to strength and will aid in recreating magic in the hearts of Syska’s loyal consumer base.”

     

     

  • The campaign has conceptualised by Arun Iyer’s Spring Marketing Capital and directed by Nitin Parmar, Equinox Films

    Airtel Xstream’s campaign by Equinox

    By A Correspondent

     

    Advertising production house Equinox Films has created a new campaign for Airtel Xstream titled ‘Jo Dekho, Bada Dekho’.

     

    The campaign has conceptualised by Arun Iyer’s Spring Marketing Capital and directed by Nitin Parmar, Equinox Films.

     

    Talking about the campaign, Shashwat Sharma, Chief Marketing & Brand Officer at Bharti Airtel said: “With Airtel Xstream, we aim to transform entertainment at home, in India. The content consumption habits have changed dramatically with users viewing content both across linear TV and App based new age content on mobile. We felt why should the best content out there be confined to viewing on small screen? Airtel Xstream enables a seamless viewing experience across both genres, on your large TV screen. Our partners Spring and Equinox have done a great job in bringing alive the larger-than-life viewing experience of Xstream, in this campaign. So from today –  ‘Jo Dekho Bada Dekho’.

     

    Heading the creative team, Arun Iyer, Founding Partner at Spring Marketing Capital said, “Airtel Xstream is a viewing experience like never before. Most people end up consuming content on their small screens and that is far from optimum. Which led us to the thought of Jo Dekho Bada Dekho. The execution was complex but Nitin and the team from Equinox were a delight to collaborate with in bringing this vision to life.”

     

    Added Nitin Parmar, Director at Equinox Films: “It’s always a pleasure collaborating with Airtel and the team at Spring. Making a commercial is a collaborative, team effort at the best of times and during the pandemic we really got a sense of how true that statement really is. The challenge with this commercial in particular was to visually explain the features of the product in a way that felt immersive and fun – Like a roller coaster ride. Tonnes of conference calls with creatives, client and technicians; hundreds of hours of zoom calls (sometimes across time zones) later- we are really happy with the end result. Airtel allows us to keep pushing our boundaries whilst keeping the creativity intact, and that’s what we love most about working with them”.

     

     

  • The campaign is titled Hum Hai Roshni

    Shoppers Stop brings beam of hope this Diwali

    By A Correspondent

     

    Shoppers Stop’s latest campaign Hum Hai Roshni for Diwali attempts to create a positive sentiment in the midst of this pandemic.

     

    Said Uma Talreja – Customer Care Associate, Chief Marketing and Customer Officer at Shoppers Stop Ltd: “As we progress through different stages of Unlock, it is important to be cautious and safe while we try to reclaim a sense of normalcy in a way. The film empowers us to overcome dark times and retain our values, culture, and togetherness. This Diwali, Shoppers Stop offers safe shopping at stores and also digital assistance on WhatsApp and through the website and app.”