MxMIndia

Category: MEDIA

  • Presenting key trends based on actual standalone campaign and platform data from Millennial Media

    Key Trends in Mobile Advertising

     

     

    Presenting key trends in mobile advertising based on actual standalone campaign and platform data from Millennial Media. The Scorecard for Mobile Advertising Reach and Targeting (S.M.A.R.T.)â„¢ delivers regular insights on key trends in mobile advertising .

     

    Global Mobile Vertical Spending

     

     

    Retail was the second largest vertical on our platform in Q1 as ranked by spend (Chart A). Typically, retailers spend about 3x more in Q4 than the rest of the year. This year, Q1 was a strong quarter for retail advertisers as well, spending 107% more than the same quarter the previous year (Chart B). Brands were looking to drive consumers into stores and online for great holiday closeout deals.

     

    In Q1, Pharmaceuticals was the seventh largest vertical on our platform (Chart A), growing campaign spend 491% year-over-year (Chart B). Pharmaceutical advertisers ran mobile campaigns that drove consumers to landing pages where detailed drug information could be found.

     

    Spend by advertisers in the Portals & Directories vertical was up 290% year-over-year on our platform (Chart B). Brands advertising in this vertical include browsers, app stores, and directories mobile users can install on their devices. These advertisers often leverage tactical targeting in their campaigns to make sure the device is on a compatible operating system.

     

    In Q1, advertisers in the Energy & Power vertical grew mobile campaign spend by 270% (Chart B). Brands in this vertical often leveraged video in order to drive consumers to mobile sites that explained the many sides of the business, while creating positive brand awareness.

     

    Global Mobile Advertiser Trends – Campaign Engagement Methods & Goals

     

     

    Drive to Social Media actions were used in 8% of all campaigns on our platform in Q1 (Chart C). Entertainment advertisers, specifically Motion Picture Release brands, frequently leverage social media actions in order to drive consumers to a social site where they can see what other people are saying about a movie, and create buzz in order to entice ticket purchases.

     

    23% of campaigns on our platform in Q1 included a Watch Video action (Chart C). This is nearly twice as frequently compared to the same quarter last year. Mobile video adoption has become an effective tool for advertisers to not just reach, but also engage their target audience through sight and sound.

     

    Site/Mobile Traffic was the goal of 34% of mobile campaigns on our platform in Q1 (Chart D). Site/Mobile Traffic campaigns can have many purposes. For Restaurant advertisers, these campaigns were driven by “learn more” language offering consumers a view into new menus or updated interiors.

     

    6% of campaigns on our platform in Q1 had the goal of Product Launch/Release (Chart D). These campaigns specially focused on new products to the market, for example, a new model year car, new cleaning products, or a newly approved drug.

     

    Vertical Insight – Telecommunications

     

    The Telecommunications vertical on our platform is unique; these advertisers are using the products and platforms they build and sell to advertise their own products and platforms. Because of this, brands running campaigns in the Telecommunications vertical are skilled at using tactical targeting, which reaches consumers based on the characteristics of their mobile devices and connections. In this tightly competitive market, brands use strategies such as conquesting around competitors’ devices, or reaching consumers at home on a particular Wi-Fi network. Telecom brands have the opportunity to take this targeting to the next level by integrating behavioral audiences across screens to reach and engage the consumer.

     

     

    The Top 10 Audiences Targeted by Telecommunications Advertisers on our platform in the first quarter are shown in Chart E. This vertical most frequently targeted Home Buyers, an audience that may need to set up cable and internet services at their new home. Telecom advertisers targeted this audience with sign-up promotions to encourage new subscriptions. College Students, the tenth most frequently targeted audience, could have similar needs as they move into new apartments at the beginning of a school year.

     

    Music & Entertainment Fans and Gamers were the second and third most targeted audiences by Telecom advertisers, respectively (Chart E). Mobile users downloading and consuming a lot of digital content need strong signals and high bandwidth to do so seamlessly. Landline and cable companies target this audience to promote their network speed and reliability to entice consumers to switch providers.

     

    Of the Telecommunication advertisers on our platform in Q1, 63% were Mobile Carriers & Plans brands (Chart F), such as the major mobile phone networks consumers order cellular service from. Within the sub-vertical, advertisers often ran mobile campaigns promoting new network plans and sales to drive consumer awareness.

     

    Landline & Cable Companies accounted for 24% of the Telecom advertisers on our platform in Q1 (Chart F). These brands, including landline telephone, internet, and cable and satellite TV companies ran mobile campaigns to drive new subscribers.

     

    Vertical Insight – Telecommunications

     

     

    Telecommunications advertisers utilize three actions in their creatives more frequently than all advertisers: Retail Promotion, Place Call, and Site Search (Chart G). Retail Promotion was included in nearly twice the number of Telecom campaigns on our platform in Q1 compared to all advertisers. Mobile carriers often promoted discounted devices using multiple and re-targeted creatives designed to generate awareness, and then site traffic.

     

    Place Call actions were included in 21% of Telecommunication campaigns in Q1 (Chart G), used at 4x the rate of all advertisers. Brands in the Landline & Cable Companies sub-vertical leveraged this “click-to-call” function more frequently than any other sub-vertical to drive consumers to sign-up for service. This action was also most frequently used to achieve a campaign goal of Registrations. Registration campaigns accounted for 39% of all Telecom campaigns in Q1 (Chart H), compared to 11% for all advertisers (Chart D).

     

    Site/Mobile Traffic campaigns were utilized by 28% of all Telecommunication advertisers on our platform in Q1 (Chart H). The drive to Site/Mobile Traffic campaign goal can have many purposes and various actions used to achieve this goal. For Telecom, the Site/Mobile Traffic goal was most often achieved through “learn more” calls to action included in the mobile campaigns. This action often sat alongside an image of a mobile device with new features.

     

    S.M.A.R.T.â„¢ Glossary of Terms

    Audience Targeting – A strategy used by advertisers to deliver relevant messaging to specific target audiences. Built upon massive volumes of diverse user, location, app, and 3rd party data, Millennial Media’s audience targeting uses a variety of targeting techniques to reach audiences, including behavioral, local, contextual, demographic, retargeting, tactical, and content-based solutions.

     

    Cross-Platform – Pertaining to multiple devices (smartphones, tablets, feature phones, non-phone connected devices), carriers (AT&T, Verizon, Vodafone, etc.), or platforms (iOS, Android, BlackBerry, Windows Phone, Symbian, etc.). Millennial Media is cross-platform – or “platform agnostic” – because we do not focus on one single OS or device type. This enables advertisers to reach as many mobile users as possible, regardless of their mobile device or carrier of choice.

     

    Developer – Provider/creator of mobile applications and sites. Developers range from large entities (brands, portals, news sites, etc.) to individuals who focus on just a handful of applications.

     

    Feature Phone – Any web-enabled mobile phone that is not a smartphone.

     

    Impression – A count of the number of times an ad unit appears on a mobile device.

     

    Interactive Video – A high-impact video ad layered with interactive features that deliver a uniquely mobile, actionable experience to customers.

     

    Inventory – The ad space available on mobile websites and applications.

     

    Non-Phone Connected Device – A non-phone mobile device. This includes tablets, gaming devices, e-readers, MP3 players, etc.

     

    Post-Click Campaign Action – The action a marketing campaign is driving the customer to take once an ad is viewed (i.e., Place Call, Download Application, View Map, etc.).

     

    Rich Media – Advertising that deviates from standard display advertising in that it goes beyond an image file to include coded features, such as it is interactive, engaging, or it breaks free of basic, accepted IAB-determined online standards.

     

    SDK – Software Development Kit. A tool that enables developers to seamlessly integrate mobile advertising into their applications, thus monetizing their apps. Developer partners on Millennial Media’s platform download and integrate our SDKs (available for a variety of operating systems – iOS, Android, Windows Phone, etc.) to gain access to the ads run by our advertising partners.

     

    Smartphone – Any web-enabled and application-enabled mobile phone that runs on an operating system and offers the user more advanced capabilities beyond just voice and mobile web access.

     

    Vertical – The classification of advertisers by industry.

     

    Visit www.millennialmedia.com/mobile-intelligence to sign up to receive Millennial Media-related news including the Mobile Mixâ„¢ report, the Scorecard for Mobile Advertising Reach and Targeting (S.M.A.R.T.)â„¢ report, and the Mobile Intel Series.

  • The objective behind this launch is to provide quick and easy access of weekly top line TAM data to its subscribers

    TAM to provide measurement updates through new mobile app

    TAM Media Research has announced the launch of the first ever mobile app called “TAM India”. The objective behind this launch is to provide quick and easy access of weekly top line TAM data to its subscribers including Advertisers, Media Agencies and TV Broadcasters. This mobile app has been exclusively designed for the TAM subscribers using iPhone, Android & BlackBerry and, therefore, is available for download on App Store, Google Play and Blackberry World. Subscribers can also get the download link by visiting TAM Website: www.tamindia.com.

     

    The Mobile App will be updated every Thursday immediately after the regular release of TAM data to the Industry.

     

    Commenting on the launch of TAM India Mobile App, LV Krishnan, CEO, TAM Media Research, said, “Our focus, as always, has been to enrich our customers with actionable insights through credible data. With this first ever unique initiative of launching “TAM India” Mobile App, we have fortified our service commitment to the industry with that of anytime anywhere access to data and quicker decision making process for clients. I am especially excited about the different ways in which this Mobile App will be of value to the Senior Management across Advertiser, Media Agency and TV Broadcast Organisations.”

     

    L V Krishnan

    “TAM India” Mobile App will, on a weekly basis, provide a quick snapshot of different TV channel genres, markets andprograms. At any given point in time, this App will have data for the latest week but also the preceding four weeks. The data will be updated every week immediately after the regular industry release of TAM Weekly Data. “TAM India” mobile App user will get anintimation for the update of the data.

     

  • Times Group will sponsor the winning teams with an all expense paid trip to Singapore

    Times Group extends support to youth for Spikes Asia

    The Times of India Group has been supporting young talent in the advertising and media industry by creating opportunities on the Young Lions and Young Spikes stages. A great outcome this year was the Silver bagged by the Young Marketer’s team by HUL at the Cannes Young Lions last month. In keeping with this endeavor, The Times of India has announced the Young Spikes contest for two categories – Integrated & Media.

     

    Times Group will sponsor the winning teams with an all expense paid trip to Singapore to represent India and compete internationally at Spikes Asia 2014, happening on 23rd – 26th September 2014. Entries will be judged by a prelim jury and the chosen finalists will make a physical presentation to the final jury in the first week of August in Mumbai. The entire judging process will be overseen by Ernst & Young, Process Partners for Young Spikes.

     

    This year’s Theme for Young Spikes – Integrated is on “Stop Unnecessary & Incessant Honking on Roads”, while the Theme for Young Spikes – Media is on “Naked Overhead Wires, a Threat to Life”.

     

    The final jury for Young Spikes Integrated has a host of prominent names like Josy Paul, Arun Iyer and Senthil. An equally distinguished jury for Young Spikes Media consists of names like Nandini Dias, Yesudas and Ravi Rao.

     

  • Mr Nadkarni, one of India’s most well known Hindustani musicologists and perhaps the most published author on the subject, was the music critic of The Times of India for over 50 years, having reviewed thousands of concerts between 1948 and 2000

    Veteran musicologist and critic Mohan Nadkarni passes away

    By A Correspondent

     

    Mohan Nadkarni, one of India’s most well known Hindustani musicologists and perhaps the most published author on the subject, passed away yesterday (Tuesday, July 22) in Auckland, New Zealand. He was 91.

     

    Mr Nadkarni was the music critic of The Times of India for over 50 years, having reviewed thousands of concerts between 1948 and 2000. He was also a columnist with mid-day in the 1990s. He has authored over 4000 articles mostly on Hindustani music, but also on Marathi and Sanskrit theatre and other cultural topics in leading publications all over India and abroad. He has had the rare privilege of reviewing the earliest concert performances of such legendary musicians as Pandit Ravi Shankar, Ali Akbar Khan, Fazal Qureshi’s father Ustad Alla Rakha and brother Zakir – and Fazal himself, besides several others, too numerous to mention here.

     

    In those years, he also consulted with recording companies like HMV helping produce the early LP records of many of these artistes in terms of repertoire and promotional notes that appear on the record covers. In the process, he developed lifelong friendships with musical luminaries of three generations and had fond memories of his discussions, arguments and the rare camaraderie he shared with them at different times in their successful careers. He has touched upon many of those experiences in the eight major books on Hindustani music that he authored, including the bestselling biography of Pandit Bhimsen Joshi that continues to be a fast seller on Amazon.com and which has been translated into several Indian languages.

     

    Mr Nadkarni has won several awards including the Karnataka State Government’s Kalashree award for lifetime’s contribution to music and the Shreshtha Sangeet Sadhak Award from the prestigious Bhatkhande Institute, again, for lifetime achievement. He is a permanent member of the Sangeet Research Academy, Kolkata, which continues to produce such talented artistes as Ustad Rashid Khan. He has lectured and held workshops on Hindustani music in several cities in India as well as in Switzerland, the Netherlands and the United Kingdom among other countries. He addressed the World Music Forum in Rotterdam in the Netherlands in 1995.

     

    Mr Nadkarni moved to New Zealand eight years ago to live with his only son and before migrating donated his entire musical library comprising thousands of articles and rare photographs, about 1200 rare LP and 78RPM records and thousands of cassettes to the music department of the SNDT University in Pune, where a musical library has been set up in his name.

     

    Mr Nadkarni would have turned 92 on September 22. Is survived by his lifelong collaborator, his wife Suniti, who assisted him with every piece of his writing by typing the manuscripts in real time while he dictated, his son Dev and his family.

     

    RIP, Mohan Nadkarni

     

    Photographs: Courtesy Dev Nadkarni

     

  • While many brands cashed in on the #WorldCup2014 wave, Twitter was the biggest gainer

    Germany on the field, Twitter off it!

     

    By Delshad Irani

     

    World Cup 2014 had socially active fans of football, and everyone else who didn’t want to be left out, spend as much time watching the likes of Goetze and Suarez make history as sharing their two cents on the moments of joy, agony, madness and comedy on social media. Their eyes darted like Captain Luiz’s caught in the Mineirão lights between the antics on pitch and the tweets and posts off it.

     

    The sheer volume of World Cup tweets that flowed like tears on a Brazilian babe on Black Tuesday has given the good folks at Twitter and marketers who bet big on the first truly social World Cup, reason enough to celebrate, regardless of national allegiances.

     

    The opening match between Brazil and Croatia was bombarded with 12 million tweets, that’s more than the entire tweet volume of the previous FIFA World Cup. So, for Pele’s sake, let’s be reasonable, and put things in perspective shall we? Yes, your team crashed out in a blaze of shame leaving in its wake psychologically scarred five-year-olds who can no longer bear to look at a football.

     

    But what’s a little heartache, even if it’s splashed on the front pages of every major paper in the world, when you’ve got a couple hundred more followers in 90 minutes? No extra time required, Ref. (Hear that, #ARG?)

     

    00:00

    Before the 20th FIFA World Cup kicked off in early June, Twitter went all out to woo people to use the platform as an ideal companion that enhances your World Cup experience and not as just another megaphone for the newborn soccer pundit in you. Though a few didn’t get the memo. Twitter’s campaign included an all-you-can-tweet buffet of hashtags like #BRA #GER #NEDARG #WorldCup, et cetera.

     

    They made sure every player on every team for every country is on the platform, knows how to tweet and is tweeting. All 32 countries were active on the platform and most players tweeted regularly be it from practice sessions or the stands. The company made certain the content flowed across media. There was even a video akin to the likes of World Cup favourites Nike (‘Write The Future’ – 2010, ‘Risk Everything’ – 2014), Adidas, Coca-Cola and Pepsi. The site quickly turned in to a carnival of planned and reactionary content around the Cup.

     

    In 32 days, 672 million tweets related to the World Cup were unleashed, that’s over 10 per cent of the planet’s population. Brands had conversations and engaged not only with fans but with each other also. Tweets went back and forth between McDonald’s and Visa who indulged in a round of Twitter joust in the group stage. Taking a hands-on approach, the social media platform sent in specialists to work closely with brands like McDonald’s and Coca-Cola to operate their social newsrooms from Rio to Tokyo, and drove conversation further and wider than in any previous marketing campaign to date.

     

    Coca-Cola India garnered a social footprint of 6.2 billion impressions on Twitter. According to a Coca-Cola spokesperson, “This has by far been the brand’s largest ever social campaign in India which was a result of integrated marketing supported by a well knitted TV, radio, print and on-ground activity in its key geographies.” The social campaign was led by an editorial team at a specially created Live Wire room by Coca-Cola India. This team created and seeded real time content using meme images, Vine videos, leveraged multiple celebrities along with 250 advocates or influencers to cover everything from stats, WAGs and wacky hairdos to contests.

     

    While Coke had the big global TV campaign, “in India the goal was to drive real-time conversations and content around the global asset, #WorldsCup. Twitter was at the heart of the social media strategy integrating multiple touch points from TV and radio to on-ground to leverage available content,” says Anamika Mehta, CEO, Initiative, who led the media team for Coke’s campaign.

     

    45:00

    “Compelling moments like the World Cup become the way to make Twitter more concrete,” says Shailesh Rao, VP – Asia Pacific, Latin America & Emerging Markets, Twitter Inc. “If you are following a match, well, participate in the conversation. If a goal excites you, tell the world. Not only was it hugely successfully in terms of engaging users but brands as well did some phenomenally creative things.”

     

    Big ticket marketers pump in millions in the Cup, in the range of $25 – $50 million, to realise their marketing strategies, to be part of the conversation and to engage with fans, old and new across the world. For instance, markets like the US saw a surge in popularity of football and renewed interest in the game from marketers. The US goalkeeper, Tim Howard being its greatest beneficiary.

     

    India, a Top 10 market for Twitter, was responsible for 3.2 per cent of the entire buzz on the platform, according to reports. Since the first match on June 12, @DFB_Team and @Argentina have increased their followers by 62 per cent and 139 per cent, respectively. Whichever way you look at it, that’s good news for kit sponsors and global and national brands associated with the teams and the game’s international stars.

     

    Says Adidas Group CEO, Herbert Hainer; “From having both finalists, the winning team and all three Adidas golden award winners to being the most talked about brand in social media, we were able to dominate the tournament on and off the pitch.” From its base in Rio, “Posto adidas” (Posto is the name for local landmarks along the beaches of Rio de Janeiro), the sportswear brand’s marketing team uploaded planned, anticipated and reactive content to drive its conversation online with football fans.

     

    Focussing its campaign on share of voice and reactive moments, Adidas had 917,000 mentions of #allin on Twitter – more than three times as much as any other brand during the tournament, the official sponsor claims. Certainly, the Adidas poster of Uruguayan striker Luis Suarez channelling his best Fox Terrier near Copacabana which turned in to a tourist attraction helped. Adidas took down the poster, of course, but not before hundreds of fans shared their Suarez bites with the world. Along the way, Twitter became a powerful and efficient tool in the marketer’s arsenal to amplify their efforts so one can get more shots on goal. And, according to Rao, “what we saw in terms of results was that TV conversation retargeting in Brazil lifted the engagement rate substantially when it was included in the overall campaign.”

     

    GOAL!

    During this World Cup, in the seconds that followed spectacular goals, saves, dives and bites and referees fixing their hair on screen and Lukas Podolski and Bastian Schweinsteiger’s smooch selfie, fans, brands and “newsjackers” got to work on the platform to share comments, vines, memes and japes with the planet. When Italian centre-back Giorgio Chiellini’s shoulder ran in to Suarez’s teeth it launched a thousand tweets. Brands dived in to the action with their own cheeky takes. Real-time marketing war rooms are set up for exactly this kind of stuff.

     

    “More Satisfying Than Italian” Snickers tweeted. Budweiser and Listerine promptly bought Promoted Tweets around the #Suarez hashtag. And @Listerine tweeted: ‘We recommend a good swish after grabbing a bite of Italian. #WorldCup #PowerToYourMouth’. Brazil’s catastrophic 1-7 loss to Germany in the semi-finals (a match that triggered a record breaking 35.6 million tweets) and Germany’s ultimate triumph gave some marketers their Oreoesque moments as well. Irish bookmaker, Paddy Power tweeted a picture of Brazilian striker Neymar Jr brandishing a 7Up can with a tweet that read: ‘Well, this is awkward…. (via @diosflorentino) #BrazilNuts’.

     

    And, in case you missed it, Sony Xperia recreated the match in Vine form with Subbuteo figures and a goal net with seven holes in it. Besides receiving countless retweets and favourites, they and many more were extensively shared and covered in the news, online, TV and print. Even traditional ads got traction online, when people tweeted a Singapore anti-gambling ad in which one boy tells another “I hope Germany wins. My dad bet all my savings on them.” @Mr_Mike_ Clarke tweeted: ‘This anti-gambling poster has backfired a little.’ Instead of just taking down the poster, the National Council on Problem Gambling had to come up with a save à la Howard with another ad. “Your dad’s team won. Did you get your savings back? “No, Dad never stops.

     

    He wants to bet one more time.” Says Vishal Sampat, CEO, SMG Convonix, “One could easily follow the entire game by just being on Twitter. This meant that Twitter became important not just for a digital campaign but also a 360 degree campaign. As a platform it allowed brands that used it effectively to run a two way communication campaign with potential or existing consumers of their products.”

     

    90:00

    Although the following might sound needlessly laudatory, the fact is while the beautiful game was played on the green pitches of Brazil, the drama unfolded on our Twitter timelines. That’s where the millions who couldn’t afford a trip to the Maracana watched the game together and shared their collective glee and distress. Sure we could spend hours attempting to put results in to tangible returns on investment and argue over matters close to the CFO’s heart, for instance, raking up the mentions is all dandy, but what did it do for sales? As it stands today, social media is more about engagement and awareness and not how many shoes flew off the shelves.

     

    It’s about engulfing your brand in a thick cloud of buzz. For now, it’s all worth it when people stop seeing the brand as a nuisance trying to butt in on a conversation and instead become the friend at the party everyone wants to hang with. Isn’t that the point of all marketing nowadays anyway?

     

    So to answer the question which brand won the first social World Cup? The one who scored the equivalent of Mario Goetze’s goal to take home the marketing trophy are not the sponsors or the unofficials, Adidas or Nike, Coca-Cola or Pepsi, Hyundai or Mercedes or Audi or Visa or Sony or any of the marquee marketers.

     

    Those who’ve dominated cups past and spend years and many millions to leverage the biggest, most electrifying, spectacle in the history of mankind (the Indian General Election comes a close second). The brand champion of FIFA World Cup 2014 is, in fact, Twitter. Because much like Germany it had the best, most dedicated team players in the tournament – @YOU.

     

    Source:The Economic Times

    Copyright © 2014, Bennett, Coleman & Co. Ltd. All Rights Reserved

    Licensed to republish

     

  • The Reader's Digest magazine has refreshed its masthead with greater emphasis on 'Reader's'

    Now, more focus on Reader’s in Digest

    By A Correspondent

     

    The Reader’s Digest magazine has refreshed its masthead.

     

    The masthead in the Indian edition changed with effect from May 2014 following a worldwide change. The objective was to put the focus back on the reader, as it was always intended to be, said a senior official close to the development.

     

    According to a report in Masthead quoting managing editor Dominique Ritter, the “new logo is set in a customized font “with a sweeping element that recalls our classic logo,” The report adds: “The most notable change is the emphasis on the word ‘Reader’s’, which is now larger to convey a commitment to the brand’s audience and its love for the written word. Before, ‘Digest’ enjoyed more real estate.”

     

    In the earlier version of the masthead, the word Digest in the name had more prominence, but in the new logo, not only has the emphasis vastly been reduced, the ‘d’ in Reader’s Digest has been lower-cased.

     

    The Indian edition of the Reader’s Digest celebrates 60 years this year having commenced circulation since 1954. The licence was first owned by the Tatas and it’s now run by the India Today group. Other than India, the magazine has 48 editions in 21 languages and is published in over 70 countries.

     

  • Setting the agenda for EEMA's growth, the members set out an aggressive plan entailing 20 task forces

    With Sabbas Joseph at the helm EEMA charts out growth agenda

    The Event & Entertainment Management Association (EEMA) recently held a three-day conference – EEMAGINE 2014, in Cochin. The conference highlighted EEMAs Vision 20:20 to drive the next phase of growth for the event management and experiential marketing industry. Also announced was news of Sabbas Joseph taking charge as EEMA President with Vision 20:20.

     

    Sabbas Joseph

    On the occasion, Sabbas Joseph, as President of EEMA outlined a peep into the future with Vision 20:20 to drive the industry forward. He described the state of the industry as akin to the hanging of a computer or mobile phone and called for a “reboot” of the events and experiential marketing business and called on industry colleagues in EEMA to lead the future path. On behalf of EEMA, the new president of the premier organization said that the focus will be on improving the industry’s engagement with government, policy makers, clients, artistes, supply chain and also the relationship between member-agencies.

     

    Joseph is one of the founders of India’s first event management and experiential marketing company – Wizcraft International. While setting the agenda for the EEMA’s growth, he set out an aggressive plan that has 20 task forces working simultaneously guided by mentors including industry stalwarts – Michael Menezes, Brian Tellis, Roshan Abbas and Sameer Tobaccowala.

     

    The task forces will work simultaneously in a cohesive approach along with knowledge companies and domain experts. The task forces are largely geared to the re-engineering and redefinition of the entire Indian experiential marketing and event management industry at one end and globalization at the other end. EEMA standards would be established and the gradation and certification of agencies would be undertaken. Industry standards would be set along global benchmarks. The task forces include owners of EEMA member agencies from across the country experienced in verticals such as corporate event management, experiential marketing, digital experience creation, social events, weddings, public events, sports, international projects and mega spectaculars.

     

    In a related development, the President appointed a 20-member National Working Committee comprising the Chairpersons of the task forces. While terming the entire effort as Mission Critical, EEMA is focused on the future with mantras that can be best described as: Growth, inclusivity, globalization, respect, nation-building with major focus on accountability, integrity, providing value to customers and respecting values.

     

  • Bollywood fans across the country have been extending their support to the stars of tomorrow

    Google Search Trends unveils popularity of young Bollywood stars

    India’s crazy love for Bollywood stars, movies, and songs is a celebrated and known fact. With the entry of fresh talent and dynamic performances over the last year, Bollywood fans across the country have been extending their support to the stars of tomorrow. While some are new to film fraternity, the others hail from filmy homes and have grown up in Bollywood.

     

    Starry kids including the likes of Alia Bhatt, Shraddha Kapoor, Arjun Kapoor, Varun Dhawan and Tiger Shroff are leading searches on Google. Although filmy background gives them a clear edge, the other non-filmy newbies on screen including Sidhartha Malhotra and Ileana D’cruz have made their way to fans’ hearts with their performances and talent.

     

    An analysis of recent searches on Google (Google Search trends) takes a look at the popularity of these stars among the fans online. Mahesh Bhatt daughter Alia Bhatt’s dream launch in Student of the Year followed by blockbusters movies including Highway and Humpty Sharma Ki Dulhania has gained a lot of interest online as she leads search interest among fans for emerging stars.

     

    Among the male stars, actor Arjun Kapoor is the latest on the block attracting huge search interest online. With he made his debut in 2012 with Isaqzaade, he took on the spotlight with his blockbuster hit 2 States this year. Sidhartha Malhothra’s journey with his charming performance in Student of the Year & Hasee Toh Phasee to Ek Villian has been followed closely by his fans. The actor has shown steady and charismatic performances that are driving searches online.

     

  • Mediaware has launched its service for 100+ TV channels as part of its Brandintell Services

    Mediaware unveils TV Market Rates service

    For a medium as diverse and fragmented as broadcast, there are a number of questions that get raised regarding ad rates. What are the “going rates” for advertising on a television channel? What were they last month? Can I predict next month’s rates? Moreover, market rates change practically each month, based on a number of factors.

     

    Also, market rates have some elasticity which is used by large, savvy clients to advantage – which is reflected as the minimum rate. And apart from to periodic rate revisions, market rates are affected by major events like Cricket World Cup, General Elections, Assembly Elections, FIFA World Cup, etc.

     

    But despite all the issues and solutions at hand, market rates are a necessity for building plans. And used for benchmarking TV buys.

     

    “To address these industry needs, Mediaware has launched its service for 100+ TV channels as part of its Brandintell Services. Market rates are gathered by a team of independent professionals residing in different cities – who are not linked to any client, agency or channel,” shared K Raghavendra), Director of Mediaware.

     

    “Rates are published on a monthly basis and we have made them available to all media professionals for reference free of cost”, shared Biswajit Das, Managing Director of Mediaware. The same can be accessed by logging in to www.m-net.in using the official email id as login.

     

  • Havas Media Group India has won the integrated digital duties of Businessworld in a multi-agency pitch.

    Havas wins Digital AOR of Businessworld

    By A Correspondent

     

    Havas Media Group India has won the integrated digital duties of Businessworld in a multi-agency pitch. Commenting on the win, Annurag Batra, Chairman, Businessworld, said, “Havas Media’s passion and commitment along with their Meaningful Brands framework touched us. We are looking at a digital first strategy with multi-platform presence driving engagement and conversation. Businessworld must be on par with any international online media platform.”

     

    Anita Nayyar

    Speaking on the win, Anita Nayyar, CEO, Havas Media Group, India and South Asia said, “We are delighted that BWIBusinessworld thought us apt partners for their digital story in the world of media. The mandate includes digital strategy, planning, design and execution as BW digitally revamps and grows. We will ensure all necessary steps to make it a meaningful and successful experience for all stakeholders of this marquee brand”.

     

    Havas Media recently also won the integrated media duties of Yepme.com and digital mandate for Xolo mobile. The account size has not been disclosed.

     

  • The campaign focuses on imparting education through television

    TV is good for kids, says Tata Sky in new TVC

    Tata Sky has launched its latest ad campaign ‘Ab Bachchey Seekhein TV se’ (Kids learn with television). The ad is set out to convey the fact that while television is a great entertainment medium, it is equally a good learning aid, helping children gain beyond bookish knowledge.

     

    The campaign is targeted primarily at the parents with children between ages 6 to 12 years, trying to break the myth most Indian parents have on ‘television is only mindless viewing for kids’. One of the three ad films features a young boy stating an interesting fact on how to find out if the eggs are old or new. Similarly the other two ads have two kinder garden aged girls quizzing the audience on facts about ‘rhyming words to orange’ or ‘how to escape a leopard’ that catch you by surprise and leaves you with a smile. All the three ad films deliver the overarching message -Television is good!

     

     

    Vikram Mehra

    Vikram Mehra, Chief Commercial Officer, Tata Sky said, “Kids today are smart, not just studious. Give them the right content in an interesting package and see them absorb the knowledge at lightning speed. Over the last few years, Tata Sky’s pioneering efforts in ‘education through television’ with interactive (Actve) services and a bouquet of infotainment channels have been very well received by subscribers, specifically kids. With this campaign we wish to take the message to markets across the country on how fruitful learning through television can be.”

     

     

    Abhijit Avasthi

    Elaborating on the ad campaign, Abhijit Avasthi, National Creative Director, Ogilvy & Mather said, “If you ask any parent they would say that television and education are like chalk and cheese, rather most will insist that television gets in the way of education. But what we found out in research was quite the contrary. Parents are starting to recognize that there is enough wholesome content on television to supplement their kid’s academic learning, more so in smaller cities where there are very few avenues to give kids holistic education, television plays a role to provide that. Our campaign, ‘Kitna kuch seekh saktein hai bacche TV se’ features kids flaunting the interesting pieces of knowledge that they have learnt from the 13 learning channels that Tata Sky has to offer.”

     

  • The agency will be involved in translating India Online Fashion Week's vision across all media platforms

    10 Minutes to 1 appointed creative partner for IOFW

    Online fashion brand Jabong.com has collaborated with 10 Minutes to 1 as its creative partner for the India Online Fashion Week (IOFW). 10 Minutes to 1 bagged the account with the mandate involving direction, filming and creation of a concept film revolving around IOFW and also the website conceptualization, designing and development for the same. The agency will be involved in translating India Online Fashion Week’s vision across all media platforms.

     

    Praveen Sinha, Founder & Managing Director, Jabong.com, said, “We appointed 10 Minutes to 1 as our creative partners as they demonstrated a research based understanding and the capability to provide a solid creative platform for IOFW. I strongly believe that they have the ability to render our vision into a visual as well as web platform with great vigor. We are happy to have them on board and excited to see the output.”

     

    Expressing her delight on this creative collaboration Reena Bhattacharya, Director, 10 Minutes to 1 said, “At 10 Minutes to 1, effective and creative communication is at the core of all our services and our objective has always been to build a concerted communication strategy through a single window offering a complete marketing communication consultancy to all our clients. We are pleased that Jabong placed their confidence in our services adding further credibility to our web and filming capabilities. We definitely look forward to a long and fruitful association with Jabong.”

     

    The agency has worked closely with Jabong.com in creating various marketing communiqués for the property including IOFW’s launch video and its website, which will act as the hub of all IOFW action where the shortlisted participants will showcase their creations from July 28th to 30th, 2014