Category: NEWS

  • BBC Studios Social searching new talent globally

    In the first event of its kind, the commissioning team from BBC Studios Social is inviting indies of all scales and backgrounds to pitch fresh, short form concepts that extend and enrich existing IP, engage loyal fans, and reach new audiences on digital platforms.

    Said Chris Allen, Director, Digital Content Development: “In an increasingly competitive and fast maturing digital-first market, BBC Studios Social are committed to finding, developing, and partnering with the best independent producers and new talent globally. We love our world-class brands, and we’re super excited to share them with you to deliver new formats, new talent, and new ideas that are critical and commercial successes. Whether silly comedy sketches, or a mind-bending science documentary, we hope this will be the start of some beautiful creative partnerships.”

  • Rise Worldwide dominates IPL 2024 sponsorship

    Rise Worldwide, the sports and event management company, has facilitated multiple marquee deals for the ongoing season of the Indian Premier League (IPL), a communique from the firm has claimed. It has closed team partnerships worth around INR 300 cr which includes five front-of-jersey deals, capturing an impressive 50% of the coveted inventory for IPL 2024. It has secured over 50 brand partnerships ahead of this season.

    Among these significant partnerships, Dream11 has joined forces with Sunrisers Hyderabad, Gujarat Titans, Punjab Kings, and Kolkata Knight Riders, while Luminous has taken the spotlight as the front-of-jersey partner for Rajasthan Royals.

    Said Nikhil Bardia, Head of Rise Worldwide: “This IPL season has reaffirmed our status as the preferred partner in the Indian Premier League ecosystem. Overall, we have locked over 50 agreements as of now across our various partner teams. We have witnessed an increase of 20 percent in the team sponsorship deals.”

  • Digitas India wins digital creative mandate of Deoleo Olive oil

    Digitas India, a connected marketing agency within the Publicis Groupe, has won the digital creative mandate of Deoleo India Pvt Ltd., the global leader in olive oil with esteemed brands such as Figaro and Bertolli.

    This collaboration entrusts Digitas India with the creative and social media responsibilities for Deoleo’s marquee products, including Figaro Olive Oil, Bertolli Olive Oil and Figaro baby range. The objective is to transform these classic brands through cutting-edge digital narratives and enhanced consumer engagement. Digitas India will also help the brands to venture into new markets while reinforcing the allegiance of existing clientele and heightening awareness about olive oil consumption.

    Sonia Khurana
    Sonia Khurana

    Sharing her enthusiasm on the partnership, Sonia Khurana, Chief Operating Officer (COO), Digitas India, said: “We are excited about our partnership with Deoleo. Building a brand on social media takes a deep understanding of the platforms, how the audiences interact with the content on these platforms and an appreciation of the brand & category. We hope to bring the best of all these to make Figaro and Bertolli a success on social media.”

    Satarupa Majumdar
    Satarupa Majumdar

    Added Satarupa Majumdar, Marketing Director – India and Middle East, Deoleo: “Collaborating with Digitas India represents a significant step in our strategy to connect more deeply with our consumers leveraging social media. Their creative ideas align entirely with our brand ethos, and we are confident that this partnership will help us tell our story in more convincing and significant ways to our audience.”

    This partnership heralds the launch of a series of innovative campaigns designed to showcase the distinct attributes of Deoleo’s products while engaging a wider audience through creative and interactive social media marketing initiatives.

  • Technology and the immortality of an advertising theory @IPL

    Technology and the immortality of an advertising theory @IPL

    With apologies to none at all

    By Vikas Mehta

     

    Vikas MehtaYet another season of IPL is underway. And like many millions, I have been following the matches keenly on JioCinema. Since I am travelling, I do not have access to DTH or cable to watch it on TV. So, my writing is based on my JioCinema experience only.

     

    Usually, I comment on the ads during the IPL. I will continue to do so. But this particular column is going to first recount my experience with JioCinema from a technology- and consumer-friendly viewpoint and then I shall take just two examples to highlight some issues in the IPL ads.

     

    I find the app very consumer-friendly during IPL. The home page highlights the match of the day and with one click, I am into the match. But when there are two matches then the homepage keeps on highlighting the first match, well beyond 7:30 pm and the second match requires real searching. The issue does not get resolved even by refreshing the page.

     

    In terms of the content, I find the ‘Jeeto Dhan Dhana Dhan’ contest very interesting. It’s a simple multiple-choice question based on what will happen in the next over. With one click, the answer is submitted. And before the next question comes up, one is informed if one got it right. But the beauty is that for all those who got right answers there is some prize. Usually, a discounted product from an online e-commerce portal. I, played it almost at the end of each over for two days and I had around 20 prizes. And the redemption was also well-planned. Click on the same page to redeem the prize. The right page, which offers only the products on offers open up. Your discount has been copied to the clipboard. Choose, fill your details, pay if required and the offer has been redeemed. No choosing of products and at check-out realising that your preferred products have no discount. No ambiguity. Very well-organised and planned. And at the last count, I came across nine brands offering the prizes. Two of the three I redeemed were delivered in Dehradun within 48-72 hours. And of course, there are bigger prizes for those who answer the most correct answers daily. Unfortunately, I did not have the patience to sit through all 40 overs and answer all questions. But kudos to a well thought through and planned contest.

     

    In terms of communication, I remember that ‘Jeeto Dhan Dhana Dhan’ was an offer that Jio had offered in the IPL four to five years ago. So, to find that this year MyCircle11 was sponsoring the contest was bit of a let-down. It also clashes with the MyCircle11 advertising as it caused a confusion in my mind if the contest had something to do with the gaming app offering discounts to play games on the app. I then realised that Tata had sponsored ‘Jeeto Dhan Dhana Dhan’ contest in 2021 and last year it was MRF. Personally, it’s a simple and rewarding contest and any sponsor will reap the rewards with a longer association. Like, I think Jio did for two-three years. I still remember it.

     

    Now, let’s focus on the ads. There were many new ads this year. Predictably, Dream 11 came up with, till now, the best campaign. Simple thought. Good use of the cricketers. I particularly liked the Mr Sharma ka beta mera beta featuring Rohit Sharma, KL Rahul and Sunil Shetty. It crossed the thin line between a cricketer and his personal life in a beautiful, interesting and heartwarming way, with a hint of comedy. Communication theories always say use celebrities who add to the brand personality and to the memorability of the ad. This is a great example of the same.  Watch the ad here.

     

    The other ads in the series have focused on personal rivalries. Bumrah vs Shreyas and then Shreyas vs Bumrah. Preity Zinta, co-owner of Punjab vs Pant got me cracking up at the end. Not in the same league as Mr. Sharma ka beta but at least Dream11 is not just splurging money on celebrities.

     

    I am now hoping to see a Hardik vs Rohit. Oh sorry. It’s about team loyalty. So maybe Hardik and Rohit.

     

    But the ad campaign which got me thinking was actually Parle. It has released a series of ads, thankfully without any cricketers or film stars. These address issues which are mostly intangibles. Difficult to pinpoint, prove or substantiate. So, difficult to communicate too. Quality, trust, variety, new products. The campaign has tried to use some odd metaphors or join some improbable dots to convey these messages. I just felt that someone is ramming down these virtues down my throat.

     

    And that’s when I remembered a gem of theory that was part of the JWT thinking process. The difference between stimulus and response. The theory mandated that do not put your benefit or message as a stimulus, rather let it be the response from the consumer. Do not spoon-feed. Let the consumer discover it. That way it will be more memorable and the communication will have a lasting impression. Remember the Ericsson black coffee ad? Nowhere it said the world’s smallest phone or even a small phone. It demonstrated its size as a stimulus and the response was “a phone so small it can hide in my palm.” No wonder the ad is recalled even after three decades. Watch the ad here.

    I feel that Parle has missed a trick. The amount of money that is spending trying to hit us with trust, quality and other parameters would have been much better spent if the desired response theory had been used.

    And this thought got amplified when I saw the Apple iPhone 15 app on storage for photos. It beautifully showed someone marking photos to be deleted and then they used a perfect song “Don’t let me go”. Each photo that was being marked for deletion suddenly came alive with the character in the photo singing the song. And at the end there was just a simple message which said lots of storage for lots of photos. They could have gone to town on memory capacity or on transferring photos to cloud through their cloud service. But by using the stimulus of each photo imploring not be deleted, through a song, the benefit was like a stimulus which I will not forget. Great ad.

     

    And we wonder why Apple iPhone commands such a premium and is yet a world leading brand! Watch the ad here.

     

    In fact the Preity Zinta vs Pant ad also is a stimulus vs response theory ad. Watch the ad here.

     

    I sincerely hope that some of the JWT theories like the stimulus vs response one are not buried along with the venerable brand.

     

    Before I end, I saw as a part of media co-sponsor super “Pepsi yeh dil mange more”. I was intrigued and excited to see what was the contemporary version of this classic Pepsi campaign. So, I found it on you tube. See it here. And let’s match our reactions in my next column.

     

  • Publicis names Aman Mannan and Shitu Patil as Joint NCDs

    In a bid to strengthen its creative leadership, Publicis India has appointed Aman Mannan and Shitu Patil as joint National Creative Directors (NCDs). In their new roles, the duo will lead the creative vision for all brands at Publicis India, and report to Managing Director, Oindrila Roy.

    In the new roles as NCDs, Mannan and Patil will leverage their expertise to lead the agency’s creative vision across all offices in India.

    Said Paritosh Srivastava, CEO, L&K Saatchi & Saatchi and Publicis India: “Publicis India has been on an amazing journey of resurgence in the past two years, with a focus on both growth and creative excellence yielding rich dividends. Our impressive portfolio of work and client roster rival that of any top agency in the country. The search for the perfect blend of creative talent and cultural fit was challenging, but in Aman and Shitu, we have found a team of rare creative talent that spans the entire spectrum of creativity. We are confident that these two wonderful people will inspire our teams and clients to new heights.”

    Added Oindrila Roy, Managing Director, Publicis India: “Aman and Shitu are a powerhouse of creativity and their experience in delivering award-winning work reaffirms this. We are confident that as NCDs, they will inspire our teams with new energies.  We are certain that their creative prowess and strategic acumen will contribute to the continued success and growth of Publicis India.”

  • FinAdvantage partners with Gutenberg

    FinAdvantage, a tech-powered accounting firm, has partnered with Gutenberg, a global integrated digital marketing agency, to build its brand identity and solidify their thought leadership on a global scale.

    Said Ganesh Ramkumar, Chief Revenue & Growth Officer at FinAdvantage: “Navigating a competitive market demands a strong brand identity. That’s why we are thrilled to partner with Gutenberg’s global expertise. Their ability to craft compelling narratives and build brand differentiation is invaluable for our  global growth plans in the years to come.”

    Added Harjiv Singh, Founder & CEO of Gutenberg: “FinAdvantage exemplifies forward-thinking  innovation in accounting.  We are excited to partner with them, to develop their brand identity that showcases their thought leadership and establishes them as a trusted resource within the financial services landscape.”

  • Cleartrip announces leadership transition

    Cleartrip, the Flipkart company, has announced the appointment of Tavleen Bhatia as its new Chief Marketing & Revenue Officer (CMRO). As CMRO, she will spearhead Brand and Performance Marketing initiatives, as well as drive the central planning and growth charter at Cleartrip.

    Speaking on her appointment, Prahlad Krishnamurthi, Chief Business Officer, said: “We are delighted to welcome Tavleen to the Cleartrip family. Her ability to drive innovation and versatile experience make her ideal to propel Cleartrip into its next phase of growth. Her proven ability to scale core categories and pioneer new initiatives aligns perfectly with Cleartrip’s vision, and will add tremendous value to our teams.”

    In conjunction with this transition, Kunal Dubey, Chief Marketing Officer, has decided to step down to pursue new opportunities.

  • Nissan gets new Corporate VP and Chief Comms Officer

    Nissan Motors announced the following senior management appointment. Dr. Lavanya Wadgaonkar, currently Vice President, Nissan Global Communications, will be promoted to Corporate Vice President and Chief Communications Officer. She will report to Makoto Uchida, President and Chief Executive Officer (CEO).

    Notes a communique: “In this role, she will oversee all of Nissan’s communications activities in Japan and globally, elevating trust and reputation at a critical juncture as Nissan launches The Arc, its new business plan to drive value and strengthen competitiveness. She will also continue in her role as the global champion for DEI responsible for actively promoting a diverse, supportive, and inclusive workplace.”

  • Motorola unveils new TVC

    Motorola has launched a television commercial starring brand ambassador Kriti Sanon along with Babil Khan for the upcoming launch of the Motorola Edge50 Pro.

    Said Shivam Ranjan, Head of Marketing, APAC, Motorola, said: “The Motorola Edge50 Pro stands for the perfect fusion of intelligence (AI) and art. In order to bring this concept to live in our TVC, Kriti Sanon was undoubtedly the perfect fit to personify ‘Art’ that Motorola Edge50 Pro brings to life with its design, premium finish and the world’s first true colour display and camera. However, the Motorola Edge50 Pro also brings an AI revolution with segment first AI features. This is where we found the perfect fit in Babil Khan who beautifully personified the Moto AI, enabling us to explain the advanced AI features with ease…”

    Added Janmenjoy Mohanty- Chief Creative Officer, Dentsu Creative: “When Motorola asked us to pair intelligence with art, we decided to create a unique pairing that could bring alive this concept. Kriti and Babil take us on a trip to an AI-wonderland and allow us to discover this super-immersive phone and all that we can do with it – which is nothing short of magic!”

  • Ad Club Madras announces Maddys 2024

    The Advertising Club of Madras, one of the oldest and active advertising club in the country, has announced the 42nd edition of its flagship event – the Maddys.

    Said S Balasubramanian, President of the Chennai-based Advertising Club Madras: “In line with the evolving trends within our industry, we have introduced several new categories and revitalised existing segments, thus ensuring a more comprehensive scope. Our aim in making these adjustments is to broaden our reach and enhance accessibility for a diverse array of participants. Through these updates, we aspire to celebrate and acknowledge advertising talents across various domains.”

    Added Surej Salim, Secretary of Advertising Club Madras: “Embarking on our 42nd Maddys Advertising Awards journey, we’ve meticulously crafted 146 categories, a testament to our profound industry research and insightful conversations with both the advertising fraternity and clients. This extensive array truly encapsulates the breadth and depth of modern advertising and ensures that every agency, regardless of size, finds a platform to shine, with each work meticulously evaluated by our eminent jury. The Maddys 2024 promises to be a celebration of diversity, innovation, and excellence, setting new standards in the dynamic world of advertising.”

    Detailed information about the revamped categories and entry guidelines will be available on the official Maddys website – https://adclubmadras.com/maddys2024/

  • Announcing Kate Middleton’s diagnosis should’ve been simple. But the palace let it get out of hand…

    Announcing Kate Middleton’s diagnosis should’ve been simple. But the palace let it get out of hand…

    Kate Middleton speaking on her health… Screengrab from video on X

     

    By Victoria Fielding

    The British royal family is famous for its carefully curated media image. That’s why it was a surprise to see them lose control of the narrative in the wake of what we now know is a serious health crisis befalling Catherine, Princess of Wales (or Kate Middleton as she’s popularly known).

    It is clear the nearly 1000-year-old institution of the monarchy and its tradition of “never complain, never explain” is being tested by social media and its power to spread rumours and misinformation. The palace’s public relations team has underestimated how difficult it is to manage relationships with social media audiences. Their reactive attempts to rein in speculation has turned Catherine’s health challenge into a PR disaster.

    Social media, with its lax regulations and freer environment, offers a more
    open forum for users to say whatever they like about the royals. It’s served as a hotbed for Catherine conspiracies, particularly on TikTok. These theories are as wild as they are ridiculous, from Catherine being a prisoner in the palace to her hiding in Taylor Swift’s London home.

    What should have been a simple announcement to a sympathetic public about a popular royal having cancer turned into a spider’s web of competing conspiracy theories across social media. How did it all go so terribly wrong?

    I’ve lost track, what happened?

    All was well with the Prince and Princess of Wales when they were filmed attending church on Christmas Day. As usual when royals are out in public, the scene was picture perfect with everyone dutifully smiling for the cameras in “co-ordinated” outfits.

    A statement from Kensington Palace pic.twitter.com/6h3BCrqj5L

    — The Prince and Princess of Wales (@KensingtonRoyal) January 17, 2024

    Two weeks later, Kensington Palace announced Catherine had undergone planned abdominal surgery, with palace sources telling media the surgery had been “successful” and she would need two weeks to recover.

    On January 29, the palace announced Catherine had returned home to recuperate. Unlike King Charles when he released news of his cancer diagnosis on February 5, Catherine was not photographed leaving hospital. This was the first PR misstep. She had appeared outside hospital soon after giving birth to her three children, but this time she remained uncharacteristically out of the public eye.

    Almost a month later, when Prince William unexpectedly withdrew from his godfather’s memorial citing “personal reasons”, social media users started asking “Where is Princess Kate?”.

    Used to a steady stream of content about the royal family, the public were unsurprisingly questioning if there was more to Catherine’s abdominal surgery than they were being told.

    In a rare reactive move, the palace tried to quell questions about Catherine’s whereabouts by releasing a statement reiterating that she would not be returning to public duties until Easter.

    On March 4, US outlet TMZ published a paparazzi photo of Catherine driving with her mother. Social media audiences asked if it really was Catherine.

    Over the next week, conspiracy theories about Catherine’s absence reached frenzied levels. To show everything was fine, Kensington Palace released a Mother’s Day photo of Catherine and her children on their social media accounts. Social media users spotted apparently edited flaws and global news agencies announced “kill orders”, saying the image had been manipulated. The next day, Catherine apologised on social media for editing the photo.

    Although royals have been editing their pictures for centuries, it seems particularly digitally naive of the palace’s PR team to release such an obviously edited image into an already cynical social media environment, creating fodder for more conspiracy theories.

    Mainstream news outlets then joined social media users in asking questions about Catherine’s absence. Although this media attention did not legitimise wild conspiracies, in some ways it fuelled them.

    Days later, TMZ published footage of Catherine and William shopping. At this point in the media chaos, many social media users claimed it was fake.

    This intense public speculation finally ended on March 23, when Catherine released a video explaining her extended absence after abdominal surgery was caused by the surgeons discovering cancer.

    During a crisis, the public crave transparency, authenticity, honesty and reassurance. These elements were missing in the royal PR team’s carefully worded statements made directly to mainstream media along with reactive, overly curated social media posts.

    By providing scant details, the palace seemed to believe they could control public perception. But public image is increasingly difficult to control.

    The double-edged sword of social media

    After Princess Diana’s death in a paparazzi-chase car accident, privacy laws and media regulations forbade the most invasive breaches of the royal family’s privacy, particularly for her children, princes William and Harry. However, tabloid appetite for uncontrolled access soon returned once the princes became adults.

    Recently, Harry and his wife Meghan have been involved in several lawsuits against media companies over breaches of privacy, including phone hacking.

    The rise of social media has typically been viewed as a tool that gives royals more control over their image through the curation of their own personal content. Previously, the fact Catherine was the one taking photos of her children was seen as a sign of authenticity and being down to earth (as much as a princess could be).

    Yet, social media is both a blessing and a curse for the management of public reputations.

    The perpetuation of contested facts and theories on social media in the wake of Princess Catherine’s unexplained absence shows how difficult it is to curate a controlled image using social media. Lack of verified information in mainstream media helps fuel speculative flames.

    While PR experts believe it is understandable and appropriate for Catherine and her family to have privacy during this time, more timely, direct and honest communication would have gone a long way to prevent relentless gossip.

    Once rumours and conspiracies gained momentum, the palace perhaps thought the less information provided, the better. However, silence during a crisis just fuels more speculation because the lack of information makes it look like there is something to hide.

    Catherine’s personal video announcing her cancer diagnosis helped end the social media frenzy. This shows a simple, clear statement posted by Kensington Palace to social media weeks ago would likely have avoided the PR disaster and provided Catherine the privacy she so clearly needs.

    The palace is now being criticised for complicating a situation that was relatively simple in retrospect. Many social media users are also upset Catherine took public blame for the photoshopping incident.

    Any organisation that deals with the media to maintain positive reputations, including the British monarchy, has no choice but to adapt to all kinds of media, including social media. The long-time practice of keeping calm and carrying on amid controversy and the 24-hour gossip cycle doesn’t work in the era of TikTok, X and YouTube.

    In the absence of trusted information, social media will do what it does best: take mostly innocuous online chatter and amplify it until it goes viral.The Conversation

     

    Victoria Fielding is Lecturer, University of Adelaide and Saira Ali, Senior Lecturer in Media, University of Adelaide. This article is republished from The Conversation under a Creative Commons license. Read the original article.

  • Bobcard launches campaign to showcase integration with UPI

    Bobcard Limited (formerly known as BOB Financial Solutions Limited), a leading subsidiary of Bank of Baroda, unveils #AurKyaChahiye campaign, showcasing the smooth integration of RuPay Bobcard with UPI.

    The campaign aims to raise awareness among consumers about the capabilities of RuPay BOBCARD on the UPI platform, enabling users to access their credit cards with unprecedented ease. Through a humorous yet relatable narrative featuring an auto-rickshaw driver and a passenger, the campaign illustrates the benefits of linking credit cards to UPI, emphasizing convenience and innovation in digital payments.

    Ravindra Rai M, Deputy Managing Director of BOBCARD Limited, said: “In recent years, UPI payments have experienced significant growth, yet credit card users have been deprived of the advantages of UPI transactions. The recent integration of RuPay credit cards onto the UPI platform by RBI and NPCI has effectively filled this void. BOBCARD stands out as an early adopter of this regulatory initiative, ensuring our customers never worry about running out of funds, even for small day-to-day transactions, with unparalleled ease and speed.”

    Added Sunil Gangras, Head of Creative Services, Liqvd Asia: “In our journey of transformation, we wanted every experience with BOBCARD to be reimagined like never before. The ability to scan and pay through UPI with your RuPay BOBCARD is one such step to forge meaningful connections with our audience and stay ahead of the curve. So, it was a strategic move to communicate about this revolutionary feature in the modern Indian banking system, in the language that most Indians emotionally associate with – Bollywood. We reimagined and recreated some iconic scenes from the B-Town to drive ‘Top of the mind’ recall and reaffirm our commitment to stay relevant.”