Patanjali Paridhan celebrated Indianness in a vibrant way with its maiden campaign, Tann Maan Dhan Indiapan and our experts share if the campaign hit the right note.

It came and disrupted the FMCG sector like no other, they say. Here, we talk about India’s very own desi brand, Patanjali Ayurved Limited helmed by Yog Guru Baba Ramdev. From building up as a pharmacy in 1997 to in recent times foraying into an array of consumer goods like shampoos, toothpaste, dairy products, and instant noodles, the company has come a long way. However, owing to the lack of advertising and fierce competition from brands like Dabur, Patanjali’s sales volumes have seen a huge dip.

According to data from Kantar Worldpanel, it grew 7% during October-March 2018 as compared to 22% in April-September 2017.

A result of which, Patanjali decided to keep its advertising spends on television unchanged and focus more on different mediums like digital media and outdoor. For the launch of its apparel brand, Patanjali Paridhan, the company rolled out its maiden campaign celebrating ‘Indiapan’ targeting the Youth of India while highlighting the charisma of Indian traditional wear. Patanjali aims to build on the same brand values to provide a range of world class apparel for every Indian’s needs and wants, the philosophy behind Patanjali Paridhan.

Campaign Objective

The primary objective of the launch campaign was to introduce the Paridhan and carving out a special niche for Patanjali Paridhan within the larger brand equity of Patanjali while retaining youth, modernity, fashion, and trendiness.

Insight

The big insight that the agency, L&K Saatchi and Saatchi, unearthed was the fact that fashion in India is still very west focused. If you discount the token FabIndia(s), Manyavar(s), and a few local players, there is no national level India-centric fashion brand. Also, Indians feel slightly defensive about Indian fashion as compared to western fashion, unless it is ethnic wear.

The brand wanted to bring Indian fashion fabrics and styles back into everyday life. To prove that Indian fashion is best suited for our body type and climatic conditions, and to celebrate our rich and varied fabric heritage. The idea was to create a movement – Tann Maan Dhan Indiapan, to remind people of the rich heritage of fashion that we have surrendered in the blind pursuit of western fashion.

Brand speaks

K.N. Singh, CEO, Patanjali Paridhan, commented, “The aim is to bring the focus and interest back to Indian clothing. Every outfit can be adapted for comfort and that is what we aim at doing. Patanjali’s objective, through Paridhan, is to mold the old format of dressing into the latest, more comfortable styles, for the Indian youth, while helping the various state handloom corporations and the weavers.”

Also Read: Expert Opinion: Does brand Patanjali spell success on social media?

Singh also informed that all of the products have been selected basis the color scheme, mood board and quality defined by the global authority on garment quality. “Our prices are at least 60% less than the international brands. But the consumer has to try and use the product to know Patanjali’s quality in apparel range.”

Creative Thought Process

The challenge for Kumar Suryavanshi, Executive Creative Director, L&K Saatch, and Saatchi and his team was to maintain a balance between Patanjali’s Indian values and fashion codes and sensibilities.

He added, “The challenge was to bring alive the feeling of Indiapan while showcasing fashion, which has always been associated with international brands.”

Ashish Naik, Executive Creative Director, L&K Saatchi, and Saatchi, also highlighted that the clothes were vibrant and captured the true essence of India’s diversity. The beautiful locations added to the charm of the campaign.

It remains to see that adding an extra flavour of ‘Indiapan’ to the advertising attracts consumer attention and drives sales.

Reviews:

Payal Vora, Group Head- Content, Beeing Social

Patanjali takes a reroute from its usual conservative approach, to tap into the younger population with its campaign ‘IndiaPan’. The trend of wearing Indian clothes, even apart from occasions, has been already brought into the spotlight by brands such as Manyavar. Patanjali has taken a step in the right direction when our country’s youth have started opening up to Indian traditional wear.

Bishal Paul, CEO, Little Monk Digital

The campaign is nice and colourful. However, it somehow looks like a misfit given the brand identity of Patanjali. Besides, it is unclear what message they’re trying to convey. Neither are we getting a clear idea of whether the clothes are pure Indian or a mix of domestic and international or fusion cloths. The campaign looks confusing in their messaging. It’s been shot richly and on a grand scale which gives the video the bigger landscape. But for me, the overall essence of the video doesn’t reflect well with the established brand identity of Patanjali. 

The post Does Patanjali Paridhan’s digital campaign convey click? appeared first on Social Samosa.

Two different brands, one story, sign language, love, and advice – the commonalities we found in recently launched campaigns by Zomato and Paisabazaar. Experts give their take on who struck the right chord and narrated the tale better. 

Two brands, one an Indian restaurant search and discovery service while other, an online marketplace for loans and Credit Cards, though operating in altogether different segments, walked the same route for their latest communication.

It is not every day that we see brands experimenting with an unusual subject. Zomato and Paisabazaar made ‘sign language’ an integral part of their respective brand films and a hearing and a speech impediment as the protagonist while addressing different messaging. While the former aimed to introduce us to the new language of love none other than FOOD, the latter portrayed a bond which is celebrated beyond words while securing each others future with the #AdviceThatChangedLife.

Zomato- New Language of Love

With 21 million views on YouTube, Zomato’s #NewLanguageOfLove narrated an interesting tale of the much in love couple who need no language to express their admiration and also how ‘food’ plays cupid to bring them together. It also showed how important it is for us to Thank the food-maker and the deliverer who ensure we get ‘swadisht khana’ on time.  

The two and a half minute film was rolled out on the occasion of Valentine’s day putting forth that ‘Your Love for food can become the language to express your love’.

Paisabazaar- The Wedding Speech

Paisabazaar.com, on the other hand, launched ‘The Wedding Speech’ on the occasion of its 5th anniversary. Within 2 weeks of its launch on digital platforms, the film garnered over 13 million views on YouTube.

The four and a half minute film, through a story of two brothers, focusses on how the right advice can change lives. Paisabazaar.com says it wanted the consumers to connect its brand with trust and good financial advice. The inspiration for the film came from millions of conversations Paisabazaar.com has had with consumers from all walks of life in the last 5 years.With this film, the brand also introduces its new brand philosophy, ‘Paison Se Badhkar’.

Also Read: Campaign Face Off: Tinder v/s Bumble v/s OKCupid

The Digital Buzz

Twitterati cant stop praising Zomato’s fresh take on the language of love

View this post on Instagram

I feel so extremely grateful and privileged to have worked on this wonderful project with the best team possible. Thanks to my wonderful co actors @umangjain08 @pamelabhutoria @daksh_sharma97 , the amazing directors @beeswaranjan @sanaahmad20 and the entire @tealfilms !! @zomato @zomatoin #bhookmitaopyaarse #newlanguageoflove #zomato

A post shared by Ravjeet Singh (@ravjeetsingh7) on Feb 12, 2019 at 6:27pm PST

In love with this advt. #Zomato #newlanguageoflove

— Metta Saikiran (Anand) (@msaik08) February 13, 2019

Also Read: Campaign Face Off: Big Bazaar v/s ixigo v/s Mahindra Rise

What a lovely ad! #loveatfirstbite #newlanguageoflove @ZomatoIN

— Smriti Raghunandan (@smriti_raghu) February 15, 2019

ZOMATO-New Language Of Love #ZOMATO #newlanguageoflove

— KwikAdd (@kwikadd) February 13, 2019

Meanwhile, Paisabazaar’s Wedding Speech is on a roll too.

#AdviceThatChangedLife aaj subah maine paisabazaar ka ads dekha. It was very very emotional. Best video to change the life.

— Sandeep Art Borida (@SBorida) February 21, 2019

#AdviceThatChangedLife Extraordinary talk from the kin, irrefutably will impact you to review your very own puberty #AdviceThatChangedLife pic.twitter.com/JsomfciDYJ

— Kureshi Sohil (@KureshiSohil3) February 12, 2019

#AdviceThatChangedLife
Great to see ….
Guys have a look in paisabazar video where you can see a pure love of siblings #AdviceThatChangedLife

— Sujeet Singh (@techsuj) February 12, 2019

"I will help, whenever you fall; but I won't give you my support." #Love expressed beautifully in this ad. #PaisonSeBadhkar #AdviceThatChangedLife #Paisabazaar #Valentinesweek

— Gyaan Factory (@FactoryGyaan) February 13, 2019

While Zomato always banked on topical creatives, service centred advertising, #NewlanguageOfLove makes it stand out. Both Paisabazaar and Zomato have aimed at weaving the emotional strings through an abstract way of communication while the story unfolds.

Experts Take: 

Muddassar Memon, VP- Operations, iProspect India

When brands are busy being loud to stand out from the clutter, both Zomato and Paisabazaar have taken a different route. Telling a story through an auditory impaired person is bound to make one stop and notice. What I like about films is that they are emotional but do not make one look at the protagonists with pity. The communication is clear & engaging and the brand fit doesn’t look forced. The setting – wedding and a café – in both the films are relatable and so are the characters. However, I do feel that the two could have been crisper. Digital gives the freedom to tell a story as one is not dictated by 10 sec or 30 sec, but with the audience being distracted by various elements, it makes sense to keep it short.

Emotions always sell and help brand it narrating the desired story, if done well.

Sanjay Tripathy, Co-founder & CEO Agilio Labs: 

I like the Zomato one because:

• It is contextual – Launched for Valentine’s day
• Short and sharp – So it holds the attention
• Food and Love is integrated into the story
• Brand integration is good
• Strong product proposition

The post Campaign Face Off: Zomato’s #NewLanguageOfLove v/s PaisaBazaar’s #AdviceThatChangedLife appeared first on Social Samosa.

The Influencer Marketing Statistics 2019 data from Mediakix take a look at how influencer marketing is slated to shape up in the year.

According to a recent survey by Mediakix, nearly two-thirds of marketers are increasing their influencer marketing budgets in 2019 and 80% of marketers find influencer marketing effective. The detailed report below.

Key Takeaways

Marketers feel confident about influencer marketing as a channel

80% of marketers find influencer marketing effective
89% say ROI from influencer marketing is comparable to or better than other marketing channels

Influencer marketing spending will increase in 2019

Nearly two-thirds of marketers are increasing their influencer marketing budgets in 2019
17% of companies will spend over half their marketing budget on influencer marketing

Instagram and Instagram Stories will be the focal point of many strategies

89% of marketers say Instagram is important to their influencer marketing strategy
The top three most effective content formats are Instagram Posts (78%), Instagram Stories (73%) in close second, and YouTube Videos (56%)

Finding the best influencers for a campaign remains a struggle

61% of marketers agree that it’s difficult to find the right influencers for a campaign
In spite of Instagram’s crackdown, spotting fake followers is the #1 ranked influencer marketing concern for marketers

Measuring ROI is still a concern, especially in relation to “always-on” campaigns

“Measuring and improving ROI” is cited as the #1 challenge when working with influencers
41% of marketers are concerned with building an “always-on” strategy in 2019, and 27% of them measure campaign performance on an ongoing basis.

Top three goals of influencer marketing are increasing brand awareness (85%), reaching new audiences (71%), and generating sales/conversions (64%)

Influencer Marketing Embraced As An Effective Channel For Driving ROI

80% Of Marketers Find Influencer Marketing Effective

As more companies incorporated influencers into their marketing strategy in 2018, it appears that many of them found some success. A huge majority (80%) of marketers find influencer marketing effective, and 35% find it very effective. Only 5% of marketers find influencer marketing ineffective.

71% Of Marketers Say The Quality Of Customers & Traffic From Influencer Marketing Is Better Than Other Sources

Most marketers agree that the quality of visitors and customers from influencer marketing is better than other channels, and 18% of marketers strongly agree with this sentiment—only 5% disagree.

89% Say ROI From Influencer Marketing Is Comparable To Or Better Than Other Marketing Channels

Nearly half (48%) of marketers say that ROI from influencer marketing is better than other marketing channels, and 41% say returns are equal to other sources. As more marketers improve their measurement and optimize their tactics, we expect more marketers to improve their returns in 2019.

65% Of Influencer Marketing Budgets Will Increase In 2019

Last year, 39% of marketers planned to increase their influencer marketing budgets for 2018. This year, confidence in influencer marketing appears to be notably stronger, as 65% of marketers plan to increase their budgets for 2019—while only 2% will decrease.

Influencer Marketing Budgets 2019

Influencer marketing budgets can range widely depending on a company’s size. For participants of the survey, the most commonly cited 2019 influencer marketing budget is between $1,000 – 10,000 per year, followed by $100,000 – 500,000 per anum.

17% Of Companies Will Spend Over Half Their Marketing Budget On Influencer Marketing

Most companies are spending a modest percentage of their overall marketing budget on influencer marketing, anywhere up to 20%. However, a small but noteworthy 17% of marketers are spending over half of their entire marketing budget on influencer marketing, and over 25% invest over 40% of their budget on it.

Also Read: Report: People below age 20 or above 50 more susceptible to fake news – IAMAI-Factly

With The Success Of Stories, Instagram Solidifies Its Position As Most Popular Influencer Marketing Channel

Instagram Ranked The Most Important Influencer Marketing Channel In 2019

Since hitting 1 billion users in June of 2018, Instagram has only continued to innovate and grow. The launch of IGTV represented a concerted push into video, and several shopping features rolled out in September 2018 poised Instagram as a powerful revenue generator for e-commerce brands. The Instagram Stories feature in particular soared in 2018, with over double the number of active users compared to Snapchat.

Top five most strategically important social media channels:

Instagram: 89%
YouTube: 70%
Facebook: 45%
Blogs: 44%
Twitter: 33%

Snapchat Ranks Least Important Channel, Followed By LinkedIn And Twitch

In spite of revenue gains, Snapchat ended 2018 with flat user growth. The company has struggled to catch up on influencer marketing for several years now due to a variety of early feature limitations. Historically, Snapchat users had a hard time finding influencers on the platform due to limited discovery capabilities, and influencers didn’t get much audience or engagement data, which created a huge roadblock to brand sponsorships. Although Snapchat took steps to resolve these issues last year, it appears many marketers have moved Snapchat to the bottom of their priority list for 2019.

Over ⅔ Of Marketers Will Spend The Most On Instagram In 2019

69% of marketers plan to spend the most on Instagram in 2019—that’s over 6X as much as YouTube (11%), the second most-selected influencer marketing channel. This suggests that Instagram is not only strategically important to marketers, but will also be attracting the vast majority of influencer marketing ad spend in 2019.

Instagram Posts And Instagram Stories Ranked The Most Effective Content Formats

Every content format available on Instagram is included in the “top five” list of most effective formats, highlighting the platform’s ability to stay ahead of the curve when it comes to supporting effective sponsored content. The close second place ranking of Instagram Stories comes at the heels of Stories’ rapid growth in 2018, and suggests this format may soon overtake traditional feed posts. In January 2019 it was announced that over 500 million (in other words, half) of all Instagram users now use Instagram Stories every day, and Stories as a format is growing 15X faster than feed-based sharing.

Top five most effective content formats for influencer marketing:

Instagram Post: 78%
Instagram Story: 73%
YouTube Video: 56%
Instagram Video: 54%
Blog Post: 36%

Finding The Right Influencers Remains A Major Challenge

61% Of Marketers Struggle To Find The Best Influencers For A Campaign

Although there are more platforms, databases, and tools than ever before to help companies find influencers, the majority of marketers still struggle to identify the right influencers for their goals—and 17% feel strongly that this is a challenge.

Most Common Way To Find Influencers: Social Search

It seems the most common way that companies find influencers for a campaign is the old-fashioned way: through searching directly on social media platforms themselves.

Top three ways to find social media influencers:

Social Search: 71%
Platforms: 43%
Influencers reach out to them: 42%

Content Quality Ranks As #1 Factor In Picking The Right Influencers

While metrics like engagement rate certainly matter, the most important quality companies look for when evaluating influencers is the quality of their content. This suggests that strong creative will be a key differentiator for effective influencer marketing in 2019. The second most important factor is influencer alignment with the company’s target audience, which highlights the increasing importance of granular audience demographics data for influencer campaigns.

Top five determining factors when choosing an influencer:

Quality of content: 81%
Target audience: 78%
On-brand messaging or aesthetic: 56%
Budget: 50%
Blog Post: 36%

Spotting Fake Followers Remains Top Concern, In Spite Of Instagram Crackdown

In spite of Instagram’s crackdown on third party services that sell fake followers and inauthentic engagement, it appears concern over fake followers remains omnipresent amongst marketers in 2019. This may be because news of Instagram’s updated policies has yet to percolate across the industry. It’s also possible that companies remain skeptical because Instagram has not disclosed the scope of third-party apps targeted in the update, or possibly even because the platform has been caught selling ad space to the same follower-buying services that it banned.

Top influencer marketing challenges, in order:

• Spotting fake followers: 50%
• Social algorithm changes: 49%
• Building an always-on strategy: 41%
• Rising influencer costs: 38%
• Keeping up with social media trends to stay relevant: 33%
• Building a strong creative strategy: 33%
• Reducing time spent managing campaigns: 30%
• Brand safety and brand alignment: 28%
• FTC regulations and requirements: 18%
• Tapping into emerging channels, such as Twitch: 17%
• Moving more influencer marketing in-house: 12%

Influencer Marketing Measurement Remains A Challenge

Measuring ROI Is The Chief Concern Working With Influencers

While many marketers feel that influencer marketing can be effective at driving ROI, measurement still remains a primary concern for 78% of companies. Finding the right influencers also ranks as a key issue, which coincides with results above, where 62% of marketers said that identifying the best influencers was a challenge.

Top three concerns working with influencers:

• Measuring and improving ROI: 78%
• Finding the right influencers: 67%
• Communication: 43%

Top Influencer Marketing Goal Is To Increase Brand Awareness, Followed By Reaching New Audiences

While brand awareness and conversions are commonly cited campaign goals, the highly-ranked importance of “reaching new audiences” suggests that marketers see influencer marketing as a promising way to connect with new customers in an oversaturated digital advertising ecosystem. It also coincides with the stat above, which found that “target audience” was the second most important factor when picking influencers to partner with.

Top three overarching influencer marketing goals:

• Brand awareness: 85%
• Reach new audiences: 71%
• Generate sales / conversions: 64%

Top Influencer Marketing KPIs Are Engagement, Sales, And Impressions

Many of the most common influencer marketing metrics are included here, including engagement, conversions, impressions, and reach. Engagement is by far the most important KPI, measured by three-fourths of all marketers.

Top five influencer marketing metrics:

• Engagement 75%
• Sales / conversions 48%
• Impressions / views 45%
• Reach 44%
• Clicks 31%

Marketers Measure Campaign Results In A Variety Of Ways

While 44% of marketers still measure their campaigns the traditional way—from beginning to end—a quarter of marketers measure performance after campaign ends and 27% measure it on an ongoing basis, suggesting that increasing interest in an “always-on” strategy extends to campaign measurement as well.

Over 80% Of Marketers Repurpose Influencer Content For Social Media Or Other Advertising Channels

Looking Ahead

96% Of Marketers Don’t Believe Influencer Marketing Can Be Fully Automated

The industry remains divided over whether such a deeply human channel can be fully automated in the future, but it appears that marketers are fairly certain that it can’t. Only 4% of marketers believe that all aspects of influencer marketing can be automated. The vast majority (72%) believe that there will always be a human component, and 24% don’t believe it can be automated at all.

The post Data: 89% marketers say Instagram is important to their influencer marketing strategy appeared first on Social Samosa.

A report on the growing Audio OTT industry values the Indian OTT market at USD 280 million, with revenues from the audio OTT industry contributing to 67% of the total recorded music revenue in India.

Audio OTT includes delivery of digital music content over the internet to the consumer by independently hosted applications that procure content from music labels, publishers and other distributors. The report, based on a study by the Indian Music Industry (IMI) and Deloitte shows audio OTT poised to take off on the back of a digital music explosion in the country.

Speaking at the launch of the report, Blaise Fernandes, President and CEO, The Indian Music Industry (IMI) said, “India is a music loving society with Indian consumers spending 21.5 hours every week listening to music, against the global average of 17.8 hours. Helping to satisfy this love for music is the audio OTT industry which is at an inflection point today. The launch of various Indian audio OTT platforms like JioSavaan, Gaana, Hungama, Wynk and Vodafone-Idea, as well as International platforms like Apple Music, Amazon Music, Google Play and the impending arrival of Spotify offer immense potential for the growth of the Audio OTT industry not just restricted to India, but across borders as well.”

Blaise Fernandes added, “If a Despacito can become a hit in India, if K-Pop can cross geographical boundaries, then the scope for music from India is infinite, with different regional languages poised to dominate local and international markets driven by the reach of the Audio OTT platforms. The report amplifies on all aspects of the Audio OTT industry including policy changes, potential trends and developments that will shape the future of the industry.”

Also Read: Report: People below age 20 or above 50 more susceptible to fake news – IAMAI-Factly

The report also highlights the contribution of the recorded music industry to the growth of the audio OTT platforms with all major stakeholders from lyricists, music composers, performers to film producers, music, actively creating for and licensing content to the digital platforms to boost music consumption.

The expected growth in smartphone users to 829 million in 2022 from just 404 million at the end of 2017, highlights a digital revolution, where an increasing number of people will shift to digital platforms to consume music. As at the end of December 2018, there were nearly 150 million music streaming users in India, while seemingly large are still only 60% of the online video audience.

This indicates a significant growth opportunity with audio OTT platforms emerging as the preferred medium to consume music in the country, and the OTT market valued at over US$280 million in January 2018, poised to show strong growth in the next few years.

The report examines the various business models as the Indian recorded music industry moves ahead on the digital path. The writing is already on the wall with physical sales of CDs showing a steep drop from 35.5 million in 2013 to 0.4 million units in 2017. Audio OTT platforms will be a key driver of growth in the future – digital revenue has already shown an increase from US$ 74.4 million in 2016 to US$ 102.1 million in 2017.

The report also examines the implications of piracy with US$250 million lost each year on account of piracy in India. It evaluates the anti-piracy measures in India by music labels, regulatory bodies, government, and other stakeholders to curb this major source of money leakage. India’s recent approval for accession and ratification of World Intellectual Property Organisation’s (WIPO) internet treaties to protect intellectual property rights of artists and content owners reflects the level of IPR awareness in the country. It examines successful initiatives in countries like China to curbs piracy and encourage more users to subscribe.

FDI and FII represent major sources of investment for the Audio OTT industry in India, with investors like Tencent, Tiger Global, Liberty Media, and Xiaomi investing over US$300 million in the audio OTT industry.

The report also examines the various challenges faced including piracy. There is a need for free-market licensing norms to help sustain the digital ecosystem, where content owners and creators are sufficiently remunerated, in order to sustain and encourage investments in content. It is then that India can take a major position in the global recorded music space.

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With OTT exclusive content, are theaters in for a rough ride? Experts delve deeper…

A recent Boston Consulting Group report revealed that the OTT segment in India which is currently pegged at 0.5 billion dollars will grow to 5 billion dollars by 2023. The growth is attributed to rising affluence, increase in penetration of data into rural markets and adoption across demographic segments including women and older generations.

‘Originals’ and ‘Regional’ are the new buzzwords in town. According to reports, Amazon Prime Video plans to invest around Rs 20 billion, while Netflix has set a budget of Rs over 6 billion on original content. 

In past few days apart from original series, ‘Movies’ have found themselves a new platform to get premiered, some even before their theatrical or satellite releases. Moviemakers are directly opting for OTT platforms for digital premieres of their films and skipping the idiot box.   

theNewsMinute quote Kannada film director Prasanth Raj, saying, his film Orange is the first movie to be acquired by Amazon ahead of its theatrical release and this was an 8-month-long process.

Meanwhile, Rajma Chawla directed by Leena Yadav and produced by Gulab Singh Tanwar and Aseem Bajaj did not opt for a theatrical release. Starring biggies like Rishi Kapoor the film was premiered at the BFI London Film Festival in October 2018 and was released on Netflix on 30 November.

OTT over Theatre halls? 

“The theatre business in India is under stress. Lack of screens means that a film needs to maximize its revenue in the first week before a new film kicks it out of the theatres. This leaves no room for ‘word-of-mouth’ to positively affect business,” shared Siddharth Anand Kumar (VP, TV and Films Saregama India and Producer at Yoodlee Films ).

Yoodlee films collaborated with Netflix for its first original film – a dark comedy- Brij Mohan Amar Rahe, Ajji and Kuch Bheege Alfaaz.

Kumar continued, “You need to create a strong inorganic pull to bring people to the theatres. This is done by spending large amounts on publicity and hiring viable stars to draw audiences in. This stranglehold situation was suffocating the “indie” film industry in the country.”

Now with OTT on the rise, the filmmaker is able to connect to their audience without these factors, allowing them to take greater risks in a choice of story, aesthetics as well as casting. This will and already has started to change the kind of films of being made by producers such as Yoodlee. 

Also Read: Changing dynamics of Movie Marketing: Are digital efforts translating into in-theater leads

Manish Kumar, CEO & Co-founder, DigiOsmosis listed down two cases in which a movie might get premiered on OTT platforms:

1) A movie gets made but the production house gets no distributor because the quality or the scale is not good enough to collect the bare minimum revenue; also releasing a film in theater requires a huge amount of money and the producer might be unsure whether he’ll be able to recover it. In this case, if an OTT platform might like the content enough to pay the cost that has gone in making the movie plus some profit, it might be better for the producer to premiere it on an OTT platform.

2) There movies which are made specifically commissioned by an OTT platform. A film can be made in Rs 5crs but the marketing of the film might require another 5crs. Now the budget of the film went up to Rs 10Crs so to make 20% profit the film needs to make Rs 11Crs. Story might be great but there are possibilities that the film might not be able to make that kind of a money, and if an OTT platform pays Rs 6crs for the film, the producer gets to make the film, the audience can still watch it through OTT and he still gets his 20% profit

Echoing similar views as Manish, Sethumadhavan Napan, COO/Producer at DAR Motion Pictures reasoned that can be either due to content is more suited for a slight niche audience, not being suited for a wide theatrical release or  If there’s anything controversial with the subject that’s likely to meet up with some difficulty in the run-up to the release or if the commercial viability based on a theatrical release becomes difficult.

Shelf life of the trend

While OTTs have been posing huge challenges for the theatre world, it remains to be seen how far the trend trots. “Digital first content is a story which is happening,” quips Uday Sodhi, EVP, and Head- Digital Business, SPN. He would further imagine movie economics will also become exciting for the filmmakers today that they want to release it first on the digital platform. “I think we are far away from really seeing a big trend like this but these are early signs that people will prefer digital medium to release their content first,” Sodhi added.

Manish also noted that it has still not touched a phase when a big budget film with a huge star cast gets premiered on OTT without even releasing in theaters. “Even in near future, Premier of a big budget movie on an OTT platform is only possible if it’s a huge marketing plug wherein the content is exclusive to that OTT platform so it helps the platform gain more users.”

However he feels that it will exist to continue as it would generate bigger opportunities in which filmmakers, content creators, and actors. 

“Yes, this new wave is here to stay & will continue to only flourish over time.”, asserted Napan.  A lot many more filmmakers & production houses are likely to consider this route as it makes a lot of sense in many ways to adopt it. This is a trend which has potential & is the way forward as a strong alternative release channel for films.

Kumar pointed out that the first Indian new wave came in the early 80s when NFDC financed filmmakers like Shyam Benegal, Govind Nihalani who went on to discover acting talents like Om Puri, Smita Patil. The filmmakers were freed from the trappings of the commercial film system and the work they produced endures to this date.

He added, “The environment is circling back to a similar scenario today as the advent of the internet film is changing the rules of distribution and hence the rules of producing. New talent will be found and new styles of storytelling will be invented. This, in turn, will help the audience evolve as well.”

A threat to the Theatre World?

Most BTowners believe that this has no threat to theatres as they continue to rake in viewer support and footfall to the cinema halls every Friday. Box office is still the primary mode of revenue collection for most for most of the filmmakers.

Sodhi, too, doesn’t think this is going to be a threat to the theatre business. “US, for example, in spite of having such a large digital audience, the theatre collections are very robust. The kind of movies will change. There are multiplex type movies which are for a certain audience. Those might find a digital-first premiere logic. However, your big budget Baahubali type of cinema will first go to the theatre because big monetization happens there.”

Seconding Sodhi’s thoughts, Hiren Gada, CEO, Shemaroo Entertainment Ltd said that for big budget and genre movies, theatre is a very large source of serving and raking big bucks. Theatre business is a transaction model. That window is limited in terms of weeks. “I don’t see this model shifting anytime soon. Content is at the central part of any service and trying to create certain exclusivity as well as a certain module to both attract an retain the consumers. That is why so many different modules are now emerging.”  

According to statista.com, by 2021, Indian box office revenue will amount to Rs 146.5 billion Indian rupees. Backing the stats, Manish asserted that just because OTT is growing rapidly, theaters are not going to lose their charm in any way, theaters will just get redefined for a different kind of content, the audience will go to a theater for the overall movie experience with a high amount of VFX and 3D, spending time with family and friends so it would become experiential. 

Also Read: 7 Movie Marketing trends that are re-shaping the industry

Theatrical vs Digital- Financial dynamics

“Well,  if it’s an OTT release then either the film is acquired after it’s already made or else it’s commissioned by the specific OTT platform to be made by the production house,” reveals Napan.  In the former model, the production house tries to get a decent price for the film, at least get a little more than the cost of production. If it’s a latter model then the production house gets the required budget from the OTT platform to make the film.

There’s no profit to be made by the production house if it’s a film commissioned by the OTT platform, while a profit is possible in case of a simple acquisition. It’s all about the deal made & the terms, there’s no one clear player with the upper hand.

On the other hand, Kumar feels that the audience is going to eventually get the upper hand, as they will be served better content at a time and screen of their choosing. “When there is greater transparency in budgets then creators get to participate in the potential upside of a successful film.”

Yoodlee Films has published an SOP that outlines the rules of engagement and offers up to 30% of the film’s profit back to the talent.

While many continue banking on the might of the digital world, Cinema halls are least affected. However, reports suggest that the broadcasting space is been facing challenges with the OTT players acquiring digital rights of movies even before theatrical release and the shrinking of the window between satellite TV and digital premieres.

Eros Now, which is focussing on creating digital-first movies, premiered Manmarziyaan and Happy Phirr Bhag Jayegi on the platform first ahead of TV. To name a few similar cases are Bengali film Pasto had a digital premiere on Hoichoi, while ZEE5 has also joined the bandwagon following a similar route.

The post #ExpertOpinion: Do theaters feel the heat of the OTT wave? appeared first on Social Samosa.

After garnering eyaballs for their ‘Tough Moms’ campaign last year, All Out has set out to celebrate the tough mom who doesn’t know everything with #MujheSabnahiPata.

You are a mother, you must know everything. And it takes a tough Mom to say #MuhjheSabNahiPata, formed the insight of All Out India’s recently launched campaign that intends to break the notion around mothers being a child’s encyclopedia.  In a society where mothers are revered for being perfect and all knowing, the campaign celebrates mothers who are tough enough to acknowledge that they don’t know everything.

Campaign Objective

Through #IDidntKnow, All Out aims to create a community of mothers where they can share anecdotes from their lives because one mother’s defeat can prepare a thousand to be more vigilant.

Also Read: All Out’s Stand by Tough Moms sheds light on parenting

While taking a stand for mothers in India, the company’s mission is to also raise awareness of the threat of dengue and support these tough moms in their journey to protect the next generation.

About #MujheSabNahiPata

In the four minutes long film directed by Shoojit Sircar, a mother describes how societal pressures made her believe that she knows how to protect her child. But as her son is treated in the hospital for dengue, she realizes she didn’t know that her own home could become a breeding ground for dengue-carrying mosquitoes.

The campaign has garnered 58 million views and two lakh shares along with 935 K reactions with people commenting to only praise and love the thought behind the campaign.

The Director’s cut

Giving big hits like Piku and Pink, acclaimed filmmaker Shoojit Sircar is a much-celebrated ad man too. After directing All Out’s earlier campaign #StandByToughMoms last year, Sircar has lent his vision for the mosquito repellant brand this time too.

Last year, in February All Out, BBDO India and Shoojit Sircar narrated the story of Tough Mom who is bound to take stringent actions when her kid commits a serious mistake. And she refuses to back off even when her in-laws bad mouth about her to death because sometimes its good to be tough. The campaign was an immediate hit with 82 M views and 3 lakh shares on Facebook.

Although what sparked conversations around was the brand connect. In a quest to ring the right emotional note within the consumers that brand went onto weave a story no less than a short film- beautifully scripted, well shot and on point acting. But amidst the Tough Mom and her day to day challenges the brand somehow tends to lose its spot.

Experts Take:

Neeraj Sancheti, CEO, Kreativ Street

This All Out Ad is absolutely beautiful and what immediately comes to my mind after seeing this ad is ‘Ek se bhale do aur do se bhale chaar’  which when translated into this campaign’s context means – ‘One mother might not know everything but together they know everything’. This campaign also sets the tone of the All Out’s vision to make a community for the brand.

The message is loud and clear of mothers coming together and helping each other. The brand integration is also powerful and directly connects the brand’s proposition of ‘It’s good to be tough’ to the campaign narrative.

Hiloni Punatar, CEO & Founder, WebShakers

Firstly, this campaign is really well scripted and presented. Kudos to the acting done by ‘Kirti.’

This video gives an insight into the societal expectations of a mother. There is an innate need for her to know everything even if she’s a mother for the very first time. It takes immense courage and honesty to tell that does not know everything about being a mother and there are so many aspects of motherhood that she would only learn with experience. This campaign not only touches the emotion of people but also gives a very clear brand message from All Out and addresses a horrible problem like dengue and how it happens right under our noses.

Sowmya Iyer, CEO & Founder of DViO Digital

#MujheSabNahinPata definitely struck a chord with me as it landed with some great insight, being a mother, and I’m sure it was heard by mothers all around who had no idea what they are doing when they first started out.

It has all the ingredients for a great digital-first campaign – wonderful storytelling, it definitely is a great place for women to share their stories, and as a mom it makes me come out with my experiences. The only inkling I’ve had with this campaign and the way the story is told is that when you look at it from a certain point of view it brings about certain emotions and it’s almost borderline manipulative. It may be a true story, but for a brand to assume this sort of heart-wrenching storytelling , is it manipulating the consumer’s emotions? I feel that is something the brand must ask themselves.

The post #MujheSabNahiPata: All Out attempts to make Tough Moms legacy work yet again appeared first on Social Samosa.

In this women’s day campaign face-off, experts pen down their thoughts on whose creative thought process among Franklin Templeton and Bajaj Allianz Life Insurance, stands out.

Women’s Day Every day! While we truly believe in it, March 8 has some special significance.

Two financial brands, Franklin Templeton and Bajaj Allianz Life Insurance set out to create a more gender-balanced world through their campaigns. While the former salutes women shattering all stereotypes and moving ahead towards what they want and wish with ‘I am capable of More’, the latter’s women’s day campaign is a testimony to the notion that life is set equally and are not defined by any gender.

Franklin Templeton’s ‘I am Capable of More’

Women are breaking the glass ceiling in all major sectors but somehow are still hesitant when it comes to making financial investments on their own.

With this insight, Franklin Templeton’s Women’s Day campaign, themed under the #InvestForProgress umbrella, is 2-fold. While it gives an ode to strong, resilient and ambitious women who strive for greatness, it also encourages them to break one more barrier and become financially independent.

The campaign film conceptualised by Mirum India, showcases 5 extraordinary women from different walks of life who chose to break stereotypes. The video encourages women to take charge of their finances and be truly independent.

Bajaj Allianz Life Insurance’s #LifeGoalsSeeNoGender

This Women’s day, Bajaj Allianz Life Insurance rooted for gender-balanced world conveying that life goals for men are the same as women and they see no gender with the hashtags #LifeGoalsSeeNoGender #LifeGoalsDone.

Social Media Buzz
While Franklin Templeton has 5 different stories weaved into 1 master film, it has especially created sub-1-minute cuts of each of these 5 stories for our digital and social media platforms seeing this as a growing trend.

Also Read: Campaign Face Off: Zomato’s #NewLanguageOfLove v/s PaisaBazaar’s #AdviceThatChangedLife

Bajaj Allianz Life Insurance further asked netizens to share the story of a certain life goal of theirs that they have strived to achieve in the comments on Facebook and Twitter with the hashtag #LifeGoalsSeeNoGender. Top responses stood a chance to win Amazon vouchers.

While Franklin Templeton’s #InvestForProgress has hit almost 7k views on YouTube, Bajaj Allianz’s #LifeGoalsSeeNoGender has been viewed by 300 users keeping the buzz on Twitter. Industry experts share their take on the two campaigns.

Experts speak:

Rajni Daswani, Director – Brand Experience & Employee Engagement, SoCheers:
Both the campaigns are set in the right spirit of celebrating the forward women of today, but personally, the Bajaj Allianz campaign strikes the right chord. The video does justice to their campaign #LifeGoalsSeeNoGender where they showcase subtly that women have made it everywhere that men have been. While it does not have great production value, it still resonates better to their campaign through. The Franklin Templeton campaign is shot very well but their campaign #I am Capable of More does not tie back to their video overall. There’s a gap in between & hence it falls short between both the campaigns. 

Pranav Patadia, Founder, Insomniacs:

Franklin Templeton India has done a much better job in terms of the campaign execution. #LifeGoalsSeeNoGender by Bajaj Allianz Life had the potential to make waves across the digital space as a rallying call for all the women who changed the norms in terms of their career preferences, but failed to act on the same.

#InvestForProgress, on the other hand, integrated their message in a very subtle manner where it reaches out to the women of today, i.e. those who are determined to do what they do best, no matter the perceptions that revolve around them in their respective environments. In my opinion, Franklin Templeton India would strike the right chord with the audience. 

Amit Gupta, Managing Partner, Httpool India:  

Though both the campaigns talk about woman accomplishing and making it big in their career, there is a stark difference in the visuals & the approach towards communicating it. To me it is quite obvious that Franklin Templeton has been able to clearly create a storyboard, not undermining the efforts of Bajaj Allianz for appreciating the power of women. Franklin Templeton’s campaign also tries to break certain myths around boardroom, or be it a fitness follower or a housewife who are carrying dual responsibilities, both at their work & home. I really liked the way they have beautifully integrated their product within the entire storyboard.

The post Campaign Face-off: Franklin Templeton’s #InvestForProgress v/s Bajaj Allianz’s #LifeGoalsSeeNoGender appeared first on Social Samosa.

Interbrand, has named Tata, Reliance, and Airtel as the three most valuable Indian brands of 2019.

In its sixth year, the Best Indian Brands ranking saw Retail make its presence felt in the league table, which was otherwise dominated by Automotive, Diversified Businesses & Financial Services sectors.

Auto sector shifts gears to drive top growth. Mirroring the brave global brands more than any other sector, the auto brands showed the way to the rest this year. Royal Enfield, Bajaj Auto, Ashok Leyland, Hero, Maruti Suzuki and Mahindra demonstrate growth higher than average.

This year’s table features three new entrants. Big Bazaar joins at #33 (INR 26.86 Bn), DMart at #37 (INR 20.15 Bn) and Nerolac Paints enters the table at #39 (INR 19.19 Bn) for the first time. On the other hand, Reliance Group (R-ADAG; last on in 2017, INR 46.56 Bn) and Canara Bank (last on in 2017, INR 19.73 Bn) exited the list this year.

The combined value of the Top 40 brands was INR 5.03 Tn, which represented a 5.2% growth in value over the previous year. Tanishq, Royal Enfield, Kotak, Bajaj Auto, Ashok Leyland and Britannia were amongst the fastest growing brands.

Ever since its inception, Tata has continued to hold the top position in the Best Indian Brands table. However, Tata’s brand value grew by a modest 6.5% – contributed significantly by its tech services business TCS. In the same vein, Reliance, which after taking over the No. 2 spot from Airtel last year, consolidated itself as a strong no 2 with a growth in brand value of 12%. This performance was bolstered by the phenomenal growth of JIO. HDFC Bank, LIC, State Bank of India, Infosys, Mahindra, ICICI Bank and Godrej round off the Top 10.

Also Read: Campaign Face-off: Franklin Templeton’s #InvestForProgress v/s Bajaj Allianz’s #LifeGoalsSeeNoGender

Financial Services and Auto contributed the most to this year’s Top 40, at 27% and 13% of value.

“Most Indian businesses looked at change as a big risk to their existence. But to them we would say: Risk is no longer in changing. But in not changing. And challenge is no longer just the competition or the ever-changing business environment. It’s our own inertia. Our fear of the new, of the unknown. And yet, most inevitably fight that change, trying to bend a fast-changing world to their obsolescence. What’s really encouraging is that we are now seeing the progressive few accept that the world is changing and making attempts to change. They acknowledge the new consumer preferences. They accept the new desire for experiences and respond positively. Replacing complacency with competitiveness. To reinvent themselves before they reinvent their categories. And remain unafraid of the change to drive brave growth. That, in sum, is the secret behind this year’s Top 40’s success.” Said Ashish Mishra, Managing Director, Interbrand India.

Providing a global perspective on the Best Indian Brands 2019, Rebecca Robins, Interbrand’s global Culture and Learning Officer, in India to unveil the Best Indian Brands said: “In a fast-changing world, brands are the only assets that companies can fall back on, to navigate the challenges. Indeed, brands are the crucial interface between technology and consumers, that channel an organisation’s efforts to engender growth. Globally, the one category that has managed this well, to constantly evolve; to lead new ecosystems; to craft highly personalised and meaningful micro-experiences while still being rooted in a larger purpose, is Luxury. No wonder then, that the world’s and India’s top change drivers are taking a leaf out of the Luxury playbook, to grow by adopting a” Luxury Mindset”

Methodology Interbrand’s sixth annual report analyzes how brands grow in a changing world, showing that using technology at scale to deliver intimate human experiences, will help drive economic growth value. This methodology was the first brand valuation method to become ISO certified.

The ranking is based on three key components that contribute to a brand’s cumulative value:

• The financial performance of the branded products and services

• The role the brand plays in influencing customer choice

• The strength the brand has, to command a premium price or secure earning for the company.

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More than a technology brand, Nokia India’s advertising journey has been about ‘Connecting People’.

The only one time people probably adored snakes was when it appeared as one of our favourite games on Nokia 3310. Nokia, the brand has seen us grow from that 90s kid to entering the Gen Z race. Nokia has had an era of its own when it stood as the market leader until its dismissal in 2013 only to make a comeback in 2017 like no other.

Away from all the sleek and ultra slim phones, Nokia’s black and white heavy-weight handsets gave us memories for a lifetime. It came, it conquered, it vanished and it came back again. This week’s Brand Saga goes up, close and personal with Nokia’s India’s journey to glory.

Nokia starts the journey to be the ‘People’s Brand’

A year after India welcomed private organisations in the telecom sector and distributed cellular services licenses, Nokia grabbed the opportunity in 1995.

The first phone call on a cellphone in India was made on a Nokia handset through Nokia network in July 1995 when Jyoti Basu, the then CM of West Bengal Chief had ringed then Union Telecom Minister Sukhram in New Delhi.

“My first phone was a Nokia phone. This was when making a call cost Rs. 16, and was a privilege. Having a Nokia phone was a privilege too!” quipped
Rohan Mehta, CEO – Social Kinnect when quizzed about his fondest memories with the brand.

Though we couldn’t get hold of the  TVC, the very first time Nokia India had struck the right chord was when it rolled out its very first ‘Maa’ commercial in 1997 urging people to buy mobile phones to give their dear mom a call , and thus the journey to be a ‘People’s Brand and ‘Connecting People’ was kicked off.

Prepping up for ‘Made In India’

At this time, major brands were aiming to integrate ‘patriotism’ in their products; Nokia in 1998 touched millions of  Indian hearts when it launched ‘Saare Jahan Se Acha’ ringtone on a Nokia 5110 handset. Prior to this, it had already garnered a massive fan following for its classic Snake game.

Nokia ’s many moves like introducing the first phone with a user menu in Hindi in 2000 to launching its first Made in India Nokia 1100 showed its affinity towards the country and its apt sense of understanding market sentiments.   Nokia 1100 is the best selling phone yet, selling over 250 million devices. At its peak, the company sold 475 Million devices back in 2008.

Adapting to variant specific advertising

Later for its variants like Nokia 3110 classic, Nokia 1600 colour, the brand created different campaigns suiting the features of the product. For instance, one TVC shows how a nokia device with mega zoom properties has captured every moment gone wrong in a couple date featuring a goat. with

Spreading the colourful vibes with Nokia 1600 colour phone

Also Read: Brand Saga: Society Tea- Brewing successful concoctions since 1933

Nokia-  Straighten Up showed the world the importance of  a speaker phone and Nokia got to be the problem solver.

Nokia turns into Jeevan Ki Dor

Another one communicating a similar feature took an emotional route to portray the bond that connects a man with his entire family.

In 2007, Nokia roped in JWT (Now Wundermann Thompson) to handle it’s creative account and also worked with several smaller agencies during the course. Nokia’s advertising strategy had a  mass appeal and kept the middle class happy because it was now able to afford the luxury of the elite class.

Seeing India’s increased interest into Nokia Phones and the vibrant market, the company announced global launch of Nokia Asha – the device which was specially curated for ‘Bharat Ki Janta’.  The commercials added a hefty dose of youth and fun.

According to research agency ORG Gfk, Nokia’s market share, as of February 2006, was a staggering 78.8 per cent. Relatively, Samsung’s was 6.4 per cent.

The ‘Celebrity’ Factor

Nokia had started facing the heat of the competition. To counter it, the company roped in Bollywood superstars like Shah Rukh Khan and Priyanka Chopra.

Share your special Nokia moments

PeeCee’s Tag and upload challenge

King Khan’s association with Nokia has been a long standing one. We still cant forget his face when his Nokia Lumia 920  was unabashedly thrown into a river from the train by Minamma’s brothers. The brand leveraged the popularity of SRK so much that Nokia was also the official partner of his IPL team Kolkata Knight Riders.

Putting some light on Nokia’s advertising strategy, Rohan Mehta shared, With the re-entry of Nokia into the Indian market in 2018 and its announcement that it was profitable again, got me to re-examine why Nokia had such a monopoly over the Indian market. Even in the early 2000s, competition to Nokia existed. (Remember Motorola, creator of the trendy flip phones?) Why, then, did Nokia stand strong for so long?”

A solid advertising strategy could be part of the answer.

Also Read: #BrandSaga: Dhara Cooking Oil – The Anokhi Shuruat of a dynamic journey

Wward winning ‘Nokia Recycle – Planet Ke Rakhwale’

Nokia India , in 2008, took upon itself to take care of e-waste management in the country. According to DownToEarth, after the pilot campaign, Nokia launched its “Planet Ke Rakhwale” take-back and recycling campaign in September 2009, which extended pan India.

An intensive media campaign was undertaken on TV, radio and print, featuring the Shahrukh Khan. The campaign aimed to inspire young minds and spread the recycling message. The film won Effies Gold, NDTV Greenies and an internal Nokia award in Finland.

The Nokia ‘Fall’

According to Voice and Data, Nokia dropped a rank to be placed at number two behind Samsung during the last financial year with a 27.2% market share with a significant 18% drop in revenue.

In September 2013, Microsoft announced its purchase of the Mobile Devices division of Nokia, which included a selection of patents and trademarks such as Lumia and Asha. Nokia kept its Networks and Services and Advanced Technologies divisions as well as it’s brand, but its future as a smartphone manufacturer remained completely uncertain.

The report cited that Nokia’s drop in market share (in India) started when the company failed to sense the need of a dual-SIM phone. Nokia’s choice to go with Microsoft Windows software for its smartphones, rather than Google’s Android platform, left potential customers with too little choice. Nokia’s Lumia series phones, which witnessed huge growth globally in the initial phases after its launch, did not draw much attention in India.

The hits and the misses

Nokia claims to have attained leadership in the segment, on the back of a more intuitive and user-friendly product. It also introduced ‘Funny Pammi Aunty’ . Directed by Bauddhayan Mukherji (Buddy), the film had 1.6 million YouTube hits within the first 3 weeks.

ET quoted  Viral Oza, Director – Marketing at Nokia saying that the company is very open about it’s shortcomings. “We don’t see why we should not be open about our strengths. ‘Blown away by Lumia’ was us just being ourselves. Over the years KKR’s performance has not been sterling but they went from strength to strength and Nokia has too.”

Nokia’s Comeback Challenge

As promised, Nokia in 2017 was ready to hit the market and what better to drive nostalgia by throwing snake challenge. Nokia relaunched its iconic 3310 phone in the market and with it rolled out a #MakeSnake challenge.

Reviving the ‘Maa’ bond it created with it’s very first campaign in India, Nokia returned to the market after a gap of two years with a newer version, titled, Mom’s Bothie’ and #UniteForLove for Nokia 8. Conceptualised by Dentsu One and directed by Amit Sharma of Chrome Pictures, #UniteFor series was launched around Diwali and aimed at re-connecting people.

“We thought it was important that a brand that showed all of us the way to connect, could also remind us that technology has the power to both unite as well as make people feel disconnected,” shared Jyotsna Makkar, head of marketing, HMD Global (India).

“A lot of international brands were involved in taking Indian habits closer to the evolving globalist culture. One of these brands is Nokia – they were instrumental in introducing the mobile phone to the subcontinent. The first phone that most people in this nation used after their landline, was a Nokia,” shared Shrenik Gandhi, Chief Executive Officer and Co-Founder, White Rivers Media.

He added, “Their old ads are product-based or feature-based, so they don’t fall into the ‘iconic Indian advertising’ bracket… Their impact has been more in making mobiles affordable for India, than in advertising campaigns. Lastly, let’s remember: Snake was never a desktop game.”

My Way or Alia-Way

To launch it’s second Diwali campaign, Nokia roped in Alia Bhatt owing to her strong connection with today’s generation who are multi-dimensional, multi-faceted, multi-achievers.

The key thought behind the film was that Nokia phones are not just restricted to a particular category of audiences but it is for all.

Alia ‘Connects People’ with Nokia

The ‘Digital’ Pro Nokia

In a 2014 interview, Viral Oza, ex-CMO, Nokia India boasts of being
successful in terms of engaging core audience in the digital space. “The fact that Nokia is the third largest Facebook community in India and the only mobile handset brand with around 10 million fans is a testimony to the fact that we understand what the youth wants today. Nokia.com sees 12 million unique users a month, and our average monthly online reach is 70 million Indians. On Twitter, we have about 0.15 million followers; Nokia Google Plus has 0.525 million followers and Nokia YouTube has crossed 28.5 million views.”

From devising social media specific campaigns like ‘Trendify’ to asking people to create their own apps with
‘Your Wish Is My App’ – Nokia India has been successful in keeping the buzz on in the digital verse.

The then Managing Director of Nokia India D Shivakumar had once said that the consumer can live without most things, but he can’t live without a Nokia cellphone. And Nokia ads played an important role at that…

The post #BrandSaga: Nokia- A resounding success story of ‘Connecting People’ appeared first on Social Samosa.

With Section 377 being decriminalized, Blued attempt to create a strong footing in India through their Holi campaign.

The whole of India rejoiced when in September 2018 the apex court decriminalised  Section 377. While many of us are thankful for the supreme court to take such a historic decision, there are still a few who refuse to talk about these topics in public. Embarrassment, fear, and identity crisis have been binding them to come out in the open and talk about things which is not an issue!

Amidst all this, Blued was launched in 2012  as the gay dating social media app. It claims to have 40 million users globally and sees over 11 million active users daily. The app is now anticipating to become the largest gay dating app in India after China, Taiwan and other east Asian countries.

On the occasion of Holi, Blued launched #RangDeBluedSe campaign to showcase the wave of joy within the gay community with diverse colours. The two-minute film represents the essence of love spread by the festival of colours.

RangDeBluedSe

A guy who is looking for love ends up using Blued; his mobile pops up with a new match. The video ends showing two men finding a perfect match. The video highlights the unity of love.

The video campaign has been produced by Dancing Shiva Productions and Directed by Amit Khanna (Photography).

Campaign Insight

Blued wanted to do something special for it’s target group and user base on this Holi. “We did think of having a huge holi bash but somehow realised not everyone will be able to join us from different parts of India. As holi is the biggest festival and full of colours, We decided to give something unforgettable and fun to them, what’s better than a party song for our LGBTQ community of India,” informed Sanyam Sharma – Marketing Director, Blued India.

Rationale behind the campaign

Holi is a festival which is celebrated on a large scale in India. LGBTQ community is very vibrant and has a spectrum of colours within it. The idea to amalgamate Holi with Queer community was born from the same.

A lot of advertisements during festivals from brands are seen but they rarely showcase the happiness and fun from the perspective of LGBTQ community in India.

Behind the scenes with Amit Khanna

“The campaign is bright colourful and cheerful,” exclaimed Khanna. It was important to have a story revolving around the fun one has during Holi. The protagonist finds his match at the blued Holi party comes across very soothing and romantic. “It was easy to bring forth the emotions using hi speed and the actors did their job rather well. It’s truly a colourful celebration of liberates love.”

Also Read: Brands take pride in celebrating the scraping of Section 377

Campaign Objective and The Message

“The objective is to provide some sensual yet peppy music number specially crafted for gay community which they can share and feel happy about,” shared Sharma. The messaging is clear, you can find Mr. Right anywhere, he may be sitting somewhere having a coffee or few blocks next to you. You just need to find him out!

Blued- The not so conventional app

Sharma commented, “We started our marketing campaign back last year since section 377 got struck down. Our first campaign, Legally Yours | #WhatsNext377  was launched in November 2018 that was focussed on the bucket list or aims in life of few of the imminent personality from LGBTQI.”

Sharma claims that the response has been very warm.

The post- LGBTQ judgement phase

“The shift is definitely there, but our community still requires some time to reach a point where they feel liberal and safe,” firmed Sharma.  More than any law, it is we, people of India, that need to make a shift. A lot of content is being made keeping LGBTQ community of Indian in mind. Multiple issues are being addressed which earlier were just a mocking subject.

On the other hand, Khanna does not see the film creating much much difference. According to him, filmmaking is the same ever since, it’s just characters and situations have evolved.

“The audience needs to connect with the emotion. It could be movies or ads and I feel the same gender or opposite gender love is now not of relevance as there has been enough food for thought on that issue. As long as love is portrayed aesthetically audience has no complaints with the gender.”

Challenges and Business Model

For Sharma, the challenges are nothing different than of any other dating app which is catered to heterosexual people. Creating a safe platform for the users is the key. Blued’s monetization model is factored on it’s Live stream feature, where users can gift their favourite livestreamers by making in-app purchases.

The app is working on bringing more video content for its users which will be exclusively available on Blued app as well as on it’s YouTube channel.

Gay dating apps in India have been prominent, despite of the stigma and the dated laws. With the decriminalization of Section 377, same sex dating apps come of age.

The post #RangDeBluedSe: Blued attempts to gain footing in India… appeared first on Social Samosa.

The biggest sports leagues will be taking 2019 by storm and advertisers need to roll their sleeves to identify raw and untapped talent to narrate the story of these Indian unsung sports stars adding their creative touch.

In the country where ‘cricket’ chanting couldn’t take a breath and also touted no less than a ‘religion’, sports like Kabaddi, Football, Tennis have paved their way like none other. The influx of various sports league like Hockey India league, Super Fight league and more have made the nation talk beyond the boundary of a cricket field and venture into the world of goals and shuttlecock.

According to the FICCI-EY Report 2019, Indian sports market was valued at over INR185 billion. There are now over 16 domestic leagues in the country across kabaddi, football, wrestling, boxing, badminton – from just two leagues five years ago. New sports leagues, including volleyball, Andhra
Pradesh Cricket League, Kho-Kho League, Karate, etc. have been launched

According to the fourth edition of India’s Most Powerful Celebrity Brands report released by Duff and Phelps, while Virat Kohli became India’s most valued celebrity with an estimated brand worth of $170 million, P.V.Sindhu was placed at no.15 with a brand value of $21.6 million.

Although brands have found huge potential in the cricket icon and the ace shuttler, there is a huge chunk of talent who have proved their mettle and continue to be limitless. 

With IPL, World Cup, ISL, Premier Futsal, and many more roaring to take place in 2019, marketers need to go beyond the likes of Kohli to explore the abundant value sports marketing. According to reports, online industry experts have also felt that now is the time for the consumer brands to explore new and the existing talent, while some are untapped and a few are already stars in themselves. 

PT Usha

Often called the ‘Queen of Indian track and field’ and India’s ‘Golden Girl’, PT Usha has been associated with Indian athletics for many decades now. Although she has taken retirement, her name remains iconic . The Arjuna Award and Padma Bhushan awardee definitely deserves to be in the wishlist of brands like Adidas and Nike.

SAVE THE DATE!
We are looking for talent that we can groom into podium finishers. Supported by @kheloindia

Please like, share, retweet and help us spread the word. pic.twitter.com/5EVKlXwejG

— P.T. Usha (@PTUshaOfficial) December 29, 2018

Devendra Jhajharia

When in 2017, Devendra Jhajharia became the first Paralympian to have been nominated for Rajiv Gandhi Kehl Ratna award- India’s highest sporting honor, he was overwhelmed and at the same time felt that if the honor could have bestowed upon him 12 years back when he clinched the gold with a world record at the Athens Games in 2004, he would have felt more motivated. The two time Paralympics gold metallists surely have an untold story waiting for a creative touch. Brands, you must listen to it!

It will be an honour for me to go for the Hattrick and make our nation proud!

— Devendra Jhajharia (@DevJhajharia) February 6, 2019

Also Read: 5 bullish Sports and Entertainment Trends for 2019 – ESP Properties

Sunil Chetri

While it is given that Football in India gained prominence and a loyal fan base owing to the worldwide popularity of Ronaldo and Messi. In June 2018, Chhetri’s one video urging Indians to support the Indian football team at the international championship went viral and won millions of hearts. Just when he also scored twice in a 2-0 victory over Kenya in 2018 Intercontinental Cup and became the ‘second joint top international goal scorer’ equalizing Argentinian  Lionel Messi‘s tally of 64 international goals just second to Portuguese Cristiano Ronaldo‘s 81 international goals.

Soon after, Chhetri was named brand ambassador of online fantasy sports platform StarPick. But the star is yet to sign deals worth of.

K Srikanth

After winning several national international badminton channels, ace shuttler K Srikanth was signed by Chinese sports brand, Li-Ning for a 4 years multi-crore deal. Bank of Baroda and Yonex have also bought Srikanth on board. However, the brands need to leverage him and his expertise to the core.

Vinesh Phogat

Even after Cornerstone Sport, a sports management and talent representation agency who also handles Virat Kohli announced the signing of Indian wrestler Vinesh Phogat to manage her brand endorsements deals, the star woman is yet to grab eyeballs through endorsements. Phogat became the first Indian woman wrestler to win gold at Asian Games last year.

Deepa Malik

Deepa Malik achieved the feat when clinched the silver medal in the shotput F-53 at Rio Olympics 2016 becoming the first Indian woman to win a medal at the Paralympics. Post which, Mountain Dew signed her for ‘Risk Takers of India’ campaign where Mallik also became the first Para Athlete to endorse a soft drink brand.

In an interview to insidesport.com Malik was quoted saying the only difference post my wins that I am getting more offers to speak but sadly no brand approached me to endorse their product.  Do I not have the determination or the strength to do something for the country? I also have a pretty face, I also use beauty products like others so why I can’t endorse them?

Nisar Ahmed

Touted to be India’s most promising young athlete, 16-year-old Nisar Ahmed missed the world record in the 100 m sprint by 0.2 seconds. However, the loss did not hold him back.  He has now been selected among the 14 athletes to undergo training by Usain Bolt’s coach in Jamaica.

Now when brands are more inclined towards targeting youth and Gen z of the nation, Ahmed’s determination, dedication, and hard work can be a true fit to a marketer’s vision.

Meeting Bolt Was Like A Dream Says Nisar Ahmed @usainbolt @YohanBlake @IndianOlympians @kheloindia @KheloIndiaFC #NisarAhmedKhoro #CommonwealthGames #Tokyo2020 #Training #sports #sportsnews

— nnis (@nnisnews) March 7, 2018

Top Sports and Entertainment Trends for 2019 by ESP properties revealed that brands which can use athlete and their storytelling power will garner massive interest from fans and advertisers owing to mass media exposure via TV and one-to-one engagement through social communities, rediscovering their true value.

The post Brands need to take notice of these non-cricket sports stars appeared first on Social Samosa.

With an aim to celebrate the physical strength of women, Women’s Horlicks weaved ‘Stories of Strength’. Experts review if the stories make a mark.

For decades, only men have trained and mentored India’s elite commandos. In 1997, one woman decided to change that – Dr.Seema Rao, India’s first and only woman commando trainer. Her story remained quite unmapped until Women’s Horlicks in it’s the latest campaign attempted to narrate it with the ‘Stories of Strength’ series.

Campaign Insight

Women are always known for their mental/emotional strength for being the backbone of the family, but rarely for their physical strength. Women’s Horlicks wanted to break this very notion through ‘Stories of Strength’.

Objective behind ‘Stories of Strength’

The campaign aimed at celebrating women who dared to follow their unconventional dreams and showed the world that they are not just mentally but physically strong too.

The brand also urged strong women to take care of the very thing that makes them strong from within their bones. Bone health is extremely important, as every 1 out of 2 Indian women are at risk of low bone mineral density (BMD) which can lead to osteoporosis.

About the films

The ‘Stories of Strength’ series comprises of three different stories unraveled through 3 minutes films where the women explain the challenges and difficulties they faced in their unique career choices along with the physical and mental strength it required to fulfill their dreams. Conceptualized and executed by FCB India the series adds more depth to the brand’s ‘Stand Strong’ narrative launched last year around Women’s Day and asked women around the country to write their own stories of strength and share them at #StandStrong.

Also Read: Horlicks carries forward “Fearless” legacy with new campaign ft A R Rahman

This time, Women’s Horlicks collaborated with Dr. Seema Rao – India’s first women commando trainer; Ratna Singh – India’s first female naturalist, and Uma Das – India’s first woman Dhaki player to breakdown the misconception that women can’t be physically strong.

While the ad world has been blamed of objectifying women in it’s earlier communication consistently, today it has been riding the wave of feminism to portray women as the repository of beauty, strength and an all-achiever. Femvertising has attracted a huge chunk of marketers of off late and it remains to be seen if it comes out as a mere ‘branding tool’ for the company or a genuine standing.

With a million of pro-women brand campaigns around the globe revealing various facets of ‘gender equality’ since decades, does Women’s Horlicks ‘Stories of Strength’ creates a difference?

Experts Speak:

Ankit Nalotia – Founder, Mo Mantra

With this new film, the brand has extended its reach by opening up to a newer target group. The story very conveniently connects both, strong will power and physical strength with the brand. It has made a way to the minds of women having hidden talents and to share their story of being extraordinary. The confidence of being independent, the confidence of being self-reliant and the courage to change the mindset of orthodox people out there will obviously be a trendsetting campaign.

Sherina Kapany, Founder, sunSTRATEGIC

Unlike their previous campaigns #StandStrong or #StrongToTheBone, I believe this time they couldn’t connect with the new-age women.  

There is no doubt that these ladies are not only breaking stereotypes, but are also a source of inspiration for everyone around them.
But when I look at the campaign it was created to be the first attempt at bringing such stories to the forefront. This is not the first attempt. Secondly, it has missed the mark in resonating with the new aged modern woman whose life is full of challenges and keeping her health and bones in perfect shape is part of her busy lifestyle. In their campaign, #StoriesofStrength Horlicks has successfully created Heroes out of unconventional stories of the society, however what about the women who are fighting daily to be strong in their health a composition in order to meet and beat the odds. For instance, the woman who is standing in overfilled trains trying to make place for herself to breathe and has to be strong to travel and many more.

With 100% research, and an amazing idea in hand, Horlicks has not been successful in creating a conversation on why it is important for women to invest in their physical strength.A simple campaign targeting regular and everyday women would have helped Horlicks connect with the audience at the larger scale. Sometimes simplicity gives you greater results than being extravagant.

Nikhil Agarwal, Co-Founder, Brandwitty

Marketing as an activity is talking to users in their own language so that they can relate to it. Horlicks have done that very well in this campaign. They have targeted English, Hindi & Bengali audience to capture the overall market. Most of the Bengal region lies in the Ganges-Brahmaputra delta, but there are highlands in its north, northeast and southeast which shows women working hard for basic needs & the hence the need of #StandStrong bones. Womens Horlicks overall have done very good market research & not only touches the sentiments of women but also gives very clear brand message to all age group. I think this campaign has potential to trend on Twitter & collect more stories which will create an impact in users mind across India if executed well.

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With OTT exclusive content, are theaters in for a rough ride? Experts delve deeper…

A recent Boston Consulting Group report revealed that the OTT segment in India which is currently pegged at 0.5 billion dollars will grow to 5 billion dollars by 2023. The growth is attributed to rising affluence, increase in penetration of data into rural markets and adoption across demographic segments including women and older generations.

‘Originals’ and ‘Regional’ are the new buzzwords in town. According to reports, Amazon Prime Video plans to invest around Rs 20 billion, while Netflix has set a budget of Rs over 6 billion on original content. 

In past few days apart from original series, ‘Movies’ have found themselves a new platform to get premiered, some even before their theatrical or satellite releases. Moviemakers are directly opting for OTT platforms for digital premieres of their films and skipping the idiot box.   

theNewsMinute quote Kannada film director Prasanth Raj, saying, his film Orange is the first movie to be acquired by Amazon ahead of its theatrical release and this was an 8-month-long process.

Meanwhile, Rajma Chawla directed by Leena Yadav and produced by Gulab Singh Tanwar and Aseem Bajaj did not opt for a theatrical release. Starring biggies like Rishi Kapoor the film was premiered at the BFI London Film Festival in October 2018 and was released on Netflix on 30 November.

OTT over Theatre halls? 

“The theatre business in India is under stress. Lack of screens means that a film needs to maximize its revenue in the first week before a new film kicks it out of the theatres. This leaves no room for ‘word-of-mouth’ to positively affect business,” shared Siddharth Anand Kumar (VP, TV and Films Saregama India and Producer at Yoodlee Films ).

Yoodlee films collaborated with Netflix for its first original film – a dark comedy- Brij Mohan Amar Rahe, Ajji and Kuch Bheege Alfaaz.

Kumar continued, “You need to create a strong inorganic pull to bring people to the theatres. This is done by spending large amounts on publicity and hiring viable stars to draw audiences in. This stranglehold situation was suffocating the “indie” film industry in the country.”

Now with OTT on the rise, the filmmaker is able to connect to their audience without these factors, allowing them to take greater risks in a choice of story, aesthetics as well as casting. This will and already has started to change the kind of films of being made by producers such as Yoodlee. 

Also Read: Changing dynamics of Movie Marketing: Are digital efforts translating into in-theater leads

Manish Kumar, CEO & Co-founder, DigiOsmosis listed down two cases in which a movie might get premiered on OTT platforms:

1) A movie gets made but the production house gets no distributor because the quality or the scale is not good enough to collect the bare minimum revenue; also releasing a film in theater requires a huge amount of money and the producer might be unsure whether he’ll be able to recover it. In this case, if an OTT platform might like the content enough to pay the cost that has gone in making the movie plus some profit, it might be better for the producer to premiere it on an OTT platform.

2) There movies which are made specifically commissioned by an OTT platform. A film can be made in Rs 5crs but the marketing of the film might require another 5crs. Now the budget of the film went up to Rs 10Crs so to make 20% profit the film needs to make Rs 11Crs. Story might be great but there are possibilities that the film might not be able to make that kind of a money, and if an OTT platform pays Rs 6crs for the film, the producer gets to make the film, the audience can still watch it through OTT and he still gets his 20% profit

Echoing similar views as Manish, Sethumadhavan Napan, COO/Producer at DAR Motion Pictures reasoned that can be either due to content is more suited for a slight niche audience, not being suited for a wide theatrical release or  If there’s anything controversial with the subject that’s likely to meet up with some difficulty in the run-up to the release or if the commercial viability based on a theatrical release becomes difficult.

Shelf life of the trend

While OTTs have been posing huge challenges for the theatre world, it remains to be seen how far the trend trots. “Digital first content is a story which is happening,” quips Uday Sodhi, EVP, and Head- Digital Business, SPN. He would further imagine movie economics will also become exciting for the filmmakers today that they want to release it first on the digital platform. “I think we are far away from really seeing a big trend like this but these are early signs that people will prefer digital medium to release their content first,” Sodhi added.

Manish also noted that it has still not touched a phase when a big budget film with a huge star cast gets premiered on OTT without even releasing in theaters. “Even in near future, Premier of a big budget movie on an OTT platform is only possible if it’s a huge marketing plug wherein the content is exclusive to that OTT platform so it helps the platform gain more users.”

However he feels that it will exist to continue as it would generate bigger opportunities in which filmmakers, content creators, and actors. 

“Yes, this new wave is here to stay & will continue to only flourish over time.”, asserted Napan.  A lot many more filmmakers & production houses are likely to consider this route as it makes a lot of sense in many ways to adopt it. This is a trend which has potential & is the way forward as a strong alternative release channel for films.

Kumar pointed out that the first Indian new wave came in the early 80s when NFDC financed filmmakers like Shyam Benegal, Govind Nihalani who went on to discover acting talents like Om Puri, Smita Patil. The filmmakers were freed from the trappings of the commercial film system and the work they produced endures to this date.

He added, “The environment is circling back to a similar scenario today as the advent of the internet film is changing the rules of distribution and hence the rules of producing. New talent will be found and new styles of storytelling will be invented. This, in turn, will help the audience evolve as well.”

A threat to the Theatre World?

Most BTowners believe that this has no threat to theatres as they continue to rake in viewer support and footfall to the cinema halls every Friday. Box office is still the primary mode of revenue collection for most for most of the filmmakers.

Sodhi, too, doesn’t think this is going to be a threat to the theatre business. “US, for example, in spite of having such a large digital audience, the theatre collections are very robust. The kind of movies will change. There are multiplex type movies which are for a certain audience. Those might find a digital-first premiere logic. However, your big budget Baahubali type of cinema will first go to the theatre because big monetization happens there.”

Seconding Sodhi’s thoughts, Hiren Gada, CEO, Shemaroo Entertainment Ltd said that for big budget and genre movies, theatre is a very large source of serving and raking big bucks. Theatre business is a transaction model. That window is limited in terms of weeks. “I don’t see this model shifting anytime soon. Content is at the central part of any service and trying to create certain exclusivity as well as a certain module to both attract an retain the consumers. That is why so many different modules are now emerging.”  

According to statista.com, by 2021, Indian box office revenue will amount to Rs 146.5 billion Indian rupees. Backing the stats, Manish asserted that just because OTT is growing rapidly, theaters are not going to lose their charm in any way, theaters will just get redefined for a different kind of content, the audience will go to a theater for the overall movie experience with a high amount of VFX and 3D, spending time with family and friends so it would become experiential. 

Also Read: 7 Movie Marketing trends that are re-shaping the industry

Theatrical vs Digital- Financial dynamics

“Well,  if it’s an OTT release then either the film is acquired after it’s already made or else it’s commissioned by the specific OTT platform to be made by the production house,” reveals Napan.  In the former model, the production house tries to get a decent price for the film, at least get a little more than the cost of production. If it’s a latter model then the production house gets the required budget from the OTT platform to make the film.

There’s no profit to be made by the production house if it’s a film commissioned by the OTT platform, while a profit is possible in case of a simple acquisition. It’s all about the deal made & the terms, there’s no one clear player with the upper hand.

On the other hand, Kumar feels that the audience is going to eventually get the upper hand, as they will be served better content at a time and screen of their choosing. “When there is greater transparency in budgets then creators get to participate in the potential upside of a successful film.”

Yoodlee Films has published an SOP that outlines the rules of engagement and offers up to 30% of the film’s profit back to the talent.

While many continue banking on the might of the digital world, Cinema halls are least affected. However, reports suggest that the broadcasting space is been facing challenges with the OTT players acquiring digital rights of movies even before theatrical release and the shrinking of the window between satellite TV and digital premieres.

Eros Now, which is focussing on creating digital-first movies, premiered Manmarziyaan and Happy Phirr Bhag Jayegi on the platform first ahead of TV. To name a few similar cases are Bengali film Pasto had a digital premiere on Hoichoi, while ZEE5 has also joined the bandwagon following a similar route.

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Mahendra Singh Dhoni has been hitting boundaries with the highest sixes, by being a catch for the country’s top brands with a brand value knocking (almost) everyone out of the park. Take a look at some of the best Dhoni ads over the years.

Dhoni, apart from being an ace athlete, has a brand value of $26.9 million, is ranked 12th in terms of celebrity brand value, according to a Duff & Phelps Celebrity Brand Valuation Report 2018.

Forbes India, in it’s 2018 Celebrity 100 list ranked MS Dhoni at the 5th position with his earnings being ₹101.77 cores. The list included colossal celebrities of India like Salman Khan, Deepika Padukone, Amitabh Bachchan, and more.

Dhoni’s unparalleled skills as an athlete and as a captain don’t need no praises. But, his on-ground skills have paved the way for him to prove his mettle in the ad world too.

Since his career has commenced, he has endorsed and promoted various brands, that are top-notch in their category and he has been a favorite too.

The brands include moguls like Reebok, Colgate, GoDaddy, Boost, Aircel, TVS, Cello, Siyaram, Bharat Matrimony, Mastercard India, Snickers, orient, Gulf Oil India, and many more.

In a report published by The Economic Times in January 2017, they claimed that Dhoni’s endorsement value may dip, as his brand value had declined from $21 million in 2015 to $11 million in 2016 and his ranked went down to 10 from 5.

Although, as reported by Inside Sport in November 2018, Dhoni was named the most consistent performer in the brand market. Dhoni on an average signed at least one brand per month in 2018.

Dhoni’s MasterCard commercial endorsement was the 10th one he signed in 2018, other brands include Snickers Chocolate, Dream11, SoundLogic, and more.

Virat Kohli is topping the Celebrity Brand Endorser list since the last two years and is coming off as the new-age primary choice of brands. Other prominent sportspersons relevant in today’s date include Sachin Tendular & PV Sindhu.

Mahendra Singh Dhoni has been in the league for more than a decade since his debut for the Indian team in 2004 and still remains the most relevant and reputable endorser even when he’s not in a good form on the ground of marketing.

Take a look at some of Mahi’s best adverts till date.

Pepsi

#SachMein Hardik Pandya, Mahendra Singh Dhoni? – StarPlus

Son Of Devki – StarPlus

Bijness Bhai Market – GoDaddy India

You are not you when you’re hungry – Snickers

Brothers – Videocon ft. Shah Rukh Khan

Play The Bigger Game – Boost

Child Lock – Orient Electric

Congratulations to Mahi on his 100th IPL win as captain. And, did we miss out on your favorite campaign featuring Dhoni? Let us know in the comments below.

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Two fantasy platforms, Mobile Premier League and Dream11 have rolled out campaigns featuring Virat Kohli and MS Dhoni respectively to leverage the cricket fervor. Experts examine who bats the right way.

A Duff & Phelps report mentions that the IPL ecosystem is valued at US$ 6.3 billion (up from US$ 5.3 billion last year). Advertisers like Vivo, Coca Cola, Jio and many more are spending huge monies on IPL this year.

Joining the bandwagon of advertisers levearging these opportunities are Dream11 and Mobile Premier League, roping in cricket icons MS Dhoni, and Virat Kohli. The two online fantasy gaming platforms rolled out campaigns with their respective brand ambassadors betting big on the burgeoning cricket fever.

Dream11 – Ye Game Hai Mahaan

The campaign insight states that cricket is a national passion with over 80 crore Indian fans. Among the 5 crore+ users on Dream11, 85% play cricket. As a cerebral game of skill, Dream11 helps users to apply their cricket knowledge and expertise giving fans an opportunity to become a champion.

The films are weaved from the brand’s belief of not only celebrating the victories of the cricket greats but also the everyday unsung heroes, and how both of these together make cricket such a great game.

The 6 six films, conceived and created by Tilt Brand Solutions in 6 different languages, capture the spirit of cricket fans in diverse situations.

Mobile Premier League ‘Hero Banna Hai?’

In its maiden campaign featuring Virat Kohli, Mobile Premier League (MPL) took to celebrating budding heroes from the streets of India. The campaign idea rests on the insight that for a billion-strong nation there are few national icons who inspire a sense of pride creating unconditional love and acceptance.

‘Ab har galli se niklega hero’ packs this insight and fills this perceptional void of inspiring sports stars with avid gamers across the country.

A series of four anthems rendered in unique local flavours celebrate heroes from across the country.

Also Read: Brands score with IPL 2019 campaigns

Social Media buzz

While Dream11’s Let There Be Light campaign garnered 55 million views on YouTube, MPL’s first in the Hero Banna Hai? series- ‘Raja Beta Raja Beta Baneya Shikari’ stands at 1 million.

When MPL’s first ad came out, the platform wanted to keep the fun alive by making people participate in the ‘Hero Banna Hai’ social media challenge and get a chance to create their own version of the dance step.

The challenge garnered 15M+ views across Tiktok and Instagram and was amplified through a number of influencers.

The brand ambassador’s presence and reach were also amplified on the brand’s official channel.

Meanwhile, Dream11 too is aggressively promoting the campaign on social media platforms including Twitter, Instagram and Facebook.

While both platforms are going big on the cricket fever this season, it remains to be seen which bowls the other out.

Experts Speak:

Siddharth Khanna, Co-Founder & CEO, Brand Visage Communications  

Both the campaigns are well thought of in terms of their positioning and its creatives outcome.

I feel “Hero Banna Hai?” campaign will strike the right chord with the audience because of its positioning that everyone wants to play and have that desire to stand out in the game. While not everyone can play on file, but you can become a hero off field through your skills which we eventually find in every corner now. The second reason for its connect is also the call to action, in the end, is stronger to play the game and it leaves audiences with a question which is the right way to the community at least digitally.

Rohit Tugnait, Co-Founder & CEO, Phoenix Content Studio

Considering this and the brand ambassadors that Dream 11 & MPL have picked up, the campaigns are bound to bring ROI back to the brands.

That said, in my opinion, Dream 11 has  captured the spirit of a cricket crazy country nicely but falls short of clear communication on what the platform is and a call to action to engage with it. A stronger and clearer product window message in the end could have made the ad more impactful. Currently it instills curiosity, but would nt make me act immediately.

The MPL campaign on the other hand seems to have no real connect with cricket except Kohli, so in my opinion is slightly weak on creative but has a clear demonstration of the app usage and a clear call to action, which will make a consumer respond to it immediately.

To summarise I feel MPL would be the more effective campaign.

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As smartphones become the gateway to content and engaging customer experiences, Adobe today announced the findings of its 2019 Brand Content Survey.

The survey underscores the need for businesses in India to bring digital content to the front and center of their customer experience strategies.

The survey was announced following Adobe Symposium 2019, the digital experiences conference held in Mumbai. Surveying over 1,000 Indians who own at least one digital device, the study concluded that over two-thirds of consumers in the country use two devices at the same time constantly or frequently, with over 10 hours of daily usage across all devices. According to the Adobe study, this growing smartphone usage and digital content consumption pattern among Indian customers is influencing heightened customer expectations on personalization setting the new norms for brands to deliver on.

Consumers prefer personalized content from brands, without it being intrusive

The study found that two-thirds of consumers in India are more likely to make an unplanned purchase from a brand, if digital content they see is personalized towards them, especially for those between the age of 23 to 49 years. However, majority reported that they would stop purchasing from a brand if they felt that the level of personalization was creepy.  

The study also found that consumers, specifically millennials and Gen X, have a high level of trust for the brands that respect their privacy.

“A winning customer experience can take many forms, but the most common element in every brand’s success story is personalization. Brands that can strike the right level of personalization will forge stronger connections with their customers, resulting in brand loyalty and growth,” said Sunder Madakshira, Head, Marketing, Adobe India.

The omni-channel mix in making purchase decisions

Consumers in India reported they still mainly make purchases via physical stores (31 percent), online marketplaces (69 percent), and by going directly to a brand’s website (49 percent).

Notably, the use of smart speakers and voice assistants to make purchases stood at 28 percent.

While consumers in India show a varying propensity for in-store and online, the online marketplace emerged as the most important channel for purchasing products.

“Given India’s rapid digitization, mobile first story and vast millennial population, it is not surprising that online review sites, social media networking sites and video channels were voted as critical cogs of pre and post purchase interactions, especially in the younger age groups. As consumers are increasingly engaging with content on smart speakers and wearable devices, we should start seeing more brands experimenting with immersive content formats and expect related customer experiences to go more mainstream over the next few years,” added Sunder.

Also Read:Report: Top 5 digital advertisers were Amazon, Girnar Software, Google, Netflix & Flipkart

Consumers have little patience for slow experiences

The study found that digital content and customer experiences cannot only make, but break brands too.

More than one-third (40 percent) of consumers expressed frustration with content that is slow to load, followed by spam email (38 percent) and irrelevant offers (34 percent).

Finally, 33 percent Indian consumers indicated that they would stop the engagement with a brand if the content was too slow, indicating heightening customer expectations in today’s digital era.

Consumers continue to trust and share information on Social Media

Social media continues to be the preferred way for several consumers to connect with their friends and discover content.

Majority of consumers share social media content on a weekly basis, with over 50 percent of millennials sharing daily.

Most Indians surveyed are also comfortable sharing their behavioral, geographic, demographic and personal information with brands, as they feel this helps them enjoy a better customer experience.

A whopping 95 percent of consumers express confidence in at least one social media channel, with YouTube and Facebook emerging as the most trusted mediums overall.

Younger consumers (18 to 34 years) trust YouTube the most, while middle-aged and elderly consumers (34+ years) rely more on Facebook for their social content.

“Interestingly, YouTube celebrities are one of the most trustworthy influencers for consumers between 18 to 34, with their word being preferred over that of family and friends. Contrasting to this, elderly consumers (50+ years of age) value and trust content from a family member or a friend more than any other information avenue,” added Sunder. Online news sources are the second-best method for consumers to source and share information.

See the complete 2019 Adobe Brand Content Survey report here.

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Experts analyze if the fun and satire filled Comedy Central’s #ChooserNotLoser will actually make a difference or will happen to be just another election campaign.

Contrary to most election campaigns that aim to either encourage citizens to vote by applying an emotional or motivational overtone, Comedy Central being Comedy Central took a humor-filled route urging viewers to understand the importance of their vote.

The campaign #ChooserNotLoser comes with a hard-hitting question, “Are you a Chooser or a Loser?” and presented that our one vote can eventually be the difference between someone who makes their decisions and one that’s made to live with the choices made by others.

Campaign Insight

Life is a matter of choices, and every choice you make makes you – John C. Maxwell. But what if the power to make this choice was taken away from us? Provoking this thought, Comedy Central is determined to remind viewers that in Indian democracy, we have the right to vote and choose our leader, formed the insight formed the English Entertainment channel’s election campaign.

About #ChooserNotLoser

The campaign is executed in the form of 3 satirical videos that would not only tickle the funny bone of viewers but also cajole them to realize their duty as a responsible citizen of our country. The three films depict different scenarios, unified by a single message which reminds citizens to cast their vote, lest somebody else makes a choice on their behalf.

India is a young country, with nearly 15 million voters newly eligible for the upcoming general elections. Being a responsible brand that appeals and resonates with the country’s youth as well as other age-groups, Comedy Central adopted an approach that’s synonymous with its spirit to evangelize the importance of each vote. “Driving the message through cleverly curated videos with a comic narrative yet an underlining powerful call to action, we hope to influence every citizen to go out and exercise their right to vote,” said Ferzad Palia, Head – Youth, Music & English Entertainment, Viacom18.

The Creative Thoughtprocess

The campaign is created by Tilt Brand Solutions and produced by Tilt Studios. A wakeup call of sorts to take a step towards the polling booths, the three sketches depict the significance of making one’s own choice by dramatizing the repercussions of not exercising it. Adds Shriram Iyer, Chief Creative & Content Officer, Tilt Brand Solutions says: “The idea #ChooserNotLoser, coupled with 3 quirky scripts deserved an execution that’s both thought-provoking and humorous, given it’s, after all, a message from Comedy Central.  

The campaign has been cross promoted by Viacom18’s all network channels and social media platforms.

Also Read: This election, BookMyShow urges nation to #ChooseWisely

Experts Take:

Khushboo Solanki Sharma, Zero Gravity Communications

“The proactive characters that portray the common voters with a majoritarian opinion are shown as bias and authoritative, illogical. The campaign questions the ignorance and irresponsibility we show towards contributing in making a vital decision for our own future and our country’s.

The style and identity that the campaign carries, ensure a strong brand recall by demonstrating the key attributes of the show. It directly communicates and encourages its audience to participate and successfully establishes its presence as a brand amidst an event of national importance. The ads are short, crisp, and work without sound too, so are very apt for the digital media.

Sarthak Vij, Director, Grapevine Digimedia

The campaign has been beautifully created in sync with the brand’s identity. Where most of the brands focus on urging people to vote, comedy central’s campaign serves a dual purpose of voting & choosing for yourself which is an important aspect that brands have missed out this election season. 

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India is a country of over 38 million asthmatics with only 10% who use inhalers! There is a lack of education on the subject. People haven’t had proper conversations on the benefits and “normalcy” on the usage of inhalers. Inhalers have often been perceived as embarrassing and people avoid conversations around them.

The notion that an asthmatic is not capable of leading a healthy, happy life was what made Cipla and their digital marketing agency Schbang conceptualise the #BerokZindagi campaign.

Why?

What India needs the most is the awareness around asthma and the right treatment i.e. inhalers.

The goal was to spread awareness around inhalers and eliminate the stigma around its use. The campaign also aimed at addressing some common myths and misconceptions around the condition and the use of inhalers.

For this, Cipla needed someone inspiring, who has gone through the same struggle, to be the face of the campaign, via means of story-telling and education.

Who better than global superstar Priyanka Chopra, an asthmatic herself?

They also sought help from a community of reliable medical experts to shed light on the truth and help dismiss the assumptions.

The TVC Launch

Marking the start of the campaign’s first phase, Cipla started off the campaign with teaser videos starring Priyanka Chopra to build intrigue. This was followed by the TVC where Priyanka shares her journey as an asthmatic right from the tender age of 5, but how she’s been unstoppable. This video crossed 18 million views and marked the start of the #BerokZindagi campaign!

The campaign garnered over 80 million impressions on Twitter and the conversations with the hashtag BerokZindagi was trending for over 1.5 hours on the platform. This was followed by blogs and social media posts to spread the message further and more effectively.

After a successful launch, to keep the buzz fresh, Cipla conducted a Facebook live session with Rajdeep Sardesai and Dr. Jaideep Gogtay, Medical Director, Cipla Ltd. to educate the audience and answer questions live that were sent in by the Facebook and Twitter community. With over 8,000+ viewers live and an organic reach of over 53,000+, they created quite a chatter.

In just one month the campaign recorded a combined reach of over 70 million and over 10,500 conversations around #BerokZindagi.

Time To #OpenUpToAsthma

It was now time for people to speak up. The second phase was #OpenUpToAsthma where Cipla encouraged the audience to talk about asthma and their experiences with it.

The Logical Indian posted about Priyanka Chopra’s story of dealing with the condition and urged people to come forward and share their stories. This was later shared by Priyanka Chopra herself and Breathefree.

With an engagement of over 45,000+ and over 100+ stories being shared, the post was an instant success.

Next up, influencers and celebrities from various fields came on board shared their stories. The campaign saw the likes of Masaba Gupta, Tisca Chopra and Charlie Chauhan share their inspiring stories. This then inspired their fans to #OpenUpToAsthma!

This phase also included participation from influential pages and individuals like mommy groups (Tiny Steps & UNIMO) and Humans of Bombay. HoB helped with interviewing asthmatic runner, author and entrepreneur – Sumedha Mahajan who shared her story of how she, with the help of inhalers, managed to run many marathons. This phase saw a total of 18,000 conversations, 2,300+ stories and a reach of over 100 million.

Time To Bust Some Myths

Myths and misconceptions were the reason the campaign started! Throughout the first phase, Cipla received many questions and myths around the subject. These queries were a realisation for Cipla to address such myths. To tackle them Cipla released a video with Priyanka Chopra. She addressed myths like ‘Inhalers are addictive’ or ‘inhalers stunt a child’s growth’, etc.

Even on Twitter, the conversations around the myth busters and the hashtag OpenUpToAsthma garnered over 100 million impressions and trended for over 3 hours in the country.

The video was later divided into small snackable videos which were shared on social media platforms garnering over 25+ million views.

Influencers like Hiba Nawab and Daljeet Kaur also shared the myths they faced as an asthmatic. The message on the myths was further amplified through static images, blogs and other forms of innovative posts.  

Speaking on the success of the campaign, Akshay Gurnani, CEO & Co-Founder, Schbang, shared “In a country where asthma and COPD are considered to be a stigma and inhalation therapy is looked down upon, we wanted to take on these myths and misconceptions head-on. Who better to make this movement a viral success than the asthmatics themselves! Priyanka Chopra and other influencers opening up about their conditions fueled a movement and in just 5 months we collected more than 2,500 inspiring stories from all across the country. We also saw parents sharing stories of how their kids live a completely normal life as long as they have their inhalers with them, which is their superhero.”

My Inhaler, My Super Hero

The 4th phase of the campaign was directed towards the pediatric group. Insights suggest that ‘children are extremely sensitive and are ashamed of using their inhalers in public. They are often scared that they may get bullied or be treated differently by their friends’.

To help them be comfortable using their inhalers, Cipla conducted the My Inhaler My Superhero contest. Kids were urged to share drawings of their inhalers as superheroes! The gratification? A chance to meet Priyanka Chopra! The contest has seen a participation of over 700+ entries & counting. Influencers like Krissann Barretto and Charlie Chauhan too joined the conversation by sharing their childhood stories.

Valentine’s Day

Valentine’s Day is all about love, not necessarily between a romantic couple. Cipla saw it as a day to celebrate the relationship between an asthmatic and their support system. Be it a mother who carries her daughter’s inhaler as a backup or friends who stand up for their friend against bullies or even a sibling who assures the normalcy in an asthmatic’s life and help them live a #BerokZindagi!

Cipla shared stories of 2 asthmatics (Sharmistha Chatterjee and Divesha Jain) on how they found support and love from their family during their asthmatic journey. These posts saw a combined engagement of over 953,000+.

They also received encouragement from influencers like Parupalli Kashyap and Priyadarshini Chatterjee who shared their stories on how their loved ones helped them through their journey.

With the success of the #BerokZindagi campaign, Nikhil Chopra, India Business Head, Cipla, shared “The biggest challenge at hand was to change patients’ perception of respiratory conditions such as asthma and drive adoption of and compliance with inhalation therapy. Most importantly, our ambition was to change attitudes and make uninhibited living a habit. This campaign is in line with our larger purpose of ‘Caring for Life’, and aims to go beyond drugs and devices to shape the respiratory health ecosystem with the eventual outcome of ensuring accurate diagnosis and prescribed treatment for respiratory conditions in India.”

The Schbang Touch

This campaign wasn’t just for a select group of people! This was a revolution waiting to hit every person in the country, and just one platform or just one phase wasn’t enough to cut it.

Schbang, took to a holistic multi-platform approach divided into multiple phases. They tapped into every touch-point like the website, social media, search engine optimization, paid media banners, influencer outreach program, offline activities, etc. The campaign helped to spread awareness to asthmatics and non-asthmatics across the country.

Sharing their thoughts on the campaign, Disha Daswani, Group Creative Manager, Schbang, shared “In a country that is progressive, you would be surprised by the number of people who are unaware of the truths of Asthma and still look down upon it. Some are scared to even get a diagnosis! Hence to break the perception, we married Priyanka Chopra’s unstoppable personality to the cause of living a Berok Zindagi in spite of having Asthma. The tonality we chose was in sync with our entire cause – honest, upfront and conversational. Our objective was to get people talking about it since there was nothing to hide. The result? Inspiring the whole of India to #OpenUpToAsthma and live a #BerokZindagi.”

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This election season, Samsonite’s #EkDinKiChutti encourages people to take a day off and travel home to vote.

“We travel back home for love. The love of friends & family, the love of home cooked meals and memories. This time, let’s travel for another love. The love for our country”- Samsonite

The ballot battle is still on with half of the constituencies left to cast their vote. The 2019 Indian General Election currently being held in seven phases from 11 April will culminate on May 19. With over 900 million citizens eligible to vote in this year’s elections, India has yet again earned the title of the world’s largest democracy. Of the many rights and freedoms afforded by a democracy, the ability to vote is the most precious. Indeed, it is estimated that over 91% of people do not return to their home town to vote.

With this insight, Samsonite weaved a thought-provoking film titled #EkDinKiChutti encouraging people to take a day off and travel home to vote. With a quest to create a better society through the principles of responsibility, honesty, and integrity, Samsonite claims to have committed to upholding the building blocks of the nation.

The objective behind the campaign

Elections are not just a process but also a celebration of democracy in our country. Living in the world’s largest democracy, we must take our role as citizens seriously and exercise our right. Samsonite hopes to remind everyone that the chutti that they might have been ignoring all this while, shouldn’t be disregarded at all. “Reinforcing this thought process, we have announced an official #EkDinKiChutti for all outstation employees who are registered in their home towns, giving them an opportunity to #TravelToVote,” shared Jai Krishnan, CEO, Samsonite South Asia.

The 2-minute film features a man taking a day’s leave from work to visit his home town. Over the course of his inspirational journey, he savors the sights and sounds of his birthplace, reconnecting with old friends and spending time with his loved ones. But these reunions are short-lived as his motive to take the chutti is different. The next scene opens with a close-up, as the man is recognized by an old acquaintance. As greetings are exchanged, the man informs us that he’s only in town for a day. With this revelation, the camera zooms out to reveal him casting a vote in a polling booth. As the film draws to a close, the audience is reminded that every vote matters on the path to building a brighter, more prosperous future.

Also Read: This election, BookMyShow urges nation to #ChooseWisely

The creative thoughtprocess

As the creative team at Autumn Grey was brainstorming on finding a real insight for the election campaign, they realized that none of them had the moral high ground to speak on the subject. Bodh Deb, Vice President & Branch Head, Autumn Grey shared, “Most of us have migrated to another city for work years back and had never made an effort to go back home to cast our vote. Instantly we knew that we have hit upon an insight that will strike a chord with millions like us and thus came up with the campaign.”  

After the heart-touching #KerelaIsOpen narrative last year, the brand-agency duo is here with yet another hard-hitting campaign which has garnered 3.5 million views on Youtube and has been shared 24k times on Facebook – is a huge hit among netizens.

Experts Take:

Porus Jose, Creative Director, IdeateLabs

From the makers of #KeralaIsOpen comes yet another digital blockbuster, #EkDinKiChutti. (Although not in the same league as the former). Lyrical narrative (flawlessly voiced by Vijay Raaz) is laid on a Hindustani ballad (Rekha Bhardwaj?) music bed. What’s more, it keeps the audience guessing – what’s with this ‘one day holiday’?

No product window, no technology one-upmanship, no ‘buy today’, no ‘choose from our wide range’, no ‘world’s largest luggage manufacturer’, no pressure. In fact, it barely hints at the product category. When did products start doing cameo roles in their own ads? Come to think of it, is it even advertising?

They are not selling products. They are selling experiences. They are locking the brand with ‘India-Travel’ narrative in the consumer’s mind. With its sub-2 min videos, it is paving the path for a different kind of brand recall.

From an out-of-reach, ‘foreign’ brand, they’re redefining themselves and adapting to the new ‘Indianism’.

Nakul Pingale, ECD, Grapes Digital

Winston Churchill’s quote, “The price of greatness is responsibility.” perfectly sums up Samsonite’s thought in their new film #EkDinKiChutti. Apart from the communication being brilliantly executed and to the point, it is very much NEEDED! Because in today’s times, many of us tend to shy away from our responsibilities and consider ignorance blissful. The message clearly invokes that voting is not just our right, but also our responsibility.

Moulik Jain– Co-Founder, 3 Minds Digital

Samsonite understood the need to create one such campaign that would act as a catalyst to bring people to the polling booth this general election. And that’s how they came up with the #ekdinkichutti campaign that encourages people to take one day off to vote, to contribute to the development of our country.

They took a fresh approach and a little support from the social media frenzy youth which is growing faster than ever. They joined the bandwagon of encouraging voters to come out and vote alongside promoting its product too. The video posted by Samsonite, which is a little less than 2 minutes, is winning hearts on YouTube. It has already garnered around 3M views which shows people are loving it. The video shows a young man who is visiting his hometown, traveling with a cabin bag size Samsonite suitcase. Along with the voiceover, beautiful poetry narrated in the background makes you curious about what is the idea behind this man’s visit. A one day trip, where he has no time to chill with his family or friends or stop by at his favorite restaurant, the motive is revealed towards the end. He is here to vote. Along with #ekdinkichutti the other punchline in the video is #traveltovote and considering the fact that people from small towns migrate to big cities to work, this thought definitely makes a lot of sense.

With the talk of farz and duty, the video can be a good motivation for people to come to their polling booths. But is this something new? A campaign before the elections urging the voters to come out and vote is something that has been done before. Celebrities such as Rahul Dravid, Amir Khan and many more have asked voters to get their index finger inked. Even before the #EkDinkiChhutti campaign, one other attempt at tempting voters through digital media was the voting selfie contests. People were asked to take a selfie after voting and this also became a very popular and effective way to actively involve the youth in the elections. Despite such strategies, the voter turnout is hovering around 66% which shows that these methods have not been entirely successful.

Although this campaign by Samsonite is getting lots of love and appreciation in the nooks and corners of social media, if it can really influence this year’s election turnout, we are yet to see. So, go and ask for your #ekdinkichutti and vote.

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Young India Feels 2019, is a report where over 90,000 lines of Haiku have been studied by an AI engine and broken down to analyze what young India thinks about some of the things most important to them.

The report is an exploration of how India’s millenials and Gen-Zers feel about certain mainstream industries, products and aspects of daily life.

Targeted subjects include IPl, Elections 2019, beauty, listening to music, owning a car, Chai vs Coffee, Instagram and more.

The report is designed to provide clarity on what’s going on right now and to inspire fresh thinking on where we might be heading next.

Key Takeaways

IPL

Brands are investing heavily this season on Kohli whereas it is clearly Dhoni who is the crowd favorite when it comes to the IPL.

Dhoni is mentioned 5X more than Kohli. Perhaps due to the superior performance of the Chennai Super Kings, perhaps because of his aura with the tournament historically.

Beauty

Young India feels that beauty is something that is more about what you feel inside as opposed to the result outside. We need to remember that this is a cross section that’s skewed towards a higher SEC so for the mass market this lesson may not completely apply. Having said that premium brands now need to start focusing on how their products improve self-worth, accentuate what’s inside consumers’ hearts by giving more definition to how consumers’ eyes, lips are able to better tell the stories of their souls.

Listening to music

Music for India’s youth is something that they escape to when they’re feeling alone and really taps into helping young Indians figure why they’re feeling alone. So music is expressing for them what they’re feeling but can’t say.

Owning a Car

For a large number of Indian consumers, Owning a Car is a dream fulfilled. Despite the issues with traffic and the convenience of Uber and Ola, young India still thinks of a car as a dream being accomplished.

If you are a brand or agency or just a curious soul that’s looking to understand Young India better, check out the following report.

The report is by HaikuJAM and Schbang.

Also Read:[Download] 5 ways to win like Amazon on social: Talkwalker Report

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