RIPPLE EFFECT

`100November 16-30, 2013 Volume 2, Issue 13

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er c

opy

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esal

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20

This bank promises to be a friend to its customers.

6

Kurkure’s headman looks back and ahead.

32

Nalin SoodINTERVIEW

Rooted in FriendshipIDBI BANK

The channel goes in for yet another revamp.

24

Renewed and CorrectedCHANNEL V

PLUSTANISHQ

Making a Statement 10

WHYNESS WORLDWIDE

A New Start 12

CADBURY 5 STAR

Pun Intended 26

NACH BALIYE 6

Trending Romance 27

RIPPLE EFFECTIt takes just one click for a brand to travel miles and reach people. Virals have given marketers a perfect platform to create ripples.

EDITORIAL

3afaqs! Reporter, November 16-30, 2 0 1 3

Volume 2, Issue 13This fortnight...

EDITOR Sreekant Khandekar

PUBLISHER Prasanna Singh

SENIOR LAYOUT ARTISTVinay Dominic

PRODUCTION EXECUTIVEAndrias Kisku

ADVERTISING ENQUIRIESNaveen Arora, (0120) 4077803, 4077866

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Arunima Bhattacharya, (022) 40429702-5 Mumbai

[email protected]

MARKETING OFFICEB-3, First Floor, Sector-4, Noida-201301.

Tel: (0120) 4077800.

MUMBAI501-502, Makani Center, 5th Floor,

Off Linking Road, Bandra (W), Mumbai - 400050

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Owned by Banyan Netfaqs Pvt Ltd and Printed and published by

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New Delhi-110 063.

Printed at Cirrus Graphics Private LimitedB-61, Sector 67,

Noida (U.P.), 201301

Cover Illustration Tiffin Box

Yahoo! India’s head, marketing eyes the youth.

KINGFISHERSpeaking KinglishPub hoppers from Bengaluru create a crowdsourced font for the beer brand.

23An iconic song is rehashed to promote Philips’ LED lights.

The Jaipur Shopping Festival draws a full house.

25 P L U S

QUIKR

Jobs For All 8

VIRAL NOW

Sweet Surprise 12

DAINIK BHASKAR

First and Fast 14

ALLEN SOLLY

Custom Made 16

ANDROID KITKAT

Bot Bites 32

17 4

PHILIPS INDIAA Sparkling Remake

RAJASTHAN PATRIKACrowd Puller

CONTENTS

INTERVIEWNitin Mathur

28

MTVMade for the WebThe music channel launches a web-exclusive show.

M [email protected]

Word of mouth went cyber quite some years ago. People who had, at first, begun by chatting their way across continents with the flick of a finger, discovered other

ways of sharing momentous - and the not so momentous - occasions with friends. The latter, in turn, passed on this info to even more people, if they found it interesting enough.

Brands gradually caught on to this factor, which was immediately dubbed ‘shareability’. “What,” brand managers and marketers started asking themselves, “if people started sharing our brand’s videos as passionately as they did their own videos and visuals?” The question that followed was: “How can this be achieved?”

In recent times, much time and thought has gone into a digital strategy whose cornerstone was a viral video. Almost everyone happily considered the mouth-watering prospect of grabbing millions of eyeballs at the click of a mouse.

When it comes to online sharing, every brand marketer hopes that his is the brand that goes viral with a vengeance. His is the brand that races ahead touching millions – if not billions – of prospective consumers leaving the ‘other’ brand miles behind. And, for that, he (or she) is willing to deploy funds, seek creative advice and hire digital experts.

Films, for instance, are now made not with just the television commercial in mind. Brand messages are planned in such a way that they ensure maximum sharing or what is traditionally called reach. Entire teams put their heads together to weave a message that appeals to every possible type of consumer.

What makes people share makes for a fascinating subject. Marketers would gladly give an arm and a leg - and some money too - if someone can guarantee success. That is where the catch is. During the course of this fortnight’s cover story, we discovered many new things along with the fact that getting the mix that ensures enthusiastic online sharing is still an unpredictable science.

While marketers are dreaming about that big click that will propel their brand into cyberspace immortality, they are also working hard to achieve that.

20

This bank promises to be a friend to its customers.

6

Kurkure’s headman looks back and ahead.

32

Nalin SoodINTERVIEW


The channel goes in for yet another revamp.

24

Renewed and CorrectedCHANNEL V

PLUSTANISHQ

Making a Statement 10

WHYNESS WORLDWIDE

A New Start 12

CADBURY 5 STAR

Pun Intended 26

NACH BALIYE 6

Trending Romance 27

RIPPLE EFFECTIt takes just one click for a brand to travel miles and reach people. Social media has given marketers a perfect platform to create ripples.

`100November 16-30, 2013 Volume 2, Issue 13

Remember Amitabh Bachchan’s suit of lights in the song Saara Zamana Haseeno Ka Deewana from the film Yaraana in 1981?

Not many would have wondered how great an advertising platform that jacket could be for a lighting company!

Philips India, in a bid to promote its LED lighting solutions, has produced a music video, a remake of the song where Bachchan has been replaced by Ranbir Kapoor. What’s interesting is that the company has not gone in for a typical television commercial.

The music video, according to the company, is based on the core idea - ‘see what light can do.’ The campaign has been directed by Prasoon Pandey and conceptualised by Ogilvy. Like any other song, the video was initially released on YouTube and also made available across all music channels on television. The video garnered 3.8 lakh views online, within 15 days.

The video song will be followed by three TVCs to be released in December, each focusing on the rational benefits of Philips LED lighting. However, the company decided to leverage content marketing first, by creating a video instead of creating buzz about Philips LED lights through TV ads.

Speaking to afaqs!Reporter about the objective behind the campaign, Vivek Sharma, chief marketing officer, Philips, Indian subcontinent, states that this unconventional approach provides an opportunity to make a low involvement category like lighting move into a dynamic and exciting space.

“It was important therefore to think and act like an entertainer and not just a marketer. With lighting

transforming from analog to digital in the form of LED lighting, things are never going to be the same again, because LED lighting allows you to do more with light in the form of colour change, intensity change and various shapes. We

wanted a campaign that brings alive these exciting possibilities in lighting to life - like it’s never been done before for any brand in any category. And hence, the recreation of the iconic song which showcases such possibilities with lighting,” he adds.

NO BRANDING IS GOOD

Interestingly, there is no branding or mention of the brand in the

entire two-minute song, except in the end. How does Philips LED Lights benefit? Sharma explains that it is important to first entertain and engage the consumer and then reveal, in the end, who has made this magic possible. “Branding need not always be prominent and early, but at a point when the consumer begins to think ‘who’,” he informs.

It is learnt that each of the three TVCs will pick up from where the film ends, featuring a section of the song in the beginning. “The whole

approach is to first give people a spectacular experience of what Philips LED lights can do, via the music video, and then take them through the key benefits Philips LED offers,” Sharma explains.

Bachchan’s dance in the suit of lights was path breaking for that era and has now become iconic. So, why did Philips choose to remake this song instead of creating a new song? “By recreating that song with our brand ambassador Ranbir Kapoor in a suit of LED lights, we are truly showcasing how LED adds dynamism and modernity to the existing heritage of Philips lighting. Perhaps creating a new song would not have achieved the purpose with the same intensity. Also, it was great opportunity for Philips to showcase how much lighting has changed over the last 30 years,” states Sumit Padmakar Joshi, head, marketing, Philips Lighting.

Joshi informs that Philips will also show the making of the song on the Tata Sky home channel, so that people can truly appreciate all the amazing

effects they achieved with LED Lights in the music video. The brand believes that this will further add to the appeal of Philips LED lighting.

THE LEAK THAT WASN’T

Meanwhile, the company was successful in creating a buzz about the video online

and offline, even before the launch. Philips had released a one and a half minute video showing Ranbir Kapoor shooting for the song on YouTube, 15 days before the actual launch of the song.

The brand was not revealed in the leaked video. It was done to build buzz and curiosity around the video. The leaked video had garnered 9.3 lakh views till the time of launch. It was pushed organically and no paid media was used for the same. Users thought that the leaked video is related to Kapoor’s next movie project.

During this time, Philips did not claim any ownership of the leaked video. Thereafter, in a staged video clip, Ranbir was shown getting angry at a journalist. The angry video byte got 305,358 views.

Sanjeev Jasani, senior vice-president and head of Delhi office, OgilvyOne, the digital arm of Ogilvy, which was behind the leaked videos, explains the content strategy. “Everyone is excited about Ranbir Kapoor these days and to add to that

A Sparkling RemakePHILIPS INDIA

4 afaqs! Reporter, November 16-30, 2 0 1 3

The music video is

based on the core idea - ‘see

what light can do’.

Philips India, in a bid to promote its LED lighting solutions, has produced a contemporary music video featuring actor Ranbir Kapoor in a suit of LED lights. By Satrajit Sen

(L-R) Sumit P Joshi, and Ranbir Kapoor at the launch of the campaign

Sharma (top) and Jasani >>

IDBI Bank, in 2008, had launched a television campaign to communicate its retail banking services. The idea was to position it as a bank

meant for everyone and not just the biggies. Extending that thought and reinforcing its retail banking services, the brand has come up with four new television commercials.

This time the TVCs are themed around friendship. The aim is to communicate the thought that IDBI is a friend to its customers and takes care of them like real friends do. The communication premise has IDBI Bank playing an ‘enabling’ role in the customers’ progress, through customer-centric services that help them reach out to the world of expanding opportunities.

The first ad opens with a little girl and boy sitting in the school ground. The girl says that one day she was suffering from cold and didn’t have a handkerchief, but her friend gave her his tie to wipe her nose.

The second ad too opens with a school girl and boy sitting on a bench. The boy complains that everyone in the school, tuition class and play-ground calls him ‘motu’ (fatty). However, his friend (the girl sitting with him) always calls him by his real name, Nikhil and so, she is his best friend.

The third film features two boys standing in their school corridor. One boy narrates that the previous day when his trouser had torn his friend stood behind him throughout the day to save him from the embarrassment. He adds that the friend even dropped him off home after school and that he is his best friend.

The fourth commercial opens with a Punjabi girl and boy in their residential locality. The little boy is seen

peeling off sugarcane and the girl talking about how she loves eating sugarcane and that, until she gets her new teeth, she can’t peel sugarcane and hence her friend is helping her. The film closes with her asking him how much time it will take to peel, and to hurry up.

All the four ads end with a voiceover that says, “Aisi dosti agar ek bank nibhaye toh?”(what if a bank could be such a friend to you). The films conclude with the new tagline, which is a corollary to this sentiment, ‘Bank Aisa Dost Jaisa’.

Talking about the reason for launching the ad campaign, Krishnendu Banerjee, CGM, corporate strategy and communications department, IDBI Bank, says, “The IDBI Bank brand has not been in the public domain for over three years, so there was a pressing imperative to re-enter this space and to remind our TG of what the bank stands for today, from their perspective, for a top-of-the-mind recall of the brand and its USP.”

Abhijit Avasthi, national creative director, Ogilvy & Mather tells afaqs! Reporter that the brief given to the agency was to strengthen the positioning of ‘banking for all’. “While we were discussing about it, the clients gave us a few instances of how customers who deal with IDBI

realise the difference between IDBI and other banks. These guys are literally true friends. They will never take advantage of a situation, nor will they let their customers down and that’s a great relationship to be in. That’s how this idea came about, he recalls.”

The kids’ innocent conversations touch upon the fact that a true friend not only savours the happiness of being there for his/her friend(s), but also helps the other sail through difficult times.

Why kids? “We were looking at what could be the interesting ways of bringing alive friendship and kids’ innocence is something that everyone marvels at. They think selflessly and have no alternative motives. They show sincerity in absolutely all kinds of actions,” adds Avasthi.

INNOCENT APPEAL?

Jitender Dabas, executive vice-president and head of planning, McCann New Delhi, finds

the TVCs charming and thinks that the execution makes them stand out. “People are just loving the ads and finding them very ‘cute’. It effectively delivers the simple message that IDBI Bank will be like a friend. Financial services brands need to have persona that invokes confidence and trust that comes from size, stature or expertise,” he says. However, a bank should be like a friend is, not an incorrect, still a generic proposition. And, with such a ‘cute’ execution of the same will IDBI bank be able to create a dent in the market against the likes of ICICI, HDFC or SBI is something that he’s not sure of.

Manish Bhatt, founder director at Scarecrow Communications, says, “The ad is not hard-hitting because I am sure the brand will have something to offer. ‘Your bank is your best friend’ is a first level generic strategy. I think, the planner and creative have done a relatively lazy job while the director and producer have justified their work. Getting cute kids to talk is an evergreen formula that draws one’s attention, but there should have been some rational points, some offerings, services of the bank, because financial decisions are not taken only on the basis of emotions.”

[email protected]


6 afaqs! Reporter, November 16-30, 2 0 1 3

IDBI Bank aims to reinforce the thought that the bank is for “everyone” and takes care of customers as a real friend. By Prachi Srivastava

The TVCs aim to communicate that IDBI is a friend to its customers and

takes care of them like real friends do.

“Customers realise the difference

between IDBI and other banks.”

ABHIJIT AVASTHI

FOTO

CROP

Advancement in technology has changed advertising into various other forms

of communication, and since everything is going online these days, free classifieds ads are no different. Job searches, too, have found their individual abode on the internet, with many businesses in India and abroad being built around the vertical of job advertisements only, including successful ventures such as Naukri.com and Monster.com.

Classifieds sites, on the other hand, have not done away with the jobs section either. Global classified advertising website Craigslist has famously given nightmares to leading job portals like Monster.com and CareerBuilder.com, with its job listings.

Along the same lines, Indian online classifieds company Quikr.com has launched a new TV campaign which focuses on one of the most popular service categories on the website, jobs. The objective, as per the company, is to position Quikr as a great place to look for jobs in various sectors. The campaign has been conceptualised by Scarecrow Communications and the ad has been directed by Naren Multani.

The film features a man walking into a jeans shop. There, he encounters a shop assistant who tells him about three different kinds of jeans in three different voices. The man tells the assistant that, since he has a flair for such

good voices, he should be working in a call centre instead of a jeans shop. The shop assistant enquires about how he can get into a call centre (in a fourth voice), to which the man mentions Quikr.

This is followed by the product window which talks about the new ‘Resume Builder’ feature on the website that helps construct an impressive resume and ends with the signature Quikrrrr audio mnemonic. Television, radio and internet are being used extensively to promote this campaign.

A NEW POSITIONING?Classifieds ads have always

been perceived as a great way to list items, services or properties for sale. Now, for a classifieds portal to advertise itself as a job listing site might influence the way

the positioning of the website is perceived.

However, Pranay Chulet, CEO, Quikr, says, this ad will expand the positioning of Quikr, instead of changing it. “The commercial is intended to make people aware of the existing categories that Quikr.com offers services for. Jobs have been a primary part of Quikr and it is one of the most visited sections of the site. People who are already on the internet know about Quikr jobs, and hence, with the new ad, we wanted to reach the people who are beyond the internet world and make them aware of the service,” Chulet adds.

Along with the jobs TVC, the company has also released TVCs on mobile phones and cars, to help promote the typical classifieds services of the portal, which is important as close competitor OLX launched a high decibel campaign to promote itself as a used goods selling platform.

With an oblique reference to the competitor, Chulet says it is very fashionable these days to ask people to go to any ‘.com’ and sell unused stuff, but the things that matter are traffic, listings and transactions.

“We lead the market with a share of 65 per cent and the next competitor holds about 35 per cent of the market. Listings and revenue wise we are bigger than any other player in the Indian market,” he claims.

As per comScore numbers for September, 2013, Quikr got around 14 million unique visitors in the month, while OLX had around 10 million. Quikr has a claimed listing of 14 million posts. However, the average time spent per visit on OLX is 6.3 minutes and on Quikr is 2.9 minutes.

Jobs For AllQUIKR

Quikr.com’s new TV campaign focuses on one of the most popular service categories on the website - jobs, to position it as a great place to look for jobs in various sectors. By Satrajit Sen

“We wanted to reach people who

are beyond the internet world

with this new ad.” PRANAY CHULET

>>

!

JOBSWITCH .in

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In Kerala these days, Christmas is celebrated with the same pomp and gaiety as

Onam. In fact the largest all Kerala shopping festival is held during this time! Make

the most of the Malayali's newest shopping spree, and let your brand sing on

Kerala's No.1 FM network - Radio Mango 91.9.

CHRISTMAS ISONAM AGAIN.

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Ensure that your brand is on a song this season. Contact: Bejoy +91 8089091919 or Vinitha +91 9820900520 Like us on /919radiomango | Follow us on /radiomango919

Remember the ad in which, just trying Tanishq’s wedding jewellery made a girl change her mind about not marrying?

The first ad for the brand’s wedding jewellery collection was widely appreciated for its emotional connect. Once more, striking the emotional chord of women, the premium jewellery brand has launched the second commercial for its bridal collection. The ad focuses on the brand’s contemporary range of wedding jewellery, through a story woven around remarriage.

The television commercial, created by Lowe Lintas & Partners, opens with a bride getting ready for the wedding. The bride is shown walking towards the wedding mandap with a little girl. When the pheras start, the girl says that she too wants to go ‘round and round’. Her mother (the bride) declines. The groom, on seeing that the girl is disappointed calls out to her and carries her while they complete the rest of the pheras.

Tanishq launched its wedding collection in 2010. Even though its range of wedding jewellery is widely appreciated, the brand is not a preferred

choice for wedding specific customers due to reasons such as the lack of range and high prices.

To tackle this, Tanishq plans to introduce a range of wedding jewellery that is a fusion of new age and contemporary designs, set in age old kundan and polki, differentiating it from the competition.

According to Sandeep Kulahalli, senior vice-president, sales and marketing, Tanishq, the wedding jewellery market is quite sizeable in India, but the brand is not strong enough in the space. “In the traditional part of the wedding, we were not playing a large role. Now that the wedding season is around the corner, we have a chance to connect with the urban consumers. So we will build merchandise, talk about it and hopefully over the years, the consumer will start looking at Tanishq as the wedding jewellery brand. Therefore, we wanted to do something to grab the attention of the kind of consumers Tanishq has been appreciated by - the progressive set of people.”

Each state and region in India has its own style of jewellery and hence, to depict a standard wasn’t easy. Tanishq opted to showcase a piece

that is different - a fusion of polki and kundan. “We wanted to portray jewellery that sharply differentiates us in the viewer’s mind. If there is any brand that has a point of view in the consumer’s mind it’s Tanishq, rest are jewellers that supply jewellery. We showcase our brand in the media as stylish and our communication is stylish too. We have invested in brand campaigns,

but not particularly on marketing our wedding range. And that’s why people think that we might not have one.”

The brief given to the creative agency, Lowe Lintas & Partners, was to establish Tanishq as the “differentiated wedding jeweller”. Even if customers buy the bulk of their wedding jewellery from a competitor, the brand wants them to buy the bride’s main piece from Tanishq.

Arun Iyer, national creative director, Lowe Lintas & Partners, says that the commercial does not target people who are probably considering getting married again. It is just a brand statement that Tanishq is trying to make.

“We, therefore, thought of taking this concept of re-marriage which is a growing phenomenon and nobody looks down upon it anymore. Because it’s a wedding collection, we wanted to do something around weddings and we were thinking how to showcase new-age and that’s when this idea came up. It is a great statement for a brand to be making,” Iyer adds.

The agency aimed at keeping the ad as natural as possible, hence, the little girl expressing her desire to go “round and round” too. “We didn’t

want to make it too ‘in your face’. So, our thought was, if a remarriage was going on, maybe this is how it would have been,” he explains.

There wasn’t any major research done by the agency before conceptualising this commercial. It’s just the gut call that the client and agency took. The media plan for the campaign is split 70:30 in favour of GEC and niche channels, respectively, and will run all through November.

BREAKING BOUNDARIES?

Jasravee Kaur, vice-president and strategic planning director at JWT India believes that

this ad focuses on the key moments in a wedding whose appeal is universal.

“The emotional expressions around these critical moments are thoughtfully captured; will connect with women. It has an emotional core/appeal that will resonate across segments. It is a completely new interpretation of a ‘wedding to remember’, borrowing from real life happenings around,” she observes.

About the re-marriage premise, she says, “Culturally, there has been a lot of stigma around re-marriage which does not find acceptance in a modern Indian’s attitude to life. This ad sparks a new conversation around weddings. It’s brave work and resonates with the changing Indian mind-set; the blurring boundaries of life stages and more global thinking.”

Mayur Hola, executive creative director, Contract Advertising, Delhi, calls this another nice story from Tanishq. “They’ve been doing a lot of product and price focused work and built nice stories around the same. This time they’ve featured the product within a refreshing story. Nicely executed! Love the shehnai-guitar fusion track and the casting of the mom-bride is impeccable. It takes a brave client to run a contemporary and progressive spot like this, in a traditional space. But that’s what you need to do to break clutter, when there are so many cinematic slices of life running on TV. Finally, I’m not sure the messaging is crystal clear. Is it Shubh Arambh or is it wedding jewellery from Tanishq? Either way, the aura is good,” he says.

[email protected]

Making a StatementTANISHQ

Tanishq’s new ad for its wedding collection showcases contemporary jewellery as a reflection of the progressive Indian society. By Prachi Srivastava

“The TVC does not target people who are probably

considering getting married

again.”ARUN IYER

“Tanishq is the only jewellery

brand that has a point of view in the consumer’s

mind.”SANDEEP KULAHALLI

1 0 afaqs! Reporter, November 16-30, 2 0 1 3

we induced an element of controversy as well, which helped in getting the videos noticed,” Jasani says, adding that the success of these videos helped them create a follower base for the campaign much before the music video released.

Besides, the videos also helped the brand in gaining ranks on Google Search, with Ranbir Kapoor and Saara Zamana as keywords. These videos were not promoted through media buys as there was no brand involved. The organic traffic was generated through platforms such as YouTube, Google Search and blog mentions

from Yahoo and MissMalini.

THE BOTTOM LINE

Philips Lighting aims to reinstate that LEDs come with functional benefits like energy

saving (up to 80 per cent), long life (10-15 years) and eco-friendliness. The company believes that this campaign will further strengthen the position of Philips Lighting as an innovation leader. “This is a campaign to not just introduce LED lighting, but re-introduce brand Philips in the world of lighting, so that it continues to occupy high ground in this space and leads the transformation from analog to digital lighting in India,” Sharma states.

[email protected]

Ravi Deshpande, former chairman and chief creative officer, Contract India, announced the launch of his new

venture - Whyness Worldwide. The firm plans to do business in India as well as overseas and has established two overseas strategic alliances, one with Boston-based big data technology company called Findability Sciences and the other with Paris-based branding and design company called Seenk.

Deshpande, who has designated himself as the founder chairman and chief creative officer of Whyness Worldwide, refers to his firm as an “integrated communications agency for the new world,” in an official communiqué.

“We address brand challenges with solutions that combine human insights, creativity, design and technology. In a sense, it is an agency that bridges the gap between traditional agencies and digital agencies,” he says.

In the days ahead, Whyness Worldwide will utilise its alliance with its overseas partner Findability

Sciences to turn “big data into a smart data”, and that with Seenk to add more value to its design prowess.

Additionally, the agency will also draw on the talent of graduates from Ecole Intuit Lab, its school of design. “We wanted to mix things up and produce surprising results that actually work for brands and companies,” says Deshpande, referring to the combination of design, strategy, technology, creativity and algorithms that his new company is based on.

Deshpande has 28 years of industry experience. He is a seasoned Contract hand

and his advertising career includes two long spells at the agency.

In 2001, he had started his own agency called Lemon, along with Euro RSCG (now Havas) Worldwide.

[email protected]

Playing with famous cricketers, whether it is Sachin Tendulkar, Anil Kumble, M S Dhoni or Virat Kohli, has remained a long standing dream

of gully cricketers through the years. Addressing that sentiment, telecom service provider Aircel has come up with a digital video campaign featuring Indian cricket captain Mahendra Singh Dhoni.

A continuation of its brand campaign ‘Joy of Little Extra’, Aircel’s ad for its online audience was conceptualised and developed by McCann Worldgroup. ‘Joy of Little Extra’ captured a slice of people’s daily lives and referred to the joy experienced when they get a little extra, unexpectedly.

As cricket is India’s most favourite pastime, the film is about the Indian cricket team captain, M S Dhoni, surprising a group of boys by joining them in their game of cricket. It captures the children’s spontaneous

reactions and focuses on the thrill and happiness brought on by his unexpected visit. The film has been promoted extensively on Aircel’s Facebook page, YouTube channel and Twitter profile.

To make the whole initiative more engaging, a special app called ‘The Joy of a little Extra’ has also been introduced on Facebook, where people can share special moments from their lives when they have been surprised on getting a little ‘extra’. Aircel has also launched a Twitter contest wherein people can tweet interesting and simple ideas revolving around experiencing the ‘joy of little extra’ with the use of the hashtag #AlittleExtra.

As per the company, the film has been released to further build a strong connect with Aircel’s key target audience, the youth, through the online medium. Uploaded on October 16, the video received 4.8 million views till November 1.

Aircel has been launching digital campaigns for its various data plans and offers and also for the company’s CSR initiative, ‘Save the Tiger’ campaign. It has also started engaging with bloggers through #AircelBlogUp.

Aircel is one of the top 10 popular brands on social media (as per SocialBakers.com) with a following of 5,694,087 on Facebook and 35,302 on Twitter.

(Viral Now is a section about videos that are catching people’s fancy on social media).

[email protected]

Sweet SurpriseAs a continuation of its brand campaign ‘Joy of Little Extra’, Aircel has launched a digital video ad for its online audience. By Satrajit Sen

VIRAL NOW

A New StartWHYNESS WORLDWIDE

The integrated communications agency has tied up with Boston-based data technology company Findability Sciences and Paris-based branding and design company, Seenk. News Bureau


The firm plans to do business in India as well as overseas.

Team Whyness: (L-R) Anand Mahurkar, Clement Derock, Ravi Deshpande and Frederic Lalande

<<

A Sparkling Remake...

* Subject to final confirmation

SPEAKERS*

The Consumer Complaints Council (CCC) of The Advertising Standards

Council of India (ASCI), the voluntary self-regulating industry body, has upheld complaints against 215 advertisements in August, 2013.

CCC received a total of 240 complaints for the month. A majority of the upheld complaints were for ads from the education sector, followed by the health and personal care category, for misleading claims.

The council upheld complaints against 63 advertisements falling under the health and personal care

category. Some of these brands were The Himalaya Drug Company, Dabur India, Johnson & Johnson, Hindustan Unilever, L’Oreal India, Ban Labs, Naaz India Company, and Ayurwin range of products. The CCC found the claims in health and personal care product or service ads to be either misleading, false

or not adequately/scientifically substantiated.

In the education sector, the council found 121 print ads by advertisers misleading and not complying with the guidelines laid down by ASCI. Some of the advertisers that were pulled up by the council were Shree Santhoshi Group of Institutes, Jetking Infotrain: Jetking Computer Education, Vivekanand Institute of Hotel & Tour Management, RMT Group Education Charitable Trust: Asia Pacific Institute of Management, Institute of Advanced Management: IAM Institute Hotel Management, Institute for Technology & Management: ITM Business School, Indus Institute of Hospitality & Culinary Arts, Indian Institute of Hotel Management, Swa Institute and Apeejay Education Society.

Advertisements were also pulled up from other sectors such as FMCG, telecom, real estate, auto, teleshopping, food and beverages and

consumer durables.In the telecom sector, the ads

by Reliance Communications, Intex Technology India and Max Moblink were found misleading, while in the FMCG sector, Colgate-Palmolive India’s ad was found guilty of violating the ASCI code. The council also found two ads in the auto sector, four ads in the food and beverages sector, one in real estate and nine in teleshopping sectors to have violated the guidelines.

ASCI’s National Advertising Monitoring Service has been instrumental in rigorously tracking most of the advertisements being released across print and television.

ASCI was established in 1985 and works to ensure the protection of the interests of consumers.

Its main objective is to promote responsible advertising, thus enhancing the public’s confidence in advertising.

[email protected]

Blacklisted Education and health and personal care categories continue to lead with the highest number of complaints received by ASCI. News Bureau

ASCI

Dainik Bhaskar is running a campaign, titled ‘Breaking news’, across its print and online verticals, to convey that it brings

breaking news fastest for its online readers.The ads created in-house sport two images.

While one is a snapshot of a current event with its time of occurence mentioned alongside, the other is a snapshot of Dainik Bhaskar’s first story on it, along with its publication time.

In all the ads, the publication has indicated an average gap of five minutes in reporting the incident. Some of the incidents shown in the ads are the Bodh Gaya blasts, LOC firing, a murder in Bihar and Asaram Bapu being sent to judicial custody.

Speaking about the campaign, Kaustuv Chatterji, head, marcom and brands, Dainik Bhaskar Group, says, “During a survey, DB Corp realised that a lot of people weren’t aware that we have a completely separate team (editorial) for the website and do real-time coverage of the events. In fact, we do the fastest update of any news event. This campaign aims to inform people about our fastest and real-time update. It was required so they know that we don’t carry print news, but have a separate team only for the digital properties.”

He adds that the news is delivered within minutes to the readers, making it the fastest news portal.

The campaign aims to promote all

four online properties of the group - Dainikbhaskar.com, Divyabhaskar.com, Dailybhaskar.com and Divyamarathi.com.

The ads are being carried across the four portals, in the editions of Dainik Bhaskar and Divya Marathi

and on My FM. The campaign was launched in September and will run for a few more months.

Online is a separate company within the Bhaskar group (IMCL). It is an independent unit, with its own editorial, sales, marketing and technology team, including HR and finance. It does leverage the larger Bhaskar Group’s strength, whenever needed, for local and hyper local reporting. According to the group, in the month of October, there were nearly 10 million unique visitors and more than 380 million page views on its sites.

Also, going by the comScore data, readers spent 157 million minutes monthly, and 87,000 hours daily on these sites in October. DB Corp claims that on each visit, a user spends about 14 minutes on its sites.

DB Corp has a presence in media, entertainment, printing, textiles, FMCG, oils, solvents and internet services. On the print publications platform, it is present across Madhya Pradesh, Chhattisgarh, Rajasthan, Chandigarh, Haryana, New Delhi, Punjab, Gujarat and Maharashtra.

[email protected]

First and FastDAINIK BHASKAR

The news publication is running an ad campaign to convey that it is the first one to break news online. By Devesh Gupta

Chatterji: need for speed


TIMES OOHThe outdoor advertising company launched a Diwali campaign across Mumbai bus shelters, using creative lighting techniques such as floral decoration and diyas. The campaign was aimed at telling its clients that the outfit has plans to scale up its creative execution in the city.

Agency: Times OOH

New campaigns across television, print, out-of-home and digital media.

Got some great campaign that has been published recently? Upload it on afaqs! for the world to see.Visit: www.afaqs.com/advertising/creative_showcase

COKEThe cola brand had put up a high impact backlit billboard which had illuminated cut-outs of branded bottles and glasses, along with images of friends partying. The accompanying message was, ‘Ab Formality Kam, Khushiyan Zada’.

Agency: Lodestar OOH

GOOGLE INDIA Google India created a digital campaign to urge people to vote for the participants of the Google Impact Challenge 2013. The challenge awards four social organisations in recognition of their efforts in tackling major global issues with the use of technology.

Creative Agency: Qlicket India

OOH DIGITAL

INTEGRITI In its new campaign, the denim brand, owned by Kewal Kiran Clothing, focuses on the spirit of the youth. The television campaign is aimed at highlighting the brand’s eight new collections. Shot abroad, it showcases free spirit.

Creative Agency: Umbrella DesignProduction House: Balls Worldwide and Snowball Production

GALAXY To launch its new tablet chocolate brand Galaxy, Mars International India has brought on board Arjun Rampal. The campaign’s tagline ‘Reshmi Ehsaas, Resham Se Bhi Khaas’ brings forth the brand’s attributes of being timeless, rich, smooth, elegant and sophisticated.

Creative Agency: RK Swamy BBDOProduction House: Tubelight Films

DP JEWELLERS The Indore-based jewellery house executed a print innovation with a three-flap ad in Dainik Bhaskar, in a way that the ads made the name of the paper read as DP Bhaskar. This was done a day before Ravi Pushya Nakshatra.

Creative Agency: Deepak Advertising

STAR SPORTS Star India, to announce the re-branding of its seven sports channels, launched a cover-on-cover innovation in The Times of India and leveraged the special ‘Send Off to Sachin’ sports page in the paper, which appeared before the main page on that particular day.

Creative Agency: Ogilvy and Mather

DARK FANTASYThe biscuit brand from ITC launched a pan-India print campaign to promote its Choco Meltz flavour. It’s front page innovation in The Times of India had chocolate flowing from the top of the page to the biscuit laid at the bottom.

CCreative Agency: Draft FCB Ulka

TELEVISION

BRU GOLD ‘Thoda Bru Time Nikaliye’, the latest ad by Brooke Bond Lipton India’s coffee brand, Bru Gold, asks viewers to take some time out for loved ones, to know them well. The ad shows Imran Khan teaching a surprised Anushka Sharma how to wear a saree, when she tells him she doesn’t know how to wear one.

Creative Agency: Ogilvy & MatherProduction House: Apostrophe Films

PRINT

1 5afaqs! Reporter, November 16-30, 2 0 1 3

Men around the world are eager to know whether their apparel colour

matches their personality and which shades suit them best.

Allen Solly, the apparel brand from Madura Fashion & Lifestyle, a division of Aditya Birla Nuvo, seems to have found an answer. The brand has launched Colour Lab, an innovative iPad app that gives customers a chance to get creative with the shades of their clothes and design their own attire. As per the company, the app is an extension of the Colour Lab campaign, where real people were brought in to represent the face of the brand.

The application allows the consumer to play ‘designer’ by picking a garment and colour of their choice. The merchandise is then custom dyed and delivered to the user within 15 days. The application has been installed across all 150 Allen Solly brand stores and on the brand’s e-commerce website, Trendin.com. The Colour Lab products are priced at an additional charge of around `400 because the pieces are custom manufactured. The company expects this feature to contribute around 5 per cent of the sales during this fiscal.

Allen Solly plans to take forward this initiative for women customers next summer, as the female segment contributes 25 per cent to the overall

brand sales.Co-creation is what Allen Solly

calls it, as the brand leverages digital technology to build stronger linkages between the manufacturer and customer. “Co-creation is a big consumer trend these days. Consumers are increasingly looking at ways to be part of the design or production process. This helps them to create unique, distinctive experiences for themselves. Once we had finalised the idea of letting the consumer create his colour, we

wanted a simple yet powerful mechanism whereby the consumer could do this,” says Sooraj Bhat, brand head, Allen Solly.

Bhat further mentions that colour is central to the product positioning of Allen Solly and this initiative, over a period of time, will help the brand own the idea of colour. “Consumers deeply seek variety in colour when they shop. Hence, the conception of an idea where consumers can create

their own colour in a garment (shirt/trouser) was a natural one, even if innovative,” he adds.

By giving each and every customer the opportunity to create their signature style, Allen Solly believes it is getting closer to meeting customer requirements completely, the one thing everybody’s vying for in a fiercely competitive market. “In a non-buoyant economy, walk-ins are difficult to come by. Strong ideas like this boost walk-ins, in addition to strengthening positioning,”

Bhat states.Designed by Mobilox, a mobile

technology and services company and conceptualised by social media agency Blogworks, the Colour Lab innovation aims to target the 25-30 year old urban, upbeat, fashion-conscious and socially-connected man. The app is currently designed for men’s apparel only, with women’s and kids apparel slated for inclusion next year.

The concept is being supported by extensive media promotion and social media activities. The Colour Lab campaign has been one of the most aggressive ones carried out by the brand.

“The campaign proposition, ‘Catch a Colour. We’ll Match It’, was a unique concept and was released across many new markets as well,” Bhat says, adding that print was the lead vehicle with impactful full page ads across all leading dailies, supported by outdoors.

The campaign was launched on social media with the Colour Lab Playroom activity and in three weeks of its release, the brand added 1.23 lakh fans on Facebook. The brand has an overall following of 1.5 million people on Facebook.

According to official statistics, more than 2.8 lakh people have already viewed the Colour Lab tutorial video. The digital campaign was integrated with Trendin.com

and the search and display ads were released on YouTube, Facebook and Moneycontrol, to drive traffic to the site. Besides, a total of 13 million impressions were delivered on Facebook and Colour Lab was actively promoted among 40,000 members of MySolly Club via direct mailers.

The larger challenge in India for a brand like Allen Solly is to establish its name as a premium aspirational lifestyle brand housing apparels for men, women, kids and accessories. What makes Allen Solly’s Colour Lab stand out as a high mark in retail innovation is its combination of product innovation, digital technology and capabilities in customised and flexible manufacturing and distribution.

“For 20 years now, we have enjoyed a frontrunner’s fame for creating relaxed work-wear for the unconventional mind. With the launch of ‘Friday Dressing’ in 1995 and the brand’s celebrated Yellow Shirt commercial four years later, Allen Solly officially became a name forever synonymous with colour and innovation. Now, we are taking it to a whole new level,” says Bhat.

[email protected]

Custom MadeALLEN SOLLY

The apparel brand has launched an innovative digital app that gives customers a chance to get creative with the shades of their clothes and design their own attire. By Satrajit Sen


The company expects the Colour Lab feature to contribute

around 5 per cent of the sales

in this fiscal.

It’s the stuff movies are made of - two people who have never met in real life become friends and sometimes even

fall in love, leading to plots and sub plots guaranteeing a hit! If you’ve ever wondered whether such melodrama is possible in real life, you should see the Skype ad.

Sarah and Paige have been best friends for eight years. They originally bonded over the fact that each had to grow up without an arm. But their friendship is about more than that now and they tell each other everything - all this without ever meeting in real life.

Sarah lives in Nappanee, Indiana, and Paige lives in Auckland, New Zealand. Their friendship began and blossomed over Skype. The girls bonded over the challenges they faced after being born without an arm, but their only contact has been through the internet.

As part of its Stay Together campaign,

Skype asked users to send in stories of how they’ve stayed connected with friends and family, using the video chat software. But when Sarah and Paige’s story came in, the company decided to do more than just write about it. Instead, a surprise reunion was planned and the activity was transformed into a YouTube video which has gone viral. The campaign was designed by US agency Pereira & O’Dell.

Uploaded on YouTube on October 30, the video recorded more than one million views in just 11 days. The video was first aired on ABC’s Katie Couric’s nationally syndicated daytime TV talk show, on which Sarah and Paige were guests.

The first of the Stay Together portraits, launched in June 2013, highlights technology’s ability to affect lives. For each story, photographer John Clang captures portraits where everyone is able to pose side by side through a Skype projection on the wall, literally bringing digital and physical worlds together.

[email protected]

Organised by Rajasthan Patrika, the Jaipur Shopping Festival’s second edition was held

during October 5 - November 3.The Jaipur Shopping Festival (JSF)

is a mega retail festival that blends entertainment, shopping and culture into one fun-filled family extravaganza, upping the excitement and tempo around the Diwali season.

The month-long annual event integrates and engages advertisers, consumers and agencies with each other and urges people to return to the heritage markets of Jaipur, that have been losing ground to malls. It offers customers diverse platforms for shopping, attracts tourism and provides advertisers and other stakeholders a platform to reach out to more consumers.

Saurabh Bhandari, national head, corporate, Rajasthan Patrika, says, “JSF is the biggest event in this part of the world, ever organised by any media house. It started last year as a humongous retail event intended to revitalise and boost retail trade around Diwali in Jaipur. It is also promoted as a tourist attraction.”

The 2013 edition of JSF included a total of 10 heritage bazaars that incorporated more than 11,000 retailers. The trade associations, or Vyapaar Mandals, of all these markets joined hands with the publication, which uniformly decorated all bazaars and created branding space across the streets.

Patrika also initiated a lucky draw contest, an effective marketing tool for all its retailers, wherein the customer purchasing from these retailers got a lucky draw coupon. This increased footfalls to these markets and enhanced sales by at least 15 per cent, claim trade associations of the participating bazaars. To the delight of the retailers and the trade associations, the branding activity was taken care of by the publication itself.

According to Patrika, JSF develops powerful and

unique propositions to project Jaipur as a more favourable destination, by building a unique identity for the city with a synergy of vision and strategic moves that is agreeable and mutually beneficial to stakeholders, citizens, tourists, amenity providers, functionaries, associations and partnerships and make it an amazing experience.

Events were a big attraction at the festival and people in large numbers participated in activities such as cultural extravaganzas, shopping fairs and

sports. There were concerts by artistes such as A R Rahman, Ustaad Ghulam Ali, Sufi Nights, and also fashion shows, parties, food fiesta, cultural events (Dandya, Ravan Dahan), shopping carnivals, sports events and crafts bazaars.

Speaking about the opportunities created by the event, Bhandari says, “It is an immense value addition to all our stakeholders - be it advertisers, non advertisers, readers and non readers. People from all walks of life can participate and enjoy this extravaganza. This festival not only improves the economics of the city, but also offers a 360 degree opportunity to advertisers and vast promotional benefits to shoppers.”

[email protected]

Crowd PullerRAJASTHAN PATRIKA

The second edition of the flagship property, Jaipur Shopping Festival, saw participation from a host of advertisers and more than 11,000 retailers. By Devesh Gupta

The month-long annual

event engages advertisers, consumers

and agencies with each

other.

Tearjerker Skype asked users to send in stories of how they’ve stayed connected with friends and family, using the video chat software. By Satrajit Sen

VIRAL NOW



If we were to make an argument in favour of modern day magic, we’d say it’s hidden somewhere in the exact moment when someone views a video online and decides to

click on ‘share’. Multiply this action by any seven-digit number, and we have highly contagious content - ‘a viral’. But, unlike magic, this is no illusion or sleight of hand - it is for real.

The concept of virals and sharing content has been around for years. What is new is that, in the recent past, many brands have created online video content that has reached millions of people in a short span of time. These are either specially branded films created for the internet alone, modified extensions of TVCs or TVCs that have found their own calling on the digital medium.

Among the many examples are Aircel’s Joy of Little Extra, an online film featuring MS Dhoni, Cadbury Bournville’s Not So Sweet mall activation video, Google Chrome’s Tanjore Paintings film, L’Oreal’s Jad se Judein video, Maybelline’s crowd-sourced Baby Lips song, and the Abused Goddesses images (campaign against domestic violence). And this list is far from exhaustive.

However, for every successful branded viral, there may be 100 marketers still standing on the sidelines, wondering what they can do to get consumers to flex a muscle and hit ‘share’. We look at both, the science of shareability and some hygiene factors that make a piece of branded content ‘viral-able’.

THE ‘SHAREABILITY’ PHENOMENON

A decade back, sharing something online meant five clicks to email it to, say, 40 friends

in one go. Today, with videos being hosted on multiple platforms beyond brands’ company pages, those five clicks could take the material to five million people. Brands now create films for online consumption alone, to fetch eyeballs. It is the marketers’ reliance on these online films that is noteworthy. And they do this with good reason. Digital sharing is redefining the word ‘reach’.

Another change is the type of content that goes into online films. Until a few years back, many branded virals that made news were animated. For example, Airtel’s entertaining Ali Baba Chalis Chor video and MakeMyTrip’s cute Chidiya Udi video. Today, however, a lot of ‘traditional content’ makes it to a branded viral. A shorter, or perhaps tamer, version of this viral content is what

TVCs are typically made of.Ever since online sharing evolved into the

powerful tool it is today, people have wondered about the secret. According to research conducted by New York Times’ Customer Insight Group, the psychological motivations of sharing branded content online range from the need to be valuable/entertaining to others, to the need to better one’s social image. Sharing also acts as ‘information management’; 73 per cent of the respondents said they process information more deeply, thoroughly and thoughtfully when they share it.

The study categorises ‘sharers’ into one of six personas: Altruists, who share to help people, Careerists, who share things related to business interests, Hipsters, those who share content for creative expression, Boomerangs, people who share for social validation (and assign a lot of importance to others’ reactions to what they share), Connectors, for whom sharing is a means to an end (such as enhancing their interpersonal relationships), and Selectives, those who share in a customised manner, after analysing how relevant the material is to the target recipients.

A good viral is one that appeals to all six types. The Cadbury Gorilla viral (video of a giant gorilla playing the drums, Britain, ’07) had a great deal of inherent Hipster appeal and Spain’s ANAR Foundation’s viral (about an outdoor ad with a message for abused children, visible only from the child’s vantage point) banked on Altruist appeal.

DEFINING ‘VIRALITY’

Another approach is to look at the kind of content that makes a piece of work shareable.

It takes just a click for a brand to travel miles on cyberspace, be seen and get talked about. How does a marketer make sure that his product is chatter-worthy? By Ashwini Gangal and Satrajit Sen

TIFF

IN B

OX

Founder and CEO, WATConsultRAJIV DINGRA

Music or dance moves help because besides being entertaining, they lend the video ‘repeatability’.


Trying to replicate virality by imitating another brand’s approach never works. Every brand needs to find its “own runaway fluke”, as some experts put it. We tried to put together some basics that might help brands reduce dependence on luck.

From a content perspective, a viral should be like a TVC, but on steroids. Meghana Bhat, executive creative director, Webchutney, a digital agency, says, “The common theme across virals tends to be the ‘extreme’ nature of the content.” Keeping this basic rule in mind, the first tenet is emotionality and intensity.

Videos that tug at the heartstrings have a higher propensity of going viral. Released from New York this year, British Airways’ tearjerker of a viral, Visit Mum, is a case in point, as is Lifebuoy’s Gondappa film that highlighted both, the perils of diarrhea and urban insensitivity to the same.

“In India, relationship-led videos tend to get shared more, compared to gimmick-led ones. We’re a collective society, not a self-centered, individualistic one,” says Harshil Karia, co-founder, FoxyMoron. Virals like Adobe’s bus-stop prank, which involved capturing unsuspecting people on camera, probably fetched far more online shares from non-Indian netizens, than local surfers.

Videos that make viewers laugh till they cry are also safe bets, as humour is another element with inherent virality. “Humour and the ridiculous are good bets,” says Carlton D’Silva, chief creative officer, Hungama Digital Media, highlighting how humour alone is not enough.

Consider Blendtec’s Will It Blend? viral (US, ’06): there is no arguing with the fact that crushing an iPad in a cooking blender is a ridiculous yet effective product demo. Released this year, an online promotional video titled Girls Don’t Poop for US-based toilet deodoriser brand Poo Pourrie went viral within days, on the back of its hilarity and shockingly clean imagery.

Shock value is what Nimesh Shah, head, Windchimes Communications, puts at the top of his must-haves for virals. One that ranks high on this parameter is LG’s toilet prank (Amsterdam, ’13), where videos of beautiful women appear on screens in front while the urinals are being used!

Shah says that sharing, unlike merely liking something, is like an endorsement. So, to get people to put it up on their online profiles, the video must also work hard to resonate with people and represent them in some way. “Remember,

videos are not viral. It’s the people who make them viral,” he says. As Hareesh Tibrewala, joint CEO, Social Wavelength, puts it, “It’s never brand loyalty that makes one share branded content online; it’s loyalty to one’s friends.”

As Rajesh Lalwani, founder and principal, Blogworks, a brand consultancy, puts it, “The common thread in virals is an exaggerated sense of involvement.” For instance, Dove’s Real Beauty Sketches video (US ’13), that garnered global appeal in a matter of days, addressed the issue of appearance-related self-esteem, something women can relate to. He points out that sharing is about gaining ‘social capital’ or ‘social currency’. “When you share a funny video, you appear to have a good grasp on humour; when you share a video that’s about helping others, you look like you have a sense of goodwill,” he explains. Speaking of goodwill, videos that are hinged on a cause also tend to have high shareability. Garnier’s widely shared viral campaign PowerLight A Village translated online shares into actual energy donations in Indian villages.

REPEAT VALUE AND MORE

Many experts say music is an absolute must for a viral and that dialogues are best left

for TVCs. “Music or dance moves help because besides being entertaining, they lend the video ‘repeatability’,” explains Rajiv Dingra, founder and CEO, WATConsult, a digital and social media agency. “I should be able to make a ‘my version’ of the video, put a bit of me in it and then share it. That’s why the song or dance moves should be easy to imitate, like Gangnam Style’s hopping

dance,” he adds. Vodafone’s online video with the squatting step, he says, is a poor example because the choreography is too difficult to imitate. In fact, Tata Docomo’s recent Dinkachika TVC was inspired by an actual viral - a home video of a kid dancing to the same song.

We just can’t get enough of the things we like. Thus, online videos of the ‘Making of the ad’ or ‘Behind the scenes’ variety tend to become popular. Of course, the presupposition here is that the original ad is a hit or the brand is a popular one. Add scandalous content to such videos and the probability of virality increases.

An example is Fiat’s viral (US, ’13) that gave people a peek into the making of its popular

>>

Executive Creative Director, Webchutney MEGHANA BHAT

People tend to watch less video directly on Facebook and pictures don’t get as much traction on Twitter.

Joint CEO, Social WavelengthHAREESH TIBREWALA

It’s never brand loyalty that makes one share branded content online; it’s loyalty to one’s friends.

ANAR Foundation Viral Airtel’s Alibaba Chalis Chor Blendtec’s Will it blend

Bournville’s ‘not-so-sweet’ ad British Airways’ Visit Mum Cadbury’s Gorilla video

Jadd se Judein - L’oreal Make My Trip’s Chidiya Udi The Joy of Little Extra - Aircel

SPREADING LIKE WILDFIRE

Founder and Principal, BlogworksRAJESH LALWANI

The common thread in things that go viral is an exaggerated sense of involvement.


Mumbai’s notorious traffic has been a sore point for those who regularly spend

a huge amount of time commuting. The issue has caused uproar for a long time; English daily Hindustan Times (HT) has now taken this up under its campaign, Unclog Mumbai, which is a part of the larger campaign, ‘Let’s make news better’.

The Mumbai edition of HT started publishing editorials on the poor traffic condition of the city, in September. The publication has now taken the OOH route to speak out about the problem, through 500 touch points across the city, such as gantries, auto backs, billboards, poles and kiosks.

Some of the points HT is making through the campaign are ‘declare linking road a no-parking zone’, ‘install escalators at skywalks, reduce pedestrians on the road’, ‘repair potholes reduce traffic jams’, and ‘share autos’.

One of the strategically located outdoor innovations at Mahim Causeway, symbolises what the causeway has become for Mumbaikars - a chronic bottle neck. The hoarding there simply says, ‘Unclog Mumbai’.

On the digital platform, HT has initiated the creation of the largest user-generated traffic map, which invites citizens to share their commuting woes and

s u g g e s t solutions. It aims to make it work both as a p e t i t i o n to the authorities to act upon and also a large platform for citizens to engage with one another on the issue. On the radio platform, it is connecting with the audiences through Fever 104 FM, to further this dialogue.

Speaking about the campaign, Nitin Chaudhry, business head, HT Mumbai, says, “Our vision is to make a difference, bring a real change that positively improves the life of a Mumbaikar. Traffic is the most debilitating aspect of the city and one that most people feel quite succumbed to. So we decided to take it head-on, by picking up arduous, arterial stretches in the city, investigating the conditions that are leading to congestion and tabling

these issues with the authorities for action and commitment.”

He further adds that HT has articulated its new brand proposition of being the catalyst of change in the city; taking up issues, solving them, joining hands with readers and impacting real meaningful change. [email protected]

Time For ActionHT

HT’s campaign in Mumbai highlights traffic problems and suggests changes. By Devesh Gupta

Chaudhry: change is good

print ad in which 12 near-nude women, in body paint, adopt a synchronised pose such that the final picture resembles the car. Don’t look further than this year’s Ford Figo ads to conclude that scandalous content spreads like wildfire.

If Evian’s roller-skate babies (France ’09) and closer to home Kit-Kat’s dancing babies are anything to go by, then one might add ‘bizarre cuteness’ to the list. “Kids give a kind of ‘legitimacy’ to videos and help them go viral,” says Windchimes’ Shah.

Timing is yet another catalyst to virality. Recall Oreo’s opportunistic tweet You Can Still Dunk In The Dark (with an image of the product) during this year’s Super Bowl blackout that took the brand’s digital footprint to a whole new level.

PLATFORM MATTERS

While it’s obviously the creativity quotient that helps a video

cross a certain threshold and develop a digital life of its own, the platform

on which it is shared also impacts virality. Typically, brands use YouTube as the publishing platform, and Facebook as the primary referral medium, with Twitter and probably Pinterest as secondary mediums. Videos are also hosted on Vimeo, especially if the content is high-definition.

Webchutney’s Bhat highlights some usage differences, “We’ve seen that people tend to watch less video directly on Facebook. Also, pictures don’t get as much traction on Twitter as they do on Facebook, but this is probably unique to India.” However, Twitter has now made it possible to view photos and videos in the Tweet-feed itself, unlike earlier.

While Facebook is considered very conducive to sharing, because of its easily visible ‘share’ buttons,

some experts believe, using it as a video hosting service limits virality. Here’s why: Facebook videos can’t be embedded on a blog post or a news mention, but YouTube videos can. And YouTube videos get special placement in Google searches. So while Facebook is conducive to sharing, the content tends to live only within the network’s walls.

FoxyMoron’s Karia urges brands to be on the lookout for “algorithm changes” on different platforms. “In the early days, YouTube would favour organic (unpaid) views to be delivered to all channels. At present, though, when it comes to featured or related videos, its algorithm favours content posted by its content partners,” explains Karia.

Similarly, Facebook presently harbours an agenda to promote views on Facebook-uploaded videos; therefore, its algorithm rewards Facebook videos more than YouTube video links shared on the network.

Of course, one can’t ignore the push that paid media can give a viral. On Facebook, through an organic plan, only 16 per cent of a brand’s fan-base will receive branded content

through newsfeed. On YouTube too, a paid media plan can help basic ‘discoverability’ of a video. Experts call this ‘social seeding’.

Despite having these basic rules in mind, it is still early days to claim that the formula for making successful virals is ready with marketers. Virality still remains an elusive and somewhat intangible force, much like comic timing - you either have it or you don’t. Marketers are still tempted to draw on non-branded success stories like Harlem Shake, for tips.

However, we can be sure of one thing: as time passes, the approach to virality will become more scientific and fewer digital agencies will receive marketing briefs that go, “Mujhe mere brand ke liye ek Kolaveri Di chahiye.”

[email protected]

<<

The World...

CHART TOPPERS

(The 10 Most Popular Branded Virals of all time)

BRAND CAMPAIGN VIEWSBlendtec Will It Blend? 1.34 billionEvian Live Young 1.03 billionMelbourne Metro Dumb Ways To Die 64 millionDove Real Beauty Sketches 56 millionOld Spice Responses 50 millionPepsi Gladiator 46 millionMicrosoft Xbox Project Natal 42 millionMicrosoft Internet Explorer Child of the 90s 40 millionLifebuoy Help a Child reach 5 10. 3 millionDollarShaveClub.com Our Blades Are F***ing Great 10.2 million

Brands have always strived to achieve something out of the box to grab consumers’ mindshare. But, it is not every day that a

brand goes on to create a font from its name.Kingfisher Premium, the flagship brand

from the United Breweries Group, came up with a specially designed font called Kinglish. Kingfisher claims that Kinglish is the world’s first crowdsourced font, as it was contributed by pub hoppers across Bengaluru. This was done as a part of the recently concluded edition of The Great Indian Octoberfest 2013, a Kingfisher-hosted event.

The crowdsourcing activity was carried out in Bengaluru pubs by JWT Bengaluru and Kingfisher’s brand team. The team hit the most happening pubs across the city, challenging people to spill some beer and spell a whole new language. JWT Bengaluru’s creative team headed by Senthil Kumar, national creative director, JWT India, led this activity.

The font was made out of beer mugs, beer bottles and beer can impressions from thousands of people partying at these pubs. Out of those impressions, letters like A, C, F, M and W were crafted out to make a language that looked and felt like the Queen’s English.

Hundreds of expressions for each letter were examined/shared on Instagram, Twitter and Facebook to gather votes, until the team found the perfect letters to form the word ‘BEER’.

The font and its ‘anyone can create this’ nature was amplified with several activities and contests at the Kingfisher Premium Great Indian Octoberfest 2013 as its official language, with sign language, grafitti walls, write your own t-shirt counters, write your own Kinglish letter wall and such.

Speaking to afaqs!Reporter about the idea behind the activity, Samar Singh Sheikhawat, senior vice-president, marketing, United Breweries, states that beer has always been the centre of gravity in Bengaluru. “The unique pub

culture in Bengaluru had the potential to embrace its own language created by its own people. This is the primary reason why Kingfisher Premium saw the opportunity for this foamy brew of youth culture to speak in a lingo of its own. It was then time for Queen’s English to embrace a ‘King size font’,” he adds.

The next step will be the launch of a Kinglish microsite, featuring easy to use downloads of this font in various sizes, that will engage the youth to play with Kinglish and create crazy stuff. The company also plans to launch merchandise like T-shirts, beer mugs and beer hats, to promote Kinglish across Kingfisher events in the country.

“There are ideas to ensure that all communication from Kingfisher Premium for the youth will use Kinglish as a form of speech and own the space that has been created by this young new language,” Sheikhawat states.

Commenting on why Bengaluru was chosen as the venue for the activity, Sheikhawat informs that the activity was designed as a build up to the Kingfisher Premium Great Indian Octoberfest 2013. “The team is planning to continue creating and crafting this youth language at various youth festivals, music festivals and Kingfisher events across the country, throughout this year, until the festive season is over,” he adds.

So how does this activity help a beer brand like Kingfisher? Sheikhawat says that brand Kingfisher now has a font of its own created by its own target audience; and since it’s crowdsourced, the font, the language and its form of speech will engage the youth and ensure that brand Kingfisher’s cool quotient only goes up.

“We expect this idea of Kinglish to engage with the young and restless, and become a part of youth culture. This campaign has surely helped us reach out to the right target audience as well. We aim to keep the momentum going forward, as far as brand engagement is concerned,” he adds.

[email protected]

Speaking KinglishThe brand introduced the world’s first crowdsourced English font, called Kinglish, contributed by pub hoppers across Bengaluru. By Satrajit Sen

“We expect this idea of Kinglish to engage with the young and restless, and

become a part of youth culture.”

SAMAR SHEIKHAWAT

KINGFISHER

It has only been little over a year (July 2012-November 25) and Channel V has already decided to don a new avatar. The youth music

and entertainment channel which transformed into youth GEC (general entertainment channel) in July 2012 is dressing up with a new logo, a novel tagline and a fresh new line-up.

Starting November 25, viewers will witness a new logo, which is the current logo with a fold on top left with ‘All New’ written on top of it. The baseline this time says ‘Correct Hai!’.

Talking about the need for a change, Prem Kamath, general manager and head of Channel V, tells afaqs! Reporter, “Nothing changes as such. It’s really an evolution from where we were. Basically, we continue to be a youth entertainment channel, but we are now changing the format of the shows. We will continue to run dailies, but are also experimenting with series that are shorter in duration and finite.”

Effective November 25, the channel is launching four new shows. Sadda Haq, a daily, Confessions of an Indian teenager, Paanch and Relationship Status-It’s Complicated, which will be telecast twice a week. Sadda Haq will be aired for a year, while the other three will wind up in 26 weeks.

Channel V is taking two of its shows - Suvreen Guggal and Crazy Stupid Ishq - off air, as it introduces these new shows in the same time slot. Confessions of an Indian teenager, which will be aired on Monday and Tuesday, is being produced

by Balaji Telefilms while Sadda Haq, the daily show airing Monday to Friday at 6:30 pm, is being produced by Beyond Dreams. Sunshine Productions is producing Paanch, airing on Wednesdays and Relationship status – Its Complicated, which will

be aired on Friday and Saturday.

Other shows - Buddy Project, Dil Dosti Dance and Gumrah will continue to be aired in their current time slots.

“There are two reasons for doing bi-weekly, shorter format shows. Firstly, within the youth segment, there is a need for refreshing stories, content at a much quicker pace than on a regular Hindi GEC. And secondly, shorter format shows let us bring far more variety on the channel and we have the liberty to experiment with multiple genres. Also, we are able to attract different kinds

of talent in terms of creating these shows and that’s extremely important! We need a different kind of thinking, freshness, to differentiate strongly from Hindi GECs,” Kamath avers.

In order to communicate the rebranding, the channel has launched an integrated brand campaign. Taking support of the network channels, Channel V’s fresh look and programming will be promoted on its sister channels.

There is an outdoor promotion plan for 15 cities, including Mumbai, Delhi, Uttar Pradesh, Maharashtra, Punjab and Haryana, the execution of which will be done by DDB Mudra.

The channel has been promoting the new change on its social media pages.

Besides, Channel V has launched four brand films for its new tag line ‘Correct Hai’- titled Live In, Formula, Late Night and Katrina Kaif.

To give an idea of the campaign, the ‘Katrina Kaif’ promo features a girl reading a newspaper with the headline ‘Katrina learns Hindi’. As she folds and keeps the newspaper down, the girl asks a question - if Katrina talks in Hindi its cool, but if she talks in Hindi people call her ‘behenji’. Is this correct?

“Correct Hai comes out of our brand philosophy wherein we believe that the tonality of the brand needs to be politically incorrect and emotionally correct. We believe that if something feels right, it really can’t be wrong. We encourage people to listen to their inner voice,” explains Kamath.

Nipa Asharam, VP, marketing, Channel V, says, “We already have markets which are high consumers of Channel V, so our whole strategy is to get a lot more from these and that’s how we prioritise the markets.”

About the new line-up of shows and the new tag-line, she says, “We are trying to show disruptive concepts and true human insights from that life stage. Marketing for rebranding is simple. Correct Hai stands for ‘what feels right, how can it be wrong?’ And it’s true for this audience because there is constant fear of consequence in them.”

In terms of increase in prime-time programming, Kamath says that in April, the channel might look at increasing prime time content. “We will add

two more slots on weekdays and one more in the weekend,” he adds.

Sadda Haq is about a young Delhi girl who challenges the patriarchal world and breaks stereotypes. A brilliant and curious girl, she is fascinated with anything that’s related to machines and gadgets, and harbours the dream of becoming an engineer. She belongs to a conservative family where the roles of women are bound by stereotypes, but she makes her way to a premier engineering college.

Paanch - Don’t get Mad, Get Even is the story of a shy, 18-year old girl who enters a college in Mumbai to ‘right some wrongs.’ She takes on the mammoth task of transforming herself into someone she isn’t: unforgiving and brutal - all to avenge something that has deeply affected her in the past.

Meanwhile, in Confessions of an Indian Teenager, a young boy, Vaibhav, takes the viewers on a journey to meet young people and share their worries.

It’s Complicated, on the other hand, is about three young couples dealing with their relationship problems.

[email protected]

Renewed and Corrected CHANNEL V

The channel is rebranding on the back of four new shows, three of which will be aired twice a week, while the fourth one is a daily. By Prachi Srivastava


Kamath (L) and Asharam: changing with the times

FOTO

CORP

Let’s ‘Take Poo To The Loo’ is the next cry from UNICEF India. The organisation has

launched a digital-led campaign to fight against open defection in India. The three-month long campaign will be extended to on-ground, via activations across Hyderabad, New Delhi, Mumbai and Pune.

The official communication

from UNICEF states, “The idea is to reach young people and create an active layer of advocates who can speak out against open defecation, further disseminate the message and influence their communities, families and peers to do the same. Collectively, this voice will help to stimulate the creation of a new social norm, one where everyone

always uses a toilet.”The campaign will be spread

across social media components and on the dedicated website, www.poo2loo.com. The campaign aims to promote youth participation, giving different tools such as games and mobile applications to ‘Put Poo in its right place’ - the toilet.

Mr Poo is the campaign’s protagonist and will be visible on all the communication devised around the campaign. There will be a game released on Facebook, wherein Mr Poo will be seen creating havoc in the city (markets, colleges) and the player has to pick it up (with the cursor) and put it in the toilet.

Moral ‘Poo’licingUNICEF India has tied up with Protsahan (an NGO), Domex and IIT to fight against open defecation. By Raushni Bhagia

UNICEF

>>

MTV, the youth entertainment channel from the Viacom18 stable,

has launched its first web fiction show.

Christened Saturday Night...Alright!, the web exclusive show will feature 10-minute episodes, considering the shorter attention span of the younger audiences. Although it will not be telecast on TV, there will be some episodic promos on the medium.

The show will be available on the channel’s website, as well as on the YouTube channel of MTV. McDowell’s No. 1 Soda is the presenting sponsor of the show which is about four friends and their friendly banter over a round of “enjoyment” on Saturday night.

E k l a v y a B h a t t a c h a r y a , head, digital, MTV, explains that there were two big reasons for launching the show - it is highly unexplored in India and has massive potential.

“Being a youth channel, we can’t limit ourselves to the TV audience alone; our audiences are now a part of the ‘screenager’ generation - constantly hopping from one screen to the other and spending a lot of

time on the internet,” he adds. There will be 12 episodes in the series and the 13th one will be a unique episode - where, via a contest, the channel plans to select a group of friends who will be filmed enjoying a Saturday night.

While the channel often talks about platform-agnostic content, this marks its attempt at exploring the

genre of a shorter fiction series. “The web platform, lends itself beautifully to this format. Snacky content and the kind today’s youth can relate to,” Bhattacharya says.

The channel has had around 10 web properties earlier, but this is the first time there’s an entire series for the web audience. Additionally, the channel expects to bring branded content on the web, especially for the youth audience.

The show will be promoted across the online platform and on-air on MTV as ‘a show too cool for TV!’

Having said all this, analysing the online viewership and time spent is tricky, to say the least. Bhattacharya explains, “Every web platform lends itself to analytics these days. Now even Facebook

allows us to check video views via insights. We hope everyone, from the

metros to the smaller towns, watches.”Interestingly, it is learnt that the

concept of the show revolves around liquor consumption, a normal part of youngsters’ lives today. Liquor consumption, however, cannot be promoted on air. The branded

content will have McDowell’s No 1 crafted into the content.

Unnati Sinha, marketing head, India, USL, says, “McDowell’s No.1 soda is an icon of friendship and has created numerous golden moments of get-togethers with close friends. Saturday Night... Alright! showcases the world of McDowell’s No.1 and connects with young adults through the digital media.”

[email protected]

Made for the WebMTV

The youth channel has launched its first web fiction show and roped in McDowell’s as the presenting sponsor. News Bureau

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Bhattacharya: youth only

SATYAJIT SEN

PARTHA SINHA

A Take on the New Kolkata by Contemporary Bengalis

CEO India, Zenith Optimedia

Director, South Asia & Chief Strategy Officer, Publicis Worldwide

1. Calcutta to Kolkata: How would you describe the transformation?

Kolkata represents the resilience of India- still throbbing with a humane spirit despite limited growth and everyday existential challenges.

2. One thing that one should do or a place that one should visit when in Kolkata today.

Visit the group theatres performing today in Kolkata and of course have a look at the Academy of fine Arts.

3. Kolkata film industry has seen an influx of new age film making recently, have you seen any? Any favorites?

Agantuk (The Stranger) by Satyajit Ray.

4. Name 3 Bengali stalwarts which come to your mind and why?

Amartya Sen, SN Bose of Boson fame and Satyajit Ray. All 3 global masters of their disciplines.

5. Mention one change that you noticed on your last visit to Kolkata.

Malls suffer from an ubiquity across the world, they look reasonably same, consumers behave reasonably same, similar brands dot their speces and Kolkata has many of them now, some close to where I stay!

6. How would you like to give back to Kolkata today?If one could instill a sense of achievement and satisfaction in scaling up initiatives as successful commercial enterprises, greed is good.

7. What comes to mind when you hear ‘Kolkata Ei Samay’?Young people- students, film makers, music bands, experimenting and challenging the norm while they still belong to this very society.

8. Are you aware that Bengali language publications are the preferred medium even among the youth in Bengal? How does this affect the perception of a young Bengali?

Statistically yes. Though am not very sure whether the emphasis is rightly placed. If the knowledge of local language is at the cost of other more economy efficient languages, then its not necessarily a vital virtue. But dexterity in multiple languages including the mother tongue is definitely advisable.

9. A word for the New-Gen BongShould be an ardent practitioner of live and let live.

10. Tell us your favorite Bengali dish.Hilsa in mustard (though the Kolkata style biryani/ sandesh from North Kolkata or a Park Street grilled crab should not be discriminated).


There is higher energy but at the same time a loss of intellectual status . I feel, Kolkata is a little low brow as compared to Calcutta.


One should definitely watch a play at the Academy of Fine Arts.


Yes, I have seen many but hated most. Anyhow, loved Bhooter Bhobishyot.


Satyajit Ray - for his lasting impression on Bengali culture. Sunil Ganguly - for defining the new generation Bengalis. And Amartya Sen - for impacting the academics of developmental economics.


I noticed that more people are speaking in Hindi.

6. How would you like to give back to Kolkata today? By supporting and mentoring Kolkata entrepreneurs and media and content creators.


Honestly, I am not surprised. Bengali as a language is very modern, it’s not dated and the youth shouldn’t have any issue consuming it.

8. A word for the New-Gen BongGet the swagger back.

9. Tell us your favorite Bengali dish. Chingri Malaikari.

SHALINI GUPTAHead - Brand Communication & Mobile Advertising, Loop Mobile India (P) Ltd


I shall always relish the old world charm of Kolkata. It has a nice blend of traditional aura with modernity like Gariahat and Lake Markets transformed to Forum, South, City Centre malls, or new flyovers adorning the city’s landscape or the new age unprecedented euphoria caused as a result of Kolkata Knight Riders phenomenal win in last IPL. It’s arts and culture is going through a new age, new technology transformation which is very encouraging. The new airport is a refreshing change.


Start with a breakfast at Flury’s, get to New Market or Oxford Bookstore and especially if its winter time which is the best time to be at Kolkata, drop by for a relaxing tea at one of the city’s elite clubs like Tolly or Calcutta Club followed by a sumptuous dinner at Peter Cat or Mocambo for their steaks.


Yes as mentioned earlier, there has been a distinct technology, music and script writing change. Apart from Aparna Sen and late Rituparno Ghosh’s last few collections, I especially liked Autograph, Maach Mishti and More, Bhooter Bhobishot & Gaynar Baksho.


Rabindranath Tagore – one of the most creative geniuses the world has ever seen or will see, Salil Chowdhury for his timeless musical melodies & Kishore Kumar for his pragmatism for the most romantic voice one can ever have and creating magic every time he sang a song in any language.


The new airport and flyovers being built.

6. How would you like to give back to Kolkata today? I wish to create more opportunities for the creative and cultural people of Bengal across the globe, especially make its folk music popular worldwide. Right from helping in restoring Shantiniketan to creating avenues of restoring all that is intrinsic to Bengal and taking it worldwide. In other words I wish to market the place better, its really not marketed like a Kerela or Gujarat. However the potential is immense. Since we do not have manufacturing now, we need to focus on culture and tourism to generate revenue for state.

7. What comes to mind when you hear ‘Kolkata Ei Samay’ The wonderful magazine started by Times of India group. I was there for the launch. Have a great potential ahead.


Bengal or Kolkata is still a very closed society and Bengali though is promoted well but English language must be nurtured for the youth. This will make our youth acceptable worldwide and make them global citizens. However a lot of them are now great professionals of international repute.

9. A word for the New-Gen Bong Come out of Bengal and then contribute back for others to cherish your contribution.

10. Tell us your favorite Bengali dish. Lots – posto, Chingri Malaikari, Koraishutor Kochuri, phulcopir shinghara.

JISHNU SENPresident & CEO, Grey Group


It just a name, the city remains as magical as ever.


For a true Calcuttan like me, the list is endless. 3. Kolkata film industry has seen an influx of new age film

making recently, have you seen any? Any favorites? Bhuter bhobishyot.


Tagore, Ray, Ganguli! Gave us our national anthem, our first Oscar, took off his shirt at the lords. And that’s being trite, their contributions as everyone will know run much deeper!


I think the most significant change I noticed is that the city is changing.

6. How would you like to give back to Kolkata today?I was part of a project that gave back to the the people I am most beholden to, my school teachers.

7. What comes to mind when you hear ‘Kolkata Ei Samay’The Kolkata of shei samay.


Not aware but not surprised.

9. A word for the New-Gen Bong.Stay who you are but don’t lose sight of the world.

10. Tell us your favorite Bengali dish.Luchi mangsho.

Humour always has the ability to connect with the audience, but wicked humour makes the message memorable. Cadbury

5 Star’s latest campaign adopts this route to promote the chewy chocolate bar’s ‘soft’ variant. Titled #NoHardFillings, the campaign sends across the message that offending is not offensive and messages intended to be without malice can be misunderstood.

#NoHardFillings is a set of 10 films conceptualised by Ogilvy & Mather. Amongst these, five videos - ‘Nail & Tyre’, ‘Aloo & Karela’, ‘Coconut & Brain’, ‘Toaster & Burnt Toast’ and ‘Art & Commercial Art’ - attracted over 1.3 lakh views online, till November 11. The other videos are - ‘Cricket ball & China Doll’, ‘Pant & Scissors’, ‘O Key & Volume Key’ and ‘Petrol & Wallet’.

As the titles indicate, the paired objects can either have opposite attributes or one can have a disastrous effect on the other. The creative team has captured the conversation between them in a deadpan fashion. So, while the nail, toaster, cricket ball, scissors and coconut apologise for the damaging effect they have on the cycle tyre, bread slice, delicate china doll, trousers and human brain, respectively, the potato teases bitter gourd; the high petrol price creates a dent in the wallet; and abstract art gives competition to artistic paintings.

The brand aired its television commercial announcing the new variant through its characters, Ramesh and Suresh, recently. The current set of videos has been specifically made for online viewers.

Cadbury 5 Star is not a new entrant in the digital arena. In fact, Ogilvy helped the brand in creating the interactive Ramesh-Suresh starrer ‘The Date

Fillum’ film on YouTube, under the brand’s thought, ‘Lost in 5 Star’, last year. The audience could give suggestions on how they wanted the story to proceed. This campaign was also the first to be created purely for the digital medium.

When the brand asked the agency to come up with a campaign to announce Cadbury 5 Star’s ‘soft’ variant, the creative team thought the campaign had to have a digital presence as well.

Abhijit Avasthi, national creative director, Ogilvy & Mather, says, “Cadbury 5 Star, as a youth brand, has always been active online and on television. We have seen that crazier the ideas, the better it has worked for the brand.

So, while discussing the ideas, someone suggested punning on ‘no hard fillings’. The videos are, therefore, a funny take on the product attribute.”

Amitabh Agnihotri and Samir Sojwal, senior creative directors, have led the team on this campaign. Ayappa KM of Early Man Film has directed the videos.

Avasthi reveals that although the creatives were much easier to execute than those with live actors, it was important to plan the screenplay and get the timing of the dialogues right. “We had to write and rewrite the dialogues several times even after editing,” he says. As for the online traction gained by all the nine videos, Avasthi says more than traction, he has always looked for qualitative feedback of the team’s work. The ‘Toaster & Burnt Toast’ video is Avasthi’s favourite. “It’s the cruellest of the lot,” he says.

[email protected]

Pun IntendedCADBURY 5 STAR

Avasthi: all in good humour

Cadbury’s latest online campaign #NoHardFillings takes the humour route to announce the launch of 5 Star’s ‘soft’ variant. By Rashmi Menon


The organisation says that while there are many signposts like ‘go slow’, ‘speed breaker’, ‘no horn’, ‘hospital ahead’ and other such, there aren’t many for public toilets. Thus, the mobile app will enable users to put up signboards wherever they see open defecation.

People can also sign a pledge, which will then be sent to the President of India, to show their commitment to end open

defecation. To amplify the impact, a series

of videos featuring Mr Poo caught in different situations will be released, accompanied by a song. Cut outs of Mr Poo will be placed in certain locations, so people can get themselves clicked with him.

UNICEF India has tied up with partners like Protsahan (an NGO), Domex ( toilet cleaner brand) and IIT (India’s leading technical education institution), to spread

awareness about the campaign. Protsahan is organising workshops for children on this topic using different forms of art to engage them in the discussion.

IIT will mobilise students in the campus, in Delhi, against

open defecation and organise an event on sanitation technology options. Domex will support the campaign by creating a website for the same and will contribute part proceeds on the purchase of every

Domex bottle in India, between October and December. The funds will be used by UNICEF on programmes, to improve sanitation for children and communities.

“Open defecation is a pressing public health issue and no sector can address it on its own. Civil society organisations, private sector, youth organisations, government, academia, decision makers, UN agencies and individuals have to work together on this,” suggests Caroline den Dulk, chief, advocacy and communication, UNICEF India.

[email protected]

<<

Moral ‘Poo’licing...

Dulk: making a point

“Household goods, cars, real estate, jobs, services and education are the highest traffic grossing sections on Quikr. Out of all these, we have never spoken about our jobs feature in a TVC and we thought it is a good time to do that,” informs Chulet.

BATTLING THE GIANTSNaukri.com famously built its brand

with the iconic ‘Hari Sadu’ commercials. Other job portals have followed suit and have invested heavily on TV advertising, with Shine.com and Monster.com being the prominent runners in the category. Will it be easy for Quikr to directly challenge the category leaders of online jobs in India?

Chulet sounds optimistic while saying that Quikr has an added advantage over any vertical specific player in terms of traffic. “Due to our other popular services, we have built a strong user base which is also very loyal. Thus we have good chance to compete with the

leaders in the online jobs category,” he adds, further explaining that rather than competing with the category leaders, Quikr is focusing more on expanding the jobs category by promoting jobs which are not usually featured on popular job portals.

The conventional model of current job portals is that jobseekers post their CVs online and companies pay these portals for advertising, job listing and searching databases. However, on a classifieds site like Quikr, job listings will be free, unless the advertiser wants the listing to be featured as a ‘Top of page Ad’ or an ‘Urgent Ad’.

“The bigger players typically have big companies listing their expensive openings with them. We are positioning ourselves as a service for the mid-and-junior level job seekers, especially in the sectors of IT, BPO, retail and sales, who face difficulty in finding a suitable job for themselves. Likewise, start-ups who are looking at employing efficient people, but can’t find the interested candidate can also benefit from our service,” Chulet adds.

[email protected]

<<

Jobs For All...

Star Plus rolled out an extensive marketing cam-paign for the sixth season of its celebrity dance reality show, Nach Baliye. One of the highlights

of the campaign is the association with Twitter to introduce the ‘Nach Baliye Twitter Mirror’.

Twitter Mirror is a ‘high engagement tool’, which has been earlier used for global television events like the Academy Awards and the Grammys.

The Nach Baliye Twitter Mirror is a permanent installation on the sets of Nach Baliye, and will give all the celebrities of the show a chance to get clicked through the Twitter Mirror, and then automatically tweet that picture.

It will give fans ‘a never seen before glimpse’ of all the candid moments between the real life celebrity couples, as well as of the judges on the show. The celebs will even be shown getting themselves clicked on the Nach Baliye Twitter

Mirror during some of the episodes of the show, Nach Baliye - Parde Ke Peechey.

Nikhil Madhok, senior vice-president, marketing and programming strategy, Star Plus, says, “Over the last couple of years, one has seen the emergence of the second screen as an important platform for television content. We realise the

great engagement possibilities this offers, and also understand how a differentiated offering for the second screen can help deepen bonds with our viewers.”

Rishi Jaitly, head, India market for Twitter, says, “Twitter is the world’s leading real-time information network where users follow, share and experience content that is live, public and conversational. In India, Twitter brings audiences closer to the people and organisations they care about, including television shows, stars and moments. We are pleased to see Star Plus embracing Twitter and the Twitter Mirror during Nach Baliye to engage and grow its audience in authentic ways.”

The channel is running the promos on 30 channels outside the STAR network. In a one-of-its-kind initiative, Star Plus had unveiled Nach Baliye’s celebrity couples during special events in different cities. For instance, contestants Raju Srivastava and his wife were unveiled in Lucknow.

Star Plus has also been running snippets of the first episode of the show twice a day. Titled Nach Baliye Ki Pehli Jhalak, a snippet runs for one and half minutes during prime time. The viewers will also witness promotions of the show during the India vs West

Indies series.According to Madhok, the mar-

keting of the show is heavy on reach. “Print has gone lower this time as usual. It’s being used to gen-erate PR,” he adds.

On the outdoor front, the channel has implemented innovations in Mumbai and Delhi. The hoardings portray dancing couples against a satin red cloth in the background. Star Plus has tied up with Radio Mirchi and the radio station plays four romantic songs back to back as the theme of Nach Baliye 6 is Hadd se badhega romance.

Promotions in cinema halls started with the release of Krishh 3 and is being implemented across 300 screens in the country.

Cera is the co-sponsor of the show, while Dell, Line App, Renault and Clean & Clear are on board as associate sponsors.

Produced by Frames Productions, the show went on-air on November 9 and is being aired on Saturday and Sunday at 9 pm, competing with Bigg Boss 6 (Colors), Kaun Banega Crorepati 6 (Sony) and Dance India Dance (Zee TV).

[email protected]

Trending Romance NACH BALIYE 6

Star Plus has got into an exclusive association with Twitter India to introduce the Nach Baliye Twitter Mirror. News Bureau

Madhok (top) and Jaitly

Twitter Mirror has been used for global TV events like the Academy Awards

and the Grammys.

The average time spent per visit on

Quikr is 2.9 minutes.


Yahoo! has seen major changes recently - introduction of a new logo after 15 years and redesigns of existing products.

However, at Yahoo! India headquarters, things have not been as smooth, as the company has seen a senior level exodus and relocation. The company claims that it is a normal process and with the repositioning of the brand, there are a lot of new things afloat.

afaqs! Reporter spoke to Nitin Mathur, senior director and head of marketing, India and Southeast Asia, Yahoo! Inc., to understand how Yahoo! looks at the India opportunity.

A lot of top management professionals from Yahoo! India have either quit or been relocated. What is the reason behind this and how is Yahoo! leading the India operations?We need to recognise the fact that overall attrition in the company has come down by over 60 per cent in the last one year. Yes, we have had a few leadership changes in India, but it also allows us to bring in new blood and people with fresh perspective, who are truly passionate about users and advertisers. India is a critical market for us and we will invest in leadership here. We are looking for a country manager in India and are thrilled by the quality of candidates we have in the fray.

What are your priorities now for Yahoo! in India?India is very important for Yahoo!, particularly from an audience perspective. Today, we reach over 60 per cent of the internet audience in the country. Our content sites like Cricket, Finance, News, Lifestyle and OMG are hugely popular and the Yahoo! network has seen triple growth in little over two years. Our communication properties like Mail, Messenger and Flickr are in the top three, in their respective categories.

What makes India even more exciting is that it is a market of young users - people who are perpetually plugged in, who use more than one device and for whom the mobile phone is a connection to their own world. A strong focus on mobile has really been the biggest priority for us in the last one year.

You’ve seen how India has taken to mobile, across cities and towns. In urban India, the move towards smartphones and connected devices has been tremendous. Our vision is to make our users’ daily habits more inspiring and entertaining, and to that end, rich, cross-screen experiences are incredibly important in India.

What has changed with the new logo?Over the past year, we’ve been giving our products a fresh look and feel and have evolved as a company - our new logo reflects our personality, enthusiasm and innovation. We have stayed true to our roots (whimsical, purple, with an exclamation point), yet embraced the evolution of our products.

We are constantly innovating to provide a better experience to our users and this is just one additional step in that process. We heard from users that our logo could better reflect the renewed energy and focus of the company. This new logo will align with our more sophisticated design aesthetics.

Will Yahoo! India be transformed from a media player to a research hub in the country?It’s true that we have a strong tech presence in India. Our Bengaluru centre is the second largest R&D centre for Yahoo! globally and it continues to be integral to the entire product development at Yahoo!. But, that does not mean the India market is not a priority for us anymore.

As I said earlier, India is an incredibly important emerging market for Yahoo!. For two reasons -

one is the size of the internet population; it has today crossed over a 100 million and is estimated to reach over 230 million by 2015; and the second is that a majority of the users are young, between 15-24 years. It makes this market very exciting for us - and we definitely want to grow our engagement with users here.

In terms of our larger business model, we continue to focus on advertising revenues. We are a leader in display advertising in India and marquee brands leverage the Yahoo! network and its comprehensive portfolio of advertising solutions to announce their new launches, big campaigns and engage with their specific audience set. Brands from across verticals advertise on the Yahoo! platform.

Over the past few months Yahoo! has delivered new releases of Yahoo! Mail, Weather, Flickr, a new homepage and new advertising formats. How has this helped the firm globally, as well as in India?Our plan was to approach the new strategy in phases, starting first with people - getting the right talent and making it a great place to work. This was followed by focusing on bringing out some great products and growing our traffic and users. In that sense, we have had a great year.

We have grown our global mobile base from

NITIN MATHUR> SENIOR DIRECTOR, HEAD-MARKETING, INDIA AND SOUTHEAST ASIA, YAHOO! INC.

“Our priority is to position Yahoo! products amongst younger users”


Nitin Mathur bares all about the idea behind the many changes that Yahoo! has been through, their repurcussions and the network’s plans ahead. By Satrajit Sen

Our global mobile base grew from 200 million last

year to 350 million.

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200 million last year to 350 million in about a year’s time.

We have been getting a lot done on the mobile front as well, and a clear indication of success is that there has been a 54 per cent jump, year-on-year, in mobile traffic on the Yahoo! network in India.

Today, 50 per cent of our traffic actually comes from mobile users. Properties like Yahoo! Cricket, today, records three times more mobile traffic. Our products are winning innovation awards (our Weather app won the Apple Design Award).

If you look at our progress in the last three months, we surpassed Google’s website traffic in the US, we reached a milestone of 800 million monthly active users, unveiled our new logo and continued with the slew of product launches and updates that put our users first and make

their daily routines truly delightful.

What is the biggest marketing challenge for Yahoo! India right now?For any emerging market, quite clearly, the goal of marketing is to facilitate share shift. Digital spend of advertising dollars in India is anywhere between 5-7 per cent, abysmally lower than the global average of 20 per cent.

In certain markets like the UK, it has reached over 30 per cent.

Japan spends $9 billion on mobile advertising alone. So there is a huge head room to grow the overall category in India.

The other goal of marketing is to clearly position Yahoo! products amongst younger users who mostly access internet from mobile. We have a terrific re-invigorated product set, and we want to make sure users experience them.

What are Yahoo!’s plans with Tumblr in India, as well as across

the globe?We will continue to operate Tumblr as a separate business unit, and will help Tumblr with resources to reach their vision sooner.

You have heard Marissa (Mayer) talk about the kind of fit that Tumblr has with Yahoo!. When we combine the two, we end up with more than a billion monthly visitors. Yahoo!’s audience of 800 million users grows by over 50 per cent and our traffic grows by 20 per cent. Tumblr users are the youngest on the internet, and we are focusing on strengthening our brand with younger users.

We are strong in sports, finance and news. They are strong in art, architecture, fashion, food and travel. Their biggest need is around discovery and search. Our personalisation and search technologies can help them immensely. We need great tools for content creation and publishing. They have them. So at a global level it is a great fit.

[email protected]

<<

“Our priority is...”


“What makes India even more exciting is that it is a market of young users -

people who are perpetually plugged in.”NITIN MATHUR

STAR World, the English general entertainment channel from the STAR India stable, is bringing back its widely popular

celebrity chat show, Koffee with Karan. The show, hosted by noted Bollywood director Karan Johar, will sport the tagline ‘Behind the Scenes. Beneath the Sheets’ in its new season.

The fourth season of the talk show will be back on December 1 with an exciting new guest list. “Expect the unexpected as friends and foes, star families and couples come over for a friendly cup and a whole lot of conversation with Karan,” says the channel.

Johar (director, producer, actor and judge of popular celebrity dancing reality show Jhalak Dikhhla Jaa) has recently shot a promo for the latest season, where he is seen in a “special Broadway-esque musical,” marking the first look of what season four has in store.

Koffee with Karan has been aired on other channels of the network like Star Plus and STAR One. The first season of the show was launched in April, 2004. Thereafter, the second season was launched in February, 2007 and the third in November, 2010.

The other celebrity based chat shows that have

appeared on Indian television are The Front Row With Anupama Chopra (STAR World), ‘Simi Selects India’s Most Desirable’ (STAR World), ‘Rendezvous with Simi Garewal’ (STAR World).

‘Jeena Isi Ka Naam Hai’ (Zee TV) was also a celebrity chat show that peeked into the lives of Bollywood actors through interviews with them, their families and friends. It was hosted by Bollywood actor Farooq Shaikh and later by Suresh Oberoi. The show premiered in March, 2002 and was brought back in 2006 due to the immense success of the first season.

[email protected]

Some More CoffeeKOFFEE WITH KARAN

STAR World is launching the fourth season of the widely popular celebrity chat show, ‘Koffee with Karan’. The show is returning to the small screen after almost three years. News Bureau

Karan Johar shooting for the show’s promo

Ever since its launch in 1999, Kurkure has believed in doing things differently. This seems to have worked well for the brand,

propelling it past the `1,000-crore mark in sales, while widening its product range further.

afaqs! Reporter chatted with Nalin Sood, category director-Indian Snacks, PepsiCo India, Foods, on the turns and twists (pun intended) in the Kurkure journey. Excerpts:

Tell us briefly about Kurkure’s raison d’être?It is a homegrown brand that was launched as an alternative to traditional namkeens. Indian consumers were looking for something new in snacking and yet did not want to let go of their traditional tastes. So, the product was familiar in taste, but innovative and convenient in the product format.

At the beginning, the entire campaign was built on irresistibility, where the protagonists kept eating and saying, ‘Kya karein, control nahin hota hai’. In a couple of years, Kurkure moved to appropriate the largest snacking occasion, tea time.

What about the changing nature of advertising?Kurkure’s advertising has always provided a twist on tradition. If, for example, it showed the mother-in-law and daughter-in-law relationship, it showed a certain comfort in that relationship.

In 2004-05 we roped in Juhi Chawla as the brand ambassador: Juhi’s and the brand’s DNA matched perfectly. Both were very vivacious, cheerful and progressive, with a great sense of humour.

In 2008, we got into the whole new positioning with ‘Tedha Hai Par Mera Hai’. And that again was from a progressive family insight: that we have members who may have their imperfections, but are nevertheless dear to us. The campaign was a great hit. This was also the time when ITC launched Mad Angles and challenged us in the category, because they realised that the segment is becoming attractive.

Two years ago, we changed the look and feel of the brand. In our repackaging exercise, the names of our flavour became prominent. Last year, we extended the brand into the puffs category, which appeals to tweens. That segment is growing, but it is fragmented and there was no national player.

Why did you replace Juhi Chawla who had worked so well for the brand?She was working well, but we replaced her this year with a celeb family of five people, because the brand had to move forward. We did not want to restrict ourselves to a single format or product when there is a huge snacking category outside Masala Munch. We felt it was time to monetise the Kurkure brand equity and enter larger spaces in the business.

To extend the brand into new formats, we needed to appeal to a larger number of cohorts. While Kurkure was always appealing to the family through the lens of a housewife, we needed to do innovations, to sharply target the other cohorts, such as tweens and younger adults, for example.

That is why we created a new family of quirky characters. So, the mother-child relationship is used for the puffs category. To promote XL party packs we use the entire family, because in India no party is a small party. Every character may not appear in every communication, but when the consumer sees the ad, he is able to identify that they are a part of the Kurkure family.

What is the next big challenge for the brand?I would not see it as a challenge but as an opportunity. And that opportunity is in the huge salty snack space (outside Lays and potato chips). And Kurkure really has a right to succeed in this segment. We have already begun our endeavour with the launch of puffs, and we are now scaling up Solid Masti. We will also play big in other

categories where our presence is small.

What is the idea behind the latest packaging initiative for the festival season?The festive season is a very large consumption occasion and while snacks are not associated with it, three to four years ago Kurkure began to play an active role in this space. That’s when Kurkure came up with ‘Zyada Meetha Ho Gaya, Muh Kurkure Karo’. And it was also in line with the DNA of Kurkure: a twist on traditions.

We decided to take that forward. During festivals, we not only consume sweets, but our behaviour becomes overtly sweet. We are sweet to people we haven’t met in a year. In some cases, this takes the fun out of the occasion, because a certain formality creeps in. But if you can break away from it, things become more enjoyable.

So, we’ve tried to counter not just ‘meetha’ (sweets) but ‘meethapan’ (sweetness). Our thought was, festivals are about sanctity, so, in the Kurkure tradition, why don’t we add some sanction to make the festival more fun? Tradition was sanctity and the twist was sanction.

With this thought, we looked at gift packs, which until now were pretty traditional. We hired Ray+Keshvan and asked them to create something clutter-breaking. That’s how we have the Raja Rani pack: they are dressed traditionally, but are winking. Then we decided to add another leg and roped in Manish Arora to create limited edition

NALIN SOOD> CATEGORY DIRECTOR-INDIAN SNACKS, PEPSICO INDIA, FOODS

Kurkure has always made heads turn with its humourous campaigns and product innovations. Nalin Sood talks about the growth opportunities and challenges for the snack brand. By Devesh Gupta


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“Kurkure has added sanction to sanctity”

packs. We added a third leg to our festival

initiative by launching a whole range of chilly flavours. We chose chilly because when you get a strong dose of it, your real self comes out and you start taking liberties and breaking the shackles of formality.

The packaging is attractive but seems a little too sophisticated for a brand like Kurkure.We are saying that sanctity and sanction go hand in hand. The packs are very unconventional and many people did get back with apprehensions about how they would be accepted. But as it turns out, they have been very well received.

Since 1999, how many times has Kurkure redone its packaging?

Prior to the change last year, I think the core pack was changed only once a long time ago, when we changed the name from Lehar Kurkure to Kurkure. It wasn’t that we didn’t try, but consumers were so much in love with the pack that they didn’t want to accept anything that was different, until last year.

You have been harping on the `5

touch point. Why?This pack has been there since the beginning. It is the largest segment within the category. At this price point, consumers are most disloyal because they can easily flirt with other options including street food. Through our campaign, we are saying that even if you spend only `5 and munch mindlessly, eat something that is worth eating. We basically

wanted a larger share of this segment.

What is the logic in the flavours that you keep introducing and phasing out?There are several permanent flavours, plus we keep coming with new ones for a limited time period. After a certain quantity we phase them out, because, in this category, people want to experiment with new stuff and once they have done that, they want to go back to the regular product.

Do you feel threatened by look-alike brands?I would see them as threats if the market was flat but that is not the case. There are more than 2,000 players in this segment and barring a few, the market is extremely fragmented. There are people operating out of shacks who sell in a range of 25 km. These people are not killing the market but are helping it to grow.

[email protected]

Kitkat, the chocolate brand from Nestle, recently came up with an innovation across several editions of The Times of India

(TOI) on October 17 to re-emphasise its recent tie up with Google’s Android. The innovation showcased that Android, after eating Kitkat, has become Android Kitkat.

The chocolate brand had come up with a print ad, which when scanned through an Alive App or a Pointart App took the reader to a video that shows the Android bot walking and taking bites of Kitkat, transforming itself into Android Kitkat.

It was a digital campaign for Android KitKat, where readers could win 1,000 Nexus 7 Tablets every hour.

The campaign was executed by TELiBramha within less than a week. The creative agency for

the campaign was JWT, while the media buying was taken care of by ZenithOptimedia.

The innovation was done only in TOI across all the editions. It was targeted at the age group of 18-35 years.

Speaking about the campaign, Sheena

Kapoor, head, innovations, TOI Group, says, “Nestle used an attractive edit wrap innovation and augmented reality apps Alive and Pointart. The idea was to effectively use the strength of the print medium to build awareness for its digital campaign and drive traffic. It got a tremendous response for the campaign with more than 50,000 hits on Alive. And a testimony to the fact that print can complement and boost digital campaigns.”

The news about the partnership between the two first broke on September 4. It’s an outcome of a partnership between Google and Nestle,

where both companies inform that no money has changed hands.

To celebrate the announcement, Android KitKat made a promotional video poking fun at the dramatic debuts of gadgets from other smartphone makers, especially those done by Apple. The video - complete with inspirational music and close-up “product” shots - promised that Kitkat will be the “future of confectionery.”

The earlier versions of Android were known as Cupcake, Donut, Eclair, Froyo, Gingerbread, Honeycomb, Icecream Sandwich and Jelly Bean.

Nestle was founded in 1866 by Henri Nestlé in Vevey, Switzerland, where it still has its headquarters. It employs 2,80,000 people and has factories/operations in almost every country in the world. The company has nearly a century old association with India and has eight manufacturing facilities and four branch offices. Its manufacturing facilities are at Moga (Punjab), Choladi (Tamil Nadu), Nanjangud (Karnataka), Samalkha (Haryana), Ponda and Bicholim (Goa), Pantnagar (Uttarakhand), and Tahliwal (Himachal Pradesh).

[email protected]

Bot BitesANDROID KITKAT

The chocolate brand re-emphasised its recent tie up with Android by launching a print innovation across TOI. By Devesh Gupta

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“Kurkure has...”

“We did not want to restrict ourselves to a single format or product when there is a

huge snacking category outside Masala Munch.”

NALIN SOOD


“Nestle got a tremendous

response for the campaign with

more than 50,000 hits on Alive.”SHEENA KAPOOR

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Post: Project Manager – Application DevelopmentCompany: Social WavelengthProfile: Managing Application Development / Website Design/ Outsourced projects. Single point contact for various internal stakeholders as well as vendorsExp: 2-3 yearsLocation: MumbaiEmail: [email protected]...........................................................

Post: VP Client ServicingCompany: Goldmine Advertising Ltd.Profile: Driving client service excellence through the entire Client Development team and delighting clients

Management Team in the delivery of their objectives

lead teams to develop client specific strategies and associated tactics to drive client value.Exp: 10 yrsLocation: MumbaiEmail: [email protected] ...........................................................Post: Copy WriterCompany: Hub Kreatives Pvt. Ltd.Profile: Excellent conceptualization and creative writing skills.Exp: 2-5 yearsLocation: DelhiEmail: careers@hubkreatives.com...........................................................Post: Sr. Graphic DesignerCompany: Xpressions Pixel Works Pvt. Ltd.Profile:in creating artworks including Logo Design Corporate Identity Brochures Catalogs Flyers Banners CD Labels Envelop hoardings. Team spirit and ability to handle assignments individually. Naturally creative and Multitasker.Exp : Atleast 5 yearsLocation: MumbaiEmail: jobs@xpressionspixelworks.com...........................................................Post: Creative Supervisor - CopyCompany: HR CentralProfile: - Writing clear, persuasive,

original long and short copy for web and print

interpreting their briefs. - Be able to liase with designers to create storyboards for animations used in assets like online banners.

practices in user experience.Exp: 5+ years Location: MumbaiEmail: neha@hr-central.in...........................................................Post: Project Director – Shopper MarketingCompany: HR CentralProfile:serves as the key point of contact for all client interaction. Responsible day to day management of accounts (including resource allocation,workflow, quality control, tracking & invoicing) and delights the clients with the quality of work. Works to anticipate problems and improve performance of the team. Coaches and brings best practice in client service skills to the teamExp: 6 - 7 yrs Location: BangaloreEmail: indrani@hr-central.in...........................................................Post: Project Group Head – Digital Company: HR CentralProfile: The Project Head serves as the key point of contact for all interaction with the client. This position has management responsibility of the servicing team.Exp: 6 – 7 yearsLocation: BangaloreEmail: soumya.goutham@hr-central.in...........................................................Post: Senior WriterCompany: Design WorkshopProfile: If you enjoy forming and communicating ideas, are equal to the challenges of the written word in traditional and emerging formats and only if you have concrete experience of such efforts to share, we would be interested in hearing from you.Exp: Atleast 5 yearsLocation: New DelhiEmail: [email protected]...........................................................

Post: VisualizerCompany: Idea SmithProfile: To work closely with the copywriter to generate creative ideas and concepts to fulfil the clients brief. Producing sketches or storyboards or roughs or scamps print to communicate ideas to the client.Exp: 1-2 yrsLocation: MumbaiEmail: ideasmithz@gmail.com...........................................................Post: Account ManagerCompany: Base Communications Pvt LtdProfile: Working on 2 key brands, coordination with internal departments for managing a single window solution within the agency, for the client. Effective day on day management including MIS.Exp: Atleast 5 yearsLocation: New DelhiEmail: [email protected], ashish@thebasecommunication.com...........................................................Post: Sr. VisualizerCompany: Vasant Creative CatalystsProfile: Minimum 2-3 years in a reputed Ad agency.Experience in working with software’s like Photoshop & Illustrator is a must.Exp : Minimum 2-3 yearsLocation: MumbaiEmail: contact@vasant.in...........................................................Post: UI/ UX Senior DesignerCompany: Robosoft Technologies Pvt. Ltd.Profile: Define product and brand vision in a multi-disciplinary team. Work with latest Mac’s, iPhones, iPads and other gadgets/devices. Create branding and visual experiences for the mobile that are incredibly simple and elegant. Drive a visual/UI/UX design with a focus on branding, usability and visual coherence.Exp: 3 – 10 yearsLocation: Mumbai/ UdipiEmail: jyothsna.shetty@robosoftin.com...........................................................Post: Account Director

Company: Water Your BrandProfile: Client Servicing & account management experience. Should have headed a team for 3 yearsExp: 5 - 8 yrsLocation: MumbaiEmail: career@wateryourbrand.in...........................................................Post: Client servicingCompany: Thoughtrains Designs Pvt LtdProfile: Naturally passionate about the job (communication/advertising). Ability to understand brief from the client and communicate the same to th creative team, strong with followups, both with inhouse teams and the client side. Good communication skills (written and oral), a people’s person. Multitasker and Team playerExp: 3 - 6 yrs Location: MumbaiEmail: [email protected]...........................................................


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Email: [email protected]

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Ph: 09819984998 Email: [email protected]

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The advertising industry witnessed

many important movements in the last fortnight. Starting with Leo Burnett, the agency lost two significant people recently - Arvind Sharma, chairman and CEO of India subcontinent at Leo Burnett and Ashwiny Iyer Tiwari, executive creative head.

Sharma, who had been with the agency for about 30 years, handed over his responsibilities to Saurabh Varma, the current regional chief strategy officer of Leo Burnett, Asia Pacific, who has been named CEO of Leo Burnett Group India.

Armed with a management degree from IIM Ahmedabad, Arvind Sharma spent the first few years of his career in marketing, at Voltas. He joined advertising in 1979 at Clarion McCann.

Varma has won more than 100 pitches during his career. Some of them include IOC, Fosters, Hyundai, Kinetic, Courts, Ministry of Community Development, Youth & Sports, Singapore Sports Council, IKEA, Great Eastern and Samsung.

Meanwhile, there was no news of replacement for Tiwari at the agency as of now. Tiwari, who has been with the agency since 2005 (her second

stint at the agency), said that she wants to get into film direction and will join Opticus Inc.

Tiwari began her career in advertising as a trainee at Leo Burnett in 2001.

On the other hand, Prasad Venkatraman joined Mumbai-based independent agency, Black Swan Life as senior creative director.

He will report to Sukumar Menon, chairman and chief creative officer, Black Swan Life. Earlier he was a creative director with Percept/H.

With nine years of experience, Venkatraman began his career in advertising with Publicis Ambience in 2004.

There was a lot of activity in Contract Advertising too. The agency promoted Kapil Mishra, executive creative director, projects, as the creative head of the agency’s Mumbai office. A day after announcing a new creative head for Mumbai, Contract Advertising further strengthened its creative team by appointing Talha Bin Mohsin and Mahesh Parab as vice-presidents and senior creative directors.

Mishra will work

closely with Ashish Chakravarty, national creative director. At Contract, Mishra has worked on brands such as Cadbury Halls, Celebrations, Eclairs, Star Plus Junior Master Chef and Asian Paints’ Aspira. Earlier, he had a short stint with Law & Kenneth. Having over 11 years of experience,

Mishra was also associated with Leo Burnett and Ogilvy.

Meanwhile, both Mohsin and Parab have joined from DDB Mudra Delhi, where they

were executive creative directors. Before joining DDB Mudra last year, both Parab and Mohsin were working together at McCann Erickson, Mumbai.

Having 14 years of experience, Parab has worked on brands like Vaseline, Hanes, Siemens, Amul, Lakme and Liril. Meanwhile, Mohsin, who has over

11 years of experience in the industry, has had two stints with Mudra.

At Contract’s Delhi office, Souvik Dutta joined as VP and senior creative director. He moves in from TBWA, Delhi where he was heading the creative function. He has been in advertising for close to 13 years.

Dutta has worked with agencies like DDB Mudra and Lowe (where he has worked for a decade). At Contract, he will be responsible for Dominos, JK Tyres, NIIT, Jaypee Cement and LT Foods and will report to Mayur Hola, who has recently joined the agency as executive creative director, Delhi.

Meanwhile, DDB Mudra roped in Sambit Mohanty, erstwhile executive creative director at McCann Erickson, as creative head, North. He will operate from Delhi and report to Sonal Dabral, chairman and chief creative officer, DDB Mudra Group.

Having over 14 years of experience in

advertising and design, some of the brands he has worked on include Coca-Cola, GM, Nestle, HP, Hitachi, The Indian Express, BBC World, Tanishq, Britannia and Reckitt-Benckiser.

JWT South Asia has made two major leadership changes at JWT Mindset, Hyderabad. These include Santha John, MD, Mindset Hyderabad taking up an advisory role as chairman and Ram

A round up of some major people movements in the last fortnight>> MOVEMENTS/APPOINTMENTS<<

Anshu Bagai, the chief marketing officer and head of institutional sales, Tupperware

India, has moved to AMC Cookware as manag-ing director. Bagai joined Tupperware in 2004, moving from Sodexo, where he was responsible for marketing and affiliations.

In his career spanning 20 years, Bagai has gained hands-on marketing and sales experience, having worked across industries at companies such as Apollo Tyres and Madura Coats. He is a graduate in electronics and communications from Delhi College of Engineering, Delhi University and also holds an MBA in marketing from NMIMS, Mumbai.

MARKETING


Gedela taking over as the head of the agency from January, 2014.

John is an industry veteran with over 30 years of experience and started JWT Mindset with Gedela in 1998. The agency was acquired by JWT in 2011 and was renamed JWT Mindset.

Before setting up Mindset, she was senior vice-president at Saatchi & Saatchi, Hyderabad. Gedela was formerly group account manager, Saatchi & Saatchi, Delhi; and headed the account management team.

Manu Prasad, erstwhile head of social media with online retailer Myntra.com,

joined GroupM’s social media practice as head, south. Based in Bengaluru, Prasad will report to Karthik Nagarajan, national head for social media.

Prasad comes with almost a decade of experience in traditional and digital brand management, having worked on consumer (WorldSpace) and media brands (MidDay, Times Group) and handled all aspects of brand communication (strategy, media planning, advertising, digital marketing). Besides working at Group M, he also mentors select start ups at the Microsoft Accelerator and contributes restaurant reviews in Bangalore Mirror.

DIGITAL

MAHESH PARAB

PRASAD VENKATARAMAN

TALHA BIN MOHSIN

KAPIL MISHRA

All India Radio, officially known as Akashvani, appointed R Venkateswarlu as director

general. He replaces Leela Dhar Mandloi, who retired from Prasar Bharati after 37 years.

Till recently, Venkateswarlu was additional director general (South zone), supervising All India Radio stations, Doordarshan Kendras and marketing divisions in the South Zone. In his new role, he will exercise full financial and administrative powers from the post of director general.

He has 35 years of mass-media experience in Indian information service, AIR, Doordarshan and Prasar Bharati Secretariat.

MEDIA

ARVIND SHARMA

FOTO

CORP

ADVERTISING

SAMBIT MOHANTY

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