`100
Volume 12
| Issue 7 | March 2018
N O I S I V E L E
T
CINEMA
T N I PR
H C T I P THE ISON D A M T R O REP
OOH
AD
G N I S I VERT
8 1 20 RADIO
DIGITAL
`100
Volume 12
| Issue 7 | March 2018
N O I S I V E L E
T
CINEMA
T N I PR
H C T I P THE ISON D A M T R O REP
OOH
AD
G N I S I VERT
8 1 20 RADIO
DIGITAL
March 2018
12
Publisher & Editor-in-Chief Annurag Batra Director Amit Agnihotri Director Nawal Ahuja EDITORIAL TEAM
Executive Editor
Jyotsna Sharma
DESIGN TEAM
Art Director
Shivaji Sengupta
Senior Graphic Designer
Joby Mathew
Photographers Vilas Kalgutkar (Mumbai) Suresh Gola (Noida) Cover Design
Shivaji Sengupta
AD SALES Runa Sinha (National Business Head) runa.sinha@exchange4media.com - 9810497903
Sneha Walke (VP Special Projects & South Head) sneha@exchange4media.com - 9845541143 Ashish Kudalkar (Regional Manager West - Sales & Business Development) ashish.kudalkar@exchange4media.com - 9820541742
0FFICES
NEW DELHI: B-47, Ground Floor, Defence Colony, New Delhi -110 024 NOIDA: B-20, I-Floor, Sector-57, Noida, Uttar Pradesh - 201301 Phone: (0120) 4007700 Mumbai: 301, Kakad Bhavan, 3rd Floor, 11th Street, Bandra (W), Mumbai - 400 050 Phone: (022) 2640 3303/09/14/16 Bengaluru: # 18, 3rd B Cross, Domlur II Stage, Bangalore 560071 CIRCULATION/DISTRIBUTION
Vinod Sharma (Delhi) - 9999447209 vinod@exchange4media.com Anandan Nair (Mumbai) - 9819445200 anair@exchange4media.com
Pitch Madison Advertising Report is the most awaited report on predictions of ad spends in the media and advertising industry. The report is produced by Pitch, in partnership with Madison World. Over the years, the report has become a benchmark in the industry and is often quoted in the media, pitch presentations, company reports, corporate boardrooms and even IPO documents filed by media companies.
TELEVISION PRINT OOH DIGITAL RADIO CINEMA VIEW POINT
On News-stands ` 100/www.pitchonnet.com Printed and published by Annurag Batra on behalf of Adsert Web Solutions Pvt Ltd B-20, I-Floor, Sector-57, Noida, Uttar Pradesh - 201301 Printed at All Time Offset Printers, F-406, Sector-63 Noida, Uttar Pradesh - 201 307 An exchange4media Publication
6 | PITCH | MARCH 2018
10
RASHI GOEL
38 BRAND BUILDING IN A DIGITAL WORLD GET CREATIVE!
VP Consumer Communications & ECommerce, Nestle India
18 22 26 28 30 32
INDUSTRY SPEAK
51
stunted The Indian Media & Advertising industry suffered the after-effects of demonetization and introduction of the Goods & Services Tax (GST), severely stunting the growth of Adex in 2017. Upsetting our projected growth rate of 13.5% for 2017, the industry actually grew by only 7.4%, with traditional media showing just 4% growth. 2018 promises to be a better year, with the economy expected to recover and market to grow 12.03%, adding Rs 6,392 crore to Adex to reach a total size of Rs 59,530 crore
INDUSTRY COMMENTS ON THE FINDINGS OF THE PMAR 2018
INDUSTRY
SPEAK
OPINION | GUEST COLUMN
74
GETTING THE BEST ROI FROM CLIENT-AGENCY SUNIL GUPTA
Managing Partner , South Asia, Results International Group. Regional Director , South West Asia , APRAIS Worldwide Ltd.
42 AVIJIT DUTT
VIEW POINT
ETHICS & ADVERTISING AWARDS:
A LOOK BELOW THE BELT
Chief Motivator & Director at Enable CSR Advisory & Intervention
Filmmaker, Actor, Theatre Director and Communications Consultant
OPINION | GUEST COLUMN
80
SEMIOTICS – A MAGIC WAND IN ADVERTISING! KUNAL SINHA
Executive Director – Advisory, Kantar Insights
MARCH 2018 | PITCH | 7
EDITOR-IN-CHIEF’S NOTE
abatra@exchange4media.com @anuragbatrayo www.facebook.com/anuragbatrayo
2017 saw an overall Adex growth of only 7.4%, primarily because of the impact of demonetisation and the GST (The Goods and Service Tax). Since the state of the economy has an impact on the Media and Advertising Industry it is expected that with Lok Sabha elections in 2019 (Increased publicity by the Central Government), new launches by automobile companies, increased activity in BFSI area, increase in sporting events, rural demand driving growth for FMCG companies and also gains from implementation of GST across all businesses, 2018 will provide relief to the Industry after two disappointing years. For 2017, Television was the largest contributor to Adex with a 37% share, though it grew by just 4.3%, closely followed by Print at a 35% share, which had an even lower growth of just 2.7%. Digital, (which was only 8% of Adex in 2012), grew by 27.2%, and contributed 17.5% to the Indian Adex. The share of Digital was more than the combined share of Radio, OOH and Cinema, and this trend is set to continue. Over the last few years, Digital has grown at a compounded annual growth rate of 32%. The reason for this is that the mobile has become the first medium of ‘content consumption’ for consumers; and as a result, there has been an increase in display, native and programmatic advertising. Newer display advertising elements, Mobile, Online Video and Programmatic are all helping attract more advertising investment into Digital. The forecast is that Digital Adex will continue to register the highest growth in Adex for the 10th year in a row. The Adex is expected to grow by 12.03% in 2018. The highest growth rate should be achieved by Digital, followed by Cinema, TV, Radio & Outdoor and Print. In this issue we have industry comments on the findings of the PMAR and interesting columns on aspects of marketing and advertising. I hope you enjoy reading this edition of the magazine.
Annurag Batra Chairman & Editor-in-Chief
The Pitch Madison Advertising Report is the most awaited report on predictions of ad spends in the media and advertising industry. The report is produced by Pitch, in partnership with Madison World. Over the years, the report has become a benchmark in the industry and is often quoted in the media, pitch presentations, company reports, corporate boardrooms and even IPO documents filed by media companies. The latest edition of the Pitch Madison Advertising Report (PMAR) was launched in Mumbai on the 15th of February 2018
8 | PITCH | MARCH 2018 8 | PITCH | MARCH 2018
adk vikatan ad. this ad sending seprate file. that ad is front back (9-10) Its pages right side is 2 mm extented. aslo this page Printing 170 gsm.
MARCH 2018 | PITCH | 9
adk vikatan ad.
Twitterati
stunted Sam Balsara
Vikram Sakhuja Nilesh Bagaria
Pitch Madison Advertising Report is the most awaited report on predictions of ad spends in the media and advertising industry. The report is launched by Pitch, in partnership with Madison World. Over the years, the report has become a benchmark in the industry and is often quoted in the media, pitch presentations, company reports, corporate boardrooms and even IPO documents filed by media companies.
The Indian Media & Advertising industry suffered the after-effects of demonetization and introduction of the Goods & Services Tax (GST), severely stunting the growth of Adex in 2017. Upsetting our projected growth rate of 13.5% for 2017, the industry actually grew by only 7.4%, with traditional media showing just 4% growth. 2018 promises to be a better year, with the economy expected to recover and market to grow 12.03%, adding Rs 6,392 crore to Adex to reach a total size of Rs 59,530 crore
27.8% INDIAN ADVERTISING MARKET OVER LAST 8 YEARS
16.5% 9.6%
GROWTH %
YEARLY SPENDS (Rs CRORE)
`25,026
2010
12 | PITCH | MARCH 2018
11.3% 5.2%
`27,433
2011
`28,854
2012
`37,405 `32,106
2013
2014
T
hat 2017 was a bad year in terms of growth is well-known. But how bad was it for the Indian Media and Advertising industry? We are sorry to report that our analysis shows that Traditional Media during 2017 grew by only 4% - the lowest in half a decade. It is thanks to Digital Media, which continued its onward march and grew by 27.2% in 2017, that we are able to report an overall Adex growth of 7.4%, taking the total market up from Rs 49,480 crore to Rs 53,138 crore. eaders will recall that in 2016, on the back of demonetization, the Indian advertising market had lost Rs 1,650 crore in two months - November and December. The total Adex, which had been growing by 16% till October 2016, came down to 12.5%, for the whole year. Adex was slow to recover from the impact of demonetization and the first quarter of 2017 saw a de-growth of -2% and growth of
R
a mere 2% in the second quarter on the back of IPL, which garnered close to Rs 1,300 crore in advertising money, and a huge shift in demand for FTA channels because of rural viewership registered by BARC. Just when we expected Adex to gather steam, the Goods and Services Tax (GST) was announced in July and the market saw a drop of close to 20% in traditional media over June 2017, and a drop of 5% as compared to July 2016. Mercifully, the festive period brought cheer to Adex, and it grew from August, 2017 to December, 2017 by 13%. But because of the slow start in the first half and a drop in July, the whole year’s Adex is estimated at Rs 53,138 crore, i.e., growth of a mere 7.4%. With a growth rate of 7.4%, the Indian market has lost its stellar position of being the fastest growing advertising market in the world and has conceded that position to Russia, going by WARC estimates of international markets.
GROWTH FORECAST FOR 2018
12.03%
17.6% 12.5% `49,480 `43,991
2015
2016
7.4% `53,138
2017 MARCH 2018 | PITCH | 13
INDIAN ADVERTISING MARKET OVER LAST 2 YEARS 2016 37%
SHARE OF ADVERTISING PIE
TOTAL SIZE 2016
`49,480
37% 35%
7.4 % GROWTH
TOTAL SIZE 2017
`53,138
15%
TV
RADIO
OUTDOOR
`7,315
`586
CINEMA
6%
`3,085
1%
`2,910
1%
`523
4%
`1,875
`1,749
`18,640
`18,151
`19,650
`18,831
4%
6%
17.5%
`9,303
38%
2017
DIGITAL
Growth % 2017/16
4.3%
2.7%
14 | PITCH | MARCH 2018
7.2%
12%
6%
27.2%
Television continues to be the largest contributor to Adex with 37% share, though it grew by just 4.3%, closely followed by Print at 35% share, but with even lower growth of just 2.7%. Digital, that grew by 27.2%, now contributes a whopping 17.5% to Indian Adex. Digital gained 3% share points at the expense of Television and Print, which lost 1% and 2% share points respectively. Surprisingly, Radio, Cinema and Outdoor have all grown at a much faster pace than Television and Print, and maintained their share in 2017. But share of Digital continues to be more than combined share of Radio+OOH+Cinema, and we don’t expect this trend to change in the near future.
The categories that have contributed to growth in Print, Television and Radio and accounted for 56% growth of Rs 1,434 crore have been FMCG, followed by Telecom and Automobiles. FMCG continues to be the most dominant sector with a 32% share, followed by Auto at 10% and Telecom at 8%. e-commerce, that had taken the media market by storm three years ago, contributed only 4% to Adex (as compared to 10% in 2015). With implementation of the Real Estate Regulation and Development Act (RERA), the Real Estate and Home Improvement category, as a whole, has registered a de-growth of -3%.
CATEGORY CONTRIBUTION & CATEGORY GROWTH ACROSS TV + PRINT + RADIO IN 2017 TV + Print + Radio - 2017
Category Contribution
Category Growth %
Contribution to Growth
2017/ 16
In Rs crore
in %
32%
3%
427
30%
4217
10%
5%
187
13%
Telecom
3153
8%
7%
193
13%
Education
2099
5%
6%
111
8%
Real Estate & Home Improvement
1798
4%
-3%
-55
-4%
HH Durables
1719
4%
2%
37
3%
e-commerce
1634
4%
7%
113
8%
Clothing, Fashion Jewellery
1553
4%
6%
88
6%
BFSI
1445
4%
4%
60
4%
Retail
1317
3%
7%
88
6%
Travel & Tourism
714
2%
8%
53
4%
Media
681
2%
2%
10
1%
Corporate
567
1%
4%
24
2%
Alcoholic Beverages
251
1%
1%
1
0%
Others
6098
15%
2%
97
7%
TOTAL
40165
100%
4%
1434
100%
Product Category
In Rs crore
FMCG
12919
Auto
in %
MARCH 2018 | PITCH | 15
16 | PITCH | MARCH 2018
C
oming on the back of two poor years - we saw growth suppressed to 12.5% in 2016 and 7.4% in 2017 - we are tempted to predict a high growth year 2018, that is in keeping with the growth rates achieved in the last decade. For, you can’t keep advertising - or for that matter the Indian economy - down for too long! However, our optimism is tempered by the fact that the Government is set on its reform agenda for long term good of the economy. Some other reform introduced during the year, which is good for the economy in the long run, may have the short term impact of destabilizing the economy once again, the way demonetization and GST did. However, there are a number of factors that lead us to believe that growth of Adex should be good in 2018. Some of these are:
Signs of return of Consumer spending Benefits of GST to start accruing Eight State Assembly elections scheduled during the year, preceded by State Government publicity drives on their achievements Increased publicity by the Central Government on account of ensuing Lok Sabha elections in 2019 As many as 16 new launches by automobile companies Increased activity in the sporting arena from both cricketing and non-cricketing leagues and FIFA World Cup Strong come-back by FMCG companies on the back of increased Rural demand Launch of new Ayurvedic lines by FMCG companies Increased activity in BFSI area, especially small banks and payment banks Taking into account all of the above, we expect Adex to grow by 12.03%, taking it to a total of Rs 59,530 crore or nearly Rs 60,000 crore in 2018. The highest growth rate should be achieved by Digital (25%), followed by Cinema (14%), TV (13%), Radio & Outdoor (10% each) and Print (5%) in 2018. The year 2018 should provide relief to the Media market after two disappointing years. The general expectation is that with Lok Sabha elections in 2019, the Government is likely to support all sections of industry, including Media and all classes of consumers. Gains from implementation of GST should also begin to flow into the economy. Investment in infrastructure and rural schemes should put more money in the hands of consumers, which should lead to a buoyant economy, and a buoyant economy always translates to happy times for Media. MARCH 2018 | PITCH | 17
Television grew a mere 4.3% - its lowest in the last five years – adding just Rs 820 crore to Adex in 2017 to reach a size of Rs 19,650 crore. However, it still remained the largest contributor to the advertising pie. In 2018, Television is expected to grow 13% on the back of FMCG players targeting Rural, election-related advertising and increased spends around sporting properties and by BFSI players
I
n 2017, the Television Adex grew by a mere 4.3% and reached Rs 19,650 crore. This is the lowest growth Television has witnessed in the last five years. Growth remained flat in the January-March 2017 period on account of the after-effects of demonetization and even in the latter part of the year, it did not grow as expected on account of GST, belying our projected growth of 13%. It is significant to note that growth is low, despite the addition of 100 new channels including cable channels, which in turn contributed to an increase in FCT supply of 11% in 2017. The new channels launched were mainly in News and Movie genres. These new channels contributed Rs 100 crore to Adex. On the other hand, our comparison of only like-tolike channels shows an increased FCT supply of 7% leading one to conclude that on an average, television rates were suppressed. However, advertisers could not take full advantage of lower rates, because of even lower viewership and TV ratings of most used programmes resulting in increase in Cost Per Rating Point (CPRP) to the advertiser. HD emerged stronger during the year with the 18 | PITCH | MARCH 2018
launch of 22 HD channels now reaching 50 million homes, split equally between Urban and Rural. Viewership of HD channels has also seen exponential growth and we estimate that HD is today a Rs 2,000 crore advertising market, contributing over 10% to the Television Adex. While growth may have been low during the year at just 4.3%, Television continues to be the largest contributor to the advertising pie. FMCG continues to rule the roost, contributing 51% to the total Television advertising spends, followed by Telecom at 12% and Auto at 8%. It’s the same three categories that have mainly contributed to the growth of Rs 820 crore in Television Adex in 2017. E-Commerce maintained its contribution at 4%. Hindi GECs, including FTA, contributed 28% of overall Television Adex, with Hindi being by far the largest contributor. FTA channels have seen robust growth in viewership during the year and account for 19% of the Hindi GEC plus FTA genre. In terms of FCT growth, Hindi Movies, English Info/ Movies and South regional show substantial increase in 2017.
TV ADEX
22%
13% 9%
14%
4%
8% GROWTH %
`18,831
`19,650
`22,205
`17,261 `14,158
YEARLY SPENDS (Rs CRORE)
`12,419
SHARE OF ADEX
2013
2014
38.7%
37.9%
2015 39.24%
In 2017, the Television Adex grew by a mere 4.3% and reached Rs 19,650 crore. This is the lowest growth Television has witnessed in the last five years
2016
2017
2018 P
38.06%
36.98%
37.3%
TV – GENRE-WISE REVENUE CONTRIBUTION IN 2017 Genres
Revenue Contribution in 2017
Approx Revenue in Rs crore
FCT Growth 2017 / 16
Hindi GEC + FTA News Tamil Sat Sports Hindi Sat - Movies Telugu Sat Marathi Sat Kannada Sat Bengali Sat Music Kids Malayalam Sat Info Movies Eng Eng Niche Others
28% 11% 9% 9% 5% 5% 4% 4% 4% 3% 3% 3% 3% 3% 2% 6%
5500 – 6000 2000 – 2400 1800 – 2000 1700 – 1900 900 – 1100 900 – 1100 800 – 1000 700 – 800 650 – 750 550 – 650 500 – 600 500 – 600 500 – 600 500 – 600 300 – 400 1300 – 1400
4% 4% 10% -7% 35% 24% -10% 9% 21% -17% 0% 18% 31% 21% -8% 9%
MARCH 2018 | PITCH | 19
TELEVISION
20 | PITCH | MARCH 2018
CATEGORY CONTRIBUTION & CATEGORY GROWTH IN TV IN 2017
TV - 2017 Product Category FMCG Telecom Auto HH Durables e-commerce Real Estate & Home Improvement Clothing Fashion Jewellery BFSI Media Corporate Travel & Tourism Alcoholic Beverages Education Retail Others TOTAL
Category Contribution In Rs cr
in %
10061 2449 1513 859 855 575 531 403 392 292 246 238 220 181 834 19650
51% 12% 8% 4% 4% 3% 3% 2% 2% 1% 1% 1% 1% 1% 4% 100%
Category Growth %
Contribution to Growth
2017 / 16
In Rs cr
4% 8% 6% 5% 5% 1% 3% 3% -5% 2% 7% 1% 6% 6% 4% 4%
370 178 87 42 44 6 18 11 -20 7 17 2 12 11 35 819
in % 45% 22% 11% 5% 5% 1% 2% 1% -2% 1% 2% 0% 1% 1% 4% 100%
FORECAST FOR 2018 We expect Television Adex to grow by another Rs 2,555 crore or 13% in 2018 to reach Rs 22,205 crore. The key factors that will lead to this high growth are:
FMCG marketers, who are turning bullish on the back of expectation of revival of Rural demand
Increased activity in BFSI area
Publicity by the Government on account of ensuing eight State Assembly Elections and Lok Sabha Elections in 2019, which will lead to a spurt in Television campaigns to announce government achievements and electionrelated advertising
Increased activity in sporting arena from both cricketing and non-cricketing leagues
On the negative side, Television may start to lose some advertising to OTT platforms, because some viewers may prefer to watch Television content on OTT platforms, thanks to low data tariffs. With this growth of 13%, TV is expected to maintain its share of Adex at 37%.
MARCH 2018 | PITCH | 21
DISMAL GROWTH Print Adex grew only 2.7% in 2017, the lowest seen in nine years. Despite this, it continues to be the second highest contributor to Adex, after TV, with a share of 35%. In 2018, the Print advertising market is expected to grow by 5% to come close to Rs 20,000 crore, with regional publications leading the growth
P
rint grew by a mere 2.7% during the year. This is the lowest growth we have seen in nine years. But it continues to be the second highest contributor after Television with a share of 35% in the Adex. It is significant to note that for the last three years, Print has been steadily losing share at a rate of 1% share point every year, but this year, the decline accelerated and Print lost 2% share points. Dailies increased 3.4%, a bit higher than the total Print Adex, because Magazines as a medium failed to gain advertiser interest for the third year in succession. Print, like the overall Adex, de-grew in the first quarter by as much as -5%, and then marginally grew by 3% in the second quarter before growing at 9% in the last quarter. One could thus conclude that Print bore the biggest brunt on account of demonetization and GST. FMCG, Auto, Education and Retail, the main categories that used Print, increased their dominance from 50% share last year to 62% in 2017. In terms of category contribution, FMCG and Auto are the largest contributors to the Print pie
22 | PITCH | MARCH 2018
with a contribution of 14% each, followed by education at 10%. The Real Estate category, again a staple for newspapers, saw a degrowth of -7%, thanks to RERA. While only four categories account for 75% of Television advertising, it takes as many as 13 categories to contribute the same percentage to Print advertising, demonstrating once again that Print has a wide-spread clientele and, therefore, is less vulnerable. In terms of volume, Hindi publications continue to be ahead of English publications, contributing 34% of the total volume. English publications come close behind at 27%. Contrary to popular belief, volume in English publications has grown by 4% while volume in Hindi publications degrew by -4%. The degrowth in volume of Hindi publications has been observed for the first time in many years. Among other languages, Kannada and Gujarati publications have shown a substantial increase in volume, but Punjabi, Urdu and Tamil publications show a decline.
16%
PRINT ADEX
11%
1O%
7%
5%
3%
GROWTH %
`19,571
`18,151
`18,640
`16,935 `15,274 YEARLY SPENDS (Rs CRORE)
`13,167
SHARE OF ADEX
2013
2014
2015
2016
2017
2018 P
41%
40.8%
38.5%
36.7%
35.1%
32.9%
CATEGORY CONTRIBUTION & CATEGORY GROWTH IN PRINT IN 2017 PRINT – 2017 PRODUCT CATEGORY FMCG Auto Education Retail Real Estate & Home Improvement Clothing, Fashion Jewellery BFSI HH Durables E – Commerce Telecom Travel & Tourism Corporate Media Alcoholic Beverages Others TOTAL
CATEGORY CONTRIBUTION In Rs cr
in %
2692 2569 1820 1044 1035 956 905 809 686 592 381 238 171 11 4730 18640
14% 14% 10% 6% 6% 5% 5% 4% 4% 3% 2% 1% 1% 0% 25% 100%
CATEGORY GROWTH % 2017 / 16 2% 4% 5% 7% -7% 7% 4% -1% 11% 1% 8% 9% 13% -9% 1% 3%
CONTRIBUTION TO GROWTH In Rs cr 51 89 94 68 -80 64 38 -8 65 5 29 19 20 -1 37 489
in % 10% 18% 19% 14% -16% 13% 8% -2% 13% 1% 6% 4% 4% 0% 8% 100%
MARCH 2018 | PITCH | 23
PRINT – LANGUAGE-WISE PUBLICATION VOLUME IN COLUMN CENTIMETRES IN 2017 (CC IN MILLION) Language
Yr 2016
Yr 2017
Growth % ( Yr 17 / 16)
Contribution in % (2017)
Hindi English Marathi Telugu Tamil Gujarati Kannada Malayalam Oriya Bengali Punjabi Assamese Urdu
119.8 88.5 29.3 23.6 21.9 13.8 13.3 10.7 9.2 5.3 2.7 2.5 1.2
114.8 92.2 29.6 23.4 21.3 14.7 15.0 11.0 9.1 5.5 2.2 2.4 1.1
-4% 4% 1% -1% -3% 6% 13% 2% 0% 3% -19% -4% -8%
34% 27% 9% 7% 6% 4% 4% 3% 3% 2% 1% 1% 0%
TOTAL
342
342
0%
100%
FORECAST FOR 2018 We expect Print Adex to grow by 5% in 2018, taking the Print market close to Rs 20,000 crore. Findings from the just-released IRS Survey are likely to be used (and misused!) by various publications to show growth in readership, although the coveted Average Issue Readership at the macro level has not grown. We expect growth to come in from regional publications despite the fact that most languages have dropped in Average Issue Readership. Print loyalists like Auto and Mobile handsets (both because of new launches) and Education, besides the Government and election-related advertising, are likely to be growth drivers. Robust growth in magazine readership, as discovered by IRS, should result in a spurt and growth of this sector.
24 | PITCH | MARCH 2018
OOH
IT WAS A ‘JIO’ YEAR
In 2017, the Out of Home (OOH) market grew by 6% and now stands at Rs 3,085 crore. While Retail topped the list of spenders on OOH, Telecom recorded the highest growth in OOH advertising, courtesy the high-voltage launch of Reliance Jio. In 2018, Outdoor is expected to grow by 10% to reach a size of Rs 3,395 crore, on the back of upcoming elections and Government campaigns
26 | PITCH | MARCH 2018
T
he Out of Home (OOH) advertising market has grown by 6% in 2017 to reach a size of Rs 3,085 crore. Its contribution to the advertising pie was 5.8%. The conventional OOH market grew at 7% and Transit Media at 4%. Retail, Consumer Services and Real Estate are the top three consuming categories of OOH. However, Consumer Services (Hospital, Restaurant and Education) reduced spends by 8% and Real Estate spends too declined by 11%. The highest growth was recorded by the Telecom category at 29%, attributable to the launch of Reliance Jio with its aggressive pricing strategy. Mumbai continues to be the largest contributor to OOH at 18%, followed by Delhi at 14% and Bangalore at 11%.
FORECAST FOR 2018 We expect the Outdoor advertising sector to grow by 10% in 2018, taking its Adex to Rs 3,395 crore. Outdoor is expected to substantially gain from the Central and State Government’s publicity and election campaigns, because of the ensuing eight State Assembly Elections in 2018 and Lok Sabha Elections in 2019.
OOH ADEX
15%
14% 10%
9%
9%
6% `3,395
GROWTH %
`2,910
`3,085
`2,665 YEARLY SPENDS (Rs CRORE)
`2,333
SHARE OF ADEX
`2,027
2013
2014
2015
2016
2017
2018 P
6.3%
6.2%
6.1%
5.9%
5.8%
5.7%
CATEGORY CONTRIBUTION & CATEGORY GROWTH IN OOH IN 2017 OOH 2017 PRODUCT CATEGORY Organized Retail Hospitals, Restaurants, Education Real Estate & Construction Telecom FMCG Financial Services Auto Media E-Commerce Electronic Durables Petroleum/Lubricants Pharmacy Energy Others TOTAL
CATEGORY CONTRIBUTION
CATEGORY GROWTH %
CONTRIBUTION TO GROWTH
In Rs cr
in %
481 387 362 285 268 254 223 155 123 70 24 24 0 427
16% 13% 12% 9% 9% 8% 7% 5% 4% 2% 1% 1% 0% 14%
8% -8% -11% 29% 16% 7% 6% 14% 12% -11% 17% -14% -75% 18%
34 -34 -43 64 37 16 13 19 13 -8 3 -4 -2 65
19% -19% -24% 37% 21% 9% 8% 11% 7% -5% 2% -2% -1% 37%
3085
100%
6%
175
100%
2017 / 16
In Rs cr
in %
MARCH 2018 | PITCH | 27
DIGITAL
BOOMING!
Digital grew by 27%, adding nearly Rs 2000 crore to Adex, to reach a size of Rs 9,303 crore in 2017. It now contributes a whopping 17.5% to Indian Adex, with Video gaining huge ground, along with Search, Display, Native and Programmatic advertising. Digital advertising is projected to grow by about 25% to cross the Rs 10,000 crore mark and grow to Rs 11,629 crore in 2018
28 | PITCH | MARCH 2018
D
igital Adex continues to grow unabated and in 2017, grew by a further 27% on the back of 43% growth in 2016 over 2015. As you will see from the table below, in the last five years, Digital has grown at a compounded annual growth rate of 32%. At Rs 9,303 crore, Digital is 17.5% of Adex in 2017. It was only 8% of Adex in 2012. Though there has been exponential growth in video consumption over the past year, Display, Native and Programmatic have also picked up rather well with Mobile becoming the primary choice to consume content. Newer display advertising elements, Mobile, Online Video and Programmatic are all helping attract more advertising investment into Digital.
43%
DIGITAL ADEX
32%
30%
29%
27%
25% `11,629
GROWTH %
`9,303 `7,315
`5,120 `3,970 YEARLY SPENDS (Rs CRORE)
`3,050
SHARE OF ADEX
2013
2014
2015
2016
2017
2018 P
9.5%
10.6%
11.6%
14.8%
17.5%
19.5%
Platform 2015 2016 2017 Mobile 2700 4550 7256 Desktop 2420 2765 2047 Total 5120 7315 9303 Mobile as % of Total
53% 62% 78%
(Ad spend figures in Rupees crore)
DIGITAL ADEX OVER LAST 3 YEARS (IN RS CRORE)
Vertical 2015 2016 2017 Search 1860 2660 3010 Display + Programmatic + Ad Networks + Native 2315 2765 2993 Video 945 1890 3300 Total 5120 7315 9303 Video as % of total
18%
26% 35%
FORECAST FOR 2018
We expect the momentum in Digital to continue and project a growth rate of 25%, taking the Digital Adex up to Rs 11,629 crore in 2018. As the reach of Digital crosses 450 million and the smartphone Internet user-base crosses 300 million, Digital is likely to hit the big boys of Media in a bigger way than it already has. FMCG, Telecom, BFSI and Real Estate will continue to be growth drivers for Digital. e-commerce will remain the backbone of Digital Adex. Facebook and YouTube will continue to dominate the video platform along with OTTs such as Hotstar, Voot and SonyLiv making their presence felt on the back of investments in original content. With Mobile ruling the roost, Desktop advertising will get marginalized. We expect Native and Programmatic advertising to make rapid strides in 2018. Digital Adex will continue to register the highest growth in Adex for the 10th year in a row. MARCH 2018 | PITCH | 29
RADIO
STEADY GROWTH Radio maintained its share of the advertising pie at 3.5%, growing by 7% in 2017 to become a Rs 1,875 crore market. Real Estate, FMCG, BFSI and Auto sectors continued to be the biggest spenders on Radio, and contributed 33% to total Radio Adex. In 2018, Radio is estimated to grow by 10%, crossing the Rs 2,000 crore mark, to stand at Rs 2,063 crore
R
adio Adex has shown good growth of 7% (compared to growth rates of Television and Print), to become a Rs 1,875 crore market in 2017. It has maintained its share of advertising pie at 3.5%, although, in absolute terms, because of its small base, Radio has added only Rs 126 crore to Adex during the year. Real Estate, FMCG, BFSI and Auto sectors used Radio substantially and contributed 33% to total Radio Adex. These categories also contributed substantially to Radio’s growth, accounting for 38% of the total growth. Similar to the trend observed in other media, Radio grew marginally in Q1’17 by 2%, gradually increasing in Q2 & Q3 by 6% and in Q4 by 14%.
FORECAST FOR 2018 We expect Radio Adex to grow by 10% in 2018, crossing the Rs 2,000 crore mark, to stand at Rs 2,063 crore. Because of its small base, we expect Radio to grow at a faster rate than Print. This growth should come on the back of aggressive and innovative opening of new streams of revenue other than just sale of Radio time by Radio stations. Advertisers have started discovering the potential of combining Radio with Social Media, and this should see greater traction during the year.
30 | PITCH | MARCH 2018
RADIO ADEX
20% 18%
17% 13%
10%
7%
`2,063
GROWTH %
`1,749
YEARLY SPENDS (Rs CRORE)
`1,545
SHARE OF ADEX
`1,875
`1,285 `1,097
2013
2014
2015
2016
2017
2018 P
3.4%
3.4%
3.5%
3.5%
3.5%
3.5%
CATEGORY CONTRIBUTION & CATEGORY GROWTH IN RADIO IN 2017 RADIO 2017
CATEGORY CONTRIBUTION
CATEGORY GROWTH %
CONTRIBUTION TO GROWTH
In Rs cr
in %
Real Estate & Home Improvement FMCG BFSI Auto Media Telecom E – Commerce Retail Travel & Tourism Clothing Fashion Jewellery Education HH Durables Corporate Alcoholic Beverages Others
187 166 138 135 118 112 93 92 86 66 59 51 37 2 533
10% 9% 7% 7% 6% 6% 5% 5% 5% 4% 3% 3% 2% 0% 28%
11% 4% 9% 9% 10% 8% 4% 11% 9% 11% 11% 6% -5% 10% 5%
19 6 12 11 10 9 4 9 7 7 6 3 -2 0 25
15% 5% 9% 9% 8% 7% 3% 7% 6% 5% 4% 2% -1% 0% 20%
TOTAL
1875
100%
7%
126
100%
PRODUCT CATEGORY
2017 / 16
In Rs cr
in %
MARCH 2018 | PITCH | 31
CINEMA
NOT YET A BLOCKBUSTER A low base helped Cinema advertising grow in double digits, i.e., 12%, in 2017, with Adex reaching Rs 586 crore. Cinema remains a marginal player as it has failed to capture the imagination of brand managers, and this is not expected to change. However, Cinema is expected to grow at 14% in 2018, the second highest growth rate behind Digital, to reach Rs 668 crore
C
inema continues to be a marginal player in Adex, constituting approximately 1% share of the advertising pie, and notching up total ad spends of Rs 586 crore in 2017. However, Cinema is the only traditional medium that has registered growth in double digits in 2017 – 12% - but because of its low base, the figure does not amount to much.
FORECAST FOR 2018 We expect Cinema to grow by 14% in 2018, the second highest growth rate after Digital, taking its Adex to Rs 668 crore. Cinema has been growing steadily in the last few years due to an increase in number of multiplexes in both the larger cities and towns, digitization of single screens and growth in regional cinema. However, Cinema has failed to capture the imagination of brand managers, in the face of aggressive and stiff sales pitches by other Media, and we do not expect this situation to change in 2018.
32 | PITCH | MARCH 2018
CINEMA ADEX
21%
11%
12%
11%
14%
12%
`668
YEARLY SPENDS (Rs CRORE)
GROWTH %
SHARE OF ADEX
`465
`347
`523
`586
`385
2013
2014
2015
2016
2017
2018 P
1.1%
1.03%
1.06%
1.06%
1.1%
1.12%
MARCH 2018 | PITCH | 33
O
ur list of the Top 50 Advertisers in India in 2017 features five new entrants - Honda Cars, Reliance Retail, Future Retail, United Spirits and Vicco Laboratories – in this elite category. The list includes advertisers from diverse categories, including FMCG, Telecom, Auto, e-commerce and Modern Retail. In keeping with the tumultuous nature of the year, there are a large number of shifts in the pecking order, with 17 advertisers gaining rank and 22 advertisers dropping rank. Among those who gained rank are Vivo(+30), Reliance Jio(+29), Oppo(+26), Patanjali(+10), Godrej Consumer(+3), Samsung(+3) are Hero(+2), while those that have dropped in rank include Airtel(-9), ITC(-7), Mondelez(-2), Honda Motors(-2), LIC(-1) and Colgate(-1). The Top 50 advertisers account
36 | PITCH | MARCH 2018
for 34% of the advertising market. This number is significant, considering that there are over two lakh advertisers in Print and over 12,500 advertisers on TV. The Top 10 advertisers account for as much as 16% of the total market and contribute to 46% of the total 50 list. HUL, Amazon, P&G & Reckitt continue to lead the pack of top advertisers of India in 2017 as well. We may mention that many Madison clients feature in this list, but we have strictly refrained from using any confidential information that we are privy to, and arrived at our list and ranking using a standard, structured process. * A note of caution here - some advertisers who in our list rank above 50 may well be in the Top 50 list in reality or vice-versa.
RANK IN 2017 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50
RANK IN 2016
ADVERTISERS
APPROX SPENDS IN RS CRORE
1 2 3 4 15 6 10 11 35 12 9 42 16 7 44 14 8 17 21 19 49 20 22 5 29 28 25 23 24 27 18 38 26 31 37 34 43 NEW 39 41 32 33 NEW 36 NEW 30 50 47 NEW NEW
Hindustan Unilever Ltd Amazon Online India Procter & Gamble Reckitt Benckiser Patanjali Ayurved Ltd Maruti Suzuki India Godrej Consumer Products Ltd Samsung India Oppo India Hero Motocorp Mondelez Vivo Mobile India Glaxo Smithkline ITC Ltd Reliance Jio Honda Motorcycle Bharti Airtel Life Insurance Corp Of India Emami Limited Colgate Palmolive Google Marico Ltd Mahindra & Mahindra Flipkart.Com Tata Motors L Oreal India Vodafone Coca Cola India Hyundai Motors Nestle India Idea Cellular Bajaj Auto TVS Motor Dabur India Johnson & Johnson Pepsi Co Apple Computer Honda Cars India Titan Company Asian Paints Vini Product Renault India Reliance Retail Ltd Nissan Motor Co Ltd Future Retail Ford India Wipro GCMMF (Amul) United Spirits Vicco Laboratories
2700 - 3000 900 – 1100 600 – 700 500 – 600 500 – 600 500 – 600 500 – 600 500 – 600 400 – 500 400 – 500 400 – 500 400 – 500 400 – 500 400 – 500 300 – 400 300 – 400 300 – 400 300 – 400 300 – 400 250 – 350 250 – 350 250 – 350 250 – 350 250 – 350 250 – 350 250 – 350 200 – 300 200 – 300 200 – 300 200 – 300 200 – 300 200 – 300 200 – 300 200 – 300 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 150 – 200 100 – 150 100 – 150 100 – 150
Moved up in Rank
Moved down in Rank MARCH 2018 | PITCH | 37
VIEW POINT
BUILDING IN A DIGITAL WORLD
– GET CREATIVE!
T
RASHI GOEL
VP Consumer Communications & ECommerce, Nestle India
he Indian consumer, has taken steady steps towards embracing online activities, be it in the form of entertainment, accessing information or building social connections. 2017 may just have tipped digital access to a point of no return, and in 2018, no marketer can ignore the digital reality permeating the Indian consumer. Marketing to the new age ‘connected consumer’ who is well informed, vocal, impatient and demanding, throws open its own set of challenges and opportunities. Keeping the new digitally active consumer in focus smart marketers will design their marketing strategy according to the following: Multiplicity of Media Touch Points The path to purchase is no longer linear. The consumer
38 | PITCH | MARCH 2018
today is an insatiable multitasker. A consumer may be comparing prices online while standing in the grocery aisle. She may be posting a review of a new flavor of ice cream on Facebook, while sending a selfie of the latest lipstick shade to her girlfriends on whatsapp for their feedback to purchase it or not! The consumer today is in a state of permanent connectivity, seamlessly moving between the
MULTIPLI MEDIA TOCITY OF UCH POIN TS
E R O M HENTIC AUT TENT CON
A COA OF PA LITION RTNE A T RS DA ITY
AGILLING FUE GHTS INSI
SINGULA OF ONE RITY COMPELL INSIGHT ING
offline and online world. In the pre-digital world, it was easier to correlate increase in sale or brand equity to a television commercial. But today, which offline or online touch point will influence the consumers brand perception or prompt her to switch brands will be difficult to identify. Just like no media touch point is off limits for a consumer, no media touch point will be off limits for a marketer. More Authentic Content With burgeoning media touch points, content too will need to be customized and personalised.The marketer will need to become an expert in crafting the brand story using an authentic and unique story telling approach that deeply touches the consumer. This content will then be amplified across multiple platforms, from long format
THE SAVVY MARKETER WILL TRY TO UNEARTH THE THEMES BEHIND THE STREAM OF ONLINE ACTIONS AND ADAPT THE MARKETING STRATEGY IN REAL TIME - THE ‘WHY’ BEHIND THE DATA WILL BECOME AS IMPORTANT AS THE ‘WHAT’.
videos on youtube, to 6-second videos on Facebook, from Gifs and memes and influencer marketing on twitter. A marketer will have to be creatively nimble, creating diverse content that appeals to various media touch points and different audience mindsets.
A Coalition of Partners In this new reality of multiplicity of touch points and content types, a marketer will partner with multiple agencies. This is the era of super specialization, and one agency partner will not possess the right skill set, capability and insight for all
MARCH 2018 | PITCH | 39
VIEW POINT
WITH BURGEONING MEDIA TOUCH POINTS, CONTENT TOO WILL NEED TO BE CUSTOMIZED AND PERSONALISED. THE MARKETER WILL NEED TO BECOME AN EXPERT IN CRAFTING THE BRAND STORY USING AN AUTHENTIC AND UNIQUE STORY TELLING APPROACH THAT DEEPLY TOUCHES THE CONSUMER
touch points. A marketer will have to play the role of a brand sutradhaar to ensure that their brand’s story is narrated coherently across all touch points by multiple agency partners. Data Agility Fueling Insights Each click, like, and share generates data. It captures real consumer behavior as opposed to claim level behavior in traditional research. The savvy marketer will try to unearth the themes behind the stream of online actions and adapt the marketing strategy in real time - the ‘why’ behind the data will become as important as the ‘what’. By looking at the ‘why’ behind the online behavior, a marketer could unearth some insights that will fuel product innovation, offline consumer trends and online marketing. For example, short recipe videos make world cuisine just a click away. This combined with offline movements like specialized
40 | PITCH | MARCH 2018
organized trade that sell exotic vegetables, intimate dinners hosted by home chefs and TV shows like Master chef indicate some indisputable consumer needs and desires towards experimentation, openness to new ingredients, cooking methods and tastes. These insights can be used to define the communication, media touch points and content. It can also be used to inform product innovation, marketing partnerships and even geographical focus for marketing programs. The marketer will need to be ambidextrous, combining analytics with creativity. Singularity of one Compelling Insight Amidst all this change, what continues to be critical for a marketer is to have deep consumer insights and to support disruptive creativity. There is a living, breathing, but distracted human behind every mobile phone screen, behind
every amazon review and behind every selfie. Hopes, desires and compelling human insights don’t change, but evolve and find new avenues of expression. The mother still wants her child to eat nutritious food, but the information and means available to her have multiplied. She might research her menu choices more thoroughly online, share recipes more freely, and may even use a nutrition app to measure the nutrition content of every meal. It is only the marketer who can unearth the ‘why’ behind each consumer action and use the insights to unleash creativity and inspire a powerful message, that moves, touches and appeals to the emotions of the consumer. 2018 will celebrate marketers who will navigate this new consumer reality and complex landscape to weave together the multipleroles of a sutradhaar, data miner, media planner and content creator, with single mindedness, keeping the consumer at the core.
Subscribe Now and get upto
30%* Off!
Volume 12
Period of Subscription
| Issue 7 | March 2018
SION
TELEVI
T
PRIN
ITCH THE P ISON MAD REPORT
OOH
TISING
Yes, I would like to subscribe to the Pitch magazine:
Serial No:
2018
CINEMA
ADVER
Magazine Cost ` 100 each
Discounted Price
RADIO DIGITAL
Courier cost Rs.24 inclusive of taxes each only western region
Total Cost Inclusive of courier + discount
1
One year - 12 issue
` 1200
1080 @ 10% discount
288 for 12 issues
1368
2
Two year - 24 issue
` 2,400
1920@ 20% discount
576 for 24 issues
2496
3
Three year - 36 issue
` 3,600
2520@ 30% discount
864 for 36 issues
3384
I will pay through:
Demand Draft
`100
Cash
No. Bank drawn Dated My Personal Details: Name: Address:
Home
Office
City: E-mail: Mobile No.:
Phone No. Home/Office:
DD to be drawn in favour of ‘Adsert Web Solutions Pvt Ltd.’ B-20, Sector - 57, Noida 201 301 Tel : +91 120 4007700
Terms & Conditions
Rates and offers are valid in India only, Please allow 3-4 weeks time for delivery of the magazine through courier/registered post. Indicate your name and address on the reverse side of the DD. Offers valid for a limited period only. Publisher will not be responsible for delay or non-delivery of the magazine. For subscription related queries please contact: 0120-40007700, 022-23643303/3309/3314/3316/3319(in Mumbai) or email us at subscribe@exchange4media.com. Inclusive of one Anniversary Issue at Rs. 100/-
VIEW POINT
ETHICS & ADVERTISING AWARDS:
A LOOK BELOW THE BELT There is something rotten in the state of Ad-land, and it is around the Awards! Are there scam ads being produced for awards? Is it because of the pressures of being recognized? Being chosen to the short-list of clients’ shopping list of agencies? Or just the ego of the creative force to somehow stand out ‘head & shoulders’. Too many of us have bought into the idea that winning awards is the only way to creative effectiveness so much so that we are willing to compromise our integrity for the sake of these meaningless trophies. Is this circus of awards & shows guilty of spawning this passion? Accusations of Juries being unfair is often heard. But the fact is that the Award business is a huge mercantile activity.
A
AVIJIT DUTT
Chief Motivator & Director at Enable CSR Advisory & Intervention. Filmmaker, Actor, Theatre Director and Communications Consultant
42 | PITCH | MARCH 2018
dvertising agencies rely on creative ranking in order to get onto long and short-lists to pitch to new clients and thus gain new clients and new business. One finds that more & more of the worthies have convinced themselves that the only way to better one’s creative ranking is to win more awards at both local and international awards shows. However, once agencies are appointed by a new client, the client rarely allows them to work at a creative level sufficient to win more awards, thus agencies turn to scam advertising in order to fulfil this need. At this point it can easily start to appear that advertising awards shows exist only to fuel this need for creative rankings and may therefore, even unintentionally encourage scam advertising. Awards shows fulfil important roles in the industry:
they serve as inspiration for creatives, help mingle diverse talents, to network and maybe even create a better understanding.
The strange fact is how it has all changed in the last decade. Awards have been an extremely powerful voice with the power to impact societies & change cultures. Earlier, in addition to getting a sense of satisfaction from seeing our work released and even commented on; (and comment was not cheap then), our real drive was in creating communications that in small ways attempted to change / affect the life of the common man. So, awards were something that happened; almost by chance. The raison d’etre was trying to tackle a problem and finding a
Santosh Desai offers a critical definition “To be respected more, advertising needs to build assets rather than supply creatives alone.”
sustainable, creative solution to it in communication terms. My earliest encounter with this beast was a campaign for the state of Delhi (Meri Dilli Meri Shaan) that earned an award. I felt a deep sense of gratitude to the Planner/Servicing Head. Thereafter, was the India Today vs TOI communication (‘Congratulations TOI on 150 years of reporting the facts. Why resort to fiction now!’ Released in TOI) and yet another award, reassuring but didn’t change much for me or anyone around. Except possibly my new-found respect for the Servicing guys who were organized enough to compile the entry paraphernalia and ensure participation. The truth was that we couldn’t be bothered to chase the paper serpent, permissions to spend & speculate. In the Creative Department, we never even
spent time shopping around for opportunities, canvassing for entry funds…if someone else would do it, we were happy! Whether it was the fear of rejection or just the effort required I can’t say, but it did deter us. While the Servicing guys were very clear; • Clients would get a new highlighted view of the Agency • Shopping for talent would be that much easier • And of course, an opportunity for each one to project themselves as they imagined for better horizons! But what Advertising requires is to find its true worth as a voice that yields great power. We had joined the business knowing it’s a ‘young people business’ and our tenure had a date of finality to it. This too
could have been a reason for us not striving for awards. We were happier creating good work that we believed the brand or service required. We were the representative of the consumer in the Client’s boardroom. We fought relentlessly for ideas. Then came the era of hiring ‘Management graduates’ who had deep respect for the pearls of wisdom gleaned from research, gradually abandoning the specialists’ position to become an extension of the Client. Santosh Desai offers a critical definition “To be respected more, advertising needs to build assets rather than supply creatives alone.” Desai clearly feels that admen get disproportionate media coverage, leading them into believing they’re ‘big, hot and happening’. “This industry is too self-obsessed, judging
MARCH 2018 | PITCH | 43
VIEW POINT by the number of awards we flank ourselves with,” he says. Not that award shows aren’t important, it’s the lack of original work that bothers Desai. “We’re too comfortable with using rehashed or recycled concepts,” he says. “We are experts without any expertise and then we crib about not getting respect.” This emasculated version of the Agency which has deprived it of the ability to think as a single window solution to the Client’s needs has also had a hand in the ‘dumbing down’ of the Agency. While media innovations are few and far between, communication’s inability to find a solution through Media usage has reduced the potency of its vision. How much of it is caused by the Agency becoming a castrated version of its ‘full service’ model. There isn’t much to commend except for its ability to get noticed in the most obvious ways. The segregation of the creative from all other functions has also made it single-minded in wanting to collect accolades and be noticed. The Ford Figo fiasco and worthies of JWT bowing their heads in shame are still too recent to be recounted. Tata Salt and Leo Burnett is another case that comes to mind-of sticky fingers. But these are only a few examples that have been caught, hundreds of scam ads make it with the jury turning a blind eye to it. It does not mean truly creative work has not been done and awarded. Some of the ads that have made us proud are • ‘Last Words’ by Medulla Communication for Indian Association of Palliative Care • The Dancing Letters for Maharashtra Dyslexia Association • Blood Banking by JWT the path-breaking video that changed the way Blood
44 | PITCH | MARCH 2018
•
•
•
banking works 6 Pack Band: Hum Hain Happy the Trans Gender campaign supported by HUL Dipper Condom by Rediff Y&R in association with HLL Lifecare & NACO Healthy Hands the O&M campaign for the ITC owned brand Savlon
Let’s chase the money: It is a little anachronistic to be talking about such things and raising questions when we have been finally finding a world order that acknowledges Indian Advertising as a force. Just last year we won 40 medals at the Cannes Lions. The Cannes Lions is the international highpoint! It has also had a case of Ethics consciousness! And the Cannes Lionheart Award has been constituted. But the economics makes
too strong a case for the show to be less ostentatious. Consider this, Euro 22 million in entry fee and Euro 50 million in delegate fee. Indeed, too strong a case for not continuing with flashing the Kardashians or jangling the diamonds. While across the ocean thousands of impoverished, abused migrants are dying in North Africa. Let me quote Amir Kassei, Chief Creative Officer, DDB Needham. (Child soldier at 13, escaped to grow up in Austria & educated in France. Polished by life’s various twists and turns. Puts his acerbic sharp focus on the Creative rush for worthless metals!) “Too many of us in the industry have bought into the idea that winning awards is proof of creative effectiveness, so much so that we’re willing to sacrifice our integrity to get them. And in turn that has lessened the integrity of the awards themselves. So, if we believe that we are a great
emanates from a competing agency.
Culmination in the Present Continuous:
The Dancing Letters, 4 was done by McCann Erickson Mumbai for Maharashtra Dyslexia Association in India. It was released in Sep 2016
creative or an amazing agency or a great network because we won such and such meaningless award in a sub-sub-sub-category at an advertising awards show where ad people award ad people’s irrelevant solutions for problems that often do not even exist, then we’d better think again. If we believe that the proof of our real talent is that we came up with a funky case video for an idea that did not have anything to do with the real world and was not even created for a reason other than to please a jury at an award show, then we are not talented. If we are coming up with social ideas that pretend to solve the world’s biggest problems or help disenfranchised people, but, in fact, are only being done to win an award, we are cynical and perhaps even criminal. Our industry has lost focus about what really matters. All of us who are working in advertising and marketing communication have only one purpose: to
use our creative talents and insights to build relevance and influence in today’s world that consequently creates substantial results for the brands, products and services of our clients. If we do that in great, unseen, fresh and innovative ways, we will move people. We will impact societies and shape culture. That is the real and only relevant recognition that we as an industry should aim for. And that is the only currency, which that is valid out there.” His declaration of the emptiness of such acts turned the harsh light of criticism on the jury too with a subtle mention of the process juries use to disqualify work and therefore, narrow the field for selfish or ‘Group’ reasons.Provocative accusations and opinions regarding the integrity of the juries at Cannes. He more or less states that certain jurors have a clear mandate to “kill off” competing work, regardless of its quality, if the said work
Early in the last century two self-taught giants’ unknown to the world, translated Einstein’s Principles of Relativity from German to English. They were Satyendra Nath Bose & Meghnad Saha. In a natural progression Bose then went on to create the Bose Einstein Theorem, the basis for Quantum Physics and what led us to the ‘Higgs Boson’ or the God Particle that journalists headlined. Based on his work many have received the Nobel prize. When Bose was asked why he had been overlooked, he was surprised by the question. “But humankind has gained in knowledge, hasn’t it, what more!” That pure search for excellence is hardly ever matched. And it would be foolish to even expect it of Advertising. But it is worth ruminating on... In my own life, the campaigns that mattered the most to me: Launch of Childline, 1098(As of March 2015, a total of 36 million calls since its inception in 1996, have been serviced by Childline service. It operates in 366 cities across 34 States and Union Territories through its network of over 700 partner organisations),Ministry of Consumer Affairs Campaign (Jago Grahak Jago; the Agency presented to the Planning Commission & got the Rs.250 crore budget allocated) give me a warm glow within. Actually, it never even crossed my mind to enter any Award extravaganza. But then my motivation had always been- not work to impress the jury and collect trophies for the mantelpiece, but to reward my own self & recognition of some ‘real’ contribution to world I live in. This paper was presented at the National Conference on the ‘State of the Advertising Industry in India’ organised by ISID (Institute for Studies in Industrial Development), New Delhi, India.
MARCH 2018 | PITCH | 45
OPINION | GUEST COLUMN
PESTER POWER Is advertising responsible for the growing Pester Power in India?
DR. ANUBHUTI YADAV
Associate Professor, Department of New Media Indian Institute of Mass Communication, New Delhi
We might not have age appropriate content for kids on television or children centric cinema but the advertisement airtime is abound with advertisements leveraging children to sell different products. Catching them young, pester power, nagging power are buzz words in the marketing and advertising industry. Advertisers are continuously searching for new ways to persuade children. 48 | PITCH | MARCH 2018
C
hildren are bombarded with powerful images, words, and sounds from various media, which are designed to win over their minds and hearts. Adults can use their vast experience and education, as filters to navigate these powerful messages. For children it is difficult to do so. They are growing up in a media saturated environment, surrounded by mass media, all the time in school, at home, at shopping malls and in parks.
Unfortunately, this environment is full of content for adults and not really for kids. Indian TV is dominated by general entertainment genre with Hindi and regional programs at the top.
Children and Advertisements
Children are taken seriously by advertisers and that is why there are plenty of advertisements featuring kids. The products might not be for children, but there are a plethora of advertisements
This paper was presented at the National Conference on the ‘State of the Advertising Industry in India’ organised by ISID (Institute for Studies in Industrial Development), New Delhi, India.
DVERTISING ON A D N TV RA B IN 0 1 0.55 20 P 1 1.15 O T
6
featuring children and targeting them even for the products that are not meant for them. An analysis of 72 websites targeting children revealed that no less than 179 data brokers track children’s behaviour from which resulting data is used by advertisers to target children effectively. Advertisers are constantly searching for clever ways to persuade children to buy their products or to convince their parents to purchase.
0.54
0.51 0.85 0.46
0.49 0.75 0.45 Amazon.in
Airtel Cellular
Airtel 4 G
Lux Toilet Soap
Surf Excel easy wash
Vodafone Supernet 4G
Fair and Lovely
Idea 4G
Colgate Dental
Source: TAM Media Research pvt Ltd. Infographic by Dr. Anubhuti Yadav (CCBYND)
Broadcast Audience Research Council (BARC) India five of the ads featured children. The ads
35.8
10
29.5
28.9
28.8
28.4
27.4
24.6
Surf
15
Brand Red Label
20
Oppo
30
Veet
30.4
Oppo
30.7
Lux
32.8
Rim
35 25
that featured kids garnered more impressions as compared to the ads without kids.
Ponds White
40
Surf Excel Easy
Out of the above mentioned top 10 brands on TV in 2016 (FICCI KPMG), eight brands featured children in their advertisements. The purpose of having kids in surf excel easy wash, Vodafone, idea 4G, Amazon and Colgate is to influence adults through kids. Flipkart through its message and presentation targeted both kids and adults. While the message like announcement of sale was for adults but the presentation of the same had lot of probability of influencing kids so that they could convince their parents to buy different products. The Top 10 most viewed advertisements compiled by the
Dettol cool soap
Flipkart
0.6
5 0 MARCH 2018 | PITCH | 49
OPINION | GUEST COLUMN
They are used to grab attention of adults, to influence new parents, to use children as educators. There are number of researches conducted on children’s commercial recall and product preferences and they find that children recall content from the ads to which they are exposed to Surprisingly none of the products above have children as their target audience. Then, what are reasons for using children in advertisements of the products which are not even meant for them. From the Murphy radio baby, Parle G Girl, Amul mascot to the Nirma girl, children have been selling products for years. There are number of reasons why advertisers depict children in their ads. Advertisements are used as an effective ‘vehicle’ to create rational and emotional appeal for different target audiences. They are used to grab attention of adults, to influence new parents, to use children as educators. There are number of researches conducted on children’s commercial recall and product preferences and they find that children recall content from the ads to which they are exposed to
50 | PITCH | MARCH 2018
Pester Power:
Product preference has been shown to occur with as little as a single commercial exposure and to strengthen with repeated exposures. Most importantly, studies have shown that product preferences affect children’s product purchase requests and that these requests do influence parents’ purchasing decisions. Studies have also found that parent–child conflicts occur commonly when parents deny their children’s product purchase requests that were precipitated by advertising. (Report of the APA Task Force on Advertising and Children- American Psychological Association) The following word cloud is developed as a result of survey conducted with twenty five advertisers on why kids are used in advertisements for various products:
According to McNeal (1999) there are three reasons that makes children very powerful in purchasing decisions. First, they have their own spending power Second, their role as customers whose loyalties repay early courtship Third, is their power over adults purchasing behavior. Children exert pressure on adult’s purchasing decisions for the products ranging from children centric products like games, confectionary to the products like cars etc. Children pressurize their parents into buying any product only when they are aware of it and advertisers create advertisements in such ways that it attracts the attention of not only the adults for whom the product is meant for but also of kids. Researchers have established a relationship between advertisements and pester power. The reason for the same is awareness and interest that is created by advertisements for specific products. Children pester their parents to buy products which they have either already seen in ads, or heard about from their peer groups, or even have used before.
Kids are exposed to advertisements more than even before. Most of the advertisements feature kids with an objective to influence parents through them or to influence kids. More exposure to advertisements means more awareness about products available in the market and this can increase the probability of pester power. Pester power is not linked to the exposure to advertisements alone, family structures also play a very important role in deciding whether children will be resorting to pester power to influence purchase decision of their parents and also whether parents will succumb to such pressures or not.
INDUSTRY
SPEAK INDUSTRY COMMENTS ON THE FINDINGS OF THE PMAR 2018
MARCH 2018 | PITCH | 51
INDUSTRY SPEAK
GERALD JAIDEEP CEO, Medvarsity Online Ltd.
T
he PMAR has always been an excellent tool for stakeholders like us to gain foresight. The predictions are invariably bang on & give us a gross picture of the trends expected in the year & allow us to strategize accordingly. Great work as always, PMAR team.
52 | PITCH | MARCH 2018
T
he PMAR provides an exceptional insight into the trends and behaviours of the ADEX landscape and provides a strong barometer for agencies and brands to plan the year ahead. Having said that, I believe that the projected growth of Digital will actually be much lower than what the report suggests. With increased pressure from Unilever and other global FMCG brands, Facebook and Google will be forced to clean up the way ads are presented along with content. While this will slow down short term spends on digital (linked to impact), we expect Digital OOH, Radio and others to see a substantial growth this year. With more and more Indian’s cutting the cord, digital TV (Netflix, Hotstar, Amazon Prime, etc) is going to expand its reach substantially. Faster network speed, thanks to Reliance Jio and others, will lead to faster penetration in tier II cities across this year. This will have direct impact on TV Adex as brands will seek innovative solutions (content+brand partnerships) to reach this emerging customer base. Overall, we believe that this is going to be a good year for the industry with expansion in ad spend (as compared to last year) and the development of new and innovative channels to reach the same customers. Definitely a positive year to look forward to.
VIKAS LOKHANDE Sr. GM, Marketing & Strategy, Khushi Advertising
MARCH 2018 | PITCH | 53
INDUSTRY SPEAK
SUHAIL TARIQ
CMO, Huawei India Consumer Business Group
O
wing to our country’s unique cultural and linguistic landscape , we have seen the advertising and media landscape changing at a rapid pace. With an increase in the online news consumption, brands across sectors have increased their investment in digital mediums significantly, and we expect further advancements as the future of online advertising and marketing will continue to grow. On social media platforms, we see a higher expenditure across platforms such as Facebook, Pinterest and Instagram, in addition to Google, as the boom in internet connectivity continues to reach the heartland of India.
54 | PITCH | MARCH 2018
T
he estimated growth figure of 12% essentially will depend on how well the auto sector spends on advertising this year which will get a big boost with the launch of Kia, a subsidiary of Hyundai in India and MG Motors a brand from London and a few others. Another set of challenges will come from mobile industry..I believe Samsung will be very aggressive in its online business... because its offline business is being challenged by Xiomi, Samsung will spend a lot on online sales, which includes e-commerce platforms while also spending on ATL and BTL ads. These two sectors will contribute to growth of revenue for the ad industry. The rest of the sectors will not be spending much.�
ABHISHEK SOMANY MD, Somany Ceramics Limited
MARCH 2018 | PITCH | 55
INDUSTRY SPEAK
ANURRADHA PRASAD MD, B.A.G. Films & Media Ltd.
T
he Pitch Madison report underestimates likely radio growth in CY18. We believe CY18 will be a rebound year and radio could grow at anywhere between 15-17%. In fact, there is also a possibility that it may grow at 20%, like it did in CY10 (the year following the Lehman crisis, which had crippled media growth rates in CY08 and CY09). Big agencies typically tend to underestimate radio, but if you notice, the present report itself shows that radio has grown faster than TV and print in four of the last 5 years from CY13 to CY17 (the only exception being CY15, in which TV grew slightly faster). With so many new stations launched recently, radio is likely to beat TV’s estimated growth rate of 13% in CY18
56 | PITCH | MARCH 2018
T
he year 2017 has been a big disappointment in terms of the grow estimated ( 13.5%). As we all know the most evident reasons being the demonetisation and the GST. But as nothing is permanent and while every step is taken by the government to boost the economy keeping the long term vision, we see things to be positive for the year 2018. Every business will see GST benefits and so will advertising across categories. News is the second highest revenue contributor at 11% and will continue to grow in the TV genre. The year forward is packed with many events, the Assembly elections, LOK Sabha elections in 2019, sporting events like cricket, will get good eyeballs and the advertisers will surely want to leverage this. News24 has a well established lead in the Urban and rural markets and will further strengthen its reach as we move ahead. As mentioned in the report FMCG companies are looking to reach every individual out in these rural markets and that is a positive sign. FMCG the biggest contributor to the Adex revenue at 32% will always be at the top and will grow further. With changing reforms Telecom, E commerce, Retail and BFSI with further grow adding to the spends in 2018. After Television, Digital is the future and the fastest growing medium today. With fast developing technology and information available at your fingertips while on the move, it has a potential to grow beyond its estimated 25%.
PRASHANT PANDAY Managing Director and CEO, Radio Mirchi
MARCH 2018 | PITCH | 57
INDUSTRY SPEAK
SHREYAMS KUMAR Joint Managing Director, Mathrubhumi
O
ur endeavour is to grow at a higher rate than what is projected for print. As a market leader in the print industry, we have rolled out many initiatives to drive the power of print, both at the advertiser and the agency level. We will be fortifying these with some exciting plans on how to drive this growth upwards.
58 | PITCH | MARCH 2018
T
he PMAR projections are quite realistic in nature and foresee double digit growth rate across the industry, which is something to look forward to, print continues to have a balanced growth and bharat story will continue to flourish. Having said, I am quite optimistic that print will surely have a larger pie of the advertising share in its kitty and will continue to occupy centre- stage in the advertising plans of the traditional sector advertisers
SIVAKUMAR SUNDARAM President Revenue, BCCL- The Times of India Group
MARCH 2018 | PITCH | 59
INDUSTRY SPEAK
ABRAHAM THOMAS CEO, Radio City
I
definitely expect Adex growth in 2018 to be better than in 2017. Digital, will lead with an estimated growth of 30% in 2018. This is driven by increasing penetration of smart phones and access to low cost data. Even though rapid growth of digital has probably impacted print more, I do not think any media is irrelevant. Each one them has a place in a brand’s communication strategy.
60 | PITCH | MARCH 2018
R
adio, by virtue of its intrinsic nature, seamlessly integrates with other media including digital and increasingly advertisers are using integrated campaigns to amplify their messages. While the overall average Adex growth seems accurate, the overall industry size seems subdued as it does not account for these integrated revenues. Also the top 2-3 players, irrespective of the medium have grown faster than the industry owing to innovative content strategies. The industry will continue on its growth trajectory as advertisers realise the potential of combining Radio with Online Media resulting in new revenue streams
DEBRAJ TRIPATHY
Managing Director, MediaCom
MARCH 2018 | PITCH | 61
INDUSTRY SPEAK
CHETAN ASHER CEO, Tonic Worldwide
W
e can expect a growth between 10-12% over the previous year. Pro-spending policies and consumer confidence as a result of measures taken to improve economic growth in India will be determine the impact on media and advertising spends. The appropriation of spends towards different media may alter - as seen in the case of Digital, but the significance of Print, Television, OOH in the media plan remains. Various media namely Print, Television, OOH will also witness growth over the previous year. India’s diverse population allows space for the traditional media to function and stay relevant to its audience.
62 | PITCH | MARCH 2018
T
he near future is not going to be about which platform replaces the others. It’s going to be about how multiple platforms can coexist and compliment each other to tell compelling and relevant brand stories.
AMIT V S TANDON
CEO, Genuus Brand Advisory
MARCH 2018 | PITCH | 63
VIKAS KATOCH
Founder and CEO, Adomantra Digital India Pvt. Ltd
I
’m not surprised to see the trend of digital leading the pack. Our recruitment trends also match this as we are seeing a higher demand for digital marketing candidates from companies. This is probably because a lot of companies are trying to build in-house digital marketing teams or supplementing marketing teams with digital skills. One of the reasons why digital ad spend isn’t growing even faster is that the demand is far more than skilled talent that understands the medium. If enough people upskill, we expect digital spends to grow even faster this year.
64 | PITCH | MARCH 2018
T
he advertising industry has been a shining star in the last decade but with the advent of new avenues like digital media, the growth rate of traditional advertising platforms has unquestionably dwindled. The demand for digital advertising has seen a boom which shall maintain its supremacy for another 3-4 years at least. I personally feel that the forecast by the Pitch Madison Advertising Report is conservative in nature. I expect overall advertising industry to grow at a better rate than mentioned in the report, may be 5-6% higher. I also see feel that traditional media is here to stay forever for targeting specific segment of audience. The launch of Jio and falling data charges followed by a rise in over-thetop video content players and market makers like us are acting as catalysts for digital advertisers and brands. The Government’s commendable efforts in pushing for a digital cashless economy has further pushed advertisers towards online video advertising. Marketers divide their ad investment on multiple platforms in order to have an omni-presence across all the important digital platforms. 2018 will be an optimistic year for the digital advertising industry. With the optimum utilisation of opportunities that E-commerce websites, Video OTT and Mobile OTT are offering, digital advertisers are affirmative of the potential which the industry holds.
ZAIRUS MASTER CEO, Shine.com
MARCH 2018 | PITCH | 65
INDUSTRY SPEAK
VAIBHAV ODHEKAR Co-Founder, POKKT
W
ith increasing smartphone and internet penetration in India, and with falling mobile data rates bringing Internet to the masses, India is increasingly going online. Video already accounts for over 50% share of Internet traffic and this is just going to explode. We see Video as being a significant accelerator of the overall Digital growth in 2018 and ZEE5 will be at the forefront of this increased growth
66 | PITCH | MARCH 2018
W
e strongly agree with the trends shared by Pitch on the growth of digital advertising in 2018. On the fundamentals of strong improvement in internet bandwidth, data consumption and smartphone sales, we think within digital, “mobile� will grow at around 35% and video advertising on mobile at upwards of 50% All this provides us with strong tailwinds and we at POKKT, expect to roughly double our revenues in 2018.
ARCHANA ANAND EVP & Head of Digital, ZEE5 India
MARCH 2018 | PITCH | 67
AVINASH PANDEY COO, ABP News
68 | PITCH | MARCH 2018
T
he growth of the media and advertising industry in India is highly dependent on the overall economic growth indicators like - an increase in the spending power and creating an affluent brand conscious consumerbase. The growth forecast of 13% in 2017 for Indian Media and Advertising industry was based on the expected bounce back of the economy post demonetization. But prolonged impact of demonetization and the unpreparedness of industries for GST implementation in 2017 had stunted the industry growth to 7.4% with traditional media like TV showing just 4% growth. Now coming to 2018 projections, it indeed seems to be a better year than 2017 with the economy expected to finally accrue some benefits of GST, and various state elections planned for the year, but the forecast of 12-13% growth of the Media and Advertising industry seems to be a little aggressive. Reasons being GST still finding its tight hold in the system, though in the longer run, GST rollout is supposed to make the existing systems transparent and easier to work, but it will take at least one or two quarters of this financial year for the industry to settle into understanding the cycle of GST implementation across various points of the business. Also, with IPL getting scaled up, things look rosy for Star Sports Network but it may end up taking large share of the advertising pie out of overall news as a genre. But on the traditional media front, general elections in 2019 will stimulate advertising from the second half of 2018, a much-needed respite for the industry. Hence, first half of 2018 may seem to be a slow pick-up period in terms of growth, but the second half will see an upward trend for sure. And as they say, “When you reach for the stars, you might not quite get one, but you won’t come up with a handful of mud either”. Therefore, let 2018 put the Indian Advertising industry on a high growth chart again and bring it back to the stellar position which this industry generally enjoys…let it be an optimistic and hopeful year for the media and advertising industry!
INDUSTRY SPEAK
KEDAR APTE Vice President Marketing, Castrol India
T
he PMAR is very promising & the year ahead looks very positive. Print is projected to grow at 5% however vernacular publications will grow by at least 10% or above. The growth for print will come from tier 2 / tier 3 towns where the literacy rates are on a high. Sakal, Maharashtra’s No.1 Newspaper is poised to drive this growth trajectory & provide quality output to its readers and advertisers.
70 | PITCH | MARCH 2018
N
o campaign today is complete without digital. The percentage of our marketing spends that we allocate to Digital is in double digits currently and it is growing every year. Though we feel Television is a strong medium, while watching TV consumers are also constantly using their phones. Overall I expect the industry to increase digital spends and we will be in line with that. 25% growth in Digital as estimated by the Pitch Madison report is a very good number.
KRISHNA MENON Chief Marketing Officer, Sakal Media Group
MARCH 2018 | PITCH | 71
OPINION | GUEST COLUMN
GETTING THE BEST ROI FROM CLIENT-AGENCY RELATIONSHIPS SUNIL GUPTA
Managing Partner, South Asia, Results International Group. Regional Director , South West Asia , APRAIS Worldwide Ltd.
U
nlike other commercial relationships between corporate entities, which may be transient/project-based (e.g. legal/medical), mechanical and repetitive (e.g. financial compliance), transactional (e.g. manufacturer-wholesalerdistributor-retailer), or with finite delivery parameters (e.g. manufacturing), the Marketing Company’s relationship with its Communication Agency/ Agencies is unique because it is based on an organic, fluid,
constant-action dynamic and its fundamental parameters are mostly subjective. Furthermore, the commercial and human ramifications of this relationship are immense, in that it can often be the key to success or failure of Companies in the marketplace, as well as make or break careers. To understand the reason behind this, we must explore why these relationships exist in the first place. In today’s globalised world, Companies (or Brands) mostly operate in
highly competitive markets (i.e. seeking to acquire the same set of customers) wherein the functional, distributional and technological (i.e. ‘rational’) differences between Brands are negligible or even non-existent. When there are no ‘rational’ reasons available for customers to choose between Brands, they must find variable reasons to attract customers. These variables are almost always ‘emotional’ and subjective
This paper was presented at the National Conference on the ‘State of the Advertising Industry in India’ organised by ISID (Institute for Studies in Industrial Development), New Delhi, India.
74 | PITCH | MARCH 2018
It has now been proven with 99.9999% statistical confidence that David Ogilvy (the doyen of the Advertising world) was indeed correct when he said “Clients get the advertising they deserve”
considerations based on factors such as Brand Image and ‘emotional connect’, which are used by customers to help them make choices. Indeed, there is ample empirical evidence to demonstrate how the right or wrong Brand Image was the difference between success and failure in the marketplace. As may be expected therefore, the creation of a most subjective variable such as Brand Image through communication is a highly specialised function, requiring expertise that is the domain
of specialist Marketing (Brand) Communication Agencies...or else the Marketing Companies would do it themselves! Since they do not, and entrust it to specialists, it follows that Marketing Companies regard (or should) the process of creating and managing Brand Image as being of paramount importance. And if this is accepted, then it further follows that the relationship between the principals at the Marketing Company and the Communication Agency must also be managed properly to ensure maximum effectiveness of the process and outcome. This is further accentuated by the fact that the process is almost solely the domain of human beings (on both sides), not machines, the outcome is ‘ideas’...and it is an on- going, constant process. Common sense tells us that the subjectivity that is generated by factoring the intrinsic idiosyncrasies of human beings, the ephemeral nature of creativity and ideas (not everyone likes the ‘Mona Lisa’ but most will probably agree it is a masterpiece), and the constant pressure of having to create effective ‘ideas’, into the hard-nosed world of competitive marketing is a daunting task, requiring care, maturity and open minds. Equally, everyday experience will tell us that this is easier said than done! Yet, since there is so much riding on this, it should again follow that there needs to be a system in place to bring as much objectivity as possible into the process and its outcomes, without compromising the essential soul and character of creativity; so the question is how to bring objectivity to subjectivity! There are indeed many prescriptions for this, ranging from the ‘granny-home’ to the ‘robustly muscular and direct’ to the (bringing up the rear) ‘professionally objective and equal’. Leading the way is the home/muscular-direct remedy. As one of the fiercely moustachioed worthies of
the advertising world told me many years ago, “Arre, what’s the problem, just have a beer with the client CEO/Marketing Head and all will be well, why do we need a system to tell us about our relationship?” If it were indeed so easy, why hasn’t this magic recipe been institutionalized and held up as best practice in a sector that is rife with pitches and Agency changes? The reason is that no relationship, especially a commercial, working relationship that encompasses many people of different skills, predilections and views on both sides, can be maintained on a diet of senior beers. I dare say neither could a personal one consisting of two people! But we are like that only! We love the easy way out, but if there is one thing that all of us should agree on, is that diligent, professional, objective and regular analysis based on agreed metrics, and following-up on the feedback from the metrics, is the only correct method for ensuring the effectiveness and longevity of the Client-Agency relationship. Recently a worthy of the marketing fraternity unveiled a ‘Technique’ based on the “Three T’s” (Time, Talk and Trust), identified by him as the key components of successful relationships. While no one can argue with these, we at APRAIS Worldwide believe that they need to be based on the ‘Two W’s’ (Why, When) and ‘One H’ (How) by using this metaphor: a ClientAgency relationship (actually any relationship) is like a river, some smooth passages, some rocky, some definitely dangerous, some fresh, some polluted, often with changing contours but hopefully continuously flowing, because when a river stagnates, it is dead. It is important to gauge the health of the river, then, at all times, so that bottlenecks are removed, courses corrected if needed and full advantage taken of the smooth flows when they occur. White water rafting is fun, but you don’t want to be doing it every day!
MARCH 2018 | PITCH | 75
OPINION | GUEST COLUMN
1. Why? I have advisedly used the word ‘maintained’ in the ‘senior beers’ paragraph above. This is because unlike a marriage (to which the Client-Agency relationship has often been –incorrectly- compared), the Client-Agency relationship is: a) comprised of many different personnel working at different levels and on different aspects and who, importantly, can and do keep changing over the course of time; many of them work at the real coal face, where things can get tough and dirty, unlike the pleasant confines of board rooms; thus one person’s view, however senior he or she may be, should not be the basis of assessing the relationship; in fact, the rot often starts below; b) a commercial one with hard and measurable commercial objectives. (Of course, many marriages in India are based on this same principle, but that need not detain us here); c) most importantly, just like any other relationship, ultimately dependent on the behaviour and performance of both parties. It has now been proven with 99.9999% statistical confidence that David Ogilvy (the doyen of the Advertising world) was indeed correct when he said “Clients get the advertising they deserve”. So if everyone wants the best outcomes from the relationship, an open and honest dialogue of feedback needs to flow in both directions. ‘Trust’ can only arrive if both parties believe it is a partnership of equals, with equal voice on a level playing field. This inevitably calls for some system which can help ‘maintain’ the relationship on even keel despite personnel churn and subjective evaluations.
76 | PITCH | MARCH 2018
2. ? WHEN
one person’s view, however senior he or she may be, should not be the basis of assessing the relationship; in fact, the rot often starts below
A dipstick in the river (or a beer in the evening) may not (and usually does not) give us a representative picture of how it is evolving, and what is happening along its course. It is akin to the marketing process, which also needs constant and fresh information to enable successful decision-making, planning and execution on a dynamic basis. Marketing information collection is never only annual or limited to a single report, as it would become dated and unusable. The same holds true for the C-A relationship, which is itself crucial for marketing success. So it follows that a C-A relationship should also be evaluated and information collected on a regular basis, to allow for early warning if there are rocky passages coming up, or stagnation setting in, and to ensure that benefits of the smooth passages are maximized.
Happily, such a system exists. APRAIS Worldwide has been helping Clients and Agencies the world over to objectively monitor and measurably improve the ClientAgency relationship across the globe, from Albania to Vietnam, for the past 17 years. APRAIS Worldwide has helped assess over 18,000 relationships and the data from that vast pool has demonstrated clearly that regular, objective assessments make the Client-Agency relationship more effective across all parameters, as is evident from the Ogilvy quote example. Following are the metrics of the vast APRAIS data pool: (17 years of data with trends,12 agency types, i.e. Creative/Media/Digital/PR etc., 85 markets ,250 marketing companies, 430 Marketing Communication Agencies , Sectors include Automobiles, FMCG, Banking & Financial Services, Telecom, Personal Products & Accessories, Beverages and Durables all leading to 99.9999% statistical validity).
3. HOW?
Findings from the data pool
i) The importance of Data & Benchmarking for quality decision making a. Constant measurement and evaluation generates data and benchmarks which are critical for an objective view of the effectiveness of the relationship and actions required for improvement. b. Subjective evaluations do not have the hard reality of benchmarks based on extensive data gathered over many years.
ii) Client & Agency Performance is Highly Interdependent a. Top Performing relationships get +37% Creative & +21% Media Planning performance from their Agencies.
iii) Disciplines which define good Agency performance a. Functional (Creative, Media) | b. c. Strategy, Planning & Analysis | d.
Account Management Behaviour .
iv) Disciplines which define good Client Performance a. Briefing b. Approval c. Timing d. Behaviour
v) Benchmarking is a must
a. It is necessary for the correct perspective and realistic assessment of comparative performance b. Benchmarks are available by category, market, discipline, Agency group, Client
Thus, if the Client-Agency relationship is the subject of so many discussions, so much sound and fury and so many ups-anddowns, then APRAIS believes and is able to demonstrate that objective and regular assessments could help ensure they remain happy and healthy. Let me end with Two Q’s (Quotes!) to supplement the Three T’s and put the entire C-A relationship matter into perspective.
As Fred Allen (famous American radio show host & comedian) said, “It is probably not love that makes the world go around, but rather those mutually supportive alliances through which partners recognize their dependence on each other for the achievement of shared and private goals.” And as Robert
Heinlein (famous Sci-fi author) said, “Love is the condition in which the happiness of another person is essential to your own.” Perhaps this is the final, human touch essential for the continuing success of any ClientAgency relationship.
MARCH 2018 | PITCH | 77
#OOHawards
Be part of the Biggest Out-of-Home Advertising Conference KEYNOTE ADDRESS STUART TAYLOR
SPECIAL ADDRESS ARRAN JAVED
STANDALONE INDRAJIT SEN
JURY CHAIR ADDRESS KANWAL JEET JAWA
CEO Kinetic Worldwide, UK
MARCH 21, 2018 LE MÉRIDIEN GURUGRAM 2 PM ONWARDS
Head of OOH Trading MediaCom, UK
CEO Indian Outdoor Advertising Association
MD & CEO Daikin Air-Conditioning India Pvt Ltd
PANELIST
ATIN GUPTA
MD Atin Promotions & Advertising Pvt Ltd
DIPANKAR SANYAL CEO Platinum Communications Pvt. Ltd
EMRAAN KURESHI
Founder & MD Active Media Innovations
GAUTAM BHIRANI
Founder & CEO BarTalk India
NISHITH KL BHANDARKAR
President & COO Eggfirst Advertising
Delegate Registrations are open for the main event. Enquire Now! RAJESH JAIN
Sr VP Sales & Marketing, Daikin Air-Conditioning India Pvt Ltd
Associate Partner
SANDEEP SHUKLA SARTHAK SETH Head- Marketing & Communication Jaquar Group
Head - Brand & Marketing Communications & Head - Sanyo Business Panasonic India
Trade Media Partners
For Latest Updates, Install
Music Community Partner
Business Media Partner
Contact us for more informa�on: Priyanka Singh | priyanka.singh@exchange4media.com | +91 9810839486 Rahul Bhaduri | rahul.bhaduri@exchange4media.com | +91 7838237004 Gagandeep Kapani | gagandeep.kapani@exchange4media.com | +91 9871550553 For Partnerships, Please Contact: Runa Sinha - Na�onal Business Head | runa.sinha@exchange4media.com | +91 9810497903 Ashish Kudalkar - Regional Manager West – Sales & Business Development | ashish.kudalkar@exchange4media.com | +91 9820541742 Sneha Walke - VP Special Projects & South Head | sneha@exchange4media.com | +91 9845541143
#GoldenMikes
THE CREATIVITY CATEGORY BEST SINGLE COMMERCIAL FMCG- Personal and Homecare, Beauty & Cosmetics Pharmaceutical, Healthcare and wellness Consumer durables Insurance, Banking & Financial services IT, Telecommunications & Digital Media Media & Entertainment (TV Shows/Films) Services Automobiles Real Estate Retail, fashion & lifestyle Public Service Corporate E-Commerce Food & Beverages Education Travel, Tourism & Hospitality BEST FIRST TIME CREATIVE BEST CAMPAIGN
SEND IN YOUR ENTRIES BEFORE THE 15th OF MARCH ’18!
For event details, please contact: Sanyogeeta Chore: sanyogeeta.chore@exchange4media.com | +91 9167473770 Cara D’souza: cara.dsouza@exchange4media.com | +91 9820247582 For sponsorship opportuni�es, please contact: Runa Sinha (Na�onal Sales Head): runa.sinha@exchange4media.com | +91 9810497903 Sneha Walke (VP Special Projects & South Head): sneha@exchange4media.com | +91 9845541143 Ashish Kudalkar (General Manager-West, Sales & BD): ashish.kudalkar@exchange4media.com | +91 9820541742
OPINION | GUEST COLUMN
SEMIOTICS – A
MAGIC WAND IN
ADVERTISING! KUNAL SINHA
Executive Director – Advisory, Kantar Insights
We are in the business of eliciting a desired response from consumers, through the stimulus that we create: advertisements. In most advertising research with the consumer, we study the consumer’s response, and qualitative research tries to get psychological things out of people’s heads.
80 | PITCH | MARCH 2018
This paper was presented at the National Conference on the ‘State of the Advertising Industry in India’ organised by ISID (Institute for Studies in Industrial Development), New Delhi, India.
“Semiotics is a science that studies the life of signs in a society” -Ferdinand de Saussure
S
emiotics asks how things get in there in the first place. Semiotic analysis is a step towards a deeper understanding of the stimulus. Any piece of communication (the stimulus) is layered. It is only by unpeeling it can we understand the hidden meanings. These meanings arise out of the cultural context of the signs that comprise the ad. People’s ideas and beliefs come from their surrounding culture. It asks not what signs mean but how they mean. Semiotics helps us understand issues of CULTURE and COMMUNICATION. We are encouraged to see ourselves, our culture, the brand that is being advertised, and aspects
of the social world, in terms of the mythic meanings which the advertisement draws upon and helps promote. In that sense, semiotics is both a diagnostic as well as a predictive methodology. It helps us sort out BRANDING ISSUES, by mapping out the competitive set, elaborating on what competitors are communicating about themselves, and where the opportunities for differentiation and uniqueness lie. Semiotics does this by helping us arrive at current and future Brand Myths, and pointing towards the discourses that are relevant to a brand and its communications.
The Importance of Culture Semioticians study culture through human communications. Semiotic analysis looks for meaningful cultural and psychological patterns – codes - that underlie language, art and other cultural expressions. Semiotics emphasizes on `shared culture’ rather than individual psychology alone. Culture is ingrained, unconscious in us, and consumers are usually unable to articulate it. Yet, cultural level is the most important factor determining our beliefs and behaviour. Semiotic analysis interrogates marketing communications in their cultural context.
CULTURE MATTERS IN THE INTERPRETATION OF SIGNS We can use semiotics to understand how advertisements represent ideas. An ad is a repository of signs. It represents an ideology, an intent, a culture, a myth. It is imbued with a whole lot of visual, verbal and nonverbal clues that stand for something. Because of that, it communicates more than what is often intended, through its subtext, which could be ideological, and through its execution, which could be
stylized. The audience or reader receives and interprets the ad in different ways. Advertising generates meaning through a process of denotation (the explicit or literal meaning) and connotation (the implied value or meaning – often hidden). Semiotic analysis tries to find meanings hidden under the surface of the text. It does not interrogate the consumer. Communications are decoded for
their unconscious body language. When we perform textual analysis on a text, we make an educated guess at some of the most likely interpretations that might be made of that text. There is no such thing as a single, ‘correct’ interpretation of any text. There are large numbers of possible interpretations, some of which will be more likely than others in particular circumstances.
MARCH 2018 | PITCH | 81
OPINION | GUEST COLUMN Whenever anyone claims that a particular text is ‘accurate’ or ‘truthful’ or ‘reflects reality’ – what they are really saying is ‘I agree with what this text is saying about the world.’ A text (or a sign’s) relationship with other texts in a piece of communication, or in culture is its intertextuality. For example, using a film star in a TVC involves intertextuality, because the viewer already has a cultural context in which s/ he places the star. Amitabh Bachchan’scontext is one of power and dominance. That is his expected intertextuality. When this was broken for the first time in a Pepsi TV commercial by his submission to a little boy who refuses to part with his Pepsi saying ‘mujhe aap ullu samjhte hain?’’ (do you think I’m stupid?,
it provides viewers with an astonishing twist in the tale.
CODES
Codes are a cluster of signs that together constitute meaning. Codes help to simplify phenomena in order to make it easier to communicate experiences. They express the worldview of a particular culture at a given moment in history. Communication codes, with their understood and shared assumptions, are a form of cultural shorthand; and whether visual, verbal, aural or in any combination they are typical expressions of what the brand represents Each brand’s communication will have its own set of residual, and dominant codes, and some might have emergent codes.
FROM A BRAND PERSPECTIVE RESIDUAL CODES
are the codes of the past leftovers from an earlier set of cultural values and usages: dial telephones, touching the feet of elders, regular family mealtimes, etc.
EMERGENT CODES
as their name implies, are the codes of the present day, often difficult to spot as codes because they are all around us: fast food, road rage, CDs, the internet, etc.
are the likely codes of the near future. Because they are not yet fully formed, so to speak, they are signposts to the future. electric cars, pocket-size phone-computers, interactive TV, etc. They are today still experimental, often tentative, sometimes outrageous when seen through ‘dominant eyes’.
82 | PITCH | MARCH 2018
DOMINANT CODES
The key thing to remember is that codes are always evolving. Today’s emergent will be tomorrow’s dominant, if a brand quickly capitalizes on it. Or today’s residual code can be used by a brand and turned into an emergent one, simply because no one was bothering with it. Nostalgia marketing often works this way – and brands such as Paper Boat, Royal Enfield and the new digital radio Carvaan have successfully employed this sense of cultural longing. When we do a semiotic analysis for a group of ads taken over a long period of time, we may need to have a historical perspective of the culture of that period.
BRAND MYTH
Semiotic analysis indicates that brand myth - the power to resolve contradictions in this way - is not just an attribute of one or two unusually outstanding, or apparently ‘magical’ brands. Virtually every consistently successful brand today embodies its own particular myth. Successful brands resolve
Semiotics helps us understand issues of CULTURE and COMMUNICATION. We are encouraged to see ourselves, our culture, the brand that is being advertised, and aspects of the social world, in terms of the mythic meanings which the advertisement draws upon and helps promote.
contradictions by creating myths. The power of the brand myth seems to stand in direct proportion to the dynamism of the contradiction it resolves: i.e. the stronger the oppositions, the stronger the myth - and, consequently, the stronger the brand positioning. In the words of Claude Lévi-Strauss, ‘The purpose of a myth is to provide a logical model capable of overcoming a contradiction.’ A brand’s myth is the belief held by consumers that the brand offers them a way of resolving a problem or a situation
that hitherto represented some kind of contradiction. From the perspective of the marketer, the brand holds the power to reconcile a cultural opposition. In the last decade, some Indian brands have been able to gain considerable public and academic attention as they have chosen to construct advertisements challenging impressions set in the past, and cast in stereotype. Even as stereotyping persists, Indian advertising has been somewhat exemplary in the use of progressive codes which represent the cultural
MARCH 2018 | PITCH | 83
OPINION | GUEST COLUMN
changes happening in the Indian society. Indeed, there are several advertisements which experimented with nonstereotypical roles and themes challenging the stereotypical representation of gender and class. Advertisements such as the one for a financial services brand (Capital First )– depicting a woman entrepreneur, show women in leadership roles, without the need for social approval from an older or a male figure. Procter & Gamble’s ‘Share the Load’ brand initiative encourages men to do the laundry. Vicks Cough Drops narrates the story about a transgender woman, Gauri Sawant, overcoming social ostracization, adopting and raising a daughter. Jewellery brand Tanishq challenged two social norms – the obsession with fair brides and resistance to the remarriage of widows or divorcees, as it portrayed a dusky woman – accompanied by her young daughter, remarrying with not only the permission but also the delight of her relatives. Are these brands making conscious choices challenging the cultural norm and taking risks with their images or are they catering only to a minority? A semiotic analysis suggests that these deviations are indeed not accidental – the advertising industry, often accused of
84 | PITCH | MARCH 2018
A brand’s myth is the belief held by consumers that the brand offers them a way of resolving a problem or a situation that hitherto represented some kind of contradiction. From the perspective of the marketer, the brand holds the power to reconcile a cultural opposition.
propagating the stereotype, is purposefully reflecting a society in transition. Through the discussion such advertisements provoke, they compel the traditional Indian middle class to view and accept unconventional gender roles and adopt more liberal views. Considering they are one of the largest consumer societies in the world today, the choices and rejections of the Indian middle class have a wider impact on the formation of India’s public opinion as well. ........................................... For the advertising industry, Indian culture offers a gold mine of mythologies to draw inspiration from. For the viewer, in whom the culture and its symbols are deeply ingrained, the reference to and re-creation of these myths creates a deeper, subconscious connection. At a time when brands seek competitive advantage through storymaking, semiotics may well be the magic wand that tells us which ingredients will make the content relatable, memorable and effective.
OPINION | GUEST COLUMN
HINGLISH IN
ADVERTISING DR. GURMEET SINGH
Assistant Professor, Department of Hindi, Panjab University
Kya Yehi Hai Right Choice Baby?
DR. BHAVNEET BHATTI, Assistant Professor, School of Communication Studies, Panjab University
O
ver the years mass media has undergone a revolution in terms of message construction and dissemination. One of the by-products of this evolution has been hybridization of the languages and an example of this hybridization is the birth of ‘Hinglish’. Ubiquitously being used in the Indian Mediascape, ‘Hinglish’ has found its place not only in movie titles and song lyrics but also in news headlines, television This paper was presented at the National Conference on the ‘State of the Advertising Industry in India’ organised by ISID (Institute for Studies in Industrial Development), New Delhi, India.
86 | PITCH | MARCH 2018
scripts , digital content and most visibly in advertising slogans and taglines. From the very popular ‘Ye Dil Maangay More’ , ‘Pal Banaye Magical’, ‘Seedhi Baat No Bakvaas’ to the recent ‘No Ullu Banawing’ and ‘No Chipkoing’ ; the use of ‘Hinglish’ in Advertising slogans is witnessing a
whole new dimension. While the language pundits strongly opine that this trend is polluting both languages and strongly oppose the same; the advertising gurus speculate that the use of Hinglish could be one of the success mantras to woo the fast expanding regional markets.
ADVERTISING SLOGANS USING HINGLISH We look at examples of Brands that have used ‘Hinglish’ in their advertising campaigns. We analyse the usage of these Hinglish slogans in terms of the kind of usage, its impact, and how it connects with the audiences.
1
MAGGI
Taste Bhi, Health Bhi and Me & Meri Maggi
M
aggi has been a part of almost every Indian’s life over the past few decades. On its 25th anniversary Nestle India rolled out a new campaign ‘Me & Meri Maggi’. The brand cashed in on its positioning in the Indian households and tried to strengthen the bond it had with its consumers. While ‘Taste Bhi , Health bhi’ incorporated the taste and wellness quotient ‘Me & Meri Maggi’ involved audiences who found their stories on the Maggi packaging. The interesting fact about the use of the tagline though is that in 2015 the Indian Government sought ‘Compensation’ of 640 crores for its ‘misleading’ advertisements and false labelling of the product.
However, despite the odds, the Maggi slogan continues to be popular and strikes a chord. The use of Hindi word ‘meri’ in an English matrix adds a sense
of belonging and positions the brand in the minds of consumers as something they develop a special connection with. The use of words, ‘bhi’ twice again in an English matrix makes it rhyme and has recall value.
MARCH 2018 | PITCH | 87
OPINION | GUEST COLUMN
2 PEHPaiSrigIht Choice Yehi Yeh Dil ; ! a h a nd Baby, More a e a g n a an Ma oungist Y i a h Yeh an’ Meri Ja
P
epsi came up with a tagline, ‘Yehi hai right choice’ in 1990. In keeping with the political, social and cultural environment of the time where the market was opening up and the youth had plenty of choices in terms of availability of brands, Pepsi seemed to be reiterating its brand as the correct choice. The campaign was an adaptation of the international campaign called, “You got the Right One, Baby, Uh Huh’. The same was translated in Hinglish and became a catch phrase in Indian popular culture. While the first slogan uses the Hindi words, ‘Yehi hai’ in an English matrix, the second slogan has three Hindi words and only one English word. The third slogan introduces a new dimension in the use of Hinglish which is coining of a new word i.e. ‘Youngistan’. Therefore, one notices that not only are Hindi and English words being used in combination rather new words are being coined in an evolution of Hinglish language. And each tagline and campaign positioned Pepsi as a youth oriented brand.
COCA COLA
3
Jo Chaahe Ho ola Jaaye Coca C a Enjoy ; Thand ola Matlab coca C an and Haan ha oon Mein crazy h
C
oca Colare-entered the Indian market with the campaign “Jo Chaahe Ho Jaaye Coca Cola Enjoy”. The campaign staring Hrithik Roshan and Aishwaraya Rai showing the tiff and love in friendship chose a Hinglish slogan that the youth could connect
88 | PITCH | MARCH 2018
DOMINO’S PIZZA
4
na Ta na na na a Re, Pizza Aay Kya ; free; Hungry on ka Yeh Hai Risht ushiyo Time and Kh very Ki Home Deli
D
ominos has successfully used Hinglish as a part of its slogans over the past two decades. Beginning from ’30 minutes nahi toh Pizza Free’ which promoted a first of its kind offering in delivering pizza in a limited time to ‘khushiyon ki home delivery’ Dominos cashed in on the important attribute of home delivery. However, what is missing is incorporating on brand name in the slogan which leads to a faulty recall amongst audiences. The change of slogan and positioning strategy again
uses Hinglish with the slogan ‘ye hai rishton ka time’. Hindi words again seamlessly fit in an English matrix and try to create a connect in terms of bringing memories of happy occasions, connecting with friends and family. The Hindi word ‘Rishton’ has special emotional connotation which has been effectively used here to emotionally position the brand.
5
g: No Chipokoin a Purana Jayeg ega Toh Naya Ay
O with. They successfully placed their brand name in the slogan that again effectively positioned them as a drink that could be had with friends and would add happiness to life. It made a connect at an emotional level. In 2003, Coca Cola launched one of the most successful campaigns, Thanda matlab Coca Cola. Use of the word ‘Thanda’ had a strategic importance in positioning the drink in Indian households. For instance, the words ’thanda’ and garam’ are a part of popular usage when offering drinks and beverages to guests. In this very popular campaign, the word
‘Thanda’ has been strategically linked with ‘Coca Cola’ which lead to the positioning of Coca Cola as synonymous with a cold drink in India. One of the recent campaigns (Haan Haan Mein Crazy Hoon) used by Coca Cola again used Hinglish in its tagline. Although ‘crazy’ is the only English word used in the entire Hindi matrix, the slogan in totality is put under Hinglish slogans. It is built around the theme of inherent compassion in each one of us and connects with the audience with its lyrics that use the single word crazy in the entire jingle and make it more effective.
OLX
LX again presents an example of coining of new words which are a mix of two languages. The Hindi word Chipakna has been given a present continuous treatment by adding chipkoing making it a verb and conveying the meaning of getting stuck to old things. Again this emotion of selling old things on OLX and not getting stuck to them has been effectively conveyed with the help of a Hinglish slogan. Coupled with the use of Kapil Sharma a stand-up comedian, the advertisement uses humour and thus makes it easier to accept the word chipkoing.
OPINION | GUEST COLUMN
6
8
NECC
Sunday Ho Ya Monday Roz Kaho Andey
A
tagline used by NECC decades ago became one of the most popular jingles that positioned the humble egg as a commodity. A case of primary demand advertising where more than a brand, an egg was
advertised as a commodity. It mentioned variety of ways in which an egg can be consumed and how it can be had frequently and almost every day. The use of Hinglish is a case of Bilingual aural Rhyming.
eal and D i K l i D indagi Unbox Z
S
7
AMUL
A
Piyo Glassful Doodh Piyo glass full h doodh, dhood l, hai wonderfu Pee sakte hai roj glass full
“Garmi me dalo doodh me ice, Doodh ban gaya very nice, Piyo daily once or twice, Mil jayega tasty surprise... Doodh doodh... Piyo glassfull doodh Doodh hai mast in every season, Piyo doodh for healthy reason, Rahoge phir fit and fine, Jiyoge past 99, charo aur mach gaya shor, Give me more... Doodh doodh,
90 | PITCH | MARCH 2018
napdeal used two taglines to connect with its audiences. Both campaign slogans used Hinglish to get across the information and create an emotional connection with the audiences. The ‘Unbox Zindagi’ campaign tried to capture the
Piyo glassfull doodh.” Another campaign pushing milk as a commodity was the ‘wonderful doodh’campaign. The entire jingle had been done with language mixing where Hindi words like ‘shor’ were rhymed with English words like, ‘more’ - another case of bilingual rhyming.
n analysis of some of the popular Hinglish slogans show that there are primarily four ways of using Hinglish in advertising slogans. First is juxtapositioning Hindi terms in an English Matrix. This multilingual advertising is often characterized by the use of two or more languages that create new meanings. Second, juxtapositioning English terms in the Hindi Matrix. An opposite trend, of English elements in the Hindi matrix has also been emerging. This includes seamless blending of English words with Hindi. Here Hindi fulfils the informational function and English plays an identity enhancing role. Third, Bilingual Aural Rhyming; Another favoured
SNAPDEAL pulse of the confident, aspirational Indian, who is given the idea of breaking away from social expectation and living life freely. While the earlier campaigns of Snapdeal focused on more tangible benefits, this one tried to strike an emotional chord. One advantage is the use of the word ‘deal’, which leads to instant recall and association with Snapdeal. It also ran a successful social media campaign with a short and crisp hashtag.
strategy in the use of Hinglish especially Jingles has been bilingual rhyming. Fourth, word play, allusion, Irony, Inter textuality are other techniques of using Hinglish. The use of Hinglish has an Instant click with the audience, caters to the Hindi speaking audiences and the regional markets, generates more attention and recall. The advantages of using Hinglish are firstly, Advertising messages can become more cohesive e.g. at very basic level, Hinglish also helps large national brands knit their slogans across the country together, more cohesively. So ‘Yeh hai Youngistaan meri jaan’ becomes ‘Idhu Youngistaan chellam’ in Tamil, ‘Idhu Youngistaan priyare’ in Malayalam, ‘Idhi Youngistaan my nestham’ in Telugu. Secondly, the
International appeal of Hinglish is increasing in advertising campaigns, specifically to cater to the South-Asian communities. For. E.g. Bell Canada showed how a little flair can go a long way. “Put some bang in your bhangra,” said Bell to those celebrating Vaisakhi this year, enriching their tagline — “Bell celebrating just got better.” Thirdly, Major multinational brands are moving away from exclusive use of English towards ‘language -mixing’, ‘Code-switching’ or ‘Hybrid language’. This is being used as a marketing strategy that has gained immense popularity in past few years as it appeals to the urban youth because it is the language that they are using. Advertisers are keen to use ‘Hinglish’ when it comes
to targeting a particular section or segment of the society. ‘Hinglish’ targets today’s Indians because that is the way they speak. A congenial market situation is also one of the reasons and advantages for use of Hinglish. According to a report by the Internet and Mobile Association of India and market research firm IMRB International, about 127 million, or close to half of the 269 million Internet users in India, consume content in local languages. The use of Hinglish has become increasingly popular with audiences and advertisers. It not only helps in better placement and positioning of a brand but also enhances brand recall.
MARCH 2018 | PITCH | 91
NEWSNEXT CONFERENCE & ENBA AWARDS 2018 EXCHANGE4MEDIA NEWS BROADCASTING AWARDS WERE INSTITUTED IN 2008 WITH THE OBJECTIVE OF RECOGNIZING THE BEST IN TELEVISION NEWS AND TO REWARD BROADCASTERS AND INDUSTRY LEADERS WHO ARE RESPONSIBLE FOR SHAPING THE FUTURE OF TELEVISION BROADCASTING IN INDIA AND HONOUR THE PEOPLE WHO MAKE THIS INDUSTRY WHAT IT IS.
1
3
2 1 Panel -1, When Media becomes News. (L – R) Salil Kapoor- HOOQ; Zakka Jacob- CNN-News18; Sonia Singh- NDTV ; Priya SahgalNewsX; Anjana Om Kashyap- Aaj Tak
2 Special Address by
Rajeev Shukla - Indian politician, Journalist, Political Commentator Chairman - Indian Premier League
4
5
3 Panel -2, News Room in 2020
(L – R) Rana Yashwant -India News; Sanjay Bragta -ZEE Media Supriya Prasad- Aaj Tak; Rohit BansalReliance Industries; Smita Prakash- ANI; Puneet AhluwaliaNWS; Tarun Nangia- NewsX
4 Mr. Annurag Batra welcoming the Chief Guest –Dr. Mahesh Sharma – Union Minister of State for Culture & MoS – Environment, Forest & 92 | PITCH MARCH 2018 Climate Change,| Govt of India.
6
7
8
GALLERY
10 5 Fire Side chat – Mr. Annurag Batra with Mr. Rajeev Shukla
6 Chief Guest Address by Dr. Mahesh Sharma 9
– Union Minister of State for Culture & MoS – Environment, Forest & Climate Change, Govt of India
7 Esteemed Speaker – Mr. Amit Wadhwani – Director, Sai Estate Consultants
8 Launch of Vidooly Digital Report by Mr.
Annurag Batra alongwith Mr. Subrata Kar – Co-founder & CEO, Vidooly.
9 Panel -3, Digital Transformation of News – A Strategic Imperative (L – R) Ritu Kapur - The Quint ; Durga Raghunath -Indian Express Digital Media Services; Suparna Singh -NDTV ; 4. Salil Kumar- India Today Group Digital; Varun Kohli - iTV Network; Rajiv Singh Zee Media
10 Sweta Singh, Aaj Tak –
Winner of Best Anchor - Hindi
11 Supriya Prasad, winner News Television Editor-in-Chief of the Year- Hindi
11
12 Joyful moment – Aaj tak team full of energy after receiving 13 prestigious Awards.
12 MARCH 2018 | PITCH | 93
PMAR 2018 LAUNCH PITCH MADISON ADVERTISING REPORT IS THE MOST AWAITED REPORT ON PREDICTIONS OF AD SPENDS IN THE MEDIA AND ADVERTISING INDUSTRY. THE REPORT IS LAUNCHED BY PITCH, IN PARTNERSHIP WITH MADISON WORLD. OVER THE YEARS, THE REPORT HAS BECOME A BENCHMARK IN THE INDUSTRY AND IS OFTEN QUOTED IN THE MEDIA, PITCH PRESENTATIONS, COMPANY REPORTS, CORPORATE BOARDROOMS AND EVEN IPO DOCUMENTS FILED BY MEDIA COMPANIES.
1
2
3 1 Speaking at the launch event of the Pitch Madison Advertising Outlook 2018, Sam Balsara, Chairman of Madison World.
2 Vikram Sakhuja, Group CEO
Madison Media & OOH, Madison World
3 Ram Ganglani of Right Selection, author Tony Buzan and Pooja Dadlani of Right Selection
4 Sam Balsara, Chairman of Madison
World at the launch of the PMAR 2018, In Mumbai
4
5
5 (LtoR) Jyothirmayee JT, Vishal Chinchankar and Meera Iyer
6 Avani Davda, Pratik Pota, Suparna Mitra and Sadashiv Nayak
7 Ashish Hemrajani - CEO & Founder BookMyShow
94 | PITCH | MARCH 2018
6
7
GALLERY
8
8 Launch of the PMAR 2018, In Mumbai
9 Matthew Derella, Vice President of Global
Revenue and Operations, Twitter in a fireside chat with Annurag Batra, Chairman and Editor-in-Chief of the exchange4media Group and Businessworld
10 Nawal Ahuja, Director & Co-founder exchange4media Group.
11 Matthew Derella, Vice President of Global
Revenue and Operations, Twitter and Annurag Batra, Chairman and Editor-in-Chief of the exchange4media Group and Businessworld
9
10
11 MARCH 2018 | PITCH | 95
FLASHBACK
adverts we loved
In the memory of India’s Iconic movie star Sridevi
96 | PITCH | MARCH 2018
3.bp.blogspot.com
Sugandha Dubey
read.plash.in
Zaira Rizvi
#e4midma #TechManch
THE BIGGEST
DIGITAL MEDIA
AWARDS & CONFERENCE ARE BACK FOR 2018
SITE UNDER CONSTRUCTION! Trade Media Partners
Music Community Partner
Business Media Partner
For clarifica�ons regarding categories, entry fee, materials, please contact: Priyanka Bhadouria: +91 9540085059 | priyanka.bhadouria@exchange4media.com Nikita Vig: +91 8860302087 | nikita.vig@exchange4media.com Amisha Shah: +91 9979972990 | Aamisha.shah@exchange4media.com For Partnerships, Please Contact: Delhi: Runa Sinha (Na�onal Sales Head): +91 9810497903 | runa.sinha@exchange4media.com Mumbai: Ashish Kudalkar (Regional Manager-West): +91 9820541742 | ashish.kudalkar@exchange4media.com Bangalore: Sneha Walke (VP Special projects & south head): +91 98455 41143 | sneha@exchange4media.com
RNI NO: DELENG/2009/27694