GLOBAL HEADLINES

Post by MediAvataar's News Desk
- Apr 12, 2018
Grand Awards go to: “Diana: In Her Own Words,” “Jane,” “Genius,” “Mosul,” and “Yamazaki Moments” Al Jazeera English is Broadcaster of the Year, The Edge Picture Company named Production Company of the Year, and Moviestar+ Earns Program Promotion Team of the Year ...
MediAvataar's News Desk

MediAvataar's News Desk

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Ankush is an Analytics & Technology expert with 13 years of experience in Data analytics, problem solving and providing effective business solutions across multiple domains including Retail, Ecommerce and Online Media, Financial Services, Telecom and Tech. An engineer by qualification, he has a diverse experience across organisations like Inductis, Amex, Accenture, Flipkart. Ankush joins from Neo@Ogilvy where he was VP and Head of Analytics and Insights.

Anupriya Acharya, CEO, Publicis Media India says, “Data science is a core expertise in Publicis Media and given our unmatched expertise in Data, Digital and Performance media, it is also a competitive advantage. In fact, PM India has been successfully running the global Data and Analytics Centre Of Excellence for many years now and the team has won multiple global accolades too. Ankush, with his strong and diverse background, has been handpicked to further enhance our capability building on Data Strategy and Insights that includes overseeing Platforms, Advanced Analytics, Artificial Intelligence, Machine Learning and Data engineering. He joins us at an important time and will work closely with our global network, clients and Brand teams.”

Ankush Talwar says, “I am very excited to join Publicis Media, especially at a time when Data Science Practice is gaining phenomenal traction with domestic and international clients alike. I look forward to working closely with Starcom, Performics.Convonix, Zenith, Performics.Resultrix and bringing disruptive solutions that enable strong business results for Publicis Media clients.”

 

Monday, 23 April 2018 00:00

Snapchat’s Shoppable AR

Last week Snapchat launched a new product called Shoppable AR.

It builds on the launch of Sponsored Lenses in late-2015 - which let advertisers create branded filters, bringing product placements to selfies – by making the products shoppable.

Details and Implications:

Accessed by roughly 70 million users per day and typically viewed as a format better geared towards brand experience, the lens update is great for advertisers seeking to connect their brand and demand initiatives.

With mCommerce forecast to be responsible for 18% of all commerce growth in the Western Europe region (Emarketer: Western Europe Retail and Ecommerce update, Jan 2018) it’s crucial for platforms today to provide a seamless shopper experience that meets consumers’ demands for speed, value and convenience, particularly for mobile platforms like Snapchat.

An important feature of the Lens update is that once a user has tapped on the ‘Shop’ button, the user is not removed from the Snapchat experience, but rather the commerce experience is housed within Snapchat.

This is achieved via AMPs (Accelerated Mobile Pages), which cache the landing page and load the product page immediately upon tapping the ‘Shop’ button. With site speed flagged as the biggest barrier to purchase via mCommerce, the obvious benefit is the speed and fluidity of the experience, which will result in the increased likelihood of conversion.

The new product has been successfully trialed with brands from beauty, fashion, auto and entertainment sectors.

To illustrate how important the mobile site experience is for the growth of mCommerce, advertisers need look no further than Google’s initiative to support brands in the development of AMPs and their use within Google Shopping via Showcase Ads. From a Social Commerce point-of-view, this same approach powers the shopping ad integration within Instagram Stories.

Snapchat’s pivot to have an increased focus on commerce is best illustrated by the roaring success of the ‘Air Jordan III Tinker sneakers’ campaign. The Lens for the campaign was geographically targeted around the Staples Centre in LA during the NBA All-Star game and surprised users with a world-lens where they could ‘view’ throwbacks of Jordan taking off from the free-throw line during the dunk contest, kitted of course, in the new Air Jordan, which were available on exclusive release that day. The shoes sold-out within 23 minutes.

Summary:

Snapchat’s launch of ‘Shoppable AR’ is the latest example of digital platforms providing a new kind of distribution outlet and it is a positive move for brands as they consider their e-commerce channel strategy. Social commerce and unique shopping activations create new ways to reach more customers and will continue to be an investment area for a lot of retailers and brands alike. They also show that there is growth opportunity outside of Amazon.

Innovation in connected commerce is still in its infancy but if brands aren’t investing in transforming how media activation and commerce intersect, they will be left behind.

 

Source:Mindshare

Conversations around the best way to target women can certainly be divisive. Several recent brandings aimed at female consumers have received pushback for appearing clumsy and patronising, while others have been deemed mere stunts with little intrinsic value.

Marketers need to think more strategically beyond cheap tricks, making things pink, or adding female icons to labels to reach women.

But this overt approach to some campaigns might be explained by the fact that Nielsen’s data shows that, across the board, digital campaigns have a much harder time targeting and reaching females. Worryingly, this is particularly true for some huge verticals: shopping, retail and travel. Indicative research shows the same is true for automotive and electronic brands.

Perhaps surprisingly, given perceptions around female behaviors, Nielsen’s Digital Ad Ratings database shows that in the U.K. shopping and retail campaigns are twice as efficient at reaching males as they are at reaching females (81% targeting accuracy versus 39%) when considering all age and gender targets. The same is true of travel campaigns, while automotive campaigns are almost three times as effective at reaching males than females (16% for females versus 47% for males). Given that women control (or at least influence) the vast majority of household spend decisions, the fact that all of these categories are more effective at targeting men online, ought to be a cause for concern with advertisers and make them question agencies on their approach to this challenge.

Digital is high on the advertising agenda, but the numbers show that women spend less time online than men and, therefore, are harder to reach. Where they can be reached more effectively is through TV. Women are heavier TV viewers than males: using the U.K.’s Broadcasters Audience Research Board TV data, we found that in January of this year, over 57% of women were classified as heavy TV viewers, compared with just over 42% of men. And although more than 50% of U.K. ad spend is likely to be spent on digital this year, TV is still the widest-reaching medium in the country. Brands that advertise during news or political programs tend to have higher cut through for women than men.

Many advertisers and agencies alike see digital as a medium to drive incremental reach against TV. Nielsen’s Total Ad Ratings database illustrates that male-targeted campaigns are more efficient at delivering incremental reach than female-targeted campaigns. For example, in the U.K., only 31% of the digital audience reached with female-targeted campaigns was observed to be incremental to the TV campaign audience, compared with 50% for male-targeted campaigns.

As to where to reach females online, after search, women spend most of their time visiting general interest portals, such as Yahoo and MSN, and member community sites like Facebook, Twitter, Pinterest and Instagram, as well as mass merchandisers like Amazon.

Pet-related, special occasion, and family-related sites are the sites with the highest composition of women; while niche, and certainly not sites that all women will be visiting, advertisers should certainly consider these sites to ensure greatest efficiency in reaching female audiences.

Brands and their agencies need to think about the cleverest ways to leverage technology and harness smart data to ensure campaigns are delivered efficiently and effectively. The importance of first-party data cannot be overstated, and brands should leverage this in conjunction with third-party data sources to make sure they are targeting where women actually are.

Brands also need to think carefully about how they reach and resonate with women in a meaningful way—it’s not a one-size fits all approach. It’s easy to get swept up in thinking that digital is the panacea, but women aren’t just one, monolithic demographic. In the U.S. alone, women make up just over half of the population, and they’re accountable for over $39 trillion dollars. That puts them in charge of 30% of the world’s wealth, and that number is growing. The brands that will succeed in targeting will sidestep marketing tactics that draw on stereotypes and make smart use of data. Those who fail to do so risk losing out on the economic powerhouse that is female spending.


Written by Kate Slaymaker,Media Analytics Commercial Lead, Nielsen

In an increasingly competitive and disjointed brand landscape, where the influence of ‘private label’ and ‘direct’ brands continues to expand, how can established brands best achieve the recognition they need?

Firstly, we need to re-frame the question. The aim is no longer to achieve recognition alone but to create the INSTANT MEANING to go with it, by immediately evoking relevant (hopefully positive) memories from recent marketing and brand experience, in order to influence the consumer decision at hand.

One way for brands to increase their salience (or ‘mental availability’) is to create brand assets that cue the brand and activate these all important memories. These brand assets include but are not limited to: Slogans, colours, logos, fonts, sounds, physical cues (packaging, shape of product), characters, celebrity associations and other imagery.

Kantar Millward Brown and BrandZ have developed a unique neuroscience-based methodology for quantifying the strength of assets like these, to understand which are most evocative of a brand and how this compares to competitors. We call the collective strength of these assets a brand’s Brand Imprint. The best Brand Imprints rely on cueing the brand via ‘System 1’, our inbuilt system for instant and intuitive recognition, which involves fast, habitual decision making, rather than invoking slower more reflective thought via ‘System 2’, where the additional time needed for consideration may ultimately lead to a different decision.

Our extensive study comprised a total of 10,565 consumer interviews across twenty-eight categories, eight markets, covering 228 brands and 1,390 de-branded assets. The analysis showed that brand’s with the strongest individual assets and overall Brand Imprints followed the ‘3 C’s’ to construct them:

1. Clarity – simple, clean, uncomplicated, connected use of colour, design and phrasing. Strong Brand Imprints often employ a distinctive colour palette to connect, amplify and build a unique and instantly recognisable identity.

2. Consistency – Consistent deployment over time, across channels and products – drawing on heritage where relevant. Think exposure, exposure, exposure at all touch points and opportunities to embed assets and reinforce recognition.

3. Communication – Reinforcement of relevant brand purpose, principles and messaging. Think of your assets as potential mini opportunities to invoke reminders of key messages to maximise influence at points of decision making.

Investing the time and budgets needed to establish strong brand assets across all the touch points between a consumer and the brand helps maximise a brand’s impact on decision making.

 

Written by Martin Guerrieria,Global BrandZ Research Director,Kantar Millward Brown

The total industry revenues grew from 570.7 Cr. in 2016 to 725.6 Cr. in 2017.

This increase in revenue by 154.9 Cr. is the largest since 2011 according to IFPI data. The revenues from Music Streaming grew at a rate of 37.26% and revenues from digital music now amounts to over 91% of the Indian recorded music industry revenue. There were two primary factors driving this positive growth in digital music consumption, i.e. increased data consumption in the advent of cheaper data rates and greater smartphone penetration.

The digital revenue alone in 2017 was 665.6 Cr. which is greater than the combined industry revenue of 570.7 Cr. in 2016 by almost 95 Cr. Shridhar Subramaniam, President, Sony Music and Chairman, IMI is optimistic about the state of the industry and says “Last year’s figures were phenomenal and we were expecting the market to do well this year as well, but a 27% growth in 2017 has exceeded our forecasts. Going into 2018, our aim is to make music even more accessible, affordable and unlimited. To sustain this growth the industry will start laying the groundwork for a subscription eco-system .”

The upward trend in adoption of music streaming services has certainly helped digitalize the recording industry but is not yet steering consumers away from consuming music from pirated websites . Stream-ripping remains a major threat to the music industry in India . According to a 2017 study by IPSOS for IMI, 94% of the 900 surveyed music consumers in India admitted to using some form of piracy to access music.

Blaise Fernandes, President and CEO, IMI says “ Our story in the past two years has been one of success as evident from an exponential growth in revenue. We’re glad that digital music is claiming a larger part of the pie in line with the global trends. Various initiatives undertaken by the government like Digital India , Bharat Net, Cipam’s #lettalkIP program will enable the Indian music industry is to out-perform most evolved recorded music industries in the digital domain and climb up in rankings in the coming years.”

There has also been a small shift from ownership to access and downloads to subscription in the last two years. With international players like Amazon Music entering the market this year, the industry stakeholders plan to steer consumers towards affordable subscription plans to deliver unlimited high-quality content.

“While the 2017 figures may paint a pretty picture, Indian Music Industry is still greatly impacted by Digital Piracy and Value Gap.” Said Vikram Mehra Managing Director of Saregama “We must work together in curbing piracy through a multi-pronged approach involving various stakeholders at the state and central level . We must also empower the rights holders to allow them control of the usage of their works in the digital domain and protect their right to fair remuneration. That’s the only way for us to ensure continued double digital growth in the coming years.”

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