20 September 2020 12:02

MediAvataar's News Desk

MediAvataar's News Desk

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Although Instagram Reels emerges as the most popular video-sharing app, many people have tried homegrown counterparts and are likely to continue using them

Recently the government of India put a ban on many Chinese apps including the widely used video sharing platform - TikTok. The departure of the popular Chinese app has presented an opportunity for other video sharing apps to gain a foothold in the market.

Now YouGov’s latest survey reveals in the absence of TikTok, nearly two-thirds of urban Indians (65%) said they are very likely or likely to turn to alternatives or start using video apps that are either Indian or non-Chinese in origin.

Among the generations, millennials (69%) were most likely to show their readiness to switch to Tik-Tok’s alternatives, as compared to GenZ (54%). Likewise, men were more likely than women to hold a similar view (70% vs 59%).

Interestingly, in the absence of the Chinese platform, 68% of TikTok content creators said they are likely to switch to Indian or non-Chinese versions of video sharing apps.

On being presented with a list of alternatives, Instagram Reels topped the list of apps most likely to be used by people in the future. The platform, which is Facebook's answer to TikTok, is welcomed by more than six in ten (62%) urban Indians who claim to have tried it and are likely to continue using it. Instagram Reels is especially popular among young adults (between 18-29 years), and 70% of these respondents indicated their likeliness to use this platform for video sharing.

Almost as many have a similar view about Singapore-based app called Cheez (59%), which has a higher appeal among Tier-3 public in India as compared to tier-1 city residents (with 80% vs 42%).

Apart from these foreign apps, more than half claimed to have tried the homegrown app Roposo and are likely to use it in the future (54%).

Other regional apps such as moJ (47%), Gana hotshot (44%), Josh (42%), Taka Tak (42%), Mitron (40%) and Chingari (36%) also seem to have gained ground following Tik-Tok’s departure but still lag behind non-Indian apps in the race to capture the video-sharing app market.

Until recently, TikTok was one of the most popular apps in India with a user base of over 200+ million. Amongst its various features, its short format option for creating videos (72%) appealed the most to users. Following that, its wide music library (58%), user-friendly interface (56%) and ease of creating content in regional language (54%) were some of the other features that attracted people to this platform, and these could be key takeaways for brands trying to replicate the Chinese app’s success in India.

Even though respondents have shown an interest in switching to alternatives of TikTok, the popularity of the Chinese app cannot be completely dismissed. A large majority (63%) of urban Indians favour (strongly or somewhat) the ban on TikTok to be revoked, and only a fifth (21%) still ‘strongly or somewhat’ oppose the ban being lifted in India.

Talking about the ban on TikTok, followed by the surge in demand of regional short video apps, Deepa Bhatia, General Manager, YouGov India, said, “The government’s decision to ban TikTok along with other Chinese apps has presented an opportunity for homegrown players who are gearing up to take advantage of this situation. It is therefore imperative to gauge the needs of the audiences and understand their preferences in this space. While the situation is favourable to entice people into using the apps, retention will be the real challenge, and the Indian players will have to do thorough research to achieve this goal.

 

Data collected online by YouGov Omnibus among 1001 respondents in the country between 4th and 6th August 2020 using YouGov’s panel of over 6 million people worldwide. Data is representative of the adult online population in the country.

Monday, 24 August 2020 00:00

Welcome to The Privacy Era

Wunderman Thompson Intelligence presents “The Privacy Era,” a new report about the emerging ecosystem of data management.

With so much of modern life occurring in the digital realm, more and more personal information is being captured online and traded between brands as a way to better understand their consumers. But what started as a way to make users’ lives easier by serving up convenient, personally relevant information has morphed into what’s perceived as a shady, underhanded economy of consumer data wheeling and dealing.

As consumers are nearing a breaking point amid increasingly frequent and severe data breaches—from the seminal Cambridge Analytica scandal to the massive Equifax credit breach to the September 2019 Ecuador data leak that compromised nearly the entire country—the dawn of a new era that prioritizes privacy is fast approaching.

“The Privacy Era” explores how, in response to rising consumer discomfort with the way personal information is tracked and traded online, a new data ecosystem is emerging, including a new value exchange for consumers, a fresh set of rules for brands and a repositioning of the digital identity as equal to the physical body.

Highlights from the report include:

The value of data

“Data has become the most valuable asset on planet Earth, yet all of us as individuals, the people who produce that asset, have no rights to its value at the moment,” data transparency advocate Brittany Kaiser tells Wunderman Thompson Intelligence.

As consumers are beginning to realize the value of their digital behavior and information, a new economy built around data is emerging, with data as the primary capital.

New business structures

As data privacy becomes a priority for consumers, the emerging infrastructure for ethical data use is fundamentally restructuring industries and business needs.

Intimate data

As consumers increasingly live online, the idea of data as a cold and impersonal series of zeroes and ones is falling away; instead, data is increasingly acknowledged as a deeply personal pillar of digital identities.

“Our digital and physical lives are merging and we need a digital identity solution that reflects this reality,” says Ajay Bhalla, president of cyber and intelligence at Mastercard.

Digital self-care

With data security weighing on people’s emotional wellbeing, the latest brand initiatives are redesigning products and platforms to facilitate digital self-care and pave a healthier path forward through the data landscape.

“Privacy is one of those issues that’s constantly humming in the back of people’s minds—which, over time, can be just as, if not more, damaging to their psyche as major spikes in anxiety,” Joe Toscano, founder and chief vision officer at The Better Ethics and Consumer Outcomes Network (Beacon), tells Wunderman Thompson Intelligence.

To understand consumer attitudes towards data privacy and security, Wunderman Thompson Data conducted a survey, which fielded from September 25—October 3, 2019 among 1,501 US adults age 18+.

Key findings include:

Data security is a top concern; 58% of Americans are worried about the security of personal information, compared to 52% concerned about current national political leadership, 51% about gun violence, 47% about current cost of living and 45% by the quality of education.

89% of Americans think the way companies acquire and use data seems sneaky.

89% think companies are deliberately vague about how the “data for benefit” exchange really works.

84% feel that over the past few years, companies have received more control over their personal information and data than they have.

Only 38% feel they have full control of their personal information and data.

“I believe data creation, data hygiene, research design, et cetera, will become the new blue-collar jobs of the future,” predicts Toscano. “Similar to a janitor cleaning a building, we will need data hygienists. Similar to a coal miner, we will need people to create data and find new places to source diverse data sets. We will need cybersecurity professionals to protect us just like police today. We will need information architects to help us navigate and create stories with all of the data in order to make it accessible to the public, not just machines.”

Honoring the CMO behind the single most impactful idea on a brand’s business from among this year’s top-scoring One Show winners.

A jury of 13 leading global CMOs selected Kathleen Hall, chief brand officer at Microsoft, as winner of The One Show 2020 CMO Pencil, honoring the brand marketer behind the world’s single most impactful idea on a brand’s business from the past year.

Hall picked up the prestigious award for “Changing the Game” by McCann New York, a big winner at this year’s show. Overall, the work won Best of Discipline in Design, 10 Gold Pencils, two Silvers, two Bronze and six Merits. Microsoft and McCann Worldgroup also picked up the coveted One Show 2020 Penta Pencil, awarded to the brand and agency who together have created stellar creative work for the last five years.

“ ‘Changing the Game’ truly brings Microsoft’s mission of empowering every person and organization to life,” said Hall. “The Xbox Adaptive Controller was developed to help gamers with all abilities play, and by featuring it in this campaign, along with amazing children like Owen, we brought awareness to the power of inclusive design and the impact it can have on individual’s lives.”

She added “The success of the campaign stems from the XAC being true to our DNA, from how the product was developed at a hackathon to sharing it with the world at the Super Bowl through the stories of real children, showcasing that ‘When everybody plays, we all win.’ We are incredibly honored to receive this award and grateful for the recognition from other CMOs, and of course, The One Show.”

The CMO Pencil jury met online on August 19 to discuss and choose from among the 18 highest-scoring entries in The One Show 2020, which this year received 19,688 pieces from 71 countries. Normally judged each May during Creative Week and awarded at The One Show, CMO Pencil judging was this year held separately in August due to the pandemic and transition to a streaming awards show.

All entries under consideration for this special award already won a Best of Discipline or Gold Pencil, as judged by more than 200 of the world's top agency and brand creatives on this year’s One Show juries. In accordance with One Show judging rules, jury members abstain from voting on and discussing work done by or for their own company.

CMO Pencil jury member Rachel Ferdinando, SVP, CMO, Frito-Lay North America, said about the winning work: “ ‘Changing the Game’ rose to the top as a prime example of a brand’s purpose in action to make a true difference, and is an incredible example of a brand rising to its aspirational values in a framework that aligns with the brand’s DNA. What also stood out was the creativity used to bring this to life: co-creating it with their consumer and the community. That was brave, and resulted in a much more authentic outcome that really moved people.”

“All of these top One Show 2020 winners under consideration featured an extraordinary level of creativity that would make any brand envious,” said Kevin Swanepoel, CEO, The One Club. “With an eye toward the one piece of work that took an innovative, bold stance and would be remembered for driving a brand’s business, our jury of leading CMOs felt ‘Changing the Game’ met that criteria. We congratulate Kathleen and McCann New York for this prestigious win”.

Past CMO Pencil winners include David Rubin, CMO, The New York Times for “Truth is Worth It” created by Droga5 New York, and Stephen Tisdale, CMO, State Street Global Advisors for “Fearless Girl”, also by McCann New York.

The One Show 2020 CMO Pencil jury is as follows:

Elizabeth Brady, EVP, Chief Marketing, Customer and Communications Officer, Allstate

Rankin Carroll, CMO, Mars Wrigley Confections

Frank Crowson, CMO, Best Buy

Rachel Ferdinando SVP, CMO, Frito-Lay North America

Stacey Grier, CMO, Clorox

Sophie Kelly, SVP, North American Whiskeys Portfolio, Diageo

Fernando Machado, Global CMO, Restaurant Brands International, The One Club Board member

Marcel Marcondes, U.S. Chief Marketing Officer, Anheuser-Busch

Leland Maschmeyer, CCO, Chobani, The One Club Board member

Rob Matthews, Chief Integrated Marketing Officer, Xbox, Microsoft

David Rubin, CMO, The New York Times

Diego Scotti, EVP, CMO, Verizon

Andrea Zahumensky, CMO, KFC US, KFC Corp.

In its first year of operations in India, Lionsgate Play emerged as the no. 1 player on its partnered platforms in premium Hollywood content category

Celebrating the phenomenal response received from across the country, Lionsgate is all set to launch its app in the latter half of the year 

The global content leader and Hollywood studio house Lionsgate (NYSE: LGF.A, LGF.B) entered Indian OTT market last year in August 2019 with its premium streaming service product, Lionsgate Play. The brand launched its operations in the country by forming strategic alliance with Vodafone Idea. With this collaboration, subscribers of Vodafone Play and Idea Movies&TV gained access to Lionsgate Play's enormous library of Hollywood content, which is populated by renowned franchises and films like La La Land, Twilight series, John Wick series, Wonder, Dirty 30, Knives Out, American Pie and many more.

Correspondingly, for unparalleled distribution, Lionsgate Play strategically formed alliances with other telecom partners having enormous reach in India like Airtel for Airtel Xstream app and Jio for JioFiber JioTV+ to give customers of the Indian telco access to Lionsgate’s portfolio of feature film content. Further, Lionsgate Play made itself available on JioTV+ and what began as a smart phone-led content revolution transitioned and expanded to encompass consumer televisions and other large screens in the home.

With the tremendous response received from the Indian viewers, Lionsgate Play launched Blockbuster Friday series – releasing one new film every Friday. Blockbuster Friday series showcased films from various genres such as horror, comedy, drama, action, thriller, sci-fi and romcoms. This resulted in the rise of viewership and increased stream time per user. Lionsgate Play also hosted Digital Movie Premiers of the Oscar nominated films like Knives out and Bombshell along with John Wick 3 to name a few. In addition, Lionsgate Play dubbed many of its popular titles in Hindi, Marathi, Tamil, Telugu, Kannada and Bhojpuri for regional-speaking cinema lovers, for them to enjoy Hollywood movies in their preferred language.

Now having tested the Indian waters and receiving great response from viewers, Lionsgate Play is all geared up to launch an exclusive app very soon. The app will house Cult Hollywood Movies, Popular Global TV shows and a few premium Original Indian shows that are being currently developed. All and all the company is further strengthening its offering as a premium content provider to Indian users.

Commenting on the partnership, Mr. Rohit Jain, Managing Director, Lionsgate South Asia, said, “Lionsgate Play’s collaboration with telecom partners in India has witnessed surge in viewership with each passing month. As a premium Hollywood content brand, we introduced fresh quality content for our consumers and provided content as per demands whether it was for action thrillers or romcoms. We made sure there is content for everybody. We are ecstatic about Lionsgate Play’s success on these platforms. We will continue to invest in technology and expand our library for our userbase in India.”

• Traditional media de-grew by 71% in Q2 and 15% in Q1, thus ending up with a 47% degrowth in H1

• Digital media degrew by 35% in Q2 and grew by 16 % in Q1, thus ending up with a 7% degrowth in H1

• Total Adex in H1 degrew by 39%

• TV and Digital return to growth by June

• Digital now stands at strong No. 2 with a market share of 30%, after TV

• FMCG showed up to be most resilient and its share moved up to 38% compared to 33% in full year 2019

Madison Media has taken the bold step of predicting what the impact of Covid-19 has been on Indian Adex in in H1 2020 and forecasting what it will be in H2. The Highlights of the report were presented yesterday afternoon by Sam Balsara, Chairman Madison World in a webinar that had over 800 participants. There was a panel discussion at the launch event on the topic “Getting the most out of the coming festive season” with Vikram Sakhuja, Partner & Group CEO, Madison Media & OOH, as the moderator, and esteemed panelists included, Amit Syngle, MD & CEO, Asian Paints, Kunal Bahl, Co-Founder & CEO, Snapdeal, Shailesh Gupta, Director, Jagaran Prakashan Ltd, Rohit Gupta, President, Sony Pictures Network, and Avinash Pandey, CEO, ABP Network.

Key findings of the report:

A. Overall:

1. Whilst it is well known that Adex has collapsed in Q2, the drop is as high as 65% because of Covid-19. What is not so well known, is that Adex also contracted in Q1, by as much as 8%. Digital was the only medium which registered a growth of 16% in Q1.

2. In 2019 Adex was at Rs. 67,603 crores; in H1 2020, Adex was only Rs. 21,298 crores, a drop of 39% over H1 2019 or Rs. 13,812 crores in absolute terms. ADEX has not seen a drop as dramatic as this, in anyone’s living memory.

3. Last year on TV, IPL, ICC World Cup and Elections in Q2’19 contributed around Rs 3,000 crores (34% to the TV ADEX in Q2’19) which was wiped out from Adex in 2020.

4. In Q2, Print de-grew by almost 80%, Radio by 90% and Cinema and OOH recorded virtually no billings.

5. The months of April and May were the worst ever when even TV suffered despite breaking records in viewership and time spent by audiences, inspite of original content missing. Even lucrative discounts offered by many broadcasters failed to bring advertisers back and we saw more than half the usual number of advertisers disappear from Print and Radio and a quarter from TV compared to normal times.

6. TV still continues to be the largest contributor to Adex in H1 with 38%, followed by Digital at 30% and Print at 25%.

B. TV:

1) Due to the enforced Lockdown and Work-from-Home policies, Q2 saw a spike in TV consumption despite there not being original content on TV. However this rise in viewership has not translated into TV Adex growth.

2) TV de-grew by as much as 61% in Q2 and 13% in Q1. Overall TV de-grew by 43% in H1.

3) This de-growth is not only because of absence of tentpole properties like IPL and World Cup; even without them the drop in Q2 20 over Q2 19 was as much as 42%.

4) The sharp drop is on account of the fact that many advertisers, 1,171 to be precise, skipped advertising altogether and many large advertisers who continued to advertise, brought down their advertising budgets.

5) TV has been the first to get off the block and June has brought in cheer for TV Adex signifying that some categories cannot afford to stay away from TV advertising for too long to sustain their shares and for fear of losing share to competition.

6) FMCG increased its dominance in TV Adex with a share of 56%, higher than the 2019 figure of 49%. This is primarily due to increase in advertising by newer Covid categories in Personal Hygiene like Sanitiser, Handwash liquids, Disinfectant sprays and multiple products related to Immunity building.

7) An analysis of FCT beamed by various genres shows that all genres have de-grown by atleast 10-20% in H1’20 and some like Music de-grew by 64%, English Movies by 41% and Kannada, Tamil and Telugu languages by around 30%. This drop is much higher in Q2 20 ranging from -2% to -64%.

8) News genre gained maximum attention amongst audiences and TV advertisers for obvious reasons. In fact in week 1 of Lockdown, TV news viewership increased by 250% and came down in June, when it registered an increase of 75%. Despite this impressive viewership, FCT on News genre dropped by 10%, when compared with Q2’19. One must remember, though that Q2’19 saw advertising by all political parties because of Elections.

C. Digital

1) Digital suffered a minor contraction of just 7% in H1, whilst all the others suffered a drop of 40% to 55%. Digital is also the only medium to grow by 16% in Q1 2020, when all others registered a double digit drop.

2) In Q2 2020, Digital de-grew by 35%, yet Digital emerged as a strong No 2 medium with 30% market share second only to TV.

3) Looking at Digital Adex by various verticals, it is more or less equally divided between four major segments; Search, Social, Video & Display with each contributing between 20% to 30% to the total.

4) While there was an explosive spike in video consumption, it did not translate to Ad spends and Video only maintained its share of 30% of Digital Adex, continuing to be the largest contributor.

5) Social media came in next with a share of 26%. Q2 2020, saw a spike in social spends as more brands used social platforms to maintain saliency in absence of other traditional media.

6) Display advertising took a sharp hit, whereas Search maintained itself in third position.

7) E-commerce advertising platforms have made their presence felt registering a 10% share. Affiliate Networks have the balance.

D. Print

1) Print ADEX suffered not just because of lack of advertising money in the market, but also because of the lockdown newspapers could not be delivered to household in many cities in the months of April and May.

2) Whilst most readers could lay their hands on the e-version of their favourite titles, widely in circulation on Whatsapp, quick monetization was difficult.

3) Print de-grew by as much as 79% in Q2 and 17% in Q1. Overall Print de-grew by 51% in H1.

4) In absolute terms, in H1’20 we estimate Print Adex to be at Rs 5,237 crores of which Rs 4,020 crores came from Q1’20 itself. Q2’20 saw only a marginal Adex of approx. Rs. 1200 crores.

5) In terms of volume or space consumed, there is a 53% decline in H1’20 and 77% decline in volume in Q2’20 itself.

6) Categories like FMCG, Auto, Education, continue to be the main cash cows and contributed almost 45% to Print Adex in H1’20. (38% in 2019).

7) Publications across languages show a drop in space consumed, of more than 50% in H1’20. English & Hindi publications continue to contribute close to 60% of the total volume like in recent years.

D) Forecast

1) ADEX is likely to recover in H2 20 and grow at a dramatic rate of 60% to 72% of the collapsed H1 half, or grow anywhere between 6% to 13% versus H2 19 on the back of the festival season, which Advertisers are sure to take advantage of , after a lean H1.

2) Despite the dramatic increase in H2, ADEX in full year 2020 will contract by 14% to 18% and ADEX value pessimistically to over 2017 level or optimistically to a little below 2018 level.

3) In 2019, Adex was at Rs. 67,603 crores; in H1 20, Adex did Rs. 21,298 crores, in H2 we expect Adex to do anywhere between Rs. 34,300 to Rs. 36,600, taking full year 2020 Adex to anywhere between Rs.55,000 to Rs. 58,000 crores.

4) TV and Digital have shown early signs of getting back to normalcy and should get back in full form by September or October, aided by the launch of IPL, Bigg Boss and KBC.

5) H2 Adex will primarily depend on Demand coming back in markets which will depend on sentiment and consumers’ outlook of the immediate future, which in turn will depend on when Govt and private offices are allowed to open and work on regular basis.

Says Mr. Sam Balsara, Chairman, Madison World, “We are bullish in our forecast for H2 2020. We believe Advertisers will return to Adex in full form by Q4 to take advantage of the festive Season. Enlightened Advertisers know that they cannot risk being off Advertising for risk of losing Market Share, since Share lost is expensive to regain. Media owners are well advised to be nimble and flexible with existing Advertisers and spare no effort in helping Local and Regional brands become National Brands and help hitherto unadvertised Brands taste the power of Advertising”.

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