MediAvataar's News Desk
Kainaz Karmakar, Harshad Rajadhyaksha and Sukesh Nayak appointed Chief Creative Officers, Ogilvy India
We are happy to announce that, effective immediately, Kainaz Karmakar, Harshad Rajadhyaksha and Sukesh Nayak will take on the joint responsibility of driving Ogilvy India’s creative product and reputation, as Chief Creative Officers, Ogilvy India.
As we continue to drive internal transformation to stay at the forefront of the creative communication industry, we are clear that our success is built on the width of magnetic, memorable creative work we do for our clients. Across platforms. Across devices. This is what differentiates us.
Kainaz, Harshad and Sukesh are amongst the most talented, celebrated young creative leaders in the industry today, and together they will now shape the creative work that defines Ogilvy India.
While they will oversee all creative work across markets in India, they will also continue to lead creative hands-on in Ogilvy Mumbai.
He is a quintessential Ogilvy leader – all heart and full of passion for great work. His ability to tell compelling stories is evident across his body of work on Mondelez, Tata Sky, Asian Paints, Bajaj Auto, Unilever, Star TV, Castrol, Wildstone, JSW, Tata Salt, Pantaloons, Shan Masala, Fortune Oil, Amazon, Google, UNEP and the ICC Cricket World Cup, among others. Over the years, Sukesh’s work has been recognised at national and international awards, including Effies, AMEs, Kyoorius, Adfest, Spikes, D&AD, London International Awards and Cannes. The one accolade he treasures most, however, is the phone call that he received from his father after the Google Reunion campaign went viral.
Kainaz & Harshad joined Ogilvy in 2010. They are fantastic client partners and incredibly talented creative leaders. Their work on Brooke Bond Red Label, ITC Savlon and Unilever Start A Little Good has been widely recognised, and their water conservation work has been awarded at advertising and film festivals around the world. In 2017, they were instrumental in Ogilvy India’s record number of Cannes Lions; nine in a year. In 2018, Savlon Healthy Hands campaign won Asia’s first Grand Prix for Creative Effectiveness at Cannes Lions. In the course of their careers, they have won many global awards across Cannes, One Show, Clio, D&AD, D&AD Impact, Spikes, AMEs, including the coveted CANNES GLASS LION.
“I consider myself very fortunate to have on my team three partners who have made a huge impact on Ogilvy’s creative leadership, and an even more significant difference to Ogilvy’s partnerships with clients. This promotion could not be more deserving! I am extremely proud to have Kainaz, Harshad and Sukesh on our India team. They are the future of Ogilvy and I am confident they will be the game changers in Ogilvy.” - Piyush Pandey, Chief Creative Officer Worldwide & Executive Chairman India, Ogilvy
“Sukesh, Kainaz and Harshad are powerhouses of energy and great talent. Over the last few years, their work across some of our largest clients has been modern in expression and execution, and as inspiring and memorable as any trademark Ogilvy India work should be. This is a rare and precious balance for any creative to strike. They understand the value of hard work and deep client relationships and I am sure they will do a fantastic job of driving Ogilvy India’s creative product and reputation.” - Kunal Jeswani, CEO, Ogilvy India
The Over-the-Top (OTT) video market will surpass US$200 billion by 2024, with 90% of that value fueled by subscription and advertising revenue, according to a new report by global tech market advisory firm, ABI Research.
New services like Disney+ and Apple TV+, coupled with aggressive pricing and packaging, and continued expansion by incumbents are pushing the Subscription Video on Demand (SVOD) market to new heights. Subscriptions in the Asia-Pacific region have grown significantly, driven by key services in China (e.g., iQIYI/Baidu, Tencent, Youku Tudou/Alibaba Group) and increasing opportunities in India. The ongoing shift to OTT is creating value for companies throughout the video value chain, including pay TV operators. The expansion of new technologies, like 5G, will further present the market with new opportunities.
“Cord-cutting is often regarded as a consequence of expanding OTT consumption, but the market dynamics are more complex, particularly when one considers how the pay TV industry has embraced OTT as a complement and value-additive, rather than strict competition. Over time, we expect the traditional pay TV offer to continue to evolve and become indistinguishable from a pure OTT package of services,” comments Michael Inouye, Principal Analyst at ABI Research.
Even with over 700 million OTT SVOD subscriptions in 2019, the pay TV market, with over 1 billion subscriptions, is still larger. And, while growth rates are slower (and declining in North America), the overall market is still expanding. The attention paid to low latency video is testament to how OTT video is growing but also highlights the ongoing opportunities with live/linear programming.
“Increasingly, we’re seeing more solutions and conversations about bringing content and services together. This includes pay TV and OTT bundles and extends to cross-platform advertising, analytics, and customer/service management. Ultimately it makes the market more accessible to a wider range of companies and expands the potential video touchpoints, particularly as new technologies like 5G, smart home, and Augmented/Virtual Reality play larger roles,” Inouye concludes.
Mumbai Traffic Police took on the honking brigade with some tech and typical Mumbai humour through the campaign ‘Punishing Signal’
The campaign ‘Punishing Signal’ has been conceptualized by FCB Interface
Mumbai is one of the noisiest cities in the world. And a lot of this noise can be traced back to cacophony at the signals. Mumbaikars honk even when the signal is red! Needless to say, this noise pollution is making the city alarmingly unhealthy to live in. To tackle this honking menace, the Mumbai Traffic Police, in partnership with FCB Interface came up with an innovative solution called The Punishing Signal.
This is how it works. Special decibel meters were connected to traffic signals across the island city. When the decibel exceeded a dangerous 85dB, the signal timer would reset itself… forcing the people to wait longer at the signal! Thus ‘punishing’ them for their impatience with the message, honk more, wait more!
“Honking is bad habit and an act of traffic indiscipline. Unfortunately, many Mumbaikars indulge in reckless honking. Honking causes noise pollution, hurts the eardrums, increases heart rate, creates traffic confusion and causes stress. Unnecessary honking is a menace which everyone recognizes but does little to curb. This small experiment is one of many attempts by Mumbai Police to create better road discipline in Mumbai. Hopefully, it will encourage Mumbaikars to honk less, and create a noise-free and stress-free commute” said Mr. Madhukar Pandey, Jt. Commissioner of Police (Traffic), Mumbai Police.
As a part of the campaign, the first leg of activation was tested in Mumbai at important junctions that are most prone to heavy traffic such as CSMT, Marine Drive, Peddar Road, Hindmata and Bandra. And the film gives one glimpses of the confused honking Mumbaikars who honked, waited, honked and learnt it the hard way, that honking is not the way out.
Shedding light on the creative idea, Robby Mathew, Chief Creative Officer, FCB Interface, said, “Sometimes, the stick works better than the carrot. And a signal that gave us a gentle rap on the knuckles for honking unnecessarily, seemed like a good idea to me”.
Adding, Rohit Ohri, Group Chairman and CEO FCB Group, said, “We have been partnering Mumbai Police for many years now. Noise pollution is a big problem in our cities. This new initiative is a fantastic creative solution for bringing about awareness and a behaviour change amongst the drivers in Mumbai.”
Campaign Elements: Digital
Client: Mumbai Police
Creative Agency: FCB Interface
Creative Team: Fred Levron, Robby Mathew, Mukesh Jadhav, Rakesh Menon, Ravi Ananthan, Mayuresh Vengurlekar, Siddharth Kutty
Media Team: Dhruv Jha, Amit Raina
Account Management: Shailesh Gupte
Social Media : Rahul Shenoy, Shreyas Deshmukh
Films Team: Alpa Jobalia, Mazhar Khan
Director of TVC: Akshay Nair
DOP (of the TVC): Sujay Pawar
Producers: Sukirth Rao, Archana Sarkar, Shwetabh Mishra
TVC Details: 1 film
Title of Film: The Punishing Signal - #HonkResponsibly
Duration: 114 seconds (1:54 mins)
Campaign goes live: Jan 31, 2020
Production House: 30ML Ideas Production
Music Partner: Saregama
With so much great content being produced and distributed around the world, you might suppose that the life of a programme buyer or commissioner is an easy one. But the reality is that the job is as tough as it has ever been. In this week’s post, we explore the key challenges and opportunities facing buyers this year: five essential TV industry trends for 2020.
1. More co-production, distribution partnerships, innovative alliances
The rise of the Hollywood/Silicon Valley streamers, the inflated cost of talent and TV production, broadcaster/ studio consolidation, centralised group-buying strategies – everything suggests that securing access to quality content will be more challenging than ever in 2020, making collaboration one of the most important TV industry trends for 2020. This will notably mean an increased reliance on cross-border co-productions this year. This in turn will lead to more partnerships between channel buyers and distributors, since the latter are best placed to monitor trends in the global content market. Viaplay’s ownership of DRG is an example of this. Similarly, Viacom-owned Channel 5 has managed to boost its profile in scripted series through a partnership with All3Media International – with titles including Blood, Penance and All Creatures Great And Small. The pursuit of high-quality yet affordable content means buyers will increasingly find themselves sitting around the negotiating table with partners including talent agents, brands and investors. MGM Television, for example, has just sealed a partnership with management and production company 42 (Traitors, Wild Bill).
2. More risk-taking – but with a safety net
Channels have always struggled to balance the importance of taking creative risks with the need to deliver IP that immediately connects with audiences. This challenge is tougher than ever in an on-demand world where new TV streaming services are appearing with frightening regularity and where capricious audiences have the flexibility to watch what they want when they want – and have usually decided whether or not to stick with a show before the credits finish rolling.
One solution is to take tried-and-tested subject matter and give writers and directors the freedom to reinvent it. This is what the BBC has done with its new adaptations of A Christmas Carol, adapted by Peaky Blinders’ Steven Knight; and Dracula, adapted by Sherlock’s Steven Moffat and Mark Gatiss. Another solution is to work with scripted formats, as this offers the opportunity to customise a proven production. Scripted formats are especially useful when it comes to exporting dramas from Asia to the West and vice versa – so expect more deals in 2020. The same is true for scripted shows that originate in Latin America and Israel.
3. Greater flexibility
Orthodox TV buying strategy tends to focus on securing long-running franchises that can be repeated regularly in clearly signposted schedule grids. Not only does this help amortise production cost but it alleviates the pressure to spend millions of dollars on marketing. These franchises, typically a commercial hour or half-hour in length, are still important to many traditional broadcasters. Audiences, however, are getting more used to varying content lengths via their streaming platforms and mobile devices. This shift in consumer behaviour may encourage more buyers to experiment with their programming grid – acquiring short-form content or atypical-length series. A willingness to shake up the schedule in this way may help attract young viewers back.
4. Unexpected opportunities
Buyers will need to be alert to unexpected opportunities as the new streamers come online. While streamers generally seek to hold on to all rights, agile acquisition teams may spot tactical opportunities to pick up some series in specific territories, or for short windows. For example, competition for subscribers may encourage some streamers to enter content partnerships with traditional broadcasters as a way of promoting their services – or partially recouping their original content investment. Strategies in this new disrupted media landscape can change quickly. In the UK, for example, AMC’s Fear The Walking Dead was initially positioned as an exclusive for BT TV. But in 2019, back series also started coming available on Channel 4 youth channel E4. For many viewers, this was their first chance to see the show. With this in mind, it’s worth keeping an eye on whether Netflix changes its strategy with regard to rights sharing and windowing. As Disney, Warner and Comcast start taking back licensed content from the SVOD platform for use on their own services – The Office and Friends, for example – Netflix may have to increase its volume of originals. And the best way to do that without worrying shareholders will be a pragmatic approach to co-production and distribution.
5. Turbo-charged marketing
Such is the volume of content in the TV market that it is easy for audiences to miss shows when they appear in their first window – even if they are of decent quality. This suggests there may be untapped value for buyers in second windows or non-exclusive windows. However, extracting this value will require buyers (supported by their networks) to cultivate a sophisticated programme-marketing strategy – probably via social/digital media. As TV industry trends for 2020 go, this is sure to be one to watch.
Source: MIP Blog
SVoD subscriptions to overtake pay TV in more than 30 countries by end of 2020
SVoD subscriptions will have overtaken pay TV subscriptions in more than 30 countries by the end of this year, mostly thanks to the launch of Apple TV+, which saw lots of recent Apple device owners receive a 12 month subscription to the nascent streamer.
Twelve new countries saw SVoD subscriptions overtake pay TV in 2019, bringing the year-end total to 29, of which five out of the 12 countries would still have hit the milestone without the launch of Apple TV+; Italy, Thailand, Taiwan, Spain and Denmark.
The US was one of the first markets in which SVoD overtook pay TV back in 2016. The UK followed suit in 2018.