MediAvataar's News Desk

MediAvataar's News Desk

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Wednesday, 06 April 2016 00:00

CCD launches new range of chilled beverages

At Café Coffee Day, meet Winter this Summer

The café culture pioneer brings winter feels to its cafes this summer with its new range of delicious cold beverages

When most of us are saying, ‘summer is here’, Café Coffee Day says, ‘winter has arrived’! This April, a whole new range of four freezing cold beverages - two smoothies and two punches dip the country in the wow-ness of winter like never before.

The winter-some treat begins with Tiramisu Smoothie, a sweet sip-n-snack delight. It is a blend of cocoa powder, cheese sauce and coffee on a bed of sponge cake and topped with cream that is sure to make you shiver in April. With Strawberry Cheese Cake Smoothie, summers will be bygone when strawberries and cheese sauce lavishly meet on a bed of crushed cookies. Coffee buffs and winter lovers can savour the smoothies with chili butter cookie on the side.

Summer gets a punch in the face with Watermelon Lychee Punch where sparkling water falls in love with lychee and watermelon flavours on the rocks. Winter love blossoms as one sips down this refreshing treat that totally beats the outside heat. Also, the refreshing Cool Green Punch is here to make this summer the coldest winter ever. For the first time, the freshness of tangy green apple blends together with the coolness of cucumber in sparkling water and on the rocks. And there, winter beats summer hands down.

Speaking on the launch of the new range of summer beverages, Bidisha Nagaraj, Group President Marketing, Coffee Day said, “With ‘Winter has arrived’, we plan to make this summer a lot more special for everyone. As café culture pioneers, we love to reverse the rules of the game and keep our menu few refreshing steps ahead. And that’s exactly what the four new and rejuvenating additions of smoothies & punches stand for. We hope to bring in a winter wave this summer with this refreshing and delicious new range of beverages.”

Luxurious Executive Jury travels to Lisbon to assess global advertising creativity

Last week the Lisbon International Advertising Festival had announced that its President of the Jury would be the ultra-renowned Brazilian adman Washington Olivetto.

Now we are pleased to announce the remaining names of our Executive Jury, who will be travelling to Lisbon in September in order to assess in person the best creative works on a global scale.

The only Portuguese adman will be the international creative leader Luís Silva Dias, the Chief Creative Officer of FCB International. Chacho Puebla, the Executive Creative Director & Partner at LOLA/LOWE Spain, will travel from Madrid.

Coming from Prague, we will welcome Jaime Mandelbaum, the European Chief Creative Officer of Young & Rubicam. In representation of the creative boutiques, Doerte Spengler-Ahrens, the Chief Creative Officer of the ultra-renowned Hamburg-based agency Jung von Matt/Fleet, will also be present.

Sarah Barclay, the Executive Creative Director of J. Walter Thompson New York, will travel from the United States of America, joining Fábio Seidl, the Group Creative Director of the also New York-based 360i.

From France, we will welcome Alasdhair Macgregor-Hastie, the Vice-President and Executive Creative Director of BETC. Jason Romeyko, the Global Chief Creative Officer of the GSK & Deutsche Telekom accounts, and the Executive Creative Director of Saatchi & Saatchi Switzerland, will be travelling from Switzerland.

The juries that will make the longest trip are Eugene Cheong, the Regional Creative Director of Ogilvy & Mather Asia & Pacific and Ramzy Haddad, the Executive Creative Director of Publicis Middle East - MENA Region.

The quality and worldwide recognition of our Executive Jury demonstrates very clearly the ambition of LIAF in becoming one of the great festivals of advertising creativity worldwide.

The Lisbon International Advertising Festival has opened entries, and its award ceremony will take place on September 14, in Portugal, at Cinema São Jorge, one of the most important theatres of the city of Lisbon.

The entry procedure is entirely online by just accessing the festival’s website - www.lisbonadfestival.com

Launches ‘Zee Sine’, a dedicated Bollywood movie channel

After creating success stories with two Bollywood channels in the APAC region, namely Zee Bioskop in Indonesia and Zee Nung in Thailand, Zee Entertainment Enterprises Limited (ZEEL) becomes the first Indian company to foray into Philippines with its third dedicated Bollywood movie channel for the local Filipino audience starting today.

Announcing ZEE’s entry into the Philippines, Mr. Amit Goenka, CEO – International Broadcast Business, ZEEL said, “ZEE has been the cultural ambassador for Bollywood and Indian content in overseas markets. In line with our Vision 2020 goals, we have chalked out an aggressive international expansion plan, with APAC being one of the key regions. We already have 5 dedicated localized channels in APAC, comprising of GEC and movie genres, and our entry into Philippines will only further strengthen our presence. With the Pay-TV industry projected to grow at an average of 13% Y-o-Y in the next 5 years, we see huge potential in this market.”

Zee Sine - Bollywood Na Tayo (‘Sine’ means ‘Cinema’ and ‘Bollywood Na Tayo’ means ‘Let’s Go Bollywood’ in Tagalog) is a 24/7 Bollywood movie channel customized and packaged for the local audience. The channel features Blockbuster movies from the World’s Biggest Hindi Film Library of ZEEL.

Speaking on the launch of Zee Sine, Sushruta Samanta, Business Head – Asia Pacific, ZEEL said, “Both India and Philippines display strong affinity for music and dance. Our research shows that Indian Bollywood Films are relatable as the stories hit close to home, reflecting similar emotions and values shown in Filipino movies. While other content from around the world has entered Philippines already, we plan to bring a fresh and unique perspective by launching Zee Sine in Philippines. We felt it is the right time for us to enter this market and showcase our heart-warming and larger-than-life Bollywood movies to the Filipino audience.”

“Maria Liza Ginting, who currently heads our Indonesia market, will also be heading the Philippines operations along with the local team in Manila,” Sushruta further added.

Sharing more details on the channel, Maria Liza Young - Ginting, Country Head, Indonesia & Philippines said, “Zee Sine will take you to a new world of entertainment with high-voltage Bollywood dramas, love triangles, comedies and song and dance. To reach out to the local audience, we have hand-picked movies from the library, dubbed in Tagalog, re-christened movie titles and character names in English while promos and special movie properties are being locally created. The channel is being distributed through one of the leading cable distributors in the country, Cable Boss, and will soon be available on more platforms in the market.”

The channel will be showcased at PCTA (Philippine Cable TV Association Inc.) Convention 2016, which is one of the biggest Pay-TV operators conventions in Philippines, to be held between 12-15 April, 2016.

As the channel goes on-air today, Zee Sine promises to entertain Philippines the Bollywood way.

ID – Investigation Discovery will premiere its first-ever true crime series titled Killing Fields and take viewers inside an active criminal investigation as it unfolds. The series will explore the menacing reality of America where beautiful landscapes hide a much more grim reality.

Killing Fields will premiere on 17th April and will air every Sunday at 8 PM, only on ID.

Killing Fields will go inside a case that went cold nearly two decades ago in the small community of Iberville Parish, Louisiana, located just 15 miles from the state capitol, Baton Rouge. In June 1997, Louisiana State University graduate student Eugenie Boisfontaine was last seen near LSU’s lakes. Two months later, her body was found nearby in a watery ditch with evidence of blunt force trauma to her head.

But who did it and why? Was it a single act of violence? Or was her murder part of a much bigger string of killings? Between 1997 and 2003, there were 60 cases of missing and murdered women in the area that went unsolved. And to make it even more complicated, the Baton Rouge area had multiple serial killers operating at the same time with two of the their victims living on the same street as Eugenie. Could these murders be connected?

Detective Rodie Sanchez was assigned to the case in 1997 and hasn’t stopped thinking about it since. He makes the bold decision to come out of retirement and gets permission to re-open the case. Rodie is determined to solve the mystery and make good on a broken promise to Eugenie’s mother: to find the person (or persons) responsible for killing her daughter.

Joining Rodie in the chase is a young hot-shot detective, Aubrey St. Angelo, who has a knack for reading people and isn’t afraid to ask the tough questions. However, the two can’t solve this case alone – they are joined by top-notch detectives at the Iberville Parish Sheriff’s office.

With advancements in forensic science and DNA analysis, a lot has changed since 1997. But will this be enough to crack the case for good? And will Rodie be able to finally rest and move beyond the case that has forever haunted him?

Video-on-demand (VOD) services are undoubtedly transforming the way audiences consume video, so it’s important to tune in to what’s driving engagement around the world. Our recent online global survey found that while several strong motivating factors will support continued growth, there are a few barriers to be mindful of, too.

Due to the personalized nature of streaming programming, it comes as no surprise that convenience is a very important factor in the decision to watch VOD programming. Among the global respondents who watch VOD, more than three-quarters of (77%) somewhat or strongly agree they do so because they can view content when it’s convenient for them. Agreement was highest in Latin America (82%), North America (81%) and Europe (80%) and was slightly lower in the Middle East/Africa (77%) and Asia-Pacific (76%).

Respondents are also watching VOD content because it allows multiple people in the household to watch different programming on different devices at the same time. Two-thirds of global respondents who watch VOD agree this is a reason for viewing (66%). In addition, among those who watch VOD content, binge-watching is popular and driving viewership. Sixty-six percent of global respondents say the ability to watch multiple episodes in a single sitting is a motivator for watching VOD content. This attribute is more appealing in North America (73%) and Africa/Middle East (70%) than globally. And while Millennials and Generation X are the most likely to agree they watch VOD because they like to catch up on multiple episodes at once (68% and 67%, respectively), almost half of respondents in every other generation somewhat or strongly agree with this statement.

There are practical motivators for on-demand viewers as well, as the perception of cost is another potential driver fueling VOD growth. Nearly six-in-10 global respondents who watch VOD programming say it’s less expensive than programming from a cable or satellite provider (59%), with above-average agreement in Latin America (67%) and North America (64%).

For all of its benefits, VOD has a few shortcomings as well. Among those who watch VOD content, more than seven-in-10 global respondents (72%) say they wish more programming choices were available. In a separate U.S. online survey of SVOD viewers, limited content selection was among the top reasons SVOD subscribers stream less content today than when they first started.

Additionally, while on-demand content is available across an array of digital devices, two-thirds of global respondents (67%) agree that watching VOD programming on an online or mobile device is not as good as watching on a bigger screen.

Other findings from the global Video-on-Demand report include:

Nearly two-thirds of global respondents (65%) say they watch some form of VOD programming, which includes long-and short-form content.

VOD is becoming a part of daily viewing habits for many. Among those who watch any type of VOD programming, 43% say they watch at least once a day.

More than half of global respondents (59%) say they don’t mind getting advertising if they can view free content.

Eighty percent of global respondents who watch on-demand content say they view movies, followed by TV programs (50%).

 

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