“Now that the economy seemed to have absorbed impact of demonetization and GST implementation, I am hopeful of overall economy and hence broadcast sector to grow in next 4 to 5 quarters. 2019 is a year of general elections in India. With that, we are hopeful of growth powered by spending by political parties along with players from emerging industries like payment wallets and online shopping portals spurring the growth of broadcast industry.” Said, Megha Tata, Chief Operating Officer, BTVI.
In an interview with MediAvataar India, Megha shared her reflective insight on the TV and Broadcasting Industry, vision for BTVI and post budget observations.
Here is the complete Q&A….
MediAvataar: Business strategy and growth plans for BTVI?
Megha: BTVI plans to expand its reach to viewers across the country with a complete portfolio, offering all relevant content (business, economy, stock market as well as branded content). We plan to enhance our presence by digitizing our news and content and leveraging social media and technology. Going ahead, we plan to have sharp focus on expanding our distribution footprint, enhance our client & agency coverage and to strengthen our brand outreach & perception.
MediAvataar: Budget reaction?
Megha: This budget had no announcements that would directly impact the broadcast industry. However, the focus on improving the digital ecosystem in the country will impact broadcast industry in the long term future. It’s Focus on agriculture will certainly drive consumption in non-metro India which will spur growth for broadcast industry. Overall, this budget did a fine job of being populist keeping an eye on next year’s general elections, while maintaining the fiscal prudence. I am happy that FM has also kept his promise by reducing corporate tax rate to 25 %.
MediAvataar: Your outlook on the current TV broadcasting medium and industry?
Megha: In the quarter of demonetization, broadcast sector was negatively impacted owing to traditional advertisers holding back their ad spends waiting for clarity to emerge on demonetization’s impact on individual sectors. However, subsequent quarters have seen ad spends of major advertisers back to earlier levels along with some new category of advertisers like mobile wallets pushing overall ad spends higher than before. With GDP growth rebounding to 6.3% in Q2 of FY 2017-18 as GST jitters recedes, broadcast industry is optimistic about ad spends and we are hopeful of closing FY 17-18 on a positive note.
Now that the economy seemed to have absorbed impact of demonetization and GST implementation, I am hopeful of overall economy and hence broadcast sector to grow in next 4 to 5 quarters. 2019 is a year of general elections in India. With that, we are hopeful of growth powered by spending by political parties along with players from emerging industries like payment wallets and online shopping portals spurring the growth of broadcast industry. 2018 saw a very good monsoon. The crops from this year will hit the market in current and next quarter. This will further grow the economy which in turn will have positive consumption impact on our advertisers businesses and hence on us. Some of the government led initiatives like increasing FDI limit from 74 per cent to 100 per cent in cable and DTH satellite platforms, and granting industry status to the film industry for easy access to institutional finance will help both the broadcast as well as film industry in India.
MediAvataar: Digital media and effect of it on the Television medium?
Megha: IPL rights to Star network has demonstrated the power of bundling traditional TV offering along with new digital platforms like OTT. I am expecting more such bundling of cross platform offerings by other major players to leverage intrinsic value of a brand.
Another thing we are excited about is how Internet of Things (IoT) will shape media and entertainment landscape. Since IoT generates immense amount of consumer data - Location, behavioural, consumer-preference, demographics to name few - from a variety of devices and systems. This immense amount of metadata will help us construct detailed consumer profiles and use them to create and instantly deliver personalized content /ad delivery across multiple screens.
Impact of Artificial Intelligence, Augmented reality and Virtual reality on media and entertainment industry will be interesting to watch out for as well.
MediAvataar: Consumer engagement and content strategies?
Megha: To cut the long story short, we identified the need gaps in the content for our viewers and filled those gaps and delivered much more than what is expected from this genre. A detailed qualitative consumer study helped us understand and identify what works for our viewers and then we simply delivered that content at the time of the day most suited for our viewers. Our refreshing and diversified content mix (which ranges from stock market to business and economy, from Women entrepreneurs to fashion and lifestyle, from Bollywood to Unique branded content properties like he Journey & The Big drive) was supported by and exhaustively promoted through our marketing efforts. The shows and the brand was promoted extensively with 360 degree spread which included TV, Digital and Social media Print as well as Radio. In nutshell, identification of need gaps fulfilling these gaps at the right time of the day and effective communication about the same to our viewers is key to our success in 2017.
MediAvataar: With so many accolades under your belt, what are your learning’s through such an elaborate and fruitful career?
Megha: I have learned that there is no shortcuts to success, it’s hard work, commitment and most importantly Passion. Passion has been my mantra and I have always propagated this to people around me. The day you get up feeling ‘oh not another day’, then it’s time for you to start thinking and letting go. It’s not about changing the world but just be happy and passionate about what you do. If you bring that quotient to the mix then everything falls into place.
‘Passion, Perfection, PR and Perception’ are the 4 P’s I live by. These are the key elements I have always believed in and amongst the marketing P’s which is taught in Business Schools this is one ‘P’ that nobody can teach and that is ‘Passion’, which has to come from within yourself. Having said that it is also a combination of hard work, commitment and clarity of thought.
Another key learning is that ‘Prioritisation’ is very important as there is so much to do & you have to know how to prioritise as there are only 24 hours in a day! One needs to have a balanced approach. Even as a mother I made adjustments not compromises in my life. There are times when a PTA meeting was more important than a business meeting and at times vice-versa. That’s the balancing you need to do, this can’t be taught but comes from within you, by your experiences, understanding and prioritising what is important at that moment. Fortunately for me I have had huge family support which has been a boon for me to have reached so far.
MediAvataar: One thing you wish you had known when you started off? Your advice to the budding media professionals?
Megha: My advice to budding media professions will be the outcome of my learnings through the career. As far as advice to women in this industry there are many women employed in our industry but I don’t see too many women as the Business head or Board level, somewhere down the line or should I say up the line it dissipates. There are two sets of arguments, one which says women are women’s enemies and the other set which says there is a Boys Club out there. I am no authority to comment on that, but you can count the number of women at a Board level or Business Heads in this field. It’s not about Male bashing or Men versus Women, but there is something fundamentally wrong in the way we exist – of not making the environment more conducive for women to grow.
A large chunk of India’s population lies on the outskirts of the formal economy. Living in far-flung corners of the country, illiteracy and a lack of connectivity are common reasons why consumers in these areas remain unbanked. Moreover, banks in rural areas are few and far in-between, making it difficult for many people to reach them during working hours.
The government, however, is making efforts to broaden financial inclusion and has recently introduced several programmes to address these obstacles, including Jan Dhan Yojana and Smart Cities.
Impetus provided by Demonetisation
In November 2016, the government announced the demonetisation of high-value currency in India, leading to prolonged cash shortages and disruption in the economy. While there were several objectives behind the demonetisation, increased digitisation and the integration of the formal and informal economies were among those that began to take shape. The shortage of hard cash for daily purchases led to the quick adoption of e-payment portals, e-wallets and digital transactions. Additionally, the cash volatility encouraged people to warm up to the concept of payments banks.
This adoption of digital transactions, however, was primarily taking place in the urban areas, largely because companies enabling digital transactions, like e-wallets, e-portals etc. hadn’t covered rural areas till then. As a result, consumers in the hinterland felt the effects of demonetisation more severely. In fact, as much as 38% of the rural population didn’t even have bank accounts.
The Domestic Remittance Opportunity For The Rural Economy
Remittance, or the transfer of money between two people (rather than a payment for goods or services), is a basic financial activity for many rural Indians; it’s also a key untapped business opportunity for players looking to facilitate the abundance of money transfers. Payments banks can provide a ready solution to the current domestic remittance scenario. There are 120 million migrant workers in India, and more than 80% live in the inadequately connected rural areas. Additionally, migrants who hail from villages but work in towns and cities make 80% of the country’s domestic remittances.
According to the National Remote Payments Survey by National Council of Applied Economic Research, and additional insights using Nielsen’s forecasting technique, domestic remittance in India is valued at more than INR 900 billion per year, including non-traditional modes of transfer. Rural India’s contribution is over INR 700 billion per year.
Of the INR 700 billion worth of domestic remittances that happen in rural India, traditional channels comprise a mere 40%, or INR 300 billion. The rest of the remittance happens via non-traditional remittance modes. Given the high risk of non-traditional remittance modes, there is a huge scope to expand traditional remittance avenues like payments banks.
Recently I wrote a piece for Brand Matters, our monthly review of what is new in the world of brand marketing, about the need to break out of the comfort zone. In this post I thought I would explore a few different examples of how a brand found growth beyond the edge of the comfort zone.
My observation of the few brands that grew over five years suggests that they all did something disruptive, something that changed the way they served customers, went to market or communicated with their target audience. These brands were not simply repeating a marginally different version of what they did the previous year, but doing something radically different based as a result of anticipating their customers’ needs, wants and desires.
The most obvious example of disruption is the launch of the Apple iPhone and because it is so obvious I am not going to dwell on it other than to say that it was a classic example of functional innovation that changed consumer expectations and disrupted an established category. However, too many of us get fixated on the idea that innovation only applies to a brand’s product or service. So let’s have a quick look at some other innovative and disruptive activities.
I love the example of Clear shampoo in Japan. As a lesser-known brand focused on scalp care Clear had a big challenge if it was to grow through traditional B2C marketing. Recognizing that the existing game was stacked against them, the brand team decided to change it and sell to corporations not consumers. Its Headgear Cover Plan encouraged companies to supply Clear shampoo to those who had to wear headgear at work, like firemen, food prep and construction workers. The Headgear-Cover Plan campaign added 70,900 employees as new users, seven times the target, and e-commerce sales rose by 171 percent over the duration of the campaign compared to the previous year.
My media colleagues are always reminding me that the medium is also the message. And it is true, but when media budgets are often set well in advance of implementation it can sometimes be difficult to something different from last year. However, Jane Ostler, Global Media Domain Lead, Insights Division at Kantar, reminded me of the example of Burberry, the first luxury brand to livestream their catwalk shows, one of the first to enable shopping from Instagram and try out short form ads on Snapchat.
Then there is the example of Ariel detergent in India. How can you break out of the status quo in a highly competitive market? Find a compelling new purpose that will help the brand make a positive change in society. The campaign sought to highlight the gender inequality that meant men did not do their share of household tasks. Videos that contrasted the attitudes and behavior of men and women were augmented by creative use of messaging on packaging and wash care labels with different instructions provided for men and women. Ariel’s ‘Share the Load’ campaign encouraged 1.57 million men to pledge to share the load and Ariel grew value sales by 106 percent.
If you want to grow a brand you have to do something different from the norm, something innovative that disrupts the status quo. Can you think of any other examples of disruption, other than functional innovation, which resulted in strong growth?
Written by Nigel Hollis,Executive Vice President and Chief Global Analyst at Kantar Millward Brown.
“Since 1994, the AME Awards has honored campaigns from around that globe that are not only creative, but successfully demonstrate innovative solutions to challenging marketing problems. This year’s standout Shortlisted entries represent ground-breaking creative work that has achieved measurable results on behalf of the brand,” said Michael Demetriades, President and Executive Director of the AME Awards.
2018’s Shortlisted entries submitted from creative agencies around the globe boosted brand awareness and achieved exemplary results utilizing a robust number of strategies including guerilla marketing, branded entertainment, social marketing, sponsorships and promotions and cause marketing.
To view the complete 2018 Shortlist please visit: https://www.ameawards.com/finalist-page.
Innovative ideas placed brands out front and helped achieve measurable market share including such cutting-edge tactics as a talking store, snow tweets in the Alps, and tattoo ink created from motorcycle burn-out carbon. Brave New World Communications Pvt. Ltd. India’s Shortlisted campaign’s “THE HEART OF THE HIGHWAY - The World's First Talking Store” for client The Roadster Life Co. featured a talking store, with a unique first-person voice, that reached out to shoppers creating the effect of personal interaction delivered by interactive in-store tech including custom software, digital façade, interactive and multiTaction touch screens, augmented reality green-screen, immersive VR and virtual shopping screens. Results included a 70% revenue spike in high-value apparel categories.
Heimat Werbeagentur GmHB “Snowdrawings” for Swisscom, sponsor of the Swiss Ski team, wanted to be more than a logo and create a benefit for ski fans and showcase their extensive network. The telecommunications provider utilized a remote cheering app that allowed fans to send supporting tweets to the ski team and have them written next to the race track in the snowy slopes of the Alps. The tweets were visible for 2 miles and were created using automated snow blower-bots. Results—26 million impressions, 4 million video views and over 20 km of written messages in the snow.
Team One Los Angeles, “Inking Our Mark on Motorcycle Culture” regained market share for Indian Motorcycles by leveraging a brand-first lifestyle media partnership and the world’s-first tattoo production technique formulated from the burn-out carbon from Motocross legend Carey Hart’s Indian Motorcycle. The process of making the ink and tattooing Carey were presented in a video along with a six-page custom print advertorial for Inked and offering a limited-edition run of Indian Motorcycle Ink™ in select biker-focused tattoo parlors nationwide resulted in the ink being sold out in a week. With zero paid traffic to Indian’s website, the results include 82% new visitors who spent an average 59% more time and visited 7% more pages than other visitors in the same period reinforcing success in generating qualified conquest leads. Indian went from 7th to 2nd most purchased motorcycle brand in the U.S.
Branded Entertainment repositioned brands and increased brand affinity, Shortlisted entries include Zulu Alpha Kilo Canada’s campaign “Common Ground” for their docu-series that followed riders from around the globe on a trip across Canada for Harley-Davidson Canada. Discovery Channel picked up the series as a primetime special, increasing Harley’s market share. PHD China’s “Panamera O2O Brand Repositioning” for client Porsche re-launched the Panamera through an integrated sponsorship with the immensely popular series “Ode to Joy” making it better aligned government and cultural climate and consumer needs and wants. Starcom Saudi Arabia’s “ALJ Toyota After Sales” for client ALJ Toyota created an animated web series for YouTube portraying the day-to-day life of a Saudi citizen. The film showcased ALJ after sale and maintenance services resulting in 94% change in brand perception with 49% increase in service appointments.
HBO Multicultural Marketing "The HeLa Project" was launched as a lead up to the premiere of HBO’s film, “The Immortal Life of Henrietta Lacks.” The multi-day, multi-city, multi-media, traveling art installation consisted of a unique, impactful collective of artisans and thought-leaders from the African-American community. Touring activation resulted in 182 million media impressions. Oprah, the film’s star, promoted the film through promotional channels, including her social media accounts, a promotional press tour that included the cover of an Essence cover and hosting a junket for black female journalists (#blackgirlmagic), and show appearances. Over 6,500 guests attended, 77% of guests were more likely to watch “The Immortal Life of Henrietta Lacks”.
Campaigns created to raise awareness for causes, or social and civic issues advanced. Shortlisted campaigns include: Dentsu Jayme Syfu Philippines guerilla campaign “Dead Whale” for client Greenpeace. The agency mounted a 73-foot decomposing “Dead Whale” installation on the shores of one of the most polluted cities in the Philippines during the 2017 ASEAN Summit. When examined closer, the whale was made entirely of plastic wastes collected from the ocean. The results—over 100 million impressions internationally and it caught the attention of ASEAN leaders, which put Coastal and Marine Protection in the proposal for the next Summit. Heimat Werbeagentur GmHB Germany’s Shortlisted campaign “A New Way of Thinking” for Free Democrats created a game-changing election campaign to reach and activate young voters and bridging the gap between the Liberal party and the voters. The digital campaign resulted in a comeback for the Liberal party.
Entries utilizing Sponsorships raised awareness for brands and connected them with target audiences. Shortlisted entries include: QIYI China’s “Rising! Chinese Hip-hop” for client McDonald’s China connected McDonalds with millennials via food and music creating The Rap of China, the first internet-based hip-hop contest. Havas San Francisco “Citrix & Red Bull Racing: This Is How the Future Works” for client Citrix. The campaign repositioned Citrix as a thought leader in the future of work, leveraging their high-profile partnership with the Red Bull Racing Formula 1 team and showcasing what Citrix can bring to any IT customer relationship. GMR Marketing “Lincoln Financial Group Presents: The Game Plan” for client Lincoln Financial leveraged their Philadelphia Eagles partnership to showcase best practices for financial planning by following a day in the life of players and illustrating that Lincoln Financial is a partner who will help them take charge of their financial future.
Social platforms created buzz for brands resulting in measurable gains in market share along with Shortlist status. Grabarz & Partner Werbeagentur GmbH Germany’s “Laughing Horses” Volkswagen showcased the product benefits of the Trailer Assist, illustrating the stress of parking while someone is watching. This funny social video featuring laughing horses mocking a frustrated driver trying to park his trailer became the best performing German Volkswagen video with 40 million views. Other Shortlisted entries include: Team One USA “Platforms of Expression for a Shareworthy Life” for Lexus IS; TBWA\ Singapore “Justice Bao and The Missing Travel Insurance” for Singapore Tourism Board; Saudi Ministry of Health “Diabetes Monster” for Diabetes McCann New York “The Sound of Priceless” Mastercard; Al Jazeera Qatar “#DemandPressFreedom by Al Jazeera” for www.aljazeera.com; Brave New World Communications Pvt. Ltd. India “Once Upon a Highway” The Roadster Life Co.; and Mediacorp PTE Ltd. “Letter to My Son” for Mediacorp.
Campaigns for automotive brands drove consumer engagement and gained traction for the brand. Agencies Shortlisted include: Grabarz & Partner Werbeagentur GmbH “Laughing Horse” for Volkswagen; Socialize United Arab Emirates “Meet Kamal: The World's Best Auto Salesman” for Mercedes-Benz; Mirrored Media “Road to Coachella” for BMW.
The medal round is underway and AME’s Grand Jury awards Gold, Silver, and Bronze to the highest scoring entries through two rounds of regional judging to ensure scoring accounts for cultural and economic relevance. Gold-winning work from all regions is judged by the full international Grand Jury to determine a Platinum Award for each of the five regions (North America, Latin America, Europe, Middle East & Africa and Asia Pacific) and the International Grand AME Award.
From Bitcoin Buckets to delivery drones, fast food moves into fast innovation.
Brands are finding new ways beyond ad campaigns to connect with consumers by positioning themselves at the forefront of cultural and tech trends. Furniture giant Ikea launched Space10, its internal innovation team, at the end of 2015 and Unilever collaborated with startups through the Unilever Foundry, which piloted in 2014. More recently, fast-food companies such as KFC, Domino’s and Burger King have upped their presence in the testing of product prototypes and the trialing of new ways to interact with consumers.
The new branded currency
Brands are exploring the possibilities of blockchain as a seamless and safe way to make digital transactions. Last month KFC Canada released the Bitcoin Bucket. Sales were tracked live on Facebook and the promotion sold out almost immediately. In August 2017, Burger King Russia launched the WhopperCoin, a “blockchain loyalty program.” Customers receive a virtual WhopperCoin with every Whopper they purchase and these can be traded or cashed in for burgers.
Retailers are experimenting with face-based payments to attract “young, tech savvy consumers who are keen to embrace new tastes and innovations,” Joey Wat, Yum China’s president, told Reuters.
In September 2017, Alibaba released its Smile to Pay facial recognition technology at KFC China, the first physical store to use face-based payments. CaliBurger brought the concept to America the following December using NEC’s NeoFace facial recognition technology. The screen in the self-order kiosk recognizes customers, pulls up their loyalty account and order preferences, and lets them pay by smiling.
Drone delivery adoption is growing among retailers and consumers. Amazon, 7-Eleven and Google have all piloted autonomous drone deliveries, aiming to eventually make the service commercial. For two days in January 2018, KFC India offered the KFO (Kentucky Flying Object)—a strictly limited number of lucky customers in selected cities received their chicken wings in a box that could be reassembled as a drone.
Domino’s has been testing pizza delivery drones and rovers since November 2016 in New Zealand, Germany, and the Netherlands. “We believe drone delivery will be an essential component of our pizza deliveries,” said Don Meij, Domino’s Group CEO and managing director, when the service was first trialed.
Pizza brands are partnering with car companies to prepare for our automated future. At CES 2018, Pizza Hut and Toyota put the concept into action with an autonomous delivery truck that could one day even contain pizza ovens.
In August 2017, Domino’s US launched a research study with Ford Motor Company to discover how consumers would respond to pizza delivery from a self-driving car. “We’ve been watching the development of self-driving vehicles with great interest as we believe transportation is undergoing fundamental, dramatic change,” said Patrick Doyle, Domino’s president and CEO.
Fast (food) fashion
Fast-food companies are encroaching on the fashion industry in a bid to become lifestyle brands. Taco Bell brought its fast-casual attitude to fast fashion, partnering with Forever 21 in October 2017 on a clothing line of hoodies, shirts, and sauce-themed bodysuits. In the same month, Pizza Hut created a parka out of its delivery material, with a triangular pocket wittily suggesting wearers might like to carry a slice with them at all times.
Companies are also releasing branded accessories. In July 2017, KFC launched KFC Limited, a line of chicken-themed merchandise from socks to Colonel Sanders’ string tie. For the holidays, the collection was updated with wrapping paper and gravy mugs. McDonald’s followed suit by launching a lifestyle collection with UberEats, giving away one free item per UberEats order to randomly selected customers on July 26, 2017.
Fast-food retailers are gaining consumer attention and loyalty by adopting creative, innovative projects. The limited-edition releases demonstrate that fast innovation is a great tool for market research, allowing brands to test consumer response to better understand their audience.