MediAvataar's News Desk
Isobar, the digital agency from Dentsu Aegis Network, has expanded its operations to Sri Lanka.
Last year, Dentsu Grant Group, Sri Lanka's largest integrated communications agency with a 60-year-old legacy, disrupted the nation’s advertising industry with the introduction of the global marketing conglomerate Dentsu Aegis Network into the country. Now, it will do so once again, reinventing Sri Lanka’s rapidly growing digital economy, with the launch of its full-service digital agency – Isobar.
Commenting on the prospects of Isobar in Sri Lanka, Shamsuddin Jasani, Group Managing Director - Isobar South Asia said, “I am very excited to launch Isobar in this amazing country. Sri Lanka is a rising mobile economy with smartphone penetration growing by over 20% and mobile penetration growing over 120% year-on-year. With the launch of Isobar Sri Lanka we are looking at creating a leading agency for the digital age that follows a true full service model. Under the guidance of Neela and her team, I am sure we will be a force to reckon with in this market in the years to come.”
Speaking on the launch of Isobar Sri Lanka, Neela Marikkar, Chairperson - Dentsu Grant Group and Dentsu Aegis Network Sri Lanka states, “We are thrilled to be introducing such an iconic brand into the Sri Lankan advertising industry. We are fortunate to be working so closely with our global and regional offices; we are confident that we will be able to use their global knowledge and skills to help develop business opportunities for our clients as well as help the digital economy of the country and accelerate through Isobar’s experience led transformation and brand commerce expertise.”
Ready to revolutionize the market, Isobar Sri Lanka will offer end to end full service digital media creative and technology services and help clients navigate the world of tangible and intangible businesses through mobile brand commerce, product innovations, artificial intelligence (AI), virtual reality (VR), the internet of things (IOT) and wearables.
The Irwin Family -Terri, Bindi and Robert – come home to Animal Planet in Crikey! It’s the Irwins which premiers in India on November 15 at 9 PM IST
The Irwins return to Animal Planet for the first time as a family in all-new series that continues Steve Irwin’s legacy
Lace up your boots because you’re about to embark on the journey of a lifetime with the family that’s bringing khaki back! The Irwins – Terri, Bindi and Robert – return to Animal Planet in a new series that gives audiences an all-access, front row seat to experience the sights and sounds of their thrilling wildlife adventures around the globe and the amazing animals that continue to inspire their conservation efforts. From running Australia’s largest family-owned zoo, Australia Zoo in Queensland, to crisscrossing the world protecting and celebrating the most wondrous animals on the planet, The Irwins work thoughtfully and tirelessly to carry on Steve’s mission to bring people closer to animals and ignite the connection that will ensure an abundance of wildlife for generations to come. CRIKEY! IT’S THE IRWINS launches as a global series premiere in Indian on November 15 at 9pm IST. Animal Planet India will showcase a special series ‘Crocodile Hunter: The Best of Steve Irwin’ every weekend (8-10 PM) in the month of November as a tribute to the legendary Steve Irwin.
Crikey! It’s the Irwins features the Irwins working together to care for more than 1,200 animals at Australia Zoo; overseeing a world class wildlife hospital, the largest of its kind in the world; and conducting high-octane global expeditions. Animal Planet audiences ride along with Terri as she propels Steve’s conservation mission forward, which has included expanding the once two-acre Australia Zoo into a world-class 750+-acre zoo with 105 acres open to the public. Bindi, now 20 years old, focuses her passion for animals at Australia Zoo’s Wildlife Hospital, Australia’s best equipped wildlife treatment facility which rescues, rehabilitates and releases sick, injured, or orphaned native wildlife. Robert demonstrates a curiosity, deep knowledge and expertise for all the animals around him, as well as an infectious enthusiasm to share this experience with others; a memorable trait often showcased by his father.
In the season premiere of Crikey! It’s the Irwins, among other stories, audiences will see Robert, after months of croc wrangling training with Steve Irwin’s best friend Wes, take the final step in his journey to feed Graham, a huge crocodile at the zoo’s famous Crocoseum. Originally rescued by Steve, Graham is the Zoo’s largest and most volatile big croc, with a history of dragging Steve Irwin into the water during a routine capture, and separately injuring Wes with a surprise death roll that left him hospitalized. Bindi helps tend to Cedar, a rescue koala that has given birth to a rare set of twin joeys who must now survive the 6 to 8-month period before they can leave Cedar’s pouch. Bindi and the zookeepers face ongoing challenges to keep the twin joeys alive as nature and survival of the fittest comes into play as one of the rarest types of koala pregnancies leaves the two joeys struggling and fighting for life.
During the season, Animal Planet viewers will witness a wide range of the joy and wonder of animals as the Irwins take on many projects, including the amazing transportation of a giraffe named Scarlett, who travels over 1200 miles to participate in a breeding program as a part of the Zoo’s conservation efforts, and the release of rescued and recuperated wildlife, including Eurong the turtle, Grub, the baby Echidna, and more. Viewers will also follow the family as they travel to locations that include the stunning Lady Elliot Island, the southernmost coral cay of the Great Barrier Reef.
Crikey! It’s the Irwins is produced for Animal Planet by Eureka where Paul Franklin, Chris Culvenor, Wes Dening and Rod Parker serve as executive producers. For Animal Planet, Erin Wanner is executive producer, Sarah Russell is producer and Paris Peckerman serves as production coordinator.
8 years ago, Chumbak began its journey as a souvenir brand. Today it is a multi-category lifestyle brand with stores in over 15 cities and a very strong online presence. The brand’s first campaign aims to introduce the multi-faceted Chumbak and what it stands for to the consumers.
The brand campaign comprising of a digital film & outdoor campaign has been conceptualized by Ogilvy Bangalore.
Today’s youth does not want to be just another piece in an increasingly anonymous society. They want to express themselves and stand out in a good way.
Chumbak is all about a little splash of colour or a pop of quirk that it adds to your home or ensemble. Here, we’re telling the stories of many women, who might seem ordinary at first glance but carry with them a little, unique quirk. Chumbak’s brand philosophy and product offering complements and completes this special quirk.
The film, released on YouTube, Facebook, Digital Media, OOH and cinemas across the country, has already garnered lakhs of views and positive responses.
Mahesh Gharat, Chief Creative Officer, Ogilvy South: Chumbak is a brand that offers a range of colourful and unique products for young women. These products make women stand out and be unique in their own way. This led us to the insight that there’s something unique about every woman – a little quirk or a special charm in their character. It’s these small acts of impulse or free-spiritedness that we celebrate in the brand film.
Vivek Prabhakar, CEO, Chumbak: The brand film is a culmination of us creating a defined story for our community and new consumers waking up to us. From narrating our brand ethos to our product story, the idea was to create something fresh and full of energy which is what the brand is today. We believe the film will surely get the ball rolling on the growth story around the brand with us expanding our online presence and taking up our store count to over 75 stores in the next year.
There’s always been fascination with the tricks and tweaks that media moguls use to build and entrench their big kids’ brands and properties.
In the 1980s, US cable channel TBS scheduled its shows to start at :05 and :35 past the hour so they’d stand out in the TV Guide. Disney has long shown an incredible ability to build a ‘universe’ around its properties. More recently, Netflix has perfected the enticement to binge view, thereby dominating the viewer’s life, and the game Fortnite has managed to schedule its audience without ever needing a schedule.
Right now, in the middle of a transitional period for how audiences receive content, you have to wonder what the future of kids’ TV will look like and how current networks and brands can prepare for it.
Historically, the way to get ahead was to create, curate and schedule highly-appropriate content. Would Ted Turner’s 5-minute-shift hack work now? Probably not; in fact, there may no longer be hacks. Now, it’s all about spend (Netflix) and scale (YouTube).
The traditional media firms that used to be the glue holding generations together are now under threat from more generalist platforms, and even games like Minecraft and Fortnite.
Kids media, just like that for grown ups, has been going through a period of maturation, as it readies itself.
Globally more time is spent using a television than other screens
It’s often said that television is in decline. Indeed, there are aspects for which that’s true (to be covered in subsequent slides), but TV still accounts for nearly as much time as tablet and smartphone combined, every week. Kids’ time spent on tablets and smartphones is dominated by playing app games and watching video. As they get older, smartphone use shifts increasingly to social and messaging. On average, 8-10 year olds spend an average of 2 hours 8 minutes, and 11-15 year olds spend 4 hours 46 minutes, with social networks and messaging services.
The decline of kids’ linear TV…
Globally, since the Spring 2016 Trends survey, linear television’s share of time has fallen by a fifth. The biggest decline in linear viewing is among 2- 4 year olds, an audience that goes largely unmeasured by television ratings services. Audience measurement begins at different ages in different countries - in the UK it starts at age 4. Amongst these pre-schoolers there has been a 25% drop in the time spent watching linear TV. Given that these young consumers of content are not developing linear viewing habits, the question is, will they ever? In our latest data, 8-10 year olds are the biggest consumers of linear television, but with a move away from dedicated children’s channels in favour of more generalist channels.
…but total video is growing
Despite a 20% decline in linear viewing, kids are actually watching more video in total. This has been driven by the rapidly accelerating growth of streaming across screens. Because kids have more access points for video than ever before (i.e. smart TVs, streaming devices, games consoles, etc.), they can get the content they want, when they want it, on whatever screen they choose - but they prefer the television. In Spring 2016, kids spent on average 10 hours 49 minutes per week streaming video. Two years later that has increased to an average of 14 hours and 8 minutes per week (up 31%).37% of time spent streaming video is on a television. This means the average time spent watching video in total has increased by 29 minutes per week since Spring 2016 to 22 hours and 21 minutes – that’s over the 3 hours per day on average.
Kids are on all devices across the week
Across ages, globally, watching television is still very much a daily habit whilst use of other devices is more sporadic during the week. However, as smartphones age-down they are becoming more of a daily habit. Smartphone activities differ from what children do on tablets. Much smartphone time goes to playing app games and watching videos, followed by use of messaging services like WhatsApp and social Networks like Snapchat and Instagram. Content makers need to consider how video will be seen; growing smartphone viewing requires repurposing content for the best small-screen experience. In use across the week, the television is still the ‘king of devices’ (just about), but many kids are as likely to be using a tablet or smartphone for entertainment, or even a games console.
YouTube is everywhere, but Netflix dominates SVoD
Netflix has commissioned and acquired a large library of kids content. In English speaking markets it is the dominant SVoD player, generally ranking second in terms of weekly use behind YouTube. In non-English speaking areas, it’s somewhat less used by kids. Often, this is due to a lack of locally-commissioned content. Dubbing something from English into a local language is no substitute to something that originates in a country with strong social and cultural values.
Media owners are fighting back
Netflix and YouTube are now so far ahead of legacy media brands and channels; with their massive content libraries and, in the case of Netflix, budgets. They have become the dominant players for video on tablet and smartphone. Netflix announced just recently plans to borrow another $2bn to fund original content. It’s going to be hard for broadcasters to lure kids from Netflix to their own platforms.
Despite having access to massive amounts of content everywhere and anytime, children still complain they can’t readily find new things they love. They (and their parents) want content curators, and this is where broadcasters have an advantage. They are skilled at curating and promoting scheduled. If Netflix showcased its children’s content in a free and curated unique app for under-13s, it would be a huge concern for broadcasters. With fewer TVs in households, children are coviewing shows with parents. This has the effect of ‘aging down’ generalist channels. Broadcasters need a new content strategy to keep kids in the driving seat on the big screen.
Humour is the genre most kids like
Across all ages, “funny” ranks as the most liked genre. Action/adventure is second most popular (driven by 8-15 year olds). Kids of all ages love animals and wildlife – at the younger end this is likely to be can be YouTube videos of kittens playing, while older kids watch content like Shark Week on Discovery. Music covers a host of content types, from nursery rhymes and sing-a-longs at a young age to music videos and concerts for teens. Amongst pre-teens and teens, sci-fi/fantasy and sport come to the fore, and teens move into mystery/thriller and scary/creepy stuff. As kids get older, they develop personal passions and interests, and this is reflected in their preferred entertainment genres, which begin to diversify.
Factors influencing kids content consumption
While we often talk about “quality content,” it appears that today’s young audiences don’t interpret quality the same way industry does. Kids focus less on production values and more on whether they relate to the content. A broadcaster will spend a number of years creating a new show. It will be developed with a strong narrative, defined characters and have brand consistencies. In contrast a YouTuber is sitting in a ‘cupboard’ producing, launching and getting feedback on a video within 24 hours. So every 24 hours they are learning more and more about their audience. One effect of this learning is that they iterate it back into their content. So in the one year that a kids’ channel brand takes to produce a series a YouTuber has produced 365 pieces of content and had 365 ‘conversations’ with their audience base. In contrast kids channels don’t have a single real data point. Ratings don’t help a broadcaster, as they aren’t received until several dozen episodes are in the can. Like a race between the tortoise and the hare. However, there is only 1 tortoise but millions of never resting hares.
The importance of accessible peers
Now that YouTube has overtaken TV for teens (and is heading that way for younger kids), it can be hard to understand why YouTubers have such a powerful hold over kids. An individual with a webcam and internet connection doesn't have the same editorial guidelines and production constraints as TV companies. They can comment instantly on news or pop culture; they can even take their fans on holiday with them. Parents may not see the appeal, but for kids it’s all about being in the moment. Many offer some type of expertise that kids are interested in, such as style tips or video game strategy – knowledge that provides social currency with friends or on the playground.
Parent and children use videos to discover arts and crafts ideas, leading to quality time together, inspired by the screen. If a kid can pick up a tip from a YouTuber on how to complete a level in a game before a school-friend, then it was time well spent.
1. Kids don’t flick through the channels
There was a time when kids would flick through the channels with a remote control, looking for something they wanted to watch and pausing when they saw something familiar or interesting. This was how they often found new shows/series. Now, with so many access points to video content they want to watch, they less often come across new shows or casual interests. It means new shows need more signposting at the times they are watching and on other media.
2. Generalist content aging down
Fewer televisions in households means families are coming together more often to watch a show. Often it’s reality TV or ‘shiny floor shows’ but not always. Natural history series like Planet Earth II are great examples of other generalist successes. Lifestyle series like the BBC’s Top Gear have successfully facilitated ‘dad and lad’ time. More recently we have kid extensions of reality series, e.g. The Voice Kids and Junior Bake-off. Thus, kids are spending more time with generalist shows on generalist channels. If these kid extensions were found on kids channels, perhaps families would come together to watch them there.
3. The importance of breadth and depth
One criticism of streaming services is they’re all ‘cartoons’ with no texture. Curated channels have the advantage not only to time content to the available audience, but also to blend genres and formats. They mix animation and live-action so as to ensure one format doesn’t dominate. Recently, linear channels have been behaving like SVoD services, with marathons and take-overs, but the result is that the channel no longer demonstrates the breadth and depth of content that kids love.
4. The importance of heritage
Not all the content kids engage with is new. A new property only proves its success if it can sustain for over time. Brands that have been around 10, 20, even 50 years are as loved by today’s kids as they were by their grandparents. In the past, heritage brands nearly always started in film, toy or TV. But as digital brands like Angry Birds mature, increasingly heritage brands will have a digital origin. Heritage brands are important because they have the ability to facilitate occasions when parent and child come together.
5. There’s much to learn from video games
Game franchises have the power to captivate audiences. Fortnite, like Pokemon Go and Minecraft before it, fast became a cultural phenomenon. There’s a lot legacy media can learn from this game that satisfies kids’ needs so readily. It’s ‘snackable’ (there’s another game starting in moments), it’s social (you can interact with friends), it’s familiar (it borrows the best elements of other games) and it balances scarcity and ubiquity (like streaming, you’re never more than moments from what you want).
Authored by Adam Woodgate,Senior Research Manager at Dubit Limited.
On the back of a multi-agency pitch Kérastase, L’Oréal Group has appointed VMLY&R India as their Social Agency of Record for a period of two years.
Part of the L’Oréal group, Kérastase represents the finest in luxury hair-care. Kérastase understands that every woman wants exceptional hair, but the solution is not the same for every woman. Kérastase creates innovative products and bespoke rituals for flawless results. Since 1964 L'Oréal Advanced Research has selected its most advanced technology for the Kérastase Collection. Its products are unique, avant-garde formulas with innovative ingredients. Women aspire to Kérastase for the ultimate in hair care and the ultimate in beautiful hair.
Kérastase is focusing on key communication to relevant audiences, contextualising the brand for the Indian market and at the same time maintaining its global equity and standards. Creating awareness of the luxe brand and increasing salon footfall is also crucial on their agenda. Brought on board as their Social Agency of Record, VMLY&R India will manage the digital strategy and communication for the entire Kérastase’s portfolio across their Facebook, Twitter and Youtube channels. While the agency will dive head first into all the creative communication on social, it will also shepherd the brand through its overall digital strategy.
Commenting on the partnership Rachit Mathur, GM Kérastase India “We are excited to start this journey with VMLY&R India. The strength that they have shown to own content driven social for their partners is indeed impressive. We look forward to this partnership with them and Kérastase.”