ITV

Category: Media Agencies

  • ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    MUMBAI: Licensing and merchandising solutions agency Black White Orange has been appointed as the global licensing agent by Arka Mediaworks Entertainment LLP for their national award-winning movie Baahubali. The much awaited part 2, Baahubali – The Conclusion hits screens worldwide in April 2017.

    With the aim to create a ‘Baahubali brand experience’, Black White Orange will work closely with Arka Mediaworks to conceptualize designs, represent the Baahubali franchise across a wide range of categories and also look at several licensing and retail partnerships, globally. Having already signed on a spate of leading international names like Paramount Pictures, Game of Thrones, Universal Pictures etc. till date, Black White Orange make their first Bollywood brand foray with Arka Mediaworks and their popular franchise – Baahubali .

    “The most challenging part is building the brand and in case of the Baahubali franchise, this job is already done with the global success of the first part of the movie. I know people will be expecting more from the second part. They will not be dissatisfied! We’re confident that Black White Orange’s expertise combined with the Baahubali franchise will translate into an exciting offering of consumer products.” said the film’s director SS Rajamouli.

    Arka Mediaworks CEO Shobu Yarlagadda said, “We are confident that Black White Orange’s unique and promising strategic approach will build the Baahubali brand in India and help us reach our fans.”

    Black White Orange founder and CEO Bhavik Vora added, “Indian cinema has the biggest fan following in the country and probably the most untapped potential on the consumer product platform that takes fans beyond the realm of the big screen. Arka Mediaworks’ Baahubali has raised the bar and created benchmarks in every aspect of movie making.”

    Fans across the globe will soon be able to buy authentic licensed merchandise which will be available at retail and online portals, making it possible for every fan to own their favorite Baahubali merchandise. India is a private consumption led economy with retail merchandising forming 45% of private consumption and the current licensing market is 185 million driven by kids and men.

  • ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    MUMBAI: Licensing and merchandising solutions agency Black White Orange has been appointed as the global licensing agent by Arka Mediaworks Entertainment LLP for their national award-winning movie Baahubali. The much awaited part 2, Baahubali – The Conclusion hits screens worldwide in April 2017.

    With the aim to create a ‘Baahubali brand experience’, Black White Orange will work closely with Arka Mediaworks to conceptualize designs, represent the Baahubali franchise across a wide range of categories and also look at several licensing and retail partnerships, globally. Having already signed on a spate of leading international names like Paramount Pictures, Game of Thrones, Universal Pictures etc. till date, Black White Orange make their first Bollywood brand foray with Arka Mediaworks and their popular franchise – Baahubali .

    “The most challenging part is building the brand and in case of the Baahubali franchise, this job is already done with the global success of the first part of the movie. I know people will be expecting more from the second part. They will not be dissatisfied! We’re confident that Black White Orange’s expertise combined with the Baahubali franchise will translate into an exciting offering of consumer products.” said the film’s director SS Rajamouli.

    Arka Mediaworks CEO Shobu Yarlagadda said, “We are confident that Black White Orange’s unique and promising strategic approach will build the Baahubali brand in India and help us reach our fans.”

    Black White Orange founder and CEO Bhavik Vora added, “Indian cinema has the biggest fan following in the country and probably the most untapped potential on the consumer product platform that takes fans beyond the realm of the big screen. Arka Mediaworks’ Baahubali has raised the bar and created benchmarks in every aspect of movie making.”

    Fans across the globe will soon be able to buy authentic licensed merchandise which will be available at retail and online portals, making it possible for every fan to own their favorite Baahubali merchandise. India is a private consumption led economy with retail merchandising forming 45% of private consumption and the current licensing market is 185 million driven by kids and men.

  • GCMA strives to increase export sales of content in Thailand, Indonesia by 20% in three years

    GCMA strives to increase export sales of content in Thailand, Indonesia by 20% in three years

    18th October 2016 – Global Creative and Media Agency (GCMA), Southeast Asia’s leading private media agency championing the creative industry’s trade export, continues to grow its presence in Southeast Asia the appointment of Ms. Nathamon Singhathewakul as a country manager in Thailand. Mr. Hendy Lim (former Vice President of Contents and Events at MNC Group) has also been confirmed as their partner in Indonesia.

    Through the expansion, GCMA strives to increase the export sales of content in Thailand and Indonesia by 20 percent within three years. To foster the region’s trade economy in the entertainment industry to greater heights, both Ms. Singhathewakul and Mr. Lim are to act as an intermediary for GCMA; to assist in elevating the quality of content development with the possibility for co-production between Malaysia, Indonesia, Thailand and other global players. With Ms. Singhathewakul and Mr. Lim’s vast experience, GCMA will work closely with private and government bodies as well as media players in both countries by providing an advisory role in relation to ne strategy in content, trends, and world-class markets in the region.

    “As the official Southeast Asia representative of Reed Midem, the world’s leading organiser of media entertainment global markets; GCMA has successfully nurtured Malaysia’s creative industry in the past six years through the promotion of content at world-class festivals, trade events, and business-to-business engagements. In addition, GCMA has increased the participation of Southeast Asian creative companies to Mipcom 2016, especially from Thailand and Indonesia to further promote their content to the world stage,” said Adam Ham, CEO of GCMA, who also revealed that the agency seeks to expand its presence in Vietnam and the Philippines next year.

    Furthermore, the expansion is in tandem with GCMA’s 10-year plan since its establishment in 2011; to assist in developing the potential of ASEAN’s creative economy and trade, particularly in content development and co-productions. Over the years, GCMA have successfully facilitate the local industry leaders such as the National Film Development Corporation Malaysia (FINAS), Malaysia Digital Economy Corporation (MDEC), the Ministry of Communications and Multimedia Malaysia (KKMM) and others to promote Malaysian content to the world in areas such as television, film, animation, music, licensing and merchandising.

    In addition, GCMA has built up its clientele base with local media players in both Thailand and Indonesia, namely MNC Media, RCTI, SCTV, Workpoint, M-COT, Thai-PBS, and government institutes, such as Software Industry Promotion Agency (SIPA) and Department of Industry Trade and Promotion (DITP) of Thailand as well as Indonesia’s Badan Ekonomi Kreatif (BEKRAF) and the Ministry of Education and Culture.

  • GCMA strives to increase export sales of content in Thailand, Indonesia by 20% in three years

    GCMA strives to increase export sales of content in Thailand, Indonesia by 20% in three years

    18th October 2016 – Global Creative and Media Agency (GCMA), Southeast Asia’s leading private media agency championing the creative industry’s trade export, continues to grow its presence in Southeast Asia the appointment of Ms. Nathamon Singhathewakul as a country manager in Thailand. Mr. Hendy Lim (former Vice President of Contents and Events at MNC Group) has also been confirmed as their partner in Indonesia.

    Through the expansion, GCMA strives to increase the export sales of content in Thailand and Indonesia by 20 percent within three years. To foster the region’s trade economy in the entertainment industry to greater heights, both Ms. Singhathewakul and Mr. Lim are to act as an intermediary for GCMA; to assist in elevating the quality of content development with the possibility for co-production between Malaysia, Indonesia, Thailand and other global players. With Ms. Singhathewakul and Mr. Lim’s vast experience, GCMA will work closely with private and government bodies as well as media players in both countries by providing an advisory role in relation to ne strategy in content, trends, and world-class markets in the region.

    “As the official Southeast Asia representative of Reed Midem, the world’s leading organiser of media entertainment global markets; GCMA has successfully nurtured Malaysia’s creative industry in the past six years through the promotion of content at world-class festivals, trade events, and business-to-business engagements. In addition, GCMA has increased the participation of Southeast Asian creative companies to Mipcom 2016, especially from Thailand and Indonesia to further promote their content to the world stage,” said Adam Ham, CEO of GCMA, who also revealed that the agency seeks to expand its presence in Vietnam and the Philippines next year.

    Furthermore, the expansion is in tandem with GCMA’s 10-year plan since its establishment in 2011; to assist in developing the potential of ASEAN’s creative economy and trade, particularly in content development and co-productions. Over the years, GCMA have successfully facilitate the local industry leaders such as the National Film Development Corporation Malaysia (FINAS), Malaysia Digital Economy Corporation (MDEC), the Ministry of Communications and Multimedia Malaysia (KKMM) and others to promote Malaysian content to the world in areas such as television, film, animation, music, licensing and merchandising.

    In addition, GCMA has built up its clientele base with local media players in both Thailand and Indonesia, namely MNC Media, RCTI, SCTV, Workpoint, M-COT, Thai-PBS, and government institutes, such as Software Industry Promotion Agency (SIPA) and Department of Industry Trade and Promotion (DITP) of Thailand as well as Indonesia’s Badan Ekonomi Kreatif (BEKRAF) and the Ministry of Education and Culture.

  • Indian Media Review: Shashi Sinha addresses the elephant in the room — common measurement

    Indian Media Review: Shashi Sinha addresses the elephant in the room — common measurement

    MUMBAI: All eyes were trained on this year’s media review by The Advertising Club, what with the stalwarts of the industry repeatedly endorsing it on the social media weeks before the event took place. And indeed, the topic that the session addressed hit close to to every stakeholder in the industry alike — be it publishers from across media, advertisers or media agencies. It was on having a common currency of measuring the effectiveness of media for advertising across platforms.

    IPG Mediabrands CEO was one of the key speakers at the review. Shashi Sinha started off on a more comfortable note of how agencies can help businesses grow with an effective measurement.

    According to him, “Instead of complaining that clients are demanding more accountability from the media they bought, agencies need to understand that better measurement gives CMOs better rationale for justifying better budgets.”

    This ‘better measurability’, as per Sinha, is being achieved in several ways at present, primarily — introduction of BARC’s measurement system for broadcasters, revival of the Indian Readership Survey (IRS) by next year, and digital.

    The issue, Sinha emphasised, came down to whether the fraternity wanted to take a few more steps further to improve the system of measurement across media after understanding the need of the hour or whether they wanted to stall the progress and delay the combined measurement system.

    Speaking specifically of the digital measurement system, Sinha shared that it was wrong to expect a panel of digital platforms or ‘OTT’ players to be self regulators of their measurement systems, given that the category is extremely fragmented. Therefore, he openly asked if “digital publishers are willing to be measured by third parties and be transparent with their numbers?”

    Highlighting how the IRS, which Sinha expects to be fully functional in eight months, will increase the sample size of print publishers by 40 per cent, he added that multimedia evaluation was also being considered by the board.

    Sinha expressed his welcome surprise at the Audit Bureau of Circulation (ABC) testing the measurement possibilities in the publishing side of digital (as BARC only caters to video consumption measurements). “Unlike video measurement, it is relatively cheap and is actually already functional for the last three to four months. We just need the heavyweights in the medium to come to a consensus for it to be fully rolled out,” Sinha added.

    After addressing and updating the audience about the different scopes of measurements in each media, Sinha quickly moved on to emphasise the need to have a common source of truth or ‘a single view of truth’

    This brings him to suggest the ambitious idea of Media Research Users Council (MRUC), the IRS, BARC and ABC to come together to contribute to a common pool of data that can be further sliced and diced in accordance with each media based on the clients requirement, although Sinha agreed that currently major challenges were in making that thought become a reality.

    Instead, one could start with thinking along the lines of a measurement currency that each media can be compared in, and according to Sinha, it is CPT,

    “Television measurement needs to move from CPRP to CPT format, and that’s a good starting point of having some commonality of currency between mediums. Publishers need to understand that moving from one currency system to the other doesn’t bring any difference in the buying and selling equation with clients. That will always be based on the demand-supply ratio,” assured Sinha, adding that the current CPT of channels is actually an opportunity to drive growth.

    CPT or Cost Per Thousand is basically the advertising cost of reaching a certain number of viewers in a defined target group on television, while CPRP or Cost Per Rating Point is the cost of advertising time on television based on the price of time for a single rating point generated by the channel.

    More mature markets such as the US, the UK and Germany have already switched to CPT as a currency when buying and selling television media.

  • Indian Media Review: Shashi Sinha addresses the elephant in the room — common measurement

    Indian Media Review: Shashi Sinha addresses the elephant in the room — common measurement

    MUMBAI: All eyes were trained on this year’s media review by The Advertising Club, what with the stalwarts of the industry repeatedly endorsing it on the social media weeks before the event took place. And indeed, the topic that the session addressed hit close to to every stakeholder in the industry alike — be it publishers from across media, advertisers or media agencies. It was on having a common currency of measuring the effectiveness of media for advertising across platforms.

    IPG Mediabrands CEO was one of the key speakers at the review. Shashi Sinha started off on a more comfortable note of how agencies can help businesses grow with an effective measurement.

    According to him, “Instead of complaining that clients are demanding more accountability from the media they bought, agencies need to understand that better measurement gives CMOs better rationale for justifying better budgets.”

    This ‘better measurability’, as per Sinha, is being achieved in several ways at present, primarily — introduction of BARC’s measurement system for broadcasters, revival of the Indian Readership Survey (IRS) by next year, and digital.

    The issue, Sinha emphasised, came down to whether the fraternity wanted to take a few more steps further to improve the system of measurement across media after understanding the need of the hour or whether they wanted to stall the progress and delay the combined measurement system.

    Speaking specifically of the digital measurement system, Sinha shared that it was wrong to expect a panel of digital platforms or ‘OTT’ players to be self regulators of their measurement systems, given that the category is extremely fragmented. Therefore, he openly asked if “digital publishers are willing to be measured by third parties and be transparent with their numbers?”

    Highlighting how the IRS, which Sinha expects to be fully functional in eight months, will increase the sample size of print publishers by 40 per cent, he added that multimedia evaluation was also being considered by the board.

    Sinha expressed his welcome surprise at the Audit Bureau of Circulation (ABC) testing the measurement possibilities in the publishing side of digital (as BARC only caters to video consumption measurements). “Unlike video measurement, it is relatively cheap and is actually already functional for the last three to four months. We just need the heavyweights in the medium to come to a consensus for it to be fully rolled out,” Sinha added.

    After addressing and updating the audience about the different scopes of measurements in each media, Sinha quickly moved on to emphasise the need to have a common source of truth or ‘a single view of truth’

    This brings him to suggest the ambitious idea of Media Research Users Council (MRUC), the IRS, BARC and ABC to come together to contribute to a common pool of data that can be further sliced and diced in accordance with each media based on the clients requirement, although Sinha agreed that currently major challenges were in making that thought become a reality.

    Instead, one could start with thinking along the lines of a measurement currency that each media can be compared in, and according to Sinha, it is CPT,

    “Television measurement needs to move from CPRP to CPT format, and that’s a good starting point of having some commonality of currency between mediums. Publishers need to understand that moving from one currency system to the other doesn’t bring any difference in the buying and selling equation with clients. That will always be based on the demand-supply ratio,” assured Sinha, adding that the current CPT of channels is actually an opportunity to drive growth.

    CPT or Cost Per Thousand is basically the advertising cost of reaching a certain number of viewers in a defined target group on television, while CPRP or Cost Per Rating Point is the cost of advertising time on television based on the price of time for a single rating point generated by the channel.

    More mature markets such as the US, the UK and Germany have already switched to CPT as a currency when buying and selling television media.

  • Dentsu Aegis ‘Happy’ about mcgarrybowen’s India entry

    Dentsu Aegis ‘Happy’ about mcgarrybowen’s India entry

    MUMBAI: Dentsu Aegis has added another feather in its acquisition cap. Dentsu Aegis Network has signed a definitive agreement to acquire creative marketing agency, Happy Creative Services in India. It will join the global mcgarrybowen network of agencies and be rebranded as Happymcgarrybowen. The deal is expected to close in the next few weeks.

    The acquisition will strengthen Dentsu Aegis’ creative offering in the market, marks the first mcgarrybowen agency in India and expands its footprint in Asia – with other offices in Singapore, Hong Kong and China.

    Established in 2007, Happy is an award-winning boutique creative marketing agency located in India. Regarded as one of the most promising independent creative outfits in India, Happy boasts a staff of 100 across three disciplines – Brand Design, Integrated Brand Communication and Digital, building and rejuvenating brands through media agnostic ideas, customised to deliver on key business and brand metrics.

    Joining the Dentsu Aegis leadership team in India is Happy’s co-founder and CEO Kartik Iyer, and co-founder and MD Praveen Das, who will both report to Ashish Bhasin, Chairman and CEO of Dentsu Aegis Network South Asia.

    Dentsu Aegis Network South Asia Ashish Bhasin, chairman and CEO of said: “Happy has carved out a very strong digital and creative reputation in the Indian market. Founders Kartik Iyer and Praveen Das – who are among Fortune India’s 40 Under 40, are prominent and well-respected figures in the industry, and this acquisition will add creative bench strength to the wider team. This will enable us to launch mcgarrybowen in India and we will be another step closer to our mission of being the second largest agency group by the end of 2017 in India, overturning for the first time the existing ranking which has historically been in place for over 80 years in the market.”

    mcgarrybowen founder and global chairman Gordon Bowen, said: “India is an important creative market that boasts world-class talent and an enviable group of multi-national clients, both of which represent untapped potential for mcgarrybowen. We knew that successfully expanding in this very competitive market required finding great partners that share our passions and values. With a respected reputation and well awarded creative offering, Happy is just that kind of partner and I am proud to welcome them into the mcgarrybowen family.”

    “Like us, Kartik and Praveen believe in the power of big organising ideas, collaboration and strong client partnerships. Together I am confident we will fuel even greater creative and business success for clients here in India and around the world,” he added.

    Iyer and Das said: “It has taken us a good nine years to come this far in terms of talent, business and reputation. There comes a time in every business to take a big leap to propel it to the next level and being a part of Dentsu Aegis and mcgarrybowen supports this growth ambition and provides us with the right platform. We are presently working with a number of marquee clients that require the support of a global network and we have always been clear that Happyshould to equip itself to compete with the biggest players on the largest stage. In mcgarrybowen we found a true match in philosophy and belief and being a part of their vision makes us truly proud.”

    Most recently, Happy bagged the ‘Agency of the Year’ title at the 2016 edition of Maddys, organised by The Advertising Club Madras. Happy’s work on the ‘Ola Boat’, which was an emergency boat service set up by Ola cabs, to help stranded people in the city of Chennai during the Nov 2015 floods, has also won numerous national and international awards for the effort.

  • Dentsu Aegis ‘Happy’ about mcgarrybowen’s India entry

    Dentsu Aegis ‘Happy’ about mcgarrybowen’s India entry

    MUMBAI: Dentsu Aegis has added another feather in its acquisition cap. Dentsu Aegis Network has signed a definitive agreement to acquire creative marketing agency, Happy Creative Services in India. It will join the global mcgarrybowen network of agencies and be rebranded as Happymcgarrybowen. The deal is expected to close in the next few weeks.

    The acquisition will strengthen Dentsu Aegis’ creative offering in the market, marks the first mcgarrybowen agency in India and expands its footprint in Asia – with other offices in Singapore, Hong Kong and China.

    Established in 2007, Happy is an award-winning boutique creative marketing agency located in India. Regarded as one of the most promising independent creative outfits in India, Happy boasts a staff of 100 across three disciplines – Brand Design, Integrated Brand Communication and Digital, building and rejuvenating brands through media agnostic ideas, customised to deliver on key business and brand metrics.

    Joining the Dentsu Aegis leadership team in India is Happy’s co-founder and CEO Kartik Iyer, and co-founder and MD Praveen Das, who will both report to Ashish Bhasin, Chairman and CEO of Dentsu Aegis Network South Asia.

    Dentsu Aegis Network South Asia Ashish Bhasin, chairman and CEO of said: “Happy has carved out a very strong digital and creative reputation in the Indian market. Founders Kartik Iyer and Praveen Das – who are among Fortune India’s 40 Under 40, are prominent and well-respected figures in the industry, and this acquisition will add creative bench strength to the wider team. This will enable us to launch mcgarrybowen in India and we will be another step closer to our mission of being the second largest agency group by the end of 2017 in India, overturning for the first time the existing ranking which has historically been in place for over 80 years in the market.”

    mcgarrybowen founder and global chairman Gordon Bowen, said: “India is an important creative market that boasts world-class talent and an enviable group of multi-national clients, both of which represent untapped potential for mcgarrybowen. We knew that successfully expanding in this very competitive market required finding great partners that share our passions and values. With a respected reputation and well awarded creative offering, Happy is just that kind of partner and I am proud to welcome them into the mcgarrybowen family.”

    “Like us, Kartik and Praveen believe in the power of big organising ideas, collaboration and strong client partnerships. Together I am confident we will fuel even greater creative and business success for clients here in India and around the world,” he added.

    Iyer and Das said: “It has taken us a good nine years to come this far in terms of talent, business and reputation. There comes a time in every business to take a big leap to propel it to the next level and being a part of Dentsu Aegis and mcgarrybowen supports this growth ambition and provides us with the right platform. We are presently working with a number of marquee clients that require the support of a global network and we have always been clear that Happyshould to equip itself to compete with the biggest players on the largest stage. In mcgarrybowen we found a true match in philosophy and belief and being a part of their vision makes us truly proud.”

    Most recently, Happy bagged the ‘Agency of the Year’ title at the 2016 edition of Maddys, organised by The Advertising Club Madras. Happy’s work on the ‘Ola Boat’, which was an emergency boat service set up by Ola cabs, to help stranded people in the city of Chennai during the Nov 2015 floods, has also won numerous national and international awards for the effort.

  • Vritti most admired rural marketing agency: ACEF 2016

    Vritti most admired rural marketing agency: ACEF 2016

    MUMBAI: Great work is always recognized and appreciated in the competitive marketplace When an organisation gets recognition for good work in the presence of business partners and competitors the feeling just adds up.

    ACEF Program is organized by a team of professionals from India, UAE and Sri Lanka. Recently, the prestigous ACEF Forum & Awards were announced for “Marketing Capabilities, CSR Activities, Rural Initatives for the year 2016.

    Team Vritti bagged the gold for the “Most Admired Agency for Rural Marketing” and also bagged a rich haul of six other awards including three golds and three silvers; in the prestigious ACEF Awards 2016. Winning seven awards is a distinct achievement in ACEF Awards that takes Vritti iMedia to new heights. Four gold trophies have been won in different categories which underlined the all-round expertise of the company.

    Vritti iMedia bagged the ‘gold trophy’ for being the “most admired agency for rural marketing”.

    Vritti iMedia CEO Veerendra Jamade said, “We always tried to think out of the box. Whether it is the amazing idea of using the religious occasions like Nashik Kumbh Mela and Ujjain Sinhastha; or it is the integrated program of Fatak se Furr in Pandharpur; our ideas are distinguish-ably different. I think it is the secret of our success so far.”

  • Vritti most admired rural marketing agency: ACEF 2016

    Vritti most admired rural marketing agency: ACEF 2016

    MUMBAI: Great work is always recognized and appreciated in the competitive marketplace When an organisation gets recognition for good work in the presence of business partners and competitors the feeling just adds up.

    ACEF Program is organized by a team of professionals from India, UAE and Sri Lanka. Recently, the prestigous ACEF Forum & Awards were announced for “Marketing Capabilities, CSR Activities, Rural Initatives for the year 2016.

    Team Vritti bagged the gold for the “Most Admired Agency for Rural Marketing” and also bagged a rich haul of six other awards including three golds and three silvers; in the prestigious ACEF Awards 2016. Winning seven awards is a distinct achievement in ACEF Awards that takes Vritti iMedia to new heights. Four gold trophies have been won in different categories which underlined the all-round expertise of the company.

    Vritti iMedia bagged the ‘gold trophy’ for being the “most admired agency for rural marketing”.

    Vritti iMedia CEO Veerendra Jamade said, “We always tried to think out of the box. Whether it is the amazing idea of using the religious occasions like Nashik Kumbh Mela and Ujjain Sinhastha; or it is the integrated program of Fatak se Furr in Pandharpur; our ideas are distinguish-ably different. I think it is the secret of our success so far.”