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  • Guest column: Looking back at 20 to look ahead at 21

    Guest column: Looking back at 20 to look ahead at 21

    MUMBAI: Many media and entertainment industry professionals would have already activated their “OOO” messages, while the others would be counting down to call time on what would have been the craziest year yet in their careers. However, before we do that, a little bit of looking back and some amount of looking ahead to 2021 is par for the course.

    For many of us (including me), the dominant sentiment is: did you ever imagine?

    For no one predicted the onset of the pandemic, and even when we started accepting the new “strange”- it continued to surprise us basis how it played out. What mattered was the vantage point and the ability to be both adaptively agile and resilient at the same time.

    Here is a bit of crystal ball gazing even at the risk of falling flat on my face, given how unpredictable and unchartered the waters seem to be. These observations are based on conversations with marketers and experts, and my personal experiences of the last nine months of seeing media and brands in various stages of lockdown and unlock phase. 

    1. Resilient television (linear – let us call it LTV) will continue to be the highest reach, most brand-safe medium in the near term. However, LTV’s babies – connected TVs, streaming and OTT – will start to make their impact felt with advertisers demanding “video neutral” planning that drives incremental reach. With media owners offering viewership, optimisation and brand lift measurement (a la Star’s Sirius); this may become a reality sooner than later. Also, with programmatic and addressable options eventually opening up, measurement and DSP integration will be the key.

    2. Fickle subscription behaviour will finally begin to change, thanks to the fillip provided by Covid2019’s last few months, with urban audiences willing to pay for content behind the paywall. It will be visible on video as well as be heard on audio and consumed on digital avatars of erstwhile print and upcoming digital offerings. So Disney+ Hotstar will continue to dominate the space that Amazon Prime Video and Netflix are increasingly winning with deep pockets of locally produced content. Spotify playlists and substack subscriptions will start showing signs of choice overload and the role of the algorithm (no prediction can be complete without mentioning these and AI) to make better quality recommendations will become critical. 

    3. Enter retailer and e-commerce media  will become key lines on media plans thanks to increased online shopping which saw 25 to 30 million new shoppers giving the addressable size a lift to 150 million. With large numbers (>70 per cent) of e-consumers willing to continue during the unlocking, this growth and behaviour seem irreversible. The opportunities for social commerce (Meesho, Instagram/Facebook shops) and D2C brand investments will further open up opportunities for consumer experiences and conversations with voice, local/vernacular content and video becoming key components.

    4. Doctors and healthcare professionals will be a video call away, giving telehealth/telemedicine a huge shot in its arm. While this part of the advertising landscape is regulated and is unlikely to change, given the sheer magnitude of the opportunity and its big data/ technology ramifications- this may lead to a transformation in pharma/wellness/healthcare communications and demand generation.

    5. News as a genre will continue to find consumption and advertising growth. Given the uncertainty and unpredictability of the environment, consumers will gravitate towards established news platforms and the tussle between social media and legacy news giants will lead to an “infomedic” with fake news and ways to counter toxic, harmful, misleading content gaining more urgency.

    (The author is CCO, Zenith. Indiantelevision.com may not subscribe to his views.)

  • Throwback2020: Not in moolah but digital marketing grew in virtue

    Throwback2020: Not in moolah but digital marketing grew in virtue

    NEW DELHI: It has been quite a few years that the digital marketing industry is enjoying a fabulous run rate in India. It is a no-brainer that growing internet penetration, cheap data rates, and just the sheer availability of digital entertainment and logistical options have contributed to its stellar rise. While the traditional modes of advertising have been struggling to keep the  cash registers ringing, partly because of the continuing dip in the economy and partly due to the Covid2019 lockdown’s impact on businesses across the spectrum, digital marketing enjoyed quite a positive stay in an otherwise positively uncomfortable 2020. 

    The year was a mixed bag of challenges and opportunities for the digital marketing industry, though the latter were overpowering. Despite a slump in growth numbers, the industry seems to be staring at a rather bright future. Tech advancements, positive sentiments within the industry, and the sheer scope of growth ahead makes the ride an interesting prospect for the future too. 

    The spike in digital adoption

    For nearly two-months, starting March, the whole country was forced to stay indoors following strict lockdown rules, courtesy the global viral pandemic Covid2019. It forced people to work online, connect online, shop online, teach online, consult online and do what have you online. This led to a crazy uptake in digital adoption. 

    Logicserve Digital founder & CEO Prasad Shejale said: “The pandemic has definitely caused a huge shift in the industry. While the country’s economy and GDP took a massive hit, the digital industry has been rapidly growing with regards to its consumption, penetration as well as engagement. The global e-commerce sales growth and number of digital adopters accelerated in the initial three months; in the normal course that would have taken three years.”

    According to a Kantar report released in May this year, India’s monthly active internet user base is estimated to reach 639 million by the end of 2020, from the currently estimated 574 million. The country had clocked 734.82 million wired and wireless broadband subscribers up to 31 October 2020 according to Telecom Regulatory Authority of Indian monthly telecom data reports.

    Mobile became the preferred choice of internet consumption and the average time spent on smartphones in a day grew with average usage growing 11 per cent to 5.5 hours in March 2020 (pre-Covid) from about 4.9 hours on average in 2019. This further grew by another 25 per cent to 6.9 hours April onwards (post-COVID), a report by Vivo and CMR highlighted. 

    India also saw the biggest jump in video consumption, of 40 per cent to over 2.9 billion hours during the week starting 22 March as compared to the last week of December 2019, when it was 2.1 billion hours, as stated by an Internet & Mobile Association of India (IAMAI) and Nielsen report. 

    Naturally, this sharp spike in digital consumption had a positive impact on digital marketing and advertising too. 

    Digital marketing growth story 2020

    At the beginning of the year, a DAN report had predicted that the digital advertising industry would grow 27 per cent in 2020. However, that might not turn out to be the case entirely. 

    The sector, much like every other business, took a hit in Q1 FY21, because of the market uncertainties and lockdown. Ad rates went down as much as by 15-20 per cent according to an industry insider. 

    A panel discussing the widening scope of digital marketing with Indiantelevision.com founder, CEO, and editor-in-chief Anil Wanvari in June stressed that the growth digital marketing has clocked in the year will not be immediately visible in the CAGR, but will be a defining factor in how the advertising pies of individual marketers changed. It insisted that after six months of struggle in 2020, the industry will have a very prosperous six years ahead. 

    iProspect India AVP-strategic solutions Nihal Nambiar had said: “Digital, in 2020, will definitely not have a similar CAGR of 27 to 30 per cent as it has been recording for the past few years.” But he mentioned that he is looking forward to some positive quarters ahead in terms of brands moving to digital platforms.

    Shejale pointed out: “Various reports suggest that in spite of the slowing economy, the digital segment has seen a growth of around 20-27 per cent by November 2020. The numbers might vary in different research articles. However, this is the broad range within which the growth is seen, and it’s very promising.” 

    However, GenY Medium co-founder & CEO Yashwant Kumar is more hopeful and is expecting that the industry will grow by 35-40 per cent in 2020-21. 

    He noted: “Digital advertising has gained tremendously during the pandemic and has become the preferred medium with a huge surge in e-commerce across categories together with consumers spending a lot more time with their families at home on their connected TVs and mobiles. Digital has been consistently growing at 27 per cent CAGR over the past few years ahead of television, print and outdoor. We are seeing a significant movement towards digital in Q2 and Q3 this year after a slow Q1. My expectation is that digital advertising will grow by 35 to 40 per cent for the year 2020-21.” 

    While the industry has contrasting views towards the growth numbers, KPMG’s ‘A Year Off Script’ report released in September indicated that online advertising is expected to result in a 12 per cent growth overtaking traditional media like television which will contract by 17 per cent this year. 

    The report added, “At ₹22,300 crore, total digital advertising revenue will beat the ₹21,700 crore revenue of TV over FY21.”  

    Trends that defined the industry in 2020

    The biggest trend that strengthened the roots of the digital marketing industry in 2020 was the sheer influx of rural users in the internet world. As per a report by the Internet and Mobile Association of India (IAMAI) and Nielsen, rural India had 227 million active internet users, 10 per cent more than urban India’s about 205 million, as of November 2019. A Kantar report further suggested that this number will increase to 304 million by 2020. “Local language content and video drive the internet boom in rural India, with a 2.5 times increase in penetration among the population in the last four years,” it added. 

    This, added with digital retailers going deep into the heartland India, led to a great jump in the need for “hyperlocal” content by brands. This kept the digital agencies busy through the year. 

    Additionally, giants like Facebook, Swiggy, and Instagram entering the local market with thier own shopping platforms, growth of edtech companies like WhiteHat Jr, Vedantu, and Instagram releasing a new content section called Reels, were some new found opportunities for the digital industry to explore. 

    Wavemaker India chief client officer and head-west Shekhar Banerjee had mentioned in an earlier conversation with Indiantelevision.com that brands went heavy on performance marketing in 2020. “Apart from the usual search, social, and e-commerce mix, one platform that has become the biggest gainer during the period is the e-groceries section, taking a huge part of the digital pie. Going ahead, hyperlocal platforms, with their changing business models will be more conducive to advertising.”

    Another interesting opportunity for the digital marketing industry came in the form of online events. Almost 95 per cent of the physical events moved to online platforms giving digital agencies great opportunities to work with brands. It included marquee events like IPL, which was hosted without a live audience and saw viewers engaging with it either through TV or digital platforms. 

    OTT platforms also saw a remarkable rise in viewership during 2020. Kumar highlighted, “According to one industry report (Velocity MR Study), Amazon and Netflix saw +60 per cent growth in their subscriber base in the AMJ '20 quarter. Similar numbers have been reported for other platforms like Hotstar, YouTube and others. This massive shift towards the OTT platforms becoming the go to destination for entertainment, sports and news is driven by increased consumption of video content by consumers across all the age groups and demographic segments. Daytime video usage by the working professionals has become the new norm as they have started watching TV or streamed video content during their work breaks or while actively working.” 

    Additionally, what moved the industry significantly was FMCG brands getting more serious about digital platforms. As per industry experts, FMCG brands increased their expenditure on digital platforms to 12 per cent, compared to around 7 per cent in 2019. 

    This also paved the way for a significant hike in influencer marketing activities. 

    Mompresso co-founder & COO Prashant Sinha said, “Digital marketing has seen transitional growth in the year 2020. The majority of advertising and marketing spends by brands this year has been towards digital channels and with no doubt, this will continue to grow further in 2021. We can also expect to see big portions of these budgets to go towards influencer marketing and macro and micro-influencer led campaigns. The overall digital marketing industry has seen a boost this year, where creators, brands, and marketers have learned to work together. Brands have revaluated the metrics and shifted focus to prioritize channels where they receive the most engagement. While video content has dominated the space, more diversification is expected. Live streaming and user-generated content will continue to be popular among influencers and marketers.” 

    The growth in the e-gaming industry resulted in increased ad spends by players and also the development of a whole new media option for the brands. While most of the marketers still sat on the fence about exploiting the medium, it is expected that it will flourish in the coming quarters. 

    The year was a mixed bag of challenges and opportunities for the digital marketing industry, though the latter were overpowering. Despite a slump in growth numbers, the industry seems to be staring at a rather bright future. Tech advancements, positive sentiments within the industry, and the sheer scope of growth ahead makes the ride an interesting prospect for the future too. 

  • 2020: The tipping point for the Indian OTT ecosystem

    2020: The tipping point for the Indian OTT ecosystem

    KOLKATA: The Covid2019 pandemic has walloped many industry verticals this year but digital-first categories including over-the-top (OTT) or streaming video services have actually been given a leg up. A host of new users, paid subscribers have tuned in to consume online platforms, due to stay-at-home directives, limited social activities, enforced theatre shutdowns, fewer entertainment options. With multifold growth across metrics, the sector has witnessed growth that would have normally taken four to five years.

    The Indian OTT industry has been steadily growing in the past couple of years, especially since Jio democratised internet for the country’s masses. As the country entered into lockdown, fresh content on TV dried up and OTT platforms emerged as the most sought after medium for entertainment. India’s data consumption went through the roof with demand on OTT and VoD platforms rising by a whopping 947 per cent within July compared to the pre-pandemic period, according to data from internet exchange DE-CIX.

    As the curtains to 2020 are being pulled down, we look at not only statistics but at the emerging trends as well.

    Indian consumers are willing to pay more than ever for OTTs:

    Along with the growth in consumption and users, the number of paid subscribers has also gone up during the year. Back in 2017-18, there was a myth in the market that Indian subscribers would not pay for premium content. While 2019 was already indicating otherwise, 2020 has strongly broken all notions. According to a Boston Consulting group report, pandemic has increased growth of over-the-top (OTT) subscriptions by 60 per cent. It is not only a fad but more than half of these new users are likely to continue using the service. A PwC report has also forecast that subscription based video-on-demand (SVoD) will be the prime driver of revenue, growing at a 30.7 per cent CAGR.

     Although global streaming giant Netflix has not released any country-focused data as yet, it is likely to end the year with 4.6 million paid subscribers in India, as per estimates from researcher Media Partners Asia (MPA). Previously held estimates for 2019 were two million subscribers. Media giant The Walt Disney Co. (Disney)’s digital arm Disney+ entered in India combined with the existing Hotstar service as Disney+Hotstar. Now, Indian streamer accounts for 30 per cent of Disney’s overall subscriber base that is 26 million subscribers. Among indigenous players, ZEE5 also contributed significantly to its parent company’s overall revenue, thanks to its subscription revenue growth. Other platforms like ALTBalaji saw daily additions of 17,000 subscribers at the beginning of lockdown. Newly launched subscription services like Voot Select, Discovery Plus also claimed that the platforms exceeded expectations around customer acquisition.

    Launches, relaunches, the rush continues, even as some exit

    India is seen as the new streaming Mecca and the OTTs are rushing in like lemmings.  Both international and local players launched their services this year. Apple+ which launched towards late 2019, pushed forward with its customer acquisition plans through the year. And one of the most awaited services, Disney+ entered the country through its Indian cousin Hotstar, part of the Star India network, which it acquired the previous year from Twenty First Century Fox. The service was branded Disney+Hotstar and it was introduced just as India was entering the Covid2019 lockdown. Discovery began its video streaming journey with the launch of Discovery+. Hollywood Studio Lionsgate strengthened its direct-to-consumer presence with Lionsgate Play, while it was playing earlier in a distribution partnership model. SonyLiv went in for a relaunch, serving out a very different looking new version Voot from Viacom18 introduced its Voot Select offering.  ErosNow – a part of Eros Media – went for a refresh announcing the launch of new extensions and services  after its merger with US entertainment mid-sized player STX Entertainment.  

     A host of new hyperlocal platforms have also been launched like Aha as they strive to capture a piece of the regional language preferring audiences. Telugu diaspora targeted YuppTV took another shot at domestic audiences by launching an educational service as well as launching new shows.

    Like in satellite television, pan Asian or global  streaming services backed with relatively less capital and by local entrepreneurs, went belly up or restricted their focus on specific countries. Five year old Hooq – a streaming service which promised a lot – shut shop by May 2020, including its Indian operations. The just as the year 2019 was ended, another streamer Viu promoted by HongKong based PCCW, wound up in India.  The biggest disaster was the downward spiral of the Jeffrey Katzenberg-Meg Ryan run short from professional produced video streamer Quibi after guzzling down nearly a billion dollars in investment worldwide. In the US, AVod service Tubi, which had its eye on India, was acquired the Murdoch-run Fox Corp for $440 million. Expect some India play from this player going forward.

    OTT platforms increases direct-to-digital releases:

    The streaming services started premiering movies directly on the platforms earlier but this year saw movies with big names also debuting on those platforms as theatres were closed for six months across the country. Deep-pocketed  players including Amazon Prime Video, Disney+Hotstar went aggressive to acquire big-budget movies. A PwC report has stated that global SVoD revenue will overtake box office spend in 2020.

    At the initial phase of the lockdown, Disney+Hotstar launched  its ‘Multiplex’ feature and went on an acquisition binge acquiring titles such as Laxmmi Bomb, Dil Bechara, Lootcase, Sadak 2. Amazon Prime Video, the Jeff Bezos owned platform, also released Gulabo Sitabo , Shakuntala Devi and several others. Netflix jumped on the bandwagon with the likes of Ludo, and  Gunjan Saxena. Platforms like SonyLIV, Zee5 also turned to old, unreleased films. This trend is not only limited to India but is reflected globally. For instance, WarnerMedia has announced to release its entire 2021 movie slate on HBO Max and simultaneously in theatres. At the same time, ShemarooMe also launched Box Office to release small budget Bollywood movies. 

    Higher investment in original content:

    As the user base, consumption rate grows; appetite for quality premium content amongst India’s massive populace has also ballooned. For consumer stickiness, broadcaster led OTT platforms are heavily investing in original content. One of the early movers in the OTT segment SonyLIV has reinvented itself this year with a higher focus on churning out original content like its runaway hit Scam 1992. The idea was to increase its subscriber base significantly. Viacom18’s Voot also launched a subscription service called Voot Select with a promise of releasing more than 30 originals. Other international OTT players like Amazon Prime Video, Netflix, Disney+Hotstar are also upping their content significantly. London-based technology research and consulting firm Omdia has projected that the three OTT players are expected to collectively spend approximately Rs 2824.9 crore ($383 million) on original content in India in 2021.The OTT players are collectively expected to spend Rs 4,905 crore ($665 million) in 2021. However, Covid2019 restrictions have postponed around 30 per cent of the projects programmed to start in 2020.

    Enriching content library with diverse content, new features:

    Many of the OTT players are aiming to build themselves as super apps. ZEE5 has forayed into short-video category HiPi, gaming. Times Internet’s MX Player has also built a short video platform Mx TakaTak which has been considered as one of the most successful user generated apps post the  TikTok ban. To provide more value to users, ZEE5 partnered with an edu-tech platform at the beginning of the year. During the lockdown, Disney+Hotstar, Voot expanded their health and wellness portfolio on the back of new partnerships. Another niche area,  the kids segment , has also emerged as a big area of attention. While Voot already launched Voot Kids in 2019, ZEE5 added a dedicated section for kids this year with content focused on a blend of fun and learning. Amazon Prime Video which has already established a stronghold with its rich original content, has forayed into live sports acquiring rights for broadcasting New Zealand cricket matches in India. 

    Rising regional market:

    A recent BCG-CII report has shown that 35-40 per cent of the consumption on OTT services happens in local languages. And the hours of original programming in local languages have tripled in the past two years standing at 1,400-1,800. Throughout the year, a number of hyperlocal platforms have sprung up. Many among them, like the Telugu language Aha have committed huge investments to release more than 50 originals in a year. Bengali OTT platform Hoichoi has also announced a huge line up of content on its third anniversary. SunNXT is also looking at investing Rs 200 core for original content in FY 22. National players like ZEE5, Voot, and MX Player have strengthened their local offerings producing many hits across languages. Even international players have also gone deeper into regional markets as digital infrastructure across tier-II and III cities and  rural areas has increased, gradually leading to more traffic.

    Business models expand

    The year 2020 also saw attempts being made at unearthing a new business model transactional video on demand, with ZEE5, Shemaroo and bookmyshow announcing initiatives in this direction. The latter two at least have been planning their services seriously in building such a model. They are taking heart from the tremendous success that Universal’s Trolls World Tour had from digital rentals logging in almost $100 million in collections.

    Of course, the most prevalent model in the OTT ecosystem is the AVoD one or one that depends on advertising and offers free content to subscribers. Amongst the biggest players in this space is MX Player which claims around 200 million subscribers. Of course all the Indian majors – Disney + Hotstar, ZEE5, SonyLiv, Voot – have skin in this game, but their premium shows, sports events, and films are behind pay walls. The free content is used to upsell subscribers to premium services. Advertising is expected to contribute 43 per cent of all OTT revenues.

    Almost every player experimented with pricing during the year. Netflix was the prime example with the introduction of the mobile only plan of Rs 199 per sub in 2019, followed by a mobile+ package of Rs 349 in 2020 which offered streaming to handsets, tablets or laptops. Others too launched varying pricing points to cater to different audiences.  

    Connected TV viewership growth:

    The lockdown has not only increased consumption but has brought significant change in how online content is consumed. While India has been always described as mobile centric market, the growth in high-speed broadband connectivity, and affordable smart TVs has brought more users to connected devices. Moreover, the spike in family viewing has boosted connected TV viewership. A few leading players like ZEE5, Amazon Prime Video, Disney+Hotstar has seen it as a potential trend which can emerge soon. In addition to that, the steady rise in home broadband and increasing OTT partnerships with internet service providers will boost the viewership.

    Challenges ahead:

    2020 has definitely been the tipping point for Indian OTT market, albeit few challenges. The regulatory intervention into online content has ignited the fear of censorship with a negative sentiment looming over the players, and the creative fraternity. A number of petitions are pending before several Indian courts challenging a number of shows. While users flock to OTT platforms for more progressive content, it would be a challenge for the latter to balance between creative freedom and the regulatory noose.

  • Guest column: Looking back and beyond

    Guest column: Looking back and beyond

    Mumbai: Looking back, none of us had remotely fathomed the enduring chaos that 2020 would unfold. More than the startling impact of the global pandemic, I believe it was the abruptness of the situation, subsequent lockdowns and the looming uncertainty that caught us off guard. However, though in the face of adversity, the undying human spirit coupled with technology helped us adapt quickly to the disruptive reality. An overwhelming year as this introduced us to the humane side of technology that kept us connected and fastened us to some semblance of stability. 

    Undeniably, the impact on businesses was harder. For media and entertainment, the complete halt on shoots and production was a major roadblock, but I feel the hurdles prompted content creators to realign their programming choices, adapt to changing trends and be more accepting of risks. The skyrocketing success of the most iconic shows from the past made headlines, generated viewership growth and reinstated the power of content that engages and inspires. Not only did this lead to a surge in family viewing in 2020 but was key to the 20 per cent increase in daytime viewership including a spike in average time spent on television (as per a BARC –Nielsen Report).

    This reassuring response spilled over to niche categories like Infotainment and English movies as well with the latter surging by 95 per cent in non-prime time viewership. To cater to the new set of viewers on Sony BBC Earth and Sony Pix, we introduced afternoon slots and expanded our offerings that opened to positive feedback. Our marketing and programming innovations were driven by this sole intent of being a consumer-first brand and be visible at all touchpoints.

    Talking of touchpoints, social media topped that list with a growth of over 87 per cent as per industry estimates (as per Hammerkopf Consumer Snapshot Survey). With more than four hours being spent on the platforms daily post lockdown, social media engagement led brands to explore avenues that would connect across demographics and geographies. Launching AR Filters on Instagram and Facebook and hosting FB Live Workshops for Sony BBC Earth and Sony PIX were reflective of this paradigm shift.

    Another pioneering transition was in education, with the surge in digital learning, it opened brands to the benefits of constant engagement and showcasing of more content. Driven by the purpose of offering a holistic experience to young minds and reach more students, we ensured an online presence for our existing school contact programme. This was achieved via a microsite that hosted e-bulletins, recorded videos, live interactions and more. With more than 3.6L pageviews and increasing by the day, this has emerged as an effective delivery mechanism for us, and I believe it is here to stay.

    As regards online engagement, Sony Pix hosted an online gaming tournament with around two thousand gamers that fetched more than one million-plus views.

    In culmination, from a business standpoint, I feel understanding of audience behaviour, adaptability and innovation were my biggest takeaways of 2020. Despite the challenges, Sony Pix managed to chart growth in consumer viewership and reach.

    On a personal level, I hope we remember 2020 not just as a year of impediments but as one that gave us a chance to pause, reflect and rejig our way of life. Forward to 2021, I wish for all to start over with more empathy and awareness towards self and the world at large as we inch towards a year of hope.

    (The author is Sony Pictures Networks India English cluster business head Tushar Shah. Indiantelevision.com may not subscribe to his views)

  • #Throwback2020: India’s Top Brand Ambassadors

    #Throwback2020: India’s Top Brand Ambassadors

    New Delhi: Brand ambassadors – they are the icons, the celebrities which consumers associate with a brand because they extoll its virtues on television, print, and digital adverts. The role of any and every brand ambassadorin 2020 came with added responsibilities than ever before. They were not just selling products or services but trust and assurance to the potential customer that whatever they are promoting  is safe to use in the times of coronavirus.

    It is to their credit that  many of them stepped forward on the government’s call for social messaging, telling the homebound to stay that way and resort to social distancing,  masks and extreme sanitisation  measures every time they stepped out.

    While expensive, expansive shoots were a no-no for about four months in the early stages of the pandemic, many celebs found innovative ways to continue filming from their homes with the help of remotely located directors and production teams, Once the unlock orders were passed and proper standard operating procedures put in place for TV commercial and other shoots, the brand ambassador band played out in full swing. Several brands roped in new ambassadors this year and several new ambassadors started shining on air.

    Here are India’s op 10 brand ambassadorsin terms of ad volume on TV according to Tam data (from Jan 2020 – Nov 2020).

    Akshay Kumar

    The 50 plus year old actor has emerged as the king of endorsements in the Bollywood fraternity. He is associated with brands across different categories such as Protein Plus, Dollar Industries, RB, CarDekho, Honda, Nirma, Pagarbook and several others. Kumar has a kitty of over 20 brands including traditional and new-age brands.

    Known for his discipline, fitness, and integrity the actor’s credibility reached its peak when he interviewed prime minister Narendra Modi at his residence just before the 2019 general elections. Over the years his fan base has increased and brands have found him to be a credible face when it comes to creating a strong recall.

    Virat Kohli

    The current Indian cricket team captain is one of the most successful brand ambassadors from the world of cricket. He represents a variety of virtues such as discipline, aggression, commitment, team-player, and most recently soon-to-be-father. Kohli has been breaking multiple records and cricket experts across the world have been lauding his success.

    Going by the latest reports, his brand value is above Rs 320 crore and is slated to grow as he has a good number of years left in his career before his retirement. Kohli endorses brands like Great Learning, Blue Star, WellMan, Himalaya Men, Google Duo, MPL, Shyam Steel, Amaze inverters and batteries, Puma, Hero MotoCorp, Colgate, Volini, Too Yumm, Wrogn, Tissot, Audi, Royal Challenge.

    Kareena Kapoor

    The leading lady of Bollywood is one of the most expensive ambassadors in the industry. Kapoor represents virtues such as finesse, quality, beauty, glamour and fitness. She has been in the industry for over 20 years and has emerged as a big influencer and commands a very strong social following. A brand report in August clearly stated that Kapoor leads the brand endorsement chart among the women in Bollywood. She endorses brands such as Lux, Puma, Vectus Group, RB, Airbnb, Prega News, VIP Bags, and others.

    Amitabh Bachchan

    He is known as the evergreen brand ambassador of the industry. Bachchan is the easiest choice for any brand manager to make since he cuts across multiple age-groups, communities and commands an unwavering love and respect from the audiences. He represents virtues such as patience, calmness, commitment, etiquettes, politeness, friendly, family man, elderly and many other things. He is among the veterans in the industry and commands an ability to shift the needle of sales on any product. Some of the brands that he endorses are – Ghadi Detergent, Dr Fixit, FirstCry, Gujrat Tourism, RBI, TVS and others. He has a kitty of over 15 brands.

    Kiara Advani

    She is the new girl on the endorsement block. Advani emerged in the industry with her performance in Kabir Singh and since then has bagged multiple roles in films and contracts from brands. She represents youth and beauty. Advani is associated with Myntra, Colgate, Limca, Priyagold, boat, Giordano Handbags, and others.

    Ranveer Singh

    He is one of the most revered youth icons the industry has seen in a long time. Be it his dressing sense, commitment towards maintaining his shape, love towards his lady lass, Singh is much followed by youth (both male and female) across geographies. Singh represents virtues such as – living the moment, lively nature, commitment, carefree attitude, and others. He is undoubtedly the darling of brands. Some of the brands that he represents are Harman JBL, Thums Up, Jio, Eduauraa, Royal Stag, BigMuscles Nutrition, Astral Pipes, Bingo, Ching’s, Kotak Mahindra, Siyaram’s and others.

    Alia Bhatt

    They hated her, they trolled her and then finally they started liking her. Alia Bhatt has emerged as a popular brand ambassador in the last three years. She is followed by youth and cuts across the age group of 18 – 30 years old. She is associated with brands such as PhonePe, MakeMyTrip, Lux, Nestle, Capresse, JSW Paints, Tresemme, Vicco, and others.

    MS Dhoni

    He is the legend of Indian cricket has etched a name for himself in the history books. The story of a boy rising from a small town to the highest levels of the game is nothing less than inspirational. Audiences have always loved this story and brands have backed it. Despite retirement from cricket (minus the 20:20 format) Dhoni still represents virtues like leadership, skills, calmness, patience, sportsman spirit, family man, mentor and much more. He has been associated with brands such as India Cements, PokerStar, Oppo, Khatabook, GoDaddy, Snickers and others.

    Anushka Sharma

    The soon-to-be-mother and a popular Bollywood actor has emerged as a top ambassador this year on the back of Prega News spending heavily on advertising. The brand immediately signed Sharma as she broke the news of her pregnancy and launched a massive campaign with her.

    Shraddha Kapoor

    She is one of the most under-rated actors of Bollywood and was seen in almost all the big box-office hits of 2018 and 2019. Kapoor has built her brand saliency step-by-step and has emerged as one of the most popular and credible faces of the industry. She represents hard work, persistence, patience, beauty, glamour, fitness and other such virtues. Kapoor represents brands such as The Body Shop, Vogue Eyewear, 2bme, Lakme, Veet, Hair & Care, Hershey’s, 

  • Throwback2020: DD’s importance stood out this year

    Throwback2020: DD’s importance stood out this year

    NEW DELHI: 2020 was a challenging year for public broadcasting. But it was also the year when public broadcasting made its presence felt and reminded people of the reason it exists. That the mission was fulfilled at the peak of the pandemic, when everything was paralyzed, but Doordarshan and All India Radio (AIR) continued their services uninterruptedly.

    Unfortunately, we lost some colleagues to the pandemic. Our reporters tested positive for the coronavirus while they were out in the field. So in that sense, public broadcasting went through the test of times.

    One key area where public broadcasting came through was in delivering social messages and creating awareness about the pandemic. Doordarshan emerged as the top five social advertisers, which underscores the value of public messages put out by us. We also saw record viewership ratings in the early days of the lockdown.

    Then, the tele-classes on Doordarshan ensured that the academic year did not go waste for students from far-flung areas. India is blessed with the only free to air satellite platform DD FreeDish, reaching thirty-five million plus households. With thirty plus Doordarshan channels and fifty-one educational channels, we have eighty-six channels delivering tele-classes across different languages.

    This year reminded us why people tune into Doordarshan. It remains the only platform where the entire family can come together and watch iconic content, no matter which region they belong to. This will be our focus going forward- to create selective iconic content that is not only a part of the heritage of the country but will appeal to the entire population and becomes a benchmark for the decades to come. Content like Mahabharata, Ramayana, Shaktimaan, which have a recall value that spans decades.

    But it’s not just content, but also a question of production values. People, especially youth, have high expectations. The benchmark is, what they call ‘over the top (OTT) quality,’ coupled with the latest use of technologies, graphics, and visual effects. We will try to ensure that the projects we work on bring in those elements.

    At the same time, we need to acknowledge that public broadcasters operate on public funds. There are constraints. So it cannot invest in the same manner that a private sector media house could do.

    NewsOnAir application proved to be a dramatic game-changer this year on the radio front, just like DD FreeDish proved to be a game-changer on the television front. It ensured that traditional radio listening is no longer restricted to the terrestrial reach of the transmitters. Now, it does not matter where you are, you can listen to your favourite channel. It has changed radio listening habits for audiences across the world.

    It also brought all radio services of AIR under one umbrella. Unlike TV where everything is uplinked in the satellite so you can monitor what is going on, with radio, it used to be restricted to that particular radius of a few kilometres. But, now we can tune into any of the radio stations among the 200 livestreams. It has also brought a degree of transparency and accountability.

    We also saw Doordarshan regional channels discovering life beyond the satellite way of traditional broadcasting. From our TV rating standpoint, they may be struggling with the private channels, because there are hundreds of channels, so it’s a huge challenge for a public broadcaster to stand out. However, on the digital side, each of these channels has acquired a distinct place. Several of them crossed half a billion subscriber base on YouTube, because of teleclasses being available on demand.

    I have a special mention for north-east Doordarshan because it saw dramatic growth in the news this year. The news was available in languages that were otherwise not available in Garo, Khasi, and Assamese. DD News Guwahati and DD News Shillong performed very well digitally as youth increasingly consumed content through the internet and smartphones.

    Apart from that, the most interesting thing has been the DD archives. In order to take full advantage of the nostalgia, we had started putting the archival content online, digitising it and making it available online. Old plays, old serials, old songs, all content will be made available. So it has driven renewed interest in regional languages.

    On the revenue side, the income was fairly steady, except for some disruptions, on the radio side. There were some hiccups for DD FreeDish too and some channels had to leave, but many new channels came on board, including three movie channels in the recent auction. Overall DD FreeDish remains on a steady path and a source of substantial revenue.

    On the advertising side, we definitely saw an uptick in commercial advertising because of the renewed interest in Mahabharata. But some of the biggest sporting events did not happen, so that was a disappointment. Hopefully, we will catch up in 2021.

    (Shashi Shekhar Vempati is the CEO of Prasar Bharati. This is an excerpt from a conversation he had with Srishti Choudhary)

  • What 2020 taught me about the advertising business

    What 2020 taught me about the advertising business

    MUMBAI: Indiantelevision.com is happy to bring you the year ender 2020 series Throwback 2020– a wrap  up of major developments in the media, entertainment, advertising and marketing sectors during one of the most challenging 12 months mankind has faced in a century. We are also bringing you perspectives from executives – their POVs – of the year just gone by. Here’s one from Dentsu Webchutney CEO Gautam Reghunath, wherein he talks what the annus horribilis has taught him and his team at the agency. Read on to learn more from him. 

    Your Core Team Will Make or Break You.

    Great teams aremade through endless iterations of roles cultures, processes, structures and tackling problems when they emerge. They are more than a bunch of well performing people put together. The only way to build these teams is through endless optimisations of how this team works together. I’ve never been more thankful to have had this core in place. Investing in culture and setting up a great core team has always been a priority at Webchutney but the last 12 months have just solidified how it is especially important during a rough year. 

    Agency creativity is now a rare product. We’re doubling down on it. 

    The truth is that over the past decade, creativity as a service has taken a back seat at most big agencies. In our industry right now distribution, productivity and  efficiency are what’s valued, but the side effects are that they are all becoming commoditised. There’s little differentiation between agencies. As for Webchutney, it is only smart for us to maintain our focus of differentiation to creativity, a truly scarce resource whose value is always on the rise.

    Remote-talent might just have saved advertising.

    Clever, creative people don’t just live in big cities. Social media platforms have thrived on it but advertising will have to learn to embrace creativity from across the country for its own sake. But not before a serious change to what’s required. Remote work requires new infrastructure and management styles that we aren’t used to or taught. The hardest challenge with remote is trying to change the fundamental nature of agency floors: we're social creatures, we communicate synchronously, we ideate together, often loud. Self-discipline is hard. In advertising, it’s even harder. Companies which figure it all out have a massive talent arbitrage opportunity.

    Resourcefulness and initiativestood out more than ever this year.

    Resourcefulness is a competitive advantage. Too many organizations hire when they should be optimizing the people they’ve already got. Efficient people want to work in an efficient environment. The people who have stood out for me this year are the ones who’ve shown excitement about the opportunities for us this year, an ability to contribute the right way and those who’ve displayed apotential to learn and adapt. Initiative is contagious.

    Client relationships – stop taking them for granted.

    Over a period of time, agencies typicallystart takingclient relationships for granted. But the reality is that every day, they’re choosing to be your client or not. No year has this played out more than 2020. Somewhere a client relationship starts resembling a subscription you renew every year. Digital agencies who’ve grown up on project work might deal with this better. We’ve fought so hard for a seat at the table over the years that because we were always pitching, we developed a skill of communicating who we are and what we’re bringing that some of the older agencies forgot to do consistently. 

    Make a Plan, But Don’t Plan on Sticking to It.

    Dwight D. Eisenhower once said, “Plans are nothing; planning is everything.” The key decisions this year challenged my willingness to evolve more than my aptitude or intelligence. 2020 taught me that you can make progress by planning but it’s more by deviating that the chances of success increase. It’s also proven to us in advertising that that we have so much more to learn as an industry on how to reinvent ourselves. Nobody ever regrets making fast and decisive adjustments to changing circumstances.
     

  • 2020: The year of the government intervention

    2020: The year of the government intervention

    KOLKATA: 2020 was the year when the government – both the Centre and states – pushed back against the media. Strongly. Whether it was mainline television or print or digital or social media, authorities showed that they could deal a heavy hand against the fourth estate and digital platforms. Everyone would have to comply or get caned.

    The year ended with the government bringing digital media under the ministry of information and broadcasting and imposing foreign equity restrictions in such ventures. 26 per cent is the overseas investment limit, the department of promotion of industry & internal trade under the ministry of commerce & industry stated in a clarification in October 2020. Ventures involved in aggregating, writing, distribution, streaming of news or current affairs on websites, apps or other platforms will have to bring down the foreign investment to 26 per cent and get government approvals for the same by October 2021, have an Indian CEO, a majority of Indians on their boards, security clearances for foreign personnel employed or contracted for more than 60 days.

    The big news for the year was the ban on all things Chinese following the muscle flexing and murder of Indian armed forces by China on its border at Ladakh with India. More than 267 Chinese apps were shown the door over six months. The biggest of these was the user generated content platform TikTok which had more than 200 – million users in India. PUBG, La – a game which has more than a few million followers amongst India’s uh-uh gamers, was also blocked overnight.

    But the natives were not to be denied their favourite entertainment: under the government’s make in India initiative: a slew of local apps were spawned TakaTak, Roposo, Bolo Indya, Chingari. While not many could better the TikTok algorithm, they quickly signed on millions of subscribers hungry for a platform to show case their short form video talent. And at the time of writing FAU-G was slated to be released in India.

    The Central government and the industry regulator Telecom Regulatory Authority of India ( TRAI) intervened in the case of the industry monitoring agency Broadcast Audience Research Council (BARC) as well. At the beginning of the lockdown, TRAI issued a consultation paper suggesting an overhaul of the measurement body saying there were concerns over the neutrality and reliability of the existing system. It recommended various measures like equal representation from broadcasters, brands, agencies, increased sample size, independent members on board including technological experts.

    Later in the year, as the credibility of the rating agency had come under greater question with the TRP scam unfolding, the ministry of information and broadcasting notified a committee to be headed by Prasar Bharati CEO Shashi Shekhar Vempati to assess  the existing rating system for TV channels. The government emphasised there is need to have a fresh look at the guidelines particularly keeping in view the latest TRAI recommendations.

    Along with linear TV, the new age streaming platforms also came under the government's watchful eagle eye. Throughout the year, a number of PILs have been filed against a number of online premium shows for allegedly hurting “Indian sensibilities”. Several conservative groups have carried out social media campaigns with #boycott or #censor trends. Amid increasing pressure, OTT platforms were already pushed to form self-regulation codes. But self-censorship did not save the day as the government rejected the code asking to restructure  Igniting the censorship fear further, the government notified to bring all online content under MIB.

     The latest notification stated that films and audio-visual programmes made available by online content providers, news and current affairs content on online platforms will come under MIB’s purview. Just a few days post announcement, media reports floated that is it preparing to file a petition seeking the transfer of all court cases in India against OTT platforms to the supreme court. The ministry notified the Punjab and Haryana High Court about its move to approach the apex court.

    At the same time, social media giant Facebook also faced regulatory pushback this year. After a report on the Wall Street Journal that claimed the platform did not comply with hate speech rules properly, it came under tremendous political scrutiny. While some officials were blamed for having a ruling party bias, union law minister Ravi Shankar Prasad alleged that Facebook employees had abused top ministers on record and their certain ideologies led to an inherent bias.

    Facebook India vice president and managing director Ajit Mohan was summoned by a Delhi Assembly panel which was examining Facebook’s role to curb hate speech in connection with the Delhi riots of February 2020. Later, the platform moved to the court to challenge the summons issued by the Delhi government. The parliamentary standing committee on information technology, headed by senior Congress leader Shashi Tharoor also called Facebook officials multiple times to examine if there was any political bias.

    At the state level too, governments bared their fangs. While Delhi government got into a tussle with Facebook, the conflict between Maharashtra government and Republic TV editor-in-chief Arnab Goswami also deepened. Goswami was arrested in the Anvay Naik suicide case by Mumbai Police which was widely seen as a politically motivated move. He also moved to Bombay High Court questioning the police’s decision to re-investigate the case. Finally, Goswami was granted bail by  the apex court.  Even, many other state governments were also criticised for arresting dissent journalists during the pandemic.

    Despite numerous protests by certain ecosystem players, the government stayed put on rolling back or making any changes to the NTO 2.0, to which many had complained.

  • Throwback2020: The great show that Indian e-commerce industry put up

    Throwback2020: The great show that Indian e-commerce industry put up

    NEW DELHI: It was more than a decade-and-half long journey for the e-commerce industry in India to grow from a ticket booking platform to an  offeror of everything – from a needle to a car – online. The initial hurdles of  low internet accessibility, pricey data charges, and lack of trust were vaporised  by Reliance Jio in 2014, giving a major boost to the industry. And then came 2020 and  the much spoken about coronavirus, that made e-shopping more of a necessity than an option for almost all on planet earth. It has been said by many and trusted by all that what 2020 did for the digital and e-commerce industry, wouldn’t have been possible to happen in the next five years or so. Here’s an overview of what all went down in 2020 that made e-commerce a stronger and stiffer chap, giving a tough competition to the offline retail stores that remained the predominant choice of buying and selling for most, up until 10 months ago.

    2020 growth story

    The Indian e-commerce industry was  struggling, climbing a steep incline for the past many years, given the strong intent of policymakers to support a digitally-enabled India. From increasing FDI in e-commerce ventures to signing MoUs with banks to rolling out 5G fibre networks, the past few years have seen great strides being made in that direction. However, the 2020 growth story was more the gift of an unexpected catastrophe than organised attempts in the direction. Yes, the sector faced some hiccups in the beginning, because of the uncertain situations and market slowdown, It, however set a new peak in terms of growth this year.

    Starcom CCO Rajiv Gopinath notes, “The e-commerce industry has seen a massive boost in 2020 all over the world due to the pandemic. Global retail e-commerce will hit a staggering 3.9 trillion dollars in 2020– the equivalent of 17 per cent of all retail sales. Meanwhile in India, the industry saw a momentary fall in March and April due to the pandemic and the resultant logistics constraints and curbs on sales of non-essentials. However, after April, there has been a steady rise in the number of orders placed.”

    Overall, it grew about 35-40 per cent and achieved a GMV of around 38 billion dollars, as per IBEF and Redseer Consulting estimates. A report by Kantar and Amazon Advertising indicates that 42 per cent of Indian urban active internet users were shopping online during COVID times.

    Hustlers of the e-comm town

    The e-commerce industry hogged most of the spotlight this year, given the situation the consumers found themselves in with the Covid-2019 imposed lockdown. However, according to data from Venture Intelligence — a firm that tracks private companies’ investments, financials and valuations, private equity and venture capital (PE-VC) investments in e-commerce companies in India from  January to September dropped by 55 per cent as compared to the same period last year. It stood at $1223.12 million in 2020. Additionally, only 66 firms raised funding in 2020 against 107 in 2019. The reasons behind this could possibly be attributed to anti-China sentiments and consolidations within the industry.

    Yet, majors like Amazon, Flipkart, and the biggest star Reliance managed to keep the mills running with a great infusion of dollars.

    Amazon invested $95.51 million in its Indian payments unit AmazonPay, in October. It was the second round of investment into the platform after the company pumped in Rs 1,355 crore in January. Additionally, as the e-grocery industry heated up, Amazon announced the expansion of its ‘Amazon Pantry’ to over 300 new cities in India, delivering to 10,000 pin codes across the country.

    Amazon also forayed in the food-delivery business, an alcohol-delivery service, and an online prescription medicine delivery service, making the most of the year.

    Its closest competitor, the Walmart-backed Flipkart found its base strengthening further as Tencent, the second-biggest shareholder in the e-commerce marketplace, put in $62.8 million in it.

    Additionally, Flipkart tied up with e-pharma company 1MG, foraying into the e-med space. It rolled out ‘dark stores’ to service customers in nearby localities, and unveiled its plans in the wholesale market with the unveiling of its exclusive B2B marketplace – Flipkart Wholesale. Flipkart also acquired the wholesale business of its parent company Walmart in India.

    And of course, most of the headlines space was reserved for Reliance this year as well. Its stock values went through a crushing journey early in the year, dropping to Rs 880 by the end of March from the peak of Rs 1,610 in December 2019, due to the pandemic. However, it was quick to get back on its feet as RIL sold about 10 per cent of Jio Platforms to Facebook in April. A series of marquee investors followed the suite, including Google, and Jio Platforms secured investments of $20.6 billion.

    Reliance Retail Ventures also secured investments worth over $5.1 billion through various investments from leading global investors including two tranches from Silver Lake (1 and 2), KKR, General Atlantic, Mubadala, GIC, TPG, ADIA and PIF.

    The launch of Jio Mart was one of the biggest events in the Indian e-commerce space this year. The megacorp also announced important acquisitions including digital pharma marketplace Netmeds, a chunk of the Future Group’s businesses, and Urban Ladder.

    It created an omni-channel retail strategy which smartly included its brick and mortar presence with its ecommerce wings also spurred the next phase of its growth, which we will see giving fruit in the future as well. Some of the smartest moves in this direction were partnering  with SBI in Jio Payments Bank and collaborating with Facebook-controlled WhatsApp that has launched its UPI-based payment platform.

    Enough space for everyone

    What essentially started as a space for fashion hauls and ticket bookings, the  e-commerce industry really got its due in 2020 with purchases, across all the categories being driven online. According to Google Trends, the interest in the category went up by around 50 per cent since this time last year.

    Logicserve Digital founder & CEO Prasad Shejale shares: “The number of e-commerce shoppers has at least doubled during Covid. Talking about the wide reach of the online shopping phenomena, a recent report by Bain & Co. suggests that 97 per cent postal codes in India ordered at least 1 item online in the last year, which is great. The report also mentions that for many businesses, including the small sellers, 60-70 per cent of the sales happen through e-retail.”

    Gopinath notes:  “Online marketplaces have witnessed a total growth of 30-40 per cent of new users. E-commerce leader in India, Flipkart recorded a new user growth of close to 50 per cent right after the lockdown, with tier 3+ regions registering the highest growth of 65 per cent during the "unlock" July – September phase. Consumers from tier 2 and tier 3+ regions also spent the most time on the platform, signalling a continuing rise in user engagement and a shift in shopping preferences. From the supply side, it saw close to a 35 per cent increase in sellers on board in 2020, in comparison to the same period last year.”

    22Feet Tribal Worldwide Preetham Venkky adds, “Brands have significantly upped their investment on both owned channels as well as a marketplace (Flipkart, Amazon, Nykaa etc.). While investments in the marketplace have borne fruit immediately, in mid and high involvement categories, brands have shown interest in growing their branded e-commerce platforms. For instance, we’ve seen a growth of over 40 per cent on e-commerce in the home appliances space.”

    Gopinath elaborates: “The top-selling category in e-commerce has long been electronics, especially mobile phones, followed by apparel. Rather, in January-March, the most searched categories included personal care, men's clothing, footwear and women's clothing. Though these still remain the dominant categories, a “work from home” category is emerging primarily due to Covid-2019, consisting of products related to office activity like laptops, chargers, small furniture, etc.

    “However, during the lockdown, food and nutrition, household, toys and audio products witnessed the highest demand among consumers. Grocery and FMCG goods were one of the biggest beneficiaries during the pandemic even though fulfilled orders were only a fraction of the total in-demand orders (due to a steep hike in demand). However, even after the lockdown ended, e-grocery orders have been seeing an upward trend.”

    According to a study by RazorPay, categories like beauty and personal care and home furnishings also witnessed massive growth, especially after May. While the former saw an increase of almost 295 per cent in the number of transactions, the latter saw a spike in orders in May and June given lifestyle changes and the need to work from home.

    dentsu Asia Pacific (APAC) Chief Data & Product Officer and dentsu Programmatic – South Asia CEO Gautam Mehra adds, “Sectors that benefitted the most were electronics, pharma and education. Even fintech to a large extent benefitted, with more and more demat accounts, digital-only savings accounts being opened and UPI usage increasing.”

    The Indian retail market also saw a new wave of direct-to-consumer brands such as Lenskart, Licious, Zivame, Epigamia, BoAt, Wow Skin Science, Healthkart, Mamaearth, MyGlamm, SUGAR Cosmetics, IncNut, Country Delight, among others, establishing a strong market  presence. Relying on technology and smart interactive solutions, these brands have made big within the industry.

    Growing in potential

    The industry not just grew in numbers but also made great investments in improving the overall customer experience. They relied heavily on smart-tech interventions and UI/UX development to make the consumer journey more smooth sailing.

    More and more brands were forced to step into the online world and create their own shopping platforms. According to the report titled ‘E-commerce Trends Report 2020’ by Unicommerce, there has been a 65 per cent increase in brands developing their own website in India. Bisleri, Cornitos, Nivea, Kiehl’s and Amaris Jewels were some of the brands that launched their own shopping platforms in India this year. Apple, which used to get 30 per cent  of its annual sales in India from e-commerce sites here, also launched its own online store for India.

    At the same time, brand websites have witnessed 88 per cent order volume growth compared to 32 per cent for ecommerce marketplaces.

    Carwale SVP (used cars) Abhishek Patodia mentioned in an Indiantelevision.com virtual roundtable that the platform included video upload option for car-sellers, which eventually driven up the number of consumers on their platform.

    Baggit head of marketing Atul Rohan Garg added that they are working on incorporating options like video-calling and on-call assistance for its shoppers to make the experience more transparent and wholesome. The same plans are in place for a number of lifestyle, fashion, and jewellery brands.

    Many restaurants, QSRs, and salons adopted options like e-menus, pre-bookings, on-app valet services to fit into the new normal and make physical stores more comfortable and safe.

    Venkky quips: “The growth of e-commerce will be on the back of four services: technology, user experience design, dynamic creative optimisation and performance marketing. This creates the need and demand for fully integrated digital agencies, which will benefit the maximum.

    Driven by Technology

    Mehra notes: “Digital commerce is almost entirely tech-driven. From better warehousing to better personalisation to customers, every part of the commerce journey has an opportunity to be disrupted or innovated on. Ad-tech / mar-tech will play an important role in the acquisition and driving lifetime value, whereas traditional operations where SAP/ERP used to be deployed are now being disrupted by startups like Khatabook and several others.”

    According to Shejale, personalised SaaS-based platforms that are powered by AI also gained great preference from the e-commerce players as they work on systems that ensure that a seamless omnichannel approach is followed.

    The year, therefore saw, ecommerce software platforms making a big mark in India Brands and e-commerce platforms partnered with payment gateways, cloud computing and analytic service providers. Ready-to-use ecommerce software from Shopify, Magento, Ecwid, BigCommerce, Volusion, Wix and others eased out the pain of setting up online stores, making D2C bigger than ever in the country. Use of inbuilt RFID, GPS, and IoT, and telematics played a crucial role in evolving the ecomm world.

    Additionally, brands are also experimenting a lot in closing the gap between the online look and  feel of the product and how it physically is. This has attracted great strides in involving technologies that can create realistic 3D imageries, refine digital texture and colour palette and at the same time keep the site design simple and light. Jewellery brands invested in technologies that can help the retailers and e-platforms to customise designs, do online virtual trials  on a real-time basis.

    Another simple platform that greatly assisted e-commerce players this year was Whatsapp. Reliance Industries started limited use of WhatsApp to connect customers to grocery stores. JioMart successfully interacted with its customers on orders using WhatsApp, simplifying the whole process. Jewellery brands like Mellora are also relying on the Facebook-owned platform to reach consumers.

    In the papers and on the screens

    Keeping up with the buoyancy in online shopping, e-commerce and digital-first players greatly supported the Indian advertising industry too. Online gaming platforms like Dream 11, also the sponsor of IPL, MPL, Poker Stars, e-learning platforms like Vedantu, WhiteHat Jr, and BYJUS, and e-shopping platforms like Flipkart, Myntra, and Amazon were some of the top advertisers this year, keeping the industry afloat.

    Not just that, the marquee sales events like Myntra End of Reason Sale, Amazon Great Indian Sale, Pepperfry Shubh Aarambh Sale, Paytm Maha Cashback Sale, etc. got the bucks moving in the brand’s direction as the sales and supply chains remained largely impacted through the year.

    Has the inflection point been reached. Observers are betting their hats that there’s no going back from here; only forward. 

  • #Throwback2020: Rejigs in the Indian marketing world

    #Throwback2020: Rejigs in the Indian marketing world

    NEW DELHI: Change is the only constant, and 2020 was a year of change. Big ones.On personal and professional fronts, both. Folkspicked up new skills, explored previously untried things, made self-discoveries. The trend reflected in the way people moved across industries, looking for fresh challenges and opportunities – looking for change. The marketing and advertising industry was also no stranger to this. There were a number of movements within agencies, some also chose alternate industries to grow, and many others were promoted to new roles. Here is part one of an intensive overview of how the year fared for the marketing and advertising world in terms of people movements, appointments, and elevations: 

    The year started with WatConsult founder Rajiv Dingra vacating the CEO chair and taking up an advisory role in the agency from the house of dentsu International (earlier Dentsu Aegis Network). He was replaced by Heeru Dingra. Rajeev went on to launch a new venture, RD&X Network, later in the year. 

    Next, Cheil India social media strategist Abhishek Mudgal exited from the agency to join Cars24 as brand manager -digital. Erstwhile CCO south-east and south Asia and VC – India at Ogilvy Sonal Dabral moved on from the creative powerhouse after a two-and-half-year stint to start his journey as an independent creative consultant. 

    Sonal Dabral

    Another big exit from the agency world came whenHavas Media India and SEACEO Anita Nayyar ended her 13-year-long journey with the agency. She later joined Zee5 as head – customer strategy and relationships. Following her exit, Mohit Joshi was elevated to the India leadership role. 

    Anita Nayyar

    The next big transition was made by Anita Kotwani. She left the post of SVP – new business and client lead, The Walt Disney Business at Mindshare India, ending a 16-year-long relationship with the agency, and headed to Carat India as its CEO. 

    Anita Kotwani

    Most recently, Nabendu Bhattacharyya, an industry veteran with more than two decades of experience in the Indian out-of-home (OOH) space, stepped down as CEO and MD of Milestone Brandcom, the India-based OOH specialist agency from the house of dentsu international. He is moving on to follow his personal interests after spending six years with the network. 

    Another exit from dentsu International came earlier in the year with Isobar India’s chief growth officer Shekhar Mhaskar departing the company. Also, Dentsu India CCO Malvika Mehra bid adieu to the network to begin afresh as an independent creative director and brand consultant.  

    Malvika Mehra

     

    Dentsu roped in Rohit Mukherjee as creative director, south for Isobar India. Prior to this, Mukherjee was associate creative director with Bates India. 

    A slew of exits happened at Publicis Worldwide India too. Managing director for the company’s India operations including Publicis Ambience, Publicis Capital, Publicis Beehive, Publicis Health and Publicis Business Srija Chatterjee left as the group dissolved the position. CCO and MD Ajay Gahlout also stepped down from his position to pursue personal interests. Chief strategy officer and managing partner Neeraj Bassi also called it quits in 2020. He went on to join Havas Group India as the chief strategy officer. 

    Neeraj Bassi

    On the other hand, Publicis announced the appointment of Sanju Menon as chief operating officer of Publicis Ambience and Publicis Beehive. He joined from Leo Burnett India, where his last role was as executive vice president managing the entire Bajaj portfolio for the agency. The group also roped in Deepak Pant as head, data science practice, from Cognizant where he worked as the director AI & analytics of the digital business.

    GroupM, South Asia COO and CFO Sridhar Ramasubramanian on boarded as the CFO for Publicis Groupe, South Asia. The group appointed Mimi Deb to lead its dedicated bespoke unit platformGSK. 

    Simultaneously, Rachana Lokhande, co-chief executive officer (CEO) of GroupM-owned outdoor agencyKinetic India, chose to resign from her position. She was replaced by Ajay Mehta who took on the additional charge as MD – Kinetic along with the post of managing director of cinema (ITV). Mehta also joined the GroupM India executive committee (ExCo).

    Wavemakar also found its South Asia CEO in Ajay Gupte, who was earlier the COO for Wavemaker India, after Kartik Sharma moved on to join Omnicom Media Group as Chief Executive for India operations,

    Ajay Gupte

    In another internal rejig within the GroupM network, Mindshare Fulcrum SVP Premjeet Sodhi joined Wavemaker India as chief growth officer. He was soon elevated to the post of chief strategy officer. Mindshare chief innovation officer – South Asia Mac Machaiah was appointed as the lead of Wavemaker unit for ITC business. Vishal Jacob returned to Wavemaker India as chief digital officer, after close to two years with GroupM as a principal consultant – change planning and transformation. Additionally, Sandeep Pandey, who led product and strategy, was elevated as Wavemaker’s global head of analytics.

    Additionally, Mirum India brought on board former 82.5 Communications SVP Mohit Ahuja as the director of brand strategy and client services. 

    To be continued…