ITV

Tag: advertising

  • PitchWorx simplifies designing presentations with Nimmio

    PitchWorx simplifies designing presentations with Nimmio

    NEW DELHI: PitchWorx, a creative design agency, has launched its integrated online platform – Nimmio, developed to deliver visually compelling presentations. The online platform provides quick access to pre-designed, and fully-editable presentation slides that entice and engage the audience.

    For almost a decade, PitchWorx has been creating presentations, animated videos, branding, graphic design, and web design solutions for clients mainly – start-ups, SME’s, large corporations, and government organizations. Later, the company realized that the clients wanted a quick turnaround while retaining the design liberty. Through Nimmio, the company strives to provide visually cohesive and high-quality designs while ensuring that the sense of ownership is retained with the client.

    PitchWorx CEO & founder Dharmendra Ahuja said, “Getting the brand message across the target audience requires breaking down of relevant data into an interactive presentation design. To create highly impactful marketing pitches, we have come up with the launch of Nimmio. The online platform provides pre-designed presentation slides that grab and sustains the audience’s attention. The slides can be downloaded anytime, anywhere. This results in driving efficiency and boosting the conversion rate.”

    “As we grow, we have plans to expand Nimmio’s library into designing social media posts, posters, flyers, brochures, logos, invitations, business cards, and more. Along with this, we have plans to create a marketplace where designers can showcase and sell their design templates across the globe. We are aggressively working on making Nimmio a global marketplace for designers. This will play a crucial role in discovering and connecting them with relevant opportunities around the world”, he added.

    Nimmio boasts a range of highly interactive features that empower people with design thinking capabilities to turn their ideas into reality within a few clicks. Its library is equipped with fully-editable graphic assets and resources to deliver the perfect pitch in no time. Additionally, it provides access to unlimited professionally designed and ready-to-download presentation slides at an affordable cost.

    The platform works on three different pricing plans, flexible for one time or frequent users. For one-time users, it offers the ‘Pay as you go’ model where you pay the cart value with no commitments. The ‘Monthly Plan’ is ideal for intermittent users who want value for money, and the ‘Yearly Plan’ is perfect for frequent users with unlimited downloads. 

  • No Pulse, no life: Candymaker resumes conversation with consumers

    No Pulse, no life: Candymaker resumes conversation with consumers

    NEW DELHI: DS Group-owned Pulse Candy was introduced in 2015 and it immediately became a rage – people couldn’t get enough of the super sour, piquant taste. On most occasions, consumers preferred to buy loose candies, but in this case they were keen on purchasing the entire box. The brand grew like an addiction, so much so that it ended up achieving Rs 100 crore sales in a matter of eight months. Since then, the launch of Pulse Candy has been known as one of the biggest success stories in the hard-boiled candy category, which is currently growing at a rate of 12-16 per cent. For the record, India’s overall candy category is around Rs 6,000 crore growing at a CAGR of six to nine per cent. The brand clocked sales of nearly Rs 300 crore in the first two years.

    The core idea behind the launch Pulse candy was that the makers identified a gap in the category. They found that kaccha aam was a preferred flavour among the audiences but traditionally it was consumed with spices to make it tangy. However, no other candy brand was offering this combination to the audiences and hence the brand decided to go for an innovation.

    The kaccha aam-flavoured candy initially grew on the back of word-of-the mouth campaign, and after a massive increase in demand, the brand launched its first major advertising campaign. The core positioning of the brand is ‘Praan Jaaye par Pulse Na Jaaye’ that aims to poke fun and make people laugh. Over the last three years, it has released several campaigns that show slapstick situations and brings a smile to consumers’ faces in less than 30 seconds.

    The initial campaign was aimed at reflecting the ‘irresistibility’ or the obsessive love people have for Pulse candy. The tag line kind of reflected that love and positioned the candy accordingly in the minds of the people.

    The candymaker’s last big splash was in early 2019 when it released two films Classroom and Dangal.

    After a gap of over a year, Pulse Candy has released a TV campaign. This time, the brand has done away with actors and is using stick figure characters in the spots. The campaign has been launched with two films, titled The Husband-Wife and Recycle Bin. The stick figures are named Wifey, Hubby, Sticky and Micky.

    Designed and conceptualised by Wunderman Thompson, the film aims to capture the extent to which the stick figures or the Pulse fans will go for the enticing taste of Pulse candy.

    The first one captures the banter between a husband and wife; the second one is altogether a different take between two stick figure friends pulling a fast one on each other inside a computer screen. The set-up of the second film also makes you slightly nostalgic as it takes you back to the early days of Microsoft Windows with a similar screen, Recycle Bin and VLC player icons (name changed to WLC in the film).

    DS Confectionary Products joint general manager- marketing Arvind Kumar said, “The brand must keep re-inventing execution themes to retain the excitement around the proposition of Pran Jaaye Par Pulse Na Jaaye. We have done some captivating campaigns in the past and the current campaign brings in a new and exciting style of content with stick figures, to fortify the alluring magnetism of Pulse in an amusing and entertaining way.”

    Wunderman Thompson executive creative director Sundeep Sehgal said, “Pulse stands for joy and uniqueness, the irresistibility of Pulse lends itself to this unique proposition. We wanted to make simple, short, and share-worthy stories and stick figures give an exciting take to our narrative.”

    The campaign is amplified on the social page of the brand that commands a million-member-strong community. The brand continues to engage with its audiences via social media platforms using moment marketing, contests, videos and content formats.

    Pulse Candy was initially launched as a test project in the states of Rajasthan and UP and after its success, the brand was expanded to pan-India. It has grown massively in the last four years on the back of a strong distribution network. DS Group has also taken Pulse beyond the Indian shores. The brand continues to sell it at a price point of Re 1. It competes with the likes of Parle and several other regional and national players. 

  • Star Sports names Sudhir Shukla as marketing head

    Star Sports names Sudhir Shukla as marketing head

    New Delhi: The Walt Disney Company-owned Star India has elevated Sudhir Shukla as head of marketing for Star Sports. He will be managing the marketing for the entire sports portfolio at Star Sports. 

    Shukla announced the development on his social handle.

    He joined Star India in 2016 and has served in different roles such as VP & head marketing and brand strategy, SVP – cricket.

    In his previous role, he has successfully spearheaded marketing for IPL, ICC World Cup 2019, women’s cricket and launched several campaigns.

    Previously, this portfolio was handled by Rajiv Mathrani who had recently moved on from the organisation. 

    Shukla has over 17 years of experience and has previously worked at Mondelez, and Tata Consultancy Services. His longest stint was at Mondelez where he served for over 10 years in different roles such as area sales manager, brand manager, category manager – gum and candy, category head – cocoa beverages, and head of modern trade, CSD and away from home (NCD) channel.
     

  • Mathrubhumi.com wins at Wan IFRA’s South Asian Digital Media Awards 2020

    Mathrubhumi.com wins at Wan IFRA’s South Asian Digital Media Awards 2020

    Kochi: Mathrubhumi.com the digital news platforms of mathrubhumi group was recently conferred with a bronze metal at South Asian Digital Media Awards 2020 jointly presented by Wan – IFRA, (World Association of Newspapers and News Publishers,).  

    Creating its impact in the industry the metal was honoured to Mathrubhumi under Best Data Visualisation. The article titled’ Lockdownil Pranayuviny Jeevanvechu’ highlighted and explained the difference in air quality in different cities after the lockdown was implemented. The article was selected for illustrating the quality of air in various Indian cities using graphs.

    Mathrubhumi executive editor (Periodicals & Digital) Ramachandran O.R said, "This award winning visualisation is on the unbelievable air quality changes happened during lock down period in India. It is based on the air quality data published by Central Pollution Control Board on their website. They took measurements of 6 air quality elements from 120 cities in India during the four stages of lockdown and compared it with the observed values of the same elements 30 days before lockdown. We analysed the entire data and took a subset of the data having measurements from cities of Kerala and selected cities outside Kerala and made a sun burst visualisation of this data. This visualisation reveals the rise in air quality happened in the cities of Kerala during lockdown. This conveys a positive message to our readers about the reasons behind the rising air pollution of the state and the need of keeping it clean. The whole package was the result of journalistic passion ignited with technology and team work”.  

    The South Asian digital media awards presented by Wan –IFRA, recognise publishers who have adopted digital media and mobile strategies as part of their total product offering to meet the major changes in how people consume news today. Wan-IFRA digital media awards are presented in every region across the world and the winners from each region subsequently compete for the world digital media awards.   

    South Asian Digital Media Awards are presented in ten different categories including best website, audience engagement, native advertising /branded content, paid content strategy, news literacy and Covid19 projects among others. Twenty judges from across the globe evaluated the entries and selected winners. The winners will be presented trophies and shall be honoured virtually at the upcoming Digital Media India 2021 Conference on 2-4 March, next year.

  • ISL 20-21 opening week clocks 8% growth in viewing minutes

    ISL 20-21 opening week clocks 8% growth in viewing minutes

    NEW DELHI: The craze for football is getting bigger and bigger in India with every passing edition of Hero ISL. This year, the championship is into its seventh season and is the first major sporting league playing in the country since the pandemic started.

    Hero ISL returned on 20 November in a new 11 team avatar, raising the competition a notch higher. The live action is telecast and live streamed in 82 territories across the world through five partners across TV and digital platforms.

    Official broadcasting partner Star Network is exclusively bringing ISL matches in India on Star Sports 1 SD & HD, Star Sports 2 SD & HD (English); Star Sports Hindi 1 SD & HD, Star Sports 3, Star Gold 2 (Hindi), Asianet Plus, Asianet Movies (Malayalam); Star Sports Bangla; Star Sports Kannada; Star Sports Tamil; Star Sports Telugu and Star Sports Marathi. Online streaming will be available on Disney+ Hotstar VIP and JioTV.  

    In the latest, Broadcast Audience Research Council (BARC) has stated that the opening week of ISL clocked eight per cent more viewing minutes in comparison to last year. In 2019, ISL garnered 3.16 billion minutes while in 2020, it garnered 3.42 billion minutes.

     

     

    Another report from the broadcaster also noted that the tournament clocked a 16 per cent spike in viewership in the opening week (first eight matches), as compared to the previous season. The growth is universally seen across markets – HSM 18 per cent, south 14 per cent.

    Not to mention that the highly-anticipated Kolkata Derby between SC East Bengal and ATK Mohun Bagan on 27 November recorded the highest viewership for the legendary rivalry match.

    The matches are taking place in a closed door setup and several technological innovations have been introduced to ensure a higher engagement with the audiences.

    "We are thrilled to deliver a blockbuster opening week of the ISL 2020-21. After a successful IPL 2020, we laid emphasis on an enhanced viewing experience for football by stressing on product innovations, improved story-telling, and fan engagement. We hope to maintain the momentum and build on the gains in viewership in Week 1. ISL 2020-21 has also set the precedence for other sporting events to resume in India by following the highest safety standards," Star India sports head Sanjog Gupta had said in an official release.

    Some of the sponsors for this year include Hero MotoCorp, Byju’s, Dream11, Himalaya Drug, Apollo Tyres, Nivea and others. 

  • ‘What is love’: OkCupid may have the answer for Indian millennials

    ‘What is love’: OkCupid may have the answer for Indian millennials

    New Delhi: ‘What is love?’ Haddaway had plaintively demanded years ago, and it's a question that still rankles in peoples' minds. With a hope to solve this conundrum to a great extent, international dating app OkCupid has launched its latest digital campaign titled ‘Love is…’ that reclaims love for Indian millennials. The campaign is a conceptual take on love that is unique to your individual personality, values and aspirations. It recognises and celebrates that every person is seeking a different kind of love – from romantic dates to sharing memes, and that uniqueness is valid, accepted and deserves to be celebrated. 

    The campaign draws insight from user responses to over 3,000 questions on the app, breaking stereotypes about what relationships mean for dating Indian millennials. A large majority are in fact hopeful romantics with 88 per cent men and 87 per cent women wanting to find love, or have love find them. They are open to finding serendipity of love on a dating app like OkCupid with 61 per cent men and 57 per cent women saying yes to falling in love with someone they meet online. Surprisingly, 68 per cent don’t even believe marriage is mandatory for people in love. When it comes to the kind of relationship they want, 72 per cent believe traditional gender roles, such as men being default heads and not househusbands, or women taking care of chores and children or changing names, have no place in their lives. While, they might believe in love and its serendipity, the kind of love each Indian millennial wants is completely unique. OkCupid’s ‘Love Is…’ takes these insights and brings them to life to showcase how every person is seeking a different kind of love, one that they deserve to have. 

    Developed by Taproot Dentsu-Mumbai, the ‘Love is…’ campaign includes four short films as well as a VoxPop. The VoxPop is a fun dipstick video of single Indian millennials as they express their honest views of what love means to each of them. In true millennial style, the answers vary from drawing similarities to food, farts and fairytales. This experiment is an attempt to reflect the diversity of love and what it means for different people spotlighting what essentially makes love and relationships so special and bespoke. The four campaign films also use these insights along with user responses to questions on the app to articulate what love is to different people. 

    The first film “Love Is… Working Overtime Together” tells the story of a couple who are career driven but won’t make a compromise on love. It draws from the insight that 88 per cent millennials are looking forward to both love and professional growth, refusing the long held notion that you can only have one. 

    “Love Is… all About The Little Things” is inspired by the 87 per cent users on OkCupid who have expressed the importance of everyday romance in their lives. It reminds those looking for a relationship built on the little expressions of love that will find what they’re looking for even if everybody else is telling them otherwise. 

    “Love Is… Living In The Moment Together” was born from well-meaning but untrue advice that giving up spontaneity is the road to adulthood and thus a meaningful relationship. This film encourages you to be unapologetically you and find a partner who loves that about you. 

    The final film “Love Is… A Partnership” was born from the shifting gender roles in Indian relationships where men and women both play equal roles as homemakers and breadwinners, building a relationship of equality and partnership. This will go live by later today. 

    OkCupid India marketing director Anukool Kumar says, “Love is not one size fits all and that’s exactly what OkCupid India’s campaign ‘Love is…’ celebrates. The very fact that most singles are being told that they have to choose between a career and love or romance and practicality is archaic to us at OkCupid! This campaign celebrates love in the way that an Indian millennial craves it, breaking away from the cringey unattainable version that has been fed to us for generations.” 

    Taproot Dentsu Mumbai ECD Pallavi Chakravarti says, “What is love? Now if we knew the right answer to that one, we’d be Gods not mortals. So together with team OkCupid, we agreed to do the next best thing for our new campaign – acknowledge that there is no one right answer. But no matter how one defines love, chances are they’ll find what they’re looking for on this app.”

    The campaign was featured on OkCupid’s YouTube, Instagram and Facebook pages. The first film went live on 27 November 2020 and has received an overwhelmingly positive response, with over five million views in just a week.

  • Vi elevates Anveesh Khosla as CMO, Kavita Nair moves on

    Vi elevates Anveesh Khosla as CMO, Kavita Nair moves on

    New Delhi: Vi, a leading telecom player, has elevated Avneesh Khosla as the new CMO of the brand. He will be spearheading the overall marketing activities of the new brand entity Vi.

    Khosla is an old hand at Vodafone and has been with the organisation for over 12 years and served in multiple roles. In the last role, he was serving as the director of marketing for the brand.

    The development comes after Vi chief digital transformation officer moved on from the organisation. She is also an old hand at the telecom brand and has been associated with it for over 20 years.

    She successfully spearheaded the Vi launch in the Indian market.

    She has led different roles such as Marcom, data business, enterprise marketing, retail digital and customer experience. Nair will be soon moving out of the organisation and is said to have chosen a different career path for herself in the future.

    The company has confirmed both the developments.  

  • Ad volumes for auto sector witnessed 36% growth during festive season in 2020: BARC

    Ad volumes for auto sector witnessed 36% growth during festive season in 2020: BARC

    New Delhi: Every product category has been hit in 2020 by the pandemic and lockdowns. The sales for most of these product, categories got impacted as people were restricted to their homes and were reluctant in spending money even after the lockdowns were over.

    Initially, the advertising volumes of many such categories was also hit but soon it started reviving as marketing heads realised that it is not the time to stop but to be even more aggressive if they wanted to make the best out of this year.

    Automobile is one such category that was affected. Most brands did not make a sale of a single unit in the lockdown period (excluding exports). However, once the lockdown was lifted, the brands started opening up their showrooms and retail experience centers and started inviting customers to come and sample their product.

    Initially, the response of audiences was slow but digital marketing came to the rescue as many of these brands created a virtual experience of their product and created enough content around it for the customer to research and find information that he/she was looking for.

     

     

    Slowly, the customers also started returning to the retail centers. And, if we go by the festive season reports, the sales for several of two-wheeler and four-wheeler brands have increased. These reports have induced a lot of positivity in the industry and a lot of it has also come from the massive advertising campaigns taken by the brands across national and regional channels.

    Broadcast Audience Research Council (BARC) has released a report comparing the ad volumes and share of the automobile industry for 2019 and 2020 between 1 Oct and 27 Nov (festive season).

     

     

    The report states that the ad volumes for the automobile sector have grown by 36 per cent in 2020. In 2019, the total advertising done during this period was around 9.3 million seconds which grew to 12.6 million seconds in 2020.

    Also, the ad volumes for four-wheelers have increased by two times. In 2019, there were approximately 2.39 million seconds of advertising while in 2020, there have been more than 5.86 million seconds of advertising. The ad volume share has also increased from 26 per cent to 46 per cent in the last year.

     It will be interesting to see if the industry can carry forward this momentum and continue selling the products.

  • How brands leveraged the curious case of missing monoliths

    How brands leveraged the curious case of missing monoliths

    NEW DELHI: The curious case of missing monoliths is the latest mystery that has gripped the world. In late November, a team spotted a mysterious monolith in the desert of Utah, USA, which disappeared in a matter of 24 hours. Even though the government institutions did not reveal the details of the exact coordinates of the monolith, hundreds of enthusiasts flocked to the desert to visit the place.

    In a matter of weeks, another similar monolith was spotted in Romania near the town of Piatra Neamt, which went missing in just four days. The two monoliths were quite identical in looks but were not examined by historians and scientists till then.

    Since then, netizens have been demanding to know – who installed the monoliths in Utah and then in Romania and why did they just disappear in such a short while. Many seem to believe that incident is another one added to list of unsolved mysteries on earth.

    While netizens and scientists were busy investigating the matter, brands around the world saw it as a great opportunity to jump in and connect with their audiences with a humorous take on the puzzling mystery. They released social media posts that showcased their products instead of the shiny metallic monolith.

    Here are some of the brands that leveraged this trend.

    Fevicol

    Amazon

    Paytm

    Luxor Pens

    Jeep

    Ixigo

    McDonalds

    Shaadi.com

    Cartoon Network

    Cadbury India