Tag: Amazon

  • Jubilant FoodWorks names Amazon’s Sameer Khetarpal as CEO & MD

    Jubilant FoodWorks names Amazon’s Sameer Khetarpal as CEO & MD

    Mumbai: Noida-based Indian food service company Jubilant FoodWorks Ltd (JFL) has named Sameer Khetarpal as its new CEO and managing director for five years beginning 5 September. Khetarpal succeeds Pratik Pota and joins JFL from e-commerce company Amazon.

    An alumnus of the Indian School of Business (ISB), Khetarpal has served in several senior leadership roles across sectors such as e-commerce and management consulting during his two-decade-plus career.

    In his most recent role at Amazon, Khetarpal conceptualised, launched, and scaled several businesses like Amazon Fresh, Amazon Food, and Amazon Pharmacy over a stint of six-and-a-half years.

    Prior to Amazon, Khetarpal served as a partner at McKinsey and Co. He has also served stints at GE Capital and Hindustan Unilever.

  • “Digital marketers need to lean into multi-format”: YouTube India head of consumer marketing Mansha Tandon

    “Digital marketers need to lean into multi-format”: YouTube India head of consumer marketing Mansha Tandon

    Mumbai: At The Advertising Club’s third edition of D:CODE, YouTube India head of consumer marketing Mansha Tandon spoke about shaping creativity with culture and trends in the digital space. She added that leaning into multi-format is important, while offering tips and tricks for digital marketers. She mentioned, “Trends are born from creativity that is no longer restricted to one digital video format.”

    Tandon said that years ago, success on YouTube was about a viral video like ‘Charlie Bit My Finger.’ The video represented a monolithic pop culture moment, a one-to-many phenomenon. The video gained immense views in a very short period of time.

    Today, digital trends are continuous, interconnected, and cumulative. The latest trend, ‘Choti Bacchi Ho Kya,’ from the movie “Heropanti,” released back in 2014 starring Tiger Shroff, is now popular due to a mimicry artist on the platform. It became a remix song. It became a gaming video on YouTube Shorts. It became a promotional video for “Heropanti 2.”

    The monolithic pop culture has become personally relevant fragmented moments based on the user’s tastes and preferences. It is not about one viral video at present. It is about how those viral videos go into different formats.

    The second tip she shared is that digital marketers should capitalise on community creativity. Communities are groups of people united by the same interests and passions. What YouTube is seeing today is that one of the most powerful forms of this community is fandom. For instance, K-pop. Then there has been an increase in professional Marvel fans in India. The way they create content is through short-form videos, episode breakdowns, and deep dive podcasts. The fact is that it is not niche. Many of these channels have millions of subscribers. The lesson is that marketers should not only demographically and psychographically do digital campaigns. They should tap into the shared passions and sources of fandom of very young consumers.

    Her third and final point was that marketers should truly represent regional creativity in their digital work. Marketers should not underestimate the kind of creativity going on in areas across the country. Localising creativity in the language and culture is important. But there are other interesting ways in which this is happening. International trends with regional nuance are being followed. Apart from hyperlocal, global into local, there is something being seen that she called interlocal. It is about pan-India content. So something from the North finds a huge fan following in the South. When trends go national, regional creators find the inspiration to create magic. She gave the example of the Badshah’s Jugnu Challenge, seen last year. It spawned many versions across the country. An absolute evolution in entertainment and creativity is being seen.

    She further noted that without entrepreneurs, creators, and users, digital would not be where it is today. She gave the example of Olympic gold medallist Neeraj Chopra, who was on-boarded as a creator on YouTube. It was not enough to just make a film about his story. The aim was to connect the dots. Now he has 1,00,000 subscribers. A short challenge, ‘JavRun,’ was done for GenZ users. It was so successful that a question on the ‘JavRun’ challenge made it to KBC. This is an example of a digital campaign seeping through pop culture and bleeding into offline touchpoints.

    She also spoke about Nike. It was about NFT sneakers and other stuff that makes young people excited. She also gave an example of Alexa, which is Amazon’s voice assistance software. Alexa was inserted into a YouTube talk show among humans. It showed the human and conversational side of Alexa. It is a strong example of how brands and creators can collaborate.

  • Embracer Group acquires IP rights for LOTR, Hobbit literary works by JRR Tolkien

    Embracer Group acquires IP rights for LOTR, Hobbit literary works by JRR Tolkien

    Mumbai: Embracer Group through its wholly owned subsidiary Freemode, has entered into an agreement to acquire Middle-earth Enterprises. This is a division of The Saul Zaentz Company, which owns the intellectual property catalogue and worldwide rights to motion pictures, video games, board games, merchandising, theme parks and stage productions relating to the iconic fantasy literary works “The Lord of the Rings” trilogy and “The Hobbit” by J.R.R. Tolkien, as well as matching rights to other Middle-earth-related literary works authorised by the Tolkien Estate and HarperCollins, which have yet to be explored.

    Key upcoming works set in Middle-earth, in which the enterprise has financial interests, include the much-anticipated Amazon series The Lord of the Rings: Rings of Power, which will premiere on 2 September 2022, is set thousands of years before The Hobbit and The Lord of the Rings; the animated film The Lord of the Rings: The War of the Rohirrim (Warner Bros), which will be released in 2024; and the mobile game “The Lord of the Rings: Heroes of Middle-earth” (Electronic Art).

    Other opportunities include exploring additional movies based on iconic characters such as Gandalf, Aragorn, Gollum, Galadriel, Eowyn, and other characters from the literary works of J.R.R. Tolkien, and continuing to provide new opportunities for fans to explore this fictive world through merchandising and other experiences.

    The acquisition of the rights is in line with Embracer’s IP-driven transmedia strategy. “The Lord of the Rings” and “The Hobbit” are among the world’s largest and most enduring iconic entertainment franchises and have birthed the fantasy genre.

    Middle-earth Enterprises will be a part of the newly founded operative group, Embracer Freemode. The company will continue to operate independently under the existing Middle-earth Enterprises leadership team, working closely with Embracer Freemode management and other Embracer operative groups to foster opportunities, growth, and synergies within the group to continue to build and expand the great franchise.

    “I am truly excited to have “The Lord of the Rings” and “The Hobbit,” one of the world’s most epic fantasy franchises, join the Embracer family, opening up more transmedia opportunities, including synergies across our global group. I am thrilled to see what lies in the future for this IP with Freemode and Asmodee as a start within the group. Going forward, we also look forward to collaborating with both existing and new external licensees of our increasingly stronger IP portfolio,” said Embracer Group founder and Group CEO Lars Wingefors.

    “We at the Zaentz Company have had the honour over the past half century of stewarding the Tolkien rights so that The Lord of the Rings and Hobbit fans worldwide could enjoy award-winning epic films, challenging video games, first-rate theatre and merchandise of every variety. We could not be more thrilled that it is Embracer now taking up the responsibility, and we are confident their group will take it to new heights and dimensions while maintaining homage to the spirit of these great literary works,” said The Saul Zaentz Company COO Marty Glick.

  • GUEST ARTICLE: How virtual reality (VR) is changing the dynamics of the content industry

    GUEST ARTICLE: How virtual reality (VR) is changing the dynamics of the content industry

    Mumbai: By offering a vivid, immersive, and interactive experience, virtual reality is changing the very face of the content industry by allowing users to be at the centre of all the action.

    The concept of virtual reality (VR) has sprung into prominence in the last couple of years. Although the technology has existed since as early as the 1990s, its applications were quite limited and confined only to high-tech, expensive gaming consoles. However, in the early years of the 2010s, VR started getting attention from wider sections of the industry, and consequently, the technology started reaching the doorsteps of potential customers. Going forward, VR has evolved significantly and has now established itself as one of the fastest and most cutting-edge technologies of the 21st century.

    While VR has applications in a number of different business domains, it is proving particularly beneficial for the content industry. With the help of VR, creators can produce far more engaging and immersive content that can prove instrumental in enhancing user experiences. In fact, it won’t be an exaggeration to say that VR is significantly uplifting the creative abilities of creators and helping them to take their engagement with audiences to a different level.

    With the help of VR-enabled content, users can experience the world like never before. Using specific headsets and devices, VR allows audiences to be there right in the middle of the action and experience the surroundings in immersive 3D formats. Just like we interact with our friends and colleagues on social media platforms, VR-enabled content takes this experience to another level through its immersive 3D experience. This captivating experience elevates the users’ experience and helps the creators strengthen their relationship with the target audience. No wonder, big tech giants such as Microsoft, Google, Amazon, and Facebook are betting big on the potential of VR and investing heavily to capture the imagination of the masses faster and better than others.

    Before specifically elaborating on the role of VR in content creation, it’s important to put things in perspective. Let’s take the example of news, one of the cornerstone pillars of the content industry. Not long ago, we used to rely on television, newspapers, and radio to get our daily dose of news. While in the morning, newspapers were the primary source of information, news channels and radios were used to dish out the hot and happenings of the world in the daytime. However, fast forward to today, and the scenario is completely different. Digital media is leading the revolution in the news industry, and more than channels or publication houses, social networks such as Facebook, Twitter, WhatsApp, and Instagram have become our primary sources of news and information.

    In the backdrop of such altered realities, the content industry is now making a tectonic shift. To strengthen their user base and elevate the customer experience, many creators today offer their viewers the opportunity to experience the content in a completely immersive manner with the help of VR technology. Media outlets such as The Guardian, the BBC, and the New York Times are offering VR-enabled content that puts the viewers right in the “middle of the action”. It feels so real and engaging, as if you’re present at the venue and experiencing things as they are unfolding on a real-time basis. This unprecedented level of engagement that has never been completely unseen and unheard of before has become possible today only with the help of VR-enabled content.

    One of the most popular ways in which VR manifests its utility in content creation is through the 360-degree video formats. These formats, coupled with augmented reality (AR), capture scenes from every possible direction and help evoke a more passionate response from viewers. Especially in the background of falling sales in the print media, content creators are now banking on these surrounding videos to widen their appeal among new sets of customers while strengthening their current viewer base. Along with video formats, computer-generated graphics for a vivid interactive experience are also part of the VR technology that is used to offer a more immersive experience to users.

    Of course, there are many challenges that VR-enabled content has to overcome, with the high cost and gouging customers’ appetite for new-age technologies being the primary issues confronting the industry currently. To find satisfactory solutions, content creators, including the broadcasting studios mentioned above, are collaborating with leading VR players and other stakeholders in the industry, including policymakers, among others. The idea behind this coming together is to offer audiences a vivid perspective and a greater sense of understanding through VR-enabled content within the realistic boundaries of cost and resources.

    With the help of VR, content creators allow users to experience venues and situations first-hand. This is particularly beneficial for increasing engagement with viewers and strengthening the relationship between content creators and their target audiences. VR-enabled content with the help of certain gadgets and devices can create a sense of “belongingness” and take the engagement experience to a different level altogether. The use of immersive, 3D technologies is proving immensely beneficial for all stakeholders in the content industry, and if the costs of VR headsets rationalise further, the enormous potential of VR-enabled content can be realised in no time. In sum, while the segment of content creation has always remained dynamic and evolving, the latest change in the form of VR integration is changing the face of the industry like never before.

    The author of the article is Interality founder and CEO Farheen Ahmad.

  • Vineet Nair rejoins Amazon India as head of media

    Vineet Nair rejoins Amazon India as head of media

    Mumbai: Amazon on Monday announced the appointment of Vineet Nair as head of media. Prior to this, he was associated with The Purple Family at Mindshare GroupM for nearly two years. He brings with him an experience of 15 years in handling traditional and digital media, brand development, media planning, buying, and strategy.

    This is Nair’s second stint at Amazon. He was a senior media manager at Amazon India for nearly two years before joining Mindshare.

    Nair shared this latest career update via a LinkedIn post. He wrote: “Excited to share that I have joined Amazon India as Media Head. It’s been a week now and everyone has been so welcoming. As I return to this organization, I am looking forward to continue working with an amazing set of people and #workhardhavefunmakehistory again!

    This news is also bittersweet as it meant leaving the Purple Family at Mindshare GroupM . Of my 15 years of experience, the majority of them have been spent at Mindshare where I have learnt and grown as a professional every single day with new challenges. Expressing his thanks to his ex co-workers, he added, “It’s what has led me to this point in my career, I am thankful for this organization and its people. Thank you Amin Lakhani, Harsh Deep Chhabra, for guiding and entrusting me with roles that challenged me and made me the leader that I am today. I am also grateful to all my team members who did outstanding work and had fun while doing it. I wish everyone the best, always!”

    Embed Link: https://www.linkedin.com/posts/vineetnair30_workhardhavefunmakehistory-amazon-mindshare-activity-6961949491025387520-0aFr?utm_source=linkedin_share&utm_medium=member_desktop_web

    He is an accomplished integrated media executive with over fifteen years of experience in the FMCG and e-commerce industries. He boasts a commendable track record as a thought leader, driving scalable growth for businesses through metrics-driven solutions, strong business acumen, adaptive strategic thinking, and deep market understanding.

  • Amazon buys robot vacuum maker iRobot for $1.7 billion

    Amazon buys robot vacuum maker iRobot for $1.7 billion

    Mumbai: Amazon is all set to expand its collection of smart home appliances. It has announced plans to acquire the vacuum maker, iRobot, for approximately $1.7 billion.

    iRobot is famous for its list of smart home appliances, including the Roomba vacuum, the Astro robot, and the Ring security camera, among others.

    GlobalData Retail managing director Neil Saunders said, “The move is part of Amazon’s bid to own part of the home space through services and accelerate its growth beyond retail. A slew of home-cleaning robots adds to the company’s tech arsenal, making it more involved in consumers’ lives beyond static things like voice control. The latest line of Roombas use sensors to map—and remember—a home’s floor plan, offering a trove of data that Amazon could potentially integrate with its other products.”

    Amazon will acquire iRobot for $61 per share in an all-cash transaction, including iRobot’s net debt. The company has total current debt of approximately $332.1 million as of 2 July.

    This is not the first time that Amazon has made a move in this space. It has been aggressively tackling the robotics space in the decade since it acquired Kiva Systems. Last year, Amazon also unveiled the Astro Robot at an introductory price of $1,000.

    Speaking about this acquisition, Amazon Devices SVP Dave Limp said, “We know that saving time matters, and chores take precious time that can be better spent doing something that customers love.”

    He also added, “Over many years, the iRobot team has proven its ability to reinvent how people clean with products that are incredibly practical and inventive—from cleaning when and where customers want while avoiding common obstacles in the home, to automatically emptying the collection bin. Customers love iRobot products—and I’m excited to work with the iRobot team to invent ways that make customers’ lives easier and more enjoyable.”

    iRobot CEO Colin Angle commented, “Since we started iRobot, our team has been on a mission to create innovative, practical products that make customers’ lives easier, leading to inventions like the Roomba and iRobot OS.”

    “Amazon shares our passion for building thoughtful innovations that empower people to do more at home, and I cannot think of a better place for our team to continue our mission. I’m hugely excited to be a part of Amazon and to see what we can build together for customers in the years ahead,” he added.

    The deal is subject to approval by shareholders and regulators. Upon completion, iRobot’s CEO, Colin Angle, will remain in his position.

  • Amazon partners with Blink Digital for India’s first immersive game

    Amazon partners with Blink Digital for India’s first immersive game

    Mumbai: Blink Digital on Saturday has collaborated with Amazon India for Prime Day to launch its one-of-a-kind interactive game within a pre-roll drive for its audience. The campaign will roll out on YouTube, which aims to allow users to hover within a 360-degree-video during the ad with the theme “Smartphone Hunt.”

    Blink Digital conceptualised the pre-roll advertising campaign for Amazon’s Safari-themed Prime day this season.

    The brand wanted to engage with its audience to evoke them to spot Amazon specials smartphones and share them on Twitter using #AmazonSpecialsonPrimeDay, which will encourage users to engage on the brand’s Twitter handle.  Additionally, this preroll will help the brand increase its engagement on ads as the interactive game will encourage the audience to watch the complete video and interact with the brand on social media to stand a chance to win Amazon Vouchers.

    This campaign is seamlessly going to bridge the gap between paid and organic media on social media platforms to raise awareness of Amazon Prime Day smartphone offers. The pre-roll is live and will be played till the 24th of July. 

    Talking about the collaboration Blink Digital co-founder and COO Rikki Agarwal said, “To candidly capture the user’s attention and create top-of-the-mind brand awareness, it was crucial for the creative team to help amazon engage with their audience with a campaign that encourages them to participate in their contest, in a meaningful way. This campaign format will put an interesting spin, which will engage more audiences and help us deliver our clients’ business goals with dissimilar experiences.”

  • Amazon appoints Dipashree Das as head of partner marketing APAC & ANZ at AmazonFuse

    Amazon appoints Dipashree Das as head of partner marketing APAC & ANZ at AmazonFuse

    Mumbai: Amazon has appointed Dipashree Das as head of partner marketing for Asia Pacific and China (APAC) and Australia-New Zealand (ANZ) as part of AmazonFuse. She will be based out of Singapore.

    AmazonFuse is a trademark application for the transmission of entertainment services including audio and video content over internet and mobile networks. Amazon is looking to strike partnerships with mobile operators to grow Prime Video, Prime Music and other media subscription services globally.

    Previously, Das was part of Netflix’s brand and marketing team leading original film launches for the streaming service. She was based in Mumbai and launched Netflix film & shows in India and Southeast Asia (SEA). Das was responsible for launching some of Netflix’ biggest successes in India including “Haseen Dilruba”, “Ludo” and Sacred Games 2.

    With over 18 years of experience, Das has been responsible for launching and architecting brands across India and SEA. Prior to Netflix, she was associated with Singtel. She has had stints at Channel NewsAsia, Oak3 Films, NDTV and Unilever.

  • Trailer Park Group names Tamagna Ghosh as managing director APAC

    Trailer Park Group names Tamagna Ghosh as managing director APAC

    Mumbai: Entertainment marketing and content production company Trailer Park Group has announced the appointment of Tamagna Ghosh as managing director for Asia Pacific and China (APAC) on Wednesday.

    It has rolled out the next stage in its APAC expansion strategy. It has also appointed Gina Grosso as SVP of global production as well as made a significant investment in state-of-the-art technology.

    In his new role, Ghosh is charged with driving the firm’s bold expansion strategy across the APAC entertainment and the gaming market landscape, including organic growth as well as M&A activities to scale Trailer Park Group’s on-the-ground presence and offering in the region.

    Ghosh joins Trailer Park Group from Amazon in Mumbai, India, where he spent six years as head of creative marketing for Prime Video, leading marketing and original music creation efforts for the most popular IN Original titles including The Family Man, Mirzapur, Paatal Lok, and Made in Heaven. A veteran in the media and entertainment sector, Ghosh has held previous creative leadership positions in Walt Disney Studios, where he introduced India localized theatrical marketing strategies for iconic franchises like such as Avengers and Star Wars, Jungle book.

    “We could not be more excited to announce this next phase in our growth plan for the APAC region, and to welcome Tamagna and Gina to the Trailer Park Group leadership team,” said Trailer Park Group CEO Rick Eiserman.

    He added, “APAC is one of the world’s largest growth markets and our investments in this region are crucial to meet our clients’ global demands. Both Tamagna and Gina’s impressive backgrounds and deep industry experience make them exceptionally well-qualified to help us grow our business throughout the region.”

    “I’m honored and energized to partner with Trailer Park Group during this exciting time of growth and innovation in APAC and lead the charge for its next level of growth in this region,” said Tamagna Ghosh on his appointment.

    “I have watched the creative economy boom in India and APAC for more than a decade, and yet its full potential is still untapped. I am excited to join forces with White Turtle Studios, bring in industry leading partners like Art Machine and Trailer Park, and can’t wait to build a world-class creative powerhouse to nurture and amplify the region’s creative talent and open up opportunities to be a part of the global creative workforce,” he added.

    In addition to Ghosh, Trailer Park Group has appointed Gina Grosso as SVP of Global Production, a newly created role that will see Grosso streamlining the production integration and workflow between all of Trailer Park Group’s global operations and connecting its network of studios globally for clients. Prior to this, she was with Publicis Groupe where she held the role of Head of Production and Operations for North America, Grosso is an experienced production and operations lead with a demonstrated history of leading five production studios simultaneously across North America, while connecting and aligning multiple studios across Latin America, and Europe.

    On her new role, Gina Grosso commented, “My goal in this role is ambitious, yet simple: create seamless and scalable workflows across offices and territories so our teams around the world can create, with flawless execution, more of the exceptional, award-winning content our clients expect. I look forward to partnering with Rick, Tamagna, and the rest of the Trailer Park Group leadership team as we transform the company into a 24/7 content, creative, and production network, and tap into the best talent globally.”

    Trailer Park Group, which works with many of the world’s largest media and technology companies, networks, studios, and streaming platforms such as Amazon, Disney, HBO, Netflix, and Xbox, has long been committed to providing an industry-leading security and technology infrastructure. As the company broadens its reach in locations around the globe, it has invested significantly in high-speed, global asset management technology and point-to-point workflow options—for even the most secure projects.

  • Kantar Creative Effectiveness Awards: HUL dominates the digital category

    Kantar Creative Effectiveness Awards: HUL dominates the digital category

    Mumbai: Marketing data and analytics company, Kantar unveiled on Thursday the ads that were most effective and creative in 2021 across India. The firm tested more than 13,000 creatives for clients around the world throughout 2021. 10 percent (1300+) of those creatives were tested in India alone.The India report shortlisted over 350 ads, tested across categories, markets, target groups and media channels.

    Some of the findings from Kantar’s Strategic Sparks for effective and creative digital advertising are:

    • Customized and integrated content yields significantly higher ROI: Carrying forward creative stories and elements from other media amplifies the impact of digital assets.
    • Shoot for instant meaning: Given the attention poor consumers and short window available, it pays to ensure that the consumers are not called to do any additional work for decoding what they are supposed to think and feel about the brand
    • Ride the moment: Embrace the topical issues and trends, to engage and be relevant
    • Strike an emotive chord: Well told stories open up consumers for longer format videos
    • Hook them early:  Promise of a fulfilling story arc, emotive journey and humour help in ensuring that consumers stay invested beyond 6 seconds.

    Commenting on this year’s winners, Kantar Insights Division managing director & chief client officer Soumya Mohanty said, “The spread of ads that consumers have perceived to be both creative and effective is an affirmation of the fact that the space for creativity even in context of marketing ROI is infinite. While there is no magic formula for creating such ads, we can start with the right ingredients and refine them by testing them out with consumers. Kantar is pleased to share the learnings that we have had in the area while working with the leading marketeers in India.”

    Key highlights from this year’s report identified for effective and creative TV advertising:

    • Indians love to ride fulfilling story arcs: Stories create room for empathy, engagement, and vivid memories through which one could influence the way in which consumers think & feel about the brands.
    • Touch of drama helps: Just the right kind and quantity of spice delivered through creative storytelling and filmmaking, elevates even the repetitive themes, to make them more personal, relevant and aspirational.
    • License to be extravagant in visualization: Indians are open to suspending their disbelief for the well visualised film.
    • Layer in emotional meaningfulness: Emotive contexts have the potential to make the consumers warm up to even the dry functional categories.
    • Show, not tell: Integrating brand payoffs as an organic plot event in the script is a timeless approach toward creating vivid and persuasive memories.

    Kantar’s collaboration with the Unstereotype Alliance has led to the development of the Unstereotype metric (UM) which Kantar now includes as a measure of gender portrayal in advertising as an integral part of its Link™ communication pretesting solution. Thus, setting a foundation for marketers to review the potential of their creative executions on this dimension to monitor progress over time.

    Unstereotype metric* (UM) in the long term provides learning and context for gender progressive advertisements. UM is now measured for 14,000+ ads across 70 countries, 3,300+ brands and 251 categories.

    ⎯       Unstereotyping in advertisements is predicted to unlock higher marketing ROI. It signifies strong brand equity and is likely to impact short term sales as well. This impact is not only true for women, but progressive male role models also impact business outcomes across categories.

    ⎯       Progressive ads are more effective and trigger positive engagement. They are in general seen to be more enjoyable, relevant, different and even pleasantly surprising.

    ⎯       Unstereotyping affects various aspects of the brand- power, meaningfulness, difference and saliency especially seen in food & beverage, household and personal care categories.

    ⎯       There are clear and present rewards for brands that seek to be at the forefront of embedding progressive gender roles