Tag: Digital

  • Global Paris Olympics viewership rose 25 per cent: IOC-backed research

    Global Paris Olympics viewership rose 25 per cent: IOC-backed research

    MUMBAI: Guess which was amongst the top most watched televised sports event in 2024?

    The most engaging?

    The one which saw eye-popping growth on many parameters?

    If you are going to mention football and the Premier League, you would be far from the truth.  

    If you are going to say cricket and the IPL, you will have got it wrong.

    At least that’s what new research conducted on behalf of the International Olympic Committee (IOC)  by independent researchers would have us believe. It says that a record 84 per cent of the potential global audience followed the Olympic Games Paris 2024, translating into an audience of five billion people. 

    This  means that more than half of the world’s population followed the inspirational achievements of the Olympic athletes and the magic of the Olympic Games, underlining the massive success of the games in Paris.

    Digital platforms drove an unprecedented level of attention revealed the research. There were an estimated 412 billion engagements from 270 million posts on social media platforms. This represents a 290 per cent increase compared to the previous edition of the games.

    Media rights-holders (MRHs) delivered record results, driven in large part by this increased visibility on digital channels. Globally, there were 13 times more social media engagements on MRH handles than for the previous games’ edition. Some 70 per cent of the global audience watched on both television and digital platforms.

    There was a 25 per cent increase in the amount of coverage watched, with 28.7 billion hours of footage viewed around the world on MRH platforms. This meant every viewer watched on average nine hours of coverage, a 20 per cent increase on the previous games. In the home market of France, 95 per cent of the potential audience watched an average of 24 hours of coverage of the Olympic Games.

    The IOC’s own digital platforms and social handles generated 16.7 billion engagements, a 174 per cent increase on the previous edition of the games. Olympic athletes, national Olympic committees, international federations and organising committees all benefitted from the huge social media engagement, growing their digital presence and adding a combined 85 million followers to their main social media handles. There was a 200 per cent increase in internet searches related to Olympic sports and the Olympic Games compared to the previous edition of the Olympic Games.

    The report outlining these figures was presented to the IOC’s executive board at a meeting held last week  in Lausanne.

    IOC president Thomas Bach said: “Paris 2024 demonstrated the unprecedented global appeal of the Olympic Games. Audiences are following and interacting with the Olympic Games like never before. The independent surveys also demonstrate that people believe that the Olympic Movement’s mission to unite the world in peaceful competition is more important than ever in a divided world; and that the Olympic values truly resonate with younger generations. These were Olympic Games of a new era.”

    In consumer insight studies, 78 per cent of those surveyed said they believed the Olympic Games are more important than ever in a divided world. Three out of four people also believe that the IOC was successful in “bringing the world together in peaceful competition” and in “building a better world through sport.”

    According to an independent brand tracker study conducted in September 2024, the relevance of the Olympic Games with Gen Z is now higher than with the general population, including outperforming other demographic groups in the metrics of “engagement with the Olympics,” “brand affinity” and “brand relevance”. This was driven in particular by the “inspiring stories of the athletes,” the “buzz on social media” and “improved accessibility to content.”

    Seven out of 10 people deemed Paris 2024 a “success” and thought the games would leave a positive legacy.

    The experience of the Paris 2024 spectators surveyed was rated as “excellent” or “good” by 85 per cent for the ticketed events, 95 per cent for the free events, and 98 per cent for the Marathon Pour Tous. “Atmosphere,” “visual appearance” and “security” were cited as key drivers across all events.

    Some 95 per cent of athletes surveyed rated their overall experience positively, with 89 per cent rating “becoming an Olympian” and 91 per cent citing “competing at the biggest multi-sport event on earth” as fundamental motivations for participating at the Olympic Games Paris 2024.

    (The brand tracker, broadcast research, and consumer and athlete surveys were conducted by Nielsen, Ipsos and Publicis Sport & Entertainment. Across all consumer studies a total of more than 55,000 people in 18 countries were surveyed, with all respondents aged between 13 and 65. Potential global audience with access to follow the Olympic Games and over the age of 4 years old.)

  • Mediascope ropes in CNN Intl Commercial senior exec Meher Anand in strategic role

    Mediascope ropes in CNN Intl Commercial senior exec Meher Anand in strategic role

    MUMBAI: She is expanding her scope of work. Until November 2024, Meher Anand was account director south Asia of CNN International Commercial. Now she has gone ahead and joined media sales and content consultant Mediascope as vice-president strategic partnerships.

    Meher spent the last 13 years of her career working with CNN International  Commercial where she was responsible for delivery and development of the south Asia region towards the APAC/global objectives across platforms – TV, digital, social & audio.

    At Mediascope, she is expected to lead ad sales and strategic initiatives across media in both established and emerging markets in south Asia.

    “With her expertise in both domestic and international media sales, she aligns perfectly with our ambitions,” said Mediascope in a posting on Linkedin. 
     

  • dentsu elevates Imtiyaz Vilatra to lead Postercope India

    dentsu elevates Imtiyaz Vilatra to lead Postercope India

    MUMBAI: He is going to be the new poster boy of dentsu’s OOH initiatives. The agency has promoted Imtiyaz Vilatra to chief executive officer of Posterscope India.

    In his new role, he aims to enhance Posterscope’s digital out-of-home (DOOH) and intelligent OOH (iOOH) offerings with a strong emphasis on data-backed, measurable outcomes for clients. He will report to dentsu media, south Asia, CEO Anita Kotwani.

    With more than  25 years’ experience, Imtiyaz is known for his focus on innovative and impactful OOH campaigns. He plans to further integrate advanced technologies like augmented reality, 4D experiences, and AI to strengthen Posterscope’s capabilities.

    By merging dentsu’s digital expertise with Posterscope’s established OOH foundation, his vision is to meet evolving client needs and expand the agency’s reach in both urban and rural sectors. This move aims to establish Posterscope as a leader in both traditional and digital OOH.

    Says dentsu south Asia CEO Harsha Razdan:  “Imtiyaz’s elevation is a timely and strategic move, enabling him to drive Posterscope’s expansion in experiential and below-the-line (BTL) divisions, strengthening our urban and rural reach. His leadership remains a vital link between strategy and execution, translating our goals into meaningful partnerships for our clients and communities. I am confident that under Imtiyaz’s continued guidance, we will not only meet but exceed the evolving needs of our clients, setting new benchmarks for excellence. His exceptional passion and deep industry insights will be pivotal as we navigate a path where innovation meets purpose, driving change that resonates far beyond the immediate.”

    Adds Kotwani: “Imtiyaz’s elevation is a testament to his visionary leadership and commitment to redefining the OOH landscape. Under his leadership, Posterscope will strengthen its position within the dentsu ecosystem, embodying our ‘Onedentsu’ vision of unified, cross-channel marketing solutions. By seamlessly integrating OOH with digital, media, and experiential campaigns, Posterscope is set to deliver transformative, multi-channel experiences powered by dentsu’s advanced audience insights, driving precision and impact that elevate client outcomes.”

     “The OOH industry stands at a transformative juncture, with technology and data insights reshaping how we connect with audiences,” points out Vilatra. “Posterscope’s future lies in harnessing AI, programmatic DOOH, and real-time analytics to deliver dynamic, measurable campaigns. Integrating dentsu’s digital intelligence into our OOH offerings enhances our capabilities and raises the value we deliver through deeper engagement, personalisation, and an integrated, ROI-focused approach.”

    That’s exactly what ad spend-focused marketers are increasingly demanding. If things work out as planned, the trio of Razdan, Kotwani and Vilatra could well be raising their champagne glasses in celebration soon. 

  • Uday Shankar and his band of three merry men

    Uday Shankar and his band of three merry men

    MUMBAI; They could have gone in for a single CEO like Disney Star India – or Star India before that – had done in the past.

    But with the magical Uday Shankar on top as the vice-chairperson to guide and direct strategy, the trio of Disney, Reliance Industries, and Bodhi Tree systems decided to go in for a troika of CEOs for the joint venture.  Kevin Vaz to lead  entertainment across platforms, Kiran Mani to head the combined digital organisation and the affable but effective Sanjog Gupta to spearhead the combined sports initiatives.

    A press release issued by Reliance Industries announced that the expectation is that the three will lead the new firm into a new era of ambition and disruption. “Together, they will leverage their unique strengths to cultivate a bold transformative vision that challenges the status quo and sets new standards in the industry,” it adds.

    Ambani is known to be a man in a hurry and willing to take risks. Leadership in every sector his group is involved in is all he asks. He is willing to give it time, but his watch runs differently, faster than every other entrepreneur in the business.

    Uday Shankar is built in the same vein. He has built a reputation of being on business steroids. Number one or nothing has always been his credo. Being the best in whatever he takes up. He is known to have taken tremendous risks, some say gambles, and on almost all occasions he has come out on top. The  team below him will have to keep pace.

    Kevin Vaz is a steady, consistent performer, who has stuck by Star for almost a score of years. An astute sales person, he has learnt to run a mean entertainment driven organisation. First, heading English language channels, then regional language ones, kids and infotainment ones. Finally, Hindi entertainment offerings  – the entire gamut before going on to settle at Viacom18 as CEO. With a strong second and third rung of creatives and programming heads leading the shows and series, he will not have too many a challenge from any of the others in the same space.

    Kiran Mani first cut his teeth in advertising working on Unilever brands. Then he spent eight years in IBM in marketing and channel sales in India. He hopped onto Microsoft  where once again he led marketing, strategy and operations. He then turned entrepreneur with an ad tech platform for which he found a buyer in two years. After a short stint at advising the National University of Singapore on its MBA programme, he dived into Google where he stayed for a baker’s dozen years, shuffling between India, the Bay area and Japan and Asia Pacific, finally settling down as general manager of android and Google Play for Asia Pacific and Japan when he was scouted and picked up to head Viacom18 Media. He burned the mid-night oil and weekends advising and angel investing in startups taking bets on emerging platforms and technologies while rapidly shooting up the corporate ladders. 

    Credentials like that are not easy to find, and he is the executive upon whom a lot rests as the world of entertainment consumption continues to transition from cable and linear TV to wireless streaming, handheld devices like mobile phones and tablets and connected TVs. And of course generative AI and machine learning. The area is teeming with competition with global biggies like Prime Video, Disney+ and Netflix and Google’s YouTube. What will hold him in good stead his deep attachment to meditation, mindfulness, and yoga which he has being practising for more than a dozen years.

    The bearded Sanjog Gupta is known to be a backroom executive, reticent, a quiet thinking leader who is more comfortable and does well in meeting rooms with his team and clients. With deep relationships across sports federations – both globally and locally, rights owners, athletes and sportsmen, a close and sharp eye on sports technology that vows the consumer, he has stayed ahead of all broadcast sports executives in the country and even in Asia. His challenge will be to keep the top line and bottom line healthy in an era of  skyrocketing licensing fees for sports like cricket. This apart, the Ambani family has taken upon itself to encourage other sports in the country, especially in the Olympic and Asian Games arena. Sanjog will have to find a way to train Indian viewers to start enjoying  and staying hooked to these sports as India vies to stage the Olympics within its shores in the next decade.   

    To know more about the other leadership teams please click here. https://www.jiostar.com/leadership/

  • Story-living: How digital creativity is immersing audiences in PR campaigns

    Story-living: How digital creativity is immersing audiences in PR campaigns

    Digital creativity impacts the relationship between brands and their audiences. Instead of only telling a story, efforts have expanded to allow people to experience the storyline. The change from reading a book that contains illustrations to the use of pictures, moving images, or animations in public relations refers to the strategy of ‘story-living’ whereby users are transported into a narrative environment. This change has also transformed the campaigns to become more immersive, increasing user interactions with the brand.

    What is story-living?

    To put it simply, story living embraces the thought of experiencing a message rather than just showing it. To be exact, story living allows people to be part of a narrative, within a certain time and possibly in a great amount of detail. Indeed, with all of the tools at their disposal, audiences today expect to be able to witness self-exploration in both real and virtual contexts. Virtual reality, augmented reality, and live online interactions give realistic insights into the journey. With these experiences, audiences are encompassed in the story and made to feel that they are part of the brand’s universe.

    Why story-living is effective in PR

    The main reason for this is that the audience is usually fully engaged and costs less to execute. Emotional experience is the main reason a brand succeeds. If the audience takes part in an event, they will have a greater emotional response to the brand. This emotional response causes them to have a better important than usual recall of the brand and a positive feeling towards the brand, making them tell their story to others.

    Differently from the classic advertisements that can be seen as just noise among other mundane content, an interaction is something that engages the audience and extends their loyalty towards the brand. When audiences get personally involved, they are more likely to mention it on social media networks or endorse it to more people, thus increasing the number of the audience of the given brand organically.

    Tools that bring story-living to life

    Well, with the improvement in technology, PR teams now have a variety of instruments to make story-living events a reality. Here are some of the famous ones:

    1.  Virtual reality (VR): VR places audience members into completely new spaces and enables them to navigate and interact within them in a real life setting this creates remarkable impressions of the brand’s universe for the audience.
    2.  Augmented reality (AR): AR adds a layer of digital interaction to the physical world, allowing users to interact with different elements. AR can be used by brands in a number of creative ways so that people can engage with the brands in a more fun and entertaining manner.

    3.  Live streaming and interactive videos: Live video makes it possible to stream events as they occur and to view additional interactions such as questions and comments direct to the presenters. Engagement in this manner makes people feel much closer to the action and hence the feeling of immediacy.
    4.  Social media polls and quizzes: Involving, engaging, and simple tools such as polls and quizzes require the audiences to become part of the narrative. Such tools assist the audience in taking part in the evolution or strategy of a brand.

    5. Custom-made content: Thanks to modern analytics, brands may now provide a high level of customization and create messages and contents that are suitable for every user. This makes an interaction personal, consequently creating a bond.

    The future of story-living in PR

    In the wake of new technological changes, story-living will undoubtedly be included in the core blocks of PR practices and approaches. Such digital tools enable brands to capture the audience’s attention in diverse significant experiences. This particular trend shows a change in PR practice as the bulk of it will not revolve around storytelling but rather engagement.

    Turning the audience into a key piece of the brand story is what story-living brings into PR and transforms it into something new. It is changing how brands speak as they create deeper and better connection with customers in the process. Story-living is bound to trend as companies diversify it, while at the same time cutting through the noise in today’s digital world and maintaining relevance.

    The article has been authored by The Right PR founder & director Harday Gupta.

  • Reliance Industries reports lower net profit; flat revenues in Q2 FY 2025

    Reliance Industries reports lower net profit; flat revenues in Q2 FY 2025

    MUMBAI: Billionaire Mukesh Ambani’s Reliance Industries Ltd reported nearly flat revenues and lower profits for Q2 of FY 2025 ended 30 September 2024 as compared to Q2 of FY 2024 ended 30 September 2023.

    Revenue from operations at the oil to telecom conglomerate was at Rs 235,481 crore (Rs 234,956 crore); other income (Rs 4,876 crore vs Rs 3,841 crore) took up total income to Rs 240,357 crore (Rs 238,797 crore). Higher expenses of Rs 215,320 crore (Rs 212,304 crore) took a toll on the bottom line with PBT falling to Rs 25,037 crore (Rs 26,493 crore). Lower taxes (both direct and differed) of Rs 5,396 crore (Rs 6,673 crore) helped rescue the fall in PAT marginally which dropped to Rs 19,101 crore (Rs 19,820 crore). Net profit attributable to the owners of the company fell 4.88 per cent to Rs 16,563 crore (Rs 17,394 crore).

    The oil to chemicals business reported higher revenues of Rs 155,580 crore (Rs 147,988 crore) with EBITDA dipping to Rs 12,143 crore (Rs 16,277 crore). A press release stated that the oil to chemicals revenue improved with higher volumes and increased domestic placement of products. EBITDA was lower by 23.7 per cent on account of sharp decline in product margins. Fuel cracks declined by nearly 50 per cent Y-o-Y. Downstream chemical also declined with muted global demand. In a well-supplied market, RIL benefited due to superior ethane cracking economics driven by sharp fall in ethane prices.

    The oil and gas business had a lower top line with revenues at Rs 6,222 crore (Rs 6,6620 crore). EBITDA for this segment however showed buoyancy rising to Rs 5,290 crore (Rs 4,766 crore). The press release stated that lower gas price realizations led to six per cent  lower revenue in the oil and gas segment. Oil and gas segment EBITDA increased by 11.0 per cent on account of sustained volume growth and one time provisioning towards decommissioning cost for Tapti field in Q2 FY 24.

    Reliance’s retail business received a slight knock with revenues dropping to Rs 76,325 crore (Rs 77,163 crore). The press release said EBITDA for this segment improved fractionally to Rs 5,861 crore (Rs 5,841 crore) with a continued focus on streamlining of operations and calibrated approach in B2B.

    Digital services which includes its Jio Platforms business was the shining star with revenues climbing to Rs 38,055 crore (Rs 32,657 crore) and EBITDA at Rs 16,139 crore (Rs 14,055 crore). The 17.8 per cent Y-o-Y EBITDA increase was due to better subscriber mix, digital services scale-up and revision in telecom tariffs, stated the RIL press release.  

    “I am happy to note that during this quarter Reliance once again demonstrated the resilience of its diversified business portfolio. Our performance reflects robust growth in digital services and upstream business,” said RIL chairman & managing director Mukesh Ambani. ”This helped partially offset weak contribution from O2C business which was impacted by unfavorable global demand-supply dynamics.  

    “Growth in digital services was led by increased ARPU and improving customer engagement metrics reflecting the strong value proposition of our services. The home broadband segment is witnessing accelerated momentum on the back of our unique industry-leading JioAirFiber offering. Jio’s broad spectrum of offerings enables it to digitally empower every village, town and city in India as well as the country’s small and medium scale enterprises. The digital services business continues to focus on innovative deep-tech solutions on a national scale and is on track to deliver the path-breaking benefits of Artificial Intelligence to all Indians. 

    “The retail segment continues to increase its consumer touchpoints and product offerings across physical and digital channels. The unique omni-channel retail model enables the business to service a wide range of requirements of a vast, heterogenous customer base. The retail business continues to partner with renowned domestic as well as global players, expanding its basket of quality product offerings. The focus on strengthening our retail operations will help us rapidly scale-up this business in the coming quarters and years and sustain our industry-leading growth momentum.  

    “The first of our new energy giga-factories is on-track to commence production of solar PV modules by the end of this year. With a comprehensive range of renewable solutions including solar, energy storage systems, green hydrogen, bio-energy and wind, the new energy business is poised to become a significant contributor to global clean energy transition.” 

  • Network18: mixed financial performance in Q2 FY 2025

    Network18: mixed financial performance in Q2 FY 2025

    MUMBAI: That the television industry is going through a rough phase has been talked about ad nauseum. Normally, the June-September quarter is subdued -especially in media and entertainment – with the monsoons setting in and most categories slowing down on their ad spends. But, in 2025, the spends were even further muted despite some tentpole properties being shown on television. Or at least that’s what the media pundits are saying. And this is reflected in the Q2 FY 2025 consolidated financials of the Reliance Industries-owned Network18 Media.

    Network18 Media’s losses have climbed to Rs 1520 million as against Rs 1190 million in the corresponding period of FY2024. Revenues too have marginally dropped to Rs  18,250 million (Rs 18,6600 million in Q2FY 2024). For Q2 FY2025, the company has tightened its belt and reduced its operational costs to Rs 10,670 million (Rs 12,380 million). However, its marketing, distribution and promotional expenses have climbed to Rs 5020 million (Rs 3,720 million); its finance costs have escalated to Rs 1,700 million (Rs 660 million).

    On a half yearly basis, the financials to 30 September 2024 look more respectable. H1 FY2025 profit is at Rs 490 million as compared to a loss of Rs 270 million in H1 FY 2022. The company has turned up a profit despite a drop in revenues to Rs 49,660 million (Rs 51,040 million). It has managed to put a handle on operational expenses which fell to Rs 33,690 million (Rs 36,040 million). However, its marketing, promotion and distribution costs have shot up to Rs 10,120 million (Rs 8,970 million). Employee benefit costs too have risen to Rs 7010 million (Rs 6650 million). Finance costs have more than doubled to Rs 3,200 million (Rs 1,340 million).

    The company said in the a press release posted on the Bombay stock exchange that the news portfolio revenue grew only six per cent primarily driven by growth in digital segment ad revenue across all platforms (Rs 4450 million against Rs 4220 million in Q2 FY 2024). TV advertising was soft during the quarter as industry advertising volumes for the news genre declined by 20 per cent YoY. News’ share in overall advertising inventory consumption also declined by over 200 bps YoY and QoQ.

    Its entertainment vertical  under Viacom18 saw a decline in operating revenue of five per cent during Q2 FY 2025  primarily due to the drop in movie segment revenue. In Q2FY24, Viacom18 Studios had released two big-ticket movies whereas there were no movies released this quarter, which had an impact of Rs 3300 million on the revenue. Growth in ad revenue was primarily driven by digital, across both sports and non-sports segment (Rs 4450 million vs Rs 4200 million). Entertainment TV revenue was shaved to Rs 13,390 million (Rs 14,160 million). This was largely offset by growth in subscription revenue (Rs 7,330 million vs Rs 5110 million) aided by new pricing as well as the increased monetisation of its sports portfolio.

    JioCinema’s recently launched SVOD plans witnessed strong traction and helped it become the fastest-growing subscription-based OTT platform in the country.

    The good news for the company is that The scheme of arrangement for the merger of Network18, TV18 Broadcast Ltd. (TV18) and e-Eighteen.com (E18) became effective on 3 October 2024.  The merger creates India’s largest platform-agnostic news media powerhouse with the widest widest footprint across languages, straddling both TV and digital.  

    The network has a monthly reach of over 350 million on TV and around 250 million monthly unique visitors across its digital portfolio. As consumers and advertisers increasingly gravitate towards omni-channel experiences across different aspects of their lives, having a deep and integrated presence across both TV and digital media will enable the merged entity to serve them better.  The combination of the businesses will result in operational synergies, cost optimization and opportunities for increased revenue realization.

    “We are happy to have completed the merger of our news businesses. With a strong portfolio of TV channels and digital platforms, covering the breadth of the country and catering to its linguistic diversity, we are ideally positioned to become the most preferred news network of India. We are committed to push boundaries of and lead the growth of the industry as we build on this strong foundation,” said Network18,chairman Adil Zainulbhai.
     

  • Sports partnerships in the era of streaming services – Optimising Digital and Offline Marketing

    Sports partnerships in the era of streaming services – Optimising Digital and Offline Marketing

    Mumbai: In India’s fast-paced digital economy, the sports sector is going through a major upheaval, mostly as a result of the emergence of live-streaming services. Sports fans are increasingly preferring the digital way to consume sports content, limiting the scope of traditional distribution channels thus, limiting the scope for brands to effectively advertise their cause. This digital transformation presents opportunities as well as challenges for brands keen on investing in sports.

    Traditionally, television has dominated the viewership in the realm of sports. In India, just a decade ago, the influx of the internet was far less pervasive than it is today. Live sports streaming on OTT platforms was not affordable and accessible and, thus, was not the norm, and fan engagement strategies were confined to offline channels. However, as the internet began to gain momentum and accessibility across India, a gradual shift occurred. The coming of the digital age brought up the emergence of online streaming services and digitally created content for fans across the globe. Fans started to enjoy the freedom to access their favourite sport and sport-related content regardless of the region, breaking free from traditional television schedules. This shift marked the beginning of a digital revolution.

    People today are more connected than ever before, thanks to the internet era. Thus sports leagues, sports tournaments, athletes, and the sports industry in general have also started to connect with their fans via digital platforms. Today, live sports broadcasts and live sports consumption have majorly shifted to OTT platforms to make it accessible for fans to engage with sports. Additionally, the emergence of social media platforms and the presence of fans on these platforms have made it all the more imperative for sports to take the digital route. Interestingly,  the emergence of these digital platforms, may it be OTT streaming or social media, has made it possible for previously unattainable ideas, material, and opinions to be shared. The digital route that sports today across the world is taking is affecting the brands positively as it gives them access to more accurate data about their target audience and also opens a new mode of communication, especially with the new generation. This has also led to brands partnering with specific sports tournaments and organizations and curating customized material that is specific to the audience and the platform on which it is being placed.

    This makes us question if offline marketing still holds its value. Though digital means have a worldwide reach, they lack two crucial components that prevail in all walks of life: trust and credibility. Trust, credibility, personal touch, and camaraderie are what make offline marketing, especially in sports, significant.  In face-to-face encounters, whether at live sports events, sponsor activations, or community initiatives, there exists a tangible sense of reliability and authenticity that can be orchestrated with the fans present at the moment.

    Online marketing is very good at drawing in new customers since it primarily targets a large audience. With online content, brands have more scope to explore creativity with captivating imagery and narrative to engage potential customers. In order to appeal to certain demographics, interests, and behaviours that resonate with the target audience, brands, and organizations also get the opportunity to customize their message and creative assets. On the other hand, offline marketing initiatives effectively target local geographies and demographic audiences. Companies and brands have the ability to target certain regions, organize events, and choose the material that appeals to the local population in those locations. Sports is one such area that offers brands the opportunity to leverage both of these ways of marketing.  Brands investing in local sports by organizing or partnering with local sports tournaments or promoting local talent by supporting their journey can help the brand create a stronger bond with the community. Brands can take the digital route or a more traditional offline marketing route; sports offers a 360-degree advertising opportunity with the added advantage of positive brand building and long-term connection with the community.

    ‘Decathlon’, one of the leading sports brands in India, is a great example of how companies may interact with their audience by combining offline and internet marketing techniques. With multiple digital campaigns such as ‘Play Your Own Way’ or ‘HERoes of Decathlon,’ they promote the idea of sports and inclusivity within sports effectively while hosting sports tournaments, partnering with local sports events and sports communities to establish real connections with customers and provide them with an in-person opportunity to interact with the brand and test out new items.

    In order to survive in this fast-paced world where consumers have easy access to thousands of brands, it is crucial to blend online and offline marketing strategies. The development of the digital age has created many fan engagement options, ranging from interactive social media marketing to immersive stadium experiences. Brands must choose the right opportunity and leverage the growing sports community in India.

    This article has been authored by  SportVot co-founder, CMO Shubhangi Gupta.

  • MIS 2024: Leveraging a Customer – Centric Martech Stack

    MIS 2024: Leveraging a Customer – Centric Martech Stack

    Mumbai: Media Investment Summit 2024 is a dynamic platform that aimed to bring together minds from the Brand, Media, Advertising, Digital & TV fraternity to explore the ever-evolving landscape of Content, Adtech, Martech, Metaverse and Web 3.0, the evolution of traditional media planning and buying, data and privacy infringement and ROI on advertising.

    The day – long affair is to make sure to tantalize the thoughts of those looking for answers to myriad topics under the Branding, Advertising, TV, Digital media planning and buying roof.

    The panel for this session was moderated by Fractal Ink CEO Tanay Kumar. The panelists were Future Generali India Life Insurance Co. Ltd. CMO  Geetanjali Chugh Kothari, Pepperfry VP – Marketing & Growth Mahip Dwivedi, Schneider Electric director – Global Strategic Marketing Ankesh Kumar, Dangal Play head  Akshat Singhal and Vserv co-founder & CEO Dippak Khurana.

    Kumar posed the question on the various aspects of utilizing marketing technology (Martech) tools and strategies to the panelists. To which Kothari said, “There are essentially two aspects to consider. Firstly, many areas have become hygiene, especially when it comes to customer data. Secondly, when evaluating the tools to include in your entire CapEx.”

    Dwivedi underscored the customer-centric approach to Martech utilization. He said, To fully utilize Martech, the focus should be on serving the customer, not just selling to them. Using the term “sell” implies bombarding customers with irrelevant messages, which isn’t effective.”

    Kumar shared insights into the global utilization of in-house tools for efficient asset management and campaign execution. He reiterated, “We utilize a variety of in-house tools globally to control assets, release them, and manage various campaigns efficiently.”

    Singhal highlighted the role of Martech in content personalization, communication, and analytics. He said, “From personalizing content to sending communications, we rely on marketing tools to engage, gather analytics, send notifications, and craft personalized emails. So marketers help that way a lot.”

    Khurana said that, “Any marketer who is taking decisions buy or build, there are 2 areas they try to take decisions on. One is they have an objective of user growth and second is they have an objective of user retention.”

    The session concluded as panelists navigated the complexities of the digital landscape, leveraging Martech tools effectively will be essential for staying ahead of the curve and delivering exceptional customer experiences.

  • MIS 2024: The Evolution of Advertising: Ever – Changing Trends in Television Space

    MIS 2024: The Evolution of Advertising: Ever – Changing Trends in Television Space

    Mumbai: Media Investment Summit 2024 is a dynamic platform that aimed to bring together minds from the Brand, Media, Advertising, Digital & TV fraternity to explore the ever-evolving landscape of Content, Adtech, Martech, Metaverse and Web 3.0, the evolution of traditional media planning and buying, data and privacy infringement and ROI on advertising.

    The day – long affair is to make sure to tantalize the thoughts of those looking for answers to myriad topics under the Branding, Advertising, TV, Digital media planning and buying roof.

    The panel was moderated by Indian Television.com Group founder, chairman & editor in chief  Anil Wanvari along with the panelists Polycab head digital marketing Tanushree Jain, SYSKA Group head marketing Amit Sethiya, Laboratories Ltd. India AVP Media Raghavendra Katte and Shemaroo Entertainment, Sandeep Gupta

    The session provided an overview of the ever-changing trends in the evolution of television advertising, with a keen focus on potential disruptions, emerging technologies, and the industry’s strategic response to future challenges.

    Jain emphasized the imperative for television to embrace more technology and content that resonates with consumers’ preferences. She said, “With digital offering targeted and measurable last-mile conversion, television needs to incorporate more technology and content that resonates with consumers’ preferences.”

    Sethiya highlighted the brand’s significant presence built through television advertising over the past decade. His insights underscored the enduring value and impact of television as a medium for brand building and reaching diverse audiences.

    Katte delved into the marketer’s dilemma, emphasizing the importance of targeted approaches in advertising. He told, “The marketer has a choice, they can either participate in ad avoidance by being part of inventory without detailed targeting, or they can opt for targeted approaches where their information is actively sought out.”

    Gupta shed light on the evolving strategies of content providers and creators in television. He said, “Content providers and creators in television are exploring ways to monetize their content more effectively, adapting to changes in the industry.”

    Overall, as the industry continues to evolve, embracing technology, targeted approaches, and innovative content strategies will be crucial for brands and content creators alike to thrive in an ever-changing landscape.