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Air-India’s Vistara conundrum

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Representational image via Unsplash

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McCann Worldgroup has been appointed as the global creative agency for Italian lager Peroni Nastro Azzuro. 


As stated by McCann Worldgroup, they will take on the task of delivering a long-term, global core creative platform that will serve as the foundation for Peroni Nastro Azzurro’s consistent brand narrative across multiple consumer touchpoints and markets. 

 
On the appointment, Nathalie Pfaff, Chief Growth Officer at Asahi Europe & International said, “Creatively and strategically, McCann impressed the team over the course of a rigorous pitch process and we’re excited to start this next chapter of growth together.”

 
Javier Campopiano, Global CCO of McCann Worldgroup and McCann added “To be entrusted with taking this incredible brand to its next phase has energized and inspired our entire team at McCann Worldgroup. Peroni Nastro Azzurro is the brew of choice in Italy, and we’re excited about ensuring that it captures the hearts of beer drinkers around the world.”

 
And McCann London CEO Polly McMorrow said: “There is a reality that some pitches just mean more. And this one means more. Peroni Nastro Azzurro is an iconic brand, led by a brilliant team of people. The opportunity to work with them to deliver an enduring brand platform that will not only honour the heritage of this brand, but also drive its future growth across key markets, is a unique one. We can’t wait to get started.”



Its curtains for Vistara. The airline is being merged with Air India on November 11, bidding goodbye to its many patrons and admirers. This move has been in the works for a while, so it's not exactly a surprise, but it's still an unusual step, one that would have given the Tatas much to think about before finally pulling the plug on Vistara.


Post mergers and acquisitions, it is not uncommon for companies to choose a single brand out of the options they have. It makes financial sense, lends focus, makes investment decisions easier, and simplifies the business. What stands out here is the fact that, in spite of being a younger brand, Vistara is a far more well-regarded brand than Air India.


Popularity of Brand Vistara


In an industry where building a good reputation is notoriously difficult, Vistara is seen by many as India’s best airline. One has only to look at Indigo to appreciate just how easy it is for a brand to lose lustre. Indigo started out extremely well, but the pressure of growth seems to have taken a toll if one goes. By the many tales of woe that passengers have been narrating of late. Vistara, on the other hand, is seen to have maintained its level of service; its food is unusually well thought of, going by airline standards, and overall it is seen as a premium and responsive brand.


Brand Air India Struggles 


Air India, on the other hand, is anything but. Plagued by decades of mismanagement at the hands of the government, this once prestigious carrier is in reputational tatters. It suffers from many of the problems that legacy public sector brands do: old infrastructure, ageing employees used to a culture of indifference, political interference at every step, and financial mismanagement. In terms of image, Air India is a brand that, barring a few diehard supporters, is not by means preferred. Its shortcomings have been exposed even more once the sector has seen the influx of private sector brands.

Even in the few years since its takeover by the Tatas, the brand is struggling. To be sure, improvements have been made, new aircraft are being added, and the food is getting some attention, but none of these have moved the needle significantly enough. To be fair, it is not easy for such a large organisation with such a long history to turn smartly on its heels and do an about turn. Change is going to be a long and arduous process, and no easy short cuts are available.


That makes this particular decision even trickier than it would have been otherwise.


Is Merger A Good Idea? 


Here we have a really popular and liked brand being sacrificed at the altar of another, which is old, frayed around the edges, and one that is difficult to change quickly. Wouldn’t it have been smarter to continue with both brands? After all, Air India Express and AIX (formerly Air Asia) already exist; couldn’t another brand have been kept in the portfolio? In theory, the idea of simplifying the business and achieving financial and operational efficiency makes sense, particularly since even Vistara was not making profits, but in reality, is a valuable asset being lost?


The problem with this argument is that it ignores the potential value of the Air India brand. It is not just another name, but one that carries with it the aspirations of the nation. It represents the country; owning this brand is not just a matter of profits but also one of pride and prestige. For the Tatas in particular, given that they built this brand at its inception and have been trying to regain control over it for a long time now, it is a matter of responsibility. At a certain level, having acquired the brand, they have no option but to back it fully, however onerous the task. The question of running both brands, with Air India being the lower-cost option, simply does not arise, not for practical reasons but for emotional ones.


Vistara, for all its premiumness, simply does not have the depth resonance that an Air India has. Yes, it is true that a lot of the early promise of the brand has been squandered away, but in the long run, it is a brand that needs to be revived and restored to its former glory. This seemingly perverse decision by the Tatas is rooted in the long term and is seen from the lens of promise rather than leverage. The smarter thing might be to retain Vistara, but letting it go might turn out to be wiser. In the long run, a vibrant and well-run Air India is an invaluable asset, however difficult the task seems at the moment.


While brands are business assets and need to be viewed from the lens of business metrics, that is not all that they are. They connect with us in deeper, more subterranean ways. They speak to our underlying needs and motivations and have the power to symbolise much more than what the product offers on the surface. Air India is potentially much more than an airline. As the nation progresses, it can be a tangible sign of the best that it has to offer.


The Tatas have taken on a challenge by backing Air India. As a business group, they are perhaps the most equipped to handle this, but all eyes will be on them. They cannot afford to get it wrong.


Santosh Desai is columnist, author and brand consultant. Views are personal, and do not represent the stand of this publication.

Ta-ta Vistara: With Air India-Vistara merger, it's curtains for the popular brand

The All India Digital Cable Federation (AIDCF) has written to the Ministry of Information and Broadcasting criticising Prasar Bharati for inviting private sector satellite TV channels to onboard its upcoming OTT platform.

The industry body for multiple system operators (MSOs), which has member companies including DEN Network, Hathway, and Hinduja Global Solutions, has said that the move is against its own uplinking and downlinking guidelines.

“Prasar Bharati vide its letter dated August 5, 2024, has issued a NIA (Notice Inviting Application) to all the linear satellite TV channels for on-boarding on their OTT platform. The above NIA by Prasar Bharati is promoting broadcasters to violate clause 11(3) (f) of the Uplinking & Downlinking guidelines dated November 9, 2022 and its subsequent amendment dated March 24, 2023,” the AIDCF said in the letter.

According to an ET report, the letter was addressed to Secretary Sanjay Jaju and urged the Ministry to provide clear directions to broadcasters to provide satellite TV channels only to licensed service providers including MSOs, DTH services, internet protocol television providers and headend in the sky operators.

The AIDCF also accused the broadcasters of misinterpreting existing regulations by stating that national broadcaster Prasar Bharati was outside the purview of regulator TRAI regulations and the federal law, Cable TV Act.

AIDCF alleged that as per law satellite TV channels cannot be part of Prasar Bharati’s proposed OTT platform and can only provide their channels’ signals to registered DPOs.

It further highlighted that many streaming applications were mushrooming due to absence of any regulation or guidelines and will, thus, escape any regulatory vigilance as they were neither registered with MIB nor are reporting their server details/subscriber details to the government.

In its Content Sourcing Policy, released on August 9, the pubcaster said, "Prasar Bharati may explore the possibilities of on-boarding the Linear Satellite Channels and FAST Channel (Free Ad-Supported Streaming TV) for the OTT Platform. The initial period of such on-boarding will be One year and Prasar Bharati reserves the right to modify It based on the learning and market feedback."

Read more: <a href="https://www.storyboard18.com/how-it-works/prasar-bharati-releases-content-sourcing-policy-for-linear-channels-digital-platforms-including-ott-39345.htm">Exclusive: Prasar Bharati releases Content Sourcing Policy; reveals policies for upcoming OTT</a>


AIDCF also noted that if private broadcasters were allowed to join Prasar Bharati’s upcoming OTT platform it would kill the distribution platform operators completely and urged the Ministry to direct the pubcaster to withdraw the office memo on onboarding satellite TV channels.

AIDCF criticises Prasar Bharati for onboarding private TV channels for its OTT; writes to MIB

Australia’s workforce is experiencing a significant shift following the introduction of the ‘Right to Disconnect’ law, a legislation aimed at promoting better work-life balance by empowering employees to disengage from work-related communications post working hours. This law marks a pivotal change in the Australian employment landscape, where digital connectivity had increasingly blurred the lines between professional and personal life. 


What is the 'Right To Disconnect' law?


Australia has implemented new legislation on August 26, advancing workers' rights by allowing employees the right to disconnect from work-related communications after their designated work hours. Employees are now protected from disciplinary actions for not responding to calls, messages, or emails from their employers outside of their regular working hours.

 
Storyboard18 reached out to a few working professionals in Australia for their perspective on the new law. 

 
A clinical research manager at Tigermed Australia, who requested anonymity, shared an enthusiastic perspective. “Australia’s new law is definitely a very positive step towards improving work-life balance and keeping our mental health in check. It is such a welcoming change and rightfully allows you to disengage from work-related communications,” she shared. The law acknowledges the importance of boundaries and personal time, allowing a healthier work environment with less burnout. Further praising the law, she stated, “The work culture in Australia, based on my experience, has generally encouraged employees to disconnect from work during non-office hours, but for the people who did not have this luxury, it will result in a happier work environment overall.” 

 
However, not everyone sees the law through an entirely positive lens. Mazher Mogul, a Senior Bank Officer, outlined both the benefits and drawbacks he perceives. He mentioned, “There will be a better balance between work and personal life. If anyone wants to pursue a hobby, or let’s say go for a physical well-being activity, this law rightfully lets them do it without them worrying about missing any important work-related communication.” 


But every coin has two sides. Mogul also underlined the not-so-good part about the law, “There could be an event when there’s unfinished work that could be carried over to the next day. There’ll be risks of failing to meet targets, eventually leading to a possible decline in client/customer satisfaction.” He also pointed out how the likelihood of missing deadlines could damage the brand and result in the loss of potential and existing clients. 

 
Mustafa Netterwala, Senior Manager at a leading consultancy services firm, emphasized the positive aspects of the law, “By allowing the employees to set boundaries and disconnect from work outside of their official hours, the law promotes a healthier and more sustainable work environment.” 

 
However, Netterwala also acknowledged potential pitfalls, “There may be challenges in defining what constitutes ‘reasonable’ contact outside of office hours, potentially leading to disputes between employers and employees.” 

 
As Australia navigates the early days of this new law, its success and the balance it aims to achieve will primarily depend on careful implementation and enforcement. Both employers and employees will need to adapt to these changes, which could redefine the nature of work in an increasingly connected world.

Unplugging Down Under: Working professionals react to Australia’s new law

Mark Green, who was the co-founder and chief executive officer of Australia based creative agency, The Monkeys and who currently leads Accenture Song's Australia and New Zealand operations as president, has been named the global CEO of Droga5. He will assume the role starting in October 2024 and will relocate to New York city. 


In 2017, The Monkeys was acquired by Accenture. And in 2019, Accenture bought Droga5. On December 1, 2024, The Monkeys will rebrand as Droga5. In his new role, Green will work closely with the global chief creative officer Pelle Sjoenell, as stated in a media report, to oversee all Droga5 creative offices around the world, which includes Dublin, London, New York, São Paulo and Tokyo.


Read More: <a href="https://www.storyboard18.com/brand-makers/cxo-moves-exec-movements-across-caratlane-apple-licious-and-more-41026.htm">CXO Moves: Exec movements across CaratLane, Apple, Licious and more</a>

Droga5 names Mark Green as its global CEO

At Intel, diversity, equity, and inclusion have been key drivers of success. To achieve greater gender representation, the company goes beyond global programs and initiatives by implementing a deliberate strategy in its hiring process. 

As Roshni Das, Vice President, Global Marketing Innovation and India Region Marketing, at Intel Corporation, explains, the company ensures that a woman is always part of the interview panel to eliminate bias and promote fair hiring practices for new talent.

Speaking at Storyboard18’s Share The Spotlight event in Bengaluru, Das also highlighted Intel's policy for gender and pay parity. 

"Since 2019, Intel has looked at that role for the number of years of experience, regardless of what your pay package is today, we pay what you should be drawing for that scope of job instead of looking at what you are currently withdrawing," she said.

Being a strong advocate for women in tech, Das also believes that "we (women in leadership roles) have the responsibility of paying it forward. We have to be the change we want to see."

Additionally, she suggested, "I tell most young women to focus on your right to education, focus on your right to economic independence. And then, find the right partner- to have the right support ecosystem and somebody that's always rooting for you."

Professionally, Das advised that as one evolves as a leader, one should also become a player and a coach for the team.

At the event, Das shared the spotlight with Shenaz Bapooji, founder of Skyful and Aditi Nanda, Chief of Staff at Intel India. 

Bapooji, who brings with her over 30 years of marketing and brand-building expertise, shared qualities that have helped her grow in her career. 

"I am a very passionate individual, very driven. I've never had to wait for people to tell me what to do. But what's kept me going is self-belief. And this whole idea that the world can be a better place. Leave your mark in whichever way you can and in the process, be kind. A lot of leaders lack compassion," she said.

Nanda, who believes in humanising tech problems, shared that breaking down problems into smaller bits really helps.

"As a technologist you see the problem for its bits but when you break it down to its lowest denominator, it's easy to kind of find the answer and move forward from there," she said.

Concluding the discussion on how to best operate in the tech space that has traditionally been male-dominated, Nanda said, "Say yes to all sorts of things that come your way. You learn on the way. I think it is also ensuring that you bring the best version of yourself to work. And that leaves behind the gender part of it completely."

<a href="https://www.storyboard18.com/tags/share-the-spotlight">Read more: Share The Spotlight</a>

Women at the top have the responsibility to pay it forward, says Roshni Das of Intel

Niharika Banerjee, a former journalist, decided to quit her permanent job in New Delhi and chose freelancing as a career path to enjoy the "ownership" of her work this year. Banerjee also worked with reputed PR agencies briefly after quitting journalism. She has now decided to completely obliterate the title "full-time employee" in her CV and plumped for freelancing. 

"I felt that having skills across journalism, advertisement, and PR agencies, I was severely exploited and underpaid. I have unique skills in the media industry, and everyone wants a pie with the least pay," Banerjee told Storyboard18.

Like Banerjee, millions of youth have chosen to work as freelancers in the country without committing to full-time employment. 

According to Jaideep Kewalramani, Head of Employability and Business and COO at TeamLease Edtech, there has been a notable rise in freelancing opportunities in the advertisement, media, creative, and entertainment industry, particularly due to the accelerated digital transformation that took place during the Covid-19 pandemic. 

The Indian media and entertainment sector is likely to experience a 10.2 percent growth rate, reaching Rs 2.55 trillion by 2024 and Rs 3.08 trillion by 2026, as per a FICCI-EY projection.

Amid the growth of generative Artificial Intelligence (GenAI) and digital platforms, the freelancing jobs in the media and creative industry are soaring, Nisha Singhania, CEO & Managing Partner, Infectious said.

⁠"Given that a lot of companies are moving to project-based models rather than retainers, companies find it cost-effective to hire freelancers rather than maintain a large number of permanent employees," Singhania added.

Uttara (name changed), currently working as an Account Executive at a PR agency, started freelancing three years ago. "I started freelancing during quarantine. The transition was motivated by a desire for greater flexibility and control over my work. While I enjoy my permanent role, I feel limited by the structure and want the freedom to choose projects that align more closely with my interests and expertise. Freelancing has also offered the opportunity to work with a diverse range of clients, which has been incredibly rewarding".



Freelancer pay


Freelancer Jinzy Moli said her work as a freelancer gets rewarded and recognised, and gets paid only for the assigned task. "In a permanent job, the pay scale of our talent, ability, and skill is decided by the company. However, in a freelance job, it will be set by our side. Besides, a permanent job forces you to take care of additional tasks to get a decent appraisal."

Moli said that a permanent employee may also face "office politics", and job security is another bigger concern. 

According to TeamLease Edtech's Kewalramani, compensation for freelancers versus permanent employees varies widely depending on role, experience, and specific niche within the industry.

"An entry-level freelancer might earn Rs 20,000-Rs 40,000 per month depending on the project, while a permanent employee in entry-level roles typically earns between Rs 25,000 and Rs 50,000," Kewalramani said. 

However, freelancers with more experience and expertise, especially in high-demand areas such as graphic design, video editing, and content creation, could earn more than Rs 1 lakh a month, he added.

Taniya Arora, Senior VP and HR Head, Cheil India, also highlighted the differences in pay packages between a freelancer and a permanent employee. According to Arora, a mid-level employee may bag Rs 10- 25 lakh per annum while a freelancer with the same work experience may get a paycheck of Rs 14 lakh-22 lakh annually. At the senior level, a freelancer may earn Rs 30 lakh-Rs 90 lakh per annum as against a full-time employee with a pay package of Rs 40 lakh to Rs 70 lakh per annum.

"Freelancers do have the potential to earn more per hour compared to permanent employees, but then again their income can be less predictable and more dependent on the number of projects they secure," Singhania told Storyboard18.

Uttara said there is always uncertainty about "inconsistent income" in her career. She added, "Freelancing requires careful financial planning to manage the ebbs and flows".

According to Gaurav Pandey, who used to be a stringer reporter for a leading English daily, "You don't get paid to write news but then if you are writing features or for clients you get paid handsomely."



The challenges


Unsteady paychecks, no health insurance, and other employee benefits are some of the downsides of a freelancing career. 

Cheil India's Arora said, "Freelancers face challenges regarding payments being on time, which may affect their monthly spending and commitments. Also, they may miss out on prestigious projects as they may have been offloaded to an agency."

To overcome irregular income, freelancer Uttara said she has created a financial buffer and diversified her client base to ensure a more consistent flow of work. 

Another freelancer Moli agreed that "job security" is the challenge even at freelancing, and added that "maintaining good communication can help solve this".

Freelancer Banerjee says she finds it difficult to juggle more than one project. She added that as a writer, she has started to use generative AI to manage stress.

Uttara pointed out that another challenge in a freelancer's life is "working in isolation". "I make a conscious effort to network, attend industry events, and sometimes work from co-working spaces to stay connected with others in the field,' she added.

Former freelance journalist Pandey said that lack of proper identification and accreditations were major obstacles for him. "I overcame these challenges through interpersonal and PR skills," he added.



The way forward


Several experts have predicted a robust growth in freelancing career options in the ad, media, creative, and entertainment industries. "The flexibility, scalability, and cost-effectiveness of freelancing make it an attractive option for companies looking to stay competitive in a fast-paced and content-driven market," Kewalramani said.

Stuthi Vasudevan, Collaborator and Consultant, Talented Agency said, "Startups — creative or otherwise — are an affirmation of the new culture, by announcing a well-defined value system, with built-in accountability. If this trend sustains, with the new era of leaders walking the talk, perhaps the need for freelancing as a rejection of the current system will reduce significantly".

Arora said, "In the world of SIPs and mutual funds, where higher returns are possible on a faster turnaround time, the workforce does not believe in investing in PF accounts."

Meanwhile, freelancer Banerjee shared her life plan, saying she would go back to her hometown to lead a quiet life. "I may launch a micro-enterprise and also consult a few months of the year to earn."

From 'work flexibility' to 'unsteady paychecks', the ups and downs of freelancing

When customers appreciate the brand with their purchase and with their advocacy, also forgive the brand its mistakes, on occasion, and remain loyal patrons over time – even when other viable choices are clearly available in the category, one can only consider it love. Brand love. Determining why customers should love the brand lies at the very core of ‘the art and science of branding’. 


And that’s just as true for a new brand making its entry into a crowded market or a legacy brand whose appeal must be continuously renewed and reiterated. Regardless of the situation and context, the ingredients of nurturing brand love are not unlike the ingredients of nurturing respect and love in any relationship.


It's about the significant other. When you come to think of it, the people that we most like being with are the people who make us like ourselves better. They show us the reasons why we are worthy and deserving. They help us imagine what we could be, how much we can become. They don’t demand that we change but inspire us to want to make better choices. We love them for it. It’s for the same reasons that we love the brands we love. We – the customers – are the heroes of their narratives. 



Their compelling stories show us the best version of ourselves. Some brands are good at winning our love this way, like Nike with their Nike Run Club app that brings together a supportive group to encourage us along our fitness journey. Or Titan Raga that celebrates women – their primary audience - with so many thoughtful narratives that inspire not just women to shatter barriers but invites men too to embrace a progressive outlook when it comes to matters of gender equity.


You’ve got to keep it consistent. We don’t grow to love someone because they keep us great company one evening, are kind to us on occasion, or pleasantly surprise us some time. It’s the significant and insignificant things they do consistently, and predictably through cloudy and sunny days, that wins us over. Brands like McDonalds, for example, deeply understand this. Be it San Francisco, Delhi, Tokyo or Moscow, if it’s a McDonalds you stop by, you can count on the same familiar quality, same-tasting, same modestly priced food served with signature convenience. Come rain, come shine. What’s not to love about the golden arches!


Give them reason to stay committed. In the same way that love fades when the people involved stop showing that they care for each other, love can fade for brands disconnected from their customers too. Many times, brands use loyalty programs – often a frequency-of-purchase-based program to lock-in customers to stay committed. But loyalty or commitment is rarely engendered if the intrinsic value of the purchase is not meaningful to the customer. Especially in times of restrained spending. 


Personalizing what’s on offer, making the purchase experience seamless and convenient, staying in touch with regular communication and offering value throughout the customer journey goes a long way. We can’t help but think of Apple, can we? With products known for their stunning design, stellar performance, and impeccable after-sales service, delivered by truly empowered Apple Store employees, being an Apple customer makes one feel part of a super-privileged club! When one’s investment is so richly rewarded, staying committed is not a hard decision.


In these times of data-driven performance marketing, some marketers might be tempted to pooh-pooh the notion of brand love. And yet, these same marketers will vouch for the value of using rational means to persuade customers to develop an emotionally driven, compelling disposition to the brand in one’s charge. Well, that’s why they say, in the end love always wins. Even, brand love.


Sumit Virmani is the global chief marketing officer at Infosys. He writes a fortnightly column series 'Brand Breakthroughs’ on Storyboard18.


Read More: <a href="https://www.storyboard18.com/brand-marketing/brand-breakthroughs-infosys-global-cmo-sumit-virmani-on-the-anatomy-of-brand-trust-36736.htm">Brand Breakthroughs: Infosys global CMO Sumit Virmani on 'The Anatomy of Brand Trust' </a>

Brand Breakthroughs: Infosys Global CMO on what it takes to love a brand

Australia has taken a significant step in workers' rights with new legislation that came into effect on Monday, granting employees the right to disconnect from work outside of regular hours. The new laws, designed to protect employees from unreasonable work-related communications after hours, impose fines of up to $93,000 ($63,000) on employers who contact employees for non-essential reasons outside of work time. 

Prime Minister Anthony Albanese praised the legislation, emphasizing its role in addressing mental health concerns and boosting productivity. "Just as people don't get paid 24 hours a day, they don't have to work for 24 hours a day," Albanese said in an interview with ABC. He highlighted the frustration many Australians feel about being constantly connected and accessible, which he believes negatively impacts mental health.

Australia's move aligns with other nations like France, Spain, and Belgium, which have implemented similar right to disconnect laws. This global trend reflects a growing concern of the need to balance work and personal life in the digital age. 

However, the new laws have raised eyebrows from business groups. Andrew McKellar, CEO of the Australian Chamber of Commerce and Industry, described the legislation as a "thought bubble", criticizing the government for not consulting with the business community before implementing the changes. He expressed that the laws could impact operational efficiency.

Disputes arising from attempts by employers to contact employees outside of work hours can be referred to the Fair Work Commission, Australia's industrial relations umpire. Workplace Relations Minister Murray Watt expressed hope that many issues would be resolved through direct communication between employers and employees, rather than formal disputes.

The legislation immediately applies to employees of medium and large enterprises, with small businesses given a 12-month period to comply with the new regulations. This phased approach aims to ease the transition for smaller businesses while ensuring broader protection for workers across the country.

Australians gain 'right to disconnect' from work after hours under new legislation

The latest survey by Zoom has revealed that employees feel most productive in hybrid settings, with 83% agreeing they get more work done in a hybrid or remote setting than in-office or onsite. 

Zoom on Friday released a survey, titled “Navigating the Future of Work: Global Perspectives on Hybrid Models and Technology” at its EX Summit 2024 in Asia Pacific (APAC). The study surveyed more than 600 IT and C-suite leaders and nearly 1,900 knowledge workers across the globe, including 604 in APAC.

The study found that the majority of organisations in APAC are embracing flexible working arrangements, with 84% of organisations adopting either a hybrid (58%) or remote (26%) working model. 

87% of the business leaders in APAC considered increasing productivity to be the biggest consideration when determining the best working style for their company, the highest figure compared to 86% in North America, and 81% in Western Europe. 

Hybrid might be the preferred work model for leaders and employees alike, but many APAC companies are still experimenting with the various types of hybrid models. Notably, scheduled hybrid (27%) and flextime hybrid (19%) have emerged as the most common workplace models in the region, with another 13% of organisations adopting other kinds of hybrid workplace models organised around roles, locations, and outcomes, the survey said. As many as 97% of APAC leaders said they have made their workplaces more flexible in the past two years, a Zoom survey added.

However, six in 10 leaders in the region reported a decline in employee engagement attributed to hybrid models. Even as hybrid becomes the dominant work model, 77% of leaders in APAC said it is likely that their organisation will change its workplace model in the next two years.


'GenAI-a key driver of future workplace success'

Generative AI has emerged as a key tool for employee productivity in the hybrid era. For instance, APAC organisations recorded the highest use of meeting transcripts at 53%, followed by 40% in the US, and 38% in Western Europe. Besides, 59% of the APAC organisations use chatbots as compared to 52% in the US and 58% in Western Europe. Further, 85% of APAC leaders believe that generative AI has made their workforce more productive. Whereas 69% of employees in the region strongly or slightly agreed that AI made their job easier. However, as per the Zoom report, 81% of the employees in the APAC firms said that organisations need to improve tools and technology for remote work.

83% of employees prefer hybrid work model, reveals Zoom study

The government has announced that it will soon be launching the national creators’ awards which will recognise and facilitate new-age content creator and social media influencers. The awards will
 have around 20 different categories. 

The national creators’ awards will be first of its kind and will be targeted at Gen Z, considering that the generation is very internet and social media savvy. 

Social media influencers include those who create content on YouTube and Instagram. 

One of the categories in the awards will be directed at those who have helped spread the country’s soft power and culture internationally. Other categories also include “green champions”, “swachhta ambassadors”, “agro creators” and “tech creators”, as per reports. 

Reports also suggested that the awards will be on the lines of the national film awards that recognise films in different languages and categories. 




Govt to announce National Creators’ Awards for influencers

The national creators’ awards will be first of its kind and will be targeted at Gen Z, considering that the generation is very internet and social media savvy.

In today's rapidly evolving digital landscape, the role of AI in shaping social media strategies and digital marketing has become increasingly significant. Bullish on AI, Shubhranshu Singh, Chief Marketing Officer of Tata Motors CVBU, and Rohan Chincholi, Chief Digital Officer at Havas Media India, share their views on social media in an AI era with Storyboard18's editor Delshad Irani. 

In this episode of Media Dialogues with Storyboard18, dig into how future-facing marketing visionaries and practitioners are looking at the integration of AI tools in media, the balance between automation and authenticity, and the future of AI-driven personalization. Also, explore the challenges, opportunities, and ethical considerations that come with leveraging AI in social media marketing.

Watch and listen. 

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Content is king, but distribution is kingdom: Media Dialogues With Storyboard18

Challenges are mounting for Prasar Bharati as it nears the launch date of its over-the-top (OTT) platform, with cable TV operators and a handful of private broadcasters raising red flags and pushing for more clarity in the existing guidelines.

Prasar Bharati's move into the OTT space not only is poised to stir up competition for the other OTT players but is also distressing linear TV channels in the market as they seek holistic regulatory review because of the pubcaster’s ability to integrate its OTT with traditional TV offerings, potentially leading to market distortions. 

As per a source close to the development, broadcasters are expected to actively lobby for regulatory changes over the next few weeks.

Read more: <a href="https://www.storyboard18.com/how-it-works/prasar-bharati-ott-likely-to-be-launched-on-september-15-exclusive-41501.htm">Prasar Bharati OTT likely to be launched on September 15: EXCLUSIVE</a>

“Broadcasters are prepping their legal arsenals to challenge Prasar Bharati. Complaints, petitions, and a push for stricter separation of public vs. private sector ventures are all on the table”, an industry source told Storyboard18. 

And the reasons are many, other than the obvious that almost all top broadcasters in the country today run their own subscription-based or ad-based OTT platforms like Zee5, Sony Liv, and Jio-Cinema.

For one, Prasar Bharati is not subject to TRAI regulations and the Cable TV Act since the Prasar Bharati Act grants autonomy to All India Radio and Doordarshan (DD). Secondly, the satellite TV channels can't ideally be part of Prasar Bharati's OTT platform because according to the Uplinking & Downlinking guidelines, satellite TV channels can only provide signals to registered DPOs or licensed service providers including MSOs, DTH, IPTV, and HITS operators.

The primary overlap between traditional TV distribution and OTT lies in how content is delivered to the audience. Traditional TV distribution uses means like satellite or cable to delivery live or scheduled content. This is governed by strict regulations like licensing, carriage fee, content guidelines etc. On the other hand, OTT platforms use the internet for delivering on-demand content which has more flexibility in delivery, user choice and less regulatory oversight as compared to traditional / satellite TV. 

“When Prasar Bharati enters into OTT space it creates overlap where a public broadcaster content is available via both, traditional or internet route, both governed by different regulatory frameworks creating confusion and perceived unfairness. Perceived unfairness is on account of concerns around a not so-level playing field for private players vs Prasar Bharati,” highlights Shalabh Saxena, Partner, Grant Thornton Bharat.

Also, the issue lies in the ambiguity around whether the current guidelines, which are designed for satellite TV apply to digital platforms like OTT. There’s a lack of clarity on this, and Prasar Bharati’s OTT venture might push the boundaries of these regulations, necessitating a need for updated guidelines.

“Moreover, OTT platforms are built on a global distribution model, where content is available across regions without the same geographic and infrastructure constraints as satellite TV. Applying satellite uplinking and downlinking rules designed for linear TV could inadvertently stifle the innovation and flexibility that digital distribution offers. It could also lead to an uneven playing field for private broadcasters,” Saxena explains.

To be sure, it is not necessarily the question around violation of established rules but the blurring of lines that occurs because traditional rules don’t account for the on-demand nature, scalability, and accessibility of OTT platforms, which are significantly different from the linear, scheduled nature of satellite TV.

The recent letter to the Ministry of Information & Broadcasting (MIB) from the All India Digital Cable Federation (AIDCF) stems from similar concerns and further emphasises Prasar Bharati’s possible disruption into the traditional television ecosystem by bypassing established norms. 

Also, “cable operators and private broadcasters are wary of increased competition, fearing that Prasar Bharati’s OTT platform may divert viewers from traditional distribution methods, thus threatening the revenue models based on subscriptions and advertising,” adds Siddharth Chandrashekhar, Advocate & Counsel, Bombay High Court.

A holistic regulatory review might be necessary to balance public and private interests.

“If the market isn’t carefully regulated, we might see broadcasters tapping out. Prasar Bharati’s OTT is the elephant in the room, and it’s sitting on the competition,” remarks Chandrashekhar.

The counter-OTT offensive broadcasters are likely to challenge Prasar Bharati’s move through regulatory petitions and lobbying, arguing that public funds give it an unfair advantage, he further shares. 

“While there is a strong argument for Prasar Bharati to withdraw provisions that directly compete with private players, a balanced approach may involve clearer regulatory frameworks rather than a complete rollback,” he argues.

If broadcasters have their way, Prasar Bharati’s OTT might just be buffering indefinitely, say insiders.

The move is also likely to create unfair competition for traditional distribution channels like MSOs and DTH operators. 

“Offering satellite TV channels on its OTT platform could undermine the business models of traditional distributors like MSOs and DTH operators. The absence of specific regulations for Prasar Bharati's OTT platform could create a situation where its activities are not subject to the same level of scrutiny as licensed service providers,” highlights Alpana Srivastava, Partner, Desai & Diwanji.

Broadcasters also fear that Prasar Bharati's access to content, including regional and local language content, could limit the availability of exclusive content for private broadcasters. 

Further, the platform could divert viewers away from traditional television channels, negatively impacting the revenue of private broadcasters.

One of the broadcasters, however, highlighted the news channels are very gung-ho about the move and are very keen to onboard because to participate in DD Free Dish, they have to go through the auction process, which is not the case for the upcoming OTT.

Heating up the OTT space

Prasar Bharati's move into the OTT space is poised to stir up competition in India's streaming market where established players such as Netflix, Amazon Prime, and Disney+ Hotstar dominate. 

With access to the extensive archives of DD and All India Radio, Prasar Bharati offers culturally rich and diverse regional content. This includes government-supported programs, educational material, and news, presenting a refreshing alternative to the entertainment-centric offerings of mainstream OTT platforms.

Additionally, leveraging its strong presence in rural areas and regions, Prasar Bharati is well-positioned to serve an underserved segment that many OTT platforms have overlooked. Offering content in regional languages could set it apart as a major differentiator, points out Jasmine Damkewala, Senior Partner at Circle of Counsels and advocate-on-record, Supreme Court of India.

It is to be noted that the Prasar Bharati OTT is said to be free-of-cost for the first few years.

“Should Prasar Bharati’s OTT service provide free or low-cost access (similar to DD Free Dish), it could attract a broad audience that finds paid streaming services expensive. This could potentially disrupt the pricing models of other major players,” Damkewala adds.

Further, supported by the government, Prasar Bharati could enjoy regulatory benefits, including favorable distribution and licensing policies, giving it an edge over purely private OTT platforms.

Prasar Bharti, last month introduced a 'Content Sourcing Policy' for linear channels and digital platforms, outlining procedures for sourcing and acquiring content. This includes commissioning of new programs or partnerships with external producers to obtain a continuous source of programs. 

The OTT platform will be operating on a revenue-sharing basis, with content providers receiving 65% of the net revenue from subscription or transaction-backed content, while Prasar Bharati will retain 35%. The same revenue-sharing model will apply to the satellite channels onboarded to the platform. Advertisements on the OTT platform will be managed by Prasar Bharati, with any unsold ad inventory shared between Prasar Bharati and the broadcaster in a 65:35 ratio.

Eyeing the trophy

In pursuance of its OTT launch, Prasar Bharati has even established a Sports Rights Negotiation Committee (SRNC) to bid for and negotiate the rights to major sporting events and has jumped head-on into the competition. 

It will be constituted with officers from the Sports Division, Finance Division, and Sales Division after the approval of CEO, Prasar Bharati. The officer in charge of the Sports Division shall be the Chairperson of the Committee.

Sports rights are often owned by the organisers, who only sell them through exclusive bidding and negotiating processes.

The pubcaster is likely to now participate in such bidding or may approach organisers for sourcing the rights of sporting events through negotiation.

It is to be noted that through the enactment of the Sports Broadcasting Signals (Mandatory Sharing with Prasar Bharti) Act, 2007, private broadcasters are required to share live feeds of events deemed to be of ‘national importance’ with DD, ensuring that every Indian could tune in without needing a pricey subscription.

Section 3(1) of the Act has ensured that no one was left out of the action, with DD broadcasting these feeds across its terrestrial network for free.

Marquee properties like the Indian Premier League (IPL) is not part of the 'games of national importance', as of now.

If, by any means, Prasar Bharati amends the Sports Act to include the word ‘digital’, the sports broadcasters or digital rights holders would also be required to share the feed with Prasar Bharati OTT— which according to the broadcasters will be the end of sports broadcasting and digital streaming in India. 

Consequently, broadcasters also fear that the pubcaster can also amend what constitutes under 'the sports of national importance' to include some of the biggest sporting events like IPL and other commercial leagues.

However, at the moment, according to a senior official, there is no word out from Prasar Bharati’s side whether the government will amend the Sports Act or not.

Karan Taurani, SVP at Elara Capital, doesn't foresee Prasar Bharati's OTT as a threat in the OTT, especially in the sports business.

"I don't foresee enough amount of traction for its OTT, although the pubcaster might try to negotiate certain deals but a lot has to do with the user's experience point of view of the app, how it scales up, and the arrangements they have with BCCI because it is a hefty amount of money; and it is doubtful that Prasar Bharati would be able to operate sports content for free (alike Jio). Also, the OTT market is overcrowded, and only a small portion of the audience at the extremely low end might opt for Prasar Bharati's OTT because in the OTT business, you need a lot of investments in user experience, customer acquisition, and content quality- all put together," he points out.

At present, Disney Star holds four-year rights (2024-2027) for the International Cricket Council's (ICC's) tournaments which it committed for $3 billion, while Viacom18 secured media rights for the Board of Control for Cricket in India (BCCI)-run international and domestic matches for ₹5,963 crore over the next five years.

With Reliance Industries and The Walt Disney Company announcing a strategic joint venture worth a staggering $8.5 billion, merging Viacom18 and Star India- the new behemoth now controls 75-80% of the sports broadcasting market and a major pie of the streaming market in India.

Broadcasters prep legal arsenals to challenge Prasar Bharati's OTT plans

The Delhi High Court has pulled up Wikimedia Foundation Inc., the organization behind Wikipedia for failing to disclose information regarding the edits made on the Wikipedia page of the Indian news agency, Asian News International (ANI).

Justice Navin Chawla on Thursday gave a stern warning to the US-based organization saying, "If you don't like India, don't work here", Live Law reported.

Justice Chawla issued a contempt notice to Wikimedia, and said, "We will ask the government to block Wikipedia".

The Indian news agency has filed a defamation case against Wikimedia over allegedly defamatory content on its Wikipedia page this year.

Following this, the high court issued a summon to Wikimedia on 9 July. Wikimedia appeared before the court on 20 August. As per the ANI's case, Wikipedia did not dispute that three individuals, who were made defendants in the defamation suit, were not administered on the platform, Live Law reported.

Considering the said submission, the court directed Wikipedia to disclose the ANI subscriber details of the three individuals available within two weeks.

ANI filed a contempt plea against Wikimedia for not complying with the order. The news agency has also sought Rs 2 crore as damages from the company.

The court has asked an authorized representative of Wikipedia to remain present before the court on the next day of the hearing.

Wikipedia page mentioned that ANI has been "criticized for having served as a propaganda tool for the incumbent central government, distributing materials from a vast network of fake news websites and misreporting events".

ANI in its suit added that the Wikimedia Foundation has allegedly published false and defamatory content with the malicious intent of tarnishing the image of the news agency.

The next hearing of the case is on 25 October.

'Will ask govt to block Wikipedia': Delhi HC pulls up Wikimedia

Amidst the growing mixed reaction from the broadcasting industry, Prasar Bharati is most likely to launch its over-the-top (OTT) platform on September 15, sources close to the development revealed to Storyboard18.

The much-awaited family-friendly OTT platform was first announced in 2023. In September last year, Prasar Bharati introduced a draft tender to design, develop, commission, operate and maintain their OTT platform for “content available and for the reach of all the citizens in India, even remotest villages as well as global audience”.

It is said the platform is likely be free for the first year or so.

Prasar Bharati's plan to foray into the OTT space, despite the presence of several international private OTT platforms like Amazon Prime Video, Disney+ Hotstar, and Netflix in the country, stemmed from the need to showcase clear and family content. One of the government officials was reported saying, "Currently, some of the content on OTT platforms are bordering on vulgar, abusive language. It becomes embarrassing to watch it with your family. We want to offer a platform which is decent and promotes India’s culture and nationalist values," last year.

It is to be noted that the BJP manifesto also promised a plan to launch an OTT platform as part of its 100-day agenda if it returns to power for the third term. 

The OTT was first speculated to be launched in July this year, which got pushed to August. As per sources, September 15 is the date the government has decided on, now - unless some challenges impede the plan.


Read more:<a href="https://www.storyboard18.com/television/prasar-bharatis-ott-plans-likely-to-push-dd-kids-launch-further-exclusive-40920.htm"> Prasar Bharati's OTT plans likely to push DD Kids launch further: Exclusive</a>


While most broadcasters and industry stakeholders have largely applauded the public broadcaster's plan to enter into the digital streaming space, top broadcasters of the country have largely remained tight-lipped, withholding apprehensions.

In its letter to the Ministry of Information and Broadcasting, dated September 2, All India Digital Cable Federation (AIDCF) has in fact urged the Ministry to withdraw Prasar Bharati's notice inviting TV broadcasters for its soon-to-be-launched OTT platform, as it believes the same disrupts uplinking and downlinking guidelines, and also disrupts the traditional TV distribution. 

DTH operators too, reportedly are planning to write a similar letter to the information and broadcasting ministry on the placement of linear TV channels on Prasar Bharati's OTT platform.

As per the notice issued by Prasar Bharati on August 5, the pubcaster invited TV broadcasters to place their channels on the public broadcaster’s upcoming over-the-top (OTT) platform. 

Read more: <a href="https://www.storyboard18.com/ott-news/prasar-bharatis-ott-platform-pubcaster-to-onboard-linear-satellite-tv-channels-invites-applications-38938.htm">Prasar Bharati's OTT platform: Pubcaster to onboard linear satellite TV channels, invites applications</a>

Some TV broadcasters, however, contend that Prasar Bharati does not come under the purview of Telecom Regulatory Authority of India regulations or the Cable Television Networks Regulation Act and Rules and hence are in a position to offer their satellite TV channels on Prasar Bharti OTT.

"I welcome the proposed launch of Prasar Bharati’s OTT platform as it could be a potential game-changer and a disruptive force in the OTT space due to its reach and humongous distribution potential. I am all for free markets and competition within the established guidelines. Having said that, all players have to play by the rules of the land and a level playing field has to be provided to everyone. Perhaps there is more clarity needed on whether TRAI’s regulations are applicable to Prasar Bharati or not," said Sanjay Trehan, Digital & New Media Advisor.

"Competition is the order of the day. Whether it upsets the traditional linear television distribution system is to be seen through the prism of customer good. If there’s customer acceptance and there’s an extension of reach, so be it," he added.

Kailashnath Adhikari, Managing Director, Governance Now, told Storyboard18 that the company has already offered its live linear stream.

"If you consider the FTA package, we have already offered our live linear stream of our channels namely Mastiii, Dabangg and Maiboli to Prasar Bharati's OTT. We have all grown up watching Doordarshan and Prasar Bharati has been the epicenter of entertainment in this country, this move could have been done earlier as well. Prasar Bharati, coming out with its own OTT is an excellent step. How it created a revolution with DD Free Dish is a great example of it’s unwavering strength. India is the only market where free-to-air homes are growing, no other country is experiencing this, and Prasar Bharati has been the catalysing factor," he added.

Last month, the public service broadcaster invited submissions for the integration of various applications, including gaming, OTT, and educational apps, into its platform and also sought onboarding linear satellite TV channels.

Read more: <a href="https://www.storyboard18.com/how-it-works/prasar-bharati-releases-content-sourcing-policy-for-linear-channels-digital-platforms-including-ott-39345.htm">Exclusive: Prasar Bharati releases Content Sourcing Policy; reveals policies for upcoming OTT</a>

The channels will be incorporated for an initial period of one year, with the possibility of future modifications based on user feedback and market dynamics, it was said. 

Additionally, the channels will include national news and current affairs, general entertainment in both national and regional languages, as well as other genres.

In its 'Content Sourcing Policy', released on August 9, Prasar Bharati outlined procedures for sourcing and acquiring content for both linear channels and digital platforms. Further, it established a Sports Rights Negotiation Committee (SRNC) to bid for and negotiate the rights to major sporting events, such as cricket, hockey, and kabaddi.

Read more: <a href="https://www.storyboard18.com/how-it-works/prasar-bharati-to-form-sports-rights-committee-for-its-soon-to-be-launched-ott-platform-39507.htm">Prasar Bharati to form 'sports rights' committee for its upcoming OTT platform</a>

The OTT platform will be operating on a revenue-sharing basis, with content providers receiving 65% of the net revenue from subscription or transaction-backed content, while Prasar Bharati will retain 35%. The same revenue-sharing model will apply to the satellite channels onboarded to the platform. 

Advertisements on the OTT platform will be managed by Prasar Bharati, with any unsold ad inventory shared between Prasar Bharati and the broadcaster in a 65:35 ratio.

Prasar Bharati OTT likely to be launched on September 15: EXCLUSIVE

Prime Minister Narendra Modi, during his Independence Day speech, urged India's youth to focus on creating world-class products, including semiconductors and gaming experiences. The Department for Promotion of Industry and Internal Trade (DPIIT) has now reached out to several central government departments seeking clarity on the definitions of skill-based and chance-based games. DPIIT is accelerating the process of drafting a 100 percent Foreign Direct Investment (FDI) policy for online gaming.

The letter, addressed to the Ministry of Information & Broadcasting (MIB), the Ministry of Electronics and Information Technology (MeitY), and Niti Aayog, seeks clarity on the definition of online gaming. Sources say that Niti Aayog, India's premier policy-making institution, is working on distinguishing the online gaming industry between games of skill and games of chance which would help build robust long term policy for the gaming ecosystem.

The proposed policy would permit full FDI in online real-money gaming, provided that the investments do not involve betting or gambling activities.

A source from the online gaming industry stated, "Following PM Modi’s speech addressing online gaming sector, DPIIT has now accelerated the process of drafting an FDI policy for online gaming. DPIIT aims to attract foreign investments into the gaming sector. This will benefit the online gaming ecosystem, but more importantly, it will bring much-needed clarity to the industry regarding the definition of online gaming."

Skill gaming platforms earlier paid 18 percent GST on the platform fees, also known as Gross Gaming Revenue (GGR). The new rules, which came into effect on October 1, 2023, does not make a distinction between games of skill or chance. The Real Money Gaming (RMG) industry, which is currently burdened by high taxes and is suffering due to infiltration of illegal offshore betting and gambling apps is expected to benefit significantly from the government's distinction between games of skill and chance further clarifying RMG players, lotteries and notorious offshore betting and gambling operators. Most importantly, the policy is expected to formalize 100 percent FDI in the online gaming sector.

It should be noted that while 100 percent FDI in online gaming is not explicitly prohibited, existing regulatory ambiguities have made it difficult for companies to secure banking and government clearances, deterring potential investors.

Another source from the RMG sector said, "The government should also consult with RMG stakeholders before finalizing the policy. The efforts of the government and the RMG industry should not be in vain but should benefit the entire RMG ecosystem."

However, it remains unclear whether this FDI policy will apply only to Real Money Gaming players or extend to other stakeholders, including casual gaming industry players, video game developers, and others.

In the Union Budget presented on July 23, 2024, the government committed to simplifying FDI rules and encouraging foreign investments, including promoting the use of the rupee in international transactions.

According to a report by Grant Thornton Bharat and the E-Gaming Federation (EGF), there are 442 million gamers, India is the second-largest gaming market in the world behind China. Over the last five years, the Indian gaming sector has raised a total of $2.8 billion from domestic and global investors, with the real money gaming (RMG) segment being one of the chief revenue drivers. The RMG sector continues to account for 83-84 percent of the revenue, with approximately 100 million online gamers daily, including 90 million paying to play.

PM Modi's I-Day speech spurs DPIIT to fast-track FDI policy for online gaming: EXCLUSIVE

Almost half of (47%) Indian consumers are being influenced by short-form videos while making their purchases, according to a report by ShareChat and Moj. 

The report 'Short Form Big Impact: Festive Blueprint' highlights that short-form videos have become a staple in the daily lives of Indian consumers as 81% of the consumers actively watch bite-sized form of content.

Also, increasingly influential among consumers aged 25-44, almost 50% of them base their purchase decisions on the content they consume on short video platforms.

Nearly 50% of Indians watch short-form videos for more than 30 minutes a day, with 29% spending more than 60 minutes a day, with women for both. The more time India spends on these videos, the more they shape decisions—showing the unexplored potential of short-form content. 

Additionally, short-form videos are not just a metro or Tier 1 phenomenon—they have a widespread influence across all regions. Moreover, purchase decisions in Tier 3 cities are more influenced by short-form videos, with 49% making decisions based on them, compared to an average of 45.7% in other regions.

Gaurav Jain, Chief Business Officer, ShareChat and Moj said, "We are living in a transformative era where short videos are driving purchase decisions for most of the Indians. By leveraging the power of short-form content, regional language preferences, and trusted creators, brands can optimise their impact and drive significant sales.”
 
As India gears up for the festive season, the report aims to highlight how platforms like ShareChat and Moj offer brands a unique opportunity to engage with consumers in a meaningful way and drive authentic connections. 

“In this new shopping landscape, that has shifted majorly from traditional means to the consumers' fingertips, we are proud to be acting as a bridge between consumers and brands. Brands have continued to receive returns through platforms such as ours, with a deep understanding of culture and language, fueled by creativity and strong strategic solutions adapting to evolving needs of today’s consumer," he added.

The survey encompassed insights from 6,000 users and 100 creators on ShareChat and Moj platforms, aiming to comprehend their festive activities, language preferences, and relationships with regional creators.

Key highlights:


 
Influence of short videos: The more India watches short-form videos, the more its purchase decisions are influenced by them. 59% of those who watch more than 60 minutes make purchase decisions based on short-form videos.

Native language supremacy: 86% of India wants content in their regional language, with 84% finding content in their regional languages more relatable and trustworthy. 45% of India makes purchases based on videos from creators in their native language.

Rise of micro influencers: In Tier 3 cities, purchase decisions are most influenced by creator-led videos. 70% of creators create more content around and during festivals, with 79% of them garnering an increase in user engagement on creator-led content.

Festive must-haves: The top trending choices for consumers are clothing, home decor and gifts, followed by beauty, food and electronics.

Brand affinity: Around 34% of shoppers are open to exploring new brands, making this a key moment for brands to shine. In the West, 39% of Indians are ready to experiment with new brands, showing a strong sense of curiosity. On the other hand, the South showcases brand loyalty, with 68% preferring their trusted favourites.

47% Indian consumers influenced by short-form videos while making purchases

The advertising volume on the movie TV channels has decreased by 4% in the first half of 2024 (i.e January to June) as compared to the first half of 2023, according to the TAM Adex report.

Both H1 of 2024 and 2023 had a total share of 21% for the ad volumes in the movie TV channels. 

In terms of the sub-genres of the movie channels, Hindi movies had the highest share of ad volumes in H1 2024 at 41%, followed by Bhojpuri movies at 10%, Kannada and Tamil movies at 9% and Bengali movies at 8%.

The top two subgenres retained their respective positions during H1'24 compared to H1'23. Meanwhile, the top five subgenres accounted for more than 75% share of ad volumes during both periods.

In terms of leading sectors, food and beverages led the list with a 28% share, followed by personal care/personal hygiene with 21%, personal healthcare at 8%, household products at 8%, services at 8%, hair care with 7%, laundry with 6%, BFSI and auto a 2% each.

The report added that the top 10 sectors together added 94% share of ad volumes during the H12024.

In terms of the advertisers, HUL was the leading advertiser with a 20% share of ad volumes, followed by Reckitt Benckiser with a 12% share.

The report also noted that prime time was the most preferred time band in the movie genre followed by afternoon and morning time bands.

Also, ad commercials of 20-40 seconds were preferred for advertising on movie channels during both periods. 

The report noted that in H1'24, the < 20-second ad size in the movie genre witnessed a 3% growth in share compared to H1'23.

Ad volumes on movie TV channels down by 4% in H1 2024

Artificial intelligence has now become a mainstay for marketers, with AI-powered tools driving various marketing and advertising functions. Furthermore, AI is empowering businesses to boost their e-commerce capabilities and online retail presence.

For instance, Luminous Power Technologies is building an in-house conversational AI to build its inverter battery category online, reveals its chief strategy and transformation officer, Neelima Burra.

It is also piloting an AI tool for pricing management- which has always remained a manual process. 

“With the help of AI, it makes it easier to drive better profitability. As marketing moves towards marketing-technology (martech), it is going to be far more beneficial for running a sustainable, profitable business model,” she adds.

In this interview, Burra further talks about the company’s growth plans, marketing strategy, summer growth, and how the ‘Make in India’ proposition is helping it build a stronger brand.

Edited excerpts:

What remains the major focus area for Luminous in 2024?

In 2024 there have been clear milestones on the growth and expansion plans we have. For the last 35 years, we have been known to be an inverter battery company but as part of our 5-year strategy and growth plan, we are strengthening towards repositioning ourselves as a leading global consumer technology company.

 
So, the focus area this year involves strengthening newer capabilities including solar, technology, alternate chemistry, power electronics, and digital engineering. For this change in brand positioning, we are investing in brand building, retail, and introducing local partnerships, while also getting into battery manufacturing locally.

 
Overall, more than 25% of business is coming from solar today, which will continue to be our growth driver going forward. Also, nearly 15% of business is international and continues to be our priority and focus.

Talk to us more about the brand-building activities.

We have invested heavily in brand-building and channel engagement programs for this year. As part of those investments, the India Premier League (IPL) has been one of the biggest brand investments and channel engagements for us. Channel engagement has always been our strength in the growth and expansion story.

 
This year's partnership with Rajasthan Royals provided us with the opportunity to reach out to millions of cricket fans and create a substantial impact on our current and prospective customers. Our values are deeply aligned and the social impact that we intend to create through effectively activating solar energy and enriching livelihoods in communities across Rajasthan. Brand preference and awareness were at their best during this time more than 96% as per the Brand Track report conducted by a third-party agency.

And, what is your media plan?

Being a legacy brand, we have brand awareness of close to 95%, so it becomes important for us to choose a medium that reaches this 95%, therefore, we have Sachin Tendulkar as the brand ambassador; and utilise media vehicles like the IPL.
 
We generally do a mix of digital and offline marketing that includes TV, print, and OOH to reach our target audience. Digital media offers many options to advertise, especially with connected TV homes, and is very visible, engaging, and informative. TV has been one of the highest-reached media and has been an integral part of Luminous’ growth journey. 

However, there has been a recent consumer shift to digital-led marketing activations. So, I would say that we are focusing on a mix of both TV and digital.

 
To what extent ‘Make in India’ proposition helps strengthen the brand?


We are a 100% 'Make in India' company and it is one of our selling and value propositions, globally. It also helps strengthen the brand— all our inverters, batteries, and now even panels, are being manufactured in India, in the seven manufacturing units we have. The newer expansion is planned in Odisha to strengthen our position in the East market. 
 

As a marketer, how do you look at the ad tech trends this year?


I would say marketing is at a pivotal stage in the industry at this point, where technology is at the forefront. I would say it's no longer marketing; it is ‘martech’.
 
As more and more marketing move towards marketing technology, it is going to be far more beneficial for running a sustainable, profitable business model. Also, with AI coming into the content development, content management, personalisation, and mapping the consumer data towards personalisation has become far easier, sequential, and scientific- which is a boon to the industry. It is overall, a great tool for marketers, provided they can segment their market well, understand their consumer segmentation well, and then observe the big data to relate to the trend.

I am currently piloting an AI tool on pricing. Pricing management has always such a manual process, but today with the help of AI it makes it easier to drive better profitability by doing competitive pricing well.

Take us through the retail strategy and expansion plans.

At present, we have close to one lakh plus retail points, and we continue to grow there. E-commerce arm has two kinds of businesses: our brand shop and then we also retail through Amazon and Flipkart and Jio and ONDC. The latter continues to grow, the searches online are continuing to grow, and I see this business will gain momentum. However, purchases remain both online and offline for us.

Inverter battery category has a lot to address as this category is yet getting built online. There's lot of education and simplification which is happening to communicate to the consumer. It's a complex technical category, but as a company, we are trying to build it as fast-moving energy good.

Further, we are building in-house conversational AI to build the inverter battery category online. AI/ML is the way of life when it comes to marketing.

Overall, the omni-channel strategy will continue to help us with premiumisation and bring more advanced technologies.

How was the summer season for the company? 

2024 is a big year for Luminous Power Technologies as we aim to establish ourselves as a complete energy management solutions provider, beyond just being an inverter battery company. It has been a great year so far and we have seen a growth of 30% Y-o-Y (January – June) in our sales.

Last year was washed out with unexpected rains, and a lack of predictability in business.

Martech tools enable sustainable, profitable business models, says Neelima Burra of Luminous Power Technologies

It was described as the Global Media Pitch of the Decade. Amazon's mammoth global media planning and buying account went up for review in late 2023 and finally the winners have emerged. WPP and Omnicom Media Group (OMG) have bagged the media business, edging out the incumbent - IPG's Initiative. WPP will handle Amazon's media business in APAC and EMEA. Omnicom gets the Americas. 

Sources tell Storyboard18 the agencies' global teams have informed their regional offices, including India. 

Amazon had shortlisted IPG Mediabrands, WPP's GroupM and Omnicom Media Group for the pitch, as previously reported. Local briefs went out earlier this year for key global markets including India. The process took over six months.

IPG Mediabrands’ initiative is the incumbent agency, after it won the Amazon media account in 2013 and defended it in 2017. IPG will continue to service Amazon Web Services, Amazon Business and Amazon Ads as the global media partner. 

Prior to 2013, Publicis Groupe handled Amazon’s media account. Amazon’s annual advertising and promotion spends in 2022 were around $20.6 billion, which is more than the $16.9 billion it spent in 2021 and $10.9 billion it spent in 2020.

As is the case with a raft of new big global wins this year, firms have proposed a bespoke solution comprising teams across a group or the establishment of a bespoke global team. 

WPP's bespoke solution OpenMind won Nestle’s media business in EMEA earlier this year. Publicis Groupe created a bespoke unit called OneVibe for Spotify's global media business, which it won earlier this year. Storyboard18 broke the global exclusive story and was the first to report on the pitch's conclusion, the winning ad firm and details of the pitch finalists on February 1.

Amazon last reviewed its global media account in 2017.

The e-commerce-to-streaming conglomerate ad revenue was up by 20% in Q2 of 2024. Amazon reported ad sales of $12.77 billion. Overall, the global e-commerce giant revenue was up by 10% to $148 billion in the second quarter compared with $134.4 billion in Q2 2023. International segment sales increased 7% year-over-year to $31.7 billion, while the AWS segment sales increased 19% year-over-year to $26.3 billion.

In 2023, Amazon's worldwide advertising and promotional expenses stood at over $20 billion. 

Govt to announce National Creators’ Awards for influencers

The national creators’ awards will be first of its kind and will be targeted at Gen Z, considering that the generation is very internet and social media savvy.

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