There’s a need to vehemently safeguard the traditional ATL business: Prantik Dutta
The essence of a press ad, the communicative possibilities of a print poster offer an organic earthiness as compared to the synthetic framework of the digital world, says Prantik Dutta, Vice President, Creative Support and Production, Cheil India
According to Prantik Dutta, Vice President - Creative Support and Production, Cheil India, the journey for last three decades has not been smooth at all. In an exclusive interaction with exchange4media, Dutta shares his insights on the core challenges faced by the ad creative fraternity, and what’s the way forward.
How have the dynamics of the advertising industry changed in terms of creativity?
Yes, I know when one talks about the changes and the shifting dynamics within a field in any industry, generally one gets an affirmative answer such as: “Of course, there were obstacles that challenged the growth, but the inevitable changes were embraced and systems updated so as to meet the modern needs of the industry”. To me that is not a novel notion, rather it is a routine factor for all those industries which have been affected in last thirty years or so. In fact, some of them have suffered an untimely demise in the light of their questionable functionality in the business. This sort of a threatened position is very real to the 2+2=4 department, to the studio and the production department in an ad agency.
What were the challenges faced by the industry? How has the industry managed to deal with them?
There have been such threats, related turmoil, technological changes, business objective changes, changes in the style of advertising, mergers, changes in media etc. But this significant function of an ATL advertising is, in my opinion, energetically alive and stable enough to provide ample support to the main function of an agency. I distinctly remember the day ITC put up a flagship brand visual on a billboard overhead a busy Delhi road and people from various ad agencies came specifically to see, for it was the first of its kind: a jumbo-sized, digitally-printed outdoor visual. The first color ad in a newspaper with its subsequent excitement is another memory ingrained in my mind as is the recollection of the unparalleled joy of the people across the printing industry on the appearance of the first ad that had UV coating to enhance gloss. And believe me, surprising as it may sound similar rumors of the death of the field in the coming five years had been doing the rounds.
The first assured blow came in the early 90s in a format called the television commercial which resulted in the declining glory of the Studio Production Department. Cabin sizes of Production Heads suffered spatial diminution compared to other HODs. Perhaps, I envisaged a challenge in what was seen as a threat and with the potent strength of that thrill, we survived. Again. Undoubtedly gratitude has to be offered to the various and innumerable newspaper/ magazine readers and the shoppers who still used to believe in the information written on a leaflet or provided on billboards.
What do you think of the rise of digital?
The recent past has witnessed a massive increase on Digital ad spends. Personally, I think this will definitely lead the advertising scenario into a different arena altogether, but professionally there is a need to vehemently safeguard the traditional ATL business. The simple reason for this is that I believe that the essence of a press ad, the communicative possibilities of a print poster offer an organic earthiness as compared to the synthetic framework of the digital world.
So, what is the way forward?
The challenge, therefore, is to keep print advertising alive and running through the addition of new means and values to the basic advertising process. The question, in corollary, is of ‘how’ and ‘when’. Perhaps the road ahead will offer arduous terrain but there are ways and means to tackle it.
To grow and empathize with the new trends, all means of innovation in the form of different media, printing processes, technological amelioration and every possible and instrumental feature under the sun should be embraced. For instance, an innovative POSM can conspicuously attract more consumers. A prime example of the same is perhaps the Samsung Curved TV dangler where the POSM item itself represented the unique feature of the product in the actual curved format of the Triangular Dangler. Secondly, with massive technological improvements in production of newspaper ads one can hope that the originality of print advertising will remain for more years to come. One need only compare a contemporary print ad with one that is a decade old and the aforementioned point can be substantiated. Yes, we do take care of our press ads separately and that is why any Samsung press ad looks noticeably better in terms of production: last year’s Samsung S5 handset launch ads wherein a range of work was done for the treatment of the gold color with significant results in terms of customer satisfaction prove the versatility of print media. Perhaps, as a country we are yet to surpass the glittering object on tangible paper, which serves as the better deal for this field.
Hence, the science of Studio and Production that is indispensable to the creative endeavour shall remain staunch in its own right for many years to come.
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E4M Our strategy is to target younger audiences through Sports: Rajiv Dubey, Dabur
The Head of Media at Dabur India spoke exclusively to exchange4media on the World Cup, associating with Indian Idol, the company’s digital spending and much more
With quirky campaigns, memes and moment marketing, timed with the ongoing World Cup and particularly the India-Pakistan matches, Dabur India has got considerable consumer attention for its popular brands – Red Paste, Cool King Hair Oil, Chyawanprash, Dabur Vita and the recently launched Bae Fresh Gel toothpaste.
The 140-year-old company is going big on key sporting events, World Television Premiere (WTP) movies and reality shows. It is now gearing up to become the title sponsor of popular talent show ‘Indian Idol’ on Sony TV for the first time, shared Rajiv Dubey, who leads the media strategy at Dabur.
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ShareSwapan Seth's new book 'COOL' is out
The book is a reflection of the author's 'eclectic taste across categories'
Advertising professional and art collector Swapan Seth has announced the launch of his new book COOL. The book is described as "a ready reckoner to the hip and the happening, of the known and the very unknown."
The book is a reflection of the author's "eclectic taste across categories: from boltholes to exotic hideaways."
COOL has been published by Simon & Schuster India and is available on Amazon.
Seth is an ad veteran with a long and illustrious career in the industry. He became the youngest-ever Creative Director at Clarion at age 24. He was VP at 26 at Trikaya Grey. Two years later, he started his agency Equus.
He writes for publications such as The Economic Times, Hindustan Times and India Today. This is his second book and he has previously published THIS IS ALL I HAVE TO SAY.
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Disney Star signs 9 sponsors for Asia Cup PAK
Charged by Thums Up, Nerolac Paint+, Amazon Pay, Jindal Panther, My11Circle, MRF, Samsung Galaxy Z Flip5, Wild Stone and Thums Up come on board
e4m Staff Disney Star has signed nine broadcast and digital streaming sponsors for the upcoming Asia Cup.
Charged by Thums Up, Nerolac Paint+, Amazon Pay, Jindal Panther, My11Circle, MRF, Samsung Galaxy Z Flip5, Wild Stone and Thums Up have come on board for the upcoming tournament.
As reported earlier by exchange4media, Disney Star has sought Rs 26 crore for the co-presenting sponsorship on TV and Rs 30 crore for Disney+ Hotstar.
According to industry sources, the associate sponsorship on Star Sports has been priced at Rs 19.66 crore, whereas for the ‘powered by’ sponsorship on Disney+ Hotstar, the broadcaster is seeking Rs 18 crore.
As per the information available with exchange4media, Disney+ Hotstar has three sponsorship tiers-- co-presenting (Rs 30 crore), powered by (Rs 18 crore) and associate sponsorship (Rs 12 crore). The broadcaster is offering an estimated reach of 120-140 million for co-presenting sponsors, 90-100 million for powered by and 60-70 million for associate sponsorship.
A spot buy for 10 seconds has been priced at Rs 25 lakh for the India vs Pakistan matches, while for the non-India matches, the ad rate for 10 second is Rs 2.3 lakh. The India matches plus the final for ODIs has been priced at Rs 17 lakh per 10 seconds.
Asia Cup is scheduled to be held from 30 August, 2023, to September 17, 2023.
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Sorted 360 wins creative & social media mandate of Reliance Mall
The agency will manage offline and online campaigns for Reliance Mall
Sorted 360, an integrated creative and social media agency, has won the mandate to providing brand solutions for Reliance Malls across India.
“Sorted 360 is set to enhance Reliance Malls' market presence with their unparalleled creative prowess and strategic thinking,” read a press release.
“Sorted 360's commitment to pushing the boundaries of creative communication aligns perfectly with Reliance Malls' ethos. With a pan-India presence spanning across 19 cities and growing, Reliance Malls has consistently captivated customers by offering an array of Reliance brands and third-party fashion & lifestyle brands. The mall has established an unparalleled connection with its patrons through superior quality, a remarkable value proposition, and an unmatched shopping experience,” it read further.
"We are thrilled to welcome Sorted 360 as our trusted partner in advancing our brand presence across the nation," said the Head of Marketing at Relaice Malls. "Their proven expertise in retail, shopping center management, and innovative creative strategies make them the perfect fit for our vision."
"Partnering with Reliance Malls is a testament to our commitment to shaping extraordinary brand experiences," remarked Prerana Anatharam, Co-founder of Sorted 360. "We are excited to leverage our strategic and creative acumen to further elevate Reliance Malls as the epitome of convenience, choice, and excellence."
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KlugKlug onboards Hemang Mehta as Country Manager for Indias
Mehta was most recently Head of Agency Relationships at Network 18 Media & Investments
KlugKlug has appointed Hemang Mehta as its Country Manager for India.
Mehta will play a pivotal role in driving KlugKlug's growth and expansion within the Indian market and be responsible for Sales & GTM Strategy
Prior to that, he has also represented organisations like Exponential (now VDX.tv), India Today Digital and Rediff.com. His expertise spans various domains including digital media sales, mobile marketing, media planning, and buying, social media marketing, and more.
Hemang Mehta expressed his enthusiasm about joining KlugKlug, saying, "I am thrilled to be a part of KlugKlug, a forward-thinking platform that is reshaping the influencer marketing landscape. As much as I look forward to collaborating with the exuberant team at KlugKlug, I am super excited to interact with the brands to deliver powerful data-backed Influencer solutions that will guarantee business outcomes."
Commenting on the appointment, Kalyan Kumar, Co-Founder and CEO of KlugKlug, stated, "We are excited to welcome Hemang Mehta to our team as the Country Manager for India. His extensive experience in digital media sales and marketing will be instrumental in driving our efforts to provide influencer marketing solutions to our clients. We believe Hemang's leadership will be key in scaling our operations and expanding our reach within the Indian market."
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