Digital work in India is not done with a creative bent of mind: Rajiv Dingra, WATConsult

Dingra's WATConsult celebrates its 12th anniversary today

e4m by Venkata Susmita Biswas
Published: Jan 10, 2019 8:13 AM  | 14 min read
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For Rajiv Dingra, who is celebrating the 12th anniversary of his agency WAT Consult, 2018 could not have been better. Dingra gushes as the list of awards that his agency has won roll off his tongue. In 2018 alone, WAT Consult won awards at multiple international award festivals, including the Lisbon International Advertising Festival, CLIO Awards 2018, Prague International Awards Festival, Tangrams Effectiveness, and Shorty Social Good Award 2018.  

It’s not just the wins that have made him ecstatic, even bagging a nomination at the Cannes Lions Festival of Creativity has made him proud. That’s primarily because although Indian creative agencies have been winning Lions and typically have a respectable show at the award festival, Indian digital agencies have failed to make a mark. 

Pointing out why India has not been able to make any headway in the digital space at international award festivals, he said, “Digital work is not done in India (and I’m generalising here) with a creative bent of mind. The reason for that is digital, for the longest time has borne the burden of being an ROI medium, so creativity usually takes a back-seat to results, hence these challenges.” 

Dingra is not just content with the agency’s performance at the award festivals but also business-wise. He told exchange4media that over the past year WAT Consult has grown close to 30-35% YoY on revenue and bottom line. He said that WAT Consult will strive for creative excellence in everything it does while using technology to escalate the impact of the idea. 

Further, Dingra, Founder and CEO, of WATConsult, spoke to exchange4media at length about his learnings from winning at international award shows and what he thinks will shape the industry in the coming years. Edited excerpts: 

What has the journey been like these 12 years? What were some high points?
I think last year has been quite a significant high for us. Over these 12 years there have been a lot of highs and lows, but last year, it’s a dream for any Indian agency, digital or non-digital, to win at Spikes, to be nominated at Cannes Lion, winning a Grand Prix in Prague, and to win 2 bronze medals in the digital category at the London International awards (LIA). We also won a bronze in Lisbon. 

So last year has been a high point on a whole. It’s a great feeling because we’re the first digital agency to even be nominated at Cannes. TBWA, BBDO, and the Ogilvy’s of the world get a lot of nominations, and a lot of their nominations are for non-digital work. So, to actually put a pure-play digital entry and be nominated for that as a digital agency is a great feeling. Even though we are now part of Dentsu Aegis Network, our DNA still remains as pure-play digital. 

As you said, India is not known for digital work. Where are Indian digital agencies or agencies as a whole lacking in this digital or tech thought process?
I think the reasons for this are diverse. It’s not that we don’t do good digital work, but I think in India, in general, we are bad at packaging our work for global awards and that goes for all agencies. The ones that do it really well are obviously the agencies that are great at storytelling, which are the creative agencies. This is why at global awards we see agencies such as BBDO, TBWA, Cheil and Ogilvy actually win. They are great at packaging a case film that will move, engage and make sense to the jury. 

Secondly, these agencies also come from a mainline bent of mind, so a lot of work which is submitted and packaged well, is mainline work. Digital agencies have little or no experience in submitting, let alone winning global awards. 

The other fact is cost. It is extremely costly to submit work for global awards. You need to be a very good agency, revenue-wise and profitability-wise, to be able to submit work for global awards. Each entry is between $300-$500, which in the Indian context is between Rs 30,000- 60,000 per entry. So first you must have confidence in your entry, to be able to spend that much money on one entry in one category, and then you need to have the money to submit to global awards. Half of the entries don’t get to the global awards because digital agencies usually cannot afford to submit their work. 

The next point is that digital work is not done in India (and I’m generalising here) with a creative bent of mind. The reason for that is that digital, for the longest time, has borne the burden of being an ROI medium, so creativity usually takes a back seat to results, hence these challenges.

The reason we were successful, is because we actually invested in upping the creative acumen of our team. Over the last three years, we’ve actually an international creativity trainer (Yonathan Dominitz, Founder of Mindscapes) who trains at Cannes Lions, and who for the first time came to India to conduct an exclusive training for WatConsult. We’ve had training sessions in 2016, 2017 and 2018. The training involved the basic tools of creative thinking and getting our team to go beyond just people in a room brainstorming, and making it more professional from a creative thinking standpoint. 

You spoke about how one of the reasons why digital work is not usually creative because digital seems to be an ROI performance-driven platform. The work that has won significantly has also been for an NGO, so do you see brands changing their attitudes towards digital and using it for brand building, where maybe there is scope for creative digital work? 
Definitely, and I think we at WatConsult are best positioned for that because our positioning in the market is not performance-driven. We are a full-service digital agency that is known for doing creative, content, social, video, tech, etc. Now we are focusing on creative excellence as the value we bring to the market as a digital agency. For example, if we look at our campaign for SBI, again, it is creative, there is storytelling, of unique stories across India. Or even our Raksha Bandhan film for Dominos, “The Letter”, if you see that you would not be able to tell that this was done by a mainline creative agency or a digital agency. 

If you see today, creative agencies are trying to go more digital, but digital agencies, because some of them are very performance-driven, they are not able to make the leap into becoming more creative. We have made that leap and we continue to push the bar into creative excellence as we go along. 

Last year, our entry and win at multiple awards was a step in that direction to stamp our authority as a digital agency that can compete with the best in the global awards on creativity and we hope to continue raising that benchmark each year. Now with our complete video and tech prowess, as well as our ability to come up with a creative campaign, we are positioning ourselves as a creative/brand digital agency. 

I am seeing clients clearly wanting to do work that has meaning and purpose beyond just their brand attributes or product attributes. We are doing a lot of work where brands are looking at a purpose, positioning and meaning with what their communication is with engagement.

Because of the lack of diversity on international award festival juries, do you think that the burden of being from India and sending entries that feed into the White Man’s Burden is impacting India’s performance in the digital space?
It is helping India’s performance as well. I don’t think this is a hindrance, I think this is a learning experience, to ask how you can use a local insight and cultural nuance to leverage it in digital. And digital is not always AR, AI or the extreme end of innovation. But sometimes in trying to do all of that we forget what the real message is. We have to stick to what the creative idea is and then see an execution which applies to it. But I think the cultural insight is important. 

From an awards standpoint, it has been a great year. What has business been like this past year?
It’s been a very good year. Just from the like-to-like perspective, we’ve grown close to 30-35% YoY on revenue and bottom line. It’s been a year where we’ve won some really large brands, Dominos and Tata Motors are such brands. So it’s been a good year in terms of wins and also in terms of diversity of business. We have produced at least 120 digital films throughout the year. And if you look at the amount of content we produced on platforms such as Instagram, Snapchat, etc, that goes into thousands. So from our creative perspective, there has been a lot of work. From a media buys standpoint, we’ve done about Rs 200 crore worth of media buying on various platforms. It’s been a good year overall for business.

In terms of the number of people, we are now the largest digital agency within the Dentsu Aegis Network with an employee strength of nearly 400 people.

Is AR and VR still something people want to experiment with in India or was it a fad that lasted a short while?
Yes, it still is. In India, brands and clients still look at it as a one-off investment and not as a way to build a brand. Brand managers, up to the CMO, look at films as the ‘holy grail’ of creative and messaging communication. It is for a good reason because they’ve done that for TV for many years, and also because currently in digital, video is the most important currency in communication. Across Facebook, Twitter, YouTube, Instagram, video is the No. 1 inventory. So I am not surprised that brands invest most of their time looking at what kind of video content they can create. That is why AR and VR are secondary because it’s the same amount of money and energy which will go into creating new-age content that would be consumed by only a fraction of the overall audience.

And where does Voice fall in all of this?
Voice is definitely growing. Voice today is at the stage where social media was around 10 years ago. The only difference between voice and social media is—social media was a digital platform-led revolution, whereas voice is a device-led revolution. There are two kinds of devices which are going across; one is the mobile phone, which is now voice-enabled, and the second is a home device. I think both of these will drive the adoption of voice, but unlike social media 10 years ago which had a community and interaction angle to it, voice, for now, has a service angle. From the usability perspective, voice is more of search than social. Will it replace social? I don’t think so. Will it replace Search? The statistics on how many people are using voice for search is huge. I think the next question would be- since voice replaces Search, and Search Ads which is a huge business for everyone- how does Search business transcend into voice? But with Google and Amazon going after it, I think voice will probably be one of the topmost priorities in digital marketing. 

Given all these technological advancements we’re speaking about - voice, AR and VR - in addition to what you mentioned earlier about WATConsult’s focus on creative excellence, what are the capabilities you want to focus on going forward?
Technologically, we’ve always been on the forefront. In 2016, we had all the VR devices, and we had complete AR capability. In 2016, we made one of the first AR apps for Apollo Tyres. We have been working on AR and VR from way before. It’s not something new to us, it’s been there for a very long time. Also, we do have voice capability in-house as well. 

That being said, I don’t think technology in itself is a solution for clients’ briefs. Technology is an enabler to deliver the communication. You can deliver communication through AR, VR, or voice, you can even use AI to make the communication look more intelligent or to process data in a way so when it is showcased to the consumer it is impactful. 

When you want to use technology for a campaign, how do you differentiate between a gimmick and something that will genuinely move the dial for the business?
The first thing is, the idea has to be great. Secondly, the technology should escalate the impact of the idea. If the technology makes it a problem to experience the idea then you are just using technology for the sake of it. For example, a couple of years ago, we did a campaign for Bajaj Allianz called “Mobile Aasana” where we used 360-degree video on Facebook to get millennials and desk workers to use the phone to do various yoga poses. At that time it was new because 360-degree videos on Facebook were very new. So the use of 360-degree video technology to make people do yoga escalated the impact of the idea. 

So what are going to be the focus areas for you in 2019?
It will be a mix of technology and creativity. Creativity will be the No. 1 priority, but we are a full-service digital agency. Campaigns are successful when they meet the client’s objectives, and to do so in a creative manner makes audiences very happy. Customers and users feel connected to a campaign to a level where they want to endorse it organically. For that, the campaign has to be creative. This is why I emphasise that creative excellence will be our focus. 

What are your thoughts on the in-housing of digital media buying?
I think in-house is great for brands if they can manage it. The problems I see with brands is they have a core business, so if they take this aspect in-house, they will have employees who, beyond keeping their jobs, wouldn’t have a larger incentive to upgrade, update and scale.  Let me define what I mean by this: upgrade means to basically update themselves so that they can do better, update themselves so that they can do newer and more interesting things, and scale means they can do bigger things around it. All these three things happen in agencies by default. Which is why when you look at in-house agencies, how many of them do you really see doing path-breaking work? And in spite of having these in-house agencies, a lot of these brands go out and give projects to various other agencies. In my view, I think having in-house programmatic and buying becomes substandard after a point because employees are trying to save their jobs, not trying to excel. Agencies are trying to excel in programmatic because each of them wants to be a step ahead of the others in programmatic. But when you are doing it in-house, you will not invest in building the next architecture of programmatic for your business. Unless and until there is effort and investment from the top level of management, who is the CEO. But if it is coming from the middle level or lower than that, then I don’t see it delivering the kind of excellence that brands actually ask from agencies. 

Lastly, what are the three main areas that will be significant in 2019?
Over the last 2 to 3 years, there has been a wave of video content in digital and I don’t think in 2019 there will be a single campaign from a significant brand which does not have a video.  In my view video is going to be the primary digital asset that brands leverage for their marketing campaigns. 
Second, I think we will be seeing a lot of interesting experiments with voice. It’s not going to be mainstream, but it is going to be interesting. 
Thirdly, our media perspective: there is going to be a programmatic wave across digital, where a lot of brands will shift their spends to programmatic advertising.

Transcription Credit: Sudha Joshi

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Scrolling up or down: Where is India's digital news business headed?

As advertisers tightened their purse strings, media players faced a muted growth on their digital platforms in Q1 FY24. Veterans from the industry share the cause & effect of the situation

e4m by exchange4media Staff
Published: Oct 11, 2023 7:20 PM  | 6 min read
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As the first two quarters for the fiscal year 2023-24 come to a wrap, news publishers are not only experiencing tectonic shifts in their print and broadcast media business, but their digital arm too is facing dynamic consumer shifts.

In an increasingly converged world, besides making sense on ROI matrices, digital offers extended reach at a very low cost, an ability to engage with the viewers in a two-way conversation, co-opt them into the content creation process, empower them by giving them a voice and retain them. The cost and business efficiencies clearly operate at many levels, says Sanjay Trehan, a digital and new media advisor.

According to a study by Reuters Institute, India is a strongly mobile-focused market where 72 percent readers access news through smartphones and just 35 percent via computers. However, despite the glittery user penetration numbers, advertisers, it seems, are not finding it worth investing their money in digital news publisher platforms.

For NDTV, the revenue was down by 35 percent in Q1 of 2023-24 due to lower advertising spends both on broadcasting and digital. Nevertheless, despite low advertisement spends, digital business remained profitable. For Network18 as well, revenue was flattish during the quarter as a weak advertising environment had an impact on the digital segment.

Jagran Prakashan Media’s Q1 FY24 digital revenue stood at Rs 14.43 crores as against Rs 16.78 crores in Q1-23. Mahendra Mohan Gupta, Chairman and Managing Director, Jagran Prakashan Limited, stated in the financial results that “Digital business had nearly the same revenue as in Q1 of the previous year partly because of unfavourable market conditions and partly because of inability to monetise the consumer base to the expected level.”

The Indian Express experienced a slowdown in ad revenue in the last two quarters but subscribers and events business performed well, according CEO Sanjay Sindhwani.

Focussing on sector-wise advertisers, Sindhwani underlined that the IT sector, which spends majorly on digital, has been severely impacted in the economic slowdown. The auto sector has supply chain issues where their order books are full but delivery is an issue. Now, because they are overbooked, advertising is not required for them, he said. Edtech is somewhat tumbling now, which has also resulted in layoffs and cost-cuts. In fact, the whole startup sector has been cost cutting heavily. Gaming was still big but has not seen much growth in the recent past due to regulatory issues and their restrictions on advertising.

For Republic, over the past year or so, there has been a significant shift in direct advertising towards digital publishers along with the always-growing network demand, shared Tapan Sharma, Head of Digital, Republic. The network’s revenue has also grown alongside the continuous growth of revenue in the industry.

Sharma believes the drop in advertisers is happening because advertisers and agencies have now become more aware, vigilant, and methodical with digital ad spending and campaign management. They are looking for better Return on Ad Spend (ROAS) and improving campaign efficiency.

“As a result, publishers who have not prepared themselves well to address the ever-evolving media planning and buying environment may be facing the challenges of monetising via advertising,” added Sharma.

Digital business sustains on two factors - Advertisers and subscribers. On one hand, where the advertisers are declining, publishers are generating quality content to increase their subscriber base who are ready to pay for paywalled content.

Trehan added, “For content behind paywalls to work, it has to be exclusive, differentiated, value-added and premium in nature viz. data and research. The more one has this kind of content, the better will be their subscription traction. Based on this Karmic principle, NYT today has about ten million subscribers, perhaps the most of any publisher in the world.”

The advertising revenue is further split into two - direct and programmatic. Publishers who have been heavily dependent on the latter have faced declining revenues because they have lost the traffic due to certain changes in Google and Facebook’s policies.

Pradeep Gairola, Business Head- Digital, The Hindu, has seen a positive growth in subscription revenue but not a large one. Fifty percent of their revenue comes via subscriptions and paywall content. The direct to programmatic advertising ratio for Hindu currently is at 70:30 split.

But there are obstacles for publishers who are more dependent on subscribers than advertisers too. Major one being, the subscriber revenue is not about acquisition but retention. And, Indian publishers have retention rates much lower than international publishers.

Gairola highlighted, “When we approached the business ages ago, we lacked the wisdom that this is not an acquisition business but a retention business. Retention depends a lot on what kind of audience you have been able to acquire. Secondly, what have you done to ensure that the audience builds a relationship with you and builds a habit around you.”

It is a pertinent industry problem because Indians are accustomed to free content. Unlike other countries, news in India has always been fragmented as an industry and has never charged a penny to its readers. This is also why The New York Times, The Guardian, and other international publishers have higher retention rates.

According to Sharma, the newspaper industry has not really made any significant increment in the subscription fee for the past many years. Whereas a digital news consumer was never asked to pay anything to read or watch news by Indian digital news publishers at large.

“Additionally, the sheer amount of content we are generating, we are not able to communicate or showcase the same to the reader. We haven't been able to establish to the reader how we add value,” shared The Hindu executive.

Further Sindhwani added, as a news publication, if one has to do credible content then it costs money. Customers need to appreciate and value good content in order to be able to pay money for it. The sooner the audience will understand that, the sooner they will be able to differentiate between free content and paid quality content.

Trehan also observed a trend of upward revision of subscription rates for digital when bundled with other value offerings. As more and more products are being bundled along with the main offering, rates are being hiked. Games, puzzles, premium content, exclusive videos are now becoming a part of the 'All Access' subscription.

Sharma believes news subscriptions in India will see significant growth over the next two to four years and publishers will certainly need to focus on offering discrete quality content consistently for paid users.

“The Indian digital news readers are now much more evolved and so is the industry. Within the next few years, the industry will experience habit creation amongst the users of paying for a digital news subscription. This has already started happening in the metros and will further grow in the rest of the markets,” he added. 

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e4m by Aatsi Desai Jasani
Published: Aug 25, 2023 1:47 PM  | 1 min read

Twitter suffers massive outage for 2 hours

The problem reportedly started around 6.30 am on Thursday

e4m by sunny saini
Published: Dec 29, 2022 10:48 AM  | 1 min read
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Thousands of Twitter users were not able to login to their accounts on Thursday morning as the social media site experienced a massive outage for nearly two hours. The problem, which started around 6.30 am, lasted till round 8.30 am. 

Users were unable to log in on Twitter website. However, the microblogging site was working fine on mobile phones.

According to outage tracking website Downdetector.com., User reports indicate Twitter is having problems since 7:13 EST" . Some users also reportedly complained that their Twitter notifications were not working.

In India, Twitter users are getting this message while trying to access the website: “Something went wrong, but don’t fret — it’s not your fault. Let’s try again," with options to refresh or log out.

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How 5G is set to draw more advertisers to emerging tech & gaming

The gaming industry, the fastest-growing space in digital advertising, has the most to gain from introduction of 5G, given that India is a mobile-first country in every segment, say industry players

e4m by exchange4media Staff
Published: Jul 25, 2022 11:22 AM  | 4 min read
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The 5G spectrum auctions, set to begin on July 26, will see a total of 72,097.85 MHz of spectrum worth at least Rs 4.3 lakh crore put under the hammer. With Adani Data Networks now also staking its claim, in what was already a heated contest between Bharti Airtel, Reliance Jio, and VI (formerly Vodafone Idea), the amount is expected to exceed Rs 1 trillion, according to various industry experts.

The impact on the telecom industry aside, India’s subsequent adoption of 5G is expected to have huge implications on India’s growing digital economy, as well as its booming advertising and entertainment industry, which is expected to reach Rs 4,30,401 crore by 2026 at 8.8% CAGR, as recently reported by PwC's Global Entertainment & Media Outlook 2022-2026.

Mitesh Kothari, Co-founder and CCO, White Rivers Media, believes that consumers now understand internet technologies better than ever before. People who were cost-driven are becoming experience-driven and are actually willing to pay more for a better experience.

“5G is set to bring an immersive AR/VR, 4K video and mobile gaming experience to entice consumers. Plans clubbed with digital services are more likely to penetrate as people are more willing to pay for an ‘all-included’ experience. And, of course, 4G is going to be around anyway, so the ones who cannot afford 5G will always have an option,” he says.

On the impact of raised prices on the Indians who are about to come online, Ashwarya Garg, Co-founder, HYPD Marketing Technologies, said, “We have grown from 250M internet users to 900M internet users today. While the country today has 4G, there are still areas and localities where only 3G prevails. And in a few places, there is only 2G. It is rotikapdamakaan and the internet today. So, there is no question about a dip in internet adoption,” he says.

Garg further says, “With the release of any new technology, there is a race for faster and quicker adoption. We will surely see a lot of ATL/BTL and influencer-led activities, campaigns specifically designed to educate and adopt on the 5G networks. We should expect a lot of activation via gaming creators, YouTubers, and artists popular on OTT platforms, all of whom would educate them about the end use case.”

Juhi Hajela, VP of Global Marketing at now.gg, points out that despite its massive growth and future potential, with only 47 per cent internet penetration, India is still growing its connected base. “Over the years, we observed that mobile internet connections emerged as a driving force for internet access in India. As a mobile-first country, improved mobile data connectivity will bring a new wave of consumers to utilize the high-speed internet.”

New Ball Game

And the gaming industry, which is the fastest growing space in digital advertising, has the most to gain, given that India is a mobile-first country, across every segment. Experts like Rohit Agarwal, Founder and Director of marketing agency Alpha Zegus, point out that in a country where mobile gaming dominates over 80 per cent of the online gaming and esports segment, there is no doubt that data speeds and data charges hold tremendous value in the growth of this industry.

“The industry has already seen a CAGR of about 37% in the past couple of years, and telecom operators like Jio, VI, Airtel, etc. have accelerated the growth with the introduction of 4G at a highly competitive price point. In the next five years, the CAGR is expected to hit close to 40%, and in my opinion, over 20% of this would be driven by the introduction of 5G, as 5G will allow gamers from remote parts of India to play high-quality games with ease,” says Agarwal.

This would allow tournament organizers to organize more localized events with higher participation and will be able to reach a wider viewing audience. This, in turn, will give brands more sponsorship opportunities, not only to reach out to a bigger audience base but also to experiment with more complex advertising formats which would otherwise be very data dependent.

Gaming creators and streamers will benefit from this improved speed. That would also mean 3G, 4G connectivity will become highly affordable, allowing more consumers to access it.

“India is heading toward becoming the top gaming country in the world. We expect that with 5G auctions, the existing internet service that is already affordable will become faster, allowing Indians to follow their gaming passion. However, limiting device specifications is a real challenge for some players,” says Halja, concluding, “We believe that mobile cloud gaming solution is an excellent fit for the industry, allowing gamers to pursue their passion without being limited by low-end devices.”

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Razorpay row: Cause for concern for other digital payment brands?

Industry experts say while online payment firms have to be sensitive about user data, the controversy is unlikely to have a lasting impact on brand image

e4m by owais khan
Published: Jul 7, 2022 10:48 AM  | 4 min read
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The recent controversy surrounding Razorpay sharing AltNews donor data with the police has once again raised concerns around user privacy in digital domains. The internet has been standing divided for the past few days discussing the legalities and the impact of Razorpay’s move but could it have a lasting impact on the brand image or digital payments at large in the country? Marketing experts disagree.

Speaking to e4m, an industry expert mentioned that the agitation was not certainly only against Razorpay as a brand but about privacy laws or the lack of it. “The brand image might not get impacted in the longer run. Social media controversies die out as soon as they blow up. But yes, they must be making an effort to ensure their existing users and partners that their personal data is safe,” they added.

Rashid Ahmed, Head of Digital, Infectious Advertising had a similar response. “If there's a legally valid request by relevant authorities in India, it would be required of a business or service systems provider to provide requested user information, in accordance with the law. Most large digital enablement service providers have fairly thought through and detailed usage and privacy policies, and a request for data would likely have required a sign-off in consultation with their legal teams. Since the payment gateway provides services to a large number of businesses, it is unlikely that a volume of users who chose not to use the gateway will make any significant impact on the overall base.”

Privacy concerns to grow

However, the concerns around user privacy will only mount with increased user awareness. In fact, it’s not the first time that Razorpay or digital payment gateways have gotten into such a situation. Just a few weeks ago, Razorpay had complained that the company was unable to reconcile receipt of Rs 7.38 crore against 831 transactions as hackers and fraudulent customers stole the amount. And in May 2018, Paytm had come under fire for a similar situation after Cobrapost reported that it had shared personal data of users in Jammu & Kashmir with the Indian government. Albeit, the platform had denied any such claims.

Samsika Marketing Consultants MD Jagdeep Kapoor pointed out, “Privacy is going to be a concern but the platforms, which will keep working ethically and protecting the user data will see no harm in the long run. Brands really have to be sensitive about user data.”

Subscription-based news platforms safe

Asked if the whole controversy could bar people from subscribing to news outlets as data sharing with payment partners would be inevitable, the experts said that the decision would solely rely on the content that such publishers produce, and not on payment gateways.  

Kapoor highlighted, “Any industry these days: be it the payment gateways or publishers, or hotels, are taking a lot of user data. You cannot avoid sharing your data and therefore the onus to safeguard it lies on these companies. If a publisher is not tampering with your personal data or sharing it outside, I don’t think users will not subscribe.” 

However, Khan felt that the subscription-based model might take a hit. “Many transacting users also have their financial details such as cards, tokenized and set up with their preferred gateways. So, this may also propel businesses to opt for multiple payment gateway service providers.” 

Additionally, publishers and any such service providers might look for multiple payment gateways to give users the choice of preference. “Businesses requiring digital payment gateway services will likely opt for multiple service providers, to mitigate against service unavailability, or user preference where gateways is concerned. Many transacting users also have their financial details such as cards, tokenized and set up with their preferred gateways. So, this may also propel businesses to opt for multiple payment gateway service providers,” Khan said.

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1 year of Google News Showcase in India: 130 publications part of the programme

Google News Showcase now supports 8 Indian languages.

e4m by exchange4media Staff
Published: May 26, 2022 3:28 PM  | 2 min read
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Tech giant Google has signed deals with 80 media partners representing more than 130 publications for Google News Showcase, an online news experience programme. Launched last year in India with 30 publisher partners, Google News Showcase has completed one year in the country.

The tech giant's partners include Times Group, The Hindu Group, HT Digital Streams Ltd, Indian Express Group, ABP LIVE, India TV, NDTV, Zee News, Amar Ujala, Deccan Herald, Punjab Kesari, The Telegraph India, IANS, and ANI.

"This time last year, we announced a package of investments to support India’s news ecosystem, including launching Google News Showcase - our new product experience for readers and licensing program for news publishers," Google's Kate Beddoe, Director, News Partnerships, APAC, and Durga Raghunath, Head of India News Partnerships, said in an official blog.

"Since Google News Showcase launched in India last year, we’ve signed deals with more than 80 partners representing more than 130 publications, including national, regional, and local news organizations like Times Group, The Hindu Group, HT Digital Streams Ltd, Indian Express Group, ABP LIVE, India TV, NDTV, Zee News, Amar Ujala, Deccan Herald, Punjab Kesari, The Telegraph India, IANS and ANI. We continue to work towards adding more partners."

Google News Showcase has also expanded to more languages over the past year and now supports a total of 8 languages, including Kannada, Marathi, Tamil, Telugu, Malayalam, and Bengali - along with English and Hindi. "We’ve also continued our work providing training and resources for news businesses and journalists, for example, GNI Startups Lab, GNI Newsroom Leadership Program, and GNI Advertising Lab," the blog reads. Update

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Amazon miniTV to premiere short film 'Sorry Bhaisaab' on December 16.

Directed and written by Suman Adhikary and Sumit Ghildiyal, the film has Gauahar Khan and Sharib Hashmi in lead roles

e4m by sunny saini
Published: Dec 13, 2021 3:43 PM  | 1 min read
amazon mini tv

Amazon miniTV announces a short film – Sorry Bhaisaab, produced by Arré Studio featuring popular actors Gauahar Khan and Sharib Hashmi in lead roles. Directed and written by Suman Adhikary and Sumit Ghildiyal, Sorry Bhaisaab will premiere on 16th December for free, exclusively on Amazon miniTV on Amazon’s shopping app. The film is a relatable humorous take on the desires, motivations and aspirations of the middle class and their eternal quest for things to make their lives better.

“At Amazon miniTV, we always try to bring fresh, engaging and relatable content for viewers. We are delighted to partner with Arré Studio once again to bring yet another heartwarming and entertaining short film. This is a great addition to our library of award-winning short films”, said Harsh Goyal, Head of Amazon Advertising.

“Sorry Bhaisaab showcases the desires and aspirations of a common middle-class family with a relatable plot. This short film is a very special project for us, as at Arré, we endeavour to narrate different and unique stories that touch audiences’ hearts and entertain them thoroughly. We are delighted to collaborate with Amazon miniTV on this since it will give the film a wide reach across see millions of Indians from all parts of the country.” said Niyati Merchant, Co-Founder and COO, Arré................ 

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