Pitch Madison Advertising Report: Digital AdEx to grow by 30% in 2022

PMAR 2022, unveiled on Wednesday, says AdEx will witness a 20% growth this year to touch Rs 90,000 crore

e4m by exchange4media Staff
Published: Feb 16, 2022 4:26 PM  | 9 min read

The Pitch Madison Advertising Report, 2022, unveiled on Wednesday predicts a 20% growth for ADEX in 2022, taking the advertising expenditure to almost Rs 90,000 crore. After battling two waves of Covid in the last two years, commercial activities have returned with a vengeance and the report estimates that India will continue to be the fastest-growing advertising market in the world followed by Russia at 14%, the US at 13% and China at 11% going by WARC estimate of growth of global markets. Global AdEx is estimated to grow at 11%.

Analysis of macro factors, many media and industry-related events shows that the Covid impact on the economy has already started fading and we are onto the path of a robust recovery. The PMAR expects a wide variation in growth rates across different mediums with Digital growing by 30%, adding Rs 33,070 crore to its kitty.

In traditional media, Print is expected to add as much as Rs 18,750 crore and achieve a growth rate of 13%, followed by Outdoor which should add Rs 2,955 crore resulting in a growth of 36%. Cinema is to achieve a growth rate of 267%, which will take Cinema AdEx to Rs 500 crore. This is half of what cinema advertising was during pre-Covid levels in 2019.

Radio is touted to achieve a growth rate of 10% in 2022. This will take Radio AdEx to Rs. 1,910 crore. TV AdEx is set to grow by 14% to close at Rs. 32,100 crore. One must remember that these high growth rates are projected for Print, Outdoor and Radio because of high de-growth rates for these media in 2020.

The report was presented by ABP News. Colors Marathi and Yahoo were the Co-Powered By Partners while Xapads was the Lanyard Partner. GNT was the Co-Partner Sponsor for the event.

Sam Balsara, Chairman and Managing Director, Madison World, while unveiling the report, said, "While we had forecasted a 20% growth in AdEx in 2022, we were surprised to see the industry growing by 37% in the last year. In fact, not just in India, we saw advertisers spending money with vengeance. India remained the fastest growing advertising market."

"While digital advertising grew more than 60% over 2019, traditional advertising saw a dip of 6% in 2021 over 2019. TV was the only traditional medium that surpassed the pre-Covid revenues. A number of cricketing tournaments and reality shows have contributed to this growth. For 2022, after carefully considering multiple micro and macro trends globally, we forecast a 20% growth in the overall AdEx, taking the Indian advertising industry’s value to 90,000 crores. India will remain the fastest-growing advertising market, followed by Russia (14%), the USA (13%), and China (11%). While we expect traditional AdEx to grow by 15%, digital will be growing by 30%. In fact, digital might surpass television as the largest advertising medium. It is expected to grow by eight thousand crores to reach 33 thousand crores in valuation over 2022," he said.

"I would advise the advertisers to take advantage of the evolved digital infrastructure for distribution and advertising to prepare for the future growth and to invest in building their own D2C channels. In our view, BARC under reports the HD homes," he added.

Please find the detailed report here: https://e4mevents.com/pitch-madison-advertising-report-2022/

Following are the highlights from the report:

Boom Time for TV

TV AdEx put in a spectacular performance, registering a high spend of Rs 28,151 crore which represents a 25% growth in 2021, preceded by a 11% de-growth in 2020. TV is the only traditional medium that has comfortably surpassed the 2019 number of Rs. 25,291 crore by as much as 11%. While Q1 started softly with a de-growth of minus 6% over 2019, each subsequent quarter has gained steam with TV AdEx growing in size. Q3 and Q4 of 2021 registered a sharp increase of 35% and 58% over respective quarters of 2019. Q4 marginally surpassed the high base of the corresponding quarter in 2020. This low growth is because Q4 2020 had the full IPL, whereas Q4 2021 had only half of IPL which started in Q2 but got suspended and resumed in Q4. FMCG, E-Commerce and Education were the biggest contributors to the TV AdEx. However, FMCG, the most dominant sector with a share of 51% in 2020, lost as much as five percentage points and was down to 46%. 

Digital: Superstar

In 2021, Digital has grown by a phenomenal 50% taking Digital AdEx to Rs 25,438 crore with a share of 34%, just 4 percentage points lower than the largest medium TV. The last time Digital grew by 50% was way back in 2012, when it added just Rs 750 crore, but in 2021 it has added almost Rs 8,500 crore. In the last 10 years, Digital has grown at a compounded annual growth rate of 27%. Even Covid could not dent its onward march and it grew by 10% in 2020, when all other mediums de-grew. With the festival and resumption of the IPL season, Q4 was the largest quarter, where Digital AdEx touched almost Rs 10,000 crore and contributed 39% to the full year. Q2 contributed the least at 14%, because of Covid wave 2. In terms of verticals, Video contributed the highest with a total share of 29%, followed by Social & Display at almost 20% each. E-commerce and Search now contribute 16% each to the overall digital pie. In terms of growth rate, E-commerce has grown significantly by as much as 50%. Display, Video and Search have also grown substantially at 30%+.

Renaissance In Print

2021 was kind to Print, when Print AdEx registered a 39% growth, following a sharp 41% decline in 2020. Unfortunately, this steep growth does not make up for the sharp decline in 2020 and Print AdEx in 2021 is at the same level as it had reached way back in 2015. An encouraging trend noticed in 2021 is that Print volume in terms of CC has also gone up by 31% with both English and Hindi publications having marginally increased their CC share. Quarter 2 was severely depressed because of Covid Wave 2, but Q3 almost matched up to volumes of the same Quarter of 2019. Infact, in Q4, Print volume surpassed that of Q4 in 2019. Growth rates in all Quarters are predictably very good in CC terms, compared to Covid year 2020. But Print Adex 2021 could not match up to Print Adex of 2019 and shows a 16% drop in volume compared to the pre-Covid year. English and Hindi publications put together, contribute to 63% of total Adex volume. English publications have been the highest gainer in terms of Ad volume and grew 40% over 2020. Hindi publications, which are the largest volume contributors, also grew by 30%, Telugu by 37%, Assamese & Marathi by 33% and Bengali by 27%. All languages grew, the least to have grown are Kannada, Gujarati and Punjabi at around 18-19%.

Radio: Strong Waves of Recovery

Radio saw a 36% increase in spend (followed by a 44% de-growth in 2020). Radio Adex has failed to recover fully and the estimation of Rs. 1,733 crore in 2021 takes Radio back to the year 2016, when it had registered a spend of Rs.1,749 crore. In terms of share, Radio Adex which had registered 4% in the years 2015, 2016 and 2017, now stands at only 2%, which is similar to what it achieved in 2020. Almost all Radio operators to increase their revenue base, have now started looking at adjacent areas to augment their FCT base revenue. Digital engagement, content and newer distribution channels are some of the areas being focussed upon. Resumption of economic activities in Tier II and Tier III markets also attracted many local advertisers to Radio.

OOH 2021: Traffic Jam Clears

Out-of-Home has bounced back in 2021 with a 69% increase over 2020, but falls way short of the figures achieved in pre-Covid 2019. According to the report, Rs. 2,178 crore were spent in OOH way below the Rs. 3,495 crore spent in 2019, but substantially higher than Rs. 1,292 crore spent in 2020. In terms of Share, from a steady share of 6% which it enjoyed for many years till 2019, OOH has slipped to 3%, but has gained 1% share over 2020. Conventional OOH market grew at 63%, but Transit Media grew by almost 100% in 2021. However, when compared with the year 2019, Conventional OOH market degrew at 28% and Transit Media degrew by 63%. Digital OOH in India, in keeping with global trends is beginning to take root. In 2021 there were 60,000 screens, up from 55,000 in 2020. DOOH spends also moved up phenomenally from Rs. 50 crore to 300 crore in 2021. Digital OOH now has a share of 13.77%, but is far below the global average of 40%. 70% of OOH spends came in the second half of 2021. And while Q2 was severely suppressed with a 70% drop compared to 2019, Q4 was a bumper Quarter when spends more than doubled over 2020 and surpassed 2019. 41% of annual spends came in Q4.

Cinema 2021: Collapse Continues

From a high of over Rs. 1,000 crore in 2019, Adex has dwindled down to Rs. 136 crore in 2021. This collapse is no doubt, not due to Advertisers losing confidence in Cinema Advertising, but because Cinemas were closed for long periods of time, in the last 2 years and because of audience’s hesitancy to visit places with large numbers of people in closed air-conditioned places. Out of a total of 6,700 screens pre Covid, as many as 800 screens closed down or were not active even when blockbusters like Sooryavanshi, Annatthe and Pushpa were released. Multiplex screens, numbered at 2,439 over 595 properties owned by 5 operators led by PVR, now account for 41% of all screens. As against 1,400 new movies released in 2019, new releases dwindled down to 69 in 2020 and  140 in 2021. Out of 140 releases across 10 languages, only 25 releases did good business. Most of the releases were in Hindi and Bengali. South Indian languages which normally have a high number of new releases remained virtually absent.

Top Advertisers of India in 2021

In keeping with the technology boom, 15 new-age Companies / start-ups have entered PMAR’s top 50 list, altering the composition of this list. These are Dream 11 at No. 3, BYJU’s at No. 5, Phone Pe at No. 12, Upstox at No. 13, My 11 Circle at No. 14 and many others including CRED, Netmed, MPL, Policybazaar, Unacademy, WhiteHat Jr, Swiggy, Netflix, Coin Switch Kuber and Coin DCX, coming lower in the pecking order. FMCG still dominates the list with 15 players all with high ranks, but their dominance is decreasing. Six out of top 10 are FMCG Advertisers, Hindustan Unilever, Reckitt, P&G, Reliance, Mondelez and ITC. While Unilever continues to top the list consistently, Amazon reappears at number 2 and BYJU’s is now at number 5. While many Advertisers like Dream 11, My 11 Circle, Google, L’Oreal and MPL (Gaming) gained many ranks, Pepsi, Amul, Nestle, VI and Hero Motors dropped many ranks. Top 50 Advertisers account for 38% (last year 35%) of Adex and top 10 continue to account for 18% of total Adex or 48% (last year 50%) of the top 50 list. Television and Digital continue to be the favourites of top Advertisers accounting for 88% of their total spends. Top 50 Advertisers now spend 30 % of their budget on Digital alone (up from 14 % last year).

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Flipkart assigns digital AOR mandate to 22feet Tribal Worldwide

The mandate includes managing Flipkart’s digital campaigns and strategy

By exchange4media Staff | Feb 7, 2023 11:03 AM   |   1 min read


Flipkart has awarded its digital AOR mandate to 22feet Tribal Worldwide, following a multi-agency pitch.

The mandate includes managing Flipkart’s digital campaigns and strategy.

Commenting on the win, Preetham Venkky, President - 22feet Tribal Worldwide & Chief Digital Officer, DDB Mudra Group said, “With this digital AOR mandate, we are thrilled to be partnering with Flipkart. Our commitment to creatively enabling Flipkart’s next stage of growth with an increased focus on strengthening their commercial spectrum is hugely exciting. Our teams will provide unexpected and clutter-breaking solutions to help India’s homegrown e-commerce market leader overcome new challenges in the online marketplace.”

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Ogilvy wins creative mandate for Eveready India

The mandate will be handled by Ogilvy’s Mumbai and Kolkata offices

By exchange4media Staff | Feb 7, 2023 10:46 AM   |   1 min read


Eveready has appointed Ogilvy India as their creative partner. The mandate will be handled by Ogilvy’s Mumbai and Kolkata offices.

Anirban Banerjee, Senior Vice President & Business Unit Head - Battery & Flashlight, said: “The brand which started off describing a powerful battery with ‘Give me Red’, went on to define a generation. We are thrilled to partner with Ogilvy on Eveready’s transformation to re-energise the brand and increase its relevance among the new generation, across its batteries, flashlight and lighting businesses.”

Piyush Pandey, Ogilvy’s Chairman Global Creative & Executive Chairman India, said: “Ogilvy is delighted to partner Eveready. A brand that touches all parts of India from urban to rural. We look forward to creating exciting work that builds both brand and business.”

On the win, Sukesh Nayak, Chief Creative Officer, Ogilvy India said, “From growing up with these batteries firing up my imagination by bringing all my toys to life to being able to partner the team in charting the next journey of ‘Give me Red’ is truly humbling. My team and I are super excited about this win, and we can’t wait to partner and create work that captures the imagination of everyone.”

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ASCI scans 45,000 digital ads every month: Manisha Kapoor

As controversies and violations of the ASCI code rise in tandem with digital advertising, ASCI CEO and Secretary General Manisha Kapoor calls for brainstorming within the creative industry

By Kanchan Srivastava | Feb 7, 2023 9:03 AM   |   5 min read

asci manisha kapoor

As digital advertising has witnessed an exponential rise over the past couple of years, the challenges of the advertising standard council of India (ASCI) have also gone up. 

Tracking misleading campaigns across the digital universe is far trickier than scrutinising those on mainstream TV and print media.

While a large number of brands, especially startups and SMBs, advertise on social media only, making the sheer number of digital advertisers huge, digital ads are created and replaced quickly, making ASCI's job even more challenging.

The self-regulatory organization has deployed AI-based software that identifies a whopping 45,000 digital campaigns a month for violations of various codes. This is almost double compared to the numbers two years ago.

“Out of 45,000, on average 500 ads are taken up for further probe every month,” says Manisha Kapoor, CEO and Secretary General of the industry’s self-regulatory body.
Besides proactive monitoring, ASCI also receives plenty of consumer complaints against misleading ads on digital platforms, thanks to increasing awareness and sensitivity among Indians.

“Digital ads account for almost half of the cases that ASCI deals with, followed by Print (47%) and then TV (3%). Radio and outdoor campaigns rarely land in trouble as they are much smaller platforms compared to others”, Kapoor points out, highlighting the scale and scope of ASCI’s work in the expanding digital ad market in India.

How does the AI software work?

Meta library lists all ads on the meta platform. The AI-based software red flags only those ads which use certain keywords that are generally used by advertisers to mislead consumers.

Kapoor explains, “For instance, in the food category, the software can track ads that carry the 'immunity booster' phrase. Similarly, in the education category, '100 % jobs' is the catchword. Unless the brands submit solid evidence to prove their claims, such ads are considered misleading.”

Instagram tops in misleading ads

Over 80 percent of misleading ads were floated on leading social media platforms led by Instagram (43%), followed by YouTube (28%), Twitter (6%) and Facebook (3%), ASCI’s data reflects. Websites (18%) also contribute to propagating misleading ads, Kapoor explains.

Kapoor adds that disguised advertising on social media is another challenge for the self-regulatory body, “Many digital ads mimic content. Influencers and blog writers are making ASCI’s jobs even tougher.”

The software also has a certain limitation when it comes to audio ads. “Audio and outdoor are much smaller platforms. Even though our software can’t scan audio ads, we take consumer complaints in this regard,” Kapoor insists.

The majority of advertisers caught by ASCI are D2C brands. Education (26%), Healthcare (15%) and personal care (12%) categories are the top violators. Content violation and Influencers' non-disclosure violations have gone up two-fold over the last four years in the beauty and personal care segment alone, ASCI has found.


Does the ASCI have enough resources to do a fair job considering its workload and the challenges of the digital advertising ecosystem?

“Even if you have a full army with you, it is difficult to track digital ads. We use filters to prioritize our work. For instance, from April to June, we divert our resources to track education ads and December-January we keep a close tab on skincare and moisturizer ads. This allows us to make a shortlist and then we go through ad by ad. Some violations may be nuanced that require human intervention. Those are taken up by our expert panel,” Kapoor explains.

In two years, the number of ad violations has shot up by 80 percent. We are able to handle the work with the same physical infrastructure and resources. We are smart and quick about what we are tracking, she tells with pride.

Advice to advertisers

Every year, a lot of advertisements land in political controversies, are trolled by social media armies and are sometimes retracted by brands. What advice would she like to give the brands to avoid such troubles?

Kapoor says frankly, “Go all out and be creative as long as you are complying with the ASCI code. We would like to see successful advertising. It's a very vibrant field and has been part of our life and culture. Great advertising must be great for consumers and all stakeholders. We have seen some great advertising that is compliant. We would love for them to be interesting, and entertaining and use more formats. Brands should not take up social issues without understanding nuances.”

Such brands are neither thoughtful nor seek advice from domain experts. Hence, they are caught on the wrong foot. If a brand wishes to steer clear of controversy, it has to be more mature and meaningful. Our report “What India takes offense to' released in 2022 has given enough insight into what triggers people. Obvious pitfalls can surely be avoided, Kapoor advises.

“However, a few controversies can't be predicted as people always have their points of view. That is the cost of doing business. If your work can get trolled in a healthy way, it's fine. It should not become a law and order problem,” Kapoor says.

“We are living in a hypersensitive world. People are becoming more and more sensitive, not only in India but across the world and rightly so. It's a difficult time for the industry to navigate these issues but there is no choice. Brainstorming is the need of the hour”, she opines.

Adequate diversity needed

Adequate diversity in creative advertising is very crucial. It will help advertisers and agencies have a more rounded approach while making campaigns. Besides, brands should back the ad they have put out. Companies can come to us and seek advice about potential violations before making an ad.

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GREY Group India & Netmeds celebrate the courage of cancer fighter Anchal Sharma

‘The Girl In Red Lipstick’ campaign has been conceptualised by GREY group India

By exchange4media Staff | Feb 7, 2023 8:12 AM   |   2 min read


This World Cancer Day (4th February), Netmeds is celebrating the courage of Anchal Sharma, a cancer fighter.

The film conceptualized by GREY group India is based on the true story of Anchal Sharma called, “The Girl in Red Lipstick”. The film aims to spread the message for cancer fighters and caregivers #SilenceCancerNotTheFight

Anchal Sharma, a cancer fighter, used red lipstick as her weapon to find courage and fight the struggles of cancer treatment. Not only did she keep her head held high, but also used the lipstick to spread her positivity among other fighters. The bright hue on her beaming smile is what stood out for everyone around her as a constant reminder to not give in and keep fighting.

Speaking about this film, Sandipan Bhattacharyya, Managing Director & Chief Creative Officer, GREY group India said, “In Anchal’s story we saw something that could truly inspire everyone who takes on cancer. It’s a story that needs to be shared so we all can get a bit of her courage and that incredible zest for life.”

Shantanu Saha, Chief Marketing Officer, Pharma Business, Reliance Retail, said, “The thought behind this film stemmed from the fact that Netmeds, as an empathetic intermediary between the care receiver and the caregiver, has so many humane stories to tell. These stories are stories we are exposed to on a daily basis. Stories that come back to us from our delivery staff, our customer service staff and from our own networks of friends, colleagues and family. Why not share a few of these stories of healing, courage, wellness & hope with our audience, through the medium of short stories with real-life protagonists. This World Cancer Day, we share the story of Anchal Sharma. A story of sheer grit, positivity and the willpower to want to live life and spread hope, on her own terms. It sits well with our Brand Purpose, which is to provide genuine medicines, at a reasonable price and on time, to the caregivers and care receivers who buy from us. By doing this, we attempt to help deliver, in our own small way, wellness and hope to everyone across the whole nation. We are after all ‘India ki Pharmacy’.”

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Otrivin & Wunderman Thompson create ‘non-toxic’ pencils for school kids

Pioneering project initiated by Haleon brand and Wunderman Thompson Singapore installs air purifiers in schools to collect toxic air particles and turn them into ‘Otrivin Pollution Capture Pencils’

By exchange4media Staff | Feb 6, 2023 1:22 PM   |   3 min read


Nasal health brand Otrivin has launched a pioneering clean air initiative called ‘Otrivin Pollution Capture Pencils’. The innovative project collects pollution by-products and uses them to make (certified non-toxic) pencils for underprivileged children in Bengaluru, India.

Developed in collaboration with Wunderman Thompson Singapore as part of WPP Team GSK/Haleon for the Otrivin Actions to Breathe Cleaner programme, the project has focused on Bengaluru.

For this initial phase of the project, twenty-two air purifiers, with the ability to wipe out up to 74% air-borne pollutants, were installed both inside and outside the school buildings to improve air quality for over 1,500 young students.

Over two months, the specially designed purifiers, which use revolutionary soot cleaning technology developed by Indian innovation company Panjurli Labs, and cleaned over 2 billion cubic feet of toxic air.

The resulting pollution residue was gathered and mixed with graphite to create the core of 10,000 custom-designed pencils. Certified non-toxic, Otrivin’s Pollution Capture Pencils were distributed to students, and will also act as fundraising tools for the installation of more air purifiers in local schools – thereby creating a self-sustaining ecosystem for change.

Farhad Nadeem, Global Marketing & Digital Director, Otrivin, said: “We at Haleon and our creative partners are led by our purpose – to help people breathe cleaner. The Otrivin Actions To Breathe Cleaner initiative is built on the premise that no action is too small when it comes to reducing our exposure to air pollution. The Otrivin ‘Pollution Capture Pencils’ pilot in India is one such action that attempts to convert air pollution into positivity. We hope that this initiative, while not solving India’s pollution challenge, inspires people to take simple actions to make the world a better place to live in and breathe.”

The collaboration is supported by a launch campaign developed by Wunderman Thompson Singapore, working in conjunction with a wider team at WPP including Wunderman Thompson India and Grey London.

Wunderman Thompson Singapore’s Creative Director, Aarti Nichlani, who has been involved with the project from the start, says: “Air pollution is not going away in a hurry. Meanwhile, it’s the poorest children who bear the greatest burden. An innovation like Pollution Capture Pencils helps make a change at a time when children need it most… today.”

Wunderman Thompson Singapore’s Chief Creative Officer, Mateusz Mroszczak, says of the project: “The biggest reward for any creative agency is to deliver an idea that works both for the client and the greater good. An opportunity like this doesn’t come by often. We’re really proud to have partnered with Otrivin to take a small, but meaningful step to help bring cleaner air to India’s children.”

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For Valentine’s Day, CaratLane shares stories of love in #KhulKeKaroExpress campaign

The campaign is created by BBH India

By exchange4media Staff | Feb 6, 2023 1:01 PM   |   2 min read


CaratLane, an omni-channel jewellery brand, has launched its Valentine’s Day campaign, “Khul Ke Karo Express”. Building on the brand’s core purpose to help consumers express themselves, the campaign brings forward multiple stories inspired by real CaratLane customers sharing their emotions. While spouse gifting is still the majority of the gifting orders during Valentine’s Day, the brand has also seen other relationships like mother-daughter, self-gifting, and sibling-gifting emerging in a big way. The campaign video showcases the roller coaster dynamic between a father and daughter, the unsaid love story of a husband and wife, and the affection shared by a son and mother. The video subtly captures the narrative of how sometimes we are caught in the monotony of life and miss expressing our love to our loved ones. The #KhulKeKaroExpress campaign has been conceptualised and executed by “BBH India (a Publicis Groupe agency)”.

To bring this campaign to life, CaratLane has also introduced an exclusive message card in their gift box. This card has a QR code to add a personalised message, integrated with AR activation in-stores. This allows consumers to express their message without hesitation and adds to a customised jewellery experience to make Valentine’s gifts truly unforgettable.

Talking about the campaign, Jennifer Pandya, VP Marketing of CaratLane, said, “We are very excited to launch this campaign in time for Valentine’s Day. We know that the brand plays a big role in enabling people to express their emotions to their loved ones through the gift of jewellery, but as humans, we don't always find it easy to express what we really feel. So we wanted to champion the expression of emotions. Our consumers tell us that the biggest payoff while gifting is the joy and happiness they see on the receiver's face when they unbox the gift. Through this campaign, we have tried to capture these emotions, joy, happiness, and excitement - to encourage everyone to express their emotions.”

Aarti Srinivasan, ECD, BBH India added, “In a technologically advanced world, it's refreshing to take a moment and show the old-school way.  Remaining true to BBH’s ‘Zag’ philosophy and CaratLane’s mission to help people express emotions, we wanted to elevate the feeling of gifting by focusing on the moment of gifting; of looking into someone's eyes and expressing what you feel unabashed and at the same time see the emotions of the receiver. Hence, the thought of #KhulKeKaroExpress was born.”

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In RummyCircle’s new film, Hrithik Roshan talks about making the right choices in life

This is the fourth edition of ‘raho ek kadam aage’ campaign

By exchange4media Staff | Feb 6, 2023 12:44 PM   |   2 min read


RummyCircle has launched the fourth edition of its Raho Ek Kadam Aage campaign with brand ambassador Hrithik Roshan, which features exciting action-packed stories of how the star uses his skills to deal with real-life scenarios and his game of online rummy.

Continuing with its underlying theme, the fourth edition of this popular campaign focuses on how foresight, skill, and intelligence are crucial for skilled and responsible gameplay.

The year-long campaign has featured multiple creative films around the central theme of skill gaming using the catch line of Raho Ek Kadam Aage, highlighting the use of planning, critical thinking, situational responses, and decision-making, etc, as winning strategies. Four campaigns have been released in a span of a year-long engagement with Hrithik Roshan as RummyCircle’s brand ambassador, regularly infusing new energy into the campaign and sustaining consumer interest.

Commenting on the campaign, Avik Das Kanungo, Associate Vice President- Brand and Marketing Strategy, Games24x7 said “We are thrilled to present the fourth edition in our series of Raho Ek Kadam Aage campaign with Mr. Hrithik Roshan, where he brings his highly skilled and action-packed moves to highlight how he makes the right ‘choice’ to win in life and in rummy. We’ve had an extremely exciting year where we’ve attempted to build the category and reinforce the core brand message of skilled and responsible gameplay while showcasing the thrill of the game. The campaigns have been successful in highlighting RummyCircle as a preferred platform for online rummy where players can hone their gameplay and compete with other skilled players.”

The film in fourth edition of the #RahoEkKadamAage campaign shows Hrithik set in a surreal space where he equates the importance of choosing the right script, with making the right moves in the game of Rummy. He’s also seen carefully making a ‘choice’ to discard and pick the right cards in the game. The film has been designed by DDB Mudra. The fourth leg of this multi-media campaign will be digitally led and will engage consumers through popular video platforms like YouTube and Sharechat as well as various OTT and social media platforms.


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