Preparing for media production involves thorough planning and organization to ensure a smooth and efficient workflow during the actual production phase. Here’s a step-by-step guide to help you prepare effectively:
1. Define the Project Scope and Objectives
Clarify the purpose, target audience, and key message of the media production.
This phase builds the blueprint: finalize the script, secure funding, cast actors, scout locations, storyboard shots, create budgets/schedules, and hire key crew (e.g., DP, production designer). It minimizes overruns by locking logistics.
Case Study: “Paranormal Activity” (2007): Oren Peli self-financed $15,000 for script polish, single-location home setup, and handheld camera tests; pre-vis focused on minimalism (no VFX), enabling a 40-day micro-budget shoot that grossed $193M.
Key Activities:
Scriptwriting and Development: Creating and finalizing the screenplay or script.
Budgeting and Financing: Estimating costs and securing funds from producers, investors, studios, or distributors.
Casting: Selecting actors and key crew members.
Location Scouting: Finding and securing shooting locations.
Scheduling: Planning the shooting timeline.
Set Design & Costume Planning: Designing sets, costumes, and props.
Legal and Administrative Work: Securing permits, contracts, and insurance.
Business Aspects:
Pitching the project to investors is a common task.
Contracts and negotiations with talent and crew.
The project often entails significant upfront costs, with no revenue yet being generated.
2. Production
Principal photography captures footage under tight control: set builds, lighting/camera rigs, actor direction, sound capture, and daily wraps with dailies reviews. Line producers handle contingencies like weather or actor no-shows.
Case Study: “Avengers: Endgame” (2019): A 6-month Atlanta shoot with 3,000+ VFX shots planned; daily coordination of 100+ actors (e.g., Hemsworth, Downey Jr.), massive sets (e.g., Avengers HQ), and NDAs cost $356M total, with production eating 60% via helicopter rigs and pyrotechnics.
Key Activities:
Principal Photography: Actual filming of scenes.
Direction and Cinematography: Directors and cinematographers oversee creative execution.
Sound Recording: Capturing dialogues and ambient sounds.
On-Set Management: Coordinating logistics, managing schedules, and solving issues.
Business Aspects:
Here, we spend a significant portion of the budget on equipment, personnel, and locations.
Efficient management is essential to control costs and avoid overruns.
Production insurance is critical to mitigate risks.
3. Post-Production
Assemble raw footage into a final cut: editing (rough to fine), sound design (Foley/ADR), VFX compositing, color grading, music scoring, and mastering for distribution (DCP/streaming). Test screenings refine pacing.
Case Study: “Mad Max: Fury Road” (2015) 8-month post on $150M budget transformed 500 hours of desert footage; editor Margaret Sixel cut 2,800+ shots into 120-min action frenzy, adding 2,000+ VFX (e.g., flame-throwing trucks) and sound by Mark Mangini, yielding 10 Oscars and $380M at the box office
Key Activities:
Editing: Cutting and assembling footage into the final film.
Visual Effects (VFX): Adding digital effects and animations.
Sound Design and Mixing: Enhancing audio, adding music and sound effects.
Color Grading: Adjusting color for artistic consistency.
Finalizing Prints/Formats: Preparing the film for distribution (theatrical, digital, TV).
Business Aspects:
Post-production costs include editing suites, VFX studios, and sound engineers.
Marketing and promotional materials (trailers, posters) are often developed here.
Final product readiness for distribution and sales.
Summary Table: Film Business Stages
Stage
Main Activities
Key Business Focus
Typical Costs
Pre-Production
Script, casting, budgeting, planning
Financing, contracts, scheduling
10-20% of total budget
Production
Filming, directing, sound recording
Managing budget, logistics, personnel
50-70% of total budget
Post-Production
Editing, VFX, sound, color grading
Finalizing product, marketing prep
20-30% of total budget
Additional Business Considerations:
Revenue Streams: Theatrical release, digital streaming, TV rights, merchandising, and international sales.
Distribution: Deals with distributors for releasing the film in various markets.
Marketing: Critical to generate audience interest and maximize box office or viewership.
Legal & Copyright: Managing intellectual property rights, licensing, and royalties.
The film business is capital-intensive and high-risk but can be highly rewarding with successful projects. Effective management across all stages is crucial for profitability.
Production management is a structured way to turn inputs (like raw materials, labor, and machinery) into outputs (like finished products) in the most efficient way possible. It usually has three steps: planning, execution, and control.
Media production management follows an iterative process, adapting project management principles to creative workflows, typically structured into five interconnected stages—development, pre-production, production, post-production, and distribution—to deliver content like films, videos, or campaigns on time, within budget, and aligned with audience intent.
Development Stage: Ideas are conceptualized, researched, and refined into a viable project brief, including audience analysis, narrative outlines, genre conventions, and initial feasibility studies. Example: For a corporate ad, evaluate competitor videos, draft a 30-second story arc, and test mood boards for client buy-in.
Pre-Production Stage: Detailed planning occurs: script finalization, storyboarding, budgeting, scheduling (e.g., Gantt charts), casting/crew assembly, location scouting/permits, and equipment procurement. This phase locks resources to avoid costly changes. Example: Assemble a 10-person team, secure a studio for 5 days, and allocate Rs 5 lakh for a regional film promo.
Production Stage: Principal content capture happens: set up lighting/audio/camera, direct talent, record footage/B-roll, and manage daily logistics like call sheets and catering. Real-time adjustments handle issues like weather. Example: Shoot 20 scenes in a village over 3 days under PMGSY roads for authentic rural visuals.
Post-Production Stage: Raw assets are edited into final form: rough/fine cuts, sound design (Foley/ADR), VFX/color grading, music scoring, and approvals. Tools like Premiere Pro track revisions. Example: Trim 50 hours of footage to 2 minutes and add Telugu voiceover and subtitles for Tollywood distribution.
Distribution and Evaluation Stage: Final masters (e.g., DCP for theaters) are delivered, promoted via social media/trailers, and performance analyzed (views, engagement). Feedback loops inform future projects. Example: Launch on YouTube/LinkedIn, tracking 1M views and adjusting for sequels.
A. METHOD OF LADDERING SERVES AS A GUIDE TO CREATIVITY
Introduction
Laddering is a technique to find out what people value. The method of laddering as a guide to creativity is a technique that is particularly advantageous in drawing goals and essential values, and therefore, perhaps helpful during early stages of creativity. The creative advertisements are more effective in motivating people to buy products than advertising that simply lists product benefits and features.
According to Stephan Vogel, Ogilvy and Mather Germany’s chief creative officer, “Nothing is more memorable, longer lasting, works with less media spending, and builds a fan community…faster.” However, categorizing product benefits comprises finding out what the consumer really needs and wants, not just listing various product features.
Laddering of creative techniques
Laddering is a method for creating a framework that serves as a starting point for initiating creative work. It is primarily a method that involves addressing both general and specific ideas related to creativity. The idea ladders provide a foundation for creative work, beginning with specific ideas. There are five laddering creative techniques, which are as follows:
1. Problem definition
The first technique is problem definition, which includes problem analysis and all other features associated with clearly defining the problem.
2. Idea generation
Idea generation involves the divergent processes of generating ideas.
3. Idea selection
Idea selection is a convergent process that involves distilling numerous ideas into practical solutions.
4. Idea implementation
In the idea implementation step, the marketers or researchers turn the refined ideas into reality.
5. Processes
In this step, marketers or researchers identify the structures and methods that examine the entire process of creativity from start to finish.
Case study
Laddering creative techniques (Regular Beer versus Craft Beer)
Regular beer is generally mass-manufactured and is usually a pale yellow that is delightful when ice-cold and in large volumes. However, craft beer centers more on flavors and habitually has higher alcohol content than regular beer.
Regular bear
Craft Beer
Laddering techniques involve comparing specific ideas to general ideas.
The specific ideas
The craft beer centers more on flavors and habitually has higher alcohol content than regular beer. It is a complex mix of ingredients and processes that leads to the winning position in the world of craft beer.
The craft beer industry has evolved over years through small innovations in key aspects of the brewing process. The craft beer society aspires for its members to resemble the finest of their beers, possessing not only hidden depths but also an amber quality.
The general ideas
The general ideas come from the derived themes, like points of departure, which can be further developed in a potential text. For example, craft beer brings a revolution to the beverage industry with its breakdown into many types and flavors that make up a successful drink.
B. ADVERTISING FORMULATION
Introduction
Advertising formulation is the process of defining a campaign’s goals and objectives. It allows formulators to create a guide. It studies the market and uses those figures to regulate what campaign methods will be best at reaching consumers and enticing them to seek the business service.
Advertising formulation is defining what you want to achieve in terms of promotion. It could be as easy as telling potential customers what you sell and how it helps them. The general objective of an advertising campaign is to inform people about the product, convince buyers, and make it available to customers. The steps of advertising formulation are as follows:
1. Research
Conducting market research for the product under advertisement is the first step. One needs to find out the product demand, competitors, and others.
2. To know the target audience
In the first step, we need to know who is profitable enough to buy the product and who the targeted audience should be.
3. Setting the budget
In this step, establish the budget by considering all elements such as presentation, media, and other necessary formalities that contribute to the advertising process and identify areas that require funding.
4. Determining the theme of advertising
The campaign’s theme must be based on the brand’s advertising colors, size, shape, graphics, music, and jingle.
5. Selecting suitable media channels
The selection of appropriate media should focus on those that will effectively reach the target customers.
6. Media scheduling
The scheduling of media channels suitably helps to reach target consumers at the right time or in the right place.
7. Executing the campaign
At the end the campaign has to execute, and then the feedback should be taken.
A means-end chain is well-defined as comprising an interconnected set of cognitive components that permits an individual to select objects or activities that enable him to achieve his desired end states. Thus, the means-end chain permits focusing on the basic aims consumers have in life while not losing sight of how these aims influence choices in specific situations.
The process of categorization is proposed as the mechanism by which consumers organize thinking about specific product alternatives so as to create selections of products that will be instrumental in helping them achieve their values. If this connection can be made, the bases consumers have for creating sets of similar products will be understood more systematically.
Elements of Means-End Theory
1. Attributes
Attributes are the basic characteristics of the product, such as physical or technological.For example: A person who buys a tablet device because it offers the same capabilities as his laptop.
2. Benefits and consequences:
Benefits and consequences Consider how useful the products are.
For example, a person who travels a lot for his job. He buys a tablet because it is easier to carry around than his heavy laptop. The benefit is that he no longer has to carry the heavier laptop.
3. Values
Values consider your customers’ ego.
Ego is the amount of pride that is associated with using branded products (like Apple brand).
For example, when a person buys Apple Company’s tablet because it is new and sensational, and carrying it from one place to another makes him/her feel like he/she is a part of a high-class club.
A company is most effective and prosperous when they are able to use all three components of the means-end methodology in their marketing. This means that a company should consider features, benefits and consequences, and values when introducing a new product or transforming an old one.
Customer relationship is an exceptional bond shaped between buyers and a brand as a result of various marketing, sales, and customer service processes. Decent customer relations grow over time and it continue if the consumer-business connections are favourable for both parties. How to build and maintain customer relationships there are few point are given below:
1. Communicate effectively
The mainstream of the problems that arise in a client-agency relationship is affecting from unclear communication. Both the customer and the agency should make themselves available to each other. The client want to communicate with the advertising agency to know how they helping their goals and business overall. Use this time; share all the qualitative and measurable data with clients which helps to understand the progress of campaign working on it. Not ever miss a chance to have these conversations with your clients.
2. Effective customer feedback
Relationships miscarry when client hopes are not encountered and disappointment is unnoticed.In its place of questioning if your customers are pleased with your agency’s services or need any progress, it time to takes direct feedback from clients. This not only helps you evaluate your agency’s performance, but also shows your promise towards confirming a positive involvement for them at every stage.
3. Share information
In maximum cases, the client has taken on an agency to fill a gap in their business and want to see value for money. The agencies most important job is to be the experts’ advice to client. The best advice helps to achieve their consequences and remain an active performer in the market.
The agency then has an obligation to ask all the queries they need to in order to confirm they have took the brief properly. Consuming an open and informative conversation at the commencement of a project means that the client can go away safe in the information that the agency knows what they’re doing.
4. Work in collaboration
Keep in mind that each party are invested in what they do and that keeping a strong relationship will require continuous work on both ends. Agencies aren’t possessions, they’re strategic partners. Clients and agencies are experts in their respective fields, and they should treat each other as equals. Trust, honesty, and commitment are vital elements for the achievement of any campaign and relationship. In collaborative environment of relationship all party must have assurance in the other’s capability.
5. Set realistic expectations
One of the best ways to build a strong relationship with a client is to gain a reputation as an agency that not only delivers results but is willing to go above and beyond. Setting realistic expectations gives you the chance to impress the client and position yourself as a partner. This is especially important when working on behalf of a client.
Both parties need to take slice in this process, to make assured that each knows what’s expected of the other. Agencies may have exclusive methods, but a good degree of transparency is essential. This service creates trust and set realistic expectations.
6. Attempt for nonstop progress
When an agency functions with these principles, performing measured efforts to their clients and determined to not only accomplish but maintain confidence with clients, the phase can be set for achievement with great appraisals, referrals and customer remembering.
B. 3P’s of Service: Physical evidence, Process and People
Introduction
The marketing mix pillars work together to make decisions that will define the further marketing activities and strategies. Identifying these pillars points out what you need, where your company excels and where it can improve.
The original four elements of marketing mix are product, place, price and promotion. However as a service is not tangible that marketing mix for a service has three additional elements are required that is physical evidence, process and people. In its place of just four elements, there’s another three. These three allow for a more complete, comprehensive and updated marketing mix.
1. Physical evidence
Physical evidence refers to the way of product, services and about the company how it appears from the outside. It is about where the service is being delivered from. The sub components of physical evidence are size, shape colour, label, visible signage, design, packaging, display, dress of staff and many more. In the service market, it certifies that the service is successfully delivered or it touches the customer very well.
2. Process
The marketing mix looks at the coordination used to deliver the service. Recognize how you will meet customer expectations. Outline you will do to deliver an excellent consumer experience every time considering producing standard operating procedures to set processes. For example, imagine you ordering food from Domino’s Pizza and you get delivery in 30 minutes at your home.
3. People
An essential part of the any organization is having the right people who care the organizations products and services. Employee the most experienced people can at the best salary organization can give and work to maintain the employee who has proven themselves faithful and loyal to the organization. Encourage team members to work smartly, efficiently and effectively. Involve them in regular internal communication that is transparent and whenever it required include them in decision making process.
C. The Gaps Model of servıce qualıty
Introduction
Service quality is the change between expected service by customer and perceived service provided by the service provider. To examine service quality, Parasuraman has developed comprehensive model called the Gaps Model of service quality in 1985. The model identifies four specific gaps leading to a fifth overall gap between customer’s expectations and perceived services.
Service quality is an evaluation of expectations with performance. The first four are those on the provider side of service and perceived service. These steps is taken towards reducing the gap that is always most apparent to the consumer. The Gap fifth is the gap service between the expected and perceived quality service. These Gaps are as follows:
1. Knowledge Gap
The first Gap is mentioned as the knowledge Gap. It is principally measured as the change in real customer expectations and perceptions of manager about customer expectations i.e. not knowing what consumer’s expect.
For example: In a hospital, the management may consider patients want healthier diet, but patients may be more worried with the care given by Doctors, nurses and supporting staff.
2. Design Gap
The second gap is mentioned as the design gap. It is a change among management’s insight of consumer’s expectation and service standards according to customer experience. i.e. unsuitable service quality standards.
For example:Domino’s Pizza may realizeconsumer expectations for being served in 30 minutes of ordering, but may not have the resources or the appropriate amount of staff to assure the speed of delivery and service.
3. Performance Gap
Performance Gap is the variation in service design and service delivery which known as the performance Gap. It may refer as the change between quality specifications and service actually delivered to the consumers. It occur because of many reason like communication gap, skill differences, poor technology, poor training received and lack of management in the organizations.
For example: If in a restaurant, if the service provider (Server/Waiter) is not hospitable and up to mark then customer may unhappy with the entire service staff of restaurant. Mostly, customers may set their opinion according to service which he/she get through a particular staff of the restaurant.
4. Communication Gap
In communication gap, there is the change between what is assured to customer, either directly and indirectly? It happens when the organization cannot deliver products or services rendering to the promise. The communication gap arises because of many reasons like over promises, fail to manage and failure in performance. Over-promising is commonly responsible for the communication gap. Each gap has a cumulative effect from the preceding gaps.
For example: A lodging hotel in Mumbai printed on the brochure showing clean and furnished rooms with all necessary amenities. However, when customer visited to hotel it poorly maintained in this case the customer’s expectations are not met with hotel over committed promises.
5. Gap between expected service and perceived services (Cumulative effect of all four Gaps)
Gap five is the total addition of deviations in Gaps 1 through 4 and signifies the change between expectations and perceived service. Moreover, consumers calculate perceived service along five quality measurements. It is also known as the gap model that intended to analyse gaps and problems between company and customers.
D. Stages in the client-agency relationship
Introduction
The client-agency relationship is a professional deal. It starts when a client appoints an advertising agency for making his advertising. If succeeded properly, it can be a pleasing and prospering corporation for both parties involved. However, if succeeded badly, it can make or break a business and disintegrating the reputation of a client.
Marketing successes are mostly depending on a strong client-agency relationship. In direction to make sure that this combination gets to the top, it’s significant to keep the following stages in relationship.
1. Pre-relationship stage
The pre-relationship stage has focussed largely on the criteria used for selecting an agency. The clients seek agencies that offer good creative skills and have a good quality people. It highlights the importance of cost, previous category experience, network and strategic capability.
2. Early relationship stage
Early relationship stage recognises a development stage within the relationship. The nature of this stage within the advertising agency relationship is less understood. It involves the trial and testing of the new agency. Most of the interactions occurring in this stage more focus on improving relationship and learning about the relationship uncertainty.
3. The growth stage
The growth stage involves intensive interaction and adaption between client and advertising agency. The identification of this stage when the agency and client will be developing long term strategic plans as well as servicing the tactical communication needs of the client is a significant one. Hence the nature of work at this stage of the relationship is significantly different at other stages within the relationship.
4. Development and maintenance stage
The development and maintenance stage is branded by client and agency mutual importance to each other where they have made an understood or open pledge to carry on their relationship.
5. The relationship termination
The relationship termination stage is where client and agency end their relationship. The relationship can be terminated at any stage.
E. How Agencies Gain Clients
Introduction
The running an agency is challenging. According to Kerri Molitor, “It’s a well-known fact that acquiring new client costs more than growing business opportunities with repeat clients. Getting client is a big question for anyone thinking of starting a service-oriented business. As an advertising agency getting new clients is easy. Instead of sitting back and hoping some will show up, you need to be proactive, get out there and get the clients you need.
1. Find clients through your place of work
Uncountable small companies have been on-going by working professionals who progressed from being workforces of a firm to being servicers or found a praiseworthy client and run away with them to form their own companies.
2. Let your clients do the work for you (Referral)
Let your clients do the work for you mean referral are remarkable because these front-runners are managed a little or no cost, meaning here agency can allocate more of marketing budget to diverse projects. Referrals are a great way to get clients.
3. Let work with influencers (Opinion leader)
Find industry connected influencers and offer your services to them for free in exchange for sharing you with their audience. Influencer marketing is the perfect way to quickly gain more attention of client. For example on social media one post from an influencer can reach further more audience.
4. Lean on their followers
The influencers come with their own followers, so it is important to build your own network of followers. The more you can depend on interested and promised followers, the easier to get client for your business.
5. Find client through family and friend
If organisation are blessed with family and supportive friends that are always on the side and ready to help if they can. Let sure to tell them exactly what those ideal client you looking for your businesses.
6. Advertise for clients
Advertising for clients is one of the oldest methods to get client for businesses. However, it mostly works very well for small scale industries and businesses.
7. Gain client through social media platforms
The social media platforms give an edge to new relationship in digital world. The best uses of social media platforms are useful to gain more clients for related group and businesses.
F. Why Agencies Lose Clients
Introduction
The working for an advertising agency will know that one of the most distressed feelings in market is losing a client. It goes to that trying to find out the reason an agency loses their client. However, all this is becoming gradually more common in advertising agency.
Agencies lose clients for a variety of changed reasons. Here’s a list of some common reason why advertising agencies lose client or why they don’t want to work with particular agencies and end the businesses with them.
1. Lacking in communication
Agencies prosper with transparent and clear point of contact with a client. The agencies need to control the communication flow from upward communication to downward communication and downward communication to upward communication in the organization. This communication flow helps the client know where to go for help. However, client personal and advertising agencies fail to uphold the level of communication or to cultivate necessary to sustain favourable working relations.
2. Lacking in quality
As agency grows and develop it becomes hard to deliver the same level of quality or time that client experienced in first time. Here’s agencies failed to filling gap which resultant they losing their prospect client.
3. Personality conflict
Employee and professional who are functioning on the side of client and advertising agency may do not have enough understanding to work well together.
4. Conflict of interest
A conflict of interest possibly will come when agencies come together with another agency or when a client is part of merger or acquisition with other company.
5. Poor performance or service
The poor performance and service may riddle the client or ending their relation with advertising agency. It may happened because unskilled or poor performance by staff members in deal with the client problems and issues.
6. Failure in systems and process
What if agency failed to meet deadlines? It comes when system and processes not progressing according to set plans. It needs to sort and plan goals according to the urgency and profits connected with it.
7. Unrealistic demands by the client
Sometimes may it happened when client demands the exceeding amount of compensation and trying to reducing the agencies profitable.
8. Unsatisfied client
The chances of losing a client are higher if they are unsatisfied with the end results. If agency failed to show them satisfactory end results may cause to losing the clients.
G. THE ROLES OF ADVERTISING
Introduction
We know it when we see it. We are exposed to it thousands of times every day. Most of us are reasonably good, although rarely perfect, at distinguishing it from other kinds of messages. It is something that we tend to take for granted, occasional thinking about what it is or how it came into existence. But what is this thing called advertising?
An advertisement is an approach of marketing a brand, a product or a service. Everything needs to be popularized, is promoted by way of an advertisement. Hence, understanding advertising is very necessary. Here are some features of advertisements:
1. Advertisement must have paid form
Advertising is an art, and it requires skills. There are advertising companies which offer advertising services to company and charge them heavily for the services that they provide. However, sometimes companies end up paying billion on an advertising campaign and don’t get effective results in return. Effective advertising is that which generate much more profit then what a company has paid to get the service. Advertising is always a paid form of communication and hence commercial in nature.
2. It is non-personal
Advertising must be a non-personal. Advertiser makes a product to direct a particular group or audience of people. However, it doesn’t mean to direct a message to an individual by advertising.
For example: uncertainty in ad agency of some product, on his own, advertise brand near a specific product, it carry necessary information to the consumers regarding the product but not spending by the seller for advertisements.
3. Advertise have to promote goods, services & ideas
It is directed towards increasing the transaction of the products and services of a business unit. Advertising is aimed at promoting and selling not only tangible and physical goods, but also ideas and services like banking and insurance company.
4. There must be an identified sponsor
Another feature of advertising is that its sponsor can be identified. Whenever we come across an advertisement, its sponsor is easily identified. Advertising discloses or identifies the source of the opinions and ideas it presents. On the other side of the sponsor for publicity or propaganda can remain unidentified.
5. Other role of advertising
Improved capacities of sales of products & services.
Government data indicates India’s GDP is US$4.18 trillion, with forecasts suggesting it may exceed Germany’s by 2026, notwithstanding global trade obstacles.
India has surpassed Japan to emerge as the fourth-largest economy globally, with a GDP estimated at $4.18 trillion. The increase signifies a decade marked by swift growth, robust domestic demand, and significant reforms, despite ongoing challenges such as low per capita income, pressures for job creation, and uncertainties in global trade that continue to influence India’s economic path.
India is poised to surpass Germany, emerging as the third-largest economy by 2030, supported by robust growth figures.
“India, with a GDP of $4.18 trillion, has eclipsed Japan to emerge as the fourth-largest economy globally and is on track to overtake Germany within the next 2.5 to 3 years, with a projected GDP of $7.3 trillion by 2030,” as stated in the release.
The United States and China represent the foremost economies globally, as determined by their respective gross domestic product (GDP) figures.
New Delhi’s optimistic evaluation persists in the face of economic concerns following Washington’s imposition of substantial tariffs on its acquisitions of Russian oil in August.
India articulated that its sustained growth is indicative of its fortitude in the face of ongoing global trade uncertainties.
What are the driving forces behind India’s growth narrative?
The central government, in its recent announcement, highlighted India’s growth trajectory, noting that the GDP has reached a six-quarter peak during the July-September period of the financial year concluding in 2025-26.
The nation’s development arises from its steadfastness in the face of ongoing global trade ambiguities. The domestic drivers within India, propelled by private consumption, have been pivotal in bolstering the nation’s GDP growth.
The government has also pointed out that inflation staying beneath the lower threshold, a decrease in unemployment, and enhanced export performance are among the key indicators that bolster India’s growth trajectory.
“The financial landscape has remained favorable, characterized by robust credit inflows to the commercial sector, while demand conditions persist with vigor, bolstered by an additional enhancement of urban consumption,” the government stated. The International Monetary Fund’s forecasts for 2026 estimate India’s economy to reach US$4.51 trillion, surpassing Japan’s projected US$4.46 trillion.
The United States holds the position of the world’s largest economy, while China ranks as the second largest.
The upward trajectory of growth has exceeded expectations, with GDP reaching a six-quarter peak in the second quarter of 2025-26, illustrating India’s robustness in the face of ongoing global trade uncertainties, it noted. The expansion was fundamentally supported by domestic drivers, prominently characterized by strong private consumption.
The announcement indicated that global organizations have reflected this optimism and referenced forecasts provided by multiple sources. The World Bank anticipates a growth rate of 6.5% for the year 2026, while Moody’s forecasts that India will continue to be the fastest-growing economy within the G20, projecting growth rates of 6.4% in 2026 and 6.5% in 2027. The International Monetary Fund has elevated its projections to 6.6% for 2025 and 6.2% for 2026, while the Organisation for Economic Cooperation and Development anticipates a growth rate of 6.7% in 2025 and 6.2% in 2026. Furthermore, the S&P forecasts a growth of 6.5% for the current fiscal year and 6.7% for the subsequent year. The Asian Development Bank has revised its 2025 estimate upward to 7.2%, while Fitch has increased its FY26 projection to 7.4%, attributing this adjustment to heightened consumer demand.
“India stands as one of the most rapidly advancing major economies globally and is strategically poised to maintain this trajectory.” The government stated, “With the aspiration of achieving high middle-income status by 2047, the centenary of its independence, the nation is constructing upon robust foundations of economic growth, structural reforms, and social advancement.”
The announcement underscored that inflation persists beneath the lower tolerance threshold, unemployment is on a downward trajectory, and export performance is steadily enhancing. Moreover, the financial landscape has remained favorable, characterized by robust credit inflows to the commercial sector, while demand conditions persist with resilience, bolstered by an additional enhancement in urban consumption.
The upward trajectory of growth has exceeded expectations, with GDP reaching a six-quarter peak in the second quarter of 2025-26, illustrating India’s robustness in the face of ongoing global trade uncertainties, as noted.
The expansion was fundamentally supported by domestic drivers, prominently featuring strong private consumption.
The announcement additionally indicated that global organizations have resonated with this optimism, referencing forecasts articulated by diverse bodies.
The World Bank anticipates a growth rate of 6.5% for the year 2026, while Moody’s forecasts that India will continue to be the fastest-growing economy within the G20, with projected growth rates of 6.4% in 2026 and 6.5% in 2027.
The International Monetary Fund has adjusted its growth projections to 6.6% for the year 2025 and 6.2% for 2026, while the Organisation for Economic Co-operation and Development anticipates a growth rate of 6.7% in 2025 and 6.2% in 2026.
Furthermore, S&P projects a growth rate of 6.5% for the current fiscal year and 6.7% for the subsequent year; the Asian Development Bank has revised its 2025 forecast upward to 7.2%; and Fitch has elevated its FY26 projection to 7.4% in light of heightened consumer demand.
Here are four notable print advertising campaigns by Lowe Lintas (often referred to as MullenLowe Lintas in recent years), each with a brief analysis and criticism:
Surf Excel – “Daag Ache Hain” (Dirt is Good) Analysis: The print campaign echoed the TV message that stains acquired through fun and empathy are signs of positive action, not naughtiness. Visuals showed children helping others, getting dirty in the process, reinforcing the brand’s promise that Surf Excel can handle those stains.
Criticism: While positively received for its progressive message, some critics argued that the campaign’s effectiveness was stronger on TV than in print, where the emotional context could be harder to convey in a single static image.
Idea Cellular – “What an Idea, Sirji!” Analysis: The print ads illustrated innovative uses of mobile technology to solve real-life problems—like digitalizing education or enabling social change. Often featuring the “Sirji” character, the campaign connected the brand with smart, impactful ideas.
Criticism: Though attention-grabbing, some print executions became formulaic, relying heavily on the “Sirji” persona and sometimes lacking clarity for audiences unfamiliar with the broader campaign context from TV.
Tanishq – “A Jewel for Every Tradition” Analysis: The campaign showcased Tanishq jewelry on models representing diverse Indian cultures and customs, visually reinforcing the brand’s versatility and inclusivity.
Criticism: While the visuals were striking, some critics pointed out that the campaign might have leaned too heavily on traditional motifs, potentially missing the opportunity to appeal to more contemporary, youthful consumers.
Bajaj V – “Invincible Indians” Analysis: Print ads highlighted stories of ordinary Indians who had performed heroic acts, linking their stories to the strength and spirit of the Bajaj V motorcycle (built from the metal of the INS Vikrant warship). The campaign used strong visuals and storytelling.
Criticism: Some felt the campaign risked over-glorifying the connection between the motorbike and national pride, and that the storytelling sometimes overshadowed product features and benefits.
B. TVC Advertising campaign
Surf Excel – “Daag Ache Hain” (Dirt is Good) Analysis: This iconic campaign showed children getting dirty while performing good deeds (e.g., helping friends, siblings, or elders), reinforcing the idea that stains are a sign of positive actions. It positioned Surf Excel as a brand that celebrates learning and empathy, not just cleanliness.
Criticism: While emotionally resonant and widely loved, some critics argue the message could inadvertently encourage children to get dirty unnecessarily, or that the repeated formula has become predictable over time.
Tanishq – “Remarriage” Analysis: This groundbreaking TVC broke social taboos by featuring a remarriage (a woman with a daughter getting married again), highlighting Tanishq’s inclusive, progressive approach. The ad was praised for its sensitivity and for representing modern Indian realities.
Criticism: Although celebrated, some conservative audiences found the theme controversial. Others felt the focus on social issues sometimes overshadowed the product itself (the jewelry).
Lifebuoy – “Help a Child Reach 5” Analysis: This campaign featured emotional stories from rural India, emphasizing the importance of handwashing with soap to prevent childhood diseases. The ads showed real-life stories, making a strong case for behavioral change.
Criticism: While impactful and socially responsible, critics noted that the ads could be perceived as too somber or “preachy,” and that the focus was more on social messaging than on product differentiation.
ICICI Prudential Life Insurance – “Bande Achhe Hain” Analysis: This series of TVCs depicted men performing small, everyday acts of care for their families, challenging the stereotype of emotionally distant men. It effectively drove home the need for life insurance by connecting it with love and responsibility.
Criticism: Some critics felt the ads reinforced traditional gender roles by implying only men are responsible for family security, and that the storytelling was occasionally overly sentimental.
C. Outdoor Advertising campaign
Here are four notable outdoor advertising campaigns by Lowe Lintas (now MullenLowe Lintas Group), each with accompanying analysis and criticism:
Hindustan Unilever – “Kan Khajura Tesan” Analysis: Though primarily a digital radio initiative, this campaign included creative outdoor installations in rural India—like painted walls and posters in villages to promote the free entertainment channel. These visuals drove awareness and encouraged people to give missed calls to access HUL’s branded content.
Criticism: While innovative in reaching “media dark” areas, critics noted that the outdoor elements were basic and worked best when paired with digital/mobile support, not as strong standalones.
Idea Cellular – “No Ullu Banoing” Analysis: This campaign used witty billboards and outdoor visuals featuring the phrase “No Ullu Banoing” (Don’t Be Fooled), warning against misinformation and fake offers. The campaign cleverly used colloquial language and bright visuals to catch the urban commuter’s attention.
Criticism: Some felt that the phrase, while catchy, might not resonate with non-Hindi speakers or those unfamiliar with the slang, potentially limiting its effectiveness outside North India.
Tanishq – “Festival of Diamonds” Analysis: During major Indian festivals, Tanishq rolled out striking outdoor billboards showcasing new diamond collections with festive themes and dazzling visuals, often placed at high-traffic urban locations to attract festive shoppers.
Criticism: These ads were visually appealing but sometimes criticized for lacking innovation, as they relied heavily on glamour shots without strong storytelling or a unique hook.
Bajaj V – “INS Vikrant Scrap Installations” Analysis: To highlight the Bajaj V motorcycle’s unique feature—being made from the metal of the decommissioned INS Vikrant aircraft carrier—Lowe Lintas created outdoor installations using actual scrap from the ship at public venues and dealerships, generating buzz and national pride.
Criticism: While the installations drew crowds and media attention, some critics felt the campaign risked being seen as exploitative of national sentiment, and the connection between the scrap and the motorcycle’s performance was sometimes unclear.
D. Digital Advertising campaign
Here are four notable digital advertising campaigns by Lowe Lintas (now MullenLowe Lintas Group), each with a brief analysis and criticism:
Hindustan Unilever – “Kan Khajura Tesan” Analysis: An innovative mobile-driven campaign targeting media-dark rural areas of India, it used missed calls to deliver free entertainment and brand messages via mobile. Digital activation was combined with on-ground promotions and content distribution.
Criticism: While it reached millions and won global awards, critics noted it was more successful in reach than in fostering deep engagement or long-term brand loyalty, and scalability in other markets remained uncertain.
Swiggy – “Voice of Hunger” Analysis: This Instagram-based campaign challenged users to send creative voice notes shaped like food items’ waveforms, driving huge user-generated content and viral participation. It leveraged platform-native features for engagement and brand recall.
Criticism: Though highly engaging and viral among young, tech-savvy users, the campaign’s gimmicky nature meant its long-term brand impact was questionable, and it excluded those less familiar with Instagram’s quirks.
Fastrack – “Move On” Analysis: Targeted at Gen Z, this digital campaign used social media, memes, and influencers to propagate its message about moving on from setbacks. The content was bold, irreverent, and interactive.
Criticism: While resonant with the youth audience, some found the tone flippant and argued it risked trivializing serious issues like relationships and emotional health for the sake of being edgy.
Tanishq – “#PerfectMatch” Analysis: A digital-first bridal campaign, #PerfectMatch showcased unconventional couples and stories, using videos, influencer collaborations, and user-generated content to break stereotypes and celebrate modern relationships.
Criticism: The campaign was praised for inclusivity and storytelling, but some criticized it for a limited digital-only reach in a category where in-person experience is crucial and for potentially alienating traditional consumers.
David Ogilvy, dubbed the “Father of Advertising,” launched Hewitt, Ogilvy, Benson, & Mather with British backing, securing clients like Guinness and Sunoco through informative ads such as “The Guinness Guide to Oysters.” By the 1950s, it had evolved into Ogilvy & Mather, known for clean layouts, large photos, and consumer insights that won American Express and Dove accounts.
Modern Evolution
Acquired by WPP in 1989, Ogilvy expanded into PR (1980s), health, and digital, going public in 1966 under Ogilvy’s leadership. Today, it focuses on integrated services like brand strategy and AI-driven innovation, maintaining offices in India for local campaigns in media and consumer sectors.
A. Print advertising campaign
Here are four notable print advertising campaigns by Ogilvy, each with analysis and criticism:
Dove—“Real Beauty” Analysis: Ogilvy’s print ads for Dove’s “Real Beauty” campaign featured non-model, everyday women of various ages, shapes, and ethnicities. The aim was to challenge traditional beauty standards and celebrate diversity, often using simple, unretouched photos.
Criticism: While the campaign was praised for inclusivity, some critics argued that it still focused on women’s appearance and that Dove’s parent company, Unilever, also marketed products that contradicted the message.
American Express – “Don’t Leave Home Without It” Analysis: These iconic print ads featured celebrity endorsements and everyday scenarios, positioning American Express as essential for safety and convenience during travel and daily life.
Criticism: The campaign was highly effective, but some critics observed that the focus on exclusivity and prestige made the card seem unattainable for average consumers, potentially alienating a segment of the audience.
KFC–“FCK” (UK Apology Ad) Analysis: When KFC ran out of chicken in the UK, Ogilvy crafted a bold print ad showing a KFC bucket with the letters rearranged to “FCK,” accompanied by a sincere apology. The ad used humor and humility to address customer frustration.
Criticism: Although widely praised for transparency and wit, some critics felt it skirted the line of good taste and used humor to downplay a serious operational issue.
IBM—“Smart Ideas for Smarter Cities” Analysis: Ogilvy’s print ads for IBM’s “Smarter Cities” initiative used clever visuals—like benches and shelters in the shape of graphs or data lines—to demonstrate how technology can improve urban life.
Criticism: While visually engaging and conceptually strong, critics pointed out that the print ads sometimes oversimplified complex urban challenges and did not always clearly communicate how IBM’s solutions worked.
B. TVC Advertising campaign
Here are four notable TVC (television commercial) advertising campaigns by Ogilvy, each with a brief analysis and criticism:
Dove—“Real Beauty Sketches” Analysis: This emotionally powerful TVC depicted forensic artists sketching women based on their own descriptions and then on descriptions from strangers, highlighting the gap between self-perception and how others see us. It reinforced Dove’s brand position around real beauty and self-esteem.
Criticism: While the campaign was widely praised for its positive message, some critics argued it still emphasized appearance as central to a woman’s value and that it subtly reinforced certain beauty standards.
Guinness – “Surfer” Analysis: This iconic ad featured a surfer waiting for the perfect wave, set against dramatic black-and-white visuals and poetic narration. It drew a parallel between waiting for a Guinness to settle and the patience of a surfer.
Criticism: Although visually stunning and memorable, some viewers found the metaphor obscure and felt the link to the product was indirect, potentially reducing immediate impact on sales.
Cadbury Dairy Milk—“Kuch Meetha Ho Jaaye” (India) Analysis: Ogilvy’s TVCs for Cadbury Dairy Milk, especially the famous cricket field ad, celebrated small, joyful moments with chocolate. The ads created a strong emotional connection and established Dairy Milk as the go-to treat for celebrations.
Criticism: Though beloved, some later campaign iterations were criticized for becoming formulaic and losing the originality and warmth of the originals.
BMW—“The Hire” Analysis: A series of short films directed by famous filmmakers, starring Clive Owen as “The Driver.” These cinematic ads showcased BMW’s vehicles through action-packed storytelling, blurring the lines between advertising and entertainment.
Criticism: While groundbreaking for branded content, some critics argued the focus on action and celebrity overshadowed the product benefits, and the format risked missing less engaged viewers.
C. Outdoor Advertising campaign
Here are four notable outdoor advertising campaigns by Ogilvy, each with analysis and criticism:
IBM—“Smart Ideas for Smarter Cities” Analysis: Ogilvy Paris created outdoor installations for IBM that doubled as functional street furniture—benches, rain shelters, and ramps—shaped to visually represent IBM’s data-driven solutions for urban life. The campaign physically demonstrated how smart ideas could make cities better for everyone.
Criticism: While the installations were innovative and visually clever, critics noted they worked best in controlled, urban environments and were more symbolic than practical on a large scale. Some also felt the connection to IBM’s actual tech services was not always clear to the public.
KFC–“FCK” Bucket Apology (UK) Analysis: After a chicken shortage, Ogilvy UK placed billboards and posters with a KFC bucket rearranged to spell “FCK” and a humorous apology. This bold outdoor ad addressed customer frustration with honesty and wit, turning a PR nightmare into a brand win.
Criticism: While praised for transparency, some critics felt the humor bordered on inappropriate for a family brand and that the campaign risked trivializing a serious operational issue.
Coca-“Cola—“Share a Coke” (Global) Analysis: Ogilvy’s outdoor billboards and digital screens displayed personalized Coke bottles with people’s names, encouraging consumers to “Share a Coke” with friends and family. This campaign drove massive engagement and made the brand feel highly personal.
Criticism: The campaign was lauded for its creativity and reach, but some felt it was less effective in cultures where personalized names on products were less meaningful, and it risked excluding those with uncommon names.
Sprite—“Heat Happens” (China) Analysis: To address hot summer weather, Ogilvy created outdoor ads for Sprite featuring giant interactive billboards that sprayed mist or water on passersby, literally helping people “cool off” with Sprite.
Criticism: The campaign was fun and memorable, but some questioned the environmental impact of water use, and the novelty might have overshadowed the product’s benefits beyond the initial spectacle.
D. Digital Advertising campaign
Here are four notable digital advertising campaigns by Ogilvy, each with a brief analysis and criticism:
Burger King—“Whopper Detour” Analysis: Ogilvy New York launched a clever mobile campaign where users could receive a Whopper for 1 cent if they ordered it using the Burger King app while physically near a McDonald’s. This geo-fencing stunt drove massive app downloads and social buzz and positioned Burger King as a fun, irreverent challenger brand.
Criticism: While it was praised for creativity, it was also criticized for being overly aggressive toward a competitor and for raising concerns about digital privacy and data usage.
Dove—“Self-Esteem Project: #NoLikesNeeded” Analysis: In this campaign, Dove tackled the negative effects of social media validation on young people’s self-esteem. Through Instagram and YouTube, the campaign encouraged teens to value themselves beyond likes and follows, using influencers and real stories.
Criticism: While the message was powerful, critics noted the irony of delivering it on social media platforms that perpetuate the very issues Dove was addressing. Some also questioned the campaign’s actual impact versus its visibility.
IBM—“Watson AI Chef” Analysis: Ogilvy and IBM created a digital experience where users could interact with IBM Watson’s AI, which suggested unique recipes based on available ingredients. This showcased IBM Watson’s power in a fun, engaging, and accessible way, blending tech innovation with everyday utility.
Criticism: The concept was innovative but niche; critics pointed out that the campaign may have overestimated user interest in AI recipes and did not directly connect to IBM’s core B2B offerings.
Vodafone—“Raising“Voices” Analysis: Ogilvy’s digital campaign in Turkey used AI and voice recognition to help women report domestic abuse discretely via the Vodafone app. The initiative used digital technology to support social improvements and received international acclaim.
Criticism: While the campaign’s purpose was widely applauded, privacy experts raised concerns about data protection and the potential risks if the feature was discovered by abusers or misused.
Here are two notable print advertising campaigns created by JWT (J. Walter Thompson), including a brief description and criticism for each:
Ford India – “Ford Figo: Leave Your Worries Behind” (2013)
Example: This campaign featured cartoon-style illustrations of famous characters (such as politicians and celebrities) tied up and gagged in the trunk of a Ford Figo, suggesting that the car’s spacious boot could “leave your worries behind.”
Visual: One ad showed Silvio Berlusconi (Italian politician) with bound and gagged women in the car’s trunk; another showed Paris Hilton with the Kardashian sisters tied up. Criticism:
Highly Controversial: These ads were widely criticized for being offensive and insensitive, as they appeared to make light of violence, abuse, and gender issues. Backlash: The imagery was condemned globally, and Ford as well as JWT had to issue public apologies. The campaign was never officially released but leaked online, becoming a major PR fiasco. Takeaway: The campaign is often cited as an example of how shock value and poor judgment in print ads can seriously damage brand reputation.
The Times of India—“Lead“India” (2007)
Example: This campaign used powerful print imagery to inspire Indian citizens to take charge of their country’s future. One print ad depicted a group of ordinary people pulling down a heavy, rusty lock, symbolizing the breaking of old barriers and the start of a new era.
Visual: The imagery was inspirational, showing hands from diverse people coming together to move the nation forward. Criticism:
Praise: The campaign was largely praised for its optimism, creativity, and strong, positive message. Mild Critique: Some critics argued that while the visuals were striking, the underlying message could be considered too idealistic or simplistic, glossing over the complexities of real political and social change. Takeaway: The campaign is celebrated for its emotional impact and nation-building message, although some felt it didn’t translate into actual actionable change.
B. TVC Advertising Campaign
KitKat – “Have a Break, Have a KitKat” Description: One of JWT’s most iconic campaigns, this long-running TVC series humorously depicted people in frustrating or stressful situations, suggesting that taking a break with KitKat would improve things. Notable Ad: A classic commercial showed a zookeeper trying unsuccessfully to photograph a lion, who only poses perfectly when the zookeeper takes a KitKat break. Impact: This slogan and campaign became one of the most memorable in advertising history.
Nestlé – “Nescafé Red Mug” (India) Description: JWT India created memorable TVCs for Nescafé, focusing on relatable stories of perseverance and hope. Notable Ad: One ad features a young stand-up comedian with a stammer, showing his journey to overcoming his fear of public speaking, with Nescafé as his companion. Impact: The campaign resonated with young audiences for its emotional storytelling.
Birla Sun Life Insurance – “Khud Ko Kar Buland” Description: This TVC campaign focused on the emotional journey of a father securing his son’s future after losing his wife. Notable Ad: It shows the challenges faced by a single parent and highlights the importance of life insurance. Impact: The emotional storytelling helped build trust in the insurance brand.
Diamond Trading Company (De Beers) – “A Diamond is Forever” Description: JWT’s famous campaign for De Beers, featuring cinematic TVCs, cemented the idea that diamonds are symbols of eternal love and commitment. Notable Ad: Ads typically showed romantic proposals and celebrations, ending with the tagline “A Diamond is Forever.” Impact: This campaign greatly influenced global perceptions of diamond jewelry.
C. Outdoor Advertising Campaign
Here are four notable outdoor advertising campaigns by JWT (J. Walter Thompson), showcasing creativity and impact in the use of billboards, installations, and public spaces:
KitKat – “Bench Break” (UK) Concept: Benches in public places were transformed to look like KitKat bars, inviting people to literally “Have a Break.” The design cleverly used the shape and color of KitKat fingers as the slats of the bench. Impact: The benches became an iconic, highly Instagrammable example of outdoor advertising that seamlessly tied product and message.
HSBC – “Different Points of View” (International) Concept: This campaign used airport walkways and billboards with split images and clever copy to show how the same object or situation can be seen differently around the world. For example, one side of a billboard might say “PERSPECTIVE,” while the other side would offer a different interpretation. Impact: The campaign reinforced HSBC’s positioning as “The World’s Local Bank” and was internationally acclaimed.
Ford – “Ecosport Urban Discoveries” (India) Concept: To launch the Ford Ecosport, JWT created interactive billboards and outdoor installations in urban locations. These featured QR codes and digital touchpoints, inviting consumers to explore city “discoveries” and engage with the product in real environments. Impact: The campaign drove strong engagement and helped position the Ecosport as a modern urban SUV.
Shell – “#makethefuture” (Brazil) Concept: Large outdoor murals and installations were used to highlight Shell’s renewable energy initiatives. One standout execution was a soccer field powered by players’ footsteps, showcased with signage and activations in public spaces. Impact: The campaign generated buzz around Shell’s commitment to sustainability and was widely shared on social media.
D. Digital Ad campaign
four notable outdoor digital campaigns by JWT (J. Walter Thompson), showcasing innovative use of digital technology in public spaces:
KitKat – “Free No WiFi Zone” (Brazil) Concept: JWT Brazil created outdoor digital billboards that blocked WiFi signals within a certain radius, encouraging people to “Have a Break” from their devices and enjoy the moment with a KitKat. The digital sign would light up and invite people to relax without internet distractions. Impact: This unique use of technology reinforced the brand’s core message in a playful, memorable way.
Heathrow Airport – “Making Every Journey Better” (UK) Concept: Digital billboards and screens across Heathrow displayed personalized messages to travelers, based on flight information, time of day, and even weather conditions. The interactive campaign provided real-time updates and engaging content. Impact: Enhanced traveler experience and built a positive association with the airport’s brand.
Shell – “#makethefuture” (Brazil) Concept: As part of a global sustainability initiative, JWT helped Shell launch digital outdoor installations including energy-generating soccer fields and interactive displays in public spaces. Footsteps from players powered floodlights, and digital screens showed energy usage in real time. Impact: The campaign brought attention to renewable energy and Shell’s innovations, gaining widespread media coverage.
HSBC – “Living River Billboard” (Hong Kong) Concept: JWT created a digital billboard that displayed a live, flowing river. The billboard was connected to real environmental data, changing the river’s appearance based on pollution levels in Hong Kong. The campaign aimed to raise awareness of water pollution. Impact: The real-time digital visual made a strong environmental statement and invited public engagement.
