Issuu on Google+

inside

OCT 09, 2013 #016

The biggest advantage of being independent today is speed, agility and flexibility to innovate Rajdeep Endow

MD, India & Global Delivery Lead SapientNitro

Coke’s Happiness – a bigger, better, product

I

t was almost 40 years ago that Cat Stevens wrote and sang the song, ‘Where do the children play?’, provoked by the fast pace of urbanization, industrialization and modernization. In essence, what he said was that this ‘progress’ was robbing humanity of the more important things in life, foremost amongst them being the ability for children to, well, play. “Well I think it’s fine, building jumbo planes, Or taking a ride on a cosmic train. Switch on summer from a slot machine. Yes, get what you want to if you want, ‘cause you can get anything. I know we’ve come a long way, We’re changing day to day, So tell me, where do the children play? Well you roll on roads over fresh green grass, For your lorry loads pumping petrol gas.  And you make them long, and you make them tough.  But they just go on and on, and it seems that you can’t get off.  Oh, I know we’ve come a long way,  We’re changing day to day,  So tell me, where do the children play?” You can hear the song here. As an anonymous commentator said of the song, “This song is so accurate in its description of modern society. We are focusing so much on making

so many forms of digital entertainment and technology, that we are forgetting the simple pleasures of playing in the park or in a field.” It’s nearly 40 years since these words were written, and the world has gotten only more concretised and industrialized and urbanized. And we can ask the question as worriedly as Cat Stevens did, “Where do the children play?” Someone in  Wieden + Kennedy Amsterdam working on the Coke business has either heard the song or has similar concerns. And, through W+K’s creation, we see that Coke is not worried about just the children; they worry about adults alike. And, unlike Cat Stevens, Coke has an answer to the question that Stevens left as a rhetorical one. So Coke goes to a part of the city where everything is concrete, grey and depressing. You look at the area, and you look at the people milling around, and the last word you would associate with what you see is ‘play’. Coke goes to this dank, dreary and depressing corner of the world and creates a pop-up park. How do they do it? Watch it here. Coke does the opposite of what Stevens described that the world was doing. In the song, Stevens is aghast, that we “roll on roads over fresh green grass”. In Coke’s communication, fresh green grass is rolled on over concrete, and, in doing so, ‘rolls out happiness.’ “Think Summer is over? Not yet! Coca-Cola wants to brighten your

day by Rolling Out Happiness. Watch as the Coca-Cola truck creates an instant park in an otherwise gray city square. Simply take off your shoes and open happiness for another way to brighten a gray day. Join CocaCola as we brighten gray days in cities across the world,” Coke says about this communication. It’s the small touches that make the communication so memorable: forcing you to take off your shoes, having symbols of childhood and childhood memories such as kites, footballs, Frisbees, picnic hampers and bubble-making kits available for you to ‘pluck’ from the trees. It’s amazing how Coke is able to churn out ‘happiness’ communication in almost every country that they operate in with fantastic consistency of messaging and tone and with astonishing frequency and regularity. A few months ago, in India and Pakistan, we saw the magic of the vending machine which tried to bring a smile to the tired faces in both countries. This video has over 2 million views now. From the grand and extravagant ideas such as the Indo-Pak effort and the pop-up park, we also see smaller, but no less impactful, ‘happiness’ ideas, such as this one, which attempts to enliven the corner store. Or a not so cheap and not so elaborate one, with the Friendship Machine, where you got two Cokes for the price of one. The catch, of course, is that you had to demonstrate your

Click on the image to watch Coke transform a dull office space into an oasis of extraordinary happiness

Click on the image to watch how consumers could get two Cokes for the price of one

This view is obviously not available to those in the activity, but it certainly works for those who watch it on YouTube

friendship. It’s reached a stage where Coke has raised the bar so high, on a consistent basis, that it makes things so challenging for them. How will they carry on with this energy? How will they make the next communication even more relevant, even more surprising, even more entertaining and lovable? We’ve reached the stage where we begin to ask the question that Coke has worked so hard to get us to ask: Where will happiness strike next?

Wherever it does, the form of the communication will follow the pattern set so beautifully. We know, at the core of the idea, we will see an element that brings an immediate smile to our lips. We also know for certain that the communcation will not be flat and unidimensional, but will harness the power of a strong idea, supported by technological elements, event management, acting, direction, orchestration of a large cast, and

it will be revealed in a completely public and open place, where one least expects something like this to happen. Finally, we will be sure that Coke will use all its resources to inform consumers all over the world that such an activity has taken place, so they will seed it on social media in a concentrated manner, in the hope that people like us make the communication viral. And spread happiness.


2 Anant Rangaswami

OCT 09, 2013 #016

issues of the day It's a digital world and the future belongs to youth The last ten days have been tough going. I’ve been on a panel for the Social Media Week event at Mumbai as a panelist, moderated a second, done a one-on-one interview with Yahoo’s Prem Panicker at a third. I’ve attended the AAAI event to honour Anil Kapoor with the Lifetime Achievement Award, sat through Narendra Modi’s speech on his vision for Brand India at an IAA event. In between, I’ve gone to Lavasa to have an on-thedais conversation with Tata’s Mukund Rajan, been jury at the NITIE leg of the Unilever-CNBC TV18 case study contest, Lesson’s In Marketing Excellence, and travelled to IIM Joka for the Kolkata leg of the same one. Tomorrow, by the time you read this, I will be on my way to IIM Bangalore for the third of 12 legs. Then Edelman asked me if I could moderate a panel to discuss their new IP study, Brandshare, which looks at what consumers want from brands in digital conversations, and I agreed. In between all this, squeezed in an interview with Dipchand ‘Deep’ Nishar of LinkedIn. Also in the mix was the work that puts the food on the table, editing Storyboard, bringing out this paper, and writing for Firstpost and meetings in the context of these products. A special episode of Storyboard which focused on the growth of the textile industry and the role that advertising and design played in it was tossed in

sometime in the past 10 days as well. And, of course, finding time to spend with friends, family and drinking with peers and friends at Toto’s. Except for the AAAI, the Mukund Rajan conversation and the IAA events, the common thread to all the meetings, interviews and panel discussions was digital. Even in the conversations with friends and family, digital and/or mobile is all-pervasive, going from the mundane chats on a new app someone has discovered to the choice of new smart phone or the excitement of discovering the possibilities of twitter or Pinterest or Tumblr or whatever. Even in conversations with ‘older’ creatives, digital and media more than creep in – they’ve begun dominating the chats. The extent to which digital is part of the conversation is forcing me to read up on everything to do with it. How can I interview Deep Nishar if I do not experience LinkedIn and know all that it does? How can I be part of a fierce debate on the valuation of Twitter as they announce their IPO if I do not understand their costs and their revenue streams, current and future? How can I understand the potential that social media affords to marketers and brands if I do not know what is allowed and disallowed on each platform?

To know, I need to ensure that I’m informed. So I trek to bookshops and to e-comm sites and figure out what I need to buy and read. Then I read. And I read. And, however much I read (and reading on the Internet is in addition to the brick-and-mortar stuff), I get the distinct feeling that I’ve still got a lot to do to catch up. The effort is exhausting. Then I look around me, both in office and out of office, and I see the ease with which colleagues and younger professionals (some half my age) view, understand, embrace and master the very developments that I struggle to come to grips with, let alone master. That’s the crux of this piece. Never has the communication industry been such that youth have a distinct advantage. Each passing day will see them have a bigger advantage, as fast-changing developments are absorbed by them but not as fast or as easily by their seniors. Which suggests, as is already anecdotally obvious, that the older professionals, in both creative and media agencies, will yield to the younger. We will see, in the next couple of years, near-seismic changes in the A List in this business in India. Younger professionals will present digital communication ideas and digital communication strategies with confidence and panache, and their older colleagues, because of their lack

of confidence, will be forced to allow them to step up to the plate. This is unstoppable. Younger creative professionals will have a better sense of the smaller screens and the technology than the older, younger media professionals will not just have data, but the advantage of having experienced communication on the latest, the coolest and the most complicated. This is a transition that’s not quite planned, and, therefore, come with some complications. While the youngsters will have skills, enthusiasm and aptitude in their domain, many will not be managers in the purest sense of the word – and that will be a challenge. I know many young entrepreneurs in the digital space, many young CEOs in the digital space who have been found terribly wanting when it comes to what are routine and humdrum responsibilities of an office head or manager. That may be OK in a start-up or a funded company. So this is also the time that the older professionals will have to find it in themselves to be unselfish and generous to those who are threatening to replace them by mentoring them. Take the youngsters under your wing and get them to understand the analog and difficult world of finance, administration, HR and so on. Accept that the future belongs to the youth and make things easier for them. I’m going to start. Now.

Fruit of the Loom #starthappy: a look at re-positioning

Lakshmipathy Bhat

Advertising is a great profession. To those outside the business, it may just be about dreaming up crazy, creative ideas. But practitioners know that there is a lot of thought and discipline behind the scenes and the ultimate reward is building a brand, not just creating a 30-second spot. Also, no other profession  brings together so many different talents – psychology to analytics, from strategy to creative and craft of filmmaking to sophisticated media sciences. One of advertising’s ‘highs’ is being part of creative strategies that change the fortunes of a brand, especially when it involves a re-positioning, a change of direction –

a change in how a brand is perceived by the consumer. The latest campaign from Fruit of the Loom, a conservative inner garment brand, is an example of such a change in direction. CP+B, the creators of the campaign describe the central idea, Start Happy, thus: Fruit of the Loom is introducing the world to the power of positive underwear. And showing how sometimes, the little things, like starting the day with great-fitting underwear, can make a day great. The advertising involves a two TVCs (some great copy writing there) , a campaign idea that integrates well with Twitter (#starthappy)  and a set of billboards.

Agency: CP+B. See the second ad here. The central idea of Start Happy lends itself to extension beyond advertising. In a promotion, LinkedIn users with new jobs may receive a message from Fruit of the Loom offering a free pair of underwear. While the creative manifestation is interesting, it all starts with understanding the consumer. And hopefully stumbling upon an insight. Speaking of insights, one of the best definitions I have come come across is this: An insight is a penetrating observation about consumer behavior that can be applied to unlock growth. In the case

of Fruit of the Loom, “comfort is the absence of discomfort” seems to have been the trigger; consumers tend to think most highly of undergarments that, paradoxically, they think of very little, says the NYT article about the campaign. For me, it is also a fascinating example of how a bunch of creative minds can see a completely different perspective in a category where none seemed possible. Ex-Adman. Apple lover. Blogger. Non-MBA. Director @CodeConclave. Bangalore, India Twitter handle @bhatnaturally Blog www. bhatnaturally.com


OCT 09, 2013 #016

the really long interview

3

rajdeep endow MD, India & Global Delivery Lead, SapientNitro

In his role as Managing Director of Sapient’s India operations, Rajdeep drives strategy, capability development, and growth of Sapient’s India presence and maintain its status as hub of the company’s globally distributed delivery network. In his role as Global Delivery Lead of SapientNitro, Rajdeep is responsible for project execution, capability development, quality, methodology and tools for SapientNitro’s services globally. Could you give me a sense of what you mean by ‘StoryScaping’? What are the elements that go into it and could you give me an example? Rajdeep If you look at traditional advertising, it was all about communication. So the narrative, i.e. the brand story, was communicated to the audience through a set of media that’s been relatively unchanging. Television, print; what have you. If you look at the last ten years, there’s been a fundamental shift in the consumer behavior, driven by technology. Let’s examine a few of those. For example, the role that social media plays in how we make purchase decisions. Today the recommendation of a person in my trusted network is seven times more likely to influence a purchase decision than the brand communication. If you look at what device proliferation has done, by end of 2012, there are more connected devices on the planet than all of human population. So what these devices have done is, you have a choice to access multiple screens for content or media. And, because of so many screens and the ability to reach media through so many different ways, the attention span has really shrunk. We have a tendency to disregard non-stimulating content. The other thing that has happened is, as consumers, we’ve become far more vocal. So, you just have to look at your Facebook status or the status of your friends, and there are so many mentions of good brand experiences or bad brand experiences. We like to talk about them and our friends like to share them and it influences their behavior. So, if you put all of those changes together and look at it in perspective, what has really happened is, the traditional means of getting your brand story out to your audience, through communication, is no longer working. It’s because your audience no longer cares about what you want to tell them; they only care about what they want to say. So the shift that we’re seeing, which is the foundation of StoryScaping, is that brands need to move away from communicating a story to making it a set of experiences. Connected experiences, recognizing that each of your audience member will access your brand story differently through different devices, different media, at a time of their choice and at a place of their choice. How they move from one media to another is not something that you can control. So effectively, what you need to create is a platform. I’ll give you an example that will illustrate this. A platform where consumers can dip in and out of brand experiences, traverse and create their own path from which they figure out how your brand story fits into their lives. They thus make your story their own. They share it with friends and that’s how your brand story gets co-created between the brand and the consumers. Take Ladbrokes, for example. Ladbrokes is the largest betting firm in the UK. It had about a billion pounds in revenue at the end of 2012. So, they came to us about three years ago. For the first time in their 125 year old history, their market share was dipping, their brand performance was waning and the footfalls in their 2,700 retail locations (where you could go and place a bet) was going down. When we did our consumer research, we found that the betting industry was not taking advantage of the primary emotion of betting, which was excitement. Today’s generation bets online because there’s a rush and lots of excitement. So, we created an organising idea which is ‘Game On.’ ‘Game On’ is an expression of the brand purpose but also, a call to action. The foundation of the set of these experiences was created by a trading platform which allowed Ladbrokes to generate real-time odds on sporting events. So earlier, you could bet whether Manchester United was going to win against Liverpool and by how much. Suddenly, with this platform, they could place a bet on whether there’s going to be a penalty kick, whether it’s going to be right or left of the keeper, whether it’s going to be a corner kick and so on. So, you’ve suddenly created a lot more possibilities for real-time bets because of this need to create excitement. Then, we created their mobile app, their tablet app, a 30-second television commercial. We re-designed their retail locations and even introduced bet-placement at the end of broadcasts. As you see, different people will traverse the Ladbrokes experience differently. What we’re doing is creating a consistent and connected experience eco system that people can go in and out of, based on what suits them. And, no matter how they enter and move from, whether they come in through a broadcast, their iPhone, from the website, the retail location, or any other way, they’re getting the same experience of the brand story. So, this is an example of a StoryScape. What happens when a lot of the engagement, interaction and chatter about a brand and brand experience is not always positive? How do your clients deal with backlash, negative feedback and negative comments? Rajdeep Our advice to our clients in such situations starts with the recognition that the brands are no

longer in control. You recognize that the audience has an equal role to play in how your brand is perceived and whether you choose to shut yourself out from that noise or not, that chatter is going to happen around you. So your best bet is to participate in the conversation and turn it into a positive emotion for people that are advocates. If you look at a set of consumers, there will always be some people who have negative things to say about your brand. There are people who are fanatical about their brand, there are people who have had happy experiences, and there are people who are somewhere in the middle. Your first bet is to first be authentic about the interaction; you can’t fake that. So, if you’ve genuinely made a mistake or it advices to say sorry, you make an offer to correct it and move on. What that will do is, you may or may not win your critics but the people who genuinely believe in your brand will see that as a positive interaction. It reaffirms the like for the brand. People who are sitting in the middle of the path will see that personality of the brand and will choose to embrace it. So, truly put yourself out there and talk to consumers, no matter what they say? Rajdeep You have no option. You have to get into the conversation and embrace it with authenticity and honesty.

What about 4G? That is really going to change things from the consumer end as well as from the brands end. How are you, as agencies, equipping yourselves with the kind of changes that 4G will bring in India? Rajdeep The implication of any new technology is always overestimated in the short term and underestimated in the long term. If you look at 4G, there is a lot of excitement.

The current compensation model in the agency world is also based on a fairly antique paradigm, where you’re not necessarily paid for performance. I think what is happening and what the traditional agencies are seeing is that clients are demanding more accountability for that compensation Some of the things that the industry expects will happen with 4G, but I’ll put a dampener on it right now. Some of the things that the industry expects with 4G are that click-through rates will go up because you’re not sitting there waiting for the content to load on your mobile phones. We think it will enable far more interactive experiences between the brand and the consumer. You can make more real-time offers, location-based ads, all of the promises that we’ve heard will be reality. In the long term, it will change the role of telephone companies because they will differentiate based on innovative services that they’re able to launch in partnership with a retailer, brands and so on. But, having said that, let’s take 3G as an example. Just right now, the number of 3G subscribers in India would be in the region of 30 million. The number of telecom subscribers is much higher, around 900 million. So, it’s less than 0.5 per cent. So, will 4G be a game changer? In the long run, absolutely. In the short run, I think it will still be the privy of a privileged few. In the short term, I don’t expect any significant changes, especially in the Indian context but also in North America. If you look at 3G and 4G consumption in North America, it’s 40 plus. It’s people in that age category who are consuming it more. Brands are figuring out how to access them and make that into a good experience for them. So, in the short term, I do not expect that 4G will radically alter anything in the industry, whether it’s on the brand side or the agency side. What about agency structures? As dollars shift from traditional to digital, how is your agency structure changing? Rajdeep I think there are three big areas in which agency structure is going to get impacted by shift of advertising dollars to digital. The first shift is that it is no longer about communication, it is about creating experiences. Therefore, the agencies will have to add muscle in experience design and then, how to convert that experience into reality through technical capabilities. For example, I transact with you on your e-commerce platform. Are you giving me the same experience that I get when I watch your television commercial?

Am I getting the same experience when I walk into your store? As advertisers we can no longer restrict ourselves to just the communication aspect alone. We have to convert the promise of that brand to a set of brand experiences. Most traditional agencies don’t have the ability to design experiences, particularly in the digital area. If you take e-commerce platforms, if you take mobile in-store, there are so many variations in which consumers are experiencing. So, that’s one big muscle that agencies will have to add. The second thing that I think will change is how media is planned. So, if you look at the media planning process and the creative process, it’s fairly linear in most agencies. And, what happens unfortunately is the two companies, the creative agency and the media company, get different briefs. So, sometimes the creatives feel that they’re trying to fit their creative idea into a media plan and sometimes the media people feel that there is a medium that’s already been chosen. The reality is, and that’s a shift that agencies are going through, that you cannot decide your media plan divorced from the idea because in today’s world, the media has become so fragmented that if you go in with a media plan separate from your idea, you’re going to lose out on how consumers actually relate to the brand. If you take any media agency, you won’t find a solution where they do not rely on paid media. It doesn’t happen. But that is completely broken because today, most consumers do not consume the brand message through paid media. The third thing that we think is going to happen is that the media planning, creative and strategy processes are going to get far more integrated. In our agency we call that ‘Connected Thinking.’ So, the ability to get diverse capabilities into one room and ideate it on the client’s brand and business plan is something that many agencies, due to their structures, are not in a position to do. In a typical holding company structure, all the capabilities are so fragmented across multiple small agencies that, to get them into one room and talk about the client’s idea doesn’t happen that easily. If you examine many of the holding companies, they’re trying to create a layer around these capabilities to help facilitate that process. That’s another big shift that we think is going to happen. What is the biggest advantage and disadvantage of being part of a big holding company? Rajdeep The biggest advantage of being independent today is speed, agility and flexibility to innovate. In a holding company, you fit into a given role in the holding company structure and your parent decides how much you can expand yourself in any given direction. As an independent, you have the freedom and flexibility to evolve yourself in line with what the client needs. On the flip side, those independents that are small have a problem because, as I said, the future is about connected thinking and bringing multiple perspectives together. But, if you’re a small, niche, independent agency, you’ll remain the same way because your ability to acquire those capabilities and invest in them is limited. It’s not a bad thing to be a niche agency. I’m just saying that as an independent, if you’re small, that’s probably one constraint that you’re going to run into. So at that time, for some of the smaller agencies, it’s going to be imperative to be part of a holding company. That’s where I find us to be in a position that we wouldn’t trade at all. Being independent but having the scale of eleven thousand people across 32 countries. So, it involves the ability to support global clients and having the diversity of perspectives; that’s really meaningful for our clients.

What about compensation because compensation model is based on the legacy advertising agency model. Do you feel that agencies like yours are adequately compensated for your work? Rajdeep The current compensation model in the agency world is also based on a fairly antique paradigm, where you’re not necessarily paid for performance. I think what is happening and what the traditional agencies are seeing is that clients are demanding more accountability for that compensation and where I feel independents are far more flexible and they’re bringing fresh thinking and taking accountability for the business and bottom line performance. So, yes, I think that’s another area where traditional agencies are going to see some pressure. What about the future of traditional advertising agencies? Will we see a co-existence between digital and traditional or will we see integration, amalgamation or both? Rajdeep So, the easiest thing to do is to look at how the consumer views the world. You and I don’t differentiate between traditional and digital. Those worlds have merged for us. So, the agencies that still define themselves as traditional agencies, abovethe-line agencies, digital agencies, interactive agencies, are missing the point because they’re not orienting themselves to how consumers relate to this space. For agencies to create the most amount of value for their clients, they will need to embrace the same thinking, which we as consumers do. I think those worlds will completely blur. You will not be able to separate media from interactive, from traditional, data and analytics to e-commerce. All of those capabilities will need to come together in a single agency.


4

OCT 09, 2013 #016

the back of the book

tv tracker Which Indian Quick Service Restaurants get social media?

The What's-ON report is based on millions of observations seen across multiple platforms

Quick Service Restaurants in India have been quick to adapt to social media. They’ve tried their hand at cracking the social recipe to success and the metrics say they’re quite close to cracking the code. While many international chains have set shop across the country, the Indian-bred chains have fought bravely to catch up with them. Facebook sets the scene as most brands discover their comfort zone in this network and only few brands have dared to test the waters of Twitter and other social networks. Unmetric, the company that asks brands if they are social enough, explores the social media activities of 15 QSR chains on Facebook, Twitter, YouTube and Pinterest while pulling out unique insights that dissect and bring to light the social strategy of each brand. These chains have been chosen based on their Facebook Unmetric score. While all 15 brands are active on Facebook, only 10 are active on Twitter, 5 on YouTube and 2 on Pinterest. Dominos and Café Coffee Day are the only brands with activity on all four social networks. Of all the brands analyzed, KFC stands out. Not only do they have a large fan base of 4.82 million fans on Facebook, but also the most subscribers on YouTube and a strong follower base on Twitter. Though this gives them quite an edge, this is only the tip of the iceberg. Even though Dominos is ahead in terms of fan numbers (with 4.88 million fans), KFC takes the lead in terms of growth. Growing at a rate of 16%, they added over 800,000 new fans in the last two months. KFC also found the content sweet spot and their regular updates engage very well with their fans. Unmetric’s engagement score uses an algorithm based on the number

of Likes, Comments, Shares and Estimated Impressions to produce a benchmarkable score to rate fan engagement. They’ve received the highest average engagement of 110 from 208 admin posts. This is a little less than three times the sector average of 44. 8 of the top 10 most engaging posts come from KFC. While Dominos updated their page 383 times (the highest), Subway updated it the least with only 22 posts. Apart from engaging a fan, a truly “social” brand also replies to fan posts. Once again KFC stands out. They’ve received the highest number of posts from fans (over 2,000) and their answers on the average come within 418 minutes. However, they answered only 23% of fan posts. McDonald’s and Cocoberry are the only two brands that do not allow fans to post on their wall. Five of these 15 do not have an official Twitter handle for India. On Twitter, Mad Over Donuts stands tall with an Unmetric score of 32. Dominos is not far behind with a score of 30. KFC on the other hand, which was the king of Facebook, takes the back seat when it comes to Twitter. Dominos and Café Coffee Day have the most followers, 20,844 and 12,998 respectively. Starbucks, on the other hand, was the one to grow the most with a growth rate of 29%. Taco bell comes in second with a growth rate of 19.6%. Both seem to be growing well over the sector average of 11.2%. M.O.D sends 24 tweets a day. They reply to fan posts all within 330 minutes and have made the highest number of replies when compared to the all other brands. This is impressive as the average QSR brand took 877 minutes to reply. On the other side of the road, Cocoberry, Pizza Hut

and Barista do not reply to follower mentions and shut the two way street which is the epitome of the social network itself. The only brands with official YouTube channels are KFC, Dominos, Pizza Hut, CCD and McDonalds. Of these, KFC once again floats to the top with the most views, subscribers and a robust video base. KFC has 902 followers and also grew at a rate of 10%. This is lower than the growth rate (14.4%) of an average brand from the sector. Dominos experienced a growth of 58% which is the highest of all 5 brands. Café Coffee Day has the most videos (total and new). They have 37 videos and also added 2 new videos in the time period analyzed. KFC comes in second with 34 total uploads and one new upload. The average length of videos from all these brands is under 2 minutes. Café Coffee Day has the longest videos with an average length of 1 minute 33 seconds while McDonalds has the shortest videos with an average length of 22 seconds. If YouTube was a bit of a disappointment in terms of brand portfolio, Pinterest is a disaster. Only CCD and Dominos have Pinerest accounts. CCD out performs Dominos. They have 512 followers and added 29 new followers while Dominos only has 35 followers and added 2 new ones. Café Coffee Days has 210 pins which is more than twice the number of pins as Dominos. The 210 pins of CCD have been re-pinned 279 times while Dominos’ 85 pins have been repined only 20 times which leads CCD to have a better re-pin to pin ratio of 1.3 while Dominos only has 0.2. Then again, being the only 2 brands that are active on Pinterest gives them an automatic win.

QSRS IN INDIA TAKE A BITE OUT OF FACEBOOK 6 of 15 brands sent updates related to Apps These were the posts with least average engagement.

Size = Number of Fans

8 OF 15 brands ramped up their fan base at a rate > 10%

1M

+1M

6 of 15 brands have more than 1 million Facebook fans.

FAN POSTS

4M

2 of 15 brands do not allow fans to post on their wall.

2.1M

1.3M

3 OF 15 added more than 100,000 new fans.

4.9M

Ad Campaigns engaged best

892k

4.8M

530k

363k

204k

272k TACO

62k BELL

Only 7 of 15 brands

leveraged ad campaign related posts.

15 of 15 brands

post Questions and Engagement Oriented posts.

www.unmetric.com

KRISPY

90k KREME

195k STARBUCKS 52k

* ENGAGEMENT

KFC has an engagement score of 110, followed by Starbucks India with 94. The sector average is 44.

9 OF 15 9 of 15 reply to every 1 in 5 fan posts.

@unmetric

* Data gathered between July 1st and August 31th, 2013. Engagement Score is a calculation of the

number of Likes, Comments, Shares and Estimated Impressions to provide a benchmarkable score.


Storyboard E-paper