MediAvataar's News Desk
Bets big on Media solutions, launches media companies, Kingdom Media Network Private Limited and Atlas Media Network Private Limited
Presenting an alternate redirection, Media Veterans Moses Chinappa and Amar Dixit launched their Media Organizations Kingdom Media Network and Atlas Media Network . The extraordinary dreamlike personalities behind the production of these cajoling yet utilitarian organizations, Co-Founder and Managing Director of the Group Moses Chinappa and Co-Founder and Chief Executive Officer, Amar Dixit, have envisioned a cooperative objective of turning into a leading association in propelling organizations utilizing channelized mediums.
Talking about Kingdom Media, the founders said that the company will launch a bouquet of channels in the coming months.
Atlas Media Network will offer 360 Degree services connected with the different verticals of Media Business in the fields of content syndication, digital, advertising sales, technical support, film division, marketing, and distribution mapping to its clients Pan India and Overseas.
The company will offer services that aid and support brand building with a combination of strategic alliances and collaborations.
Receiving enormous support from the industry, Manisha Kapoor, the CEO, of The Advertising Standards Council of India, says “I wish Moses, Amar, and the team at Kingdom media and Atlas media the very best. I look forward to many milestones and achievements from this team in the coming time”.
Furthermore, Vice Chairman Vini Cosmetics Private Limited, Dipam Patel shares his best wishes to Moses and Amar for their new ventures.
Harish Shriyan, Executive Director at Network Advertising, Mumbai shares, “I know Moses and Amar professionally & personally well over the years. They are one of the most respected & highly talented media professionals in the country. I wish them all the very best & great success in their new venture Kingdom Media & Atlas Media”.
The founders have their vision effectively formulated, wanting to give an enhancing experience to their clients and denoting an imprint and positive effect in the media business with their cooperative synergy and exceptionally characterized objectives, and are en route to achieving abundance more.
Moses, Managing Director and Co-Founder of the group, has more than 26 years of experience in the media domain. He has worked in Zee Network, Sahara TV Network, NDTV Media, INDIA TV, Sri Adhikari Brothers TV Network, BAG Films, 9X Media, AIDEM Ventures, Raj TV Network, and B4U TV Network, at key levels.
Dixit, the CEO and the Co-founder,has more than two decades of track record working with media companies. He has earlier worked with The Times of India, ETV Network, Sri Adhikari Brothers TV Network, BAG Films, 9X Media, and B4U TV Network.
Further to this, Atlas Media has appointed Rajan Mishra as Business Head – Emerging Media-India and SEA and Naveen KS as Business Head – Special Projects-India and the MENA region.
Starring Shweta Basu Prasad, Prateik Babbar, , Aahana Kumra, Sai Tamhankar and Prakash Belawadi in lead roles, the film will stream on ZEE5 Global from 2nd December 2022
ZEE5 Global, the world's largest streaming platform for South Asian content, released the trailer of its latest original film ‘India Lockdown’. Directed by Madhur Bhandarkar, the direct-to-digital movie, is the first Hindi feature film on the COVID pandemic and its repercussions on the people of India. Written by Amit Joshi and Aradhana Sah with Madhur Bhandarkar, the ZEE5 Global Original Film stars Shweta Basu Prasad, Aahana Kumra, Prateik Babbar, Sai Tamhankar and Prakash Balewadi in lead roles and Hrishitaa Bhatt in a cameo.
Produced by Dr. Jayantilal Gada of PEN Studios, Madhur Bhandarkar’s Bhandarkar Entertainment and Pranav Jain’s P J Motions Pictures, India Lockdown will have its global premiere at IFFI Goa on 21st November followed by its World Digital Premiere on ZEE5 Global on 2nd December. Shot in 2021, the film narrates four parallel stories of disparate characters who are catapulted into an unforeseen dramatic situation instigated by the lockdown due to the corona pandemic.
As seen in the trailer, Shweta Basu Prasad plays the role of Mehrunissa, a sex worker in Kamathipura in Mumbai who is forced to adapt to the changes brought about by the lockdown and experiment with new ways of doing her business online. Aahana Kumra plays Moon Alves, a pilot who is used to soaring high in the sky but is suddenly grounded for months together and who for the first time realizes what it is like to have her wings cut. Prateik Babbar as Madhav and Sai Tamhankar as Phoolmati are migrant workers who lose their bread and butter in the pandemic and are left to starve or to walk back home as trains and local transports are shut. And lastly, Prakash Belawadi as Nageshwar, an aged man who is stuck in a different city than his daughter at a critical time of her life. Scared and helpless, will all of them survive the uncertainty of India Lockdown?
Shweta Basu Prasad said, "We all experienced the lockdown of uncertainty, including sex workers. When people ask me that how did I prepare to play the part of a sex worker, it’s just another role, story of a human being and as an actor it’s a privilege to play so many different kinds of roles. I researched a lot, in fact Madhur sir and the team took me to Kamathipura in Mumbai where I met fee sex workers and picked on their lingo, body language and mannerisms. I also realised that human emotions is a universal experience. Whether it’s the reader of this article or a commercial sex worker. Everyone’s stories of the lockdown should be told.”
Aahana Kumra says, "Loneliness became a very important conversation during the pandemic, just like anxiety and depression. My story in India Lockdown highlights exactly that. I play a pivotal role of a pilot, a fiercely independent woman who hustles her way, has a luxurious, thriving career and everything comes to a standstill when the pandemic hits. My story talks about how she overcomes loneliness and how she tries to find companionship during lockdown. It's a very interesting part and I loved working with Madhur sir. He's a feminist and loves portraying women in stories and I'm glad that I got to collaborate with him. It's a dream come true, and I sincerely hope that this film is loved by the audience and people relate with all the characters in the film."
Prateik Babbar said, “We all read about the state of migrant workers due to the lockdown imposed in 2020 but I didn’t expect to represent them 2 years later in a Madhur Bhandarkar film. My role as a migrant worker in India Lockdown gave me an opportunity to come closer to them and feel what they felt - the uncertainties and the struggles unlike ever before - during the 2 most difficult years of their life. I hope that this film strikes a chord with people across the world and that we treat each other with more compassion”.
Sai Tamhankar said, “This film is raw, realistic, and full of emotions. I am grateful to be a part of this film, it gave me an opportunity to work with the genius, Madhur Bhandarkar who understands the pulse of the audience and knows what they like and will relate to. He has the ability to bring out the rawness in actors and push them to be unfiltered and candid”.
Prakash Belawadi said, “Lockdown impacted everybody. We all had to learn to adjust in the lockdown and function on our own without helpers. People had to pick up new skills and manage a lot of things digitally; even get used to virtual interactions instead of in-person meetings. So, this film covers all that and more. I am sure that people across all ages and across the world will relate to this film as covid impacted us more or less similarly”.
‘India Lockdown’ is all set to premiere exclusively on ZEE5 Global from 2nd December 2022
Winners to be announced during an online show on December 8
The Epica Awards are delighted to announce the preselected entries for the 2022 competition. Reaching the shortlist is a fantastic achievement, so we would like to congratulate everyone who appears on it.
Over the past few days, a unique jury of editors and senior reporters has watched and analyzed over 3000 pieces of work. We would like to thank all the agencies, production companies and clients who took part. Every entry has been carefully appraised by the jurors, delivering valuable media exposure to all the entrants.
The full list can be found Here
These finalists will go through to the grand jury, which votes online from November 23 to December 2. Gold and Grand Prix winners will be screened during a special online ceremony on December 8.
Silver and Bronze winners will be published on the Epica Awards website the next day, December 9.
Since 1987, the Epica Awards jury has been exclusively composed of editors and senior reporters from the world’s leading titles covering creativity and communications. They are supported by journalists from specialist fields such as post-production, VR, design, finance and luxury. A full list of jury members can be seen at www.epica-awards.com
This year the Epica Awards received 3099 entries, a slight drop on last year explained by the absence of Russian agencies, which were banned from entering. The highest number of entries came from North America (400) followed by Ukraine (396), Germany (276), and France (158). There was an increase in entries from Asia, notably Thailand, China and India. In terms of networks, McCann, Publicis and Accenture were particularly well represented, but independent entrants are ever more in the majority, making up over 55% of total entries this season.
54 winners across 21 categories and over 200 attendees for one of the biggest nights of the year!
Last night the greatest minds of our industry came together at Proud (London) to celebrate the incredible projects awarded at this year’s BIMA Awards.
The BIMA Awards are the UK’s longest standing and most prestigious digital and tech awards, a flagship event for our organisation and for the whole industry. Our awards exist to champion those driving social change, diversity and talent in the industry.
This year, agencies were asked to submit their projects against 21 categories across three main areas of industry: Sectors, Content & Craft and Strategy; and, for the first time ever, we’ve asked entrants to opt in to have their existing submission put forward for the Inclusive Design Award judged by BIMA’s Inclusive Design Council to acknowledge projects that have understood, implemented, and exceeded in providing a digital experience that is truly inclusive.
At BIMA, we love celebrating the talents in our industry and this year’s BIMA Awards were no exception. We saw some incredible work from people who are truly pushing the boundaries, and we couldn’t be prouder.
It’s been a really interesting year for awards. While the pandemic saw many pivot into digital very quickly, we’re now seeing that same technology and innovation becoming more mainstream. Entries that a few years ago would be seen as breaking innovation are now central to solving a clients brief. It was interesting to hear judges debate more about ubiquity and platform integration in addition to a search for new ideas breaking through. It felt like the shift was less new tech and early adopters but better use of what we have that impacts more people- Matt Sullivan, BIMA MD.
We’ve been blown away by the breadth and diversity of winners and their projects. The night was full of inspiration and fun, and we hope everyone who was there had a blast!
A special thanks goes to our wonderful host, the legendary award-winning Business Leader, Coach & Mentor, five times recipient of the BIMA 100 accolade and 2022 BIMA Hall of Fame inductee, Mary-Keane Dawson. Mary did a superb job presenting our winners and their work. We were honoured to have her!
Thanks to everyone who shared the night with us, the winners and their guests and thank you to our wonderful 2022 judges who made this happen.
Congratulations to all our winners! See the full list of winners HERE.
In 2026, for the first time ever, the World Cup will be spread over three countries. Sixteen cities across the U.S., Canada and Mexico will host matches, giving brands and advertisers a chance to expand their reach and build connections with growing football fan bases across North America—if they know where to look.
The tide of popularity is turning for football in North America, to the benefit of sponsors and advertisers. Since 2015, the U.S. has added 10 clubs to the MLS, while Canada founded the Canadian Premier League in 2017 with 8 current teams and Mexico’s Liga MX boasts some of the largest crowds of any North American league1.
This new popularity is creating hotspots of football fan bases across future host countries. In Canada, for instance, interest in football in general has increased 32.8% since the announcement that the country will host ten 2026 World Cup matches. And according to Nielsen Scarborough, in the U.S. Houston is the 2026 World Cup host city with the most football fans per capita, followed by Los Angeles and Miami/Ft. Lauderdale.
World Cup host cities are home to their own football clubs, so fan concentration in these areas makes sense. But, importantly, the popularity of local teams can spread to surrounding areas, enlarging the sphere of influence for advertisers that partner with regional teams or athletes.
To reach these fans, advertisers are using social media sites like Twitter, TikTok and Twitch. According to Nielsen’s 2022 World Football Report, while free-to-air television is still the preferred method of viewing matches (81%) for football fans who watch sports, social media is now a go-to platform, with 72% of fans claiming they use apps to watch the action.
And when their teams do well, fans flock to social media to follow and like and engage with content. The Canadian men’s team, for example, saw a significant increase in social media content & interactions in the 2021/2022 season after qualifying for their first World Cup in 36 years. The women’s national team saw a similar increase in social media engagement when they won gold in the 2021 Tokyo Olympics.
World Cup qualification increases social media engagement for Canadian football
The Canadian Men's football team saw an increase in social media content and interactions after their World Cup qualification. The women's national team saw a similar increase in engagement when they took gold at the 2021 Tokyo Olympics.
The qualification also sparked interest in football for Canadians in general, with 35.6% saying they are now more interested in watching football than before the team qualified for the World Cup, according to Nielsen Fan Insights.
National team football fans in each host country prefer YouTube for sports news and content. While Twitch is among the lowest used by percentage, fans over index significantly on its use compared to the general population. To further expand its reach for the 2022 World Cup, Twitch is adding a live streaming component to their coverage for the first time, granting Brazilian Twitch influencer Casimiro Miguel the rights to stream matches to his millions of followers.
In addition to the notable on-screen audience exposure that sponsors receive on both live TV and social media, Nielsen’s 2021 Trust in Advertising study found that brand sponsorships in sporting events rank just behind recommendations from friends and family, as 81% of consumers reported either completely or somewhat trusting them (vs. 89% who trust recommendations). Football fans are also eager to learn more about the brands sponsoring their favorite team—56% of percent actively inform themselves about brands engaged as a sports sponsor.
But football sponsorships are more than an opportunity to increase brand awareness—they can be the key to staying top of mind with fans when it comes time to make a purchase. According to Nielsen Fan Insights, 67% of football fans think brands are more appealing when they participate in sports sponsorships, and 59% would pick a sponsor’s product over a competitor’s if price and quality are the same, compared to 45% of the general population. And Nielsen’s 2022 Global Sports Report found that the sponsorships drove an average 10% lift in purchase intent among the exposed fanbase.
As the 2022 World Cup heads to the first match, winners and losers will be decided both on the field and off, with advertisers tallying up the cost of sponsorship against the impact on brand awareness and revenue. Brands that want to get ahead of the game for the 2026 World Cup and start making early inroads in North America need to start planning now for campaigns that can build on the momentum of 2022 and turn today’s fans into tomorrow’s customers.