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DELIVERING A HYPER INVOLVED SAMPLING EXPERIENCE THROUGH A DISRUPTIVE VISUAL DEVICE

DELIVERING A HYPER INVOLVED SAMPLING EXPERIENCE THROUGH A DISRUPTIVE VISUAL DEVICE

9E. Use of Design

BACKGROUND

The Brand commands a substantial footprint reaching over 170 million viewers all over the country. With the perennial ambition of being the No. 1 player in the GEC category, the effort has focused on two imperatives - How do I enter conversations? & How do I become the conversation?

Shifting from Rishta Wahi Soch Nayi the brand evolved its philosophy to Rishta Wahi Baat Nayi moving from an ‘introspective Soch’ to an expressive ‘baat’. Strengthening thinking with action the brand opened possibilities to showcase a brand the belives that relationships are the same but the conversation amongst the audience of today has evolved

With a new show launch, it is imperative to drive an involved sampling experience.

Show Core


The Brand is in the constant pursuit of changing the grammar of general entertainment television by bringing in shows with a differentiated proposition. Ek Bhram - Sarva Gun Sampanna was one such show with an intriguing character and plotline.

WithIn the saas bahu repertoire of shows, Ek Bhram was unique with the bahu being an unusual character. On the outset the portrayal of the character was of someone who had all the expected qualities of an ideal bahu, however intrinsically she was a diabolical character.




APPROACH

Audiences identify with the channel through their shows and shows through their characters. Affinity for a channel is built through its content, however, affinity to the content is driven by its characters. Characters are what drives new audiences towards a show, and it is critical to drive an involved sampling experience to hook these new audiences

While dealing with a consumer that is spoilt for choice, it is imperative to drive distinctiveness in terms of creative output. Disrupting the consumption experience was a critical facet in ensuring that the discovery of the show is truly memorable.

Bringing the character to life





Promoting a show requires isolation of one unique aspect that takes centre stage as the key thematic. In this case the character Janhvi Mittal who played the bahu (daughter-in-law) was key to the campaign. The brief at hand was to bring alive the ‘duality’ of the character through a device that is truly intriguing and demands attention from a distracted consumer.




The Idea - Asli Chehra


Janvhi Mittal, the ideal bahu (daughter-in-law) had two distinct personalities and a dark secret that was unknown to the world. Crafting a visual device that demonstrated this duality uniquely was at the heart of the campaign. Using the same frame to show the change in her personality was a challenging one.

Creating a visual apparition by tweaking and treating the image by encoding each eye's image using filters of chromatically opposite colors in a way that it sets itself for a reveal when seen through a red filter.

We delivered a stereoscopic 3D effect achieved by means of Anaglyph 3D images containing two differently filtered colored images, one for each eye. When viewed through the "color-coded" "anaglyph glasses", each of the two images reaches the eye it's intended for, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into the perception of a three-dimensional scene or composition.

At the outset, Janvhi’s image is that of a calm, composed and loving individual. However when seen through a red filter the same image would show her real side or the ‘asli chehra’ behind this ideal bahu (daughter-in-law). The scheming nature and dual personality were adequately represented with the visual play that was definitively set up for intriguing our core consumer.

This disruption allowed for interventions across channels had Janhvi’s life size image supplemented with a red filter for consumers to experience the visual delight and with the red filter sliding across the image ensuring truly disruptive discovery and delivered a strong recall value.


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