MAM
WPP’s Data Alliance expands with Africa launch; Tighe named MD
MUMBAI: WPP’s Data Alliance has launched in Africa. The launch is aligned to WPP’s strategic vision of helping clients better leverage data in fast growing markets.
Devon Tighe, previously vice president of strategy and operations for Data Alliance, heads the new office as managing director.
Based in Cape Town, the operation will bring expertise from WPP’s global network to Sub-Saharan Africa to harness unique data sets and mobile opportunities. The focus is to accelerate development and enhancement of data-driven solutions, plus activate a mobile-first data strategy.
Local WPP companies Ogilvy, Smollan, Acceleration, Barrows, Wunderman’s Aqua and TMARC came together as sponsoring members to help bring Data Alliance to the region. Together, these companies will work closely on projects to enhance the usage of data across WPP solutions, in turn increasing speed, cross-fertilization and decreasing costs.
This launch is part of a campaign in WPP for “data horizontality” – the ability to better leverage WPP’s people, data and technology across the globe. This model works particularly well in the United States and United Kingdom where Data Alliance is supported by Kantar, GroupM, WPP Digital, Wunderman, KBM Group, JWT, Cohn & Wolfe and Geometry Global. To date, Data Alliance has had success in helping WPP companies better access and leverage data in ways that are more organized, efficient, effective and drive value for clients.
“We are thrilled to help bring Data Alliance to Africa. How we use data more effectively across marketing communications is becoming an increasingly critical part of the conversation with our clients – both in South Africa and across the rest of the continent. We see Data Alliance as a powerful way to help us win competitive advantage for all our clients across a very broad range of data requirements,” said Ogilvy managing director digital portfolio Ben Evans.
“We look at Africa as a region in which we can do some very modern and progressive things with data, in particular with mobile data. The launch of the Cape Town office is in response to client demand to grow data-driven capabilities in Sub-Saharan Africa. We know that by bringing together a strategic group of companies in Africa, we can help WPP’s agencies better serve clients through data connections that drive smarter decision making,” added Tighe.
Tighe brings more than 10 years of experience in the colliding worlds of media and analytics to the role. Prior to joining Data Alliance, Tighe was a research director at The New York Times where she focused on business strategy and customer analytics. Before heading to the Times, she spent six years in research and product development at Dynamic Logic, now part of Millward Brown Digital, a company within WPP’s Kantar unit.
In Africa, WPP companies (including associates) generate revenues of approximately $650 million and employ over 28,000 people.
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Netflix acquires Ben Affleck’s AI film-tech firm InterPositive
Streaming giant picks up production startup to streamline digital filmmaking
LOS ANGELES: Netflix has officially acquired InterPositive, an AI film-technology startup founded by actor and director Ben Affleck. The move marks a significant investment by the streaming service into assistive AI tools designed to support the technical side of movie production. While many AI companies focus on generating new images or scripts, InterPositive focuses on the logistical challenges of filmmaking. The firm’s technology is designed to handle technical tasks that often delay post-production, such as correcting lighting inconsistencies and ensuring visual continuity across different takes.
The acquisition is not about replacing human actors or writers. Instead, Netflix intends to use the technology as a digital assistant for directors. The software understands cinematic logic, meaning it can automatically adjust background elements or environmental effects to ensure a film looks polished and consistent without months of manual editing.
In a Netflix post on Thursday, Affleck emphasised that the project was born out of a desire to support the craft rather than automate it. “I knew I had a responsibility to my peers and our industry, to protect the power of human creativity and the people behind it. In creating InterPositive, I sought to do just that,” Affleck wrote. “From the invention of the moving image to the transition to digital, from motion capture to virtual production, technology has evolved alongside the artists who use it. Our shared commitment to continuing this legacy makes joining together a natural next step.”
Netflix chief product and technology officer Elizabeth Stone said, “Our approach to AI has always been focused on meaningfully serving the needs of the creative community. InterPositive’s technology is purpose-built for filmmakers and showrunners to naturally support their visions. We’re excited to welcome the team to Netflix and continue building a future where technology enhances storytelling, while people remain at the core.”
Netflix chief content officer Bela Bajaria added, “New tools should expand creative freedom, not constrain it. Ben and his team are part of a long tradition of artists leading innovation in storytelling. Their work gives filmmakers more choices, control, and protection for their vision.”
The deal coincides with a broader partnership between Netflix and Artists Equity, the production company led by Affleck and Matt Damon. Following the success of their recent projects on the platform, this acquisition cements Affleck’s role as both a creative and technical advisor to the streamer. Affleck noted that the partnership was a logical fit due to “Netflix’s decades of experience applying and scaling technology responsibly.” He will serve as a senioradvisor for the integration of the technology, ensuring the tools remain focused on helping filmmakers.
For the film industry, this acquisition signals a shift in strategy. Rather than just buying finished movies, Netflix is now owning the specialized technology used to build them. By bringing these tools in-house, the company aims to reduce the rising costs and lengthy timelines associated with high-budget original films while giving their productions a technical edge in speed and visual quality.
