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Jury duty or ad brief? Raj Kamble lays down the real test of creative craft at Goafest
MUMBAI: It was less red carpet, more war room as Famous Innovations founder & CCO Raj Kamble took centre stage on Day three of Goafest 2025. Speaking at the session titled ‘What Ignited the Jury Room?’, Kamble broke down the behind-the-scenes chaos, chemistry, and cold truths of judging at one of the industry’s most-watched award marathons.
With over 500 entries to sift through in just three days, Kamble said the pressure was nothing short of a creative crucible. “You have 15 restless judges, limited sleep, and 30-second coffees. It’s not glamorous. It’s gladiatorial”, he quipped, setting the tone for an unfiltered dive into how work truly gets weighed.
At the heart of his message was a blunt reminder: industry cliques still exist. “Networks can feel like cartels. But craft can still break through if it punches above its weight”, Kamble remarked. He urged creators to think of their case study videos not as routine documentation but as persuasive pitches. “It’s your best ad – and the jury is your target audience”.
In a time-crunched jury room, the first few seconds can make or break a campaign. Kamble emphasised, “Hook them in the first seven seconds. Don’t save your best for last – they may not get there”.
He challenged the cookie-cutter rulebook too. “There’s no law that says your case study has to be two minutes long. If your story needs three, take it. If it needs one, be sharper”.
Most importantly, he differentiated between ideas and execution. “A strong idea can fail because of poor storytelling. Show the change, not just the communication”.
Closing his talk, Kamble urged agencies to honour both their ambition and their audience. “Don’t just chase a Lion. Chase impact. That’s what gets the jury talking”.
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IAS launches Total TV suite to boost transparency in CTV ads
New solution offers programme-level insights across platforms and publishers.
MUMBAI: In the world of streaming, what you see is not always what advertisers get and that’s exactly the problem IAS is looking to fix. Integral Ad Science (IAS) has unveiled ‘IAS Total TV’, a new suite of Connected TV (CTV) solutions aimed at bringing what it calls “linear-like” transparency to the fast-growing streaming ecosystem. In simple terms, it is an attempt to make digital TV advertising a lot less of a black box.
The offering aggregates programme-level data covering genre, ratings, language, shows and specific content from major platforms including Disney, NBCUniversal, Paramount and Prime Video, along with opted-in publishers via Publica. All of this is housed within the IAS Signal interface, giving advertisers a unified view of where their ads actually appear.
The timing is hardly accidental. According to Nielsen, as of Q4 2025, 74.2 per cent of all TV viewing in the United States is ad-supported. Of that, streaming alone accounts for 45.6 per cent outpacing traditional television and cementing its position as the largest ad-supported medium. Advertisers have followed suit, funnelling premium budgets into CTV, but often without a clear, standardised view of performance or placement.
That gap is precisely what IAS is targeting. By combining content insights with media quality, supply path data and campaign outcomes, the platform aims to give marketers more control over when, where and alongside what content their ads run. The goal is not just visibility, but accountability ensuring ads land in brand-suitable environments rather than disappearing into opaque inventory pools.
The suite also promises practical gains. Marketers can access real-time, aggregated transparency across shows and platforms, streamline campaign controls across digital video channels, and leverage third-party verification to improve efficiency and pre-bid decision-making. Measurement tools extend to quality reach and incremental conversions, offering a clearer link between spend and outcomes.
At a time when high CPMs and fragmented data make CTV both attractive and complex, the push for transparency is becoming less of a luxury and more of a necessity. IAS’s move reflects a broader industry shift, where the race is no longer just for eyeballs, but for clarity on what those eyeballs are actually watching.
Because in streaming’s premium playground, knowing the content may just matter as much as owning the audience.
