Product Launches in Minutes Not Months/Position2 - StudioX, 3d Democratization, Biryani ~ Spark of Ages Ep 45 - Spark of Ages

Episode Transcript
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Rajiv Parikh (00:06):
Welcome to the Spark of Ages podcast.
Today we have a specialroundtable featuring two key
players from Position Squaredwho are leading development on
our new 3D rendering productthat we're launching, studio X.
It's two leaders in the companythat have been with me for
quite a long time.
One is Rajesh Muthyalu, who wecall "M for short, and he's an

(00:28):
award-winning creativeprofessional with over 20 years
in the digital space, leadingour experience and design teams
at Position Squared.
He's a leader at transformingbrands with incredible creative
excellence and he buildsstrategy into everything that he
does.
He loves 3D.
It encompasses 3D visualcontent, 3d animation

(00:49):
environments.
It goes to gaming, themetaverse.
He's been labeled as one of thetop 10 creative officers by CEO
Insights.
I also have with me VikramRaghavachari.
He used to be on the clientside working for amazing
companies like Intel and Lenovo.
He was on the client sideworking for amazing companies
like Intel and Lenovo.
He was on the client sideworking closely with my team.
Now he leads our computingsystems business unit at

(01:13):
Position Squared.
He's really working super hardto help us grow our company and
our business, but really helpclients take their ideas, their
physical ideas, their productideas and turn those into great
marketing great products, greatway of representing themselves.
So I'm very fortunate to haveboth of them here today, and

(01:34):
this is different than just aproduct release story.
For me, this is super excitingbecause I didn't expect them to
do this.
I encourage innovation.
We encourage the team toexperiment with AI, and Em leads
a team that has great designers, great creatives, great
copywriters, as well asdevelopers, but mostly on the

(01:56):
web and the application side ofdevelopment for clients.
I have a separate team andyou've met them before Vikrant,
who leads our productdevelopment team, and M's team
working with Vikram.
They were so fed up with whatwas out there in the market
today that they decided tocreate the best product ever,
and it's called Studio X, meantfor 3D rendering, and I'm just

(02:19):
happy to have both of them heretoday to talk with you.

Rajesh "M" Muthyalu (02:21):
Thank you, rajiv, great to be here.
Thank you.

Great to have both of you here.
It's been a little while sinceI saw you in person, so it's
great to have you.
Our teams work from around theworld and so it's great to have
you here.
So, hey, you know, the reason Iwanted you guys here is because
Studio X is really an excitingnew offering for us and it
highlights a tremendous amountof innovation.
So M you could talk about, like, who's the target audience?
What's the visual demand andfrustration that marketers are

(02:51):
facing?
Like, why did you end upbuilding this?

So our primary focus is on marketers in
consumer electronics, computingand automotive industries.
So these sectors are uniquebecause they launch products
frequently and operate acrossmultiple geographies and relay
heavily on high-fidelity visualsto communicate product
differentiations.

(03:14):
So Studio X was purpose-builtto handle those demands,
especially the need for speed,accuracy and consistent brand
presentation across touchpoints.

So, Vikram, what would you see as the main areas
that?
I mean, you've been talkingabout doing something like this
for quite some time and you'veworked with other companies that
make these types of products,so what struck you?

Vikram Raghavachari (03:38):
Product companies, by nature, are very
passionate about the design oftheir products.
Right, they want their productsto look the best.
They want all the details tocome out and, you know, make
that connection with the buyer.
And they spend a lot of moneyto do that, right?
So the industrial design, thespecs, the color, the feel all
of that has a large role to playin how successful the product

(04:00):
is.
And when you have to translatethat into the digital world,
especially in marketing, ittakes a lot of effort, right?
So you've got to rely on toolsand you have to keep turning the
product around, moving itaround, to get just that right
shot that you want, or sets ofshots right to generate.
Now, with legacy tools andutilities that I have seen, it

(04:21):
takes ages and pretty much themarketing team gets frustrated
and says, okay, we'll go withwhat you can give us that's out
there already.
Just generate something for usthat works always and we'll go.
So they're leveraging 60% ofthe product's beauty or
attractiveness right.
With Studio X it's so muchfaster that now marketers have a

(04:41):
say in how the product shouldlook and not just the design
teams.
Right, so now marketers cangenerate angles, zoom into
details, do things they couldnever do before in this time,
that they could never think of,right?
What used to take minutes oreven specific requests to
special teams, now is allcompletely democratized.

(05:02):
They can do it right at theirdesk or with someone next to
them and get exactly that kindof shot they need.
Imagine an exec who wants tolaunch a product at CES or in
front of the global press ormedia.
A regular shot, a regularphotograph of the product is
just not going to cut it.
It has to look stunning.

(05:22):
And how do you keep iteratingwith that?
Right?
You can't keep going back to anagency, can't keep going back
to marketing teams asking hey,change this, change that, change
this.
Now you have a tool that CEOs,admin can help with.
They can open it up.
They can keep changing that.
They can get exactly the rightshot that will make people go,
wow, right, so that is a benefit.

(05:43):
We bring speed, democratizationand self-service.

That's really cool , like the idea of this, and you
experienced this when youworked on the product side for
the largest computer companiesin the world Lenovo.
So you have a product, you'regoing through the process of
presenting it to press analysts,your team, your customers, and
so what was the pain that youwere going through at the time.

Look, when there's a global announcement,
when a product has to belaunched, it's a pretty big deal
for companies, right?
A lot of money is put into itand things have to work really
seamlessly.
Now, when everything is wellorchestrated from the highest
offices, resources are putbehind it and then things slow
down when you have to dosomething as fundamental as

(06:31):
finding you know spammer in theworks.
It makes the whole thing lookinefficient and you know it
slows down the whole thing andthe clock is ticking.
For any product launch for aglobal company, the clock is

(06:53):
always ticking.
Time is not on your side.

Yeah, you're definitely like with anything
consumer, any laptop or desktopor consumer devices.
You're talking about amulti-billion or sometimes
hundreds of billions of dollarsindustry.
You have so many competitorscoming out with products all the
time, so speed to market isabsolutely critical, right, and
you're really selling theproduct.
This is a product you're goingto use every day.

Exactly so you brought up.
You know that's exactly theright word.
So you're going to be sellingthe product every day.
So every day you can't keepshowing the same thing.
The job of product marketing,and marketing as such, is to
make the product stand out, notmake it look the same like
everything that's out there,right?
So you have to keep reinventinghow it looks.
You have to keep reinventinghow it's presented.

(07:40):
Now, I don't mean at amessaging stage, but pure visual
appeal.
Right?
You have to keep doing that,you have to keep improving on
that every time, and the onlyway you can do that is if you
don't have to rely on designers,3d teams and all those
specialists whose time is veryprecious and they've got other
stuff to do.
So marketers have to havesomething that they can rely on

(08:01):
themselves, something thatempowers them to, you know, to
make the best of the product.
You know, within their cubicles, so to speak.
So this is a solution that doesexactly that, and you know, not
just believe, but I've seenthat it can not just save time,
but the beauty of the product isthat it brings to life so many
intricacies of the design, ofthe engineering of the human

(08:23):
interfaces that were simply notpossible before.
So it not just delivers whatyou wanted, but it also opens up
a whole lot of avenues of stuffthat you probably didn't
visualize.

So what are some of those things?
What are you thinking aboutopening up that you couldn't
have Right now?
When I see the visualization ofa product, you usually get a
shot of it, and then it's astraight up shot In this.
Now, when I see thevisualization of a product, you
usually get a shot of it, andthen it's a straight up shot.
In this case, you're doing 3D,so you're getting it in three
dimensions, but then there'smore than that.

There are large companies.
I don't want to name them, butwe differentiate purely on
product design, right?
So a phone looks like a phone,looks like a phone.
So to the regular guy hey,these are all $1,000 or $2,000
phones.
What looks like a phone?
So to the regular guy hey,these are all $1,000 or $2,000
phones.
What's so different?
Okay, maybe the OS is different.
No, there's a lot of stuff thatgoes behind, yeah it's not just
a feature function list.
Yeah, exactly, it's how it feedsin your hand and what it looks

(09:14):
like.
So the grooves, the texture,the shine, the matte, the
reflections, how it bounces offlight, how it handles glare and
gloss, and all of that.
When you like what you see,then you're willing to go to the
next step to explore if itmeets your requirements.
You have to please the eyefirst before the eye is the
gatekeeper to the brain, so tospeak.

(09:34):
Right?
So if you don't like what itlooks like, you're not going to
consider it.
That's the way products work.
So this is an essential step.
You know, making the productlook wow.
This is an essential step.
You know, making the productlook wow.
This is essential to productmarketing, absolutely.
And in the recent past, youknow there's a lot of effort
that goes in manually to it.
What we've brought is a bit ofsophistication, automation,

(10:01):
speed and democratization, likeI said before.
Right?
So there are plenty ofadvantages to use something like
Studio X.
So plenty of advantages to usesomething like Studio X.

And if you've got the volumes of products that
justify something like this,it's absolutely amazing what it
can do.
So, Em, I mean, talk about thisfrom the perspective of you
know, you get the request from aclient of ours, from a product
marketer that wants to have thisnew product visualized.
Talk about it in terms of whatare you dealing with today prior
to building this, Like what ledyou to do that?

We built StudioX from our own pain points
, rajiv.
So for many years our creativeteams have utilized various 3D
software tools and customworkflows to create 3D content
for our clients.
So we often spend weeksproducing photo realistic
product renders.
So how this works process right?
So clients, right from theproduct engineering team.

(10:53):
They'll provide us theblueprints, which is CAD files.
Right?
So we take those CAD files, weconvert those CAD files into 3d
models based on the guidelines,what we receive from them, which
is called a CMF, right?
Cmf stands for color, materialand finish.
So once we apply CMF to thatmodel and we'll send it back to

(11:13):
the product marketing team totake sign off from them, from
the engineering team, to ensurethat whatever we applied the
material, the color, the textureis perfect.
And then what we do once we'redone with the modeling process,
we'll set up that whole thing onthe SudoX platform where
marketers or designers can playaround with the product and they
can render all the angleshowever they need.

The issue is like before.
You would take these files andthen convert it using available
software in the market.
And what was the issue that youguys were facing?
You know, before this therewere definitely products in the
market that allow you to do 3Dmodeling right.

Yes, I'll tell you the pain points.
Right so, how we used to dobefore.
So our work, especially the 3Dwork, depends on skilled
professionals who are proficientin 3D tools and who understands
product photography and whounderstands other Adobe
softwares, which demands adiverse set of skills.
Right?
So we have to depend onmultiple skill sets.
So right, from understandingthe product photography to 3D

(12:17):
technical skills, to using Adobesoftwares like Photoshop and
other tools.
So we realized we couldconsolidate all the years of
experience and learnings, as perthe industry standards, into
the single platform calledStudioX.

So you have all these different skills you had
to do so, you had to use allthese different software
platforms, right yeah?
And then from that, where wereyou hitting a wall?

Now we don't need all these skill sets
to produce these 3D renders,right?
So we integrate everything toone single platform where
anybody with basic skills,computer knowledge, they can
generate these wonders.
So there is no bottlenecks.
The beautiful thing is, thisworks in any browser, right?
You don't need to installanything on your laptop, right?

(13:03):
You can log into the Studio Xplatform and start rendering
your products based on yourlighting or based on your use
cases.
So you don't need to requireany 3D skills, you just need to
have the basic productunderstanding.

That's it.
That's really cool.
Is anyone else doing somethinglike this?

Yes, there are other players in the market
who does similar things, so howdo we differentiate from them?
Most rendering tools are eithertoo generic or too complex for
marketers.
So studio X sits in the sweetspot, with industry specific
rendering capabilities combinedwith UI simple enough for

(13:39):
non-technical users.
So one of the biggestdifferentiators is ability to
create exploded views ofproducts with full custom
controls, right Right from HDRIlighting and focal length
adjustments to fine-tunecustomization aligned with the
product features.
For example, in the automotiveindustry, right A manufacturer

(14:00):
can use Studio X to showcasedifferent configurations of the
same model, can use Studio X toshowcase different
configurations of the same model, changing interior colors,
wheel sizes and finishes, thedashboard layers and the
textures of the seat, all inreal time.
So we have seen many otherplatforms which don't give you
all these features in one singleplatform.

(14:20):
Again, they have to depend onmultiple platforms.

You got to keep switching back and forth from
all these different things.
This was the thing that Vikramwas talking about before, that I
have time, but I don't have alot of time and I have to go and
look at all these things and Iwant to put my best foot forward
, right?
So this allows you to see allof it.

Yeah, this allows marketers to visually
communicate the breadth ofavailable options to customers,
with the cost and delay ofmultiple photo shoots right.
So the same applies not onlyfor automotive, even for
consumer electronics andcomputing products, where we are
visualizing variations likecolors, material finishes or
internal components.

(14:56):
Right, how they arrange thecomponents inside the product.
So everything can be visualizedand rendered in Studio X,
within studios, without anydependency on external platforms
or softwares.

That's really cool .
So this is what you're talkingabout, right?
When we are talking about theStudio X capability, it boasts
custom controls, lightingpresets, rendering features
tailored for precise productspecs and design details right.
So how did you balance the needfor these granular, very
industry-specific controls withthe goal of ensuring the

(15:30):
platform is intuitive anduser-friendly for marketing
teams who have, like you weretalking about they don't have
extensive 3D design or renderingexperience?

Yeah, so here comes our expertise in 3D
solutions.
Right, so we have beendelivering 3D content for our
customers in the past six years.
Right so we have that in-houseexpertise.
So what we do with Studio Xplatform we take customers'
products right and we customizeStudio X platform for their
product need.

(15:59):
Let's say, if they want tohighlight the laptop screen
right, or if they want tohighlight the laptop keypad
right, or if they want tohighlight the laptop screen
right, or if they want tohighlight the laptop keypad
right, or if they want to showthe laptop in different angles.
So what we do we customize ourcontrol panel on Studio X
platform to that product sowe'll map all the controls to
the product so that they don'tneed to depend on any other 3D

(16:20):
controls.
So everything can be controlledusing our toggle switches in
the control panel.

So that's the part that's different.
It's not a generic 3D tool.
It is meant for specificindustry use cases.

Yes, yes.

When you were talking about.
I have a laptop that I'mexploding out right where I show
the keyboard and I show, or ifI look at the screen and I'm
showing the camera constructionand how it all comes together,
that is specific to my product,and so is the software
automatically doing this, or isour team enabling it?

It's a combination of both, right?
So our team enables the 3Dmodel, which is mapped to the
Studio X platform, right?
So then the Studio X platformwill render images based on your
product needs, right?
Your campaign needs, right?
So if you want to highlight theproduct laptop display feature
in your campaign, so ourplatform is mapped to that

(17:18):
feature, where you can rendermultiple variations of images
for that particular feature.

That's pretty cool .
So, vikram, how does that helpthe product marketing team?

So I often get this question right.
So you configure it, you'vecustomized it.
So seems a little like you know, I still don't get the benefit
is what comes to mind, right?
So what I talk about is thesalad bar analogy, right?
So when you go to a salad bar,you have all these ingredients
laid out for you, all thedressings and toppings and
whatnot.
Everything works together soyou can use any combination, but

(17:48):
without the ingredients beingprepared beforehand.
There is no bar salad bar.
So that's what our team bringsto the table.
We are the chefs behind thecounter who get that stuff ready
for you and you can put ittogether any way you want.
You can explore all thosefeatures.
You can make a completely greensalad or you can go all the way
and do whatever you want, rightwith it.

(18:08):
So that's where it comes in.
So even with the simplest thing, like product is located from
different angles, you need theexpertise that we have to enable
empower those features to cometo life.
Right?
And I just want to talk aboutone point that you know that Em
brought up.
Is you know that I'm brought up?
Is you know and you talkedabout?
Is you know the exploded viewor the internals.

(18:29):
So I'm sure when people youknow someone watches this,
they'd say I don't care aboutwhat's inside the product.
You just talked about it beingfeeling and looking good.
I don't care what's inside.
Well, it does matter Folks whoput down a lot of money and buy
products in thousands.
It does matter what specs, whatsecurity, what components, what

(18:52):
construction, what engineering,what industrial design,
electrical and electronicengineering, what wondrous
things have you done inside thebox?
They want to know and theyalways don't start off with
reading tech specs and goingdeep into documents.
This is what gives them an ideathat this box has a lot of
stuff going on inside.
You might want to consider it.
That's where it is.

So in this custom area we are talking about
computing products, consumerelectronics.
There's industrial products.
We have big, gigantic machinesthat you can't just ship over as
a prototype.
This lets you touch andvisualize and blow things up
from that perspective.
It could be electric vehicles,it could be industrial vehicles,
it could also be even we weretalking about lifestyle products

(19:35):
like it could be the latestsneaker design, right.
So there's so many differentways you would use this, but in
each case for the client, wewill end up basically
customizing that look for them.
So, and the cool part is, Ithink, is that it's not very
expensive either exactly so likedepends on the product, right?

if the product is complex, right, like
a laptop or a phone with a lotof components, obviously it
requires a little more work bythe experts to enable all those
features.
But if it's from a number ofcomponents standpoint, if it's
relatively simpler, like, say, asneaker or a pair of boots,
that is simpler to enable in theplatform in terms of time and

(20:16):
effort.
But it's still the expertisethat comes behind the tool.
That's what makes all thedifference.
And you can find tons of toolsand utilities out there.
Where you put your CAD file upthere it says, hey, render for
you 20 bucks a month or fivebucks each render.
Just compare that to thequality that you get out of our
tool and you'll see what we meanby enterprise grade versus

(20:36):
consumer grade For around thesame cost that you get out of
our tool and you'll see what wemean by enterprise-grade versus
consumer-grade For around thesame cost that you normally pay
to render this.

with software platform plus services firm that
you're using today, you can getmuch better with what you're
getting here and much faster.

Absolutely the quality is what counts,
right, the capabilities, like.
Let's take the example of apair of boots, right, engineered
for the outdoors, and all thelatest tech made of this.
You want to see how the sole isattached to the body of the
boot.
Right, you want to know whattech goes there.
Is it just glue, or what doesthe shoe company use?
Right, I'm paying upwards of800 bucks thousand $2,000 a pair

(21:14):
.
I want to know what goes intothat.
Right?
How are we going to do that ina store?
Are you going to give them apair of boots to take apart and
show how much is that going tocost the company?
Can you do that demo?
You can't do that demo.
You have to do it through 3D,and this is the only way you can
do it.
That's awesome.

So with 3D right.
The idea of 3D is I don't haveto take and prototype tons of
products and send it out to mysalespeople to every single
distribution outlet.
I can now visualize it with 3Dway up front.
Get that in front of me, sothen I can get orders right.
I can get it in front of folks,I can get feedback much faster
too.

The money that I save shipping out samples
where I can substitute with 3D,that money can go into
marketing itself.
So you cut the number ofdollars you spend on producing
samples, prototypes, demo unitsand whatnot and ship it out.
Of course, you still needphysical samples to go to key
accounts and things like that,but you save a lot by keeping it

(22:12):
only to the most critical usageand substitute 3D with a tool
like ours, like Studio X, to doeverything else in between.
So everyone from PR tomarketing to social media folks
or executive support, team salessupport, sales enablement,
channel marketing they can alluse this tool to get exactly
what they need out of theproduct.

Consider these scenarios, right.
So the physical product isstill in production okay, and
only a few prototypes areavailable for traditional photo
shoot, and large brands want tolaunch a global campaign which
requires shipping products tomultiple locations for the photo
shoot.
So if you look at our situationright in the past I think last
year for ces launch we facedthis issue right where brand

(22:58):
ship product to us, it got stuckwith customs for 15 20 days.
We lost 15 20 days time thereand again, this is necessary to
cover various geographical areasand to show diversity among
people.
However, this process can takeweeks or even months to complete
this whole shoot right.
So with the studio x platformnow, you don't need to wait for

(23:18):
weeks.
It's in a days, not even daysin a day weeks or even months to
complete this whole shoot,right.
So with the Studio X platformnow, you don't need to wait for
weeks.

It's in a days, not even days in a day.
And imagine a scenario if theproduct design gets tweaked
before launch, so you receivesamples that are not 100%
accurate as to what's going togo hit the market.
What do you do?
Only 3D can save you.

This is like there's a fashion design sense,
but it's not just in clothingand shoes, it's in every
industry and so anytime there'sa feature change, you can make
that feature change and getfeedback on it.
So that's really cool theability to do that, to visualize
, to be able to get it in frontof folks really quickly.
So one question is that this isyou know, as we're a services
firm primarily, and now we'relearning a lot about what it's

(23:59):
like to be a product firm, howdid we get the ability to build
this?

From what I've seen is that all these
skills already existed withinPosition Square because of our
solid track record andexperience of doing, you know,
really complex projects forclients, right?
So all of these skills, they'realready in the organization and
M and his team just broughtthis together to create a
solution.
So it's not that we went outand said, hey, we need to hire a

(24:26):
small firm with these skills tobring us, to turn us into a
product firm, but we just,naturally, are well-positioned
to provide solutions to ourclients' non-surgical services.
Right, Because we've built upall these skills over these
years and our teams are justraring to go do more stuff.
And they've done a ton of otherthings that you could.
You know there are solutions,but this is our first real

(24:46):
product, right, We've got otherproducts as well, but this is
something that's purely in thecreative business marketing
space.
That saves money.
It's not a buzzword kind ofproduct or anything, but it
solves union problems, right?
So I strongly believe we havethe ability to produce many more
such solutions for our clients,but we have to be convinced
where the pain point is right.
We're not that kind of firmthat a client tells us I have

(25:09):
this problem, can you solve it,but we've got to be convinced.

I'd say this is one of the benefits of 4M he has
a team that can do creative andcan also do development, and
we've been doing this forclients for many years, where we
take their specs and we buildit for them.
Because of the work you folksare doing in AI in terms of your
development capability, now youcould take some of that team

(25:33):
and focus them on solving a bigproblem that you were facing.

Yep, you're absolutely right.

So M expand on that.

Over the years.
So we developed an in-houserendering process that
consistently outperformed manyexternal vendors' offerings.
Right so we witnessed thebenefits like quicker turnaround
times, richer visuals andcomplete creative control.
Right so the pivot moment camewhen we realized we could scale
this advantage by transformingit into a platform.

(26:02):
So that's how we started theStudio X thing.
Studio X enables us to sharethis capability with clients,
allowing them to accesshigh-impact visuals on demand
without being held back bylengthy production cycles.
It's amazing.

So now Position Squared, we've already built
robust AI capabilities in ourcampaign co-pilot capabilities.
We had a whole podcast episodeon that with Sajan and Vikrant
Not Vikrant, vikrant.
This is for general marketingtasks like content creation,
personalization, setting up yourcampaign, running your campaign

(26:37):
.
But now, with Studio X, we havethe ability to introduce AI
shot generation as a futurefeature to ease the execution of
visual shots.
So how does your team'sestablished expertise in broad
AI for marketing influence thedevelopment of this specialized
visual AI?
So are there uniqueconsiderations or technical
hurdles when evolving from AIthat generates text or ideas to

(27:00):
AI that produces general highquality visual outputs?

Yeah, so we have been exploring AI
platforms in our teams for thelast eight months eight to 10
months.
So what we did, we did an R&Dfor three to four months,
analyzing all available AIplatforms which will generate
visuals for us, right?
So we found the best ones inthe market and we are planning

(27:23):
to integrate that onto ourplatform.
While the current versionfocuses on human crafted 3D
assets, our roadmap includes AIshot generation to help
marketers explore creativeoptions faster, while our
experts ensure the visual meetenterprise quality standards
right?
So with the help of AI, we cangenerate visuals for any use

(27:47):
case.

What does that mean?
So somebody just kind of typein something?
Yes, what do you mean by AIshot generation?

So AI shot generation?
There are two things.
So one is we know what are thebest visuals which will support
brand websites, social mediaplatforms and for ad campaigns,
right, so we feed thoseinformation, those details, as
per the best practices andindustry standards.
So with one click of a button,studio X will generate all

(28:14):
required visuals for differentplatforms.
That is one of the use cases.
So another use case which isvery interesting for example,
let's say we need to highlightlightweight and long battery
life for a laptop brand thatwants to showcase productivity
on the go let's assume that's acampaign so we can create
lifestyle visuals in differentenvironments, from a coffee shop

(28:38):
to a co-working space, to anairport or anywhere else.
So AI will generate the visualsbased on the use case, and I
can do it on the fly with StudioX.
But the 3D model, the productmodel, is not generated by AI.
The supporting environment forthe use case, those images are
generated by AI.

That's very cool.
So that'd be huge, huge timesavings, an explosion of
creativity.

Right?
So we don't need to depend onstock photography or we don't
need to do a photo shoot for theenvironments, right?
So along with this product,studio X also can generate
supporting environments and usecase visuals using AI.

So now, looking ahead, what trends do you
foresee in visual contentcreation and marketing,
especially for the industriesthat Studio X serves?
So what's next on the roadmapand how we continue to innovate
and address future emergingmarket needs?

We envision a future where product visuals
are not just static images,where product visuals are not
just static images but fullyinteractive experiences that can
customize by the viewer orusers and integrated across all
touch points.
And in the industries likeautomotive, this means enabling
real-time customization for bothinterior and exterior features,

(29:51):
and for computing devices itinvolves showcasing every
configuration option, which iswhere the need for endless photo
shoots right, and those arevery customized for brands and
for the product features.
So Studio X will continue toadvance personalization using
AI-assisted shot generation andenhance integration with

(30:13):
marketing platforms, ensuringthat visuals are not only
stunning but also readilydeployable across digital
platforms.

Very cool, Vikram.
Is there something you want toadd?

Em talked about an important thing about
the experts being key part ofall these capabilities, whether
it's AI-assisted or AI-generatedshots, all of that.
I think I really need tohighlight this or talk about
this a little more, because ifyou look at creative tools and
all that, when you open uppossibilities, you run the risk
of things going in any directionand people making so many

(30:46):
tweaks and adjustments the waythey want that the product might
not look true to its originalform.
This is what happens with manyconsumer-grade stuff, stuff that
you can find on the net form.
This is what happens with manyconsumer-grade stuff, stuff that
you can find on the net.
This is why we call our stuffBuilt for Enterprises, because
the way we've engineered thistool is that you can do all the
stuff that Em talked about, butthe products look, the approved

(31:09):
features, the textures, willnever deviate beyond a point.
So from a legal standpoint, froma genuineness of representation
standpoint, our client isalways safe.
Whoever uses Studio X is alwayssafe.
There's never going to be alawsuit that says, yes, product
look black in the picture, butwhen I bought it it was actually
gray.
So this is this representation.

(31:30):
That'll never happen.
It's managed and engineered insuch a way that you can explore
ways to show the product, butyou'll never be able to break
apart what the product isactually.
You know what it actually is.
So these are some of thesafeguards that we've built in
apart from security of theproduct design itself right
which are truly well protectedwithin the environment.

(31:51):
You don't want to put yourupcoming flagship products model
onto some tool on the net.

You don't know where it's going, you don't know
who's looking at it right,you're not going to just use the
latest google movie visualizerto build this.
No, right, I mean because, likethere's products out today
where you can literally almostcreate a movie by writing some
prompts or putting together ascript and running them, and
this is different than that,right, because you're dealing

(32:18):
with someone's actual product.

Yeah, yeah, Accuracy is key here.
In fact, just a couple of hoursago, I saw a new ad on Netflix
a phone company, right?
I don't even recall the namebecause I lost respect for it
instantly and you know why.
When they showed the phoneturning around on screen like
that, it looked plasticky.
It had shines and glows thatdon't look real.
It looked like something a 12thgrader turned on, with all due

(32:41):
respect, right.
So this is how brandsinadvertently end up damaging
themselves.
I'm not saying they did it tosave money.
I'm not saying they did it.
It's just the lack of awarenessthat these things can lead to
disaster.
Your product is your hero.
It has to look exactly orbetter than what it should be

(33:02):
and accurate at the same time.
So I'm going to pull up that adand we can discuss it
internally afterwards, but it'sa prime example of where things
can go wrong.

Right, you put all that work into building this
product and then it looks likecrap when you put it out there.
So I mean who wants that.
Now we're going to talk aboutyour opinions about a bunch of
different topics in the digitalcontent sphere.
So digital content has beenstuck in a cycle of tired trends
and soft takes, and so whatwe're going to do is cut through
the noise with controversialopinions that'll make you

(33:33):
rethink your content strategy.
These are not just thoughtstarters.
They're thought provokers.
These are statements designedto ignite real conversation.
So here we go.
User-generated content.
Ugc is a lazy and exploitativecontent strategy.
Companies are essentiallygetting free labor from their
customers while avoiding thecost and effort of creating

(33:55):
their own original material.
What's your opinion?
Go ahead, vikram.

So interesting, rajiv.
So UGC, while it does all ofthat, saves money, gets brands
to offload some of the workload.
I don't see a lot of enterpriseor B2B brands using UGC or
relying on it for mainstreammarketing right.
It could be used for promos,for a short, localized kind of
activity, but it's not really aserious kind of activity in what

(34:19):
I've seen for mainstream techand enterprise level tech.

Well, I mean people are creating their own
reviews of the product.

So reviews are great, because reviews I
don't see as UGC for marketing.
It's UGC.
It's in product reviews, right,so a review can be anything.
So reviews are a wholedifferent bucket of things, but
UGC in terms of content formarketing I don't see the use
case for it for serious tech.

I think there's a combination.
I think you have to have yourprofessionally produced versions
, but I think you know I getproducts and I watch the
unboxing video and I want tounderstand how's it going to be
in my home environment.
So there's something that.
But I think you're right.
Maybe for b2b it's a littleless so, although that's why you
go to places like g2 and take alook at things.
All right, let's go to the nextone.
The only content that mattersanymore is snackable and

(35:07):
bite-sized.
If you can't deliver yourmessage in under 60 seconds,
you're already irrelevant that'sright, rajiv.

We have seen that in our own campaigns
when we do creatives for ourclients, right.
So we used to do A-B testing.
What we realized is the shortform content, like 15 second
videos, 30 second videosperforming better than one
minute videos.
So again, it depends on whattype of videos like.

(35:33):
Something like if you want todo a product or video, yes,
people are spending time andthey want to understand the
complete features and benefitsof their product.
They'll spend time, they don'tmind spending a minute to
consume the content.
But, let's say, if we want tocreate any awareness kind of
videos, I think theattention-grabbing thing should

(35:55):
be within 15 seconds 15 secondsis the number.

60 is too long.

Yes, yes, I think, rajiv.
Each of those formats orlengths of stackable versus
short form versus long form havea definite role to play in the
funnel right.
So the funnel might havechanged.
The funnel is now circular,loopy, whatever but they each
have a role.
For example, channel marketingright, channel partners,
business partners, distributors,natural level distills.

(36:20):
They sell millions of products.
They don't have the time tospend one minute on every
product from a catalog of 3,000.
There is no use case for it Forthem.
Even 15 seconds, I would doubt.
So six seconds get the messageacross to those.

So this is goldfish level attention, right,
less than a goldfish.
I find that when I take videos,even of friends doing things,
if I can't get their attention,I actually have to tell them
that stay on it.
The funny stuff comes in about15 seconds, right, otherwise
they're already onto the nextthing.
It's ridiculous.
Okay, we are now goldfish.

(36:56):
Authenticity in content is amyth.
Every piece of content, from aninfluencer's personal story to
a corporate blog post, is acarefully constructed
performance designed to sellsomething.
Authenticity in content is amyth.

I don't think it's a myth, because any
content has to be built on theframework of some facts and some
reality.
Right, it can may beembellished, it may be amplified
, it may be beautified, it likewe're talking about, right it
may be.
There is always a basis of sometruth.
Now the question is, whosetruth is that?
I think that's where thequestion of authenticity comes

(37:33):
right.
So who's saying it?
What are they saying?
Everyone will say this is mytruth and the different versions
of the truth.
So you can debate that, butthere's no content that is built
out of thin air, out of nothing.

That's not this I wonder about authenticity and
the notion like, because thingsare so well produced, we
actually enjoy people who arenot crisp and completely clear.
They make mistakes.
They seem like a real human.
They seem like us.
Sometimes I've gone topresentations where someone's
presenting their web contentmanagement system, web CMS, and

(38:06):
the person sounds so wellrehearsed that it loses it for
me because it doesn't feel real.
Anyways, that's a point of view.
It's interesting.
At the same time, I respect howwell produced that person
sounds.
Okay, brands should stop tryingto act human on social media.
The constant use of memes andslang is cringeworthy and

(38:26):
ultimately undermines theircredibility.
So here's an example Ryanairright.
They're known for their wittyand sarcastic responses on
social media.
It can be very edgy and peopleknow that's who they are.
I don't know.
My daughter, my 25-year-olddaughter, uses the word slay a
lot, or fire.
I don't know how would you feelabout seeing that in social
media for a brand?

Well, if I see that, what I think is, of
course I'll enjoy the contentfirst, but I would actually
think that they know theirtarget audience pretty well.
To do something this bold right, there has to be some.
They must really understand thepsyche and mindset of their
target audience.
Then you can go down this path.
So, like I said, I mean I havea lot of respect for marketers,

(39:08):
because what seems easy to theworld you know this, rajiv so
there's a lot of science, effort, sweat and blood that goes
behind it.
This is what we've done inStudioX, right, we've put a lot
of things we've made it easy forthe world.
But the same thing right.
So what looks easy and funoutside, there's so much of
insight and research that hasprobably gone into it and into
that strategy.
So, you know, unless thequality of the content is not

(39:30):
good that's the biggest thingwe're talking about I would
still respect it.

So Acting Human is not necessarily just off the
cuff.
The company does a lot ofresearch to get it there.
So there's an example here ofthe 2025 Spotify Spreadbeats
campaign right?
So they took Excel spreadsheetand turned it into an
interactive music experienceright, and it won a whole bunch
of awards.
These things just don't comeoff the top of someone's head.

(39:59):
They are well thought through.
So the more natural things are,it actually takes more work.
Okay, here's another one.
Content creators who don'tembrace AI are holding back
progress.
They're like Luddites clingingto old technology while the rest
of the world moves on to moreefficient, scalable methods.

Your thoughts- we have two situations
here, right?
So if we want to use AI, afriend, we need to take approval
from clients, right?
Large brands.
So sometimes they don't allowus to use AI, especially when
they're launching any flagshipproducts.

Why is that?

They are scared of AI will steal all
their product inside informationwhich they're going to launch
in next two months.
They don't want to reveal anyproduct information.

Nothing should go back to the model, even though
they assure it.
They assure you of that.
In reality, there's concern, sowhy take the chance?

Yeah, so that's the main reason why we
don't depend much on AI forflagship product launches.
We don't depend much on AI forflagship product launches, but
we still depend on AI togenerate a lot of ideas and
concepts for the productlaunches, without mentioning any
details about the product.
But now we got so used to AIbecause of the tight deadlines.
That's one of the reasons.
And also we got used to AI andif we don't use AI, we feel that

(41:14):
we are outdated, right, andthere's a lot of competition
between the team members also.
So, yeah, they don't use AI.
We feel that we are outdated,right, and there's a lot of
competition between the teammembers also.
So, yeah, they don't use AI.
They feel they're out of thespace.

They're already becoming old if they're not
using AI.
I think, like you say, it seemslike we have to use AI for
everything, and I love using AIand I'm proud of how much my
team researches in this area.
I am concerned when AI-orientedresults come out and they look
good, but when you actually readit it's bullshit.
So it's not correct, it's off.

(41:44):
It just sounds good.
I have to keep urging our teammake sure that when our AI
produces something, it should beable to produce what you would
have produced as good or fasteror higher quality than what you
produced.
So it should help you with,like you say, ideation, but not
necessarily be the answer.
What?

you would have produced as good or faster,
or higher quality than what youproduced.

So it should help you with, like you say, ideation
, but not necessarily be theanswer.
Right, you are still theexperts.
Here's an interesting oneSearch engine optimization, or
SEO, has ruined the internet.
The focus on keywords andalgorithms has forced content
creators to write for machines,not people, leading to a sterile
and uninspired onlineexperience.
Opinion.

Maybe partially true.
I kind of agree that they tendto write for SEO first and then
everyone else.
But I think the speed at whichalgorithms and the way Google
has implemented AI itself ismoving so fast that at some
point we will have to go back towriting for humans, because the

(42:43):
algorithms, the LLMs, are goingto be so advanced.
They'll want to prioritizehuman sounding language more.
I think it's just going to comefull circle.

I mean, SEO has been around for a long time and
keyword stuffing has been aroundfor a long time.
You're writing for keywords andif you think you write more top
keywords in a particulardocument, it'll be found, Except
when you read it it reads likecrap, right.
So I've always been concernedabout sterile writing and I
think SEO has enabled a lot ofvery sterile writing.

(43:11):
It's just hard to be moreimaginative and that's where we
need to do a much better job.
And I think you're right.
Ai, because you're writingabout a concept, hopefully gives
us a better experience of someof the stuff that's written.
I'm also not a fan of just puremarketing oriented copy the
scalability, serviceability,reliability it just gets boring.
We got to think of morecreative ways to present

(43:32):
information.
Okay, Last question.
In this one, Content is nolonger about information.
It is about pure entertainmentand emotional manipulation.
The most successful contentisn't the most useful, but the
one that makes you laugh, cry orget angry.

I think emotions have a huge role to
play, but I don't think emotionsare the only thing that can
work.
They can go up to 99%.

Well, emotions matter, but in a buying decision
, especially when it's expensive, you're not going to just buy
something based completely onemotion.
Emotion helps drive you to adecision, but when it's an
expensive or life-changing one.
That's why, in business tobusiness, there are business to
business buying groups to takesome of the emotion out of it
and to rank it and rate it andtruly understand it.

(44:17):
It's plus minus, I don't know.
And what do you think?
I mean?
You deal with emotions all daywith you have designers,
developers, creators.
You have clients.
What do you think?

I think I agree with Vikram right.
So emotion plays a criticalrole, like you mentioned right,
in terms of buying nations right, emotion is a key thing which
connects with the audience.

I just want to add Rajiv.
So this is not recent butpretty old construct.
That is, any marketing, whetherit's B2B or B2C, is actually
age to age right, human to human.
So you strike that chord andthen you pass the gate and then
you can do all your B2B and B2Cstuff right.
So sometimes emotions arerequired at the beginning,

(44:59):
sometimes they're required atthe end.
I think that's where B2B andB2C differ from my experience.
So B2B, like you said, theemotion can come at the end.
Once all the logical decisionshave been taken or evaluations
have been done, you just go thelast mile with emotion.
But B2C, unless you strike achord you don't get past
anything.
So just forget who you are.

Yeah, but again, emotion connects well
with want versus need, right, itconnects very close to the want
right, but not with the needfor that moment.
That's it, yeah that's welldone.

Now here comes the fun part the spark tank.
Today we're joined by twopowerhouses from position
squared rajesh mutiayalu or mand vikramaghavachari.
We're not just talking aboutthe future.
We're watching a creativemaster and a top business
strategist duke it out overwhat's real and what's really

(45:48):
good marketing.
Here's the deal.
I'm going to read you threestatements about some of the
most fascinating and unexpectedways 3D has been used in
marketing.
Two of these are absolutelytrue, the kind of innovative
case studies that make you godamn.
I wish I thought of that.
One is a complete fabrication,a complete lie designed to sound

(46:09):
just plausible enough to makeyou second guess your instincts.
I'll count down Three, two, oneand you'll both reveal your
answer simultaneously.
Let's see who's the realdisruptor in this digital
showdown.
Okay, here's round one.
During the 2024 FIFA World Cup,adidas used drone-synchronized
3D holograms to display giantinteractive soccer balls

(46:33):
hovering above stadiums in eightcities.
Number two L'Oreal Paris' 2024billboard in Malaysia featured a
virtual model applying lipstickin 3D.
The passerby could use an ARapp to try on the same shade by
tapping the billboard, driving asurge in local makeup sales.
Number three in 2024, the LasVegas Sphere hosted a viral Xbox

(46:56):
campaign, in which ahyper-realistic 3D animation of
an Xbox console exploded out ofthe LED sphere, creating
stunning gaming scenes thattricked thousands into thinking
they'd seen a real physicallaunch on the strip.
Okay, so which one is false?
It's either the FIFA one,adidas, using drone-synchronized

(47:20):
3D holograms to show giantinteractive soccer balls in
eight stadiums, l'oreal's 2024billboard in Malaysia right for
virtual model applying lipstickin 3D or the Las Vegas sphere,
where it looked like scenes werecoming out of the sphere.
Ready, three, two, one.

I'll go with one.

M is going with one and Vikram is going with two
, and the winner for this one,the one that is false, is number
one.
So that sounds right, but isnot true.
L'oreal did actually have ARenhanced 3D billboards featuring
a lifelike model in Malaysiawith an interactive AR component

(48:05):
allowing viewers to virtuallyapply makeup.
The campaign set a new standardfor immersive, engaging outdoor
advertising.
Number three is also correct.
The Xbox campaign took over theLED sphere in Las Vegas with
eye popping 3D animation, makingthe console look as if it burst
out of a real space, generatingmillions of social media views
and headlines about the craziestad in Vegas history.

(48:26):
And I can tell you from beingin the sphere when I went to the
U2 concert it did make a spherelook like a square space in
sections.
Okay, so M is winning one tonothing.
Round two In 2023, scientists atthe University of Miami
installed 3D printed coralstructures off the coast of
Florida to accelerate reefrecovery.

(48:48):
These precisely engineeredreefs help attract fish and
restore damaged ecosystems.
Number two Samsung's Tab.
A launch video in 2022 used 3Danimation to showcase the tablet
as a select varifocal lensesand see animated simulations of

(49:22):
eye aging and lens adaptation,getting personalized
recommendations via smartclasses.
You ready.

Yep, yep.

Okay, Three, two, one.
Okay.
Vikram says two Samsung'stablet launch video.
He thinks that's false.
And M said three Verilux'screated 3D time machine.
The winner of this one is M, sothree is false.

(49:53):
So for number one, it's true.
Teams used 3D printing torapidly deploy reefs designed
for optimal fish habitats afully documented restoration
milestone.
And number two, Samsung did use3D scenes, a billboard-sized
tabe and racetrack sequence tohighlight tech spaces, all by
blending animation with reallocation.

Well, it's easy for me.
I'm in this 3D space and Ifollow these articles.

Ah, that's what it is.
I am in this 3D space and Ifollow these articles.

Ah, that's what it is.
I have not heard about 3D timemission.

Yeah, okay, so that's maybe.
So if you didn't hear about it,you're not going for it.

So here we go.

Here's the last one.
We may do one other one ifVikram comes and gets this one.
So we'll give him a chance totie potentially.
Okay 2023, the Infinity DescentVR art exhibition.
Let visitors explore a wholeliving digital ecosystem,

(50:48):
walking around virtual plant andanimal sculptures and
triggering environmental changeswith the wave of a hand.
Number two a startup in Dubaiused agentic AI and 3D content
to generate a holographicwaitstaff for restaurants.
These avatars can walk, talkand even serve food.
It was quietly rolled out in adozen major hotels last year.
Number three NASA collaboratedwith Fusion Media to produce a

(51:08):
VR simulation called Mars 2030,which let visitors at museums
walk and drive around ascientifically accurate Martian
landscape, collecting rocks andconducting experiments like a
real astronaut.
All right, so tell me which oneyou think is false.
Three, two, one.
All right, we have a tie here.

(51:32):
Both M and Vikram say numberone when it's the false, one is
actually number two.
You said Dubai.

I thought they can do anything.
I mean it's the false one isactually number two.
You said Dubai.
I thought they can do anything.
I mean it's possible in Dubai.

Kind of true.
I mean, that place is the mostman-made, incredible adventure
I've ever seen A desert on thewater to just this incredible
city.
So number one Infinity DescentVR exhibit.
Artist Jacob Kutzt Steensen'sexhibition used immersive VR to
craft interactive livingenvironments where viewers shape

(52:07):
the digital world as they moveand gesture.
And number three is also truethe Mars 2030 VR simulation.
Visitors experience a real Marssurface in virtual reality,
with scientific data powering,lifelike rocks, dust, storms and
interactive missions endorsedby NASA.
Those are the two true ones.
Yeah, you're right.
I mean, it seems like you canpull this off.
Alright, in this one we'regoing to do, since M has two and

(52:33):
Vikram has nothing, we're goingto have three points for this
one.

Okay.

In 2025, a London jewelry retailer held a virtual
try-on event using interactive3D avatars.
Shoppers could use theirwebcams to project lifelike 3D
models of rings and necklacesonto their hands and necks in
real time, previewing purchasesbefore buying onto their hands
and necks in real time,previewing purchases before

(53:02):
buying.
Number two in 2025, the ParisOpera Ballet created a fully
virtual performance streamedonline using digital motion
capture and AI-assisted 3Danimation to render dancers as
lifelike 3D avatars in afantastical setting, allowing
global viewers to control cameraangles and explore choreography
interactively.
Number three a Californiavineyard hosted a virtual wine

(53:25):
tasting in 2024, presentingguests with real glasses and AR
visors, then overlaying 3D,swirling animations of the
wine's chemical makeup in eachglass, while winemakers appeared
as holograms answeringquestions in augmented reality.
So we have the London JewelryRetailer try-on event, we had

(53:46):
the Paris Opera Choreography in3D and the California Vineyard
virtual wine tasting.
So you ready?
Three, two, one.
What's your answer?
We're both tied again.
All right, give me a reason forit.

No, obviously I never heard of
virtual wine tasting.
What's the?

objective.
What's the objective?
Right, it's probably a vineyardtour, not a wine tasting tour.
If you said that, then yeah,but wine tasting.

Well, okay, but it's a chemical makeup in each
glass, so it tells you about thewine.
Seems wrong.
Well, you both are correct.
So there you go.
So London's Gems in Motion.
In 2025, jewelry brand TaylorHart showcased digital twin
avatars of models and enabledlive real-time try-on

(54:44):
experiences via AR, lettingusers project jewelry onto their
hands and necks through theirphones and webcams before
purchasing.
This campaign was covered inFashion and Tech Media for its
combination of 3D content ande-commerce Really cool.
Commerce, really cool.
And then Paris Opera's Ballet'svirtual 3D performance.
In 2025, the Paris Opera Balletused advanced motion capture
and AI technology to produce astreamed virtual ballet

(55:06):
performance.
The digital avatars of dancersmoved in a visually stunning 3D
fantasy environment, withinteractive features letting
viewers explore the show frommultiple perspectives.
This represented a landmark inimmersive digital performing
arts, covered widely in the artsand tech press.
So that was awesome.
So the winner obviously is M bya score of five to three.

Yeah, high five High five Great job guys.

That was amazing.
Okay, so these are morepersonal kind of questions,
personal closers that we usuallyhave for folks.
And what I'm going to do ishave each one of you just take
one at a time.
Okay, so, vikram, what's abelief or perspective you've
completely changed your mindabout in the last few years, and
what triggered thattransformation?

Just in terms of work and marketing.
So I kind of used to believethat marketers can adapt their
skills to different kinds ofmarketing.
You know, a good marketer is agood marketer.
They can do B2C, they can doB2B, they can do tech.
But I kind of realized that onehas to have certain natural
traits to succeed.
You know in one, so their space, everyone has a space that

(56:17):
they're going to be good at.
You know in one, so there'sspace.
Everyone has a space thatthey're going to be good at.
So my belief is that if youwere born to do a certain kind
of job, task or marketing, Ithink you should do that and
definitely give it a shot.
Give other types of marketing ashot, but you'll really be good
at what you're naturallyinclined to.
Or people might say that youknow, hey, that's not really
true.

You should be able to do everything.
What made you feel that way?
I mean, you would think thefirst thing that you said is
true you can adapt to anything.

You know the reason is because the age of
knowledge, ai and all that, youjust need to have a lot more
domain knowledge and specializedknowledge to be able to use AI,
to use all the tech that isavailable today to make an
impact in what you're doing.
And if you're a generalistwhich I think was valued five,
10 years ago 10 years ago thatworked then, but today it's back

(57:04):
to being a specialist.
You have to be a specialist insomething.

Yeah, so general knowledge is so easily available
that the specialized knowledgeis what really stands out.
That's really a unique answer.
I love it.
Okay, M, what's a place you'venever been to but feel like
you've somehow belonged there,and what draws you to it?

I'm very fascinated by Japan for its
precision and I have a hugerespect for their craftsmanship.
So Japan beautifully balancesboth tradition and modernity,
whether it's the design of atemple architecture or a bento
box or a motorcycle or a careverything reflects a clarity of

(57:44):
thought.

That's a great answer.
I love that.
I love that.
That makes a lot of sense.
We'll have to get you overthere.
You know.
All you got to do is get Sonyas a client and you can go visit
.
We will.
Okay, m?
What's a piece of conventionalwisdom that everyone around you
accepts but you secretly thinkmight be wrong?

I always hear about work-life balance, so
I believe that balance is aconstantly shifting goal.
What we truly need is awork-life rhythm and
understanding when to pushforward, when to take a break
and when to allow one part oflife to blend into other.
So that's how it is in reallife.

(58:25):
So, for me, more than work-lifebalance, it's work-life rhythm.

Beautifully done.
I think that work-life balancecomes when you integrate your
work and your life together.
It just makes it much moreefficient.
But I love your point of view.
So the next one for Vikram ifyou could be guaranteed to be
really good at one thing thatyou're currently terrible at,
what would you choose?
I'm currently terrible at.

So I want to skip that part, pretend I
didn't hear it.
I want to say, if I could beguaranteed something I would
want to be really good at it'sinfluencing people without them
knowing, knowing it you meanlike sort of projecting your
mind into someone projecting,mind, control, whatever.
But they should do whatever Iwish them to do voluntarily,

(59:09):
happily, with a smile special,strange likability.

I feel like that's a thing in x-men just to
clarify a little bit.

I would actually prefer if I knew what
they were thinking.
It's more like Mel Gibsonknowing what women want.
I want that kind of part.
That's awesome.

Okay, m, if you had to describe your personality
using only food metaphors, whatwould you be and why?
I would be biryaniyani.
So, for everyone who doesn'tknow, biryani is a great indian
dish with rice and usually it'sa meat, or could be, could be

(59:51):
vegetarian, but it's just awonderful mixture.
Why would you say that?

typically I mean biryani.
It's a layered thing, right.
Sometimes it's intense and slow, cooked with patience, and
there is a masala in it, but itdoesn't reveal everything at
first bite, right.
The more you experience it youwill get it to see, the more
flares flavor slowly, yeahthat's good.

Rajiv Parikh (01:00:15):
That's good.
Okay, vik, what's somethingyou're surprisingly good at that
has nothing to do with yourcareer?
And how did you discover thishidden talent?

Vikram Raghavachari (01:00:23):
So I'm pretty good at reading a lot
about people from their faces.
I often don't even need to talkto them, and this is my own
reading of myself.
So I can tell a lot from theface.
So I do believe that the faceis the index of the mind.
So I can tell a lot from theface.
So I do believe that the faceis the index of the mind.
So I can tell a lot from aperson's face.
And, the point being here, Idon't have to talk to the person

(01:00:44):
.
If you give me just nuggets ofinfo, if I get to look at the
person, I can tell you a lotPretty accurate.

That's an amazing skill If you can read the body
language.
They say that 70% ofcommunications is body language.
So if you're getting that,you're really doing amazing
things.
That's awesome, Okay, M finalquestion Tell me the second
thing that you love, not thefirst thing, the second thing.

Rajesh "M" Muthyalu (01:01:07):
The second thing I love is riding
motorcycles, so I lovemotorcycles.
Riding keeps me calm.
It also acts like my stressbuster.
I love going for solo rides.

That is super fun.
That is a stress buster, soloride.

That's the best thing.
Yeah, you can keep your ownpace.

Yeah, Especially in India, the city roads can be
really crowded.
So one of the coolest thingsyou can do is get out into the
countryside.

That's right.

Go on a great long ride.
Super cool, all right.
Well, thank you both forjoining us today.
I really appreciate having youhere to describe why you built
this amazing product, the valuethat it offers so many companies
and product marketers, andreally it's the ability to get
greater products to market.
It's really the ability toiterate faster.

(01:01:54):
It's the ability to trulyrepresent what you're offering
and do it in incredible ways,and really that's what we're
trying to do with marketing isto take your beautiful ideas and
get it to the right people.
So thank you both for justdescribing what got you there
and what we're doing for folksand really anybody who wants to
take a look.
Please come to theposition2.com website and we
have a special page just forthat so you can learn about it.

(01:02:17):
Try it right, you can try it.
Yes, we offer the ability forfolks to engage with us, to do a
trial and go from there.
We have some great clientsalready on it, so we'd love to
get you in.

Yep, yep.

All right.
Well, thank you both very much.

Vikram Raghavachari (01:02:31):
Thank you.
Thank you, thanks for having us.

Well, that was super interesting today to have
Em and Vikram on the show.
It just struck me when theycame out with this initiative,
surprised me with this amazinginitiative, that we just had to
have them here.
I mean, here are folks workingsuper hard to reach current
clients and new clients and makethem super successful.
They could just sit back andjust do their job, but instead
they took that extra time.

(01:03:04):
They leveraged what AI isenabling them to do today and
the efficiencies that it'sgetting for us to go out and
then build this whole newproduct and really change the
way our team is being run.
So Vikram as I mentioned, heused to be on the client side
and he's taught me so much aboutbecause he's worked with so
many agencies, so many serviceproviders, so many folks in

(01:03:25):
terms of building products andcompanies, how they think about
things, how they market, howthey express themselves, and I'm
constantly amazed when I gethim in front of folks, how sharp
he is about different marketingand content trends.
And then Em I've known him fornow 15 plus years.
He started off as the designerat the company.
Now he's leading a significantteam, and it wasn't enough that

(01:03:48):
he's leading one of the largestteams in the company.
He's also practically buildingproducts, because it makes a
difference in what his team isdoing and how it could benefit
the world, and he's got thisspecial desire to make 3D happen
and he's doing it here.
So it kind of surprised me butdidn't surprise me when he
mentioned Japan as being hisplace that he'd like to visit

(01:04:09):
because he loves the mentality,the thinking, the attention to
detail, the craftsmanship, thecleanliness in many ways, the
quiet, and so it doesn'tsurprise me and it's so him, and
so this is some of the gift Iget when I see these folks, when
I visit our offices around theworld and see them, and I can
bring them to here today andbring this.
So I really hope you have achance to listen and learn about

(01:04:33):
them, as well as learn aboutour product and tell other folks
who are building physicalproducts that we have a great
way for you to visualize whatyou do and truly bring it to
light and bring it to market.
All right, thanks for listening.
If you enjoyed today's podcast,and I'm sure you did, please
take a moment to rate it andcomment.
You can find us on Apple,spotify, youtube and everywhere

(01:04:55):
podcasts can be found, and I'lljust tell you just make that
extra click.
It means everything in theworld to us, especially if you
comment.
This show is produced bySandeep Parikh and Anand Shah,
production assistance by TarynTalley and edited by Laura
Ballant.
I'm your host, rajiv Parikhfrom Position Squared, a
3D-centric growth marketingcompany based in Silicon Valley.
Come visit us at position2.com.

(01:05:17):
This has been an FN Funnyproduction and we'll catch you
next time.
And remember, folks, be evercurious.

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Product Launches in Minutes Not Months/Position2 - StudioX, 3d Democratization, Biryani ~ Spark of Ages Ep 45

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Product Launches in Minutes Not Months/Position2 - StudioX, 3d Democratization, Biryani ~ Spark of Ages Ep 45