At just 23 and 27 respectively, Aanya and Meghna who founded Run Frenzy just under two years ago, have worked with the top names, brands and have done work proving that age is just a number.
With Run Frenzy, they’ve created a content studio that looks to transform ideas into campaigns, bridging the worlds of cinematic storytelling and digital innovation. Their work speaks for itself—crafting the promotional magic behind projects like ‘Koffee with Karan’, ‘Call Me Bae’, to end to end production for “What The Hell Navya” by Navya Naveli alongside other campaigns for brands like BookMyShow, CRED, NBA and more.
Driven by fresh perspectives and a relentless passion for creative storytelling, they are looking to redefine what it means to be young entrepreneurs in the media industry. Their ability to deliver projects with both cultural relevance and strategic precision has positioned Run Frenzy as a go-to destination for content that not only captures attention but leaves a lasting impact.
Medianews4u.com caught up with Aanya Jain and Meghna Sahgal, the co-founders of Run Frenzy. They are creative producers behind digital campaigns for OTT Shows and Brands.
Q. What is Run Frenzy’s USP that sets itself apart in a competitive environment?
At Run Frenzy, our USP lies in our ability to merge culturally-resonant storytelling with end-to-end creative production that’s agile, design-led, and deeply strategic. We don’t just deliver content; we build narratives that serve business goals.
Whether it’s a 15-second reel or a multi-platform campaign, we approach everything with the same intent: to create work that feels brave, relevant, and built for where the world is headed.
Q. As young founders, how did you tackle the challenge of being taken seriously?
In our early days, we focused on letting the work speak for itself. We constantly refined our value proposition, leaned into our strengths, and showed up consistently with clarity, professionalism, and results.
Over time, being hands-on, execution-obsessed, and solution-oriented helped us build trust, not just with clients, but within the industry at large.
Q. As women entrepreneurs what have been the key learnings so far?
One of our biggest learnings has been to own our space, without shrinking ourselves or playing it safe. We’ve also learned that empathy is a strength, not a weakness.
Navigating the creative industry as women has made us more adaptive, collaborative, and clear on boundaries. It also reaffirmed the power of building diverse, supportive teams.
Q. One of the goals is to make Run Frenzy a global brand. What is the gameplan to get there and has any timeframe been set?
Our roadmap includes expanding into international markets, especially within the luxury and fashion sectors, while scaling our long-format and IP-driven projects.
We’re building systems to support cross-border collaborations, setting up strategic partnerships, and investing in tech-forward storytelling. We’re not tied to a fixed timeframe, but the foundation is being laid actively as we speak.
Q. A recent report that was apparently leaked noted that 90 per cent of OTT content is rejected by audiences. Does this make the task of creating promotional work for shows all the more difficult?
Yes and no. It raises the bar for sure, but it also presents a huge opportunity. With the right insight, even the most niche story can be positioned in a way that resonates.
Our job is to dig deep into the core of a show and find the universal hook that earns attention. It’s not just about the cut; it’s about the connection.
Q. In a clutter of digital content what tactics work to grab audience’s attention through a promo?
You have to value the audience’s time. The first few seconds are everything—there needs to be narrative clarity, emotional pull, and visual intrigue right off the bat.
But beyond that, we find that layered storytelling, smart pacing, sharp editing, and an aesthetic that breaks the scroll are what truly land.
Q. Could you shed light on work recently done with companies like BookMyShow, CRED, NBA that standout?
Each of those projects pushed us to operate differently. For BookMyShow, we worked on the launch video for Prateek Kuhad’s Silhouettes Tour and delivered the final asset within a two-day turnaround. We also led the entire creative strategy and production for their New Year’s campaign.
For NBA, we shot their first IP-focussed film in Delhi, featuring real basketball talent from across India. And CRED was our first-ever project, we worked on talent acquisition and production for a 10-part series titled Obsessions.
Q. How is Run Frenzy leveraging AI like ChatGPT to help with creative brainstorming, delivering work in a more efficient manner?
We use tools like ChatGPT as an idea-starter, not a replacement. It helps us structure early thoughts, explore tone variations, and iterate faster on scripts or concepts.
We still depend heavily on human craft, but AI supports the speed and structure that high-volume, fast-turnaround content demands.
Q. Is budgeting a challenge where clients expect more work for less?
It is, and it forces us to be both creative and strategic. We approach every brief with a clear scope and transparent communication around what’s feasible.
We also build leaner systems, optimise our processes, and focus on long-term client partnerships where value and trust take precedence over price.
Q. The company is looking to expand into new verticals and create new IPs. Could you elaborate?
We’re launching a digital magazine as a space to platform new ideas and visual culture. Alongside that, we’re developing original content in both short and long formats, stories that reflect youth perspectives and cultural shifts.
We’re also investing heavily in tech integration, exploring how AI, motion design, and immersive formats can take our creative approach to the next level.
Q. What innovations are being seen on short form content platforms like Instagram Reels and how is Run Frenzy tapping into this?
There’s been a clear shift toward content that feels authentic, even if it’s not overly polished. Reels today thrive on storytelling that’s real, raw, and emotionally charged, yet visually sharp.
At Run Frenzy, we lean into this balance, treating short-form content with intention and craft, while keeping it grounded and human. We don’t just follow trends, we bend them to fit a larger creative voice.
Q. How are advances in AR, VR, MR helping Run frenzy push the boundaries of storytelling?
These technologies are helping us think beyond the frame, about immersion, interaction, and how audiences experience content.
We’ve begun integrating AR in digital campaigns, are exploring VR for spatial storytelling, and looking at MR as a tool for phygital brand experiences. It’s early, but it’s exciting.
