We connect brands with the fans who drive Southeast Asia.

Casting starts from the brief, not from the roster. We work backwards from the audience you need to reach in a specific market, then shortlist creators whose actual viewers match it — judged on recent performance on the platform the campaign will run on, not on a follower count.

From there WHIM runs the whole engagement in-country: rate negotiation, contracting, usage rights, briefing in the creator's own language, and script or concept review before anything is filmed. Deliverables, posting windows and tracked links are all agreed in writing before a single post goes up.

Reporting comes back per creator and per deliverable rather than as one blended campaign number, so you can see which casting decisions worked. That is what makes your second campaign in a market cheaper than your first.

Out-of-home is planned as part of the campaign rather than bolted onto it. We start from where your audience physically is in a given city — Siam in Bangkok, Sudirman in Jakarta, Shibuya in Tokyo — and build the buy around the same launch moment the creator work is timed to.

WHIM handles vendor negotiation, site selection, artwork specification and permits with the local media owners, then supervises install and proof of posting. Because we are already running the creator side, the street and the feed carry one message on one date instead of two campaigns that happen to share a logo.

Every site is documented on the ground with dated photography, so you have evidence of what ran, where, and for how long.

Earned coverage only works if it lands in the outlets a market actually reads. WHIM keeps working relationships with the gaming, tech and lifestyle press across the seven markets we operate in, and pitches them in-language rather than sending one English release everywhere and hoping.

The work covers localised press kits and assets, embargo management across time zones, and arranging founder, producer or talent interviews — including translation and interview prep, so the spokesperson is not the weakest part of the story.

Coverage comes back as a clip list with outlet, date and language, so you can see which markets carried the story and which need a different angle next time.

The fastest way into a new market is usually somebody else's audience. WHIM identifies and brokers collaborations with the telcos, payment apps, convenience chains and hardware brands that already hold the shelf space, the install base or the trust a foreign brand is trying to build from scratch.

We handle the introduction, the commercial structuring and the mechanics: co-branded creative, redemption or bundle logistics, in-store and in-app placement, and the approvals chain on both sides. The partner's brand and legal teams are usually the long pole, and managing them is part of the job.

Because both audiences are being asked to do something, success is defined up front — redemptions, activations, sign-ups — and measured on the mechanic itself rather than on reach.

A launch that is merely announced gets published once. A launch built to be photographed gets shared. Creative press release work is where WHIM designs the moment itself — the stunt, the installation, the reveal — so the story has a picture attached to it before anyone writes a word about it.

That runs from concept and feasibility through permits, fabrication, talent, capture crew and the press list who will be standing there on the day. It is deliberately planned alongside the creator and out-of-home work, so one idea shows up on the street, in the feed and in the press inside the same week.

We are straight about what a stunt can and cannot do. It buys attention and it produces assets, and it works when there is a product moment worth the attention. Where there is not, we will tell you so before you spend on it.

Production happens in-market, with crews who speak the language and get the reference. That is the whole argument: assets adapted from a global master usually read as adapted, and an audience in Jakarta or Manila can tell inside a second.

WHIM covers concept, scripting, shoot, key art, edit and the full set of platform cuts — vertical, square, in-feed, pre-roll — plus localisation into every language the campaign runs in, with subtitling and voice-over agreed at brief stage rather than retrofitted at the end.

Deliverables arrive with the source files and the usage terms already settled, so you can keep running the assets after the campaign window closes.

Always-on channel management for brands that need a local presence without a local team. WHIM runs TikTok, Instagram, X, YouTube, Facebook and Discord off one calendar, in the languages the market speaks, with a tone of voice agreed and written down before the first post.

Day to day that means content planning and production, publishing, community moderation, and the judgement about when a brand should reply to something and when it should not. Moderation is staffed in-country, in-language, across a coverage window you agree in advance — as are the escalation paths for anything sensitive.

Reporting is monthly and written to be read by people who did not commission it: what went out, what moved, what we would change, and the numbers underneath all three.

WHIM signs and develops creators rather than only renting them. Incubation is the path from a promising first upload to a full-time career: format development, coaching on pacing and retention, production support, and the commercial representation that turns an audience into an income.

Every creator on the roster is vetted for brand safety before signature and reviewed while under contract — history, affiliations, past controversies. That vetting is what lets a brand book from the roster without running a separate due-diligence exercise every time.

For a brand the outcome is a roster with real depth in specific markets and verticals, made up of creators WHIM knows well enough to say which of them will genuinely suit a brief — and which will not.

Communities are held together by a reason to come back, and a schedule is what supplies it. WHIM designs and runs grassroots ladders, headline tournaments, watch parties, showmatches, UGC challenges and Discord programmes — usually as a season rather than as a one-off.

Delivery covers format design, rules and competitive integrity, registration and bracket operations, casting and broadcast, prize logistics, and the moderation team that keeps a server worth being in. Where an event needs to exist physically, it is run by the same people as the on-ground production below.

The measure we care about is repeat participation rather than peak concurrents: how many of the people who turned up in week one are still there in week six.

Physical delivery, end to end, across all seven markets WHIM operates in. This is the pillar brands reach for when something has to actually exist in a city where they have no office, no vendor list and nobody who can sign for a venue.

Scope runs from venue sourcing, permits and licensing through build and technical production, talent booking, run-of-show, broadcast, staffing and health and safety, to content capture and strike at the end of it. WHIM holds the supplier relationships and the local paperwork, so you deal with one team instead of eleven.

Every event is documented while it runs — photography, video and a post-event report — so the activation keeps earning after the doors close.