ADV test 3

branded Entertainment & Product Placement:

"Madison & Vine", Brands' advertisements are cloaked as entertainment - One way to integrate the product into a desired setting is to place the product in a television show or film. - Advertisers want their brands to become integral parts of a desired social reality, a media-created world where the brand is absolutely normal and expected, almost invisible. - Low counterargument, if placement not too obvious. - May reduce defensive measures by consumers, such as source discounting. - May actually increase consumers' estimates about how many other people use the brand, thus mak- ing it appear more prevalent and popular than it actually is. - A perceived cost advantage over very expensive network TV. - Non-standardized rate structure; hard to price these; deals done in private. - May not be very effective for high involvement categories. - Science is unclear as to how well this technique works.

strategic implications of repetition, slogans, and jingles

- Extremely resistant to forgetting. These methods make it difficult to forget the brand. - Efficient for consumer. For routinely purchased items, consumers rely on a simple and easy deci- sion rule: Buy what you remember. - Long-term commitment/expense. It takes lots and lots of rep- etition, particularly early on, or a very memorable slogan or jingle. Once advertisers have achieved a high recall level, they can fine-tune their spending so that they are spending just enough to stay where they want. - Competitive interference. Consumers may learn a slogan or jingle only to associate it with the wrong brand. - Creative resistance. Ads are rarely called creative and don't usually win a lot of creative awards. So creatives are less likely to enjoy working on them.Thus, the client paying the bills is less likely to get the "hot" or even senior creative teams.

gross rating points (GRP)

- GRP is the product of reach times frequency (GRP = r × f ). - multiply the rating (reach) of each vehicle in a plan times the number of times an ad will be inserted in the media vehicle and sum these fig- ures across all vehicles in the plan. - GRP number is used as a rela- tive measure of the intensity of one media plan versus another.

Coordination and collaboration

- Many different kinds of expertise will be needed to pull it off, and this means many dif- ferent people must be enlisted to play a variety of roles. - Coordination and collaboration will be required for executing any kind of advertising - Research shows that teams are effective in organizations where the leadership makes it perfectly clear that teams will be held accountable for performance. - blending expertise from diverse disciplines often produces the most innovative solutions to many different types of business problems. - Effective teams find ways to let each individual bring his or her unique contributions to the forefront. - promotes learning for each individual team member. - leaders help the team build consensus about the goals they hope to achieve and the approach they will take to reach those goals. - Once goals and purpose are agreed upon, the leader plays a role in ensuring that the work of the team is consistent with the strategy or plan.

media selection

- access competitors media spending - several major brands going after the same consumer market

Objective 3: persuade the customer

- advertisers objective: convince the consumer through arguments that their brand is the best choice ( typically been verbal but have in the past few decades employed more visual arguments as well) - requirers even more mental effort from the consumer: they must engage enough to follow the advertisements arguments and logic (they must "get" the ad) - becoming less popular

Objective 5: action via fear

- advertisers objective: elicit a specific feeling (fear) and make consumers think that the brand can alleviate this feeling - used in specific product categories: insurance, pharmaceuticals - assumed that fear is a strong motivator - it grabs attention, sparks thought, and results in action - how much fear is too fear? - we often reject fear messages when they're too scary or doesn't make sense; risk of boomerang effect

fundamentals of effective teams

- communication - trust - complementary expertise - leadership

trend 3 in 21st century media planning: consumer empowerment

- consumers are accustomed to free content - consumers choose more no-ad channels and have more tools to avoid ads (People will pay to avoid ads) - Consumers co-create brands (We buy, review, and ultimately help shape brand identities)

internet Media

- social media are used to discuss brands, and we know that marketers use these media to create buzz and eventual sales for their brands. - Several companies track conversations about brands on the Web, analyze the data, and report various metrics, such as net promoter scores (essential good mentions-bad mentions), net volume (how much conversation about a brand occurs in a given period), and so on.

stan Richards

- started out as a small freelance company in dallas - advertising is a simple but not easy business - "creative power house" best creative industry - clients: homedepot (place for "doers" - lowes is for shoppers) - worked for chickfila, they were outpaced, had no discounts, and closed on sundays - they outdid every fast food store - lost chickfila but got boston market and firehouse subs - created a timely ad campaign - hired by ram when bankrupt and trying to beat ford f 150 - if there was an ethical problem they'd drop the client

igniting Creativity through teams

- teams come up with better ideas, that is, ideas that are both creative and useful in the process of building brands. - The key elements are building teams with the right expertise and diversity of thought, pushing individuals in those teams to challenge and build on each others' ideas, and creating just the right amount of tension to get the sparks flying.

cost per thousand (CPM)

- the dollar cost of reaching 1,000 members of an audience using a particular medium ** cost of media buy/total audience x 100 = CPM **

the "Twin Masters"

- the merging go creativity and strategy - ADV/IBP is an art and a disciplined solution to a communications problem - a creative idea is both original (different, novel, unexpected) and right for the brand / product / target audience(s)

creatives, agencies, clients

-IBP is a social process that involves constant negotiation among groups of people with strong, differing opinions and motivations - Client: wants big ideas, but can be risk-averse; may kill ideas and cause tension - Creative: develop big ideas for the client; they are passionate about their ideas - Agency: account executives meld the client objectives with the artistic vision of creative

anxiety ads:

Ads remind you that a problem is lurking around every corner and that their brand can protect you - Social, medical, and personal-care products frequently use anxiety ads. (1) there is a clear and present problem (2) the way to avoid this problem is to buy the advertised brand.

Media buying

entails securing the electronic media time and print media space specified in the schedule.

square root law

the recognition of print ads increases with the square of the illustration. - So a full-page ad should be twice as memo- rable as a quarter-page ad.

Eight Rules for Brilliant Brainstorming

#1—Build off each other. #2—Fear drives out creativity. If people believe they will be teased, demoted, or otherwise humiliated in the group, no need to even consider brainstorming. It won't work. #3—Prime individuals before and after. Encourage individuals to learn about the problem before and after the group session; teams always benefit when individuals apply their unique expertise. #4—Make it happen. Great organizations develop a brainstorming culture where everyone knows the rules and honors them; to achieve such a culture, it is essential that ideas developed in brainstorm sessions lead to actions. #5—It's a skill. Leading a productive brainstorming session is not a job for amateurs; facilitat- ing a brainstorming session is a skill that takes months or years to master. #6—Embrace creative abrasion. If your team has been formed appropriately, it will contain people with conflicting cognitive styles. Celebrate that diversity, welcome everybody into the group #7—Listen and learn. Good brainstorming sessions foster learning among people who have diverse expertise and divergent cognitive styles. Trust builds and suspicion fades. #8—Follow the rules, or you're not brainstorming (and pretending just wastes everybody's time).

objective 9: connect to social disruption and cultural movements

- advertisers objective: find a social movement and suggest that your brand "gets it" (lot of effort goes into this and is extremely high risk) - far more sophisticated objective (connects to a niche market)

Objective 2: link key attributes to the brand name

- advertisers objective: get consumers to remember their brand and associate it with one or two attributes - requires slightly more mental effort from the consumer: they must associate the attribute with the brand - these ads work best if consumers don't think too much about the claim, just associate the two: the name and the claim.

Objective 6: action via anxiety

- advertisers objective: motivate consumers to make purchasing decisions by playing on their anxieties, specifically our innate urge to reduce anxiety - More subtle than fear but related - Widely used, effective method (also known as P&G proctor and gamble)

Objective 7: define the brand image

- advertisers objective: to create and maintain an image that instantaneously conveys the brand core meaning/value - their importance: efficient; cuts through ad clutter, once established they differentiate, they communicate across cultures (diesel jeans)

objective 8: define the brands social meaning

- advertisers objective: to help establish and maintain their brand image by associating themselves with a specific social setting - Importance: helps differentiate - Objects have social meaning; they are not just things. Good social meaning advertising can let the advertiser shape that meaning.

objective 10: transform consumption experiences

- advertisers objective: try to connect the brand with positive memories of the consumer; includes trying to help share (and even create) these memories - attempts to create a brand feeling, expectation, and mood that are activated when the consumer uses the product or service. - this can be a sophisticated objective (doesn't have to be real) • Can be extremely powerful due to a merging of ad and brand experience. - Fosters long-term commitment. - Can ring absolutely false and hurt the brand. • Ethical issues. Some believe that this manipulation of experience is unethical.

the "big pie"

- all money used to promote a brand - mass media advertising - direct mail - point-of-purchase promotion - coupons - promotional emails - buzz marketing - product placement - brand integration in computer games - everything spent to promote a good or service.

trend 1 in 21st century media planning: more media

- all new sorts of media "species" - viral marketing, branded entertainment, etc - new media and IBP are cheaper and can be more effective

Objective 1: promote brand recall

- based on a simple premise: if consumers can easily recall a brand, they are more likely to buy it - Advertisers objective: to get their brand into consumers evoked set or to be top-of-mind - especially appropriate with parity products and low involvement - if people think a brand is a leading brand, it can become a leading brand

when thinking about creativity...

- be careful not to oversimplify. - Some of us may be more inclined to right or left brained thinking, but were all capable of both - creative efforts dont exist in vacuums...they always serve specific client objectives

4) media context /fit

- chosen media must be compatible with the advertising strategy - chosen media must reflect positively on the brand- tone must be appropriate - The source itself can affect perceptions of the brand

5) size and length

- determine the appropriate size or length of the ad - decision based on: creative requirements (image development = larger / longer ads), media budget (smaller/shorter = cheaper), competitive environment (match the competitor) - The decision about the length or size of an advertisement depends on the creative requirements for the ad, the media budget, and the competitive environment within which the ad is running. - ads attempting to develop an image for a brand may need to be longer in broadcast media or larger in print media to offer more creative oppor- unities. - a simple, straightforward message announcing a sale may be quite short or small, but it may need heavy repetition. - messages of similar size or length may be essential to maintain the share of mind in a target audience.

below-the-line promotion

- everything else; unmeasured IBP tools; more efficient ‣Internet search ‣Shelf placement ‣Coupons ‣Events ‣In-store promotions ‣Etc. - unmeasured account for 44 percent of total upfront investing.

1) identify target audience

- find similarities between TGT MKT and media audience - media research organization (MRI, Simmons) - single sourced tracking services - Not easy!

2) geographic scope

- identify media that cover the same geographic area as the brands distribution system - Geo-targeting: Place ads in geographic areas where purchasing of a brand is higher

identifying target audiences

- it takes creative vision to find media vehicles that speak to very specific customer profiles

trend 2 in 21st century media planning: globalization

- media are now transnational - companies can reach all new markets - exciting and challenging

overall media plan

- media objectives drive the media selection MEDIA OBJECTIVES: - Identify Target Audience - Geographic ScopeTiming & Continuity - Media Context / FitSize & Length -> MEDIA SELECTION - Competition - Efficiency

placing the message

- our focus us on using media and IBP tools that "reach" the target audience - even the best message will be ineffective if it does not reach the proper audience

actors that foster creativity (3Ps creativity framework)

- people: the field of advertising has always embraced the concept of great creative minds - Process used in developing creative work - the Place or environment wherein the work is done

Objective 4: affective association

- premise: liking a brand leads to purchase - advertisers objective: to make consumers like their brand - these ads work through affect (feelings, emotions)

internal conflict

- reasons for tension between account executives and creatives Account Executive: - client- Highly concerned with client needs and objectives - motivated- Achieve predetermined objectives in the marketplace; retain client's business - background- Generalists with broad knowledge; attuned to reading and pleasing people Creative: - client- Less concerned with client needs and objectives - motivation- Display their creative brilliance; advance their reputation and career - background- Highly focused and internalized

methods used in brand recall

- repetition ads: buy lots of ads and repeat the brand name, brand name becomes more cognitively accessible - slogans and jingles: slightly more complex than repetition, used to enhance the odds of recalling the brand name. It is a practical application of the human need to complete or "close" a verse: "Like a good neighbor," compelled to complete the phrase with "State Farm is there." (has competitive interference) - point-of-purchase branding: Displays used in stores to provide a memory trigger. The in-store visual triggers retrieval of the brand name, and maybe memories of the actual ad itself ( all ways done through day-after-recall (DAR) tests and tracking studies emphasizing recall )

what are common traits of creative people?

- self confident and assertive - childlike - unconventional - hard working - independent and outsiders - internally-driven - risk takers - high tolerance for ambiguity - self-promoters

creating teamwork (the creative brief)

- sets up the goal for any advertising effort in a way that gets everyone moving in the same direction but should never force or mandate a particular solution. It provides basic guidelines with plenty of room for the creatives to be creative. - a document that provides the guidelines for creating brand messages - gets everyone on the same boat and starts them sailing in the right direction - it directs creativity; doesn't kill creativity - it prevents tension/conflict

Conflicts and tensions in the Creative/ management interface

- the conflict often centers on the creative department versus account services. - creative department appears that they are having a lot of fun and just screwing around while everyone else has to wear a suit to the office and try to sell more stuff for the client. (This creates tension) - creative department see an ad as a vehicle to communicate a personal creative ideology that will further their careers and The account manager or account executive, serving as liaison between client and agency, sees the goal of the communication as achieving some predetermined objective in the marketplace, like growing market share for the client's brand. - differing perspectives due to differing background knowledge of members of creative groups versus account services teams.

effiecny measures

- they are based on cost and coverage and says nothing about the quality/ effectiveness of the advertising

above-the-line promotion

- traditional measured media - tv - radio - magazines - newspaper - outdoor - etc. - measured media account for 56 percent of total upfront investing.

Why does advertising need creativity?

- visible: creativity helps brand messages break through the clutter - if an ad isn't visible, it isn't rememberable - fresh: creativity helps brand stay current, fresh, and top-of-mind - connect: creativity helps brands connect with consumers in menaingful, memorable ways (creativity emerges from integrating seemingly unrelated concepts) -creativity comes in many forms across all walks of life; it's a way of approaching the world; its a method of problem- solving

Can you become creative?

- yes, depends on what one means by creativity. - Our personal view is that some people are just more creative than others but that you can unleash what abilities you do have. - just because you are in a "creative" job, it doesn't follow that you are actually creative. - just because you are on the account or business side doesn't mean you are uninspired

advantages of teamwork:

--ADV/IBP is a team sport; effective creativity emerges from group efforts - speed: can solve problems quicker/ derive solutions faster - synergy: bleds diverse expertise anf perspectives = creativty - growth: stimulates individuals to learn, grow, and question their opinions - confidence: ideas that make it through team decision-making are stronger; more defensible

the six key parts of a creative brief

1) audience: Clearly define and specify the target audience 2) objective: What should the creative messaging do? Raise brand awareness? Convey a fact? Get people to visit a website? 3) personality: Clearly define the brand's personality so that the creative strategy complements it 4) message theme: What do you want the audience to think? What is the key benefit you need to convey in the messaging? 5) support: Why should the audience believe this benefit? 6) constraints: Identify all mandatory items that must be integrated into the messaging (e.g., website address, slogan)

trends in the development of bad creative: (what not to do if creativity is the goal)

1. Treat your target audience like a statistic. 2. Make your strategy a hodgepodge. - Good ads have one dominant message, just one. - Most strategies that result in lousy work have lots more than one. 3. Have no philosophy. 4. Analyze your creative as you do a research report. 5. Make the creative process professional. 6. Say one thing and do another. 7. Give your client a candy store. - To prove how hard you work, insist on showing numerous half-thought-out ideas to your client. - The approved campaign will have lots of problems nobody thought about and that will make the final work a mess. - Campaigns with strong ideas are rare birds, and they need a great deal of thinking to make sure they're right. 8. Mix and match your campaigns. - Bring three campaigns to your client, and then mix them up. Take a little bit of one and stick it on another. 9. Fix it in production. 10. Blame the creative for bad creative. 11. Let your people imitate. - imitation appears lacking the original surprise that came from a totally expected piece of work. 12. Believe posttesting when you get a good score.

social anxiety ads:

Ads highlight anxiety related to negative social judgments - Can generate perception of widespread (and thus personal) threat and motivate action (buying and using the advertised product). These ads have a pretty good track record of working. - The brand can become the solution to the ever-present problem, and this results in long-term commitment to the brand. Once a solution (brand) is found, the consumer doesn't have to think about it again. - Efficient. A little anxiety goes a long way. • If the anxiety-producing threat is not linked tightly enough to your brand, you may increase category demand and provide business for your competitors, particularly the market leader. If total category share goes up, market leaders get most of it. - There is more than enough to feel anxious about without advertisers adding more. - These ads have historically been disproportionately targeted at women. Critics note the inherent unfairness and sexism.They are absolutely right. (both methods are pervasive and target all different categories of consumer)

context for message strategy

IBP planning -> message strategy -> objectives and methods

between-vehicle duplication

Some people who watched TV program A also saw program B and read newspaper 1, as well as all other possible combinations.

cognitive style

The unique preferences of each person for thinking about and solving a problem - three dimensions of cognitive style: sensing versus intuition thinking versus feeling extraverted versus introverted.

account team

a group of people comprising many different facets of the advertising industry (direct marketing, public relations, graphic design, etc.) who work together under the guidance of a team leader to both interface with other members of the account team and team members of their own respective specialties

Madison & Vine

a recognized, full-fledged attempt to merge media in the form of branded entertainment on television, in games, in retail settings called brandscapes

testimonial ads:

a spokesperson takes an advocacy position in the ad - a spokesperson who champions the brand in an advertisement, rather than simply providing information. - celebrity testimonial: Sports stars and supermodels are widely used. - Expert spokespeople: viewed by the target audience as having expert product knowledge. - average-user testimonial: the spokesperson is not a celebrity or portrayed as an expert but rather as an average user speaking for the brand. (relatable) - reference group theory - Consumers often forget who likes what, particularly when stars promote multiple goods and services. - Can generate more popularity for the star than for the brand.

feel good ads:

ads that try make consumers connect positive emotions with the brand (becoming more popular; feel-good ads cut through clutter) - They are supposed to either link the good feeling elicited by the ad with the brand or by leveraging the propensity for humans to distort information in the favor of liked brands without even knowing they are doing so. - Evaluation of feel-good ads is typically done by measuring attitude change via pre- and post-exposure tests, tracking studies, theater dial-turning tests, and communication tests. - Eager creatives. Creatives win awards and advance their careers with this style of advertising. - May generate competing thoughts and connections.

Computer modeling

allow for the assessment of a wide range of possibilities before making costly media buys. - save advertisers money. - One of the most important aspects of the media scheduling phase involves creating a visual representation of the media schedule.

media-buying service

an independent organization that specializes in buying large blocks of media time and space and reselling it to advertisers. - media buyers evaluate the audience reach, CPM, and timing of each buy. - responsible for the buy also monitors the ads and estimates the actual audience reach delivered.

Account executives (AEs)

are the liaison between the agency and the client. - they must excel in the care and feeding of clients. - It's a job of negotiation, gentle prodding, and ambassadorship. - The ideal AE finds a way to keep both clients and creatives happy

media mix

bend of different media to reach a target audience

media class

broad category of media, such as TV, radio, or newspapers

3) timing and continuity

continuous: spread ADV continuously and evenly over the length of the campaign pulsing: intensifying ADV before an open aperture then reduce ADV until the next open aperture flighting: Alternating periods of intense ADV and periods of no ADV

humor ads:

create a pleasant association with the brand; get people talking • Very eager creatives. Creatives love to do funny ads. - If the joke is integral to the copy platform, humor can be very effective. If it is not, it is just expensive entertainment. • Funny ads win awards and advance careers. - Humorous messages may adversely affect comprehension. - Humor can actually interfere with memory processes: The consumer doesn't remember what brand the ad was for; happens all the time. - Very funny messages can wear out very quickly, leaving no one laughing, especially the advertiser. EX: ikea book book, Got Milk

comparison ads:

demonstrate a brand's ability to benefit customers via comparisons to the competition - Comparison advertising as a technique has traditionally been used by marketers of convenience goods such as pain relievers, laundry detergents, and household cleaners. - Direct comparison by a low-share brand to a high-share brand increases receivers' attention and increases their intent to purchase the low-share brand (most common in underdog brands) - Direct comparison by a high-share brand to a low- share brand does not attract additional attention to the high-share brand but actually helps the low- share brand. - Gives permission to buy. Lets the consumer work through and then come to his or her own conclu- sion that it really is the best brand. - Significant legal/regulatory exposure. - These ads are sometimes evaluated as more offensive and less interesting than noncomparative ads.

slice of life ads:

depicts an ideal usage scenario for the brand - The social context surrounding the brand rubs off and gives the brand a social meaning. - Generally, fewer counterarguments made by consumers. - Legal/regulatory advantages. Advertisers' attorneys like pictures more than words because determining the truth or falsity of a picture is much tougher than words - Socially embedding your brand in every- day life gives you this chance. • Creation of brand-social realities.You may be able to create the perfect social world for the brand, and its space in it. • Fairly common. Unless the creative is outstanding (particularly visually) and you are generally willing to spend a reasonable amount for repetition, these ads can get lost in the clutter. - These ads don't tend to copy-test well. This is because so much of copy-testing is still designed around remembering words and verbal claims. Copy-testing has simply not caught up with the new reality of the prominence of visual forms of advertising and brand promotion. - Creatives tend to love these ads

challenge

determine the efficiency of different media options - how many target consumers will the advertiser reach given cost

infomercials:

extended commercials that often look like entertainment programming - Long format gives advertisers plenty of time to make their case. - As network ratings fall, day-parts (e.g., Sunday mornings 9-11) that were previously unaffordable have now opened up, making infomercials better deals for advertisers. - Has the advantage of looking like an entertainment show, when it's really an ad. - The genre of ads has a somewhat negative public image, which doesn't help build credibility or trust in the advertised brand.

spending large money on Super Bowl is always a waste

false

sex appeal ads:

grab attention and provoke positive feelings • Higher attention levels. • Higher arousal and affect (feeling). This can be good if it can be tied to brand meaning, bad if it can't. - Possible poor memorability of brand due to interference at the time of exposure. In other words, the viewer is thinking about something else. • Product-theme continuity excludes many goods and services. • Legal, political, and regulatory exposure.

fear appeal ads:

highlights a risk or something dangerous that occurs when not taking a specific action (e.g., buying a brand's product) - it's a little bit of fear designed to induce a little bit of thought, and then action. - the ideal fear-appeal ad would thus be one that is entirely believable and offers a very clear and very easy way to avoid the bad thing threatened by the ad. • You must have a plausible threat to motivate consumers. • You must have a completely clear and easy-to- discern link between the alleviation of the threat and the use of the advertised brand. • Some fear ads are simply ridiculous and have low impact.

geographic scope

identify media that cover the same geographic area as the advertiser's distribution system. - investing money on the placement of ads in media that cover geographic areas where the advertiser's brand is not distributed is wasteful.

big data

incredible mass of detailed consumer information

single-source tracking services

information not only on demographics but also on brands, purchase size, purchase frequency, prices paid, and media exposure.

pulsing

is a media-scheduling strategy that combines elements from continuous and flighting techniques. - Advertisements are scheduled continuously in media over a period of time, but with periods of much heavier scheduling (the flight). - most appropriate for products that are sold fairly regularly all year long but have certain seasonal requirements, such as clothing.

Continuous scheduling

is a pattern of placing ads at a steady rate over a period of time. - Running one ad each day for four weeks during the soap opera General Hospital would be a continuous pattern. - would be used for established brands with an established message.

Flighting

is achieved by scheduling heavy advertising for a period of time, usually two weeks, then stopping advertising altogether for a period, only to come back with another heavy schedule. - used to support special seasonal merchandising efforts or new product introductions or as a response to competitors' activities. - The financial advantages of flighting are that discounts might be gained by concentrating media buys in larger blocks. - for the introduction of a new product, a strategic move to block the message of a competitor, or a political ad campaign, where there is only one day of actual shopping

Message weight

is another media measure; it is the total mass of advertising delivered. - Message weight is the gross number of advertising messages or exposure opportunities delivered by the vehicles in a schedule. - it provides a simple indication of the size of the advertising effort being placed against a specific market.

Creativity

is the ability to consider and hold together seemingly inconsistent elements and forces, making a new connection. - ability to step outside of everyday logic, to free oneself of thinking in terms of "the way things are" or "the way things have to be," apparently allows creative people to put things together in a way that, once we see it, makes sense, is interesting, and is thus, creative. - reflects early childhood experiences, social circumstances, and cognitive styles.

agency of record

is the advertising agency chosen by the advertiser to purchase time and space. - coordinates media discounts and negotiates all contracts for time and space.

Effective frequency

is the number of times a target audience needs to be exposed to a message before the objectives of the advertiser are met—either communications objectives or sales impact. - New brands and brands laden with features may demand high frequency. - Simple messages for well- known products may require less frequent exposure for consumers to be affected.

Effective reach

is the number or percentage of consumers in the target audience that are exposed to an ad some minimum number of times.

continuity

is the pattern of placement of advertisements in a media schedule. - There are three strategic scheduling alternatives: continuous, flighting, and pulsing.

share of voice:

measure of one advertisers expenditures vs. others - one brands ADV expenditures/ Total product category ADV expenditures x 100 = SOV *equation on exam* - Knowing what competitors are investing in a medium and how dominant they might be allows an advertiser to strategically schedule within a medium.

message development determines what?

message development determines if the IBP efforts will succeed or fail

reason-why ads:

points out to consumer reasons why their brand is appropriate & beneficial - someone may beat you on the objectively lower price, but you can always claim that your brand is a better value. - Gives consumers reasons for purchasing the advertised brand. - These types of ads are chock full of reasons why the purchase was a smart idea. - . Consumers have to be paying attention for these ads to work. - might actually convince consumers why not to buy the advertised brand but there is potential for counterarguments. - The makers of these ads tend to get dragged into court or summoned by a regulatory body - Some creative resistance.

Art and copy debrief

role models: not george lois: stole other peoples ideas (tommy hillfinger) - the icons who work with the teams/partnerhships seem to ave more fun. The loners seem grumpy. - Why not ask these icons about the future of the business? wasted opportunity to talk to them about the future

image ads:

seek to convey the brands core meaning in an efficient visual manner, heavy reliance on imagery, sparse use of words, can communicate an attribute and/or evoke feelings (often figurative rather than literal) • Generally, less counterarguments generated by consumers. • Iconic potential. • Very common in some categories (e.g., fashion, fragrance).Your image can get lost in the competitive cloud. - Can be quickly rejected if advertised image rings untrue or poorly matches what the consumer cur- rently thinks of the brand, particularly through direct experience. - Don't tend to copy-test well. Why? Well, once again, existing copy-test procedures are designed predominately for words, not images. - Managerial resistance. Client often argues for more words. - Creatives tend to love them; you can get great people on your communication team. • Relatively little or no legal/regulatory exposure. Hard to litigate the truth or falsity of a picture.

within-vehicle duplication.

someone who saw the ad in newspaper 1 on Monday saw it again in newspaper 1 on Tuesday.

media vehicle

specific option within a class (Vogue magazine)

media plan

specifies media in which advertising messages will be placed to reach a desired audience - determines where and when the advertiser's money is spent - strategy, objectives, media choices, and a media schedule for placing a message. - the media planning process takes place soon after the overall development of the advertising plan. - A lot of the creativity involved in media planning is trying to find that next best thing

frequency

th average number of times an individual / household is exposed to a media vehicle in a certain time frame

demonstrated ads:

the ad shows how the product works - Inherent credibility of "seeing is believing." - Can be used as social justification; helps the consumer defend his or her decision to buy. - Provides clear permission to buy. ("I saw a test; it was the best.") - Fairly heavy regulatory/legal exposure.

unique selling proposition (USP):

the ad strongly emphasizes a supposedly unique quality of the brand (price is commonly used in USP) - very efficient/resistant. - best to focus on one - it's Long-term commitment and expense. - Some creative resistance. Don't expect the best or most experienced creative teams.

cost per thousand (CPM)

the dollar cost of reaching 1,000 - can be used to compare the relative efficiency of two media choices within a media class (magazine versus magazine) or between media classes (magazine versus radio). - the dollar cost for placement of an ad in a medium is divided by the total audience and multiplied by 1,000. CPM = cost of media buy/ total audience x 1000

reach

the number of different people / households will be exposed to the media vehicle at least once in a certain time frame

gross impressions

the sum of all exposures to the entire media pavement in a media plan in a certain timeframe - potential ad impressions, or opportunities to be exposed to ads, are the most common and refer to exposures by the media vehicle carrying advertisement - Message impressions refer to exposures to the ads themselves.

hard-sell ads:

they're reason-why ads but with urgency -BUY NOW! - Phrases such as "act now," "limited time offer," "your last chance to save," and "one-time-only sale" - idea is to create a sense of urgency so that consumers will act quickly. - Socially acceptable defense. "I had to act,""It was on sale that day only,""It was such a good deal." - A lot of consumers know this is just a scam, and that "last chance" almost never means last chance (low creditability) - The makers of these ads tend to face the same legal and regulatory problems - Some creative resistance. soft-sell ad: is an advertisement or campaign that uses a more subtle, casual, or friendly sales message.

branded entertainment opportunities

three primary approaches: - product placement: The most straightforward and least expensive - storyline integration: A more sophisticated approach - such as putting a UPS delivery truck in an EA Sports NASCAR game - original content: most expensive, but potentially most compelling, form of branded entertainment - when the cavemen graduated to their own primetime show or BMW produced short online film clips featuring their vehicles,

forgetting function

we know at about what interval things fade from people's memory.

creative abrasion

which is the clash of ideas, and from which new ideas and breakthrough solutions can evolve. - Adding more diversity to the group is always a way to foster creative abrasion

interpersonal abrasion

which is the clash of people, from which communication shuts down and new ideas get slaughtered. - Teams that insulate themselves from outside influences run the risk over time of losing their spark.

In orchestrating creative teams, these are some good principles to follow:

• Take great care in assigning individuals to a team in the first place. Be sensitive to their existing workloads and the proper mix of expertise required to do the job for the client. • Get to know the cognitive style of each individ- ual. Listen carefully. Because creativity can be an intensely personal matter, one has to know when it is best to leave people alone, versus when one needs to support them in working through the inevitable rejection. • Make teams responsible to the client. Individuals and teams are empowered when they have sole responsibility for performance outcomes. - Beware of adversarial and competitive relationships between individuals and between teams. They can quickly lead to mistrust that destroys camaraderie and synergy. - In situations where the same set of individuals will work on multiple teams over time, rotate team assignments to foster fresh thinking, or bring in some aliens!