ADVERTISING - KEY TERMS

 THE MEDIA

CHANNELS OF COMMUNICATION THROUGH WHICH NEWS, ENTERTAINMENT AND EDUCATIONAL/PROMOTIONAL MESSAGES ARE SPREAD.

A MEDIA PRODUCT

A SINGLE PRODUCT OF MEDIA (ie. A BOOK, A GAME, AN APP)

MEDIUM

THE FORM THE MEDIA TAKES AND THE METHOD OF DELIVERY.

MEDIA PLATFORMS

THE TOOL BY WHICH INFORMATION AND CONTENT IS DISTRIBUTED TO THE AUDIENCE (ie. SOCIAL MEDIA PLATFORM, WEBSITE, VIDEO GAME)

MARKET

ALL THE CONSUMERS WHO USE A CERTAIN TYPE OF PRODUCT (ie. CORNFLAKES)

MARKET SHARE

THE PERCENTAGE OF THE MARKET WHO USE A CERTAIN BRAND (ie. KELLOGS)

MARKET RESEARCH

GATHERING INFORMATION ABOUT THE TARGET AUDIENCE AND THEIR NEEDS & PREFERENCES. USED TO TARGET THE RIGHT PEOPLE.

BRAND AWARENESS

THE AIM OF ADVERTISING, USUALLY. 

SEGMENTS

AUDIENCE SUBGROUPS - DEFINED BY CHARACTERISTICS LIKE LIFESTYLE.

AUDIENCE PROFILE

SPECIFIC DEMOGRAPHIC VARIABLES OF AN INDIVIDUAL AUDIENCE MEMBERS.

UNIQUE SELLING POINT

CHARACTERISTICS OF A PRODUCT THAT MAKE IT STAND OUT. (APPLE'S UNIQUE SELLING POINT IS THE BRAND ITSELF)

VALUE PROPOSITION

A PROMISE TO THE CUSTOMER OF THE SERVICE OR PRODUCT BEING VALUABLE AND WORTH THEIR TIME (ie. COCA COLA PROMISING TO MAKE YOU HAPPY, HIGHLIGHTING AUDIENCE PLEASURES IN SERIES TRAILERS)

ONLINE ADVERTISING

POP-UPS

ADVERTS THAT APPEAR WHEN USING A SPECIFIC WEB PAGE.

POP-UNDERS

ADVERTS THAT APPEAR WHEN YOU CLOSE A WEB PAGE.

WEB BANNERS

ADVERTS ON A WEBSITE HYPERLINKED TO THE ADVERTISER'S WEBSITE.

EMAIL MARKETING

ADVERTISERS SEND ADVERTS TO YOUR INBOX IF THEY HAVE YOUR EMAIL ADDRESS.

CONTEXTUAL ADVERTISING

ADVERTS LINKED TO RECENT INTERNET SEARCHES YOU'VE MADE (ie. ADSENSE)

SEARCH ENGINE MARKETING

COMPANIES PAY SEARCH ENGINES TO DISPLAY LINKS TO THEIR WEBSITES, AND THEIR PRESENCE RANKING HIGHER ON SEARCHES.

VLOGGERS AND BLOGGERS

ADVERTISERS OFFER FREE PRODUCTS TO INFLUENCERS (ie. ZOELLA)

THE AIMS OF ADVERTISING CAMPAIGNS

1. CREATE AWARENESS OF THE BRAND
2. INTRODUCE A NEW PRODUCT TO THE MARKET
3. INCREASE SALES AND ACHIEVE LARGER MARKET SHARES THAN A COMPETITOR
4. REBRAND AN EXISTING PRODUCT
5. GENERATE FEEDBACK
6. ACHIEVE A COMBINATION OF THE ABOVE

CALL TO ACTION

ANYTHING USED TO ENCOURAGE/PROMPT AN IMMEDIATE PURCHASE OR RESPONSE (eg. BUY THIS PRODUCT, SUBSCRIBE TO MY CHANNEL, GO TO THIS SOCIAL MEDIA POST, INTERACT.

ABOVE THE LINE ADVERTISING

ADVERTISED TO A WIDE MARKET, RELATES TO THE MASS MEDIA, CAN'T DIRECTLY CONTROL WHO YOUR AUDIENCE IS (eg. TV ADS, BILLBOARDS - MOSTLY OLD MEDIA).

BELOW THE LINE ADVERTISING

ADVERTISED TO SOMEONE PERSONALLY WITH THEIR SPECIFIC INTERESTS IN MIND, MORE PRECISE AUDIENCE (eg. WEBSITE COOKIES, TARGETED ADVERTISING, ADSENSE - MOSTLY NEW MEDIA)

SYNERGY

TWO COMPANIES COLLABORATING AS A MEANS TO AN END, USUALLY HIGHER SALES.

LEGAL & ETHICAL ISSUES AND CODES OF PRACTICE

THE ASA (ADVERTISING STANDARDS AGENCY)

An independent regulator for the UK's media - they monitor advertisement and try to regulate content so that consumers aren't taken advantage of as much as they could be. They pick up on trends and complaints to ensure advertising is safe for consumption and meets these standards:

• HONEST
• TRUTHFUL
• DECENT
• ACCURATE
• SOCIALLY RESPONSIBLE
• LEGAL

It's considered common decency to follow these guidelines,- however if an advertiser refuses to listen and their advertising breaks these rules, the ASA can refer them on to OFCOM or Trading Standards. They have an independent council in order to keep up with current public opinion and ensure the most effective regulation.

NON-COMPLIANT ADVERTISEMENTS (FROM THE ASA WEBSITE)

The ASA lists online advertisers here that have refused to comply with their guidelines. For example, the well-known health food shop Holland & Barrett is filed in this section for breaking the standard of 

    TRADITIONAL MEDIA

honest

socially responsible

truthful

decent

legal

accurate

shock tactics havea libne they dont cross

ADVERTISING LAWS

dont encourage illegality, antisocial behaviour, unsafe

ASA - independent regulator for uks media

pick up on trends and complaints

referral to ofcom or trading standards if the ad refuses

independent council decides

advertising standards authority

TV ADS

bcap for tv and radio

cap for online, print and soc. media, direct marketing

asa and ofcom regulate

different mediums - communications act 2003

risk licence revoked for cchannels and advertisers

CLEARCAST - owned by 6 channels to defend against asa complaints

high success rate

eg. 99.9 percent or 'up to 100 percent' effective gets around law

clearcast - 

script for ad 

sent to clearcast via copycentral

respond in 4 days mostly

or you gotta substanciate alongside your script - explain yourssekf

then if both parties are happy, good to go

waste of money to make the ad before asking

planning is so important - what you submit MUST be the sameas what you submitted

clock no. attached to the ad for cfinding later

clearcast approves

weird spoof ad with getting bloodstains out instead of sauce or something

ADVERTISING (notes)

 MEMORABLE ADS

THE CADBURYS GORILLA

HASTINGS

SAUVAGE WITH JOHNNY DEPP

SNICKERS

ADVERTISING ON DIFFERENT MEDIA PLATFORMS

RADIO ADVERT

• DELICIOUSNESS
• 'Everyone loves kit-kats - you probably want one now!'
• Aimed at a wide range, but sweets are often advertised to children and parents. 

TV ADVERT

• NOVELTY
• 'You'll be cool and mysterious if you buy our perfume.'
• Celebrity endorsement.
• Aimed at men who could be fans of Johnny Depp.

MAGAZINE ADVERT

• RELATABILITY
• 'This sofa is cosy, buy it to be cosy.'
• Readers of the magazine - tailored to middle aged women?

KEY MESSAGE, TARGET AUDIENCE

WHAT MAKES AN ADVERT MEMORABLE?

I'm really interested in the theory behind advertising, the strategy that goes into convincing members of the public to buy things. Whilst not being on board with capitalism as a whole, I'm truly invested in the how and why of its systems. Advertising is impossible to avoid, which I believe is unethical - that being said, it's fascinating and you can learn so much about 

wackaging/being weird (and why that's saturated nowadays) - constant one-upping

being catchy/earworms

being controversial/backlash (nike, greggs vegan, keurig, that one where kendall jenner stops a riot with pepsi)/boycotts - people getting angry will do your advertising for you

showing support for an issue (both for good reputation and backlash from opposition like nike)

so bad it's good (perfume adverts like sauvage, my favourite advert because it's quotably funny) 

humanising social media brands (not tv but interactions between brand ambassadors)

obligatory capitalism mention - so many brands vying for public attention, overwhelming

Press releases

ADVERTISING CAMPAIGNS

CROSS MEDIA

TRADITIONAL MEDIA VS. NEW MEDIA

INTERNET ADVERTISING

• COOKIES
• POP UP ADS
• PRODUCT PLACEMENT
• BRAND TWITTER HUMANISING
• EMAIL MARKETING
• WEB BANNERS 
• SEARCH ENGINE MARKETING
• ADSENSE EW

ABOVE VS. BELOW THE LINE ADVERTISING

ABOVE -> BANNER IN THE STREET

BELOW -> TARGETED ADS ON YOUR FEED

POP-UPS

POP-UNDERS

WEB BANNERS

EMAIL MARKETING

CONTEXTUAL ADVERTISING

SARCH ENGINE MARKETING

VLOGGERS AND BLOGGERS

CELEBRITY ENDORSEMENT

BLACK OPIUM - YVES ST. LAURENT

Endorsed by Zoe Kravitz

WHAT IS THE PURPOSE OF CELEBRITY ENDORSEMENT?

• TARGET DEMOGRAPHIC - CLASS, GENDER, AGE ETC.
• GEOGRAPHICS - GEOGRAPHICAL STATUS
• PSYCHOGRAPHICS - PERSONALITY, LIFESTYLE, VALUES ETC.

PSYCHOGRAPHICS

• MAINSTREAMERS
• ASPIRERS 
• SUCCEEDERS
• RESIGNED
• EXPLORERS
• STRUGGLERS
• REFORMERS

M1 - SCRIPT CONVENTIONS AND FORMATTING

RULES

• FOR THIS PROJECT, WE'RE WRITING A SHOOTING SCRIPT. WE'VE ALREADY SECURED FUNDING (ACCORDING TO THE BRIEF) AND SO DO NOT NEED A SPEC SCRIPT. I'VE COMPLETED DRAFT 2 AND REALISE THAT I SHOULD INCLUDE MORE TECHNICAL DETAILS, LIKE CAMERA AND SOUND DIRECTIONS.
• SCENES SHOULD BE INTRODUCED WITH A SLUG LINE DETAILING THE TIME AND PLACE THEY TAKE PLACE. EVERY NEW LOCATION IS A NEW SCENE. 
• IN DIALOGUE, THE SPEAKER SHOULD BE IN CAPITALS SEPARATE FROM ACTION BLOCKS. DIALOGUE SHOULD BE WRITTEN UNDERNEATH, INDENTED AND SEPARATE FROM ACTION BLOCKS.
• PARENTHETICALS ARE INDICATIVE OF SPEECH CHANGING TONE eg. (SOFTLY) I'M HERE. vs. (BRASHLY) I'M HERE.
• ACTION SHOULD BE IN THIRD PERSON AND PRESENT TENSE. 
• WHEN A CHARACTER, PLACE OR IMPORTANT DETAIL IS INTRODUCED THEY SHOULD BE IN CAPITALS.

FORMATTING 

• YOUR SLUGLINE, OR SCENE HEADING, HAS TO GIVE INFORMATION ABOUT THE TIME AND LOCATION OF THE SCENE.
• ACTION BLOCKS TELL YOU WHAT'S HAPPENING BETWEEN DIALOGUE - FOR THE ACTORS AND ALSO CONTAINS DIRECTIONS FOR THE CREW.
• CHARACTER NAMES IN ACTION BLOCKS MUST BE WRITTEN IN CAPITALS WHEN THEY'RE INTRODUCED. AFTER THAT, THEY CAN BE LOWER CASE. YOU USE THEM TO SHOW WHO'S SAYING WHAT.
• DIALOGUE SHOULD BE WRITTEN UNDER CHARACTER NAMES. 
• PARENTHETICALS TELL THE ACTOR HOW SOMETHING SHOULD BE SAID (IN THIS EXAMPLE, IT'S USED TO MENTION THAT ONE OF THE CHARACTERS IS SPEAKING IN VOICE-OVER).

AS FOR MY OWN SCRIPT:

SCENE HEADING 'EXT. TUNNELS UNDER NGAIO - LATE EVENING'

ACTION BLOCKS ' WE SEE THAT HER FACE HAS BECOME INCREASINGLY FLUSHED'

CHARACTER NAMES 'FEN' 

DIALOGUE 'PULL... PULL YOURSELF TOGETHER.'

PARENTHETICALS:

P4 - DRAFTS

      

DRAFT 1

DRAFT 2

P3 - Script Planning

 

This is my timekeeping plan, made to ensure things get done on time and I don't get hung up on perfecting certain things. Schedules are always a helpful thing to keep when you're working to a deadline - scripts are commissioned with deadlines laid out. Productions require everything to be organised (typically the job of the producer and 1st assistant director).

P2 - Developed ideas

 

I have decided to go with idea 2. It strikes me as more interesting than the other, and less linear. 

P2 - INITIAL IDEAS

 

PARAGRAPH HERE (deleted it by accident)