Task 1a
Watch advert idea
The image fades in from black. The screen is split into four quarters; one showing the ignition of a car, one a train, one a plane and one a ship engine in about two seconds or less. Then, all running in synchronisation, each quarter-screen does a fast move-forward zoom into the mechanics of each actual machine; the engines working, cogs running, propellers turning, steam blasting etc. Everything is loud and noisy and complicated, and a voice-over says “All of this, is challenging.” The machinery slowly mutes and fades to black. Voice over says in the silence “but this….” And a faint ticking noise fades in. Then a side-shot animation of the inside mechanics of an analogue watch fade in. All the different parts begin to slot together faster and faster until it is fully assembled. The animation turns to face the screen front-on and the glass front of the watch face swings in from the left and clicks on to the front, completing the watch. As the face clicks in to place, the voice over says “…is easy. Rolex. Open your mind.” As the voice says this, the image of the watch fades out and “Rolex. Open your mind” fades in, written in white in the centre of the black screen. The volume of the ticking has been increasing since the voice over says “Rolex” and the advert ends with one loud, resounding tick. Fade to black.
Task 1b
structures and techniques of tv advertisements
structures
There are many different ways of structuring television advertisements. These include:
Narrative:
An advert that tells a story from a perspective as it unfolds.
Realist narrative:
An advert that could be a real life situation. Focuses on the everyday thoughts and concerns of society. Within the advertisement, real life problems are addressed, with the advertised product solving them. This encourages viewers to purchase said product. A realist advert makes literal sense and is not too unlikely. It could have a deliberate unprofessional look with no effects to increase the impression that it is a real event.
Anti-realist narrative:
An advert that is surreal and tells a story that is not very likely to happen in real life. Often the use of CGI aids adverts working under this structure. It's the opposite of realist narrative; it doesn’t focus on the everyday thoughts and concerns of society. Instead, these advertisements will focus on something that will never happen to the audience and use this to advertise the product.
Animation:
Animation is rather self-explanatory, it’s simply when advertisements include cartoons whether this be throughout the whole advertisement or in just a section of it. An example of an advert that uses animation is Red Bull. Through animation, the advertisement attracts a younger audience.
Documentary:
A factual film or programme that is narrated, for example Life which is narrated by David Attenborough.
Talking head:
A portrait-shot of [usually] one person talking, giving facts about a product or service.
Series:
When similar advertisements are released every month or so from a certain product with a continuing storyline, this is known as a series. A series of adverts are ones that are selling almost exactly the same thing in each different ad, but often with new or improved variations of the product. The adverts work together to tell a story which we can relate to. This also makes it easier to show the use of their product in real life: for example the BT advert is done in a series. Watch some of them here: Choose the Dress; Choose the Song; The Wedding.
Stand-alone:
Instead of being presented in a series, the Stand-alone is an advert that does not link to any other adverts. The message is unique and made in just the one advert.
Style:
Styles of adverts are the categories in which they fall in order to appeal most efficiently to a certain target market of people, and the way the advert itself is portrayed. These could be Humorous style; Surreal; Dramatic; Parodic style and so on.
Computer graphics and SFX:
These are used to enhance the adverts visual attraction and impress the viewer. Use of computer graphics and SFX draws the viewer in and makes the advert more memorable.
Narrative:
An advert that tells a story from a perspective as it unfolds.
Realist narrative:
An advert that could be a real life situation. Focuses on the everyday thoughts and concerns of society. Within the advertisement, real life problems are addressed, with the advertised product solving them. This encourages viewers to purchase said product. A realist advert makes literal sense and is not too unlikely. It could have a deliberate unprofessional look with no effects to increase the impression that it is a real event.
Anti-realist narrative:
An advert that is surreal and tells a story that is not very likely to happen in real life. Often the use of CGI aids adverts working under this structure. It's the opposite of realist narrative; it doesn’t focus on the everyday thoughts and concerns of society. Instead, these advertisements will focus on something that will never happen to the audience and use this to advertise the product.
Animation:
Animation is rather self-explanatory, it’s simply when advertisements include cartoons whether this be throughout the whole advertisement or in just a section of it. An example of an advert that uses animation is Red Bull. Through animation, the advertisement attracts a younger audience.
Documentary:
A factual film or programme that is narrated, for example Life which is narrated by David Attenborough.
Talking head:
A portrait-shot of [usually] one person talking, giving facts about a product or service.
Series:
When similar advertisements are released every month or so from a certain product with a continuing storyline, this is known as a series. A series of adverts are ones that are selling almost exactly the same thing in each different ad, but often with new or improved variations of the product. The adverts work together to tell a story which we can relate to. This also makes it easier to show the use of their product in real life: for example the BT advert is done in a series. Watch some of them here: Choose the Dress; Choose the Song; The Wedding.
Stand-alone:
Instead of being presented in a series, the Stand-alone is an advert that does not link to any other adverts. The message is unique and made in just the one advert.
Style:
Styles of adverts are the categories in which they fall in order to appeal most efficiently to a certain target market of people, and the way the advert itself is portrayed. These could be Humorous style; Surreal; Dramatic; Parodic style and so on.
Computer graphics and SFX:
These are used to enhance the adverts visual attraction and impress the viewer. Use of computer graphics and SFX draws the viewer in and makes the advert more memorable.
Codes and Conventions
Where the camera angle, shot, iconography, editing, lighting, sound, music all work together to create an advert that will be memorable.The composition of the advert and how the camera angles etc. make the advert appeal to the target audience.
techniques
Hidden and overt messages: A story or message, hidden within the advert, that is subconsciously received by the viewer. These messages are intended to establish, change, sway or enhance the viewer's emotions, feelings and thoughts about the product or service being advertised.
Emotional responses or association: Perhaps the most common technique used in advertising (and indeed it is essential to the making of an effective advert) is to cause an emotional response in the viewer. What this means is the advert appeals to certain aspects of our personalities - our sympathetic side, our funny side and so on. By touching upon these aspects of us, the advert makes us react in some manner or other - we might find something so heartbreaking that we feel the need to help (think about a Dogs Trust advert, or an advert appeal from Water Aid). Perhaps we react to something with laughter - by doing this the advert gains our trust. Emotional association is similar to this; in certain circumstances the viewer can relate the advert to their own experiences in life. This makes the advert seem genuine and real - almost personal to the viewer. These methods of touching us emotionally make us feel included in the advert, so we are more likely to enjoy it and agree with it, which penultimately makes us more likely to buy the product or use the service.
Solution to a problem: Often a product is advertised as being the solution to a problem. These problems are common in real life society, and make the viewer agree with the advert through their own experiences of them (adverts like Persil use this technique - the problem being dirty clothes and the solution being the washing detergent).
Fear: An emotional response. The viewer might be made to feel scared that something bad could happen if they don’t use the advertised product - for example they might be afraid that their teeth will decay if they don’t use a certain toothpaste.
Concern: An emotional response. The viewer might be concerned about something related to the advert - for example the THINK! adverts of hedgehogs teaching how to cross the road properly might cause concern within a viewer about his or her own safety when crossing roads.
Compassion: An emotional response. The viewer's loving side is enticed out - it makes us agree with the advert or want to preserve what is being advertised because we love it. A perfect example of this is the Harvey and Rabbit advert. Watch it here.
Self perception: An emotional response. Self-perception is how a viewer sees themselves, and an advert can affect this. For example, a Nike advert might leave the viewer with the idea that they are able to perform better at sports if they buy Nike trainers.
Social position: Adverts are engineered to appeal to target markets. These target markets are usually defined by age, gender, demographics, nationality and social position. Adverts appeal to certain social groups by emulating their lifestyle - for example a common one would be middle class mothers.
Celebrity endorsement: Celebrity endorsement is when an advert uses a famous face to sell their product. It's a technique that wins over the viewer, who sees the celebrity and believes they will be more like that person if they use the product being advertised. It's a technique often used in perfume advertisements.
Emotional responses or association: Perhaps the most common technique used in advertising (and indeed it is essential to the making of an effective advert) is to cause an emotional response in the viewer. What this means is the advert appeals to certain aspects of our personalities - our sympathetic side, our funny side and so on. By touching upon these aspects of us, the advert makes us react in some manner or other - we might find something so heartbreaking that we feel the need to help (think about a Dogs Trust advert, or an advert appeal from Water Aid). Perhaps we react to something with laughter - by doing this the advert gains our trust. Emotional association is similar to this; in certain circumstances the viewer can relate the advert to their own experiences in life. This makes the advert seem genuine and real - almost personal to the viewer. These methods of touching us emotionally make us feel included in the advert, so we are more likely to enjoy it and agree with it, which penultimately makes us more likely to buy the product or use the service.
Solution to a problem: Often a product is advertised as being the solution to a problem. These problems are common in real life society, and make the viewer agree with the advert through their own experiences of them (adverts like Persil use this technique - the problem being dirty clothes and the solution being the washing detergent).
Fear: An emotional response. The viewer might be made to feel scared that something bad could happen if they don’t use the advertised product - for example they might be afraid that their teeth will decay if they don’t use a certain toothpaste.
Concern: An emotional response. The viewer might be concerned about something related to the advert - for example the THINK! adverts of hedgehogs teaching how to cross the road properly might cause concern within a viewer about his or her own safety when crossing roads.
Compassion: An emotional response. The viewer's loving side is enticed out - it makes us agree with the advert or want to preserve what is being advertised because we love it. A perfect example of this is the Harvey and Rabbit advert. Watch it here.
Self perception: An emotional response. Self-perception is how a viewer sees themselves, and an advert can affect this. For example, a Nike advert might leave the viewer with the idea that they are able to perform better at sports if they buy Nike trainers.
Social position: Adverts are engineered to appeal to target markets. These target markets are usually defined by age, gender, demographics, nationality and social position. Adverts appeal to certain social groups by emulating their lifestyle - for example a common one would be middle class mothers.
Celebrity endorsement: Celebrity endorsement is when an advert uses a famous face to sell their product. It's a technique that wins over the viewer, who sees the celebrity and believes they will be more like that person if they use the product being advertised. It's a technique often used in perfume advertisements.
task 1c
Regulating tv advertisements
Advertisement standards authority (asa)
and
Office of Communications (OFCOM)
what asa does
The role of the ASA is to "regulate the content of advertisements, sales promotions and direct marketing in the UK" by investigating "complaints made about ads, sales promotions or direct marketing", and deciding whether such advertising complies with its advertising standards codes. These codes stipulate that "before distributing or submitting a marketing communication for publication, marketers must hold documentary evidence to prove all claims, whether direct or implied, that are capable of objective substantiation" and that "no marketing communication should mislead, or be likely to mislead, by inaccuracy, ambiguity, exaggeration, omission or otherwise". In short, the ASA regulates all advertisements that appear on TV so that they do not appear to present misleading information, or content that might be considered cruel, offensive or unfair.
Types of advertising covered by asa
The ASA state that the type of adverts they deal with include:
- Magazine and newspaper advertisements
- Radio and TV commercials (not programmes or programme sponsorship)
- Television Shopping Channels
- Advertisements on the Internet, including: banner and display ads; paid-for (sponsored) search; marketing on companies’ own
websites and in other space they control like social networking sites Twitter and Facebook.
- Commercial e-mail and SMS text message ads
- Posters on legitimate poster sites (not fly posters)
- Leaflets and brochures
- Cinema commercials
- Direct mail (advertising sent through the post and addressed to you personally)
- Door drops and circulars (advertising posted through the letter box without your name on)
- Ads on CD ROMs, DVD and video, and faxes
- Sales promotions, such as special offers, prize draws and competitions wherever they appear.
asa complaints response procedure
When responding to complaints made about adverts, the ASA have a detailed Complaint Handling Procedure which can be found here. However, there is a basic regulatory response made:
"The Investigations Executive will send a summary of the complaint (normally without disclosing the complainant's identity) to the marketer and request a written response. The Executive will explain in their correspondence which part of the Code is thought relevant and might also raise issues beyond those raised by the complainant. The Investigations Executive will present a recommendation to Council, which adjudicates. Council might agree with the recommendation, adjudicate differently or suggest that further investigation is necessary. The Investigations Executive will send a letter of notification to the marketer and all complainants. That letter will inform them of Council's decision. If Council has not adopted the ASA Executive's recommendation, the letter will explain that and give reasons. The letter will also include a date for publication of the adjudication on the ASA website and an instruction to keep the details confidential until that date."
"The Investigations Executive will send a summary of the complaint (normally without disclosing the complainant's identity) to the marketer and request a written response. The Executive will explain in their correspondence which part of the Code is thought relevant and might also raise issues beyond those raised by the complainant. The Investigations Executive will present a recommendation to Council, which adjudicates. Council might agree with the recommendation, adjudicate differently or suggest that further investigation is necessary. The Investigations Executive will send a letter of notification to the marketer and all complainants. That letter will inform them of Council's decision. If Council has not adopted the ASA Executive's recommendation, the letter will explain that and give reasons. The letter will also include a date for publication of the adjudication on the ASA website and an instruction to keep the details confidential until that date."
asa Codes for tv advertising
There is a code that the ASA must follow when regulating adverts. Overall the code is there to ensure that as few people as possible are offended or disturbed by the advert being shown. Some rules include: Avoiding sexual or racial discrimination; avoiding offence through Animal Cruelty; Avoiding the encouragement of unhealthy consumer products - for example chocolate may not be said to be good for you; and cigarettes can never be mentioned or shown in a good light (or anything that might encourage viewers to consume products under a false pretence of supposed 'healthiness.').
What ofcom does
Ofcom states:
"Ofcom is the communications regulator. We regulate the TV and radio sectors, fixed line telecoms, mobiles, postal services, plus the airwaves over which wireless devices operate. We make sure that people in the UK get the best from their communications services and are protected from scams and sharp practices, while ensuring that competition can thrive. Ofcom operates under the Communications Act 2003. This detailed Act of Parliament spells out exactly what Ofcom should do – we can do no more or no less than is spelt out in the Act. The Act says that Ofcom’s general duties should be to further the interests of citizens and of consumers. Meeting these two duties is at the heart of everything we do. Accountable to Parliament, we are involved in advising and setting some of the more technical aspects of regulation, implementing and enforcing the law. Ofcom is funded by fees from industry for regulating broadcasting and communications networks, and grant-in-aid from the Government.
What we do
Our main legal duties are to ensure:
- The UK has a wide range of electronic communications services, including high-speed services such as broadband
- A wide range of high-quality television and radio programmes are provided, appealing to a range of tastes and interests
- Television and radio services are provided by a range of different organisations
- People who watch television and listen to the radio are protected from harmful or offensive material
- People are protected from being treated unfairly in television and radio programmes, and from having their privacy invaded
- A universal postal service is provided in the UK – this means a six days a week, universally priced delivery and collection service across the country
- The radio spectrum (the airwaves used by everyone from taxi firms and boat owners, to mobile-phone companies and broadcasters) is used in the most effective way
- A universal postal service is provided in the UK – this means a six days a week, universally priced delivery and collection service across the country.
What we do not do
We are not responsible for regulating:
- Disputes between you and your telecoms provider
- Premium-rate services, including mobile-phone text services and ringtones
- The content of television and radio adverts
- Complaints about accuracy in BBC programmes
- The BBC TV licence fee
- Post offices
- Newspapers and magazines."
"Ofcom is the communications regulator. We regulate the TV and radio sectors, fixed line telecoms, mobiles, postal services, plus the airwaves over which wireless devices operate. We make sure that people in the UK get the best from their communications services and are protected from scams and sharp practices, while ensuring that competition can thrive. Ofcom operates under the Communications Act 2003. This detailed Act of Parliament spells out exactly what Ofcom should do – we can do no more or no less than is spelt out in the Act. The Act says that Ofcom’s general duties should be to further the interests of citizens and of consumers. Meeting these two duties is at the heart of everything we do. Accountable to Parliament, we are involved in advising and setting some of the more technical aspects of regulation, implementing and enforcing the law. Ofcom is funded by fees from industry for regulating broadcasting and communications networks, and grant-in-aid from the Government.
What we do
Our main legal duties are to ensure:
- The UK has a wide range of electronic communications services, including high-speed services such as broadband
- A wide range of high-quality television and radio programmes are provided, appealing to a range of tastes and interests
- Television and radio services are provided by a range of different organisations
- People who watch television and listen to the radio are protected from harmful or offensive material
- People are protected from being treated unfairly in television and radio programmes, and from having their privacy invaded
- A universal postal service is provided in the UK – this means a six days a week, universally priced delivery and collection service across the country
- The radio spectrum (the airwaves used by everyone from taxi firms and boat owners, to mobile-phone companies and broadcasters) is used in the most effective way
- A universal postal service is provided in the UK – this means a six days a week, universally priced delivery and collection service across the country.
What we do not do
We are not responsible for regulating:
- Disputes between you and your telecoms provider
- Premium-rate services, including mobile-phone text services and ringtones
- The content of television and radio adverts
- Complaints about accuracy in BBC programmes
- The BBC TV licence fee
- Post offices
- Newspapers and magazines."
Task 1D
Practise analysis of adverts:
Advert Analysis | |
File Size: | 20 kb |
File Type: | docx |
Research of final five adverts:
Five Advert Analysis | |
File Size: | 28 kb |
File Type: | docx |
Script of final five advert analysis:
Final Advert Analysis Script | |
File Size: | 32 kb |
File Type: | docx |
Analysing adverts
Cravendale milk - cats with thumbs
Persil - small and mighty
kfc - Hand prepared food
red bull - pigeon
British Heart Foundation - Hard and fast
Advert Analysis video
Here is my final analysis video, covering the adverts above.
Further advert information
Audience information
Audience measurement panels
Audience measurement measures how many people are in an audience, usually in relation to radio listenership and television viewership, but also in relation to newspaper and magazine readership and, increasingly, web traffic on websites. In advertising usage, broadcasters and advertisers can determine who is listening rather than just how many people are listening. The resulting relative numbers are referred to as audience share or, more commonly, market share. By knowing exactly who is watching or listening to a program and where they are, advertisers can target their product or service far more efficiently toward these people.
Ratings
It’s obvious that if a channel has a lot of viewers, then the adverts that appear on that channel will also have a high level of reception; and vice versa with scarcely viewed channels. It is for this reason we have ratings – an advertiser can decide whether or not he wants to buy a spot on a channel or not by looking at its ratings. The higher the channel rating, the more response your advert is likely to have – but it comes at a higher price. The higher the channel rating, the higher the price.
Face-to-face interviews
The point of face-to-face interviews is to ensure that the people viewing your advert are as satisfied as possible with it – it allows the advertiser to gain second opinions and ideas that he may not have considered and thus improve the advert’s receptivity.
Focus groups
Focus groups are for the purpose of testing out your advert on the people it is marketed at. Advertisers will find a small group of people who are part of their target market – for example 20-30 year old mums – and show them the advert. They will almost be pitching the advert to the group, who will respond with feedback about it. What they liked, didn’t like, hated, felt should be expanded, changed, replaced; and so on.
Questionnaires and surveys
The point of questionnaires and surveys is to provide fast, simple, easy feedback en-masse, and are sent in abundance to many different people. They are sent out because creating a compelling advert to attract and persuade consumers is not easy. Instead of guessing which advert consumers will find most appealing, questionnaires and surveys allow the advertiser to conduct their own market research and ask them. They allow the advertiser to gain the necessary insight to determine which adverts will be most effective, so that money is not wasted on publishing unprofitable advertising.
Programme profiles
These are used so that the advertiser can see who is watching what. A program profile may be a chart, or a graphic summary of audience reaction to a program in terms of minute-by-minute viewing levels or other measures. They can show the demographic or psychographic statistics of a program's audience. By finding out who watches what, the advertiser is in a much better position to decide upon what channel and what time they want their advert to air on.
Television research agencies - Broadcasters’ audience research board (BARB)
BARB is the official source of television viewing figures in the UK. It continually develops new ways of measuring what the public of the UK are watching. BARB viewing data give broadcasters, advertisers and other interested parties a minute-by-minute breakdown of viewing at regional and national levels. This information is vital in assessing how programs, channels or advertising campaigns have performed and provides the basis for airtime advertising trading.
Audience measurement measures how many people are in an audience, usually in relation to radio listenership and television viewership, but also in relation to newspaper and magazine readership and, increasingly, web traffic on websites. In advertising usage, broadcasters and advertisers can determine who is listening rather than just how many people are listening. The resulting relative numbers are referred to as audience share or, more commonly, market share. By knowing exactly who is watching or listening to a program and where they are, advertisers can target their product or service far more efficiently toward these people.
Ratings
It’s obvious that if a channel has a lot of viewers, then the adverts that appear on that channel will also have a high level of reception; and vice versa with scarcely viewed channels. It is for this reason we have ratings – an advertiser can decide whether or not he wants to buy a spot on a channel or not by looking at its ratings. The higher the channel rating, the more response your advert is likely to have – but it comes at a higher price. The higher the channel rating, the higher the price.
Face-to-face interviews
The point of face-to-face interviews is to ensure that the people viewing your advert are as satisfied as possible with it – it allows the advertiser to gain second opinions and ideas that he may not have considered and thus improve the advert’s receptivity.
Focus groups
Focus groups are for the purpose of testing out your advert on the people it is marketed at. Advertisers will find a small group of people who are part of their target market – for example 20-30 year old mums – and show them the advert. They will almost be pitching the advert to the group, who will respond with feedback about it. What they liked, didn’t like, hated, felt should be expanded, changed, replaced; and so on.
Questionnaires and surveys
The point of questionnaires and surveys is to provide fast, simple, easy feedback en-masse, and are sent in abundance to many different people. They are sent out because creating a compelling advert to attract and persuade consumers is not easy. Instead of guessing which advert consumers will find most appealing, questionnaires and surveys allow the advertiser to conduct their own market research and ask them. They allow the advertiser to gain the necessary insight to determine which adverts will be most effective, so that money is not wasted on publishing unprofitable advertising.
Programme profiles
These are used so that the advertiser can see who is watching what. A program profile may be a chart, or a graphic summary of audience reaction to a program in terms of minute-by-minute viewing levels or other measures. They can show the demographic or psychographic statistics of a program's audience. By finding out who watches what, the advertiser is in a much better position to decide upon what channel and what time they want their advert to air on.
Television research agencies - Broadcasters’ audience research board (BARB)
BARB is the official source of television viewing figures in the UK. It continually develops new ways of measuring what the public of the UK are watching. BARB viewing data give broadcasters, advertisers and other interested parties a minute-by-minute breakdown of viewing at regional and national levels. This information is vital in assessing how programs, channels or advertising campaigns have performed and provides the basis for airtime advertising trading.
Sources of information
Rates cards
A rate card is a document provided by a publication featuring the organization's rate for advertising. It may also detail any deadlines, demographics, policies, additional fees and artwork requirements. The smaller the publication, the less information that may be available in the rate card. There are many websites and companies out there who sell rate cards or advertise them. This is because they have already done the research to see which rate works the best in the media and on television. Advertisers looking to make a profit turn to the rate card to see how much they will need to be spending to get their message across to consumers.
Advertisers’ information packs
An advertisers’ information pack provides rate cards, insertion dates, publication dates etc. - all the info an advertiser would need to plan their advertising.
Research agency websites
Research agencies create research that provides direction for an advertiser when deciding how to proceed with an advertisement’s planning. They provide information packs – including rates card, publication dates, insertion dates etc.
A rate card is a document provided by a publication featuring the organization's rate for advertising. It may also detail any deadlines, demographics, policies, additional fees and artwork requirements. The smaller the publication, the less information that may be available in the rate card. There are many websites and companies out there who sell rate cards or advertise them. This is because they have already done the research to see which rate works the best in the media and on television. Advertisers looking to make a profit turn to the rate card to see how much they will need to be spending to get their message across to consumers.
Advertisers’ information packs
An advertisers’ information pack provides rate cards, insertion dates, publication dates etc. - all the info an advertiser would need to plan their advertising.
Research agency websites
Research agencies create research that provides direction for an advertiser when deciding how to proceed with an advertisement’s planning. They provide information packs – including rates card, publication dates, insertion dates etc.
Volkswagen - the bark side
I have linked the following advert purely out of my own interest. Notice how it effectively demonstrates a parodic style?