Posts Tagged ‘Advertising’

Taking a Chance With Transparency

Tuesday, July 26th, 2011


Domino’s Pizza seems to have gone all-in when it comes to standing behind their product. They kicked off their new image

with Super Bowl ad’s touting farm grown veggies, and then invited customers to share photos of actual Domino’s pizzas at Showusyourpizza.com.They adopted a successful online strategy that allows a customer to track their order from oven to delivery and leave feedback. To take it one step further, they are broadcasting that feedback in Times Square. Fast Company has a great write up:

Pie In The Sky? Domino’s Flips Switch On Times Square Instant Reviews, Takes Transparency To New Level

The MAN and You

Thursday, December 2nd, 2010

Written by David K. for 52′s Blog.  David is a Portland writer/producer for a local news behemoth. He’s been writing, shooting and content creating for print, the web and TV since graduating from Portland State University in 1998. He also is an aging pseudo hipster veteran of Portland’s music scene, playing with the Hazmats, The Low Arts and Mr. Howl, among recent projects. He lives in North Portland.

No one wants be held down by The Man. The Man has been keeping down rebellious and artistic souls throughout history. The Man has inspired everything from Jesus’ crucifixion and Western Civilization’s breakaway from feudalism to the shaking hips of Rock and Roll.

People I am here to tell you – Oprah is The Man. Sweeping powers over women, television, lifestyles, maybe even presidential elections. You don’t want to get on the wrong side of Oprah, do you? Ask Letterman. Now – The Man is moving her empire off of the “vintage media.”

The decision to end the syndicated show has tectonic implications for the media of the next Millennium. In short, stations can’t afford to pay the massive overheads due to ad revenue fallout, and the overall decline of content worth in the rise of the .com world.

U.K.’s Observer sums it up:

“In the months and years to come, whenever big programs like The Oprah Winfrey Show sit down to renegotiate their deals with local, broadcast stations they are likely to find a grim market where station-group managers are unable or unwilling to match the fees of yesteryear, let alone increase them. That leaves two options for the likes of Oprah. Lower your fees. Or pack up shop.”

You may not think this affects you, as a creator, as a designer, a mAd Man, whatever your gig, but it does. What they say about war goes for broadcast mediums: You may not go looking for it (in this case TV-Web convergence) but IT may coming looking for YOU. A channel on the digital dial is where your work is headed. And you don’t need to know the number.

The days of the Big Three are obviously long past us, and their power to hold advertisers’ dollars are being condensed, specialized, localized and downsized. These are your clients. This is your audience.

Shop Uses Freelancers to Avoid Hires

Monday, November 22nd, 2010

Originally posted in the Boston Business Journal – by Lisa van der Pool

As companies trim their advertising budgets, the ad agencies they work with are also learning how to survive the recession with less business than in recent years.

Jeff Freedman, co-founder and marketing principal of Boston-based ad shop Small Army, says that he has had to tweak his – and his clients’ – strategy.

Many of the agency’s clients, which include Bugaboo Creek Steak House, SolidWorks and Emerson Hospital, among others, are focused more on planning and how to spend their media dollars in this economy. For instance, some clients have trimmed print work, but beefed up their online advertising.

“There might be less ads, but more messaging and positioning work,” said Freedman, who is encouraging clients to be bold with their marketing messages to grab attention during the downturn.

As for his own business, Freedman, whose 18-person shop is on Newbury Street, has a positive outlook.

But Freedman is nevertheless taking precautions to keep costs in check by being conservative about hiring.

“We won’t hire people unless we know we can take care of them for a while. We never want to be in a position where we hire people and then the economy hits us. So we’re more dependent on freelancers,” said Freedman, who notes that there’s a large pool of talented freelancers in the market now.

The Secret Formula for 100% Perfect Writing. Guaranteed!

Tuesday, September 21st, 2010

Unless you’ve worked on a DRTV script before, you probably don’t know what “DRTV” means. Direct response television is what the rest of the world calls an infomercial. What it lacks in creativity, DRTV makes up for in revenues, because media folks sell direct response media as more measurable–and thus more effective at getting returns–than brand media.

When you write a DRTV spot, you are dealing with clients who want results. DRTV “works,” they have been told, and you don’t want to be the one to blame if it doesn’t. But have no fear! DRTV clients take comfort in mathematical formulas, and their expectations for your script involve a formula, too. A DRTV spot has a problem/solution at the beginning and includes product demonstration, customer testimonial, celebrity endorsement, product offer, and a call to action. All of these elements snuggle and mix inside a loose framework, which some DRTV people will inaccurately call the “idea.” This “idea” is really a hook, a catchphrase or (at worst) a hat on a dog, and once you put all that in your script, there’s really little left to write.

In a DRTV spot, problem/solution lasts about three and a half seconds. Witness: the next time you see an infomercial, notice how long it takes the screen to go from color, to monochrome, then back to color. That’s problem/solution. “Remember boring, old-fashioned sit-ups?” as we see someone straining over the most difficult sit-up known to man? You can bet that shot will be in monochrome black and white. Then, a flash to color on the Ab-Rawker, with its red seat and shiny chrome handles. Infomercials offer quick solutions through material purchases. Upgrading the black & white telly to a shiny new CT-100 persists as a social norm in that prosperity narrative, and DRTV people can’t do without this convention.

After the problem/solution, a product demonstration shows real actors using the product. These real actors then testify to camera, gushing about the product’s utility and their satisfaction. Don’t be afraid of this, either. It is simply Microeconomics 101 setting out to prove itself. Don’t fight it, just write it! (Fortunately for ad writers, it’s less damaging to sell a Slap Chop using antique formulas than Healthcare policy reform.)

After product demonstration, you’ll want an endorsement from someone of high esteem with the target audience. Enter Ed McMahan, or Alex Trebek, or an actor playing a real ITT Tech student, or a Ph.D.-licensed nutritionist with great buns as the case may dictate.

Finally, when you write the product offer, be extra careful of spelling and product points, because this is where clients will notice any errors or omissions. No, it’s not uncommon for the call to action to contain a simple $xx for price, xxx-xxx-xxxx for the phone number, and www.gadget123.com for the Web site. Those space holders leave the script open for segmentation and tracking in different markets. But those are minor details to you, especially compared to making sure the trademarked “InstaRachet System™” gets in there.

Now, all you have left for your infomercial script is the writer’s idea. Mind you, the DRTV spot is only 60 or 120 seconds, and once you put everything else in, there won’t be much room for an idea, especially if it has to be trimmed to a 30 or 15. Besides, what your clients usually mean by “idea” is a catchphrase. Sometimes it’s so minimal, the endorser provides it de facto: “Hi. Billy Mays, here.” Or maybe it’s a phrase one step removed from cliché: “When it rains, it scores! With the Gutter Gold water reclamation system, your water bills blah-bitty-blah.” Or, perhaps, it will come from the client: “So easy, you can do it with one finger.” As long as everything else in the formula is covered in the script, the “idea” will usually take care of itself. That way, everyone will be happy, the formula will be preserved, and you will get your money.

Later on, you can decide whether or not to own up to your involvement with Mr. T’s reincarnation as a FlavorWave cooking enthusiast. “My taste buds is going wild!” Now, that’s DRTV.

Written by KFann for 52LTD’s Blog.  Thanks so much KFann!!

Simon Mainwaring’s Take on Advertising Ideas, Newly Bound

Tuesday, September 7th, 2010

The Creative Process Illustrated: How Advertising Ideas are Born is a compilation of ideas from many advertising heavy hitters on their creative process, where their ideas come from, and what inspires them.  Simon Mainwaring a former W+K creative brainiac weighs in inside the covers about his processes, as well as on Fast Company about the book itself.  Below is a quick look at his article.  This book seems like something that should live on the coffee table of every agency!!

If there’s one quality that defines Deborah Morrison, Phd and W. Glenn Griffin, Phd, it’s a passion for creativity. It’s a passion for ideas, how they are generated and how to put them in the service of marketing. So much so they asked a bunch of us to try and explain how we come up with ideas to help our clients. The result is a wonderful book that celebrates the diversity of approaches to the business of thinking.

The Creative Process Illustrated is full of hard won lessons and insights from ad vets (greats like David Kennedy, Glen Cole, and Hal Curtis) who have created some of the most memorable advertising campaigns. Plus at their site, Pure Process, you can see connect with leading psychologist Mihaly Csikszentmihalyi, ad star and the author of Fascinate, Sally Hogshead, Seth Godin (as if he needs an introduction), and Russell Davies, one of the smartest and most entertaining planners around, plus many others.

Read the article in entirety at: Fastmoney.com

Simon Mainwaring is a branding consultant, advertising creative director, blogger, and speaker. A former Nike creative at Wieden & Kennedy, Portland, and worldwide creative director for Motorola at Ogilvy, he now consults for brands and creative companies that are re-inventing their industries and enabling positive change. Follow him at SimonMainwaring.com or on Twitter @SimonMainwaring.

Meta Information: That’s Info About Info (If You Didn’t Know)

Monday, August 23rd, 2010

Here’s some information about information about information. Sorry, I couldn’t resist.  It’s meta information… like in the title and it’s EVERYWHERE.  It’s a trip when you think about it.  This entry was written for 52’s blog by Brian Belefant whose link to more info is included in the body.  Thanks Brian!

A picture used to be worth 1,000 words. But thatʼs no longer enough. When I import a picture into Aperture, I can append it with 52 meta tags –– words that describe everything from the focal length I shot  it at to its copyright.

This may seem fairly benign, but when youʼre sitting in the Newark Airport for five hours waiting to make a connecting flight –– as I am –– you have lots of time to explore implications.

My first notion is to think of it in economic terms. What used to be worth 1,000 words is now worth 1,052. Thatʼs a five percent rate of inflation, or deflation, depending on whether youʼre talking about the pictures or the words.

Words about pictures is only one thing, though. I write a blog (www.60secdirector.blogspot.com). Recently, I had a slightly uneasy feeling when I found out that people were blogging about my blog.

Sure, itʼs flattering. But some of the blogs that blogged about my blog have larger readerships than I do. Isnʼt that weird?

And then thereʼs the part about the information itself. My blog provides information –– itʼs bite-sized lessons on directing for aspiring filmmakers. But when someone blogs about my blog, theyʼre providing information about information.

Meta information.

And what about twittering, googling, facebooking, linking, tagging, and all those other verbs that didnʼt even exist 15 years ago, but now have infected our language to the point that theyʼre better understood than concepts that many would argue contribute more to our body of knowledge? Can you distinguish between “continuous” and “continual”? I canʼt. I used to know the difference. Now I have to look it up. But I can tell you how a blog is different from a tweet. Does that mean information about information supplanting information itself?

(Okay, bad example. “Continuous” and “continual” are words about information. But you get my point.)

Wandering around the terminal for the fifteenth time, I pass Starbucks. They have nine different words to describe coffee mixed with milk. And Iʼm not even talking about sizes or the adjectives you can apply to fine-tune your purchase, like “wet”, “dry”, “no-foam”, and “extra-hot.”

Outside Hudson News, thereʼs a huge poster for ʻLuckyʼ. An ad for a magazine dedicated to shopping. Or to put it another way, an ad for a collection of ads and information, much of which, Iʼm sure, refers to other information –– books, other magazines, movies.

If you buy the magazine, they put it in a plastic bag with pictures of magazine covers on it, presumably to advertise their availability to the other passengers waiting five hours to make a connection. Hudson News recruits you to disseminate information about information about information.

Inside Hudson News, my eye is drawn to a particular book. ʻPreciousʼ. Based on the movie ʻPreciousʼ, which was based on the book ʻPushʼ.

Huh?

A book based on a movie based on a book? They should make a movie about that. And if it does well, they can turn it into a book. And so on.

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