Term
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Definition
| party sending the message to another party |
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Term
|
Definition
the process of putting thought into symbolic form
-____ and decoding can result in communication difficulty because, in writing a commercial, the sender must _____ a message using words, sentences, sounds, music, and so on, which will translate such that it has the same meaning to the receiver (the target audience) |
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Term
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Definition
| the communication channels through which the message moves from sender to receiver |
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Term
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Definition
| combination of symbols that the sender transmits |
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Term
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Definition
process by which the receiver assigns meaning to the symbols encoded by the sender
§ As the receiver translates the message that has been sent, the meanings of words, symbols, and actions may differ depending on the similarity of attitudes and experiences of the encoded an the receiver (target audience) |
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Term
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Definition
| the party receiving the message sent by another party |
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Term
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Definition
| the reactions of the receiver after being exposed to the product -the nature of the _______ determines the effectiveness of the message |
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Term
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Definition
| the receiver's response communicated back to the sender - ______ enables the sender to determine whether the message hit the target as planned or whether it needs to be altered to provide the receiver with a clearer understanding of the message |
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Term
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Definition
| unplanned distortion or static during the communication process - ______ leads the receiver to get a different message than the one that was sent - can occur at any stage of the communication process - also occurs in the media |
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Term
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Definition
| the sponsor's message - promoting its products or services - as written by the copywriter |
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Term
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Definition
| term used for written scripts of all types, such as news, commerical, and so on; same as script |
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Term
copywriter
(** = related terms for this word) |
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Definition
| person who writes the script for a commercial, public-service announcement, or station promotion announcement |
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Term
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Definition
| person who writes the text of a teleplay, commerical, or program |
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Term
|
Definition
person who writes web scripts
- can also be called copywriter, script writer, writer |
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Term
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Definition
person who takes information from his or her own research, the station's other reporters, and wire services and then turns this material into news copy to be read on the air -writer of scripts or radio or television news stories |
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Term
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Definition
| writer of broadcast news that may have other duties, such as reporting/anchoring |
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Term
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Definition
| a person who specializes in gathering information that can be included in newscasts |
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Term
| public service announcement (PSA) |
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Definition
a noncommerical announcement carried without charge by a station or cable operation for a nonprofit organization or causes such as the Boy Scouts, a drug abuse program, and so on |
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Term
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Definition
| the person who calls on the client, makes the sale, and generally collects information about what the client wants stressed in the commercial - may sell for a station, cable operation or agency -aka sales executive, account executive |
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Term
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Definition
| commercial, PSA, or station promo |
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Term
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Definition
| promotional message about some feature of the station or one of its programs desinged to recruit listeners or viewers for the station |
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Term
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Definition
| the office that handles all programming and scheduling in a broadcast station |
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Term
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Definition
| person who designs and maintains a web site |
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Term
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Definition
| person in broadcasting or corporate media who writes and often produces commercial, promotional, or public-service copy |
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Term
| qualifications of the copywriter |
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Definition
1. a sense of inquiry
2. discipline
3. ability to keyboard and use computers
4. knowledge of the language
5. knowledge of the media
6. dealing with matters of taste |
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Term
| rules for keyboarding radio copy |
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Definition
1. write on one side of the page only 2. double-space all copy 3. write instructiosn for sound effects and music ALL IN CAPS, and underline 4. write talent isntructions - ex) (WHISPER) - in parentheses, and capitalize 5. write all spoken copy in upper- and lowercase 6. put only one spot on a page 7. write speakers' names ALL IN CAPS |
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Term
|
Definition
1. write on one side of the page only
2. keyboard video instructions in capital letters
3. keyboard all spoken audio in upper- and lowercase
4. keyboard audio instructions for soudn effects and music ALL IN CAPS and underline them
5. keyboard audio talent instructions in parentheses and underline
6. single-space the vidoe column and double-space the audio
7. insert a space between spaker and shot changes
8. keep the audio and video for a given scene opposite each other as much as possible |
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Term
|
Definition
Client's Name: ___________ (PAGE TWO - if necessary) Written by: ________ Length: __________ |
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Term
| what should you avoid in copy? |
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Definition
| cliches, superlatives (unless chosen with care), lead-in questions, pronouncs (unless ad is read by sponsor), using telephone numbers, numerical street addresses, words/names difficult to pronounce |
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Term
| what is good to use frequently in copy? |
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Definition
| contractions, punctuation (extensively) |
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Term
| punctuation most comonly used in copy |
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Definition
| period, comma, dash, ellipsis, question mark, exclamation point |
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Term
| Other punctuation marks to know: |
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Definition
| comma, dash, hyphen, underline |
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Term
| Other punctuation marks to know: |
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Definition
| comma, dash, hyphen, underline |
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Term
| Rules to follow when writing numbers |
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Definition
1. write numbers as figures 2. spell out all fractions 3. write out decimal points 4. round off large and detailed numbers unless instructed not to |
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Term
| guidelines for using telephone numbers |
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Definition
1. use phone #s if specifically requested by the client or if you feel that customers might logically call the business
2. if you do use a phone number, repeat it at least twice
3. if you use a phone number in a TV spot, superimpose the number on the screen or present it with both audio and video |
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Term
| guidlines for providing a pronunciation guide: |
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Definition
| 1. put the guide in capital letters several spaces above the opening lines of the copy 2. put the guide in parentheses after the word in question |
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Term
|
Definition
1. emotional
2. rational
3. Moral |
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Term
|
Definition
| humor, celebrity, 5 senses |
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Term
|
Definition
| powerful, relatively uncontrolled feelings that affect our behavior |
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Term
|
Definition
used to generate either positive (joy, love, pride) or negative (shame, guilt, fear) emotions that can motivate purchase -ego$ -love and sentiment$ -curosity$ -sensory$ -sex$ (no product category is immune to sex appeal) |
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Term
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Definition
| advertising production to reduce or prevent the arousal of unpleasant emotions |
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Term
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Definition
appeals that relate to the audience's self-interest by demonstrating that a product will deliver the desired results they are: 1. price 2. quality 3. security$ 4. convenience$ 5. value$ |
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Term
| eliciting particular emotions |
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Definition
| advertisers do this to get the consumer to like the ad or feel a certain way |
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Term
|
Definition
aimed at our sense of what is "right" or "wrong"
-used to urge consumers to support social causes such as stopping smoking, aiding the needy, keeping the environment clean, and helping starving children |
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Term
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Definition
| used to involve the listener; people feel good about things that are amusing or funny |
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Term
|
Definition
when this type of appeal is used, we are motivated favorably toward the product largely because we trust these spokespersons
-they are our heroes |
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Term
|
Definition
sight, taste, smell, sound, see
- we like the product because it appeals to any of these |
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Term
|
Definition
| Attention Interest Desire Action |
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Term
|
Definition
|
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Term
| ways to arouse interest in product/service |
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Definition
1. expand on attention-getting lead 2. tell about the benefits of using the product or service. show how usign the product or service will make life more enjoyable, easier, or safer 3. explain selling points that will produce the benefits you describe. identify and explain the points that will produce the benefits you describe. 4. use a "you" posture in your copy. direct the copy to one listener/viewer, hooking his or her attention and interest 5. introduce sales goal and the name and address of the sponsor or the name of the product |
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Term
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Definition
| building interest in the product also means creating this. -grows out of benefits - "I want one of those" -process of matching consumer wants and needs with product benefits |
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Term
|
Definition
| convincing listeners to become customers - urge customer to take ______ and buy the product |
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Term
| ways of targeting the audience |
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Definition
1. demographic segments
2. age and life cycle
3. gender
4. income
5. education
6. occupation
7. race
8. geographic factors
9. psychographics |
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Term
|
Definition
narrow category of users/customers
- can't pursue all users |
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Term
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Definition
| divides consumers into different groups based on lifestyle characteristics |
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Term
|
Definition
| checklist that helps you prepare a successful sales strategy |
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Term
|
Definition
| 1. client (and product, store, or service) 2. target audience 3. advertising objective 4. sales slogan 5. bonus items 6. approach 7. positioning |
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Term
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Definition
| used extensively when a new product category is introduced |
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Term
|
Definition
| important as competition increases, forcing the company to urge consumers to select its brand |
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Term
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Definition
| advertising in which a company compares its brand, directly or indirectly, with one or more competing brands |
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Term
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Definition
| designed to establish products in the minds of consumers |
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Term
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Definition
focal pont of your commercial - aka central selling point -aka identity line (or ID), or tag$ -shouold be an embodiment of the concept itself$ -short catchy phrase that will linger in the mind and trigger other connections$ |
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Term
| what a sales slogan consists of |
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Definition
| 1. major sales point tied to 2. a strong consumer benefit |
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Term
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Definition
| involves the creation of a separate identity for the product, store, or service -an identity that helps consumers distinguish the client from its competitors |
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Term
|
Definition
| amplitude modulation - method of sending the audio signal by varying the amplitude, or size, of a radio wave |
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Term
|
Definition
| frequency modulation - method of sending an audio signal by varying the frequency of the wave |
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Term
|
Definition
1. radio can target specific audiences 2. radio is mobile 3. radio is intrusive 4. radio is flexible 5. it's inexpensive$ 6. it's fast$ 7. it engages the "theater of the mind"$ 8. There's complete saturation$ |
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Term
|
Definition
1. radio is aural only 2. radio messages are short-lived 3. radio listening is prone to distraction 4. generally low quality of radio ads$ |
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Term
| what are radio (and TV) spots sold by? |
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Definition
|
|
Term
| how to gain attention in radio: |
|
Definition
1. words
2. with a sound effect
3. music |
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Term
|
Definition
| music that is played behind a commercial |
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Term
|
Definition
a decrease or increase in volume made at the audio control board
- can be either ___ ___ in or ___ ___ out |
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Term
|
Definition
| to fade from one sound or music to another -same as segue |
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Term
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Definition
| device used in broadcasting and recording to produce echo effects |
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Term
|
Definition
| to bring sound effects or music to full volume, permitting the listener to hear enough to understand the sound or music |
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Term
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Definition
| after establishing the sound effect or music, fading it to background and holding it (as in bed) behind the spoken message) |
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Term
|
Definition
performers move away from ____ (___ ___ off), or move to on-____ position (____ ___ on) from off-____ position
-acoustical relationships change because of the performer's movements |
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Term
|
Definition
electronic means for eliminating high and low frequencies
-used to give effect of speaking over a telephone line |
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Term
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Definition
| electronic device sometimes used in lieu of echo, but the effects aren't the same |
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Term
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Definition
| to make a transition from one musical number or sound effect directly to another without interruption |
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Term
|
Definition
| to bring music or sound effets into the background of a spot or program at a low level by increasing the volume until the desired level is reached - can be reversed to _____ out music or sound effects |
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Term
|
Definition
| abbreviation for sound effects |
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Term
|
Definition
| physical form of your copy on paper |
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Term
| radio copy and commerical formats |
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Definition
1. single-voice copy
2. two-voice copy
3. dialog copy |
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Term
| purposes of sound effects |
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Definition
1. establish a setting
2. set a mood
3. establish time
4. represent action |
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Term
|
Definition
1. create a mood 2. establish a location 3. create a sound effect 4. establish a theme 5. establish direction - to introduce a spot, gain attention, transitions, add a conclucion |
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Term
|
Definition
1. straight 2. hard-sell 3. institutional 4. spoksesperson 5. humorous 6. Comparisons$ 7. Drama$ 8. Interview$ 9. Problem-Solution$ -choose a copy type appropriate for your client and audience |
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Term
| elements of hard-sell copy |
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Definition
1. price reduction
2. urgency
3. sound effects
4. punchy sentences
5. slogans |
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Term
| aim of institutional spot |
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Definition
| to keep the client's good name before the public |
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Term
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Definition
| features someone speaking in the first person for the client, its product, or its service |
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Term
|
Definition
| spot that features a well-known personality |
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Term
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Definition
| from a person on the street; a satisfied consumer |
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Term
|
Definition
| very high frequency; consists of channels 2 through 13 |
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Term
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Definition
| ultra high-frequency; consists of channels 14 to 69 |
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Term
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Definition
| station that agrees to carry the programming of a full-time network |
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Term
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Definition
| TV spots that run between programs |
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Term
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Definition
| spots scheduled within program positions |
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Term
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Definition
1. most persuasive medium 2. credible 3. intrusive 4. glamorous 5. more conductive to detail$ 6. abundance of audience research available$ 7. easier to reach a national audience$ |
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Term
| weakenesses of television |
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Definition
1. expensive 2. cluttered 3. time involved in production, especially when compared to radio (expenses)$ |
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Term
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Definition
| packes of pay-channels/services like ShowTime |
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Term
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Definition
1. can narrowcast
2. advertising is inexpensive |
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Term
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Definition
|
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Term
|
Definition
High-Definition TeleVision; system of program transmission based on digital technology
- lets stations broadcast programs with much greater resolution |
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Term
| television commercial formats |
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Definition
|
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Term
|
Definition
divided into 1/3 page for video on left and 2/3 page for audio on right -on right 2/3 the audio can appeal like it did in the radio ads$ -left handed 1/3 include visual cues$ |
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Term
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Definition
| shows section by section what the creator of the commercial had in mind, using a series of panels much like a cartoon strip |
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Term
| long shot (LS) or Wide Shot (WS) |
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Definition
shot that provides a full view of a set or background, usually including a full-length view of the talent
-can become a medium-long shot (MLS) |
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Term
|
Definition
shot that is the approximate midpoint between a closeup and a long shot
- show talent from approximately the waist up
-can become a medium-closeup (MCU) |
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Term
|
Definition
| narrow-angle picture that will present a full-screen image of an object or the talent's face -also used to focus on individual elements such as the talent's mouth or eyes -used to show an entire object or parts of it -gives added emphasis to key elements of the sales message - can become and extreme- or tight close up (ECU or TCU) |
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Term
|
Definition
to move the camera either left or right without moving the camera base
- used to follow a moving object or person or to move the camera's focus from one stationary object to another |
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Term
|
Definition
| to move the camera either up or down without moving the camera base |
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Term
|
Definition
to move the entire camera base either toward or away from the subject
-subject usually remains stationary |
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Term
|
Definition
movement of a camera lever that adjust the focal length of a ___ lens to move either toward or away from an object
-used to create all shots, from a long shot to a close up, without moving the camera |
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Term
| boom or pedestal (up or down) |
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Definition
| moving the camera up and own using the studio boom or pedestal -used to create dramatic perspectives |
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Term
|
Definition
| refers to the overlapping fade-out of one picture and the fade-in of another |
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Term
|
Definition
simplest transition from one TV commericial to another
- final frame of one scene changes instantaneously to that of another |
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Term
|
Definition
to ____ in is to graduate increase the intensity of a video picture from total black to full strength
- a ____ out decrease the full brightness of a picture until the screen is dark |
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Term
|
Definition
| optical effect in which a line or object appears to move across the screen, revealing a new picture - can stop midway and become a split screen -can be horizontal, vertical or diagonal; can come from either side (closing doors) or sweep around like the hands of a clock (iris or circular) |
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Term
| super (short for superimpose) |
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Definition
| useful sales tool for showing a picture of one object over another |
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Term
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Definition
| two or more scenes are visible simultaneously on separate parts of the screen |
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Term
|
Definition
| technique for holding a particular scene on the screen for a desired length |
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Term
|
Definition
| electronic device usign a typewriter-like keyboard to produce printed words optically |
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Term
|
Definition
| electronic effect that permits an image (usually lettering) to be cut into background image |
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Term
|
Definition
| electronic process similar to keying - refers to the electronic laying in of a background scene, such as a client's showroom or storefront, behind a foreground image, such as an announcer |
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Term
|
Definition
| electronic combining of two video sources into a composite picture, creating the illusion that the two sources are physically together |
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Term
| digital video effects (DVE) unit |
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Definition
| device that permits manipulation of the image by expanding or compressing it, thus modifying its size, shape, and position in a variety of ways -enables the director to apply a variety of visual effects, such as image rotation, bouncing, or splitting, to achieve a special effect in a spot |
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Term
|
Definition
| switching between two or more videotape machines to prepare a composite tape |
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Term
|
Definition
| ratio between the horizontal (Width) and the veritcal (height) measurement of the television screen |
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Term
|
Definition
| gradual horizontal movement of printed words, such as details on a special sale, on the screen |
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Term
|
Definition
| vertical movement of printed words, on the screen |
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Term
|
Definition
| distance within which a subject can move toward or away from a stationary camera without going out of focus |
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Term
|
Definition
| field of view in any particular shot |
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Term
|
Definition
| sequence of short scenes, usually cuts or wipes, that together convey an idea more effectively than any one of them could alone |
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Term
|
Definition
| any production work that occurs after taping |
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Term
|
Definition
digital device used to store individual frames, any of which can be recalled instantly
-often used in place of slides of camera cards |
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Term
|
Definition
| poster board of any size that can be shot by a studio camera |
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Term
|
Definition
| letters or other printed material appearing on the screen, such as a telephone number, store name, or address |
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Term
|
Definition
| a narrator who is not seen |
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Term
|
Definition
| abbreviation for videotape recorder |
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Term
|
Definition
| movement created by drawing a number of still pictures and exposing them one frame at a time on film or videotape |
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|
Term
| guidelines for writing television spots |
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Definition
1. gaining attention
2. identifying the client or product name
3. balancing audio and video
4. emphasizing one main idea
5. avoiding overwriting
6. stressing the final shot |
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Term
|
Definition
1. Problem-solution
2. demonstration
3. situation
4. product-as-star
5. direct-response |
|
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Term
|
Definition
| finding a linkage between unlike subjects |
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Term
|
Definition
| nothing more than paying attention to your surroundings |
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Term
|
Definition
| writing in a stream-of-conscious mode; writing down thoughts as they come into your head |
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Term
|
Definition
| -common technique for creative exploration - often used to generate ideas -don't stop to analyze or eleborate, just generate as many ideas as you possibly can in a limited amount of time |
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Term
| Important points with respect to creating ads$ |
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Definition
| 1. rarely are your writing ads for yourself, in other words there's alwas a specific target audience and it typically doesn't include you 2. if you're not happy with the outcome how in the world can you expect others to respond positively |
|
|
Term
| what is a good thing to remember about the format of ads?$ |
|
Definition
| keeping it conversational |
|
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Term
|
Definition
| creating an image in the listeners mind through words and sounds |
|
|
Term
| complete saturation (radio)$ |
|
Definition
| everyone in the country has a radio |
|
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Term
|
Definition
-produced locally, meaning cheaply -same person who sells the ads writes the copy -production is simple with minimal effects and music and typically one voice |
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Term
| when dealing with appeals$ |
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Definition
limit your concept to a single primary appeal -appeal should fit the client and be suitable for the target audience |
|
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Term
|
Definition
| what compels a person to pay 3 times the price for a shirt |
|
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Term
|
Definition
P = Product Specifications U = User experiences N = Notable advantages C = Cost: value ration H = Heightened listener benefits |
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Term
|
Definition
C = Creativity D = Definition V = Validation P = Prohibition |
|
|
Term
| types of Public Service Announcements (PSAs)$ |
|
Definition
1. Informational - tells the audience who, what, when, where and why 2. idea/goal oriented |
|
|
Term
why you should target your audience$ |
|
Definition
-the more you can refine and focus your audience, identifying their likes, dislikes, fears, dreams, etc., not to mention that usual demographic chracteristics(age, income, education, etc), the better shot you have at reaching effecting them - avoid examining things from your perspective, put yourself in someone elses shoes - to do this effectively means planning and research |
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