Term
|
Definition
informal relationships with local talent
website/books/cds
through a REP
Stock images |
|
|
Term
| photos- based on CONTENT (aesthetically pleasing, fast, less $) |
|
Definition
stock books
source books
reps |
|
|
Term
| Characteristics of different art styles (5) |
|
Definition
line drawings
water colors
air brush
computer generation
acrylic paints |
|
|
Term
| Why do we use campaigns instead of one shots? (4) |
|
Definition
Continuity- supply more of a synergy
Image
Memorability – people remember variations
Relieve boredom |
|
|
Term
| How do we tie campaigns together? |
|
Definition
Themeà sell the same feature or benefit from ad to ad
The Visualsà make the same artistic decisions; use the same typefaces/general layout
The Wordsà use a similar format from headline to headline; use the same tone |
|
|
Term
| When might we not want to use a campaign? |
|
Definition
Can’t afford it
Low frequency media buyà lots of people a few times
Specific event |
|
|
Term
| The concept of the brand and brand equity |
|
Definition
brand = name or symbol used to identify the source of a product
brand equity = intangible asset |
|
|
Term
| Three perspectives of brand equity (Financial) |
|
Definition
| price people are willing to pay over its generic |
|
|
Term
| Three perspectives of brand equity (Brand Extensions) |
|
Definition
| how much does your name stand for |
|
|
Term
| Three perspectives of brand equity (Consumer-based) |
|
Definition
| built over long period of time; association with the brand; advertising helps build it |
|
|
Term
| Results of strong brand equity (3) |
|
Definition
More predictable income stream
Increases cash flow and less promotional money needed; premium pricing!
Asset that can be sold or leased |
|
|
Term
|
Definition
High Respect, High Love
Inspire loyalty beyond reason |
|
|
Term
| Ways to construct memorable taglines (simple) |
|
Definition
|
|
Term
| Ways to construct memorable taglines (emphasize benefit) |
|
Definition
|
|
Term
| Ways to construct memorable taglines (challenge consumer) |
|
Definition
|
|
Term
| Ways to construct memorable taglines (existing phrase) |
|
Definition
|
|
Term
| Characteristics of good taglines (5) |
|
Definition
strategic- can you convey business through tagline
recall brand name
impart positive feeling about brand
not usable by competition
memorable |
|
|
Term
| Characteristics of good logos |
|
Definition
Evolve
Simple
Relate to benefit
Flexible |
|
|
Term
| What parts of an advertisement can be trademarked? |
|
Definition
| names, slogans, logos, trade characters |
|
|
Term
| What parts of an advertisement can't be trademarked? |
|
Definition
| headlines, copy, phrases, descriptions of product |
|
|
Term
| The general purposes/strengths of out of home advertising (4) |
|
Definition
Reminder of a brand’s campaign or copy point
Reinforce the general image of the brand
Geographic targeting
High Frequency |
|
|
Term
| What are the tools of the radio writer? (Sound Effects) |
|
Definition
|
|
Term
| What are the tools of the radio writer? (Voices) |
|
Definition
| casting is crucial; getting voices = talent agencies, local DJs |
|
|
Term
| What are the tools of the radio writer? (Music) |
|
Definition
| Earworms(coined by James Kellaris) when a song gets stuck in your head; extremely powerful. |
|
|
Term
| What choices are involved in using music (original music) |
|
Definition
| music house; agency creatives; expensive, flexible |
|
|
Term
| What choices are involved in using music (adaptation) |
|
Definition
| buying the rights(expensive, exclusivity issues, more popular the more expensive); Public |
|
|
Term
| What choices are involved in using music (domain) |
|
Definition
| Cheaper solution; Thievery – steal it and hope you don’t get caught |
|
|
Term
| What choices are involved in using music (library) |
|
Definition
| the stock photos of radio (AKA needle drop) |
|
|
Term
| What choices are involved in selecting voices? (4) |
|
Definition
The pitch – done by an announcer
The Situation
The Song
Combinations of the above |
|
|
Term
| Creative considerations for radio (4) |
|
Definition
3 to 5 seconds to draw in listeners in radio
One main point = one message in your spot
Mention name and location
Timingà spots usually 30-60 seconds |
|
|
Term
| Strengths of TV as advertising vehicle |
|
Definition
Ability to integrate visual and audio
Ability to demonstrate product benefits
Establish and maintain characters and themes
Special effects, including animation |
|
|
Term
| Strengths of TV as advertising vehicle |
|
Definition
Ability to integrate visual and audio
Ability to demonstrate product benefits
Establish and maintain characters and themes
Special effects, including animation |
|
|
Term
| The four TV documents and how they are used (Storyboards) |
|
Definition
| Helps during creative process, keeps them on track; use to help sell idea to agency and client; makes sure everyone is talking same language; 6-8 cells |
|
|
Term
| The four TV documents and how they are used (scripts) |
|
Definition
|
|
Term
| The four TV documents and how they are used (shooting boards) |
|
Definition
| like storyboards, but prepared by director who got bid; more detailed than storyboard; 18-24 cells |
|
|
Term
| The four TV documents and how they are used (production notes) |
|
Definition
| prepared by Agency’s producer |
|
|
Term
| How to present a storyboard |
|
Definition
|
|
Term
| How to present a storyboard |
|
Definition
|
|
Term
| How do you construct a good TV spot? (5) |
|
Definition
Make a single point
Start with a simple idea (execution doesn’t have to be simple)
Get attention immediately (through audio track, unexpected line, music, etc)
Let the visual do most of the work
Pay it off at the end (final smile or twist/reveal product) |
|
|
Term
| What are the different kinds of advertrocities? Why do they occur? |
|
Definition
Ads with no brand benefits shown
Try to break through clutter; attempt to “be different” |
|
|
Term
| The different strategies that advertisers have used to battle the popularity of DVRs |
|
Definition
Ads shorter than :30 seconds?
Product placement |
|
|
Term
| What are the characteristics and advantages of guerrilla advertising? |
|
Definition
| unconventional marketing intended to get maximum results from minimum resources; initially for small businesses; based on time, energy and imagination, NOT money. |
|
|
Term
| What are the characteristics and advantages of viral advertising? |
|
Definition
| Facilitates and encourages people to pass a marketing message by exploiting pre-existing social networks; becomes popular with the spread of at-home internet use; users spread messages to other users |
|
|
Term
| What are the characteristics and advantages of viral advertising? |
|
Definition
| Facilitates and encourages people to pass a marketing message by exploiting pre-existing social networks; becomes popular with the spread of at-home internet use; users spread messages to other users |
|
|
Term
| Why have non-traditional forms of advertising like guerrilla and viral advertising grown? |
|
Definition
TV #1 but only 55% pay attention
Ad industry full of young minds
Consumers are reliant on technology that assists viral efforts |
|
|
Term
| Why have non-traditional forms of advertising like guerrilla and viral advertising grown? |
|
Definition
TV #1 but only 55% pay attention
Ad industry full of young minds
Consumers are reliant on technology that assists viral efforts |
|
|
Term
| Why are some marketers reluctant to embrace non-traditonal advertising methods like guerrilla and viral advertising? In other words, what are the challenges that lay ahead for these forms of advertising? |
|
Definition
Non-traditional effects difficult to measure
Many clients are hesitant to break away from familiar
Unless there is transformation in methods, immunization begins |
|
|
Term
| Why are some marketers reluctant to embrace non-traditonal advertising methods like guerrilla and viral advertising? In other words, what are the challenges that lay ahead for these forms of advertising? |
|
Definition
Non-traditional effects difficult to measure
Many clients are hesitant to break away from familiar
Unless there is transformation in methods, immunization begins |
|
|
Term
| Who are good people to contact to get an interview for a job? Who are bad people? |
|
Definition
good- creative directors, people in the agency
bad- HR, recruiters |
|
|
Term
| Salary expectations for an entry level creative position |
|
Definition
|
|
Term
| What is the Redbook? What kind of information is in it? |
|
Definition
Redbook = Standard Directory of Advertising Agencies
Info = contact info, accounts, clients |
|
|
Term
| What does a beginning copywriter or art director need to land a job at an advertising agency? |
|
Definition
A portfolio
A pleasant personality |
|
|
Term
| Guidelines for a good interview |
|
Definition
Show up 5 minutes early
Be really nice to the receptionist
Have questions about the agency ready
Don’t be afraid to seek feedback and don’t be defensive when you get it
Parlay one interview into several
A leave-behindà mini-book
Thank you Note
Keep in touch |
|
|
Term
|
Definition
| The idea that a brand will communicate most effectively if it sends a unified message through multiple media |
|
|
Term
| Push and pull strategies – p. 281 |
|
Definition
| A push strategy encourages retailers and other intermediaries to promote, or push, the product to consumers. A pull strategy puts its emphasis on the consumer, who is expected to demand that the retailer offer the promoted product. |
|
|
Term
|
Definition
| delivering an organizations message through stories that run in the media |
|
|
Term
|
Definition
| How will the event benefit your organization, How will you measure the success of the event, What is the best venue, Who should be reached, How many should be reached, What can go wrong? |
|
|
Term
|
Definition
| Crisis Management – have a crisis management plan prepared so that your organization will know how to respond to emergencies, which experts need to be consulted, and who should be in contact with the media and the various publics involved |
|
|
Term
|
Definition
help further your brand’s image if used strategically
special packaging
sponsorships |
|
|
Term
| Guerilla marketing – p. 291 |
|
Definition
| Coined by Jay Conrad Levinson, it is the use of unconventional marketing intended to pull maximum results from minimal resources. |
|
|
Term
|
Definition
| A brand has a personality that comes through in its personality through its identity and through its image. A brand’s identity is strategically planned and purposefully presented to gain a positive imaged in the minds of the public. Branding is the company or brand’s presentation of itself. |
|
|
Term
| The section on how identity leads to image – p.37 |
|
Definition
How the public perceives that identity is called the image. Image is the public’s perception of the company or brand.
Identity + Image = REPUTATION |
|
|
Term
|
Definition
| a whole (the entire brand) is more than the sum of its parts (the name, logo, tag line, colors, and architecture) |
|
|
Term
|
Definition
| a whole (the entire brand) is more than the sum of its parts (the name, logo, tag line, colors, and architecture) |
|
|
Term
| Developing a brand’s identity: Doing the research – p.43 |
|
Definition
-A brand’s identity is typically developed only after thorough research.
- Look at internal and external audiences. Internal = employees and other people who have a close connection to the brand. External = customers, shareholders, vendors, the community and other stakeholders. |
|
|
Term
| Projecting a unified message – p.44 |
|
Definition
A message must flow:
Translating an identity for different media à standardize = maintain consistent identity elements across countries and cultures; localize = translate and design identity elements for the local culture |
|
|
Term
| Guidelines for writing effective radio spots – p.210 (Sound effects) |
|
Definition
- Use sound effects to paint scenery in your listeners’ minds
- Describe the voice that can best command the attention of you audience
- Identify your sound effects
- Avoid annoying sound effects
- Use music as a sound effect
- Consider using no sound effects |
|
|
Term
| Guidelines for writing effective radio spots – p.210 (main ideas) |
|
Definition
-keep it simple
-write for the ear, not eye
-time, place and specific audience
-repeat client name
-avoid numbers
-time considerations |
|
|
Term
| Guidelines for writing effective radio spots – p.210 (for the client) |
|
Definition
-make your copy easy to read
-present commercial idea to client on CD if possible |
|
|
Term
|
Definition
Use a fact sheet when the radio station has a popular on-air personality
Only read a script live if you’re using straight copy with no sound effects, music, or multiple speaking parts
Use a live-recorded commercial when you want to be able to update copy regularly |
|
|
Term
|
Definition
| Use a produced commercial when your script calls for multiple speaking parts, sound effects, music, or any combination of these and when you want assurance that the quality of the spot will never waver |
|
|
Term
| Radio script format – p.221 |
|
Definition
|
|
Term
| How direct marketing differs from mass-media advertising – p.247 |
|
Definition
Pinpointing of prospects à well-targeted database enables marketers to pinpoint a select group of prospects by category
Personalized messages à design and tone of message can be easily personalized
Faster sales à sales made sooner than through traditional advertising media
Variety of packaging options à creative team can develop a range of exciting packages
Less “competition” from other media content à only has to compete with other messages in the mail |
|
|
Term
| Three musts for direct marketing – p.249 (The List) |
|
Definition
| a narrow list of prime prospects for the product or service |
|
|
Term
| Three musts for direct marketing – p.249 (The Message) |
|
Definition
| make the letter easy to read. P.S. is the most widely read portion of direct response |
|
|
Term
| Three musts for direct marketing – p.249 (The Offer) |
|
Definition
| may be a simple coupon or chance to participate in something |
|
|
Term
| Internet direct mail – p.255 |
|
Definition
An inexpensive and easy way to reach loyal customers
TIPS:
Clearly identify your company in the FROM line
Give your reader a reason to pen the e-mail in the SUBJECT line.
Summarize your offer in the opening paragraph
Include a link to your company’s website to give more details and offer ordering info
Include an opt-out statement so that you reach the people who want to hear from you |
|
|
Term
| Sisomo (TV chapter) – p.228 |
|
Definition
What’s the big idea you need to get across?
What’s the benefit of that big idea, and whom does it benefit?
How can you turn that benefit into a visual element that will stick in the viewer’s mind |
|
|
Term
|
Definition
| Extreme Close-up (ECU), move as close as you can and still show what needs showing; Close-up(CU), a face fills the screen for example; Medium Shot(MS), typical MS shows two people from the waist up engaged in dialog (also called a 2-shot because it covers two people); Long Shot(LS), aka an establishing shot, it broadly covers an area revealing instantly where we are. Use a LS to open a commercial |
|
|
Term
|
Definition
| Zoom In/Out (Dolly In/Out), a movement toward or from the subject; Pan R/L (Truck R/L), involves a movement to the right or left; Tilt U/D (Boom or Crane Shot), camera looks up or down |
|
|
Term
|
Definition
| Cut à the most basic transition, an instantaneous change from one shot to another; Dissolve à a softer transition in which the first image gradually becomes more transparent as a second image, exactly behind the first, becomes more opaque; Fade à a dissolve that goes or comes from an image or title to black or white, fade to black |
|
|
Term
| Methods of Cutting à Compilation Cutting |
|
Definition
| the storytelling depends on the narration, usually voiced over the action, and each shot illustrates what is being said |
|
|
Term
| Methods of Cutting: Continuity Cutting |
|
Definition
| the storytelling depends on matching consecutive scenes without a narrator to explain what is happening |
|
|
Term
| Methods of Cutting: Crosscutting |
|
Definition
| combines two or more parallel actions in an alternative pattern |
|
|
Term
| Point of View à Subjective versus Objective |
|
Definition
| Objective = the camera records the action from the viewpoint of an observer not involved in the action; those on camera never look directly into the lens; Subjective = the camera involves the viewer in the action by representing the point of view of a person in the scene. Camera Angle |
|
|
Term
| Point of View à Subjective versus Objective |
|
Definition
| Objective = the camera records the action from the viewpoint of an observer not involved in the action; those on camera never look directly into the lens; Subjective = the camera involves the viewer in the action by representing the point of view of a person in the scene. Camera Angle |
|
|
Term
|
Definition
| Agency seeks bids for certain aspects of the spot to be produced |
|
|
Term
| General characteristics of all the different diverse markets mentioned throughout |
|
Definition
- African Americans = largest reported increase in high school diplomas
- Hispanic Americans = largest minority
- Asian Americans = one of the fastest growing minority groups
- Native Americans = due to small size, few marketing efforts aimed at this group
- Arab Americans = stereotypes |
|
|
Term
| How to reach ethnic minorities (p. 66-68) |
|
Definition
Feature minorities in starring roles, not just in the background
Seek the opinions of people who hail from the culture you are targeting
Be sensitive to nuances in language |
|
|
Term
| Lessons that apply to all segments – p.72 |
|
Definition
Look at the whole person, not one demographic characteristic
Avoid stereotypes
Laugh with them, not at them
Make relevant ties to their special causes
Test your ads on a member of the target audience
Show diversity in your ads |
|
|
Term
| The interactive team – p.263 |
|
Definition
| A bigger team than traditional media; includes AD and CW, but also programmer and producer |
|
|
Term
| The interactive team – p.263 |
|
Definition
| A bigger team than traditional media; includes AD and CW, but also programmer and producer |
|
|
Term
| Four stage process for designing for the internet (not detailed, just understand the process) – p.264 |
|
Definition
-Stage 1: Research and Planning
Designing a Website: The Site Map – an overview of the different sections panned for an internet site
-Stage 2: Concepts
Make sure your design works across a series of pages
Keep some parts of the template constant
Keep the most important elements in first view
Pay attention to navigation
-Stage 3: Development
Refine the Design
Write Copy for the Internet – people scan, they don’t read
-Stage 4: Production
Banner Ads
Keep it short and simple
Animate three times and then stop
End with the logo or the name |
|
|
Term
| What should happen on the day of presentation (pp. 298 through top of 300) (6) |
|
Definition
Begin with a brief recap of the assignment
Discuss your creative strategy thoroughly
Make a big deal about the campaign’s theme
Show how the big idea is expressed
Close with a summary statement and ask for the order
Answer questions honestly |
|
|
Term
| What should happen on the day of presentation (pp. 298 through top of 300) (6) |
|
Definition
Begin with a brief recap of the assignment
Discuss your creative strategy thoroughly
Make a big deal about the campaign’s theme
Show how the big idea is expressed
Close with a summary statement and ask for the order
Answer questions honestly |
|
|
Term
| Guidelines for making presentations |
|
Definition
Capture the attention of your audience right away
Remember how it feels to be a listener
Be prepared for questions
Rehearse out loud
Listen to your words and inflections
Stand Tall
Make eye contact
Speak from your diaphragm
Use inflection for effect
Use appropriate facial expressions and gestures
Check out the room before you speak |
|
|
Term
| Perils and pitfalls of presenting according to Hoff |
|
Definition
The biggest problems we face is boring our audience
Visuals, when added to words, will more than double recall of your message
The moment of judgment in presentation occurs within the first 90 seconds |
|
|
Term
|
Definition
-Direct-Response TV; If Image = Emotion, Then DRTV = Reason
- Stations charge a lot less to air DRTV
- 25 seconds amounts to brand image advertising followed up with a 5 second call to action |
|
|
Term
|
Definition
| - Call to Action – generally the first you want to create in a drtv; |
|
|
Term
|
Definition
|
|
Term
| Thoughts on creating a TV commercial (pages 118 through the middle of 128 -- it’s most of the chapter, but extremely important to know and think about.) |
|
Definition
First, you must write one
Make sure you know what kind of money is available for your project before you start
Study the reels – look at other commercials, the good ones
Solve the problem visually
Can you make the picture do all the work
Think in terms of story
Find one great image and build a story around it
Be simple
It’s okay to think big, too
If you can make the first two seconds of your spot visually unusual, do so
Solve the last five seconds – the last five seconds are the most important
A television commercial should entertain throughout the entire spot
Don’t force your TV to look like your print
Write sparely
For 15-second spots, write very, very sparingly
Avoid showing what you’re saying or saying what you’re showing |
|
|
Term
| How to think about the customer when trying to come up with a big honkin’ idea |
|
Definition
| -Think about the life of the customer when trying to come up with a big idea |
|
|
Term
| All about the Dove Evolution commercial |
|
Definition
A viral video that gained popularity because of its big idea
Didn’t intend to go viral, but did
Had a truth and social tension built into it |
|
|
Term
| Presenting your work- p.239 - 245 |
|
Definition
Learn the client’s corporate culture
Present your own work
Practice selling your campaign before you go in to present
Don’t memorize a speech for your presentation
Don’t be slick. Clients hate slick – be yourself, be smart, be crisp.
Keep your “pre-ramble” to an absolute minimum. Start fast.
Don’t hand out materials before you present
Don’t present your campaign as “risk-taking work.” Clients hate that.
Before you unveil your stuff, don’t assure the client that they’re “going to love this.”
Don’t ask a question you don’t know the answer to.
If you’re presenting the work, why not paste the ads into one of the magazines in which they’ll be appearing |
|
|
Term
| Why testing storyboards doesn’t work |
|
Definition
-Testing looks for what is wrong with a commercial, not what is right
- Storyboards don’t have the magic of finished commercials |
|
|
Term
From “Protecting your work,” the section on negative headlines, our competitors
could run the same ad, and why spend a majority of a TV spot entertaining people |
|
Definition
-“Negative headlines are wrong” – not true, they supply drama, story and realness and most importantly conflict
- Somebody says, “Our competitors could run that same ad!” – true, but we said it first
- “Why spend a majority of a TV spot entertaining people?” – because the customer’s attention is earned, not entitled. |
|
|
Term
| Chapter 9, all five pages |
|
Definition
-“Once you’ve learned the rules, throw them out.”
- One rule you are obliged to obey – “You must be relevant” |
|
|
Term
| Putting a book together – p.272 - 286 |
|
Definition
If you’re a writer, team up with a promising art director – the competition is fierce. Look your best
If you’re a writer working alone, you can still pull it off – Spend the time making the concept great, not the execution.
Come up with great ideas, not just great ads
For your first portfolio, concentrate on print
If there’s ever a time to study the awards annuals, this is it.
Redo some existing ads
Round out your portfolio with a variety of goods and services
Don’t play it safe, but at the same don’t be clueless and naïve.
Do campaigns, not one-shots; make those campaigns real clients
Show a variety of styles in your book; Flex a lot of muscles. |
|
|
Term
|
Definition
-Do your research. Look at the salary in that area, go online, talk to headhunters.
- Once done negotiating, tell them you would appreciate a review in six months |
|
|
Term
| Kinds of products to include and avoid in your portfolio |
|
Definition
| - You are going to choose products you know or want to know; do things that you don’t normally think will have good ads, like shampoo |
|
|
Term
| Kinds of products to include and avoid in your portfolio |
|
Definition
| - You are going to choose products you know or want to know; do things that you don’t normally think will have good ads, like shampoo |
|
|
Term
| What Paetro likes to see least/most in a portfolio |
|
Definition
Least – Pun Headlines; Casual use of celebrity spokespersons; Heartless Ads; Walking Strategy Statements; Vulgar Advertising; Sloppy Ads; Class Assignments;
Likes – an add that has heart; humor that works; ads that are founded on a visual idea; well-crafted ads; |
|
|
Term
| What Paetro likes to see least/most in a portfolio |
|
Definition
Least – Pun Headlines; Casual use of celebrity spokespersons; Heartless Ads; Walking Strategy Statements; Vulgar Advertising; Sloppy Ads; Class Assignments;
Likes – an add that has heart; humor that works; ads that are founded on a visual idea; well-crafted ads; |
|
|
Term
| What a book should look like physically |
|
Definition
| Main book = professional; main point of the case is to keep your ads organized, not to call attention to itself. |
|
|
