AD 234
Strategic Media Planning
nd
2 Year Advertising
MEDIA STUDIES DEPARTMENT
MOHAWK COLLEGE OF APPLIED ARTS AND TECHNOLOGY
Copyright © S. Blackett/C. Ozols 2004
All right reserved. No part of this publication may be reproduced, transmitted, or distributed in any form or by any
means, including photocopying, electronic, mechanical, recording or otherwise, or stored in any database or retrieval
system without prior permission of the copyright holder.
Media Studies Department
Mohawk College of Applied Arts and Technology
Hamilton
2004
In loving memory of my good friend
Susan Blackett, Professor, Advertising
Mohawk College
May 31, 1956 - April 27, 1997
Introduction to Media Planning
Forward
The forward in the text, Advertising Media Planning, contains an excellent overview of the
evolution of the media department over the past 30 years – from the days when it was the “poor
stepsister” to creative and account management to today, when media departments have
become companies and profit centers in their own right.
!
Take a few minutes to read the forward and then, create a timeline that shows the
evolution of the media department.
Chapter 1 – Introduction
Read Chapter 1 and answer the following questions on a separate sheet for discussion in class.
(Be prepared to hand in your answers if asked.)
1. Describe media planning and outline some of the questions that a media planner attempts to
answer.
2. List two of the main uses of a media plan.
3. When fewer media alternatives were available, media planning was a fairly simple, even
clerical function. Describe the changes taking place in media planning today.
4. Traditional or mass media such as newspapers, magazines, radio, television, and outdoor
are media that have been traditionally used for reaching mass audiences. Why do planners
find mass media valuable? Are there limitations?
5. Differentiate between traditional and non-traditional forms of media. Discuss why planners
choose non-traditional forms of media for their clients.
1
General Procedures in Planning Media
At the beginning of the planning process, the client develops a marketing plan that states the
marketing objectives (product, price, place and promotion) and spells out the actions to
accomplish those objectives. This plan sets the tone and guides the direction of the media and
creative decisions that follow.
The communications objective and strategies evolve primarily from the promotion elements of
the marketing objectives and strategies and are generated to determine what will be
communicated, and what that is supposed to accomplish. It is at this point that the client, in
conjunction with the agency (hopefully), will decide what combination of advertising, sales
promotion, direct marketing, public relations and personal selling would be most appropriate to
accomplish the communication objectives. For instance, if one of the objectives is to launch a
new brand, awareness would need to be created therefore, advertising would be used. Specific
objectives and strategies are developed for advertising, sales promotion, direct marketing,
public relations and/or personal selling. (See Exhibit 1-1 and 1-2 in Advertising Media Planning)
Although the marketing and communications plans are most often written by someone else,
they are the starting point for any media planner. A planner should never begin the planning
process by asking himself or herself which media they should use or what TV shows they
should be in. To be truly effective, a media plan must grow out of a marketing problem that
needs to be solved. As outlined on the following page in Steps in the Media Planning Process,
media planning is a process or series of decisions that provides the best possible answers to a
marketing problem. There are no right or wrong answers in media planning per se, although
some plans are more complete than others. Like creative, there are many different ways to
achieve the objective.
The media planner begins work once a marketing strategy is in hand. The media plan generally
contains three key sections: media objectives, media strategies that evolve from the media
objectives, and the media execution or tactics. As part of the process, media planners select
one or more vehicles that effectively reach an optimum number of prospects:
1.
2.
3.
4.
With an optimum amount of frequency or repetition,
At the lowest cost per thousand prospects reached (cost efficiency),
With a minimum of waste (or non-prospects),
Within a specified budget.
Media plans are custom tailored to meet the needs of an advertiser at a given point in time for
specific marketing purposes because:
2
Steps in the Media Planning Process
Step 1:
Marketing Plan - background information affecting media.
Marketing Objectives - statements identifying what a product will accomplish over the duration of the plan. Includes the 4 P's:
product, price, place, and promotion.
Marketing Strategies - master plans for achieving marketing objectives.
Step 2:
Advertising Plan - details the task which advertising will accomplish to help achieve marketing plan.
Advertising Objectives - defines the role of advertising in achieving a stated marketing objective.
Advertising Strategy - a broad outline of how the elements of advertising will be deployed to achieve the advertising objectives.
Step 3: Media Objectives - in conjunction with creative, defines the who (target), where (regionality), when (seasonality),
what (creative considerations), how (weight emphasis), how much money (budget) and why (rationale for each).
Step 4: Media Strategies - outlines the media mix and creative units that will be used (ie. TV, 30 second commercials),
spending strategy (% allocation by medium or region) and geographic weighting to be considered (ie. emphasis on achieving
reach/frequency objectives in Ontario first), heavy-up scheduling and CPM standards (if any).
Step 5: Media Tactics/Execution - the process of fine tuning the media strategy and translating it into specific action plans.
Contains a media-blocking chart that visually illustrates the media placement and timing of the campaign.
Ideally the client and agency should maintain close contact and discuss each step of media planning process before proceeding to
the next. The final two steps in the media planning process are:
Step 6:
The Presentation -sells the final media plan to the client for approval.
Step 7: Revisions - not a reflection of the planner's expertise - - can be minimized through detailed up-front planning and
consultation with the client.
During the media planning process the Client, Account Group, and the Media Department should work closely to complete the
Strategic Planning Document (also known as the Media Fact Sheet, or the Media Briefing). Its purpose is to enable the Media
Planner to consider each element of the Media Plan within the context of specific brand needs, and to develop appropriate
recommendations for each.
3
Problems in Media Planning
a)
Media Proliferation
The number of different media and individual vehicles is growing fast and the number of
competing media options is therefore increasing. Many of these new media do not have
measurements of their audience sizes, at least not audited and independent measurement. The
increased number of media increases not only fragmentation but also the number of advertising
messages. People start to tune out the resultant clutter.
b)
Insufficient Media Data
The cost of conducting research is high which may deter some media from pursuing
measurement, and then, some audiences simply cannot be measured. Even when audiences
are measured, small advertisers simply cannot afford to purchase research data like BBM and
PMB, let alone access the data on-line for thorough analysis.
In addition, current audience data measures exposure to the vehicle but not to the
advertisement. For instance broadcast tuning, measures tuning to a program, not the
commercials, and doesn't measure attentiveness. Likewise, most print audience data measures
exposure to the magazine, not the readership of the advertisement.
It is important to keep in mind that all media data, even Nielsen overnight ratings, are based on
past performance which will not necessarily hold up in the future. In addition, they are primarily
based on averages over a certain period of time that may not be representative for the entire
period (ie. radio stations run promotions during BBM sweeps, TV stations run top notch
movies/special).
c)
Time Pressures
The planner is often faced with a lack of sufficient time to solve problems thoroughly and must
be satisfied with a superficial investigation of the possible solutions in order to write the plan
quickly. In some cases new research data is so plentiful that there is neither time nor personnel
to analyze them in depth.
In addition, demand for programming and the limited number of top rated shows places
pressure on planners to seek early approval dates, particularly for products going to air in the
fall or pre-Christmas season or using network TV. Approval for network TV should be obtained
by mid-June, followed closely by approvals for fall campaigns by mid-July. While forward
thinking and practical, this also places time pressure on the planner to complete the plan as
quickly as possible.
d)
External Influences on Media Decisions
Media planners frequently come under pressure to produce "creative" plans, resulting in a move
away from the statistical data toward something new, imaginative, creative or innovative.
However, the ideal media plan starts with a sound basic set of quantitative data and then
4
proceeds beyond the data in an innovative manner, and at no extra cost (over and above the
planned budget).
One reason for the call for creativity is the feeling that media numbers are not as precise as
many people assure them to be (as discussed above). As budget become tighter, clients are
demanding that advertising achieve quantifiable results - ones that can demonstrate how well it
sells the product. Planners have to learn and implement direct market methods in what one
buying service calls "transactional" media planning (ie. long distance companies). In this case,
the measure of a plan's success is how many transactions occur as a result, not by the
traditional method of how many people watched the program. Transactions are measured not
only by media, but by vehicle as well. For instance: Does TV deliver better than radio? Does
Survivor deliver better than Cold Squad?
"Creative" media plans may be used in an attempt to reach increasingly fragmented and difficult
to reach target audiences, however, as more advertisers and agencies adopt this philosophy
their plans tend to nullify each other's best efforts at communicating with the consumer. For
instance, a few years ago, one mutual fund company advertised on TV where there was no
competitive advertising during RSP season. The following year, a few more mutual fund
companies appeared on TV and last year, most of the major companies where there.
Finally, for many reasons (valid or not) media planners may be pressured by clients and/or
members of their agency (ie. creative team, account people) to use or not use certain media.
Dictated pick up of international or US creative may also exert pressure on the planner to use a
particular medium.
e)
Lack of Objectivity
Planners should be wary of decision making based on an over reliance on numbers when
common sense indicates otherwise. Conversely, a planner cannot ignore the numbers and
make decisions entirely on the basis of experience or "gut feel." At times, some planners may
have biased preferences and select one media class over another regardless of what the
statistics or other objective evidence might indicate. In other cases, this lack of objectivity may
be based on a client, creative team or account group bias.
f)
Measuring Advertising Effectiveness
There is no valid way of measuring advertising effectiveness. Therefore, it is often difficult to
prove that media decisions were effective. Different research methods can be used to
determine how many people saw and/or read a print ad (Starch testing) or how many people
recall seeing a commercial (day-after-recall or DAR testing). However, the true measure of
advertising's success is how much sales increase which is why some clients and agencies are
investigating the use of "transactional" media plans.
5
Chapter 3 - The Relationship Between Media, Advertising and Consumers
Read Chapter 3 and answer the following questions on a separate sheet for discussion in class.
(Be prepared to hand in your answers if asked.)
1. Consumers choose media based on their desire for entertainment and information. Discuss
how this might affect their perception of advertising messages.
2. Advertisers like to have their messages seen in highly rated television shows and in
prestigious magazines because they think it will create better awareness and sell more
product. Is this always true? Discuss why or why not.
3. Reaching the right consumers in the right place at the right time is important. Discuss the
stages in the buying process and discuss how media/advertising can be effective at each
stage in the buying process.
4. Why is it important for media planners to have an understanding of the different elements of
the marketing mix?
5. Audiences are measured based on their exposure to media. From your point of view, how
effective is this? Are there ways to provide better audience research? Outline the reasons
why it is so difficult to measure the number of consumers who bought a particular brand
because they claim to have seen the TV commercial for that brand.
6. Explain the response function of media.
7. Discuss the reason(s) why media planners should be wary of using CPMs as the sole basis
for accepting or rejecting media vehicles.
6
Chapter 4 - Basic Terminology, Measurements and Calculations
Chapter 4 in the text, Advertising Media Planning, discusses various ways in which media
vehicles are measured in the United States. Some of the research methodologies are very
similar to that used in Canada. For a Canadian perspective, look in your Level 1 notes, as well
as to the Canadian Media Directors' Council Media Digest at www.cmdc.ca (Initiatives, Media
Digest).
AC Nielsen people meters are currently in use in Canada and provide audience data on network
TV and in the major Canadian markets, however the diary system of measurement still forms
the basis of most television research in Canada. BBM has introduced people meters as well,
amid much controversy, and there is concern as to whether the Canadian advertising industry
can afford two-meter systems.
Measurement of radio audiences in Canada is done via diaries sent out three times/year in
major markets, and less often in the smaller markets. RTS (Return to Sample) provides media
planners with information on radio listeners' product usage in select major markets in Canada, in
much the same way PMB provides data on product usage.
PMB (Print Measurement Bureau) is the main source of magazine readership data in Canada.
NADbank provides information on newspaper readership. Both resources also detail product
usage information for a number of different products and services.
COMB provides basic numeric data for the outdoor industry that in turn uses that data in
proprietary computer programs for outdoor planning. PMB provides data on miles driven which
can be used to determine a target group's likelihood of being exposed to outdoor media.
The following provides a self-study overview of some of the important concepts in Chapter 4.
Read Chapter 4 and answer the following questions on a separate sheet for discussion in class.
(Be prepared to hand in your answers if asked.) Additional chapter questions, to answer as you
are reading the chapter, may be found on WebCT.
1. There are at least three different techniques used to measure newspaper and magazine
readership. Describe each.
2. Outline the reasons why planners use audience measurement and product usage data for
comparative purposes.
3. Audience accumulation is the buildup of total audiences over time. A major part of the
concept is that audience members are counted only once; no matter how many additional
times they are exposed to a particular vehicle. This is called reach.
a. Building reach in a magazine schedule can be accomplished in three ways. List
and briefly describe each.
b. TV and radio audiences programs build reach in three ways. List and briefly
describe each.
4. Describe the concept of coverage as it applies to various media.
7
Media Terminology
Match the following basic media definitions to the terms listed at the end of this section.
a)
A magazine, used in through-the-book research, in which all the ads have been
eliminated, leaving only the editorial material.
b)
A technique whereby the respondent is shown individual cards on which the
covers or logos of magazines are displayed. They are asked whether they have
read the magazine within the last month and where they read it.
c)
A technique whereby the respondent is asked which newspapers they read
yesterday.
d)
The number of people who read a single issue of a magazine or newspaper.
e)
The buildup of total audiences over time.
f)
Those who have purchased a magazine or the members of the purchaser's
household.
g)
Those who read, but did not purchase, the magazine.
h)
Generally, the number of prospects delivered (exposed) by a given medium,
usually expressed as a percentage of the target group.
i)
The circulation as a percent of the number of households in an area. If
readership is measured, then coverage is the percent of readers in a specific
target audience.
8
j)
The number of homes within the signal area of a station that can tune into that
station.
k)
The number of people who pass, and are exposed to a given showing of
billboards in a local market, expressed as a percent of the total of all people in
the market.
l)
The number of newspapers or magazines sold or distributed.
m)
Numbers that deal with opportunities for, rather than actual, audience exposure.
n)
A coverage figure which represents the number of households tuned into
television at a given point in time.
o)
An estimate of the size of the audience that has viewed a program, or that has
tuned in during a specific period of time, expressed as a percentage of the
audience base.
p)
The percentage of homes (and people) tuned into the average minute of a
program.
q)
The percentage of home tuned into a program based on only those homes that
had their sets turned on.
r)
A measure of the total gross weight delivered by a vehicle (or vehicles). It is the
sum of all ratings for the individual announcements or programs and includes
duplication (ie. people are counted more than once). Can be calculated by
Reach x Frequency.
9
s)
The sum of audiences of all vehicles used in a media plan. This number
represents the message weight of a media plan, and includes duplication. Alone,
the number has limited meaning, but may be useful in comparing the weight
given to geographic or demographic segments of the marketplace.
t)
A figure used in comparing or evaluating the cost efficiency of media vehicles.
The cost of delivering 1000 people or homes.
u)
A figure used in broadcast to compare or evaluate the cost efficiency of various
programs or time periods. Is also used in planning to calculate the cost of
various broadcast weight levels. The cost to reach 1 percent of the target
audience within a defined geographic area.
v)
The number of prospects reached is sufficiently high to achieve some
marketing/media goal and yet at the same time allow the planner to attain
another goal, such as frequency.
Terms
Audience accumulation
Average audience rating
Broadcast rating
Cost per rating (CPR)
Circulation
Cost per thousand(CPM)
Gross impressions
Gross rating points
Households Using TV (HUT)
Local TV and radio coverage
Newspaper coverage
Optimum Number
Pass-along (secondary) readers
Potential
Primary readers
Readers per copy
Recent-reading
Share of audience rating
Stripped-down copy
Outdoor advertising and transit coverage
Yesterday-reading (or Read Yesterday) technique
10
Chapter 5 – Advanced Measurements & Calculations
Reach and frequency are two of the most important considerations in planning media. As
stated in the text, reach and frequency are parts of strategy planning and can be manipulated to
attain certain marketing and media objectives.
Gross Rating Points (GRPs)
GRPs, ratings, rating points, total ratings. All these terms are used synonymously to describe
the same thing. One rating is equal to one percent of the target audience in any given market.
Gross rating points are the total number of rating points purchased, usually in a broadcast
schedule. So, if a buyer bought the following schedule:
JAG
CSI
NCSI
Aft. Rot’n
Morn. Rot’n
10 ratings = 10% of target audience
15 ratings
9 ratings
3 ratings
2 ratings
39 ratings = 39 gross rating points (but NOT 39% of the target group)
Because some of the people who are watching CSI will also NCSI, there will be duplication of
viewership between the two programs, but without a computer program, we don’t know how
much duplication. That’s why GRPs = reach x frequency. GRPs are not only the total rating
points in a schedule but the total of how many people were reached and how frequently.
Gross Impressions
Just as GRPs are total ratings, gross impressions represent total impressions in an advertising
schedule. So, what’s an impression? When someone has the opportunity to see your ad or
commercial. Gross impressions are, therefore, the total number of times people have the
opportunity to see it. Again, like GRPs, there is duplication in gross impressions because some
people who saw the ad in Macleans might see it in Canadian Living. (Exhibit 5-1 illustrates.)
What is Reach (in broadcast media)?
Reach tells planners how many different prospects are in a media vehicle's audience over a
period of time (or those people who had the potential to see the ad at least once). Reach is
usually expressed as a percentage of the target and is unduplicated, so no one is counted more
than once.
In the past, it was common to refer to the four-week reach of a television program or schedule.
This was done so that the media planner had a statistic that was comparable to that of a
monthly magazine in terms of audience size. With the advent of new computer planning
models, it is possible to calculate reach for any number of weeks from 1 to 52.
Frequency is a measurement that tells planners the average number of times each person was
exposed to (or had the potential to see) the ad over a given period of time.
There are two different kinds of reach that a planner would like to know about: the reach of an
individual program over a period of time; and the combined reach of 4 or 5 programs in a
campaign schedule. No matter which the planner is interested in, the same principles apply to
each. (See Exhibits 5-3 and 5-4).
11
Using Exhibit 5-3 as a guide, complete the following Four Week Reach/Frequency chart.
12
Four-Week Reach/Frequency Chart
Target
Week 1
1
x
2
x
Week 2
Week 3
Week 4
Frequency
x
2
1
3
x
4
5
x
x
x
x
6
7
x
8
9
x
10
x
Ratings
Each Week
40
x
GRPs
Incremental Reach Build
Total
Reach
40
20
40
60
Ave Freq.
Explanations:
Frequency
Person 1 viewed the program 2 times over the four-week period, and Person 2 viewed the
program only 1 time. Calculate the level of frequency for the other viewers.
Rating
Out of a 10-person target group, 4 people watched the TV show during W eek 1. That equates
to 40% of the target (4 10 x 100), or a 40 rating. A one-week rating is unduplicated so it
would be correct to call this the program's one week reach. Calculate the ratings for each of
the following weeks.
GRPs
Gross rating points are the sum of all the ratings in a schedule. Calculate the GRPs for the
above schedule.
Incremental
Reach Build
Every time a new person is exposed to the TV program, the reach builds. In Week 1, 4 people
viewed the program building reach to 40% of the target group. In Week 2, 2 of the 4 people
who viewed the program were new viewers, providing incremental reach of 20%
(2 10 x 100). Calculate the incremental reach build in Weeks 3 and 4.
Total Reach
The total reach of the schedule in Week 1 was 40%, and in Week 2 it built to 60%. Calculate
the total reach in Weeks 3 and 4.
Average
Frequency
The average number of times the audience was exposed to the program. Calculate the
average frequency of the schedule.
13
How Reach Builds Over Time
As outlined in the text, reach in television builds fairly consistently over time. The largest accumulation of
audience occurs the first time a program is shown. As the program is broadcast over a period of time,
most viewers are repeat viewers although reach will increase slowly as new, probably light, viewers tune
in.
Using Exhibit 5-6 as an example, plot the 4 Week Reach Curve for the previous chart.
% Reach
90
80
70
60
50
40
30
20
Week
1
2
3
4
•
If the same program were telecast over a long period of time, the reach curve would
eventually flatten, but it would never become completely horizontal because there would
always be someone new, somewhere, tuning in for the first time.
•
Reach curves for all programs are similar in shape although they would be located higher or
lower on the graph, depending on their popularity.
•
Reach curves for multiple televisions shows in a campaign are also similar with slight
variations depending on the daypart and/or GRP levels used.
•
Reach is built more quickly, and to higher levels when heavier weight levels (more GRPs)
are used.
14
What is Reach (in print media)?
An issue of a magazine or newspaper provides the basic measuring unit for reach measurement
in print media. Monthly magazines (ie. Canadian Living) have a longer issue life than weeklies
(ie. TV Guide), and general content magazines (ie. Reader's Digest), a longer life than newsoriented magazines (ie. Maclean's) as the content becomes outdated more quickly.
25
20
Monthly General Content Magazine
Weekly or News-Oriented Magazine
15
10
5
1
2
3
4
5
6
7
8
9
10
Reach Growth by Week
Frequency and Frequency Distribution
Frequency is an average and not an absolute number. For example, it would be impossible for
75% of the target group to see an ad 2.0x each. Obviously, some would see the ad more often
than others. It is, however, too easy to forget this when analyzing numbers.
The only way to guard against this is to look at the frequency distribution of your schedule to
see whether some members of your target group are seeing the ad too often, while others are
not seeing it often enough. Exhibits 5-9, 5-10, and 5-11show the frequency distributions of
different media plans. (Harris Media Systems and IMS allow you to request frequency
distribution to be shown on your planning printouts.)
Frequency distributions provide the planner with a method of determining the pattern of
repetition that the plan provides.
Referring to the 4 Week Reach/Frequency chart you filled out earlier, list the following:
Frequency
of Exposure
% of Target
Reached
% Reach
Cume
0
1
2
3
4
The number of people exposed at any frequency level is unduplicated, meaning that these
people are counted only once. A person receiving 4 exposures would not be counted at any
other frequency level. On some frequency distribution charts, like that in Exhibit 5-11in the text,
frequency levels are grouped together (ie.4-5X).
15
The Relationship of Reach to Frequency
Reach and frequency occur at the same time, but at different rates. At the beginning of a
campaign, you build reach more quickly than you build frequency. As the campaign progresses,
it becomes more difficult to reach new people therefore reach grows but more slowly. However,
frequency will begin to build more rapidly as those who have already seen the ad/commercial
see it again and again.
When building reach, there comes a point of diminishing returns where you build more
frequency than you do reach when you add a new program or vehicle to your schedule. This
occurs at about 70% reach, but may vary depending on the target group you are trying to reach,
and probably the media you are using.
To summarize: when reach rises quickly, frequency tends to be low; when frequency builds
quickly, reach tends to be low.
Effective Frequency
Quite simply, effective frequency represents the attempt to define the amount of frequency
necessary for advertisements to be effective in communicating. Planners who use effective
frequency attempt to estimate how many repetitions are needed to attain communication
objectives such as building brand awareness, changing attitudes, encouraging brand switching,
etc. Often this estimate is based on experience that is rather subjective. However, specialized
research is expensive and difficult to apply in a general sense. Therefore, few advertisers have
been willing to commit funds.
Effective frequency is expressed as a number, or as a range of numbers (ie. it takes 5-8
exposures to change attitudes). The number is based on ideas of how much repetition is
needed to communicate with consumers and achieve the communication goals. This is done by
observing what has happened at various repetitive levels in the past and plotting it on a graph.
The result is a response curve (as detailed in Exhibit 5-13 and 5-14).
Effective Reach
Effective reach represents the percent of a vehicle's audience reached at the effective
frequency level (as outlined in Table 6-9.) Using your Frequency Distribution Chart, calculate
the effective reach at a 3+ Effective Frequency. (That is, what percent of your target audience
will be effectively reached 3 or more times.)
% audience exposed 3x
=
% audience exposed 4x
=
Effective Reach
=
%
16
Reach/Frequency Review Chart
Complete the following chart to review the concepts discussed in Chapter 5.
Program #
Target
1
2
1
x
x
2
x
x
3
3
4
5
6
x
x
x
7
8
Frequency
x
x
x
4
5
6
x
x
x
x
x
x
x
x
7
8
9
x
x
10
x
Ratings for
Each
Program
GRPs
Incremental
Reach Build
Total
Reach
Ave. Freq.
Frequency Distribution
Frequency
of Exposure
% of Target
Reached
% Reach
Cume
0
1
2
3
4
5
6
7
8
17
Effective Reach and Frequency
What would the Effective Reach be for an Effective Frequency Range of 3-5X?
Reach Curve
Plot the reach curve for the television campaign.
% Reach
100
90
80
70
60
50
40
30
20
Prog.
1
2
3
4
5
6
7
8
Chapter 2 – Sample Media Plan Presentation
The text says a media plan is a blue print for how the advertising message will be delivered.
And, like any blue print, it has to provide all the details necessary for someone else to pick up
that document and execute the plan. It has to be persuasive – because it is also a selling tool to
convince the advertiser to spend their money the way you think they should. It has to be
complete, detailed, accurate, and flow smoothly and logically from one section to another.
18
Read Chapter 2 and answer the following question on a separate sheet for discussion in class.
(Be prepared to hand in your answers if asked.)
1. Outline the media planning process, listing the steps that a media planner goes through
before, during and after presenting the plan.
2. Planners prepare the media plan but who uses it? How?
3. List and describe the main sections included in a media plan.
Media planning, for all that there’s a lot of analysis and research can be a very creative process.
And, that’s the point of all the analysis and research and getting to know your target group as
well as you know your best friend. It is only with that kind of knowledge and insight that you can
truly put together a plan that will reach the right people, at the right time, in the right place.
This creativity in media planning is finally being recognized in the advertising world. Cannes
now includes media plans in their Awards. Strategy Magazine has for some years had a media
planning competition and recently Marketing Magazine began the Media Innovation Awards.
The following is a sampling of award winning media plans from the MIA.
19
July 30, 2001
An Innovation Checklist
The co-chair of the Media Innovation Awards on how to
gauge genuine innovation
By Terry Sheehy
All of Canada's media companies are pursuing media planning and buying innovation. Indeed, all will
claim they are delivering it. Its pursuit (and its claim) shares equal billing with proprietary research tools
and cost-per-rating buying superiority as the triumvirate of promises in everyone's credentials
presentation.
Innovation is the most interpretive and least quantifiable of the threesome. In my role as a judge at the
inaugural Media Innovation Awards (hosted by this publication last November), I can attest both to the
variety of the work, and to the diversity of opinion in the judgment of the work. What follows, then, is
merely my personal interpretation of what constitutes media innovation:
•
Innovative media work is inherently intrusive. It captures the attention of a target audience otherwise
not naturally predisposed to the reception of your advertising message.
•
Innovative media work is effectively targeted. It reaches the right people, in the right place, at the right
time and, yes, at the right price. Ideally, it satisfies all four criteria in a novel and unpredictable way. It
elicits from one's competition the "I wish I had thought of that" reaction.
•
Innovative media work is a seamless fusion of medium and message. It enhances, not merely
conveys, the message. Indeed, the delivery may very well be more creative than the content.
•
Innovative media work is engaging. It can be clever, but it cannot simply be clever. Relevance and
likeability are not unreasonable expectations.
•
Innovative media work is brand-centric. It is totally transparent in its linkage to the brand. It would
probably be a weak idea for others. A generic idea it isn't.
•
Innovative media work has legs. It is much more than a one-off. Just as great brands have great
brand extensions and a great creative piece of copy will have great poolouts, so too, great media
ideas will be translatable to fresh and effective future executions. Some longevity is not an
unreasonable expectation.
•
Innovative media has some coverage scale. It can certainly be niche in its targeting, but it should not
be shallow in the penetration of its niche.
•
Innovative media work usually breaks a rule or two. Most often the first response one hears to their
proposing something that's not been done before is that "it cannot be done." For those of persistence,
innovative ideas change a medium's conventional transactional practices. If your competition
expresses annoyance that the medium accommodated the execution, then you have some claim to
innovation.
•
Innovative media work should be accountable to more than a frail relationship with increasing brand
sales.
At the end of the day, that is, after all, the point of the game.
20
TERRY SHEEHY is chair of Starcom MediaVest Group in Toronto and co-chair of the Media Innovation
Awards. Marketing Magazine will present the second annual MIAs in Toronto Oct. 30.
21
Best of Show
Gold–Mixed Media over $1M
Silver–Radio
Nike Canada - Nike RunTO
Toronto had a nightmare summer. There was a West Nile virus scare, concern about ad cow
disease and the SARS outbreak and subsequent quarantine of anyone exposed to the viral
infection.
Pity then the organizers of the inaugural Nike RunTO 10K event scheduled for July 27, 2003–
smack dab in the middle of all this urban angst.
Nike wasn't to be deterred, however. It wanted to generate awareness of the run and inspire the
average Torontonian to get off the couch; energize the entire city throughout the campaign
using media that spoke to runners and would-be runners; drive Torontonians to the Web or to
retail outlets to register for the run; and to forge a strong link between Nike and Nike running
products and RunTO.
The company thought the best way to achieve those goals was to create "Running Guy," a
novice runner, not in the best of shape, who was determined to run in the Nike event even if it
killed him. Further, Nike determined that Running Guy would become part of the CFNY-FM
morning show for nine weeks, giving him both a zany forum to inform listeners about RunTO
and the opportunity to create awareness for the company.
Nike chose CFNY-FM not only because the station delivered the target audience the company
wanted, but also because it had the attitude to complement Running Guy's personality.
To ramp up excitement for the race, Nike launched a one-week teaser campaign with a series of
tongue-in-cheek messages such as "10 km to a collapsed lung" and "10 km to the fetal position"
in newspapers and on buses and streetcars, street level billboards, superboards and elevators
as well as fitness clubs. For additional impact, Nike also dominated 12 subway trains and the
Eglinton subway station.
Week two of the campaign was given over to introducing Running Guy himself. He and other
runners made the rounds of the city every morning, lunchtime and evening rush hour. He also
became part of the CFNY-FM morning show, finding a sparring partner in Todd, one of the DJs.
Running Guy's banter with Todd was recorded just 10 minutes prior to air and was reviewed by
the company's creative agency in Portland, Ore. minutes before being broadcast. The back and
forth between the two men–Running Guy in the street, Todd in the studio–ran four times a
morning. Running Guy also had a column in Metro Today, Toronto's free commuter paper.
The quirky Nike Web site built especially for the race, www.runto.ca, which masterfully mixed
22
pre- and post-event community building and promotion with a low-key brand and product
message, went on to also be named Best of Show at the Digital Marketing Awards earlier this
fall.
On race day, 7,500 runners completed the course, per capita the highest turnout for a Nike 10
km run, easily outdistancing other events in Los Angeles, London and Santiago, Chile.
The campaign was a resounding success. Every major media outlet in Toronto gave the run
some form of editorial coverage valued at more than $1 million in total. Running Guy himself
became a local celebrity. He signed 600 autographs, had dozens of cookies baked for him on
race day, had his photograph taken 500 times, threw out the first pitch at a Toronto Blue Jays
Baseball game and posed as a Toronto Sun Sunshine Boy. And if that wasn't enough, Running
Guy also received three proposals of marriage.
Advertiser: Nike Canada, Vaughan, Ont.
Agency: Cossette Media, Toronto
Cathy Collier, VP media director, Cossette Media
Michael Bolt, group manager, Cossette Media
Trisha Atkinson, media supervisor, Cossette Media
Niall Mulholland, associate media director, Cossette Media
Michelle Johnston, assistant media planner, Cossette Media – Mohawk Grad!!!!!!!!
Sarah Atkins, brand communications manager, Nike Canada
Devon Flintoff and Brant Mau, account services, Weiden &Kennedy
Derek Kent, Veritas
Don Murray, Mosaic
Brent Nichols, Inventa
Mark Harrison, Trojan One
Jon Finkelstein, ninedots
Marilyn Barefoot, Square Peg
23
Mixed Media Under $1 Million
Gold–Microsoft - Windows XP (Tablet PC edition)
It isn't often a company can get well-known journalists to use and create awareness around a
new product.
But that's what Microsoft did by demonstrating the product attributes of its Windows XP Tablet
PC edition in real time as a way to differentiate its offering from those of other original
equipment manufacturers, already blanketing the market with print and out-of-home advertising
promoting their own hardware.
Although Microsoft's target was "road warriors," the company knew that it had to broaden the
Tablet's appeal by using a more consumer-friendly approach and to deliver it in a way that went
beyond business to a must-have business productivity tool.
That meant creating a media environment that married the power, functionality and diversity of a
PC with the freedom of pen and paper. And who better to demonstrate the XP Tablet than men
and women who write for a living?
Microsoft partnered with the CanWest Global-owned National Post and the Global TV stations
to profile well-known journalists prepping for their stories using the Tablet PCs. The launch
began with Jim Tatti, sports director at Global, using the Tablet PC on his show. The next day
an ad–in the form of a Tablet in the journalist's own handwriting–ran in the daily urging readers
to turn to the sports section to see Tatti's prediction for the Super Bowl. The following week Tatti
repeated the process, this time predicting the outcome of the NHL All Star Game (Tatti was right
on both calls). Microsoft also sponsored closed captioning of Global TV sports to demonstrate
the power of the software on the Tablet.
In addition to sports, well-known faces in the journalism business from finance, business and
entertainment–Deirdre McMurdy, Peter Kent and Shinan Govani–were also part of the
campaign. They addressed topical matters such as the budget, RSPs and the Oscars and each
of their ads ran in the section of the National Post that corresponded to their area of expertise. A
front-page ad accompanied all double-page spreads inside during the six-week campaign, and
10-second billboards ran on Global news programming to show how the Tablet worked.
According to Microsoft, this was product placement at its best.
Title: Windows XP (Tablet PCedition)
Advertiser: Microsoft Canada, Mississauga, Ont.
Agency: M2 Universal, Toronto
Jack Wu, media planning manager, M2 Universal
Rob Tait, creative director, MacLaren McCann
Jeff Barlow, account executive, integrated business solutions, CanWest
24
Silver–Campbell's - Cold Weather Campaign
One bitterly cold morning before a meeting, the president of the Campbell Company of Canada
said to his media personnel "there has to be a way that we can own this weather."
Two weeks later, propelled by an extremely tight deadline, unorthodox media execution and the
consumer insight of "cold outside = warm soup inside," Campbell's had delivered a multimedia
campaign that capitalized on Toronto's cold weather last winter and the president of Campbell's
enthusiasm.
Armed with additional funds and new creative, Campbell's planned multiple media placement to
provide ubiquity on what the company called "weather-triggered" days. Planners became
meteorologists as they estimated how many days of -5 degrees C or lower weather would occur
using historical forecast data. Media was scheduled to run on only these days of extreme cold.
To ensure the highest level of weather forecast accuracy, all media within a targeted weatherrelated environment was bought with only 24 hours' notice.
Using The Weather Network as a key source, Campbell's developed 10-second ads to provide
heavy frequency during weather-triggered days. Banner ads also appeared in the National Post
and the Toronto Star. These represented a critical component of the campaign since the upfront
negotiations between Campbell's and the dailies included anchoring the ads in strategic
positions but not scheduling them to run until a weather-triggered day.
Ten-second radio spots were also part of the media mix, running from 3:00 p.m. to 6:00 p.m.
They served as a pre-dinner reminder to consumers to consider soup for their evening meal.
Specially created mentions also aired on selected stations on weather-triggered days to give the
impression that the DJ was cold and needed a bowl of soup to warm up.
Two further parts of the media mix were the Internet and out of home. The company used
sponsored Weather Network e-mails on -5 degree C days with a banner ad on Ontario city
weather Web pages. Digital video displays ran at the Eaton Centre in downtown Toronto and on
Yonge Street, the city's main north-south artery and, coincidentally, one of the coldest places in
town.
Title:Cold Weather Campaign
Advertiser: Campbell Company of Canada, Toronto
Agency: OMD Canada, Toronto
Debbie Salmon, group director of strategy, OMD
Alexandra Dela Cadena, strategist, OMD
Ann Stewart, managing partner, OMD
25
Bronze - Insurance Corporation of British Columbia - Bait Car
Vancouver was facing an epidemic of car theft. In 2001 alone there were more than 5,300 autos
stolen in that city, a 9% increase over 2000, with insurance payouts costing B.C. $21.8 million.
Determined to put an end to the thefts, the province set up a new "Bait Car" program that used
equipment such as video and audio tape and global positioning systems to nab car thieves.
Because of a limited budget, and a narrow, perhaps even exclusive target–car thieves–media
had to be cost-effective and highly targeted. Radio was chosen as the primary medium. Working
with Vancouver stations, the province was able to find out what radio stations were on when
stolen cars were recovered. And working with Simon Fraser University's criminology
department, the provincial government also found out what dayparts were best to air the "Bait
Car" program message and how their creative should be shaped.
Hip-hop and rap are well established as the music of choice for younger car thieves, so the
province partnered with BEAT-FM to promote the "Bait Car" program.
BEAT-FM ran a live on-air and online Web contest using its morning crew, who "stole" a stationbranded "Bait Car." While the morning jocks drove around the city, listeners could log onto the
BEAT-FM Web site and try to determine where they were. The winners got an anti-theft device.
The promo and the online contest generated considerable buzz and built awareness very
quickly.
The police and provincial insurance representatives also appeared on Vancouver talk shows to
further exposure of the program, and the province ran a 52-week, 30-second brand campaign
on BEAT-FM as part of the overall promotion. Transit shelters and washroom posters in high
crime areas were also part of the media mix, as was a continuous banner ad in a local
Vancouver daily.
Clearly, Vancouver's car thieves caught on, even if they weren't caught. There was an
immediate 30% reduction in auto theft following the "Bait Car" program launch last September.
Title: Bait Car
Advertiser: Insurance Corporation of British Columbia (ICBC), North Vancouver
Agency: OMD Canada, Vancouver
Lenora Kaltenborn, group director of strategy, OMD Canada
Michelle Rebalkin, media supervisor, OMDCanada
26
Mixed Media $1 Million and over
Bronze–Toyota -Star Académie/"Le Clip Toyota"
Toyota's main objective in the sub-compact and compact segments of the auto market is to
skew towards a younger demographic. Over the years, however, Toyota's demographics in
those two parts of the market had become older than those of its competitors.
So it was this age-related challenge–and the importance of local culture to Quebecers–that saw
Toyota launch a multi-media campaign to increase its awareness levels in Quebec.
The automaker chose Star Académie on the TVA network as its vehicle, a reality program
hosted by the popular Julie Snyder that features such Quebec superstars as Céline Dion and
which attracts large, youthful audiences. As attractive as Star Académie was, the company had
to promote itself in a non-intrusive manner, something it did with an in-show feature/contest
called "Le Clip Toyota."
In the feature, seven of 12 contestants wrote and performed a Toyota jingle called "Le Clip
Toyota." Viewers were asked to vote for their favourite, with the winner taking home a Toyota
Highlander SUV. The other contestants won the use of a Toyota Corolla for a month. In order to
generate more excitement, a viewer contest was organized and promoted on TVA and in print
vehicles such as Le Journal de Montréal, Le Lundi and 7 Jours with the winner picking up a
Toyota Matrix. TV viewers could also get in on the action by visiting the Star Académie Web site
where a Toyota Zone page was created.
Toyota Siennas were the show's production vehicles, and were decaled with Toyota/Star
Académie logos. Toyota logos also appeared on the official Star Académie bus used by the
contestants in the "Le Clip Toyota" feature. In each medium used, Toyota had exclusivity.
There's no question Toyota hitched its wagon to a winner in Star Académie. The first CD of Star
Académie music sold 115,000 copies and the second 205,000. As well, 7 Jours noticed a 39%
jump in sales whenever its cover page mentioned the TV program. And if that wasn't convincing
enough, Star Académie's Sunday Night Gala finale in April drew a Quebec-only audience of 3.2
million, for a 82% share of viewers age 2+ and the Star Académie Web site became one of the
top 10 sites in Canada.
Title: Star Académie
Advertiser: Toyota Canada, Toronto
Agency: Saatchi &Saatchi, Toronto
Ginette Viens, consultant media creativity, TVA Sales &Marketing
Kalle Ludig, manager, advertising, Toyota Canada
Jean-François Boulianne, executive producer, Productions J
27
Magazines
Bronze–Bell Canada - Ma PME
The impetus behind the new magazine Ma PME from Bell Canada was the scarcity of media for
small businesses in Quebec, where most business publications cater to small and medium-size
enterprises of up to 250 employees.
Specifically, Bell wanted to target very small businesses of up to 10 employees as a
complement to the already established and respected PME Magazine. This new media vehicle
would demonstrate Bell's understanding of the concerns very small businesses face. Many of
them are start-ups and the obstacles they have to overcome are seldom those of small to
medium business. Ma PME offers the very small business concrete solutions such as tips on
what to do, expert analysis, success stories and more. All are grouped into different categories
including administration, financial, HR and technology–this last category being especially
important since Bell is the only advertiser in Ma PME. The new magazine runs to 16 pages and
was published three times in 2003 with a distribution count of 40,000.
The media plan to launch Ma PME was threefold. To promote the March issue there were three
teaser ads in the February edition of PME; cover, page 2, 3 and 4 ads in the newcomer as well
as a centre-spread advertisement; distribution of Ma PME at an Arista Sun Life event; and a
mailing to the members of Quebec's Young Chamber of Commerce.
To promote the June issue of Ma PME, there were three teaser ads in the April and May
editions of PME; centre spread, cover and ads on pages 2, 3 and 4 in Ma PME for Bell; and
another Young Chamber of Commerce Mailing. For Ma PME's October issue, Bell ran three
teaser ads in the April edition of PME; the same ads as it had placed in the two previous issues;
and a further Chamber of Commerce mailing.
To increase the circulation of Ma PME, each edition of the publication was also inserted in
105,000 copies of Les Affaires, Quebec's leading business newspaper.
Next up for the Bell Canada-Transcontinental Publications partnership are surveys to determine
the project's success and to find ways to improve the product.
Title: Ma PME
Advertiser: Bell, Montreal
Agency: Cossette Media, Montreal
Diane Cladios, media supervisor, Cossette Media
Julie Harvey, media planner, Cossette Media
28
Bronze-Neutragena
Operation Cover
Women's magazines are bursting with advertising for beauty products, all straining for
consumers' attention and spending.
Neutragena competes in the hair and skin care categories against some significantly bigger
brands which have multiple products–and budgets to match––and it readily admits its short-term
prospects of securing cover positions in leading women's magazines are dim.
As a result, Neutragena seeks out innovative ideas that can capture the attention of magazine
readers, support its leading edge products and build its premium image. For 2003, "Operation
Cover" was the company's push to get its ad seen first despite being shut out of traditional cover
positions. Neutragena did that with some atypical ambush cover placements that they had to
convince publishers to approve and printers to accept as technologically feasible.
The first of these ambushes was a "French doors" split cover on Clin d'oeil magazine that
allowed Neutragena to be the first advertiser in the book. Its innovative look commanded reader
attention and lured consumers into opening the French doors, guaranteeing exposure to the ad.
The French doors approach, as well as being a first for the magazine, also supported a new
product launch that was intriguing and which quickly built awareness.
The second ambush was the "Glow Belly Band" around the Shoppers Drug Mart customer
magazine Glow. The external wrap around the middle, or belly, of Glow delivered first advertiser
positioning as well as obliging consumers to open the Belly Band before they could read the
magazine. This too guaranteed exposure to the advertisement. The Belly Band was also the
first time any such wrap had been used in Glow magazine.
Magazines were the natural choice for Neutragena to explore these new approaches to
communicating its health and beauty message. They met its unique needs and enhanced the
premium, innovative image of its products.
Title: French Doors and Bellyband
Advertiser: Johnson & Johnson, Montreal
Agency: PJ DDB Group, OMD Canada, Toronto
Lori Gibb, group director of strategy, PJDDB Group, OMD Canada
Edith Rosa, account supervisor, PJDDB
Jeremy Graham, assistant strategist, PJDDB Group, OMDCanada
29
Out of Home
Gold–BMW Group Canada – Mini - Caged Mini
BMW Group Canada needed a campaign for the Mini, a car with a personality in direct inverse
proportion to its size.
Specifically, BMW Group Canada wanted to target attendees while they were en route to auto
shows in Toronto and Vancouver, whether they were in their cars, taking transit or gathered at
meeting places around the shows. However, not any medium would do. It had to be in keeping
with the Mini's brand character of an individualistic, high performance, premium vehicle that's
fun to drive. It also had to be a medium that set the Mini apart from its competitors in a highly
cluttered automotive market.
With only four weeks to plan and execute the limited-budget campaign, multiple brainstorming
sessions produced a unique use of out-of-home.
To reach those people going to the Toronto Auto Show by public transit, BMW Group Canada
used a GO Station/Union Station domination campaign that employed multiple format media.
(Those stations are closest to the Metro Convention Centre where the Toronto show was held).
To reach anyone going to the show by car or meeting friends near the venue, BMW Group
Canada put a Mini in a cage.
The media supplier built the cage in two weeks, and with the Mini in it car and cage were placed
in a prime location across from the Convention Centre. And for anyone tempted to linger in front
of the cage, there was a sign that said, "Please do not feed, tease or annoy the Mini." For the
Vancouver Auto Show, the caged Mini was placed directly across from BC Place.
Between auto shows, the Mini in a cage certainly got around: dealerships, the Montreal Grand
Prix and such high traffic locations as the Yonge and Eglinton intersection in midtown Toronto.
The Mini must have liked travelling. It's on tour in Toronto again for the last half of 2003.
Title: Caged Mini
Advertiser: BMW Canada, Whitby, Ont.
Agency: Gaggi Media Communications, Toronto
Laura Gaggi, president, Gaggi Media Communications
Susan McGibbon, strategic planner, TAXI
Jorg Cieslok, president, Cieslok Media
30
Silver- Bell Canada - CityPlace Development
CityPlace is Toronto's newest and largest downtown development, but one of Bell Canada's key
competitors had been the exclusive telecom provider for the 18-condominium complex until the
company was given permission to offer local, satellite and Internet services to CityPlace
residents.
Bell Canada realized that it had ground to make up so it needed to compete head-on to ensure
condo residents and their visitors were aware that Bell services were available to them.
The company developed a tactical plan that used targeted, relevant and aggressive out-of-home
media to surround the perimeter of CityPlace and educate everyone within the complex about
Bell's products.
OOH media was the best way to talk directly to the CityPlace community. Although opportunities
around the site were scarce, Bell's media team found new ways to deploy traditional and not so
traditional vehicles.
Bell reached residents who had already moved into the complex by outfitting a transit shelter's
roof so anyone looking down couldn't help but see the company's message. And to address
potential buyers visiting the condominiums' sales office on the west side of the complex, Bell got
OOH suppliers to put into play strategically placed sites not being used as media vehicles. The
streetcar island directly in front of the sales office was transformed into a sightseeing attraction.
Passers-by were encouraged to look through viewfinder decals to spot the CityPlace
developments Bell was moving into, and prime super boards right next to the complex provided
high visibility to the community and to east-west traffic along Front Street.
Bell also used chalk art to get its message across, with executions at the foot of CityPlace to
speak to anyone entering or leaving the development. As with all the other campaign tactics, the
creative for this campaign spoke specifically to the residents and visitors to CityPlace.
Overall, the campaign worked like a charm. Bell won back 68% of CityPlace's residential
customers from its competitor in the first quarter after the media launch.
Title: Custom Design Media
Advertiser: Bell Canada, Toronto
Agency: Cossette Media, Toronto
Tim Beach, media supervisor, Cossette Media
Ryan Langsford, media planner, Cossette Media – Mohawk Graduate!!!!!!!!!
31
Bronze-Heineken
It's all about the beer
Heineken wanted a targeted, high impact, high quality communications program for a key
volume area of the Toronto market. That was easier said than done.
The real challenge was that this key volume area was in the downtown west entertainment
district where high-impact out-of-home executions have become common. Beer and alcohol
category advertising also clutters the streetscape, and numerous distractions, from show
marquees to nightclub and restaurant signs compete for the attention of passers-by. Budget
was also a factor: Heineken's investment in the campaign would be only a fraction of what
competing brands have been spending in the area on traditional OOH products.
Faced with these challenges, the agency, OOH suppliers and Molson/Heineken sales teams
identified a list of hot spots within the targeted area. They used brand and industry sales data
and information gathered from traffic and impact point studies to draw up a list of media
channels or outlets best suited to reach the active bar-going target.
Heineken didn't want to buy just anything anywhere within the area it had already identified, so
the list was cut back to target specific routes leading to each of the entertainment hot spots.
That meant the brand could make multiple impressions on active bar-goers while they were both
in transit to, and at, their destination. Research had shown, after all, that the brand first chosen
was the brand a person usually stays with for the rest of the drinking occasion.
To create the needed impressions, Heineken used a streetcar wrap that principally services the
identified area, and installed wraps of selected transit shelters en route to and near key hot
spots. The brand also erected wall murals on routes leading to and near these same locations.
At the destination, Heineken installed a bar wrap/mesh mural, and patio umbrellas, awnings and
globe signs to dominate patios and entrances.
Anecdotal evidence suggests the campaign was a success. Reports indicate a strong sell-in for
Heineken with its commitment and presence in the downtown west target area.
Title: It's all about the Beer
Advertiser: Molson, Toronto
Agency: Mediaedge:cia, Toronto
Jef Combdon, group planning director, Mediaedge:cia
Denny Grandmaison, media planner, Mediaedge:cia
Ron O'Keefe, Molson
Certificate
Title: On the Run
Advertiser: Imperial Oil, Toronto
Agency: PJ DDBGroup, OMD Canada, Toronto
Lori Gibb, group director of strategy, PJ DDBGroup, OMD Canada
Nicole Gregan, senior strategist, PJ DDBGroup, OMD Canada – Mohawk Graduate!!!!!!!!!!
32
Jeremy Graham, assistant strategist, PJ DDBGroup, OMD Canada
33
Television
Gold- Rona - Ma Maison Rona
Ma Maison Rona was a first in Quebec, a genuine TV show that combined home renovation and
human interest as two ordinary families competed to become owners of their first house, in 10
one-hour shows. Each family had an expert team on its side–an architect, a designer and a
construction expert–with whom they worked to renovate and decorate their houses.
Rona is known as a home renovation expert in Quebec with a reputation for seeing its
customers through each stage of their remodeling. Based on those attributes, Ma Maison Rona
offered the company the opportunity to forge an emotional bond between the brand, Quebecers
and their passion for renovation.
The media partner for the show was TVA, the top-rated network among francophones in
Quebec and a broadcaster that clearly dominates summer programming in the province with a
29% market share.
The centrepiece of the Ma Maison Rona campaign was comprised of 10 hour-long shows that
ran Mondays from 8:00 to 9:00 p.m. Aside from having its name embedded in the show title, the
company also had opening and closing billboards, three 30-second spots each show and five
minutes of in-programming exposure which it shared with favoured suppliers. There was a
dedicated Internet site linked to Rona.ca where viewers could vote and chat with participants on
the show about designers, budgets and materials.
Ma Maison Rona was also promoted in Rona flyers, on POS material, in a weekly company
newsletter, and in promos every week on the TVA network. Anyone who appeared on-air wore
Ma Maison Rona colours, and there was coverage of the show in Quebecor newspapers and
magazines.
Further exposure for Rona came from store visits by the two competing families, the delivery of
renovation materials to the competitors' houses, product placement and mention in the show's
credits.
My Maison Rona was a hit. It was in the top 10 every week, took the number one spot three
times, and the final show pulled in a 46.5% share. TVA is keen to renew Ma Maison Rona for
2004 and negotiations are under way for an English version.
Title: Ma Maison RONA 2003
Advertiser: RONA, Boucherville, Quebec
Agency: Carat Commandite, Montreal
Claude Bernier, executive VP, traditional stores, RONA
Michael Brossard, national marketing director, RONA
Ody Giroux, vice-présidente, Carat Commandite
34
Silver - Weston Bakeries - Wonder Wacki Buns
Weston Bakeries had a new brand of Wonder hot dog and hamburger buns it wanted to
introduce to kids. Called Outrageous Orange and Punky Purple, these aptly named Wonder
Wacki Buns needed a campaign that would focus on the new products' bright colours and their
wacky, fun brand personality. As well, the campaign also had to introduce "Moe" and establish
him as the Wacki spokesperson for future launches.
Working with media partner Teletoon, Weston developed an integrated program that reached
kids through their favourite media–TV, online and magazines–and used innovation to break
through and grab their attention in a way that reinforced the Wacki buns brand attributes.
Equally, the campaign was one of firsts. It was the first time Teletoon coloured the network by
turning cartoons orange and purple for 10 seconds; ran custom animation of a client's product
over programming; and allowed viewers to program the network using interactive online votes.
A base of brand sell messages was complemented by a powerful on-air promotion called Wacki
Weekends. It allowed kids to program the following weekend by voting for their favourite shows
which Teletoon then aired during that weekend's lunch hour. To vote, kids were encouraged to
watch for the Wacki screen to change colour–their cue to go online to vote. This new technology
had an exceptional impact that not only demanded the viewers' attention but also reinforced the
brand's unique selling proposition. The Wacki microsite within the Teletoon Web site included a
contest page as well as a Wacki BBQ game that encouraged kids to interact with the Wacki
brand and with spokesperson Moe. Print ads in popular magazines for children further
encouraged them to watch and play and visit the Web site.
The promotion was a huge success, attracting one of the highest levels of entries ever for a
branded Teletoon campaign. Teletoon's weekend audience grew more than 20% during the
promotional weeks, and Moe was swarmed by kids at more than 120 appearances across
Canada. Just as important, sales went up. The rolls segment grew more than 1.2% versus a
decline of 7.5% the year before and incremental units shot up 755,000 nationally.
Title: Wonder Wacki Buns
Advertiser: Weston Bakeries Limited, Etobicoke, Ont.
Agency: Round Table Advertising, Toronto
Annette Friesen, promotion and event producer, Teletoon
Morgan Young, manager, broadcast investments, ZenithOptimedia
Fiona Gallagher, partner, Round Table Advertising
35
Bronze-Orville Redenbacher - Orville Time
Popcorn purveyor Orville Redenbacher wanted to reach consumers at a very specific time–9:00
at night–and encourage product usage while TV viewers were in a "snacking" frame of mind.
Research had shown that peak snacking time was 8:00 to 10:00 p.m. while consumers watched
their favourite TV shows. With this in mind, the media team for Orville Redenbacher developed
a strategy that would establish 9:00 p.m. every night as "Orville Time" in the minds of the
audience. However, it also determined that a standard 30-second brand sell creative spot wasn't
required to put potential users in a snacking–and a specifically popcorn snacking–frame of
mind.
So Orville Redenbacher negotiated a unique campaign with key CanWest Global TV stations for
prime time programming in major markets. In them, the popcorn potentate ran five-second spots
at 9:00 p.m. every night, Monday to Sunday, as the lead message in that time slot's commercial
pod.
The five-second "Orville Time" spots hadn't been done before. Their association with high profile
programming provided strong branding that resulted in high consumer recall. An Ipsos-Reid
National Omnibus study found that unaided awareness for Orville Redenbacher was 36%
among adults 18+, and the aided awareness for "Orville Time" specifically was 16% after only
three weeks on air.
The execution of this campaign was such a success that CanWest Global is now offering the
idea as a new product to other advertisers. Obviously, the five-second spots and their
association with prime time TV has given buyer and supplier plenty of (snack) food for thought.
Title: Orville Time
Advertiser: Conagra Foods, Markham, Ont.
Agency: The Media Company, Toronto
Debbie Hoover, account director, The Media Company
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Radio
Bronze– Bell.ca
Bell.ca had to break through the Christmas clutter–no easy task at the busiest shopping time of
the year. And with a limited budget and limited avails, media choices were circumscribed too.
That's why the company opted for radio remotes, leveraging the medium's capacity to produce a
quick but concentrated promotional blitz and call to action during that critical retail period.
However, these radio remotes were unlike anything anyone had done before in Toronto: Rather
than being held in a store or some other typical location, these remotes were virtual, just like
Bell.ca. Although the radio stations were apprehensive about the idea at first, they were soon
persuaded by the fresh, unexpected approach of a DJ apparently broadcasting the remote from
home to demonstrate the ease of shopping online at Bell.ca. The company used eight live cutins during the run up to Christmas 2002 to advise shoppers just how convenient it was to shop
or look for gift ideas online and so avoid crowds in malls.
Bell.ca chose Mix 99.9 and 102.1 The Edge in Toronto to run the virtual remotes as the
company wanted an adult audience 25 to 54 that had the highest number of Internet users. Both
stations ran 25, 30-second brand sell spots and 20, 30-second pre-promos during the week of
the remote, with the eight 60-second live cut-ins running between 10:00 a.m. and 2:00 p.m. on
consecutive Saturdays. To support the remotes, Bell.ca also ran Internet and out-of-home
advertising.
The Bell.ca remotes were a resounding virtual, and actual, success. Tracking shows that online
visit objectives were exceeded by 520% and during the remote broadcasts themselves there
was a 25% lift in visits to Bell.ca.
Title: Virtual Remote
Advertiser: Bell Canada, Toronto
Agency: Cossette Media, Toronto
Terry Horton, group media manager, Cossette Media
Kandy Walker and Tim Beach, media supervisors, Cossette Media
Ryan Langsford, media planner, Cossette Media – Mohawk Graduate!!!!!!!!!!
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Place–Based Media/Special Events
Silver–PEI Tourism - Voisins de L'lle
Quebecers are an important source of tourist revenue for New Brunswick, its neighbouring
province to the east, with the average stay by a Quebecer running to about 10 days, six of them
pre-planned and the other four open for exploration.
So, Tourism PEI reasoned, why not encourage Quebecers to use those four days to visit the
Island. Total visits to Canada's smallest province were flat or increasing, but visitor party size
was getting smaller and more parties had to be attracted to achieve the same number of
visitors.
It was with Quebecers in mind that Tourism PEI created its "PEI Ambassador" program, a media
led initiative that would see roving PEI Ambassadors travelling to the largest attractions in New
Brunswick targeting Quebecers. These ambassadors travelled in special PEI vehicles decked
out in provincial livery, each with a mountain bike or a kayak strapped to its roof. The idea was
to communicate in a fun, energetic, relevant way and engage Quebecers interest.
New Ad was the supplier for this one-on-one message. Each of the ambassadors offered
comment and written information–maps, directions, available accommodation and so on–as well
as details of the latest festivals and events. Quebecers, and anyone else interested in visiting
PEI, were also encouraged to take part in a contest to win either a kayak or a mountain bike.
The contest also allowed Tourism PEI to build a database for future communications.
The campaign was an exceptional success. The media in Atlantic Canada picked up on PEI's
guerrilla tactics, extending the campaign through newspaper, TV and radio reports throughout
the region.
But as popular as this campaign was with the media, it was decidedly less so with New
Brunswick Tourism. The provincial authority called PEI's Minister and Deputy Minister of
Tourism asking them to cancel the initiative, and the government in Fredericton tried to block
access to the PEI vehicles at provincial parks and tourist sites. When neither move was
successful, New Brunswick responded with five of their own vehicles copying the PEI campaign.
Title: Voisins de L'lle
Advertiser: PEI Tourism
Agency: Cossette Media–Atlantic, Halifax
Dee Enright, media director, Cossette Media
Jennifer Beamer, account director, Cossette Atlantic
James Hughes and Scott Faulkner, design, Cossette Atlantic
Valerie Bellamy, production, Cossette Atlantic
Greg Arsenault, director of marketing, Tourism PEI
38
Bronze–Nicorette - Bell Centre
Nicorette wanted opportunities to increase its awareness with smokers and found them by
promoting its message in unexpected non-smoking environments. There, smokers would be
more receptive to the anti-smoking product's message.
The program brought together the media group, client and the Bell Centre in Montreal, all of
which worked to develop this innovative place-based media campaign. The strategy behind the
program was focusing on key target interests such as entertainment and sports venues.
Nicorette became the official sponsor of everything connected to smoking at the Bell Centre.
This included the sponsorship of "no smoking" signs, the Nicorette message on the Power Ring
scoreboard at the exact moment the live, "smoke-free environment" announcements were
made, branded posters throughout the arena, and painting the entire wall in all the designated
smoking lounges with the Nicorette message.
The Nicorette program was popular and effective. It has been replicated at Toronto's Air Canada
Centre, Ottawa's Corel Centre, Calgary's Penworth Saddledome and Vancouver's GM Place.
Title: Bell Centre
Advertiser: Nicorette, Saint-Laurent, Québec
Agency: LE GROUPE TMC, Montreal
Jill Appelbaum, group account director, LE GROUPE TMC
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April 2, 2001
In the Skin of a Cannes Lion
What made a newspaper ad for Bell Canada an international winner?
By Kris Brady
Cossette Media was absolutely thrilled to be
honoured with Canada's first Media Lion, which is
equivalent to Gold in the other Lion competitions at
Cannes. The increased attention on the thinking
and ideas within the media arena means it will
continue to grow. This will only improve overall
business results and people's satisfaction with
working in this discipline.
The acknowledged entry was a case for Bell
Canada titled "Staggering Innovation" in the
Business-to-Business category. This was the
second time this case had been recognized. It also
earned Gold at the Media Innovation Awards (MIAs) earlier this year.
The challenge was straightforward. With Bell Canada's planned entry into the Web development
and hosting category, we were faced with the problem of building awareness in an environment
that was relatively new for Bell. The owners of small and medium-size businesses who were our
target simply did not think of Bell as a viable player when it came to developing and hosting
Web sites.
We needed to strategically position our client on the consumer map. And we needed to find an
engaging way to fully explain our client's proposition.
Our solution was a piece we called "Staggering Innovation."
Given that these business owners and managers are extremely busy and time constrained, we
were looking to develop a media execution that would break through and grab their attention.
But it also had to be in an environment that was highly credible. We wanted a media idea that
would meet our target in their "space," and it had to be an execution that they couldn't and
wouldn't miss.
Our chosen partner was the venerable Globe and Mail–the top newspaper for Canadian
business people. The media strategy was to strategically "own" the Report On Business section,
a must-read information source for the business community.
At first glance after opening their Report On Business section, the target was faced with what
appeared as a single page sideways view of a computer screen. In fact, there were three
separate pages that were creatively integrated to look like one: The first page featured an
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engaging question. It was followed with solution-based messaging on the second, while the third
and final page carried an appealing cost point.
Each of these three pages was cut to a graduated size that increased across the series: the first
page was four columns, the second page was five columns and the third a full page. These cut
pages created a staggered effect, which yielded a tremendous impact when integrated with the
creative concept.
The teaser ad (above, right) drove readers to a precisely engineered three-page ad that the
campaign's target market couldn't miss
As with any media, first it was critical to have buy-in from the Globe's sales management, but in
this case it was equally as important to have agreement from the production team who would
need to make it happen. Through negotiations, the vehicle received excellent positioning on
pages 3, 5 and 7 of the Report On Business.
The creative was specifically designed so that the three consecutive fractional pages would
appear complete whether they were read together as one unit or as individual ads, with the
media execution delivering on its goal of leveraging the creative message. A teaser ad in the
up-front news section was designed to drive viewership to the Bell piece.
This concept could have been more easily executed as a paid insert, however, we persevered
in our vision of this being an editorially integrated piece. Specifically, we negotiated for the
inclusion of live Globe editorial within the ad on pages 4 and 6 to guarantee readership and high
noticeability. Business people who wanted to read the entire ROB section had no choice but to
be "involved" in the ad.
The Globe and Mail was clearly in the position to determine what is appropriate for its readers
vis-à-vis acceptability of advertising encroachment within the product. It took a great deal of time
to negotiate this positioning. And it paid off. In the end, all parties were extremely pleased with
the final result.
The Bell "Staggering Innovation" piece stood out in the crowd due to the integration between
creative, the media team and the media itself. And the execution by the paper was absolutely
flawless.
But most importantly it produced extremely positive results: favourable customer feedback,
sales that met objectives and industry acknowledgement in the form of two Gold awards.
KRIS BRADY is an associate media director at Cossette Media Toronto.
www.marketingmag.ca
41
November 5, 2001
2000 Marketing Awards
Marketing’s Media Innovation Awards - Best of Show
TITLE: Basic Instinct
ADVERTISER: Nike Canada, Toronto
AGENCY: Cossette Media, Toronto
GROUP MEDIA MANAGER: Carolyn Convey, Cossette Media
MEDIA PLANNER: Debbie Benadiba, Cossette Media
ART DIRECTOR: Lily Cocetta, Cossette Communication-Marketing
WRITER: Chris Dacyshyn, Cossette Communication-Marketing
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ACCOUNT DIRECTOR: Lisa McGillivray, Cossette Communication-Marketing
Marketing’s Media Innovation Awards recognize excellence in advertising media planning and
buying. This year’s winners were judged by a panel of 22 senior media people and marketing
professionals at both agencies and clients, co-chaired by Chris ordan, then chief marketing and
sales officer at the Canadian Broadcasting Corporation (he is now president and CEO of Young
& Rubicam Canada), and Terry Sheehy, then chairman of Starcom MediaVest Group (he has
since retired), both in Toronto. The winners were honoured at a gala held in Toronto on Oct. 30,
2001 and showcased in the Nov. 5, 2001 issue of Marketing.
Canadian women who are active are heavy magazine readers and consider their favourite titles
a source of information and guidance. So it was with this in mind that Nike Canada opted for
magazines to reach those women in an environment that was conducive to building an
emotional connection to the Nike brand and product line.
To capture the target consumer’s attention immediately, Nike seized on one of the traditional
features of women’s magazines, the splashy cover headline, to place a tab with the captions
"SEX" and "THIN IS IN" on a double-page-spread Nike ad so that it extended beyond the side of
the magazine and acted as an unavoidable directional signal to the advertisement itself. It also
eliminated competitive clutter, and reached the target audience with a medium that was familiar
to women but in a manner that was completely new.
There are a limited number of Canadian publications devoted to women’s fashion, and the
biggest challenge by far was to convince the leading titles–which were highly skeptical because
something like this had never been done before, either in Canada or somewhere else–to accept
the idea of the tab.
The application of the tab itself had to be perfect for the execution to be successful. But the
printing presses couldn’t accommodate what Nike set out to do, so each tab had to be placed by
hand in the correct location on each magazine. This, naturally enough, involved exceptional
communication, organization and trust among media, creative and magazine teams, as well as
a detailed action plan.
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MIXED MEDIA : SILVER
Advertiser: Whitehall-Robins–Advil
Agency: The Media Edge, Toronto
Tracy Bellamy, associate media director,
The Media Edge
Shana Cohen, media planner, The Media
Edge
Jennifer Thompson, media supervisor, The
Media Edge
WHITEHALL- ROBINS–ADVIL
Amateur Athlete
Advil was looking for pain. Specifically, it was looking for muscle pain sufferers to forge a
relationship between them and the over-the-counter remedy using a unique mix of TV
sponsorships and unprecedented out-of-home venues.
The television component of the campaign included Advil's title sponsorship of the
internationally renowned Eco-Challenge. The Eco-Challenge, a gruelling endurance race in
places such as Borneo, and the Advil team received substantial media coverage, and a media
tour by Team Advil was picked up by TV and print. The 2000 Eco Challenge aired in April 2001
and achieved phenomenal numbers, some 3.8 million viewers aged 2+. It delivered an audience
that was 65% more than forecast.
Advil also sponsored the "Amateur Athlete" feature in local TV news broadcasts, and on TSN
sponsored the "Relief Pitcher" segment, including a uniquely branded feature following pitching
changes in Major League Baseball games. It highlighted the relationship between pain and
sports, a feeling that many viewers could identify with. To extend Advil's awareness, secondary
components of the campaign, such as Internet banners, print and POP signage, were folded
into the package.
Advil placed its message in relevant environments, where the consumer could see or
experience muscle pain first-hand. That meant signs with the words "Ouch! Ouch!" on the stairs
at SkyDome and Union Station in Toronto, 400 posters in fitness centres across Canada, 50
Rinkboards in amateur arenas in Toronto, and Granite Tee Markers on 17 golf courses in
Ontario and B.C.
Advil expected the collective impact of its campaign would communicate to consumers that the
remedy is the "tough" muscle pain specialist; provide top-of-mind awareness; and exploit new
regulations that allow the product to be sold outside pharmacies. Further, the 2001 Advil
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campaign set new standards for a category that is typically limited to a conservative advertising
approach.
NEWSPAPER : GOLD
Advertiser: Bell Canada–SMB
Agency: Cossette Media, Toronto
Kris Brady, associate media director,
Cossette Media
Michelle Hohs, media supervisor, Cossette
Media
Chitty Krishnappa, account director,
Cossette Communication-Marketing
Todd Mackie, art director, Cossette
Communication-Marketing
Tony Lepera, account executive, The
Globe and Mail, Toronto
BELL CANADA
E-business
High-Impact Buy in the Globe
Globe and Mail readers in Ontario were caught off guard June 4 when they reached for the
Report on Business section. They found a never-done-before, three-page Bell Canada ebusiness ad front and centre in a medium that is usually called traditional.
The piece consisted of three consecutive pages, all differing in size. Its overall layered effect
appeared to be a single full-page ad, but a closer look revealed a teaser component: three
separate ad pages working together on specially cut paper. Following negotiations, these ran on
pages 3, 5 and 7 of the ROB section in Ontario. Further negotiations brought the inclusion of
live Globe editorial within the ad on pages 4 and 6, creating a captive environment: anyone who
wanted to read the entire ROB section had no choice but to be "involved" with the Bell ebusiness ad.
The communications ideas behind the innovation were straightforward. The advertiser wanted
to break through e-market clutter and reach the business reader; launch Bell in e-space by
building awareness of the brand as a provider of Web development and hosting; drive sales of
Web development and hosting; and make Bell synonymous with e-solutions for small and
medium businesses.
There were lengthy negotiations about the execution of the advertisement, but eventually the
Globe agreed that the newspaper would make it work. That meant agreeing to the specially cut
paper and the positioning on pages 3, 5 and 7 to maximize overall impact. It also meant giving
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the go-ahead to live editorial on pages 4 and 6 and printing just for Ontario three consecutive
colour pages. A half-page teaser for the Bell e-business ad ran in the front news section too as
part of the package, which required from the Globe efficient media value and a low production
premium. All in all, the ad came through flawlessly, and its reception was exceptionally positive.
NEWSPAPER : SILVER
Advertiser: Toronto Star 3-D newspaper
edition, Toronto
Agency: in-house
Lynda Lombard, advertising sales
manager, Toronto Star
Elaine Muller, central imaging supervisor,
Toronto Star
Tanya Du Bois, advertising promotions
manager, Toronto Star
TORONTO STAR
3-D Day
The Toronto Star can say with confidence that stories throughout its Saturday, April 21 edition
leapt from the page. And so they should have. In the News, Sports, Entertainment, Life, Travel,
Condo Living, New in Homes and @Biz sections, and in the TV magazine Starweek, editorial
and advertising came in 3-D.
So imagine the impact of a breaking story, a jump shot by a favourite NBA star, the depths of a
city loft or the landscapes of exotic locales. Or how about a dream car cruising right out of an
ad, or the cast of a smash musical dancing before your very eyes? All that was needed were the
free red and blue 3-D glasses that readers could find tucked into copies of Starweek.
However, the surprises didn't end with the spectacle spectacular. In the Star Creative 3-D Ad
Competition, readers could vote on their favourite 3-D advertisement with a chance to win up to
$50,000 in prizes. That provided a chance to involve readers in the 3-D initiative and at the
same time support the hard work and talent of advertisers and their agencies. The advertiser
with the most votes was recognized for its win, and the ad was rerun with the public recognition
it deserved.
The Special Edition 3-D Newspaper was a first, and demonstrates how a medium with two
dimensions can join the interactive age by deploying out-of-the-box thinking. It demonstrates,
46
too, how advertising and editorial departments can work together to exceed reader and
advertiser expectation.
Beyond unorthodox thinking and teamwork, however, there were other considerations at work.
The 3-D edition showed readers that newspapers can be informative and entertaining at the
same time; that there are ways to appeal to younger readers who seldom or never read
newspapers; and to announce to the newspaper industry and media agencies that the Toronto
Star is a leader in creativity.
NEWSPAPER : BRONZE
Advertiser: Labatt–Stella Artois,
Toronto
Agency: Ammirati Puris, Toronto
Jasper Chan, media supervisor,
Ammirati Puris
Alyea Aguilar, media supervisor,
Ammirati Puris
LABATT–STELLA ARTOIS
Unofficial Film Festival Guide
Stella Artois knew there are few better venues than a film festival to provide consumers with an
illusion. So it jumped at the chance to give the impression that the beer was a sponsor of the
Toronto International Film Festival, strongly associating the brew with the internationally known
movie extravaganza as well as reinforcing its global branding positioning of "film," and driving
listings and sales.
Stella Artois did that by capitalizing on the comprehensive coverage that the Toronto urban
weekly NOW had given to the festival in the past. It created a co-branded 12-page film festival
insert that became the unofficial pull-out guide for NOW's much-anticipated film festival issue
featuring movie picks, film schedules and celebrity gossip. And in order to drive NOW film guide
readers to key watering holes, the insert also included a festival venue and bar map.
But Stella Artois didn't stop there. The festival initiative was extended to street level by enlarging
the bar map and placing it in 15 transit shelters in and around film festival theatres. A dozen
bars were listed on the map where filmgoers could find a cold Stella Artois waiting for them after
they had worked up a thirst watching movies.
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Since the guide was a one-off, Stella Artois had to squeeze as much as it could from it to further
the beer's identification with the Toronto film festival. Print and transit were already covered, so
the brand went online next, setting up a Stella Artois microsite at nowtoronto.com. There,
surfers could enter a contest to win a pair of gala festival tickets and admission to the Stella
Artois party, which attracted more than 400 entries in two days. Together, Stella Artois's
combination of newspaper, street maps and a Web site established a continuing relationship
with filmgoers over the 15-day festival.
MAGAZINES : SILVER
Advertiser: Rogers Video, Toronto
Agency: MacLaren McCann West, Vancouver
Scot Keith, account director, MacLaren McCann West
Grant Fraggalosch, creative director, MacLaren McCann West
Jay Gundzik, senior art director, MacLaren McCann West
ROGERS VIDEO
Message on a Bottle
Speaking to every home subscriber of Maclean's magazine is
no easy task. But Rogers Video pulled it off by using a
completely new technology in an ad that was entirely relevant
to the target. The "Pill Bottle" advertisement is a personalized
magazine message that put the name of each home subscriber
on it and at the same time advised them of the closest Rogers
Video location to their homes.
The agency worked hand in hand with Maclean's on the execution of the ad once the client
approved the concept. Then the magazine team cross-referenced its database with all Rogers
Video outlets in Canada. If the person targeted lived in an area where there wasn't a Rogers
Video store to go along with his or her name, the Rogers Web site address was printed in the
space instead.
The pill bottle or pharmaceutical angle was used because it allowed the advertisement to
convey the message that movies can change how people feel. But it also had to work in a way
that was intriguing but did not seem forced. The home subscribers would see their names on
the pill bottles in the ad, but would not understand how they got there. That meant the
advertisement would have a prolonged life because of the amount of consumer talk it would
generate.
The pill bottle creative also worked because Maclean's skewed to an older target group and
thus was relevant to the bulk of the readership. The agency actually cross-referenced PMB
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research to prove that the magazine's readers had a high propensity to use prescription and
over-the-counter drugs.
The consumer response to the ad was outstanding. Hundreds of people called Rogers Video
and Maclean's because they thought their names were being used in a national advertising
campaign. Once they were told the details, they described the advertisement as unique and
exceptional.
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OUT OF HOME : GOLD
Advertiser: Labatt Breweries of
Canada, Toronto
Agency: Ammirati Puris, Toronto
Alison Binkley, media manager,
Ammirati Puris
Travis St. Denis, assistant media
planner, Ammirati Puris
LABATT BLUE LIGHT
Countdown to the Weekend
Ah, five o'clock on Friday afternoons. That's what Labatt Blue Light thought when it installed
a larger-than-life digital clock at the southwest corner of Front and Bay streets in downtown
Toronto. At the end of a hard week, and following a countdown to the stroke of 5:00 p.m.,
an intrusive horn would sound, signaling to thousands of commuters and passersby that the
weekend–free time–had started.
Blue Light's campaign goal was to communicate and bring
to life the idea that the brew was the consumer's champion
of free time. The weekend was the perfect hook, since it is
so strongly ingrained in people's minds that come Friday
evening the weekly grind is over, at least for a couple of
days. Working closely with creatives, the media team was
challenged to find and then create the ultimate in "stunt
media."
Out of home was used for the campaign because of its larger-than-life size and its flexibility
delivering "talk value" innovation and cherry-picked locations. The site of the countdown clock
was chosen specifically for its very high pedestrian traffic close to Toronto's main railway hub at
Union Station, the Air Canada Centre and the country's financial heart at King and Bay streets.
The clock was seen by thousands every day and heard every Friday by thousands more. It
faced southbound traffic heading for the Gardiner Expressway or Lakeshore Boulevard and
home–providing many more thousands of impressions that were considered gravy.
But the blast from the horn at 5:00 p.m. and the time to go home number on the digital clock
weren't the only uses for the display. Once the horn stopped, a text message appeared inviting
consumers to celebrate their free time, with local events advertised on the board as suggestions
about how they could do that.
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OUT OF HOME : SILVER
Advertiser: Labatt Breweries of Canada–Carlsberg,
Toronto
Agency: Ammirati Puris, Toronto
Alison Binkley, media manager, Ammirati Puris
Travis St. Denis, assistant media planner, Ammirati
Puris
LABATT–CARLSBERG
Bringing Soccer to the Street
It's either war or religion. There are no half measures with soccer. And it was this devotion to a
game played anywhere people have feet that brought the Carlsberg brand to its target
audience, the heavily Italian and Portuguese neighbourhoods along Toronto's College Street at
Ossington Avenue in the city's west end.
An entire transit shelter at the southwest corner of the intersection was
transformed into a soccer stadium experience, giving the brand an
opportunity to connect to the target communities in a unique and
relevant way, and to create talk value on a relatively small budget. The
Italians and Portuguese embraced this media initiative, and Carlsberg
received free media coverage because of it, including live "throws"
valued at more than $35,000. All told, the brand received a 14:1 return
on investment for its media spending.
Although transforming a shelter this way had never been done before,
and city approvals were thought to be a long shot, they came through.
A transit shelter was the preferred vehicle for the venture because it is at street and eye level
and Carlsberg could capitalize on its borrowed "grassroots-like" equity to immerse itself in the
community.
Part of the transformation came from Carlsberg's head office in Copenhagen, Denmark, which
supplied a reel of international soccer highlights that ran 24 hours a day in the shelter. A 3-D
can of Carlsberg, along with audio and Astroturf with soccer field markings on it, finished off the
stadium experience.
The campaign ran in July and August to take advantage of the high volume of traffic on the
College Street strip, one of the premier districts in Toronto for bar hoppers and restaurant goers.
Although the Italian and Portuguese communities were Carlsberg's intended target, the brand
51
also received exposure among the other groups, soccer-loving or not, living or passing through
the area.
52
Chapter 6 - Marketing Strategy and Media Planning
Media can be divided into two parts: planning and execution. The overall goal of media
planning and execution is to deliver the optimum number of impressions (messages) to the
target audience at the lowest cost within the most suitable environment for the message.
Planning consists of arranging the various media in combinations and support levels designed
to most effectively and efficiently help fulfill the marketing, advertising, and promotional
objectives and strategies. It is in essence the process of refining probabilities in a step-by-step,
disciplined manner.
The actual media plan consists of three basic elements: media objectives, media strategies,
media execution (with a media plan calendar or blocking chart and budget summary). Its
preparation can be a long and complex process that starts with a review of all the information
needed to write the plan. In a tradition agency environment, the necessary information from the
marketing plan will be provided by the client through the account service department. In a less
traditional or unstructured environment, the planner may be called upon to work with the client
to develop marketing and advertising objectives and strategies before beginning the media plan.
What a Media Planner Needs to Know
The media planner must know as much as possible about the marketing background of the
brand being advertised. This includes: product quality, use, pricing, distribution, packaging, as
well as its sales promotion, personal selling activities, public relations and advertising plans.
Although many media plans are written without this much detail, the elements of the marketing
plan which are of most interest to the media planner are contained in the Situation Analysis.
Situation Analysis
a)
b)
History of the Market
§
sales of all brands in the market, including the brand for which the planning is being
done;
§
geographic sales distribution, market size in dollars/units, market shares, seasonal
and price effects;
§
where the brands are now in terms of SOM and how they got there.
Distribution Channels
§
how the brand and its competitors distribute the products,
§
shelf facings, inventories held, out-of-stock situations, methods of selling, display and
advertising allowances, and how/why promotions are being used in order to help the
planner decide where to advertise.
53
c)
d)
e)
Consumer
§
personal demographics such as age, sex, income, occupation, geographic location;
§
psychographics (lifestyles and attributes);
§
consumer profile of those who buy the brand versus those who buy the competitive
brand;
§
buying habits (when the product is purchased, which kind of retail outlets, sizes,
models, colours, how and when the consumers use the product);
§
buyer versus user influences.
Product
§
history of the product and how it was developed;
§
product changes and effects on competitive brands;
§
consumer perceptions of the various brands.
Advertising and Media Analysis
§
media expenditures for competitive brands (ie. media, names of vehicles, number of
ads used, when ads ran, dollar and percentage allocation to each medium and
market.).
The Marketing Plan
The marketing plan is a blueprint of marketing actions that will solve the major problems and
take advantage of the opportunities. The ultimate goal is to sell the product and gain an
advantage over the competition. In order to write the most effective media plan, the planner
should have the access to the marketing plan, or at least be provided with an overview of the
marketing objectives and strategies, as well as the positioning for the product. It is important
also, for the planner to be made aware if the client is going to pursue an opportunity (a
marketing activity which, if adopted, may result in an advantage over the competition) or correct
a problem (finding the cause is the first step toward changing the situation).
a)
An Overview of the Steps in the Marketing Plan Process
As with media planning, the marketing plan process involves several crucial steps as
outlined below.
§
Setting objectives that will help solve the existing problems and take advantage of
opportunities.
54
§
Deciding how the product should be sold.
§
Determining to whom, the main selling effort should be directed.
§
Determining what role various elements of the marketing mix should play in the sale
of the brand.
§
Determining what adjustments should be made in the package shapes and sizes.
§
Determining how much should be spent.
Exhibit 6-1provides an outline of a Basic Marketing Strategy Statement.
b)
Marketing Objectives
The account group, in conjunction with the client, completes this overview of the
marketing plan which outlines briefly the marketing objectives and strategies for the
brand in the upcoming year as well as the source of business and the positioning
statement.
Marketing goals should be measurable and provide a means of determining whether the
strategy employed has been effective. Sales objectives relate directly to increasing
sales of the brand or achieving a share of market for a brand; others relate to a
communication objective. A marketing objective must:
§
be specific. The objective should focus on one singular goal.
§
be measurable. The results must be able to be quantified.
§
relate to a specific time period. This can be one or more years, the next six months,
or even specific months of the year.
§
focus on affecting target market behavior (encouraging shopping, trial of product,
repeat purchase of product, larger purchases, more frequent purchases, etc.).
Often, objectives are set for individual segments of the target market.
Marketing objectives can include, but are not limited to, the following areas:
§
§
§
§
§
§
§
§
§
increase share of market
regain lost volume
build volume
build sales
build share
launch a new product
introduce a line extension
increase morale of sales force
increase profit
§
§
§
§
§
§
§
§
§
maintain national coverage
provide regional/local impact
increase share of voice
retain current customers
increase use by customers
increase trial
encourage retrial
increase repeat use of service
build store traffic
55
c)
The Marketing Mix and Strategy
Marketing strategies are broader than objectives, provide direction for all areas of the
marketing plan, and should include a target market profile, marketing mix variables, and
an outline of the budget. Strategies serve as a guide to the positioning of a product as
well as reference points for the development of specific marketing mix programs in the
marketing plan (product, price, distribution, personal selling/operations, promotion,
merchandising). It takes a number of different marketing mix elements to sell a product
therefore. There may be more than one marketing strategy.
The marketing strategy should include an outline of how much money it will take to
accomplish the objectives. There are times when an advertiser will have a grandiose
marketing plan and be unwilling to provide sufficient funds to make the plan successful.
If there is not enough money to accomplish the objectives, then the objective should be
revised or the advertiser should realize that spending the available budget will not
produce the desired results. At times, media planners may be asked to estimate costs
of the media plan before the main portion of the plan has been started. This is done
mainly on experience. Establish budget parameters before full media plans are
devised!
In the marketing plan process, the following categories should be reviewed to determine
if one or more need to be addressed through the development of one or more marketing
strategies.
§
§
§
§
§
§
§
product strategies
packaging strategies
pricing strategies
distribution - penetration or coverage
personal selling strategies
promotion/merchandising strategies
spending strategies
(opportunity/problem areas)
§
§
§
§
§
§
§
marketing R&D
research strategies
competitive strategies
target market strategies
build market/steal share from
competitors
national, regional, local strategies
seasonal strategies
As mentioned, marketing strategies should provide a clear outline of how the objectives
will be accomplished from a strategic standpoint. However, the details or tactics that will
be used will be fully developed in the subsequent marketing mix tool sections of the
marketing plan (ie. the communications plan).
Although there may be more than one marketing strategy, each should focus on one
single idea at a time. They should be descriptive in nature and focus on how one will use
promotion or packaging to achieve the marketing objectives. They should also include a
brief rationale.
56
d)
Source of Business
When planning for growth of a brand, there are four basic types of opportunities as
outlined in Basic Marketing:
i)
ii)
e)
Market Penetration: attain more sales in the same markets (ie. increase
distribution).
Market Development: look to new markets for growth (includes both geographic
and target markets).
iii)
Diversification: introduce a new product which is unrelated (ie. Buckley's muscle
rub).
iv)
Product Development: line extensions based on existing products.
Positioning Statement
A positioning statement outlines the product concept, details what motivates purchase of
the product from the consumers' point-of-view and establishes the desired perception of
your product relative to the competition. It must create an image of the product or
service in the minds of your target market.
The positioning statement acts as a guide for all your marketing communications and
helps the advertiser maintain a consistent image. The use of many marketing mix
communication elements usually requires integration because each element may be
conveying a different message and thereby reduce the effectiveness of communication.
In order to arrive at a successful, long-term positioning, consider:
•
•
•
the inherent drama of the product you are selling;
the needs and wants of the target market;
the competition.
Listed below are several positioning or repositioning strategies.
i)
Product Differentiation - focus on the unique attributes of the product or features
that will distinguish it from all others.
ii)
Key Attribute or Benefit - focus on a benefit that the product offers that the
consumer will consider meaningful.
iii)
Users of the Product - focus on the users/purchasers of your product.
iv)
Usage/Lifestyle - focus on the lifestyle of the target or how they use the product.
Use psychographic data. Use emotional aspects. Use in a crowded market
where product attributes are similar.
57
v)
Against a Category - establish product at the expense of a whole category within
which you are attempting to steal business (ie. light beers vs regular).
vi)
Against a Specific Competitor/Head-on or Comparative - one brand is presented
as equal to or better than another, usually used by #2 brand. Users of other
brand show preference for advertised brand. Requires large financial
commitment as brand leader is likely to counter with brand dominance.
Brand Dominance - established market leader uses SOM to create a favorable
image with a message designed to communicate that the brand is preferred.
vii)
viii)
Association - can be effect when there is no distinct product difference or if
competition owns the inherent position relative to your product. Uses image and
emotional appeals.
ix)
Problem - positioning against a specific problem to involve the target or build a
market for the product. Used when there is minimal or no real competition.
x)
Technical Innovation - more important for the company as a whole than individual
products. Establishes the image of continued technological leadership that will
be of benefit in the introduction of new products.
In addition, a product may be repositioned as follows:
xi)
Reacting to Competitive Activity - for instance when the #2 brand uses head-on
or comparative positioning.
xii)
Reacting to Changing Consumer Preferences - as consumer preferences
change, a brand known for particular product attributes may need to change the
consumers' perception.
How to Write a Positioning Statement
Once you have determined how you want your product to be perceived by the
consumer, write several different positioning strategies varying the emphasis placed on
the product advantage, competition's weaknesses, and the target market benefit in each.
Then pick the one that best reflects your product relative to the competition and the
wants/needs of the market.
A positioning statement should follow with KISS principle - it should be short, sweet, and
to the point while providing clear and specific direction for not only the advertising and
but other elements of the marketing mix as well.
The following outlines a simple formula to use when writing your positioning statement:
To the target market, product name is the frame of reference that benefit or USP.
For instance: To mothers of children 2-11 (target market), Jell-O Instant Pudding
(product name) is the fun, family dessert (frame of reference) that uses
two cups of milk and takes only 2 minutes to make (USP).
58
f)
Other Points of Interest for the Media Planner
Included in the marketing plan are several other points of interest for the media planner.
In addition to the marketing objectives and strategies, the source of business and the
positioning statement, the planner should be aware of the distribution of the product, the
advertising objectives/strategies, and test marketing, if any.
i)
Dealers and Distribution - advertising should be limited to those areas where the
product is distributed. If advertising funds are limited, then only those areas that
would provide the best return on investment (ROI) should be selected to receive
advertising. In some cases, advertising may be scheduled in areas where there
is poor distribution in order to "force" demand. This, however, may backfire if the
consumer can't find the product.
Dealers are important - select media that will communicate to them (ie. mass
media versus trade press, shows, etc.). Dealers may know which medium works
best for their local market.
ii)
Advertising Plan - the planner needs to know the advertising objectives/strategies
and the creative strategy, as well as any direct marketing, sales promotion, public
relations elements which may be used.
The advertising objective describes the role to be played by advertising in
achieving the marketing objective. The more specific and measurable the
objective, the better.
The creative strategy may be the most important influence on the planner during
the media selection process. The planner cannot start work without first knowing
what is to be used and how it is to be presented to the consumer. This is
addressed in the creative requirements section of the media objectives (ie. four
colour, quality reproduction, demonstration, create a mood).
Other promotional elements may influence the selection of media. Special media
efforts may be needed to announce a new price or to inform the trade.
Promotions may need media designed to get the highest reach possible or to tie
into local store locations.
iii)
Test Marketing - a times the advertiser may want to test to see if the marketing
objectives can be met. Some of these may be:
§
§
§
§
to gain a substantial share of each market's sales;
to determine whether the total market for a product can be expanded;
to determine how many repeat purchases will be made;
to accomplish the objectives within a reasonable length of time at a
reasonable profit.
In addition, the advertiser may want to test different media or media weights for
the introduction of a product, or to see which has the greatest impact on sales of
an established product.
59
g)
Competitive Media Expenditure Analysis
In the initial stages of planning, the planner should know who the competitors are and to
what extent they affect sales (SOM). In addition, prior to selecting media for their brand,
the planner should evaluate what media the competition is using, and determine how it is
being used. Areas which should be investigated include:
§
§
§
§
§
Which media are used? Which are most significant?
How much is being spent in each medium? How much in total?
In which markets are media concentrated?
How much weight is placed in each market?
Which issues, programs, times of year are used? When do competitors use various
media and how are they used?
Gathering the Data
An analysis of competitive spending helps to establish timing and scheduling for media selected
later in the planning process. Media expenditure data can be purchased from reporting
services, but does not provide a perfect picture of the competition and should not be interpreted
literally. They are never quite complete, not precise in that they do not incorporate discounts,
and do not break down spending between brands accurately. The planner should assess
accuracy by comparing the findings for their own brand to actual media use.
Canadian sources of competitive spending include:
§
Nielsen Marketing Research - Media Services
o Advertising Expenditure Tracking
o GRP Tracking
§
Other Sources
o Media Measurement Services
o trade press
o local media sales people, media reps, local media research departments
o company's own sales force
Analyzing the Data
How much information is used, and how much it affects media planning, will depend on the
advertiser's marketing objectives and what effect competitors would have on preventing
attainment of those objectives.
i)
ii)
iii)
Try to assess weaknesses in the competitor's media tactics.
Examine spending by advertisers who lead in SOM.
Use it as part of an organized gathering of marketing information about the competitors.
60
Using Competitive Media Expenditure Analysis
An analysis is helpful to know what the competitors have done, but not necessarily as a means
of knowing what to do as a result. The following is a list of uses of a competitive media
expenditure analysis developed by the staff of Media Decisions:
§
§
§
§
§
§
determine the regionality and seasonality of competitive brands;
estimate ad budget and media mix by market;
spot new product tests and track new brand roll-outs;
infer how competitors view their target audiences, how they profile their brands, where they
seek to position themselves;
make better decisions as to where to meet them head-on and where to outflank them;
estimate how much it will cost to get into a market, who's already there, and which
competitive product types are growing fastest in the new product's target segment.
Canadian Sources of Marketing Data
Ø
Ø
Ø
Ø
Ø
Ø
AC Nielsen Company
BBM's RTS Study
ComQuest Research Group
PMB Product Profile
Stats Canada
Financial Post Canadian
Markets
Ø
Ø
Ø
Ø
Ø
Ø
Trade Associations
Provincial Governments
Regional Governments'
Chamber of Commerce
Consumer reports
Media research
61
DOS AND DON'TS IN MARKETING OBJECTIVES AND STRATEGIES
DON'T
DO:
Remember that marketing objectives
must be specific, measurable, time
limited, relate to the target market, and
focus on affecting target market
behavior.
•
•
Consider sales objectives, target
market size, and problems and
opportunities when establishing
marketing objectives.
•
•
Keep each marketing objective to one
sentence and rationale to one brief
paragraph.
Do not include communication goals
with marketing objectives.
Concentrate on goals that change
consumer behavior. Marketing
objectives alter actual behavior while
advertising objectives alter a thought
process.
•
•
Make strategies descriptive statements
of how marketing objectives will be
achieved.
Don't let strategies become too
executional and bogged down in
tactical details. Keep strategies broad
and directional.
•
Include all meaningful strategies from
problems and opportunities.
•
•
Make sure strategies will help meet
objectives.
Don't limit the focus to one or two
marketing areas. Remember that
marketing strategies should include
direction across all areas of
importance to your marketing plan.
•
Take time to develop objectives and
strategies as they form the basis of the
whole marketing plan. Review them.
•
•
Whenever possible, steal market share;
it's easier and less expensive than
building the market.
Don't become stagnant in your
strategic thinking. Initiate marketing
R&D so new and proven marketing
programs replace those that aren't
working - or make an existing program
even better.
•
Don't expect the majority of marketing
R&D testing programs to be
successful. Remember most new
ideas fail but only a few successes will
keep you ahead of the competition and
pay for your mistakes.
•
•
It's easier to build on marketing
strengths than to improve weaknesses.
•
Don't limit number of marketing
objectives to just one.
Don't write slogans and think they're
objectives. "To be the best" is not
measurable or time specific.
62
DOS AND DON'TS IN WRITING POSITIONING STATEMENTS
DO:
DON'T:
•
Position with a meaningful difference.
•
Position to take advantage of normal usage, not
to try to change it.
•
Position from your product's strengths and
competitor's weakness, keeping in mind that you
could possible change a product weakness to a
strength if it leads to a stronger position for your
product.
•
Don't try to position your product to be
everything to everybody. To position means
to sacrifice.
•
Don't position against a follower if you are a
leader.
•
Unless you can deliver on a lower price on a
consistent basis, don't position only on
price.
•
Don't change a positioning that has been
proven successful if there have been no
significant changes to your product, the
competitors' products, or the target market.
•
Attempt to sharpen the focus of your
established positioning to present a clearer
perception of your product in the minds of
the consumers.
•
Don't position directly against a competitor if
at all possible.
•
Don't position against a leader unless your
plan to settle for less than 1st or you have
definite product superiority and the
marketing resources to outlast the leader.
•
Consider combining your product differences for
a stronger positioning.
•
Use quantifiable market research whenever
possible.
•
When confused on how to position your product,
let the target market and their wants and needs
be your guide.
•
If you have a parity product, for a meaningful
need or want that has not been taken by the
competitor.
•
Use the product's name whenever appropriate
for successful positioning.
•
Make sure all the elements of the marketing mix
reinforce your positioning.
•
Don't use two different positionings for the
same product to the same target market.
Give your positioning a chance to be successful
by supporting it with a reasonable investment of
time and marketing resources.
•
Don't position your product in such a way
that it cannot deliver on the positioning.
•
Don't, if possible, change your positioning in
one large leap unless you are prepared to
lose a large portion of your current customer
base.
•
Position one step at a time, but think long
term.
•
Don't take the first positioning that comes to
mind. Review a number of alternatives.
•
Don't expect to arrive at your positioning
immediately. While it seems like a simple
concept to understand, it is extremely
difficult to apply. It takes time and
concentration. Don't settle for an "almost
right" positioning. Persevere for the best
positioning.
•
•
Make your positioning statement as simple and
succinct as possible.
63
Before You Begin Planning
Media plans have many different formats depending on agency and client needs as well as the
research available. In general, the more information that can be obtained before beginning the
planning process, the better. Toward that end, agencies develop briefings for both the creative
and media teams to help them write plans. The names for these media briefings differ
depending on the agency but, in general, they provide an overview of the current situation, as
well as information that can be used in each section of the media plan.
A sample Strategic Planning Document and a Media Briefing Document that would be
developed by the account team, with lots of input from the client and media planner, can be
found at the end of this workbook. While the samples are somewhat more suited to a packaged
goods advertiser, the document can be adapted to suit a number of different types of accounts
(ie. retail, business-to-business, service, nonprofit).
Much of the information contained in the Strategic Planning Document could be sourced from
the Situation Analysis if it is available. As often as not, however, a Situation Analysis is not
available from the client and the Overview section of the Strategic Planning Document takes its
place.
In general, the Strategic Planning Document:
•
provides a business review (historical & current), as well as an overview of the marketing
and advertising objectives and strategies for the upcoming year,
•
reviews competitive activity (market/segment/brand),
•
details the product or service's creative strategy and requirements,
•
outlines upcoming promotion plans,
•
provides the necessary data for establishing media objectives,
•
allows for interaction between the Brand Group and their management, the Account Group,
and the Media Department, and promotes a team effort in the development of the Media
Plan,
•
provides a disciplined and thorough documentation of the Client's business and their media
needs.
•
should be approved and signed by each agency department before progressing to the
Media Plan.
The following pages provide an explanation of the overview and marketing plan sections of the
Strategic Planning Document with explanations, questions, and exercise inserted throughout in
order to clarify and reinforce the planning process.
64
Overview and Marketing Plan
Overview
The first section of the Strategic Planning Document is the overview and should be completed
by the account group to provide the planner with a summary of the brand's historical
background and current position in the marketplace. For each category listed below, a brief
outline of the market/brand's current and historical position is provided. Exhibits are used where
appropriate.
1. Stage in Product Life Cycle:
It is important to determine where in the product life cycle the product is, as this has impact
on how the advertising, and therefore media, will be planned. The following is an outline of
the various stages and how they impact advertising.
•
Introduction - a period of slow sales growth when the new product idea is being
introduced into the market. A high advertising investment is needed, however, losses
are frequent due to high start up costs. Informative advertising is designed to create
demand and promote trial, between innovators and opinion leaders. Reach and
frequency levels are high.
•
Growth - a period of rapid consumer acceptance when competitive brands are entering
the market. This period may require an increased investment in advertising to protect
the brand from competitive pressures. Persuasive advertising in this stage is designed
to continue to create awareness with the added aim of positioning the product and
building brand preference. Trial and repeat purchase incentives may be offered.
•
Mature - during the period of product acceptance, sales are maintained or may decline.
Fringe brands drop out of the market. However, the market is still very competitive.
Advertising is defensive in nature and designed to maintain or reinforce past messages,
maintain current users and reinforce brand loyalty. Promotional efforts take priority over
advertising as brands try to maintain SOM.
If rejuvenating the brand, an advertiser may extend the product life cycle by introducing
new uses, finding new users (in which advertising is key). Retentive advertising is used.
•
Decline - sales decrease as customers shift to more innovative products. Both prices
and advertising efforts decline as well as the focus becomes on cutting costs to maintain
profitability.
2. Current and Historical Sales:
This includes an outline of the sales for the brand being advertised, a description of where
the brand is now in terms of SOM and how it got there. The geographic sales distribution,
market size in dollars/units, competitive market shares, seasonal and price effects should be
included also, as available.
65
3. Distribution Channels:
Key points in this section would include how the brand and its competitors distribute the
products, shelf facings, inventories, out-of-stock situations, methods of selling, display and
advertising allowances, and how/why promotions are being used.
4. Product:
The history of the product and how it was developed should be outlined as well as any
product changes and the effects on competitive brands. Consumer perceptions of the
various brands should be discussed.
5. Seasonal Effects:
An outline of current and historical seasonal effects on brand and category sales, if any.
More detailed data (ie. monthly brand, competitive and category sales) may be provided in
an exhibit or in the media objectives section of the planning document.
6. Price Effects:
An outline of what, if anything, affects pricing of the product has on sales currently and in the
past, and an indication of whether or not there will be any periods when the price will be
reduced. Competitive information, if any, should be outlined as well.
7. Purchaser of the Product:
A brief description of who purchases the product including both demographic and
pyschographic information.
8. Consumer of the Product:
A brief overview of the consumer of the product (segmented if possible by heavy, medium
and light users) who will likely influence the purchase. Demographic and psychographic
should be included.
9. Competitive Analysis
This section should include any available information on the competition (ie. products, sales,
SOM, SOV, distribution, pricing, seasonal effects, target audience, etc.).
10. Advertising and Media Analysis
Historical and current advertising trends for the brand and competitors should be outlined in
the section. Changes versus year ago should be noted as should be the effects of
competitive advertising activity on the brand during the past year.
11. Outlook for Next Fiscal:
From the advertiser's Strengths/Weaknesses/Opportunities/Threats Analysis (SWOT), the
problem areas and opportunities for the upcoming fiscal are summarized.
i)
Problem Areas - an area that demands action to correct the situation. Finding
the cause if the first step toward changing the situation.
ii)
Opportunities - a marketing activity that, if adopted, may result in an advantage
over the competition.
66
Marketing Plan Overview
This provides an outline of the following for the next fiscal.
a.
Marketing Objective:
Make sure the objective(s) are related to achieving specific goal(s), are quantifiable,
measurable, and time specific.
b.
Marketing Strategy:
Develop strategies regarding Product, Place, Price, and Promotion, which you will use to
achieve the aforementioned objectives.
For instance:
Product:
Package Surpass Antacid Gum in the new 12 and 24 blister packs with
cardboard sleeves.
Distribution:
Handle distribution through broker sales organization specializing in the
sale, merchandising and distribution of OTC drug products.
Obtain product placement with other OTC stomach remedies.
c.
Positioning Statement:
Use the formula: To (target group) (brand name) is the (frame of reference) that (USP).
Outline, in a simple, straightforward and concise statement, specifically what you want
the CONSUMER to think, feel, or believe about the product.
d.
Source of Business:
(ie. increased usage among present customers, attract nonusers, switch competitive
users)
Communications Plan Overview
The communications plan deals with the translation of marketing into advertising sales
promotions, direct marketing and public relations. Advertising is often the most visible form of
communication to external and internal target audiences. Each of the promotional tools should
be integrated is such a way that all "speak with the same voice" while contributing to the
achievement of the marketing objectives.
Before beginning this section of the plan, the advertiser needs to determine what it is that can
realistically be accomplished (ie. build awareness, recognition, positive image, store traffic,
customer leads). Development of the plan is a three-step approach: define the objectives, write
the strategy, and then detail what will go into the execution.
67
Advertising Objectives deal with what the advertising is expected to accomplish. Like the
marketing objectives they should be: specific, measurable, time limited, and should relate to the
target audience. Advertising objectives nearly always will define awareness and attitude goals
as they relate to the target audience. A brief, but specific, rationale should follow the advertising
objectives defining why the objectives are attainable.
Five types of advertising objectives are discussed below:
•
Awareness - create or increase awareness for a specific product that has a
predetermined target audience.
•
Acceptance - position product as an attractive purchase alternative so the consumer
realizes that the product fills a need.
•
Preference - have consumers prefer and purchase one brand over another and
secure "top-of-mind" status in the minds of the consumer.
•
Buying Intentions - stimulate or prepare the consumer to buy a specific brand
especially when 2 brands have the same image. The consumer may need an
advertised promotional incentive to pick one over the other.
•
Purchase Response - induce consumers to purchase a brand. This is difficult to
measure except in direct response advertising due to numerous variables.
Sample Advertising Objective
To build and maintain awareness for Scoop Ice Cream among W25-54 who have children 2-11,
and to gain acceptance of Scoop as a great tasting, easy to make alternative to regular ice
cream. To stimulate trial through promotional incentives.
The advertising strategy, sometimes called the creative strategy, is the catalyst of effective
advertising, providing direction on what should be communicated and how it should be
communicated. It outlines how the advertising objectives will be accomplished and may include:
•
•
•
•
•
•
A description of the target market,
An outline of the brand's positioning or "the promise" with support,
The tone of the advertising,
The allocation of dollars between consumer and trade,
Any special advertising or promotional features, and
The role of research.
The positioning statement will provide direction for the advertising strategy since the key to
developing an advertising strategy is to differentiate your product from the competition. Each
word in the advertising strategy is critical. Keep the strategy simple for clarity and single minded
for focus.
Depending on the marketing plan, there may be an overall campaign strategy with additional but
separate advertising strategies for specific geographic or demographic groups, promotions or
trade advertising. All should work together to proved for a unified advertising campaign.
68
69
As with the objectives, a brief, but specific, rationale should follow the outline of the advertising
strategies. The rationale should discuss how the strategies would help accomplish the
objectives.
Listed below are a number of elements that may be included in the strategy statement:
•
•
•
•
•
•
•
•
communicate unique attributes and benefits,
increase frequency of use,
inform consumers about the various uses of the product,
attract new users,
communicate product improvements,
inform consumers about line extensions,
communicate promotion incentives,
convey a favorable corporate image.
Sample Advertising Strategy Statement
To use mass media advertising to communicate in a fun and light-hearted manner, the unique
attributes and benefits of Scoop Ice Cream (great taste, easy-to-make, healthy and economical), to
W25-54 who have children 2-11, as well as to attract new users and communicate promotional
incentives. A usage and attitude study will be conducted to track consumer attitudes and usage
patterns.
Objectives for Sales Promotions, Direct Marketing and Public Relations are similar, in that they
must outline the specific task to be accomplished, be measurable and have a specific time
frame in which to be accomplished.
Sales Promotion Objectives detail what the sales promotions are designed to accomplish with
the consumer and/or trade. They define its role in selling the product or service and achieving
the marketing objectives. They must be quantifiable and time specific, usually shorter term than
advertising objectives due to relatively quick response generated by most sales promotions.
Some examples of consumer objectives include:
•
•
•
•
•
•
•
•
•
•
•
Stimulate (re)trial of the brand.
Maintain brand loyalty.
Increase usage and/or purchase.
Encourage purchase of other products.
Reinforce advertising or marketing efforts for more immediate results.
To encourage more frequent use.
To encourage current users to use in a different way.
To build brand awareness.
To encourage purchase continuity.
To encourage multiple purchase of the product (pantry loading).
To increase traffic, awareness or to raise transaction value.
70
Some examples of trade promotion objectives include:
•
Gain distribution.
•
Encourage support for consumer promotion.
•
Raise or lower inventory levels.
•
Strengthen relationship with distributor or salespeople.
Sales Promotion Strategies provide a broad outline of how sales promotion elements will be
deployed to achieve objectives. May contain product positioning, allocation of funds, special
promotional features to be used, a statement of the role of research, and evaluation techniques.
Some examples of sales promotion strategies include:
Consumer
Samples, coupons, price promotions, price packs, money back offers, contests,
sweepstakes, premiums, frequency programs, POP displays.
Trade
Trade deals, trade contests and incentives, trade shows, sales support, coop
advertising.
Public Relations Objectives detail what the public relations campaign is designed to
accomplish. Must complement and reinforce organization’s objectives. Usually stated in the
form of program outcomes (ie. To create awareness). A stated objective should be evaluated
by asking: 1) does it really address the situation? 2) is it realistic and achievable? 3) can
success be measured in meaningful terms? Can be informational or motivational in nature.
Five main objectives include: message exposure, accurate dissemination of the message,
acceptance of the message, attitude change, and an change in overt behaviour.
Examples of PR Objectives may include:
•
•
•
•
•
•
•
Keeping management in touch with public sentiments.
Aligning the organization with public attitudes.
Correcting or updating public perceptions.
Promoting goods or services.
Adding value to brand.
Responding to crisis situations.
Expose audiences to information and create awareness; changing attitudes and
influencing behaviour.
Public Relations Strategies describe how, in concept, an objective may be achieved (ie. News
releases, special events, etc.). Should state key themes and messages for the overall program.
A program may have several strategies depending on the objectives and designated markets.
Allocation of funds, statement of the role of research, and evaluation techniques should be
included.
Tactics may include: press releases, video news release, press conference, special events,
product placement, cause related marketing, public service or advocacy advertising.
71
Direct Marketing Objectives are specific, measurable (quantifiable) goals that are to achieve
within a certain period of time. They should clearly state the task (ie. achieve 20% response),
purpose for completing the task (maintain leadership position), and a reasonable time
measurement (within the next 6 months).
Direct marketing objectives fall into two broad categories: (1) either acquire new customers and
prospects at the lowest possible cost (front end marketing), or (2) maximize the value of
customers and prospects through conversion, retention, and repeat sales (back end marketing).
Direct marketing objectives may include achieving: double digit response (x%), x% response
over baseline, x% increase in leads, cost per lead of $x, specific number of sales, cost per sale
of x%, volume of overall sales (revenue), specific E:R ratio.
In direct marketing, achieving your objectives means that you need to motivate your customer to
do something, to take action. You can ask people to: buy something by mail or over the phone;
ask for catalogues, brochures or other information; request a demonstration; visit a retail
establishment, show or exhibition; or take part in some action.
Direct Marketing Strategies include the events, methods, etc., that crisply define the kinds of
actions that should be taken to solve a problem, that is, to complete an objective. Strategies
should include a logical sequence of activity that will outline actions for the next 12-month
period.
Areas which should be considered are: potential message to the audience/different segments;
appropriate offers; initial media mix; testing pricing, communications design and content, lists,
database segmentation, media mix, etc.; ongoing communications; measurements; potential
return.
72
DOS AND DON'T OF ADVERTISING PLANNING
DON'T
DO
§
Make sure that marketing leads the
advertising.
§
Don't confuse advertising with other
communication tools.
§
Use positioning as the bridge to
effective advertising.
§
Don't expect advertising to make the sale
by itself.
§
Use a disciplined, step-by-step
approach in developing advertising.
§
Don't advertise if you cannot deliver the
product as advertised.
§
Make sure your advertising objectives
are measurable.
§
Don't expect to sell anything without first
making the target market aware of your
product or service.
§
Make sure your advertising strategy
has a focus.
§
Develop specific advertising objectives
and strategies for each target market if
advertising to more than one.
Don't begin creating advertising before you
have an agreed upon advertising objective
and strategy.
§
Don't accept any creative approach unless
it is on strategy.
§
Don't create advertising that is so
expensive to produce that you can't afford
adequate media to deliver the message.
§
§
Develop campaigns, not just ads.
73
Chapter 7 – Strategy Planning I
Chapter 8 – Strategy Planning 2
Chapter 10 - Principles of Planning Media Strategy
The next part of the Strategic Planning Document is the media objectives, which are developed
by the media planner in concert with the account group and the client. As stated previously,
media objectives should provide clear and definitive direction in terms of whom the advertiser is
trying to reach (target), when (seasonality), where (regionality), what (creative considerations),
how (weight emphasis), and why (the rationale for each section). Media objectives also include
the planned budget.
Target Market
•
Distinguish between mass markets versus target markets.
•
Explain why advertisers still use mass media to reach defined target groups.
•
State the primary goal in identifying a target market. Outline the first action a media planner
makes regarding this target market.
74
Analyzing Media Research Data
To define media objectives, media planners use a number of sources, including the PMB
Product Profile, Usage and Attitude Studies, Nielsen Consumption Patterns, client research,
U.S. data (ie. Simmons, MRI, U.S. client data). The text shows an example of Simmons Market
Research data in Exhibit 7-2. The setup of the report shown in the text is much the same as
that found in Canada’s PMB.
•
Explain what an index means and why it is used in selecting target audiences.
•
In searching for demographic target segments, is the segment with the highest sales % or
usage number always the best target? Explain.
•
In searching for demographic target segments, is the segment with the largest index always
the best target? Explain. (See Exhibit 7.6)
75
Using Psychographic and Lifestyle Analysis
•
Discuss the use of psychographics in selecting target groups.
•
Consumer lifestyles are often advocated as discriminators in selecting targets. Are lifestyles
always necessary in selecting media targets?
76
How to Read a PMB Crosstab
Crosstabs (or, more formally, crosstabulations) are designed to allow the planner to analyze the
consumer of a product based a certain set of criteria (ie. sex, age, occupation, activities, etc.).
Exhibits 7-2, 7-7, 7-8, and 7-9 are examples of crosstabs used for target group analysis. Refer
to the notes on Exhibit 7-2 to help you read the crosstab.
Columns
The first column in a crosstab is usually the total base column (in this case Adults) that allows
the planner to see how large a group each row represents. Other columns represent the target
group about which the planner wants to obtain information (ie. medium to heavy users of bottled
water).
For instance:
There are 198,450,000 adults in the United States. Of those adults, 95,259,000 are men.
Column % (Vert %)
The column or vertical percentage is an indication of what percentage of the target group
(column heading) is in a particular demographic group (row title). The percentage is calculated
vertically and refers to the column heading.
For instance:
Of the 52,856,000 medium/heavy bottled water users in the US, 44.3% of them are men
and 55.7% of them are women.
Formula:
(23,423,000/52,856,000) x 100 = col %
Or, said another way, 44.3% (Col%) of medium/heavy bottled water users in the US (Column
Heading) are men (Row Title).
Formula:
Col% of column heading are row title.
Rows
The first row in a crosstab is usually the total that allows the planner to determine the total
number of people in the target represented by each column. The remaining rows represent the
different demographic or psychographic categories into which the target group may be
categorized (ie. Men/Women).
For instance:
There are 198,450,000 adults in the United States. There are 52,856,000 medium/heavy
bottled water users.
77
Row% (Horz %)
The row or horizontal percentage is an indication of what percentage of the demographic group
(row) uses a particular product, service, or belongs to a certain group. The percentage is
calculated horizontally and refers to the row title.
For instance:
Of the 198,450,000 adults in the United States, 26.6% are medium/heavy bottled water
users.
Formula:
(52,856,000/198,450,000) x 100 = 26.6%
Or, said another way, 26.6% (Row %) of adults (row title) are medium/heavy bottled water users
(column heading).
Formula:
Row % of row title use column heading.
How to Use an Index
An index:
•
is a measure of the relative degree of association between two variables (ie. between
readers of a publication and a demographic characteristic like age, sex, income, etc.).
•
is used to compare usage of a product (or sales, SOM, SOV) to the average population,
and/or
•
is used to evaluate a group's propensity to use a product (how likely are they to use it).
•
>100 - indicates a positive association, or overdeveloped usage vs. population (more likely
to use),
•
<100 - indicates a negative association, or underdeveloped usage vs. population (less likely
to use),
•
of ± 10% is usually considered not a significant over/underdevelopment (ie. Index of 90 110).
For instance:
Adults 35-44 are a large group and account for 22.50% of the US adult population, however,
they account for an even higher percentage of medium/heavy bottled water users at 25%
(almost one quarter of those users). The index of 111 shows how much the product is being
used when compared to the potential (or population proportion). This index indicates higher
than average usage and hence, indicates a high potential for sales. A65+ do not index highly
(Index 54) and would not represent a significant target to pursue.
78
Media Exposure
In addition to product usage information, PMB collects data related to the respondent's
exposure to media other than the magazines surveyed. Included are:
•
the number of hours tuned to electronic media;
•
exposure "yesterday" and frequency of exposure to daily (M-F) newspapers;
•
exposure to "last Saturday's" issue and frequency of exposure to Saturday
newspapers;
•
exposure to "last Sunday's" issue and frequency of exposure to Sunday
newspapers;
•
exposure to local community newspapers;
•
potential outdoor exposure (through miles driven);
•
use of bus, streetcars or subway;
•
shopping mall visits.
Quintiles (See Exhibit 5-8 pg. 101 for an example)
Using a base of A18+, quintiles are established by ranking, in descending order, the total hours
tuned or the aggregate magazine readership. The list of respondents, in each case, is then
broken into equal fifths, or quintiles. Quintiles are designed to be interpreted easily with
description ranges (such as more than 30 hours) used for the published data. These descriptive
quintiles, however, do not always distribute the population into perfect fifths. The media planner
uses these descriptive quintiles to determine whether or not their target group is heavy users of
the particular medium (V%) versus the average population (Index).
TV Quintiles
(W kly Viewing)
Radio Quintiles
(W kly Listening)
Magazine Quintiles
(Total Read Monthly)
Quintile 1
Under 9 Hours
1
< 3.5 Hours
1
< 1.25
2
9 - < 16 Hours
2
3.5 - 9 Hours
2
> 1.25 - 3.5
3
16 - 23 Hours
3
9 - 17 Hours
3
3.5 - 5.5
4
> 23 - 33 Hours
4
> 17 - 33 Hours
4
> 5.5 - 8
5
> 33 Hours
5
> 33.5 Hours
5
>8
Note:
# of hours spent listening or magazines read monthly in each Quintile may vary slightly between PMB surveys.
79
Target Group Definition
Using the information provided PMB handouts, the information contained in the case, and the
explanations contained in the text and this workbook, detail the demographic profile for the
assigned product or service. Indicate whether or not the target group consists of the primary
purchaser or the user of the product. Rank the relative importance of each element.
Then, write the target group objective using the following checklist.
Writing the Target Group Objective
The media target group is used in the planning, measurement and evaluation of various media.
When writing the target group objective and support, consider the following:
_
_
_
_
_
_
_
_
_
_
_
_
Is the target group definition broad or narrow?
What are their lifestyles/attitudes/values?
What is their language preference?
Are they current, new, or nonusers of the brand or category?
Are they heavy, medium, or light users of the brand or category?
Do a small percentage of heavy users account for a large percentage of product usage?
Are they the purchaser or purchase influencer?
Is there a secondary target group?
What percentage of the population does the target group represent?
Are they more easily reached by or exposed to one medium versus another?
Are they attracted to a particular editorial environment/daypart?
What is their exposure to competitive advertising?
80
Regionality
•
There are a number of answers to the question of where to advertise. List the five outlined
in the text.
•
Outline the risks involved in an offensive strategy.
81
Classifications of Geographical Areas
Sales should be analyzed by different geographical patterns, from the largest regions of the
country to the smallest neighborhoods to learn precisely where prospects live.
Exhibit 7-13 outlines the regional sales of a company and its competitors. This is similar to the
information found in PMB data on the main regions in Canada.
Exhibit 7-14 shows the sales breakdown by county size. Again, this is similar to the information
reported by PMB for the community sizes listed as 1.0MM+, 100.0M - 1.0MMM, < 100.0M.
In Canada, the following are commonly used geographical categories:
•
Regions and/or Provinces (Maritimes, Quebec, Ontario, Man/Sask, Alberta/NWT, British
Columbia & Yukon).
•
Urban or rural
•
TV market delineation such as Designated Market Area (DMA) or Central Market Area
(CMA)/Extended Market Area (EMA).
•
Radio market delineation such as Full Coverage (FC) or Central Area (CA).
•
City Zone and Retail Trading Zone.
*
*
*
A Markets - 100.0M+
B Markets - 10.0 - 100.0M
C Markets - < 10.0M
]
]
]
In text, these are
described as
A, B, C and D
counties
In addition, information can also be obtained for individual BBM cells, forward sortation areas or
FSAs (the first 3 digits in a postal code), individual postal codes, and specific postal walks.
•
Indicate why an advertiser would consider studying usage patterns (ie. heavy, medium and
light) when determining the best areas in which to advertise.
82
Category Development Index (CDI)
The CDI (also known as the MDI - Market Development Index) is used to compare the usage of
a product on a region-by-region basis. In a PMB Crosstab, people in a region with an index of
>100 have a greater propensity to use a product than people in a region with indices of <100.
(A region with an index of 100 is in line with the national average.)
•
Canadianize the formula for calculating the CDI in Advertising Media Planning.
Brand Development Index (BDI)
The BDI is used to compare the usage of a product not only on a region-by-region basis, but to
the category usage as well. Marketers compare the Category Development Index (CDI) with the
BDI to see if there are any areas of growth opportunity.
ie.
•
If the CDI is overdeveloped and the BDI is underdeveloped in one region, it indicates
that consumers use the product but not the client's brand. There may be the opportunity
to grow the business in that region by encouraging brand switching.
Canadianize the formula for calculating the BDI in Advertising Media Planning:
Brand Sales/Region
A brand's sales/region is an important factor to consider when ranking regions. A region that
accounts for a large percentage of sales is important to consider, even if it should have a low
CDI (MDI) or BDI.
Once the MDI and BDIs are calculated, the regions/markets are ranked in order of priority to aid
the planner in selecting the markets in which to advertise. The planner must consider also if
there are any mandatory markets that must be included in the buy (ie. the client really wants to
advertise there).
83
Referring to Chapter 7 in Advertising Media Planning, complete the following.
•
List and explain the relationship between high/low CDIs and BDIs using the four examples
given in the text.
High BDI/High CDI
Low BDI/High CDI
High BDI/Low CDI
Low BDI/Low CDI
•
What is the value of knowing a brand development index (BDI) number of a given market?
•
Can advertising be used to increase sales of a brand in low CDI markets?
84
Discuss four ways to determine a market list "cut off" point. Outline the problems in determining
"cut off" points.
85
Chapter 8 provides additional information regarding the selection of markets in which to
advertise in the section Geographic Weighting starting on page 193.
•
Briefly describe the concept of geographic weighting.
•
Outline the three forms of geographic weighting explained in the text.
86
•
In your own words, describe the general concept used when applying extra weight to
markets.
•
Market potential, as a basis for weighting, depends on any one, or perhaps all, of the
following considerations:
Using the information provided in the PMB handouts, the information contained in the case, and
the explanations contained in the text and this workbook, complete the Regionality section of
the strategic planning document.
Once you have completed this section, write the regionality objective, keeping the following
points in mind:
Determining Regional Objectives
When writing the regional/market objectives and support, the planner weighs the following:
•
Are the priorities established individually or in combination by:
•
•
•
target population?
% volume importance (brand/market/competition)?
development indices (brand/market/competition)?
•
What is the agent/dealer/sales force importance?
•
What are the distribution patterns? Does that affect the market selection?
•
Are there promotions planned in one region versus another?
•
Are there any problem/opportunity markets?
They also think about:
•
national vs regional vs local medium/media mix,
•
strength of various media by region/market,
•
efficiency by region/market.
•
response to advertising or other promotional efforts by region (if available).
87
Seasonality
As important as it is to advertise to the right people in the right place, the planner must be able
to determine the right time to reach those people for the advertising to accomplish the
objectives. To do this the planner reviews the seasonality of the product as well as the category
to determine when sales and/or usage of the product are at their highest. At times, the category
sales may differ from the brand, in which case, the planner should review the reason(s) for this
variance. Usually, the normal media practice is to concentrate media weight when the target
group is most likely to purchase.
A key point is to lead the natural buying season, placing heavier weight levels of media just prior
to the heavier sales period(s). This is done to pre sell the consumer, building awareness and
putting the consumer in a positive mode to purchase the product when the buying season
arrives. Then, it is most efficient to reduce media weight just before the end of the buying
season so media dollars are not being invested against a diminishing market. The established
awareness should carry through the latter portion of the sales period.
•
These are just a few of the considerations the planner takes into account while developing
the seasonality objective. Using Chapter 7 in Advertising Media Planning, outline the
complete list of considerations that affect decisions about when to advertise.
88
In Chapter 8 of Advertising Media Planning (page 218), the concepts of continuity, flighting and
pulsing are discussed. The important part of media planning is to schedule advertising so that it
appears during the most beneficial selling times. Media planners control the pattern of times
when advertising appears by plotting advertising timing on a yearly flow sheet.
•
Illustrate and explain the terms continuity, flighting and pulsing. Make sure you describe the
advantages/disadvantages of each and the reasons why each is used.
89
Weight Emphasis (Reach/Frequency/Number of Markets/Continuity)
As outlined in Chapters 8 and 10 of Advertising Media Planning, reach refers to how many
different people are exposed to a vehicle at least once, while frequency refers to how often they
are reached in a given period of time (often 4 weeks). Continuity is the consistency of
advertising placement (also called duration), and the number of markets refers to the coverage
of markets across Canada, or on a regional basis.
Because these four elements are so closely related, media objectives should state whether
reach, frequency, continuity, or number of markets is to be the goal. The rest should be ranked
in order of priority with a rationale as to why each is or is not needed.
When to Emphasize Reach or Frequency
Almost all media plans cover the subjects of reach and frequency. But there are times when
reach is emphasized more than frequency, and other times when the opposite is true.
•
List and discuss the times when reach should be emphasized over frequency.
90
•
Discuss when frequency should be emphasized over reach in a media plan.
91
Ostrow's "Factors That Affect Effective Frequency"
Using Ostrow's "Factors That Affect Effective Frequency," determine the effective frequency for
the selected product or service.
Marketing Factors Affecting Frequency
Factor
Range
Factor
Comments
Established Product
-.2
-.1
+.1
+.2
New Product
Repetition helps consumers learn a
message. New products need to be
learned.
Established Brand
-.2
-.1
+.1
+.2
New Brand
New brands need to be learned.
High Share of Market
-.2
-.1
+.1
+.2
Low Share
High SOM assumes that brand loyalty
must be high. Thus, less frequency is
needed.
Dominant Brand
-.2
-.1
+.1
+.2
Less known brand Dominant brands may not benefit
from more repetition if the market is
saturated. Smaller, less well known
brands can benefit from more
frequency.
High Brand Loyalty
-.2
-.1
+.1
+.2
Low Brand Loyalty An inverse relationship usually exists
between frequency and brand loyalty.
Long Purchase Cycle
-.2
-.1
+.1
+.2
Short Cycle
(High volume)
Consumers may want to do more
thinking about products with long
purchase cycles.
Product Used Occasionally
-.2
-.1
+.1
+.2
Daily
Products used often probably need
higher frequency.
Maintain Current Users
-.2
-.1
+.1
+.2
Convert New Users Need less frequency to maintain
Users that to induce brand switching
or attract nonusers.
Maintain Current Image
-.2
-.1
+.1
+.2
Change Image
Needs higher. Frequency if objective
is to change brand image.
High Share of Voice
-.2
-.1
+.1
+.2
Low SOV
If competitors have a high share of
voice, brand will need higher
frequency.
Low Spend Category
-.2
-.1
+.1
+.2
High Spend
If the category is cluttered with
Category competitive messages,
brand will need to spend more to
break through.
Easily Reached Target
-.2
-.1
+.1
+.2
Special Target
Special targets (ie. older consumers,
children, segments) may need higher
frequency levels.
High Interest Product
-.2
-.1
+.1
+.2
Low Interest
Consumers will become aware of
message more quickly if it a product
or brand in which they are interested
or have high purchase involvement.
92
Creative Factors Which Affect Frequency
Factor
Range
Factor
Comments
Simple Copy
-.2
-.1
+.1
+2
Complex Copy
Copy research augmenting good copy
may be needed to determine how
copy is perceived.
Unique Message
-.2
-.1
+.1
+.2
Very Common
The assumption is that unique copy is
an asset that translates into less
frequency.
Continuing
Campaign
-.2
-.1
+.1
+.2
New Campaign
New campaign introductions need
more frequency.
Product Sell
-.2
-.1
+.1
+.2
Image Building
Image campaigns are deemed more
complex and subtle, needing more
frequency.
Single Message
-.2
-.1
+.1
+.2
Different Messages This covers the question of how
much message variation there is, and
is tied to the number of commercials
in a pool.
Old Messages
-.2
-.1
+.1
+.2
New Messages
Measurements will need to be taken
to determine if old messages are
worn out.
Large Ad Units
(ie. 60 sec., 4CBDPS)
-.2
-.1
+.1
+.2
Small Ad Units
(ie. 15 sec.)
Advertising units in broadcast or
print may need more or less
frequency.
Factor
Comments
Media Factors Which Affect Frequency
Factor
Range
Low Ad Clutter
-.2
-.1
+.1
+.2
High Clutter
This is an oddity because high clutter
requires more frequency which adds
to the clutter.
Compatible Editorial
Environment
-.2
-.1
+.1
+.2
Non-compatible
Environment
An example of compatible
would be a bank commercial
appearing in a program on finance.
High Audience
-.2
-.1
+.1
+.2
Low Attentiveness Some media have higher
attentiveness
levels than others.
Continuous Support
-.2
-.1
+.1
+.2
Pulsed or
Flighted
Interruptions in advertising, such as
flighting, require more frequency.
Few Media Used
-.2
-.1
+.1
+.2
More Media
Each medium used may require a
minimum level of frequency.
Opportunities for
Repeat Exposure
-.2
-.1
+.1
+.2
Few Repeats
Certain media offer better and more
opportunities for repetition, and these
require less frequency.
Attentiveness
93
How to Determine Average Frequency Goals
Another concept to consider when establishing average frequency goals is outlined below:
Judgmental
Probability of
Producing Response
with Advertising Alone
Potential
Frequency
Range
Response
Definition
1 to 3
Recognition
Recalls advertising when shown/mentioned
the name of the product.
Least difficult
3 to 6
Unaided
Awareness
Names product when asked about the
category.
Difficult
4 to 7
Recall
Recalls advertising and identifies the
product.
More difficult
5 to 8
Learning
Associates information about the product
with the name.
Very difficult
6 to 10
Attitude
Prefers the product, positive attitude.
Extremely difficult
1 to 10+
Sales
Purchases
Most difficult
Source: The Successful Marketing Plan
94
Relationships among Reach, Frequency, Continuity and Number of Markets
•
Using the information in Chapter 10 of Advertising Media Planning, page 275, illustrate and
discuss the relationships between reach, frequency, continuity and number of markets.
95
•
Summarize the factors that the media planner should consider when weighting for:
_
High Reach:
_
High Frequency:
_
Extended Continuity:
_
Flighting:
_
Number of Markets:
96
Priority of Objectives
•
Recognizing the budget may not allow for all needs, it is imperative to clearly establish the
priority of objective and minimum acceptable levels for each. Describe what a media planner
should consider in setting the priorities.
97
Creative Considerations
The next section of the Strategic Planning Document outlines those parts of the creative
strategy which the media planner should take into consideration when selecting media for the
campaign. This is NOT an outline of the creative strategy, rather a shopping list of elements the
creative team considers important for achieving the brand's objectives. Usually, they will be
rated as either essential, important, or non-essential.
Creative Considerations
•
•
•
•
•
•
•
•
•
•
•
Requires Product and Package Identification
Convey Many Sales Points, Long Copy Detail
Convey Few Sales Points, Little Copy Req'd
Requires Demonstration
Requires 4 Colour Reproduction
Requires Illustrations, Visual
Announcements, New Approach
Requires High Quality Reproduction
Requires Sound
Create a Mood/Appropriate Environment
Couponing or Promotional Capabilities
Media Budget
If there are specific financial media parameters for the media plan, a statement is included as
part of the media objectives.
For instance: Execute an annual media plan at the $300.0M budget level.
Media Test Objectives
Media testing can involve studying the impact of adding an additional medium in a market,
determining the performance or value of a new medium, or evaluating the results of increased
spending in certain markets.
A brief statement of the test objectives, if any, should be included.
For instance: Test the impact on sales of increasing the media spending from 2% to 4% of
sales.
98
Chapter 13 – Setting and Allocating the Budget
Using one of the traditional methods discussed in the text, the client sets the budget and then
tells the agency how much is available to spend on advertising. The client and the agency
discuss whether or not the objectives can be accomplished within the allocated budget and, if
there is doubt, either the budget is increased or the objectives revised to be more realistic.
Setting budgets is somewhat of a guessing game and many different factors come into play,
including things that are beyond the client and agency’s control – things like the competition and
unpredictable media costs.
And there are times when the regional allocation of the budget is a consideration. For instance,
often franchisees contribute funds toward the national advertising budgets based on a
percentage of their sales. If they contributed $500.0M, they expect to get $500.0M worth of
advertising in their market, which is not always what happens for a variety of reasons.
Read Chapter 13 and answer the following questions on a separate sheet for discussion in
class. (Be prepared to hand in your answers if asked.)
1. Outline 4 things the planner must be absolutely clear about regarding the advertising budget
before starting to write the plan.
2. Describe the traditional methods of setting advertising budgets and discuss the pros and
cons of each. Indicate which is the most popular.
3. Another way to determine budget levels is to weigh different factors that can affect budget
size. Describe each of these factors and indicate whether or not these would indicate an
increase or decrease in the size of the budget.
4. Discuss the factors that affect the allocation of budgets on a regional basis.
5. Explain the concept of payout planning.
99
Chapter 10 – Principles of Planning Media Strategy
Chapter 10 (starting page 279) in Advertising Media Planning, outlines how to plan media
strategy. All media strategies are preceded and affected by media objectives and are actions
that need to be taken to attain a specific goal.
Outline the typical media strategies and alternatives outlined in the text.
100
Discuss ways to ensure a creative media strategy (page 269).
101
Before the planner writes the media strategy, a number of different options will have been
evaluated to determine which will best meet the objectives of the campaign. In each, there will
be a trade off involved; each will have advantages and disadvantages.
•
Explain the statement "If we can't make it up-front, the remainder will be wasted."
•
Explain why a number of alternative media strategies should be considered before one is
decided upon.
Writing the Media Strategy Statement
A media strategy is a broad outline of HOW the media budget will be allocated in order to
achieve the outlined media objectives. It may include:
•
the media mix and creative units being recommended (ie. Television, using 30 second
commercials, or magazines, using P4CB ads);
•
spending strategy for allocating budgets to geographic areas (ie. in line with competition,
CDIs, BDIs, growth/opportunity markets, new product launch);
•
reach/frequency/continuity/number of markets requirements (ie. minimum levels of reach
and frequency, desired number of weeks and when, mandatory versus desired markets,
minimum coverage of population);
•
heavy-up scheduling (if any);
•
CPM standards (if required);
•
and finally, a rationale for each point.
102
Chapter 9 – Selecting Media Classes – Intermedia Comparisons
Before the media planner writes the media strategy statement, they must select the most
appropriate media to achieve the objectives, and to provide rationale for those selected and
those considered but not recommended. The planner takes into account qualitative (benefits
and limitations) and quantitative (CPMs, CPRs, cost) considerations into account as well as the
competitive media mix. The prime objective in this section is to select the media, or media mix,
that will best fulfil the approved media objectives in terms of:
•
•
•
•
•
•
•
reaching the target group,
providing the necessary coverage of markets,
extending the campaign's duration for the required length of time,
meeting the desired reach/frequency requirements,
reflecting the seasonality of the product,
creative direction,
flexibility.
Chapter 9 in the text provides an abbreviated overview of the reasons why one might choose to
various types of media or combinations of media.
•
Using the following Media Value Checklist, indicate which characteristics have the most
significance to you for each medium. Once you have complete the checklist, review how
well each medium will help you accomplish your goals.
103
The Media Value Checklist
Medium/Characteristics
+ Force
- Force
a
Television:
Ø
Intrusive
Ø
Impactful with sight, sound, movement
Ø
Highly merchandiseable to the trade.
Ø
National-network and local-spot flexibility.
Ø
Sponsorship/program control potential.
Ø
Immediate broad reach potential across many target
audiences.
Ø
High frequency potential im selected dayparts (day, late
night).
Ø
Opportunities to flight or pulse in line with budget and
product potential.
Ø
Increasing concern with clutter and zapping.
Ø
High absolute cost.
Ø
Subject to sudden price escalation due to laws of supply
and demand.
Ø
A mass media with less-efficient delivery against
narrowly defined target groups.
Ø
Short-term delivery risks due to continuous
programming changes.
Ø
High costs for commercial production.
104
a
a
a
a
a
a
a
r
r
r
r
r
r
Significance
to Me
Medium/Characteristics
+ Force
Specialty TV
Ø
Highly selective programming to reach specialized
target audiences.
Ø
Sponsorship opportunities to achieve program identity.
Ø
Upscale audiences with higher incomes, more
education.
Ø
Product exclusivity.
Ø
Ability to test creative commercial ideas at low media
costs.
Ø
Low costs per commercial announcement.
Ø
Excellent CPMs.
Ø
Ability to build high frequency of exposure.
Ø
Less than full national reach, especially in rural areas
where cable penetration is not as high.
Ø
Coverage deficiencies in some markets since some
cable companies may opt not to offer channels or
channels may not be available on basic cable.
Ø
New specialty services have underdeveloped
audiences.
Ø
Concern regarding viewers' willingness to pay for
additional cable channels.
Ø
Concern regarding increased fragmentation of the
viewing audience.
105
- Force
a
a
a
a
a
a
a
a
r
r
r
r
r
Significance
to Me
Medium/Characteristics
+ Force
Radio
Ø
Local-spot flexibility.
Ø
"Theatre-of-the-mind" using listener's imagination.
Ø
Wide variety of formats and personalities for targeted
exposure to specific demographic segments.
Ø
Enhances a television campaign with audio "imagery
transfer."
Ø
Strong merchandising capabilities.
Ø
Significant local market identification.
Ø
Ability to build high frequency of exposure.
Ø
Reaches mobile audience often at point nearest to
purchase.
Ø
Good reach during the summer months when TV
viewing is at its lowest.
Ø
Low costs per commercial announcement.
Ø
Low commercial production costs.
Ø
Flexibility to change creative with little lead time.
Ø
Excellent CPMs.
Ø
Often used as a background medium for other
activities.
Ø
Limited to single audio dimension.
Ø
High cost for broad reach due to audience
fragmentation.
Ø
Limited number of 60 second avails.
Ø
A need for high repetition to communicate.
106
- Force
a
a
a
a
a
a
a
a
a
a
a
a
a
r
r
r
r
r
Significance
to Me
Medium/Characteristics
+ Force
Magazines
Ø
Significant audience selectivity against various
demographic and psychographic groups.
Ø
Compatible and product enhancing editorial
environment.
Ø
Long life with opportunity for repeat exposure.
Ø
Opportunity for longer reader exposure to ad message.
Ø
Excellent colour reproduction.
Ø
Creative opportunities with a variety of different space
units.
Ø
Wide geographic and demographic selectivity.
Ø
Broad reach potential through use of large circulation
magazines and/or a variety of different category books.
Ø
Strong reach among upscale target groups.
Ø
Builds audience among light TV viewers.
Ø
Good overall CPMs when pass-along readership is taken
into consideration.
Ø
Non-intrusive relative to other media because reader
self-selects subject matter.
Ø
Growing clutter in ad banks and low editorial ratios in
certain magazines.
Ø
Single visual dimension only.
Ø
Slow reach build.
Ø
Moderate to low frequency builder.
Ø
Coverage deficiencies in certain markets.
Ø
High regional and metro rate premiums.
Ø
Long lead times for space booking and ad production.
107
- Force
a
a
a
a
a
a
a
a
a
a
a
r
r
r
r
r
r
r
r
Significance
to Me
Medium/Characteristics
+ Force
Newspapers
Ø
Immediate, announcement value in newsworthy
environment.
Ø
Benefits from established reader habits.
Ø
Opportunity for long copy, shopping perusal.
Ø
Special interest targeting potential in specific sections
and papers (ie. college, ethnic).
Ø
Geographic targeting.
Ø
Merchandiseable to local dealers.
Ø
High local market penetration and identity.
Ø
Growing variety of space units.
Ø
Strong coop opportunities, with local retail support.
Ø
Short life span, with little repeat exposure of daily
issue.
Ø
Retail ad clutter with little competitive separation.
Ø
Predominately primary readership with limited
secondary or pass-along readers.
Ø
Declining readership among younger adults in
suburban areas.
Ø
High cost of running multi market campaigns.
Ø
High CPMs except for small space units.
Ø
Lack of consistency in page sizes between both
broadsheet and tabloid publications requires
production of numerous different ads.
Ø
Mass penetration allows little audience selectivity.
108
- Force
a
a
a
a
a
a
a
a
a
r
r
r
r
r
r
r
r
Significance
to Me
Medium/Characteristics
+ Force
Out of Home
Ø
Excellent reminder vehicle for supporting other
vehicles.
Ø
24 hour exposure, 7 days a week.
Ø
Opportunity for strong package and product
identification.
Ø
Geographic flexibility.
Ø
Strong local market presence.
Ø
Broad reach and frequency potential.
Ø
Impact of large space units.
Ø
Creative flexibility.
Ø
Opportunity to rotate units to maximize audience
delivery.
Ø
Positioning opportunities near point-of-purchase.
Ø
Excellent CPMs for broad target groups.
Ø
Limited to short, simple copy
Ø
Demographic selectivity difficult, although not
impossible.
Ø
Restricted availabilities in some markets, especially
during peak sales period.
Ø
High out-of-pocket costs for multi-market coverage.
109
- Force
a
a
a
a
a
a
a
a
a
a
a
r
r
r
r
Significanc
e to Me _
Medium/Characteristics
+ Force
Direct Mail
Ø
High degree of demographic, geographic, and "buying
behavior" selectivity depending on mailing list used.
Ø
Wide variety of sizes, shapes and forms.
Ø
Intrusive.
Ø
Numerous response options.
Ø
Flexible.
Ø
Excellent reproduction.
Ø
High reach potential against selected target groups.
Ø
Ability to build frequency through multiple mailings.
Ø
Timing is not subject to media availability.
Ø
Reaches target at home or at work.
Ø
Efficient if target is hard to reach with mass media.
Ø
Not a requested or purchased medium by the
consumer and must stand on its own for recognition.
Ø
Often regarded as "junk mail."
Ø
A short life, unless of some real interest to the
consumer.
Ø
High cost and CPM for mass distribution.
Ø
Impacted by postal regulations.
110
- Force
a
a
a
a
a
a
a
a
a
a
a
r
r
r
r
r
Significanc
e to Me _
The Media Execution (Tactics)
The Media Execution section in a media plan consists of three parts that flow logically together:
the written Media Execution, the blocking chart and the cost details. That’s how it’s put
together once everything has been decided.
However, when you’re actually trying to decide what you’re going to do, you work in reverse
order. You estimate costs first, then lay the plan (and several alternatives) out on the blocking
chart, do reach/frequency runs, decide which is the best plan, then write the execution
describing what you’re done.
The text doesn’t go into much detail on how to do this part of the plan so here are my
guidelines:
1. Media Execution – the written summary of the plan that outlines, in complete detail, what is
going to happen in each medium, starting with the primary media and following in order of
priority.
The layout and detail included in this section may vary depending on agency and client
needs but should, at minimum, include a discussion of the points outlined below.
If TV is recommended, have you described:
•
•
•
•
•
•
•
•
•
•
•
•
Whether you are using network, specialty, or spot television. Or a combination?
TV markets and rationale for selection?
Target group being purchased/rationale (if different from that outlined in media
objectives)?
GRP levels and number of weeks per market.
Daypart ratios/rationale and total GRPs/Reach/Frequency per
week/flight/campaign?
Number and length of commercials (and scheduling information if using more
than one length)?
Program types selected and rationale (audience delivery, demographics)?
Scheduling strategy (ie. heavy-ups, roadblocking)?
Promotions with station?
Approval dates?
Estimated spending? % of budget?
Provincial tax?
Example:
Thirty-second commercials, on a combination of specialty networks and spot television, will
be purchased over a consecutive six-week period starting May 16 and running until June 26,
2005. Much More Music, Prime, and Déjà Vu will provide national coverage and spot
television will provide increased emphasis in Ontario in line with category and brand
development.
In Ontario major markets, 200 GRPs (50%R/4.0F) will be purchased weekly for the first
three weeks to build awareness. Sustaining weight levels of 120 GRPs (40%R/3.0F) weekly
will be scheduled during the remaining three weeks. Over the six week period, a total of 960
111
W25-54 GRPs will be purchased and will deliver an estimated campaign reach/frequency of
85%R/11.3F.
In line with the W25-54 target group, the prime/fringe ratio will be 60%P/40%F with
emphasis during the daytime and early fringe timeperiods. PMB data indicates that these
women like to watch reality TV (ie. Survivor, The Bachelor), sitcoms (ie. Will & Grace), talk
shows (ie. Oprah) and daytime dramas (ie. Young & Restless).
In total, $750.0M, or 50% of the budget, will be allocated to the six-week television
campaign.
If magazines are recommended, have you described:
•
•
•
•
•
•
•
•
•
•
•
•
Whether it is a national, regional or urban campaign?
Type of magazine(s) (ie. women's, general interest, news) and space unit(s) and
colour?
Specific magazines selected and rationale including CPM comparisons and
demographics for all magazines considered (ie. cost ranking)?
Number of insertions in each magazine and rationale?
National and/or regional reach/frequencies?
French magazines (if advertising in Quebec – and if it’s a national campaign, you
better be using French magazines!!!!)?
Positioning requirements?
Scheduling strategy?
Campaign reach/frequency, gross impressions?
Estimated spending? CPM? % of budget?
Closing dates (space and material)?
Approval dates?
If newspapers are recommended, have you included:
•
•
•
•
•
•
•
•
•
•
•
Markets selected and rationale for selection?
Coverage required in each market?
Publications selected, coverage of each, and CPM comparisons when needed?
Number of insertions and size of ads? Days scheduled?
Market reach/frequency achievements?
French publications (if advertising in Quebec)?
Positioning requirements and scheduling strategy?
Campaign reach/frequency, gross impressions?
Estimated spending? CPM? % of budget?
Closing dates (space and material)?
Provincial tax?
If radio is recommended, have you included:
•
•
•
•
•
•
•
Radio markets and rationale for selection?
Radio dayparts, types of programming, and rationale?
Number of weeks and GRPs per market?
Number and length of commercial(s) (and % mix if using more than 1 length).
reach/frequency/GRPs per week/flight/campaign?
Gross impressions?
Estimated spending? CPM? % of budget?
112
•
•
•
•
•
Promotional considerations (if any)?
Use of syndicated radio?
Scheduling strategy?
Approval dates?
Provincial tax?
If out-of-home is recommended, have you included:
•
•
•
•
•
•
•
•
•
•
•
•
Medium (media) and supplier(s) selected and rationale for each?
Markets selected and rationale for each?
French language law copy requirements?
Reach/frequency/number of facings for each market per week/flight/campaign?
Campaign reach/frequency, gross impressions?
Estimated spending? CPM? % of budget?
Location and rotation requirements?
Merchandising opportunities?
Production technique(s)?
Production requirements/quotes/overruns?
Approval dates?
Federal and provincial taxes?
Have you developed reach and frequency figures for both the national plan and heavy-up areas
by month for all media combined?
Have you included the rationale for scheduling by medium/season/flight?
Have extra steps been taken to enhance the overall impact of the plan - tactical innovations,
merchandising support, etc.?
2. Media Blocking Chart
No media plan is complete without the inclusion of a detailed media blocking chart (also referred
to as a flowchart or calendar). It immediately follows the written portion of the Media Execution.
Personally, I prepare the blocking chart before I write the Execution – it helps me to visualize
how I want to lay out the campaign once I know how many weeks of advertising I can afford,
how many insertions in which magazines I’m going to use, etc.
A good blocking chart is complete in itself and is easy to read and understand without the use of
excessive symbols. Although different agencies may organize their blocking charts differently,
there are basic elements that are common to each. A sample blocking chart (also know as a
flow chart) is illustrated in Exhibit 2-10 (page 37) in the text. When you’re preparing a blocking
chart for your plan, you should use it as your guideline.
Headings on the Blocking Chart
•
•
Product/Service/Store Name
National/Regional/Selected list of markets that receive the same schedule. (List
markets in a legend at the bottom of the schedule if the list is too extensive to include
113
•
•
•
in the heading.)
Time period of plan
Date prepared
Campaign Name or Season (across top - optional)
It’s a good idea to list the target audience, total GRPs, campaign reach/frequency for each
medium, cost/medium, as well as the total cost of the entire plan somewhere on the blocking
chart.
Then you’re going to want to include the following for each medium:
Television
•
•
•
•
Daypart mix,
GRPs per week and total weeks and weight
Commercial length(s)
Markets
•
•
•
Daypart mix
GRPs and reach/frequency per week, total weeks and weight
Commercial length(s)
Radio
Magazines
•
•
•
Name of publication(s)
Edition (National/Regional/Special Demographic/Urban)
Size of ad and colour
Newspaper
• Name of newspaper(s) (List newspapers in a legend at the bottom of the
schedule if the list is too extensive to include in the margin.)
• Edition and Day scheduled
• Size of ad in columns and lines, colour (if any)
Direct Mail
•
•
Outdoor
•
•
a.
Number of mailings
Quantity per mailing
Reach/frequency per week, total weeks and weight
Number of boards
Have you provided a flowchart showing specific media and/or vehicles scheduled
for all media in all markets?
114
b.
Have you indicated reach and frequency levels as well as budget levels on the
flowchart?
c.
Have you included creative units, total number of weeks/insertions, spending by
medium and total spending?
3. Budget Summary & Cost Details
Along with the finalized media blocking chart, the planner should include a media budget
summary which details spending by medium, as well as by product and market/medium (if
necessary). Along with the overall budget summary, cost details by medium should be
included.
a.
Have you included an overall cost summary of costs by medium and campaign?
b.
Have you included a monthly/quarterly cost summary by medium?
c.
Are the cost details for each medium included by week/flight/quarter and/or
campaign?
115
Chapter 11 – Evaluating and Selecting Media Vehicles
Chapter 12 – Media Costs and Buying Problems
(Although you may not realize it, you have been writing media executions in one form or another
since you entered the Advertising Program. All those costings and the media computer
assignments, even the planning of the various presentations you've done, have all been working
toward this element of media planning.)
After the client has approved the media objectives and strategies, the media planner analyzes
various media executions to determine which will best fulfill the goals. It is helpful for the
planner to use a blocking chart to rough out ideas for at least two media executions. Ideally,
these alternate plans should differ in the usage of media, scheduling, total media weight levels,
and budgets. Then the alternatives should be compared to each other, not only in terms of total
weight placed against the target market (reach, frequency, GRPs), but in terms of maximizing
delivery of the message at the lowest cost.
When planning newspapers or magazines, the media planner evaluates and selects the specific
vehicles (publications) that will be used. In Out-of-Home media, the planner determines which
supplier(s) will be used. In accordance with the objectives, the planner also schedules where,
when, and for how long each of the vehicles will be scheduled.
Broadcast media (spot television and radio) are planned differently, in that the planner details
only how many GRPs and the corresponding reach/frequency levels that should be purchased,
when, where, and for how long. Although the planner will outline buying criteria (ie. daypart
mix), the station and program selection is left to the discretion of the media buyer.
Chapter 11 in the text Advertising Media Planning provides a discussion on the selection of
media vehicles that will help accomplish the outlined objectives. Although these apply mainly to
print vehicles, the same guidelines can, in some cases, be applied to other advertising media.
Exhibit 11-1provides a sample outline of criteria to use for determining media values in
magazine selection. This is similar to what you have been doing when writing media
recommendations and the same principles apply to the selection of specific vehicles with in a
certain medium. Each must evaluated as to how well it will help accomplish the advertising and
media objectives.
116
Magazine Planning Process
•
Outline the 6 steps in the Planning Process for Magazines.
117
•
In print, there is always the discussion around the relative importance of primary and
secondary (pass along) readers. Outline the main points discussed in the text regarding this
issue and conclude whether or not secondary readership should automatically be
discounted or not.
•
Outline the importance of editorial environment in selected media vehicles. How would this
apply to media other than magazines.
118
•
Briefly summarize the other considerations a planner should take into account when
selecting print vehicles. Outline how those considerations might be applied to other forms of
media.
119
•
Many magazines use Qualitative Values when selling, arguing that they reflect a person’s
interest in the magazine, and hence the likelihood that they will be exposed to the
advertising message. Outline the types of qualitative values discussed in the text.
120
•
Positioning of an ad could affect the communication power of ads placed in certain vehicles.
Outline positioning considerations for magazines, newspapers and TV.
•
Explain why a planner would use a mix of different media.
121
•
Outline the process of buying internet media. What kind of ad sizes are available to
purchase? What are rich media ads? What other forms of internet advertising are there?
•
Obviously media costs play a significant role in the media planning process. Discuss how
media planners can ensure correct and current media cost estimates.
122
•
Outline some of the factors taken into consideration when estimating cost guidelines for
television.
123
In the media execution, the newspaper, magazine, out-of-home and internet media schedules
are clearly defined and, once approved, are simply executed as outlined in the plan, usually for
the year.
Broadcast media, however, have only the broad outlines of markets, # of weeks, GRPs,
reach/frequency, CPR, CPM and weekly costs indicated. The actual buy – program selection –
is done at a later date and usually on a quarterly basis for spot television. In Canada, network
television is purchased in the early summer on a yearly basis. 52 week buys (advertising every
week of the year) are also completed on a yearly basis, usually in line with the client’s fiscal
year.
•
The media buy, especially in broadcast, can affect the delivery of the media plan. Outline
some of the media buying problems, discussed in the text, which can affect the successful
outcome of the media plan.
124
DOS AND DON'TS IN MEDIA PLANNING
DON'T
DO:
•
Remember to ask yourself the who, where, when,
and how questions to determine the media
objectives before you select and schedule the
media.
•
Make sure you strive for a basic understanding of
the reach, frequency, and weight levels necessary
to sell your product.
•
Make sure the media you select not only fully
reach the target audience effectively and
efficiently, but also enhance the message and are
appropriate in terms of affordable advertising
production costs.
•
When scheduling media, remember the golden
rule of: More than less, and sooner than later.
•
Attempt to dominate you medium of first choice
before adding another medium to the mix.
•
Use cost per thousand in evaluating media, but
remember, the end result is cost per sale.
•
Quantify the media before you use it and evaluate
for effectiveness after it runs.
•
Concentrate on generating enough frequency to
fully communicate the message and sell the
product.
•
When you have a small share of the market and a
limited budget, the key term is media focus. Focus
media by demographics, geography, time and/or
medium.
•
If you have a product with intangible benefits and
that requires imagery, it most likely needs heavier
weight levels than other, more tangible products.
•
Maximize your media investment with smart
scheduling.
•
Remember: the shorter the promotion period, the
heavier the media schedule.
•
Use heavier media weights in larger markets
where the noise level is greater.
•
The smaller the target market, the greater the need
for awareness among the targets to generate
meaningful response.
•
The more competition within a category, the
greater the need to use heavier media weights to
differentiate your product from the competition.
•
If at all possible, determine the media budget by
need, not by what you have in terms of budgeted
dollars.
•
Once you place your media schedule, make sure it
runs and receive what you paid for.
125
•
If possible, don't use only advertising
media as a percentage of sales to
determine the media budget.
•
Don't underspend in your media plan,
particularly for new product introductions,
grand openings, test products, and
promotions.
•
Don't rely on preconceived ideas regarding
media selection, but thoroughly review
alternative media before making a final
decision.
•
Just because you have a quality product
does not mean it will sell itself. In fact, the
higher the quality, typically the greater the
need for media weight to build awareness
for the product's features.
•
Don't fragment media dollars over many
media thereby diluting your effort.
•
If you can't evaluate the media with
available data, don't guess which media is
best ... test!
•
Don't exclude a medium from your plan
without objective consideration and
analysis.
•
Don't let high gross medium costs scare
you off - check out the CPMs and CPRs.
•
Don't use guesswork to develop a media
plan - use discipline.
•
Don't expect the competition to stand still
while you execute an aggressive media
plan. Think as if you were the competition
and then prepare a contingency media
plan for the short and long term.
MEDIA PLAN CHECKLIST
In planning media you must include many kinds of information that are necessary for the
implementation of the plan. The following checklist should serve as a reminder of the minimum
requirements for planning. Use it to self-evaluate the effectiveness of your media objectives
and strategy. Once you are satisfied with what you have written, complete the media execution
section of the media plan.
1.
Media Objectives
1.
Do media objectives relate to marketing data and plan objectives, especially
those which relate to target audience(s), regionality, seasonality and scheduling,
weight emphasis, and the product positioning?
2.
Are objectives clearly stated and rationalized without mentioning specific media
choices?
3.
Do objectives cover the following basic areas:
_
_
_
_
_
_
_
2.
target audience (consumer and trade)?
regionality and language (geographic coverage requirements)?
reach/frequency/continuity/number of markets?
seasonality (scheduling and continuity requirements)?
creative considerations?
budget considerations (size, need for flexibility, efficiency)?
media testing (if required)?
Media Strategy
a.
Does the media strategy statement clearly outline how the media budget will be
allocated in order to achieve the stated media objectives?
b.
Are all the media strategies actionable, and stated specifically enough to facilitate
execution?
c.
Does the strategy statement cover:
_
_
_
_
_
_
media and creative units being recommended?
spending strategy for allocating budget?
reach/frequency/continuity/number of markets required?
scheduling requirements?
efficiency standards?
rationale for each point?
a.
Have you outlined the media selection and rationalized each?
b.
Is each media selection related to one or more media objectives?
4.
Have you outlined the media considered but not recommended at this time and
rationalized each?
126
3.
Media Execution/Tactics
a.
Have alternative plans been evaluated and do these alternatives represent
meaningful strategic differences?
b.
If TV is recommended, have you included:
§
§
§
§
§
§
§
§
§
§
c.
If magazines are recommended, have you included:
§
§
§
§
§
§
§
§
§
§
§
d.
Type of magazine(s) (ie. women's, general interest, news) and space unit(s)
and colour?
Specific magazines selected and rationale including CPM comparisons and
demographics for all magazines considered (ie. cost ranking)?
Number of insertions in each magazine and rationale?
Regional editions, if any, and rationale for selection?
National and/or regional reach/frequencies? Gross Impressions?
French magazines (if advertising in Quebec)?
Positioning requirements?
Scheduling strategy?
Closing dates (space and material)?
Approval dates?
Estimated spending? CPM?
If newspapers are recommended, have you included:
§
§
§
§
§
§
§
§
§
e.
Dayparts selected (with percentages) and rationale for each including CPM
comparisons and demographics?
Program types selected and rationale (audience delivery, demographics)?
Number and length of commercial unit(s) (and scheduling information if using
more than 1 length)?
GRPs per daypart, and total GRPs/Reach/Frequency per
week/flight/campaign?
TV markets and rationale for selection?
GRP levels (originating and spill) and number of weeks per market?
Use of specialty stations (ie. TSN, Much Music)?
Scheduling strategy (ie. roadblocking)?
Approval dates?
Estimated spending? Provincial tax?
Markets selected and rationale for selection?
Coverage required in each market?
Publications selected, coverage of each, and CPM comparisons when
needed?
Number of insertions and size of ads?
Market reach/frequency achievements?
French publications (if advertising in Quebec)?
Positioning requirements and scheduling strategy?
Closing dates (space and material)?
Estimated spending? CPM? Provincial tax?
If radio is recommended, have you included:
§
§
Number and length of commercial(s) (and % mix if using more than 1 length)
and reach/frequency/GRPs per week/flight/campaign?
Radio markets and rationale for selection?
127
§
§
§
§
§
§
§
f.
If out-of-home is recommended, have you included:
§
§
§
§
§
§
§
§
§
§
4.
5.
Radio dayparts, types of programming, and rationale?
Number of weeks and GRPs per market?
Promotional considerations (if any)?
Use of syndicated radio?
Scheduling strategy?
Approval dates?
Estimated spending? CPM? Provincial tax?
Medium (media) and supplier(s) selected and rationale for each?
Markets selected and rationale for each?
French language law copy requirements?
Reach/frequency/number of facings for each market per
week/flight/campaign?
Location and rotation requirements?
Merchandising opportunities?
Production technique(s)?
Production requirements/quotes/overruns?
Approval dates?
Estimated spending? CPM? Federal and provincial taxes?
g.
Have you developed reach and frequency figures for both the national plan and
heavy-up areas by month for all media combined?
h.
Have you included the rationale for scheduling by medium/season/flight?
i.
Have extra steps been taken to enhance the overall impact of the plan - tactical
innovations, merchandising support, etc.?
Media Flowchart
a.
Have you provided a flowchart showing specific media and/or vehicles scheduled
for all media in all markets?
b.
Have you indicated reach and frequency levels as well as budget levels on the
flowchart?
c.
Have you included creative units, total number of weeks/insertions, spending by
medium and total spending?
Cost Details
a.
Have you included an overall cost summary of costs by medium and campaign?
b.
Have you included a monthly/quarterly cost summary by medium?
c.
Are the cost details for each medium included by week/flight/quarter and/or
campaign?
128
6.
General
Prior to submitting your plan, consider the following:
a.
Is the media plan complementary and synergistic with advertising objectives,
creative strategies and execution?
b.
Is the media plan complementary and synergistic with promotional plans?
c.
Does this media plan demonstrate significant improvements over the previous
year's plan?
d
Does the plan provide a competitive advantage?
e.
What are the principal vulnerabilities of the plan and how can they be
addressed?
f.
Does the media plan represent a realistic financial commitment and flexibility?
Do the financial commitments extend for an entire year? Are they
noncancellable?
g.
Does the plan include test proposals that can contribute important knowledge
and are actionable?
h.
Does the media plan make common sense and meet with your real world
experience?
i.
Is the plan well organized and presented in a logical pattern making effective use
of layout techniques?
j.
Have you indicated sources of data used in support of recommendations?
k.
Have long tables been put in the exhibit section (and are they referenced in the
body of your document)?
l.
Have you carefully checked for misspelled words, poor grammar, proper
headings and subheading, typographical errors, etc.?
m.
Have you included an executive summary, table of contents, and numbered all
pages?
129
STRATEGIC PLANNING DOCUMENT
COMPANY:
DATE:
BRAND :
REVISION NO:
FISCAL :
BUDGET :
APPROVED BY:
130
OVERVIEW
Provide a brief outline of the market/brand's current and historical position in the following key
areas. Refer to exhibits where appropriate.
1. Stage in Product Life Cycle:
2. Current and Historical Sales:
3. Product:
4. Purchaser of Product:
5. Consumer of the Product
6. Distribution Channels
7. Seasonal Effects
8.
Price Effects
9.
Competitive Analysis
10.
Advertising and Media Analysis
11.
Outlook for Next Fiscal
a) Problem Areas
b) Opportunities
MARKETING PLAN
Outline the following for the next fiscal.
1.
Marketing Objective:
Make sure the objective(s) are related to achieving specific goal(s), quantifiable/measurable, time specific,
and relate to affecting target group behaviour.
2.
Marketing Strategy:
Develop strategies regarding Product, Place, Price, Promotion, and Playback that you will use to achieve the
aforementioned objectives.
3.
Positioning Statement:
Use the formula: To (target group) (brand name) is the (frame of reference) that (USP). Outline specifically
what you want the CONSUMER to think, feel, or believe about the product.
4.
Source of Business:
(ie. increased usage among present customers, attract nonusers, switch competitive users)
ADVERTISING PLAN
Develop the following for the next fiscal.
1.
Advertising Objective/Rationale:
Advertising objectives should be: specific, measurable, time limited, and relate to the target audience. Five
types of advertising objectives are: Awareness, Acceptance, Preference, Buying Intentions, and Purchase
Response. A brief, but specific, rationale should follow the advertising objectives defining why the objectives
are attainable.
2.
Advertising Strategy/Rationale:
Outlines how the advertising objectives will be accomplished and may include: a description of the target
market, an outline of the brand's positioning or "the promise" with support, the tone of the advertising, the
allocation of dollars between trade and consumer, any special advertising or promotional features, and the
role of research.
MEDIA OBJECTIVES
1.
Target Group Definition
Demographics:
(Outline the primary prospect s gender, age, marital status, income, family size, education, employment
status, and location - urban, small market, rural. Indicate whether or not they are new or current users,
heavy/medium or light users, whether they are the purchaser or purchase influencer, etc. Provide specific
PMB, NADbank, or other research data to support.)
Psychographic profile:
(Outline the character traits of the target group to provide a more detailed and vital description of the target.
These help you understand the motivations of the consumer. Include a description of their activities, likes
and dislikes, attitudes, media exposure, etc. Consider a day-in-the-life description. Provide specific PMB,
NADbank, or other research data to support.)
Secondary/Tertiary target groups:
(Outline the demographic and psychographic characteristics.)
2.
Regionality
Describe whether an offensive or defensive strategy may be appropriate for the selected product or service.
Outline how regional priorities should be established for this product or service (ie. via CDIs, % sales,
market size).
Complete the following regionality chart.
Region
Atlantic
Quebec
Ontario
Man/Sask
Alberta
BC
Population %
Category Sales %*
CDI*
Rank for Category
Brand Sales %
BDI
Rank for Brand
•
Discuss the influence (if any) that market size has on sales/use of the product or
service.
Complete the following chart for the 500.0M+ population markets in Canada.
Tor
Van
Mtl
Que
Ott
Ham
Winn
Cal
Edm
Pop %
Category
Sales %*
CDI*
Category
Prov Sales
%
Rank/
Category
Brand
Sales %
BDI
Brand Prov
Sales %
Rank/
Brand
•
Are any problem or opportunity markets that should receive special consideration?
•
Indicate whether there are any mandatory markets.
Lon
3.
Seasonality
Using the information provided in the case, complete the following seasonality chart.
Category Sales Information
Jan
Feb
Mar
Apr
May
June
July
Aug
Sept
Oct
Nov
Dec
Mar
Apr
May
June
July
Aug
Sept
Oct
Nov
Dec
Sales
%
Index
Rank
Brand Sales Information
Jan
Feb
Sales
%
Index
Rank
•
Is the purchase decision earlier than the actual purchase? By how much?
•
Discuss whether advertising should lead or coincide with seasonality and outline
the reasons why.
4.
Weight Emphasis - Ostrow's "Factors That Affect Effective Frequency"
Marketing Factors Affecting Frequency
Factor
Range
Factor
Comments
Established Product
-.2
-.1
+.1
+.2
New Product
Repetition helps consumers learn a
message. New products need to be
learned.
Established Brand
-.2
-.1
+.1
+.2
New Brand
New brands need to be learned.
High Share of Market
-.2
-.1
+.1
+.2
Low Share
High SOM assumes that brand loyalty
must be high. Thus, less frequency is
needed.
Dominant Brand
-.2
-.1
+.1
+.2
Less known brand Dominant brands may not benefit
from more repetition if the market is
saturated. Smaller, less well-known
brands can benefit from more
frequency.
High Brand Loyalty
-.2
-.1
+.1
+.2
Low brand loyalty
An inverse relationship usually exists
between frequency and brand loyalty.
Long Purchase Cycle
-.2
-.1
+.1
+.2
Short Cycle
(High volume)
Consumers may want to do more
thinking about products with long
purchase cycles.
Product Used Daily
-.2
-.1
+.1
+.2
Occasionally
Products used often probably need
higher frequency.
Maintain Current Users
-.2
-.1
+.1
+.2
Convert New
Users Need less frequency to
maintain users that to induce brand
switching or attract nonusers.
Maintain Current Image
-.2
-.1
+.1
+.2
Change Image
Need higher frequency if objective is
to change brand image.
High Share of Voice
-.2
-.1
+.1
+.2
Low SOV
If competitors have a high share of
voice, brand will need higher
frequency.
Low Spend Category
-.2
-.1
+.1
+.2
High Spend
Category
If the category is cluttered with
competitive messages, brand will
need to spend more to break through.
Easily Reached Target
-.2
-.1
+.1
+.2
Special Target
Special targets (ie. older consumers,
children, segments) may need higher
frequency levels.
High Interest Product
-.2
-.1
+.1
+.2
Low Interest
Consumers will become aware of
message more quickly if it a product
or brand in which they are interested
or have high purchase involvement.
Factor
Comments
Creative Factors Which Affect Frequency
Factor
Range
Simple Copy
-.2
-.1
+.1
+2
Complex Copy
Copy research augmenting good copy
may be needed to determine how
copy is perceived.
Unique Message
-.2
-.1
+.1
+.2
Very Common
Continuing
Campaign
-.2
-.1
+.1
+.2
New Campaign
The assumption is that unique copy is
an asset that translates into less
frequency.
New campaign introductions need
more frequency.
Product Sell
-.2
-.1
+.1
+.2
Image Building
Single Message
-.2
-.1
+.1
+.2
Different Messages This covers the question of how
much message variation there is, and
is tied to the number of commercials
in a pool.
Old Messages
-.2
-.1
+.1
+.2
New Messages
Measurements will need to be taken
to determine if old messages are
worn out.
Large Ad Units
(ie. 60 sec., 4CBDPS)
-.2
-.1
+.1
+.2
Small Ad Units
(ie. 15 sec.)
Advertising units in broadcast or
print may need more or less
frequency.
Factor
Comments
Image campaigns are deemed more
complex and subtle, needing more
frequency.
Media Factors Which Affect Frequency
Factor
Range
Low Ad Clutter
-.2
-.1
+.1
+.2
High Clutter
This is an oddity because high clutter
requires more frequency which adds
to the clutter.
Compatible Editorial
Environment
-.2
-.1
+.1
+.2
Non-compatible
Environment
An example of compatible
would be a bank commercial
appearing in a program on finance.
High Audience
-.2
-.1
+.1
+.2
Low Attentiveness Some media have higher
attentiveness
levels than others.
Continuous Support
-.2
-.1
+.1
+.2
Pulsed or
Flighted
Interruptions in advertising, such as
flighting, require more frequency.
Few Media Used
-.2
-.1
+.1
+.2
More Media
Each medium used may require a
minimum level of frequency.
Opportunities for
Repeat Exposure
-.2
-.1
+.1
+.2
Few Repeats
Certain media offer better and more
opportunities for repetition, and these
require less frequency.
Attentiveness
Another Method for Establishing Frequency Levels
Judgmental
Probability of
Producing Response
with Advertising Alone
Potential
Frequency
Range
Response
Definition
1 to 3
Recognition
Recalls advertising when shown/mentioned
the name of the product.
Least difficult
3 to 6
Unaided
Awareness
Names product when asked about the
category.
Difficult
4 to 7
Recall
Recalls advertising and identifies the
product.
More difficult
5 to 8
Learning
Associates information about the product
with the name.
Very difficult
6 to 10
Attitude
Prefers the product, positive attitude.
Extremely difficult
1 to 10+
Sales
Purchases
Most difficult
Source: The Successful Marketing Plan
Outline the reach/frequency/continuity/number of markets objectives, and rank their relative
importance, based on the advertising objective/strategy. Refer to the factors which affect
frequency using Ostrow's model when establishing the frequency range.
Building reach of the target group to a minimum of
%.
Building frequency of exposure against the target to between
and
times.
Continuity - provide extended durations for the campaign beyond the
established number of weeks.
minimum
Number of Markets - provide broad coverage of markets based on those outlined in the
regional objectives.
5.
Creative Considerations
For the selected product or service, indicate if the following is (1) Essential, (2)
Important, (3) Non-essential. This will aid in the selection of media.
6.
- Requires Product and Package Identification
( )
- Convey Many Sales Points, Long Copy Detail
( )
- Convey Few Sales Points, Little Copy Req'd
( )
- Requires Demonstration
( )
- Requires 4 Colour Reproduction
( )
- Requires Illustrations, Visual
( )
- Announcements, New Approach
( )
- Requires High Quality Reproduction
( )
- Requires Sound
( )
- Create a Mood/Appropriate Environment
( )
- Couponing or Promotional Capabilities
( )
Media Budget
(A statement of how much money is being allocated to purchase media overall. DO NOT indicate spending
by medium.)
7.
Media Testing
(Will there be testing of different media vehicles in specific markets? For instance, using Washroom Stall
advertising in bars in Toronto.)
Additional Comments
List any other factors/information that would be helpful in the preparation of the media plan.
Media Briefing Document
Page 1 of 3
DATE:
CLIENT:
PRODUCT:
CAMPAIGN:
TIMING/CAMPAIGN PERIOD:
BUDGET:
GROSS/NET/OTHER:
WEBSITE ADDRESS:
MARKETING OBJECTIVES:
MARKETING STRATEGY:
ADVERTISING STRATEGY:
MEDIA HISTORY:
KEY LESSONS FROM PREVIOUS CAMPAIGNS:
TARGET AUDIENCE (ATTACH DETAIL IF AVAILABLE):
Primary:
Secondary:
LANGUAGE REQUIREMENTS: ENGLISH
PURCHASE/CONSUMPTION CYCLE:
FRENCH
OTHER (SPECIFY):
Page 2 of 3
MARKET COVERAGE REQUIREMENTS (ATTACH DETAIL IF AVAILABLE):
Regional % Distribution:
Atlantic
Quebec
Man
Sask
Ontario
Alta
BC
Other Regional Considerations:
Market % Distribution:
Toronto
Montreal
Vancouver
Ottawa
Calgary
Edmonton
Halifax
Winnipeg
Regina
Kit/Lon
Saskatoon
Other Market Considerations:
SEASONALITY (ATTACH DETAILS IF AVAILABLE):
Estimated % of Distribution/Sales
J
F
M
A
M
J
J
A
S
O
N
D
Other Seasonal Considerations:
MARKET SHARE, GROWTH AND POSITION:
Brand:
Key Competitors:
COMPETITIVE ACTIVITY (PLEASE CIRCLE):
High
Key Competitive Activity:
Competitor
Source:
General Observations:
Moderate
Low
Media Used
None
Est. Spending
Page 3 of 3
CREATIVE STRATEGY:
CREATIVE REQUIREMENTS: (Ex. Visual, Demonstration, Package ID, Sound, Colour, Long Copy, Call to Action, Dominance, Mood, Other)
Existing Creative:
Yes / No
Details:
PROMOTIONAL PLANS:
(Attach plan if available)
MEDIA COMMITMENTS TO BE INCORPORATED INTO PLAN:
OTHER COMMENTS/DIRECTION:
PLANNER
CLIENT
DATE
This document is meant to provide direction only. Further information may be required in order to fully develop the media
recommendation.
Resources
Advertising and Marketing Checklists, Kaatz, NTC Business Books, Lincolnwood, Illinois
Advertising Media Planning, Scissors & Bumba, NTC Business Books, Lincolnwood, Illinois
Media Planning Workbook, Goodrich & Scissors, NTC Business Books, Lincolnwood, Illinois