I.L.C.S
L’image publicitaire 2
Ce que l'on doit comprendre
se limite-il à ce que l'on voit?
Ali BENHAMMOU
FEVRIER 2012
Image and text in TV
• Text and image are iconographic and informative intentions of advertisers
« the difference between stability and movement in TV is that when the
message is still (the case of print ad) it provokes an active scrutation of the
spectator, but the mobile message subscribes the spectator in the space and
time », Gervereau (L.), Voir, comprendre, analyser les images, Paris, La découverte, 1997
the message needs an effort
for readers to decode the
fixed icones appealing all the
senses
the message needs a realistic
position that leads us
immedialty to believe in the
representation offered to us
In general, everyone is sure that what is seen in TV
is what should be seen..
This is a first advantage for spot TV advertisers
TV messages
• A flow of images (sequences): as if reading a book (introduction
– body copy – conclusion)
• In this context, the image and text in TV are the whole message,
an abrupt synchronic (linked to each other) message, wherase
all other forms of communication are diachronic (separated)
Synchronic: text completes
image, sound completes image
and image a reflection of the
text and sound
Image and text in TV
Four aspects in TV message:
1. « Natural »: explanation insiste on evidence
2. « Practical spirit »: immediate efficiency of the idea
and the opportunity to verify its pertinence
3. « Simplicity »: description and explanation of facts
4. « Accessibility »: everyone can
understand the world of TV, a minimum of
comprehension is largely sufficient
TV spot
• Two parts : video first and audio second
• TV deals with : image (sight), sound (ear) and motion
(feeling)
Visual techniques in advertising:
1.
2.
3.
4.
5.
6.
Testimonials: using celebrities
Spokesperson: using a presenter in front of the
camera
Demonstration: showing how a product works
Close-ups: showing the product in action
Story-line: using a miniature movie
Comparisons: with customer view, humor…
5
Elements of TV production
The succession of TV images uses the techniques :
Cut : one scene cuts into the next
Dissolve : one scene fades out while another
fades in
– Fade in : from the scene to total black (# fade
out)
– Matter : part of a scene is placed over another
gradually
– Wipe : the new scene wipes off the previous one
from to bottom
–
–
6
Elements of TV spot
The script : a detailed description of the spot content
TV SCRIPT
Date:
Company:
Product:
Title:
Sequence
Video (Action)
Audio (sound)
Duration
Sequence 1
Description of actors and
camera movement
Music, sound effects,
announcer
Time of each
sequence
(seconds)
Sequence 2
…………………………
….
…………………………
…………………
……
7
Methode of analysis
1. Spot sequence
– Duration of spot
– Number of sequences / duration of each
– How transitions between sequences are operated
(cut…)
– Technique used in transition (slow, accelerated...)
2. Elements of enonciation
– Enonciative direct or indirect - constant or variable?
– How the spot discourse is positioned (authentic,
fictional, promotional, esthetic)?
Methode of analysis
3. Narration elements
A quick description of the process of narration :
– Subject: caracteristics of main actor
– Object: product appearances through its name and
image (when? How many times?)
– Anti-hero: elements against the performance of the
hero
– Adjuvants: elements easing the performance of the
suject
– Initial state: situation of begining in which the sujet is.
– Final state: final situation – product purchase
Methode of analysis
4. Spot caracteristics
– What strategy of manipulation is used in the spot
(argumentation, narration)
– Through which method (seduction, information..)
5. Spot syncretic (mixture) reading
–
–
–
–
Voices adaptation with music and other visual elements
When the sound elements are put
Who speaks with whom about what
Are there any particular sounds
I.L.C.S
Sound in advertising
The radio case
Ali BENHAMMOU
2012
Radio elements
The radio creation is a combination of words,
sound and music
Words to
describe
the product
to build
desire
•
•
•
Sound to
complement
words, to act
for mood
and action
Music for
familiarity,
should be
adapted for
the brand
Manual effects : produced live
Recorded effects
Electronic effects : with studio equipment
Sound: radio essential
• Directed to the imagination of the listeners
• Ads should create a “theater in the mind” through
sound because radio creates a “theater scenes” for
the listeners imagination by painting pictures in
sound
• Human voice is the most important sound in radio
(beside music, special effects…)
• We talk about « voice stamp » (timbre de voix)
www.bestradiocommercials.com
The radio script
• The script should be written in a professional manner
containing the intro (attractive and rise attention), the
product benefits and the closing
• Script characteristics : simplicity, clarity, coherence,
pleasantness, believability, interest, and distinctiveness
Sequences
1, 2…..
Sound
Words,
sound
music
Duration
and In seconds
Radio basic elements
4 basic elements in radio commercials:
1. Look for an idea, a line or concept valorising your argumentation and product
2. Work on discourse before, whether it is a dialogue or a monologue
• Dialogue gives the audience the chance to participate
• Monologue creates intimacy for the audience
3. The script, choice of words (not more than 20 words in a sentence)
• The promise shouldd not come first, for more efficiency we talk on the
«Unique Selling Proposition» (USP) in the heart of the discourse, a
strategic and central moment
• Always think about «Call To Action» (CTA).
1. Respect timing, 120 words for a 30s spot - 2 to 3 words/sc
• The 5 first seconds are important, the ear-catcher
• The conclusion is also important
Radio technics
• Straight announcer : to deliver
the entire script
• Two-announcer : to give variation
in voices
• Announcer-actor : for animation
purposes
• Slice-of-life : to give audience
members something or someone
they can relate
• Combination : use of 2 or 3 of
these techniques
•
•
•
•
10 seconds : 25 words
20 seconds : 45 words
30 seconds : 65 words
60 seconds : 125 words
Radio placement
Define your campaign goals:
• Before you start a radio campaign, you need to have simple,
straightforward, and measurable goal.
Have
•
•
•
a simple message: Keep your message simple:
Talk about Benefits
Show Undeniable Value
Ask the listener to take an action
Home-Run Radio Ad (HRRA):
• Audience will need to hear your ad 11 times before they LISTEN to it.
• The number of times a radio station listener hears your ad is called the
commercial frequency.
• You might need 30-50 times to get a frequency that convinces listeners.
How long should the commercial run?:
• Need to constantly run a commercial.
• Running 2 weeks on and then 2 weeks off is a good compromise that gets
the frequency.
I.L.C.S
Integrated Brand
PromotionThe radio case
Ali BENHAMMOU
2012
IBP?
Integrated Brand Promotion (IBP) is the process of using a
wide range of promotional tools working together to
create widespread brand exposure
In time and space:
the programmation
should be executed
in a specific
duration and
specific area (mostly
known as national
or international)
One generated idea
or copy strategy: a
unified chart, color
an discourse
Close evaluation:
good follow up and
meticullous
evaluation for the
results
Including
Advertising
Point of Purchase (in-store) (PLV)
Direct Marketing (catalogs, infomercials, email)
Personal Selling
Internet advertising
Event sponsorship
Brand entertainment (product placement on TV shows, in movies)
Outdoor / billboards
Public relations
Influencer (peer-to-peer) communications (pair-à-pair « P2P »
information from server to client)
Corporate advertising….
Why IBP?
Communication development
1. Technology and
consumer control are
reshaping the
communications
environment: through
history the development
of ad was always linked
to the development of
technology and the
human communication
2. The lines between
entertainment and
advertising/IBP are
blurring: ad is now part of
IBP and Ad is just one of
many tools in IBP
3. Firms use advertising
/IBP to build brands: and
preference for the
consumer
Communication development
Within enterprises:
Within consumers:
1. Firms of all sizes need and
use communication tools for
marketing products
2. Advertising do not
guarantee success - 8 of 10
new products fail
3. Enterprises invest more and
more in communication
4. Technology evolution for
communication
1. Consumers identification
with products
2. Consumers desire to
more communicate
3. Consumers changing
behavior
4. People have all sorts of
positive and negative
perceptions about
advertising and
promotion
Communication and consumers
behavior development
1. The world of
communication:
from the 19c to 70s
1. Human
communication
2. Intgrated
Marketing Mix
(IMC): 70s to 90s –
the golden age of
advertising
2. The society of
communication:
presence of
technology
3. IBP: modern
times
3. The virtual
society: presence
of consumers
Image and sound in IBP
1. Technical text, More
image, More motion,
More colors, More
technology
2. Conventional advertising
is blurring and old
technics disappears
3. The age of free technics
advertising
Successful ads
create interest
among specific
target markets.
Advertising Expenditures as a % of Revenue
• Ranked 30 among
the leading national
advertisers in terms of
ad spend
• Advertising was
28.6% of revenues
Examine the position of the product, the
use of colors and imagery as well as the
text disposition
The value of an evolutionary perspective
The evolution of advertising
– Efficient methods of production made advertising
an essential tool for demand stimulation in a free
enterprise economic system
– Urbanization, transportation and communications
allowed the use of advertising to grow
The evolution of Integrated Brand Promotion
– Integrated marketing communications is focusing
more on brand development creating IBP
– More and more money is being allocated to
promotional tools other than advertising
IBP coordinated promotional events
reinforcing one another (IBP campaign)
June
Advertising
June
 Press
Point of Purchase
Direct Marketing (catalogs,
infomercials, Email)
July
August
Sept.
 TV

oct.
 Radio


catalogue

infom.

Email

infom.

Email
Personal Selling





Internet advertising





Event sponsorship


Brand entertainment

Outdoor / billboards





Public relations



Corporate advertising….



Influencer (peer-to-peer)



IBP campaign - Advertising
June
Day
TV
Press
Radio
Week 1
Week 1
Week 1
Week 1
M T W T F S S M T W T F S S M T W T F S S M T W T F S S





























In order to build brand campaign:
• The campaign should remind the target every day about the
existance of the product
• This reminding should be whether by image technics (TV), the
text technics (press) or the sound technics (radio)
• At least 2 media work every day
IBP campaign – Other promotional means
June
Day
Direct
Marketing
Week 1
Catalogue

Infomercials
Email
 

One famous TV production (studio 2M)
                     
Public relations
Influencer (peerto-peer)
Week 4
One grand event (soccer derby)
Brand
entertainment
Corporate
advertising….
Email

Event
sponsorship
Outdoor /
billboards
Week 3
M T W T F S S M T W T F S S M T W T F S S MTWT F S S
Personal Selling
Internet
advertising
Week 2
1 to 2 events (journalists – officials)


 



IBP target influence
Oct
Sept
August
Selling
July
June
Time