TV and Film advertising

Introduction:
Only the supremely naive believe they are not affected by television advertising. The entire medium of television is based upon advertising. The multi-billion dollar mega-corporations that run TV networks -- News Corp., Comcast, Viacom, Walt Disney, General Electric, AOL/Time Warner, AT&T, Bertelsmann, Liberty Media Corporation, Sony, and Vivendi Universal -- would not have been able to grow to their present size without television. It is impossible to talk about television without talking about advertising. What is the purpose advertising? Advertising is medium of transferring information. Put simply, advertising is creating a desire for a brand name or product. The idea of an ad is to connect to some phase of the consumer's purchasing experience. When people buy things, they go through many critical decisions about the need, cost and value of product. One of the generally accepted models of consumer behavior break down the decision in the following steps: 1. Problem Recognition: The consumer decides that he or she needs something. 2. Search: need. 3. Evaluation of Alternatives: He or she weighs the plusses and minuses of the alternatives. 4. Decision: The consumer decides what to buy. 5. Purchase: He or she buys it. 6. Post Purchase Evaluation: The consumer decides whether he or she bought the right thing. Good advertising will attempt to connect to one of these phases. 1 The consumer gathers information about ways to satisfy this

Forms of Television Advertising

Like television programming, television ads can be aired through a number of different arrangements. Television advertisers can run their commercials through over-the-air network scheduling, local scheduling, or cable scheduling. Forms of Television Advertising The actual form of a television commercial varies depending on whether a network, local, or cable schedule is used, as we see in Figure 10.3. Networks allow sponsorships, participations, or spot announcements through their affiliates. In turn, local affiliates allow spot announcements, local sponsorships, and national spots. Cable systems allow system (national) spots and local spots. Finally, interactive television allows system (national) spots and local spots. Sponsorships In sponsorships, which characterized most early television advertising, the advertiser assumes the total financial responsibility for producing the program and providing the accompanying commercials. Examples of early sponsored programs are Bonanza (sponsored by Chevrolet), The Hallmark Hall of Fame, and The Kraft Music Hour. Sponsorship has a powerful effect on the viewing public, especially because the advertiser can control the content and quality of the program as well as the placement and length of commercials. However, the costs of producing and sponsoring a 30- or 60minute program make this option too expensive for most advertisers. Several advertisers can produce a program jointly as an alternative to single sponsorship. This plan is quite common with sporting events, where each sponsor receives a IS-minute segment. A local advertiser can also offer a sponsorship or a shared sponsorship. For instance, a local bank might sponsor a high school football game and preempt national programming. Participations Sponsorships represent less than 10 percent of network advertising. The rest is sold as participations in which advertisers pay for 15, 30, or 60 seconds of commercial time 2

during one or more programs. The advertiser can buy any time that is available on a regular or irregular basis. This approach not only reduces the risks and costs associated with sponsorships but also provides a great deal more flexibility in market coverage, target audiences, scheduling, and budgeting. Participations do not create the same high impact as sponsorships, however, and the advertiser does not have any control over the content of the program. Finally, the "time avails" (available time slots) for the most popular programs are often bought up by the largest advertisers, leaving fewer good time slots for the small advertisers. Spot Announcements The third form a television commercial can take is the spot announcement. (Note that the word spot is also used in conjunction with a time frame, such as a 30-second spot, and these should not be confused with spot announcements.) Spot announcements appear in the breaks THE TELEVISION AUDIENCE Television has become a mainstay of American society, with 98 percent of American households having one or more television sets. This dependency explains why a great number of advertisers consider television their primary medium. Can television deliver a target audience to advertisers effectively? What do we really know about how audiences watch television? Is it a background distraction? Do we switch from channel to channel without watching any single show? Or do we carefully and intelligently select what we watch on television? Many researchers have tried to answer these questions. For instance, Bozell, Jacobs. Kenyon & Eckhardt Media studied the TV habits of kids. Total viewing (across all dayparts, not just Saturday morning) by 2- to ll-year-olds has been remarkably stable, but the over-the-air networks are no longer the usual winners when kids play dial roulette, nor is Saturday morning all there is to the game. Cable offers several full-time kidcentric channels to an audience that doesn't see a difference between "regular" television and cable. The Bozell study findings also showed that total time spent by kids watching kid shows rose 5.9 percent between the 1994/1995 and 1996/1997 seasons. Curiously, adult 3

viewing of kid shows was up 7.8 percent and total household viewing of the juvenile fare gained 9.1 percent over the same span. However, in the next generation we may see a loss of audience to non-TV endeavors, such as video games, computers, and perhaps books. People Meters Nielsen began to measure not only what is being watched but who is watching which shows nationally in 1987, replacing its audimeter and diary system with people meters that provide information on what television shows are being watched, the number of households that are watching, and which family members are viewing. The type of activity is recorded automatically; household members merely have to indicate their presence by pressing a button. The 5,000 people meters have become the main method for measuring national television audiences. Customers have long bristled about Nielsen's shortcomings, from its methodology to its pricing. Now, digital television presents a new ratings challenge. Whereas current meters measure only the channel a television is tuned to, digital TV can transmit several signals through a single channel, and existing meters won't be able to measure accurately who is watching what. Nielsen has spent almost $30 million developing a new digital meter, but even its own regulatory filings concede that there is no guarantee that it will be adopted.6

Advantages of Television
The medium of television has three key advantages. First, it can reach a large audience in a cost-efficient manner. Second, its use of sound and moving images creates a strong impact. Third, the medium's influence on consumers' taste and perceptions is pervasive. Cost Efficiency Many advertisers view television as the most effective way to deliver a commercial message because it has a wide reach. Millions of people watch some TV regularly. Television not only reaches a large percentage of the population, but it also reaches people who are not reached effectively by print media. For example, NBC's Today show 4

would average approximately

Impact Another advantage of television is the strong impact the interaction of sight and sound creates. This feature induces a level of consumer involvement that often approximates the shopping experience, including encountering a persuasive salesperson. Television also allows a great deal of creative flexibility because of the many possible combinations of sight, sound, color, motion, and drama. Television has tremendous dramatic capacity; it can make mundane products appear important, exciting, and interesting. It can also create a positive association with the sponsor if the advertisement is likable. Certainly this has been the case for ~Budweisers "Louie the Lizard" ads. It is also the challenge facing MTV, as described by Tom Kunz in the "Inside Story" feature. '{he strategy behind the 3M Active Strips and Comfort Strips campaign was to demonstrate product features with an almost unbelievable performance test, as evidenced by the title of the campaign, "Dramatic Demonstrations." The impact of TV and its ability to generate excitement through the use of sound, motion, and visuals made television an ideal medium for this campaign.

Improvement points on TV advertising

Despite the effectiveness of television advertising, problems do exist. We examine four key problems: expense, clutter, nonselective targeting, and inflexibility. Expense The most serious limitation of television advertising is the extremely high cost of producing and running commercials. Although the cost per person reached is low, the absolute cost can be restrictive, especially for small and even midsized companies. Production costs include filming the commercial (several thousand to several hundred thousand dollars) and the cost of talent. For celebrities such as Jerry Seinfeld, Candice Bergen, and Michael Jordan, the price tag can be millions of dollars. . Clutter Television suffers from a very high level of commercial clutter. In the past, the National Association of Broadcasters (NAB) restricted the amount of allowable commercial time per hour to approximately 6 minutes. In 1982 the Justice Department overturned this restriction. Although the networks continue to honor the NAB guidelines, this could change as revenue needs increase. If the number of 30-second commercials, station break announcements, credits, and public service announcements increases, the visibility and persuasiveness of television advertising would diminish. Although in recent years the growth of the 15-second spot has been responsible for much of the clutter in television advertising, 1990 marked the beginning of the decline of these shorter commercials since their introduction in 1983. Finally, some clutter is a result of the many network and local stations promoting their own programming.

Nonselective Audience Despite the introduction of various technologies that better target consumers, television remains nonselective. Network television still attracts about 60 percent of the U.S. audience. Although the networks attempt to profile viewers, their descriptions are quite general, offering the advertiser little assurance that appropriate people are viewing the message. Thus television advertising includes a great deal of waste coverage: communication directed at an unresponsive (and often uninterested) audience that may not fit the advertiser's target market characteristics. Inflexibility Television also suffers from a lack of flexibility in scheduling. Most network television is bought in the spring and early summer for the next fall season. If an advertiser is unable to make this up-front buy, only limited time-slot alternatives remain available. Also, it is difficult to make last-minute adjustments in terms of scheduling, copy, or visuals.

Elements of TV for advertising

Television is an audiovisual medium. The two main elements used to create messages that are intriguing and intrusive are the video and the audio. Video The visual dominates message perception in television, so the creative team uses the visual as the main way to deliver the concept. The video elements include everything seen on the screen. Copywriters use visuals and motion, the silent speech of film, to convey as much of the message as possible. Emotion is expressed convincingly in facial expressions, gestures, and other body laQgUage. Because television is theatrical, many of the elements, such as characters, costumes, sets and locations, props, lighting, optical and computerized special effects, and on-screen graphics, are similar to those you would use in a play, television show, or movie. Because of the number of video and audio elements, a television commercial is the most complex of all advertising forms. In the "Da Da Da" commercial (the commercial's real name is "Sunday Afternoon" but it's more commonly referred to by the nonsense lyrics of its theme song), the two stars are seen driving aimlessly around L.A. in a red VW Golf. The driver makes faces in the rear view mirror and his sidekick plays with an odd springy puppet and tries out a couple of judo hand moves. The primary prop is an old, faded green recliner that the actors spot discarded on the side of the street. They stop and contemplate the chair and drive off with it in the back of the hatchback. Creative director Pafenbach explained that this chair gag is a selling feature in disguise: It demonstrates the car's roominess. After driving a bit, they begin to smell a foul odor coming from their trophy, so they dump their treasure back on the curbside. Audio The three audio elements of television, as in radio, are music, voices, and sound effects, but they are used differently in television commercials because they are connected to a visual image. For example, an announcer may speak directly to the viewer or engage in a dialogue with another person, who mayor may not be on camera. A common manipulation of the camera-announcer relationship is the voice-over, in which an announcer who is not visible 8

describes some kind of action on the screen. Sometimes a voice is heard off camera, which means it is coming from either side, from behind, or from above. Sometimes there's no voice at all, as in the VW "Sunday Afternoon" commercial. Pafenbach explains his strategy In reaching the ad-averse young audience, "It's better to say less and do less and let people fill in the blanks." The annoyingly infectious spot uses an obscure 1982 song by the now-defunct German group Trio (full title "Da Da Da I Don't Love You Don't Love Me, Aha Ah Aha") to accompany the aimless meandering of a pair of 20-somethings. And because they are both guys, they say nothing. "It's kind of a guy thing," Pafenbach explains. "Guys can sit for hours and not speak, which drives women crazy." And then at the very end, the announcer delivers the perfect Gen X tagline: " Message Characteristics of Television Television is a visual medium, but so are newspapers and magazines. So what makes the difference in impact between television and print visuals? Action It is the moving image, the action, that makes television so much more mesmerizing than print When you watch television you are watching a walking, talking, moving world that gives the illusion of being three-dimensional. Good television advertising uses the effect of action and motion to attract attention and sustain interest. In the "Sunday Afternoon" commercial the car is seen driving through an unattractive urban landscape moving across the screen first to the right and then to the left, demonstrating visually the idea of aimless wandering. Emotion More than any other advertising medium, television has the ability to touch emotions, to encourage people to feel things. This ability to touch the feelings of the viewer makes television commercials entertaining, diverting, amusing, and absorbing. Real-life situations with all theirJlUmor, anger, fear, pride, jealousy, and love come alive on the screen. Humor, in particular, works well on television. These emotions are pulled from natural situations that everyone can identify with. Hallmark has produced some tearjerking commercials about the times of our lives that we remember by the cards we get and save. Kodak and Polaroid have used a similar strategy for precious moments that are remembered in photographs. 9

Demonstration Seeing believes. If you have a strong sales message that lends itself to demonstration, then television is the ideal medium for that message. The chair gag in the "Da Da Da" commercial was a subtle soft-sell demonstration that showed that a recliner could fit in the back of VW Golf. Believability and credibility-the essence of persuasion-are high because we believe what we see with our own eyes.

The Creative Team A locally produced TV or radio commercial uses the station's personnel for most of ~ production roles. Creating a national radio or TV commercial requires a number of people with specialized skills. The agency crew usually includes the copywriter, art director, and producer. The producer oversees the production for the agency and client. The outside pe0ple include a production house, a director (the person responsible for the recording or filming), a shooting or recording crew, a talent agency, a composer, a music arranger ~ director plus musicians, and an editor. The client's advertising manager is also involved throughout the planning and production. The responsibilities of these people are summarized in Table 13.2. The core of the production team is the producer and director and success of the commercial depends on their shared vision of the final product.

Who Does What in TV and Radio Commercials?

Copywriter Writes the actual script, whether it involves dialogue, narrative, lyrics, announcement, or descriptive copy. Art director: In TV, develops the storyboard and establishes the look of the commercial, whether realistic, stylized, or fanciful Producer Takes charge of the production, handles the bidding and all production arrangements, finds the specialists, arranges for casting talent, and makes sure the budget and the bids come in. Director Has responsibility for the actual filming or taping, including scene length, who does what, how lines are spoken, and the characters played; in TV determines how the camera records the flow of action. Composer Writes original music and sometimes write the lyrics along with the music. Arranger Orchestrates music for the various instruments and voices to make it fit a scene or copy line. The copywriter usually writes the lyrics or at least gives some idea of what the words should say. Musicians Hired as needed, from a complete orchestra to a marching band to a single vocalist to perform the music. Editor Puts everything together toward the end of the filming or taping process; evaluates how to assemble scenes and which aud

TV Planning
Many questions must be answered in creating a television spot. How much product information should there be in your commercial? Should the action be fast or slow? Is it wise to defy tradition and do unusual ads that create controversy, like the "Da Da Da" spot, which is, admittedly, about nothing? And is it a good idea, as Pafenbach and Jensen decided, to use deliberate understatement and a minimalist message to advertise a car? . Every producer and director will respond to these questions differently depending on his or her personal preferences. Never less, a few general principles correspond to all successful television commercials and they are summarized in "Practical Tips # 2." In planning a television commercial, many considerations determine how the commercial is built and its internal logic. Length The most common length for a TV commercial is 30 seconds. However, some network commercials now run in 20-second and 15-second formats. Because of the increasing costs of air time, 60-second commercials are becoming rare. An advertiser may buy a 30-second spot and split it in half for two related products. If the two messages are interdependent, such as a cake mix and a frosting mix, the strategy is called piggybacking. Because some advertisers need longer segments of time, they purchase infomercial time, usually 30 minutes late at night. However, some companies such as MCI, Healthrider, and Volvo purchase 5-minute formats that can work into commercial breaks.

Scenes A commercial is planned in scenes, segments of action that occur in a single location. Within a scene there may be several shots from different angles. A 30second commercial usually is planned with four to six scenes, but a fast-paced

commercial may have many more. "Da Da Da" could be said to have 11 scenes if you count the inside and through-the-window shots as well as the distance shots of the car. The commercial has 21 shots in the 60-second version, which isn't a particularly fast pace.21 Key Frame The television equivalent of a thumbnail sketch is called a key frame. Because television is a visual medium, the message is developed from a key visual that contains the heart of the concept. The various concepts are also copy-tested as key visuals. In the "Da Da Da" commercial the key frame is the view through the passenger side window of the two guys checking out the recliner, an image that has been copied in the various parodies of this commercial.

Execution Elements The audio and video dimensions mus.t be put into the right setting and surrounded by appropriate props. The right talent must be chosen, and appropriate lighting and pacing are critical, along with other elements. The creative decisions examined next specify the other elements such as the setting, casting, costumes and makeup, props, and lighting. All the decisions that are an important part of the message design must be described in the script. The setting is where the action takes place. It can be something in the studio, from a simple tabletop to a constructed set that represents a storefront. Commercials shot outside the studio are said to be filmed on location, as in the "Da Da Da" commercial, which used the streets and freeways of L.A. as a backdrop. In these cases the entire crew and cast are transported somewhere. The location could be an alley or a garage down the street, or it could be some exotic place such as New Zealand. TELEVISION ART DIRECTION Art directors create the look of the commercial. They are concerned with the dominant colors, the way the action moves through the scenes, the pacing, and the design of elements seen in the image, such as furniture and settings.

MTV commercials, for example, are highly stylized, and those video experiences have generated some of the most exciting video designs to be seen anywhere on television. The messages are filled with action, unexpected visuals, and imaginative special effects. And they are copied endlessly in more mainstream commercials. Art directors are also concerned with the graphic elements that appear on screen. Words, art such as logos, and still photos are shot from a card or computergenerated right on the screen. A crawl is computer-generated letters that appear to be moving across the bottom of the screen. Stock footage is a previously recorded image, either video, still slides, or moving film, used for scenes that aren't accessible to normal shooting. Examples are shots from a satellite or rocket, historical scenes such as World War II scenes, or a car crash.

Marketing for Film and TV Advertising Company

Prospective clients The first step is to find a list of clients. We know that TV and film presentation is a costly process of advertising. If we want to capture clients who have interest on TV and film production advertising we have to target segments that their budget on advertising is little bit more than average. Still clients for advertising can be divided into two different groups: 1. Wel recognized brands and companies 2.companies which they want to start with their brand recognition. As per New Delhi is concern companies which they have relation with public sector, Like construction companies have established their names in a better manner. There are great potential for companies which are in B2B sectors because know they want to introduce themselves outside India. Main Sources for clients Past client News paper Yellow pages Different use of film advertising 1-making an add for TV. 2-presention film for corporate work 3-presentation Film for clients 4-trainig module for organization./company 5-AV presentation.

How to meet clients Meeting client can be don through different references here I have mentioned the way which we are not much in contact with company yet. Cold calls: after we found our prospective client if we do not know their marketing director or communicator manager personally we can make cold calls to them. In this step we call companies and request from their sales and marketing director if they have such interest and requirements. Sending companies profile and work sample : After making interest of client about

film production, sually the process is to send companies profile and show reel which is a sample of works which advertising company has don for it past clients. (Because work talks best for attracting clients) The reason of sending a show reel CD is, that film advertising is a kind of live movie and Seeing the work is important. Emailing: some customers want to see companies profile first and then they ask about the sample film. which again has to be sanded through courier. Any how emailing gets better respond after talking on the phone with clients. Putting a meeting with customer: After sending show reel and companies profile again marketer has to contact client for Their feedback about the company if we can capture their interest meeting will be don. Go prepared: While going for the meeting it is important to have complete information about the company whom you are going to meet Some times your client needs a very technical film.

In the meeting : Meeting is a face to face interaction process bit win company representative and client. in meeting there will be mutual understanding of client needs and requirements . Advertiser will also say about the kind of film which he can produce for him. Meeting is one the most important and useful step in relationship with clients because if there be mutual understand from both parties then the work will be processed much faster. after meeting usually client asks for proposal which will be given to them. Sending a proposal (Costs and Schedule): The process and cost of production will be sent through email of fax to client: It contains Types of film shooting (Beta or DigiBeta or 35 mm film) Planning for shooting Production costs according to type of film production Type of film and camera used for shooting Beta Digi Beta 35 mm Production process time &Delivery materials Release of different type of film production. cost of production 2 lacks R.s 3 to 5 lacks Rs 8-10 lacks Rs

Cost examples :

All cost of production can differentiate according to quality of production bit win companies

How to make TV commercials that sell

Sixteen tips: Here are great sixteen tips from Ogilvy on Advertising, I Brand identification. Research has demonstrated that a shocking: percentage of viewers remember your commercial, but forget the na~ of your product. All too often they attribute your commercial to a competing brand. Many copywriters think it crass to belabor the name of the product. However, for the benefit of those who are more interested selling than entertaining, here are two ways to register your brand name: Use the name within the first ten seconds. I have seen a brilliant commercial

which repeated the brand name twenty times in 340 seconds, without irritating anyone.

2 show the package.. Commercials which end by showing the package are more effective in changing brand preference than commercials which don't. 3 Food in motion. In commercials for food, the more appetizing -you make it look, the more you sell. It has been found that food in motion looks particularly appetizing. Show chocolate sauce in the act of being poured over your ice cream, or syrup over your pancakes. 4 Close-ups. It is a good thing to use close-ups when your product is the hero of your commercial. The closer you get on the candy bar, the more you make people's mouths water. 5 Open with the fire. You have only 30 seconds. If you grab attention in the first frame with a visual surprise, you stand a better chance of holding the viewer. People screen out a lot of commercials because they open with something dull. 10u know that great things are about to happen, but the viewer doesn't. She will never know; she has gone to the bathroom. When you advertise fire-extinguishers, open with the fire. 6 When you have nothing to say, sing it. There have been some successful commercials. which sang the sales pitch, but jingles are below average in changing brand preference. Never use a jingle without trying it on people who have not read your script. If they cannot decipher the words, don't put your jingle on the air. If you went into a store and asked a salesman to show you a refrigerator, how would you react if the started singing at you? Yet some clients feel short-changed if you don't give them a jingle. Many people use music as background - emotional shorthand. Research shows that this is neither a positive nor a negative factor. It does no harm and it does no measurable good. Do great preachers allow organists to play background music under their sermons? Do advertising agencies play background music under their pitch to prospective clients? 7 Sound effects. While music does not add to the selling power of commercials, sound effects - such as sausages sizzling in a frying-pan can make a positive difference. A commercial for Maxwell House was constructed around the sound of coffee

percolating. It worked well enough to run for five years. 8 Voice-over or on-camera? Research shows that it is more difficult to hold your audience if you use voice-over. It is better to have the actors talk on camera. 9 Supers. It pays to reinforce your promise by setting it in type and superimposing it over the video, while your soundtrack speaks the words. But make sure that the words in your supers are exact{y the same as your spoken words. Any divergence confuses the viewer. Many people in agencies resist the use of supers. If you tell them that they increase sales, as they do, the stupid buggers turn a deaf ear. 10 Avoid visual banality. If you want the viewer to pay attention to your commercial, show her something she has never seen before. You won't have much success if you show her sunsets and happy families at the dinner table. The average American family has the television turned on for six hours a day, and is exposed to 30,000 commercials a year. Most of them slide off the memory like water off a duck's back. For this reason you should give your commercials a touch of singularity, a visual burr that will stick in the viewer's mind. One such burr was the herd of bulls thundering towards the camera, with the superimposed title: 'Merrill Lynch is bullish on America? 11 Changes of scene. Hal Riney uses a great many scenes without confusing people, but I can't, and I bet you can't either. On the average, commercials with a plethora of short scenes are below average in changing brand preference. 12 Mnemonics. This unpronounceable word is used to describe a visual device repeated over a long period. It can increase brand identification, and remind people of your promise. Example: the car driving through the paper barrier in Shell commercials. 13 Show the product in use. It pays to show the product being used, and, if possible, the end-result of using it. Show how your diapers (nappies) keep the baby dry. In a commercial for motor oil, show how the pistons look after 50,000 miles. 14 Everything is possible on TV. The technicians can produce anything you want. The only limit is your imagination.

15 Miscomprehension. In 1979 Professor Jacoby of Purdue University studied the 'miscomprehension' of25 typical television commercials. He found that all of them were miscomprehended, some by as many as 40 per cent of viewers, none by fewer 'than 19 per cent. If you want to avoid your television' commercials being misunderstood, you had better make them crystal clear. I cannot understand more than half the commercials I see. 16 The great scandal. Television programs cost about $4 a second to produce, but commercials cost $2,000 a second. Which is $60,000 for a 3D-second commercial.

Some Samples of good TV Advertising.

The Japanese Story
In 2002 Uvelka Groats Company decided to present a new rice brand on the groats market. Thus Max Brandson was entrusted with working up all communication materials for the new brand Golden Fields (name, print advertising and TV trailer). All ideas were tested and finally The Japanese Story was chosen for the trailer. The advertising idea was appreciated at its value not only by consumers but also by professionals. It was honoured at the advertising festivals: PROFI-2004, Glamour, Moscow International Advertising Festival and Kiev International Advertising Festival.

A successful example of using a character to reinforce the authenticity of your product

Man:whoa

timmy!i got some delivery

Made whith real cracked wheat Baked fresh

molasses,hony,no artificial prespective

Pepperidge farm bread

Its bread like it used to be

Term Effects of TV Advertising

A previous article (Admap February 1999) looked at short-term effects (within 28 days) for 113 brands in 10 fmcg categories over two years (March 1996 to March 1998). This article traces the subsequent purchasing history of those who had bought the brands in the previous study. Repeat-purchase rates were compared between persons who had seen TV advertising in the 28 days before their original purchases and those who had not. In analysis, care was taken (by disaggregation) to allow specifically for three types of possible confounding effect: 1) that heavy viewers would be more likely to have seen advertising when they originally bought the brand than lighter viewers; 2) that repeat purchasing could also be affected by in-store promotions; 3) brand size (bigger brands have higher repeat rates and can afford larger advertising expenditure). Results show: a) buyers repeat buy the same brand on average 44% over the next year; b) this repeat buying is marginally higher among those who had seen advertising than those who had not; c) promoted brands attract much lower repeat-buying loyalty than unpromoted, although again where there was advertising the repeat rates are marginally higher. About half the difference in repeat purchase rates is due to the effect of subsequent advertising exposure. The proportion of a brand's annual sales attributable to medium term ad effects can be calculated as a function of the proportion of purchases covered by TV advertising times short-term uplift plus a repeat purchase effect (this is demonstrated). It is calculated that, for these 113 brands, 2.33 of sales were achieved over a year for every 1 spent on advertising.

Research methodology
The research methodology was based on both primary and secondary data. the reason was both this data were complementary for each other and could give me valuable research.

1. Research type
Primary data: The sources for primary data were: 1 .different advertising books 2. Internet 3. Advertising magazines (advertising age) 4. News papers (economic times, Ht, Toi) Secondary data: 1 interview with different advertising experts. 2 self work experiences in advertising company. 3 asking audiences of film and TV advertising

2. Scope of the study.

To do valuable research on film and TV advertising and provide readers with work environment of film and TV advertising meanwhile discussing advantage and disadvantage of film and TV advertises. To make readers familiar with process of TV advertising.

3 analysis scheme

1. Analyzing was don through reading of different primary recourses by my self. 2. Discussion with my supervisor and advertising experts.

4. Limitations
Lack of interview with many TV watchers. Time concerns.

Advertising present and future

The Present Television advertising is big business. In 2001, Advertising Age reported that $18.6 billion was spent on Network TV advertising and $10.3 billion on cable TV ads. The Federal Communications Commission (FCC) reports that in 2002, there was more than $41 billion spent in broadcast television advertising in the United States. In 2002, the top 10 advertisers were: Top 10 Network TV Advertisers $ spent in Rank Company General Corp. Procter & Gamble Co. Johnson Johnson Ford Motor Co. Pfizer PepsiCo & Motors 2002 (in Rank Company Procter & Gamble Co. General Corp. AOL Warner Altria Group Johnson Johnson Walt Disney Co & Time Motors millions) 1 2 3 4 5 6 777.8 723.7 471.5 437.9 401.0 369.3 1 2 3 4 5 6 Top 10 Cable TV Advertisers $ spent in 2002 (in millions) 386.3 342.0 243.6 161.0 138.5 129.8

7 8 9 10 The Future

AOL Warner

Time

352.7

7 8 9 10

Pfizer AT&T Corp. General Mills

128.6 121.9 120.9

Walt Disney Co. 345.8 GlaxoSmithKline 316.2 Unilever 305.0

GlaxoSmithKline 118.1

The future of TV advertising will be using technology and style to enhance the power to sell. There are number of techniques advertisers will use to peddle their wares. One way is than using various "product money placement" "spot"

techniques during the airing of program content. Rather spending for advertisements, some companies choose to embed their products or logos during the program. By placing products inside of TV shows, the advertiser gets abundant advertising chances during the actual program itself. One ways is to have the show's characters drink bottles labeled "Coca-Cola" or place the "Budweiser" logo on the bottom of the boxing match (see picture to the right). During the spring 2003 airing of the Fox program American Idol, AT&T Wireless, Coca-Cola, and Ford spent $26 million each to have their products displayed or discussed prominently during the show. In 2000, Coca-Cola spent $6 million to place its logo prominently throughout the WB network's series Young Americans. When the main character of a program drives a Ford Expedition or uses an Apple laptop computer, that company is paying for the logo placement. When a car chase ends with the Pontiac Trans Am crashing through a Heineken beer truck, those companies pay millions. Ferrari paid for Magnum P.I. to drive a 308i and Ford paid for Starsky & Hutch to drive a Grand Torino. Sometimes, products are placed in shows using a computer. In reality, the product or logo may not appear

and companies such as Princeton Video Image, Inc. (PVI) and Sportvision will alter the video image, during live or pre-recorded broadcasts, and place products where their clients desire. PVI describes itself as a provider of "real-time virtual advertising, programming enhancements, virtual product integration and targeted interactive services for televised sports and entertainment events." The company says that during baseball games, it can produce "virtual advertisements, static or animated, that appear behind a batter during play and are only visible to the television audience." In the photo below, you can see how the Coca-Cola logo was placed into the soccer field during live play. Sometimes, the digital ads are so subtle it is shocking. For example, during the CBS broadcast of the "Millennium New Year's Celebration," the company contracted PVI to replace billboards in New York's Times Square with ones that showed the CBS logo (picture to the left) -- particularly replacing the NBC peacock logo that appeared behind the new years ball with the CBS one. Another practice of computerized product placement is to put or remove products into the fabric of a pre-recorded program. Items such as a cans, bottles, signs or logos would be digitally inserted into the TV show after production. For example, PVI and the TNT network (a division of AOL Time Warner) made a deal in 2001 to provide digital product placement to re-runs of the show Law & Order. At the time, PVI head Denny Wilkinson said, "You will be seeing brand names on cornflakes boxes, milk cartons, cola bottles, the lot, all bright and clear." This type of digital product placement boarders on the subliminal. A character will innocently walk past a "Scope" mouthwash bottle or drink out of a coffee mug with "Maxwell House" on it. The other technique is to erase logos of companies in favor of others who actively sponsor the program. For example, a beer can with "Miller Lite" could be digitally erased during Friends because the sponsor of the show is Coors Light or a "Pepsi" can is rendered generic digitally because Coca-Cola has paid millions for spot advertising.

At the time of the PVI and TNT deal for digital products to be added to Law & Order, a spokesman for the TNT network said, "We're always looking at ways to leverage our viewer relationships for marketers, in an appropriate manner." In other words, the network wants to make money any way possible without being too obvious to the audience. Computerized product placement is on the rise in television. Some stations, however, are trying a different technology. A hardware device called the Digital Time Machine (picture to left) from the company Prime Image Inc. uses a subtle process of trimming redundant frames from live or prerecorded video to shorten programs and add an extra 15 to 60 seconds for commercials. The company explains that their product "deletes small bits of duplicate frames of audio and video throughout the entire show until it eliminates enough time for an extra commercial." For live TV shows, Prime Image says the Time Machine will start with "a 30 second audio/video delay and reduce this delay in real time to zero by the end of the program. Thus a live feed of 30 minutes is converted to a 30 second commercial and 29 1/2 minutes of programming." The company says the removed information is "virtually undetectable" from viewers. The companies that create television commercials also use compression technology, but in a different way. Audio compression technology is often used to enhance the volume of the commercials. It has now become common practice for advertisement producers to boost the sound level of quieter passages so there is more sound power in the range where the ear is sensitive. Because most TV programs do not use audio compression, the result is that commercials are often perceived as louder. In actual decibel range, there is no measurable difference between the programs and the

commercials. However, the technique of audio compression will essentially boost the sound. The real future of TV advertising is that advertisers will determine the amount of commercials and the types of programs aired on networks. A number of reports produced by the FCC's Media Ownership Working Group highlight the coming trends in the television industry. A report entitled "Empirical Aspects of Advertiser Preferences and Program Content of Network Television" (released in December 2003) states that advertisers -- not viewers -will ultimately be determining the types of programs shown on TV. The report explains: "Broadcast television represents a unique market where a public good is provided by privately-owned, profit-driven firms . Broadcast networks supply the public good, receiving no revenues directly from viewers. The networks obtain revenues by combining this good with advertising, which viewers may watch in order to receive the good. The networks then sell commercial time to advertisers. This unique disconnect between consumers and purchasers of broadcast television services creates many thoroughly explored market imperfections. "As theory predicts, market failures may occur when markets supply a public good. One such market failure is the distortion in program choice stemming from advertisers preferences. "Advertisers prefer programming content that best 'frames' their advertising. Such content tends to be light and 'unchallenging.' Viewers preferring darker and more challenging content go under-served. Using a unique data set, we found that advertisers pay a premium for sitcoms and programs with younger casts, while news programming and police dramas receive a discount. Of the programs in our sample, there were seven news magazines, five police dramas, and 38 sitcoms, so that advertisers preferences appear to drive programming content.

". . . the development and rapid spread of cable and satellite television can be attributed at least in part to the market failures inherent in over-the-air, advertiser-supported television." More than any other time in TV history, advertisements will drive the aired content. Television has always been influenced by advertiser desires. In the world of megacorporation-media-control, not only will programming specifically suit advertisers, but it will become more numerous as well. In a report entitled "A Theory of Broadcast Media Concentration and Commercial Advertising" (released in September 2002), the FCC concluded that in the cases of media concentration they studied "the broadcaster's profit-maximizing response to increasing industry concentration was to increase the fraction of broadcasting devoted to advertising." The FCC found that this resulted in an increased demand for advertising time and an increase in the price for commercial air time. Advertising on traditional television may eventually take a backseat to the emerging phenomenon of interactive television. Interactive television has the ability to monitor and track what individual viewers watch and purchase. Interactive TV firms will then keep demographic databases full of information for potential advertisers and corporations and be able to specifically target ads to individual viewers. The interactive TV will then change and react to a viewers habits and purchases to maximize profit for the advertiser.

Interactive Television After several false starts, interactive television has finally come of age. An interactive TV set is basically a television with computer capabilities. With some systems it is possible to do everything you can do online, except that the monitor is either the TV screen or a picture-in picture configuration that lets you watch one or more programs while surfing the Internet. Interactivity can take one of three forms. The first type is video-on-demand (VOD), \\

here viewers control what and when they watch. Pay-per-view (PPV) is a limited version of VOD that allows viewers to choose programs at predetermined two-hour intervals. The second type of interactivity is a system that stores information at the television set and allows viewers to choose programs with a box in the home, in much the same way VCRs and videotapes function today. The third type of interactivity is the simulcast, which transmits digital information in conjunction with an actual broadcast. Simulcast viewers can control the programming itself. By punching in their choices on a keypad, viewers can second-guess NFL quarterbacks or order more information during a documentary. Although interactive television development was initially slow, it appears to be taking off thanks to expanding bandwidth technology called broadband. Simply defined, broadband is a bandwidth that has more capacity to send data and image into a home or business ;through a cable television wire than the much smaller capacity of a traditional telephone wire or' television .antenna system. "In broadband, we offer a guaranteed base of impressions against a high-end audience, plus we offer new ad models. And an advertiser can test some: thing with us using broadband and then skinny it down to narrowband if he wants to," says Susan Bratton, director of the interactive advertising group for @Home Network.4 The @ Home Network ad on page 262 shows broad bands capabilities. Advertising is not evil. Capitalism is not bad. The point of looking at the connection between ads and TV is not an indictment of American business or a manufacturer's efforts to buy or sell. The goal is to recognize that television is really nothing more than a way to transmit vivid and compelling advertisements into people's homes. Product placement combined with subtle digital ads combined with more commercials combined with interactive television will make television basically one long commercial.

Conclusion
Advertising is a medium of transferring information; advertising is a necessity of life. It informs people about new products or services in the world. By advertising people can come to know about solution of their problems. Advertising on TV can have positive and negative affect on people minds; it means it depends upon us how we do want to advertise our product on TV. Advertising which they want to push the product into peoples mind is ethically rejected. Advertising should be in a manner that to inform people about one products or services and show the kind of benefit the consumer can take after using products or services. Film and TV advertising is one the most powerful channel for advertising. By TV advertising we show the environment of which the product is used and aspects of product in a visual and sound effective manner. For example: using shampoo for removing dandruff. TV advertising is also costly so not many companies are able to meet the budget for TV advertising, any how film presentation which is a film putted on the CD is less costly. TV and film advertising is also one the greatest way of brand building because people also know the company which advertises on TV is enough big for its advertising. TV and film advertising should be made interesting enough to be watched on TV. keep in our mind that creating trust on peoples minds is the fist point and that can be achieved through putting real promises on ads.

References 1. Ogilvy on Advertising (1983 by David Ogilvy) 2. Advertising Principles and Practice (by Willam wells,John burnett and Sandra Moriarty) 3. Advertising & sales Promotion (by SHH Kazmi ,SatiSh K Batra) 4. Web sites www.google.com www.warc.com www.canyoncollege.edu www.maxbrandson.com www.findarticles.com/ www.turnoffyourtv.com/programsratings/advertising2004. html

5. Interview with advertising experts in Credence Media Solutions Company