Effective Use of Advertising Media |
In a television station, on-air is the first and most important medium at your disposal. But, you will use also the various outside (or external) media at your disposal to spread the branding message. Again, to ensure efficient use of the resources you have, you must be able to evaluate their effectiveness.
Use the Batten-McDowell Media Efficiency Profile (BMMEP) to determine how effective a given medium will be in terms of what to accomplish. This simple profiling procedure evaluates the media on these points:
Geographic reach–How deeply into your marketplace does this medium reach?
Demographic reach–How many of your target demographic does this medium touch?
Frequency–How often will your target audience be exposed to a message in this medium?
Change of message–How often and how quickly will you be able to change the copy or message with this medium?
Copy capacity–How much of your message can the medium carry effectively?
Emotional capacity–Can this medium communicate emotion effectively?
Timing–Can your message get to your audience exactly when you want it to?
By using the profile, it is easy to see that each medium has its advantages and disadvantages. To evaluate them in terms of the branding goal you have, each of the above qualitative aspects is awarded a rating from 1 to 10, with 1 being least effective and 10 being most effective. (The BMMEP averages are rounded up for purposes of this discussion.)
15.1 THE MEDIA EVALUATION
15.1.1 TV On-Air
First and foremost, a television station must use its own air. It has all the advantages of the other media, with only one major disadvantage: Not all the right people are watching. The message is being shown largely to the station’s loyalists.
Television’s geographic reach is critical. A station suffering from signal problems or interference will labor under a continuing disadvantage, even in the world of high cable television (CATV) penetration. We will presume that, for purposes of this discussion, the station is on an equal signal strength with all the others in the market and give television on-air a geographic reach index of 8.
The demographic reach of television is subject to many of the same limitations discussed above. Again, for purposes of this discussion, the station is on an equal signal strength with all the others in the market and give television on-air a demographic reach index of 8.
In the perfect world, the brand manager would have an unlimited schedule on-air to propagate his branding messages to the audience. In the real world, the television station has to run commercial spots to pay the bills. The frequency of the message would be diminished by this real-world consideration to, at most, once per half hour. (Some forward-looking broadcasters carve out time in every commercial break leading up to the target program and schedule some sort of message for that program, even if the economics of the situation would normally dictate against such a move.) The frequency index for television on-air is 7. However, because the message can be changed quickly and easily, we will award the change of message index an 8 (presuming there are no production limitations).
The copy capacity for on-air is limited to the standard spot lengths (4 seconds, 10 seconds, 15 seconds, 20 seconds, 30 seconds, and–in rare cases–60 seconds.) It therefore becomes a challenge to the writer or producer to make the message effective within those time constraints. Copy capacity index for television on-air is 6.
Almost nothing communicates an emotion as does a picture. When the picture is wedded to strong copy and effective sound, it would have an emotional capacity index of 9.
Finally, on-air can be timed exactly. The television station owns the real estate where it is run and can carve that time period out for its own message. Television on-air has a potential timing index of 9. We note this is “potential” because revenue considerations may pre-empt the perfect timing slot for the message.
Summarizing the BMMEP index for television on-air
Geographic reach: 8
Demographic reach: 8
Frequency: 7
Change of message: 8
Copy capacity: 6
Emotional capacity: 9
Timing: 9
BMMEP average index: 8
How can the message get to those who do not watch your station’s on-air? Simply carry the branding message on the market’s other media.
15.1.2 Cable TV
The index for CATV will closely mirror television on-air, with the major exception of timing. The brand manager can only negotiate for the most desirable time slot and that slot is also being negotiated by the competition.
Cable’s geographic and demographic reach will depend largely on the franchise areas available. In many markets, the designated market area’s (DMA’s) CATV systems have formed a commercial sharing network, sometimes called an Adnet. This network permits a single point of distribution to reach most of the systems in the market. In presuming this to be the case, we will give CATV a geographic and demographic reach index of 8, identical to television on-air.
Because CATV spots must be purchased, the brand manager is subjected to the limitations of frequency imposed by the available budget. These budgetary limitations balanced against the generally low cost per spot expenditures result in a relatively generous frequency index for CATV of 5.
CATV systems are upgrading their head end systems to permit more flexible commercial insertion abilities. Some systems have been limited by their equipment to a once-a-day or even once-a-week ability to change the copy. Because of this potential limitation, CATV receives a change of message index of 5.
CATV’s copy capacity and emotional capacity are hypothetically identical to television on-air, which would award a copy capacity index of 6 and emotional capacity index of 9.
Finally, the timing index for CATV, subject to the possible limitations discussed in the first part of this section, is 5.
Summarizing the BMMEP index for CATV
Geographic reach: 8
Demographic reach: 8
Frequency: 5
Change of message: 5
Copy capacity: 6
Emotional capacity: 9
Timing: 5
BMMEP average index: 7
15.1.3 Radio On-Air
Radio on-air is a very effective medium for spreading the knowledge of the station brand message. How effective? Just listen to any popular local radio station during the next sweep and hear how many spots for television stations are aired (especially during afternoon drive time).
With radio, you have the advantage of being able to finely target the demographic group you want to increase. With an average reach in the demo of three at a frequency of 90 percent, your message should reach the audience. This results in a geographic reach index for radio of 7.
Radio’s demographic reach for purposes of this discussion is also seven. The higher number than for television on-air reflects the fact that the message can reach the audience in their cars. In fact, that is preferable if the goal is to motivate the audience to do something (turn on the television to a given station) as soon as they make the afternoon commute home. It also reflects the fact that the competition’s loyalists also hear the message.
Radio’s frequency of exposure index is also 7. This number presumes the buyer has met the goal of achieving a demographic frequency of 90 percent.
The advertising message can be changed often, even hourly, which earns radio a change of message score of 9.
The copy capacity of radio is necessarily limited to either 60 or 30 seconds. Many radio markets sell a 30-second spot for the same price as a 60-second spot. Most television stations break the 60 seconds into 30 seconds for a co-op syndicated spot and 30 seconds for their own product. (Some syndicators have strict rules as to how their co-op funds may be spent in this manner and a complicated reimbursement formula.) The copy capacity index for radio is 6.
The emotional capacity for radio is, of course, largely dependent on the copy and production values used in the spot. Before television’s advent, radio kept millions of listeners entertained with powerful dramas (as well as the melodramatic soap operas). The masterful comedian Stan Freberg is famous for constructing powerful images in the theater of the mind. One of his most notable spots was produced for the National Association of Broadcasters (NAB) to promote the ability of radio to generate images in the minds of its listeners. (Think of a mountain of ice cream capped with whipped cream and topped with a cherry dropped by a bomber.) For this discussion, we will assume the message has been appropriately produced, and bestow an emotional capacity index of 8 for radio.
Finally, let us assess radio’s timing. Theoretically, it would be possible to have a radio spot broadcast immediately before the start of the advertised television program. This theory becomes academic if there are six or seven television stations all vying to be as close to the start of the 6:00 p.m. news as possible. However, because the ability is theoretically there, radio gets a timing index of 8.
Summarizing the BMMEP index for radio:
Geographic reach: 7
Demographic reach: 7
Frequency: 7
Change of message: 9
Copy capacity: 6
Emotional capacity: 8
Timing: 8
BMMEP average index: 7
15.1.4 Print
When considering print, the brand manager will be normally able to pick from several varieties, depending upon the size and sophistication of the market. Most markets have a daily newspaper, and most–if not all–of these daily publications will also include a weekly television supplement. Television supplements are also available as stand-alone publications (the most notable of these is TV Guide). Many markets have weekly newspapers; some of which may or may not include the alternative press. Finally, in this age of narrow-casting, there are more and more specialized publications catering to very specific audiences. Just look at the magazine rack in any of the major book chains and see publications for everything from cigar smoking to watch collecting to fountain pens.
Daily Newspapers
The daily newspaper will provide a highly variable geographic reach, depending on the make-up of the market. If the market has one major metropolitan center, the geographic reach will be excellent. However, if the marketplace consists of several medium- to small-sized towns and cities, the geographic reach will be defrayed by the cost of purchasing ad space in several overlapping publications. For the purposes of this discussion, we will assume that the market has one major metro center, which will give the daily newspaper a geographic reach index of 7.
The demographic reach of the daily newspaper tends to skew toward older and more affluent persons. (The best way to check this is to ask the publication for its research and compare the assessment of its demos with the targets needed to achieve a satisfactory penetration of the demo pod.) For the purposes of this discussion, we will assume the daily paper tends to be stronger in the 35 to 54 age group than in the younger 18 to 35 age pod. This results in a demographic reach index of 5.
The frequency of the daily newspaper tends to be much lower than other media, even allowing for pass-along reading (reading by people other than the person who first received the paper). Unless it is compelling enough to be torn out of the paper and posted on a bulletin board or refrigerator, the frequency will be one or two times per reader. This lower frequency will yield a frequency index of 1 for daily newspapers.
By definition, daily newspapers only allow a change of message once a day. This limitation will severely restrict topical advertising and will produce a change of message index of 3.
The copy capacity of daily newspapers is fairly high. Given enough money for the space (and an appealing print design), many ideas and messages can conceivably be communicated through the newspaper ad. There is, of course, a point of diminishing returns at which the amount of copy overwhelms the reader, resulting in either very poor or no communication of the concepts and branding message contained in the ad. The copy capacity index for daily newspapers is a substantial 8.
Likewise, the emotional capacity of the daily newspaper may be substantial with the right copy and design. Major advertising agencies love to fill a newspaper page with arresting graphics and snappy copy. Words and pictures can generate or capture emotion. The strength or weakness of the emotional capacity will rest squarely on the shoulders of the copy and graphics. Because this is so dependent on another force, we will award an index of 6 for emotional capacity.
Finally, consider timing. Can the message get to the audience exactly when you want it there? Unless the station is branding its morning show, morning newspapers would not provide the best timing. In the few markets with an afternoon daily paper, the timing for the early or late news would be more apropos. This lack of exact control over the delivery of the message earns a timing index of 4.
Summarizing the BMMEP index for daily newspapers
Geographic reach: 5
Demographic reach: 7
Frequency: 1
Change of message: 3
Copy capacity: 8
Emotional capacity: 6
Timing: 4
BMMEP average index: 5
TV Supplements
Television supplements would closely mirror the advantages and disadvantages of the daily newspaper except in three areas. However, because of the nature of the editorial product, the index would be raised by two points in frequency and timing. Both these areas would increase because the television supplement will be referred to time after time throughout the broadcast reach. Therefore, the message would potentially be delivered fairly close to the “point of sale” or the actual time a given program starts. On the other hand, change of message would be reduced by two points because of the timing nature of a weekly publication.
Summarizing the BMMEP index for television supplements
Geographic reach: 5
Demographic reach: 7
Change of message: 1
Copy capacity: 7
Emotional capacity: 6
Timing: 1
BMMEP average index: 5
Weekly Newspapers
Weekly newspapers would have the same disadvantage as the television supplement in the area of change of message because of the scheduling problems inherent in a weekly publication. It would also have a reduced index for timing because a weekly newspaper is less likely to serve as a television schedule. In cases in which a weekly publication has carved out this niche, the appropriate adjustment should be made in the index. The BMMEP index is a 4.
Summarizing the BMMEP index for weekly newspapers
Geographic reach: 5
Demographic reach: 7
Frequency: 1
Change of message: 1
Copy capacity: 7
Emotional capacity: 6
Timing: 1
BMMEP average index: 4
Specialized Publications
We won’t attempt to build an index for specialized publications because there are so many variables. The interested reader may want to follow the line of reasoning for daily newspapers and make the appropriate assessments for the individual publications.
15.1.5 Outdoor/Transit
Our discussion of the advantages and disadvantages of outdoor and transit will make two assumptions:
The market supports a healthy outdoor plant
There is a viable public transportation system that permits advertising
Outdoor has a major appeal in our mobile society because either drivers or passengers will theoretically be exposed to the message it carries. Transit, either on the outer surfaces of transit buses or on interior cards of busses and subways, is primarily exposure to passengers and pedestrians. Outdoor is sold as showings. A 100 showing postulates that 100 percent of the potential audience driving on a given day in a given geographic region will be exposed to the message. There are also 50 showings, 25 showings, and specially tailored showings.
The geographic reach of outdoor is seldom as deep as the reach of a television station or even a radio station. Even in the most saturated of outdoor markets, there are places where outdoor displays are simply not permitted. For this reason, the geographic reach index of outdoor and transit is three. The same limitation would be true for the demographic reach index. The major exception to this limitation would be in the instance of a message that must appeal to predominately heavy metro or inner-city viewers.
The frequency index for outdoor and transit presumes the audience is in a space where it may be exposed to them. For this discussion, we will assume that up to one-half the available population is possibly able to be exposed to this medium. The frequency index for outdoor is 3.
Outdoor production is expensive, compared with the costs of producing messages for the other media. Unless special arrangements are made to “flag” a board with fresh paper every day, the medium’s change of message index is 1.
An experienced outdoor/transit designer/copywriter will use as few words as possible to communicate a message. An inexperienced user will attempt to fill the relatively huge space with all kinds of messages and copy. Keeping in mind that the message must be read and understood in less than 5 seconds (the amount of time a typical driver can look away from the road), the copy capacity index for outdoor is 1.
The emotional capacity of outdoor is–as with all the other media–largely dependent on the ability of the copywriter or designer to pick the right words, colors, and images to communicate the message effectively. Some very emotional feelings can be communicated with two or three words. Therefore, we will give outdoor/transit an emotional capacity index of 5.
The timing index for outdoor is limited by the nature of the medium. Timing is not a strong point for outdoor. (One notable exception is in the outdoor-rich market of Los Angeles, where some enterprising stations and syndicators buy boards with messages that can be changed daily to promote the daily content of their talk shows.)
Many brand managers use outdoor and transit to support their major effort, not be the sole carrier of it. The timing index for outdoor is 1.
Summarizing the BMMEP index for outdoor/transit
Geographic reach: 3
Demographic reach: 3
Frequency: 3
Change of message: 1
Copy capacity: 1
Emotional capacity: 5
Timing: 1
BMMEP average index: 3
15.1.6 Online
You are, in effect, Spider-Person! You control your Web. Do you have the resources to make it work for you? The station’s Web site is usually a joint function of news, sales, and marketing. The sales department uses it for value-added. The news department uses it to provide additional information and breaking news not worthy to interrupt programming. And you, the brand manager, make it hum with congruent marketing messages. Don’t you?
The media index of your Web site is immeasurable, depending on the resources available to it. Because you normally do not buy it as one of your external advertising media, we will exclude it from this part of our discussion.
Now that we have discussed the relative merits of each of the media available, it is appropriate to look at how to purchase them.
15.2 NEGOTIATING RATES AND BUYING THE TIME
The growth of media buying services, some specifically targeting local television station needs, has been a real bonus for brand managers. The services handle volume and have special deals with group owners of radio and newspapers. Investigating how one of these services might aid your efforts is always a good idea, even if the station does not plan to use it. The sales department will be able to identify the active media buying services.
If you are buying on your own, call the business office and see how to set up an in-house agency name and tax identification number. This will enable the station to get a 15-percent discount, the amount accorded all full service agencies for client markup of airtime purchases. Now, you now already have 15 percent more to spend.
You must also familiarize yourself with two more media terms:
Cost per thousand, known as CPM, is the way agency buyers determine whether or not their clients are spending their ad dollars efficiently. CPM determines the cost of reaching a thousand people with this message. A $5,000 spot in a program with 5,000 viewers yields a CPM of $1,000. A $5,000 spot in a program with 50,000 viewers yields a CPM of $100.
Cost per point, known as CPP, is an alternative way of calculating advertising efficiency. The “point” in CPP is a specific demographic rating point. If you are selling laundry detergent, you would want to concentrate on demographic points in women aged 18 to 34 and would look at a CPP in that demo.
Before beginning, look at the available in-house resources. Will you have to provide outside media materials and finished products that will back up your department work flow? Is there money available in the budget for freelance or outside service contract work in the form of the following?
Radio talent and distribution
Print layout
Billboard printing
Messenger services
Will you have to shave those costs from the budget?
Once you have your full media budget set, it’s time to use the BMMEP to determine how much of the budget will be divided between the following:
CATV
Radio
Newspaper
Outdoor
Call the sales manager and get a list of the cable and radio buys that are made on your station. This list will help you in several ways:
Your station already has a relationship with the media outlet.
Placing a buy, even a token buy, on these stations will sidestep possible (political) problems down the road for your sales department.
Call the person who is in charge of doing the station’s research and ask them to pull a media list for you. It will include a report on all the stations in the market and their latest available ratings and formats. From this, you will be able to highlight the stations that fit your news demo. For purposes of this discussion, we will assume that demo is women aged 18 to 34.
Call the radio stations in the market and request a sales rep. Get them to set up an appointment to come talk to you; tell them you’re thinking of placing a buy. Then do the same for the cable outlets in the market. Many markets have ad networks that feed all the cable outlets, which will make the calling easier.
This will some take time, but the time will be worth it. The point of the first meetings is to listen. You will learn how the stations see themselves and get brought up to date should any changes have occurred since you used your other media research.
Give each station a ballpark figure on the amount you might be spending and let them put together a proposal for you. Make sure they are aware you are looking for the best cost available and ask for value-added.
Value-added consists of the extra things a cable/radio outlet can do to enhance your message and, hence, keep your buy. These may range from adding your logo to the local weather channel updates to doing a major contest with the top radio station in town. This is how value-added stretches your dollars spent, and it stretches the message. Make sure the stations know you’re looking to extend your dollars and you’re looking for a way to put your four anchor people in the public eye.
Think like a public relations pro, combining the dollars spent with the value-added possibilities. If your market has a news/talk radio station, concentrate on them in a different vein. See if one of your anchor talents might become part of their programming, or book your anchors or reporters to be interviewed by the morning or afternoon drive hosts. It is vital to make sure you let the news director know about this possibility. News directors have very strong opinions about their talent’s public appearances, and they also know what the talent contracts contain regarding these potential appearances.
Once you have all the proposals, write up a media purchase plan and submit it to the general manager with a copy to the sales manager. Let them know the buys you’re about to make. Then ask each of the participants to sharpen their pencils. Media buying is a negotiation. It’s not shopping retail. Act as if the prices are close to what you have but you need a little more shaved off so you can make your budget. This is an unpopular and sometimes uncomfortable aspect of media buying, but it can also be the aspect of it that gets you the best price per spot. It’s usually done via phone. And be prepared to pledge the buy before you hang up. That’s why you’ve already received a pre-approval from the general manager. Anything you save from this moment out will make you look good and can be used to cover production costs or additional, unexpected media.
Bargain, bargain, bargain. Everything is negotiable.