Spark Session with CHI


Published on

You will find here the presentation that CHI&Partners did on the Spark session that was held in August

  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Spark Session with CHI

  1. 1. An Introduction to TV • TV Fundamentals • TV Buying Process • TV Developments and Innovations • A Brief Guide To Making a TV Commercial
  2. 2. Defining a TVR A TVR is the % of the total potential audience who viewed a particular spot was watched by an average of 2m Ads1634 total potential audience (Universe) for Ads1634 is 14.6m = 13.5 TVRS
  3. 3. TV Fundamentals
  4. 4. TVRS are determined by Price REVENUE CPT Cost per = thousand impacts AUDIENCE
  5. 5. A Supply and Demand market Price Demand Supply (CPT) (Revenue) (Viewing)
  6. 6. Costs vary by station…Source: DDS, Group M Estimates 2012
  7. 7. …by target audience Ads £5.31 ABC1 Ads £15.28 16-34 ADS £37.40 HW+Ch £42.23 1634 £59.37 Wmn 1634 Men £95.03 Average ITV CPTSource: DDS, Group M Estimates 2012
  8. 8. …and by month Average price is £64.70 Jan £34.15 Feb £35.26 Mar £40.79 Apr £46.72 May £47.59 Jun £47.92 Jul £42.78 Aug £57.92 Sep £71.24 Oct £71.32 Nov £59.76 Dec £49.17 Average Ads1634 CPTSource: DDS, Group M Estimates 2012
  9. 9. The TV Buying Process
  10. 10. Things to consider when planning/buying TV Programmin Programming g Effective Effective Effective Weekly Weekly Channel Channel mix Channel mix weights weights mix weights Best blend Centre break of quality access and price Dayparts Dayparts Dayparts Position in break DRTV DRTV
  11. 11. TV buying starts at AB… Month AB Deadline Two Months of TransmissionWks prior to TX: 8 7 6 5 4 3 2 1 0 Schedules Schedules Negotiated Money approved booked by TV released to airtime Continued airtime to TV stations stations & agencies improvement improvement optimised Programme All good programming booked up requests sent so approve late and quality suffers significantly Seasonality also affects how flexible stations can be with AB deadlines. Q4 is always very difficult due to over-demanded programming and high brand counts
  12. 12. The TV buying process Book in schedules Re-rate spots Determine what can be afforded Argue CPTs (rev/aud) Turn- around campaign quality Chase key Ensure programmes hitting Chase value channel mix Assess to ensure deals market and strikeweights report to are met client
  13. 13. TV Developments and Innovation
  14. 14. Areas of development in TV New Devices Enhanced Viewing becoming TV devices Connected TVs TV & Other Devices
  15. 15. Areas of development in TV New Devices becoming Enhanced Viewing TV devices Connected TVs TV & Other Devices
  16. 16. TV Sets are getting bigger
  17. 17. Analogue switch off is imminent
  18. 18. You View just launched
  19. 19. Now TV is an example of on demand TV growing
  20. 20. First screen developments Brands and channels Product Placement working closer together eg. AFP
  21. 21. Tresseme sponsorship with next top model
  22. 22. Successful to push brand metrics
  23. 23. Advertorial/themed breaks
  24. 24. Areas of development in TV New Devices Enhanced Viewing becoming TV devices TV & Other Devices Connected TVs
  25. 25. Penetration on the increase
  26. 26. Views across 2011
  27. 27. C4 innovating with new VoD formats available toadvertisers
  28. 28. And some more formats on the horizon
  29. 29. Areas of development in TV New Devices becoming Enhanced Viewing TV devices TV & Other Devices Connected TVs
  30. 30. Each of the big 4 have their own technology
  31. 31. Areas of development in TV New Devices becoming Enhanced Viewing TV devices Connected TVs TV & Other Devices
  32. 32. Second screen devices are often used whilst watchingTV
  33. 33. And tech companies are taking advantage of this
  34. 34. As well as media owners
  35. 35. And advertisers
  36. 36. A brief guide to making a TV commercial
  37. 37. TalkTalk: Homes Within Homes 60”
  38. 38. The TVC Process
  39. 39. Script TalkTalk ‘Homes Within Homes’ 60” We would take the camera inside ‘homes’ that are situated in people’s real life homes. We’d film the characters as they come to life, watching enviously out of their windows at the real people in the real homes using Talk Talk (skyping, surfing YouTube, calling friends and so on). Each so called home would come to life true to the style that it’s rendered in. So an oil painting of a house that hangs on a wall would come to life, with the characters within it moving in their fluid, oil painted state. Inside a cuckoo’s home, we’d observe a wooden cuckoo moving around it’s house in a very rigid, comedic way (think Professor Yaffle from Bagpuss). The house on the front cover of a DVD would be shot live action, replicating the real life look as intended on the cover. Or a plastic scale model railway signal man comes to life, and we see inside his plastic world as he moves over to the signal hut window to observe the outside world of the real home using TalkTalk. All of the scenarios above are just starters for ten – we’re sure there’s lots more interesting ‘homes’ that can be found and brought to life in an entertaining way. After visiting five or six homes within homes, we would then revisit them towards the end of the commercial. All the envious characters are envious no more, as they now have Talk Talk installed and are enjoying the benefits for themselves. SUPER: TalkTalk logo. SUPER: A brighter home for everyone.
  40. 40. TimingsWeek Agency amends Stage Proposed Dates 7 on Monday 7th Marchs VO record Final Script approval by Friday 24th December First offline edits to Talk Talk on Tuesday 8th March Edit Feedback & revisions from Tuesday 8th March Christmas Break w/c Monday 27th December Client approval of off-line edits by Friday 11th March BANK HOLIDAY on Monday 3rd January Commence Director search w/c Tuesday 4th January 8 TK approved edits on Monday 14th March Director meetings w/c Monday 10th January Commence online post production / animation incl. SFX and from Tuesday 15th March sound dub Develop treatments and budgeting w/c Monday 17th January Treatments and budget to agency on Friday 21st January Budgeting on Friday 21st January 9 Continue online post production / animation w/c Monday 21st March Treatments to Creative Director1 on Monday 24th January 10 Continue online post production / animation w/c Monday 28th March Continue budgeting Present recommended treatment and budgets to Talk on Wednesday 26th January Talk Client approve recommended director and estimate by Thursday 27th January 11 Continue online post production / animation w/c Monday 4th April Full go ahead to production incl. casting, location recce. on Friday 28th January Art director briefed and boards begun 1st 50% of budget invoiced to client on Friday 28th January 12 Continue online post production / animation w/c Monday 11th April2 Continue pre-production w/c Monday 31st January 13 Continue online post production / animation w/c Monday 18th April3 WIP meeting incl. presentation of storyboards and artists w/c Monday 7th February Commence applications for child licences based on from Wednesday 9th February approved cast 14 Continue online post production / animation w/c Monday 25th April 1st 50% of Budget payment due from client by Friday 11th February Final pre-production meeting incl. sign off of all elements 15 Continue online post production / animation w/c Monday 2nd May4 w/c Monday 14th February incl. casting and location Artist background checks w/c Monday 14th February Final film to client for approval by Thursday 5th May Production Company 1st 50% due by Friday 18th February 16 Final films approved by Client and Clearcast by Monday 9th May5 Shoot w/c Monday 21st February Playout to TV stations on Tuesday 10th May6 Commence offline editing w/c Monday 28th February On Air TV from Friday 13th May First offline edits to Agency (and Clearcast) by Thursday 3rd March Offline edits to Creative Director on Friday 4th March
  41. 41. Treatments & Budgets Adam Berg (on budget) Brett Forakker (£100,000 over budget) Dom&Nic (£80,000 over budget)
  42. 42. Storyboards
  43. 43. Character design
  44. 44. Character design cont...
  45. 45. Locations Insert information
  46. 46. Shoot• Live Action shoot - 3 day location shoot across 5 locations in London.• Standard shoot day is 10 working hours• Filming with children (reduced filming times)• Stop Motion Animation shoot – 4 days• It takes 1 day of shooting to obtain 6-9 seconds of stop motion footage• No options for alternative takes with stop motion animation• We shot 8am – 3am most days and had to shoot an additional 1x day to get what we needed.• TalkTalk Animators had just finished working on Fantastic Mr Fox (see how similar the characters move in the film and the TVC)
  47. 47. Offline edit (alt. 6 character version)
  48. 48. MusicHome - Ellie GouldingClose to home - Ian DuryNo place like home- Elvis Music option: ‘All out of love’Home-Iggy PopI wanna go home - Van MorrisonHome is where the heart is – Elvis PresleyMama I’m coming home – Ozzy Osbourne – tone change at 1min 30secHome of the brave- Lou ReadGoin home- ElvisHome- Edward SharpeAt home- Crystal FightersOn my way back home- Band of HorsesHome- Foo FightersBring me home- SadeHome- LCD soundsystemHome- GlasserMy home- Seasick Steve
  49. 49. Final film
  50. 50. Quiz