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TMKu 2013: OOH Planning and Buying


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A guide to the OOH landscape.

Published in: Business, News & Politics
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TMKu 2013: OOH Planning and Buying

  1. 1. OOH Planning and Buying The Basics Prepared by The Media Kitchen
  2. 2. Agenda What is OOH? Different types of OOH The Process Evaluating Opportunities Placement Types Cross-Platform 2
  3. 3. Print Strategy Development
  4. 4. A Strategy is Important for Effective Print Planning • Prioritizes target audiences • Narrows consideration set to specific categories • Guides the evaluation of print properties 4
  5. 5. Print Strategy Framework Audience Mindsets, Lifestyles Print Strategy Overall Communicatio n Strategy Audience Print Compsumption Editorial Environment s Print Categories & Types Tone of the Brand Campaig n Message Campaig n Objective s 5
  6. 6. Certain campaign elements must already be in place Print Strategy Tone of the Brand Campaig n Message Campaig n Objective s Overall Communicatio n Strategy 6
  7. 7. Campaign Elements Brand Tone Typically remains consistent from campaign to campaign Campaign Message Consistent from prior campaigns, an evolution of a past message, or a brand new effort Campaign Objectives For example, build awareness, drive sales, drive to a promotion, etc. 7
  8. 8. Choose print environments that… Match or amplify the brand tone Are relevant to and synergistic with the brand message Will help to accomplish the campaign objectives 8
  9. 9. An understanding of the audience is essential to developing a print strategy Audience Mindsets, Lifestyles Print Strategy Overall Communicatio n Strategy Audience Print Compsumption 9
  10. 10. Audience Research Tools • Syndicated research: MRI, Simmons, etc. • Qualitative research: Focus groups, interviews • Publisher-provided: Often, publishers do their own audience research (be careful to distinguish the sales pitch from the facts!) 10
  11. 11. Audience Characteristics Mindsets Lifestyles Interests • Important when developing the communication strategy • Some audiences provide the greatest opportunity for growth (if multiple targets, they should be prioritized) • Some audience segments will be most receptive to the brand message in a print environment • These factors often coincide with how they consume print 11
  12. 12. Audience Print Consumption What Where When Why • What they read – be where the audience is • Where they read affects their state of mind and perception of the message (work, home, traveling, etc.) • When would they be most likely to respond to a call- to-action (i.e. relaxing with the Sunday paper) • Why do they read (seeking information vs. entertainment vs. emotional support) 12
  13. 13. Editorial Environments Print Types These factors help determine the editorial environments and types of print in which to place the brand message Print Strategy 13
  14. 14. Editorial Environments Print Categories • Look for print categories that have: • High audience composition (% of readers who fall within the target) and/or • Wide audience coverage (% of target who reads a print category) • Exceptions can be made based on campaign objectives (i.e. need high impact at the expense of efficiency) Business Parenting News Women’s Service Gaming Sports Fitness Trade Niche 14
  15. 15. Importance of Editorial Environments Receptivity • Allows you to reach the audience when they will be more receptive to the brand message • i.e. Someone reading about the financial climate might be more receptive to an ad for a financial planning company Targeting • Increases the possibility that you’re reaching people who care about the brand category • i.e. If someone reads health magazines, there’s a better chance they will ne interested in a health food product Element of Surprise • Unexpected environments can help the message resonate • i.e. An ad for a weight loss program in Cooking with Paula Deen 15
  16. 16. Types of Print Monthlies Longer shelf-life; kept longer by reader; easier to align with planned content Weeklies Shorter lead-time to be in an issue; more current content; fewer pages can mean less clutter Dailies Typically newspapers; very short lead time to place time-sensitive creative; can aligh with appropriate sections 16
  17. 17. Types of Print Alternative Distributio n methods • Can impact the credibility of an advertiser (i.e. a publication distributed in a doctor’s office) • Can more precisely target • Distributed where the audience is (i.e. at a festival, reastaurant, or on an airline) • Can be a regular publication mailed to a specifically targeted audience for a more effient buy (i.e. a Family or a Women’s edition) 17
  18. 18. Evaluating Print Properties
  19. 19. Much of the information you’ll need to evaluate publications can be pulled from online data sources
  20. 20. • Impressions and coverage are proportionate, as are composition and index • Utilize all numbers to tell a story about the readership – Just looking at one number can sometimes be misleading 21
  21. 21. • Median age: the middle age in the range of ages reading the publication – Clients often ask for this information during presentations, so it’s important to have it handy • Find the optimal balance of Reach/Frequency to evaluate full print schedules: – Reach: the % of the target audience who will see the ad – Frequency: the number of times they will see the ad • The right balance is based on an understanding of the audience and client priorities • Should be included when recommending a plan to the client 22
  22. 22. • Use the FASFAX report to calculate the Circulation Vitality of a magazine • You will find: – The % of circulation that is subscription vs. newsstand – The total circulation for the year – The change in circulation from year to year • It’s an indication of the health of the publication • Can be leveraged during negotiations 23
  23. 23. • Ad Vitality: the change in the number of ad pages and revenue from year to year • An indication of the health of a publication • Can be leveraged during negotiatoins • Found on 24
  24. 24. Use to: • Learn about publications within specific categories • Look up sales contact info • Find publication details: – Gross Open Rates – Current Ratebase – Current Circulation – Closing Dates: Date by which the publication needs to receive an IO in order to place an ad in an issue – On-sale Dates: Date the issue is released onto newsstands (subscriptions are usually mailed prior to this date) 25
  25. 25. Information Needed from Publisher Request for Proposal Ratebase: Guaranteed circulation per issue Gross Open Rate: The publicly listed cost for an ad Proposed Rate: The cost at which the publication is willing to sell an ad (Often fluctuates based on number of pages bought) Discount: The percent difference between the Gross Open Rate and the Proposed Rate Total Audience: The number of people who read an issue; calculated as the total circulation x readers per copy Target Audience: The number of people within a specific demographic and/or psychographic who read an issue Editorial Calendar: Description of planned editorial for each issue. Although this may change throughout the year, it gives an idea of the kind of content planned Frequency: Number of issues per year 27
  26. 26. There are numerous factors to consider when reviewing proposals
  27. 27. Efficiency is reaching the most people with the least amount of money Ratebase CPM Measures the cost of an insertion against the publication’s guaranteed circulation per issue Audience CPM Measures the cost of an insertion against the number of audience impressions per issue Effective CPM Measures the total cost of the print schedule against the total circulation or number of impressions (factors in bonus pages) 29
  28. 28. Positioning • The publication should provide guarantees of where the ads will be placed within each issue • Better positions often mean higher visibility Cover 4: Back cover Cover 3: Inside the back cover Far Forward: Within 1st 33% of issue TOC: Opposite table of contents Cover 2: Inside front cover Editorial Adjacency: Next to content that is relevant with the brand Opener: Opposite the beginning of an article Masthead: Opposite the list of publishers and editorial board 30
  29. 29. Bonus pages • A great way to bring down the effective CPM • If counted into the Effective CPM: – Should not be considered added value (they become part of the effective page rate) – Should abide by the same positioning and other requirements, just like paid pages 31
  30. 30. Added Value • Partnership elements beyond the brand ad negotiated into the cost of the schedule • Can expand on the brand ad’s message, either for general brand awareness or to help drive to a promotion or website E-blast Fraction al unit In-book or online promotional listing Newspetter Sponsorship Front cover strip Advertoria l Vista/Starch research inclusion (measures ad effectiveness) 32
  31. 31. Ability to Meet Requirements • Clients often have specific requirements publications must be able to accommodate, for example: – Separation from a competitive advertiser – Flexible with closing dates 33
  32. 32. Year Over Year Comparison • Provides a benchmark or starting point for negotiations • Year over year changes are a good indication of a publication’s health 34
  33. 33. Negotiating
  34. 34. Rarely is a proposal perfect when first submitted, so it’s important to negotiate
  35. 35. Negotiations The planner’s job is to try to get the best value for their client The sales rep’s job is try to get the most money for their product Strive to reach the right balance between efficiency, positioning, and added value 37
  36. 36. Negotiating Tips Know what you need and ask for it • If a certain page rate will allow you to reach the desired number of pages within the budget, ask for it • Request specific positions or added value based on the client’s priorities (i.e. if e-blasts are part of the campaign, the publication can probably execute them for free to their opt-in email list) Keep lines of communicatio n open • Explain why you need what you need, for example: • Budgets are down • Aggressive competition • The client is skeptical • Provides leverage to request a better deal, and gives the sales rep leverage to fight for your request internally Maintain a mutual respect • Be professional and appreciative, as sales reps represent you within their organization to have your request approved • Acknowledge that you’re both doing your job, but ultimately, you’re partners working for the client • Remember, you represent your agency and your client, and the media business is all about building relationships – build good ones! 38
  37. 37. Corporate Deals
  38. 38. Corporate proposals are structured differently from single-book proposals They vary by publishing house, but they all leverage incentives
  39. 39. Corporate Proposals • Work with one contact who represents all publications under a publisher’s umbrella to negotiate each partnership • Positioning and added value negotiations vary by publisher – Some are negotiated by the corporate rep, while others are negotiated with each individual publication 41
  40. 40. Corporate Incentives Proposals are typically structured on a tiered system based on spendHigher tiers offer better incentives, which can come in the form of: • Lower out-of-pocket page rates • Greater discount across all titles (% saved off of the Open Rate) • Greater CPM reduction across all titles (i.e. Tier 1 = 2% CPM decrease, Tier 2 = 1.5% CPM decrease) 42
  41. 41. Corporate Concessions Proposals are typically structured on a tiered system Also reach higher Tiers by making concessions • Adding a new publication to the plan • Share of budget: one publisher is guaranteed the most spend • Share of market within category: one publications is guaranteed more pages than a competitor • Exclusivity: A publication is guaranteed to be the only one chosen in the category or vs. a specific competitor 43
  42. 42. Corporate Proposals – Things to Note 44
  43. 43. Placement Types
  44. 44. Print buys are not limited to brand ads
  45. 45. Beyond the Brand Ad Advertorial: a branded page with custom content relevant to the brand message • Typically created by the vendor with the client’s assets and talking points and client/agency direction and approval • Must say “Advertorial” 47
  46. 46. Beyond the Brand Ad Content Partnership/Sponsored Editorial: editorial content relevant to the brand message 48
  47. 47. Beyond the Brand Ad Impact units: Can be traditional impact units like a gatefold, or more unique (i.e. functional units) 49
  48. 48. Beyond the Brand Ad Insert: Typically more than one page on different stock paper with a brand ad and custom content 50
  49. 49. Custom Programs • A custom program can enhance the value of a partnership: – Custom content – Blown-out promotion – Content integration – Can showcase the vendor’s talent in creative – Co-branded content • Custom programs can incorporate the editorial voice, so it’s tailored to the audience and blended with content 51
  50. 50. Leveraging Cross-Platform
  51. 51. It can be smart to leverage a media partner’s multiple outlets, if it makes sense for the brand
  52. 52. Cross-Platform Buys • Many media companies own television, print, online, and/or radio properties • Opportunity to develop an extensive custom program that will run across media platforms for maximum exposure 54
  53. 53. Benefits of Cross-Platform Buys • Leverage in negotiations – Bundled for a more efficient buy – Increased added value to support the initiative – Better positioning • Greater Impact – The messaging is reinforced via numerous outlets – Allows for unique and creative custom executions or promotions – Each medium can reference or drive to other platforms 55
  54. 54. Questions?